On the track π, she sings the calculation to the one hundred and sixteenth decimal place! Who else in “pop” music would dare to do that? (I think of the old joke about anyone who is a wonderful singer: “She could sing the phone book and make it sound good!”) It is a simple premise: a sort of “love” song to either a smart mathematician or a savant. And a little shocking to see an old Elvis, which makes us reflect on what would have happened if he had not died, what he would look like, what he would have done with his career, etc. His old jumpsuit leaps into his arms and the two are overcome with joy to see each other again. He is old now, with a gut and white hair still styled in his pompadour and accompanying pork chop sideburns. The jumpsuit ends up high in the mountains, tinged with pink and red in a lovely effect, and finally to its old owner: there is Elvis, sledding down a hill on Rosebud. It blows by other clothes on a wash line, and the shirts try to reach up and touch “The King” (like screaming female fans at one of his concerts) but can’t go too far since they are clothes pinned to the line. His closet opens up by itself and one of his old glittery jumpsuits comes alive and dances itself out of the closet, through the house, and onto the wind. It shows a mansion like Kane’s, but it is supposed to be Elvis’ house. And the only way out of it is to go “away.” It has something to say about the price of fame as well-that it is a very lonely affair, with menace waiting ahead. The song is partially addressed to Elvis who may be “out there” somewhere, sad, lonely-riding a sled named Rosebud, thus likening the legend of the King of Rock and Roll to Charles Foster Kane, CITIZNE KANE, lonely and alone in his mansion.
#Kate bush nocturn lyrics crack
She incorporates chilly, edgy wind sounds but in the middle of the song, they are low rumblings of wind, as though being blown through a small crack in a window. The opening track KING OF THE MOUNTAIN is spooky and swooping, with a vaguely reggae-beat. Each one tells a story, and these songs certainly do. She means that they are songs that stand on their own, independent of anything else-separate from an overriding concept. So yes, much like "The Hounds of Love," let's start with the first side or disc one: A SEA OF HONEY, is a disc of “Kate songs,” as she herself calls them. All the time it's a changing And all the dreamers are waking.After 12 years-yes, TWELVE YEARS-since her last release, Kate has finally released a follow-up to "The Red Shoes" but after so long, can it really be called a follow-up? She took time off to have a child and live her life, but I imagine what her mind cooked up during that hiatus and the backlog of ideas and songs has expressed itself in the double CD release "Aerial." And we have in each disc, a replica of "The Hounds of Love." One disc is a collection of Kate songs, and the other is a concept suite like "The Ninth Wave." All the time it's a changing, like then again. Look at the light, all the time it's a changing Look at the light, climbing up the aerial Bright, white coming alive jumping off the aerial All the time it's a changing, like now. We dive deeper and deeper We dive deeper and deeper Could be we are here Could be in a dream It came up on the horizon Rising and rising In a sea of honey, a sky of honey A sea of honey, a sky of honey
We dive downĪ diamond night, a diamond sea and a diamond sky. The stars are caught in our hair The stars are on our fingers A veil of diamond dust Just reach up and touch it The sky's above our heads The sea's around our legs In milky, silky water We swim further and further We dive down. We tire of the city We tire of it all We long for just that something more On this Midsummer night Everyone is sleeping We go driving into the moonlightĬould be in a dream Our clothes are on the beach These prints of our feet Lead right up to the sea No one, no one is here No one, no one is here We stand in the Atlantic We become panoramic
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