The 'Bands I don't Get' thread (6 Viewers)

I love Lionheart. It’s unfairly maligned as the leftovers from The Kick Inside, but it is probably her most raw piano and vocals album and all the better for it,
 
I'd no buzz for kate bush for years and then one of my mates did 'you have to know this' tour of her material in the cans part after the pub and I got a great 8-10 song conversion where I then realised she was a genius.
 
My favourite song of hers is the b-side for “Running Up That Hill”:
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it used to be included on Hounds of Love CDs along with a few other non-album tracks but the recent reissues excised the bonus material. I hate it when that happens.
 
I've listened to The Dreaming (1982) and Hounds Of Love (1985) albums plus watched a few of Kate Bush's videos and some live stuff since I brought her name up a few days ago.

she is obviously very multitalented and the audacity it takes to follow her own vision is admirable but talk about being self indulgent.

The Dreaming's only track that really appealed to me was the final song 'Get Out Of My House' which sounded a little like PIL's Flower Of Romance LP.
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if anyone wants to explain why the title track has any merit whatsoever the floor is yours 'cause I think this is really awful
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also read please read this:

a big feature of both LP's is the new digital tech which I blame for the decline from the early 80's being loaded with vividly brilliant pop tunes to blandness of the mid 80's.
the DX7 (came out in 83) and Fairlight etc have a tendency to be very easy to spot on recordings once you knew what they are.
the other day I listened to some K.H. Stockhausen synth stuff played by his son Simon and it had that dated feeling.

Hounds Of Love (1985) has some interesting moments (well bits more like) but almost nothing really stood out that I would go back to. I thought this was a good though -
Waking The Witch
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there were elements of Hounds Of Love and maybe Big Sky that I liked but not as complete songs.
that's the nice part of my post over.

both LP's had songs with trad Irish parts that the musicians involved should have known better than to get involved in - Riverdance might be interested.
Bush's piano led tracks are tragically a major precursor of the style of mellow cover versions you hear on adverts all the time.
after watching her videos and bits of the '78 Hammersmith concert my main thoughts were how much I dislike mime and her outfits and that the videos alone were enough to put me off the music.
for whatever reason K.B. always came across like a 1980's Mammy IMO and I can't get past that.

this came out in 1993 and I remember the music press reviewing this single and being scared to say anything bad about it.
the song and video were so dated (especially w/ the sessioners in her band). I remember thinking ''I wouldn't like to meet her in a dark alley''.
Rubberband Girl:
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surely Kate B. is satirising herself here?

and this is a sanitised version of what I could have written
 

a whole thread on Hounds Of Love in the albums club. never bothered to read this until now.
 
I've listened to The Dreaming (1982) and Hounds Of Love (1985) albums plus watched a few of Kate Bush's videos and some live stuff since I brought her name up a few days ago.

she is obviously very multitalented and the audacity it takes to follow her own vision is admirable but talk about being self indulgent.

The Dreaming's only track that really appealed to me was the final song 'Get Out Of My House' which sounded a little like PIL's Flower Of Romance LP.
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if anyone wants to explain why the title track has any merit whatsoever the floor is yours 'cause I think this is really awful
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.

also read please read this:

a big feature of both LP's is the new digital tech which I blame for the decline from the early 80's being loaded with vividly brilliant pop tunes to blandness of the mid 80's.
the DX7 (came out in 83) and Fairlight etc have a tendency to be very easy to spot on recordings once you knew what they are.
the other day I listened to some K.H. Stockhausen synth stuff played by his son Simon and it had that dated feeling.

Hounds Of Love (1985) has some interesting moments (well bits more like) but almost nothing really stood out that I would go back to. I thought this was a good though -
Waking The Witch
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there were elements of Hounds Of Love and maybe Big Sky that I liked but not as complete songs.
that's the nice part of my post over.

both LP's had songs with trad Irish parts that the musicians involved should have known better than to get involved in - Riverdance might be interested.
Bush's piano led tracks are tragically a major precursor of the style of mellow cover versions you hear on adverts all the time.
after watching her videos and bits of the '78 Hammersmith concert my main thoughts were how much I dislike mime and her outfits and that the videos alone were enough to put me off the music.
for whatever reason K.B. always came across like a 1980's Mammy IMO and I can't get past that.

this came out in 1993 and I remember the music press reviewing this single and being scared to say anything bad about it.
the song and video were so dated (especially w/ the sessioners in her band). I remember thinking ''I wouldn't like to meet her in a dark alley''.
Rubberband Girl:
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surely Kate B. is satirising herself here?

and this is a sanitised version of what I could have written


Em, OK.
 
One of my favourite songs about the ghost of a beloved dog

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if anyone wants to explain why the title track has any merit whatsoever the floor is yours 'cause I think this is really awful
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It's a bit like the Cocteau Twins, no idea what the words are, I just like how it sounds. Good drunken rhythm track there, it's very stagey stuff (musically I mean) but i'm not against that on principle, music is a performance after all.

also read please read this:
She used some slang, was informed it was racist so she stopped using it? That's a point in her favour.

a big feature of both LP's is the new digital tech which I blame for the decline from the early 80's being loaded with vividly brilliant pop tunes to blandness of the mid 80's.
the DX7 (came out in 83) and Fairlight etc have a tendency to be very easy to spot on recordings once you knew what they are.
I'd probably agree with this but it was the latest tech at the time, she wasn't following a specific trend and I'm not going to blame her for the unimaginative people that came after. I'm also happy for music to sound of its time, better than trying to sound "timeless" and coming up Stereophonics.

But yeah, those digital synths wrecked a lot of what could have been good sounding stuff post 1984.
 
She used the same Fairlight that Coil used for their album, Horse Rotorvator, which also came out in 1985. It was Peter Gabriel’s. Personally, I think the Fairlight sounds of it time on both albums but both Bush and Coil used it creatively and intuitively in a way that was copied and pastiched by later artists. Same as any electronic device with presets really.

Regarding the Irish trad parts, as far as I remember her mother was a trad musician and it was what Kate listened to growing up. I used to think those parts were really cringe but they’ve grown on me a lot. As @Lili Marlene said, it’s stagey but I too wouldn’t dismiss it because most other stage music is awful.

Anyway, fair play to @nuke terrorist for actually trying even if he’s still in the unenviable position of not liking Kate Bush.
 
even I don't think that's funny prefuse. you're losing your edge.

thanks to everyone for their thoughts on Kate Bush. fair play to you all for hearing me out.
I love listening to new things. the very worst that can happen is you hear something you make sure you never listen to again.

the only thing I would dispute is song The Dreaming (Abo Song). IMO the song is getting into same territory that Ian Astbury went into with his native American fascination/appropriation.
while NO harm is meant the lack of knowledge of black Australian issues was exposed by using the word in the working title of the song.
that nobody in Kate B's circle or at EMI thought to check this was OK shows a real lack of thought.

I don't think I ever posted on this thread until recently because of a rule I have called 'The Prime Directive' which I really smashed this time. it goes:
''Never do a post just to say you don't like a song/band/artist, if you can avoid it.
And definitely never do this unless invited to do so''

the main reason being if I did this regularly I would have done 10 or 15 times as many posts. It's a really blackhole / waste of time to go down.

I also expressed a very strong dislike of REM and PEARL JAM on thumped recently.
as my work is done here. I might start obeying the prime directive again.
 
IMO the song is getting into same territory that Ian Astbury went into with his native American fascination/appropriation.
while NO harm is meant the lack of knowledge of black Australian issues was exposed by using the word in the working title of the song.
C'mere, the worst offender on this kind of shit is Damien Dempsey, with the utterly childish understanding of issues in the country he's actually from (see his song Colony, laughably recommended as a good way to "inform yourself" by some young one in the Irish Times recently)

edit: which is a real shame, cos I think he's a glorious songwriter if he'd only stay away from politics
 

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