65 Minutes, 7 songs. That’s a whole lot of epic going on. “50 Words for Snow” in many ways is anything but epic because it’s such a quiet and intimate album as a whole. Effectively a winter album, the songs weave their own patterns of weather.
“Snowflakes” is equally hypnotic as it is touching with a specific piano riff and hushed, muted and warm percussion lightly fumbles around the background. Interestingly it features (and opens with) her son Bertie singing beautifully. You can hear her nuances in his vocals and it fits together beautifully as a duet. Veering off to a jazz edge is the dischordant “Lake Tohoe” which seems to thrive in the opening few minutes with off-key moments and clashing vocals over soft piano and light dustings of electronics simmering away in the background. When the string ensemble arrives is when the song really comes together for me however with a perfect blend of humming and strings. Kate’s vocal’s have deepened and now feel quite sultry here. “Misty” completes the piano heavy jazzier trio that open the album with a simple melody, hushed vocals and as with the previous two, a lack of urgency and a take-my-hand warmth feels yours ears and heart. It’s strange how sometimes doing less makes everything feel like much more. The strings are used sparingly, as are the electronics in the background but you’re aware they’re there. Finally the track breaks into a more climactic ending with subtle guitar and Kate finally breaking out of her hushed tones to release her full voice upon us. It’s a wonderful section.
“Wild Man” is the most commercial track on the album (which is saying a lot about the rest) and in its seven minute entirety the infectious guitar riff is just as powerful and hypnotic but the single is bookended by an atmospheric opening and an additional verse at the end. “Snowed in at Wheeler Street” has a background almost tampura like chord which instantly harks me back to Aerial’s Disc 2. Add to this Elton John popping up playing the part of a lover in what is almost like a conversation in music. It’s typically unique and as anti song structure as possible – yet it makes perfect sense. This is the first track on the album that seems particularly downcast and blue.
Going into the more wilder side of Kate is the title track “50 Words for Snow”. Kate’s vocal’s count 1 through to 50 through a filter that sucks the life out it while Stephen Fry lists off the words! Think Aerial’s title track’s song structure and you’re part way there. It’s the most upbeat of the tracks and most interesting arrangement with lots of wind samples and weird warping whooping sounds. For the chorus Kate then tells us all how many words are left to be told! It’s by far my favourite track on the album. “Among Angels” closes the album in a beautiful way almost like the closing of a season with some delicate piano and vocal travels.
“50 Words For Snow” did not hit me on first listen aside from the single and the title track. Everything else is very long-winded and although it’s full of wisdom and emotion, it lacks the immediate punch to hook you. My interest was more than piqued however and I wanted to go back and rediscover the songs again that I didn’t immediately want to place on repeat. Suddenly like sections in the songs made sense, they formed songs within songs. Then it clicks. Like Aerial, its one that you need to sit through from start to finish to completely appreciate. On their own, the tracks are beautiful, together, they weave a season of winter chills, hearty spills and the warmth of music and language combined in one of the best examples I’ve heard for a winter album.
Kate Bush returns with the fantastic single “Wild Man” from the upcoming album “50 Words for Snow” and despite being a Christmas album of sorts, there’s only some sleigh bells for about three seconds. Instead with have a sultry Kate’s hushed tones purring over a flickering guitar string and a joyously loose chorus full of vocal delights. A real surprise in the best way. 2011 sure has had some fantastic new music! The single is out today.
Kate Bush is going to be releasing a new album full of new material! Going from one extreme to the other, we have our second album this year. Entitled “50 words for Snow” the album will contain seven tracks yet span over an hour. Looks like epic tracks are on the horizons. Interestingly it’s to be set to a background of falling snow. This is due to be released on 21st November! The tracklisting is below:
Sometimes you need to sit back and not go by knee jerk reactions. “Directors Cut” is one of those occasions. When it was announced Kate Bush would go back and revisit songs from The Sensual World and The Red Shoes many bemoaned they wanted new material while others waited to see what she would do, interested piqued. I think that you need to approach “Directors Cut” in a different way to most albums. Think of it as an alternative versions album. It basically has a completely different sound all of its own and while some songs are simply tinkered with, others are almost rewritten. Almost all of them however have been stripped back to a more intimate sound, everything placed close to the speakers.
Opening with “Flower of the Mountain”, this is The Sensual World with new lyrics from James Joyce’s Ulysses. The whole song has lost its percussive edge and has been transposed into a more soothing, purring number. Also tinkered in the same way is “Song of Solomon” which is still beautifully presented with the backing vocals pushed right to the front as are the Trio Bulgarka which is no bad thing at all. “Lily” however is one of the few songs that packs more of a punch as Kate flows with ab-libs towards the end and the arrangement becomes more of a band effort with more clarity and thus not feeling so drowned in reverb.
“Deeper Understanding” takes the stripping back to a new extreme and see’s Kate getting some fun out of the auto-tune. This is one of the more radical reworkings and seems to have polarised people already. If you’re not a fan, then stick to the original – this is simply an alternative version, not to replace it. I personally think it emulates the whole coldness of online dating… but maybe that’s because this reviewers been trying it for a while and had no joy. The last two minutes of ad-libbing and mouth organ is pure Bush fun. “The Red Shoes” has been given a party edge to it with Kate rasping the lyrics out. It doesn’t feel quite like a barn dance this time but more like a pub classic as the song progresses and things become more like a right royal p*ss up!
Another massive reworking happens for “This Womans Work”. I’ve seen a lot of people upset with this reworking. To me this stripped down electric piano and vocal led version sounds like how Kate would play it live. The original is like an enraged cry when you can’t keep it in, this version packs more sorrowful tears like it’s the cry you have after when you stare into space. For this, they feel like two completely separate songs and I’ll happily have them both and place them at the top tier of Kate’s work. Stunning. Equally as beautiful is the reworked “Moments of Pleasure” which to me sits hand in hand with the previous track and “A Coral Room”. Pulling the song back to an emotional piano/vocal track with deliberate pauses, it takes its time as it gently wades through its memories. It genuinely feels like she’s recounting everything in real-time to the song. Gone are the choruses which are replaced by a montage of hums. Again, unrecognisable, this feels like a brand new song.
“Never Be Mine” is given a more band effort as guitars and piano take to the fore while the chorus itself has a completely different delivery. It feels like a different track with the stripped down route again working its magic vocally and while I enjoy this version, the original is possibly my favourite song from Kate Bush and so it doesn’t quite compare for me. I’d still happily pop back to listen to this version though. “Top of the City” has had its percussion completely jigged about and it makes the big sections almost feel like a broadway show! The jury is out on me for this one as it really changes the songs dynamics. It’s grown on me with each listen however so maybe it’s because of being so familiar to the previous version.
“And So Is Love” is possibly the least tampered with track on the album. Changing the lyrics from “life is sad and so is love” to “life is sweet and so is love” amongst others changes the song from depressive to slightly depressive. Aside from that, the excellent guitar solo’s are pushed right up to the front of the track and its great to hear it in its full glory. The final track “Rubberband Girl” is the most radical change turning it into a hillbilly twanger! It sounds like a demo – Kate’s vocals are muffled and all over the shot in places.
Go into Directors Cut with no expectations about how you envisaged the reworks to sound and I think that’ll make the experience much more pleasant. If you can treat everything as separate and of its own merit – great. If not, rest assured she is tinkering away with new music as we speak!
Kate Bush’s reworking album Directors Cut is coming out on 16th May. Kate’s taken part in an excellent half hour interview with the BBC. A fantastic insight into what her thought process is behind revisiting old material. Listen in here.
In a second find of the day, “Under Review” – covering Kate Bush’s career to date is now also available to watch online for free. It’s the pull of the bush I tell you!
While details of a rerelease of reworkings from The Sensual World and The Red Shoes are slowly trickling through, a great documentary about Kate Bush entitled “Hounds of Love” is now available to watch in its completion on YouTube. Very informative, if slightly bias towards following what was commercially successful, its a great insight into the career and diacotomy of Bush’s music. Enjoy!!
A new Kate Bush entitled “Under the Ivy” looks like it is finally on its way to her fans. You can preorder it here but below is the publicity gumf that comes with it:
“This is the first ever in-depth study of Kate Bush’s life and career. “Under the Ivy” features over 70 unique and revealing new interviews with those who have viewed from up close both the public artist and the private woman: old school friends, early band mates, long-term studio collaborators, former managers, producers, musicians, video directors, dance instructors and record company executives. “Under the Ivy” undertakes a full analysis of Bush’s art. From her pre-teen forays into poetry, through scores of unreleased songs. Every crucial aspect of her music is discussed from her ground-breaking series of albums to her solo live tour. Her pioneering forays into dance, video, film and performance. Combining a wealth of new research with rigorous critical scrutiny, “Under the Ivy” offers a string of fresh insights and perspectives on her unusual upbringing in South London, the blossoming of her talent, her enduring influences and unique working methods, her rejection of live performance, her pioneering use of the studio, her key relationships and her gradual retreat into a semi-mythical privacy.”
This weeks video vault comes from Kate Bush’s song “Breathing”. This music video really taps into one of the big worries of the time, nuclear war. At the time this was seen as such a shocking video it was actually banned by the BBC as a protest against the song. As a result of a media blackout for the song, it became one of the lowest charting singles. However the videos not shocking at all and is very well portrayed. Enjoy!
Kate Bush is this weeks Live Vault artist with the quintessential live clip of hers: Under The Ivy
Originally a b-side, Under the Ivy has become one of her most popular songs among her fans and this live version is simple yet beautiful. When will the next album be I wonder?
Music critic Ann Powers’ book on Kate Bush’s album The Dreaming has been postponed until mid 2009. The book was due for release next month however its now clear that the book entitled “Kate Bush’s The Dreaming (33 1/3)” is either delayed or shelved as emails from Amazon have told customers that had pre-ordered it of its long delay.
Ann Powers had a large part to play in Tori Amos’ “Piece by Piece” and is generally a well recieved critic. Let’s hope it will see the light f day eventually.
Who’d have thought Kate is now 50! Her music is still gold and shiny and here’s to a new year with perhaps a little bit or writing and recording please Kate?
30 Years on and it still feels fresh, relevant and imaginative, Kate Bush’s début “The Kick Inside” is a CD that doesn’t fade with time.
From the opening wails of the bitter-sweet “Moving”, Bush’s quirky expressive voice soars and dips around like a sunrise to a sunset in one song. “The Saxophone Song” only compounds this where a no gimmicks song really works at its best with swirling pianos, acoustic guitars and gentle guitar wailing. Both songs were single material.
“Strange Phenomena” juxtaposes a stadium chorus and a quirky verse and this again sets up for what would end up being Kate’s charming musical talent, adding little pieces of the unusual to spice up songs. “Kite” may go a bit too far but back in the 1970′s over joyous songs were not frowned upon like today!
“The Man With The Child In His Eyes” however is the first real eye opener (excuse the pun) to show Kate’s depth however. Very rarely can you get such opposites in an artist (near pop and alternative depth) and squeeze it in just two and half minutes. An early gem which is followed by “Wurthering Heights” which I think is a bit of a misrepresentation of Kate as a whole, but a relatively good sound byte of the album.
“James and the Cold Gun” which follows was actually going to be the lead single until Kate asked it to be changed. This song is great too but doesn’t hold the novelty value of Heights with its rocking guitars. “Feel It” is just Kate and piano singing about being naughty with some interesting chord changes.
“Oh To Be In Love” rivals Heights as the novelty song with a fantastically catchy chorus and this was also released as a single. “L’Amour Looks Something Like You” however is the song I seem to forget from this album. All the other songs seem to cover what this song does and so it’s left behind for me. Its not bad at all, just forgotten.
The final trio starts with the would-be number 1 “Them Heavy People” with its upbeat verse and chorus and catchy bridges. Why this didn’t do better than it did is beyond me. “Room For the Life” sings about getting pregnant which would probably be banned in this day and age but features different percussive beats for the chorus. The album closes with the magical “The Kick Inside” with Kate singing like a pro with a toe curling story and an achingly beautiful melody.
Well 30 years haven’t dampened my spirit for the album so if you’ve delayed getting it – delay no more! Kate needs you, and perhaps she may knock out another album yet.
While on the look out for various clips I came across this piece of ingenious fun. Four men by the name of “Chicken ala Queens” have put together this glorious video to Kate’s classic track “The Dreaming”. Take a look and get your red shoes at the ready!
65 Minutes, 7 songs. That’s a whole lot of epic going on. “50 Words for Snow” in many ways is anything but epic because it’s such a quiet and intimate album as a whole. Effectively a winter album, the songs weave their own patterns of weather.
This weeks video vault comes from 
