The Observer: the privilege of working in geological time

Interesting review in Sunday’s Observer, by Kitty Empire:

Kate Bush has earned the privilege of working in geological time. She was once a pop star who turned out landmark releases relatively quickly, but now, aeons pass between releases … Only a nerd of the deepest hue would bother to painstakingly transpose her 1993 album, The Red Shoes, from its digitally produced final cut into analogue tracks, held by many audiophiles to be “warmer”-sounding. This is precisely what Bush has done on Director’s Cut. The album takes great swathes of The Red Shoes and choice cuts from its predecessor, 1989’s The Sensual World, and reworks them, sometimes with subtlety, and sometimes with daring …

About Peter

My Kate CV: Kate fan since 1978. Saw Tour of Life at the London Palladium 1979. Went to first KBC Convention 1980. Founded Homeground with Dave 1982. Worked on 1985, 1990, and 1994 Kate Bush Conventions, and the 1986 Video Party with Dave, Lisa of KBC and Krys. Appeared in videos for The Big Sky and Experiment IV. Wrote Introduction, Chronology and Discography for EMI Music Publishing's 1987 "Kate Bush Complete". Wrote the sleeve note for the remastered 1998 reissue of "Hounds of Love". Invited to write sleeve notes for other reissues which never happened. My other CV: born 1955 in Bermondsey London, educated at Galleywall Primary, Walworth Comprehensive, and London School of Economics BSc(Econ)(Hon) 1976. Currently an Officer of the Crown Court determining legal costs in crminal cases. Met Krys in 1982 through Homeground, we were engaged on Glastonbury Tor on Kate's birthday in 1983, and married in November 1984.
This entry was posted in Director's Cut (album), Kate Bush news, Press, Reviews. Bookmark the permalink.

One Response to The Observer: the privilege of working in geological time

  1. Sky says:

    Interesting review, albeit with the irritating epithets most reviewers just can’t help themselves making in relation to Kate, but some fair points made. I still have doubts about why this set of reworkings has been released as a stand-alone album when it might have been better used as a delightful bonus disc for whatever new music she has in the pipeline. One can only assume she’s done DC to remind people other than core fans who she is and what she does, prior to the next new CD being released. Arial was a mighty triumph of a record, but maybe not enough people noticed. Perhaps Kate knows she has something so special on offer next time around she is making sure everyone is on red alert for it.

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