Kate Connection interview

[rhill@netlink.cts.com (Ron Hill)]

The Kate Connection
-------------------
by Abby Sheffield
C.1983

        This interview was printed in BREAKTHROUGH 5, I don't know if it is 
originally from there or another source. 

        [Transcribed by Ron Hill, thanks to Jackie Zucconi for supplying me 
with the interview.]

        At the highest level, a transatlantic phone connection can be "the 
next best thing to being there", and at the worst; a near disaster.  
Amplified buzzing, humming, and other disturbing effects can put a damper on 
the most intriguing of conversations.  So when Kate Bush placed a song to 
this Stateside writer, apprehension was being developed at both ends.  The 
anxiety was quickly dissipated, however, when Kate's charming accent clipped 
through the line, with hardly a disturbance to bother with.  
        We rapidly adjust to the five hour time difference between us and 
begin to converse; naturally about her and the music she creates.
        "I'm concerned with promoting the music.  I'm not really concerned 
with promoting me." she professes.
        The statement is an accurate one.  Whatever information is 
discovered about this 25 year old singer-songwriter-producer, must be 
learned from interviews, or more importantly, from the music itself.
        1978 was an auspicious year for Ms. Bush.  Records being played most 
often on British airwaves, during that time, were mostly banal and inane.  
The initial reaction to her debut single, "Wuthering Heights" was one of 
incredulousness.  How did this young upstart get to challenge musical 
stalwarts, anyway?  After a couple of listens "Heights" became firmly 
entrenched in the minds of the record buying public and speedily soared 
right to the top of the charts.  The whirlwind journey of the single, and 
later The Kick Inside, her album debut, triggered other enticing prospects 
for the deserving songstress.  The star making machinery was in full sing 
and Kate went 'round and 'round. 
        "I wanted people to like my music" she recalls.  "It was fantastic 
that people received it so well.  My schedule was full, and I had so much to 
think about.  I went to Australia, Japan, Europe.  In between from coming 
back from Japan and going to Australia, I recorded the second album."
        The smell of success was sweet, but problems sometimes developed to 
thwart Kate from her ascension to the top of the heap.  Decisions made were 
not necessarily the correct ones.  
        Reflecting on her choice to record a second album hot on the tracks 
of her initial smash, "That's the only time I'd ever been in that situation, 
though that's how I wished it to be.  I feel it's not good to be releasing 
an album between promoting another album.  The success of the first album 
was so great, that I couldn't ignore the opportunity of pushing that 
success.  When you've got something like that, you can't remain there."
        Kate subsequent releases outlined her continued evolvement into new 
territory.  Lionheart, Never For Ever, and most recently The Dreaming, could 
be compared more to journeying into uncharted waters than following a well 
trailed path.  You won't find this lady altering her style to suit the 
average Joe.  A quick spin through one of her discs will prove this out.  
What's forcefully apparent is that she refuses to be bullied into playing it 
safe. 
        Kate's situation seems to be more the exception than the rule.  Many 
corporate head tend to champion high chart positions and balk at the mention 
of artistic freedom.  To parlay some of that artistic freedom into big bucks 
may be what some executives dream about, but scarcely expect. 
        No matter.  The connection between Kate and her label is real 
peachy.  A carefully crafted bunch of songs are handed over periodically and 
are eventually released to the waiting public.
        Admittedly Kate has more razzle dazzle success in her native England 
than in North America.  The mass sterilization of today's radio doesn't 
leave much room for esoteric offerings, however good they are. 
        What propels the serious music listener to plunk down the cash for 
one her albums anyway? 
        "If I could actually pin down the quality that enables me to keep 
working and keep people enjoying it, I wouldn't worry very much.  Whenever I 
make an album I do everything I can to make sure, within the time allowed, 
is that every song is as good as I possibly can make it."
        There's been many printed works assembled regarding Kate and her 
career, but The Dreaming becomes the focal point since it's the latest of 
her releases. 
        "Many people keep finding new things within The Dreaming," offers 
Kate.  "I'm really surprised that people are letting that happen to them.  
By the third of fourth time of listening to it, they will hear some of the 
things that we've pu there in layers.  Some of my favorite experiences are 
listening to albums.  When you start listening to it a few times you start 
hearing things that you've never heard before.  It's a great compliment."
        O.K., Kate and I have been discussing matters for at least an hour.  
My editor would be chagrinned lest I omit a much requested matter.  We've 
all been milling about, waiting for something new.  When will Kate comply? 
        "I'm about halfway done," she volunteers.  "I'm very pleased with 
the songs that I've got so far.  I think they're different then the last 
album."
        Pressing further on this matter elicits this response.  "I'm only 
about halfway done.  The other songs could be dramatically different.  I 
always feel wary about talking before anything is completed."
        We'll keep you posted. 




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