Kate Bush - b-sides and rarities: Iguana's picks

Iguana

If I only could...
Joined
Jan 17, 2008
Messages
35,516
Location
Between war and denial
In the run-up to the results of @Soldi's Kate Bush singles rate spectacular, I thought I'd go to the other end of the spectrum and post a selection of b-sides and rarities.

I'll start with one of my favourites, Not This Time. This was a b-side to the 1986 release of the The Big Sky single. One of my favourite opening lyrics from her:

Oh with a mind that renders everything sensitive
What chance do I have here?


Elsewhere, there is some debate over where she sings "To keep the ship away" or "To keep the shit away". I think it's clearly the latter, but in a songbook she published it said "ship", but that may have been a bit of self-censorship.

 
Next up, You Want Alchemy, which is a b-side to the Eat The Music from 1993 (so The Red Shoes era).

Now this song wouldn't be too out of place on Aerial, especially with the 'lovely afternoon' lyric. A story about the persona going for a nice walk and stumbling upon a beekeeper (hi, Tori) waiting for his bees to come home. Proper pastoral Kate stuff this.

The "And I'll do it for you" lyric is very prevalent in The Red Shoes-era work. It features prominently in the beautiful middle 8 of The Song Of Solomon: "I'll do it for you, I'll be the rose of Sharon for you / I'll do it for you, I'll be the lily of the valley for you...". Here it's about the bees: "Turn the roses into gold, and they'll do it for you...And why not?" It also crops up on Show A Little Devotion which I'll get to later ("Is there anything that I can do? Anything at all? [...] Just tell me what it is / Then I can do it". It was a tough time for Kate with the loss of her mother and end of a long-term relationship and I think she felt overstretched and exhausted but still wanted to show willing and to help others, almost as a way of not having to help herself. This fits into a wider theory I have about each song on The Red Shoes representing Kate searching for a cure to her unhappiness, relying on different ways of trying to make herself feel better, but she only finds temporary solace. Maybe for another day...

Anyway, You Want Alchemy is a rather lush track with a bit of early '90s production and it's rather a lovely addition to her work.

 
Earlier Kate, now. The Empty Bullring was the b-side to Breathing (so Never for Ever era). It could be about Birmingham's shopping centre now.

Kate said about it: "This is a song that I first had ideas for quite a few years ago. It is really about someone who is in love with someone who is obsessed with something that is pretty futile. They can't get the person to accept the fact that it is a futile obsession. To put it into a sort of story form: he became a matador, and got gored so badly that he couldn't carry on. But at night he climbs out of the window and runs off to a bullring, when there is no-one there, and he fights a bull that doesn't exist. (...) Tamlain is a girl in a traditional fairy story, who is locked up in an ivory tower. "

Vocals are a bit shrill in parts, but also very clear. There's some high drama and great dyamics.

 
Every Kate Bush fan's perennial cry in respect of new Kate material: I'm Still Waiting.

A b-side to This Woman's Work (so The Sensual World era), I find it has a bit in common sonically with Not This Time. It's very Miss Havisham, waiting for her lover who's never coming back: "The storm is coming back/ Maybe you'll be coming back /'Coz I'm still waiting". The crazy waahwaawaawaaaahs! at the end imply to me that he's never coming back and there's a little rot creeping in...

 
Be Kind To My Mistakes, a b-side to This Woman's Work, but originally on the soundtrack to 'Castaway' in 1987.

Always loved this one. It captures that early exploratory period of a relationship really nicely. Knowing that you each have your own baggage and you're not ready to quite show each other yet, with a gentle plea to react kindly to our real selves being revealed. And it's that process that, in fact, binds and 'brings us together'.

 
One from The Cathy Demos, her pre-The Kick Inside piano cuts: It Hurts Me. The lyrics to her early material are truly beyond her years. To me, it's about someone who's lost in memories - specifically an old romance that has died; wanting to live in the present but finding the present, and anything remotely joyful, too difficult to bear.

 
Oh does this mean The Saturdays rate is going to take an extra day to finish?

Good choices so far.
 
Well, this is a bizarre one. Ken, a b-side to Love And Anger (The Sensual World era) was originally recorded for the a Comic Strip film about the Greater London Council. And the song's about Ken Livingstone. And she calls him a "funky sex machine". I don't really think there's much else to say.

 
Top-notch selection Iguana :disco:

I imagine PERSONAL FAVOURITE Under the Ivy will feature EVENTUALLY.
 
The demo version of Why Should I Love You? (the finished version of which appears on The Red Shoes) is like a completely different song. Before Prince got his hands on it, it was a gorgeous ballad with sensual vocals and an almost religious vibe. The line "If I could sing like a blackbird just like my heart was filled with summer" is a huge precursor to Aerial - in fact, it sums Aerial up in one line.

Here's what Prince's sound engineer, Michael Koppelman, said in 1995 about the recording process:

"So, Prince tells me that he and Kate are going to work on a tune together. He also told me that while they were talking he told her that his engineer would rather work with her than him. (I thought, wow, Prince and Kate Bush talking about me!).

ANYWAY, Eventually the phone call above occurred and the tapes arrived and I put them up and got a rough mix up. I still have a cassette of it. It fucking rules. It is 1 million times better than the lame disco Prince put on it. There was, of course, no disco on it before Prince got his hands on it. So Prince comes in and listens to it. And the brutality began. First we sampled the drum thing and synced it up to my Powerbook so we could do MIDI. At that point, we essentially created a new song on a new piece of tape and then flew all of Kate's tracks back on top of it. So now we could run the sequencer and add all the keyboards that Prince put on. So Prince stacked a bunch of keys, guitars, basses, etc, on it and then went to sing background vocals.

When Prince does vocals, he sits right at the recording console with a microphone hanging over it and does his own punching in and out. So he kicks everyone out of the room when he sings. It took him a few hours and then he called me back in and played me the thick, multi-tracked background vocals he had put on. Now, as we all know, the song in question goes "Of all the people in the world why should i love you". When Prince called me back in and played me what he had done, he had sung "All of the people in the world", instead of Of All. I said, isn't it OF all the people in the world? Not ALL of? He said, no, we had a little talk about that, in his cocky way, as if to say he had talked with Kate about changing the words to "all of" instead of "of all".

The next day, I was waiting at my hotel room for the call to go to the studio when the assistant engineer, Sylvia Massy, called and said Prince was in the studio doing vocals. I was surprised; i was always called well in advance of Prince going into the studio. When I got there he was changing all the vocals to "Of All", and was sampling them in himself, which is something he would normally never do himself. My interpretation? He made a mistake, as humans do, and didn't have the guts to admit it. That's weird. So I sorta poked my head in at one point and asked him if he needed any help, and we went on with the day. Eventually he had me do a rough mix, and when he had approved it, we sent it to Kate.

I got a call from Therese a few days (or weeks, I forget) later. She said, Kate Bush said to destroy all copies of that mix. I said, huh? Did she not like it or something? (my heart rejoiced, because I hated what Prince did to it) She said, I don't know, she just said to destroy them. Later on Prince told me, Kate Bush liked what we did. She said it sounded very American. So at that point I wasn't sure if she was even going to use it. We sent the tapes back and she sort of split the difference with what he sent and what's on the record.

 
And speaking of demos, here's an early demo of Babooshka, just Kate and piano. Interesting changes to the lyrics throughout, but the thing I find really interesting is the line "She couldn't have made a worst move", which she sings on the version we all know and which is obviously grammatically incorrect, is the correct "worse" move here. Which implies it was a conscious change: perhaps to seem like it's a letter with a typo?

 
The demo version of Why Should I Love You? (the finished version of which appears on The Red Shoes) is like a completely different song. Before Prince got his hands on it, it was a gorgeous ballad with sensual vocals and an almost religious vibe. The line "If I could sing like a blackbird just like my heart was filled with summer" is a huge precursor to Aerial - in fact, it sums Aerial up in one line.

Here's what Prince's sound engineer, Michael Koppelman, said in 1995 about the recording process:

"So, Prince tells me that he and Kate are going to work on a tune together. He also told me that while they were talking he told her that his engineer would rather work with her than him. (I thought, wow, Prince and Kate Bush talking about me!).

ANYWAY, Eventually the phone call above occurred and the tapes arrived and I put them up and got a rough mix up. I still have a cassette of it. It fucking rules. It is 1 million times better than the lame disco Prince put on it. There was, of course, no disco on it before Prince got his hands on it. So Prince comes in and listens to it. And the brutality began. First we sampled the drum thing and synced it up to my Powerbook so we could do MIDI. At that point, we essentially created a new song on a new piece of tape and then flew all of Kate's tracks back on top of it. So now we could run the sequencer and add all the keyboards that Prince put on. So Prince stacked a bunch of keys, guitars, basses, etc, on it and then went to sing background vocals.

When Prince does vocals, he sits right at the recording console with a microphone hanging over it and does his own punching in and out. So he kicks everyone out of the room when he sings. It took him a few hours and then he called me back in and played me the thick, multi-tracked background vocals he had put on. Now, as we all know, the song in question goes "Of all the people in the world why should i love you". When Prince called me back in and played me what he had done, he had sung "All of the people in the world", instead of Of All. I said, isn't it OF all the people in the world? Not ALL of? He said, no, we had a little talk about that, in his cocky way, as if to say he had talked with Kate about changing the words to "all of" instead of "of all".

The next day, I was waiting at my hotel room for the call to go to the studio when the assistant engineer, Sylvia Massy, called and said Prince was in the studio doing vocals. I was surprised; i was always called well in advance of Prince going into the studio. When I got there he was changing all the vocals to "Of All", and was sampling them in himself, which is something he would normally never do himself. My interpretation? He made a mistake, as humans do, and didn't have the guts to admit it. That's weird. So I sorta poked my head in at one point and asked him if he needed any help, and we went on with the day. Eventually he had me do a rough mix, and when he had approved it, we sent it to Kate.

I got a call from Therese a few days (or weeks, I forget) later. She said, Kate Bush said to destroy all copies of that mix. I said, huh? Did she not like it or something? (my heart rejoiced, because I hated what Prince did to it) She said, I don't know, she just said to destroy them. Later on Prince told me, Kate Bush liked what we did. She said it sounded very American. So at that point I wasn't sure if she was even going to use it. We sent the tapes back and she sort of split the difference with what he sent and what's on the record.


Oh this one really is MARVELLOUS.
 
The demo version of Why Should I Love You? (the finished version of which appears on The Red Shoes) is like a completely different song. Before Prince got his hands on it, it was a gorgeous ballad with sensual vocals and an almost religious vibe. The line "If I could sing like a blackbird just like my heart was filled with summer" is a huge precursor to Aerial - in fact, it sums Aerial up in one line.

Here's what Prince's sound engineer, Michael Koppelman, said in 1995 about the recording process:

"So, Prince tells me that he and Kate are going to work on a tune together. He also told me that while they were talking he told her that his engineer would rather work with her than him. (I thought, wow, Prince and Kate Bush talking about me!).

ANYWAY, Eventually the phone call above occurred and the tapes arrived and I put them up and got a rough mix up. I still have a cassette of it. It fucking rules. It is 1 million times better than the lame disco Prince put on it. There was, of course, no disco on it before Prince got his hands on it. So Prince comes in and listens to it. And the brutality began. First we sampled the drum thing and synced it up to my Powerbook so we could do MIDI. At that point, we essentially created a new song on a new piece of tape and then flew all of Kate's tracks back on top of it. So now we could run the sequencer and add all the keyboards that Prince put on. So Prince stacked a bunch of keys, guitars, basses, etc, on it and then went to sing background vocals.

When Prince does vocals, he sits right at the recording console with a microphone hanging over it and does his own punching in and out. So he kicks everyone out of the room when he sings. It took him a few hours and then he called me back in and played me the thick, multi-tracked background vocals he had put on. Now, as we all know, the song in question goes "Of all the people in the world why should i love you". When Prince called me back in and played me what he had done, he had sung "All of the people in the world", instead of Of All. I said, isn't it OF all the people in the world? Not ALL of? He said, no, we had a little talk about that, in his cocky way, as if to say he had talked with Kate about changing the words to "all of" instead of "of all".

The next day, I was waiting at my hotel room for the call to go to the studio when the assistant engineer, Sylvia Massy, called and said Prince was in the studio doing vocals. I was surprised; i was always called well in advance of Prince going into the studio. When I got there he was changing all the vocals to "Of All", and was sampling them in himself, which is something he would normally never do himself. My interpretation? He made a mistake, as humans do, and didn't have the guts to admit it. That's weird. So I sorta poked my head in at one point and asked him if he needed any help, and we went on with the day. Eventually he had me do a rough mix, and when he had approved it, we sent it to Kate.

I got a call from Therese a few days (or weeks, I forget) later. She said, Kate Bush said to destroy all copies of that mix. I said, huh? Did she not like it or something? (my heart rejoiced, because I hated what Prince did to it) She said, I don't know, she just said to destroy them. Later on Prince told me, Kate Bush liked what we did. She said it sounded very American. So at that point I wasn't sure if she was even going to use it. We sent the tapes back and she sort of split the difference with what he sent and what's on the record.



I am with PRINCE on this one, I think he LIFTED the song, I love the soulful, downbeat verses and how they clash with the upbeat chorus in the final version.

As a fan of both, I like that the song sounds obviously Kate but there's an undeniably Prince influence over it.

The original version is nice too, but it's very much in the wheelhouse of a lot of The Sensual World, the final version sounds a bit more different and befitting the hotchpotch of styles that is The Red Shoes.
 
Forgot how much I loved ‘Humming’ until this thread made me play The Other Sides this morning.

As mentioned in the comments - some Tiny Dancer-esque flourishes....?

 
Kate covered Roy Harper's Another Day with Peter Gabriel in 1979 for her Christmas special that year. It's a really devastating song about a relationship that promised so much but ended in regret, hopelessly weighed down by stagnation. It's truly a gorgeous cover.

 
Show A Little Devotion ('The Red Shoes' era) is one of my favourite Kate b-sides. There's this desperation to the vibe of the song and to her vocals. She just sounds so tired of life and like she needs a break (and she then took 12 years off so go figure). But at the same time she sounds beautiful, wistful and wise. Love it.

 
Little Christmas treat here: Home For Christmas, b-side to Moments of Pleasure. It's very cute and simple, just Kate and an acoustic guitar. Oh, and a trumpet. She is at 'peak Kate trill'. Merry Katemas everyone!

 
Didn’t know where to stick this one :ken:

Was new to me this very day!

Rumour has it that she turned down doing the theme tune to Moonraker to do this instead!!

 
Forgot how much I loved ‘Humming’ until this thread made me play The Other Sides this morning.

As mentioned in the comments - some Tiny Dancer-esque flourishes....?



Today's daily thread had me humming Humming, and I was looking for a place to post this very video.

And how lovely to see Show A Little Devotion is in here too. It's like a reprise of "every old sock..." at the end of a show.
 
I’ve misplaced my Other Sides 😞

Or someone with taste stole it from my car when it went for its service
 

Users who are viewing this thread

Back
Top Bottom