KATE BUSH - OH ENGLAND MY LIONHEART
17-08-2009 11:21
Kate Bush about this song:
It's really very much a song about the Old England that we all think about whenever we're away, you know, "ah, the wonderful England" and how beautiful it is amongst all the rubbish, you know. Like the old buildings we've got, the Old English attitudes that are always around. And this sort of very heavy emphasis on nostalgia that is very strong in England. People really do it alot, you know, like "I remember the war and..." You know it's very much a part of our attitudes to life that we live in the past. And it's really just a sort of poetical play on the, if you like, the romantic visuals of England, and the second World War... Amazing revolution that happened when it was over and peaceful everything seemed, like the green fields. And it's really just a exploration of that. (1978, Lionheart Promo)
LYRICS
Oh! England, my Lionheart,
I'm in your garden, fading fast in your arms.
The soldiers soften, the war is over.
The air raid shelters are blooming clover.
Flapping umbrellas fill the lanes--
My London Bridge in rain again.
Oh! England, my Lionheart!
Peter Pan steals the kids in Kensington Park.
You read me Shakespeare on the rolling Thames--
That old river poet that never, ever ends.
Our thumping hearts hold the ravens in,
And keep the tower from tumbling.
Oh! England, my Lionheart,
Oh! England, my Lionheart,
Oh! England, my Lionheart,
I don't want to go.
Oh! England, my Lionheart!
Dropped from my black Spitfire to my funeral barge.
Give me one kiss in apple-blossom.
Give me one wish, and I'd be wassailing
In the orchard, my English rose,
Or with my shepherd, who'll bring me home.
Oh! England, my Lionheart,
Oh! England, my Lionheart,
Oh! England, my Lionheart,
I don't want to go.
Oh! England, my Lionheart,
Oh! England, my Lionheart,
Oh! England, my Lionheart,
I don't want to go.
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Kate Bush about this song:
It's really very much a song about the Old England that we all think about whenever we're away, you know, "ah, the wonderful England" and how beautiful it is amongst all the rubbish, you know. Like the old buildings we've got, the Old English attitudes that are always around. And this sort of very heavy emphasis on nostalgia that is very strong in England. People really do it alot, you know, like "I remember the war and..." You know it's very much a part of our attitudes to life that we live in the past. And it's really just a sort of poetical play on the, if you like, the romantic visuals of England, and the second World War... Amazing revolution that happened when it was over and peaceful everything seemed, like the green fields. And it's really just a exploration of that. (1978, Lionheart Promo)
LYRICS
Oh! England, my Lionheart,
I'm in your garden, fading fast in your arms.
The soldiers soften, the war is over.
The air raid shelters are blooming clover.
Flapping umbrellas fill the lanes--
My London Bridge in rain again.
Oh! England, my Lionheart!
Peter Pan steals the kids in Kensington Park.
You read me Shakespeare on the rolling Thames--
That old river poet that never, ever ends.
Our thumping hearts hold the ravens in,
And keep the tower from tumbling.
Oh! England, my Lionheart,
Oh! England, my Lionheart,
Oh! England, my Lionheart,
I don't want to go.
Oh! England, my Lionheart!
Dropped from my black Spitfire to my funeral barge.
Give me one kiss in apple-blossom.
Give me one wish, and I'd be wassailing
In the orchard, my English rose,
Or with my shepherd, who'll bring me home.
Oh! England, my Lionheart,
Oh! England, my Lionheart,
Oh! England, my Lionheart,
I don't want to go.
Oh! England, my Lionheart,
Oh! England, my Lionheart,
Oh! England, my Lionheart,
I don't want to go.
KATE BUSH - HAMMER HORROR
17-08-2009 11:17
Kate Bush about this song:
It is about an actor and his friend. His friend is playing the lead in a production of The Hunchback of Notre Dame, a part he's been reading all his life, waiting for the chance to play it. He's finally got the big break he's always wanted, and he is the star. After many rehearsals he dies accidentally, and the friend is asked to take the role over, which, because his own career is at stake, he does. The dead man comes back to haunt him because he doesn't want him to have the part, believing he's taken away the only chance he ever wanted in life. And the actor is saying, "Leave me alone, because it wasn't my fault - I have to take this part, but I'm wondering if it's the right thing to do because every time I look round a corner he's there, he never disappears."
The song was inspired by seeing James Cagney playing the part of Lon Chaney playing the hunchback - he was an actor in an actor in an actor, rather like Chinese boxes, and that's what I was trying to create.
Making the video of "Hammer Horror" was the first time I had worked with a dancer. I was sitting in a hotel room in Australia when it suddenly came to me - the whole routine happened before my eyes - and the next morning at 9 a.m. the dancer turned up to start work. We'd never met before, and in ten minutes we were having to throw each other around. He was so inspiring that we did the video that same afternoon. I did it again in New Zealand, when we arrived late, so I went straight into the routine with a dancer I'd never met before who had learnt it from the video. It was the strangest experience - I got to the chorus and suddenly this total stranger appeared behind me doing the routine perfectly. I just couldn't stop laughing, and we had to do about three takes. (1979, KBC 3)
LYRICS
You stood in the belltower,
But now you're gone.
So who knows all the sights
Of Notre Dame?
They've got the stars for the gallant hearts.
I'm the replacement for your part.
But all I want to do is forget
You, friend.
Hammer Horror, Hammer Horror,
Won't leave me alone.
The first time in my life,
I leave the lights on
To ease my soul.
Hammer Horror, Hammer Horror,
Won't leave it alone.
I don't know,
Is this the right thing to do?
Rehearsing in your things,
I feel guilty.
And retracing all the scenes,
Of your big hit,
Oh, God, you needed the leading role.
It wasn't me who made you go, though.
Now all I want to do is forget
You, friend.
Hammer Horror, Hammer Horror,
Won't leave me alone.
The first time in my life,
I leave the lights on
To ease my soul.
Hammer Horror, Hammer Horror,
Won't leave it alone.
I don't know,
Is this the right thing to do?
Who calls me from the other side
Of the street?
And who taps me on the shoulder?
I turn around, but you're gone.
I've got a hunch that you're following,
To get your own back on me.
So all I want to do is forget
You, friend.
Hammer Horror, Hammer Horror,
Won't leave me alone.
The first time in my life,
I leave the lights on
To ease my soul.
Hammer Horror, Hammer Horror,
Won't leave it alone.
I don't know,
Is this the right thing to do?
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Kate Bush about this song:
It is about an actor and his friend. His friend is playing the lead in a production of The Hunchback of Notre Dame, a part he's been reading all his life, waiting for the chance to play it. He's finally got the big break he's always wanted, and he is the star. After many rehearsals he dies accidentally, and the friend is asked to take the role over, which, because his own career is at stake, he does. The dead man comes back to haunt him because he doesn't want him to have the part, believing he's taken away the only chance he ever wanted in life. And the actor is saying, "Leave me alone, because it wasn't my fault - I have to take this part, but I'm wondering if it's the right thing to do because every time I look round a corner he's there, he never disappears."
The song was inspired by seeing James Cagney playing the part of Lon Chaney playing the hunchback - he was an actor in an actor in an actor, rather like Chinese boxes, and that's what I was trying to create.
Making the video of "Hammer Horror" was the first time I had worked with a dancer. I was sitting in a hotel room in Australia when it suddenly came to me - the whole routine happened before my eyes - and the next morning at 9 a.m. the dancer turned up to start work. We'd never met before, and in ten minutes we were having to throw each other around. He was so inspiring that we did the video that same afternoon. I did it again in New Zealand, when we arrived late, so I went straight into the routine with a dancer I'd never met before who had learnt it from the video. It was the strangest experience - I got to the chorus and suddenly this total stranger appeared behind me doing the routine perfectly. I just couldn't stop laughing, and we had to do about three takes. (1979, KBC 3)
LYRICS
You stood in the belltower,
But now you're gone.
So who knows all the sights
Of Notre Dame?
They've got the stars for the gallant hearts.
I'm the replacement for your part.
But all I want to do is forget
You, friend.
Hammer Horror, Hammer Horror,
Won't leave me alone.
The first time in my life,
I leave the lights on
To ease my soul.
Hammer Horror, Hammer Horror,
Won't leave it alone.
I don't know,
Is this the right thing to do?
Rehearsing in your things,
I feel guilty.
And retracing all the scenes,
Of your big hit,
Oh, God, you needed the leading role.
It wasn't me who made you go, though.
Now all I want to do is forget
You, friend.
Hammer Horror, Hammer Horror,
Won't leave me alone.
The first time in my life,
I leave the lights on
To ease my soul.
Hammer Horror, Hammer Horror,
Won't leave it alone.
I don't know,
Is this the right thing to do?
Who calls me from the other side
Of the street?
And who taps me on the shoulder?
I turn around, but you're gone.
I've got a hunch that you're following,
To get your own back on me.
So all I want to do is forget
You, friend.
Hammer Horror, Hammer Horror,
Won't leave me alone.
The first time in my life,
I leave the lights on
To ease my soul.
Hammer Horror, Hammer Horror,
Won't leave it alone.
I don't know,
Is this the right thing to do?
KATE BUSH - THE KICK INSIDE
17-08-2009 09:37
Kate Bush about this song:
It's inspired by an old traditional song called "Lucy Wan". It's about a young girl and her brother who fall desperately in love. It's an incredibly taboo thing. She becomes pregnant by her brother and it's completely against all morals. She doesn't want him to be hurt, she doesn't want her family to be ashamed or disgusted, so she kills herself. The song is a suicide note. She says to her brother, "Don't worry. I'm doing it for you''. (1978, Trouser Press)
LYRICS:
I've pulled down my lace and the chintz.
Oh, do you know you have the face of a genius?
I'll send your love to Zeus.
Oh, by the time you read this,
I'll be well in touch.
I'm giving it all in a moment or two.
I'm giving it all in a moment, for you.
I'm giving it all, giving it, giving it.
This kicking here inside
Makes me leave you behind.
No more under the quilt
To keep you warm.
Your sister I was born.
You must lose me like an arrow,
Shot into the killer storm.
You and me on the bobbing knee.
Didn't we cry at that old mythology he'd read!
I will come home again, but not until
The sun and the moon meet on yon hill.
I'm giving it all in a moment or two.
I'm giving it all in a moment, for you.
I'm giving it all, giving it, giving it.
This kicking here inside
Makes me leave you behind.
No more under the quilt
To keep you warm.
Your sister I was born.
You must lose me like an arrow,
Shot into the killer storm.
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Kate Bush about this song:
It's inspired by an old traditional song called "Lucy Wan". It's about a young girl and her brother who fall desperately in love. It's an incredibly taboo thing. She becomes pregnant by her brother and it's completely against all morals. She doesn't want him to be hurt, she doesn't want her family to be ashamed or disgusted, so she kills herself. The song is a suicide note. She says to her brother, "Don't worry. I'm doing it for you''. (1978, Trouser Press)
LYRICS:
I've pulled down my lace and the chintz.
Oh, do you know you have the face of a genius?
I'll send your love to Zeus.
Oh, by the time you read this,
I'll be well in touch.
I'm giving it all in a moment or two.
I'm giving it all in a moment, for you.
I'm giving it all, giving it, giving it.
This kicking here inside
Makes me leave you behind.
No more under the quilt
To keep you warm.
Your sister I was born.
You must lose me like an arrow,
Shot into the killer storm.
You and me on the bobbing knee.
Didn't we cry at that old mythology he'd read!
I will come home again, but not until
The sun and the moon meet on yon hill.
I'm giving it all in a moment or two.
I'm giving it all in a moment, for you.
I'm giving it all, giving it, giving it.
This kicking here inside
Makes me leave you behind.
No more under the quilt
To keep you warm.
Your sister I was born.
You must lose me like an arrow,
Shot into the killer storm.
KATE BUSH - CLOUDBUSTING
17-08-2009 09:32
Kate Bush about this song:
I found a book, nearly ten years ago now, on a shelf. I didn't know anything about the writer. I just pulled it off the shelf, it looked interesting, and it was an incredible story. It's written by Peter Reich, and it's called "A Book of Dreams". It's about himself as a child, through his eyes as a child, looking at his father and their relationship. It's incredibly beautiful, it's very, very emotive, and very innocent because it's through a child's eyes. His father is everything to him; he is the magic in his life, and he teaches him everything, teaching him to be open-minded and not to build up barriers. They lived in a place called Organon, where the father, a respected psycho-analyst, had some very advanced theories on Vital Energy. He has built a machine that can make it rain, a "Cloudbuster". His son and he loved to use it. Unfortunately, the father was imprisoned because of his ideas. In fact, in America, in that period, it was safer not to stick out. Sadly, the father dies in prison.
The song is very much taking a comparison with a yo-yo that glowed in the dark and which was given to the boy by a best friend. It was really special to him; he loved it. But his father believed in things having positive and negative energy, and that fluorescent light was a very negative energy - as was the material they used to make glow-in-the-dark toys then - and his father told him he had to get rid of it. But the boy, rather than throwing it away, buried it in the garden, so that he would placate his father but could also go and dig it up occasionally and play with it. (1985)
LYRICS:
I still dream of Orgonon.
I wake up crying.
You're making rain,
And you're just in reach,
When you and sleep escape me.
You're like my yo-yo
That glowed in the dark.
What made it special
Made it dangerous,
So I bury it
And forget.
But every time it rains,
You're here in my head,
Like the sun coming out--
Ooh, I just know that something good is going to happen.
And I don't know when,
But just saying it could even make it happen.
On top of the world,
Looking over the edge,
You could see them coming.
You looked too small
In their big, black car,
To be a threat to the men in power.
I hid my yo-yo
In the garden.
I can't hide you
From the government.
Oh, God, Daddy--
I won't forget,
'Cause every time it rains,
You're here in my head,
Like the sun coming out--
Ooh, I just know that something good is going to happen.
And I don't know when,
But just saying it could even make it happen.
The sun's coming out.
Your son's coming out.
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Kate Bush about this song:
I found a book, nearly ten years ago now, on a shelf. I didn't know anything about the writer. I just pulled it off the shelf, it looked interesting, and it was an incredible story. It's written by Peter Reich, and it's called "A Book of Dreams". It's about himself as a child, through his eyes as a child, looking at his father and their relationship. It's incredibly beautiful, it's very, very emotive, and very innocent because it's through a child's eyes. His father is everything to him; he is the magic in his life, and he teaches him everything, teaching him to be open-minded and not to build up barriers. They lived in a place called Organon, where the father, a respected psycho-analyst, had some very advanced theories on Vital Energy. He has built a machine that can make it rain, a "Cloudbuster". His son and he loved to use it. Unfortunately, the father was imprisoned because of his ideas. In fact, in America, in that period, it was safer not to stick out. Sadly, the father dies in prison.
The song is very much taking a comparison with a yo-yo that glowed in the dark and which was given to the boy by a best friend. It was really special to him; he loved it. But his father believed in things having positive and negative energy, and that fluorescent light was a very negative energy - as was the material they used to make glow-in-the-dark toys then - and his father told him he had to get rid of it. But the boy, rather than throwing it away, buried it in the garden, so that he would placate his father but could also go and dig it up occasionally and play with it. (1985)
LYRICS:
I still dream of Orgonon.
I wake up crying.
You're making rain,
And you're just in reach,
When you and sleep escape me.
You're like my yo-yo
That glowed in the dark.
What made it special
Made it dangerous,
So I bury it
And forget.
But every time it rains,
You're here in my head,
Like the sun coming out--
Ooh, I just know that something good is going to happen.
And I don't know when,
But just saying it could even make it happen.
On top of the world,
Looking over the edge,
You could see them coming.
You looked too small
In their big, black car,
To be a threat to the men in power.
I hid my yo-yo
In the garden.
I can't hide you
From the government.
Oh, God, Daddy--
I won't forget,
'Cause every time it rains,
You're here in my head,
Like the sun coming out--
Ooh, I just know that something good is going to happen.
And I don't know when,
But just saying it could even make it happen.
The sun's coming out.
Your son's coming out.
KATE BUSH - THEM HEAVY PEOPLE
17-08-2009 09:05
Kate Bush about this song:
The idea for "Heavy People'' came when I was just sitting one day in my parents' house. I heard the phrase "Rolling the ball'' in my head, and I thought that it would be a good way to start a song, so I ran in to the piano and played it and got the chords down. I then worked on it from there.
It has lots of different people and ideas and things like that in it, and they came to me amazingly easily. My brother and my father were very much involved in talking about Gurdjieff and whirling Dervishes, and I was really getting into it, too. I thought it was important not to be narrow-minded just because we talked about Gurdjieff. I knew that I didn't mean his system was the only way, and that was why it was important to include whirling Dervishes and Jesus, because they are strong, too. Anyway, in the long run, although somebody might be into all of them, it's really you that does it - they're just the vehicle to get you there.
It's a very human song. I've danced and sung it so many times now, but it's still like a hymn to me when I sing it. I do sometimes get bored with the actual words I'm singing, but the meaning I put into them is still a comfort. It's like a prayer, and it reminds me of direction. And it can't help but help me when I'm singing those words. Subconsciously they must go in. (1979, KBC 3)
LYRICS:
Rolling the ball, rolling the ball, rolling the ball to me.
Rolling the ball, rolling the ball, rolling the ball to me.
They arrived at an inconvenient time.
I was hiding in a room in my mind.
They made me look at myself. I saw it well.
I'd shut the people out of my life.
So now I take the opportunities:
Wonderful teachers ready to teach me.
I must work on my mind. For now I realise:
Everyone of us has a heaven inside.
Them heavy people hit me in a soft spot.
Them heavy people help me.
Them heavy people hit me in a soft spot.
Rolling the ball, rolling the ball, rolling the ball to me.
They open doorways that I thought were shut for good.
They read me Gurdjieff and Jesu.
They build up my body, break me emotionally.
It's nearly killing me, but what a lovely feeling!
I love the whirling of the dervishes.
I love the beauty of rare innocence.
You don't need no crystal ball,
Don't fall for a magic wand.
We humans got it all, we perform the miracles.
Them heavy people hit me in a soft spot.
Them heavy people help me.
Them heavy people hit me in a soft spot.
Rolling the ball, rolling the ball, rolling the ball to me.
Rolling the ball, rolling the ball, rolling the ball to me.
Rolling the ball, rolling the ball...
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Kate Bush about this song:
The idea for "Heavy People'' came when I was just sitting one day in my parents' house. I heard the phrase "Rolling the ball'' in my head, and I thought that it would be a good way to start a song, so I ran in to the piano and played it and got the chords down. I then worked on it from there.
It has lots of different people and ideas and things like that in it, and they came to me amazingly easily. My brother and my father were very much involved in talking about Gurdjieff and whirling Dervishes, and I was really getting into it, too. I thought it was important not to be narrow-minded just because we talked about Gurdjieff. I knew that I didn't mean his system was the only way, and that was why it was important to include whirling Dervishes and Jesus, because they are strong, too. Anyway, in the long run, although somebody might be into all of them, it's really you that does it - they're just the vehicle to get you there.
It's a very human song. I've danced and sung it so many times now, but it's still like a hymn to me when I sing it. I do sometimes get bored with the actual words I'm singing, but the meaning I put into them is still a comfort. It's like a prayer, and it reminds me of direction. And it can't help but help me when I'm singing those words. Subconsciously they must go in. (1979, KBC 3)
LYRICS:
Rolling the ball, rolling the ball, rolling the ball to me.
Rolling the ball, rolling the ball, rolling the ball to me.
They arrived at an inconvenient time.
I was hiding in a room in my mind.
They made me look at myself. I saw it well.
I'd shut the people out of my life.
So now I take the opportunities:
Wonderful teachers ready to teach me.
I must work on my mind. For now I realise:
Everyone of us has a heaven inside.
Them heavy people hit me in a soft spot.
Them heavy people help me.
Them heavy people hit me in a soft spot.
Rolling the ball, rolling the ball, rolling the ball to me.
They open doorways that I thought were shut for good.
They read me Gurdjieff and Jesu.
They build up my body, break me emotionally.
It's nearly killing me, but what a lovely feeling!
I love the whirling of the dervishes.
I love the beauty of rare innocence.
You don't need no crystal ball,
Don't fall for a magic wand.
We humans got it all, we perform the miracles.
Them heavy people hit me in a soft spot.
Them heavy people help me.
Them heavy people hit me in a soft spot.
Rolling the ball, rolling the ball, rolling the ball to me.
Rolling the ball, rolling the ball, rolling the ball to me.
Rolling the ball, rolling the ball...
KATE BUSH - MOVING
17-08-2009 08:58
Kate Bush about this song:
I actually wrote the song for my teacher, Lindsay Kemp. But the inspiration came from whales, the big fish, you know. They just sing so beautifully, and that's why they are on the beginning of the track. (1978, Japanese Television)
The song is almost biographical. It's about how a person discovers free expression. When I was studying with Lindsay it was thrilling just to watch him work. (1978, Music Talk)
LYRICS:
Moving stranger,
Does it really matter,
As long as you're not afraid to feel?
Touch me, hold me.
How my open arms ache!
Try to fall for me.
How I'm moved.
How you move me
With your beauty's potency.
You give me life.
Please don't let me go.
You crush the lily in my soul.
Moving liquid--
Yes, you are just as water.
You flow around all that comes in your way.
Don't think it over,
It always takes you over,
And sets your spirit dancing.
How I'm moved.
How you move me
With your beauty's potency.
You give me life.
Please don't let me go.
You crush the lily in my soul.
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Kate Bush about this song:
I actually wrote the song for my teacher, Lindsay Kemp. But the inspiration came from whales, the big fish, you know. They just sing so beautifully, and that's why they are on the beginning of the track. (1978, Japanese Television)
The song is almost biographical. It's about how a person discovers free expression. When I was studying with Lindsay it was thrilling just to watch him work. (1978, Music Talk)
LYRICS:
Moving stranger,
Does it really matter,
As long as you're not afraid to feel?
Touch me, hold me.
How my open arms ache!
Try to fall for me.
How I'm moved.
How you move me
With your beauty's potency.
You give me life.
Please don't let me go.
You crush the lily in my soul.
Moving liquid--
Yes, you are just as water.
You flow around all that comes in your way.
Don't think it over,
It always takes you over,
And sets your spirit dancing.
How I'm moved.
How you move me
With your beauty's potency.
You give me life.
Please don't let me go.
You crush the lily in my soul.
KATE BUSH - THE DREAMING
16-08-2009 16:15
Kate Bush about this song:
Well, years ago my brother bought "Sun Arise'' by Rolf Harris and I loved it, it was such a beautiful song. And ever since then I've wanted to create something which had that feel of Australia within it. I loved the sound of the traditional aboriginal instruments, and as I grew older, I became much more aware of the actual situation which existed in Australia between the white Australian and the aborigines, who were being wiped out by man's greed for uranium. Digging up their sacred grounds, just to get plutonium, and eventually make weapons out of it. And I just feel that it's so wrong: this beautiful culture being destroyed just so that we can build weapons which maybe one day will destroy everything, including us. We should be learning from the aborigines, they're such a fascinating race. And Australia - there's something very beautiful about that country.
"The Dreaming" is the name the Aborigines gave to a magic time before man was man as he is today - when man was an animal and could change shape. It's the time of creation that the Aborigines believe in. It's a very ancient religious thing for them. "The Dreaming" is such a strong title, too: "dreaming" on its own means little, but with "the" in front of it it takes on a whole new meaning. (1982, Poppix)
LYRICS
'Bang!' goes another kanga
On the bonnet of the van.
"See the light ram through the gaps in the land."
Many an Aborigine's mistaken for a tree
'Til you near him on the motorway
And the tree begin to breathe.
"See the light ram through the gaps in the land."
("Ha-ha-ha-ha-ha-ha")
Coming in with the golden light
In the morning.
Coming in with the golden light
Is the New Man.
Coming in with the golden light
Is my dented van.
Woomera.
"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me,"
"Dree-ee-ee-ee-ee-"
Woomera.
"A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me.
"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-"
The civilised keep alive
The territorial war.
"See the light ram through the gaps in the land."
Erase the race that claim the place
And say we dig for ore,
Or dangle devils in a bottle
And push them from the Pull of the Bush.
"See the light ram through the gaps in the land."
You find them in the road.
"See the light bounce off the rocks to the sand."
In the road.
Coming in with the golden light
In the morning.
Coming in with the golden light
With no warning.
Coming in with the golden light
We bring in the rigging.
Dig, dig, dig, dig away.
"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me,"
"Dree-ee-ee-ee-ee-"
Woomera.
"A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me,"
"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-"
Woomera.
"Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me,"
"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-"
Woomera.
"Me-me-me-me-me."
Ma-ma-many an Aborigine's mistaken for a tree
("La, la, oo-ooh!")
"See the light ram through the gaps in the land."
You near him on the motorway
And the tree begin to breathe.
Erase the race that claim the place
And say we dig for ore.
"See the light ram through the gaps in the land."
Dangle devils in a bottle
And push them from the Pull of the Bush.
"See the sun set in the hand of the man."
"Bang!" goes another kanga
On the bonnet of the van.
"See the light bounce off the rocks to the sand."
You find them in the road.
"See the light ram through the gaps in the land."
In the road.
"See the light."
("Push 'em from the")
Pull of the Bush.
"See the light bounce off the rocks to the sand."
("Push 'em from the")
Pull of the Bush.
"See the sun set in the hand of the man."
"Oh, re mikayina!"
***
At the end of the song a voice says something ("oh re mikayina", presumably), it is the Aborigine language, and it's a lyric from a song called "Airplane! Airplane!" And it's very strange because its one of the first aboriginal songs about airplanes which were coming from the civilized Australians.
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Kate Bush about this song:
Well, years ago my brother bought "Sun Arise'' by Rolf Harris and I loved it, it was such a beautiful song. And ever since then I've wanted to create something which had that feel of Australia within it. I loved the sound of the traditional aboriginal instruments, and as I grew older, I became much more aware of the actual situation which existed in Australia between the white Australian and the aborigines, who were being wiped out by man's greed for uranium. Digging up their sacred grounds, just to get plutonium, and eventually make weapons out of it. And I just feel that it's so wrong: this beautiful culture being destroyed just so that we can build weapons which maybe one day will destroy everything, including us. We should be learning from the aborigines, they're such a fascinating race. And Australia - there's something very beautiful about that country.
"The Dreaming" is the name the Aborigines gave to a magic time before man was man as he is today - when man was an animal and could change shape. It's the time of creation that the Aborigines believe in. It's a very ancient religious thing for them. "The Dreaming" is such a strong title, too: "dreaming" on its own means little, but with "the" in front of it it takes on a whole new meaning. (1982, Poppix)
LYRICS
'Bang!' goes another kanga
On the bonnet of the van.
"See the light ram through the gaps in the land."
Many an Aborigine's mistaken for a tree
'Til you near him on the motorway
And the tree begin to breathe.
"See the light ram through the gaps in the land."
("Ha-ha-ha-ha-ha-ha")
Coming in with the golden light
In the morning.
Coming in with the golden light
Is the New Man.
Coming in with the golden light
Is my dented van.
Woomera.
"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me,"
"Dree-ee-ee-ee-ee-"
Woomera.
"A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me.
"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-"
The civilised keep alive
The territorial war.
"See the light ram through the gaps in the land."
Erase the race that claim the place
And say we dig for ore,
Or dangle devils in a bottle
And push them from the Pull of the Bush.
"See the light ram through the gaps in the land."
You find them in the road.
"See the light bounce off the rocks to the sand."
In the road.
Coming in with the golden light
In the morning.
Coming in with the golden light
With no warning.
Coming in with the golden light
We bring in the rigging.
Dig, dig, dig, dig away.
"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me,"
"Dree-ee-ee-ee-ee-"
Woomera.
"A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me,"
"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-"
Woomera.
"Ti-ti-ti-ti-ti-
I-i-i-i-i-
Me-me-me-me-me,"
"Dree-ee-ee-ee-ee-
A-a-a-a-a-
M-m-m-m-m-
Ti-ti-ti-ti-ti-
I-i-i-i-i-"
Woomera.
"Me-me-me-me-me."
Ma-ma-many an Aborigine's mistaken for a tree
("La, la, oo-ooh!")
"See the light ram through the gaps in the land."
You near him on the motorway
And the tree begin to breathe.
Erase the race that claim the place
And say we dig for ore.
"See the light ram through the gaps in the land."
Dangle devils in a bottle
And push them from the Pull of the Bush.
"See the sun set in the hand of the man."
"Bang!" goes another kanga
On the bonnet of the van.
"See the light bounce off the rocks to the sand."
You find them in the road.
"See the light ram through the gaps in the land."
In the road.
"See the light."
("Push 'em from the")
Pull of the Bush.
"See the light bounce off the rocks to the sand."
("Push 'em from the")
Pull of the Bush.
"See the sun set in the hand of the man."
"Oh, re mikayina!"
***
At the end of the song a voice says something ("oh re mikayina", presumably), it is the Aborigine language, and it's a lyric from a song called "Airplane! Airplane!" And it's very strange because its one of the first aboriginal songs about airplanes which were coming from the civilized Australians.
A BIT OF FRY AND LAURIE - PARENT POWER
16-08-2009 16:10
Stephen: Ah good morning Michael.
Michael: Good morning, sir.
Stephen: Good morning Mr Smear.
Hugh: Yes, we'll dispense with the good mornings if you don't mind. I haven't got time for good mornings.
Stephen: As you wish. Now, you wanted to discuss something, I believe?
Hugh: I think you know why I'm here.
Stephen: I don't think I do.
Hugh: (To Michael) Tell him.
Stephen: Tell me what?
Hugh: Tell him what you told your mother last night. Come on, come on, sexual intercourse...
Michael: Sexual intercourse can often bring about pregnancy in the adult female.
Hugh: ...can often bring about pregnancy in the adult female, yes.
Stephen: Yes?
Hugh: You heard that, did you?
Stephen: Yes?
Hugh: Yes, well I'd like an explanation, if it's not too much trouble.
Stephen: An explanation of what?
Hugh: An explanation of how my son came to be using language like that in front of his mother.
Stephen: Well I assume it's something that Michael's been learning in his biology class, isn't that right?
Michael: Yes, sir.
Stephen: Yes, with Mr Hent. Glad to see some of it's sinking in.
Michael: Thank you sir.
Hugh: Well this is a turn-up and no mistake.
Stephen: What is?
Hugh: I didn't imagine that you'd be quite so barefaced about it.
Stephen: About what?
Hugh: I came here today to make a complaint about my son being exposed to gutter language in the playground. I am frankly staggered to find that this is something that he's actually been taught in a classroom. I mean what is going on here?
Stephen: Well we're trying to teach your son ...
Hugh: Oh are you? Are you indeed? Trying to teach him what? How to embarrass his parents? How to smack himself with heroin, what?
Stephen: Mr Smear, I can assure you, we have no...
Hugh: Call yourself a school?
Stephen: I don't actually call myself a school, no.
Hugh: You ought to be ashamed of yourself. Filling a young lad's head with filth like that. Well let me tell you something. About the real world. You're here to provide a service.
Stephen: Well, that's quite right.
Hugh: Well, that's quite right, yes, well I'm not happy with it. I'm not happy with the service you're providing.
Stephen: Would you rather that Michael didn't attend biology classes?
Hugh: What, certainly I would, if those are the kind of lies I can expect to hear repeated at the dinner table.
Stephen: They're not lies, Mr Smear.
Hugh: Oh aren't they? Aren't they, what? Sexual intercourse can bring about pregnancy in the adult female?
Stephen: Well that's quite true.
Hugh: True my arse. It's nothing more than a disgusting rumour put about by trendy young people in the sixties.
Stephen: Trendy young people in their sixties?
Hugh : The sixties. In the sixties. That's when it all started. People like you.
Stephen: I can assure you that sexual reproduction has been part of the biology syllabus for many years.
Hugh: I don't care about your blasted syllabus. What good is a blasted syllabus out there?
Stephen: Out where?
Hugh: Out there!
Stephen: The Arkwright Road?
Hugh: Arkwright Jungle, I call it.
Stephen: Well, what would you rather we taught your son?
Hugh : I would rather ... I would rather you taught him values, Mr ...
Stephen: Casilingua.
Hugh: Casilingua. Values. Respect. Decency. Standards. That's what you're here for. You're not here to poison my son with a lot of randy sextalk.
Stephen: Michael definitely is your son, is he?
Hugh: Certainly he's my son.
Stephen: Then it's safe to assume that at some stage you and your wife have had sexual intercourse?
Hugh : (Pause) Right. That's it. I've had enough of this. I'm going to knock some sense in you myself.
Stephen: You're going to fight me now, are you?
Hugh : Yes I bloody well am. I'm not going to stand for this.
Stephen: Do you mind if I do? (Rises to his feet)
Hugh: Talking like that in front of the boy. You're a bloody disgrace.
Stephen: Mr Smear, how can Michael be your son, if you and Mrs. Smear have not had sexual intercourse?
Hugh : Michael is my son...
Stephen: Yes?
Hugh : ...in the normal way.
Stephen: Ah. And what in your opinion is the normal way to have a son?
Hugh : If you're trying to trick me into sexy talk ...
Stephen: I'm not.
Hugh: Well, the normal way to have a son is ... to get married.
Stephen: Mhm?
Hugh: Buy a house and get properly settled in.
Stephen: Yes.
Hugh: Furniture and so on, and then ... just wait for a bit.
Stephen: Ah.
Hugh: And make sure you eat properly. Three hot meals a day.
Stephen: Three hot meals.
Hugh: Hot meals. Yes.
Stephen: Right. And Michael just sort of popped up, did he?
Hugh: Er ... well of course it's a few years ago now, but I think yes one day he was just there.
Stephen: And on no stage did you or Mrs Smear engage in any act of sexual intimacy?
Hugh: Yes, it's very hard for you toЧитать далее...
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Stephen: Ah good morning Michael.
Michael: Good morning, sir.
Stephen: Good morning Mr Smear.
Hugh: Yes, we'll dispense with the good mornings if you don't mind. I haven't got time for good mornings.
Stephen: As you wish. Now, you wanted to discuss something, I believe?
Hugh: I think you know why I'm here.
Stephen: I don't think I do.
Hugh: (To Michael) Tell him.
Stephen: Tell me what?
Hugh: Tell him what you told your mother last night. Come on, come on, sexual intercourse...
Michael: Sexual intercourse can often bring about pregnancy in the adult female.
Hugh: ...can often bring about pregnancy in the adult female, yes.
Stephen: Yes?
Hugh: You heard that, did you?
Stephen: Yes?
Hugh: Yes, well I'd like an explanation, if it's not too much trouble.
Stephen: An explanation of what?
Hugh: An explanation of how my son came to be using language like that in front of his mother.
Stephen: Well I assume it's something that Michael's been learning in his biology class, isn't that right?
Michael: Yes, sir.
Stephen: Yes, with Mr Hent. Glad to see some of it's sinking in.
Michael: Thank you sir.
Hugh: Well this is a turn-up and no mistake.
Stephen: What is?
Hugh: I didn't imagine that you'd be quite so barefaced about it.
Stephen: About what?
Hugh: I came here today to make a complaint about my son being exposed to gutter language in the playground. I am frankly staggered to find that this is something that he's actually been taught in a classroom. I mean what is going on here?
Stephen: Well we're trying to teach your son ...
Hugh: Oh are you? Are you indeed? Trying to teach him what? How to embarrass his parents? How to smack himself with heroin, what?
Stephen: Mr Smear, I can assure you, we have no...
Hugh: Call yourself a school?
Stephen: I don't actually call myself a school, no.
Hugh: You ought to be ashamed of yourself. Filling a young lad's head with filth like that. Well let me tell you something. About the real world. You're here to provide a service.
Stephen: Well, that's quite right.
Hugh: Well, that's quite right, yes, well I'm not happy with it. I'm not happy with the service you're providing.
Stephen: Would you rather that Michael didn't attend biology classes?
Hugh: What, certainly I would, if those are the kind of lies I can expect to hear repeated at the dinner table.
Stephen: They're not lies, Mr Smear.
Hugh: Oh aren't they? Aren't they, what? Sexual intercourse can bring about pregnancy in the adult female?
Stephen: Well that's quite true.
Hugh: True my arse. It's nothing more than a disgusting rumour put about by trendy young people in the sixties.
Stephen: Trendy young people in their sixties?
Hugh : The sixties. In the sixties. That's when it all started. People like you.
Stephen: I can assure you that sexual reproduction has been part of the biology syllabus for many years.
Hugh: I don't care about your blasted syllabus. What good is a blasted syllabus out there?
Stephen: Out where?
Hugh: Out there!
Stephen: The Arkwright Road?
Hugh: Arkwright Jungle, I call it.
Stephen: Well, what would you rather we taught your son?
Hugh : I would rather ... I would rather you taught him values, Mr ...
Stephen: Casilingua.
Hugh: Casilingua. Values. Respect. Decency. Standards. That's what you're here for. You're not here to poison my son with a lot of randy sextalk.
Stephen: Michael definitely is your son, is he?
Hugh: Certainly he's my son.
Stephen: Then it's safe to assume that at some stage you and your wife have had sexual intercourse?
Hugh : (Pause) Right. That's it. I've had enough of this. I'm going to knock some sense in you myself.
Stephen: You're going to fight me now, are you?
Hugh : Yes I bloody well am. I'm not going to stand for this.
Stephen: Do you mind if I do? (Rises to his feet)
Hugh: Talking like that in front of the boy. You're a bloody disgrace.
Stephen: Mr Smear, how can Michael be your son, if you and Mrs. Smear have not had sexual intercourse?
Hugh : Michael is my son...
Stephen: Yes?
Hugh : ...in the normal way.
Stephen: Ah. And what in your opinion is the normal way to have a son?
Hugh : If you're trying to trick me into sexy talk ...
Stephen: I'm not.
Hugh: Well, the normal way to have a son is ... to get married.
Stephen: Mhm?
Hugh: Buy a house and get properly settled in.
Stephen: Yes.
Hugh: Furniture and so on, and then ... just wait for a bit.
Stephen: Ah.
Hugh: And make sure you eat properly. Three hot meals a day.
Stephen: Three hot meals.
Hugh: Hot meals. Yes.
Stephen: Right. And Michael just sort of popped up, did he?
Hugh: Er ... well of course it's a few years ago now, but I think yes one day he was just there.
Stephen: And on no stage did you or Mrs Smear engage in any act of sexual intimacy?
Hugh: Yes, it's very hard for you to
KATE BUSH - THE HOUNDS OF LOVE
16-08-2009 15:49
Kate Bush about this song:
The ideas for the song are very much to do with love itself and people being afraid of it, the idea of wanting to run away from love, not to let love catch them, and trap them, in case the hounds might want to tear them to pieces and it's very much using the imagery of love as something coming to get you and you've got to run away from it or you won't survive. (1985, Open Interview)
Well, again this was written at home, this was an early song. And it was inspired in some ways by this old black and white movie that is a real favorite of ours, called "Night of the demon". It's all about this demon that appears in the trees. And the line at the top of the song "it's in the trees, it's coming" is actually taken from the film. (1991, Classic Albums)
LYRICS
"It's in the trees!
It's coming!"
When I was a child:
Running in the night,
Afraid of what might be
Hiding in the dark,
Hiding in the street,
And of what was following me...
Now hounds of love are hunting.
I've always been a coward,
And I don't know what's good for me.
Here I go!
It's coming for me through the trees.
Help me, someone!
Help me, please!
Take my shoes off,
And throw them in the lake,
And I'll be
Two steps on the water.
I found a fox
Caught by dogs.
He let me take him in my hands.
His little heart,
It beats so fast,
And I'm ashamed of running away
From nothing real--
I just can't deal with this,
But I'm still afraid to be there,
Among your hounds of love,
And feel your arms surround me.
I've always been a coward,
And never know what's good for me.
Oh, here I go!
Don't let me go!
Hold me down!
It's coming for me through the trees.
Help me, darling,
Help me, please!
Take my shoes off
And throw them in the lake,
And I'll be
Two steps on the water.
I don't know what's good for me.
I don't know what's good for me.
I need your love love love love love, yeah!
Your love!
Take your shoes off
And throw them in the lake!
Do you know what I really need?
Do you know what I really need?
I need love love love love love, yeah!
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Kate Bush about this song:
The ideas for the song are very much to do with love itself and people being afraid of it, the idea of wanting to run away from love, not to let love catch them, and trap them, in case the hounds might want to tear them to pieces and it's very much using the imagery of love as something coming to get you and you've got to run away from it or you won't survive. (1985, Open Interview)
Well, again this was written at home, this was an early song. And it was inspired in some ways by this old black and white movie that is a real favorite of ours, called "Night of the demon". It's all about this demon that appears in the trees. And the line at the top of the song "it's in the trees, it's coming" is actually taken from the film. (1991, Classic Albums)
LYRICS
"It's in the trees!
It's coming!"
When I was a child:
Running in the night,
Afraid of what might be
Hiding in the dark,
Hiding in the street,
And of what was following me...
Now hounds of love are hunting.
I've always been a coward,
And I don't know what's good for me.
Here I go!
It's coming for me through the trees.
Help me, someone!
Help me, please!
Take my shoes off,
And throw them in the lake,
And I'll be
Two steps on the water.
I found a fox
Caught by dogs.
He let me take him in my hands.
His little heart,
It beats so fast,
And I'm ashamed of running away
From nothing real--
I just can't deal with this,
But I'm still afraid to be there,
Among your hounds of love,
And feel your arms surround me.
I've always been a coward,
And never know what's good for me.
Oh, here I go!
Don't let me go!
Hold me down!
It's coming for me through the trees.
Help me, darling,
Help me, please!
Take my shoes off
And throw them in the lake,
And I'll be
Two steps on the water.
I don't know what's good for me.
I don't know what's good for me.
I need your love love love love love, yeah!
Your love!
Take your shoes off
And throw them in the lake!
Do you know what I really need?
Do you know what I really need?
I need love love love love love, yeah!
KATE BUSH - DECEMBER WILL BE MAGIC AGAIN
16-08-2009 15:25
December will be magic again.
Take a husky to the ice
While Bing Crosby sings White Christmas.
He makes you feel nice.
December will be magic again.
Old Saint Nicholas down the chimney,
Just a-popping up in my memory.
Ooh, dropping down in my parachute,
The white city, she is so beautiful
Upon the black-soot icicled roofs,
Ooh, and see how I fall.
See how I fall
("Fall!") [backwards]
Like the snow.
Come to cover the lovers.
(Cover the lovers,
But don't you wake them up.)
Come to sparkle the dark up.
(Sparkle the dark up,
With just a touch of make-up.)
Come to cover the muck up.
(Cover the muck up,
Ooh, with a little luck.)
December will be magic again.
Light the canDLe-lights
To conjure Mr. Wilde
Into the Silent Night.
Ooh, it's quiet inside,
Here in Oscar's mind.
December will be magic again.
Don't miss the brightest star.
Kiss under mistletoe.
I want to hear you laugh.
Don't let the mystery go now.
Ooh, dropping down in my parachute,
The white city, she is so beautiful
Upon the black-soot icicled roofs,
Ooh, and see how I fall.
See how I fall
("Fall!") [backwards]
Like the snow.
Come to cover the lovers.
(Cover the lovers,
But don't you wake them up.)
Come to sparkle the dark up.
(Sparkle the dark up,
With just a touch of make-up.)
Come to cover the muck up
(Cover the muck up,
Ooh, with a little luck.)
Oh, I'm coming to cover the lovers.
Ooh, and I'm coming to sparkle the dark up.
Ooh, and I'm coming to cover the muck up.
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December will be magic again.
Take a husky to the ice
While Bing Crosby sings White Christmas.
He makes you feel nice.
December will be magic again.
Old Saint Nicholas down the chimney,
Just a-popping up in my memory.
Ooh, dropping down in my parachute,
The white city, she is so beautiful
Upon the black-soot icicled roofs,
Ooh, and see how I fall.
See how I fall
("Fall!") [backwards]
Like the snow.
Come to cover the lovers.
(Cover the lovers,
But don't you wake them up.)
Come to sparkle the dark up.
(Sparkle the dark up,
With just a touch of make-up.)
Come to cover the muck up.
(Cover the muck up,
Ooh, with a little luck.)
December will be magic again.
Light the canDLe-lights
To conjure Mr. Wilde
Into the Silent Night.
Ooh, it's quiet inside,
Here in Oscar's mind.
December will be magic again.
Don't miss the brightest star.
Kiss under mistletoe.
I want to hear you laugh.
Don't let the mystery go now.
Ooh, dropping down in my parachute,
The white city, she is so beautiful
Upon the black-soot icicled roofs,
Ooh, and see how I fall.
See how I fall
("Fall!") [backwards]
Like the snow.
Come to cover the lovers.
(Cover the lovers,
But don't you wake them up.)
Come to sparkle the dark up.
(Sparkle the dark up,
With just a touch of make-up.)
Come to cover the muck up
(Cover the muck up,
Ooh, with a little luck.)
Oh, I'm coming to cover the lovers.
Ooh, and I'm coming to sparkle the dark up.
Ooh, and I'm coming to cover the muck up.
KATE BUSH - BREATHING
16-08-2009 13:50
Kate Bush about the song:
It's about a baby still in the mother's womb at the time of a nuclear fallout, but it's more of a spiritual being.
It has all its senses: sight, smell, touch, taste and hearing, and it knows what is going on outside the mother's womb, and yet it wants desperately to carry on living, as we all do of course. (1980, Smash Hits)
When I wrote the song, it was from such a personal viewpoint. It was just through having heard a thing for years without it ever having got through to me. 'Til the moment it hit me, I hadn't really been moved. Then I suddenly realised the whole devastation and disgusting arrogance of it all. Trying to destroy something that we've not created - the earth. The only thing we are is a breathing mechanism: everything is breathing. Without it we're just nothing. I was worried that people wouldn't want to worry about it because it's so real. I was also worried that it was too negative, but I do feel that there is hope in the whole thing, just for the fact that it's a message from the future. It's not from now, it's from a spirit that may exist in the future, a non-existent spiritual embryo who sees all and who's been round time and time again so they know what the world's all about. This time they don't want to come out, because they know they're not going to live. (1980, Zigzag)
"Breathing", I think, was one of my first, what I would call spiritual songs. The subject matter isn't necessarily, but the spark is. When I was writing it, it felt like: Hang on, I don't think I'm writing this - this is a bit too good for me! Rather than the song being my creation, I was a vehicle for something that was coming through me. (1990, Q Special)
LYRICS
Outside
Gets inside
Through her skin.
I've been out before
But this time it's much safer in.
Last night in the sky,
Such a bright light.
My radar send me danger
But my instincts tell me to keep
Breathing,
("Out, in, out, in, out, in...")
Breathing,
Breathing my mother in,
Breathing my beloved in,
Breathing,
Breathing her nicotine,
Breathing,
Breathing the fall-out in,
Out in, out in, out in, out in.
We've lost our chance.
We're the first and the last, ooh,
After the blast.
Chips of Plutonium
Are twinkling in every lung.
I love my
Beloved, ooh,
All and everywhere,
Only the fools blew it.
You and me
Knew life itself is
Breathing,
("Out, in, out, in, out...")
Breathing,
Breathing my mother in,
Breathing my beloved in,
Breathing,
Breathing her nicotine,
Breathing,
Breathing the fall-out in,
Out in, out in, out in, out in,
Out in, out in, out in, out...
("Out!")
"In point of fact it is possible to tell the
("Out!")
difference between a small nuclear explosion and
a large one by a very simple method. The calling
card of a nuclear bomb is the blinding flash that
is far more dazzling than any light on earth--brighter
even than the sun itself--and it is by the duration
of this flash that we are able to determine the size
("What are we going to do without?")
of the weapon. After the flash a fireball can be
seen to rise, sucking up under it the debris, dust
and living things around the area of the explosion,
and as this ascends, it soon becomes recognisable
as the familiar "mushroom cloud". As a demonstration
of the flash duration test let's try and count the
number of seconds for the flash emitted by a very
small bomb; then a more substantial, medium-sized
bomb; and finally, one of our very powerful,
"high-yield" bombs
"What are we going to do without?"
Ooh please!
"What are we going to do without?"
Let me breathe!
"What are we going to do without?"
Ooh, Quick!
"We are all going to die without!"
Breathe in deep!
"What are we going to die without?"
Leave me something to breathe!
"We are all going to die without!"
Oh, leave me something to breathe!
"What are we going to do without?"
Oh, God, please leave us something to breathe!"
"We are all going to die without
Oh, life is--Breathing.
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Kate Bush about the song:
It's about a baby still in the mother's womb at the time of a nuclear fallout, but it's more of a spiritual being.
It has all its senses: sight, smell, touch, taste and hearing, and it knows what is going on outside the mother's womb, and yet it wants desperately to carry on living, as we all do of course. (1980, Smash Hits)
When I wrote the song, it was from such a personal viewpoint. It was just through having heard a thing for years without it ever having got through to me. 'Til the moment it hit me, I hadn't really been moved. Then I suddenly realised the whole devastation and disgusting arrogance of it all. Trying to destroy something that we've not created - the earth. The only thing we are is a breathing mechanism: everything is breathing. Without it we're just nothing. I was worried that people wouldn't want to worry about it because it's so real. I was also worried that it was too negative, but I do feel that there is hope in the whole thing, just for the fact that it's a message from the future. It's not from now, it's from a spirit that may exist in the future, a non-existent spiritual embryo who sees all and who's been round time and time again so they know what the world's all about. This time they don't want to come out, because they know they're not going to live. (1980, Zigzag)
"Breathing", I think, was one of my first, what I would call spiritual songs. The subject matter isn't necessarily, but the spark is. When I was writing it, it felt like: Hang on, I don't think I'm writing this - this is a bit too good for me! Rather than the song being my creation, I was a vehicle for something that was coming through me. (1990, Q Special)
LYRICS
Outside
Gets inside
Through her skin.
I've been out before
But this time it's much safer in.
Last night in the sky,
Such a bright light.
My radar send me danger
But my instincts tell me to keep
Breathing,
("Out, in, out, in, out, in...")
Breathing,
Breathing my mother in,
Breathing my beloved in,
Breathing,
Breathing her nicotine,
Breathing,
Breathing the fall-out in,
Out in, out in, out in, out in.
We've lost our chance.
We're the first and the last, ooh,
After the blast.
Chips of Plutonium
Are twinkling in every lung.
I love my
Beloved, ooh,
All and everywhere,
Only the fools blew it.
You and me
Knew life itself is
Breathing,
("Out, in, out, in, out...")
Breathing,
Breathing my mother in,
Breathing my beloved in,
Breathing,
Breathing her nicotine,
Breathing,
Breathing the fall-out in,
Out in, out in, out in, out in,
Out in, out in, out in, out...
("Out!")
"In point of fact it is possible to tell the
("Out!")
difference between a small nuclear explosion and
a large one by a very simple method. The calling
card of a nuclear bomb is the blinding flash that
is far more dazzling than any light on earth--brighter
even than the sun itself--and it is by the duration
of this flash that we are able to determine the size
("What are we going to do without?")
of the weapon. After the flash a fireball can be
seen to rise, sucking up under it the debris, dust
and living things around the area of the explosion,
and as this ascends, it soon becomes recognisable
as the familiar "mushroom cloud". As a demonstration
of the flash duration test let's try and count the
number of seconds for the flash emitted by a very
small bomb; then a more substantial, medium-sized
bomb; and finally, one of our very powerful,
"high-yield" bombs
"What are we going to do without?"
Ooh please!
"What are we going to do without?"
Let me breathe!
"What are we going to do without?"
Ooh, Quick!
"We are all going to die without!"
Breathe in deep!
"What are we going to die without?"
Leave me something to breathe!
"We are all going to die without!"
Oh, leave me something to breathe!
"What are we going to do without?"
Oh, God, please leave us something to breathe!"
"We are all going to die without
Oh, life is--Breathing.
KATE BUSH - WUTHERING HEIGHTS
16-08-2009 13:46
Kate Bush about this song:
The story in "Wuthering Heights" by Emily Bronte had been bugging me for about a month. At the time I was recording the album, I began to get down my thoughts on Cathy and Heathcliff and their incredible relationship. I really enjoyed the energy between those two.
And really what sparked that off was a TV thing I saw as a young child. I just walked into the room and caught the end of the film where Cathy has actually died and she's coming back as a spirit across the moors to come and get Heathcliff again. And I am sure one of the reasons it stuck so heavily in my mind was because as a child I was called Cathy. It later changed to Kate. It was just a matter of exaggerating all my bad areas, because she's a really vile person, she's just so headstrong and passionate and... crazy, you know? And it was fun to do. (1980, Profiles In Rock)
When I first read Wuthering Heights I thought the story was so strong. This young girl in an era when the female role was so inferior and she was coming out with this passionate, heavy stuff. Great subject matter for a song. The idea of a relationship that even when one of them is dead, they will not leave the other one alone... I found that fascinating. I think love effects you in a funny way and I think everyone loves something or someone, so I think everyone understands at least on some level the experiences. (1978, Record Mirror)
It's funny, but I heard a radio programme about a woman who was writing a book in Old English, and she found she was using words she didn't know, but when she looked them up she found they were correct. A similar thing happened with "Wuthering Heights": I put lines in the song that I found in the book when I read it later.
There are a couple of synchronicities involved with the song. Emily Bronte had her birthday on the same day as me, July 30, and when she wrote the book she was in the terminal stages of consumption, and I had a bad cold when I wrote the song. Also, when I was in Canada I found out that Lindsay Kemp, my dance teacher, was in town, so I went to see him. When I came back I had this urge to switch on the TV - it was about one in the morning - because I knew the film of Wuthering Heights would be on. I came in at the moment Cathy was dying, so that's all I saw of the film. It was an amazing coincidence. (1979, KBC)
LYRICS
Out on the wiley, windy moors
We'd roll and fall in green.
You had a temper like my jealousy:
Too hot, too greedy.
How could you leave me,
When I needed to possess you?
I hated you. I loved you, too.
Bad dreams in the night.
They told me I was going to lose the fight,
Leave behind my wuthering, wuthering
Wuthering Heights.
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Ooh, it gets dark! It gets lonely,
On the other side from you.
I pine a lot. I find the lot
Falls through without you.
I'm coming back, love.
Cruel Heathcliff, my one dream,
My only master.
Too long I roam in the night.
I'm coming back to his side, to put it right.
I'm coming home to wuthering, wuthering,
Wuthering Heights,
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Ooh! Let me have it.
Let me grab your soul away.
Ooh! Let me have it.
Let me grab your soul away.
You know it's me--Cathy!
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
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Kate Bush about this song:
The story in "Wuthering Heights" by Emily Bronte had been bugging me for about a month. At the time I was recording the album, I began to get down my thoughts on Cathy and Heathcliff and their incredible relationship. I really enjoyed the energy between those two.
And really what sparked that off was a TV thing I saw as a young child. I just walked into the room and caught the end of the film where Cathy has actually died and she's coming back as a spirit across the moors to come and get Heathcliff again. And I am sure one of the reasons it stuck so heavily in my mind was because as a child I was called Cathy. It later changed to Kate. It was just a matter of exaggerating all my bad areas, because she's a really vile person, she's just so headstrong and passionate and... crazy, you know? And it was fun to do. (1980, Profiles In Rock)
When I first read Wuthering Heights I thought the story was so strong. This young girl in an era when the female role was so inferior and she was coming out with this passionate, heavy stuff. Great subject matter for a song. The idea of a relationship that even when one of them is dead, they will not leave the other one alone... I found that fascinating. I think love effects you in a funny way and I think everyone loves something or someone, so I think everyone understands at least on some level the experiences. (1978, Record Mirror)
It's funny, but I heard a radio programme about a woman who was writing a book in Old English, and she found she was using words she didn't know, but when she looked them up she found they were correct. A similar thing happened with "Wuthering Heights": I put lines in the song that I found in the book when I read it later.
There are a couple of synchronicities involved with the song. Emily Bronte had her birthday on the same day as me, July 30, and when she wrote the book she was in the terminal stages of consumption, and I had a bad cold when I wrote the song. Also, when I was in Canada I found out that Lindsay Kemp, my dance teacher, was in town, so I went to see him. When I came back I had this urge to switch on the TV - it was about one in the morning - because I knew the film of Wuthering Heights would be on. I came in at the moment Cathy was dying, so that's all I saw of the film. It was an amazing coincidence. (1979, KBC)
LYRICS
Out on the wiley, windy moors
We'd roll and fall in green.
You had a temper like my jealousy:
Too hot, too greedy.
How could you leave me,
When I needed to possess you?
I hated you. I loved you, too.
Bad dreams in the night.
They told me I was going to lose the fight,
Leave behind my wuthering, wuthering
Wuthering Heights.
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Ooh, it gets dark! It gets lonely,
On the other side from you.
I pine a lot. I find the lot
Falls through without you.
I'm coming back, love.
Cruel Heathcliff, my one dream,
My only master.
Too long I roam in the night.
I'm coming back to his side, to put it right.
I'm coming home to wuthering, wuthering,
Wuthering Heights,
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Ooh! Let me have it.
Let me grab your soul away.
Ooh! Let me have it.
Let me grab your soul away.
You know it's me--Cathy!
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
Let me in-a-your window.
Heathcliff, it's me--Cathy.
Come home. I'm so cold!
KATE BUSH - BABOOSHKA
16-08-2009 13:25
Kate Bush about this song:
"Babooshka" is about futile situations: the way in which we often ruin things for ourselves. (1980, KBC 7)
The word "babooshka" is the Russian for "grandmother", it's also a headdress that people wear. But when I wrote the song it was just a name that literally came into my mind, I've presumed I've got it from a fairy story I'd read when I was a child. And after having written the song a series of incredible coincidences happened where I'd turned on the television and there was Donald Swan singing about Babooshka. So I thought, "well, there's got to be someone who's actually called Babooshka". So I was looking through Radio Times and there, another coincidence, there was an opera called "Babooshka". And also a friend of mine had a cat called Babooshka. So these really extraordinary things kept coming up when in fact it was just a name that came into my head at the time purely because it fitted. (1980, Never For Ever Debut)
LYRICS:
She wanted to test her husband.
She knew exactly what to do:
A pseudonym to fool him.
She couldn't have made a worse move.
She sent him scented letters,
And he received them with a strange delight.
Just like his wife
But how she was before the tears,
And how she was before the years flew by,
And how she was when she was beautiful.
She signed the letter
"All yours,
Babooshka, Babooshka, Babooshka-ya-ya!
All yours,
Babooshka, Babooshka, Babooshka-ya-ya!"
She wanted to take it further,
So she arranged a place to go,
To see if he
Would fall for her incognito.
And when he laid eyes on her,
He got the feeling they had met before.
Uncanny how she
Reminds him of his little lady,
Capacity to give him all he needs,
Just like his wife before she freezed on him,
Just like his wife when she was beautiful.
He shouted out, "I'm
All yours,
Babooshka, Babooshka, Babooshka-ya-ya!
All yours,
Babooshka, Babooshka, Babooshka-ya-ya!
All yours,
Babooshka, Babooshka, Babooshka-ya-ya!"
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Kate Bush about this song:
"Babooshka" is about futile situations: the way in which we often ruin things for ourselves. (1980, KBC 7)
The word "babooshka" is the Russian for "grandmother", it's also a headdress that people wear. But when I wrote the song it was just a name that literally came into my mind, I've presumed I've got it from a fairy story I'd read when I was a child. And after having written the song a series of incredible coincidences happened where I'd turned on the television and there was Donald Swan singing about Babooshka. So I thought, "well, there's got to be someone who's actually called Babooshka". So I was looking through Radio Times and there, another coincidence, there was an opera called "Babooshka". And also a friend of mine had a cat called Babooshka. So these really extraordinary things kept coming up when in fact it was just a name that came into my head at the time purely because it fitted. (1980, Never For Ever Debut)
LYRICS:
She wanted to test her husband.
She knew exactly what to do:
A pseudonym to fool him.
She couldn't have made a worse move.
She sent him scented letters,
And he received them with a strange delight.
Just like his wife
But how she was before the tears,
And how she was before the years flew by,
And how she was when she was beautiful.
She signed the letter
"All yours,
Babooshka, Babooshka, Babooshka-ya-ya!
All yours,
Babooshka, Babooshka, Babooshka-ya-ya!"
She wanted to take it further,
So she arranged a place to go,
To see if he
Would fall for her incognito.
And when he laid eyes on her,
He got the feeling they had met before.
Uncanny how she
Reminds him of his little lady,
Capacity to give him all he needs,
Just like his wife before she freezed on him,
Just like his wife when she was beautiful.
He shouted out, "I'm
All yours,
Babooshka, Babooshka, Babooshka-ya-ya!
All yours,
Babooshka, Babooshka, Babooshka-ya-ya!
All yours,
Babooshka, Babooshka, Babooshka-ya-ya!"
ШКОЛА ИНОСТРАННЫХ ЯЗЫКОВ ИЛЬИ ФРАНКА
16-08-2009 12:57
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Школа Ильи Франка - это школа с человеческим лицом. Я ее так называю. Это настоящая и душевная Школа. Я там учитель и главный методист (методисты - это люди, которые решают, как нужно обучать других иностранным языкам и могут объяснить, почему именно так). В основном я пишу программы, набираю преподавателей, тренирую их, посещаю их занятия и провожу для них семинары. В каком-то смысле, я - преподаватель для преподавателей. Только слово "преподаватель" не люблю. Я хочу когда-нибудь стать Учителем, как в старых китайских фильмах, то есть - седым, с безупречной осанкой, мудрым и гармоничным мастером, и обязательно с посохом, чтобы учеников, если что, по спине... Но это пока еще неосуществимо (возраст не тот, да и в школе с человеческим лицом запрещается бить учеников). Однако пусть я пока называюсь так: учитель преподавателей. Так лучше.
Помимо учителя преподавателей я еще и просто учитель (английского языка). Поэтому здесь буду рассказывать все, что знаю, про английский язык и про Англию, а также новости Школы и мои личные новости, связанные с этим самым английским языком. Также буду выкладывать обучающие материалы, аудио- и видео-файлы. И отвечать на вопросы (учеников и преподавателей).
Ну что, Собеседники... В путь.