KATE BUSH-LIONHEART.

dereksmusicblog ♦ August 11, 2011 ♦ Leave a comment

KATE BUSH-LIONHEART.

In this article, I’m going to write about one of the most remarkable singer-songwriters of the past forty years. She was discovered aged sixteen, by Dave Gilmour from Pink Floyd. He recommended her to EMI, who promptly gave her a record contract. Aged nineteen, her first solo album The Kick Inside, was released. Some of the songs on the album, had been written when she was just thirteen. Her debut single Wuthering Heights became a number one single, spending four weeks at number one. Obviously, this is a remarkable artists. Remarkable yes, but prolific no. During a career that began in 1979, she has one released just nine albums, and at one point, there was a twelve year gap between albums. Unlike most artists, she has only toured once, in 1979. Kate Bush released her second album Lionheart, it was the follow up to her debut album The Kick Inside. Released just nine months after her debut album, it was another hugely successful album that demonstrated how hugely talented an artist she was. Before telling you about Lionheart, I’ll tell you about Kate Bush’s career so far.

Kate Bush was born Catherine Bush in July 1958, in Bexleyheath, Kent. Her father Robert, was a physician who was a talented pianist, her Irish mother Hannah, had been an Irish folk dancer. Her two brothers Paddy and John were also artistic. Paddy made musical instruments, John was a poet and photographer. Together, the family lived in a farmhouse in East Wickam. As a child, Kate attended school at St Joseph’s Convent Grammar School, and latterly a Catholic girls school in London.

It was during that time, that Kate started writing her own songs. By the time she started sending out demo tapes they included fifty of her own songs. It was through Ricky Hopper passing a demo tape to Dave Gilmour, that Kate was able to produce a more professional a much more professional demo tape. Hopper was a friend of Gilmour and the Bush family. He passed the tape to Gimour, who liked what he heard, and arranged for the new demo tape to be made. Andrew Powell, a friend of Dave Gilmour’s produced the demo tape. Powell would then go on to produce Kate’s first two album. This demo tape was sent to various record companies, but in the end, Kate signed to EMI. Ironically, Kate was signed by Terry Slater, who also signed the Sex Pistols. 

For the first two years of her contract with EMI, Kate continued her studies. She spent more time at school, than she did recording her album. The rationale was that if the album failed, it would have a negative impact of Kate’s career, and she might be too young to handle this. By the time these two years were up, she’s written nearly two-hundred songs. Now it was time to record her debut album.

Before she started recording her album, Kate embarked on a tour of pubs with the KT Bush Band. Instead of using her usual band members, she used experienced session musicians. A few of these session musicians stayed with her, when she brought her usual band. Recording for what would become The Kick Inside took place in June 1975 and between July and August 1977. Before the album was released, Wuthering Heights was released as her debut single. It was a huge success, spending four weeks at number one in the UK singles charts. When The Kick Inside was released in February 1978, it reached number three in the UK album charts. 

Nine months later her second album Lionheart was released. Like her debut album, it was produced by Andrew Powell, but this time, Kate was assisting with the production of the album. It was recorded in the French Riviera, the only album she’s recorded outside the UK. Kate wasn’t pleased that she’d been rushed into making the album so quickly. She felt that she needed more time to get the sound on the album correct. By now, she was having to undertake much publicity work and had to embark on a tour to publicize the new album. This resulted in her setting up companies to publish her music, and manage her career. After this, she and her family would have total control of her career. Lionheart was released in November 1978, and reached number six in the UK album charts. 

When Never For Ever was released in September 1980, Kate had a new producer, Jon Kelly. Kate was coproducer, having made her production debut on her Live On Stage EP. Never For Ever had a very different sound to her two previous albums. Gone was the lush, orchestral style which accompanied her band, in was a variety of different styles, including rocky sounding tracks and the “waltz sound” of Army Dreamers. Another change was the use of synths and drum machines on the album. On its release, the album reached number one in the UK album charts. This gave Kate her first number one album, and she became the first UK female solo artist to have a number one studio album. 

Two years passed before Kate released The Dreaming in September 1982. This must have seemed a while to fans, but little did they know that soon, albums would become even more infrequent. When the album was released, critics were divided by its sound. They weren’t sure about the much denser soundscapes that were on the album. Some critics loved, others weren’t so sure. Even the singles taken from the album didn’t do so well. Only Sat In Your Lap did well, and it was released over a year before the album. Other singles failed to trouble the top forty. However, the album did much better, reaching number three in the UK album charts. 

Hounds of Love, Kate’s fifth album, was released in September 1985. It became Kate’s most successful album and her second number one album. Instead of incurring huge expenses by recording the album in a studio, Kate built a twenty-four track studio at her home. Her previous album The Dreaming, had taken a long time to record, and proved really expensive. The new home studio saved this expense. When the album was originally released on vinyl, the second side was devoted to The Ninth Wave, which takes it’s name from Alfred Tennyson’s poem Idyls of the King, about the reign of King Arthur. It’s one piece of music, divided into various song cycles, exploring the themes of a night of dreams and nightmares. It’s an extremely powerful and thoughtful piece of music, with sees Kate make good use of  a mixture of synths, traditional instruments, her faithful piano and layer upon layer of vocals. Since its release, Hounds of Love has been considered one of the most important albums of the past thirty years.

Like her previous album, Hounds of Love, Kate’s next album The Sensual World drew inspiration from the literary world. James Joyce’s seminal book Ulysses, was an inspiration for the track The Sensual World. The Sensual World was released in October 1989, four years after her previous album. On its release, it was well received by critics, and reached number two in the UK album charts. It was nominated for a Grammy Award for Best Alternative Music Album. Later, Kate reworked and rerecorded songs from The Sensual World for her 2011 album The Directors Cut.

Another four years passed before Kate released another album. The Red Shoes was released in November 1993. Accompanying the album, was a short film The Line, the Cross and the Curve. Reviews for the album were mixed, but this didn’t stop the album selling well. Kate explained that the album was meant to have a live feel to it. There was less of the effects used on previous albums. It reached number two in the UK album charts. On the album, Kate has helped by artists such as Prince, Eric Clapton and Jeff Beck. The album’s release came at a really difficult time for Kate. Her mother had died, her relationship with bass player Del Palmer had ended and Alan Murphy her favorite guitarist in the band had also died. 

Kate now took a twelve year sabbatical from the music industry. During this time she spent time with her family, and bringing up son Bertie. By November 2005, she was back. Recorded between 1999 and 2005, Aerial was a double album from Kate which features a wide range of musical styles. On the album is folk, flamenco, pop, reggae, classical and Renaissance music. Like other albums, themes run through the album. Here, the second disc Sky of Honey, is one piece of music telling of the outdoor adventures of a summer’s day, from morning one day, to sunrise the next. It’s a stunning piece of music featuring nine songs. Critics loved the album, and it was critically acclaimed, being described as one of Kate’s finest albums. It reached number three in the UK album charts.

2011 saw Kate release The Director’s Cut an album where she rerecorded and reworked songs from two of her earlier albums The Sensual World and The Red Shoes. Four tracks were taken from The Sensual World and seven from The Red Shoes. In the main, the album was well received by critics. The album sold well, and reached number two in the UK album charts.

During her career Kate, Kate has collaborated with a number of artists, including her friend Peter Gabriel. She has been a huge influence on a new generation of artists, including KT Tunstall, Tori Amos and Bjork. Even though new albums by Kate are something of a rarity, she still has a huge amount of fans who love her work, and await a new album. They’ll be pleased to hear that there are rumors that a new album will be released in November 2011.

Having told you about Kate’s career so far, I’ll now tell you about her second album Lionheart. It opens with Symphony In Blue, a track that has a lush sounding introduction that’s made of Rhodes keyboard, piano, guitars and bass. When Kate sings, her voice is high, soaring way above the rest of the arrangement. She accompanies herself on piano, the bass sits way down in the mix, plodding along. Electric guitars play, drums join in, but the focus of your attention has to be Kate. Her voice is stunning, she has a great range, and during the track, her voice soars powerfully. Behind her, the arrangement is quite full, but it’s really melodic, as is her voice. Listening to the lyrics, they’re really mature for someone who was still only twenty-one. They describe the way she feels, her moods and thoughts about various subjects. Symphony In Blue is a great track to start the album, and what’s interesting is how youthful Kate’s voice sounds.

There are always numerous literary references in any Kate Bush album. Here, she references JM Barrie’s classic story Peter Pan, incidentally written not far from where I live. In Search of Peter Pan has a gentle start, played just on the piano. Kate sings unaccompanied at the start, but later percussion can be heard. The arrangement is really subtle at the start. Later, when drums and bass join the arrangement, they never overpower Kate’s vocal. It’s as if everyone is taking real care to ensure that Kate’s vocal takes centre-stage. This is only right, as her vocal is stunning. It’s also highly dramatic as her voice gets strong and louder, yet always she seems in control. Her lyrics are sensitive, telling a story about a young girl deeply unhappy at school, unhappy about her life overall. Instead, she escapes into the make believe world of Peter Pan. Not only are the lyrics really good, but Kate’s performance is stunning, one of the best on the album. However, the careful arrangement allows Kate to shine. It ensures that her voice is the most important part of the arrangement.

Three singles were released from Lionheart. The second was Wow, one of the best know tracks from the album. What sounds like strings sweeping in from the distance, opens the track. After that, a synth plays and Kate sings. Her voice is slow, atmospheric, as if she’s building up the drama. By now, the track is just meandering along beautifully, Kate’s piano and a bass playing. Then Kate unleashes that powerful voice which soars beautifully. Behind her the arrangement grows, mandolins, drums, guitars and bass combine. After that, the tracks sweeps along beautifully. You find yourself caught up in it. Occasionally, the tempo increases, but this doesn’t last long. The lyrics are about being an actor on the stage, with one of the characters struggling with his role. That’s when Kate sings “He’ll never make “the Sweeney,” a reference to a 1970s’ police drama.  Wow is a wonderful track, a combination of Kate’s great voice, clever lyrics and a sympathetic arrangement.

Don’t Push Foot Your Foot On the Heartbrake has a quicker start than Wow, but gives no indication of what’s to come. Again, it’s just Kate accompanied by her piano that starts the track. She’s singing melodically, slightly quicker than previously. Then, suddenly, the track bursts into life. The contrast is amazing. From a relatively understated arrangement, it becomes nearly frantic. Drums crash, guitars play and even the piano is pounded. Meanwhile, Kate unleashes that powerful voice, and is almost screaming. As if burnt out, the band and Kate slow the song down. Then having got their breath back, they return to the fuller, frantic sound. Having said that, they produce an impressive and effective sound, during which time Kate and the band sing and play brilliantly. Although I’ve always enjoyed the song, it’s quite a contrast to previous tracks on Lionheart.

Many song on Lionheart  have a strong narrative, espeacially Oh England My Lionheart. It tells the story of a pilot whose plane has been shot down, and as he heads towards the ground and his death, contemplates his homeland. Kate sings softly as she sings and plays her piano. Quickly, she’s joined by recorders playing. Harpsichords join in accompanying Kate, giving the song an old fashioned, historical sound. As she sings, she mentions things that are quintessentially English. Backing vocalists harmonize with Kate, completing the sound. Here, Kate gives a touching and heartfelt rendition of some intelligent, thoughtful lyrics. When you listen to the lyrics, and think about the story, you too, will quickly realize just what a terrible, criminal, waste of life and resources war is. 

It’s a gentle meandering piano solo that opens Fullhouse, but when Kate sings, her voice is loud and strong, soaring high. Like Don’t Push Foot Your Foot On the Heartbrake, the arrangement quickly gets much fuller and louder. Kate’s joined by drums, guitars and bass, which together, combine to produce a powerful sound. Drums sometimes are pounded, guitars solos play, soaring and chiming. Here, the arrangement suits the lyrics. They talk about the thoughts that fill someones head, worming their way in, niggling and nagging away, telling them about things that aren’t happening, that aren’t real. In some ways, the arrangement replicates this, many things going on at one time, each seeking your attention. Whether this is intentional, or accidental, I don’t know, but what I know, is it’s effective.

In A Warm Room is the polar opposite of Fulhouse. The arrangement is far more subtle, the sound not as full or busy. Here, it’s just Kate and her piano. She sings the song beautifully, using her vocal range well, her piano playing just as good. Likewise, the lyrics are really good. They’re sensual, seductive, describing a woman who awaits her lover. The only problem is that she may not be around long, tiring of his familiarity. Although In A Warm Room is very different to many tracks on Lionheart, it’s simplicity is much of its appeal. It allows you to concentrate on Kate’s voice and the lyrics, both of which are equally stunning.

Like several other songs on Lionheart Kashka From Baghdad has an interesting story behind it. It tells of the story of a same-sex couple, who are cut off from their friends and family because of their relationship. Kate deals with the subject both frankly, and sympathetically. When the track opens, Kate’s accompanied by her piano, atmospheric sounds are heard in the background. Setting the scene and mood, a bass joins the arrangement. This provides a contrast to the piano. Quickly, Kate’s voice powerfully soars, joined by backing vocalists. Mostly, the arrangement is subtle, and features mandocello and panpipes, augmeting more traditional instruments. The additional of harmonies adds to the dramatic atmosphere present during the song. Both Kate’s vocals and her lyrics are excellent, her portrayal of less enlightened times both touching and sad, because of the couple’s betrayal by loved ones.

Although there are similarities between the play  Arsenic and Lace, and the next Coffee Homeground, the song was actually inspired by a taxi driver who once drove Kate about. At the start, it’s almost like the music for a tango that greets you. The music is dramatic, and so is Kate’s delivery of the song. Her voice veers between a restrained style, to a dramatic soaring sound. Throughout the song, her voice is strong and clear, with Kate taking care with her phrasing. What I find remarkable about this track is that it was made using just drums and percussion, rhythm guitar, bass, synth and piano. It seems remarkable that they were able to produce such an amazing sounding track with so few instruments. Here, Kate demonstrates her versatility as a vocalist, tackling yet another style of song.

Lionheart closes with Hammer Horror and Kate paying homage to the old Hammer films that many people of Kate’s age, and even my age remember. In keeping with the films the start has a big, bold, dramatic introduction, then Kate sings gently and beautifully, accompanied by her piano. After that, things change. The arrangement gets louder, bolder as does Kate’s voice. That’s just temporarily, as she slows things down again. Thereafter, it’s a song of peaks and troughs, stops and starts. Here, the arrangement goes between a soothing sweeping sound that’s beautifully understated, to an almost overblown, much louder, fuller sound. Much of that fuller sound is created by synths, harmonium and piano, assisted by drums and guitars. This fuller sound is spectacular in nature, and a complete contrast to the much quieter, sweeping sound. Together, they create a great track, and it’s a fitting way to end a great album.

Earlier in this article, I mentioned that Kate Bush was unhappy at having to rush this album, so it could be released quickly. Personally, I think that Lionheart is a great album, featuring ten very different songs. They all have one thing in common, some wonderful lyrics, sung brilliantly by Kate. She was fortunate to have a hugely talented group of musicians working with her on this album. Each of them played a huge part in the album’s success. One thing I love about the songs, is that they’ve a strong narrative and tell an interesting story. Considering that they were written while Kate was still a teenager, that makes her achievement all the more remarkable.  To me, Lionheart was a good follow-up to her debut album the Kick Inside. Since then, in the intervening thirty-two years, Kate has only produced a further seven albums. It seems a shame that she hasn’t produced many more albums, as she’s one of the finest singer-songwriters of the past forty years. However, hopefully she’ll have a new album out in November 2011. Standout Tracks: Symphony In Blue, Wow, In the Warm Room and Hammer Horror.

KATE BUSH-LIONHEART.