/ Naomi /

“Kate Bush proved that there are no real rules. If you want to do it this way, do it absolutely in the personal way that you see it. I think a lot of artists found that incredibly empowering.”

— Mark Radcliffe

December 12, 2011, 7:54am  Comments

“

I want to say a huge thank you to everyone who has embraced ‘50 Words For Snow’ with such warmth and positivity. I am totally blown away by the response to the album and am so delighted with the chart position of No 5 today. Hooray!

Thanks to everyone who has contributed: Del Palmer for all his really great work throughout the recording process and his input during the mixing. To Stephen Tayler for his invaluable work on the mixes and to Stanley Gabriel who assisted us. To all the wonderful musicians especially Steve Gadd for the incredible feel he has brought to the whole piece, to Danny for his beautiful guitars, to dearest Bertie for his fantastic performance and for all his enthusiasm, to Jonathan Tunick for his gorgeous orchestrations and to John Giblin, Danny Thompson and all the guests who have brought their special energies into the music. To everyone on the team who have done such a terrific job and most of all to all of you who take it into your homes and your hearts and make me feel so privileged to have my work received with such love.

Many thanks,
Kate x

”

— it is our pleasure. always, always. 

November 28, 2011, 8:17pm  Comments

“To me, Kate Bush will always represent the age of exploring your sexuality, when you change from a girl to a woman. I guess that’s what I found fascinating about Kate, she totally stuck out. She created her own look and sound. There’s a timelessness to her music.”

— Björk (via katebushonline)

(Source: katebushonline)

November 11, 2011, 3:51pm  Comments

“

That started at the Fairlight. We got these big chords of strings, and put this line over the top, and then I got this idea of these words - slipping into the fog. I thought wouldn’t it be interesting to sort of really visualize that in a piece of music, with all these strings coming in that would actually be the fog. So I wrote a bit of music that went on the front of what I’d done, and extended it backwards with this bit on the front that was very simple and straightforward, but then went into the big orchestral bit, to get the sense of fog coming in.

Then we put a drummer on, and Nigel Kennedy, the violinist, came in and replaced the Fairlight violin, which changed the nature of it. He’s great to work with - such a great musician. The times we work together we sort of write together. I’ll say something like, “what about doing something a bit like Vaughan Williams?”, and he’ll know the whole repertoire, and he’ll pick something, and maybe I’ll change something. By doing that we came up with this different musical section that hadn’t been on the Fairlight.

So when I got all this down it seemed to make sense story-wise. This new section became like a flashback area. And then I got the lyrics together about slipping into the fog, and relationships, trying to let go of people.

It sounded great with the Fairlight holding it together, but it just didn’t have the sense of dimension I wanted. So we got hold of Michael Kamen, who orchestrated some of the last album, and we said we wanted this bit here with waves and flashbacks. He’s really into this because he’s always writing music for films, and he loves the idea of visual imagery. So we put his orchestra in on top of the Fairlight.

Again a very complicated process, and he was actually the last thing to go on. I don’t know how anything comes out as one song, because sometimes it’s such a bizarre process. It does seem to work together somehow.

”

— Kate Bush on writing The Fog

November 06, 2011, 2:37pm  Comments