The Long Kiss Hello

The last time Kate Bush performed a live concert was 1979. I was too young to go and anyway, record buying and gig going were something totally beyond my boyhood consciousness at the time. A few years later when I’d finally 'got my groove on' the chances of Kate Bush ever performing a live gig again were about as likely as Labour freeing the country from the interminable yolk of Maggie Thatcher. And then, subsequent to that event, as likely as Rolf Harris being imprisoned for sex crimes. 

I’d accepted that it was just never going to happen. Never. I would never (for)ever get to see her live. I accepted it with the same life-weary recognition that I would also never marry any of Charlie’s Angels, never be a crime-fighting superhero or be in any way, shape or form, cool and one of the in-crowd. Sometimes you don’t make your bed, you just accept you need to lie in the one that life has given you.

And then suddenly life presents you with a brand new bed - a four poster with satin sheets, vibrating pillows and gold thread in the tassels. In short, life throws you a miracle.

Earlier this year Kate Bush announced a series of live shows (my quest to acquire tickets is well documented elsewhere). For a Kate Bush fan such a happening is a life changer, a dream maker and a soul lifter of extraordinary proportions. Those tickets were the most desirable entities in the entire universe. I was damned lucky to get 2 of them – even if it meant paying through the nose for hospitality tickets. But really, as a fan, I would have done anything to guarantee my presence at one of her gigs. Eaten broken glass. Voted Conservative. Accepted the new U2 album on whatever device the-powers-that-be cared to hijack it onto.

It’s interesting to note here that rehearsals for the shows had been going on for 18 months… the whole thing must have been one of the best kept secrets in the music world for at least a year. God, but Kate Bush is a canny lady.

Last Saturday, after much waiting, after much imagining and speculation, Karen and I finally attended Before The Dawn at the Hammersmith Eventim (Apollo). Neither of us had been to a gig for at least a decade. Neither of us had been anywhere major without the kids for probably about the same length of time. In fact, being without the kids for a night was a source of considerable and most perplexing anxiety and I won’t bore you with our efforts to secure 2 ultra-trustworthy babysitters (who, as it happens, did amazing jobs to keep our boys happy and safe while mummy and daddy partied the night away). But before the gig we did end up (almost subconsciously) sitting in a park near a kiddie’s playground, almost as if we couldn’t quite function out in the real world without the shouts and calls of youngsters surrounding us.

Having obtained hospitality tickets, our first port of call was St. Mark’s Church, across the road from the Eventim where, at 5.30pm, we had a champagne reception and luxury hamper awaiting our arrival. Although for me this was a by-product of acquiring tickets it proved to be rather special in itself and it was nice to be amongst 200 other guests who were all feeling the specialness of the occasion as we were. It was also nice to have early access to a good selection of the official merchandise without having to fight our way through rampaging throngs eager to buy extra programmes that they could sell later on eBay. I must admit I stretched my credit card as far as it would go and bought a gig t-shirt, hoody, poster, keyring, a Hounds of Love mug and a Rescue Tin which had been compiled to compliment the first part of Kate’s set – a performance of The Ninth Wave (the concept piece from her Hounds Of Love album). It was expensive but I figured this was a once in a lifetime opportunity and I didn’t want to leave with regrets or that feeling of “I should have done this and I should have done that…”

The food was superb but I confess I was much too excited to eat properly and, seriously, I would have been happy with a bag of chips – I was just glad to be there. The couple next to us had come all the way from Norway and the people we sat next to in the theatre itself sounded distinctly Australian. A reminder that out trek from Leamington Spa was but a small hop compared to the journeys that some of the other attendees had undertaken.

It was lovely to be able to eat and then wander back across the road to the Eventim in our own good time, enter through the VIP entrance without queuing and find out seats without having to panic about anything. In fact the whole trip had flowed smoothly – a good journey down and we even managed to get parked a mere 50 yards from the theatre entrance. It made us realise that we should and indeed ought to do this kind of thing far more often.

And the gig itself?

Amazing. Truly amazing. I'm having trouble holding back the hyperbole. I couldn’t quite believe I was actually there. In fact I spent the first half of the show trying to reign my thoughts in and focus on being present in the moment. The show was as full and as mind-blowing as all the reports had led us to believe. Best of all, Kate’s voice soared. My worry had been that after weeks of performing it would be showing signs of strain by the time my gig came around but I needn’t have worried. Kate seemed to combine power and delicacy in equal measure and for me that was the main triumph of the night. Her voice is incredible and has lost none of its potency.

Of course, she could have sung dressed in a bin bag and the audience would have lapped it up but it was lovely to be present at an event that was so worth the 30 year wait, that was everything a fan could have ever dreamt of. I won’t go through the set list as that will be available elsewhere online but highlights for me were Running Up That Hill, King Of The Mountain and, of course, the entire Ninth Wave movement. The sets were incredible and Kate managed to weave theatre, film and song into one cohesive, emotionally-full whole. Working the plaintive peep-peep of the lifebelt distress signal into And Dream Of Sheep was inspired and really worked (also reminding me of the click-click of the rifle used so effectively in Army Dreamers). It was wonderful to see The Ninth Wave performed so satisfyingly – I’ve spent years of my life letting my mind wander when listening to it; trying to imagine it turned into a visual spectacle. So gratifying that Kate’s own interpretation was not a disappointment but instead added even more depth and meaning. For me Watching You Without Me and Hello Earth are still the central masterpieces to this entire movement.

The second half of the show was based around the second half of the Ariel album and though quieter and calmer than The Ninth Wave was nevertheless not without its shockwaves – the puppet boy killing the gull, tree trunks dropping down from on high and smashing through Kate’s piano – but the overriding sense of joy that these tracks evoke was what stayed most in my mind. A definite highlight for me was the pulsing throb of the opening of Prologue which is so perfectly redolent of the whirring of bird’s wings in flight. The biggest highlight of the night though was the encore. Just Kate alone at the piano performing Among Angels without any other accompaniment and reminding everybody that as great as all the stage effects and stage direction were, the most perfect, unassailably wondrous thing of all is Kate and her voice and her piano composition. Among Angels is such a delicate stirring piece it really didn’t need anything else at all. For anyone doubting if Kate Bush still had it, they had their resounding answer. A rousing rendition of Cloudbusting finished off the night and was surmounted by Kate yet again thanking us all for being such a brilliant audience (as she had done throughout the evening), thanking us for coming and just thanking us all for being. So many thank you’s from the one person in the theatre who everybody else there wanted to thank with all their hearts. No, Kate, thank you!

It was an uplifting, euphoric evening. I was glad to be even the smallest, tiniest part of it. Number one item on the very top of my secret bucket list totally ticked off.

Privet

I’ve had to take the unprecedented step of leaving the Kate Bush Fan Club Facebook page.

Actually, it’s not unprecedented at all. I’ve left loads of pages on Facebook. When it comes to nixing FB related things I’m like Charles Bronson at the start of Once Upon A Time In The West. Sweaty, bristly, breath like Chicken Fajitas but with a lightning fast trigger finger.

And the Kate Bush Fan Club page, well, they brought too many horses (true Western fans will get that reference).

It was the whinging. The whining. The petty schoolyard arguments:

“I haven’t got a ticket to her live show and it’s so unfair ‘cos I’m her number one fan and all the touts who aren’t fans have got the tickets are selling them for the price of a Heston Blumenthal 3 course meal”.

“I have got tickets and I want to witter on and on about what songs she might sing and what songs I want her to sing and what songs do you think she will sing?”

“I haven’t got tickets and I don’t want to hear about what songs you think she might sing ‘cos I want to die for the entire duration of her shows so that I don’t have to live in a world where I don’t have tickets to see her.”

“Hello I’m new to the group and I want to show you a picture of a Kate Bush 7 inch single I bought from a flea market in Birmingham and ask if it is worth anything and does anybody have any spare tickets to sell, I heard she is going to play some live dates in September…?”

On and on and on.

Now I’m a fan. I’m up there with the most devoted and delusional of any of them. I can trace my Kate Bush pedigree back to the early 80’s – none of this “been a fan since Aerial” malarkey. I have all her records. I have tickets not only to her show but also to the hospitality party beforehand. I’m convinced she is going to personally serve me canapés and share her champagne with me in the toilets. And ask me to help compose the lyrics to her next album. It is meant to be.

But I know how galling it is to not have tickets. For 2 days I was in deep dudgeon because despite having early access to the fan only tickets I still missed out and felt that the general release was merely going to give me a cat in hell’s chance. I can remember the excoriating feeling of “I’m going to miss out on a truly rare event”. I know it came good for me in the end but I still retain the muscle memory of that previous failure. Like Frodo forever feeling the burning loss of his ring. Or something like that.

But joking aside it is not the end of the world or even the start of it. If I hadn’t got tickets I would have felt gutted but I would have moved on. I still have Kate’s music to enjoy and stalking is a perfectly acceptable pastime these days.

But the petty nit-picking and childish sourness of the Facebook group was too much. I know people are just people… but really! I expected more from Kate Bush fans. And I know how stupid and vapid that sounds. As if liking Kate Bush immediately bestows wisdom and first class mental health onto the patron. But it was like being back at school. The old “I’m a bigger fan than you are – no you’re not, I am” kind of thing.

I felt besmirched. I felt like I was a kid again and not in a good way.

Do adults really behave like this without being aware of it?

Plainly they do.

So I did the adult thing. I didn’t castigate everyone in the group for being pathetic; I didn’t lob a sarky grenade into the status box and then run for cover. I just revoked my own membership, left forever and instantly felt calm again.

See, I don’t need the others. I don’t need to be part of a big group or a gang. I don’t need to be part of a happening or “a thing”.

Kate and me, we’ve got our own thing going on. A special relationship.

She’s hired a private policeman just for me.

At least that’s what my lawyer has told me.

Bush Fire

When do you officially start being a fan of someone? When you first buy one of their records? Or when you first hear one? If the former, I have been a fan of Kate Bush since I was 15. If the latter, since considerably earlier though I’d be hard pushed to nail down the exact time frame. I can vaguely remember hearing Wow on the radio and loving it and then later Babooshka and Sat In Your Lap. But I didn’t start buying records until I was 15 and had finally embraced the largely teenage ethos of “owning music”. Running Up That Hill is one of the first records I ever bought alongside Prince’s Paisley Park. Funny how Prince hasn’t really stood the test of time but Kate Bush seems somehow eternal.

I got into record buying in a big way from then on. It’s fair to say I moved from record buying to record collecting in the space of a few years. I loved the thrill of the hunt; winkling out golden oldies and rare vinyl; visiting musty record fairs and even mustier basement shops. Before long I had accrued original copies of Wow, Babooshka and practically everything else that Kate Bush had ever composed. In fact, bar a couple of very rare 7” singles I have practically everything. A 99% complete collection.

Including, of course, a video of her much celebrated “tour” at Hammersmith Odeon in 1979. Her one and only live music tour. In my heart of hearts I’d kind of accepted that, bar a miracle, I would never get to see her live. The possibility of her ever performing more live dates was slim at best and a fool’s dream at worst. It’s just the way it was. Like most of her fans I was just grateful she was still producing music that was as ground breaking and thought provoking as it ever was.

I would never get to see her live. And I accepted it.

Until today.

News of her suddenly announced concerts for later this year flooded the news pages last week. I had an email announcing the dates from KateBush.com last week and had to read it three times before it sank in. Kate was actually going to perform a string of live dates. Finally. A miracle. It was fairly obvious this was going to be a once in a lifetime opportunity. I can’t see her announcing more dates in the years to come. It was now or never. I had an early access code from the site which meant I could try for tickets on Wednesday before they officially went under general release today. It seemed a gift horse.

Gallingly, technology let me down. I came within a cat’s whisker of getting decent seats before a PC failure ruined my chances. And that was it. My best chance gone. The advance tickets had all sold out within 30 minutes.

I haven’t felt so crushed since I was a spotty teenager. Which is probably rather apt.

My only chance now was a forlorn hope. Trying today, in competition with the whole world, when the general tickets went on general release at 9.30. It was going to be one hell of a mountain to climb, with thousands of others doing their best to knock me and everyone else off the north face. The wife and I went for a 2 pronged separate attack. Telephone and PC, using every technological trick at our disposal. We knew of other friends who were seriously going to have 4 PCs on the go at once with several tabs opened on each. Desperation of the highest order.

Chances of success were minute. And this was confirmed almost immediately by the phone line effectively redirecting us to the web site as the operators couldn’t cope with the amount of traffic and the web site hanging and hanging and hanging, pushing us into a virtual waiting room where we seemed to be repeatedly forgotten about and ignored. Ten minutes in tickets were already being flagged up as “unavailable”.

In a last ditch attempt I went for anything – absolutely anything, the last option that was available in fact – and ended up plumping for a high end “hospitality” package; a luxury pre-concert party-come-meet-and-greet at St Pauls Neo Gothic Church opposite the venue with a sumptuous hamper and brochure thrown in before being escorted to the venue and our seats. No doubt the price had dissuaded many and I had little hope we’d get a bite at this particular cherry anyway. Competition for tickets was evidently insane.

Ordinarily the massive price would have dissuaded me too but, you know what? It’s not often Karen and I award ourselves a big treat. I don’t think we’ve ever really done it, in fact.

So we thought sod it.

I clicked “buy” and fully expected the site to hang and then throw me out onto the street with apologies.

It didn’t.

It gave me an in.

And a countdown. My tickets would be reserved for 7 minutes while I filled in various online forms to set up an account with the venue and then go through the payment process. My typing was suddenly appalling but I did it.

2 tickets for Saturday September 27th. Booked. Confirmed. Finally, Kate and me in the same room together. Albeit a very big room with thousands of other people in it too. 2 tickets that are mine.

It’s going to take months to pay off the credit card bill. But what the hell. For me this is an event that I thought would never happen. As sad it sounds I would have been truly gutted if I had been unable to get tickets and the whole thing went ahead without me. Not that I’m an essential component, you understand.

Right now the wife and I are shaking, wondering what the hell we have done. We’ve spent the price of a small holiday on 2 concert tickets.

But it’s Kate Bush.

Kate Bush is playing live and we’re going to be there.

Wow. Wow. Wow.

When I Am Brown Bread...

One of my favourite bloggers, Löst Jimmy, recently wrote a blog post about honouring the funeral arrangements of a friend. A friend, I hasten to add, who isn't about to shuffle off this mortal coil anytime soon (at least I hope not anyway) but it got me thinking about that subject which we must all think about at some point in our lives but which we would much rather not think about at all if we can get away with it.

Our own funeral. The wake. The 19th hole. Our great launch off into the unknown. The elevator door closes and you wait to see if you're going up or going down.

I am minded that when my grandfather died a couple of years ago my entire family kicked itself for not having paid closer attention to the various requests he had made over the years for what hymns he had wanted sung and what music he wanted played on the day we all saw him off for the last time. In the end we did him proud but the thought always stuck in my mind: was this really how he wanted it?

It's made me realize that, whilst I certainly don't want to tempt fate by booking Westminster Abbey and a hemp weave eco-coffin right now, I would like you all to be prepared and fully instructed in what I require when the nation mourns my eventual passing in approximately 250 years from now ('cos we just know that our industrious scientists are right on the cusp of cracking the aging gene conundrum, don't we?)...

So. To business.

Whilst I wish the nation to have the chance to play its last respects at Westminster Abbey and whilst I appreciate the 8 billion strong signatures on the petition to have my glorious body interred in Poet's Corner I would actually like my final resting place to be somewhat more spiritual, esoterical and ecologically sound than a great gold lined stone coffin housed in one of London's most famous landmarks.

It is my wish that a fully working Viking long boat be constructed by authentic craftsmen from the Netherlands and sailed across the North Sea to this green isle ready for the day of my funeral. I wish to be dressed in the garb of a Viking clan chief, complete with sword, dagger and horned helmet (please ensure the horns are of a suitably eye-watering length and girth) and then laid to rest on a specially built pyre of sweet smelling woods arranged on the deck of the boat.

I will then be launched down the River Avon as each of you fire flaming arrows into the specially primed and oiled pyre (please note: charcoal briquettes are available quite cheaply from B&Q all year round). You might all want to enlist for archery lessons now - I don't want my funeral to become a blood bath, after all, this is my big day, not yours.

I wish to have a posse of chief mourners comprised of Keeley Hawes, Katie McGrath, Julia Bradbury, Alice Roberts, Kate Bush and Christina Ricci. All are to be dressed in black cocktail party attire - short skirts, high heels and perfumed décolletages, please ladies. Any bloggers out there wishing to join this troupe may do so provided you are suitably attired. My wife will of course be the queen mourner and will conduct you all in a rendition of "You were the wind beneath our wings..." provided, of course, she hasn't cashed in my Life Assurance Policy early and isn't holidaying at Brean Sands with the milkman.

Once my flaming bower is well aflame and has become a danger to shipping in the Bristol Channel you may ignite a smaller pyre beneath the freshly spitted hog killed for this especial purpose and you may all enjoy partaking of a suitably hot and spicy spit roast in honour of my good self. You may quaff wines that foam, substances which tittilate and read aloud from the many good works that I will undoubtedly have published by this time. The choicest extracts from my autobiography, "You Shall Not See My Like Again, Weep, Weep, Weep Ye May..." will be read by my sons whilst the pivotal moments of my life with be re-enacted by a Punch & Judy man recruited from Brighton Pier.

Long after my ashes have mingled with the mud flats at Weston-super-Mare you may then erect a permanent statue of me on the fourth plinth at Trafalgar Square. Built entirely of Lego it will tower over the occupants of the other three plinths and act as a staunch reminder of my humble and modest greatness and will I hope offer you some small comfort in the pointless and dreary existence that life will undoubtedly have become now that I am no longer in this world with you.

Amen.

Have you all got that? Good. Feel free to bring some food to the party but none of that cheap crap from Lidl please. Donations to the Stephen Blake Benevolent Fund For Unrecognized Writers will be gratefully received and spent wisely (unlike the dubiously apportioned funds from WikiLeaks).

Until this great day then, folks... make the most of me. Just in case, you know, the scientists balls it all up...

The Day The Music Died

I’m wondering if I have fallen out of love with music.

Or, to be precise, new music. The discovery of it. The giving a go of new bands. The trying something new. I seem to have become as locked into the music of my formative years as my parents were when I was a kid.

Why does that happen?

When I was a teenager (though I came to record buying late) I was an avid music consumer. I would buy a batch of records every week. Singles, EPs, LPs, picture discs, I couldn’t get enough. I can remember going to a record shop in Birmingham and spending so much money that the shop assistant was kind enough to not ring the amount up on the till to save me from embarrassment. I must have blown an entire week’s wages in one go on rare records and collectibles. That seems so obscenely hedonistic now.

In no time at all I had built up an impressive collection of literally hundreds and hundreds of records (which I still own). They took over my entire bedroom. All of them boxed, alphabetized and inventorized. It was a collection that I lavished love and time on. And each weekend I’d carefully load up my turntable with my latest acquisitions, carefully wiping the dust off them with the special cloth I had bought for this purpose and savouring each hiss and pop of the needle swinging itself into the opening groove.

It was my life.

And then somehow, in the nineties, my expenditure dropped off, my interest waned and was pulled elsewhere. I moved on and got into other things. Books, computers, gadgetry, travel. The fact that the nineties were an awful decade for decent music only hastened me out of the scene.

And now, here in 2009, I’m somehow completely on the outside of it all. On the outside looking in but unsure of where the door is or if I even have enough interest to want to open it and step inside. A few new bands have caught my ear – The Doves, The Editors – but I haven’t gone as fanatically overboard on them as I did when All About Eve arrived on the music scene in 1985 or when Kate Bush released “Hounds Of Love” in the same year.

The passion for new music has left me.

My MP3 player is proof of this. The majority of its contents have been sucked from my CD collection and I’d say that 90% of that is from the eighties. I’ve become trapped in my very own time warp.

I’m no longer “down with the kids”. I’m looking at them and frowning at the infernal noise they listen to and dare to call music – much the same way, I suspect, as when my father just couldn’t appreciate the blisteringly fierce music of The Jam’s “Funeral Pyre” and dismissed it as tuneless rubbish. At the time his music of choice was Buddy Holly and Marty Robbins.

Is this the fate that has now befallen me?

Worryingly, checking my MP3 player this morning, I can’t fail to notice that “El Paso” is already on there...

*Sigh* It’ll be “Rave On” next.

And not in a cool way either.

Butter Wouldn’t Melt

I can’t profess to ever having been a huge fan of punk, preferring myself the hippy undertones of Kate Bush or the soft pop synth sound of New Wave but I knew who John Lydon was and held a grudging respect – even amusement – for the man and his outrageous anarchist antics.

I still have fond memories of him flicking his V’s at the camera nearly a decade later on Saturday Superstore or Going Live or whatever woolly-jumpered guff the BBC was putting out on a Saturday morning back then. Cue pouts of outrage from Mike Read and Sarah Greene – how dare he besmirch our jolly kid’s show with his dirty punk fingers!

Meanwhile my sister and I were laughing ourselves silly like a couple of drains. It was almost as good as the legendary Five Star phone-in where an enterprising little potty mouth managed to slip through the BBC’s “real teen” censors and introduced kid’s telly to some rather choice four letter words. It was a remarkably succinct music review that has never ever been bettered in my opinion.

But I digress. John Lydon / Johnny Rotten was a somebody. He stood for something. He was spiky, dangerous and uncompromising. Values held in high esteem by any burgeoning teen / young adult.

So it’s depressing to note then that dear ol’ John has sold his anti-establishment ethos down the river in order to endorse / sell / promote Country Life Butter on our televisions. John loves Country Life Butter, you see, because “it’s British”. Cue clips of red buses, Morris Dancers and John himself in a nice tweed jacket sinking a large brandy in an old fart’s gentleman’s club. For a minute I thought I was watching the trailer for the next Austin Powers movie (John Lydon as Austin Powers: now there’s an interesting concept).

I realize Country Life are hoping to get themselves a bit of an edge by employing our John to hawk their wares in the Corrie ad breaks but to my mind it doesn’t really work. It doesn’t make me want to go out and buy a slab of Country Life Butter. It makes me want to hurl abuse at the TV screen. It makes me want to flick my V’s right into John Lydon’s pasty lily-white face.

John what the hell are you doing? Surely your mortgage is paid by now? Why?

It’s one thing to be a national character...

Quite another thing entirely to be a national caricature.

Slipped Discs

In response to a tag from Old Cheeser I’ve been invited to share with you the ten albums that I just could not live without. The ones that saw me through the drink and drugs hell of my teenage years (I couldn’t get any for love nor money). The ones that helped patch up my achey-breaky heart (please note this post will be a Billy Ray Cyrus free zone). The ones that, joking aside, continue to inspire me, lift me and make the world seem a much better place when I listen to them.

Fire up the Quattro, guys, welcome back to the eighties!

In no particular order:

1. Killing Joke – Brighter Than A Thousand Suns.

I’ve been a long time fan of KJ, right from the occult inspired punk furore of their early releases through to the metal-esque tribal moshes of their more recent output. And yet I’ve never ever considered myself to be a metal-head. In truth I abhor heavy metal and all it stands for... Neanderthal, beer fuelled, sex obsessed, unintelligent music for spotty boys who cannot get girlfriends. Instead I’ve always leaned towards sensitive, well crafted, texturally layered music for young men who cannot capture the love interest of a beautiful gal. But KJ were the exception. There was intelligence behind the anger, a furious need to push back the boundaries, to confront everything. “Revelations” is probably the ultimate KJ album – it captures the KJ sound with a dirty purity never before or since achieved but because of that it is probably quite inaccessible to most outside listeners. Odd then that I choose “Brighter Than A Thousand Suns” as this is probably their most accessible album to date and I’m sure many KJ puritans see it as a skeleton in the KJ cupboard. Critics at the time cursed it with the moniker Adult Oriented Rock. This does it a huge disservice. Oh I’m sure fans of KJ’s early punk forays were pulling out their spiked hair at Jaz Coleman’s beautifully honed vocals, the sustained chord changes, the orchestral sweep of much of the album’s content... it is after all a truly beautiful album. And this is not what KJ are supposed to be about. But the anger is still there. The occult paranoia. The conviction that the world is about to end imminently and enjoyably. The fire still burns but not now in an uncontrolled blaze... instead it has been sculpted into something truly majestic. “Chessboards” even today fills me with heart pumping exhilaration and “Goodbye To The Village” is a perfect anthem for the fight against global warming and world-wide corporate expansion. I still dig this album out on a regular basis and wallow in its unadulterated glory. Point of note: it was the amazing lyrics of this album that first got me into writing poetry.

2. Kate Bush – This Woman’s Work

What can I say about Kate Bush that hasn’t already been said? Everybody should own at least one Kate Bush album. Personally I’m the proud owner of just about every 7” single she’s ever released and have all her albums neatly lined up in chronological order on my record shelf. Everybody raves about “Hounds Of Love” and it IS a fabulous album but for me she hit her peak with “This Woman’s Work”. Lush and layered with rich depths – not unlike the woman herself – this album is amazingly evocative and emotive. “The Fog” is my all time favourite track though it is overlooked by many. Strings that catch the heart and a simple metaphor about learning to swim and letting people go all combine to get me watery eyed and blissful. The sustained emotional drive of this album is very powerful and purely feminine whereas “Hounds Of Love” has an inexplicable male energy to it – not that that’s a bad thing. “This Woman’s Work” is Kate Bush at her most complete and accomplished. It’s never been bettered.

3. Fields Of The Nephilim – Dawnrazor

OK. I admit it. I was a goth at heart. I even bought myself boots and a cowboy hat to see the Neph’s play at Birmingham Powerhouse in the mid to late eighties. This album owes more to Ennio Morricone than to true goth-dom however – full of howling wind and the ker-chink ker-chink of metal spurs. You can practically see the dust bowls rolling down the dusty street at high noon. “Volcane (Mr Jealousy Has Returned)” sees Carl McCoy’s thunder-bass vocals put to good effect with the catchy refrain “yer-hee yer-hee yer-hee”. Lyrically it’s a ridiculous album but something about the sidewinder guitars and the spaghetti western ambience just works for me. It makes me smile with fondness every time I listen to it. You gonna reach for those irons or just stand there whistling Dixie?

4. Breathless – Between Happiness And Heartache

I don’t actually know much about Breathless. I was given a copy of this album on cassette by a penfriend and fell in love with it immediately. It’s all ‘sensitive poetry boy’ kind of stuff but packaged up in jangly guitars and marvellously throaty vocals. Music to listen to when you’re reminiscing about a relationship break-up that no longer upsets you... when any upset you do feel is purely a luxury and a pleasure. This is an album of emotional indulgence for me. It’s a humble album in many ways and I doubt many people will have heard of it... but that all adds to the sense of intimacy I feel when I listen to it.

5. Danielle Dax – Jesus Egg That Wept

Danielle Dax is something of a curio and an enigma in the world of music – never quite crossing over into the mainstream despite many efforts to do so... and yet I bet most of you would recognize “Big Hollow Man” or “White Knuckle Ride” if you heard them. However, “Jesus Egg That Wept” was apparently recorded on a humble four-track before she got a major record deal and captures a rough and ready sound that is both unpolished and rawly energized. Danielle’s vocals aren’t for everybody – dipping to monster baritone and then rising to eyelash flickering angel all in the space of a heartbeat. Standout tracks here are “Hammerheads” – a nursery rhyme diatribe against the male ego and “Evil Honky Stomp” which begins with the memorable line “Up at the big house they’re branding niggers...” There was something both disarmingly charming and ineffably dangerous about Ms Dax. It’s a shame she wasn’t bigger as she would have been the perfect antidote to the Stock Aitkin and Waterman malaise that was to infect the UK music industry in the nineties.

6. Propaganda – P-Machinery

Ah Claudia Brucken and her fabulously sexy German nose! Propaganda delivered – with the help of Trevor Horn – one of the most perfectly polished and lush albums of the eighties. “Duel”, “Dr. Mabusa” and the title track all stand out as immaculate examples of synth driven eighties pop. My personal favourite is “The Murder Of Love” which features Claudia’s sexily Teutonic vocals put to good effect as she convicts a love-rat to some terrible fate. Sadly Propaganda’s follow up album was a huge disappointment - mostly because the wonderful Claudia had left (I think) to pursue a solo career that was just as equally disappointing. Alas we shall not see the like of her nose again. It made her look like an exotic bird woman. An eagle faced Valkyrie. Coupled with her cold Germanic demeanour and a fetish for outfits made out of metal lattice work... well, let’s just say she launched a few fantasies from the closeted comfort of my adolescent bedroom.

7. Wendy and Lisa – Eroica

Talking of adolescent fantasies, I’m a huge fan of Wendy and Lisa. Most people will know them as being members of Prince’s original backing band, The Revolution. When Prince disbanded the Revolution in the late eighties he lost, in my opinion, much of the beauty and the oddly delicate touches of much of his sound. He descended into self indulgent soul-funk and I bailed out of the whole Prince ‘thang’ when he released the God-awful “Graffiti Bridge”. Wendy and Lisa, however, decided to form a duo and go it alone together. If that makes sense. They released 3 superb albums here in the UK and developed a robust and respectable following... but alas they just couldn’t quite hit the big time which is a great shame. “Eroica” is their most accomplished album and features some gorgeous classics – “Mother Of Pearl” would have been an immediate smash hit if someone at their record company had had the brains to release it as a single and “Valley Vista” for some reason makes me melt at the knees. My God did I have a thing for Wendy when I was growing up. Sigh. Anyway, enough of my teenage bedroom daydreams – Wendy and Lisa are still plugging away at the music scene though have diversified into atmospheric and aurally textured sound worlds. Those of you that watch Heroes will know that Wendy and Lisa supply the incidental music and the theme. It’s far removed from the groovy-disco-pop-funk tracks that they were producing in the eighties. As a critic at the time memorably wrote – some people make music for people to dance to; Wendy and Lisa make music that dances.

8. XTC – Skylarking

As with Kate Bush everybody should own at least one XTC record. And as with Kate Bush I’m the proud owner of much of their vinyl output. I could have picked any one of XTC’s marvellous albums to grace this list: “Black Sea” with the classics “Sgt Rock” and “Generals And Majors”; “English Settlement” with “Senses Working Overtime” (possibly the greatest pop single ever) or even one of their later offerings, “Oranges And Lemons” with the heartily clever “Mayor Of Simpleton” and “Poor Skeleton Steps Out”. “Skylarking” however is the one that brought XTC some kudos and success in America thanks to the track “Dear God” (which initially didn’t appear on the UK release, pop-pickers). “Dear God” was a woeful lament about the state of the world and a loss of faith set against an almost medieval sounding acoustic guitar. Allegedly some disgruntled student in America forced his Uni radio station to play the track over and over again at gun point. But “Skylarking”, I have to say, is hardly a reactionary’s dream. It’s a warm, languorous, fun, ultimately English summer cocktail of an album that is best played outside when the sun is low and the barbeque is high and the beer is cold. If “Mermaid Smiled” doesn’t make you grin then your heart needs to be thrown onto the barbie to warm it up. Pop pure and simple, unpretentious and divine.

9. Siouxsie & the Banshees – Twice Upon A Time

It’s probably a cheat to have a compilation album on here but I don’t care. I love this album. “Swimming Horses” is hauntingly beautiful and is possibly my favourite Siouxsie track of all time followed closely by “Song From The Edge Of The World” which alas doesn’t appear here and “Dazzle” which does. The musical output of Siouxsie & the Banshees was an odd mix of experimentation and fixedness. No matter how avant garde they tried to be they only ever sounded like themselves. The reason for this I’m sure lies in Siouxsie Sioux’s distinctive vocals. Both a curse and a gift. Personally I’d veer toward the latter. What can you say about Siouxsie? Formidable. Intelligent. Uncompromising. Passionate. Individual. Wonderful. A must have.

10. Bjork – Debut

I was on holiday in Canterbury when I first bought this and initially bought it on cassette so I could listen to it on my Walkman. I didn’t take it out again for the entire summer. “Debut” caught a charm, a knowing naivety, a gentrified naughtiness about Bjork that was never quite seen again in her follow up albums. “Venus As A Boy” is, of course, the stand out single – the video made frying eggs seem somehow incredibly sexy – but “Come To Me” is by way and afar my favourite track from the album. A warm, bath towel hug of a song, you can almost feel Bjork’s arms around you, holding you close as she croons / breathes the vocals intimately into your ear. Ah if only. How perfect Canterbury would have seemed if that had really happened! Instead I had to make do with Bjork on my Walkman and a collection of Roger McGough poems in my hand. An odd mix to be sure but it worked for me. And all of Bjork’s mispronunciations have never seemed so cute! Ah Bjork. How do you like your eggs in the morning? Oh. Fried. OK... do you want a sausage with that?

There you go folks, my top ten albums as picked today. Trouble is tomorrow I dare say I could easily give you a different ten. And a different ten the day after that. I’ve missed out loads but a top hundred would be totally impractical. Right I’m off for my lunch. May have to delve into some of these on the old MP3 player. Technology may have changed but my taste in music hasn’t. I guess I’ll always be an eighties boy at heart!

Eighties

Sunday’s post – plus a belated fascination with YouTube – has made me review and analyse my music choices.

I’ll admit that at heart I’m an Eighties boy through and through and the result of a misspent youth during this period is a humungous record collection that covers everything from ABC to XTC. I suspect my love affair with Eighties music comes from the fact that this was the era of my “formative years” – I can recall my parents talking of the Sixties with much the same level of reverence and sentiment. And certainly although I loathed Wham and Bananarama at the time I now look back on them with a mawkish fondness and a realization that actually they were pretty damn good... though maybe that says more about my disenchantment with the current music scene.

Hmm. Maybe disenchantment is a bit strong, I mean I’m still buying new music – The Editors, Gnarls Barkely, The Doves, etc – but I’m very aware that the amount of money I invest in music these days is a pitiful fraction of the moolah that I used to throw into my vinyl collection. And that isn’t just down to fraught economics.

Christ. It’s a scary thought but somewhere along the lines my love affair with the music scene has diminished and stalled. Become trapped in a musical time-warp. The Enchanted Forest Of The Eighties.

But it’s an enchantment that makes me happy for the most part. On my work journey I’m more likely to select some vintage Kate Bush or some early Eighties Killing Joke (dependent on my mood) to pep me up for the day ahead rather than anything produced in the new millennium. It floats my boat so what’s the problem?

I do worry though that I’m giving my boy a slightly skewed musical world view by immersing him in bands like The Cocteau Twins and The Pretenders rather than their more modern counterparts but I guess as he gets older he’ll find his own musical path.

An ex girlfriend of mine absolutely hated Eighties music – now if that wasn’t a sign of impending doom I don’t know what was – her argument being that she hated the production values. That’s a pretty fundamental objection when you think about it. Part of what I like about Eighties music is “the sound”. I love the lushness and polish of some of it. Trevor Horn’s stuff certainly stands out a mile.

Ultimately though it’s interesting to note that the Eighties are enjoying something of a revival – so many bands now are emulating (consciously or otherwise) the Eighties look and sound. So much so I feel like the world is entering the Enchantment Forest with me. I’m sure it’ll be short-lived as all fads are. But when everyone else has moved on again I suspect I’ll still be here.

Skipping through Strawberry Switchblades, up to my neck in The Stranglers and wailing along to The Banshees...