Epilog, March 1990
To the Reaching Out (Interviews) Table of Contents
Date: Sat, 17 Feb 90 16:24:01 PST
From: email@example.com (Edward Suranyi)
Subject: DISCoveries article by William R. Creal, Feb. 90
Here at last is the article that appeared in the February issue of DISCoveries :
The Sensual World of Kate Bush
by William R. Creal
It was late on a cold, dark night in the winter of '81-'82. I was a tired, disenchanted lump, sinking deeper into the oblivion of the couch, mindlessly flipping channels on the television, when suddenly I was startled into consciousness. A barefoot young woman, with a black cowboy costume clinging seductively to her lithe body, was sensuously snaking across a stage. She was armed with a rifle and was using it to mow down three male attackers to the accompaniment of swirling musical rhythms, punctuated by imaginary gunfire. For the next fifteen minutes and through two more equally transcendent songs, I was captivated by her performance. Even more, I felt privileged -- madly fortunate. It was as if I had stumbled upon some forgotten wonder not of this world. I was intoxicated, transported, bewitched; in short, I was introduced to Kate Bush.
I later learned I had viewed the final portion of the Live at Hammersmith video. That information, while enlightening, did me little good at the time. The video seemed unavailable in any store this side of the moon. Still, I made my discovery. Soon I was hearing that distinctive, exotic voice on the local progressive radio station. Then, the infant MTV began running two stunning videos of this enchantress. I couldn't get enough; unfortunately, I quickly learned how literally true that statement was. Kate Bush was a "serious artist." A label which was, and still is to some extent, the equivalent of a commercial death sentence as far as many record industry magnates are concerned. I could hear her and I could see her, but I couldn't bring her home.
When at last the fates graciously allowed a progressive record store to open nearby, I had three albums to catch up on, and two questions to answer: who was Kate Bush, and from where did she come?
Them Heavy People
Kate Bush was born one midsummer's night on a forsaken English moor to the god, Apollo and the muse, Euterpe. Her childhood was spent roaming the surrounding hills with her cousin Pan, philosophizing with him and developing her inherited musical talents. She explored the mystical world within her, absorbing, then discarding reality, determined to create her own more perfect, more sensual world. She was part enchantress, part sorceress, casting her spells with deep, radiant eyes, goddess-like beauty, and a voice capable of charming the most ferocious of beasts. And when at last she ventured forth amongst the mortals, none could resist her.
There is, of course, an *official* version, which contends that Catherine Bush was born to Dr. Robert and Hannah Bush in the county of Kent, England, on July 30, 1958. Though she had a normal childhood, she was not a normal child. Her family recognized this, it seems, from the moment of birth and they respected and encouraged her uniqueness, giving her ample freedom to discover and develop her abilities.
Cathy's early development was greatly influenced by her older brothers: Paddy, a telented and versatile musician with a fondness for unusual instruments, and John Carder Bush, an accomplished poet and photographer. Their gentle guidance introduced Cathy to a panorama of fabulous territory, all of it awaiting her special touch. To this day, her brothers remain among her staunchest supporters, Paddy contributing musically and John with album and single sleeve photography.
To say Cathy Bush was precocious would be an understatement. By fourteen, she had composed numerous songs on the family piano, setting her poetry to music. Two years later, through the intervention of a friend, she met David Gilmour, of Pink Floyd. After early rejections by the music companies, Gilmour helped her sift through dozens of songs for a suitable demo tape which was recorded at his home studio. The tape was presented to EMI, Pink Floyd's label, and the company was so impressed with her abilities they advanced her enough money to take time to refine her creations and inevitably -- to grow into the woman, Kate Bush.
During this period, she left school, unable to find meaning in the creativity-stifling environment of organized education. With Paddy, she formed the KT Bush Band. The origainal lineup also included a bass player named Del Palmer, who would quickly occupy an irreplaceable spot in both her musical and personal life. She took dance and mime lessons, too, learning skills that when eventually coupled with her music, would yield a stunningly unique result.
In 1978, EMI saw its investment pay off in a big way.
Rolling the Ball
"Out of the wily, windy moors.. ."
With these words, preceded by a tinkling of fairy dust as the spell was cast, Kate Bush ensorcelled the unsuspecting music public. Her piercing, ethereal voice wailed like a greedy siren: "Ooh, let me have it, let me grab your soul away." And she did. That first, trademark single, Wuthering Heights, fought its way to number one in the U.K. and in most of the Western European countries, while the album itself, THE KICK INSIDE (released in February 1978), went triple platinum. All this in the midst of a musical and cultural revolution as bands like the Sex Pistols and the Clash attemped to rearrange the world through their savagely chaotic songs. Kate's fragile voice and the delicately intimate subject matter of her lyrics crept through the carnage and created a niche all its own.
Although backed by a massive promotional campaign featuring posters of an innocently voluptuous Kate, the record was not an overnight smash. It took time for the music press to understand this extraordinary creature, but by the release of the second single, The Man with the Child in His Eyes (No. 6 on U.K. charts), she conquered both the critics and the public. (Something yet to happen on a large scale in the U.S.)
From the cry of whales that opens the album, through songs thick with the heat of impassioned lovers, to the soothing title tracks and its tale of incest and suicide which closes it, THE KICK INSIDE sustains a mystical sensuality, never straying so far into reality that the magic is diluted. In her liner notes, Kate requests "all of you with open ears, please feel it." And in the end, the entranced listener is compelled to do just that.
They Took the Game Right Out of It
Her second album, LIONHEART, rushed together in less than two months, was a gasp for creative breath. EMI was not about to let the whirlwinds of publicity stop spinning -- they wanted another album at once. Thus, in November 1978, less than nine months after THE KICK INSIDE appeared, LIONHEART was born, prematurely.
There was not enough time to do this one right, at least not the way Kate would have liked it. While there are several excellent new songs, most are simply reworked versions of songs that didn't make the first album. As such, there is both a noticeable lack of unity, and an absence of purpose. It is more a stream-of-consciousness album, meandering from one idea and musical style to another, rather than the purposeful flow of lyrical and instrumental concepts normally expected from a Kate Bush concoction.
Given that, it is nevertheless interesting. The singles Hammer Horror (No. 44) and Wow (No. 14) are worthy successors to her previous hits, and the quasi-title track, mourning a dying-going-on-dead British airman, has a graceful, caressing melody and Kate's usual *unusual* atmospheric vocals.
Other songs deal with a girl's maturing ability to cope with death and life ( Symphony in Blue ) and with a young boy's loss of childhood innocence ( In Search of Peter Pan ). There are homosexual lovers in Kashka from Baghdad, and a food-poisoner serving "hemlock on the rocks" in Coffee Homeground. As on THE KICK INSIDE, the music is piano-based, as Kate continued to use that instrument to work out her songs.
Overall, LIONHEART is a pleasant album, but it clearly did not benefit from the exteriorly imposed deadline, and so is not definitive Kate Bush. Still, it paid off for EMI, going gold and peaking at No. 6 on the U.K. charts. Meanwhile, Kate's rapid ascent into stardom continued. In various polls of January 1979, she was named the No. 2 Female Sex Object. (The latter aided, no doubt, by the gorgeous photos on LIONHEART .)
The next step was the obligatory tour, but this time and for all time to come, she did not tolerate any outside interferences or demands. The result was a landmark tour that was all Kate Bush, and a lightning journey from mere stardom to superstar immortality.
Wow Wow Wow
The tour of spring 1979 was conceived, written, designed, directed, choreographed, produced, and oh, yes, performed by Kate Bush. For upwards of two and a half hours per, for twenty-eight shows in six weeks, across the U.K. and Europe, it was performed by Kate Bush. Drawing on everything she had learned for the past five years, it was the perfect and unprecedented combination of dance, theater, and music. It was not a revolutionary set of concerts in the truest sense of the word because no one else, apparently including Kate who has never toured again, could ever hope to duplicate it. It has, over time, simply become a legendary achievement.
It was her first opportunity to have total control over a project and she took full advantage of it. In each concert, there was a complete costume change virtually every other song, a total of about seventeen per show. During the longer breaks, to keep the mood alive there were poetry readings by brother John. Each song was treated to a set of props unique to itself: a parachute for Oh England, My Lionheart ; umbrellas for the dancers in Kite ; human violins for Violin. On other songs, like Wow, she showed that with only a headset, she could generate as much excitement in one square foot of stage as she could supported by any number of props or dancers.
The British music press was struck with awe. Reported Melody Maker: "The most magnificent spectacle I've ever encountered in the world of rock." Said the Bristol Evening Post : "A major artist by any standards. . .each aspect was perfect in itself. . .spectacular entertainment." And from the Record Mirror : "The best welding of rock and theatrical presentation that we're ever likely to see."
The amazing success of the tour showed what Kate could do when she had complete creative control, and going back into the studio for the next album, she was not about to relinquish it.
I'm Coming For You
NEVER FOR EVER, released in late 1980, is in many ways her REVOLVER. From the cover artwork depicting a myriad of Boschian creatures soaring out from under her billowing skirt (directly into her music, one presumes), to the subject matter of the songs, it is a major transitional point in Kate's career.
Musically, it is influenced by the arrival of the Fairlight, a computer sampling device which, when she had mastered it, would give Kate the power to better compose her music and translate her emotions into sound. Lyrically, the mystical, other-worldly aura of the previous albums was evolving into a philosophical introspection as she began to assimilate the realities of the world into her own life's experiences. As a result, it is her first album that is as stimulating to the intellect as it is to the senses.
The initial single, Breathing (No. 16), stunned reviewers with its passionate rendering of nuclear Armageddon from the viewpoint of a fetus who only wants to "keep breathing." It is as close as Kate ever gets to a "protest song." (Though over the years she has supported many causes, her spirit seems to be more that of a Samaritan than a protester.)
Babooshka, the next single to be released, related the weaving of a tangled marital web by a wife testing her spouse's fidelity. It made No. 5, thus becoming her highest charting single since Wuthering Heights.
The final release, Army Dreamers (No. 16), crackles with detached irony as it describes the homecoming of a dead soldier, imagining what might have been. (Military men don't fair too well with Kate. Yet another one gets it in Pull Out the Pin on her next LP, THE DREAMING .)
NEVER FOR EVER was also Kate's first attempt at production (she co-produced with Jon Kelly) and she had to be encouraged when the album made No. 1 and went platinum.
The Pull of the Bush
Having been introduced to the Fairlight on the last album, by the release of THE DREAMING (September 1982) it had become Kate's primary method of working out songs. On the album itself, she employs it to great effect on nearly every track. Still, although it climbed to No. 3, the album also seemed to climb right over the collective heads of the British radio producers and EMI execs.
The first single, Sat in Your Lap, was actually released over a year before the album came out and did fairly well (No. 11). It also marked a turning point in her career as it reflects a struggle for knowledge amidst a barrage of sonic chaos. It was a stylistic departure for her, burying once and for all the little wondering girl image that had begun to fade on NEVER FOR EVER.
The Dreaming, the next single, was even more confusing. Why should Kate Bush sing about the Australian aborigines' fight to save their spiritual homeland? And why does it have to sound like it *really is* an aboriginal song? It was not promoted well and peaked at No. 48. It was Kate at her creative best, which basically means it was too confusting for the corporate heads at EMI.
The third single, There Goes a Tenner, an unpretentious little tune about a bad night in the lives of a band of Keystone robbers, did even worse. It became her first single ever to not make it on the charts. A fourth song, Suspended in Gaffa, was a smash in Canada and almost all of Europe; however, it was not released as a single in Britain.
In addition to the great influence of the Fairlight, this album is also significant in that it was her first as sole producer. Bit by bit, Kate had taken over nearly every aspect of her work. The final step was to build a home studio where she could experiment with her songs in complete solitude and without the pressures of knowing she was running up the bill in a rented studio. Construction of the studio began in mid-1983 and when it was completed, the construction of her fifth album commenced.
A Big Woof
HOUNDS OF LOVE, released in September 1985 and produced by Kate at her new in-home studio, is by far her most instrumentally diverse, intellectually, and emotionally satisfying album. It is, in fact, two distinct albums, each with its own title, cover photo, and side. The first side is essentially a collection of masterful singles, as four of the five songs were eventually released as such. The first, Running Up That Hill (No. 3), considered by some to be her greatest all-around song, actually received fairly consistent airplay on some radio stations in the States. Following that success were Cloudbusting (No. 20), based on Peter Reich's A Book of Dreams ; the title track (No. 18), featuring a barking Kate; and The Big Sky (No. 37), with its thundering drums, and Kate's lightning shrieks.
Side two, with a photo of an apparently soaking wet Kate, is a conceptual piece titled THE NINTH WAVE. It starts in a dream ( And Dream of Sheep ), ends in fog ( The Morning Fog ), and between it tows the listener along some of her most memorable imagery and complex symbolism. It is basically a Hamlet-like "to be or not to be" dilemma, set at sea (a "sea of troubles"?), and experienced by a going-down-for-the-third-time Ophelia. The heroine does not necessarily seek suicide, simply relief, and during her struggles she is visited by witch hunters ( Waking the Witch ), ghosts ( Watching You Without Me ), and future selves ( Jig of Life ). It is a challenging set, both to the listener and to Kate herself, who with THE NINTH WAVE has forged a kind of Dark Side of the Ocean.
The album hit number one, went double platinum, and is without question a masterpiece.
In 1986, an excellent compilation album, THE WHOLE STORY, was released. Besides collecting the obvious hits, it also contains one new single, Experiment IV (No. 23), and new vocals to Wuthering Heights. The latter is especially interesting since her voice, like herself, had nearly a decade to mature. Significantly missing from this version is that sprinkling of fairy dust that began the original; its absence serves to bring full circle Kate's personal and professional growth. THE WHOLE STORY, with its accompanying video, is a terrific encapsulation of her remarkable talents. The album, by the way, went No. 1, and triple platinum.
Molly Bloom steps out of the page tentatively. Her initial sensation, the soothing sound of bells -- at first soft and low as if coming from far beyond the hills -- but then, as she emerges completely with dormant senses fully awakened, they are strong and loud, heralding her arrival. And ours, in THE SENSUAL WORLD.
The first and title track on Kate's new album, THE SENSUAL WORLD was released this past September and quickly nestled into the U.K. Top 10 [?]. (The 12-inch version has a double-tracked A-side, with or without the vocals depending on where the needle hits.) It captures and transplants the aforementioned Molly Bloom and her erotic recollections from the final chapter of James Joyce's complex epic, Ulysses, into a three-dimensional *real* world of the senses.
The song is awash in Irish music (Uillean pipes, bouzouki, fiddle), while Kate's seductive vocals become one with the instruments, now on top, now immersed, as if floating gently along on the undulating waves of sound. Lyrically, it is as sinuously absorbing as the original, unlike anything else in Kate's catalog.
In the Kate Bush musical feast, if THE KICK INSIDE was the tasty appetizer, and HOUNDS OF LOVE a hardy main course, then THE SENSUAL WORLD is certainly the rich, creamy dessert. Its songs go down smoothly and leave you licking your lips. Overall, it is a distinctly feminine album, as Kate wraps her voice lovingly around every syllable, coaxing the purest sound out of each letter. The effect of THE SENSUAL WORLD is so alluring that when I finished listening to the record for the first time, I almost asked it out.
The second British single, (released in November, with the 7-inch issued as a picture disc, EMPD 119, and the 12-inch with a limited edition poster sleeve, 12EMP 119) was This Woman's Work, work being synonymous with labor and labor being the reason for the song's birth. Previously available only on the movie soundtrack of She's Having a Baby, it is an achingly beautiful tune about the regrets of one's life when faced with the death of a loved one: "all the things we should've said that were never said." Being released so near Christmas, you have the feeling that if he had heard this song, Scrooge would never have needed the three spirits to effect his transformation.
Kate is assisted on three songs by the Trio Bulgarka, a group of Bulgarian women whose stirring voices wordlessly enhance the music, and on a song like Deeper Understanding, even elevate it to a higher emotional plateau.
Other highlights on the album include: Heads We're Dancing, in which our heroine is swept off her feet by a "charming man" who, unknown to her at the time, would soon thereafter sweep through Poland; Love and Anger, the first U.S. single released by CBS, Kate's new American label, and featuring old pal Dave Gilmour; and Rocket's Tail, with both the Trio Bulgarka and vintage Floydian guitar work from Gilmour. The latter song is about whatever you would like to think it's about, but just remember, it's dedicated to her cat.
Upon its release in England, THE SENSUAL WORLD entered the charts at No. 2. It remains to be seen, however, what the record will do in the U.S. CBS seems to having some trouble handling it. Supposedly, they felt there were no songs that were appropriate single material for U.S. radio. Well that's the point, isn't it? Kate's songs, thankfully, are not easy to segue into or out of, especially on American Top 40 radio. CBS' dilemma is the ultimate confirmation of Kate's uniqueness.
As could have been expected, the album was written and produced solely by Kate, and recorded by Del Palmer. Brother Paddy and Dr. Bush make appearances, and the cover photo (Molly in full "bloom," perhaps?) was taken by brother John. Despite any problems there might be in the U.S., the album nevertheless seems destined to swell the ranks of the Kate Bush Club (P.O. Box 120, Welling, Kent, U.K. DA16 3DS).
As far as CBS, well, how about a little deeper understanding, guys? After all, it could have been worse: instead of Ulysses, it might have been Finnegans Wake.
Bushabilia: The Collectible Kate
In the spring of 1988, a poll conducted by the British magazine, Record Collector, showed Kate Bush to be the most collectible female artist, and the thirteenth most collectible artist overall. Collecting Kate is not only a popular pastime, but an old one as well. The first true piece of Bushabilia was a beautiful limited-edition picture disc of THE KICK INSIDE, issued in the U.K. in late 1979. (It was later reissued in North America.) Of course, virtually any of her early records are now collectors items.
Among her singles, the real rarities are the non-U.K./U.S. editions. Many, like the Canadian issue of The Man with the Child in His Eyes, have different picture sleeves than their American or English counterparts. Other songs were included as singles exclusively in selected countries. For instance, there is French release of Ne T'en Fui Pas/Un Baiser D'Enfant (EMI 5444) and the Canadian version (72917) which has Dreamtime as the B-side. Un Baiser D'Enfant (79231) was also released in Canada with Suspended in Gaffa as the B-side. Perhaps the rarest of these is Night of the Swallow (from THE DREAMING ) recorded in Dublin and featuring several popular Irish musicians, and accordingly was released only in Ireland.
Two other 7-inch rarities come from the HOUNDS OF LOVE LP. The first is an interview picture disc released only in Italy (KBP1). The front has the same picture of Kate as the Hounds of Love single, but the reverse is a lovely shot of her in a sweeping, low-cut ethnic gown. The second 7-inch rarity is the U.K. release of The Big Sky (KBP4) single on picture disc, though not as difficult to find as the Italian interview. You will recognize it by the nice photos of that wonderful face on front and back.
One of the most attractive of all Kate Bush collectibles is The Single File (KBS1), a boxed set. Originally released in 1983 in the U.K. and the U.S. (where it was a numbered, limited edition), this handsome set contains all of Kate's singles (with reproductions of the original picture sleeves) from Wuthering Heights through There Goes a Tenner. As a bonus, it throws in the aforementioned French single Ne T'en Fui Pas and the Kate Bush Live on Stage EP. And if that's not enough, there's even a nice lyric/photo booklet.
Not to be outdone, there are similarly interesting items among Kate's 12-inch collectibles. For starters, beginning with Running Up That Hill (12KB1), all (five) of Kate's singles have also been released in 12-inch format. Each contains remixed versions of the single as well as at least one other non-album cut. Some of the reworked versions, Alternate Hounds of Love for instance, are as exciting as the original. And never overlook the B-sides of any Kate Bush single; some, like Under the Ivy (flip side of Running Up That Hill ), are among her most intimate and moving songs.
As far as LPs are concerned, the earliest collectibles are the three different covers of THE KICK INSIDE. The U.K. and most of Europe issued the oriental-styled "kite" cover, with Kate gliding across a giant eye, while the Harvest label in the U.S. and Canada chose a stunning close-up for their releases. Subsequently, EMI America rereleased the U.S. album, this time with the familiar "Kate in a crate" cover photo.
In more recent times, HOUNDS OF LOVE was also released in multiple versions, although it is the actual vinyl which differs rather than the cover. Besides the usual drab black vinyl, you can put the Canadian pink disc on your turntable and watch it swirl around or if you like, try the rather hefty-looking gray marbleized U.S. edition.
If you still need more, there is the extremely rare Interview with Kate Bush (EMI SPRO 282), a Canadian-only promo, again from the HOUNDS OF LOVE era. You might also hunt for the ultra-limited-edition HOUNDS OF LOVE promotional kit. This wondrous little package contains the album, a biography/discography on lavender paper, and three publicity photos, all deliciously wrapped in a gatefold sleeve tied together with, yes, a lavender ribbon. Talk about sensuous.
Finally, there's my personal favorite among 12-inch records: THE WHOLE STORY, Korean-style. This release has only nine tracks instead of the usual twelve found on other versions. The three tunes omitted are Army Dreamers, Breathing and Experiment IV -- all songs that cast the military in an unfavorable light.
Come Across the Bridge
The French writer Albert Camus once said of the great Franz Kafka "[his] whole art consists in forcing the reader to reread." While Kate is no Kafka, the statement nevertheless applies to her music. Repeated "readings" are absolutely essential to fully appreciate the musical intricacies and lyrical depth of her songs. As is evident, she spends much time painstakingly crafting each song, infusing it with her rare and precise passion. To paraphrase Francis Bacon, Kate's albums are among the few which should be "chewed and digested."
The purpose of this feature is to stimulate an interest in Kate Bush. Not just in her collectibility, but in her music as well. I have found by personal experience that knowing Kate eventually translates into collecting Kate. Alas, her creative output is far too intriguing and far too wide in scope to be covered adequately in one story. Her ground-breaking videos, which I scarcely mentioned, are the culmination of all her abilities and would demand a thorough examination of their own. The same goes for her backup work on other artist's records, her songs on movie soundtracks, and especially the marvelous non-album tracks found on the B-side of her later singles. In addition, as you might expect there is a vast amount of unauthorized Kate Bush material, ranging from interview picture discs to live albums of seemingly every concert stop on the tour. I leave all of the above for the adventuresome reader to pursue and discover.
I would like to thank Mike Murchison, Kate Bush collector extraordinaire, for allowing me to ramble through his brain and his collection. Also, this could not have been written without reference materials, so for further reading, I suggest Kate Bush Complete (International Music Publications, 1987); Kate Bush: A Visual Documentary, by Cann and Mayes (Omnibus Press, 1988); and any issue of Homeground, the official Kate Bush fanzine. Special thanks to EMI.
Finally, I am grateful to whomever fixed it so that out of all the eons that have gone and all that are yet to come, I could share a few decades with Kate Bush.
Date: Sat, 24 Feb 90 21:11 PST
From: Dave Armstrong <8548222@wwu.EDU>
Subject: DISCoveries Epilog
March 1990, DISCoveries
William R. Creal, Reston, VA
A KATE BUSH EPILOG
Thank you for the elegant treatment of my Kate Bush feature. I am certain it could not have been presented any better. The appearance of the layout definitely enhanced the subject matter of the article.
A couple of things apparently slipped through our mutual final proofing and I have attempted to now set the record straight.
I have recently come accross two very nice collectibles from The Sensual World, Kate's current album. The first is cassette versions of the album, as well as a booklet containing the lyrics, a biography, and some terrific photos. The second is a Canadian picture CD (C2 93078) of the album, although the picture is actually a close-up from the picture sleeve of The Sensual World single.
As sometimes can happen, a couple of errors slipped into the works. In the Lionheart section, a sentence in the next to last paragraph should have read: "In various polls of January 1979, she was named the No. 1 New Artist, the No. 2 Female Artist, and the No. 2 Female Sex Object." Only the latter made it to print. My intentions were to most definitely not to portray her great accomplishments of 1978 as solely the result of her physical appearance. As I hope I made clear, Kate is much more than just a pretty face.
In the collectibles section, I referred to an Italian interview picture disc. At the time I wrote the article I thought it to be an authentic release, as it carries an EMI logo and catalog number. I have since learned that it may be in fact an unauthorized release. I am honestly not sure which it is. If it is an unauthorized disc, I apologize for any confusion.
In addition, when discussing the Korean release of The Whole Story I mentioned the exclusion of three tracks which appear on the U.K. and U.S. versions. One of these, Breathing, was indeed on the album; it was actually The Dreaming which was omitted. The Korean Ministry of Culture and Information (which "approved" the album) apparently felt the anti-government sentiments expressed in the song, even though directed towards Australia, were dangerous. Why then did Breathing, essentially and anti-war song, make it? A glance at the wonderous little Korean lyric insert accompanying the album may reveal why. Kate wrote and sang: "We've lost our chance, we're the first and last, after the blast/Chips of Plutonium are twinkling in every lung." The lyric sheet reads as follows: "We've lost our charms, we're the first and last, oh, oh, off to get lost/Shipshape and toney, oh that twinkling in every lung." (You think something might have been lost in the translation?)
Speaking of The Dreaming, the authentic-sounding Australian music was achieved in part by having an authentic Australian, Rolf Harris, play his digeridu on the track. I mention this because of the recent printing of the lyrics to Tie Me Kangaroo Down, Sport in the January issue. The lyrics are basically accurate, although I don't believe anyone would win a spelling bee if "digeridu" was on the list. Kate's liner notes spell it as above, the letter-writer, Eric Schenider, however, prefers "diggerie doo," while the sheet music of the songs likes "didgeridoo." Also, it's abos [as already pointed out in the Mailbox], not elbows in the lyrics.
One final word: I wish to again express my appreciation to DISCoveries for the excellent treatment my story on Kate received. Thank you to all concerned.
William R. Creal, Reston, VA
To the Reaching Out Interviews Table of Contents
"The pull and the push of it all..." - Kate Bush
Marvick - Hill
Willker - Mapes
Grepel - Love-Hounds