1 00:00:02,000 --> 00:00:04,679 MUSIC: "Moments Of Pleasure" by Kate Bush 2 00:00:04,680 --> 00:00:07,759 For those people who don't know who Kate Bush is 3 00:00:07,760 --> 00:00:10,039 and completely forgotten who she may have been, 4 00:00:10,040 --> 00:00:12,639 she is the waif-like singer and songwriter who had 5 00:00:12,640 --> 00:00:16,439 an enormous hit with her first eerie single, Wuthering Heights. 6 00:00:16,440 --> 00:00:19,359 ♪ Out on the wily, windy moors 7 00:00:19,360 --> 00:00:23,359 ♪ We'd roll and fall in green. ♪ 8 00:00:23,360 --> 00:00:26,199 She was an original, a rarity in the pop world, 9 00:00:26,200 --> 00:00:29,279 where so many performers look and sound much the same. 10 00:00:29,280 --> 00:00:32,559 ♪ She signed the letter "All yours" 11 00:00:32,560 --> 00:00:34,639 ♪ "Babooshka, Babooshka 12 00:00:34,640 --> 00:00:36,639 ♪ "Babooskah, ya, ya". ♪ 13 00:00:36,640 --> 00:00:41,319 Is it a bird, is it a plane, is it a tree? No, no, no, it's a Bush. 14 00:00:41,320 --> 00:00:43,879 Ladies and gentlemen, Kate Bush. 15 00:00:43,880 --> 00:00:45,440 MUSIC: "Wow" by Kate Bush 16 00:00:47,120 --> 00:00:49,679 PRODUCER: Kate Bush. Kate Bush. 17 00:00:49,680 --> 00:00:55,519 ♪ Wow, wow, wow, wow, wow, wow-ah! ♪ 18 00:00:55,520 --> 00:01:01,199 Just like fire, you know? It's all just, like, coming out of her mouth. 19 00:01:01,200 --> 00:01:03,759 MUSIC: "Army Dreamer" by Kate Bush 20 00:01:03,760 --> 00:01:06,639 She has made her performances into something of an art form, 21 00:01:06,640 --> 00:01:09,679 mingling dance and mime and all kinds of theatre. 22 00:01:09,680 --> 00:01:11,959 SONG: "Sat In Your Lap" 23 00:01:11,960 --> 00:01:14,959 I mean, they're not normal songs. None of her songs have been normal. 24 00:01:14,960 --> 00:01:17,039 ♪ I see the people working. ♪ 25 00:01:17,040 --> 00:01:20,759 She's just who she is. She's unique, she's a mystery. 26 00:01:20,760 --> 00:01:23,639 She's the most beautiful mystery. 27 00:01:23,640 --> 00:01:26,079 There were moments of, like, hairbrush in the mirror, 28 00:01:26,080 --> 00:01:29,519 like, Running Up That Hill and dancing round the lounge. 29 00:01:29,520 --> 00:01:31,359 ♪ And if I only could 30 00:01:31,360 --> 00:01:33,279 ♪ Make a deal with God. ♪ 31 00:01:33,280 --> 00:01:34,799 The music speaks for itself, 32 00:01:34,800 --> 00:01:37,159 but liking her makes you feel a bit clever. 33 00:01:37,160 --> 00:01:39,319 ♪ We're running up that road. ♪ 34 00:01:39,320 --> 00:01:43,039 Hours I've been in my room by myself, through good times 35 00:01:43,040 --> 00:01:45,519 and bad times, and listened to her on headphones 36 00:01:45,520 --> 00:01:47,959 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 --> 00:01:59,759 Let me tell you a story. 39 00:01:59,760 --> 00:02:04,039 When I had my civil partnership nine years ago in 2005, and Kate, 40 00:02:04,040 --> 00:02:05,439 we invited Kate. 41 00:02:05,440 --> 00:02:08,079 We didn't think she'd come but she came with her husband Danny, 42 00:02:08,080 --> 00:02:10,519 and there were a lot of very famous people in that room. 43 00:02:10,520 --> 00:02:12,279 There was, like, 600 people, 44 00:02:12,280 --> 00:02:15,879 and all anybody wanted to meet was Kate Bush. 45 00:02:15,880 --> 00:02:17,599 I mean, musician, anybody, 46 00:02:17,600 --> 00:02:19,639 they couldn't believe Kate Bush was there. 47 00:02:19,640 --> 00:02:21,119 She's kind of an enigma. 48 00:02:21,120 --> 00:02:23,759 I don't think she's ever particularly wanted to play 49 00:02:23,760 --> 00:02:25,079 the game, has she? 50 00:02:25,080 --> 00:02:28,959 But I think when you've done great work like she's done, 51 00:02:28,960 --> 00:02:32,159 and then you retract from the public, 52 00:02:32,160 --> 00:02:37,559 people almost have to make up their own version of you, don't they? 53 00:02:37,560 --> 00:02:40,639 You can hear one note of a Kate Bush song, 54 00:02:40,640 --> 00:02:46,159 or one note of her voice, even, and know immediately what it is, 55 00:02:46,160 --> 00:02:49,999 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 --> 00:03:03,479 ♪ Out on the wily, windy moors 59 00:03:03,480 --> 00:03:07,879 ♪ We'd roll and fall in green. ♪ 60 00:03:07,880 --> 00:03:11,839 When Kate Bush came along, sort of '78, I was in The Slits, 61 00:03:11,840 --> 00:03:15,719 and I remember, I was sitting in a van outside our singer's house, 62 00:03:15,720 --> 00:03:17,079 waiting to go and do a gig, 63 00:03:17,080 --> 00:03:20,279 and Wuthering Heights came on the radio, and I was like, "Huh?" 64 00:03:20,280 --> 00:03:23,919 "What's this?!", and I kept waiting for the melody to repeat, 65 00:03:23,920 --> 00:03:25,239 because at that time, 66 00:03:25,240 --> 00:03:28,719 pop music was very much, you know, Radio One was repeating melodies 67 00:03:28,720 --> 00:03:32,159 very quickly, and this melody meandered on in this high 68 00:03:32,160 --> 00:03:36,519 pitched voice, warbling and dropping, but I was absolutely spellbound. 69 00:03:36,520 --> 00:03:38,999 ♪ Wuthering, Wuthering Heights. ♪ 70 00:03:39,000 --> 00:03:42,719 When I first heard it, I thought it was extremely challenging. 71 00:03:42,720 --> 00:03:48,479 The vocal was almost hysterical, and so up there, the register. 72 00:03:48,480 --> 00:03:51,519 But it was absolutely fascinating. 73 00:03:51,520 --> 00:03:54,839 I know at the time a lot of my friends couldn't bear it. 74 00:03:54,840 --> 00:03:59,679 They just thought it was too much, but that's exactly what drew me in. 75 00:03:59,680 --> 00:04:02,839 ♪ Bad dreams in the night 76 00:04:02,840 --> 00:04:07,519 ♪ Told me I was going to lose the fight 77 00:04:07,520 --> 00:04:09,199 ♪ Leave behind my 78 00:04:09,200 --> 00:04:12,639 ♪ Wuthering, Wuthering Wuthering Heights 79 00:04:12,640 --> 00:04:14,399 ♪ Heathcliff... ♪ 80 00:04:14,400 --> 00:04:17,279 Look! I can see Wuthering Heights! 81 00:04:17,280 --> 00:04:21,719 Well, I saw a series on the television about ten years ago 82 00:04:21,720 --> 00:04:25,199 and it was on very late at night, and I caught literally the last 83 00:04:25,200 --> 00:04:29,159 five minutes of the series, where she was at the window trying to get in. 84 00:04:29,160 --> 00:04:30,599 Who are you? 85 00:04:30,600 --> 00:04:32,679 DISEMBODIED VOICE: I'm Catherine Linton. 86 00:04:32,680 --> 00:04:33,959 Oh! 87 00:04:33,960 --> 00:04:36,040 I've come home. 88 00:04:37,240 --> 00:04:42,599 And it just really struck me. It was so strong. And I read the book. 89 00:04:42,600 --> 00:04:43,879 You read the book later? 90 00:04:43,880 --> 00:04:45,919 Yeah, I read the book before I wrote the song, 91 00:04:45,920 --> 00:04:49,319 because I needed to get the mood properly. 92 00:04:49,320 --> 00:04:53,279 I'd never heard anything like it before. It was like banshee music. 93 00:04:53,280 --> 00:04:56,159 ♪ Too long I roam in the night. ♪ 94 00:04:56,160 --> 00:05:02,319 This absolute otherworldly voice, singing about a book. 95 00:05:02,320 --> 00:05:04,119 ♪ To Wuthering, Wuthering 96 00:05:04,120 --> 00:05:05,879 ♪ Wuthering Heights 97 00:05:05,880 --> 00:05:08,199 ♪ Heathcliff... ♪ 98 00:05:08,200 --> 00:05:13,159 As a bookish kid, I was always fascinated by anything, 99 00:05:13,160 --> 00:05:17,959 any music that seems to be inspired by books. 100 00:05:17,960 --> 00:05:21,519 For that to have come out of someone's brain, period, 101 00:05:21,520 --> 00:05:23,679 is a remarkable feat. 102 00:05:23,680 --> 00:05:27,239 For that to have come out of someone's brain at 17 years old, 103 00:05:27,240 --> 00:05:30,959 this incredible song. Incredible song. 104 00:05:30,960 --> 00:05:33,159 ♪ I'm coming back, love 105 00:05:33,160 --> 00:05:35,239 ♪ Cruel Heathcliff 106 00:05:35,240 --> 00:05:37,279 ♪ My one dream 107 00:05:37,280 --> 00:05:40,199 ♪ My only master. ♪ 108 00:05:40,200 --> 00:05:45,319 There aren't that many amazing pop songs that have two or three 109 00:05:45,320 --> 00:05:47,679 key changes in them, and I'm not talking modulations, 110 00:05:47,680 --> 00:05:51,919 I'm talking, like, "OK, now we're in the key of Q." You know, 111 00:05:51,920 --> 00:05:56,359 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 --> 00:06:02,959 ♪ Heathcliff... 114 00:06:02,960 --> 00:06:06,359 ♪ It's me-ah, Cathy, I'm come home. ♪ 115 00:06:06,360 --> 00:06:09,359 Wuthering Heights was not your normal type song. 116 00:06:09,360 --> 00:06:11,359 But that's why it was so brilliant. 117 00:06:11,360 --> 00:06:13,839 It was great to hear something out of the norm. 118 00:06:13,840 --> 00:06:16,759 When things like that come along, they don't come along very often. 119 00:06:16,760 --> 00:06:20,079 I mean, when does the next Kate Bush come along after Kate Bush? 120 00:06:20,080 --> 00:06:21,959 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 --> 00:06:33,759 Now, let's get back to the beginnings. You're 19 now. 20.20? 123 00:06:33,760 --> 00:06:38,039 Yeah, just. And you're from Kent. Yeah. Is Kate Bush your own name? 124 00:06:38,040 --> 00:06:41,959 Yes, it is. Now, you're father's a doctor. Yes. Is it a musical family? 125 00:06:41,960 --> 00:06:43,879 My brothers are very musical. 126 00:06:43,880 --> 00:06:45,839 They were really responsible for turning me 127 00:06:45,840 --> 00:06:47,639 on to it in the first place. 128 00:06:47,640 --> 00:06:50,879 They were always playing music when I was a kid. 129 00:06:50,880 --> 00:06:52,759 Her brothers were a big part of it. 130 00:06:52,760 --> 00:06:56,479 They were very much, in her early days, her formative years, 131 00:06:56,480 --> 00:06:58,279 particularly people like Paddy. 132 00:06:58,280 --> 00:07:01,839 I mean, he was having all these musical ideas coming in, 133 00:07:01,840 --> 00:07:05,719 he had all these strange musical things that he was into, 134 00:07:05,720 --> 00:07:09,359 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 --> 00:07:16,239 What do you call it? 137 00:07:16,240 --> 00:07:20,239 It's called a strumento di porco, that's it's real name. 138 00:07:20,240 --> 00:07:22,879 You're Kate's brother, aren't you? Yeah, afraid so. 139 00:07:22,880 --> 00:07:27,479 Is it a sort of a family business, really? Well, yes and no. 140 00:07:27,480 --> 00:07:31,479 I mean, Kate and I have been making music together for years and years. 141 00:07:31,480 --> 00:07:35,199 On different levels, but there's always been music in our family. 142 00:07:35,200 --> 00:07:40,639 When I was young, it was really the music that my brothers played, 143 00:07:40,640 --> 00:07:43,719 and I'd picked out the stuff that I liked and listened to it with them. 144 00:07:43,720 --> 00:07:45,559 What kind of music did they play? 145 00:07:45,560 --> 00:07:48,959 They were into King Crimson at that time, 146 00:07:48,960 --> 00:07:55,279 and Pink Floyd and Blind Faith, Fleetwood Mac, that sort of thing. 147 00:07:55,280 --> 00:07:59,679 When you went to visit the family house, East Wickham, 148 00:07:59,680 --> 00:08:03,679 it sort of reminded me of my parents' house in some ways. 149 00:08:03,680 --> 00:08:08,399 It was a comfortable, middle class doctor's house with a nice garden. 150 00:08:08,400 --> 00:08:12,359 Yet, out of that had grown this strange creature that was 151 00:08:12,360 --> 00:08:14,439 doing wonderful things. 152 00:08:14,440 --> 00:08:19,399 When did you start writing songs? I must have been 11 or 12. 153 00:08:19,400 --> 00:08:23,279 When did the music men come to hear about you, and how? 154 00:08:23,280 --> 00:08:25,919 That was quite a gradual process. 155 00:08:25,920 --> 00:08:29,559 When I was about 14, there was a friend of my brother's called 156 00:08:29,560 --> 00:08:32,279 Ricky Hopper, who was in the business 157 00:08:32,280 --> 00:08:34,279 and he knew a lot of people, 158 00:08:34,280 --> 00:08:36,599 and he acted as a friend to try 159 00:08:36,600 --> 00:08:38,959 and get the tapes across to people, 160 00:08:38,960 --> 00:08:40,439 and after some trying, 161 00:08:40,440 --> 00:08:41,919 there was no response, 162 00:08:41,920 --> 00:08:44,559 and he knew Dave Gilmour from the 163 00:08:44,560 --> 00:08:47,119 Pink Floyd, and Dave came along 164 00:08:47,120 --> 00:08:49,559 to hear me, because at that time, he 165 00:08:49,560 --> 00:08:52,279 was scouting for struggling artists. 166 00:08:52,280 --> 00:09:00,039 I had a listen. I was intrigued by this strange voice. 167 00:09:00,040 --> 00:09:04,039 I went to her house, met her parents down in Kent, 168 00:09:04,040 --> 00:09:10,279 and she played me, God, it must have been 40 or 50 songs... 169 00:09:10,280 --> 00:09:16,919 on tape, and I thought I should try and do something. 170 00:09:16,920 --> 00:09:20,079 ♪ I hear him 171 00:09:20,080 --> 00:09:22,640 ♪ Before I go to sleep 172 00:09:23,680 --> 00:09:27,639 ♪ And focus on the day that's been 173 00:09:27,640 --> 00:09:29,639 SONG CONTINUES THROUGH SMARTPHONE 174 00:09:29,640 --> 00:09:33,199 ♪ I realise he's there 175 00:09:33,200 --> 00:09:35,319 ♪ When I turn the light off. ♪ 176 00:09:35,320 --> 00:09:38,559 Dave Gilmour put up the money for me to make a proper demo with 177 00:09:38,560 --> 00:09:43,119 arrangements and selected songs and we took it to the company. 178 00:09:43,120 --> 00:09:45,279 We were making, Pink Floyd, that is, 179 00:09:45,280 --> 00:09:48,359 were making the Wish You Were Here album, and I think we had 180 00:09:48,360 --> 00:09:52,519 the record company people down at Abbey Road in number three. 181 00:09:52,520 --> 00:09:55,839 ♪ And suddenly I find myself... ♪ 182 00:09:55,840 --> 00:10:00,399 And I said to them, "Do you want to hear something I've got?" 183 00:10:00,400 --> 00:10:02,839 And they said, "Sure", so we found another room 184 00:10:02,840 --> 00:10:05,879 and I played it to them, The Man With The Child In His Eyes, 185 00:10:05,880 --> 00:10:08,919 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 --> 00:10:22,599 ♪ Ooh, he's here again... ♪ 189 00:10:22,600 --> 00:10:26,999 The Man With The Child In His Eyes is still one of those things 190 00:10:27,000 --> 00:10:30,759 that right from the get-go, has its own life 191 00:10:30,760 --> 00:10:33,039 because it's just a great song 192 00:10:33,040 --> 00:10:38,199 and she has, you know, for all the time that she or I or anyone spent 193 00:10:38,200 --> 00:10:40,759 decorating and creating moods, 194 00:10:40,760 --> 00:10:45,999 it's actually the key element of what you're saying, the melody 195 00:10:46,000 --> 00:10:48,479 and the chords and the rhythm 196 00:10:48,480 --> 00:10:54,879 that still speak louder than all the stuff around on a great song. 197 00:10:54,880 --> 00:10:58,319 RECORDING: ♪ Ooh, he's here again... ♪ 198 00:10:58,320 --> 00:11:01,399 It is absolutely beautiful, isn't it? 199 00:11:01,400 --> 00:11:04,359 And it's sort of over two years 200 00:11:04,360 --> 00:11:06,639 before any of the other recordings she did, 201 00:11:06,640 --> 00:11:08,839 that is her singing at the age of 16 202 00:11:08,840 --> 00:11:13,519 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 --> 00:11:26,679 The thing is with me, I only like extreme talent, 205 00:11:26,680 --> 00:11:29,999 that's the only thing I can listen to, and I like originators. 206 00:11:30,000 --> 00:11:33,199 Where does Kate Bush come from? You can't hear her influences, 207 00:11:33,200 --> 00:11:36,639 you know, it's like Billie Holiday, when I first heard Billie Holiday, 208 00:11:36,640 --> 00:11:39,119 I'd never heard anything like that in my life. 209 00:11:39,120 --> 00:11:42,879 The same with Kate Bush. I can't figure out musically, artistically, 210 00:11:42,880 --> 00:11:44,599 who her mother and father is. 211 00:11:44,600 --> 00:11:48,279 MUSIC: "Hang On To Yourself" by David Bowie 212 00:11:48,280 --> 00:11:51,359 ♪ 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 --> 00:11:57,559 ♪ She wants my honey Not my money... ♪ 215 00:11:57,560 --> 00:12:01,359 PRODUCER: Somebody told me that she was at a '73 gig at Ziggy Stardust. 216 00:12:01,360 --> 00:12:04,559 I'm like, "Are you sure?" Everybody seems to have been at that gig. 217 00:12:04,560 --> 00:12:05,959 Yet, we were there. 218 00:12:05,960 --> 00:12:07,799 ♪ We've really got a good thing going... ♪ 219 00:12:07,800 --> 00:12:10,159 It was a great gig. He's one of those people 220 00:12:10,160 --> 00:12:13,119 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 --> 00:12:20,279 ♪ Make me a deal And make it straight... ♪ 223 00:12:20,280 --> 00:12:24,599 She was aware of Roxy Music, Brian Eno and people like that, you know, 224 00:12:24,600 --> 00:12:26,119 she was aware of a lot of people. 225 00:12:26,120 --> 00:12:28,279 A lot of people had an influence on her. 226 00:12:28,280 --> 00:12:31,079 ♪ I hope and pray He don't blow it cos 227 00:12:31,080 --> 00:12:33,759 ♪ We've been around a long time 228 00:12:33,760 --> 00:12:38,199 ♪ Trying, just trying, just trying to make the big time 229 00:12:38,200 --> 00:12:40,319 ♪ Take me on a roller coaster... ♪ 230 00:12:40,320 --> 00:12:41,839 Kate, having seeing me, 231 00:12:41,840 --> 00:12:45,559 probably, yeah, the first time working with Bowie, 232 00:12:45,560 --> 00:12:49,879 I mean, she wanted to be a performer like that, 233 00:12:49,880 --> 00:12:53,879 nothing like Bowie but to move like that. 234 00:12:53,880 --> 00:12:56,479 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 --> 00:13:05,559 I went to see a show, 237 00:13:05,560 --> 00:13:07,239 and it was Lindsay Kemp 238 00:13:07,240 --> 00:13:10,399 and really, I'd never seen anything like it before, 239 00:13:10,400 --> 00:13:11,999 and what he was doing was, 240 00:13:12,000 --> 00:13:14,439 he was using movement without any sound at all, 241 00:13:14,440 --> 00:13:18,199 something I had never experienced, and he was expressing so much, 242 00:13:18,200 --> 00:13:21,479 probably more than most people would express with their mouths 243 00:13:21,480 --> 00:13:24,759 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 --> 00:13:38,079 I was teaching at the Dance Centre in Covent Garden. 246 00:13:38,080 --> 00:13:41,599 Kate turned up dressed very properly in her ballet tights and things 247 00:13:41,600 --> 00:13:45,159 and her hair scraped back, looking very, very professional indeed, 248 00:13:45,160 --> 00:13:46,999 very, very serious student, 249 00:13:47,000 --> 00:13:49,119 but as timid as hell, 250 00:13:49,120 --> 00:13:52,279 and of course, she took a place at the back of the class 251 00:13:52,280 --> 00:13:54,559 and I had to coax her forward. 252 00:13:54,560 --> 00:13:58,839 I mean, she was extremely shy, extremely timid, 253 00:13:58,840 --> 00:14:01,439 and of course, the first thing I had to do 254 00:14:01,440 --> 00:14:05,879 was bring her out of herself, give her courage. 255 00:14:05,880 --> 00:14:09,959 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 --> 00:14:24,879 One day, some months after knowing her, 258 00:14:24,880 --> 00:14:27,679 I got back to my home in Battersea 259 00:14:27,680 --> 00:14:32,879 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 --> 00:14:43,479 ♪ How I'm moved 262 00:14:43,480 --> 00:14:47,559 ♪ How you move me 263 00:14:47,560 --> 00:14:54,720 ♪ With your beauty's potency... ♪ 264 00:14:55,920 --> 00:15:01,839 I didn't know she had any aspirations to being a singer. 265 00:15:01,840 --> 00:15:04,119 She never talked about herself. 266 00:15:04,120 --> 00:15:08,799 ♪ Here come old flattop He come grooving up slowly 267 00:15:08,800 --> 00:15:12,359 ♪ He got juju eyeball He one holy roller... ♪ 268 00:15:12,360 --> 00:15:16,519 I met her for the first time in the spring of '77 269 00:15:16,520 --> 00:15:19,519 and we went around to her brother's house to meet her 270 00:15:19,520 --> 00:15:22,799 because we wanted to get a band together to do some pubs 271 00:15:22,800 --> 00:15:25,999 and the idea was, we'd get his sister to sing because 272 00:15:26,000 --> 00:15:29,239 we might be able to get a few more gigs if we had a girl singer. 273 00:15:29,240 --> 00:15:32,799 MUSIC: "James and the Cold Gun" 274 00:15:32,800 --> 00:15:35,479 And so we got that band together, we had a few rehearsals, 275 00:15:35,480 --> 00:15:38,399 we did lots of covers but we did things like James and the Cold Gun, 276 00:15:38,400 --> 00:15:40,439 Heavy People, all that kind of stuff, 277 00:15:40,440 --> 00:15:42,399 we did embryonic persons of those. 278 00:15:42,400 --> 00:15:47,200 ♪ James, come on home... ♪ 279 00:15:48,800 --> 00:15:52,399 PRODUCER: The first time you sang in public, do you remember that? 280 00:15:52,400 --> 00:15:56,719 Yeah, that was about two years ago in a pub in Lewisham. 281 00:15:56,720 --> 00:15:59,199 And I was so scared, I really was. 282 00:15:59,200 --> 00:16:00,959 And I knew from day one, 283 00:16:00,960 --> 00:16:03,559 I knew, there was no way this girl's not going to make it. 284 00:16:03,560 --> 00:16:06,079 She's going to be a huge success, 285 00:16:06,080 --> 00:16:09,359 there is no way, because she was so driven for it 286 00:16:09,360 --> 00:16:12,159 and her enthusiasm for it was infectious. 287 00:16:12,160 --> 00:16:13,799 APPLAUSE 288 00:16:13,800 --> 00:16:17,759 Now we have a young person, Basil Bush's sister, 289 00:16:17,760 --> 00:16:19,679 who, as you know, 290 00:16:19,680 --> 00:16:24,079 was responsible for that great hit, Withering Tights. 291 00:16:24,080 --> 00:16:26,359 Kate Bush and the Bushwhackers. 292 00:16:26,360 --> 00:16:28,719 ♪ Rolling the ball Rolling 293 00:16:28,720 --> 00:16:30,759 ♪ Rolling the ball Rolling 294 00:16:30,760 --> 00:16:33,679 ♪ Rolling the ball to me... ♪ 295 00:16:33,680 --> 00:16:36,559 The early vocal style is really acrobatic, isn't it? 296 00:16:36,560 --> 00:16:41,559 It's very, almost sort of vocal gymnastics, isn't it? 297 00:16:41,560 --> 00:16:43,319 Jumping around all over the place. 298 00:16:43,320 --> 00:16:47,439 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 --> 00:16:52,959 ♪ They made me look at myself 301 00:16:52,960 --> 00:16:54,719 ♪ I saw it was... ♪ 302 00:16:54,720 --> 00:16:58,279 'When I first started singing, I had an incredibly plain voice.' 303 00:16:58,280 --> 00:17:00,679 I mean, I could sing in tune, but that was about it. 304 00:17:00,680 --> 00:17:02,399 I mean, I really wasn't that good, 305 00:17:02,400 --> 00:17:06,759 and really, all I did was sing every day. Because I was writing songs, 306 00:17:06,760 --> 00:17:09,999 'I would sing them, and I was concentrating much more on my writing 307 00:17:10,000 --> 00:17:12,319 'and therefore my voice came through that.' 308 00:17:12,320 --> 00:17:15,479 ♪ Them heavy people hit me in a soft spot... ♪ 309 00:17:15,480 --> 00:17:18,359 You can sort of understand the experimentation of her music 310 00:17:18,360 --> 00:17:21,119 through thinking about what she does with her voice 311 00:17:21,120 --> 00:17:24,719 and she uses it as a kind of fabric 312 00:17:24,720 --> 00:17:28,039 to sort of pull and push and almost tear apart 313 00:17:28,040 --> 00:17:30,719 and she's sort of stretching the fabric, 314 00:17:30,720 --> 00:17:34,439 not just of her voice but of the whole kind of pop form, I think. 315 00:17:34,440 --> 00:17:41,079 ♪ Wow, wow, wow, wow, wow, wow 316 00:17:41,080 --> 00:17:45,079 ♪ Unbelievable... ♪ 317 00:17:45,080 --> 00:17:47,079 There are lots of layers to that song, 318 00:17:47,080 --> 00:17:51,599 but what she's doing with her voice is just going, "Wow, wow, wow..." 319 00:17:51,600 --> 00:17:55,519 It's very hypnotic, it's a bit like a siren, 320 00:17:55,520 --> 00:17:59,279 and then it whoops up to a very high register. 321 00:17:59,280 --> 00:18:00,799 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 --> 00:18:12,239 ♪ We're all alone on the stage tonight... ♪ 324 00:18:12,240 --> 00:18:15,999 It's sort of about her own melodrama, isn't it? About the... 325 00:18:16,000 --> 00:18:19,919 About the actor, about the sadness of vanity. 326 00:18:19,920 --> 00:18:24,919 ♪ We know all our lines so well... 327 00:18:24,920 --> 00:18:27,199 ♪ Ah-hah! ♪ 328 00:18:27,200 --> 00:18:28,719 That's what you wanted! 329 00:18:28,720 --> 00:18:30,679 ♪ We've said them so many times. ♪ 330 00:18:30,680 --> 00:18:33,559 Listening to this on a record player in suburbia, 331 00:18:33,560 --> 00:18:37,159 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 --> 00:18:46,839 ♪ He's too busy hitting the Vaseline... ♪ 334 00:18:46,840 --> 00:18:49,399 "He's too busy hitting the Vaseline." 335 00:18:49,400 --> 00:18:55,239 I don't know whether that's a gay reference or not. It's a bit rude. 336 00:18:55,240 --> 00:18:56,839 ♪ We'd give you a part... ♪ 337 00:18:56,840 --> 00:18:58,879 You'd give me a part, my love. 338 00:18:58,880 --> 00:19:01,879 ♪ 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 --> 00:19:10,279 ♪ Wow, wow, wow, wow, wow, wow! 341 00:19:10,280 --> 00:19:13,559 ♪ Unbelievable! 342 00:19:13,560 --> 00:19:17,879 ♪ Wow, wow, wow, wow, wow 343 00:19:17,880 --> 00:19:21,519 ♪ Unbelievable! ♪ 344 00:19:21,520 --> 00:19:23,799 Of course, she's a gift for satirists. 345 00:19:23,800 --> 00:19:28,719 Of course, it's easy, because dull artists, especially in pop music, 346 00:19:28,720 --> 00:19:31,399 are very difficult to satirise. 347 00:19:31,400 --> 00:19:33,039 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 --> 00:19:43,159 It was all there on a plate, really, wasn't it? 350 00:19:43,160 --> 00:19:44,639 ♪ I'm running up that road 351 00:19:44,640 --> 00:19:46,879 ♪ I'm running up that hill 352 00:19:46,880 --> 00:19:48,159 AUDIENCE CLAPS ALONG 353 00:19:48,160 --> 00:19:50,719 ♪ No problem 354 00:19:50,720 --> 00:19:51,959 ♪ Rolling the ball... ♪ 355 00:19:51,960 --> 00:19:54,599 'It's about misinterpreting what she meant, you know, ' 356 00:19:54,600 --> 00:19:57,599 "It's me, I'm Cathy, I've come home now," 357 00:19:57,600 --> 00:20:00,239 "so cold, let me into your window," 358 00:20:00,240 --> 00:20:04,039 and I think he goes, "Let me into your window, whoa-ho-ho!" 359 00:20:04,040 --> 00:20:05,319 Heathcliff! 360 00:20:05,320 --> 00:20:10,479 'As if it's sort of cheeky and sexy and not about the angst of love.' 361 00:20:10,480 --> 00:20:14,519 ♪ So co-o-o-o-o-old, let me into your window! 362 00:20:14,520 --> 00:20:15,879 ♪ Oh-ho! 363 00:20:15,880 --> 00:20:17,479 ♪ Heathcliff! ♪ 364 00:20:17,480 --> 00:20:19,399 'It was fun to do, people laughed' 365 00:20:19,400 --> 00:20:23,599 and Kate Bush came to the last night of my show to see it 366 00:20:23,600 --> 00:20:26,639 'when we performed in the West End.' 367 00:20:26,640 --> 00:20:29,199 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 --> 00:20:39,439 ♪ We're all alone on the stage tonight... ♪ 370 00:20:39,440 --> 00:20:42,639 In early January this year, Kate Bush had never performed 371 00:20:42,640 --> 00:20:46,919 before an important live audience. In a sense, she was a media singer. 372 00:20:46,920 --> 00:20:49,319 When she took the decision to go on tour, 373 00:20:49,320 --> 00:20:52,559 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 --> 00:21:05,559 Her early shows were so sensational, 376 00:21:05,560 --> 00:21:08,199 the one she did at the Palladium, for example, 377 00:21:08,200 --> 00:21:11,079 were the benchmark for people's shows in the future. 378 00:21:11,080 --> 00:21:14,559 MUSIC: "James And The Cold Gun" 379 00:21:14,560 --> 00:21:16,079 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 --> 00:21:23,199 APPLAUSE 382 00:21:23,200 --> 00:21:25,559 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 --> 00:21:33,439 Now that it has worked so well, 385 00:21:33,440 --> 00:21:36,519 I gather you were a bit worried beforehand that it would all be OK, 386 00:21:36,520 --> 00:21:38,639 now it has proved to be so successful, do you think 387 00:21:38,640 --> 00:21:41,119 you might do a more extensive tour later in the year? 388 00:21:41,120 --> 00:21:42,439 That really depends. 389 00:21:42,440 --> 00:21:44,399 So much depends on energy 390 00:21:44,400 --> 00:21:46,799 because it can become very tiring, 391 00:21:46,800 --> 00:21:50,279 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 --> 00:21:59,079 I hope she doesn't mind me saying this 394 00:21:59,080 --> 00:22:03,199 but it's about 14 years ago, I had a long, long phone call with her 395 00:22:03,200 --> 00:22:05,119 because I wanted her to do something 396 00:22:05,120 --> 00:22:09,279 and she wouldn't do something live with me, or do some song with me, 397 00:22:09,280 --> 00:22:11,159 and she rang me to tell me why 398 00:22:11,160 --> 00:22:13,959 and it turned into a long, long conversation 399 00:22:13,960 --> 00:22:19,639 about performing on stage and how terrifying it can be, 400 00:22:19,640 --> 00:22:23,359 and how she hadn't done it for a long, long time 401 00:22:23,360 --> 00:22:25,159 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 --> 00:22:41,599 I think her early stuff was her kind of still finding her way. 404 00:22:41,600 --> 00:22:44,159 I don't think that she quite found herself. 405 00:22:44,160 --> 00:22:46,159 Lots of artists need to find their way 406 00:22:46,160 --> 00:22:49,639 and all of that early stuff with her dancing around in a leotard... 407 00:22:49,640 --> 00:22:52,959 ♪ They've got the stars for the gallant hearts 408 00:22:52,960 --> 00:22:55,559 ♪ I'm the replacement for your part... ♪ 409 00:22:55,560 --> 00:22:58,879 I don't know, it was all a little bit am dram, wasn't it? 410 00:22:58,880 --> 00:23:00,759 Some people would have thought, 411 00:23:00,760 --> 00:23:05,039 you know, it looks like she's come straight out of drama school 412 00:23:05,040 --> 00:23:07,479 and she's learned how to wave scarves around 413 00:23:07,480 --> 00:23:11,279 and that sort of thing. But to me, it wasn't really about that. 414 00:23:11,280 --> 00:23:13,279 It was kind of about the whole package 415 00:23:13,280 --> 00:23:16,799 and the sound coming out of her was just so incredible 416 00:23:16,800 --> 00:23:21,799 that kind of blew every other, you know... 417 00:23:21,800 --> 00:23:24,639 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 --> 00:23:38,119 ♪ Gets inside, ooh 421 00:23:38,120 --> 00:23:40,719 ♪ Through her skin. ♪ 422 00:23:40,720 --> 00:23:42,719 Breathing is a foetal song. 423 00:23:42,720 --> 00:23:45,999 It's a song of a reincarnated foetus coming around again, 424 00:23:46,000 --> 00:23:47,879 terrified of a nuclear war, 425 00:23:47,880 --> 00:23:50,679 terrified of the radioactivity outside, 426 00:23:50,680 --> 00:23:54,199 terrified of the idea that we won't be able to breathe. 427 00:23:54,200 --> 00:23:55,679 ♪ Keep breathing... ♪ 428 00:23:55,680 --> 00:23:57,599 Nobody writes songs like that. 429 00:23:57,600 --> 00:24:01,599 It's utterly political and it's utterly female. 430 00:24:01,600 --> 00:24:03,959 ♪ Breathing 431 00:24:03,960 --> 00:24:07,759 ♪ Breathing my mother in 432 00:24:07,760 --> 00:24:10,359 ♪ Breathing 433 00:24:10,360 --> 00:24:13,679 ♪ My beloved in 434 00:24:13,680 --> 00:24:15,759 ♪ Breathing... ♪ 435 00:24:15,760 --> 00:24:19,159 It's almost like a reminder how important women are. 436 00:24:19,160 --> 00:24:21,639 I've had a funny thing, my mother committed suicide 437 00:24:21,640 --> 00:24:24,519 and my whole career has been based around my mother. 438 00:24:24,520 --> 00:24:26,959 All around my mother cos I didn't know her, 439 00:24:26,960 --> 00:24:30,559 and you know, just like, "Keep breathing, breathing my mother in", 440 00:24:30,560 --> 00:24:34,519 that lyric there could be my whole career and this is what it means. 441 00:24:34,520 --> 00:24:36,359 I'm a kid from a council flat, 442 00:24:36,360 --> 00:24:39,639 I'm a mixed-race guy who grew up in a white ghetto, 443 00:24:39,640 --> 00:24:42,879 totally different life to Kate Bush, 444 00:24:42,880 --> 00:24:46,079 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 --> 00:24:53,799 ♪ What are we going to do? 447 00:24:53,800 --> 00:24:56,439 ♪ Breathe... ♪ 448 00:24:56,440 --> 00:24:59,119 It was like a little symphony. 449 00:24:59,120 --> 00:25:02,519 It had the male choir, like this call and response, 450 00:25:02,520 --> 00:25:04,999 "What are we going to do?" 451 00:25:05,000 --> 00:25:07,759 And then she's like, "Breathing!" The way she's singing, 452 00:25:07,760 --> 00:25:10,919 I was just like, "Oh, my God, what's this woman on?" 453 00:25:10,920 --> 00:25:15,879 ♪ Are we going to die without... Leave me something to breathe... ♪ 454 00:25:15,880 --> 00:25:20,039 This is a whole universe I can dive into 455 00:25:20,040 --> 00:25:25,959 and for me, it was very avant-garde and expressive and kind of... 456 00:25:25,960 --> 00:25:27,799 from a complete different planet 457 00:25:27,800 --> 00:25:30,639 to everything else that you see from the '80s, like you say, 458 00:25:30,640 --> 00:25:33,839 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 --> 00:25:43,879 It's funny, nobody ever applies the term "progressive rock" to Kate Bush 461 00:25:43,880 --> 00:25:45,279 but to me, it's prog, 462 00:25:45,280 --> 00:25:48,919 you know, it's everything I love about the best prog. 463 00:25:48,920 --> 00:25:51,999 It's like, the really sort of brash stuff which is about 464 00:25:52,000 --> 00:25:55,119 people showing technical ability, I have no interest in, 465 00:25:55,120 --> 00:25:56,879 but the experimental dreamy stuff 466 00:25:56,880 --> 00:26:00,159 that sort of came from lots of different places at once, you know, 467 00:26:00,160 --> 00:26:03,239 I sit her stuff next to... 468 00:26:03,240 --> 00:26:06,319 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 --> 00:26:22,199 ♪ Jeux sans frontieres... ♪ 473 00:26:22,200 --> 00:26:25,079 One, two, three, four. 474 00:26:25,080 --> 00:26:27,600 SHATTERING 475 00:26:28,800 --> 00:26:31,799 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 --> 00:26:38,999 What was so exciting was that 478 00:26:39,000 --> 00:26:42,559 you could take any sound in and then manipulate it. 479 00:26:42,560 --> 00:26:46,519 See, if I pick up this mike, for an example, 480 00:26:46,520 --> 00:26:49,359 and press S for sample, 481 00:26:49,360 --> 00:26:51,359 we can put in the sound, I hope. 482 00:26:51,360 --> 00:26:52,799 "Mummy!" 483 00:26:52,800 --> 00:26:57,199 Over here, we have the waveform, and it should be up on the keyboard. 484 00:26:57,200 --> 00:26:59,079 AT VARYING PITCHES: 'Mummy! Mummy!' 485 00:26:59,080 --> 00:27:01,719 Every kid can do that with their phone nowadays, 486 00:27:01,720 --> 00:27:06,279 but at the time, it was absolutely unique and suddenly opened up 487 00:27:06,280 --> 00:27:11,039 these whole sort of continents of new sound texture. 488 00:27:11,040 --> 00:27:14,959 ♪ All yours, Babooshka, Babooshka 489 00:27:14,960 --> 00:27:18,079 ♪ Babooshka-ya-ya 490 00:27:18,080 --> 00:27:19,399 SHATTERING 491 00:27:19,400 --> 00:27:24,199 ♪ Babooshka, Babooshka, Babooshka-ya-ya 492 00:27:24,200 --> 00:27:25,959 SHATTERING 493 00:27:25,960 --> 00:27:30,079 Well, she did give me a credit on one record for opening her windows. 494 00:27:30,080 --> 00:27:32,119 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 --> 00:27:40,959 ♪ Babooshka She wanted to test her husband 497 00:27:40,960 --> 00:27:44,399 ♪ She knew exactly what to do 498 00:27:44,400 --> 00:27:47,719 ♪ A pseudonym to fool him 499 00:27:47,720 --> 00:27:52,159 ♪ She couldn't have made a worse move 500 00:27:52,160 --> 00:27:55,039 ♪ She sent him scented letters 501 00:27:55,040 --> 00:27:58,959 ♪ And he received them with a strange delight 502 00:27:58,960 --> 00:28:00,759 ♪ Just like his wife... ♪ 503 00:28:00,760 --> 00:28:04,079 The video is so kind of classic Kate Bush 504 00:28:04,080 --> 00:28:08,959 because she does this thing, whenever she's performing, 505 00:28:08,960 --> 00:28:12,039 which is that she's one version of herself, 506 00:28:12,040 --> 00:28:14,759 and then often when the chorus kicks in... 507 00:28:14,760 --> 00:28:16,879 ♪ She signed the letter 508 00:28:16,880 --> 00:28:19,479 ♪ All yours, Babooshka... ♪ 509 00:28:19,480 --> 00:28:23,039 ..she becomes this other version, which is a kind of crazier version 510 00:28:23,040 --> 00:28:26,399 and her eyes get very wide and the camera zooms in 511 00:28:26,400 --> 00:28:31,399 and she's sort of performing this kind of crazy, unhinged woman, 512 00:28:31,400 --> 00:28:35,879 and that's clearly a side to her that she brings out in these songs. 513 00:28:35,880 --> 00:28:38,919 ♪ Shout it out, I'm all yours 514 00:28:38,920 --> 00:28:42,639 ♪ Babooshka, Babooshka, Babooshka-ya-ya! ♪ 515 00:28:42,640 --> 00:28:44,239 Babooshka's one of those songs 516 00:28:44,240 --> 00:28:46,439 you just can't get out of your head, can you? 517 00:28:46,440 --> 00:28:50,199 You know, how she's able to take a word 518 00:28:50,200 --> 00:28:53,799 and then you start seeing images and pictures 519 00:28:53,800 --> 00:28:56,879 to a word that maybe you haven't used, 520 00:28:56,880 --> 00:29:01,679 it's not as if you're saying, "Je t'aime." It's Babooshka. 521 00:29:01,680 --> 00:29:05,199 And how she's turned that into, though, an emotion. 522 00:29:05,200 --> 00:29:09,399 That's just how she's able to use a combination of a word 523 00:29:09,400 --> 00:29:12,399 and a combination of a melody and the rhythm of that, 524 00:29:12,400 --> 00:29:14,239 and it creates a new language. 525 00:29:14,240 --> 00:29:16,359 ♪ Babooshka 526 00:29:16,360 --> 00:29:18,599 ♪ She wanted to take it further 527 00:29:18,600 --> 00:29:22,199 ♪ So she arranged a place to go... ♪ 528 00:29:22,200 --> 00:29:24,399 The first song I heard was Babooshka 529 00:29:24,400 --> 00:29:26,519 and like, you know, with the bass 530 00:29:26,520 --> 00:29:30,999 and this amazing relationship she had with that bass. 531 00:29:31,000 --> 00:29:34,199 No-one had done anything like that before 532 00:29:34,200 --> 00:29:37,919 and like, the dance moves that she was doing 533 00:29:37,920 --> 00:29:41,399 were not things that you would learn in a dance academy 534 00:29:41,400 --> 00:29:45,639 and the music was not something you'd learn in a kind of rock school 535 00:29:45,640 --> 00:29:48,079 or a conservatoire of music academy. 536 00:29:48,080 --> 00:29:51,679 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 --> 00:30:01,959 I read an interview with her one time, 539 00:30:01,960 --> 00:30:06,319 where she was asked something along the lines of, 540 00:30:06,320 --> 00:30:09,479 "Why do you write from the perspective of a lot of characters?" 541 00:30:09,480 --> 00:30:12,439 And she said, very simply and eloquently, 542 00:30:12,440 --> 00:30:14,799 "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 --> 00:30:23,679 ♪ Army dreamers... ♪ 545 00:30:23,680 --> 00:30:28,999 She seems to have an endless kind of ability to put herself in 546 00:30:29,000 --> 00:30:32,519 and empathise with different characters and viewpoints. 547 00:30:32,520 --> 00:30:35,119 ♪ What could he do? Should have been a rock star 548 00:30:35,120 --> 00:30:38,199 ♪ But he didn't have the money for a guitar... ♪ 549 00:30:38,200 --> 00:30:41,359 Army Dreamers is a maternal point of view, you know, 550 00:30:41,360 --> 00:30:44,839 you've got this song about young squaddies dying. 551 00:30:44,840 --> 00:30:48,359 And the person singing it, you know, somewhere, 552 00:30:48,360 --> 00:30:52,119 understands what it's like to be a mother and to lose a son. 553 00:30:52,120 --> 00:30:55,239 ♪ Army dreamers 554 00:30:55,240 --> 00:30:57,519 ♪ Oh, what a waste of 555 00:30:57,520 --> 00:30:59,679 ♪ Army dreamers... ♪ 556 00:30:59,680 --> 00:31:03,559 Byron once said of Keats, 557 00:31:03,560 --> 00:31:06,439 "Keats writes about what he imagines." 558 00:31:06,440 --> 00:31:09,039 "I write about what I live." 559 00:31:09,040 --> 00:31:13,359 And most rock'n'roll people 560 00:31:13,360 --> 00:31:17,599 write about their lives in some way, 561 00:31:17,600 --> 00:31:21,639 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 --> 00:31:33,639 ♪ I see the people working 564 00:31:33,640 --> 00:31:35,919 ♪ And see it working for them 565 00:31:35,920 --> 00:31:38,439 ♪ And so I want to join in 566 00:31:38,440 --> 00:31:40,599 ♪ But then I find it hurt me 567 00:31:40,600 --> 00:31:44,079 ♪ Some say that knowledge is something sat in your lap... ♪ 568 00:31:44,080 --> 00:31:47,919 My favourite album by her is The Dreaming, 569 00:31:47,920 --> 00:31:50,039 and I think she produced that one herself. 570 00:31:50,040 --> 00:31:51,799 And that got a lot of criticism. 571 00:31:51,800 --> 00:31:55,479 But I loved it, it was overloaded with textures and tones 572 00:31:55,480 --> 00:31:57,919 and all manner of things. 573 00:31:57,920 --> 00:32:00,519 It's a record that I still can play to this day 574 00:32:00,520 --> 00:32:02,239 and still hear new things. 575 00:32:02,240 --> 00:32:05,639 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 --> 00:32:18,319 Well, seemingly, it's you, holding on to some bloke's ears, 578 00:32:18,320 --> 00:32:21,959 with something in your mouth, it looks like... Is it a key? Yeah. 579 00:32:21,960 --> 00:32:23,799 It's a key. Ah-ha! 580 00:32:23,800 --> 00:32:28,119 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 --> 00:32:38,679 Well, it's "With a kiss, I'd pass the key." 583 00:32:38,680 --> 00:32:42,119 Do you know who the man is that she's kissing? It's me! 584 00:32:42,120 --> 00:32:48,039 You can only see my right ear, but then again, who wants to see me? 585 00:32:48,040 --> 00:32:51,199 Kate has spent the last 14 months holed up in various studios, 586 00:32:51,200 --> 00:32:54,719 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 --> 00:33:07,199 ♪ Bang goes another kanga on the bonnet of the van... ♪ 589 00:33:07,200 --> 00:33:09,559 But on that track, you employed, I think, 590 00:33:09,560 --> 00:33:15,039 Percy Edwards to supply the kind of synthesised jungle backing? Yes. 591 00:33:15,040 --> 00:33:18,799 Well, I knew that in the choruses, we wanted to create a feeling 592 00:33:18,800 --> 00:33:22,239 of the landscape, and obviously there are a lot of Australian animals, 593 00:33:22,240 --> 00:33:25,279 and the sounds are very reminiscent of the environment. 594 00:33:25,280 --> 00:33:27,639 And of course, Percy could come along and give us 595 00:33:27,640 --> 00:33:31,519 a selection of at least 10 different Australian animals. 596 00:33:31,520 --> 00:33:33,599 HE COOS 597 00:33:33,600 --> 00:33:37,439 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 --> 00:33:58,679 When I first heard it, I almost had to bend my ears round, 600 00:33:58,680 --> 00:34:02,719 to be able to understand the sounds that were coming at me. 601 00:34:02,720 --> 00:34:05,039 And I found it really... 602 00:34:05,040 --> 00:34:08,879 Again, I was 11 or 12, so I found some of it really scary. 603 00:34:08,880 --> 00:34:11,359 ♪ I must admit 604 00:34:11,360 --> 00:34:14,239 ♪ Just when I think I'm king... ♪ 605 00:34:14,240 --> 00:34:17,719 The direction I'm going in with my art is the way I want to go, 606 00:34:17,720 --> 00:34:21,759 because for me, it's a little bit deeper, it's got more meaning, 607 00:34:21,760 --> 00:34:24,559 it's not so poppy, I suppose. 608 00:34:24,560 --> 00:34:28,119 But of course, maybe that won't be so widely accepted, 609 00:34:28,120 --> 00:34:30,319 especially in the singles chart. 610 00:34:30,320 --> 00:34:33,759 ♪ 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 --> 00:34:43,039 ♪ The lookout has parked the car but kept the engine running 613 00:34:43,040 --> 00:34:45,519 ♪ Three beeps means trouble's coming... ♪ 614 00:34:45,520 --> 00:34:48,239 She came out with this record that people were just, like, 615 00:34:48,240 --> 00:34:51,279 "What?" They couldn't grasp it. 616 00:34:51,280 --> 00:34:53,639 But the greatest thing that happened was, 617 00:34:53,640 --> 00:34:55,479 after that, The Hounds Of Love, 618 00:34:55,480 --> 00:34:58,839 which was one of her most complete works, was created. 619 00:34:58,840 --> 00:35:02,119 I think, only through pushing through those boundaries 620 00:35:02,120 --> 00:35:06,799 and exploring the deepest recesses of production could she then 621 00:35:06,800 --> 00:35:09,479 come through and create something like The Hounds of Love. 622 00:35:09,480 --> 00:35:12,599 You went away on your own terms to make this LP, didn't you? 623 00:35:12,600 --> 00:35:14,079 Yes, I wanted to make sure that we 624 00:35:14,080 --> 00:35:15,439 got our own studio together, 625 00:35:15,440 --> 00:35:16,919 that was the next move, really. 626 00:35:16,920 --> 00:35:20,239 I spent a lot of time on the last album moving from studio to studio, 627 00:35:20,240 --> 00:35:22,999 and now we've got our own place 628 00:35:23,000 --> 00:35:26,159 and everything is brilliant, it makes such a difference. 629 00:35:26,160 --> 00:35:30,279 When we set up the mastering studio for Hounds Of Love, I think 630 00:35:30,280 --> 00:35:34,279 that really did get rid of the last of the chains that she had, 631 00:35:34,280 --> 00:35:35,999 that she felt she had. 632 00:35:36,000 --> 00:35:38,639 And it did set her free, in a lot of ways. 633 00:35:38,640 --> 00:35:40,919 MUSIC: "Running Up That Hill (A Deal With God)" 634 00:35:40,920 --> 00:35:44,039 Now, though, a timely burst from a lady who hasn't graced 635 00:35:44,040 --> 00:35:46,119 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 --> 00:35:53,359 I just remember pulling aside - I was driving - 638 00:35:53,360 --> 00:35:56,599 and I heard it on the radio, in the States. 639 00:35:56,600 --> 00:35:59,559 And she didn't get played a lot on the radio in the States, 640 00:35:59,560 --> 00:36:00,839 until that song. 641 00:36:00,840 --> 00:36:03,039 That really got played a lot. 642 00:36:03,040 --> 00:36:06,359 ♪ 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 --> 00:36:13,639 ♪ D'you want to know Know that it doesn't hurt me... ♪ 645 00:36:13,640 --> 00:36:17,639 I remember, I had to pull over and listen to it. 646 00:36:17,640 --> 00:36:19,839 Because I had never heard anything like it. 647 00:36:19,840 --> 00:36:23,839 ♪ And if I only could I'd make a deal with God 648 00:36:23,840 --> 00:36:26,959 ♪ And I'd get him to swap our places 649 00:36:26,960 --> 00:36:29,119 ♪ Be running up that road... ♪ 650 00:36:29,120 --> 00:36:30,279 I think the choreography, 651 00:36:30,280 --> 00:36:33,079 the fact that there was suddenly a Kate Bush who was completely 652 00:36:33,080 --> 00:36:38,199 owning, you know, the aspect of dance, even not singing, 653 00:36:38,200 --> 00:36:41,319 you know, she wasn't even lip-syncing, she was just dancing. 654 00:36:41,320 --> 00:36:43,879 On top of that, it was a way of dancing that 655 00:36:43,880 --> 00:36:47,199 was at the time not at all popular. 656 00:36:47,200 --> 00:36:50,839 It wasn't a type of dancing that you would have from, I don't know, 657 00:36:50,840 --> 00:36:53,519 artists like Michael Jackson or Janet Jackson or Madonna, 658 00:36:53,520 --> 00:36:57,439 you had somebody who was bringing in a style of dancing 659 00:36:57,440 --> 00:37:00,839 that was like a marginal way of moving in a modern dance. 660 00:37:00,840 --> 00:37:03,039 ♪ Tell me we both matter, don't we? ♪ 661 00:37:03,040 --> 00:37:06,559 This is, like, one of my all-time favourite songs. 662 00:37:06,560 --> 00:37:09,559 Music is supposed to evoke emotion, you know what I'm saying? 663 00:37:09,560 --> 00:37:11,599 It makes us feel a certain way, you know? 664 00:37:11,600 --> 00:37:13,879 That's what the vibrations are, 665 00:37:13,880 --> 00:37:15,719 it's not stagnant, 666 00:37:15,720 --> 00:37:17,159 it's not just plain or whatever, 667 00:37:17,160 --> 00:37:18,439 every time you listen to it, 668 00:37:18,440 --> 00:37:21,559 it just touches you, strikes a chord. 669 00:37:21,560 --> 00:37:25,119 ♪ And I'd get him to swap our places... ♪ 670 00:37:25,120 --> 00:37:28,279 ♪ Be running up that road, be running up that hill... ♪ 671 00:37:28,280 --> 00:37:31,719 'I was introduced to the music by my Uncle Russell, 672 00:37:31,720 --> 00:37:33,919 'he was kind of like the weirdo of the family, 673 00:37:33,920 --> 00:37:36,479 'he was a skateboarder and all kind of things, so I was' 674 00:37:36,480 --> 00:37:41,199 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 --> 00:37:45,599 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 --> 00:37:56,359 If you look at her work from The Kick Inside 678 00:37:56,360 --> 00:38:00,399 and how it evolves through things like Never For Ever 679 00:38:00,400 --> 00:38:03,679 and stuff like that, into, you know, the zenith, which is 680 00:38:03,680 --> 00:38:07,679 Hounds Of Love for me, you know, it's a beautiful evolution 681 00:38:07,680 --> 00:38:11,479 and the songs are kind of becoming more sophisticated, 682 00:38:11,480 --> 00:38:14,479 even though they've always been sophisticated, even from the start, 683 00:38:14,480 --> 00:38:17,879 they're just developing a kind of calm sophistication. 684 00:38:17,880 --> 00:38:20,799 And I think she just always kept people guessing. 685 00:38:20,800 --> 00:38:23,479 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 --> 00:38:31,879 'It's in the trees! It's coming!' 688 00:38:31,880 --> 00:38:36,639 ♪ When I was a child Running in the night 689 00:38:36,640 --> 00:38:39,199 ♪ Afraid of what might be 690 00:38:39,200 --> 00:38:42,399 ♪ Hiding in the dark Hiding in the streets... ♪ 691 00:38:42,400 --> 00:38:46,199 She starts the song with that quote from Night Of The Demon. 692 00:38:46,200 --> 00:38:48,599 And it's a little bit scary. 693 00:38:48,600 --> 00:38:52,519 ♪ The hounds of love are haunting me 694 00:38:52,520 --> 00:38:55,919 ♪ Ooh ooh ooh ooh ooh ooh-ooh 695 00:38:55,920 --> 00:38:58,759 ♪ I've always been a coward 696 00:38:58,760 --> 00:39:00,919 ♪ Ooh ooh ooh ooh... ♪ 697 00:39:00,920 --> 00:39:05,279 It's like this repressed sexuality, so sensual and sexual, 698 00:39:05,280 --> 00:39:08,879 and it's so honest as well, I'm a coward and I'm frightened, 699 00:39:08,880 --> 00:39:12,479 you know, to state "I'm a coward" in the song is quite a brave thing to do, actually. 700 00:39:12,480 --> 00:39:15,199 ♪ Here I go 701 00:39:15,200 --> 00:39:19,439 ♪ It's coming for me through the trees... ♪ 702 00:39:19,440 --> 00:39:21,559 It is like she's on a leash, 703 00:39:21,560 --> 00:39:24,439 it's like the whole song is on a leash and you're tugging it back, 704 00:39:24,440 --> 00:39:27,199 but you know it's just going to escape and burst and run free. 705 00:39:27,200 --> 00:39:31,719 ♪ Take my shoes off and throw them in the lake 706 00:39:31,720 --> 00:39:33,359 ♪ And I'll be... ♪ 707 00:39:33,360 --> 00:39:36,559 I'm convinced that as great as that record sounds, 708 00:39:36,560 --> 00:39:40,079 if you had anyone else sing it, you know, 709 00:39:40,080 --> 00:39:46,519 anyone else try to kind of weave and make it kind of do that thing where 710 00:39:46,520 --> 00:39:50,679 it burns like wildfire and it comes alive, no-one else could do it. 711 00:39:50,680 --> 00:39:54,319 ♪ I found a fox caught by dogs... ♪ 712 00:39:54,320 --> 00:39:58,279 It's incredible, the way she brings this kind of cold, 713 00:39:58,280 --> 00:40:02,879 Arctic atmosphere, it's just like fire, you know? 714 00:40:02,880 --> 00:40:06,359 It's all just like, "Aah!" coming out of her mouth. 715 00:40:06,360 --> 00:40:08,399 ♪ Here I go 716 00:40:08,400 --> 00:40:10,439 ♪ Don't let me go... ♪ 717 00:40:10,440 --> 00:40:13,679 Everything's doubling up now, you've got twice the amount of cellos, 718 00:40:13,680 --> 00:40:14,879 so everything's doubled. 719 00:40:14,880 --> 00:40:18,959 ♪ It's coming for me through the trees... ♪ 720 00:40:18,960 --> 00:40:22,319 The Fairlight synthesiser... 721 00:40:22,320 --> 00:40:24,839 That's the wash, which is what she wrote the song with. 722 00:40:24,840 --> 00:40:28,639 What we had done is, we had set up a pattern in the Fairlight, 723 00:40:28,640 --> 00:40:31,839 put that to tape so she had that pattern to play along with, 724 00:40:31,840 --> 00:40:34,999 and then, she used the Orchestra 5 sound as a wash, 725 00:40:35,000 --> 00:40:36,759 to actually write the song with. 726 00:40:36,760 --> 00:40:38,799 Which is what you hear all the way through, 727 00:40:38,800 --> 00:40:43,119 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 --> 00:40:50,239 Virtually no backing vocals at all. 730 00:40:50,240 --> 00:40:52,079 I think that's the strength of the song, 731 00:40:52,080 --> 00:40:55,519 the fact there is very little to get in the way of that lead vocal. 732 00:40:55,520 --> 00:40:57,919 ♪ And throw them in the lake... ♪ 733 00:40:57,920 --> 00:41:00,799 And now I'm replaying the song in my head. She's like... 734 00:41:00,800 --> 00:41:04,039 ♪ Do you know what I really need Do you know what I really need? 735 00:41:04,040 --> 00:41:05,679 ♪ 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 --> 00:41:18,119 I find it really hard to separate images from the music, 738 00:41:18,120 --> 00:41:20,559 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 --> 00:41:28,999 ..that I know in my life. 741 00:41:29,000 --> 00:41:35,239 ♪ Little light, shining... ♪ 742 00:41:35,240 --> 00:41:37,759 The second half of The Hounds of Love, 743 00:41:37,760 --> 00:41:40,119 that's really where the magic is, for me. 744 00:41:40,120 --> 00:41:42,479 I mean, the first half is a collection of the singles, 745 00:41:42,480 --> 00:41:43,799 almost, isn't it? 746 00:41:43,800 --> 00:41:48,919 But the second half is an incredible sort of series of songs - 747 00:41:48,920 --> 00:41:52,199 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 --> 00:42:01,439 ♪ Talking 'bout stupid things... ♪ 750 00:42:01,440 --> 00:42:04,519 "I tune into some friendly voices, talking about stupid things" 751 00:42:04,520 --> 00:42:06,359 "I can't be left to my imagination" 752 00:42:06,360 --> 00:42:10,319 "Let me be weak, let me sleep and dream of sheep." 753 00:42:10,320 --> 00:42:13,759 ♪ Let me be weak... ♪ 754 00:42:13,760 --> 00:42:15,159 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 --> 00:42:28,359 The way it kind of goes the stranger songs, like Waking the Witch 757 00:42:28,360 --> 00:42:31,559 and things like that, where it's just, it's just these odd 758 00:42:31,560 --> 00:42:35,559 little, uncomfortable little musical moments... 759 00:42:35,560 --> 00:42:39,159 ECHOING PIANO AND VOICES 760 00:42:39,160 --> 00:42:42,079 I think The Ninth Wave was the piece of music that affected me 761 00:42:42,080 --> 00:42:44,479 the most when I was little, because it terrified me. 762 00:42:44,480 --> 00:42:47,279 It's about witches and being stuck under ice 763 00:42:47,280 --> 00:42:50,439 and, you know, floating adrift in a sea of nothingness, 764 00:42:50,440 --> 00:42:54,719 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 --> 00:43:05,079 It seems like, on that piece of music, 767 00:43:05,080 --> 00:43:08,359 she captured that moment between waking and sleeping. 768 00:43:08,360 --> 00:43:11,599 HAUNTING CHORAL VOCALS 769 00:43:11,600 --> 00:43:13,519 I've spent many, many, 770 00:43:13,520 --> 00:43:16,399 many hours listening to that 30 minutes of music, 771 00:43:16,400 --> 00:43:18,279 it's an incredible piece of music, 772 00:43:18,280 --> 00:43:20,639 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 --> 00:43:31,479 Creativity comes from the freedom to fail. 775 00:43:31,480 --> 00:43:34,439 And the freedom to fail comes from, you know, experimentation, 776 00:43:34,440 --> 00:43:38,519 and that's what gives something its individuality, 777 00:43:38,520 --> 00:43:42,559 and, you know, I think her courage, which is 778 00:43:42,560 --> 00:43:47,039 the positive way of interpreting it, or bloody-mindedness, which is 779 00:43:47,040 --> 00:43:52,199 the negative, is part of what gives her real value as an artist. 780 00:43:52,200 --> 00:43:56,559 ♪ 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 --> 00:44:04,639 ♪ I was taught to fight Taught to win 783 00:44:04,640 --> 00:44:07,159 ♪ I never thought I could fail... ♪ 784 00:44:07,160 --> 00:44:09,999 It's extraordinary what that song has been used for, 785 00:44:10,000 --> 00:44:13,959 but I think a lot of people who have got into trouble have attached 786 00:44:13,960 --> 00:44:17,639 themselves to that song, and I think a lot of it is that Kate's 787 00:44:17,640 --> 00:44:22,799 wonderful voice is there in a sort of reassuring and loving way. 788 00:44:22,800 --> 00:44:26,159 And just makes them think that perhaps there is going to be 789 00:44:26,160 --> 00:44:28,599 that type of love out there for them. 790 00:44:28,600 --> 00:44:31,439 ♪ Don't give up 791 00:44:31,440 --> 00:44:33,800 ♪ Cos you have friends 792 00:44:37,480 --> 00:44:39,959 ♪ Don't give up 793 00:44:39,960 --> 00:44:43,120 ♪ You're not the only one... ♪ 794 00:44:44,240 --> 00:44:46,159 The record she did with Peter Gabriel 795 00:44:46,160 --> 00:44:47,959 was one record that saved my life. 796 00:44:47,960 --> 00:44:49,999 That record helped me get sober. 797 00:44:50,000 --> 00:44:54,679 So, she played a big part in my actual downfall and, um, 798 00:44:54,680 --> 00:44:59,959 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 --> 00:45:06,039 ♪ Don't give up 801 00:45:06,040 --> 00:45:10,839 ♪ Cos I believe there's a place 802 00:45:10,840 --> 00:45:14,879 ♪ There's a place where we belong... ♪ 803 00:45:14,880 --> 00:45:21,639 One of the things that I love about Kate Bush is her absolute ability 804 00:45:21,640 --> 00:45:26,799 to take things, to pluck things that you would never expect to see 805 00:45:26,800 --> 00:45:31,239 on a rock album and put them there and make them work. 806 00:45:31,240 --> 00:45:32,959 ♪ Mm, yes 807 00:45:32,960 --> 00:45:38,639 ♪ Then I'd taken the kiss of seedcake back from his mouth... ♪ 808 00:45:38,640 --> 00:45:40,159 'James Joyce's Ulysses, ' 809 00:45:40,160 --> 00:45:43,479 one of the greatest passages 810 00:45:43,480 --> 00:45:48,999 in all of English or Anglo-Irish literature 811 00:45:49,000 --> 00:45:54,559 is Molly Bloom's glorious soliloquy 812 00:45:54,560 --> 00:45:57,439 ending in a sequence of yes's. 813 00:45:57,440 --> 00:46:00,919 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 --> 00:46:06,759 ♪ Mm, yes 816 00:46:06,760 --> 00:46:10,039 ♪ He said I was a flower of the mountain, yes 817 00:46:10,040 --> 00:46:13,519 ♪ But now I've powers over a woman's body... ♪ 818 00:46:13,520 --> 00:46:16,719 It's about embracing the world of the senses, 819 00:46:16,720 --> 00:46:20,319 embracing yourself, embracing sex, embracing love, 820 00:46:20,320 --> 00:46:24,479 embracing the future, embracing all possibility. 821 00:46:24,480 --> 00:46:27,719 ♪ Into the sensual world... ♪ 822 00:46:27,720 --> 00:46:30,999 And it goes all the way back for me to Wuthering Heights. 823 00:46:31,000 --> 00:46:33,599 This is somebody who's not afraid of books. 824 00:46:33,600 --> 00:46:35,719 This is somebody who's not afraid of reading, 825 00:46:35,720 --> 00:46:37,679 somebody who's not afraid of writers 826 00:46:37,680 --> 00:46:41,119 and who's not afraid of translating, 827 00:46:41,120 --> 00:46:42,959 being an intermediary, 828 00:46:42,960 --> 00:46:48,519 being a door between the world of books and the world of rock. 829 00:46:48,520 --> 00:46:52,119 I still remember going to the CD store and buying Sensual World 830 00:46:52,120 --> 00:46:55,879 when I was 16 and the cover 831 00:46:55,880 --> 00:46:59,839 and there's a rose in front of her mouth that has bloomed. 832 00:46:59,840 --> 00:47:04,439 She's got big wide eyes and I remember, you know, 833 00:47:04,440 --> 00:47:07,559 putting it in the shitty car stereo on the way home 834 00:47:07,560 --> 00:47:09,559 and, you know, 835 00:47:09,560 --> 00:47:13,199 and my life was forever changed. 836 00:47:13,200 --> 00:47:16,320 ♪ Oh... ♪ 837 00:47:22,800 --> 00:47:27,599 I really thank Kate because these touchstones like This Woman's Work, 838 00:47:27,600 --> 00:47:30,999 that kind of song is, it's celebrating everything 839 00:47:31,000 --> 00:47:35,319 that's so wonderful about being a woman and being... 840 00:47:35,320 --> 00:47:38,719 nurturing and intuitive and emotional 841 00:47:38,720 --> 00:47:42,839 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 --> 00:47:51,359 People don't put their hearts on the line in that vulnerable way 844 00:47:51,360 --> 00:47:55,159 very much and it's really, as an artist myself, it's helped me 845 00:47:55,160 --> 00:47:59,799 to not be frightened to show all, as much as my vulnerability 846 00:47:59,800 --> 00:48:03,399 as a woman as I can and in that be powerful. 847 00:48:03,400 --> 00:48:07,119 ♪ And all the things that we should have said that we never said 848 00:48:07,120 --> 00:48:10,839 ♪ All the things we should've done that we never did 849 00:48:10,840 --> 00:48:14,319 ♪ All the things that you needed from me 850 00:48:14,320 --> 00:48:19,079 ♪ All the things that you wanted for me... ♪ 851 00:48:19,080 --> 00:48:22,999 It's as if within her voice, there's everything. 852 00:48:23,000 --> 00:48:26,039 Every possible facet of human experience is there 853 00:48:26,040 --> 00:48:27,479 under her surface 854 00:48:27,480 --> 00:48:30,639 and her work as a writer is to constantly draw that out 855 00:48:30,640 --> 00:48:35,479 and not just the particularity of her experience as a female body 856 00:48:35,480 --> 00:48:38,199 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 --> 00:48:53,639 What about your lyrics? Yours are very passionate and provocative. 859 00:48:53,640 --> 00:48:56,039 Do you get inspiration anywhere? 860 00:48:56,040 --> 00:48:58,279 I think it is illusive stuff 861 00:48:58,280 --> 00:49:01,039 but I think really the biggest inspiration is people. 862 00:49:01,040 --> 00:49:05,199 I think people are just so inspiring, they're fascinating 863 00:49:05,200 --> 00:49:10,759 and wonderful and I think, you know, that nearly every idea that 864 00:49:10,760 --> 00:49:14,279 a person has had is probably at some point come from another person. 865 00:49:14,280 --> 00:49:17,359 I think The Red Shoes, without going into too much detail, 866 00:49:17,360 --> 00:49:19,199 is a very personal album. 867 00:49:19,200 --> 00:49:22,919 You know there was a lot of very personal stuff happening 868 00:49:22,920 --> 00:49:26,039 at that time and I think it shows in the music. 869 00:49:26,040 --> 00:49:28,159 I mean, basically a lot of the music on that album 870 00:49:28,160 --> 00:49:29,759 is about break up of relationships. 871 00:49:29,760 --> 00:49:31,719 You know, "I'll come round when you're not in" 872 00:49:31,720 --> 00:49:34,599 "and I'll pick up all my things." And all that kind of stuff. 873 00:49:34,600 --> 00:49:39,119 ♪ It's all right, I'll come round when you're not in 874 00:49:39,120 --> 00:49:43,919 ♪ And I'll pick up all my things 875 00:49:43,920 --> 00:49:47,279 ♪ Everything I have I bought with you... ♪ 876 00:49:47,280 --> 00:49:49,439 'It's such a desperate song 877 00:49:49,440 --> 00:49:54,199 'and she really finds a way to convey despair.' 878 00:49:54,200 --> 00:49:57,559 The despair of, you know, missing the person 879 00:49:57,560 --> 00:50:01,879 or a break up that you know will never come back together again. 880 00:50:01,880 --> 00:50:04,479 I don't know quite how to put this but obviously, you know, 881 00:50:04,480 --> 00:50:07,199 you've had a professional/personal relationship with Kate 882 00:50:07,200 --> 00:50:10,079 for a long time 883 00:50:10,080 --> 00:50:14,559 and The Red Shoes was an expression of some of the things 884 00:50:14,560 --> 00:50:16,719 that may have been happening between the two of you 885 00:50:16,720 --> 00:50:20,119 and yet you were still working together. That's exactly it. 886 00:50:20,120 --> 00:50:24,279 Well, because the working relationship was never a problem. 887 00:50:24,280 --> 00:50:27,079 We always worked together reasonably well, you know? 888 00:50:27,080 --> 00:50:30,359 We always argue, we always have and we always will, I guess. 889 00:50:30,360 --> 00:50:33,399 I've always argued with Kate, she's always argued with me 890 00:50:33,400 --> 00:50:35,799 but I guess that's just the way it is, you know? 891 00:50:35,800 --> 00:50:41,399 So I feel I'm emotionally involved with it all to a great extent. 892 00:50:41,400 --> 00:50:44,279 Much more so than most people would imagine. 893 00:50:44,280 --> 00:50:47,359 Not only did we have a personal relationship when I worked with her, 894 00:50:47,360 --> 00:50:50,039 I really love her music, I really do. 895 00:50:50,040 --> 00:50:52,839 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 --> 00:51:00,199 ♪ Some moments that I've had 898 00:51:00,200 --> 00:51:04,440 ♪ Some moments of pleasure 899 00:51:13,800 --> 00:51:17,439 ♪ I think about us lying 900 00:51:17,440 --> 00:51:22,079 ♪ Lying on a beach somewhere... ♪ 901 00:51:22,080 --> 00:51:27,399 I was just really sad that suddenly someone who was making work 902 00:51:27,400 --> 00:51:30,919 that was accessible to me, suddenly became inaccessible 903 00:51:30,920 --> 00:51:33,879 because, you know, because of circumstances, personal choices 904 00:51:33,880 --> 00:51:37,399 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 --> 00:52:08,319 The fact that she took time off to raise her child and disappear 910 00:52:08,320 --> 00:52:12,279 and give Bertie a wonderful life, 911 00:52:12,280 --> 00:52:14,999 the humanity in her is so great and 912 00:52:15,000 --> 00:52:18,919 she wasn't interested in anything except, you know, raising her child 913 00:52:18,920 --> 00:52:20,599 and being happy. 914 00:52:20,600 --> 00:52:24,719 I don't think what Kate Bush did was like a weird thing at all, 915 00:52:24,720 --> 00:52:28,479 to kind of withdraw to bring up a child, 916 00:52:28,480 --> 00:52:30,919 if that's indeed why she did withdraw. 917 00:52:30,920 --> 00:52:32,679 Maybe she just withdrew because she 918 00:52:32,680 --> 00:52:35,879 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 --> 00:52:43,479 For me to get to get into that creative process, 921 00:52:43,480 --> 00:52:47,679 I have to have a sort of quiet place that I work from 922 00:52:47,680 --> 00:52:50,679 and if I was living the life of, you know, 923 00:52:50,680 --> 00:52:53,519 somebody in the industry as a pop star or whatever, 924 00:52:53,520 --> 00:52:55,279 it's too distracting. 925 00:52:55,280 --> 00:52:58,879 It's too to do with other people's perceptions of who you are 926 00:52:58,880 --> 00:53:03,359 and what's important to me is to be a human being who has a soul 927 00:53:03,360 --> 00:53:06,039 and who hopefully has a sense of who they are, 928 00:53:06,040 --> 00:53:09,799 not who everybody else thinks you are. 929 00:53:09,800 --> 00:53:13,239 ♪ 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 --> 00:53:26,079 ♪ In the snow with Rosebud 932 00:53:26,080 --> 00:53:32,239 ♪ And the king of the mountain... ♪ 933 00:53:32,240 --> 00:53:34,639 John Harris, there's been some anticipation over this, 934 00:53:34,640 --> 00:53:37,319 someone even wrote a novel called Waiting For Kate Bush 935 00:53:37,320 --> 00:53:39,079 about the long wait. Has it been worth it? 936 00:53:39,080 --> 00:53:41,799 I think there's probably less anticipation in the real world, 937 00:53:41,800 --> 00:53:44,399 in quote marks, than there is in certain circles of the media. 938 00:53:44,400 --> 00:53:47,039 I think people will get themselves in a tizz about this record 939 00:53:47,040 --> 00:53:49,999 because there's still an element of we are not worthy about Kate Bush. 940 00:53:50,000 --> 00:53:51,439 But deeply eccentric... 941 00:53:51,440 --> 00:53:53,679 It's not, that's the point, it's not eccentric. 942 00:53:53,680 --> 00:53:56,479 You can tell this is someone who's not been near the music business 943 00:53:56,480 --> 00:53:59,199 for 12 years and it sounds like the sort of thing that would blast 944 00:53:59,200 --> 00:54:00,719 from shopping malls in about 1989, 945 00:54:00,720 --> 00:54:02,799 there's a bit of kind of Tears For Fears about it. 946 00:54:02,800 --> 00:54:05,839 What I like it's not self-conscious eccentricity, I think she's making 947 00:54:05,840 --> 00:54:08,599 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 --> 00:54:14,719 The Aerial album, 950 00:54:14,720 --> 00:54:18,079 my favourite on that album is actually that song called Prelude. 951 00:54:18,080 --> 00:54:21,079 It's just the sound of some cuckoos 952 00:54:21,080 --> 00:54:24,079 and the sound of a child's voice 953 00:54:24,080 --> 00:54:27,799 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 --> 00:54:38,279 She's always been able to find, let's say the language of nature. 956 00:54:38,280 --> 00:54:42,759 She would be able to make you hear words within, you know, 957 00:54:42,760 --> 00:54:46,079 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 --> 00:54:55,919 Kate Bush makes a record 960 00:54:55,920 --> 00:54:57,439 then you don't hear from her. 961 00:54:57,440 --> 00:55:00,239 And you play the stuff that she's made already 962 00:55:00,240 --> 00:55:04,439 and you listen to it and one day, you are surprised 963 00:55:04,440 --> 00:55:07,399 and she brings out something else and she's been quietly working away 964 00:55:07,400 --> 00:55:10,319 on it for however long she wanted to work on it. 965 00:55:10,320 --> 00:55:13,319 And I love that, I love the willingness to be quiet 966 00:55:13,320 --> 00:55:15,039 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 --> 00:55:43,879 50 Words For Snow, 972 00:55:43,880 --> 00:55:48,479 my favourite track on that is where her little son, he sings, 973 00:55:48,480 --> 00:55:50,799 ♪ I am sky. ♪ 974 00:55:50,800 --> 00:55:57,519 You know, that amazing like choral boy pure voice was like, 975 00:55:57,520 --> 00:56:00,239 it was just so lovely to hear the generations coming through 976 00:56:00,240 --> 00:56:02,239 and that they're making music together. 977 00:56:02,240 --> 00:56:06,240 ♪ I am sky... ♪ 978 00:56:10,800 --> 00:56:12,959 I was called by my agent who said, 979 00:56:12,960 --> 00:56:16,719 "Would you like to record a track with Kate Bush?" 980 00:56:16,720 --> 00:56:19,559 To which there is only ever one possible answer. 981 00:56:19,560 --> 00:56:21,279 "As long as it's not me singing." 982 00:56:21,280 --> 00:56:22,999 I said, "She does know I can't sing.. 983 00:56:23,000 --> 00:56:28,519 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 --> 00:56:45,599 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 --> 00:57:09,519 These phrases and epithets are hers and some of them obviously exist 991 00:57:09,520 --> 00:57:14,679 like whiteout and some of them are just sort of poetic force poetry. 992 00:57:14,680 --> 00:57:18,159 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 --> 00:57:30,919 ♪ Come on, Joe, you've got 32 to go... ♪ 996 00:57:30,920 --> 00:57:35,519 That's what makes it. That voice that comes in. 997 00:57:35,520 --> 00:57:41,679 ♪ Come on, Joe, you've got 32 to go... ♪ 998 00:57:41,680 --> 00:57:44,119 The intention is to tell a story, 999 00:57:44,120 --> 00:57:48,879 to create a sonic world for us, a sonic painting for us to walk into 1000 00:57:48,880 --> 00:57:53,319 without having to see her. 1001 00:57:53,320 --> 00:57:54,919 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 --> 00:58:08,359 You don't ever get the sense that 1004 00:58:08,360 --> 00:58:12,639 she is making music to pander to anyone. 1005 00:58:12,640 --> 00:58:18,439 I think you always get her absolute best attempt at her true vision 1006 00:58:18,440 --> 00:58:20,759 whenever you get a Kate Bush record. 1007 00:58:20,760 --> 00:58:23,359 The word coming to my mind is national treasure 1008 00:58:23,360 --> 00:58:26,839 but that means kind of like an almost dead person, doesn't it? 1009 00:58:26,840 --> 00:58:28,279 Or something. 1010 00:58:28,280 --> 00:58:31,479 She's become a legend not just because she's been absent 1011 00:58:31,480 --> 00:58:34,679 but because she's important to musicians 1012 00:58:34,680 --> 00:58:38,159 as much as she's important to the British public. 1013 00:58:38,160 --> 00:58:42,999 She's one of those people that has got a muse over her head, 1014 00:58:43,000 --> 00:58:49,959 she's got this special way to tap in to the energy and reality of music. 1015 00:58:49,960 --> 00:58:52,199 She takes you somewhere else. 1016 00:58:52,200 --> 00:58:54,999 You know there are other artists, they're of a genre, aren't they? 1017 00:58:55,000 --> 00:58:56,839 And you can sort of jump between them, 1018 00:58:56,840 --> 00:59:00,039 I don't think you can do that with her, I think you have to... 1019 00:59:00,040 --> 00:59:02,999 fully submerge yourself in... 1020 00:59:03,000 --> 00:59:06,160 I was going to say the Bush but I better not.