PHOENIX, The history of the demos, Part 2

[Wieland Willker <willker@chemie.uni-bremen.de>]

Part 2:

------------------
July 1976 - July 1977
------------------
Kate attends dancing lessions, takes driving lessons (passes the test in the
second 
try) and continues writing and singing. 

"I'd practice scales and that on the piano, go off dancing, and then in the
evening 
I'd come back and play the piano all night. And I actually remember, well, the 
summer of 76 which was really hot here. We had such hot weather, I had all the 
windows open. And I just used to write until you know four in the morning,
and I 
got a letter of complaint from a neighbor who was basically saying "Shuuut
Uuuup!" 
cause they had to get up at like five in the morning. They did shift work
and my 
voice had been carried the whole length of the street I think, so they
weren't too 
appreciative." 

"I was dancing every day, and singing and writing all night." 

"...and I'd open all the windows and wail away all night." 

"I have had no formal vocal training, though there was a guy that I used to see 
for half-an-hour once a week, and he would advise me on things like breathing 
properly, which is very important to voice control. He'd say things like
'Does that 
hurt? Well, then, sing more from here [motions to diaphragm] than from your 
throat.' I don't like the idea of 'formal' training, it has far too many
rules and 
conventions that are later hard to break out of..." 

"I used to go for about half-an-hour a week and the guy would get me to
practice 
my scales and my breathing or something and then ask to hear my new songs.
So I'd 
sing them for him and he helped me more that way. He was really good." 

"I've always enjoyed reaching notes that I can't quite reach. A week later
you'll 
be on top of that note and trying to reach the one above it." 

She composes now on a honky-tonk piano she bought from a second-hand show 
in Woolwich.

"I feel as though I've built up a real relationship with the piano," she
says. "It's 
almost like a person. Like, it's really comforting just to sit down and play
it. And the 
piano almost dictates what my songs will be about. If I haven't got a
particular idea I 
just sit down and play chords and then the chords almost dictate what the song 
should be about because they have their own moods. Like a minor chord is very 
likely to tell me something sad. A major chord tells me something a little more 
up-tempo and, like, on a more positive level of thinking. If I ever made enough 
money I'd like to get a piano that sings: a great big singing beast like a
Steinway." 

"You get ideas for songs from all sorts of situations. I just start playing
the piano 
and the chords start telling me something. Lyrics for me just seem to go
with the 
tune, very much hand in hand. Some lyrics take a long time to come, others just 
come out like... [she gestures wildly with her hands] ...like...diarrhoea." 

"When I'm at the piano writing a song, I like to think I'm a man, not
physically 
but in the areas that they explore. ... When I'm at the piano I hate to
think that 
I'm a female because I automatically get a preconception." 


---------------------------------------------
In March 1977 KaTe wrote Wuthering Heights.
---------------------------------------------
"I wrote in my flat, sitting at the upright piano one night in March at about 
midnight. There was a full moon and the curtains were open, and every time I 
looked up for ideas, I looked at the moon. Actually, it came quite easily. I
couldn't 
seem to get out of the chorus - it had a really circular feel to it, which
is why it 
repeats. I had originally written something more complicated, but I couldn't
link it 
up, so I kept the first bit and repeated it. I was really pleased, because
it was the 
first song I had written for a while, as I'd been busy rehearsing with the
KT Band." 

----------------
April - July 1977
----------------
Touring pubs and clubs around London with the KT Bush Band. The band, 
formed by Paddy, consists of Del Palmer, Brian Bath and Vic Smith. 

It is reported that recordings of these performances exist, unfortunately
they are 
in the possession of the Bush family. :-( 

"It was a three piece that consisted of Del Palmer on bass, Brian Bath on
guitar, 
and Vic Smith who was our drummer." 

Del: "I'd heard about Kate from Paddy 'cause I'd known him for some time. 
And Brian had told me he'd heard some of her songs and they were really great, 
and I trusted his opinion. But I just had this impression that she must be
older and 
more mature. 
Then at our first rehearsal - Kate, Brian and me, and a fellow called Vic
King on 
drums - I felt a little nervous because, you know, I felt a particular
emotional 
involvement coming on right from the word go. But I also just thought: this
girl's 
like just eighteen, whereas I'd been struggling for years on my bass. And I
knew I 
just had to get involved some way because this was going to be MEGA. It was a 
phenomenon because it was so completely different from what anyone else was 
doing." 

Del: "Anyone can set up their gear and sit down at a piano and sing for an
hour. 
But not everybody can put on a whole integrated show. And as soon as we got our 
little band together years ago, right from the word go it was theatrics and
show. We 
were only playing little pubs on tiny little stages like at The Rose of Lee
[her first 
appearance, Lewisham], but we had a whole light show, we used dry ice, and all 
that." 

Paddy: "There was this place in Lewisham, it was called The Rose Of Lee, it 
doesn't exist anymore. The first night that we turned up, there were four
people 
there. And it really hotted out about ten thirty, another two people came in 
[laughter] -Jay and my father. [more laughter] Really, really marvelous. And
then 
the next week it was a bit better, it was about... about twelve people
there. The 
songs being sung were, they were mainly standards, actually. "Tracks Of My
Tears", 
... But then in about three weeks ... the word started getting around and
the club 
became more and more and more packed. And I think maybe about the fifth or six 
week ... you couldn't get in. And this was all pre-... before the album was
released 
or anybody knew anything about Kate, it was just the name of a group.
[laughter] I 
think about the fifth or six performance that night... The night she first
did 'James 
and the Cold Gun'... 
In fact, that was really good. I working the lights [laughter] and Lisa [??? 
invented ] fantasticly. We were hoping to get these huge blocks of dry ice
which we 
were going to try out in the night. They [just said... stringing in the dust
bin ???] 
pore some hot water on it and watch what happens. And we did and it was 
phenomenal! [laughter] Six foot of [thrown ???] ice over here. Yeah, that
was very, 
very impressive. I felt,'James And The Cold Gun' had a very phenomenal
effect on 
the audience ..." 


The Kick Inside Recording Sessions:

July, August 1977. The actual recording sessions for the album. Very
probably our 
'Kick Inside Demos' are from these sessions. 

These demo recordings are of a far more refined and polished type, and are
fully 
orchestrated and produced. They are probably among the many tracks which were 
worked on prior to the final selection of the thirteen songs on The Kick
Inside. Five 
of the titles are familiar: 
- Moving
- Don't Push Your Foot on the Heart Brake
- L'Amour Looks Something Like You
- Kite
- Strange Phenomena

- Scares Me Silly (But It Gets Me Going) 
This sixth track is an unreleased song. It is extremely bouncy and catchy,
laden 
with melodic hooks. Its lyrics are fascinating, as well (they describe the
challenge of 
retaining the original spark of feeling of a song during the recording
process). 


-------------------------
Just a thought I have sometimes: Listen to "The Kick Inside" as an early Demos 
album. An officially released Demo album by KaTe herself. Makes a big
difference. 
Listen to the "Kick Inside Demos" first, then change to the album "The Kick
Inside". 
Strange, mysterious experience! 
--------------------


------------
NOVERCIA
------------
Just because it's funny. Official form:

"Particulars of directors of the company Novercia Ltd.: 

Patrick Bush, musician and instrument maker, Director of Novercia Ltd...
John Carder Bush, writer, Director of Novercia Ltd... 
Catherine Bush, Singer, Director of Novercia Ltd... 
Robert John Bush, Medical Practitioner, Director of Novercia Ltd... 
Hannah Patricia Bush, Company Director, Director of Novercia Ltd..." 



THE BABOOSHKA DEMOS:

Finally, there are two known demo versions of the song "Babooshka". Recorded 
some time between January and June 1980 during the sessions for "Never for 
Ever". Excerpts from the demos were apparently played by Kate herself on a
Capital 
radio programme called "Small Beginnings" on July 17th, 1982. Both are almost 
exactly 2 min. long. The first demo of "Babooshka" features Kate on piano,
and she 
has added one backing vocal during the choruses. The second version has a 
percussion pattern from an early rhythm-box, and features a synthesizer and, in 
addition to the lead vocal, at least two over-dubbed backing vocals. 


"TURKISH DELIGHT": A 'FAKE'

The only song falsely presented so far as a Kate Bush song is "Turkish
Delight": 
from Homeground No. 32, p. 8: 
"A track which has appeared on certain 'instant' tape cassette bootlegs
recently 
has caused some puzzlement. The name of the track is 'Turkish Delight'. It
isn't 
written or performed by Kate. It was recorded by an outfit called 'China
Doll', and 
it was released by EMI (Parlophone) as a single in July 1983. It was a cold
methodical 
rip-off of an accountant's view of what constituted the 'Kate Bush Style'.
DJs who 
could not find space for Tenner on their programmes, found space for this
travesty, 
introducing it as 'the new Kate Bush single' (yet another one). We thought it 
sounded like Faith Brown doing an impression of Pamela Stephenson doing an 
impression of Kate on a bad day. ..." 

To me it sounds even now quite good. I wasn't sure for some weeks although 
I noticed some slight differences in the voice. Strange experience. 


HOW THE DEMOS REACHED THE PUBLIC EAR

1. THE PIANO DEMOS:

The first presentation of the demos to the public was in 1982 when local DJ
John 
Dixon presented 22 piano demo songs on his KSTM radio station in Phoenix. He
had 
worked for EMI at the time of Kate's initial signing, and aquired the tapes
then. It is 
not clear if all the available bootleg versions of the demos come from this
source. 
There are several differences in the recording quality, which might indicate
different 
sources. Also "Organic Acid" the 23rd piano demo, which only appeared once
on the 
fifth Demos-EP points to a second source. 
There are also rumours about other demos in the possession of DJ John Dixon, 
like TMWTCIHE, Kite etc. 


2. THE KICK INSIDE DEMOS:

No idea. Maybe also John Dixon? 


T H E   S O N G   T I T L E S

Nobody knows Kate's titles. They are only guesses. The following early sources 
are known: [Many other obscure, but wrong labelings appeared later on CD's and 
LP's.] 

THE PHOENIX BROADCAST 1982/1987:
The Phoenix broadcast titles seem to be the nearest to the original because DJ 
John Dixon read them directly from the original [!] tape! What follows are
the song 
titles in succession as they appeared on the Phoenix tape (IED's titles in
brackets): 

	duration from Home Demo CD:
1.	The Kick Inside (Brother) (demo version) 	3'39 
2.	Hammer Horror (demo version) 	2'41 
3.	It Hurts Me (Feeling Like a Waltz) 	2'54 
4.	Stranded At The Moonbase (Keeping Me Waiting) 	2'52 
5.	Kashka from Baghdad (demo version) 	2'30 
6.	Surrender Into The Roses (Carmilla) 	1'28 
7.	Oh To Be in Love (demo version) 	3'07 
8.	Rinfy The Gypsy (Playing Canasta in Cold Rooms) 	4'07 
9.	On Fire Inside A Snowball (Hot in the Ice) 	2'27 
10.	Dali (Ferry Me Over) 	3'03 
11.	Where Are The Lionhearts (On the Rocks) 	2'23 
12.	Violin (demo version) 	2'07 
13.	The Craft of Love (Craft of Life) 	2'56 
14.	The Gay Farewell (Eddie the Queen) 	2'27 
15.	Something Like A Song 	2'10 
16.	Frightened Eyes 	3'15 
17.	The Disbelieving Angel 	2'10 
18.	Nevertheless, You'll Do 	1'57 
19.	Come Closer To Me babe (Who is Sylvia?) 	3'47 
20.	So Soft (You're Soft) 	2'46 
21.	The Rare Flower (Pick the Rare Flower) 	2'59 
22.	While Davy Dozed (Davy) 	3'09 
	------	-----
			60'54 

So, I think, what we have here, appears to be the track-listing of Kate's
original 
demo tape. They appear to be legitimate, though none of us can be certain of
course. 
It is also interesting to mention that "Organic Acid" (5'45) is missing. 
When you calculate the duration of the whole thing, you come to something like 
60'54 minutes. This indicates a C60 tape. So, maybe Organic Acid comes from 
another tape? 


THE 'FIDDLE' TAPE/CD:
IED: "Fiddle" is the title of an early (1988?) cassette-only bootleg of 22
of the 
demos, which IED picked up at a record swapmeet. From your description both 
"Fiddle" and "Alone At My Piano" [CD] appear to stem from the same source 
(perhaps the Phoenix FM broadcast). 


DUTCH FANZINE 'KATE:
In the May '89 issue of the Dutch Kate Bush fanzine 'Kate', co-editor Theo 
Haast reports for the first time the six Kick Inside Demos: 

		duration from CD:
1.	Moving 	2'37
2.	Don't Push Your Foot on the Heartbrake 	2'50
3.	Kite 	2'44
4.	L'Amour Looks Something Like You 	2'08
5.	Strange Phenomena 	2'40
6.	Scares Me Silly (But It Gets Me Going) 	3'11
		-----
		16'10


What follows is a list of various titles that are in use for the demo songs.
All titles 
in brackets are uncertain (i.e. more uncertain than the Phoenix titles) or
wrong. Try 
to use the Phoenix titles only and prepare your Demos-CD with these titles!
This 
helps to avoid confusion. 
Note: Organic Acid and Scares Me Silly are not from the Phoenix broadcast. They 
are added for completeness sake. 

(A Rose Growing Old) It Hurts Me
(Before the Fall) Organic Acid 
(Carmilla) Surrender Into The Roses 
Come Closer To Me Babe 
(Craft of Life) The Craft of Love 
(Coming Up) Surrender Into The Roses
Dali 
(Davy) While Davy Dozed 
Disbelieving Angel 
(Eddie the Queen) The Gay Farewell 
(Feeling Like a Waltz) It Hurts Me 
(Ferry Me Over) Dali 
Frightened Eyes 
(Garden By The Willow) Something Like A Song
(Goodnight Baby) Come Closer To Me Babe
(Hold Me) While Davy Dozed 
(Hot in the Ice) On Fire Inside A Snowball 
(In My Garden) Something Like A Song 
(In My Lovers Room) Rinfy The Gypsy
(I Don't See Why I shouldn't) Rare Flower 
It Hurts Me 
(Keeping Me Waiting) Stranded At The Moonbase 
(Lionhearts) Where Are The Lionhearts 
Nevertheless, You'll Do 
On Fire Inside A Snowball 
(On the Rocks) Where Are The Lionhearts 
Organic Acid 
(Playing Canasta in Cold Rooms) Rinfy The Gypsy 
(Pick the Rare Flower) Rare Flower 
(Queen Eddie) The Gay Farewell 
Rare Flower 
(Really Get's Me Going) Scares Me Silly 
Rinfy The Gypsy 
Scares Me Silly 
(Set In The Snow) On Fire Inside A Snowball 
(Snow) On Fire Inside A Snowball 
(Snow Bowl) On Fire Inside A Snowball 
Something Like A Song 
So Soft 
Stranded At The Moonbase 
Surrender Into The Roses 
(The Craft of Life) The Craft of Love 
The Craft of Love 
The Gay Farewell 
(The Air Is Getting Low) Stranded At The Moonbase
(To Be With You) So Soft
Where Are The Lionhearts 
(Who is Sylvia?) Come Closer To Me Babe 
While Davy Dozed 
(You're Soft) So Soft
=======================================


CONCLUSION:   STILL A LOT OF CONFUSION!   :-)
But not so much as before! 

We know for sure now: 
- the Babooshka demos are from a 1982 Capital radio programme 

We know almost for sure now: 
- the Piano Demos are from 1976 

We can presume (but not for sure) that 
- Gilmour recorded something with Kate at East Wickham Farm. It's not clear if 
this conceivable tape has been sent to EMI. 
- the song titles from the Phoenix broadcast are Kate's own titles. 
- Organic Acid is from another tape. 
- the 'Early Years' LP is from one of the first two recording sessions (if the 
'piano-only rumour' is true) 
- the Kick Inside demos are from 1977. 

It is completely unclear 
- how often Gilmour visited Kate. 
- if Gilmour sent Kate to a studio to do professional piano demos (only one
unclear 
interview confirmation. IED?)
- to which songs the following titles from 'The Early Years' refer to: You
Were the 
Star, Cussi Cussi, Atlantis, Sunsi, Go Now While You Can. They seem to be 
completely unknown songs. 
- who offered the Kick Inside demos (maybe John Dixon, too?) 

What we need most of all: 
- KaTe in her own voice! 
- an official release of all demos with official lyrics and comments on each
song! 
- the Q interview! 
- more early Gilmour interviews! 


***********************************
Nevertheless, despite all the mysteries and "as much as many others would
like to 
have it otherwise, the notions that Kate Bush is 'simply a woman', and that
she is in 
any important way 'the same as all of us' are, frankly, absurd, and
self-evidently 
untrue. Her life has been quite unlike any of ours, virtually from birth.
She is, 
moreover, God." 
And it is now universally acknowledged that she is the only thing in life worth 
wasting any thought on at all. Everything else is just killing time. 
There is no question whatever of the truth of this judgement, which is 
unanimous, absolute and irrevocable. 
                                             (Love-Hounds Leading Committee)
***********************************


Best wishes
Wieland

Me: "Kate, please, can you tell me something about the ... blah, blah,
blah... blah, 
blah, blah... David Gilmour ...blah, blah, blah... The Early Years ... blah,
blah, blah... 
and finally about the Kick Inside recordings?" 
- Pause, with KaTe looking out of the window...
Me: "KaTee?" 
KaTe: "Oh. Eh - sorry. You want my reply? What was the question?" 

She Really Is!!!

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