Arguably Kate Bush’s strangest work, I feel like The Dreaming has had a role in shaping my personality. I spent entirely too much time dancing round the kitchen to this album when I was a kid. I was fascinated by the weird, even scary, soundscape. Kate Bush has called it her “I’ve gone mad album” and the listening experience does feel like being inside someone’s mind. As a little kid, I was particularly impressed by the vocals. I couldn’t believe that a woman could make all those different sounds. My favourite track then was ‘Night of the swallow‘ because I liked the strings and bagpipes, but as an adult woman who is more interested in setting boundaries, I find myself most excited by the door-slamming chaos of ‘Get out of my house’. Play loud, as the sleeve notes advise.
Meanwhile, in other Kate Bush news, hundreds of fans celebrate ‘Wuthering Heights Day’ by recreating the 1978 video.
Her signature song is as relevant as ever.
You Don’t Own me
“You don’t own me, I’m not just one of your many toys
You don’t own me, don’t say I can’t go with other boys
And don’t tell me what to do
And don’t tell me what to say
And please, when I go out with you
Don’t put me on display, ‘cause
I’m no music geek, but taking time out to listen to music is quite important to my mental health. At the beginning of 2013, I felt that my collection had stagnated a bit and decided to try and listen to a wider range of artists. I remembered my Last.fm. account and made myself use the “mix radio” option.
One of the first new discoveries of the year was Anais Mitchell. I love her album Young Man in America (2012) and her gorgeous traditional folk collaboration with Jefferson Hamer, Child Ballads (2013). In 2014 I hope to get to know Hadestown. Santigold was another new find for me in 2013. Her fusion of pop, rock, hip hop and reggae creates a glorious sound. Bat for Lashes grew on me – Natasha Kahn’s slightly eerie melodies didn’t appeal at first, but they crept up on me and I’ve now got three of her albums.
Johnny Cash’s American Recordings (1994) is perfect music for dark, winter evenings. It’s a comeback record that marks the beginning of Cash’s immensely creative partnership with Rick Rubin. I think it’s worth getting for the cover of Leonard Cohen’s ‘Bird on a Wire’ alone. Steve Earle’s Transcendental Blues (2000) is an all-round brilliant folk album, featuring a diverse range of songs with an Irish-American flavour. Neil Young’s triple album compilation, Decade (1977) is just a sublime retrospective and contains some of my favourite Young songs, such as ‘Expecting to Fly’, ‘Helpless’ and ‘Winterlong’. What’s even more amazing is that this retrospective was produced so early in his career.
Thea Gilmore’s Songs from the Gutter (2002) is not her most consistent work, but a great showcase of her talents, with catchy protest songs, soaring ballads and some excellent covers, perhaps most notably the version of Bob Dylan’s ‘I Dreamed I Saw St Augustine’. Ani DiFranco may finally be growing on me. I really like her upbeat last album, Which Side are you on? and the song ‘Red Letter Year’ was my New Year track. PJ Harvey’s ‘Peel Session’ recordings (1991 – 2004) offer stripped down, intimate versions of her songs, some of which I prefer to the original album versions (‘You Came Through’ and ‘Victory’ are my favourites). Kristin Hersh’s sixth solo album, The Grotto (2003), is the one that I listen to the least, not because I dislike it, but because there’s a vulnerability to it that I find a little too intense and raw. It feels like the older and sadder sister of 1994’s Hips and Makers
It’s been a challenging summer which has seen me facing up to some fears, having a bit of an existential crisis and going back into therapy – hence the lack of posting on any of my blogs. At times like this I like to play a lot of music and this summer I’ve mainly been raiding Spotify for new stuff.
I was a little sceptical about Wild Flag to begin with – initially they just made me miss Sleater Kinney all the more, but the album has grown on me I am now fairly well converted by songs such as ‘Boom’. Wild Flag is middle-aged women rocking out with a sense of humour and generally having no fucks to give.
Imagine, if you can, almost every lesbian in South Wales and a fair few from the South West and London, crammed into a small wood-paneled venue and you have something approximating the experience of seeing Patti Smith play at the Coal Exchange in Cardiff. Andy and I were quickly scooped up by a group of fifty-somethings from London who seemed to think we were very young and sweet, and that they ought to support us through our first Patti Smith gig.
I never really thought I’d get to see Patti Smith play live and didn’t believe it was going to happen until she actually appeared on stage. I think I would have paid the ticket price just for the opener, ‘Dancing Barefoot’, but that was followed a generous set of favourites: ‘Free Money’, ‘Beneath the Southern Cross’, ‘Redondo Beach’, ‘Ghandi’, ‘Peaceable Kingdom’, a fist-pumping rendition of ‘Because the Night’, a very long (and even better for being a bit messed up) sing-along version of ‘Gloria’, ‘Babelogue’ and ‘Rock N’ Roll N****r’.