This Woman's Complete Work: The Kate Bush discography rate (RESULTS #17-16 - another album exits!) | Page 70 | The Popjustice Forum

This Woman's Complete Work: The Kate Bush discography rate (RESULTS #17-16 - another album exits!)

Discussion in 'Charts, rates etc' started by P'NutButter, Mar 4, 2019.

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Favourite Kate Bush album?

  1. The Kick Inside

    2 vote(s)
    2.0%
  2. Lionheart

    0 vote(s)
    0.0%
  3. Never For Ever

    3 vote(s)
    3.0%
  4. The Dreaming

    22 vote(s)
    22.2%
  5. Hounds Of Love

    52 vote(s)
    52.5%
  6. The Sensual World

    8 vote(s)
    8.1%
  7. The Red Shoes

    4 vote(s)
    4.0%
  8. Aerial

    5 vote(s)
    5.1%
  9. Director's Cut

    0 vote(s)
    0.0%
  10. 50 Words For Snow

    3 vote(s)
    3.0%
  1. As cynical as this sounds, I might have to agree!
     
    P'NutButter and ohnoitisnathan like this.
  2. I also agree, however had the album version sounded more like the version from Before The Dawn I'd probably adore it.

    The two today relate to psychology and overall mental health.
     
    Cutlery, əʊæ and 31entrance like this.
  3. This first one out today is perhaps one of her darkest ever tracks?...

































































































































































































































    [​IMG]

    Mother Stands For Comfort 8.35

    Highest Score: 10 x 7 @Hatbar, @The Hot Rock, @Jóga, @slurmjunkie, @ohnoitisnathan, @Itty Bitty Piggy, @Remorque
    Lowest Score: 5 x 1 @Jam




    @ohnoitisnathan - 10 Benefits from probably being the only non-overplayed song on side A of the Hounds of Love album. Eerily haunting.
    @The Hot Rock - 10 A lush and ethereal classic.
    @Jóga - 10 Heartbreaking.
    @Untitled - 9.5 Ugh, I'm dying that I can't give it more than 9,5 and less than 10. Because it's exactly that type of song. Haunting, but not bone-chilling. Captivating, but not instantly outstanding. She fucking howls at several points! Proposes a look at a serial killer through the lens of their relationship with their mum! And yet if I gave it a 10, I'd known that it wasn't quite fair to the other tens, because it just doesn't go that extra mile. Hence, it gets stuck with a score that doesn't quite reflect the way I feel about it. At least, now that I've written out my reasoning behind it, my OCD can rest a little easier.
    @DominoDancing - 9.5 One of my favourites here - so eerie and creepy.
    @djmakemewet - 9 The menace is present in this song from the opening beat, but once again the bass feels sympathetic – not that this does much to get away from the overall sense of discomfort within the song.
    @Music Is Life - 8.5 Everything about this song made me feel sad, which I think is the point and it's a great song so it gets a highish score. But I didn't like feeling sad.
    @OspreyQueen - 8 Its placement between The Big Sky and Cloudbusting is…bizarre, but the song itself is just the kind of spooky Kate I love. The UFO synths are bound to send a shiver down your spine.
    @sfmartin - 8 It's great but not a knockout like the singles. I like how unsettling the theme and sound of the whole song is. Glass smashing, jerky production and Kate howling randomly in the background.
    @31entrance - 8 one of my faves on this album, those 80s synths always get me.
    @Seventeen Days - 8 - I love how eerie this song sounds. I would concur with @P’NutButter that this track feels more like it could be on The Dreaming - Kate loved to push the limits of her Fairlight CMI, between the breaking glass samples and the alien whistle synth that bubbles just beneath the surface of this.




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  4. Ouch. On the one hand, it hurts to see this song go, on the other hand we are at a 8.35 average already. Nearly everything left is fantastic.
     
  5. I guess we're just at that point where everything that leaves is gonna hurt, huh?

    'Mother' definitely feels slightly out of place with rest of Side A, but it's an enjoyable track nonetheless.
     
  6. I'm at a weird place where tracks are leaving later than I would have liked, but I'm upset over their ousting due to far worse tracks from the era still hanging on. Like I would have gotten rid of Pull Out The Pin a bit earlier, but if we're going for The Dreaming tracks now, there's much worse to dump first.
     
  7. A Coral Room is absolutely stunning. Just a beautiful piece of art.

    Mother Stands For Comfort is honestly one of her most timeless songs. It’s so spooky and unique.
     
  8. Another dark and claustrophobic track is leaving now...


























































































































































































    @ohnoitisnathan - 10 Eerie, but who doesn't love a good fright? This would have been perfect for a horror/haunted house flick.
    @OspreyQueen - 9.5 I see this one as more of an interlude than a fully-fledged song, but holy shit, what an interlude. The chants, yelps, muffled vocals and back-masking are chilling to the bone…and yet when I get to the end I just wanna play it again. This and Waking The Witch are a masterclass in how to create genuine horror though music.
    @djmakemewet - 9.5 I've always loved the drums on this – there's something incredibly primal about them. I remember being in awe of the vocal effects, especially the way that “harm is in us” pans across the speakers/headphones. I also love the way that the drum fill that kicks off the outro feels like such a moment even though the drums have been so prominent all the way through. I even want to get a tattoo reading “let the weirdness in” (backwards, of course!).
    @Jóga - 9 I love it but the metallic voice effect is a bit too much, perhaps.
    @sfmartin - 8 Haunting. Seriously spooky vocal effects. So much creativity.
    @Seventeen Days - 8 I love the weird filter to Kate’s vocals on this, giving it this almost otherworldly quality - almost as if she’s a voice in someone’s head singing this song to them. I guess given the lyrics about the ego, maybe that’s what she was going for.
    @31entrance - 7.5 The beginning reminds me of We Will Rock You by Queen was it intentional?
    @DominoDancing - 6.5 Just about saved by some of the production tricks, but not very memorable otherwise.
    @Untitled - 4 Too much Satan worshiping early 80s sci-fi feel for my mind to wrap itself around.




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  9. Yes! Finally my last 2 falls, the putrid songs are out. If Houdini and Jig of Life follow, that's the 3s out as well.
     
  10. I just lost another three 10s in a row. How long will this culling of masterpieces continue before the slightly above average 'Sunset' and 'Nocturn' and the quite good but flawed 'King Of The Mountain' and 'Rubberband Girl' exit? If all the rest of her finest experimental work (i.e. The Dreaming and The Ninth Wave) continues to leave first, they will even make the top 30.
     
    ohnoitisnathan likes this.
  11. HOL and TD bleeding tracks
     
    ohnoitisnathan and əʊæ like this.
  12. You're beyond salvation.
     
  13. This rate is a fucking mess. Although I have to keep reminding myself that the average score is already wonderfully high.

    Mother Stands For Comfort is better than anything on The Ninth Wave, there, I said it.

    The Morning Fog is twee and make weight on the album. The Before The Dawn version is definitive.

    The moment in A Coral Room when Kate sings, "my mother" is one of the most emotive moments in her entire oeuvre so you can take "LOL no tune" and hit that Vaseline with it.
     
  14. 'Leave It Open' out before three Aerial tracks and 'Rubberband Girl'?! That is some very questionable taste.
     
    slurmjunkie likes this.
  15. Surely [​IMG] has to go soon.

    [​IMG]
     
    Trouble in Paradise likes this.
  16. Wow?
     
    ohnoitisnathan likes this.
  17. So, like I said two singles are leaving. The first has done bloody well in my opinion to get this far...























































































































































































































    @DominoDancing - 10 Kate seldomly does straight pop bops like this. Considering how amazing Rubberband Girl is, I wish she would have done a couple more over the years.
    @31entrance - 10 A bop!
    @Seventeen Days - 10 The first time I heard this, I couldn’t believe it was the same Kate. She’s always flirted with mainstream sounds, but this track is almost so straightforward pop that it feels odd for her. But it didn’t take long to work its way into my head, and it’s actually one of my favorites now.
    @sfmartin - 10 It sounds so dated but I love it. So god damn catchy. What I love about Kate is you'll think you are listening to a generic pop song then she just throws in something absurd and totally unique the "uuunnnhh uuuuhhhhs".
    @Jóga - 8.5 It’s fun.




    @ohnoitisnathan - 8 Decent song, but has the 'Peter Gabriel' syndrome, of going on for about 2 minutes longer than it needs to at the end. The production qualities sounded dated for 1993 though.
    @abael - 8 I thought immediately that with starting the album with a single that this was Kate's veer into the mainstream. It was only until later that I looked up her albums did I realise that all her albums did. They just weren't good enough to be recognised as such by listening alone.
    @lob0to - 8 Was never that keen. Dare I say I prefer the Directors Cut version!
    @djmakemewet - 7.5 Another song where I have an early memory of the video, particularly the bit where she's in the straitjacket. I like how she really lets go towards the end of this song and as a taste of what's to come on the more live band-orientated The Red Shoes it works well.
    @OspreyQueen - 7.5 A nice accessible bop, sprinkled with the quirkiness you’d expect from Kate. It’s far from her most profound work but it has its place.




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  18. Bop bop bop, but I'm happy that Moments of Pleasure is the last standing Shoes track
     
  19. My 5 was too generous.
     
    P'NutButter and The Hot Rock like this.
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