The latest news about the musician Kate Bush and her work

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Author: Peter

You can be part of the HomeGround Magazine 40th Anniversary Special Edition!

In 1982, in the months leading up to the release of The Dreaming single, we first had the idea of making a Kate Bush fanzine. Over the following 30 years we put out 79 issues, full of news and information about Kate and her music and associated subjects, providing a platform for review and discussion of Kate’s work on a worldwide basis. On the way we also organised, with the official Kate Bush Club, the 1985, 1990, and 1994 fan Conventions, the 1986 Video Party, all of which Kate attended. We also organised the fan contribution to the video shoot for The Big Sky. We were asked to provide the chronology and discographies for the 1987 Kate Bush Complete music and lyric book from EMI Music Publishing, and the sleeve note for the 1997 EMI 100 remastered CD of Hounds of Love.

The last printed HomeGround magazine was published at the end of 2011 and rapidly sold out. It was followed in March 2014 by the hugely successful two-volume HomeGround Anthology, containing over 1,200 pages of material from all 79 issues.

In May 2022 it will be 40 years since the first issue of HomeGround, and we felt we should mark the occasion with a very special issue – issue 80. Our intention is to make this available as a free downloadable PDF enabling us to use full colour.

Just as no previous issue of HomeGround could have happened without contributions from Kate Bush fans around the globe this special issue cannot happen without your help.

We will be producing the familiar news and a special retrospective summary of the last ten years in the Kate Speaking world. What we need are other features, artwork, poetry, short “Letters to the Editor” and even For Sale, Wanted, and Personal Message ads, just as we always did.

Here are some ideas for articles: there’s the work Kate has done since 2012, the 2014 Before the Dawn live performances, the 2015 live album, the 2018 re-masters and The Other Sides, and the Record Shop Day specials. 40 years of The Dreaming. Last words on 50 Words for Snow and the animations. Tribute Bands and tribute gigs, cover versions and Kate songs on TV talent shows. Inspired fictional stories. Reviews and reactions to the many and various Kate related books now available. The trials and tribulations of collecting Kate material. Charts and facts. That day you met Kate. The Most Wuthering Heights Day Ever, tales of fan conventions and other Kate fan meet ups. The wider KateSphere – Paddy and John Carder Bush, Beck Sian, Sarah Daly, Raven Bush …

But generally, whatever might have a connection to Kate’s music. Before now we have run material as diverse as the appropriate whisky to drink with each album, to an analysis of the Red Shoes myth. We are looking forward to your contributions. Have a go!

Our aim is to have the issue ready by 18th May 2022, the official HomeGround birthday, so four months.

Please send submissions to and otherwise contact us at

hgtowers@btinternet.com

HomeGround Audio Archive: 1982 and 1983 now added

Archive audio recordings for the years 1982 and 1983, The Dreaming and After have now been added, and can be accessed via the index page HERE.

There will be no page for 1984, because we do not have any audio recordings for that year. However 1985, the year of the Hounds of Love album and its various singles, will be available shortly.

HomeGround Audio Archive Restored

Following the rebuilding of this site, the links on the HomeGround Audio Archive pages for 1978 and 1980 have now been restored, and a new page for 1979, the year of Kate’s first live shows, has now been added. The available years in the archive can be accessed at the Archive Index page.

LATER – New page for 1981 now added.

We have to continue to caution about the audio quality of some of this early material. When, in the late 70s and early 80s. we started gathering what would become this archive, we were collecting tapes which were umpteenth generation copies of material originally recorded (most likely) by balancing a microphone against a decidedly low-fi medium wave radio or analogue TV. These are precious survivals of material that has not (yet) appeared in a better format.

“Before The Dawn is another remarkable achievement …”

times

guardian

telegraph

mail

Symphony in Blue: Kate Bush and her Legacy by Marta Oliehoek-Samitowska

It is said by some that Kate is not known to a younger generation of music fans. It is scarcely true in a situation when a Kate cover is an inevitable part of ‘Britain’s Got Talent’, or ‘The Voice’, or whatever new talent show is currently occupying the airwaves. What is more to the point, and to the Editors of HomeGround became more noticeable as time went on, was the number of new musicians, not all female, who claimed influence and inspiration from Kate, to the point where we started to chronicle these in the magazine. Of course with lazy music critics seking to easily pigeon-hole any new female artist (or energetic pluggers seeking to get publicity for a new artist), it was always too easy to label them as “the new Kate Bush”, just as in her time Kate was compared to Joni Mitchell and Laura Nyro.

In this very readable new book Marta has delicately interrogated a goodly number of new and recent female artists to determine exactly what that influence was, whether direct in terms of musical composition, or indirect in terms of inspiration to do their own thing and take personal charge of their career.

As Marta says: “the unwilling ‘new Kate Bushes’ and the more willing ones, artists often compared to Kate and yet are hardly influenced by her and others who are relatively unfamiliar with her work  … atists who are heavily influenced by Kate but sound nothing like her and artist who simply like her work … but aren’t necessarily influenced by her“.

The book is cast in three main sections, with intermissions in which the interviewees discuss their favourite Kate tracks. In The Art of Comparing Marta deals with the whole question, and the value of making such comparisons, and encourages her interviewees to discuss  their own reactions. Heather Nova believes that Kate is one of the three biggest influences for female artists today, the others being Patti Smith and Joni Mitchell. Emily Bezar believes the only singer that can compare with Kate and Joni is Arethe Franklin. But just as Kate herself had claimed influence from David Bowie, Elton John, Genesis and The Tubes, this new generation of female artists also point that Kate is one of a number of inspirations, Polly Scattergood being happy to cite Leonard Cohen.

In the second main section, Art Pop Marta considers with the musicians the nature of Kate’s work in sections which deal with the voice, the lyrics, the production, and the image and performance. It is in the voice that many find a true distinctiveness, an instrument of emotion and passion, in its character and use of high register almost set against the all pervading influence of soul and R’n’B. Perhaps as Shara Worden notes, it was an inspiration to others to use their vocal telents in different ways, as they saw fit, not as the music machine would like. Terami Hirsch points to the storytelling in Kate’s songs, and her varied sources of inspiration from Cathy to a Vietcong fighter, and the need to get under the skin and express what they felt. Anja Gabarek notes the thoroughness with which Kate works, every single layer on each album placed there for a purpose.

The third section deals with The Art of Covering Kate “from power metal to dance, to folk, to … a drag act”. The artists discuss their own cover versions, and those done by others, and perhaps you will discover here versions of Kate’s of which you never heard: Sarah Daly’s Babooshka, Elver Palsdottir’s Hounds of Love, Cloudbusting by Novembre and also by Paper Crows and Charlotte Martin. This Woman’s Work by Marie Invie. Marta discusses with Jemima Price her album of Kate covers, and their performances with The Hounds of Love tribute band, and the caberet act of Niki  Romijn, and many others who have trod the fearsome path of covering Kate’s songs.

The book is wrapped up with reactions to 50 Words for Snow, and the questions these artists would themselves like to put to Kate one fine day. An excellent volume which we highly recomend with much to consider about the nature of Kate’s art and how that is received by so many creative people in many different ways. This is finally a primer of a lot of very interesting musicians of which you may not have heard. I’d suggest you remedy that as soon as possible, as I will.

More information here. You can obtain the book here.

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