Review--Kate as Meatloaf

[joseba@aol.com]

Hola Todos:

I send you all a copy of this rather un-enlightening review of TRS that was
in "The St. Petersburg Times of Dec. 17.  I hate to complain about a good
review of Kate, but this is full of completely asinine comments and
comparisons.  It's obvious that the reviewer did not read the lyrics very
closely when he wrote this or for that matter even really listen to the
album. And his comparison of Kate as Meatloaf makes me want to vomit.  
Anyway, it is good that they actually had a review of Kate in a Florida
paper. Most people down here don't even know who Kate is.   

Bush rocks closer to the mainstream

4 stars

In 15 years of recording, Kate Bush had single-mindedly built one of the most
interesting, pure and personal musical statements in all of rock.  A broad
mixture of gothic romance, intellectual sensuality and self-indulgence,
Bush's music combines the voice of a small girl with large-scale rock
productions that, if they weren't so tasteful, might be at home on a Meat
Loaf disc.

She's flirted with commercial greatness, grabbing mainstream attention for
her 1985 hit "Running up that Hill."  "The Sensual World," her follow-up
album, however, was much too cerebral for most listeners, its most accessible
track being based on Molly Bloom's eroctic soliloquy to James Joyce's
impenetrable "Ulysses.

On TRS, her eighth album, Bush continues to morph into rock's female version
of Peter Gabriel and makes a few more efforts to re-enter the mainstream,
with help from Eric Clapton, Jeff Beck and Prince.

TRS is full of worldmusic sounds and contrasting musical styles, from Irish
to neo-funk.  Take the lead-off RBG, a song that churns behind a heavy bass
beat and horn section. Bush combines a slinky backing tracky with gyrating
vocals, to "give like a rubberband/ twang like a rubberband/ snap like a
rubberband." 

The rest of the disc alternates between Bush's dramatic, personal ballads
(Moments of Pleasure, And so is Love) and her upbeat selections that end to
tell the stories of others (The Red Shoes, Lily) 

Three other cuts stand out, largely because of the guest appearances. 
Clapton proves on "And so is love" that he lost his chops years ago.  Prince
sings, arranges and plays most of the instruments on "WSILY" which resembles
"When Doves cry" in its rhythmic structure.  Backing vocals by the Trio
Bulgarka add to the Princely feel.

The real highlight, however, is Gary Brooker's Hammond organ and Beck's
stunning guitar solo on the album-closing "You're the One." Bush strips away
most of her quirkishness on this cut, a straightforward rock ballad.  When
Brooker's Procol Harum organ lines kick in just before the chrorus, this is
rock heaven.

-Wayne Garcia

I know everyone wants to thank me for all of the tremendous insight and
depth.  Actually, I don't know why I'm sending this. It's always good to hear
other view points. 

Feliz Navidad

Joseba