One such boffin, Landscape’s Richard James Burgess, helped program Bush’s Fairlight on the very first album to feature it, 1980’s Never for Ever, which was also the first UK chart-topping album by a British female solo artist, one that marked a transition between the symphonic sweep of Bush’s earliest albums and what followed.
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The Fairlight was a notoriously expensive and complex computer the few who could afford and figure out how to play one during their ‘80s heyday were either established stars like Peter Gabriel and Stevie Wonder who were invested in cutting-edge sounds, or similarly brainy upstarts who funded their techno-pop through production. So Bush and her romantic partner/bassist Del Palmer abandoned London for a 17th-century farmhouse, spent the summer gardening, and built a 48-track studio in her family barn where she doubled down on the Fairlight CMI, the pioneering digital sampling synthesizer that ruled The Dreaming. and Siouxsie and the Banshees, not early Sheena Easton, and sold far less than its predecessors. Raging and experimental, it was akin to Public Image Ltd.
Thanks to MTV, UK pop had exploded in worldwide popularity since The Dreaming, her self-produced record that EMI nearly returned for lacking potential singles its only hit, “Sat in Your Lap,” was 15 months old by the time the album finally reached stores in 1982. Despite her overnight success, she would never conform to conventional stardom: Instead, she reversed the usual rock ‘n’ roll process where once-provocative artists cave to commercial pressure and shake off the quirks that initially made them distinct: Maturity would only make Bush more daring.īut by 1985, the year of Hounds of Love, she needed to reaffirm her appeal. She exuded brains and beauty and suffused both with an unyielding otherness that made her an LGBT icon and spiked her international cult with aliens of every stripe, from African-American bohos like Prince and OutKast to Johnny Rotten. “There’s room for a life in your womb, woman,” she crooned with the earnestness of a Michigan Womyn’s Music Festival radical, and did so while much of Europe was watching.
I don't know what's good for me.On this and ‘78’s follow-up Lionheart, Bush sang fearlessly of religion, incest, murder, homosexuality, and much more. Help me, darling, Help me, please! Take my shoes off And throw them in the lake, And I'll be Two steps on the water. Oh, here I go! Don't let me go! Hold me down! It's coming for me through the trees. I've always been a coward, And never know what's good for me. His little heart, It beats so fast, And I'm ashamed of running away From nothing real- I just can't deal with this, But I'm still afraid to be there, Among your hounds of love, And feel your arms surround me.
Help me, someone! Help me, please! Take my shoes off, And throw them in the lake, And I'll be Two steps on the water. Here I go! It's coming for me through the trees. I've always been a coward, And I don't know what's good for me. "It's in the trees! It's coming!" When I was a child: Running in the night, Afraid of what might be Hiding in the dark, Hiding in the street, And of what was following me. (These lyrics were originally from Andrew Marvick's
Gaffaweb - Kate Bush - The Sensual World: The Music - The Lyrics - "Hounds