Ils parlent d'elle

MarcO a écrit:Ce matin sur RTL, vers 7h25, Nolween LEROY a expliqué tout le bien q'elle pensait de Kate BUSH et en particulier de This woman's work.

http://www.rtl.fr/culture/medias-people/this-woman-s-work-par-nolwenn-leroy-7773813580

Reference Points: Lush on Kate Bush

It was with giddy excitement that the world received news of Lush's return. With Blind Spot EP - their first official release for 20 years - due out on 15 April, Lush's Emma Anderson took time out to consider the inspiration sparked by the iconic Kate Bush.

I was ten when Kate Bush first came into my life. As for many, my first exposure to her was the video for "Wuthering Heights" which was aired on Top of the Pops one Thursday in early 1978. She seemed weird and unlike anything I had ever seen before. Up to then, as a young child, my taste in music had been very limited and I had focussed on Abba and early Beatles but Kate’s super-high, almost alien voice and the sensual dancing grabbed my attention…plus she was so young - only 19. I wasn’t immediately a huge fan but she certainly made an impression.

It didn’t take long for me to fall under her spell though when later that year that her second album Lionheart was released. My family not owning a record player, I purchased the cassette from my local record shop which was a tiny little store on a pedestrian walkway in Central London near where I lived. I played Lionheart to death on my portable tape recorder which was the old fashioned mono, rectangular kind with the buttons on the front (unlikely it was designed for playing music on!). The music was beautiful, mainly piano based but with interesting strings and bass parts. However, some of the lyrics on the album proved to be a little risqué for an eleven year-old. In "Symphony in Blue": “The more I think about sex the better it gets”… and the whole of "In The Warm Room”…I remember thinking, “I must be careful playing this in case my mother comes into my bedroom and hears it!”. "Kashka from Bagdad" was about homosexuality and drugs….I didn’t quite understand what was going on but it was an introduction to another world.
But the song "Lionheart" itself, mentioning the statue of Peter Pan in Kensington Gardens which was near my school, chimed with me I think because it was so English. Of course, there had been very English artists before - Pink Floyd, Nick Drake but they were unknown to me and, in a decade that was so obsessed with anything American, Kate stood out a mile. I loved the way she sang the word "dance" with a long "a" - it was almost like two fingers up to the universal hackneyed American style that British artists were adopting.

Furthermore and most importantly though, she was female and wrote her own music and words. Even at a young age I clocked that and filed it away for future reference.

Two years later Never For Ever came out and I was smitten. The sleeve depicted an illustrated Kate in a dress straight out of Laura Ashley (maybe crossed with Biba).

My favourite track was and still is "Blow Away (For Bill)". At the time, I didn’t know what the song was about (I have since learned it’s about death) but the melody took me. Then there was "Breathing" which was about the aftermath of a nuclear war (a subject which hung heavily over the 80s). Once again, I was being exposed to dark lyrics at a very young age. I didn’t totally comprehend it all but it seemed a long way from Abba and early Beatles.

During the ‘80s I drifted away from Kate a little but that was probably due to my own music preferences changing. I was heavily into going to see live music and current bands that the NME was championing more than listening to any solo artists. There was The Dreaming and then of course Hounds of Love. I did like and own those albums but they didn’t ignite my imagination as much as Lionheart and Never For Ever had done in my pre-teenage years.

But then in 1989 The Sensual World came out and I was fully back on board. It was the last album of Kate’s I consumed from start to finish. By this time, Lush was up and running. I had the album on cassette (again - probably because of owning a Walkman) and played it when we went on support tours in 1989. The band were all sat with the gear on a wet mattress in the back of an old BT van and I let The Sensual World transport me away during trips which were probably the most unglamorous I have ever made in my musical career! "Reaching Out" and "This Woman’s Work" bring a tear to my eye to this day.

This album featured the otherworldly Bulgarian Voices choir and two of their own albums were subsequently released on 4AD. I went to see them at the Royal Festival Hall and, because of the label connection, I was able to gain access backstage. Lo and behold Kate was there. She was tiny. I didn’t speak to her; I was WAY too in awe!

Of course, I went to see Before the Dawn in 2014. We didn’t have the best seats in the house - they were right at the back of the circle but I was there…that was the main thing. Of course, like many others, I was disappointed that she didn’t play anything pre-Hounds of Love but, as always, that was her choice and I respected it. It was a fantastic show and I felt genuinely honoured to be there.

Kate Bush has been the only artist that has really ‘accompanied’ me for most of my life. From the age of 10 to 48, she has been there. Musically she has been an inspiration - not so much technically, after all she writes most of her songs on piano and I can’t play that proficiently at all. But most especially as an icon. It always seemed that Kate didn’t care what people thought about her (check some of her insouciant early interviews) and, pre-2014, she only did one tour which is almost unheard of for a major artist. She did things on her terms and answered to no one. ‘Unique’ is a term which is overused when describing musicians but in this case, it’s totally justified.

Ludovic a écrit:Thurston Moore et l'artiste anglais Phil Collins

Phil Connors se met à parler d'elle

Jérôme a écrit:faut savoir c'est collins ou connors ?

ceci dit avant d'aller voir la vid je me suis dit mais qu'est ce qu'ils foutent ensemble sans tricoter un phil peut en cacher un autre ok je sors

"I remember working with Liam on a Kate Bush album, The Hounds of Love," Sheahan recalls. "It was 'Jig of Life' and Bill Whelan was producing. Liam was playing whistle on it. He was metronomic in his timing and so virtuosic, too."

Sheahan's fiddle playing has been in demand for years for artists as diverse as Declan O'Rourke and Rod Stewart, but his work with Bush holds particular resonance. "Kate turned out to be such a lovely girl," he says. "At the time, I was interested in origami and I was making things in the studio and giving them to her. A few months later it was Christmas and I got this lovely Christmas card with genuine Japanese origami paper as a present."

He chuckles at the memory of their very first meeting. "When I first met her, I played some music for her and a tear rolled down her eye and she said 'Your playing is so emotional' and we hugged and Bill Whelan was in the control room looking out and he said, 'What the f*** is going on? Sheahan is after meeting this bird just a couple of minutes ago and they're hugging each other already'."

Renaud a écrit:Et KB n'a, à ma connaissance, jamais porté de jupes à frou-frou....pourtant Dieu sait qu'elle a mis des trucs moches

Renaud a écrit:Ah mais cela ne m'étonne pas !
Sais-tu Jean-Marc que KB avait même été envisagée pour faire la 1ère partie des Fleetwood Mac au début de sa carrière sur une de leur tournée.....je ne sais plus laquelle, Pierre le saura peut être......

La chanson de votre premier amour ?

Hounds of love, de Kate Bush. C’était un amour à sens unique. Je me rappelle qu’on se tenait la main dans la voiture, son visage éclairé par la lumière du tableau de bord…  Il n’était pas gay mais m’aimait beaucoup et était très affectueux, ce que j’ai mal interprété. J’ai vu Kate Bush en concert il y a un an et demi en 2014. C’était extraordinaire. Et c’est amusant parce que je viens de recevoir un message sur Facebook de cet ami, vingt-cinq ans plus tard.

JOHN GRANT ON KATE BUSH

John Grant is a singer-songwriter and musician whose first solo effort, Queen of Denmark, was named “Album of the Year 2010” by MOJO. He is on the verge of finishing his second solo record, with Biggi Veira of GusGus fame; entitled Pale Green Ghosts, it will be released on Bella Union in March of 2013.

Hounds of Love was my introduction to Kate Bush, and I believe I heard “Running Up that Hill” on the radio somewhere, but I don’t remember where, precisely, or when. All I know is that I was shocked by how beautiful it was, and then went directly to the record store against my parents’ wishes and purchased the cassette. Sound Warehouse was the name of the place, in Denver, Colorado, and it hasn’t existed for a very long time now.

But what comes to mind most, in connection with her voice, is how in love I was with a boy named Rick during that time, and how that album became the backdrop for everything I experienced with him. He and I would go to an underage club called Normans for New Wave night every Friday. It was at that club that I met him, and he had black hair and pale skin and was one of the most charismatic and handsome fellows I had ever met. He thought I was amazing and beautiful; up until that point, only my mother had told me this, and that didn’t have quite the same effect. Soon Rick stopped hanging out with his “other” friend and started hanging out with me. Since he lived so far out in the country and didn’t have a car, he needed someone to drive him home, much to my delight.

What I remember the most are the long drives in the dead of night back to Rick’s house out in the middle of nowhere. We always listened to Hounds of Love, and I remember not being able to imagine anything in the world more beautiful than that voice coupled with his companionship. It was all very bittersweet, because as it turned out, Rick was straight, and he was using me because he knew how good-looking he was, and that I was in love with him, AND that he could get me to drive him anywhere and everywhere, which I did. Out where he lived, there weren’t many lights, so it was pitch black outside on those drives, and our faces glowed a bit from the dashboard lights. We never spoke on those drives, just listened to Kate Bush and that exquisite voice and music of hers. Rick often reached over to hold my hand, and I remember thinking that I was being courted by the most beautiful man on earth and that we would always be together. “Hello Earth,” “Mother Stands for Comfort,” “And Dream of Sheep”—listening to those songs, with that person, in my mom’s little Honda Civic, was one of the most beautiful things I’ve ever experienced. I wasn’t supposed to be going out—we both wore lots of eyeliner, and our Doc Martens, of course, and I had my longish hair all Aqua-Netted to within an inch of its life—and if my parents had ever seen me in that state, I would never have been allowed to leave the house again. Of course, all of this added to the excitement of that time. That music, that voice, that man—all of these things were outside of my everyday life as a “fucking faggot” attending high school out in sticks with the rednecks, and they also took me far away from the strict religious household I lived in and made it seem like anything was possible all of a sudden.

Of course, it was a rude awakening for me when I finally worked up the nerve to express to Rick how I felt about him, and he announced that he no longer was in need of my services, and I was immediately dismissed. I was completely bereft and crestfallen. It took years before I could listen to Hounds of Love again without feeling all the urgency and intensity of that time. At some point, I know I simply decided I must win back that music for myself—and ditch the memory of Rick once and for all. I did, and I’ve never tired of that record. It is one of the most amazing things I’ve ever heard.

American writer Scott Heim published his first novel Mysterious Skin, in 1995; in 2005 it was adapted for the screen in a film directed by Gregg Araki and starring the now-A list Joseph Gordon-Levitt. While Heim has published two subsequent novels and a collection of poetry, his latest venture, the First Time I Heard... series of books, offers - to borrow a phrase - something completely different. Now on its fifth volume, The First Time I Heard Kate Bush, the series is a unique collections of impressions and anecdotes, driven by the intimacy and subjectivity of music, written by talented authors, artists and musicians in their own right.

On this day in 2014, I saw Kate Bush at the Hammersmith Odeon in London.⁣
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Kate Bush is an artist and writer of some of the most extraordinary material I have had the pleasure to experience. From hearing ‘Man With A Child In His Eyes’ written in her teens and on her debut album I knew this was a unique talent with a depth of profound understanding to all things musical. She continued to grow artistically and released a catalogue of fascinating lyrical music over the years.⁣
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In 1979 Kate Bush played her last concert at the Hammersmith Odeon in London. From then on she became quite a successful recluse. When it was announced in 2014 that she was to perform a run of concerts at the Hammersmith Odeon the tickets evaporated. However I was lucky to be given two tickets and went with poet @scarlettzsabet to experience the communion. Kate generated an unparalleled commitment from the audience who attended her shows. It was that they were requested not to record the show that evening and they kept to that. I think there may have been a public lynching awaiting anyone who may disobey.⁣
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The feeling for love and respect for Kate was tangible. Her show displayed the measure of her genius and vision both past, present and future. Each and every one of us was truly moved by her concert both visually and musically.

Thank you Kate.