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=> GENERAL DISCUSSION => Topic started by: Bags on October 30, 2005, 12:49:00 pm
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October 30, 2005
Doesn't Tour, Hates Attention, Likes Home
By WILL HERMES
The New York Times
POP music has seen a lot of 80's musicians angling for a second act lately - the Pixies, Duran Duran, Depeche Mode, among others. Partly this represents a natural cycle: artists rise, peak, burn out, fade away, until the need returns for money and/or limelight, when back they strut. But the phenomenon has been fueled lately by a revival of 80's styles. With so many new bands sounding like Gang of Four or Talking Heads, for example, it's understandable that the originals would regroup to claim what's theirs (as the former did), or at least release a fancy box set (as the latter did).
The adventurous singer-songwriter Kate Bush is another 80's comeback. Her new double CD, "Aerial," will be released on Nov. 8. But she doesn't quite fit the paradigm, since she never quite fit the era. She wasn't "new wave" or "postpunk," and the movement she might logically be identified with, British progressive rock - a near-exclusively male bastion even by rock standards - was well on the wane by the time of her 1978 debut.
While her idiosyncratic music never spawned a cottage industry of clones, it has influenced a remarkably diverse group of musicians. Antwan (Big Boi) Patton of the polyglot hip-hop group Outkast cites the singer as a huge inspiration ("She's my No. 1 musical influence next to Bob Marley," he said); so has the ethereal piano balladeer Antony Hegarty of Antony and the Johnsons. The innovative rhythm-and-blues singer Maxwell had a surprising 2001 hit covering "This Woman's Work," Ms. Bush's cryptic paean to childbirth. She has also been covered by male-fronted British rock acts like Placebo and the Futureheads, who had a hit last year in Britain with their new-wave version of her "Hounds of Love." And she has been reflected to varying degrees by female artists like Bjork, Sarah McLachlan, Dido, Fiona Apple and Tori Amos interested in exotic vocalizing, intimate piano songs, sexually frank lyrics, electronic composition, world music or studio experimentation.
If not a recluse, as she is often described, then certainly a homebody, Ms. Bush, 47, has been below the radar for more than a dozen years. During a rare recent telephone interview from her home near Reading, England, her son Bertie, 6, could occasionally be heard howling in the background. The singer was upbeat and gracious, despite a late night finishing final production work on the video for her new album's first single, the floaty, reggae-tinged "King of the Mountain" (viewable at katebush.com). She spoke on topics ranging from how Agatha Christie might have fared in the Internet era ("everyone would know who'd done it before they even started the book"), to her love for Elton John's "Madman Across the Water" album, to what she has been up to since releasing "The Red Shoes" in 1993.
"Trying to do stuff other than putting records out all the time," she said of the last topic. "After 'The Red Shoes' I was exhausted, so I figured I'd take a year out, which turned into two. And here we are."
The "stuff" included spending time with friends, seeing movies and raising her son. "It's been important to spend time with him. And I'm pretty slow making records anyway," she said, laughing, adding that she worked on "Aerial" "for the past five or six years."
The hiatus was overdue for a piano prodigy who entered the pop business at 16. David Gilmour of Pink Floyd - a friend of a friend - hired a 30-piece orchestra to help her produce demos for her debut album, "The Kick Inside," a head-rush of precocious artistry and sexuality that, with songs conjuring masturbation, incest-triggered suicide and Emily Brontë's "Wuthering Heights," still sounds fresh and strange 25-some years later. The record never quite registered in the United States but was a hit in England, prompting a promotional whirlwind that included a rushed second album ("Lionheart") and Ms. Bush's only tour, a 29-date theatrical spectacle in 1979, with choreography by Antony Van Last of the London Contemporary Dance Company.
Exhausted, Ms. Bush slowed her pace during the 1980's, abandoned touring - in part due to a fear of flying - built her own studio and released a series of increasingly ambitious and sporadic records. She also kept to herself, acquiring a reputation as a something of a hermitic oddball; the English music magazine Mojo, for example, ran a cover story without her participation in 2003 - "Kate Bush: The Mysterious Life of a Reclusive Superstar" - as part of a package titled "English Eccentric Weirdfest!"
So might one read her cryptic first single in over a decade, "King of the Mountain," with its references to Elvis Presley and "Rosebud" (the symbolic sleigh from "Citizen Kane") as a wry comment on her own retreat to Xanadu? One might, but Ms. Bush doesn't recommend it. "It's fascinating that people have this fascination with what I do," she said. "The way I see it, you go away, create something, talk about it a bit so people know it's there, and get on with things. I don't live my life in the public eye. Maybe because people are all over television happily promoting themselves all the time, I'm seen as weird."
Ms. Bush, who has no plans to tour, likes the idea of making records as puzzles that listeners complete by interpretation. "So much is so accessible, so disposable, so many experiences are so shallow. I think what's so exciting about life are the great mysteries and questions," she said, stopping to laugh at herself. "And without wanting to sound horribly pretentious, that's something I like to play with."
Like 1985's "Hounds of Love," perhaps her best record, her latest is split between a group of individual songs (the first CD, subtitled "A Sea of Honey") and a suite (the 42-minute "A Sky of Honey"). But where "Hounds" is dense and agitated, busy with sounds created on the Fairlight synthesizer - an early sampling keyboard that Ms. Bush was among the first to master - "Aerial" is expansive and relatively relaxed. Recorded with longtime associates, including Del Palmer on bass, many of the album's songs are arranged simply for voice and piano, like the exquisite "A Coral Room," composed, she said, "the way I used to do, just sitting at the piano writing."
Sometimes "Aerial" is so relaxed, it drifts into smooth jazz territory. But Ms. Bush's voluptuous, slightly alien voice usually corrects by contrast: purring, trilling, cackling, jumping octaves and echoing itself, witchlike, in multitracked choruses. "Aerial" also shows a more overtly classical English influence than her recent records. "Bertie," a love song for her son, features Renaissance period instruments, while "Sky of Honey" invokes Vaughn Williams's "Lark Ascending." "The record has a lot to do with England," said Ms. Bush, who has given Bulgarian choirs and Australian didgeridoos prominent roles in earlier songs. "I wanted to do something more colloquial."
That fits the record's spirit of finding infinite possibility in your own creative backyard - a spirit, it's worth noting, that's surfaced in a new generation of parlor-room musical eccentrics like Joanna Newsom, Antony and Ariel Pink (who has a recent tribute song called "For Kate I Wait"). On "Pi," a song literally about infinity, Ms. Bush tries "to sing numerals with as much emotion as possible," and in the process gives new meaning to that cliché about singing the phone book. "Mrs. Bartolozzi" is a rhapsody to a washing machine that turns cosmic. Also arranged for voice and piano, it's the record's oddest song, but in its wistful, muted eroticism and quiet wonder, maybe the most emblematic.
"I suppose there's an element of me in it," Ms. Bush said. "I spend quite a lot of time doing housework, and it's very important to me - I don't want to be a person unconnected to the basic things of life. And I like the idea of taking something that's very small and quiet and allowing it to just connect, you know?"
<img src="http://graphics8.nytimes.com/images/2005/10/30/arts/HERMES.184.jpg" alt=" - " />
Kate Bush, whose exotic experiments have influenced everyone from Tori Amos to Outkast, is releasing "Aerial," but will not tour. "The way I see it," she said, "you go away, create something, talk about it a bit so people know it's there, and get on with things."
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Another article/picture of Kate Bush:
http://www.thesun.co.uk/article/0,,4-2005500598,00.html (http://www.thesun.co.uk/article/0,,4-2005500598,00.html)
She looks great!
Cheers
DJ Medusa.
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Raise your hand if you could care less about the return of Kate Bush.
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Originally posted by Etan de Balzac, Footie Ball Player:
Raise your hand if you could care less about the return of Kate Bush.
<img src="http://www.education.ky.gov/NR/rdonlyres/ezum2jtzimtrvwwhrbv5hcnpj4mtryvykce7d46kydtwneqefvhogq4r3knw3kruw4n6264qkqmmoujhboduw4fi2gf/foto155.jpg" alt=" - " />
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Originally posted by Etan de Balzac, Footie Ball Player:
Raise your hand if you could care less about the return of Kate Bush.
Then why bother posting in this thread? I completely ignore the NASCAR threads...
PS, it's couldn't care less. If you could care less -- you care...
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Originally posted by Bags:
October 30, 2005
Doesn't Tour, Hates Attention, Likes Home
By WILL HERMES
The New York Times
POP music has seen a lot of 80's musicians angling for a second act lately - the Pixies, Duran Duran, Depeche Mode, among others. Partly this represents a natural cycle: artists rise, peak, burn out, fade away, until the need returns for money and/or limelight, when back they strut. But the phenomenon has been fueled lately by a revival of 80's styles. With so many new bands sounding like Gang of Four or Talking Heads, for example, it's understandable that the originals would regroup to claim what's theirs (as the former did), or at least release a fancy box set (as the latter did).
The adventurous singer-songwriter Kate Bush is another 80's comeback. Her new double CD, "Aerial," will be released on Nov. 8. But she doesn't quite fit the paradigm, since she never quite fit the era. She wasn't "new wave" or "postpunk," and the movement she might logically be identified with, British progressive rock - a near-exclusively male bastion even by rock standards - was well on the wane by the time of her 1978 debut.
While her idiosyncratic music never spawned a cottage industry of clones, it has influenced a remarkably diverse group of musicians. Antwan (Big Boi) Patton of the polyglot hip-hop group Outkast cites the singer as a huge inspiration ("She's my No. 1 musical influence next to Bob Marley," he said); so has the ethereal piano balladeer Antony Hegarty of Antony and the Johnsons. The innovative rhythm-and-blues singer Maxwell had a surprising 2001 hit covering "This Woman's Work," Ms. Bush's cryptic paean to childbirth. She has also been covered by male-fronted British rock acts like Placebo and the Futureheads, who had a hit last year in Britain with their new-wave version of her "Hounds of Love." And she has been reflected to varying degrees by female artists like Bjork, Sarah McLachlan, Dido, Fiona Apple and Tori Amos interested in exotic vocalizing, intimate piano songs, sexually frank lyrics, electronic composition, world music or studio experimentation.
If not a recluse, as she is often described, then certainly a homebody, Ms. Bush, 47, has been below the radar for more than a dozen years. During a rare recent telephone interview from her home near Reading, England, her son Bertie, 6, could occasionally be heard howling in the background. The singer was upbeat and gracious, despite a late night finishing final production work on the video for her new album's first single, the floaty, reggae-tinged "King of the Mountain" (viewable at katebush.com). She spoke on topics ranging from how Agatha Christie might have fared in the Internet era ("everyone would know who'd done it before they even started the book"), to her love for Elton John's "Madman Across the Water" album, to what she has been up to since releasing "The Red Shoes" in 1993.
"Trying to do stuff other than putting records out all the time," she said of the last topic. "After 'The Red Shoes' I was exhausted, so I figured I'd take a year out, which turned into two. And here we are."
The "stuff" included spending time with friends, seeing movies and raising her son. "It's been important to spend time with him. And I'm pretty slow making records anyway," she said, laughing, adding that she worked on "Aerial" "for the past five or six years."
The hiatus was overdue for a piano prodigy who entered the pop business at 16. David Gilmour of Pink Floyd - a friend of a friend - hired a 30-piece orchestra to help her produce demos for her debut album, "The Kick Inside," a head-rush of precocious artistry and sexuality that, with songs conjuring masturbation, incest-triggered suicide and Emily Brontë's "Wuthering Heights," still sounds fresh and strange 25-some years later. The record never quite registered in the United States but was a hit in England, prompting a promotional whirlwind that included a rushed second album ("Lionheart") and Ms. Bush's only tour, a 29-date theatrical spectacle in 1979, with choreography by Antony Van Last of the London Contemporary Dance Company.
Exhausted, Ms. Bush slowed her pace during the 1980's, abandoned touring - in part due to a fear of flying - built her own studio and released a series of increasingly ambitious and sporadic records. She also kept to herself, acquiring a reputation as a something of a hermitic oddball; the English music magazine Mojo, for example, ran a cover story without her participation in 2003 - "Kate Bush: The Mysterious Life of a Reclusive Superstar" - as part of a package titled "English Eccentric Weirdfest!"
So might one read her cryptic first single in over a decade, "King of the Mountain," with its references to Elvis Presley and "Rosebud" (the symbolic sleigh from "Citizen Kane") as a wry comment on her own retreat to Xanadu? One might, but Ms. Bush doesn't recommend it. "It's fascinating that people have this fascination with what I do," she said. "The way I see it, you go away, create something, talk about it a bit so people know it's there, and get on with things. I don't live my life in the public eye. Maybe because people are all over television happily promoting themselves all the time, I'm seen as weird."
Ms. Bush, who has no plans to tour, likes the idea of making records as puzzles that listeners complete by interpretation. "So much is so accessible, so disposable, so many experiences are so shallow. I think what's so exciting about life are the great mysteries and questions," she said, stopping to laugh at herself. "And without wanting to sound horribly pretentious, that's something I like to play with."
Like 1985's "Hounds of Love," perhaps her best record, her latest is split between a group of individual songs (the first CD, subtitled "A Sea of Honey") and a suite (the 42-minute "A Sky of Honey"). But where "Hounds" is dense and agitated, busy with sounds created on the Fairlight synthesizer - an early sampling keyboard that Ms. Bush was among the first to master - "Aerial" is expansive and relatively relaxed. Recorded with longtime associates, including Del Palmer on bass, many of the album's songs are arranged simply for voice and piano, like the exquisite "A Coral Room," composed, she said, "the way I used to do, just sitting at the piano writing."
Sometimes "Aerial" is so relaxed, it drifts into smooth jazz territory. But Ms. Bush's voluptuous, slightly alien voice usually corrects by contrast: purring, trilling, cackling, jumping octaves and echoing itself, witchlike, in multitracked choruses. "Aerial" also shows a more overtly classical English influence than her recent records. "Bertie," a love song for her son, features Renaissance period instruments, while "Sky of Honey" invokes Vaughn Williams's "Lark Ascending." "The record has a lot to do with England," said Ms. Bush, who has given Bulgarian choirs and Australian didgeridoos prominent roles in earlier songs. "I wanted to do something more colloquial."
That fits the record's spirit of finding infinite possibility in your own creative backyard - a spirit, it's worth noting, that's surfaced in a new generation of parlor-room musical eccentrics like Joanna Newsom, Antony and Ariel Pink (who has a recent tribute song called "For Kate I Wait"). On "Pi," a song literally about infinity, Ms. Bush tries "to sing numerals with as much emotion as possible," and in the process gives new meaning to that cliché about singing the phone book. "Mrs. Bartolozzi" is a rhapsody to a washing machine that turns cosmic. Also arranged for voice and piano, it's the record's oddest song, but in its wistful, muted eroticism and quiet wonder, maybe the most emblematic.
"I suppose there's an element of me in it," Ms. Bush said. "I spend quite a lot of time doing housework, and it's very important to me - I don't want to be a person unconnected to the basic things of life. And I like the idea of taking something that's very small and quiet and allowing it to just connect, you know?"
<img src="http://graphics8.nytimes.com/images/2005/10/30/arts/HERMES.184.jpg" alt=" - " />
Kate Bush, whose exotic experiments have influenced everyone from Tori Amos to Outkast, is releasing "Aerial," but will not tour. "The way I see it," she said, "you go away, create something, talk about it a bit so people know it's there, and get on with things."
Did I ever tell you about the time I was cast out of the Church of Jesus Chist of Latter Day Saints?
There's a minor Mormon prophet called Moroni. Moroni's name was pronounced "Muh-Row-Nye", but I kept refering to him as "Moron-Eye".
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Actually, she's one of those grating performers that I would have preferred not return. So I guess i do care after all. Maybe she's do a reggae album with Sly and Robie. Now that would be the shit. :roll:
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Originally posted by Etan de Balzac, Footie Ball Player:
Now that would be the shit. :roll:
Point of order: extraneous use of the word "the."
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Kickin' ass on Metacritic (http://www.metacritic.com/music/bests/2005.shtml)
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Does it have the Sony Virus on it? Because it's gonna be awful tough buying it, not that the "boycott" of Sony is going to have any real impact...
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Kanye West's initial metacritic score was a 97...and it has plummeted to an 84.
Originally posted by ggw?:
Kickin' ass on Metacritic (http://www.metacritic.com/music/bests/2005.shtml)
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Metacritic hates black people.
Originally posted by Etan de Balzac, Footie Ball Player:
Kanye West's initial metacritic score was a 97...and it has plummeted to an 84.
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I'll take previously posted for 10 Bamber!
http://www.930.com/cgi-bin/ubb-cgi/ultimatebb.cgi?ubb=get_topic;f=1;t=011672 (http://www.930.com/cgi-bin/ubb-cgi/ultimatebb.cgi?ubb=get_topic;f=1;t=011672)
If you don't care about Kate Bush then go shove your head up a dead bears bum, but if you do, I highly recommend her new album......probably win album of the year award from many of these award waste of times....
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HEY! I resent that comment ;)
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Originally posted by Bags:
posted 10-30-2005 11:49 AM
Originally posted by Roadbike Mankie:
posted 11-07-2005 05:46 AM
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I'll take senility for 100, Alex.
Originally posted by nkotBaba:
Originally posted by Bags:
posted 10-30-2005 11:49 AM
Originally posted by Roadbike Mankie:
posted 11-07-2005 05:46 AM
[/b]
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Originally posted by kosmo vinyl:
Does it have the Sony Virus on it? Because it's gonna be awful tough buying it, not that the "boycott" of Sony is going to have any real impact...
Kate Bush is Sony Virus free!
I was curious about how robust this new copy protection scheme is so I bought BRMC's latest (I had a hell of a time finding a CD that I might potentially like that had the "copy protected" logo; surprisingly few so far). No problems with my XP machine, I ripped it straight into iTunes. But then I've got auto-start disabled. So far, disabling auto-start seems to be the solution to any of these schemes.
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dammit!nuttin! (http:// http://images.google.com/images?svnum=10&hl=en&lr=&safe=off&q=kate%27s+bush+&btnG=Search)
completely unrelated
<img src="http://www.sourball.com/whitehouse/cp/main-rovebeater.jpg" alt=" - " />
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Kate Bush. Chrissie Hynde. Very few female performers that I can get into, but these two tell it like it is. And fuck the lyrics. I only get into music after the melody has grabbed me. And then, when there's a good melody backed up with awesome lyrics? I'm hooked. Most female artists are so cliched. I hate to say that. However, it's true. But......
"Man With the Child in His Eyes" Great song. Kate Bush. Great artist.
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I wouldn't call myself a Kate Bush 'fan' or wouldn't have until the other night. They have a radio show on in the evenings that focus's on different singer-songwriters each week. (It's hosted by Dave Fanning, Brennser). Anyway, with the release of Aerial they did Kate Bush last week. Every song they played I kept thinking to myself, "Yeah, great song" and suddenly realised I actually was a Kate Bush fan....next morning I bought the new album and was not disappointed.
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Pop Music Review
New York Magazine (http://www.newyorkmetro.com/nymetro/arts/music/pop/reviews/15107/index.html)
Girls Gone Mild
Madonna and Kate Bush return to action with decidedly different notions of growing old gracefully.
By Ben Williams
Madonna and Kate Bush lord over opposing constellations in pop??s cosmos: the deity of public materialism versus the divinity of private mysticism. These two 47-year-olds have had oddly parallel careers, emerging onto their respective scenes??post-disco New York and post-prog-rock England??in a blaze of sex and self-sufficiency, trailblazing paths that barely existed for women in the music business before them. The house of Madonna has given us Gwen Stefani, Peaches, and Britney. The line of Bush descends to Sinéad O??Connor, Björk, and Tori Amos.
Now both singers have comeback albums of a sort??in Madonna??s case, after an experimental, poorly reviewed album and tour; in Bush??s, after a twelve-year maternity leave. Both are a return to roots, and to a kind of rapture??that of the dance floor and the English countryside, respectively. But they represent rather different responses to middle age.
Madonna is still searching, in her clumsy way. An enthusiastic latecomer to self-doubt, she blurted about her dissatisfaction with the nannies and the yoga and the chef and the jet on the underrated, punky-funky American Life. She??s not quite done processing????How High? wonders about the fame and the money, lamely concluding ??I guess I deserve it,? ??Push? thanks a lover who challenges her, and the final track, ??Like It or Not,? is about taking or leaving her, just the way she is.
Well, we don??t come to Madonna for lyrics. Confessions is pitched directly at the dance floor: Essentially, it??s one long, shimmering synthesizer riff. The riff gets faster. It gets slower. It crests. It falls. It stutters. It flows. But it never stops trying to make you swoon with ecstasy (in fact, it??s so tactile that it seems designed to be heard under the influence of her adopted country??s national drug). The album is sequenced as a D.J. mix, each track merging into the next with assistance from string sections, and the orchestral borrowings are no accident: Madonna has built a disco wall of sound.
In this, she??s as just-behind-the-trend as ever. In recent years, dance music has looked back longingly to the mixed-up glory days of early eighties New York, and Madonna??s chief co-producer on Confessions is the Englishman Stuart Price, known for uncanny electro-pop re-creations under the pseudonym Jacques Lu Cont. The lead single, ??Hung Up,? which manages to sound both throbbing and wistful, samples Abba??s ??Gimme! Gimme! Gimme!?; elsewhere, everyone from Donna Summer to Pet Shop Boys is quoted.
Yet Confessions isn??t really a throwback??it??s too lush for that. The first half, in particular, has irresistible momentum: The probable second single, ??Sorry,? belts along, propelled by a catchy bass melody, and the grungy ??I Love New York? just might be the disco remix of ??I Wanna Be Your Dog.? The second half drags a little, and you wish Madonna would strip the synths back to work a bass line every now and then, but the only real misstep is ??Isaac,? the latest bulletin on her spiritual adventures. Mixing wailing from Yemeni singer Yitzhak Sinwani with flamenco-ish guitars and clip-clopping rhythms, it??s an ersatz soundtrack to privileged dabbling in alternative religions.
Kate Bush, on the other hand, was using didgeridoos way back in 1982. For a brief moment, she might have been Madonna??after all, she famously got her start writhing around in a leotard and sung about masturbation on her debut album, The Kick Inside. But her palette is the baroque instrumentation of progressive rock, and she??s been exploring the weird nature-mysticism of Olde England from the beginning of her career.
On Aerial, Bush has become, literally, a domestic goddess. Packed full of lyrical and visual arcana for her disciples to obsess over, it includes a paean to her son; songs about Elvis, Joan of Arc, mathematicians, and painters; and a second-CD concept suite titled ??A Sky of Honey.?
The best track, ??Mrs. Bartolozzi,? finds transcendence in laundry. Over minimalist piano, Bush sings about cleaning the kitchen floor and washing clothes????Washing machine! Washing machine!? she croons then cries as the piano dies. The machine??s churning water suddenly transforms into the ocean, and Bush is standing in the surf, waves lapping around her. Then she??s back to the laundry room for the wonderfully loopy coda, where she sings, high-pitched, ??Slooshy sloshy slooshy sloshy / Get that dirty shirty clean / Slooshy sloshy slooshy sloshy / Make those cuffs and collars gleam.?
If only the whole album were that odd. The last time Bush did a concept piece??her 1985 masterpiece, Hounds of Love??she fooled around with Irish jigs, voice cut-ups, and tape loops. Her voice is still exquisite, but too much of Aerial fades into a soft-focus background of soothing synthesizers, murmuring bass, and twittering birdsong.
??A Sky of Honey? supposedly progresses from late afternoon through sunrise, but it??s not clear what it??s about exactly, beyond an amorphous oneness with nature. There??s a prelude and a prologue, but no epilogue; a brief voice-over from a painter about getting ??that tone a little bit lighter there, maybe with some dark accents coming in from the side?; and a closing half evoking the sun??s streaking light.
Bush sounds incredibly contented, secure at the center of her world. You imagine her roaming around her country estate, occasionally dropping into the home studio to daub a dark accent onto track seventeen. It??s doubtless a nice place to reach in midlife, and if one were strolling the hills with her, one might, as ??Nocturne? urges, ??become panoramic.? But Aerial soundtracks bliss, rather than communicating it??what??s needed is a little more of Madonna??s restless spirit.
Confessions on a Dance Floor
Madonna.
Warner Bros.
Aerial
Kate Bush.
Sony.
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Originally posted by Bags:
Pop Music Review
New York Magazine (http://www.newyorkmetro.com/nymetro/arts/music/pop/reviews/15107/index.html)
The best track, ??Mrs. Bartolozzi,? finds transcendence in laundry. Over minimalist piano, Bush sings about cleaning the kitchen floor and washing clothes????Washing machine! Washing machine!? she croons then cries as the piano dies. The machine??s churning water suddenly transforms into the ocean, and Bush is standing in the surf, waves lapping around her. Then she??s back to the laundry room for the wonderfully loopy coda, where she sings, high-pitched, ??Slooshy sloshy slooshy sloshy / Get that dirty shirty clean / Slooshy sloshy slooshy sloshy / Make those cuffs and collars gleam.?
Have only heard this album a couple times, but this really is the standout track. Only Kate Bush could get away with singing about a washing machine and get away with it.
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WHO THE HELL IS KATE BUSH? How can she be back if she didn't go anywhere?
nice name.
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Kate Bush refresher course: Have a listen to "Hounds of Love", one of the most sonically superb, melodious and imaginative albums of all time. And "Aerial" is ranking a close second in the Kate canon, in my opine.
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It's true..."Hounds of Love" is one of the most amazing albums ever.
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"Cloudbusting" from "Hounds of Love" always brings a tear to the eye when ever i see the video or hear the track...