All language subtitles for The Kate Bush Story - Running up That Hill BBC WEB-DL 720p.EN 25

"Moments Of Pleasure" by Kate Bush.

For those people who don't
know who Kate Bush is

and completely forgotten
who she may have been,

she is the waif-like singer
and songwriter who had

an enormous hit with her first
eerie single, Wuthering Heights.

♪ Out on the wily, windy moors

♪ We'd roll and fall in green. ♪

She was an original, a
rarity in the pop world,

where so many performers look
and sound much the same.

♪ She signed the letter "All yours"

♪ "Babooshka, Babooshka

♪ "Babooskah, ya, ya". ♪

- Is it a bird, is it a plane, is it a tree?
- No, no, no, it's a Bush.

Ladies and gentlemen, Kate Bush.

"Wow" by Kate Bush.

- Kate Bush.
- Kate Bush.

♪ Wow, wow, wow, wow, wow, wow-ah! ♪

Just like fire, you know? It's all
just, like, coming out of her mouth.

"Army Dreamer" by Kate Bush.

She has made her performances
into something of an art form,

mingling dance and mime
and all kinds of theatre.

"Sat In Your Lap"

I mean, they're not normal songs.
None of her songs have been normal.

♪ I see the people working. ♪

She's just who she is. She's
unique, she's a mystery.

She's the most beautiful mystery.

There were moments of, like,
hairbrush in the mirror,

like, Running Up That Hill and
dancing round the lounge.

♪ And if I only could

♪ Make a deal with God. ♪

The music speaks for itself,

but liking her makes you feel a bit clever.

♪ We're running up that road. ♪

Hours I've been in my room by
myself, through good times

and bad times, and listened
to her on headphones

and her taking me away from my stress.

♪ I'd be running up that hill. ♪

Let me tell you a story.

When I had my civil partnership
nine years ago in 2005, and Kate,

we invited Kate.

We didn't think she'd come but
she came with her husband Danny,

and there were a lot of very
famous people in that room.

There was, like, 600 people,

and all anybody wanted
to meet was Kate Bush.

I mean, musician, anybody,

they couldn't believe Kate Bush was there.

She's kind of an enigma.

I don't think she's ever
particularly wanted to play

the game, has she?

But I think when you've done
great work like she's done,

and then you retract from the public,

people almost have to make up their
own version of you, don't they?

You can hear one note of a Kate Bush song,

or one note of her voice, even,
and know immediately what it is,

and that is the biggest feat of any artist,

especially when you consider all
the roads that she's gone down.

"Wuthering Heights"

♪ Out on the wily, windy moors

♪ We'd roll and fall in green. ♪

When Kate Bush came along, sort
of '78, I was in The Slits,

and I remember, I was sitting in a
van outside our singer's house,

waiting to go and do a gig,

and Wuthering Heights came on the
radio, and I was like, "Huh?

"What's this?!", and I kept
waiting for the melody to repeat,

because at that time,

pop music was very much, you know,
Radio One was repeating melodies

very quickly, and this melody
meandered on in this high

pitched voice, warbling and dropping,
but I was absolutely spellbound.

♪ Wuthering, Wuthering Heights. ♪

When I first heard it, I thought
it was extremely challenging.

The vocal was almost hysterical,
and so up there, the register.

But it was absolutely fascinating.

I know at the time a lot of
my friends couldn't bear it.

They just thought it was too much,
but that's exactly what drew me in.

♪ Bad dreams in the night

♪ Told me I was going to lose the fight

♪ Leave behind my

♪ Wuthering, Wuthering Wuthering Heights

♪ Heathcliff... ♪

Look! I can see Wuthering Heights!

Well, I saw a series on the
television about ten years ago

and it was on very late at night,
and I caught literally the last

five minutes of the series, where she
was at the window trying to get in.

Who are you?

I'm Catherine Linton.

Oh!

I've come home.

And it just really struck me. It was so strong.
And I read the book.

You read the book later?

Yeah, I read the book
before I wrote the song,

because I needed to get the mood properly.

I'd never heard anything like it before.
It was like banshee music.

♪ Too long I roam in the night. ♪

This absolute otherworldly
voice, singing about a book.

♪ To Wuthering, Wuthering

♪ Wuthering Heights

♪ Heathcliff... ♪

As a bookish kid, I was always
fascinated by anything,

any music that seems to
be inspired by books.

For that to have come out
of someone's brain, period,

is a remarkable feat.

For that to have come out of
someone's brain at 17 years old,

this incredible song. Incredible song.

♪ I'm coming back, love

♪ Cruel Heathcliff

♪ My one dream

♪ My only master. ♪

There aren't that many amazing
pop songs that have two or three

key changes in them, and I'm
not talking modulations,

I'm talking, like, "OK, now we're
in the key of Q." You know,

it's like, "What?!", but it's so
brilliant, it's so memorable.

I always karaoke that
song if I drink enough.

♪ Heathcliff...

♪ It's me-ah, Cathy, I'm come home. ♪

Wuthering Heights was not
your normal type song.

But that's why it was so brilliant.

It was great to hear
something out of the norm.

When things like that come along,
they don't come along very often.

I mean, when does the next Kate
Bush come along after Kate Bush?

There hasn't been one.

"Aerial Tal" by Kate Bush.

- Now, let's get back to the beginnings. You're 19 now.
- 20. - 20?

- Yeah, just. - And you're from Kent.
- Yeah. - Is Kate Bush your own name?

- Yes, it is. - Now, you're father's a doctor.
- Yes. - Is it a musical family?

My brothers are very musical.

They were really responsible for turning me

on to it in the first place.

They were always playing
music when I was a kid.

Her brothers were a big part of it.

They were very much, in her early
days, her formative years,

particularly people like Paddy.

I mean, he was having all these
musical ideas coming in,

he had all these strange musical
things that he was into,

lots of strange musical instruments
and various forms of music,

and he would run those past her
and lots of it would stick.

What do you call it?

It's called a strumento di
porco, that's it's real name.

- You're Kate's brother, aren't you?
- Yeah, afraid so.

- Is it a sort of a family business, really?
- Well, yes and no.

I mean, Kate and I have been making
music together for years and years.

On different levels, but there's
always been music in our family.

When I was young, it was really the
music that my brothers played,

and I'd picked out the stuff that I
liked and listened to it with them.

What kind of music did they play?

They were into King Crimson at that time,

and Pink Floyd and Blind Faith,
Fleetwood Mac, that sort of thing.

When you went to visit the
family house, East Wickham,

it sort of reminded me of my
parents' house in some ways.

It was a comfortable, middle class
doctor's house with a nice garden.

Yet, out of that had grown
this strange creature that was

doing wonderful things.

- When did you start writing songs?
- I must have been 11 or 12.

When did the music men come
to hear about you, and how?

That was quite a gradual process.

When I was about 14, there was a
friend of my brother's called.

Ricky Hopper, who was in the business

and he knew a lot of people,

and he acted as a friend to try

and get the tapes across to people,

and after some trying,

there was no response,

and he knew Dave Gilmour from the.

Pink Floyd, and Dave came along

to hear me, because at that time, he

was scouting for struggling artists.

I had a listen. I was intrigued
by this strange voice.

I went to her house, met
her parents down in Kent,

and she played me, God, it must
have been 40 or 50 songs...

on tape, and I thought I
should try and do something.

♪ I hear him

♪ Before I go to sleep

♪ And focus on the day that's been

♪ I realise he's there

♪ When I turn the light off. ♪

Dave Gilmour put up the money for
me to make a proper demo with

arrangements and selected songs
and we took it to the company.

We were making, Pink Floyd, that is,

were making the Wish You Were
Here album, and I think we had

the record company people down
at Abbey Road in number three.

♪ And suddenly I find myself... ♪

And I said to them, "Do you want
to hear something I've got?"

And they said, "Sure",
so we found another room

and I played it to them, The Man
With The Child In His Eyes,

and they said, "Yeah, thank
you, we'll have it!"

♪ He's here again

♪ The man with the child in his eyes

♪ Ooh, he's here again... ♪

The Man With The Child In His
Eyes is still one of those things

that right from the
get-go, has its own life

because it's just a great song

and she has, you know, for all the
time that she or I or anyone spent

decorating and creating moods,

it's actually the key element of
what you're saying, the melody

and the chords and the rhythm

that still speak louder than all
the stuff around on a great song.

♪ Ooh, he's here again... ♪

It is absolutely beautiful, isn't it?

And it's sort of over two years

before any of the other recordings she did,

that is her singing at the age of 16

and having written those
extraordinary lyrics

about... whatever they're about.

The thing is with me, I
only like extreme talent,

that's the only thing I can listen
to, and I like originators.

Where does Kate Bush come from?
You can't hear her influences,

you know, it's like Billie Holiday,
when I first heard Billie Holiday,

I'd never heard anything
like that in my life.

The same with Kate Bush. I can't
figure out musically, artistically,

who her mother and father is.

"Hang On To Yourself" by David Bowie.

♪ Well, she's a tongue-twisting storm
She'll come to the show tonight

♪ Praying to the light machine

♪ She wants my honey Not my money... ♪

Somebody told me that she was
at a '73 gig at Ziggy Stardust.

I'm like, "Are you sure?" Everybody
seems to have been at that gig.

Yet, we were there.

♪ We've really got a good thing going... ♪

It was a great gig. He's
one of those people

that have had an influence on her
in a weird sort of way, you know.

It's not obvious, but you know, people do.

♪ Make me a deal And make it straight... ♪

She was aware of Roxy Music, Brian
Eno and people like that, you know,

she was aware of a lot of people.

A lot of people had an influence on her.

♪ I hope and pray He don't blow it cos

♪ We've been around a long time

♪ Trying, just trying, just
trying to make the big time

♪ Take me on a roller coaster... ♪

Kate, having seeing me,

probably, yeah, the first
time working with Bowie,

I mean, she wanted to be
a performer like that,

nothing like Bowie but to move like that.

And, of course, she had seen Flowers,

as had everyone at that time.

I went to see a show,

and it was Lindsay Kemp

and really, I'd never seen
anything like it before,

and what he was doing was,

he was using movement
without any sound at all,

something I had never experienced,
and he was expressing so much,

probably more than most people
would express with their mouths

and it suddenly dawned on me
that there was a whole new world

of expression that I hadn't even realised.

I was teaching at the Dance
Centre in Covent Garden.

Kate turned up dressed very properly
in her ballet tights and things

and her hair scraped back, looking
very, very professional indeed,

very, very serious student,

but as timid as hell,

and of course, she took a place
at the back of the class

and I had to coax her forward.

I mean, she was extremely
shy, extremely timid,

and of course, the first thing I had to do

was bring her out of
herself, give her courage.

I have to say that once Kate
actually started dancing,

she was a wild thing. I mean, she was wild.

One day, some months after knowing her,

I got back to my home in Battersea

and there was an LP pushed under
the door, The Kick Inside,

and there, dedicated to me, was
this beautiful song, Moving.

♪ How I'm moved

♪ How you move me

♪ With your beauty's potency... ♪

I didn't know she had any
aspirations to being a singer.

She never talked about herself.

♪ Here come old flattop He
come grooving up slowly

♪ He got juju eyeball
He one holy roller... ♪

I met her for the first
time in the spring of '77

and we went around to her
brother's house to meet her

because we wanted to get a
band together to do some pubs

and the idea was, we'd get
his sister to sing because

we might be able to get a few more
gigs if we had a girl singer.

"James and the Cold Gun."

And so we got that band together,
we had a few rehearsals,

we did lots of covers but we did
things like James and the Cold Gun,

Heavy People, all that kind of stuff,

we did embryonic persons of those.

♪ James, come on home... ♪

The first time you sang in
public, do you remember that?

Yeah, that was about two years
ago in a pub in Lewisham.

And I was so scared, I really was.

And I knew from day one,

I knew, there was no way this
girl's not going to make it.

She's going to be a huge success,

there is no way, because
she was so driven for it

and her enthusiasm for it was infectious.

Now we have a young person,
Basil Bush's sister,

who, as you know,

was responsible for that
great hit, Withering Tights.

Kate Bush and the Bushwhackers.

- ♪ Rolling the ball.
- Rolling

- ♪ Rolling the ball.
- Rolling

♪ Rolling the ball to me... ♪

The early vocal style is
really acrobatic, isn't it?

It's very, almost sort of
vocal gymnastics, isn't it?

Jumping around all over the place.

She's almost still finding her...
finding her style a little bit.

It's quite kooky and strange.

♪ They made me look at myself

♪ I saw it was... ♪

'When I first started singing, I
had an incredibly plain voice.'

I mean, I could sing in tune,
but that was about it.

I mean, I really wasn't that good,

and really, all I did was sing every day.
Because I was writing songs,

'I would sing them, and I was
concentrating much more on my writing

'and therefore my voice came through that.'

♪ Them heavy people hit
me in a soft spot... ♪

You can sort of understand the
experimentation of her music

through thinking about what
she does with her voice

and she uses it as a kind of fabric

to sort of pull and push
and almost tear apart

and she's sort of stretching the fabric,

not just of her voice but of the
whole kind of pop form, I think.

♪ Wow, wow, wow, wow, wow, wow

♪ Unbelievable... ♪

There are lots of layers to that song,

but what she's doing with her voice
is just going, "Wow, wow, wow..."

It's very hypnotic, it's
a bit like a siren,

and then it whoops up to
a very high register.

It's like a child,

it's like a kind of just revelling
in what her voice can do.

♪ We're all alone on the stage tonight... ♪

It's sort of about her own
melodrama, isn't it? About the...

About the actor, about
the sadness of vanity.

♪ We know all our lines so well...

♪ Ah-hah! ♪

That's what you wanted!

♪ We've said them so many times. ♪

Listening to this on a
record player in suburbia,

and you're taken, it's like
she takes you by the hand

and you fly off through the sky like
The Snowman or A Christmas Carol.

♪ He's too busy hitting the Vaseline... ♪

"He's too busy hitting the Vaseline."

I don't know whether that's a gay
reference or not. It's a bit rude.

♪ We'd give you a part... ♪

You'd give me a part, my love.

♪ But you'd have to play the fool... ♪

But you'd have to play the fool.

♪ Wow, wow, wow, wow, wow, wow!

♪ Unbelievable!

♪ Wow, wow, wow, wow, wow

♪ Unbelievable! ♪

Of course, she's a gift for satirists.

Of course, it's easy, because dull
artists, especially in pop music,

are very difficult to satirise.

"Wuthering Heights"

♪ I'm so cold, let me
in at your window... ♪

It was all there on a
plate, really, wasn't it?

♪ I'm running up that road

♪ I'm running up that hill

♪ No problem

♪ Rolling the ball... ♪

'It's about misinterpreting
what she meant, you know, '

"It's me, I'm Cathy, I've come home now,

"so cold, let me into your window,"

and I think he goes, "Let me
into your window, whoa-ho-ho!"

Heathcliff!

'As if it's sort of cheeky and sexy
and not about the angst of love.'

♪ So co-o-o-o-o-old, let
me into your window!

♪ Oh-ho!

♪ Heathcliff! ♪

'It was fun to do, people laughed'

and Kate Bush came to the last
night of my show to see it

'when we performed in the West End.'

She said, "It's so nice to
hear all those songs again."

That's what she said!

♪ We're all alone on the stage tonight... ♪

In early January this year,
Kate Bush had never performed

before an important live audience.
In a sense, she was a media singer.

When she took the decision to go on tour,

no-one doubted how important
it could prove to her career.

"Kite."

Her early shows were so sensational,

the one she did at the
Palladium, for example,

were the benchmark for
people's shows in the future.

"James And The Cold Gun."

Aurally, she was who she was,

but visually, she created a
new standard for people.

- Did you enjoy the show?
- It was lovely. - Did you?

- Are you really happy?
- I'm knocked out. I can't believe that audience.

Now that it has worked so well,

I gather you were a bit worried
beforehand that it would all be OK,

now it has proved to be so
successful, do you think

you might do a more extensive
tour later in the year?

That really depends.

So much depends on energy

because it can become very tiring,

with the travelling. I don't
know, we have to wait and see.

I hope she doesn't mind me saying this

but it's about 14 years ago, I had
a long, long phone call with her

because I wanted her to do something

and she wouldn't do something live
with me, or do some song with me,

and she rang me to tell me why

and it turned into a
long, long conversation

about performing on stage and
how terrifying it can be,

and how she hadn't done
it for a long, long time

and she felt a little bit,

just a bit scared by the prospect
of going out there again.

I think her early stuff was her
kind of still finding her way.

I don't think that she quite found herself.

Lots of artists need to find their way

and all of that early stuff with
her dancing around in a leotard...

♪ They've got the stars
for the gallant hearts

♪ I'm the replacement for your part... ♪

I don't know, it was all a
little bit am dram, wasn't it?

Some people would have thought,

you know, it looks like she's
come straight out of drama school

and she's learned how
to wave scarves around

and that sort of thing. But to
me, it wasn't really about that.

It was kind of about the whole package

and the sound coming out of
her was just so incredible

that kind of blew every other, you know...

problem, if you like, away.
People didn't really care

if she looked a bit naff.
She just sounded amazing.

♪ Outside

♪ Gets inside, ooh

♪ Through her skin. ♪

Breathing is a foetal song.

It's a song of a reincarnated
foetus coming around again,

terrified of a nuclear war,

terrified of the radioactivity outside,

terrified of the idea that
we won't be able to breathe.

♪ Keep breathing... ♪

Nobody writes songs like that.

It's utterly political
and it's utterly female.

♪ Breathing

♪ Breathing my mother in

♪ Breathing

♪ My beloved in

♪ Breathing... ♪

It's almost like a reminder
how important women are.

I've had a funny thing, my
mother committed suicide

and my whole career has been
based around my mother.

All around my mother cos I didn't know her,

and you know, just like, "Keep
breathing, breathing my mother in",

that lyric there could be my whole
career and this is what it means.

I'm a kid from a council flat,

I'm a mixed-race guy who
grew up in a white ghetto,

totally different life to Kate Bush,

but that lyric, "Keep
breathing my mother in",

my whole career is based on that.

♪ What are we going to do?

♪ Breathe... ♪

It was like a little symphony.

It had the male choir, like
this call and response,

"What are we going to do?"

And then she's like, "Breathing!"
The way she's singing,

I was just like, "Oh, my
God, what's this woman on?"

- ♪ Are we going to die without...
- Leave me something to breathe... ♪

This is a whole universe I can dive into

and for me, it was very avant-garde
and expressive and kind of...

from a complete different planet

to everything else that you see
from the '80s, like you say,

Duran Duran, you know, on a boat in Rio!

She was definitely out there on her own.

It's funny, nobody ever applies the
term "progressive rock" to Kate Bush

but to me, it's prog,

you know, it's everything I
love about the best prog.

It's like, the really sort of
brash stuff which is about

people showing technical
ability, I have no interest in,

but the experimental dreamy stuff

that sort of came from lots of
different places at once, you know,

I sit her stuff next to...

well, next to Genesis, the
obvious comparison as well

because of her story with Peter Gabriel.

♪ Jeux sans frontieres

♪ Jeux sans frontieres

♪ Jeux sans frontieres... ♪

One, two, three, four.

Gabriel used a computerised
instrument called a Fairlight.

Any sound can be fed into it, stored
and played back on its keyboard.

What was so exciting was that

you could take any sound
in and then manipulate it.

See, if I pick up this
mike, for an example,

and press S for sample,

we can put in the sound, I hope.

"Mummy!"

Over here, we have the waveform, and
it should be up on the keyboard.

'Mummy! Mummy!'

Every kid can do that with
their phone nowadays,

but at the time, it was absolutely
unique and suddenly opened up

these whole sort of continents
of new sound texture.

♪ All yours, Babooshka, Babooshka

♪ Babooshka-ya-ya

♪ Babooshka, Babooshka, Babooshka-ya-ya

Well, she did give me a credit on
one record for opening her windows.

I had actually cleaned the windows,

but I'm very happy to get
any acknowledgement.

- ♪ Babooshka.
- She wanted to test her husband

♪ She knew exactly what to do

♪ A pseudonym to fool him

♪ She couldn't have made a worse move

♪ She sent him scented letters

♪ And he received them
with a strange delight

♪ Just like his wife... ♪

The video is so kind of classic Kate Bush

because she does this thing,
whenever she's performing,

which is that she's one version of herself,

and then often when the chorus kicks in...

♪ She signed the letter

♪ All yours, Babooshka... ♪

...she becomes this other version,
which is a kind of crazier version

and her eyes get very wide
and the camera zooms in

and she's sort of performing this
kind of crazy, unhinged woman,

and that's clearly a side to her
that she brings out in these songs.

♪ Shout it out, I'm all yours

♪ Babooshka, Babooshka, Babooshka-ya-ya! ♪

Babooshka's one of those songs

you just can't get out
of your head, can you?

You know, how she's able to take a word

and then you start seeing
images and pictures

to a word that maybe you haven't used,

it's not as if you're saying,
"Je t'aime." It's Babooshka.

And how she's turned that
into, though, an emotion.

That's just how she's able to
use a combination of a word

and a combination of a melody
and the rhythm of that,

and it creates a new language.

♪ Babooshka

♪ She wanted to take it further

♪ So she arranged a place to go... ♪

The first song I heard was Babooshka

and like, you know, with the bass

and this amazing relationship
she had with that bass.

No-one had done anything like that before

and like, the dance moves
that she was doing

were not things that you would
learn in a dance academy

and the music was not something you'd
learn in a kind of rock school

or a conservatoire of music academy.

What I love about her music
is that it's so innate,

the talent she has is so innate
but perfect, fully formed music.

I read an interview with her one time,

where she was asked something
along the lines of,

"Why do you write from the
perspective of a lot of characters?"

And she said, very simply and eloquently,

"Because they are more
interesting than I am."

"Army Dreamers"

♪ Army dreamers... ♪

She seems to have an endless kind
of ability to put herself in

and empathise with different
characters and viewpoints.

♪ What could he do? Should
have been a rock star

♪ But he didn't have the
money for a guitar... ♪

Army Dreamers is a maternal
point of view, you know,

you've got this song about
young squaddies dying.

And the person singing
it, you know, somewhere,

understands what it's like to
be a mother and to lose a son.

♪ Army dreamers

♪ Oh, what a waste of

♪ Army dreamers... ♪

Byron once said of Keats,

"Keats writes about what he imagines.

"I write about what I live."

And most rock'n'roll people

write about their lives in some way,

and Kate Bush is more like Keats,

in that she writes about what she imagines.

♪ I see the people working

♪ And see it working for them

♪ And so I want to join in

♪ But then I find it hurt me

♪ Some say that knowledge is
something sat in your lap... ♪

My favourite album by her is The Dreaming,

and I think she produced that one herself.

And that got a lot of criticism.

But I loved it, it was overloaded
with textures and tones

and all manner of things.

It's a record that I still
can play to this day

and still hear new things.

I mean, obviously, it's not
number one on the dance floor,

but then, all music shouldn't be.

Well, seemingly, it's you,
holding on to some bloke's ears,

with something in your mouth, it looks like...
Is it a key? - Yeah.

It's a key. Ah-ha!

Well, if you listen to the album,
and especially to the song Houdini,

then you'll know all about it.

Well, it's "With a kiss, I'd pass the key."

Do you know who the man is
that she's kissing? It's me!

You can only see my right ear, but
then again, who wants to see me?

Kate has spent the last 14 months
holed up in various studios,

recording her new LP, The Dreaming,
and the resultant noises include

helicopter rotor blades, didgeridoos
and a chorus of fake sheep.

♪ Bang goes another kanga on
the bonnet of the van... ♪

But on that track, you employed, I think,

Percy Edwards to supply the kind of
synthesised jungle backing? - Yes.

Well, I knew that in the choruses,
we wanted to create a feeling

of the landscape, and obviously there
are a lot of Australian animals,

and the sounds are very
reminiscent of the environment.

And of course, Percy could
come along and give us

a selection of at least 10
different Australian animals.

I'm not sure which song is the one
where she's, like, donkey braying!

There's one where she's like, "Hee-haw!"

When I first heard it, I almost
had to bend my ears round,

to be able to understand the
sounds that were coming at me.

And I found it really...

Again, I was 11 or 12, so I
found some of it really scary.

♪ I must admit

♪ Just when I think I'm king... ♪

The direction I'm going in with
my art is the way I want to go,

because for me, it's a little bit
deeper, it's got more meaning,

it's not so poppy, I suppose.

But of course, maybe that
won't be so widely accepted,

especially in the singles chart.

♪ We got the job sussed

♪ This shop's shut for business

♪ The lookout has parked the car
but kept the engine running

♪ Three beeps means trouble's coming... ♪

She came out with this record
that people were just, like,

"What?" They couldn't grasp it.

But the greatest thing that happened was,

after that, The Hounds Of Love,

which was one of her most
complete works, was created.

I think, only through pushing
through those boundaries

and exploring the deepest recesses
of production could she then

come through and create something
like The Hounds of Love.

You went away on your own terms
to make this LP, didn't you?

Yes, I wanted to make sure that we

got our own studio together,

that was the next move, really.

I spent a lot of time on the last
album moving from studio to studio,

and now we've got our own place

and everything is brilliant,
it makes such a difference.

When we set up the mastering
studio for Hounds Of Love, I think

that really did get rid of the
last of the chains that she had,

that she felt she had.

And it did set her free, in a lot of ways.

"Running Up That Hill."

Now, though, a timely burst
from a lady who hasn't graced

the turntables with a new
record for two years.

It's nice to have her back.

I just remember pulling aside.
I was driving

and I heard it on the radio, in the States.

And she didn't get played a lot
on the radio in the States,

until that song.

That really got played a lot.

♪ It doesn't hurt me

♪ D'you want to feel how it feels?

♪ D'you want to know Know
that it doesn't hurt me... ♪

I remember, I had to pull
over and listen to it.

Because I had never heard anything like it.

♪ And if I only could I'd
make a deal with God

♪ And I'd get him to swap our places

♪ Be running up that road... ♪

I think the choreography,

the fact that there was suddenly
a Kate Bush who was completely

owning, you know, the aspect
of dance, even not singing,

you know, she wasn't even
lip-syncing, she was just dancing.

On top of that, it was
a way of dancing that

was at the time not at all popular.

It wasn't a type of dancing that
you would have from, I don't know,

artists like Michael Jackson
or Janet Jackson or Madonna,

you had somebody who was
bringing in a style of dancing

that was like a marginal way
of moving in a modern dance.

♪ Tell me we both matter, don't we? ♪

This is, like, one of my
all-time favourite songs.

Music is supposed to evoke
emotion, you know what I'm saying?

It makes us feel a certain way, you know?

That's what the vibrations are,

it's not stagnant,

it's not just plain or whatever,

every time you listen to it,

it just touches you, strikes a chord.

♪ And I'd get him to swap our places... ♪

♪ Be running up that road,
be running up that hill... ♪

'I was introduced to the
music by my Uncle Russell,

'he was kind of like the
weirdo of the family,

'he was a skateboarder and all
kind of things, so I was'

sixth or seventh grade and I used to ride my bike to
school and just listen to it and I just got deeper

and deeper into it, you know, that's one of
my biggest musical influences, I love it.

♪ If I only could Be
running up that hill. ♪

If you look at her work
from The Kick Inside

and how it evolves through
things like Never For Ever

and stuff like that, into, you
know, the zenith, which is.

Hounds Of Love for me, you know,
it's a beautiful evolution

and the songs are kind of
becoming more sophisticated,

even though they've always been
sophisticated, even from the start,

they're just developing a
kind of calm sophistication.

And I think she just always
kept people guessing.

Here with the title track
of her bestselling LP,

in the studio at number 18, Kate
Bush with The Hounds Of Love.

'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 streets... ♪

She starts the song with that
quote from Night Of The Demon.

And it's a little bit scary.

♪ The hounds of love are haunting me

♪ Ooh ooh ooh ooh ooh ooh-ooh

♪ I've always been a coward

♪ Ooh ooh ooh ooh... ♪

It's like this repressed
sexuality, so sensual and sexual,

and it's so honest as well, I'm
a coward and I'm frightened,

you know, to state "I'm a coward" in the
song is quite a brave thing to do, actually.

♪ Here I go

♪ It's coming for me through the trees... ♪

It is like she's on a leash,

it's like the whole song is on a
leash and you're tugging it back,

but you know it's just going to
escape and burst and run free.

♪ Take my shoes off and
throw them in the lake

♪ And I'll be... ♪

I'm convinced that as great
as that record sounds,

if you had anyone else sing it, you know,

anyone else try to kind of weave and
make it kind of do that thing where

it burns like wildfire and it comes
alive, no-one else could do it.

♪ I found a fox caught by dogs... ♪

It's incredible, the way she
brings this kind of cold,

Arctic atmosphere, it's
just like fire, you know?

It's all just like, "Aah!"
coming out of her mouth.

♪ Here I go

♪ Don't let me go... ♪

Everything's doubling up now, you've
got twice the amount of cellos,

so everything's doubled.

♪ It's coming for me through the trees... ♪

The Fairlight synthesiser...

That's the wash, which is
what she wrote the song with.

What we had done is, we had set
up a pattern in the Fairlight,

put that to tape so she had that
pattern to play along with,

and then, she used the
Orchestra 5 sound as a wash,

to actually write the song with.

Which is what you hear all the way through,

that kind of washy synthesiser
sound that's underneath it all.

Then, all the cellos just
dance over the top of it.

Virtually no backing vocals at all.

I think that's the strength of the song,

the fact there is very little to
get in the way of that lead vocal.

♪ And throw them in the lake... ♪

And now I'm replaying the song in my head.
She's like...

♪ Do you know what I really need
Do you know what I really need?

♪ Need la-la-la-la

♪ Yay, yo, yay, yo, your love... ♪

I find it really hard to
separate images from the music,

once you know the music is
brilliant, and of course,

I associate this image with
some of my favourite songs...

...that I know in my life.

♪ Little light, shining... ♪

The second half of The Hounds of Love,

that's really where the magic is, for me.

I mean, the first half is a
collection of the singles,

almost, isn't it?

But the second half is an incredible
sort of series of songs -

And Dream Of Sheep, which is so beautiful.

♪ I tune into some friendly voices

♪ Talking 'bout stupid things... ♪

"I tune into some friendly voices,
talking about stupid things.

"I can't be left to my imagination.

"Let me be weak, let me
sleep and dream of sheep."

♪ Let me be weak... ♪

I love that lyric.

♪ Let me sleep and dream of sheep... ♪

The way it kind of goes the stranger
songs, like Waking the Witch

and things like that, where
it's just, it's just these odd

little, uncomfortable
little musical moments...

I think The Ninth Wave was the
piece of music that affected me

the most when I was little,
because it terrified me.

It's about witches and
being stuck under ice

and, you know, floating adrift
in a sea of nothingness,

and all those kind of dream
elements, subconscious themes,

and very kind of English,
ancient storytelling.

It seems like, on that piece of music,

she captured that moment
between waking and sleeping.

I've spent many, many,

many hours listening to
that 30 minutes of music,

it's an incredible piece of music,

and I advise anyone who
has never heard it to go

and listen to it, because it's one
of the great pieces of music.

Creativity comes from the freedom to fail.

And the freedom to fail comes
from, you know, experimentation,

and that's what gives
something its individuality,

and, you know, I think
her courage, which is

the positive way of interpreting
it, or bloody-mindedness, which is

the negative, is part of what gives
her real value as an artist.

♪ In this proud land We grew up strong

♪ We were wanted all along

♪ I was taught to fight Taught to win

♪ I never thought I could fail... ♪

It's extraordinary what that
song has been used for,

but I think a lot of people who
have got into trouble have attached

themselves to that song, and I
think a lot of it is that Kate's

wonderful voice is there in a sort
of reassuring and loving way.

And just makes them think that
perhaps there is going to be

that type of love out there for them.

♪ Don't give up

♪ Cos you have friends

♪ Don't give up

♪ You're not the only one... ♪

The record she did with Peter Gabriel

was one record that saved my life.

That record helped me get sober.

So, she played a big part in
my actual downfall and, um,

rebirth, as it were. That
record helped me so much.

I never told her that, but it did.

♪ Don't give up

♪ Cos I believe there's a place

♪ There's a place where we belong... ♪

One of the things that I love about
Kate Bush is her absolute ability

to take things, to pluck things
that you would never expect to see

on a rock album and put them
there and make them work.

♪ Mm, yes

♪ Then I'd taken the kiss of
seedcake back from his mouth... ♪

'James Joyce's Ulysses, '

one of the greatest passages

in all of English or Anglo-Irish literature

is Molly Bloom's glorious soliloquy

ending in a sequence of yes's.

Yes, he said, I was a flower
of the mountain, yes,

so we're all flowers, a woman's body, yes.

♪ Mm, yes

♪ He said I was a flower
of the mountain, yes

♪ But now I've powers
over a woman's body... ♪

It's about embracing the
world of the senses,

embracing yourself, embracing
sex, embracing love,

embracing the future,
embracing all possibility.

♪ Into the sensual world... ♪

And it goes all the way back
for me to Wuthering Heights.

This is somebody who's not afraid of books.

This is somebody who's
not afraid of reading,

somebody who's not afraid of writers

and who's not afraid of translating,

being an intermediary,

being a door between the world
of books and the world of rock.

I still remember going to the CD
store and buying Sensual World

when I was 16 and the cover

and there's a rose in front of
her mouth that has bloomed.

She's got big wide eyes
and I remember, you know,

putting it in the shitty
car stereo on the way home

and, you know,

and my life was forever changed.

♪ Oh... ♪

I really thank Kate because these
touchstones like This Woman's Work,

that kind of song is, it's
celebrating everything

that's so wonderful about
being a woman and being...

nurturing and intuitive and emotional

and gentle and sensual and
just like really intimate.

♪ I should be crying but I
just can't let it show... ♪

People don't put their hearts on
the line in that vulnerable way

very much and it's really, as an
artist myself, it's helped me

to not be frightened to show
all, as much as my vulnerability

as a woman as I can and
in that be powerful.

♪ And all the things that we should
have said that we never said

♪ All the things we should've
done that we never did

♪ All the things that you needed from me

♪ All the things that
you wanted for me... ♪

It's as if within her
voice, there's everything.

Every possible facet of
human experience is there

under her surface

and her work as a writer is
to constantly draw that out

and not just the particularity of
her experience as a female body

but her experience as a person

which is to be prey to all kinds
of forces and sensations.

What about your lyrics? Yours are
very passionate and provocative.

Do you get inspiration anywhere?

I think it is illusive stuff

but I think really the biggest
inspiration is people.

I think people are just so
inspiring, they're fascinating

and wonderful and I think, you
know, that nearly every idea that

a person has had is probably at some
point come from another person.

I think The Red Shoes, without
going into too much detail,

is a very personal album.

You know there was a lot of
very personal stuff happening

at that time and I think
it shows in the music.

I mean, basically a lot of
the music on that album

is about break up of relationships.

You know, "I'll come
round when you're not in

"and I'll pick up all my things."
And all that kind of stuff.

♪ It's all right, I'll come
round when you're not in

♪ And I'll pick up all my things

♪ Everything I have I bought with you... ♪

'It's such a desperate song

'and she really finds a
way to convey despair.'

The despair of, you know,
missing the person

or a break up that you know will
never come back together again.

I don't know quite how to put
this but obviously, you know,

you've had a professional/personal
relationship with Kate

for a long time

and The Red Shoes was an
expression of some of the things

that may have been happening
between the two of you

- and yet you were still working together.
- That's exactly it.

Well, because the working
relationship was never a problem.

We always worked together
reasonably well, you know?

We always argue, we always have
and we always will, I guess.

I've always argued with Kate,
she's always argued with me

but I guess that's just
the way it is, you know?

So I feel I'm emotionally involved
with it all to a great extent.

Much more so than most
people would imagine.

Not only did we have a personal
relationship when I worked with her,

I really love her music, I really do.

To the point where I've virtually
worked with nobody else

because nobody else comes close.

♪ Some moments that I've had

♪ Some moments of pleasure

♪ I think about us lying

♪ Lying on a beach somewhere... ♪

I was just really sad that suddenly
someone who was making work

that was accessible to me,
suddenly became inaccessible

because, you know, because of
circumstances, personal choices

or whatever but I always
blamed the critics.

♪ And I can hear my mother saying

♪ Every old sock needs an old shoe

♪ Isn't that a great saying?

♪ Every old sock needs an old shoe... ♪

The fact that she took time off
to raise her child and disappear

and give Bertie a wonderful life,

the humanity in her is so great and

she wasn't interested in anything
except, you know, raising her child

and being happy.

I don't think what Kate Bush did
was like a weird thing at all,

to kind of withdraw to bring up a child,

if that's indeed why she did withdraw.

Maybe she just withdrew because she

was sick of the whole bloody lot of
them wanting to know about her life

and I can really understand that.

For me to get to get into
that creative process,

I have to have a sort of
quiet place that I work from

and if I was living the life of, you know,

somebody in the industry
as a pop star or whatever,

it's too distracting.

It's too to do with other people's
perceptions of who you are

and what's important to me is to
be a human being who has a soul

and who hopefully has a
sense of who they are,

not who everybody else thinks you are.

♪ Elvis, are you out there somewhere?

♪ Looking like a happy man

♪ In the snow with Rosebud

♪ And the king of the mountain... ♪

John Harris, there's been
some anticipation over this,

someone even wrote a novel
called Waiting For Kate Bush

about the long wait. Has it been worth it?

I think there's probably less
anticipation in the real world,

in quote marks, than there is in
certain circles of the media.

I think people will get themselves
in a tizz about this record

because there's still an element of
we are not worthy about Kate Bush.

But deeply eccentric...

It's not, that's the
point, it's not eccentric.

You can tell this is someone who's
not been near the music business

for 12 years and it sounds like the
sort of thing that would blast

from shopping malls in about 1989,

there's a bit of kind of
Tears For Fears about it.

What I like it's not self-conscious
eccentricity, I think she's making

this record for herself, she's
pleasing herself with her music.

"Prelude" by Kate Bush.

The Aerial album,

my favourite on that album is
actually that song called Prelude.

It's just the sound of some cuckoos

and the sound of a child's voice

and she just manages to combine
these very, very prosaic,

pure elements and turn them into magic.

She's always been able to find,
let's say the language of nature.

She would be able to make you
hear words within, you know,

the sounds that birds would make,

you would actually hear that
they're saying something.

Kate Bush makes a record

then you don't hear from her.

And you play the stuff
that she's made already

and you listen to it and
one day, you are surprised

and she brings out something else
and she's been quietly working away

on it for however long she
wanted to work on it.

And I love that, I love the
willingness to be quiet

until it's time to speak

which is something that
she does over and over.

♪ You're not a langur monkey

♪ Nor a big brown bear

♪ You're the wild man... ♪

50 Words For Snow,

my favourite track on that is
where her little son, he sings,

♪ I am sky. ♪

You know, that amazing like
choral boy pure voice was like,

it was just so lovely to hear
the generations coming through

and that they're making music together.

♪ I am sky... ♪

I was called by my agent who said,

"Would you like to record
a track with Kate Bush?"

To which there is only
ever one possible answer.

"As long as it's not me singing."

I said, "She does know I can't sing..

She said, "No, no, it would be
voicing and saying words for snow."

Oh, no, it's not, is it?

I just still can't quite believe
it says Kate Bush/Stephen Fry.

It's wonderfully atmospheric, isn't it?
It's just something about it.

♪ Drifting

♪ Two

♪ Three... ♪

These phrases and epithets are hers
and some of them obviously exist

like whiteout and some of them are
just sort of poetic force poetry.

Almost like what Anglo-Saxon
poetry is known as a kenning

where you just put things together.

She has a very intense poetic mind.

♪ Come on, Joe, you've got 32 to go... ♪

That's what makes it.
That voice that comes in.

♪ Come on, Joe, you've got 32 to go... ♪

The intention is to tell a story,

to create a sonic world for us, a
sonic painting for us to walk into

without having to see her.

She's transcending that.

She's choosing to transcend that and
that's a very powerful thing to do.

You don't ever get the sense that

she is making music to pander to anyone.

I think you always get her absolute
best attempt at her true vision

whenever you get a Kate Bush record.

The word coming to my
mind is national treasure

but that means kind of like an
almost dead person, doesn't it?

Or something.

She's become a legend not just
because she's been absent

but because she's important to musicians

as much as she's important
to the British public.

She's one of those people that
has got a muse over her head,

she's got this special way to tap in
to the energy and reality of music.

She takes you somewhere else.

You know there are other artists,
they're of a genre, aren't they?

And you can sort of jump between them,

I don't think you can do that
with her, I think you have to...

fully submerge yourself in...

I was going to say the
Bush but I better not.