1 00:00:02,000 --> 00:00:04,680 MUSIC: "Moments Of Pleasure" by Kate Bush 2 00:00:04,680 --> 00:00:07,760 For those people who don't know who Kate Bush is 3 00:00:07,760 --> 00:00:10,040 and completely forgotten who she may have been, 4 00:00:10,040 --> 00:00:12,640 she is the waif-like singer and songwriter who had 5 00:00:12,640 --> 00:00:16,440 an enormous hit with her first eerie single, Wuthering Heights. 6 00:00:16,440 --> 00:00:19,360 # Out on the wily, windy moors 7 00:00:19,360 --> 00:00:23,360 # We'd roll and fall in green. # 8 00:00:23,360 --> 00:00:26,200 She was an original, a rarity in the pop world, 9 00:00:26,200 --> 00:00:29,280 where so many performers look and sound much the same. 10 00:00:29,280 --> 00:00:32,560 # She signed the letter "All yours" 11 00:00:32,560 --> 00:00:34,640 # "Babooshka, Babooshka 12 00:00:34,640 --> 00:00:36,640 # "Babooskah, ya, ya". # 13 00:00:36,640 --> 00:00:41,320 - Is it a bird, is it a plane, is it a tree? - No, no, no, it's a Bush. 14 00:00:41,320 --> 00:00:43,880 Ladies and gentlemen, Kate Bush. 15 00:00:43,880 --> 00:00:45,440 MUSIC: "Wow" by Kate Bush 16 00:00:47,120 --> 00:00:49,680 - PRODUCER: Kate Bush. - Kate Bush. 17 00:00:49,680 --> 00:00:55,520 # Wow, wow, wow, wow, wow, wow-ah! # 18 00:00:55,520 --> 00:01:01,200 Just like fire, you know? It's all just, like, coming out of her mouth. 19 00:01:01,200 --> 00:01:03,760 MUSIC: "Army Dreamer" by Kate Bush 20 00:01:03,760 --> 00:01:06,640 She has made her performances into something of an art form, 21 00:01:06,640 --> 00:01:09,680 mingling dance and mime and all kinds of theatre. 22 00:01:09,680 --> 00:01:11,960 SONG: "Sat In Your Lap" 23 00:01:11,960 --> 00:01:14,960 I mean, they're not normal songs. None of her songs have been normal. 24 00:01:14,960 --> 00:01:17,040 # I see the people working. # 25 00:01:17,040 --> 00:01:20,760 She's just who she is. She's unique, she's a mystery. 26 00:01:20,760 --> 00:01:23,640 She's the most beautiful mystery. 27 00:01:23,640 --> 00:01:26,080 There were moments of, like, hairbrush in the mirror, 28 00:01:26,080 --> 00:01:29,520 like, Running Up That Hill and dancing round the lounge. 29 00:01:29,520 --> 00:01:31,360 # And if I only could 30 00:01:31,360 --> 00:01:33,280 # Make a deal with God. # 31 00:01:33,280 --> 00:01:34,800 The music speaks for itself, 32 00:01:34,800 --> 00:01:37,160 but liking her makes you feel a bit clever. 33 00:01:37,160 --> 00:01:39,320 # We're running up that road. # 34 00:01:39,320 --> 00:01:43,040 Hours I've been in my room by myself, through good times 35 00:01:43,040 --> 00:01:45,520 and bad times, and listened to her on headphones 36 00:01:45,520 --> 00:01:47,960 and her taking me away from my stress. 37 00:01:47,960 --> 00:01:49,880 # I'd be running up that hill. # 38 00:01:58,560 --> 00:01:59,760 Let me tell you a story. 39 00:01:59,760 --> 00:02:04,040 When I had my civil partnership nine years ago in 2005, and Kate, 40 00:02:04,040 --> 00:02:05,440 we invited Kate. 41 00:02:05,440 --> 00:02:08,080 We didn't think she'd come but she came with her husband Danny, 42 00:02:08,080 --> 00:02:10,520 and there were a lot of very famous people in that room. 43 00:02:10,520 --> 00:02:12,280 There was, like, 600 people, 44 00:02:12,280 --> 00:02:15,880 and all anybody wanted to meet was Kate Bush. 45 00:02:15,880 --> 00:02:17,600 I mean, musician, anybody, 46 00:02:17,600 --> 00:02:19,640 they couldn't believe Kate Bush was there. 47 00:02:19,640 --> 00:02:21,120 She's kind of an enigma. 48 00:02:21,120 --> 00:02:23,760 I don't think she's ever particularly wanted to play 49 00:02:23,760 --> 00:02:25,080 the game, has she? 50 00:02:25,080 --> 00:02:28,960 But I think when you've done great work like she's done, 51 00:02:28,960 --> 00:02:32,160 and then you retract from the public, 52 00:02:32,160 --> 00:02:37,560 people almost have to make up their own version of you, don't they? 53 00:02:37,560 --> 00:02:40,640 You can hear one note of a Kate Bush song, 54 00:02:40,640 --> 00:02:46,160 or one note of her voice, even, and know immediately what it is, 55 00:02:46,160 --> 00:02:50,000 and that is the biggest feat of any artist, 56 00:02:50,000 --> 00:02:54,160 especially when you consider all the roads that she's gone down. 57 00:02:56,640 --> 00:02:58,240 SONG: "Wuthering Heights" 58 00:03:00,480 --> 00:03:03,480 # Out on the wily, windy moors 59 00:03:03,480 --> 00:03:07,880 # We'd roll and fall in green. # 60 00:03:07,880 --> 00:03:11,840 When Kate Bush came along, sort of '78, I was in The Slits, 61 00:03:11,840 --> 00:03:15,720 and I remember, I was sitting in a van outside our singer's house, 62 00:03:15,720 --> 00:03:17,080 waiting to go and do a gig, 63 00:03:17,080 --> 00:03:20,280 and Wuthering Heights came on the radio, and I was like, "Huh? 64 00:03:20,280 --> 00:03:23,920 "What's this?!", and I kept waiting for the melody to repeat, 65 00:03:23,920 --> 00:03:25,240 because at that time, 66 00:03:25,240 --> 00:03:28,720 pop music was very much, you know, Radio One was repeating melodies 67 00:03:28,720 --> 00:03:32,160 very quickly, and this melody meandered on in this high 68 00:03:32,160 --> 00:03:36,520 pitched voice, warbling and dropping, but I was absolutely spellbound. 69 00:03:36,520 --> 00:03:39,000 # Wuthering, Wuthering Heights. # 70 00:03:39,000 --> 00:03:42,720 When I first heard it, I thought it was extremely challenging. 71 00:03:42,720 --> 00:03:48,480 The vocal was almost hysterical, and so up there, the register. 72 00:03:48,480 --> 00:03:51,520 But it was absolutely fascinating. 73 00:03:51,520 --> 00:03:54,840 I know at the time a lot of my friends couldn't bear it. 74 00:03:54,840 --> 00:03:59,680 They just thought it was too much, but that's exactly what drew me in. 75 00:03:59,680 --> 00:04:02,840 # Bad dreams in the night 76 00:04:02,840 --> 00:04:07,520 # Told me I was going to lose the fight 77 00:04:07,520 --> 00:04:09,200 # Leave behind my 78 00:04:09,200 --> 00:04:12,640 # Wuthering, Wuthering Wuthering Heights 79 00:04:12,640 --> 00:04:14,400 # Heathcliff... # 80 00:04:14,400 --> 00:04:17,280 Look! I can see Wuthering Heights! 81 00:04:17,280 --> 00:04:21,720 Well, I saw a series on the television about ten years ago 82 00:04:21,720 --> 00:04:25,200 and it was on very late at night, and I caught literally the last 83 00:04:25,200 --> 00:04:29,160 five minutes of the series, where she was at the window trying to get in. 84 00:04:29,160 --> 00:04:30,600 Who are you? 85 00:04:30,600 --> 00:04:32,680 - DISEMBODIED VOICE: - I'm Catherine Linton. 86 00:04:32,680 --> 00:04:33,960 Oh! 87 00:04:33,960 --> 00:04:36,040 I've come home. 88 00:04:37,240 --> 00:04:42,600 And it just really struck me. It was so strong. And I read the book. 89 00:04:42,600 --> 00:04:43,880 You read the book later? 90 00:04:43,880 --> 00:04:45,920 Yeah, I read the book before I wrote the song, 91 00:04:45,920 --> 00:04:49,320 because I needed to get the mood properly. 92 00:04:49,320 --> 00:04:53,280 I'd never heard anything like it before. It was like banshee music. 93 00:04:53,280 --> 00:04:56,160 # Too long I roam in the night. # 94 00:04:56,160 --> 00:05:02,320 This absolute otherworldly voice, singing about a book. 95 00:05:02,320 --> 00:05:04,120 # To Wuthering, Wuthering 96 00:05:04,120 --> 00:05:05,880 # Wuthering Heights 97 00:05:05,880 --> 00:05:08,200 # Heathcliff... # 98 00:05:08,200 --> 00:05:13,160 As a bookish kid, I was always fascinated by anything, 99 00:05:13,160 --> 00:05:17,960 any music that seems to be inspired by books. 100 00:05:17,960 --> 00:05:21,520 For that to have come out of someone's brain, period, 101 00:05:21,520 --> 00:05:23,680 is a remarkable feat. 102 00:05:23,680 --> 00:05:27,240 For that to have come out of someone's brain at 17 years old, 103 00:05:27,240 --> 00:05:30,960 this incredible song. Incredible song. 104 00:05:30,960 --> 00:05:33,160 # I'm coming back, love 105 00:05:33,160 --> 00:05:35,240 # Cruel Heathcliff 106 00:05:35,240 --> 00:05:37,280 # My one dream 107 00:05:37,280 --> 00:05:40,200 # My only master. # 108 00:05:40,200 --> 00:05:45,320 There aren't that many amazing pop songs that have two or three 109 00:05:45,320 --> 00:05:47,680 key changes in them, and I'm not talking modulations, 110 00:05:47,680 --> 00:05:51,920 I'm talking, like, "OK, now we're in the key of Q." You know, 111 00:05:51,920 --> 00:05:56,360 it's like, "What?!", but it's so brilliant, it's so memorable. 112 00:05:56,360 --> 00:05:59,000 I always karaoke that song if I drink enough. 113 00:06:01,360 --> 00:06:02,960 # Heathcliff... 114 00:06:02,960 --> 00:06:06,360 # It's me-ah, Cathy, I'm come home. # 115 00:06:06,360 --> 00:06:09,360 Wuthering Heights was not your normal type song. 116 00:06:09,360 --> 00:06:11,360 But that's why it was so brilliant. 117 00:06:11,360 --> 00:06:13,840 It was great to hear something out of the norm. 118 00:06:13,840 --> 00:06:16,760 When things like that come along, they don't come along very often. 119 00:06:16,760 --> 00:06:20,080 I mean, when does the next Kate Bush come along after Kate Bush? 120 00:06:20,080 --> 00:06:21,960 There hasn't been one. 121 00:06:21,960 --> 00:06:23,920 MUSIC: "Aerial Tal" by Kate Bush 122 00:06:29,880 --> 00:06:33,760 - Now, let's get back to the beginnings. You're 19 now. - 20. - 20? 123 00:06:33,760 --> 00:06:38,040 - Yeah, just. - And you're from Kent. - Yeah. - Is Kate Bush your own name? 124 00:06:38,040 --> 00:06:41,960 - Yes, it is. - Now, you're father's a doctor. - Yes. - Is it a musical family? 125 00:06:41,960 --> 00:06:43,880 My brothers are very musical. 126 00:06:43,880 --> 00:06:45,840 They were really responsible for turning me 127 00:06:45,840 --> 00:06:47,640 on to it in the first place. 128 00:06:47,640 --> 00:06:50,880 They were always playing music when I was a kid. 129 00:06:50,880 --> 00:06:52,760 Her brothers were a big part of it. 130 00:06:52,760 --> 00:06:56,480 They were very much, in her early days, her formative years, 131 00:06:56,480 --> 00:06:58,280 particularly people like Paddy. 132 00:06:58,280 --> 00:07:01,840 I mean, he was having all these musical ideas coming in, 133 00:07:01,840 --> 00:07:05,720 he had all these strange musical things that he was into, 134 00:07:05,720 --> 00:07:09,360 lots of strange musical instruments and various forms of music, 135 00:07:09,360 --> 00:07:12,880 and he would run those past her and lots of it would stick. 136 00:07:14,200 --> 00:07:16,240 What do you call it? 137 00:07:16,240 --> 00:07:20,240 It's called a strumento di porco, that's it's real name. 138 00:07:20,240 --> 00:07:22,880 - You're Kate's brother, aren't you? - Yeah, afraid so. 139 00:07:22,880 --> 00:07:27,480 - Is it a sort of a family business, really? - Well, yes and no. 140 00:07:27,480 --> 00:07:31,480 I mean, Kate and I have been making music together for years and years. 141 00:07:31,480 --> 00:07:35,200 On different levels, but there's always been music in our family. 142 00:07:35,200 --> 00:07:40,640 When I was young, it was really the music that my brothers played, 143 00:07:40,640 --> 00:07:43,720 and I'd picked out the stuff that I liked and listened to it with them. 144 00:07:43,720 --> 00:07:45,560 What kind of music did they play? 145 00:07:45,560 --> 00:07:48,960 They were into King Crimson at that time, 146 00:07:48,960 --> 00:07:55,280 and Pink Floyd and Blind Faith, Fleetwood Mac, that sort of thing. 147 00:07:55,280 --> 00:07:59,680 When you went to visit the family house, East Wickham, 148 00:07:59,680 --> 00:08:03,680 it sort of reminded me of my parents' house in some ways. 149 00:08:03,680 --> 00:08:08,400 It was a comfortable, middle class doctor's house with a nice garden. 150 00:08:08,400 --> 00:08:12,360 Yet, out of that had grown this strange creature that was 151 00:08:12,360 --> 00:08:14,440 doing wonderful things. 152 00:08:14,440 --> 00:08:19,400 - When did you start writing songs? - I must have been 11 or 12. 153 00:08:19,400 --> 00:08:23,280 When did the music men come to hear about you, and how? 154 00:08:23,280 --> 00:08:25,920 That was quite a gradual process. 155 00:08:25,920 --> 00:08:29,560 When I was about 14, there was a friend of my brother's called 156 00:08:29,560 --> 00:08:32,280 Ricky Hopper, who was in the business 157 00:08:32,280 --> 00:08:34,280 and he knew a lot of people, 158 00:08:34,280 --> 00:08:36,600 and he acted as a friend to try 159 00:08:36,600 --> 00:08:38,960 and get the tapes across to people, 160 00:08:38,960 --> 00:08:40,440 and after some trying, 161 00:08:40,440 --> 00:08:41,920 there was no response, 162 00:08:41,920 --> 00:08:44,560 and he knew Dave Gilmour from the 163 00:08:44,560 --> 00:08:47,120 Pink Floyd, and Dave came along 164 00:08:47,120 --> 00:08:49,560 to hear me, because at that time, he 165 00:08:49,560 --> 00:08:52,280 was scouting for struggling artists. 166 00:08:52,280 --> 00:09:00,040 I had a listen. I was intrigued by this strange voice. 167 00:09:00,040 --> 00:09:04,040 I went to her house, met her parents down in Kent, 168 00:09:04,040 --> 00:09:10,280 and she played me, God, it must have been 40 or 50 songs... 169 00:09:10,280 --> 00:09:16,920 on tape, and I thought I should try and do something. 170 00:09:16,920 --> 00:09:20,080 # I hear him 171 00:09:20,080 --> 00:09:22,640 # Before I go to sleep 172 00:09:23,680 --> 00:09:27,640 # And focus on the day that's been 173 00:09:27,640 --> 00:09:29,640 SONG CONTINUES THROUGH SMARTPHONE 174 00:09:29,640 --> 00:09:33,200 # I realise he's there 175 00:09:33,200 --> 00:09:35,320 # When I turn the light off. # 176 00:09:35,320 --> 00:09:38,560 Dave Gilmour put up the money for me to make a proper demo with 177 00:09:38,560 --> 00:09:43,120 arrangements and selected songs and we took it to the company. 178 00:09:43,120 --> 00:09:45,280 We were making, Pink Floyd, that is, 179 00:09:45,280 --> 00:09:48,360 were making the Wish You Were Here album, and I think we had 180 00:09:48,360 --> 00:09:52,520 the record company people down at Abbey Road in number three. 181 00:09:52,520 --> 00:09:55,840 # And suddenly I find myself... # 182 00:09:55,840 --> 00:10:00,400 And I said to them, "Do you want to hear something I've got?" 183 00:10:00,400 --> 00:10:02,840 And they said, "Sure", so we found another room 184 00:10:02,840 --> 00:10:05,880 and I played it to them, The Man With The Child In His Eyes, 185 00:10:05,880 --> 00:10:08,920 and they said, "Yeah, thank you, we'll have it!" 186 00:10:08,920 --> 00:10:10,920 # He's here again 187 00:10:12,760 --> 00:10:16,200 # The man with the child in his eyes 188 00:10:18,360 --> 00:10:22,600 # Ooh, he's here again... # 189 00:10:22,600 --> 00:10:27,000 The Man With The Child In His Eyes is still one of those things 190 00:10:27,000 --> 00:10:30,760 that right from the get-go, has its own life 191 00:10:30,760 --> 00:10:33,040 because it's just a great song 192 00:10:33,040 --> 00:10:38,200 and she has, you know, for all the time that she or I or anyone spent 193 00:10:38,200 --> 00:10:40,760 decorating and creating moods, 194 00:10:40,760 --> 00:10:46,000 it's actually the key element of what you're saying, the melody 195 00:10:46,000 --> 00:10:48,480 and the chords and the rhythm 196 00:10:48,480 --> 00:10:54,880 that still speak louder than all the stuff around on a great song. 197 00:10:54,880 --> 00:10:58,320 RECORDING: # Ooh, he's here again... # 198 00:10:58,320 --> 00:11:01,400 It is absolutely beautiful, isn't it? 199 00:11:01,400 --> 00:11:04,360 And it's sort of over two years 200 00:11:04,360 --> 00:11:06,640 before any of the other recordings she did, 201 00:11:06,640 --> 00:11:08,840 that is her singing at the age of 16 202 00:11:08,840 --> 00:11:13,520 and having written those extraordinary lyrics 203 00:11:13,520 --> 00:11:15,560 about...whatever they're about. 204 00:11:23,960 --> 00:11:26,680 The thing is with me, I only like extreme talent, 205 00:11:26,680 --> 00:11:30,000 that's the only thing I can listen to, and I like originators. 206 00:11:30,000 --> 00:11:33,200 Where does Kate Bush come from? You can't hear her influences, 207 00:11:33,200 --> 00:11:36,640 you know, it's like Billie Holiday, when I first heard Billie Holiday, 208 00:11:36,640 --> 00:11:39,120 I'd never heard anything like that in my life. 209 00:11:39,120 --> 00:11:42,880 The same with Kate Bush. I can't figure out musically, artistically, 210 00:11:42,880 --> 00:11:44,600 who her mother and father is. 211 00:11:44,600 --> 00:11:48,280 MUSIC: "Hang On To Yourself" by David Bowie 212 00:11:48,280 --> 00:11:51,360 # Well, she's a tongue-twisting storm She'll come to the show tonight 213 00:11:51,360 --> 00:11:53,920 # Praying to the light machine 214 00:11:55,680 --> 00:11:57,560 # She wants my honey Not my money... # 215 00:11:57,560 --> 00:12:01,360 - PRODUCER: - Somebody told me that she was at a '73 gig at Ziggy Stardust. 216 00:12:01,360 --> 00:12:04,560 I'm like, "Are you sure?" Everybody seems to have been at that gig. 217 00:12:04,560 --> 00:12:05,960 Yet, we were there. 218 00:12:05,960 --> 00:12:07,800 # We've really got a good thing going... # 219 00:12:07,800 --> 00:12:10,160 It was a great gig. He's one of those people 220 00:12:10,160 --> 00:12:13,120 that have had an influence on her in a weird sort of way, you know. 221 00:12:13,120 --> 00:12:16,160 It's not obvious, but you know, people do. 222 00:12:17,440 --> 00:12:20,280 # Make me a deal And make it straight... # 223 00:12:20,280 --> 00:12:24,600 She was aware of Roxy Music, Brian Eno and people like that, you know, 224 00:12:24,600 --> 00:12:26,120 she was aware of a lot of people. 225 00:12:26,120 --> 00:12:28,280 A lot of people had an influence on her. 226 00:12:28,280 --> 00:12:31,080 # I hope and pray He don't blow it cos 227 00:12:31,080 --> 00:12:33,760 # We've been around a long time 228 00:12:33,760 --> 00:12:38,200 # Trying, just trying, just trying to make the big time 229 00:12:38,200 --> 00:12:40,320 # Take me on a roller coaster... # 230 00:12:40,320 --> 00:12:41,840 Kate, having seeing me, 231 00:12:41,840 --> 00:12:45,560 probably, yeah, the first time working with Bowie, 232 00:12:45,560 --> 00:12:49,880 I mean, she wanted to be a performer like that, 233 00:12:49,880 --> 00:12:53,880 nothing like Bowie but to move like that. 234 00:12:53,880 --> 00:12:56,480 And, of course, she had seen Flowers, 235 00:12:56,480 --> 00:12:58,440 as had everyone at that time. 236 00:13:03,960 --> 00:13:05,560 I went to see a show, 237 00:13:05,560 --> 00:13:07,240 and it was Lindsay Kemp 238 00:13:07,240 --> 00:13:10,400 and really, I'd never seen anything like it before, 239 00:13:10,400 --> 00:13:12,000 and what he was doing was, 240 00:13:12,000 --> 00:13:14,440 he was using movement without any sound at all, 241 00:13:14,440 --> 00:13:18,200 something I had never experienced, and he was expressing so much, 242 00:13:18,200 --> 00:13:21,480 probably more than most people would express with their mouths 243 00:13:21,480 --> 00:13:24,760 and it suddenly dawned on me that there was a whole new world 244 00:13:24,760 --> 00:13:27,240 of expression that I hadn't even realised. 245 00:13:35,280 --> 00:13:38,080 I was teaching at the Dance Centre in Covent Garden. 246 00:13:38,080 --> 00:13:41,600 Kate turned up dressed very properly in her ballet tights and things 247 00:13:41,600 --> 00:13:45,160 and her hair scraped back, looking very, very professional indeed, 248 00:13:45,160 --> 00:13:47,000 very, very serious student, 249 00:13:47,000 --> 00:13:49,120 but as timid as hell, 250 00:13:49,120 --> 00:13:52,280 and of course, she took a place at the back of the class 251 00:13:52,280 --> 00:13:54,560 and I had to coax her forward. 252 00:13:54,560 --> 00:13:58,840 I mean, she was extremely shy, extremely timid, 253 00:13:58,840 --> 00:14:01,440 and of course, the first thing I had to do 254 00:14:01,440 --> 00:14:05,880 was bring her out of herself, give her courage. 255 00:14:05,880 --> 00:14:09,960 I have to say that once Kate actually started dancing, 256 00:14:09,960 --> 00:14:13,440 she was a wild thing. I mean, she was wild. 257 00:14:19,760 --> 00:14:24,880 One day, some months after knowing her, 258 00:14:24,880 --> 00:14:27,680 I got back to my home in Battersea 259 00:14:27,680 --> 00:14:32,880 and there was an LP pushed under the door, The Kick Inside, 260 00:14:32,880 --> 00:14:38,440 and there, dedicated to me, was this beautiful song, Moving. 261 00:14:39,640 --> 00:14:43,480 # How I'm moved 262 00:14:43,480 --> 00:14:47,560 # How you move me 263 00:14:47,560 --> 00:14:54,720 # With your beauty's potency... # 264 00:14:55,920 --> 00:15:01,840 I didn't know she had any aspirations to being a singer. 265 00:15:01,840 --> 00:15:04,120 She never talked about herself. 266 00:15:04,120 --> 00:15:08,800 # Here come old flattop He come grooving up slowly 267 00:15:08,800 --> 00:15:12,360 # He got juju eyeball He one holy roller... # 268 00:15:12,360 --> 00:15:16,520 I met her for the first time in the spring of '77 269 00:15:16,520 --> 00:15:19,520 and we went around to her brother's house to meet her 270 00:15:19,520 --> 00:15:22,800 because we wanted to get a band together to do some pubs 271 00:15:22,800 --> 00:15:26,000 and the idea was, we'd get his sister to sing because 272 00:15:26,000 --> 00:15:29,240 we might be able to get a few more gigs if we had a girl singer. 273 00:15:29,240 --> 00:15:32,800 MUSIC: "James and the Cold Gun" 274 00:15:32,800 --> 00:15:35,480 And so we got that band together, we had a few rehearsals, 275 00:15:35,480 --> 00:15:38,400 we did lots of covers but we did things like James and the Cold Gun, 276 00:15:38,400 --> 00:15:40,440 Heavy People, all that kind of stuff, 277 00:15:40,440 --> 00:15:42,400 we did embryonic persons of those. 278 00:15:42,400 --> 00:15:47,200 # James, come on home... # 279 00:15:48,800 --> 00:15:52,400 - PRODUCER: - The first time you sang in public, do you remember that? 280 00:15:52,400 --> 00:15:56,720 Yeah, that was about two years ago in a pub in Lewisham. 281 00:15:56,720 --> 00:15:59,200 And I was so scared, I really was. 282 00:15:59,200 --> 00:16:00,960 And I knew from day one, 283 00:16:00,960 --> 00:16:03,560 I knew, there was no way this girl's not going to make it. 284 00:16:03,560 --> 00:16:06,080 She's going to be a huge success, 285 00:16:06,080 --> 00:16:09,360 there is no way, because she was so driven for it 286 00:16:09,360 --> 00:16:12,160 and her enthusiasm for it was infectious. 287 00:16:12,160 --> 00:16:13,800 APPLAUSE 288 00:16:13,800 --> 00:16:17,760 Now we have a young person, Basil Bush's sister, 289 00:16:17,760 --> 00:16:19,680 who, as you know, 290 00:16:19,680 --> 00:16:24,080 was responsible for that great hit, Withering Tights. 291 00:16:24,080 --> 00:16:26,360 Kate Bush and the Bushwhackers. 292 00:16:26,360 --> 00:16:28,720 - # Rolling the ball - Rolling 293 00:16:28,720 --> 00:16:30,760 - # Rolling the ball - Rolling 294 00:16:30,760 --> 00:16:33,680 # Rolling the ball to me... # 295 00:16:33,680 --> 00:16:36,560 The early vocal style is really acrobatic, isn't it? 296 00:16:36,560 --> 00:16:41,560 It's very, almost sort of vocal gymnastics, isn't it? 297 00:16:41,560 --> 00:16:43,320 Jumping around all over the place. 298 00:16:43,320 --> 00:16:47,440 She's almost still finding her... finding her style a little bit. 299 00:16:47,440 --> 00:16:49,560 It's quite kooky and strange. 300 00:16:50,920 --> 00:16:52,960 # They made me look at myself 301 00:16:52,960 --> 00:16:54,720 # I saw it was... # 302 00:16:54,720 --> 00:16:58,280 'When I first started singing, I had an incredibly plain voice.' 303 00:16:58,280 --> 00:17:00,680 I mean, I could sing in tune, but that was about it. 304 00:17:00,680 --> 00:17:02,400 I mean, I really wasn't that good, 305 00:17:02,400 --> 00:17:06,760 and really, all I did was sing every day. Because I was writing songs, 306 00:17:06,760 --> 00:17:10,000 'I would sing them, and I was concentrating much more on my writing 307 00:17:10,000 --> 00:17:12,320 'and therefore my voice came through that.' 308 00:17:12,320 --> 00:17:15,480 # Them heavy people hit me in a soft spot... # 309 00:17:15,480 --> 00:17:18,360 You can sort of understand the experimentation of her music 310 00:17:18,360 --> 00:17:21,120 through thinking about what she does with her voice 311 00:17:21,120 --> 00:17:24,720 and she uses it as a kind of fabric 312 00:17:24,720 --> 00:17:28,040 to sort of pull and push and almost tear apart 313 00:17:28,040 --> 00:17:30,720 and she's sort of stretching the fabric, 314 00:17:30,720 --> 00:17:34,440 not just of her voice but of the whole kind of pop form, I think. 315 00:17:34,440 --> 00:17:41,080 # Wow, wow, wow, wow, wow, wow 316 00:17:41,080 --> 00:17:45,080 # Unbelievable... # 317 00:17:45,080 --> 00:17:47,080 There are lots of layers to that song, 318 00:17:47,080 --> 00:17:51,600 but what she's doing with her voice is just going, "Wow, wow, wow..." 319 00:17:51,600 --> 00:17:55,520 It's very hypnotic, it's a bit like a siren, 320 00:17:55,520 --> 00:17:59,280 and then it whoops up to a very high register. 321 00:17:59,280 --> 00:18:00,800 It's like a child, 322 00:18:00,800 --> 00:18:04,080 it's like a kind of just revelling in what her voice can do. 323 00:18:05,760 --> 00:18:12,240 # We're all alone on the stage tonight... # 324 00:18:12,240 --> 00:18:16,000 It's sort of about her own melodrama, isn't it? About the... 325 00:18:16,000 --> 00:18:19,920 About the actor, about the sadness of vanity. 326 00:18:19,920 --> 00:18:24,920 # We know all our lines so well... 327 00:18:24,920 --> 00:18:27,200 # Ah-hah! # 328 00:18:27,200 --> 00:18:28,720 That's what you wanted! 329 00:18:28,720 --> 00:18:30,680 # We've said them so many times. # 330 00:18:30,680 --> 00:18:33,560 Listening to this on a record player in suburbia, 331 00:18:33,560 --> 00:18:37,160 and you're taken, it's like she takes you by the hand 332 00:18:37,160 --> 00:18:41,240 and you fly off through the sky like The Snowman or A Christmas Carol. 333 00:18:43,240 --> 00:18:46,840 # He's too busy hitting the Vaseline... # 334 00:18:46,840 --> 00:18:49,400 "He's too busy hitting the Vaseline." 335 00:18:49,400 --> 00:18:55,240 I don't know whether that's a gay reference or not. It's a bit rude. 336 00:18:55,240 --> 00:18:56,840 # We'd give you a part... # 337 00:18:56,840 --> 00:18:58,880 You'd give me a part, my love. 338 00:18:58,880 --> 00:19:01,880 # But you'd have to play the fool... # 339 00:19:01,880 --> 00:19:03,680 But you'd have to play the fool. 340 00:19:05,920 --> 00:19:10,280 # Wow, wow, wow, wow, wow, wow! 341 00:19:10,280 --> 00:19:13,560 # Unbelievable! 342 00:19:13,560 --> 00:19:17,880 # Wow, wow, wow, wow, wow 343 00:19:17,880 --> 00:19:21,520 # Unbelievable! # 344 00:19:21,520 --> 00:19:23,800 Of course, she's a gift for satirists. 345 00:19:23,800 --> 00:19:28,720 Of course, it's easy, because dull artists, especially in pop music, 346 00:19:28,720 --> 00:19:31,400 are very difficult to satirise. 347 00:19:31,400 --> 00:19:33,040 MUSIC: "Wuthering Heights" 348 00:19:33,040 --> 00:19:37,880 # I'm so cold, let me in at your window... # 349 00:19:40,480 --> 00:19:43,160 It was all there on a plate, really, wasn't it? 350 00:19:43,160 --> 00:19:44,640 # I'm running up that road 351 00:19:44,640 --> 00:19:46,880 # I'm running up that hill 352 00:19:46,880 --> 00:19:48,160 AUDIENCE CLAPS ALONG 353 00:19:48,160 --> 00:19:50,720 # No problem 354 00:19:50,720 --> 00:19:51,960 # Rolling the ball... # 355 00:19:51,960 --> 00:19:54,600 'It's about misinterpreting what she meant, you know,' 356 00:19:54,600 --> 00:19:57,600 "It's me, I'm Cathy, I've come home now, 357 00:19:57,600 --> 00:20:00,240 "so cold, let me into your window," 358 00:20:00,240 --> 00:20:04,040 and I think he goes, "Let me into your window, whoa-ho-ho!" 359 00:20:04,040 --> 00:20:05,320 Heathcliff! 360 00:20:05,320 --> 00:20:10,480 'As if it's sort of cheeky and sexy and not about the angst of love.' 361 00:20:10,480 --> 00:20:14,520 # So co-o-o-o-o-old, let me into your window! 362 00:20:14,520 --> 00:20:15,880 # Oh-ho! 363 00:20:15,880 --> 00:20:17,480 # Heathcliff! # 364 00:20:17,480 --> 00:20:19,400 'It was fun to do, people laughed' 365 00:20:19,400 --> 00:20:23,600 and Kate Bush came to the last night of my show to see it 366 00:20:23,600 --> 00:20:26,640 'when we performed in the West End.' 367 00:20:26,640 --> 00:20:29,200 She said, "It's so nice to hear all those songs again." 368 00:20:29,200 --> 00:20:30,440 That's what she said! 369 00:20:32,080 --> 00:20:39,440 # We're all alone on the stage tonight... # 370 00:20:39,440 --> 00:20:42,640 In early January this year, Kate Bush had never performed 371 00:20:42,640 --> 00:20:46,920 before an important live audience. In a sense, she was a media singer. 372 00:20:46,920 --> 00:20:49,320 When she took the decision to go on tour, 373 00:20:49,320 --> 00:20:52,560 no-one doubted how important it could prove to her career. 374 00:20:52,560 --> 00:20:54,720 MUSIC: "Kite" 375 00:21:03,400 --> 00:21:05,560 Her early shows were so sensational, 376 00:21:05,560 --> 00:21:08,200 the one she did at the Palladium, for example, 377 00:21:08,200 --> 00:21:11,080 were the benchmark for people's shows in the future. 378 00:21:11,080 --> 00:21:14,560 MUSIC: "James And The Cold Gun" 379 00:21:14,560 --> 00:21:16,080 Aurally, she was who she was, 380 00:21:16,080 --> 00:21:19,280 but visually, she created a new standard for people. 381 00:21:21,280 --> 00:21:23,200 APPLAUSE 382 00:21:23,200 --> 00:21:25,560 - Did you enjoy the show? - It was lovely. - Did you? 383 00:21:25,560 --> 00:21:29,240 - Are you really happy? - I'm knocked out. I can't believe that audience. 384 00:21:31,920 --> 00:21:33,440 Now that it has worked so well, 385 00:21:33,440 --> 00:21:36,520 I gather you were a bit worried beforehand that it would all be OK, 386 00:21:36,520 --> 00:21:38,640 now it has proved to be so successful, do you think 387 00:21:38,640 --> 00:21:41,120 you might do a more extensive tour later in the year? 388 00:21:41,120 --> 00:21:42,440 That really depends. 389 00:21:42,440 --> 00:21:44,400 So much depends on energy 390 00:21:44,400 --> 00:21:46,800 because it can become very tiring, 391 00:21:46,800 --> 00:21:50,280 with the travelling. I don't know, we have to wait and see. 392 00:21:50,280 --> 00:21:51,640 CHEERING AND APPLAUSE 393 00:21:56,800 --> 00:21:59,080 I hope she doesn't mind me saying this 394 00:21:59,080 --> 00:22:03,200 but it's about 14 years ago, I had a long, long phone call with her 395 00:22:03,200 --> 00:22:05,120 because I wanted her to do something 396 00:22:05,120 --> 00:22:09,280 and she wouldn't do something live with me, or do some song with me, 397 00:22:09,280 --> 00:22:11,160 and she rang me to tell me why 398 00:22:11,160 --> 00:22:13,960 and it turned into a long, long conversation 399 00:22:13,960 --> 00:22:19,640 about performing on stage and how terrifying it can be, 400 00:22:19,640 --> 00:22:23,360 and how she hadn't done it for a long, long time 401 00:22:23,360 --> 00:22:25,160 and she felt a little bit, 402 00:22:25,160 --> 00:22:30,000 just a bit scared by the prospect of going out there again. 403 00:22:38,360 --> 00:22:41,600 I think her early stuff was her kind of still finding her way. 404 00:22:41,600 --> 00:22:44,160 I don't think that she quite found herself. 405 00:22:44,160 --> 00:22:46,160 Lots of artists need to find their way 406 00:22:46,160 --> 00:22:49,640 and all of that early stuff with her dancing around in a leotard... 407 00:22:49,640 --> 00:22:52,960 # They've got the stars for the gallant hearts 408 00:22:52,960 --> 00:22:55,560 # I'm the replacement for your part... # 409 00:22:55,560 --> 00:22:58,880 I don't know, it was all a little bit am dram, wasn't it? 410 00:22:58,880 --> 00:23:00,760 Some people would have thought, 411 00:23:00,760 --> 00:23:05,040 you know, it looks like she's come straight out of drama school 412 00:23:05,040 --> 00:23:07,480 and she's learned how to wave scarves around 413 00:23:07,480 --> 00:23:11,280 and that sort of thing. But to me, it wasn't really about that. 414 00:23:11,280 --> 00:23:13,280 It was kind of about the whole package 415 00:23:13,280 --> 00:23:16,800 and the sound coming out of her was just so incredible 416 00:23:16,800 --> 00:23:21,800 that kind of blew every other, you know... 417 00:23:21,800 --> 00:23:24,640 problem, if you like, away. People didn't really care 418 00:23:24,640 --> 00:23:27,200 if she looked a bit naff. She just sounded amazing. 419 00:23:28,840 --> 00:23:32,160 # Outside 420 00:23:33,640 --> 00:23:38,120 # Gets inside, ooh 421 00:23:38,120 --> 00:23:40,720 # Through her skin. # 422 00:23:40,720 --> 00:23:42,720 Breathing is a foetal song. 423 00:23:42,720 --> 00:23:46,000 It's a song of a reincarnated foetus coming around again, 424 00:23:46,000 --> 00:23:47,880 terrified of a nuclear war, 425 00:23:47,880 --> 00:23:50,680 terrified of the radioactivity outside, 426 00:23:50,680 --> 00:23:54,200 terrified of the idea that we won't be able to breathe. 427 00:23:54,200 --> 00:23:55,680 # Keep breathing... # 428 00:23:55,680 --> 00:23:57,600 Nobody writes songs like that. 429 00:23:57,600 --> 00:24:01,600 It's utterly political and it's utterly female. 430 00:24:01,600 --> 00:24:03,960 # Breathing 431 00:24:03,960 --> 00:24:07,760 # Breathing my mother in 432 00:24:07,760 --> 00:24:10,360 # Breathing 433 00:24:10,360 --> 00:24:13,680 # My beloved in 434 00:24:13,680 --> 00:24:15,760 # Breathing... # 435 00:24:15,760 --> 00:24:19,160 It's almost like a reminder how important women are. 436 00:24:19,160 --> 00:24:21,640 I've had a funny thing, my mother committed suicide 437 00:24:21,640 --> 00:24:24,520 and my whole career has been based around my mother. 438 00:24:24,520 --> 00:24:26,960 All around my mother cos I didn't know her, 439 00:24:26,960 --> 00:24:30,560 and you know, just like, "Keep breathing, breathing my mother in", 440 00:24:30,560 --> 00:24:34,520 that lyric there could be my whole career and this is what it means. 441 00:24:34,520 --> 00:24:36,360 I'm a kid from a council flat, 442 00:24:36,360 --> 00:24:39,640 I'm a mixed-race guy who grew up in a white ghetto, 443 00:24:39,640 --> 00:24:42,880 totally different life to Kate Bush, 444 00:24:42,880 --> 00:24:46,080 but that lyric, "Keep breathing my mother in", 445 00:24:46,080 --> 00:24:47,960 my whole career is based on that. 446 00:24:50,000 --> 00:24:53,800 # What are we going to do? 447 00:24:53,800 --> 00:24:56,440 # Breathe... # 448 00:24:56,440 --> 00:24:59,120 It was like a little symphony. 449 00:24:59,120 --> 00:25:02,520 It had the male choir, like this call and response, 450 00:25:02,520 --> 00:25:05,000 "What are we going to do?" 451 00:25:05,000 --> 00:25:07,760 And then she's like, "Breathing!" The way she's singing, 452 00:25:07,760 --> 00:25:10,920 I was just like, "Oh, my God, what's this woman on?" 453 00:25:10,920 --> 00:25:15,880 - # Are we going to die without... - Leave me something to breathe... # 454 00:25:15,880 --> 00:25:20,040 This is a whole universe I can dive into 455 00:25:20,040 --> 00:25:25,960 and for me, it was very avant-garde and expressive and kind of... 456 00:25:25,960 --> 00:25:27,800 from a complete different planet 457 00:25:27,800 --> 00:25:30,640 to everything else that you see from the '80s, like you say, 458 00:25:30,640 --> 00:25:33,840 Duran Duran, you know, on a boat in Rio! 459 00:25:33,840 --> 00:25:35,960 She was definitely out there on her own. 460 00:25:39,160 --> 00:25:43,880 It's funny, nobody ever applies the term "progressive rock" to Kate Bush 461 00:25:43,880 --> 00:25:45,280 but to me, it's prog, 462 00:25:45,280 --> 00:25:48,920 you know, it's everything I love about the best prog. 463 00:25:48,920 --> 00:25:52,000 It's like, the really sort of brash stuff which is about 464 00:25:52,000 --> 00:25:55,120 people showing technical ability, I have no interest in, 465 00:25:55,120 --> 00:25:56,880 but the experimental dreamy stuff 466 00:25:56,880 --> 00:26:00,160 that sort of came from lots of different places at once, you know, 467 00:26:00,160 --> 00:26:03,240 I sit her stuff next to... 468 00:26:03,240 --> 00:26:06,320 well, next to Genesis, the obvious comparison as well 469 00:26:06,320 --> 00:26:08,680 because of her story with Peter Gabriel. 470 00:26:09,840 --> 00:26:13,400 # Jeux sans frontieres 471 00:26:14,760 --> 00:26:18,160 # Jeux sans frontieres 472 00:26:19,520 --> 00:26:22,200 # Jeux sans frontieres... # 473 00:26:22,200 --> 00:26:25,080 One, two, three, four. 474 00:26:25,080 --> 00:26:27,600 SHATTERING 475 00:26:28,800 --> 00:26:31,800 Gabriel used a computerised instrument called a Fairlight. 476 00:26:31,800 --> 00:26:35,840 Any sound can be fed into it, stored and played back on its keyboard. 477 00:26:37,240 --> 00:26:39,000 What was so exciting was that 478 00:26:39,000 --> 00:26:42,560 you could take any sound in and then manipulate it. 479 00:26:42,560 --> 00:26:46,520 See, if I pick up this mike, for an example, 480 00:26:46,520 --> 00:26:49,360 and press S for sample, 481 00:26:49,360 --> 00:26:51,360 we can put in the sound, I hope. 482 00:26:51,360 --> 00:26:52,800 "Mummy!" 483 00:26:52,800 --> 00:26:57,200 Over here, we have the waveform, and it should be up on the keyboard. 484 00:26:57,200 --> 00:26:59,080 - AT VARYING PITCHES: - 'Mummy! Mummy!' 485 00:26:59,080 --> 00:27:01,720 Every kid can do that with their phone nowadays, 486 00:27:01,720 --> 00:27:06,280 but at the time, it was absolutely unique and suddenly opened up 487 00:27:06,280 --> 00:27:11,040 these whole sort of continents of new sound texture. 488 00:27:11,040 --> 00:27:14,960 # All yours, Babooshka, Babooshka 489 00:27:14,960 --> 00:27:18,080 # Babooshka-ya-ya 490 00:27:18,080 --> 00:27:19,400 SHATTERING 491 00:27:19,400 --> 00:27:24,200 # Babooshka, Babooshka, Babooshka-ya-ya 492 00:27:24,200 --> 00:27:25,960 SHATTERING 493 00:27:25,960 --> 00:27:30,080 Well, she did give me a credit on one record for opening her windows. 494 00:27:30,080 --> 00:27:32,120 I had actually cleaned the windows, 495 00:27:32,120 --> 00:27:35,800 but I'm very happy to get any acknowledgement. 496 00:27:37,000 --> 00:27:40,960 - # Babooshka - She wanted to test her husband 497 00:27:40,960 --> 00:27:44,400 # She knew exactly what to do 498 00:27:44,400 --> 00:27:47,720 # A pseudonym to fool him 499 00:27:47,720 --> 00:27:52,160 # She couldn't have made a worse move 500 00:27:52,160 --> 00:27:55,040 # She sent him scented letters 501 00:27:55,040 --> 00:27:58,960 # And he received them with a strange delight 502 00:27:58,960 --> 00:28:00,760 # Just like his wife... # 503 00:28:00,760 --> 00:28:04,080 The video is so kind of classic Kate Bush 504 00:28:04,080 --> 00:28:08,960 because she does this thing, whenever she's performing, 505 00:28:08,960 --> 00:28:12,040 which is that she's one version of herself, 506 00:28:12,040 --> 00:28:14,760 and then often when the chorus kicks in... 507 00:28:14,760 --> 00:28:16,880 # She signed the letter 508 00:28:16,880 --> 00:28:19,480 # All yours, Babooshka... # 509 00:28:19,480 --> 00:28:23,040 ..she becomes this other version, which is a kind of crazier version 510 00:28:23,040 --> 00:28:26,400 and her eyes get very wide and the camera zooms in 511 00:28:26,400 --> 00:28:31,400 and she's sort of performing this kind of crazy, unhinged woman, 512 00:28:31,400 --> 00:28:35,880 and that's clearly a side to her that she brings out in these songs. 513 00:28:35,880 --> 00:28:38,920 # Shout it out, I'm all yours 514 00:28:38,920 --> 00:28:42,640 # Babooshka, Babooshka, Babooshka-ya-ya! # 515 00:28:42,640 --> 00:28:44,240 Babooshka's one of those songs 516 00:28:44,240 --> 00:28:46,440 you just can't get out of your head, can you? 517 00:28:46,440 --> 00:28:50,200 You know, how she's able to take a word 518 00:28:50,200 --> 00:28:53,800 and then you start seeing images and pictures 519 00:28:53,800 --> 00:28:56,880 to a word that maybe you haven't used, 520 00:28:56,880 --> 00:29:01,680 it's not as if you're saying, "Je t'aime." It's Babooshka. 521 00:29:01,680 --> 00:29:05,200 And how she's turned that into, though, an emotion. 522 00:29:05,200 --> 00:29:09,400 That's just how she's able to use a combination of a word 523 00:29:09,400 --> 00:29:12,400 and a combination of a melody and the rhythm of that, 524 00:29:12,400 --> 00:29:14,240 and it creates a new language. 525 00:29:14,240 --> 00:29:16,360 # Babooshka 526 00:29:16,360 --> 00:29:18,600 # She wanted to take it further 527 00:29:18,600 --> 00:29:22,200 # So she arranged a place to go... # 528 00:29:22,200 --> 00:29:24,400 The first song I heard was Babooshka 529 00:29:24,400 --> 00:29:26,520 and like, you know, with the bass 530 00:29:26,520 --> 00:29:31,000 and this amazing relationship she had with that bass. 531 00:29:31,000 --> 00:29:34,200 No-one had done anything like that before 532 00:29:34,200 --> 00:29:37,920 and like, the dance moves that she was doing 533 00:29:37,920 --> 00:29:41,400 were not things that you would learn in a dance academy 534 00:29:41,400 --> 00:29:45,640 and the music was not something you'd learn in a kind of rock school 535 00:29:45,640 --> 00:29:48,080 or a conservatoire of music academy. 536 00:29:48,080 --> 00:29:51,680 What I love about her music is that it's so innate, 537 00:29:51,680 --> 00:29:55,840 the talent she has is so innate but perfect, fully formed music. 538 00:29:59,880 --> 00:30:01,960 I read an interview with her one time, 539 00:30:01,960 --> 00:30:06,320 where she was asked something along the lines of, 540 00:30:06,320 --> 00:30:09,480 "Why do you write from the perspective of a lot of characters?" 541 00:30:09,480 --> 00:30:12,440 And she said, very simply and eloquently, 542 00:30:12,440 --> 00:30:14,800 "Because they are more interesting than I am." 543 00:30:14,800 --> 00:30:16,840 MUSIC: "Army Dreamers" 544 00:30:19,920 --> 00:30:23,680 # Army dreamers... # 545 00:30:23,680 --> 00:30:29,000 She seems to have an endless kind of ability to put herself in 546 00:30:29,000 --> 00:30:32,520 and empathise with different characters and viewpoints. 547 00:30:32,520 --> 00:30:35,120 # What could he do? Should have been a rock star 548 00:30:35,120 --> 00:30:38,200 # But he didn't have the money for a guitar... # 549 00:30:38,200 --> 00:30:41,360 Army Dreamers is a maternal point of view, you know, 550 00:30:41,360 --> 00:30:44,840 you've got this song about young squaddies dying. 551 00:30:44,840 --> 00:30:48,360 And the person singing it, you know, somewhere, 552 00:30:48,360 --> 00:30:52,120 understands what it's like to be a mother and to lose a son. 553 00:30:52,120 --> 00:30:55,240 # Army dreamers 554 00:30:55,240 --> 00:30:57,520 # Oh, what a waste of 555 00:30:57,520 --> 00:30:59,680 # Army dreamers... # 556 00:30:59,680 --> 00:31:03,560 Byron once said of Keats, 557 00:31:03,560 --> 00:31:06,440 "Keats writes about what he imagines. 558 00:31:06,440 --> 00:31:09,040 "I write about what I live." 559 00:31:09,040 --> 00:31:13,360 And most rock'n'roll people 560 00:31:13,360 --> 00:31:17,600 write about their lives in some way, 561 00:31:17,600 --> 00:31:21,640 and Kate Bush is more like Keats, 562 00:31:21,640 --> 00:31:25,880 in that she writes about what she imagines. 563 00:31:31,120 --> 00:31:33,640 # I see the people working 564 00:31:33,640 --> 00:31:35,920 # And see it working for them 565 00:31:35,920 --> 00:31:38,440 # And so I want to join in 566 00:31:38,440 --> 00:31:40,600 # But then I find it hurt me 567 00:31:40,600 --> 00:31:44,080 # Some say that knowledge is something sat in your lap... # 568 00:31:44,080 --> 00:31:47,920 My favourite album by her is The Dreaming, 569 00:31:47,920 --> 00:31:50,040 and I think she produced that one herself. 570 00:31:50,040 --> 00:31:51,800 And that got a lot of criticism. 571 00:31:51,800 --> 00:31:55,480 But I loved it, it was overloaded with textures and tones 572 00:31:55,480 --> 00:31:57,920 and all manner of things. 573 00:31:57,920 --> 00:32:00,520 It's a record that I still can play to this day 574 00:32:00,520 --> 00:32:02,240 and still hear new things. 575 00:32:02,240 --> 00:32:05,640 I mean, obviously, it's not number one on the dance floor, 576 00:32:05,640 --> 00:32:07,800 but then, all music shouldn't be. 577 00:32:14,160 --> 00:32:18,320 Well, seemingly, it's you, holding on to some bloke's ears, 578 00:32:18,320 --> 00:32:21,960 - with something in your mouth, it looks like... Is it a key? - Yeah. 579 00:32:21,960 --> 00:32:23,800 It's a key. Ah-ha! 580 00:32:23,800 --> 00:32:28,120 Well, if you listen to the album, and especially to the song Houdini, 581 00:32:28,120 --> 00:32:30,320 then you'll know all about it. 582 00:32:35,640 --> 00:32:38,680 Well, it's "With a kiss, I'd pass the key." 583 00:32:38,680 --> 00:32:42,120 Do you know who the man is that she's kissing? It's me! 584 00:32:42,120 --> 00:32:48,040 You can only see my right ear, but then again, who wants to see me? 585 00:32:48,040 --> 00:32:51,200 Kate has spent the last 14 months holed up in various studios, 586 00:32:51,200 --> 00:32:54,720 recording her new LP, The Dreaming, and the resultant noises include 587 00:32:54,720 --> 00:32:58,480 helicopter rotor blades, didgeridoos and a chorus of fake sheep. 588 00:33:02,760 --> 00:33:07,200 # Bang goes another kanga on the bonnet of the van... # 589 00:33:07,200 --> 00:33:09,560 But on that track, you employed, I think, 590 00:33:09,560 --> 00:33:15,040 - Percy Edwards to supply the kind of synthesised jungle backing? - Yes. 591 00:33:15,040 --> 00:33:18,800 Well, I knew that in the choruses, we wanted to create a feeling 592 00:33:18,800 --> 00:33:22,240 of the landscape, and obviously there are a lot of Australian animals, 593 00:33:22,240 --> 00:33:25,280 and the sounds are very reminiscent of the environment. 594 00:33:25,280 --> 00:33:27,640 And of course, Percy could come along and give us 595 00:33:27,640 --> 00:33:31,520 a selection of at least 10 different Australian animals. 596 00:33:31,520 --> 00:33:33,600 HE COOS 597 00:33:33,600 --> 00:33:37,440 I'm not sure which song is the one where she's, like, donkey braying! 598 00:33:37,440 --> 00:33:39,920 There's one where she's like, "Hee-haw!" 599 00:33:55,040 --> 00:33:58,680 When I first heard it, I almost had to bend my ears round, 600 00:33:58,680 --> 00:34:02,720 to be able to understand the sounds that were coming at me. 601 00:34:02,720 --> 00:34:05,040 And I found it really... 602 00:34:05,040 --> 00:34:08,880 Again, I was 11 or 12, so I found some of it really scary. 603 00:34:08,880 --> 00:34:11,360 # I must admit 604 00:34:11,360 --> 00:34:14,240 # Just when I think I'm king... # 605 00:34:14,240 --> 00:34:17,720 The direction I'm going in with my art is the way I want to go, 606 00:34:17,720 --> 00:34:21,760 because for me, it's a little bit deeper, it's got more meaning, 607 00:34:21,760 --> 00:34:24,560 it's not so poppy, I suppose. 608 00:34:24,560 --> 00:34:28,120 But of course, maybe that won't be so widely accepted, 609 00:34:28,120 --> 00:34:30,320 especially in the singles chart. 610 00:34:30,320 --> 00:34:33,760 # We got the job sussed 611 00:34:33,760 --> 00:34:36,400 # This shop's shut for business 612 00:34:37,640 --> 00:34:43,040 # The lookout has parked the car but kept the engine running 613 00:34:43,040 --> 00:34:45,520 # Three beeps means trouble's coming... # 614 00:34:45,520 --> 00:34:48,240 She came out with this record that people were just, like, 615 00:34:48,240 --> 00:34:51,280 "What?" They couldn't grasp it. 616 00:34:51,280 --> 00:34:53,640 But the greatest thing that happened was, 617 00:34:53,640 --> 00:34:55,480 after that, The Hounds Of Love, 618 00:34:55,480 --> 00:34:58,840 which was one of her most complete works, was created. 619 00:34:58,840 --> 00:35:02,120 I think, only through pushing through those boundaries 620 00:35:02,120 --> 00:35:06,800 and exploring the deepest recesses of production could she then 621 00:35:06,800 --> 00:35:09,480 come through and create something like The Hounds of Love. 622 00:35:09,480 --> 00:35:12,600 You went away on your own terms to make this LP, didn't you? 623 00:35:12,600 --> 00:35:14,080 Yes, I wanted to make sure that we 624 00:35:14,080 --> 00:35:15,440 got our own studio together, 625 00:35:15,440 --> 00:35:16,920 that was the next move, really. 626 00:35:16,920 --> 00:35:20,240 I spent a lot of time on the last album moving from studio to studio, 627 00:35:20,240 --> 00:35:23,000 and now we've got our own place 628 00:35:23,000 --> 00:35:26,160 and everything is brilliant, it makes such a difference. 629 00:35:26,160 --> 00:35:30,280 When we set up the mastering studio for Hounds Of Love, I think 630 00:35:30,280 --> 00:35:34,280 that really did get rid of the last of the chains that she had, 631 00:35:34,280 --> 00:35:36,000 that she felt she had. 632 00:35:36,000 --> 00:35:38,640 And it did set her free, in a lot of ways. 633 00:35:38,640 --> 00:35:40,920 MUSIC: "Running Up That Hill (A Deal With God)" 634 00:35:40,920 --> 00:35:44,040 Now, though, a timely burst from a lady who hasn't graced 635 00:35:44,040 --> 00:35:46,120 the turntables with a new record for two years. 636 00:35:46,120 --> 00:35:47,360 It's nice to have her back. 637 00:35:50,280 --> 00:35:53,360 I just remember pulling aside - I was driving - 638 00:35:53,360 --> 00:35:56,600 and I heard it on the radio, in the States. 639 00:35:56,600 --> 00:35:59,560 And she didn't get played a lot on the radio in the States, 640 00:35:59,560 --> 00:36:00,840 until that song. 641 00:36:00,840 --> 00:36:03,040 That really got played a lot. 642 00:36:03,040 --> 00:36:06,360 # It doesn't hurt me 643 00:36:06,360 --> 00:36:09,280 # D'you want to feel how it feels? 644 00:36:10,800 --> 00:36:13,640 # D'you want to know Know that it doesn't hurt me... # 645 00:36:13,640 --> 00:36:17,640 I remember, I had to pull over and listen to it. 646 00:36:17,640 --> 00:36:19,840 Because I had never heard anything like it. 647 00:36:19,840 --> 00:36:23,840 # And if I only could I'd make a deal with God 648 00:36:23,840 --> 00:36:26,960 # And I'd get him to swap our places 649 00:36:26,960 --> 00:36:29,120 # Be running up that road... # 650 00:36:29,120 --> 00:36:30,280 I think the choreography, 651 00:36:30,280 --> 00:36:33,080 the fact that there was suddenly a Kate Bush who was completely 652 00:36:33,080 --> 00:36:38,200 owning, you know, the aspect of dance, even not singing, 653 00:36:38,200 --> 00:36:41,320 you know, she wasn't even lip-syncing, she was just dancing. 654 00:36:41,320 --> 00:36:43,880 On top of that, it was a way of dancing that 655 00:36:43,880 --> 00:36:47,200 was at the time not at all popular. 656 00:36:47,200 --> 00:36:50,840 It wasn't a type of dancing that you would have from, I don't know, 657 00:36:50,840 --> 00:36:53,520 artists like Michael Jackson or Janet Jackson or Madonna, 658 00:36:53,520 --> 00:36:57,440 you had somebody who was bringing in a style of dancing 659 00:36:57,440 --> 00:37:00,840 that was like a marginal way of moving in a modern dance. 660 00:37:00,840 --> 00:37:03,040 # Tell me we both matter, don't we? # 661 00:37:03,040 --> 00:37:06,560 This is, like, one of my all-time favourite songs. 662 00:37:06,560 --> 00:37:09,560 Music is supposed to evoke emotion, you know what I'm saying? 663 00:37:09,560 --> 00:37:11,600 It makes us feel a certain way, you know? 664 00:37:11,600 --> 00:37:13,880 That's what the vibrations are, 665 00:37:13,880 --> 00:37:15,720 it's not stagnant, 666 00:37:15,720 --> 00:37:17,160 it's not just plain or whatever, 667 00:37:17,160 --> 00:37:18,440 every time you listen to it, 668 00:37:18,440 --> 00:37:21,560 it just touches you, strikes a chord. 669 00:37:21,560 --> 00:37:25,120 # And I'd get him to swap our places... # 670 00:37:25,120 --> 00:37:28,280 # Be running up that road, be running up that hill... # 671 00:37:28,280 --> 00:37:31,720 'I was introduced to the music by my Uncle Russell, 672 00:37:31,720 --> 00:37:33,920 'he was kind of like the weirdo of the family, 673 00:37:33,920 --> 00:37:36,480 'he was a skateboarder and all kind of things, so I was' 674 00:37:36,480 --> 00:37:41,200 sixth or seventh grade and I used to ride my bike to school and just listen to it and I just got deeper 675 00:37:41,200 --> 00:37:45,600 and deeper into it, you know, that's one of my biggest musical influences, I love it. 676 00:37:45,600 --> 00:37:50,320 # If I only could Be running up that hill. # 677 00:37:52,120 --> 00:37:56,360 If you look at her work from The Kick Inside 678 00:37:56,360 --> 00:38:00,400 and how it evolves through things like Never For Ever 679 00:38:00,400 --> 00:38:03,680 and stuff like that, into, you know, the zenith, which is 680 00:38:03,680 --> 00:38:07,680 Hounds Of Love for me, you know, it's a beautiful evolution 681 00:38:07,680 --> 00:38:11,480 and the songs are kind of becoming more sophisticated, 682 00:38:11,480 --> 00:38:14,480 even though they've always been sophisticated, even from the start, 683 00:38:14,480 --> 00:38:17,880 they're just developing a kind of calm sophistication. 684 00:38:17,880 --> 00:38:20,800 And I think she just always kept people guessing. 685 00:38:20,800 --> 00:38:23,480 Here with the title track of her bestselling LP, 686 00:38:23,480 --> 00:38:27,360 in the studio at number 18, Kate Bush with The Hounds Of Love. 687 00:38:29,000 --> 00:38:31,880 'It's in the trees! It's coming!' 688 00:38:31,880 --> 00:38:36,640 # When I was a child Running in the night 689 00:38:36,640 --> 00:38:39,200 # Afraid of what might be 690 00:38:39,200 --> 00:38:42,400 # Hiding in the dark Hiding in the streets... # 691 00:38:42,400 --> 00:38:46,200 She starts the song with that quote from Night Of The Demon. 692 00:38:46,200 --> 00:38:48,600 And it's a little bit scary. 693 00:38:48,600 --> 00:38:52,520 # The hounds of love are haunting me 694 00:38:52,520 --> 00:38:55,920 # Ooh ooh ooh ooh ooh ooh-ooh 695 00:38:55,920 --> 00:38:58,760 # I've always been a coward 696 00:38:58,760 --> 00:39:00,920 # Ooh ooh ooh ooh... # 697 00:39:00,920 --> 00:39:05,280 It's like this repressed sexuality, so sensual and sexual, 698 00:39:05,280 --> 00:39:08,880 and it's so honest as well, I'm a coward and I'm frightened, 699 00:39:08,880 --> 00:39:12,480 you know, to state "I'm a coward" in the song is quite a brave thing to do, actually. 700 00:39:12,480 --> 00:39:15,200 # Here I go 701 00:39:15,200 --> 00:39:19,440 # It's coming for me through the trees... # 702 00:39:19,440 --> 00:39:21,560 It is like she's on a leash, 703 00:39:21,560 --> 00:39:24,440 it's like the whole song is on a leash and you're tugging it back, 704 00:39:24,440 --> 00:39:27,200 but you know it's just going to escape and burst and run free. 705 00:39:27,200 --> 00:39:31,720 # Take my shoes off and throw them in the lake 706 00:39:31,720 --> 00:39:33,360 # And I'll be... # 707 00:39:33,360 --> 00:39:36,560 I'm convinced that as great as that record sounds, 708 00:39:36,560 --> 00:39:40,080 if you had anyone else sing it, you know, 709 00:39:40,080 --> 00:39:46,520 anyone else try to kind of weave and make it kind of do that thing where 710 00:39:46,520 --> 00:39:50,680 it burns like wildfire and it comes alive, no-one else could do it. 711 00:39:50,680 --> 00:39:54,320 # I found a fox caught by dogs... # 712 00:39:54,320 --> 00:39:58,280 It's incredible, the way she brings this kind of cold, 713 00:39:58,280 --> 00:40:02,880 Arctic atmosphere, it's just like fire, you know? 714 00:40:02,880 --> 00:40:06,360 It's all just like, "Aah!" coming out of her mouth. 715 00:40:06,360 --> 00:40:08,400 # Here I go 716 00:40:08,400 --> 00:40:10,440 # Don't let me go... # 717 00:40:10,440 --> 00:40:13,680 Everything's doubling up now, you've got twice the amount of cellos, 718 00:40:13,680 --> 00:40:14,880 so everything's doubled. 719 00:40:14,880 --> 00:40:18,960 # It's coming for me through the trees... # 720 00:40:18,960 --> 00:40:22,320 The Fairlight synthesiser... 721 00:40:22,320 --> 00:40:24,840 That's the wash, which is what she wrote the song with. 722 00:40:24,840 --> 00:40:28,640 What we had done is, we had set up a pattern in the Fairlight, 723 00:40:28,640 --> 00:40:31,840 put that to tape so she had that pattern to play along with, 724 00:40:31,840 --> 00:40:35,000 and then, she used the Orchestra 5 sound as a wash, 725 00:40:35,000 --> 00:40:36,760 to actually write the song with. 726 00:40:36,760 --> 00:40:38,800 Which is what you hear all the way through, 727 00:40:38,800 --> 00:40:43,120 that kind of washy synthesiser sound that's underneath it all. 728 00:40:43,120 --> 00:40:46,240 Then, all the cellos just dance over the top of it. 729 00:40:48,360 --> 00:40:50,240 Virtually no backing vocals at all. 730 00:40:50,240 --> 00:40:52,080 I think that's the strength of the song, 731 00:40:52,080 --> 00:40:55,520 the fact there is very little to get in the way of that lead vocal. 732 00:40:55,520 --> 00:40:57,920 # And throw them in the lake... # 733 00:40:57,920 --> 00:41:00,800 And now I'm replaying the song in my head. She's like... 734 00:41:00,800 --> 00:41:04,040 # Do you know what I really need Do you know what I really need? 735 00:41:04,040 --> 00:41:05,680 # Need la-la-la-la 736 00:41:05,680 --> 00:41:09,320 # Yay, yo, yay, yo, your love... # 737 00:41:14,000 --> 00:41:18,120 I find it really hard to separate images from the music, 738 00:41:18,120 --> 00:41:20,560 once you know the music is brilliant, and of course, 739 00:41:20,560 --> 00:41:24,520 I associate this image with some of my favourite songs... 740 00:41:26,800 --> 00:41:29,000 ..that I know in my life. 741 00:41:29,000 --> 00:41:35,240 # Little light, shining... # 742 00:41:35,240 --> 00:41:37,760 The second half of The Hounds of Love, 743 00:41:37,760 --> 00:41:40,120 that's really where the magic is, for me. 744 00:41:40,120 --> 00:41:42,480 I mean, the first half is a collection of the singles, 745 00:41:42,480 --> 00:41:43,800 almost, isn't it? 746 00:41:43,800 --> 00:41:48,920 But the second half is an incredible sort of series of songs - 747 00:41:48,920 --> 00:41:52,200 And Dream Of Sheep, which is so beautiful. 748 00:41:52,200 --> 00:41:56,840 # I tune into some friendly voices 749 00:41:58,600 --> 00:42:01,440 # Talking 'bout stupid things... # 750 00:42:01,440 --> 00:42:04,520 "I tune into some friendly voices, talking about stupid things 751 00:42:04,520 --> 00:42:06,360 "I can't be left to my imagination 752 00:42:06,360 --> 00:42:10,320 "Let me be weak, let me sleep and dream of sheep." 753 00:42:10,320 --> 00:42:13,760 # Let me be weak... # 754 00:42:13,760 --> 00:42:15,160 I love that lyric. 755 00:42:15,160 --> 00:42:21,200 # Let me sleep and dream of sheep... # 756 00:42:23,320 --> 00:42:28,360 The way it kind of goes the stranger songs, like Waking the Witch 757 00:42:28,360 --> 00:42:31,560 and things like that, where it's just, it's just these odd 758 00:42:31,560 --> 00:42:35,560 little, uncomfortable little musical moments... 759 00:42:35,560 --> 00:42:39,160 ECHOING PIANO AND VOICES 760 00:42:39,160 --> 00:42:42,080 I think The Ninth Wave was the piece of music that affected me 761 00:42:42,080 --> 00:42:44,480 the most when I was little, because it terrified me. 762 00:42:44,480 --> 00:42:47,280 It's about witches and being stuck under ice 763 00:42:47,280 --> 00:42:50,440 and, you know, floating adrift in a sea of nothingness, 764 00:42:50,440 --> 00:42:54,720 and all those kind of dream elements, subconscious themes, 765 00:42:54,720 --> 00:42:58,640 and very kind of English, ancient storytelling. 766 00:43:01,880 --> 00:43:05,080 It seems like, on that piece of music, 767 00:43:05,080 --> 00:43:08,360 she captured that moment between waking and sleeping. 768 00:43:08,360 --> 00:43:11,600 HAUNTING CHORAL VOCALS 769 00:43:11,600 --> 00:43:13,520 I've spent many, many, 770 00:43:13,520 --> 00:43:16,400 many hours listening to that 30 minutes of music, 771 00:43:16,400 --> 00:43:18,280 it's an incredible piece of music, 772 00:43:18,280 --> 00:43:20,640 and I advise anyone who has never heard it to go 773 00:43:20,640 --> 00:43:23,880 and listen to it, because it's one of the great pieces of music. 774 00:43:26,680 --> 00:43:31,480 Creativity comes from the freedom to fail. 775 00:43:31,480 --> 00:43:34,440 And the freedom to fail comes from, you know, experimentation, 776 00:43:34,440 --> 00:43:38,520 and that's what gives something its individuality, 777 00:43:38,520 --> 00:43:42,560 and, you know, I think her courage, which is 778 00:43:42,560 --> 00:43:47,040 the positive way of interpreting it, or bloody-mindedness, which is 779 00:43:47,040 --> 00:43:52,200 the negative, is part of what gives her real value as an artist. 780 00:43:52,200 --> 00:43:56,560 # In this proud land We grew up strong 781 00:43:56,560 --> 00:43:59,400 # We were wanted all along 782 00:44:01,120 --> 00:44:04,640 # I was taught to fight Taught to win 783 00:44:04,640 --> 00:44:07,160 # I never thought I could fail... # 784 00:44:07,160 --> 00:44:10,000 It's extraordinary what that song has been used for, 785 00:44:10,000 --> 00:44:13,960 but I think a lot of people who have got into trouble have attached 786 00:44:13,960 --> 00:44:17,640 themselves to that song, and I think a lot of it is that Kate's 787 00:44:17,640 --> 00:44:22,800 wonderful voice is there in a sort of reassuring and loving way. 788 00:44:22,800 --> 00:44:26,160 And just makes them think that perhaps there is going to be 789 00:44:26,160 --> 00:44:28,600 that type of love out there for them. 790 00:44:28,600 --> 00:44:31,440 # Don't give up 791 00:44:31,440 --> 00:44:33,800 # Cos you have friends 792 00:44:37,480 --> 00:44:39,960 # Don't give up 793 00:44:39,960 --> 00:44:43,120 # You're not the only one... # 794 00:44:44,240 --> 00:44:46,160 The record she did with Peter Gabriel 795 00:44:46,160 --> 00:44:47,960 was one record that saved my life. 796 00:44:47,960 --> 00:44:50,000 That record helped me get sober. 797 00:44:50,000 --> 00:44:54,680 So, she played a big part in my actual downfall and, um, 798 00:44:54,680 --> 00:44:59,960 rebirth, as it were. That record helped me so much. 799 00:44:59,960 --> 00:45:02,320 I never told her that, but it did. 800 00:45:03,920 --> 00:45:06,040 # Don't give up 801 00:45:06,040 --> 00:45:10,840 # Cos I believe there's a place 802 00:45:10,840 --> 00:45:14,880 # There's a place where we belong... # 803 00:45:14,880 --> 00:45:21,640 One of the things that I love about Kate Bush is her absolute ability 804 00:45:21,640 --> 00:45:26,800 to take things, to pluck things that you would never expect to see 805 00:45:26,800 --> 00:45:31,240 on a rock album and put them there and make them work. 806 00:45:31,240 --> 00:45:32,960 # Mm, yes 807 00:45:32,960 --> 00:45:38,640 # Then I'd taken the kiss of seedcake back from his mouth... # 808 00:45:38,640 --> 00:45:40,160 'James Joyce's Ulysses,' 809 00:45:40,160 --> 00:45:43,480 one of the greatest passages 810 00:45:43,480 --> 00:45:49,000 in all of English or Anglo-Irish literature 811 00:45:49,000 --> 00:45:54,560 is Molly Bloom's glorious soliloquy 812 00:45:54,560 --> 00:45:57,440 ending in a sequence of yes's. 813 00:45:57,440 --> 00:46:00,920 Yes, he said, I was a flower of the mountain, yes, 814 00:46:00,920 --> 00:46:03,440 so we're all flowers, a woman's body, yes. 815 00:46:05,520 --> 00:46:06,760 # Mm, yes 816 00:46:06,760 --> 00:46:10,040 # He said I was a flower of the mountain, yes 817 00:46:10,040 --> 00:46:13,520 # But now I've powers over a woman's body... # 818 00:46:13,520 --> 00:46:16,720 It's about embracing the world of the senses, 819 00:46:16,720 --> 00:46:20,320 embracing yourself, embracing sex, embracing love, 820 00:46:20,320 --> 00:46:24,480 embracing the future, embracing all possibility. 821 00:46:24,480 --> 00:46:27,720 # Into the sensual world... # 822 00:46:27,720 --> 00:46:31,000 And it goes all the way back for me to Wuthering Heights. 823 00:46:31,000 --> 00:46:33,600 This is somebody who's not afraid of books. 824 00:46:33,600 --> 00:46:35,720 This is somebody who's not afraid of reading, 825 00:46:35,720 --> 00:46:37,680 somebody who's not afraid of writers 826 00:46:37,680 --> 00:46:41,120 and who's not afraid of translating, 827 00:46:41,120 --> 00:46:42,960 being an intermediary, 828 00:46:42,960 --> 00:46:48,520 being a door between the world of books and the world of rock. 829 00:46:48,520 --> 00:46:52,120 I still remember going to the CD store and buying Sensual World 830 00:46:52,120 --> 00:46:55,880 when I was 16 and the cover 831 00:46:55,880 --> 00:46:59,840 and there's a rose in front of her mouth that has bloomed. 832 00:46:59,840 --> 00:47:04,440 She's got big wide eyes and I remember, you know, 833 00:47:04,440 --> 00:47:07,560 putting it in the shitty car stereo on the way home 834 00:47:07,560 --> 00:47:09,560 and, you know, 835 00:47:09,560 --> 00:47:13,200 and my life was forever changed. 836 00:47:13,200 --> 00:47:16,320 # Oh... # 837 00:47:22,800 --> 00:47:27,600 I really thank Kate because these touchstones like This Woman's Work, 838 00:47:27,600 --> 00:47:31,000 that kind of song is, it's celebrating everything 839 00:47:31,000 --> 00:47:35,320 that's so wonderful about being a woman and being... 840 00:47:35,320 --> 00:47:38,720 nurturing and intuitive and emotional 841 00:47:38,720 --> 00:47:42,840 and gentle and sensual and just like really intimate. 842 00:47:42,840 --> 00:47:47,360 # I should be crying but I just can't let it show... # 843 00:47:48,440 --> 00:47:51,360 People don't put their hearts on the line in that vulnerable way 844 00:47:51,360 --> 00:47:55,160 very much and it's really, as an artist myself, it's helped me 845 00:47:55,160 --> 00:47:59,800 to not be frightened to show all, as much as my vulnerability 846 00:47:59,800 --> 00:48:03,400 as a woman as I can and in that be powerful. 847 00:48:03,400 --> 00:48:07,120 # And all the things that we should have said that we never said 848 00:48:07,120 --> 00:48:10,840 # All the things we should've done that we never did 849 00:48:10,840 --> 00:48:14,320 # All the things that you needed from me 850 00:48:14,320 --> 00:48:19,080 # All the things that you wanted for me... # 851 00:48:19,080 --> 00:48:23,000 It's as if within her voice, there's everything. 852 00:48:23,000 --> 00:48:26,040 Every possible facet of human experience is there 853 00:48:26,040 --> 00:48:27,480 under her surface 854 00:48:27,480 --> 00:48:30,640 and her work as a writer is to constantly draw that out 855 00:48:30,640 --> 00:48:35,480 and not just the particularity of her experience as a female body 856 00:48:35,480 --> 00:48:38,200 but her experience as a person 857 00:48:38,200 --> 00:48:42,880 which is to be prey to all kinds of forces and sensations. 858 00:48:50,240 --> 00:48:53,640 What about your lyrics? Yours are very passionate and provocative. 859 00:48:53,640 --> 00:48:56,040 Do you get inspiration anywhere? 860 00:48:56,040 --> 00:48:58,280 I think it is illusive stuff 861 00:48:58,280 --> 00:49:01,040 but I think really the biggest inspiration is people. 862 00:49:01,040 --> 00:49:05,200 I think people are just so inspiring, they're fascinating 863 00:49:05,200 --> 00:49:10,760 and wonderful and I think, you know, that nearly every idea that 864 00:49:10,760 --> 00:49:14,280 a person has had is probably at some point come from another person. 865 00:49:14,280 --> 00:49:17,360 I think The Red Shoes, without going into too much detail, 866 00:49:17,360 --> 00:49:19,200 is a very personal album. 867 00:49:19,200 --> 00:49:22,920 You know there was a lot of very personal stuff happening 868 00:49:22,920 --> 00:49:26,040 at that time and I think it shows in the music. 869 00:49:26,040 --> 00:49:28,160 I mean, basically a lot of the music on that album 870 00:49:28,160 --> 00:49:29,760 is about break up of relationships. 871 00:49:29,760 --> 00:49:31,720 You know, "I'll come round when you're not in 872 00:49:31,720 --> 00:49:34,600 "and I'll pick up all my things." And all that kind of stuff. 873 00:49:34,600 --> 00:49:39,120 # It's all right, I'll come round when you're not in 874 00:49:39,120 --> 00:49:43,920 # And I'll pick up all my things 875 00:49:43,920 --> 00:49:47,280 # Everything I have I bought with you... # 876 00:49:47,280 --> 00:49:49,440 'It's such a desperate song 877 00:49:49,440 --> 00:49:54,200 'and she really finds a way to convey despair.' 878 00:49:54,200 --> 00:49:57,560 The despair of, you know, missing the person 879 00:49:57,560 --> 00:50:01,880 or a break up that you know will never come back together again. 880 00:50:01,880 --> 00:50:04,480 I don't know quite how to put this but obviously, you know, 881 00:50:04,480 --> 00:50:07,200 you've had a professional/personal relationship with Kate 882 00:50:07,200 --> 00:50:10,080 for a long time 883 00:50:10,080 --> 00:50:14,560 and The Red Shoes was an expression of some of the things 884 00:50:14,560 --> 00:50:16,720 that may have been happening between the two of you 885 00:50:16,720 --> 00:50:20,120 - and yet you were still working together. - That's exactly it. 886 00:50:20,120 --> 00:50:24,280 Well, because the working relationship was never a problem. 887 00:50:24,280 --> 00:50:27,080 We always worked together reasonably well, you know? 888 00:50:27,080 --> 00:50:30,360 We always argue, we always have and we always will, I guess. 889 00:50:30,360 --> 00:50:33,400 I've always argued with Kate, she's always argued with me 890 00:50:33,400 --> 00:50:35,800 but I guess that's just the way it is, you know? 891 00:50:35,800 --> 00:50:41,400 So I feel I'm emotionally involved with it all to a great extent. 892 00:50:41,400 --> 00:50:44,280 Much more so than most people would imagine. 893 00:50:44,280 --> 00:50:47,360 Not only did we have a personal relationship when I worked with her, 894 00:50:47,360 --> 00:50:50,040 I really love her music, I really do. 895 00:50:50,040 --> 00:50:52,840 To the point where I've virtually worked with nobody else 896 00:50:52,840 --> 00:50:54,760 because nobody else comes close. 897 00:50:55,880 --> 00:51:00,200 # Some moments that I've had 898 00:51:00,200 --> 00:51:04,440 # Some moments of pleasure 899 00:51:13,800 --> 00:51:17,440 # I think about us lying 900 00:51:17,440 --> 00:51:22,080 # Lying on a beach somewhere... # 901 00:51:22,080 --> 00:51:27,400 I was just really sad that suddenly someone who was making work 902 00:51:27,400 --> 00:51:30,920 that was accessible to me, suddenly became inaccessible 903 00:51:30,920 --> 00:51:33,880 because, you know, because of circumstances, personal choices 904 00:51:33,880 --> 00:51:37,400 or whatever but I always blamed the critics. 905 00:51:37,400 --> 00:51:40,320 # And I can hear my mother saying 906 00:51:42,520 --> 00:51:46,800 # Every old sock needs an old shoe 907 00:51:48,880 --> 00:51:52,120 # Isn't that a great saying? 908 00:51:58,400 --> 00:52:02,440 # Every old sock needs an old shoe... # 909 00:52:04,200 --> 00:52:08,320 The fact that she took time off to raise her child and disappear 910 00:52:08,320 --> 00:52:12,280 and give Bertie a wonderful life, 911 00:52:12,280 --> 00:52:15,000 the humanity in her is so great and 912 00:52:15,000 --> 00:52:18,920 she wasn't interested in anything except, you know, raising her child 913 00:52:18,920 --> 00:52:20,600 and being happy. 914 00:52:20,600 --> 00:52:24,720 I don't think what Kate Bush did was like a weird thing at all, 915 00:52:24,720 --> 00:52:28,480 to kind of withdraw to bring up a child, 916 00:52:28,480 --> 00:52:30,920 if that's indeed why she did withdraw. 917 00:52:30,920 --> 00:52:32,680 Maybe she just withdrew because she 918 00:52:32,680 --> 00:52:35,880 was sick of the whole bloody lot of them wanting to know about her life 919 00:52:35,880 --> 00:52:38,120 and I can really understand that. 920 00:52:40,680 --> 00:52:43,480 For me to get to get into that creative process, 921 00:52:43,480 --> 00:52:47,680 I have to have a sort of quiet place that I work from 922 00:52:47,680 --> 00:52:50,680 and if I was living the life of, you know, 923 00:52:50,680 --> 00:52:53,520 somebody in the industry as a pop star or whatever, 924 00:52:53,520 --> 00:52:55,280 it's too distracting. 925 00:52:55,280 --> 00:52:58,880 It's too to do with other people's perceptions of who you are 926 00:52:58,880 --> 00:53:03,360 and what's important to me is to be a human being who has a soul 927 00:53:03,360 --> 00:53:06,040 and who hopefully has a sense of who they are, 928 00:53:06,040 --> 00:53:09,800 not who everybody else thinks you are. 929 00:53:09,800 --> 00:53:13,240 # Elvis, are you out there somewhere? 930 00:53:13,240 --> 00:53:15,880 # Looking like a happy man 931 00:53:23,000 --> 00:53:26,080 # In the snow with Rosebud 932 00:53:26,080 --> 00:53:32,240 # And the king of the mountain... # 933 00:53:32,240 --> 00:53:34,640 John Harris, there's been some anticipation over this, 934 00:53:34,640 --> 00:53:37,320 someone even wrote a novel called Waiting For Kate Bush 935 00:53:37,320 --> 00:53:39,080 about the long wait. Has it been worth it? 936 00:53:39,080 --> 00:53:41,800 I think there's probably less anticipation in the real world, 937 00:53:41,800 --> 00:53:44,400 in quote marks, than there is in certain circles of the media. 938 00:53:44,400 --> 00:53:47,040 I think people will get themselves in a tizz about this record 939 00:53:47,040 --> 00:53:50,000 because there's still an element of we are not worthy about Kate Bush. 940 00:53:50,000 --> 00:53:51,440 But deeply eccentric... 941 00:53:51,440 --> 00:53:53,680 It's not, that's the point, it's not eccentric. 942 00:53:53,680 --> 00:53:56,480 You can tell this is someone who's not been near the music business 943 00:53:56,480 --> 00:53:59,200 for 12 years and it sounds like the sort of thing that would blast 944 00:53:59,200 --> 00:54:00,720 from shopping malls in about 1989, 945 00:54:00,720 --> 00:54:02,800 there's a bit of kind of Tears For Fears about it. 946 00:54:02,800 --> 00:54:05,840 What I like it's not self-conscious eccentricity, I think she's making 947 00:54:05,840 --> 00:54:08,600 this record for herself, she's pleasing herself with her music. 948 00:54:08,600 --> 00:54:11,000 MUSIC: "Prelude" by Kate Bush 949 00:54:12,320 --> 00:54:14,720 The Aerial album, 950 00:54:14,720 --> 00:54:18,080 my favourite on that album is actually that song called Prelude. 951 00:54:18,080 --> 00:54:21,080 It's just the sound of some cuckoos 952 00:54:21,080 --> 00:54:24,080 and the sound of a child's voice 953 00:54:24,080 --> 00:54:27,800 and she just manages to combine these very, very prosaic, 954 00:54:27,800 --> 00:54:31,680 pure elements and turn them into magic. 955 00:54:33,480 --> 00:54:38,280 She's always been able to find, let's say the language of nature. 956 00:54:38,280 --> 00:54:42,760 She would be able to make you hear words within, you know, 957 00:54:42,760 --> 00:54:46,080 the sounds that birds would make, 958 00:54:46,080 --> 00:54:49,080 you would actually hear that they're saying something. 959 00:54:52,200 --> 00:54:55,920 Kate Bush makes a record 960 00:54:55,920 --> 00:54:57,440 then you don't hear from her. 961 00:54:57,440 --> 00:55:00,240 And you play the stuff that she's made already 962 00:55:00,240 --> 00:55:04,440 and you listen to it and one day, you are surprised 963 00:55:04,440 --> 00:55:07,400 and she brings out something else and she's been quietly working away 964 00:55:07,400 --> 00:55:10,320 on it for however long she wanted to work on it. 965 00:55:10,320 --> 00:55:13,320 And I love that, I love the willingness to be quiet 966 00:55:13,320 --> 00:55:15,040 until it's time to speak 967 00:55:15,040 --> 00:55:17,920 which is something that she does over and over. 968 00:55:21,640 --> 00:55:24,760 # You're not a langur monkey 969 00:55:28,440 --> 00:55:31,720 # Nor a big brown bear 970 00:55:37,160 --> 00:55:39,240 # You're the wild man... # 971 00:55:42,000 --> 00:55:43,880 50 Words For Snow, 972 00:55:43,880 --> 00:55:48,480 my favourite track on that is where her little son, he sings, 973 00:55:48,480 --> 00:55:50,800 # I am sky. # 974 00:55:50,800 --> 00:55:57,520 You know, that amazing like choral boy pure voice was like, 975 00:55:57,520 --> 00:56:00,240 it was just so lovely to hear the generations coming through 976 00:56:00,240 --> 00:56:02,240 and that they're making music together. 977 00:56:02,240 --> 00:56:06,240 # I am sky... # 978 00:56:10,800 --> 00:56:12,960 I was called by my agent who said, 979 00:56:12,960 --> 00:56:16,720 "Would you like to record a track with Kate Bush?" 980 00:56:16,720 --> 00:56:19,560 To which there is only ever one possible answer. 981 00:56:19,560 --> 00:56:21,280 "As long as it's not me singing." 982 00:56:21,280 --> 00:56:23,000 I said, "She does know I can't sing.. 983 00:56:23,000 --> 00:56:28,520 She said, "No, no, it would be voicing and saying words for snow." 984 00:56:28,520 --> 00:56:29,920 Oh, no, it's not, is it? 985 00:56:32,320 --> 00:56:36,600 I just still can't quite believe it says Kate Bush/Stephen Fry. 986 00:56:41,080 --> 00:56:45,600 It's wonderfully atmospheric, isn't it? It's just something about it. 987 00:56:45,600 --> 00:56:47,000 # Drifting 988 00:56:48,560 --> 00:56:50,240 # Two 989 00:56:58,000 --> 00:56:59,560 # Three... # 990 00:57:04,680 --> 00:57:09,520 These phrases and epithets are hers and some of them obviously exist 991 00:57:09,520 --> 00:57:14,680 like whiteout and some of them are just sort of poetic force poetry. 992 00:57:14,680 --> 00:57:18,160 Almost like what Anglo-Saxon poetry is known as a kenning 993 00:57:18,160 --> 00:57:20,840 where you just put things together. 994 00:57:22,040 --> 00:57:24,200 She has a very intense poetic mind. 995 00:57:28,360 --> 00:57:30,920 # Come on, Joe, you've got 32 to go... # 996 00:57:30,920 --> 00:57:35,520 That's what makes it. That voice that comes in. 997 00:57:35,520 --> 00:57:41,680 # Come on, Joe, you've got 32 to go... # 998 00:57:41,680 --> 00:57:44,120 The intention is to tell a story, 999 00:57:44,120 --> 00:57:48,880 to create a sonic world for us, a sonic painting for us to walk into 1000 00:57:48,880 --> 00:57:53,320 without having to see her. 1001 00:57:53,320 --> 00:57:54,920 She's transcending that. 1002 00:57:54,920 --> 00:57:59,320 She's choosing to transcend that and that's a very powerful thing to do. 1003 00:58:06,200 --> 00:58:08,360 You don't ever get the sense that 1004 00:58:08,360 --> 00:58:12,640 she is making music to pander to anyone. 1005 00:58:12,640 --> 00:58:18,440 I think you always get her absolute best attempt at her true vision 1006 00:58:18,440 --> 00:58:20,760 whenever you get a Kate Bush record. 1007 00:58:20,760 --> 00:58:23,360 The word coming to my mind is national treasure 1008 00:58:23,360 --> 00:58:26,840 but that means kind of like an almost dead person, doesn't it? 1009 00:58:26,840 --> 00:58:28,280 Or something. 1010 00:58:28,280 --> 00:58:31,480 She's become a legend not just because she's been absent 1011 00:58:31,480 --> 00:58:34,680 but because she's important to musicians 1012 00:58:34,680 --> 00:58:38,160 as much as she's important to the British public. 1013 00:58:38,160 --> 00:58:43,000 She's one of those people that has got a muse over her head, 1014 00:58:43,000 --> 00:58:49,960 she's got this special way to tap in to the energy and reality of music. 1015 00:58:49,960 --> 00:58:52,200 She takes you somewhere else. 1016 00:58:52,200 --> 00:58:55,000 You know there are other artists, they're of a genre, aren't they? 1017 00:58:55,000 --> 00:58:56,840 And you can sort of jump between them, 1018 00:58:56,840 --> 00:59:00,040 I don't think you can do that with her, I think you have to... 1019 00:59:00,040 --> 00:59:03,000 fully submerge yourself in... 1020 00:59:03,000 --> 00:59:06,160 I was going to say the Bush but I better not.