Back to C. Discography & Videography Posts
Date: Tue, 7 Jul 92 23:50:59 PDT
From: firstname.lastname@example.org (Ronald Hill)
Subject: *** LIVE BOOTLEGS MEGA-ARTICLE *****
KATE BUSH LIVE BOOTLEGS
by Andrew Marvick (IED), Ronald Hill, Doug Allen, Woj, and Barth Richards.
This is a compilation of various messages from Love-Hounds, done by Ron Hill who takes responsibilty for any errors that may have occured during editing.
There are five main sources for the material on the live bootlegs.
1) The official Hammersmith Odeon videotape. The best sounding boots simply are recorded off of the laser-disk. So far, no audio recordings off of the un-edited film have surfaced (the un-edited film has only been seen at the 1985 convention).
2) Fan-recorded tapes from the Bristol, Paris, Manchester, London Palladium, and Amsterdam concerts. Note that there is only one known tape from each of these concerts, although they have been released in different formats. The sound is abysmal, there are no bootlegs of the 1979 concerts that have good sound. The best-sounding one that includes all the songs and incidental bits and pieces is probably the Manchester concert (a two-LP set, though only a little less complete than the Dreamtime 3-LP set). But they're all miserable. They feature not only songs, but a chant, readings by John Carder Bush, and incidental bits of music, all of which were heard while Kate changed costumes in between songs during the concert. Specifically, there are: a heartbeat passage preceding "Room For the Life"; an ethnic chant performed by the band in unison; two synthesizer introductions to songs; three brief readings by John--one known as "Two in One Coffin" (preceding "The Kick Inside"), the others passages of unidentified prose (perhaps by John); an arrangement of Satie's 1st "Gymnopedie", which is used to frame "Symphony in Blue", and a short jam session by the KT Bush Band. Also of note is the live version of "Egypt", which sounds very different from the LP version.
3) Kate. This was a forty-five minute TV special which aired in England on December 28, 1979; sometimes called the "Christmas Special". In addition to a couple of lip-synchs of LP tracks and one or two new vocal performances of old songs, several new and unique bits of music appeared on this show. They include a brief introduction, an arrangement of part of Satie's "First Gymnopedie" (as an introduction to "Symphony in Blue"); an early version of "December Will Be Magic Again"; a choral introduction for Peter Gabriel (Kate's guest on the show--he sings "Here Comes the Flood"), sometimes referrred to as "Peter, the Angel Gabriel"; a brief bit of blues piano; and a duet with Peter of Roy Harper's song, "Another Day".
4) There are a few clips from other live Tour of Life shows on three different TV programmes: the Tour episode of Nationwide (UK TV); a German programme called Kate Bush in Concert (which has some songs from the Hamburg and Mannheim concerts); and a Swedish show called Rockdrotting (with a few songs from the Stockholm concerts). All are in mono TV sound, however.
5) Bill Duffield concert. A modified Tour of Life show, staged at London's Hammersmith Odeon on May 12, 1979 for the benefit of the surviving relatives of Bill Duffield, Kate's lighting director for the Tour, who had died in an accident at the very beginning of the tour. The concert featured Steve Harley, Peter Gabriel. In addition to songs from The Tour of Life, this concert featured Let It Be, sung by Steve Harley, Peter Gabriel and Kate Bush ;"Them Heavy People" with verses sung by Harley and Gabriel; "The Woman With the Child in Her Eyes" sung by Harley and Gabriel; Gabriel's "I Don't Remember" sung as a duet by Gabriel and Kate; and Harley's "Come Up and See Me", sung by Harley, with Kate and Gabriel on backing vocals.
See Japanese Fan Club EP, If You Could See Me Fly and Passing Through Air.
Japanese Fan Club EP The more common yellow-vinyl edition is not the original version of this disk. The actual record, as put out by the Japanese fan-club (now apparently defunct and succeeded by a different group in Japan), was a simpler affair: a red flex-disk with a white sleeve. On the disk where a label ordinarily would go was a KT symbol in silver. The disk had John's spoken message first, followed by Kate's brief message, followed finally by the excerpt from the live performance of "Let It Be" from a fan's in-audience (i.e., pirated) Walkman recording of the benefit concert for Bill Duffield. (The other singers on that track are Steve Harley and Peter Gabriel.)
Wow : a two-record set containing a poor stereo dub of the Hammersmith odeon video's audio track and a mono dub of the BBC tv special kate (one on each record). This is probably the first KaTe booTleg, appearing in 1982 or early 1983 and was put out by New York based bootleggers.
Moving : beautiful re-packaging of Wow. Equally poor audio though. Made in the UK.
Live in Paris (1984): single LP containing excerpts of the Paris concert.
"Kate Bush Live in Europe 79 & 80" is a double album credits as being from the non-existant Fan Club of Taiwan. This also appeared as a cassette tape. One record is the soundtrack to the"Kate Bush Live at the Hammersmith Odeon" video tape, and the other album is the soundtrack to the hour long Christmas special called "Kate" that she did in 79.
"Kate Bush Live in Europe 79 - 80" a re-packaged three-record set that consists of: 1.) a true stereo transfer to vinyl of the whole of "Live at Hammersmith Odeon"; 2.) a transfer of the television sound track from Kate's 1979 Christmas special (the same TV-hum-filled audio track heard on the various video copies), which originally appeared along with 1.) as the above-mentioned two-record set called "Wow"; and 3.) a copy of part of a 1979 Paris concert, which previously appeared as the above mentioned Paris LP. All of these records were pressed by the same bunch of people, under several label pseudonyms, most often "Rock Solid Records" and"International Records" of New York.
A Bird in the Hand (1986) is the worst ripoff of all the KT boots. Don't buy it unless you have never heard anything from the Hammersmith concert video at all before. All it is is an edited transfer of the Hi-fi audio track from the video-cassette of the Live at Hammersmith Odeon film. Furthermore, the stereo channel separation is virtually completely lost in the boot version, although the pressing (surface noise) is o.k. But this particular bootleg doesn't even include the whole 53-minute soundtrack! Only about nine songs (perhaps eight are listed, but as IED recalls nine are included on the record) are transferred, even though other boots have a better stereo transfer of the entire soundtrack on single disks. So steer clear!
The cover boasted two fine early photos in blue ink with pink borders. Interestingly, this bootleg is marked: "cover produced in U.S.A., 1986"; and according to the labels, the record's alias is "Don't Let Me Go".
Under the Ivy Bush. (1988) This one features quite slick packaging, although the photos used are obviously from positives. The cover is of the Japanese- TKI pink leotard shot (uncropped, of course). The album is a hodge-podge, but is quite interesting. It bears the misleading label "previously unreleased live German tracks." This refers to tracks one and two which are simply mono tapes of the LP tracks of "Running Up That Hill" and "The Big Sky" as used by Kate for lip-synch performances. The only differences between these and the LP tracks are that these are in terrible low-fi TV sound, and they include a studio audience cheering at the beginning and end of the lip-synch tracks. By the way, these two tracks are taken from Kate's appearance on the German TV show "Peter's Pop Show", which was also re-broadcast on a French program, both of which aired in the fall of 1985.
Track 3 is another matter altogether. It is a live version of "James and the Cold Gun" that has never appeared in any boot or video that IED has seen before. It's not from the Hammersmith film, nor is it like the "On Stage" version of the Hammersmith version, nor is it from the Bristol or the Paris shows. The sound is better than average for bootleg live material, and it's a really confident, loose performance.
Tracks 4 and 5 are just the Satie "Gymnopedie" and "Symphony in Blue" from "Kate", the 1979 Christmas special. However, the audio on these tracks is far superior to that on the earlier bootleg transfers of the "Kate" program.
Side Two starts off with "The Man With the Child in His Eyes" from the "Kate" program.
Track 2, Side Two is just an excerpt from the German documentary on Kate called "Kate Bush in Concert". You can hear the last words of one of Kate's answers to an interviewer's question, which segues into the live version of "Violin" from the TV program's filmed excerpts of the Mannheim and Hamburg concerts.
Track 3 is just the "Hammer Horror" from the Tour of Life. (The specific concert is untraceable, really, because this recording of the song was made by Kate in the studio with the KT Bush Band specifically for the Tour, so that she wouldn't have to worry about singing for at least one song in the show, which left her a bit freer to dance during that song. Consequently this track is identical in all the concerts).
Track 4, Side Two begins with some bootlegger's idea of a joke: it's a phrase from an interview Kate gave for the German TV film "Kate Bush In Concert" (IED believes), which the bootleggers have backwards-masked ! The words that Kate utters, when played backwards, are: "...will be totally believed by an awful lot of people." Ha ha.
Track 5 is a pre-tour live version of "Wuthering Heights", taken (probably) from one of the two German TV shows on which Kate appeared to perform the song in 1978. The sound, again, is quite good for a transfer from TV.
Track 6, the last track on the album, is again a reasonably clear transfer from a thin, mono TV original. This one, however, is something special: the live version of "Under the Ivy" which Kate performed solo, accompanying herself on piano, in Abbey Road Studios for the satellite broadcast of a special edition of the U.K. TV program The Tube.
That's it. Altogether a pretty queer collection of tracks, but not without value or interest.
Live in Bristol (1988): two record set containing the entire Bristol concert as well as some bits of John Carter Bush's poetry. Nice package, poor audio.
Live in Amsterdam : a single lp containing most of the aborted Amsterdam concert which was cut short due to KaTe's flu attack.
Kate Bush Live in Manchester, April 10th, 1979. (1988) This album, a two-record set from our old familiar NYC-based bootleg outfit, is exactly what it claims to be. The record is not as complete a record of the Tour programme as the bootleg 2-LP set of the Bristol concert (which is a virtually unedited copy of the entire concert), since it only contains twenty tracks, and some though not all of the incidental music and prose-readings are missing. But it is a different performance, and Kate and the band are in unusually fine form. The sound is boomy on the bottom and weak on the treble, but it still manages to create a strong atmosphere and presence, and the album, overall, is considerably more listenable than, say, the Paris concert bootlegs, which have extremely muffled and distant sound. "Moving" is extremely beautiful and ethereal in this performance.
"What Katie Did at Amnesty International". (1988) This is a seven-inch bootleg. It has a b&w cover design on high-quality cardpaper, with red and black lettering in a type-face that is meant to imitate the style used by Peter Gabriel for several recent singles. The photo, too, is a nearly-abstract b&w shot of a figure moving down a street (not Kate), sort of like the blurred shots on some of Gabriel's So singles covers. The record itself features the live performance of "Running Up That Hill" from the other night (as opposed to the one which is included on the official Secret Policeman's Third Ball: The Music LP), but of course the sound is very poor in comparison with the Amnesty LP track. The real selling-point of this bootleg is its b-side, a crude but quite listenable recording of the live version of "Let It Be" which Kate gave at the Amnesty concerts. It's not earth-shaking, but it's a huge artistic advance on the performance of the same song which Kate gave with Steve Harley and Peter Gabriel in 1979. This is a very thoughtful and well-thought-out interpretation, and Kate sings all but the second verse this time around (IED can't say for sure who the male singer in this version is, but supposes it could be a very hoarse Gabriel?).
Kate Bush Live at the London Palladium 1979 (1988) is a 3-record set from what looks like the same old New Yorkers. On this album they go by a name they deserve, "Pharting Pharoah Records". The album design is particularly noxious: on the front cover it features the famous (and copyrighted) photograph of Kate with ivy in her hair; and on the back, a collage mixing official photographs taken from music magazines (including the KBC Newsletter) with shots from the nude photo session of "'lookalike' Kate Simmons" which originally appeared in a Autumn 1982 U.K. edition of Penthouse Magazine. As IED understands it, the photos and story appeared in the UK edition of Penthouse only; and the article was filled with teasing insinuations that left the reader in little doubt they were supposed to think it was Kate ("young doctor's daughter from Kent"; "been composing since she was a child"; etc.)
As for the use of one of those photos on a bootleg LP cover, it doesn't surprise IED at all. There's zero evidence that the people who make KT boots are fans. That's highly unlikely, in fact. In the first place, any real fan would do a much better job of organizing the tracks, listing the titles correctly (there are no fewer than eight mistakes on the cover of the three-record set), etc. And in the second place, a real fan wouldn't even sell a bootleg in the first place!
However, there is no reason that IED can see for doubting the authenticity of this album's contents. All 24 songs from the Tour of Life concerts are included (spread over three records), as well as virtually all of the "incidental" music and poetry/prose readings, readings, chants, etc. (The Bristol bootleg, in its recent vinyl incarnation, manages to fit roughly the same amount of material into two records, but who's counting?) The sound of the Palladium set is no better than you'd expect, but the source does sound different from those of any of the other albums. As a result, it seems relatively safe to accept that this set originated from the London Palladium.
Temple of Truth is to be avoided unless you are so devoted a fan that you must have any Kate item no matter what its quality. Temple of Truth is simply an excerpt from an unidentified (and unidentifiable) Tour of Life concert. The sound of the recording is the worst of any of the several live concert bootlegs of Kate's Tour of Life, and it doesn't even contain half the programme. Do not buy this album.
If You Could See Me Fly (1988) (NOT to be confused with the CD of the same name) is a single lp containing excerpts from the Bill Duffield concert from 1979, features Steve Harley and Peter Gabriel (organized to benefit Duffy's family following his death early in the tour). Also included two early demos of "Babooshka" and Let It Be from the Amnesty show.
The quality of the Hammersmith material is marginal. The Amnesty show track is better, but not great. The two studio takes of "Babooshka" are pretty good, though they crackle as if they had been lifted off another vinyl disc.
This is a European pressing and has a black, white, and gold cover with a composite photo of a Fred & Ginger like pair dancing on a typewriter keyboard.
The tracks and credits are listed as shown below. Recorded live 12 May, 1979 at the Hammersmith Odeon, London, except where noted.
Let It Be
David Gilmour-vocals, guitar
Pino Palladino-bass and others
Recorded live, March 28, 1987 at the Palladium, Amnesty Festival
The Girl/Man With Child In Her/His Eyes
Kate Bush-3rd lead vocals, piano
Peter Gabriel-1st lead vocals
Steve Harley-2nd lead vocals
Here Comes The Flood
Peter Gabriel-vocals, piano
I Don't Remember
Peter Gabriel-lead vocals,piano
Kate Bush-synthesizer (solo), back-up vocals
Peter Gabriel-lead vocals, piano
The Best Years of Our Life
Steve Harley-vocals, acoustic guitar
Make Me Smile (Come Up And See Me)
Steve Harley-lead vocals, lead guitar
Kate Bush-back-up vocals, piano
Peter Gabriel-back-up vocals, acoustic guitar
Paddie Bush-rhythm & lead guitar
Del Palmer-bass, back-up vocals
Let It Be
Kate Bush-lead vocals
Peter Gabriel-lead vocals, guitar
Paddie Bush-vocals, guitar
Del Palmer-vocals, bass
Stuart Elliot-vocals, drums
Take 1 & 2 Kate Bush-vocals, piano David Gilmour-engineering, drum programming on Take 2 both takes recorded at David Gilmour's own studio in 1974
Live in Japan (1989) is a seven-inch single featuring (on the a-side) Kate's live performance of Moving from the Seventh Tokyo Song Festival, which was held at the Budokan on June 18, 1978. On the b-side are Kate's performances of abridged versions of two Beatles songs, The Long and Winding Road and She's Leaving Home. The latter two songs were taped at Tokyo's TBS G Studio on June 23, 1978, for airing on the programme Sound in S. All three songs are accompanied by a large orchestral group (including full string and wind sections), and for She's Leaving Home Kate pre-recorded her own background choruses.
The sound is surprisingly good, and is in stereo (although it may be simply a stereo recording of the original mono tracks). There is a good deal of "toppiness" to the sound (distortion of the higher frequencies), but for the most part the recordings are quite listenable.
The cover is of hard, glossy card-stock, with a close-up copy of a 1978 publicity shot of Kate on the front, and a copy of the close-up of the "radiating eye" from the front cover of the official UK single release of The Man With the Child in His Eyes on the back.
Kate's performances are extremely professional, with no hint of uncertainty about intonation or anything--although at the very end of She's Leaving Home Kate finishes a beat later than the arrangement evidently indicated, a mistake no doubt prompted by what must have been minimal rehearsal time and poor orchestral direction. (Anyway, the error does not damage the performance, since the arrangement ends at that point.) Kate's voice is at its most spectacularly high-pitched in all three performances, and she does manage to add two or three interesting little melodic flourishes to the Beatles songs, despite their abbreviated length.
All in all, IED agrees completely with Peter FitzGerald-Morris, who called this bootleg "a treasure".
Kate Bush Live (or Live At Hammersmith 1979 ). (1989) By its physical make-up IED strongly suspects that it is a product from the same group who have been putting out the now-famous Beatles Back-Track and Off-White CDs. The package of this KT CD is a normal jewel-box, with a hard-card cover (folded over once), and four colour photographs of Kate on the front. The track listings are almost completely accurate and are clearly set out. The photo/track- listing card is very sharply printed and glossy. Also on the cover is a red official KBC "KT" symbol--though of course this is not an official producet.
The CD contains fifteen tracks. The first twelve are simply the same old Live at Hammersmith Odeon audio-track, though this time it has been very well lifted from the new Japanese edition of the laser-disk, which features a digital re-mastering of the original analog tapes. Track thirteen is the live performance of Running Up That Hill from the Amnesty International Secret Ball : The Music CD. Track fourteen is the live performance of Breathing from the Comic Relief: Utterly Utterly Live CD. And track fifteen is the track This Woman's Work from the She's Having a Baby soundtrack CD. The three extra tracks are re-mixed so that the applause from the end of the Hammersmith tape fades into the applause from Running Up That Hill, and ditto for Breathing. The only error in the track-listing is in the identification of the two live tracks as both coming from 1988. Actually both are from at least a year earlier. No big deal. The sound of all these tracks is exceptionally good even for a legitimate release, and unheard of in the history of Kate Bush bootlegs. Nevertheless, its price may be considered very high by many fans, especially those who already have these recordings in their original, legitimate configuration.
Front cover: four color pix, including a second take from the pose used for the US cover of "The Kick Inside" and three others most likely from those sessions. Inside face: the famous EMI publicity photo for that album. Cropped, some (ref. Vermorel p. 62).
Cover Title: Kate Bush Live. Title on disk: Kathy Live from Wuthering Heights (Neutral Zone [Korea] NZCD89010), AAD.
Back photo, the still used for the "Hammersmith" video and the KTBand logo.
Performed Live In London 1979. The hammersmith film soundtrack, good but not as good as Kate Bush Live.
Feel It Live (1991). The Hammersmith film.
Title: Feel It Live
Author: Kate Bush
Media: CD [ADD]
Order No: LLRCD 092
Company: (R) Living Legend Records
(C) 1991 Multi Coloured Music, Italy
- Moving (3.38)
- Them Heavy People (3.58)
- Violin (3.22)
- Strange Phenomena (3.14)
- Hammer Horror (4.35)
- Don't Push Your Foot On The Heartbreak (3.38)
- Wow Wow Wow (4.06)
- Feel It (2.59)
- Kite (6.16)
- James and the Cold Gun (8.32)
- Oh England My Lionheart (3.15)
- Wuthering Heights (4.42)
Notes: Recorded live in concert 1979
On the cover is the note - 'We apologize for the non excellent quality of the recording, which has been realized with sixties amateur equipment'.
Comments: Although the above note implies that this is a bootleg the CD is listed in German import catalogues under the number (036-092). The quality is very good except that in a couple of places a 'surface noise' can be heard, as though this is a digital copy of a record. This noise is minimal and does not distract from the well edited performance.
Date: Tue, 7 Jul 92 23:52:08 PDT
From: email@example.com (Ronald Hill)
Subject: *** Compilation Bootleg List ****
by Andrew Marvick (IED), Evan Walsh, and Ron Hill
This is a compilation of various messages from Love-Hounds, done by Ron Hill who takes responsibilty for any errors that may have occured during editing.
These bootlegs contain compilations of material officially released. This makes the material more ethically dubious and illegal then the other boots, which normally contain material not available on official releases.
"Passing Through Air" (the LP, NOT to be confused with the CD of the same name, which is entirely different), is a two-record set and includes a lot of Kate's b-sides and re-mixes, plus the video mix of "Cloudbusting", and the edit of "Hounds of Love" which Kate used for the lip-synch performance of the song for the 1986 BPIs -- misidentified in the album listing as a "live" version. Also misidentified is the "Meteorological Mix" of "The Big Sky" as "The Astrological Mix"; a mistake not apparently motivated by bootlegger's caution, since all the other tracks are clearly identified as the official releases they once were.
There is only one piece of truly valuable new music on this two-record set (or new to IED, anyway): the last track on the album is the live version of "Let It Be" from about 1980/81, which Kate performed with Steve Harley and Peter Gabriel, and which appeared on a Japanese Fan Club flexi-disc. However, the present recording is twice the length of the "official" version, fading out much nearer to the end of the performance. The original source for this performance is the same cheap in-audience tape which was used by the KBC for their flexi-disc.
The cover has a close-up of the photo used for the U.S. Hounds of Love LP poster (Kate kneeling with a Turkish fez on her head).
Cloudbusting (Video Mix)
Hounds of Love (Live BPI awards show)
Experiment IV (Extended Mix)
Handsome Cabin Boy
My Lagan Love
Not This Time
Big Sky (Astrological Mix) [Sic]
Under The Ivy
The Wedding List (Live)
Running Up That Hill (Intrumental)
Hounds Of Love (Alt Mix)
The Empty Bullring
Cloudbusting (The Organon Mix)
Passing Through Air
Lord Of The Reedy River
Warm And Soothing
Let It Be (Bill Duffield Benifit)
Backsides is available in LP and CD format. Track listing:
SIDE 1 :
December Will Be Magic Again
Warm and Soothing
Ran Tan Waltz (ouch!!!)
The Empty Bullring
SIDE 2 :
Not This Time
The Handsome Cabin Boy
Under The Ivy
The Big Sky (Metorological Mix) ^ [Their spelling]
The only interesting thing is the record it was pressed on top of. 'Maria Stanmore Sings'. After The Big Sky you can hear the end of the song which was previously on that side ('Patrick Moores Dream'). You can hear something anyway - I'm just presuming. It's on Pink Frost Records (Maria Stanmore Sings, that is). There is no identification of the bootlegger or the country of origin. The only inscription on the runout groove is on side 1: 'MS 1 A 1J' and a '3' and on side 2: 'MS 1B J' and a '2' but these were probably on the original record.
It has a white paper insleeve and a white outersleeve with a quite small picture of KaTe at a piano by a window, very probably East Wickham Farm, wearing flip-flops and a waistcoat and slacks, looking at the camera. The picture is similar to one in (I think) Vermorel's 'Princess ...' book but the shot is from a different angle (right angles to her) and not blurred. I have never seen it before.
On the outer sleeve the only words are 'Kate Bush', 'Back Sides' and the track listing. The sound quality is normal commercial LP quality.
The Can (1991) is a LP compilation of Kate's session work with other artists and rare versions of other songs. It comes with a T-shirt (some versions), sticker, and bootlet.
December Will Be Magic Again (It's Christmas Version)
Be Kind To My Mistakes (Soundtrack Version)
Sing Children Sing (Leslie Duncan Single)
You (The Game Part II) (Roy Harper)
Flowers (Zaine Griff)
Sister And Brother (Midge Ure)
Once (Roy Harper)
The Seer (Big Country)
From: firstname.lastname@example.org (ronald hill)
Date: Wed, 08 Jul 92 22:59:25 PDT
Subject: **** COVERS OF KATE BUSH SONGS *****
COVER VERSIONS OF KATE
from Articles from Homeground, Andrew Marvick (IED), Doug Allen, Andy Semple, Robert M. Kelner, Larry DeLuca, Ben Roimola, and Jorn Barger.
This is a compilation and re-editing of various messages (mainly from Love-Hounds), done by Ron Hill who takes responsibilty for any errors that may have occured during editing.
There have been surprisingly few over the years, considering how well known Kate is in Europe. Kate was asked about this a few times:
WHICH IS YOUR FAVOURITE COVER VERSION OF ONE OF YOUR SONGS?
"Poor Old Flea" by Madame Maria Nanky. (1984, KBC 17)
Wuthering Heights (1978) by Pat Benatar on her Crimes of Passion LP.
Pat Benatar: All the covers I do are purely because I love the songs. "Wuthering Heights" for example is a beautiful song, really beautiful, and when I first heard it I just knew that I had to sing it. I wasn't trying to copy Kate's voice, which, by the way I think is brillant. But I wanted to put my style onto it..."
Soundmaker, January 1983 (reprinted from Homeground #9)
Kate: It was very nicely done.
New Sounds, January, 1984
The Kick Inside by Julie Covington (of Don't Cry For Me Argentina fame) The cover turns the song into a rather conventional kind of American folkrock-tinged ballad.
KATE: I met Julie Covington through Jay. He is a friend of hers, and I've known her for a long time. (1980, KBC 5)
Them Heavy People (1979) by Ray Shell (a dancer/singer from Starlight Express musical) has Kate on backing vocals. It was just a single, and IED has never heard it. He has also never heard of Ray Shell anywhere before or since.
Wuthering Heights by Jah Wobble (supposed to be crap!!).
And there was an abysmal Reggae-inflected Wuthering Heights around 1981, group unknown by IED, and not recommended. (May be the same as the one above).
Runnning Up That Hill---Blue Pearl (involving Youth (Big Sky) from Killing Joke and Dave Gilmour on guitar) ("It actually sounds pretty good! It has a kind of soul sound, and the singer is, indeed, a black woman.")
Runnning Up That Hill--- Tilt ("Kate Bush, after going through an industrial dance trance.")
The Man with the Child in His Eyes (1991)---Natalie Cole from an episode The Arseneo Hall show in 1991, apparently never recorded. The audience seemed to love it! When she sat down and Arsineo started talking to her he asked her to tell about that song. She said it was from Kate Bush. She said she usually doesn't cover songs but every once in a while she finds one she really wants to do and that was one of them. She said she's never recorded it and this was the first time she's performed it in this country (implying that she's done it elsewhere). Then they changed the topic.
The Man With the Child in His Eyes (1989) by Hue & Cry (studio version is on the b-side of 'Violently' and live version is on the live album 'The Bitter Suite',these versions in my [Jorn Barger's] opinion are the best covers around. Don't be upset by the gender change.)
Then there are the sampled tracks:
Larry DeLuca, while attempting to get approval to use a sample of Kate in one of his songs, discovered in 1990 that Kate approves these things personally.
Night Scented Stock, on Loopzone, by a rave outfit called Les Enfants du Paradis. This appeared on a Telstar compilation entitled Thin Ice Tape.
Cloudbusting, on Something Good Is Going To Happen (1992), by dance act Utah Saints. It uses the "something good" line from the song, sampled and played back at a high speed (with probably some sort of sound distortion). The video uses lots of clips from Kate's video. The group got permission from EMI Music Publishing to use the sample.
Then there were the parodies:
Faith Brown did very funny (because painfully accurate, though exaggerated) versions of Wuthering Heights and Wow.
Oh England My Leotard (1980), by Pamela Stevenson, now of ex-Saturday Night Live fame. (She's the one that had the tits that moved around. Cleary she is into tits....). This song is from a British TV show called "Not The Six O'Clock News". The song can be found on a record of excerpts from this show. The record is called "Hedgehog Sandwich".
The song is a pastiche of several Kate-ian chord progressions and instrumental cadences which suggest some of the early hits (it was done about 1980), and which has some quite witty (though undeservedly cruel) lines in it.
From: email@example.com (Chris n Vickie)
Subject: Re: **** COVERS OF KATE BUSH SONGS *****
Date: Fri, 10 Jul 92 12:05:33 CDT
> Wuthering Heights by Jah Wobble (supposed to be crap!!).
The artist is " Jah Wertzel (Morgan Fisher)" *not* Jah Wobble, and it's not crap, just very, very strange. Imagine a bizarrely accented man's voice singing:
AOW-hut on the WHILE-E, WhinD-e M'whores W'he'd ROLL 'n fael in Ghheenn.
...over a backing track played by musicians sight-reading sixth generation xeroxes of the sheet music, on the instruments they have never played before.
> And there was an abysmal Reggae-inflected Wuthering Heights around 1981, group unknown by IED, and not recommended. (May be the same as the one above).
I don't know what to call it, but it's not Reggae.
From: firstname.lastname@example.org (ronald hill)
Date: Fri, 14 Aug 92 21:20:17 PDT
Subject: *** KT SYMBOL ROUNDUP ***
HIDDEN KATE BUSH SYMBOLS ON ALBUMS
Compiled and edited by Ron Hill
by Ron Hill, Andrew Marvick (IED), and Jorn Barger.
All of Kate's albums have a hidden copy of the KT symbol. This is an attempt to round-up where it is on the various albums, CDs, and cassettes.
KATE: That actual sign is an old Knight Templars sign and 'round the countryside you'll find it scattered on the doorways of churches and things and it was just very fitting because I used to be in a band called the KT Bush Band. Katie, KT. And it's just a theme that we've kept running. It's a sorta motto. (1979, Personal Call)
It can also be seen on Army Dreamers (the patch on Kate's arm) and The Big Sky (the flag) videos.
THE KICK INSIDE: "Japanese style" cover only. If you can't find it (it's kinda whatcha might call "a bit obvious") then see an optometrist pronto...
LIONHEART: On the left side of the picture.
NEVER FOR EVER: LPs only. Think "rose".
THE DREAMING: Think "arm".
HOUNDS OF LOVE: Back cover.
THE WHOLE STORY: British version only.
THE SENSUAL WORLD: Background.
THIS WOMAN'S WORK EXTRA ALBUMS: Well, da.
THE KICK INSIDE - In the kite on the original British "Japanese style" cover. On the left wing of kite image, black circle symbol with white lettering. Not on the American "Kate in a box" cover (as far as we know!)
LIONHEART - On the left side of crate on the front cover!
NEVER FOR EVER - Look on the gatefold, if it's a British LP; look on the inner sleeve, if it's an American LP. On the right hand side engraved in the branch of the rose branch right in the bottom right hand corner (or thereabouts) (Don't think this inside picture is shown on the CD, though it could be somewhere inside the booklet).
THE DREAMING - Front cover, just below (relative to picture, not relative to sleeve) second solid band on left sleeve of KT's jacket.
HOUNDS OF LOVE. Back cover. Upsidedown in the cloth on her right arm, near the weeds, partially obscured.
THE WHOLE STORY - Only in the original UK vinyl edition: it's found only on the vinyl disk itself...
THE SENSUAL WORLD - You may find it, in more or less accurate form, in a variety of spots, including the flower itself, Kate's hair and her collar-bone. But there is only one spot where it definitely appears, and where with proper lighting and preferably a maginfying glass the telltale signs of manual alteration of the image can be detected. Look in the background on the front, on the right side--and for the best results, use the original UK vinyl-LP cover as your source. It really can't be seen at all on the CD booklet, and it's not very clear even on the US LP cover.
THIS WOMAN'S WORK EXTRA DISKS - The cover photo is the new Kate Bush symbol integrating the astrological symbol for Venus (ie, the biological symbol for woman).
From: email@example.com (Jeffrey C. Burka)
Date: 15 Aug 92 19:35:08 GMT
Subject: Re: *** KT SYMBOL ROUNDUP ***
> THE KICK INSIDE - In the kite on the original British "Japanese style" cover. On the left wing of kite image, black circle symbol with white lettering. Not on the American "Kate in a box" cover (as far as we know!)
You are apparently on drugs, at least where the CD is concerned.
My original EMI-Manhattan CD had the Kate-in-a-Crate cover, but had the "UK back" with the forest, kite, and KT symbol.
My import TKI, included in my box set, has the Japanese-style cover, but does not include the original back cover art. There is no KT symbol on my UK CD of TKI.
From: firstname.lastname@example.org (ronald hill)
Date: Sun, 16 Aug 92 20:36:44 PDT
Subject: *** Hidden Messages on Kate's single records ***
HIDDEN MESSAGES ON KATE'S SINGLES
by Ron Hill, Jackie Zucconi, Saurav Misra, John M. Relph, and Greg
Compiled and edited by Ron Hill
Do you know anything about the messages scratched on the smooth circle just before the centre of the records? Why are they there?
KATE: Yes, I do know something about these messages because I wrote them, and they are messages to go with the record. It's something that has been practised by several people. In fact, have a look through your albums, you'll probably find quite a few that you didn't even know were there. (1980, KBC 5)
The messages are usually only on the originals of the singles, not the reprints for the Single File box set. Some of the latter messages may be explained by crew members creating the singles putting their own names on them.
Wuthering Heights - "Remember The Whales".
The Man With The Child... - "The child hides in the light".
Hammer Horror - "We are all playing a hunch"
Wow - "Thank you Emily" [Bronte?]
Breathing --- "We all share the same air" [Both original and reprint]
The Empty Bullring --- "Happy anniverary to the P's" [The P's could be the Picasso's.]
Army Dreamers --- "Life is to Love"
December Will Be --- "Happy Christmas"
Sat in your Lap --- "Well done J. B. 1st Dan"
[KATE: J.B. is a guy called John Barrot who certainly deserves to be congratulated 'cause he did something very clever. [Laughs] Very clever, you're not going to tell us anything further. No? Nope! (1982, Dreaming debut)
Dans usually signify levels of achievement in various martial arts.]
Lord of the Reedy --- "Thank you Donovan" [Who wrote the song, and is rumoured to have appeared on the single]
The Dreaming --- "for Rolf" [Harris]
There Goes A Tennor - "Rays" [On all copies]
Cloudbusting --- "for Peeps" [Nickname of Peter Reich]
Hounds of Love --- "woof!" and mysteriously "cooperman"
RUTH --- "Precision SRI" I'm not sure about SRI it's hard to see
Under the Ivy --- "Precision SM" which is probably what SRI really
This Woman's Work --- "UP yours Ugly" and "Orlake"
[One guess is that "Ugly" refers to Vivian, the character played by Adrian Edmondson on "The Young Ones". There was an episode where Vivian's mom came to visit him and generally harass him. I think it went something like:
Mom: "I brought you a present." (hands him a bottle of vodka)
Viv: "But it's empty!"
Mom: "Haha! Up yours, ugly!" (flips him the two-finger salute)
Since there is a direct connection between Kate->Comic Strip->Young Ones, this is one theory. Another is that Kate had nothing to do with this message at all.]
Be Kind to my Mistakes --- "Orlake"
From: email@example.com (ronald hill)
Date: Tue, 18 Aug 92 22:46:23 PDT
Subject: **** KATE'S SESSION WORK PART I *****
KATE'S SESSION WORK AND UN-RELEASED TRACKS
by Andrew Marvick (IED), Ron Hill, Neil Calton, Jeffrey C. Burka,
Chris'n'Vickie, Paul Davison, and Scott Telford.
Compiled and edited by Ron Hill.
The numbers are from Andrew Marvick's complete listing of Kate's recorded tracks.
14/15. Another Day.
Sung by Kate and Peter on Kate's Christmas special.
KATE: In the TV special the song that I sang with Peter Gabriel, "Another Day," was written by Roy Harper - a very beautiful song from his album Flat Baroque and Berserk, which you can buy from your record shops along with his most recent one, which is brilliant. It's a really good song, and it will be on vinyl one day, hopefully soon, but not with this album. [Kate has still not released this recording.] (1980, KBC 5)
Approximately one year after taping the "Kate" special, Kate and Peter Gabriel returned to the studio to re-record this song. It was never released, however, and has never been heard.
Some bootlegs have a track name "The Angel Gabriel". This is a little snippit of a song that Kate wrote to introduce Peter Gabriel when he was a guest on her Christmas special "Kate". Kate, Paddy and Glenys Groves (one of the two backup singers on the tour) sang the following:
Through <velvet?> storms,
and the rains that fell,
here comes the man,
with his tale to tell,
and some have named him,
PADDY (very deep) Pe-ter,
ALL The An-gel Ga--bri--el.
Peter then did an incredible solo version of "Here Comes the Flood" on a Yamaha electric grand piano.
A song co-written by Kate and Gabriel and originally intended as the b-side for the single of "Another Day". They were "not satisfied with the results", however, and the project was shelved. Consequently, no-one has ever heard this track.
25. Them Heavy People.
A cover version recorded by EMI artist Ray Shell on February 21, 1981, to which Kate contributed backing vocals.
28. Sing, Children, Sing.
A benefit single by Leslie Duncan, with Kate (virtually indistinguishable) singing in the all-star back-up chorus, released November 30, 1979.
29. You (The Game, Part III).
A duet with Roy Harper of his song, on his album "The Unknown Soldier", recorded in February, 1980. A rumour persists that Kate and Harper recorded an entire album's worth of duets during these sessions, and that the tapes may someday become available on the black market.
KATE: To work with him [Peter Gabriel] was really fun and a great experience - as it was to do some vocals on Roy Harper's new album [The Unknown Soldier]. I've been a fan of Roy's music for years, as have all my family, and to work with him on his music was very special. (1980, KBC 5)
A duet with Zaine Griff of his song, on his 1982 LP "Figures", recorded in June, 1982. This song was a tribute to the dancer/mime/ choreographer Lindsay Kemp, with whom Kate and Zaine had studied together for a time in 1976. Kate sang on this one track only.
* Press reports say that you've made a record with Zaine Griff called "Flowers", yet EMI records, your own record company, deny all knowledge. [Kate Laughs]. Well... is this true?
KATE: Well I haven't made the record with him, all I did was sing some backing vocals on this song that Zaine wrote which is called "Flowers" and it's a lovely song. (1982, Unknown BBC interview)
Q: I was told recently that you appeared on Zaine Griff's album Figures. Is this true? And what did you do, B.V.S or keyboards?
KATE: Yes, I did. Zaine had written a song for Lindsay Kemp called "Flowers," and he asked me to sing B.V.s. It is a really lovely song. Zaine and I met years ago at Lindsay's classes, and as Lindsay was such a powerful influence on us both - as he is on anyone who is captured by his strong magic - it was a real pleasure to be a part of something dedicated to him. (1984, KBC 16)
31. No Self Control and Games Without Frontiers.
Two tracks from Peter Gabriel's third solo album, for which Kate recorded backing vocals in January, 1980.
KATE: Offstage he's very normal, and that's the kind of thing I believe in.
Kate helped out with the backing vocals on his excellent recent album, and describes the experience of walking into someone else's work as lovely - especially after the pressure of going out under your own name.
I was thrilled to do it, and it's not often that I meet people in the same position that I can relate to. It's not like relating to people at EMI, as they're on a completely different side of the fence. (1981, RM)
KATE: One of the things I've enjoyed this last year was to work with other artists on their projects. Isn't Peter Gabriel's single ["Games Without Frontiers"] fantastic? I can't wait to hear his new album [Peter Gabriel number 3]. Peter is an extremely talented and lovely man, and to work with him was really fun and a great experience. (1980, KBC 5)
32. The Magician (theme from the film The Magician of Lublin).
A song from the film starring Alan Arkin, it was recorded by Kate in February, 1979, and featured music by Maurice Jarre and lyrics by Paul Webster. No soundtrack was ever commercially released; consequently, the song is only known from the nearly unlistenable film print itself (dialogue obscures most of Kate's vocal).
KATE: Maurice Jarre asked me to sing the song, which he had already written. The whole thing was a most enjoyable experience. (1984, KBC 17)
53. Breathing and Do Bears Sh... in the Woods?
Both live, from the album of the April 4/6, 1986 Comic Relief shows, called "Utterly, Utterly Live". Kate accompanies herself on electric piano for "Breathing", and sings the comic song (not of her composing) "Do Bears Sh... in the Woods?" with British comic actor Rowan Atkinson. The video version of these concerts features what appears to be a different night's performance of the same two songs. (The programme was performed a total of three times.)
KATE: I really enjoyed doing the Comic Relief concerts.
Q: I was more than a little shocked that you and Cliff Richard of all people...
K: It was fantastic. I'm a big fan of so many of those comedians - they are so talented. For me, alternative comedy is the most exciting thing coming out of this country at the moment, and to be involved in something with them all was really fulfilling. I felt nervous there, too, it's been a long time since I've performed live to an audience, but they were so warm. Unfortunately the piano pedal jammed on the first night in "Breathing" and I sang to the most horrific combination of chords you can imagine, so the second and third nights were relatively relaxed after that!
Singing with Rowan was hilarious. He's one of those people who can make his face and body language make you laugh without him having to speak. Again, I was so pleased that they asked me to take part. I wouldn't have missed it for the world. I just wish I'd been brave enough to ask most of them for their autographs - "Er, Ben, would you? I say, Rick, I've got this nephew... Just sign it, don't bother signing it to him..." You know, you're meant to act nonchalant, but I found myself starstruck.
Q: I did see gorgeous Ronnie Corbett and the Monty Python chappies - wasn't Terry Gilliam there?
Yes, he was...Just so much talent. British comedy is unique and the best. (1986, KBC 20)
Q: How did you like singing with Rowan Atkinson?
KATE: Well, I'm sure like most of you if not all of you, I'm a big fan of the comedy that's happening in Britain today. I think we've always been a leading voice in comedy and music, and it's so good to see young people actually charging us again with comedy that's also very educational. And I was very honoured to take part in that whole Comic Relief event where Rowan Atkinson was performing. And I really believe that comedy has a lot to offer the world. It's very important. Sometimes you can say much heavier things through comedy than you could ever say seriously. So I was knocked out to sing with Rowan and just to be involved in anything that they were doing. (1990 Kate Bush Con)
The melody is a typical "boring-70s-love-song-ballad" sort of tune, and both KaTe and Rowan sing in an American crooning sort of voice, which sounds quite unlike KaTe's usual voice(s). The Curtis in Curtis/Atkinson is (I think) Richard Curtis, the co-writer of the Blackadder comedies, which explains a lot...
A cover of the old popular song, not included in the 1985 Terry Gilliam film "Brazil", but promised for inclusion in the soundtrack LP--which, however, will probably never be officially released. A bootleg pressing of Kate's recording for the album may become available eventually, however.
Q: I hear you sang "Brazil" on the soundtrack to Terry Gilliam's film.
KATE: Yes, what a beautiful song - and I always thought it was a really bad cabaret number, but actually it is very sad and nostalgic.
Michael Kamen did the orchestral arrangements. He worked on The Ninth Wave: "Watching You Without Me" and "Hello Earth." He is very clever. He did the music for the film, and was putting the soundtrack album together with Terry, and they played me this beautiful arrangement without a voice. I'm not sure if this piece was in the film or not, but I don't sing in the film at all. It has such a 30s/40s feel, and Michael asked if I would sing over it - My immediate reactions were fear and "Yes". (1986, KBC 20)
57. Don't Give Up.
A duet with Peter Gabriel of a song from his album "So".
KATE: I was so excited that he asked me to sing on that track - It's such a lovely, haunting song, and I love his work. But I do get nervous, especially when it's something I really like. His music is very strong, and he is a great person - I love working with him. (1986, KBC 20)
KATE: I was so thrilled he asked me to sing such a beautiful song but then I got very nervous. Recording at my home studio we don't have window contact between the studio and the control room, you know. We can't see each other, we talk to each other through the mike and headphones, that's all. It's quite isolated, the way I work, and I hadn't been to anyone else's studio for ages. And then at Real World I was terrified. I messed it up and had to come back another day to re-do it. (1989, Q)
Interviewed in Record Mirror, May 10, p. 27, Peter said, "Kate did a great job. I'm a great fan of her singing and her voice. I think she sang on that track very differently to how she sings on her own records -- in a very sensitive way. There are similarities in the way we work. She works as slowly as I do -- with is reassuring."
Peter Gabriel's first compilation video, appropriately titled CV, includes two versions of "Don't Give Up". Version 1 is the well-known video which MTV televised, featuring one unchanging camera angle of Kate and Gabriel embracing, and lip-synching the song in front of an eclipsing sun. Version 2, however, is a kind of impressionistic montage of narrative film which shows scenes of unemployment lines, driver's-seat shots of long, winding roads in the rain, and decaying factory-towns. In this version both Gabriel and Kate appear only sporadically, lip-synching with faces toward the viewer in super-imposed head-shots which fade in and out in one or another corner of the screen. The film is in color, but very drab and washed out to near-gray, and some of the imagery is slightly "solarized". The VHS Hi-fi sound is extremely good.
58. The Seer.
A track from Big Country's 1986 album of the same name. Kate sings backing vocals. Also on "Through a Big Country - Greatest Hits". She is credited with "additional vocals" which is a pretty good description, as it's hard to call what she's doing BVs. To get the full effect of the KaTeness of the song, try listening to it on headphones. The first verse is sung by Stuart Adamson alone, but I believe all the other verses are sort of a duet between the two, with Adamson's voice on one track, loud, and KaTe singing the same words on the other track, in kind of a wonderful whisper. Once you hear it like that a few times it becomes quite clear no matter what situation you hear the song in.
KATE: I like the Celtic influences in their music. They were lovely to work with - I really enjoyed it. They asked if I'd like to do some backing vocals, and I went in for an evening. They were really nice. It was fun. I like working with different people. (1986, KBC 20)
In a freebie mag from HMV in 1987, Big Country had this to say
"We'd done the song and one of our mates, a guy called Davy Duncan who used to play and sing in a band called The Shaking Pyramids, put down Barrad which is a sort of ethnic Scottish-Irish type hand-held drums - and it gave it a sort of folky feel, along with the mandolins and the sitars. We thought 'this song needs girl vocals on it' and Stuart immediately thought 'why don't we get Kate Bush?' We said there's only one way to do it and that's phone her management. They said that Kate would do it but she'd like to hear a cassette of the song first. So we sent a cassette there and she liked the song and she worked out her parts for the song, orchestrating them really well. Then she came to the studio and did them, it took her about twelve hours to do and it was just great, it was fantastic. I think the woman is just a complete genius. She was very shy. I think we were quite awestruck as well when she walked in. Tony was like 'Oh, hello Kate, would you like a cup of coffee, would you like a glass of orange juice?', running about saying things like that. I think we were quite shy, she was quite shy as well. But she was good fun, she's got a good sense of humour as well. She's got a very 'Comic Strip' type of sense of humour which we immediately identified with and after that it was a great time."
Stuart said he's been a Kate fan for a long time in a 1986 Record Mirror: "The Central character of the song "The Seer" is a woman, so I though (thought) it would be good to get a woman's vocal point of view. I have a lot of Kate Bush albums, and I like her voice. She varies it so much. There's a lot of variety and texture in the way she sings, and she's always coming up with something different. She's a perfectionist; she won't give up until she's absolutely satisfied with what she's done. She has a lot of dedication."
59. The King is Dead.
A track from Go West's 1987 album "Dancing on the Couch". Kate sings backing vocals. She probably agreed to contribute to this track because of her friendship with the late guitarist Alan Murphy, who was an unofficial member of Go West at the time.
It's amazing to IED that people would go to the trouble of coaxing the likes of Kate Bush to work on a recording with them (for surely that takes some doing), and then use her so minimally, and so unimaginatively, and so anonymously, that they might just as well have got any session singer in England to do the job instead! Don't misunderstand, please: Kate is recognizable -- to the very careful listener; and both the song and Kate's back-up vocals are well crafted and not without merit. It's just that there's not much to it, and what little there is makes little use of what Kate has to offer. Oh, well, it's no big deal. The rest of the album is equally well made -- a bit like Aja-era Steely Dan, but with Don Fagan's vocals replaced by a slick singer from the school of Boy George Michael: catchy, even attractive, but generally disposible.
60. Let It Be.
7" and 12" single by Ferry Aid for the survivors and families of the 1987 Zeebrugge ferry disaster. Kate sang three lines of the song during a separate studio session unrelated to the rest of the recording.
61. Running Up That Hill and Let It Be (both live).
Songs performed by Kate in concert on behalf of Amnesty International's "The Secret Policeman's Third Ball" shows. The second of the two Amnesty concert performances of "Running Up That Hill" is included on the official soundtrack album, and "Let It Be" (backed with a poor-quality recording of the first of the two Amnesty performances of "Running Up That Hill") is available as a bootleg seven-inch single.
64. Sister and Brother.
Duet with Midge Ure of his song, from his album "Answers to Nothing", released in September 1988.
65. Spirit of the Forest.
Kate sings one line in a guest appearance for the "all-star" recording of a song (not written by Kate) about the dwindling rain forests of South America. This song was recorded for and broadcast during a programme about ecological issues called "Our Common Future" in 1989. As with the Zeebrugge "Let It Be" charity record (see entry 60), Kate did not participate in the group chorus sessions, but came in at a different time to sing her one line alone.
From Roy Harper's 1990 album. Kate appears for the last part (third) of the title track, doing some fairly quiet singing of the chorus of the song, then near the end a few seconds of louder "la-la" type singing. The music was written entirely by Harper - no input came from Kate at all.
The album cover photgraphy was done by John Carder Bush, and that (of course) Del Palmer engineered Kate's session in Kent.
(Kate comes in at "the dance of love")
Earth for all creatures
a thought for all (wo)men
right for the speechless
wrong until then?
Eyes for the laughter
thirst for the tongue
hands for together
ears for the song
the song of love
we sing in silence
every moment long
here to be done to as we do
with only one chance
here for the wonder of under the stars
for the one and only
Joy for the children
hope for the chance
men for the women
now for the dance
the dance of love
we dance just once
in unique circumstance
here to be done to as we do
with only one chance
here for the wonder of under the stars
for the one and only once
NO SHOWS (songs Kate turned down)
Moonraker - In May of 1979, Kate was invited to sing the title track for this James Bond film.
In a film magazine it said that you turned down the offer of singing the title song to the James Bond film Moonraker. Is this so, and if so, why?
KATE: Yes, this is true. I thought it was a very lovely song, but I just didn't think it was for me. I think Shirley Bassey did it a lot better than I would have, anyway. (1980, KBC 5)
Alain Stivell - The original plan, as bruited about by Homeground and the KBC, was that Kate had accepted Stivell's offer to produce two tracks for Stivell's next album. Then a while later she went to France and said (so IED has been told) that she was about to go to work on Stivell's album.
IED picked up the album in September of 1991 (during a visit to France), after seeing that two of the tracks had been co-written by one John Calder <sic> Bush. Alas! Upon closer inspection, IED discovered that Kate is mentioned nowhere in the album's credits, nor is her presence in any way audible (to this fan) on any of the tracks. Moreover, in the cassette version which IED bought, there is no lyric sheet, and since Stivell's voice is peculiarly accented and far back in the mix, IED hasn't even been able thus far to transcribe John Carder Bush's lyrics. Altogether a huge fiasco from a Kate Bush fan's standpoint, though perhaps Stivell fans will be satisfied. In any event, there has yet to appear any explanation of the mix-up in the press, Kate-ian or otherwise.
Robin Hood - Prince of Thieves - According to Homeground 43, Kate may have be approached to sing the title track, which later became a world-wide hit, but turned it down.
On to The Discography Posts, Pt. 4
written by Love-Hounds
compiled and edited
Sept 1995 June 1996