1 00:00:00,200 --> 00:00:02,760 Speaker 1: Welcome to five hundred Greatest Songs, a podcast based on 2 00:00:02,840 --> 00:00:08,360 Speaker 1: Rolling Stones hugely popular, influential, and sometimes controversialist. I'm Britney 3 00:00:08,360 --> 00:00:09,280 Speaker 1: Spanis and. 4 00:00:09,240 --> 00:00:11,680 Speaker 2: I'm Rob Sheffield. We're here to shed light on the 5 00:00:11,680 --> 00:00:15,320 Speaker 2: greatest songs ever made and discover what makes them so great. 6 00:00:15,880 --> 00:00:20,120 Speaker 2: And this week's song a classic we both love Running 7 00:00:20,400 --> 00:00:22,320 Speaker 2: Up That Hill by Kate Bush. 8 00:00:22,440 --> 00:00:24,760 Speaker 1: So this song made its debut on the twenty twenty 9 00:00:24,760 --> 00:00:27,080 Speaker 1: one list, became in at number sixty, which is like 10 00:00:27,080 --> 00:00:30,040 Speaker 1: a massive debut for the song, and I mean, I 11 00:00:30,080 --> 00:00:32,560 Speaker 1: think there's so so many reasons we can get into 12 00:00:32,600 --> 00:00:35,239 Speaker 1: and again, this song making on the list came a 13 00:00:35,320 --> 00:00:38,120 Speaker 1: full year before end up charting again and went to 14 00:00:38,200 --> 00:00:40,800 Speaker 1: number one in the UK and a bunch of other 15 00:00:40,800 --> 00:00:43,200 Speaker 1: countries around the world, and number three in the US. 16 00:00:43,320 --> 00:00:45,120 Speaker 1: We could start with the fact that even a year 17 00:00:45,159 --> 00:00:47,800 Speaker 1: before we kind of saw this resurgence, the song was 18 00:00:47,880 --> 00:00:51,919 Speaker 1: already kind of for voters of this list in their 19 00:00:51,920 --> 00:00:55,360 Speaker 1: consciousness as one of the greatest songs of all time. So, Rob, 20 00:00:55,400 --> 00:00:56,960 Speaker 1: what do you think was sort of leading up to 21 00:00:57,400 --> 00:01:00,440 Speaker 1: that voting that was kind of inspiring people to reconsider 22 00:01:00,560 --> 00:01:02,840 Speaker 1: Running Up That Hill as like one of the greatest songs. 23 00:01:03,400 --> 00:01:06,199 Speaker 2: Kate Bush like an artist, certainly an artist never chased 24 00:01:06,240 --> 00:01:10,080 Speaker 2: after conventional pop fame at the time, Yet her mystique 25 00:01:10,120 --> 00:01:12,520 Speaker 2: just grows and grows. Artists just take more and more 26 00:01:12,560 --> 00:01:15,400 Speaker 2: inspiration from her. Running Up That Hill was already a 27 00:01:15,480 --> 00:01:19,080 Speaker 2: huge thing on social media, like long before it blew 28 00:01:19,160 --> 00:01:21,640 Speaker 2: up on Stranger Things. It was just one of those 29 00:01:21,680 --> 00:01:25,720 Speaker 2: songs where the mystique just builds and just keeps making 30 00:01:25,800 --> 00:01:27,679 Speaker 2: new believers wherever it goes. 31 00:01:27,800 --> 00:01:31,160 Speaker 1: What do you remember, Like your reaction to hearing Kate 32 00:01:31,240 --> 00:01:34,080 Speaker 1: Bush for the first time was like what made her 33 00:01:34,120 --> 00:01:37,120 Speaker 1: stand out to you? And or maybe you made you 34 00:01:37,160 --> 00:01:38,399 Speaker 1: fall in love with her music right away. 35 00:01:38,720 --> 00:01:43,520 Speaker 2: She was so wild, imaginative. She had that bowie thing 36 00:01:43,840 --> 00:01:46,360 Speaker 2: that I really loved. She was huge in the early 37 00:01:46,560 --> 00:01:50,360 Speaker 2: eighties when she was first making synthesizer stuff after being 38 00:01:50,760 --> 00:01:53,600 Speaker 2: very piano based in the seventies, so she seemed like 39 00:01:53,640 --> 00:01:56,400 Speaker 2: a new wave artist, but she also had this progue past, 40 00:01:56,840 --> 00:01:59,200 Speaker 2: and she had all these weird like folk music elements, 41 00:01:59,560 --> 00:02:02,360 Speaker 2: and she just made the weirdest damn records. And the 42 00:02:02,400 --> 00:02:04,360 Speaker 2: way you could tell that she was really schooled in 43 00:02:04,360 --> 00:02:08,519 Speaker 2: that sort of seventies British glam rock. Obviously very Bowie, 44 00:02:08,600 --> 00:02:12,520 Speaker 2: obviously very Roxy music, very very very Elton. She did 45 00:02:12,520 --> 00:02:14,679 Speaker 2: the best Elton cover of all time with her version 46 00:02:14,720 --> 00:02:17,440 Speaker 2: of rocket Man, where she's just seeing I'm not the 47 00:02:17,639 --> 00:02:20,440 Speaker 2: man they think I am an I mean, it's like, Wow, no, Kate, 48 00:02:20,520 --> 00:02:22,920 Speaker 2: you are not. You're not like you are not what 49 00:02:22,960 --> 00:02:26,679 Speaker 2: anybody thinks. She was just so deeply versed in the 50 00:02:26,760 --> 00:02:31,160 Speaker 2: music she loves, but so original in every move she makes. 51 00:02:31,320 --> 00:02:35,079 Speaker 1: Yeah, and just like there's so much theatricality to not 52 00:02:35,120 --> 00:02:37,520 Speaker 1: only her performances of course, and like the way that 53 00:02:37,560 --> 00:02:39,840 Speaker 1: she presents it, because she is someone who is very 54 00:02:39,840 --> 00:02:43,040 Speaker 1: conceptual with how she envisions her performances, her videos and 55 00:02:43,040 --> 00:02:45,320 Speaker 1: how they kind of are translating in the songs, Like 56 00:02:45,360 --> 00:02:47,919 Speaker 1: she has like this really great kind of artistic mind 57 00:02:47,919 --> 00:02:50,120 Speaker 1: in so many ways. But like the songs too, are 58 00:02:50,200 --> 00:02:52,520 Speaker 1: such great narratives of course, Like Wearing Up that Hill 59 00:02:53,160 --> 00:02:57,079 Speaker 1: is this amazing sort of song about like a man 60 00:02:57,120 --> 00:02:58,640 Speaker 1: and woman and kind of wanting to be able to 61 00:02:58,639 --> 00:03:01,639 Speaker 1: like understand each other better and like make that deal 62 00:03:01,680 --> 00:03:04,080 Speaker 1: with God and like understand kind of the other person's 63 00:03:04,120 --> 00:03:06,760 Speaker 1: perspective inside, and like there's just like so much of 64 00:03:06,760 --> 00:03:09,280 Speaker 1: this drama to the song that comes through both in 65 00:03:09,360 --> 00:03:11,680 Speaker 1: the production. Of course, she is from Hounds of Love 66 00:03:11,720 --> 00:03:14,720 Speaker 1: in nineteen eighty five. She produced the album herself, Like 67 00:03:15,080 --> 00:03:17,760 Speaker 1: she wrote this song by It's just just Kate, you know, 68 00:03:17,840 --> 00:03:20,680 Speaker 1: and like she's kind of has this incredibly just like 69 00:03:20,760 --> 00:03:24,760 Speaker 1: theatrical kind of vision of every narrative in her songs. 70 00:03:25,320 --> 00:03:28,200 Speaker 2: It's amazing. How did this song hit you as a 71 00:03:28,360 --> 00:03:31,600 Speaker 2: teenage fan who was just like discovering her music. 72 00:03:31,760 --> 00:03:34,120 Speaker 1: Yeah, I was so obsessed with this song, but I 73 00:03:34,160 --> 00:03:37,640 Speaker 1: remember I owned it pretty early, and like I just 74 00:03:37,720 --> 00:03:39,440 Speaker 1: I was like absolutely transfixed by It's like such a 75 00:03:39,520 --> 00:03:42,600 Speaker 1: hypnotic song. I won't totally realize I've had it on 76 00:03:42,640 --> 00:03:43,960 Speaker 1: for as long as I've had it on, you know, 77 00:03:44,320 --> 00:03:45,920 Speaker 1: if I just kind of like let it play. 78 00:03:46,080 --> 00:03:46,600 Speaker 3: Same thing with the. 79 00:03:46,600 --> 00:03:49,600 Speaker 1: Full album, Like I feel like that album is constantly 80 00:03:49,720 --> 00:03:52,320 Speaker 1: on repeat. But with Running at That Hill especially, like 81 00:03:52,320 --> 00:03:54,440 Speaker 1: and I'm not paying attention and I put just that 82 00:03:54,520 --> 00:03:59,040 Speaker 1: song on two hours go by, and I'm like still here, 83 00:03:59,640 --> 00:04:02,600 Speaker 1: maybe to it one more time. There is such like 84 00:04:02,760 --> 00:04:04,840 Speaker 1: just the way the production is so driving and kind 85 00:04:04,880 --> 00:04:08,560 Speaker 1: of really gives you that sense of urgency that she's 86 00:04:08,600 --> 00:04:11,480 Speaker 1: singing about. And it's kind of like desperation, and like 87 00:04:11,520 --> 00:04:13,520 Speaker 1: just the way that she's singing it, Like I don't know, 88 00:04:13,560 --> 00:04:17,480 Speaker 1: there's like so much like weird like vocal inflections that 89 00:04:17,600 --> 00:04:20,320 Speaker 1: she does, especially when she sings like made a deal 90 00:04:20,400 --> 00:04:21,919 Speaker 1: with God and like you know, like just like the 91 00:04:21,920 --> 00:04:23,560 Speaker 1: way it kind of goes a little bit lower and 92 00:04:23,640 --> 00:04:25,520 Speaker 1: like a little like I don't know, She's just like 93 00:04:25,600 --> 00:04:27,200 Speaker 1: does all these weird things with her voice that you 94 00:04:27,240 --> 00:04:28,680 Speaker 1: always kind of unlock each time. 95 00:04:28,920 --> 00:04:30,640 Speaker 2: What's a song you can listen to your whole life 96 00:04:30,640 --> 00:04:33,599 Speaker 2: without figuring it out? Yeah, there's so much, Like you said, 97 00:04:33,600 --> 00:04:36,400 Speaker 2: there's so much mystery and enigma in it. And it's 98 00:04:36,440 --> 00:04:38,960 Speaker 2: weld that this is her most famous song. It's it's 99 00:04:38,960 --> 00:04:41,120 Speaker 2: her pop song. It's the one that actually was a 100 00:04:41,160 --> 00:04:44,280 Speaker 2: top forty hit in the US. Just kind of mind blowing, 101 00:04:44,520 --> 00:04:46,400 Speaker 2: let alone that it was a top forty hit. Then 102 00:04:46,480 --> 00:04:49,880 Speaker 2: almost forty years later, this is Kate Bush at her 103 00:04:49,920 --> 00:04:53,719 Speaker 2: most accessible, straight down the middle pop and it's still 104 00:04:53,839 --> 00:04:54,839 Speaker 2: so insanely weird. 105 00:04:55,040 --> 00:04:57,000 Speaker 1: Yeah, And it's one of my favorite songs to see 106 00:04:57,040 --> 00:05:00,640 Speaker 1: people karaoke because every time I've seen friends before Stranger's 107 00:05:00,680 --> 00:05:02,520 Speaker 1: perform and I feel like they always do something like 108 00:05:02,839 --> 00:05:04,960 Speaker 1: really fun vocally with it, like they all kind of 109 00:05:04,960 --> 00:05:07,200 Speaker 1: everyone sort of has like some weird intonation of the song. 110 00:05:07,279 --> 00:05:09,960 Speaker 1: They really love the way that she sings a certain 111 00:05:10,000 --> 00:05:12,440 Speaker 1: word and always try to mimic it, like it's it's 112 00:05:12,480 --> 00:05:15,240 Speaker 1: kind of like that like kind of way like Shallow 113 00:05:15,240 --> 00:05:16,960 Speaker 1: by Late Gaga, Like everyone kind of has like a 114 00:05:17,520 --> 00:05:20,039 Speaker 1: one note that they love that they really need to 115 00:05:20,080 --> 00:05:22,120 Speaker 1: hit every time they do it. So I've always really 116 00:05:22,160 --> 00:05:27,400 Speaker 1: loved that about this song. And I mean with the 117 00:05:27,440 --> 00:05:30,240 Speaker 1: resurgences that we've seen with this particular song, I mean 118 00:05:30,240 --> 00:05:33,279 Speaker 1: there's so many I mean, Kate Bush's discography is so 119 00:05:33,360 --> 00:05:35,839 Speaker 1: incredible and we've seen it have such an influence on 120 00:05:35,880 --> 00:05:38,240 Speaker 1: so many artists, And there are so many songs that 121 00:05:38,279 --> 00:05:41,160 Speaker 1: have had great covers. Of course the Maxwell cover of 122 00:05:41,200 --> 00:05:43,560 Speaker 1: this woman's work, and you know, there's just like so 123 00:05:43,600 --> 00:05:46,080 Speaker 1: many incredible versions of her music over the years. But 124 00:05:46,400 --> 00:05:49,200 Speaker 1: for some reason, people keep coming back to this song 125 00:05:49,240 --> 00:05:51,760 Speaker 1: in particular. What do you think it is about raining 126 00:05:51,880 --> 00:05:54,919 Speaker 1: up that hill that keeps drawing new generations in or 127 00:05:55,200 --> 00:05:57,400 Speaker 1: finding new ways of being used in media. 128 00:05:57,800 --> 00:06:01,400 Speaker 2: Well, it's such a expand song. It is such a 129 00:06:01,520 --> 00:06:04,200 Speaker 2: rhythmic song. It's the one that you could pick it 130 00:06:04,200 --> 00:06:05,800 Speaker 2: out that if there was a song on Hounds of 131 00:06:05,839 --> 00:06:07,480 Speaker 2: Love that was going to be a top forty hit, 132 00:06:07,800 --> 00:06:11,520 Speaker 2: it would be this one. And yet everybody, like you said, 133 00:06:11,520 --> 00:06:14,440 Speaker 2: everybody hears something different in it, Like everybody karaoke is 134 00:06:14,880 --> 00:06:17,960 Speaker 2: a different intonation in it. It means something different to everyone. 135 00:06:18,040 --> 00:06:21,720 Speaker 2: It's a constant enigma. I heard it Halloween at like 136 00:06:21,800 --> 00:06:25,040 Speaker 2: four in the morning in a sleazy goth club in 137 00:06:25,080 --> 00:06:28,520 Speaker 2: San Francisco, the Cat Club, and it was like on 138 00:06:28,560 --> 00:06:30,000 Speaker 2: the floor, and it was like really funny to hear 139 00:06:30,000 --> 00:06:33,960 Speaker 2: it in that context. Yet everybody is like communing to 140 00:06:34,040 --> 00:06:37,560 Speaker 2: this like deeply weird song from forty years ago, and 141 00:06:38,000 --> 00:06:41,280 Speaker 2: it fits anywhere you hear it. Yeah, something I was 142 00:06:41,600 --> 00:06:45,599 Speaker 2: wondering what your thoughts about. But it seems like the 143 00:06:45,680 --> 00:06:48,719 Speaker 2: Kate Bush resurgence that you were talking about of recent 144 00:06:48,800 --> 00:06:53,320 Speaker 2: years kind of simultaneous with the Stevie Nicks. You can't 145 00:06:53,320 --> 00:06:56,359 Speaker 2: call it resurgence because she never went away, but the 146 00:06:56,440 --> 00:07:00,560 Speaker 2: really like huge boom in the Stevie Nicks steep, especially 147 00:07:00,600 --> 00:07:04,039 Speaker 2: among younger people hearing her for the first time. I 148 00:07:04,080 --> 00:07:06,400 Speaker 2: wonder how connected they are, because they certainly have a 149 00:07:06,440 --> 00:07:09,920 Speaker 2: lot in common as artists and in terms of their sensibilities. 150 00:07:10,200 --> 00:07:12,200 Speaker 1: They both have such and it's the same thing that 151 00:07:12,240 --> 00:07:15,880 Speaker 1: we talked about like the Stevie and Dreams episode, is 152 00:07:15,880 --> 00:07:18,640 Speaker 1: that they just have really distinct senses of self and 153 00:07:18,680 --> 00:07:21,520 Speaker 1: style in terms of how they present themselves that is 154 00:07:21,560 --> 00:07:24,480 Speaker 1: like so emblematic of a certain style of music a 155 00:07:24,480 --> 00:07:28,360 Speaker 1: certain era, but also doesn't feel tied to that era. 156 00:07:28,880 --> 00:07:33,120 Speaker 1: There's that same timelessness with Kate's presentation of self but 157 00:07:33,240 --> 00:07:37,440 Speaker 1: also her own music, Like they've never like neither of 158 00:07:37,480 --> 00:07:42,000 Speaker 1: them have been on trend, you know, like neither of 159 00:07:42,040 --> 00:07:44,960 Speaker 1: them have been sort of like had that desire to 160 00:07:45,120 --> 00:07:47,760 Speaker 1: go with what was happening culturally at that moment, and 161 00:07:47,800 --> 00:07:50,320 Speaker 1: that's why they were successful with their music for so 162 00:07:50,360 --> 00:07:52,640 Speaker 1: long and why their music continues to be successful. I 163 00:07:52,640 --> 00:07:55,320 Speaker 1: mean even yeah, there was a two year difference between 164 00:07:55,360 --> 00:07:58,360 Speaker 1: that Dreams moment and I guess really a year and 165 00:07:58,400 --> 00:08:00,800 Speaker 1: a half difference between the dream Women in late twenty 166 00:08:00,880 --> 00:08:05,480 Speaker 1: twenty and like the summer of twenty twenty two Running 167 00:08:05,520 --> 00:08:09,840 Speaker 1: Up that Hill resurgence, and like those songs could come 168 00:08:09,880 --> 00:08:12,280 Speaker 1: out at any time, Like there's nothing about Running Up That 169 00:08:12,360 --> 00:08:14,720 Speaker 1: Hill that sounds like ninet eighty five, Like I guess, 170 00:08:14,760 --> 00:08:17,120 Speaker 1: like the sense, Yes, but like there are so many 171 00:08:17,200 --> 00:08:21,320 Speaker 1: artists that are kind of the daughters of Kate Bush, 172 00:08:21,360 --> 00:08:23,440 Speaker 1: daughters and sons of Kate Bush, that I feel like 173 00:08:23,480 --> 00:08:25,880 Speaker 1: if they released this song today, if they were the 174 00:08:25,880 --> 00:08:29,520 Speaker 1: ones that had written this, it would be just as successful. 175 00:08:30,000 --> 00:08:30,240 Speaker 3: Yeah. 176 00:08:30,280 --> 00:08:33,480 Speaker 2: The affinities between that moment, like you said, the huge 177 00:08:33,720 --> 00:08:38,040 Speaker 2: like dreams going viral and not just running up that hill, 178 00:08:38,080 --> 00:08:41,240 Speaker 2: but the whole sort of explosion in Kate bush obsession 179 00:08:41,520 --> 00:08:45,600 Speaker 2: as artists, as performers. There's something kind of drag about 180 00:08:45,640 --> 00:08:49,200 Speaker 2: them both, like they're over the top presentation of femininity 181 00:08:49,920 --> 00:08:53,560 Speaker 2: and that they're both definitely of their own sensibility. I 182 00:08:53,559 --> 00:08:57,200 Speaker 2: mean you said, like neither seems like from any particular 183 00:08:57,240 --> 00:09:01,160 Speaker 2: time or trend, and they seem almost like the more 184 00:09:01,679 --> 00:09:05,400 Speaker 2: determined to be in a late nineteenth century gothic novel 185 00:09:05,679 --> 00:09:09,280 Speaker 2: than anything happening in rock and roll in the twentieth century. Yeah, 186 00:09:09,320 --> 00:09:11,640 Speaker 2: and yet that's a way that they mark their independence, 187 00:09:11,880 --> 00:09:14,600 Speaker 2: as you know, female artists calling their own shots. 188 00:09:14,720 --> 00:09:17,240 Speaker 1: Yeah, and even just like to think about the way 189 00:09:17,280 --> 00:09:20,959 Speaker 1: those two songs broke through everything, and especially ranat that 190 00:09:21,080 --> 00:09:23,880 Speaker 1: Hill because Ryant that hill was on This is season 191 00:09:23,960 --> 00:09:26,480 Speaker 1: four of Stranger Things that show has been big since 192 00:09:26,480 --> 00:09:28,240 Speaker 1: the first season. It's a massive show, and they have 193 00:09:28,280 --> 00:09:31,679 Speaker 1: a really great music supervisor who uses incredible music from 194 00:09:31,720 --> 00:09:34,960 Speaker 1: the era. But for some reason, more than any other 195 00:09:35,080 --> 00:09:38,199 Speaker 1: song that's been used, this one not only like charted 196 00:09:38,240 --> 00:09:41,720 Speaker 1: and had a moment and became big. It topped the charts. 197 00:09:41,720 --> 00:09:43,120 Speaker 1: It was on the radio like it was back on 198 00:09:43,160 --> 00:09:47,079 Speaker 1: the radio being played alongside you know, artists in their 199 00:09:47,120 --> 00:09:49,760 Speaker 1: twenties who were having massive hits. You know, it's like 200 00:09:50,080 --> 00:09:52,080 Speaker 1: artists that weren't even born when the song came out. 201 00:09:52,160 --> 00:09:54,040 Speaker 1: Do you watch Are You a Stranger Things Fan? 202 00:09:54,240 --> 00:09:54,560 Speaker 3: Yeah? 203 00:09:54,679 --> 00:09:57,040 Speaker 1: Yeah, I thought that scene was so such a great 204 00:09:57,120 --> 00:09:59,720 Speaker 1: use of it because I think people were also loving 205 00:09:59,720 --> 00:10:02,679 Speaker 1: the that you know, there's a scene of Sadie Singh's 206 00:10:02,760 --> 00:10:07,640 Speaker 1: character is being like possessed by something demic gorgan I 207 00:10:07,679 --> 00:10:10,839 Speaker 1: don't know. She put the headphones in her ear because 208 00:10:10,840 --> 00:10:12,719 Speaker 1: this is a song that's been like really centering for her. 209 00:10:12,760 --> 00:10:15,880 Speaker 1: While she's greeting her brother, her body's like rising and 210 00:10:15,960 --> 00:10:17,880 Speaker 1: ranging up that hill is playing, and it's like I 211 00:10:17,920 --> 00:10:19,520 Speaker 1: think also everyone was just like kind of how it 212 00:10:19,559 --> 00:10:23,000 Speaker 1: feels to listen to the song. It's kind of like 213 00:10:23,040 --> 00:10:26,320 Speaker 1: a great sort of representation of like I'm like sort 214 00:10:26,360 --> 00:10:29,240 Speaker 1: of just like ascending in the air listening to Kate 215 00:10:29,320 --> 00:10:31,800 Speaker 1: Bush and her deal with God. Like it's you know, 216 00:10:32,200 --> 00:10:34,800 Speaker 1: perfect image to go with the song and also really 217 00:10:34,840 --> 00:10:38,840 Speaker 1: touching and beautiful and emotional scene that was done very 218 00:10:38,840 --> 00:10:41,360 Speaker 1: effectively in this you know, horror show. 219 00:10:41,600 --> 00:10:45,160 Speaker 2: Yeah, it really kind of captured the emotional power of 220 00:10:45,200 --> 00:10:48,480 Speaker 2: the song in really like a beautiful and admid sort 221 00:10:48,480 --> 00:10:51,679 Speaker 2: of way. And yet there are songs in TV shows 222 00:10:51,840 --> 00:10:54,320 Speaker 2: every single week. Yeah, Stranger Things has done this with 223 00:10:54,360 --> 00:10:57,640 Speaker 2: many songs. Lots of songs get used in a clever 224 00:10:57,679 --> 00:11:00,200 Speaker 2: way and people think, ah, that's great, they don't go 225 00:11:00,679 --> 00:11:03,400 Speaker 2: to the top ten. And it was just such a 226 00:11:03,440 --> 00:11:07,160 Speaker 2: strange thing to happen because that basically never happens. 227 00:11:07,000 --> 00:11:13,360 Speaker 3: That strange thing, strange stranger Yes, I walked into that one, 228 00:11:13,400 --> 00:11:17,400 Speaker 3: but yeah, I have this really specific, vivid memory being 229 00:11:17,679 --> 00:11:20,680 Speaker 3: in a cab and they've got Z one hundred on 230 00:11:20,679 --> 00:11:24,000 Speaker 3: the top forty station and it was literally it was 231 00:11:24,080 --> 00:11:27,440 Speaker 3: like good as hell into like running up that hill 232 00:11:27,520 --> 00:11:29,400 Speaker 3: into as it was, and. 233 00:11:29,840 --> 00:11:32,640 Speaker 2: It was like, yeah, this is what pop music is 234 00:11:32,840 --> 00:11:36,800 Speaker 2: right now? Yeah, is this k Bush song that's nearly 235 00:11:36,800 --> 00:11:40,880 Speaker 2: forty years old and yet doesn't fit in now, doesn't 236 00:11:40,920 --> 00:11:44,160 Speaker 2: sound conventional or conformist to anything now, still not in 237 00:11:44,200 --> 00:11:47,120 Speaker 2: touch with any trend. Yeah, as you said, just as 238 00:11:47,160 --> 00:11:49,439 Speaker 2: it wasn't in the eighties. And it's weird that the 239 00:11:49,559 --> 00:11:53,599 Speaker 2: song that is so unique and never fades into the background, 240 00:11:54,520 --> 00:11:56,920 Speaker 2: but it always, it always finds a life wherever it 241 00:11:56,960 --> 00:11:58,400 Speaker 2: is and whenever it is. What are some of the 242 00:11:58,440 --> 00:12:01,400 Speaker 2: other k Bush songs that are huge for you? 243 00:12:02,200 --> 00:12:04,960 Speaker 1: Prownz of Love is like one of my favorite albums 244 00:12:04,960 --> 00:12:07,959 Speaker 1: of all time. I think, like back to front to 245 00:12:08,000 --> 00:12:10,920 Speaker 1: back perfect And I remember kind of having this moment 246 00:12:10,960 --> 00:12:13,200 Speaker 1: where I was just like, I was like, huh, what 247 00:12:13,400 --> 00:12:16,040 Speaker 1: is this song? I was like, this is the most 248 00:12:16,280 --> 00:12:18,760 Speaker 1: beautiful song I've ever heard in my entire life. 249 00:12:19,400 --> 00:12:23,000 Speaker 2: Well, it's wild because she has that whole really strange 250 00:12:23,360 --> 00:12:27,640 Speaker 2: origin story where she's, you know, this rustic, reclusive English 251 00:12:27,720 --> 00:12:31,800 Speaker 2: teenager and a tape of her songs gets to, of 252 00:12:31,880 --> 00:12:35,920 Speaker 2: all people, David Gilmour and Pink Floyd, and he makes 253 00:12:35,960 --> 00:12:41,240 Speaker 2: this career happen for her in the seventies and she's 254 00:12:41,440 --> 00:12:44,240 Speaker 2: totally unlike anything else that is happening in British pop 255 00:12:44,280 --> 00:12:47,600 Speaker 2: or British rock or anywhere on the planet in the seventies, 256 00:12:48,120 --> 00:12:50,160 Speaker 2: and then in the early ladies she gets into that 257 00:12:50,320 --> 00:12:53,640 Speaker 2: fairlight synthesizer and you know, Babushka is one of the 258 00:12:53,640 --> 00:12:56,120 Speaker 2: first songs to come out of that. But certainly Breathing 259 00:12:56,400 --> 00:13:00,720 Speaker 2: such a pivotal single for her, and suddenly she could 260 00:13:00,800 --> 00:13:04,400 Speaker 2: make all these incredibly weird sounds happen herself. Also, some 261 00:13:04,480 --> 00:13:07,000 Speaker 2: things so touching about, like her making all this music 262 00:13:07,040 --> 00:13:11,880 Speaker 2: with her brother, Yeah, Patty and you know, very reclusive brother, 263 00:13:12,040 --> 00:13:14,199 Speaker 2: like didn't want any share of the spotlight anymore than 264 00:13:14,240 --> 00:13:16,960 Speaker 2: she did. Very much like the sort of Billy and 265 00:13:17,040 --> 00:13:20,240 Speaker 2: Phineas of their day. You know this like really like 266 00:13:20,280 --> 00:13:24,080 Speaker 2: brilliant like brother sister duo creating these like totally bizarre 267 00:13:24,080 --> 00:13:24,640 Speaker 2: pop songs. 268 00:13:24,760 --> 00:13:26,320 Speaker 1: Yeah, I feel like I don't know that much about 269 00:13:26,400 --> 00:13:28,040 Speaker 1: her and her brother. How much should they work on? 270 00:13:28,200 --> 00:13:30,600 Speaker 1: Sort of in the early early days of her career, 271 00:13:31,240 --> 00:13:31,640 Speaker 1: he was. 272 00:13:31,679 --> 00:13:34,360 Speaker 2: Like older and had more studio savvy, kind of like 273 00:13:34,440 --> 00:13:37,800 Speaker 2: Phineas that way, But it was always her vision, her songs, 274 00:13:37,800 --> 00:13:41,880 Speaker 2: her voice. Such a fantastic sort of partnership. She has 275 00:13:42,400 --> 00:13:46,560 Speaker 2: always her entire career been very particular about who she 276 00:13:46,600 --> 00:13:51,959 Speaker 2: works with and very loyal with people who she thrives 277 00:13:52,040 --> 00:13:55,960 Speaker 2: working with Yeah, but it's it's so fascinating to see 278 00:13:56,000 --> 00:13:58,280 Speaker 2: that she's had so many different sort of careers. 279 00:13:58,480 --> 00:14:01,160 Speaker 1: Yeah, And I'm curiously what you think about the people 280 00:14:01,240 --> 00:14:06,600 Speaker 1: who are very clearly inspired by or influenced by Kate 281 00:14:06,600 --> 00:14:08,120 Speaker 1: Bush and you both Kate Bush Like, I feel like 282 00:14:08,320 --> 00:14:09,840 Speaker 1: the first one that always comes to mind to me. 283 00:14:10,160 --> 00:14:13,800 Speaker 1: First two people are like Tory Amos and Yorke even 284 00:14:13,840 --> 00:14:16,320 Speaker 1: thinking about like, I don't know if Billy Billy Eilish 285 00:14:16,360 --> 00:14:18,280 Speaker 1: has ever spoken explicitly about her, but you can so 286 00:14:18,520 --> 00:14:21,640 Speaker 1: see a through line from Kate Bush to her and 287 00:14:21,680 --> 00:14:24,200 Speaker 1: where they have this like such a perfect image of 288 00:14:24,240 --> 00:14:27,240 Speaker 1: how to match the visual with their music and also 289 00:14:27,560 --> 00:14:30,560 Speaker 1: just being really kind of creative with their own storytelling 290 00:14:30,600 --> 00:14:31,120 Speaker 1: in that way. 291 00:14:31,440 --> 00:14:34,920 Speaker 2: Well, Prince Like certainly like comes to the top of 292 00:14:34,920 --> 00:14:37,680 Speaker 2: the list for me in terms of an artists who's 293 00:14:37,720 --> 00:14:41,359 Speaker 2: very much contemporary with her. They both put out their albums, 294 00:14:41,400 --> 00:14:43,320 Speaker 2: their first albums around the same time when they were 295 00:14:43,400 --> 00:14:46,120 Speaker 2: very very very young, still in their teens. They sort 296 00:14:46,120 --> 00:14:50,840 Speaker 2: of had simultaneous careers, both doing absolutely the opposite of 297 00:14:50,880 --> 00:14:54,640 Speaker 2: what anybody wanted to like. Certainly, whatever the record company 298 00:14:54,680 --> 00:14:57,320 Speaker 2: hoped their next album was this one was going to 299 00:14:57,320 --> 00:14:59,800 Speaker 2: be the opposite. I think that that was a way 300 00:14:59,840 --> 00:15:03,400 Speaker 2: that they certainly like On Prince's part, he certainly like 301 00:15:04,400 --> 00:15:08,120 Speaker 2: felt that affinity with Kate Bush and like wrote a 302 00:15:08,120 --> 00:15:11,600 Speaker 2: beautiful song about her. Was always she was like Joni 303 00:15:11,640 --> 00:15:14,120 Speaker 2: Mitchell for him in terms of an artist who is 304 00:15:14,160 --> 00:15:17,080 Speaker 2: a true original, who was always going their own way 305 00:15:17,120 --> 00:15:19,800 Speaker 2: and making a different album every time. Taylor Swift is 306 00:15:19,840 --> 00:15:24,120 Speaker 2: also another one who she's a big about Cape Bush fan, 307 00:15:24,280 --> 00:15:26,320 Speaker 2: and you could definitely see that influence in her work 308 00:15:26,320 --> 00:15:28,200 Speaker 2: of just doing something different every time. 309 00:15:28,280 --> 00:15:31,280 Speaker 1: Yeah, especially the kind of the more sort of like 310 00:15:31,400 --> 00:15:35,239 Speaker 1: Victorian type of like like a style of like songwriting, 311 00:15:35,400 --> 00:15:38,240 Speaker 1: sort of aesthetic influence that Taylor kind of has, and 312 00:15:38,680 --> 00:15:41,840 Speaker 1: you know, especially like folk or and evermore albums and 313 00:15:42,040 --> 00:15:44,960 Speaker 1: here and there across her discography. But though specifically you 314 00:15:45,000 --> 00:15:48,800 Speaker 1: can kind of see that like connection be the loudest on. 315 00:15:48,760 --> 00:15:51,960 Speaker 2: There totally totally. Reputation is very much like that. It's 316 00:15:51,960 --> 00:15:54,280 Speaker 2: sort of like the that was the dark Kate Bush album. 317 00:15:54,320 --> 00:15:57,320 Speaker 2: That was the one where her English record company was like, Okay, 318 00:15:57,600 --> 00:16:00,240 Speaker 2: she had a good run, she's done. Now she's gone 319 00:16:00,240 --> 00:16:03,400 Speaker 2: off the deep end and she's made this album full 320 00:16:03,440 --> 00:16:07,560 Speaker 2: of you know, rage and like homicidal angst and playing 321 00:16:07,600 --> 00:16:10,640 Speaker 2: all these different characters like and very much the same 322 00:16:10,720 --> 00:16:14,640 Speaker 2: kind of heavy synth, industrial ish kind of thing that 323 00:16:14,680 --> 00:16:18,120 Speaker 2: Taylor was doing on Reputation. Yeah, and of course like 324 00:16:18,200 --> 00:16:22,400 Speaker 2: Outcast and you know, yeah, Big Boys tribute to her 325 00:16:22,680 --> 00:16:25,440 Speaker 2: so incredibly moving and evocative. 326 00:16:25,760 --> 00:16:29,040 Speaker 1: Yeah, and I mean you can so sense that kind 327 00:16:29,120 --> 00:16:31,760 Speaker 1: of I don't know, that that freedom that they're inspired 328 00:16:31,800 --> 00:16:33,960 Speaker 1: by in Kate Bush again, that production, that sort of 329 00:16:34,000 --> 00:16:37,800 Speaker 1: like weird melody changes and kind of the storytelling like 330 00:16:37,840 --> 00:16:41,320 Speaker 1: all that is so much in Outcast music. And yeah, 331 00:16:41,520 --> 00:16:45,120 Speaker 1: I'm obsessed with every time Big Boy talks about Kate Bush, 332 00:16:45,360 --> 00:16:48,080 Speaker 1: just because he's such like a like such a huge 333 00:16:48,120 --> 00:16:50,160 Speaker 1: fan of it, of her, And I've dreamed of a 334 00:16:50,560 --> 00:16:52,600 Speaker 1: a Kate Bush Big Boy moment. 335 00:16:53,840 --> 00:16:56,000 Speaker 2: I feel I feel like it'll happen. It'll be the 336 00:16:56,120 --> 00:17:00,880 Speaker 2: equemini of like you're the one who would know which 337 00:17:00,560 --> 00:17:02,880 Speaker 2: which which those two artists were signed. 338 00:17:02,880 --> 00:17:07,520 Speaker 1: But yeah, I think we need the We need them to. 339 00:17:08,400 --> 00:17:10,159 Speaker 1: I need her to invite Big Boy to the castle. 340 00:17:10,320 --> 00:17:18,719 Speaker 1: You know, he brings out I think also like to 341 00:17:18,800 --> 00:17:21,800 Speaker 1: a point that you're bringing up much earlier about you know, 342 00:17:21,960 --> 00:17:24,359 Speaker 1: just the way that she writes about grief. There is 343 00:17:24,400 --> 00:17:27,320 Speaker 1: so much influence on goth music and on kind of 344 00:17:27,320 --> 00:17:29,840 Speaker 1: like the way that kind of like post punk and 345 00:17:29,920 --> 00:17:34,200 Speaker 1: new wave developed and dark wave developed in after she debuted, 346 00:17:34,240 --> 00:17:36,200 Speaker 1: Like I think, I feel like I don't know, maybe 347 00:17:36,240 --> 00:17:38,919 Speaker 1: I just haven't seen as much of this discussion of 348 00:17:38,920 --> 00:17:42,120 Speaker 1: her kind of influence on sort of that hol astatic 349 00:17:42,160 --> 00:17:43,840 Speaker 1: on that on the music scene and all that with 350 00:17:43,960 --> 00:17:46,160 Speaker 1: goth music. But I feel like there's so much Kate 351 00:17:46,200 --> 00:17:48,480 Speaker 1: Bush in the way that that sort of continued to 352 00:17:48,480 --> 00:17:49,399 Speaker 1: develop over the years. 353 00:17:49,720 --> 00:17:52,480 Speaker 2: Absolutely, I think you're on ndred percent right about that. Yeah, 354 00:17:52,480 --> 00:17:56,080 Speaker 2: And definitely her interest in that sort of goth obsession 355 00:17:56,280 --> 00:18:01,119 Speaker 2: with the eighteen eighties eighteen nineties, you know, English people 356 00:18:01,160 --> 00:18:04,879 Speaker 2: with consumption, you know, like in rooms with tendrils of 357 00:18:04,920 --> 00:18:06,240 Speaker 2: ivy like surrounding them. 358 00:18:06,560 --> 00:18:06,720 Speaker 3: You know. 359 00:18:06,840 --> 00:18:09,600 Speaker 2: She she had a great song about hammer horror movies, 360 00:18:09,680 --> 00:18:12,320 Speaker 2: you know, like that is her sensibility and that's that's 361 00:18:12,320 --> 00:18:13,280 Speaker 2: where goth comes from. 362 00:18:13,440 --> 00:18:15,520 Speaker 1: Yeah, Like there's so much of that, like depeche Mode 363 00:18:15,640 --> 00:18:18,280 Speaker 1: Kate Bush kind of through line there too. 364 00:18:19,160 --> 00:18:20,880 Speaker 2: Do you think she'll she'll make music again. 365 00:18:21,000 --> 00:18:23,600 Speaker 1: I don't think so. I think she's retired. I think 366 00:18:23,640 --> 00:18:25,960 Speaker 1: she is, she's chilling now. She seems like she's always 367 00:18:26,000 --> 00:18:29,000 Speaker 1: been very shy and very like just reclusive. So I 368 00:18:29,000 --> 00:18:32,120 Speaker 1: feel like she's done the thing. She's seen immense success. 369 00:18:32,440 --> 00:18:33,240 Speaker 1: I think she's done. 370 00:18:33,359 --> 00:18:35,359 Speaker 2: What about you, I think you're right, But you know, 371 00:18:35,440 --> 00:18:36,879 Speaker 2: you never know when she's going to come back. She 372 00:18:36,960 --> 00:18:39,640 Speaker 2: seemed done for so many years, and then she came 373 00:18:39,680 --> 00:18:42,359 Speaker 2: back more or less out of nowhere with Ariel and 374 00:18:42,960 --> 00:18:45,880 Speaker 2: it's like, oh, Kate Bush feels like making another album, Yes, 375 00:18:45,920 --> 00:18:48,200 Speaker 2: please keep doing this a lot, and it's like no, 376 00:18:48,400 --> 00:18:50,679 Speaker 2: she just like she just does it when she feels 377 00:18:50,680 --> 00:18:52,760 Speaker 2: like it. So I feel like it'll be like you know, 378 00:18:52,920 --> 00:18:55,560 Speaker 2: David Bowie in his last years, or like Leonard Cohen 379 00:18:55,600 --> 00:18:58,960 Speaker 2: in his last years, where you know, occasionally they'll come 380 00:18:59,000 --> 00:19:01,240 Speaker 2: out of the garden. Oh, by the way, I've got 381 00:19:01,240 --> 00:19:02,280 Speaker 2: a few new songs for you. 382 00:19:02,400 --> 00:19:02,800 Speaker 3: Yeah. 383 00:19:02,920 --> 00:19:05,840 Speaker 1: You know, she just wanted to create music and release 384 00:19:05,920 --> 00:19:09,520 Speaker 1: things and not have to like leave her home. She 385 00:19:09,520 --> 00:19:11,360 Speaker 1: could do that if she wanted to do, and kind 386 00:19:11,359 --> 00:19:13,760 Speaker 1: of have that privacy still that she really wants, and 387 00:19:14,000 --> 00:19:18,000 Speaker 1: also itch that whatever like creative thing that she may 388 00:19:18,080 --> 00:19:20,520 Speaker 1: have in the future, which I mean I welcome. 389 00:19:20,840 --> 00:19:25,600 Speaker 2: Whenever I think your prediction about her big boy like 390 00:19:25,760 --> 00:19:31,000 Speaker 2: making the great the goth progue album of. 391 00:19:31,119 --> 00:19:34,120 Speaker 1: The Yeah, let's get some Mandre three thousand flute on there. 392 00:19:35,320 --> 00:19:38,359 Speaker 1: Let's you know, let's do all we're there, Yes, Yeah, 393 00:19:38,440 --> 00:19:42,680 Speaker 1: let's just get them all there. And after the break, 394 00:19:42,680 --> 00:19:46,040 Speaker 1: we'll be joined by Rolling Stone Deputy music editor Julisa Lopez. 395 00:19:47,800 --> 00:19:50,320 Speaker 1: We are joined now by Rolling Stone Deputy music editor 396 00:19:50,400 --> 00:19:51,240 Speaker 1: ju Lisa Lopez. 397 00:19:51,320 --> 00:19:54,160 Speaker 4: Thank you so much, thanks for having me guys greatly here. 398 00:19:54,359 --> 00:19:56,080 Speaker 1: So we're gonna we're gonna make a deal with God. 399 00:19:56,119 --> 00:20:01,960 Speaker 1: And do you remember the first time you heard Kate 400 00:20:02,000 --> 00:20:02,840 Speaker 1: Bush or this song. 401 00:20:03,000 --> 00:20:05,040 Speaker 4: I remember like carrying it on the radio a lot, 402 00:20:05,119 --> 00:20:06,520 Speaker 4: like when I was I was a kid, But I 403 00:20:06,560 --> 00:20:09,680 Speaker 4: don't think that I started kind of tapping into Kate 404 00:20:09,720 --> 00:20:11,960 Speaker 4: Bush or taking an interest probably until I was like 405 00:20:11,960 --> 00:20:12,600 Speaker 4: a little older. 406 00:20:12,640 --> 00:20:15,200 Speaker 1: And I know you have another top pick from the 407 00:20:15,280 --> 00:20:16,000 Speaker 1: Kate Bush. 408 00:20:16,160 --> 00:20:21,000 Speaker 4: Oh, this woman's work is one of my favorite songs 409 00:20:21,040 --> 00:20:22,760 Speaker 4: of all time. I think that's the one that I 410 00:20:22,760 --> 00:20:24,200 Speaker 4: put on my ballot. I want to say I put 411 00:20:24,240 --> 00:20:26,359 Speaker 4: Running Up that Hill on my ballot too, And I 412 00:20:26,400 --> 00:20:28,280 Speaker 4: like to think that I put two Kate Bush songs in. 413 00:20:28,440 --> 00:20:31,320 Speaker 4: I also am a big believer that the maxwell cover 414 00:20:31,600 --> 00:20:34,800 Speaker 4: of this woman's work is like the best cover ever 415 00:20:34,840 --> 00:20:39,080 Speaker 4: made in history. 416 00:20:39,320 --> 00:20:41,520 Speaker 1: I feel like for everyone I know that's a Kate 417 00:20:41,560 --> 00:20:43,080 Speaker 1: bush Dan in my life, I feel like there's like 418 00:20:43,359 --> 00:20:45,159 Speaker 1: such a different element that kind of pulls them in. 419 00:20:45,359 --> 00:20:47,639 Speaker 1: What was it that made you kind of fall in 420 00:20:47,680 --> 00:20:49,000 Speaker 1: love with her as an artist? 421 00:20:49,160 --> 00:20:52,520 Speaker 4: I think with this specific song, I mean I think 422 00:20:52,520 --> 00:20:55,520 Speaker 4: that the production itself, like those like opening Sense are 423 00:20:55,560 --> 00:20:58,119 Speaker 4: so haunting and like they pull you in, like you 424 00:20:58,160 --> 00:21:01,600 Speaker 4: know immediately, and her voice too, like it does have 425 00:21:01,680 --> 00:21:06,000 Speaker 4: like that theatrical almost like Shakespearean quality, like lyrically, like 426 00:21:06,240 --> 00:21:09,440 Speaker 4: who was writing like that? Like it's tearing me asunder, 427 00:21:09,520 --> 00:21:11,359 Speaker 4: Like I don't even know that I knew what asunder 428 00:21:11,440 --> 00:21:14,639 Speaker 4: meant when I was a teenager, but these lines that 429 00:21:14,720 --> 00:21:16,960 Speaker 4: were just so beautiful, and I feel like it are 430 00:21:17,040 --> 00:21:20,600 Speaker 4: not kind of what you would imagine getting and sort 431 00:21:20,640 --> 00:21:22,399 Speaker 4: of and pop music. 432 00:21:22,640 --> 00:21:25,639 Speaker 1: Yeah, yeah, that like production of like the drums actually 433 00:21:25,720 --> 00:21:28,080 Speaker 1: sounding like this kind of like running sort of motion 434 00:21:28,240 --> 00:21:29,440 Speaker 1: is just so good. Like I feel like the first 435 00:21:29,440 --> 00:21:30,679 Speaker 1: time I was like, oh my god, you could just 436 00:21:30,680 --> 00:21:32,919 Speaker 1: like do that in a song, Like you could like 437 00:21:32,960 --> 00:21:35,399 Speaker 1: evoke this thing that that is actually happening on the 438 00:21:35,440 --> 00:21:38,479 Speaker 1: song with kind of the song and how it's developed 439 00:21:38,520 --> 00:21:41,240 Speaker 1: over the years and kind of seeing all of its resurgences, 440 00:21:41,280 --> 00:21:43,000 Speaker 1: and also like a lot of fans of it, like 441 00:21:43,359 --> 00:21:45,439 Speaker 1: what do you think has drawn people in over the 442 00:21:45,520 --> 00:21:47,560 Speaker 1: decades and like kept it such a popular song but 443 00:21:47,600 --> 00:21:49,520 Speaker 1: also a song that keeps finding new audiences. 444 00:21:49,880 --> 00:21:52,040 Speaker 4: I feel like everybody always talks about the sort of 445 00:21:52,080 --> 00:21:55,920 Speaker 4: resurgence that came after Stranger Things put it in the show, 446 00:21:56,240 --> 00:21:58,280 Speaker 4: but I forgot that there had been like another bump 447 00:21:58,520 --> 00:22:02,000 Speaker 4: and the songs say after the Olympics. 448 00:22:02,040 --> 00:22:03,720 Speaker 1: I can't remember it was twenty. 449 00:22:03,520 --> 00:22:05,320 Speaker 3: Twelve, exactly a decade before. 450 00:22:07,000 --> 00:22:08,000 Speaker 1: It was just crazy. 451 00:22:09,000 --> 00:22:11,120 Speaker 4: But I do think there's a quality to it where, 452 00:22:11,240 --> 00:22:14,760 Speaker 4: even though it's a song from the eighties, there is 453 00:22:14,800 --> 00:22:18,719 Speaker 4: something about it that just sounds like there's a timelessness 454 00:22:18,720 --> 00:22:21,280 Speaker 4: to it. But there's also like this almost futuristic quality 455 00:22:21,560 --> 00:22:23,840 Speaker 4: that has always drawn me in, of like you can't 456 00:22:23,840 --> 00:22:26,520 Speaker 4: totally place like when it was made and when where 457 00:22:26,560 --> 00:22:28,200 Speaker 4: it comes from. In a lot of ways that I 458 00:22:28,240 --> 00:22:30,720 Speaker 4: feel like it's used, especially like in the Stranger Things cameo. 459 00:22:30,720 --> 00:22:32,800 Speaker 4: I think it's so much of like the actual production 460 00:22:33,520 --> 00:22:35,200 Speaker 4: of it. And I was reading too that like at 461 00:22:35,200 --> 00:22:37,800 Speaker 4: the time, like Kate Bush was using like all these 462 00:22:37,840 --> 00:22:41,719 Speaker 4: like incredibly cutting edge like new types of like sins 463 00:22:41,720 --> 00:22:44,720 Speaker 4: and samplers, and I think you really hear that on 464 00:22:44,800 --> 00:22:47,200 Speaker 4: there and kind of her just like being really forward 465 00:22:47,200 --> 00:22:50,600 Speaker 4: thinking with everything that she was doing from a production standpoint. 466 00:22:50,760 --> 00:22:52,400 Speaker 1: But yeah, and then I think. 467 00:22:52,240 --> 00:22:54,520 Speaker 4: Too like part of it too is like lyrically like 468 00:22:54,640 --> 00:22:58,480 Speaker 4: it is such a powerful song and just thinking about 469 00:22:58,600 --> 00:23:01,639 Speaker 4: the idea of this like between two people and this 470 00:23:01,800 --> 00:23:04,320 Speaker 4: like love that's like kind of like hurting these two people, 471 00:23:04,320 --> 00:23:06,480 Speaker 4: and it kind of being this like Macero look at 472 00:23:06,520 --> 00:23:09,879 Speaker 4: like how that is she's basically having like a gender 473 00:23:10,560 --> 00:23:13,760 Speaker 4: dynamics discussion like in this song in a way that 474 00:23:13,800 --> 00:23:15,320 Speaker 4: I think is still really powerful. 475 00:23:15,680 --> 00:23:18,399 Speaker 1: Yeah, of course, big Boy being a huge fan, I 476 00:23:18,400 --> 00:23:21,360 Speaker 1: feel like you talk about back twelve. There's so many ways, 477 00:23:21,400 --> 00:23:23,919 Speaker 1: Like there's like this like random cover by this like 478 00:23:23,960 --> 00:23:25,959 Speaker 1: pop artist Liz that does cloud Bussy. I really love, 479 00:23:25,960 --> 00:23:28,280 Speaker 1: Like there's like so many like weird versions of her song, 480 00:23:28,400 --> 00:23:30,400 Speaker 1: like really great covers of it, but also like such 481 00:23:30,480 --> 00:23:34,240 Speaker 1: like a wide range of fans across music that really 482 00:23:34,400 --> 00:23:36,199 Speaker 1: look up to her or inspired by her just like 483 00:23:36,640 --> 00:23:39,120 Speaker 1: really respect and love her. I mean tell me about 484 00:23:39,160 --> 00:23:40,560 Speaker 1: kind of her being sort of you know, like I 485 00:23:40,600 --> 00:23:42,440 Speaker 1: feel like she's like every artist's favorite artist. 486 00:23:42,640 --> 00:23:45,879 Speaker 4: Yeah, I mean yeah, And honestly, like I like the 487 00:23:45,920 --> 00:23:47,960 Speaker 4: Big Boy thing stands out to me because I was 488 00:23:48,440 --> 00:23:50,520 Speaker 4: when he inducted her into the Rock and Roll Hall 489 00:23:50,520 --> 00:23:52,320 Speaker 4: of Fame. I thought that was just such a sweet, 490 00:23:52,440 --> 00:23:55,760 Speaker 4: perfect moment. But like even like I've talked to Rosalie 491 00:23:55,760 --> 00:23:57,440 Speaker 4: a lot about her, and I feel like you can 492 00:23:57,480 --> 00:23:59,800 Speaker 4: hear there's a way in which there's like a theatric 493 00:24:00,359 --> 00:24:02,920 Speaker 4: in Rosalio's voice and the way that she like her 494 00:24:02,920 --> 00:24:04,720 Speaker 4: phrasing that reminds me a lot of Kate Bush, and 495 00:24:04,760 --> 00:24:07,840 Speaker 4: I think that you can really hear the inspiration there. Yeah, 496 00:24:07,920 --> 00:24:09,720 Speaker 4: I kind of feel like part of it too, I 497 00:24:09,720 --> 00:24:11,840 Speaker 4: think is like because she is so kind of elusive 498 00:24:11,960 --> 00:24:15,520 Speaker 4: and like it does always feel like so personal when 499 00:24:15,560 --> 00:24:17,960 Speaker 4: you discover her. I think there's an element of that 500 00:24:17,960 --> 00:24:20,159 Speaker 4: that people just like are still drawn to her and 501 00:24:20,560 --> 00:24:22,760 Speaker 4: like it's like almost like this like little mystery you 502 00:24:22,760 --> 00:24:24,879 Speaker 4: want to crack open. Yeah, there is like this like 503 00:24:24,920 --> 00:24:26,639 Speaker 4: other world. I think part of it is that, like 504 00:24:26,680 --> 00:24:29,439 Speaker 4: because she does so little media impressed that like she 505 00:24:29,560 --> 00:24:33,320 Speaker 4: feels like I don't know, like special mystery quality where 506 00:24:33,520 --> 00:24:34,920 Speaker 4: and the only way that you can really get close 507 00:24:34,960 --> 00:24:36,160 Speaker 4: to hers for her music. 508 00:24:36,200 --> 00:24:40,000 Speaker 2: It's wild, Like you said that her music inspires such 509 00:24:40,040 --> 00:24:43,000 Speaker 2: a wide range of artists across so many fields. I 510 00:24:43,000 --> 00:24:46,040 Speaker 2: mean I always think about Weathering Heights, one of her 511 00:24:46,040 --> 00:24:50,280 Speaker 2: most famous songs, and how most eighties kids first started 512 00:24:50,600 --> 00:24:53,880 Speaker 2: from Pat Benattar singing it, and also Sonny Shirak did 513 00:24:53,920 --> 00:24:56,480 Speaker 2: a free jazz version, And I'm always like, who what 514 00:24:56,560 --> 00:24:58,840 Speaker 2: an other songwriter besides Kate Bush would have a song 515 00:24:58,840 --> 00:25:02,119 Speaker 2: that both Sunny shi Rock and Pat Benatar would do, 516 00:25:02,720 --> 00:25:05,119 Speaker 2: And like you know, Prince had that great song about her. 517 00:25:05,880 --> 00:25:09,119 Speaker 2: She just has always inspired such a wide range of 518 00:25:09,240 --> 00:25:12,520 Speaker 2: artists to sort of listen to that Cape Bush kind 519 00:25:12,520 --> 00:25:14,840 Speaker 2: of voice inside them and be more extreme. 520 00:25:15,320 --> 00:25:16,560 Speaker 1: I don't know if you guys heard like the one 521 00:25:16,600 --> 00:25:18,520 Speaker 1: interview she did she had like a little like radio 522 00:25:18,560 --> 00:25:23,280 Speaker 1: interview and yeah, things explosion. I remember because I was 523 00:25:23,280 --> 00:25:25,359 Speaker 1: in London at the time that like it was like 524 00:25:25,920 --> 00:25:28,080 Speaker 1: kind of in that chart battle with as it was, 525 00:25:28,160 --> 00:25:29,639 Speaker 1: so it was like the two of them were just 526 00:25:29,640 --> 00:25:31,680 Speaker 1: like dueling on radio every time I was in a car, 527 00:25:31,840 --> 00:25:34,280 Speaker 1: Like it was just like Harry Kate I was like okay, 528 00:25:34,920 --> 00:25:36,720 Speaker 1: but like they would play that interview all the time 529 00:25:36,720 --> 00:25:39,040 Speaker 1: because it was so rare for her to speak anymore, 530 00:25:39,640 --> 00:25:41,239 Speaker 1: and she was not doing anything. It was just like 531 00:25:41,600 --> 00:25:43,360 Speaker 1: so like she was just like She's like, yeah, I'm 532 00:25:43,400 --> 00:25:46,240 Speaker 1: just like hanging in my garden and she was like 533 00:25:46,280 --> 00:25:47,560 Speaker 1: so it was like so short. She was like, yeah, 534 00:25:47,600 --> 00:25:49,720 Speaker 1: like I can't believe this is happening. This is cool. 535 00:25:50,280 --> 00:25:52,160 Speaker 1: She was like, I'm just you know, just hanging out 536 00:25:52,240 --> 00:25:56,000 Speaker 1: at my house. And it's a huge song I love. 537 00:25:56,000 --> 00:26:02,080 Speaker 2: That could not make less difference, you know, it's really wild, 538 00:26:02,080 --> 00:26:03,399 Speaker 2: and she never cared about this stuff, and it was 539 00:26:03,400 --> 00:26:06,600 Speaker 2: always wild because people always get so fanatical about her, 540 00:26:06,720 --> 00:26:08,520 Speaker 2: Like we said, like all these different artists from all 541 00:26:08,520 --> 00:26:11,879 Speaker 2: these different eras, whereas she's always got that well, you know, 542 00:26:12,000 --> 00:26:14,040 Speaker 2: if you want to make me famous, that's fine, but 543 00:26:14,119 --> 00:26:16,720 Speaker 2: like she very sincerely does not care about any of 544 00:26:16,760 --> 00:26:18,840 Speaker 2: that stuff. It's always so wild. I remember in the 545 00:26:19,600 --> 00:26:22,919 Speaker 2: early eighties post punk era when Johnny Rotten when he 546 00:26:22,960 --> 00:26:25,520 Speaker 2: was becoming Johnny Laden, and he would always say, like 547 00:26:25,800 --> 00:26:27,520 Speaker 2: rock and rolls garbage. The only rock and roll that 548 00:26:27,960 --> 00:26:31,000 Speaker 2: still matters, means anything is Kate Bush and the Raincoats, 549 00:26:31,560 --> 00:26:36,440 Speaker 2: and it was wild that she was someone who at 550 00:26:36,520 --> 00:26:39,719 Speaker 2: that point already seemed timeless and beyond any kind of genre, 551 00:26:40,119 --> 00:26:43,280 Speaker 2: and really she was just getting started creatively. Like I 552 00:26:43,280 --> 00:26:45,800 Speaker 2: mean those albums, all those albums in the eighties and nineties, 553 00:26:46,280 --> 00:26:50,080 Speaker 2: like The Essentral World, the one that has this woman's work, 554 00:26:50,240 --> 00:26:51,919 Speaker 2: Like it's just a perfect album. 555 00:26:52,000 --> 00:26:53,159 Speaker 1: Yeah, just like Kate do. 556 00:26:53,160 --> 00:26:56,560 Speaker 4: Your thing like Butter be in her Palace and Big 557 00:26:56,600 --> 00:26:59,040 Speaker 4: Boys Imagination and she'll she'll be good. 558 00:26:59,359 --> 00:27:01,119 Speaker 1: And I think the thing too with like an album 559 00:27:01,160 --> 00:27:02,600 Speaker 1: like Hounds of Love, which I think is like an 560 00:27:02,640 --> 00:27:05,720 Speaker 1: absolutely perfect album. I love that album so much. It's 561 00:27:05,760 --> 00:27:09,560 Speaker 1: like she is so she's such a weirdo, and like 562 00:27:09,560 --> 00:27:12,080 Speaker 1: it's amazing because she's like you know, she has all 563 00:27:12,080 --> 00:27:15,240 Speaker 1: these like really great like literary references and like there's 564 00:27:15,240 --> 00:27:17,479 Speaker 1: like psychology references on there. There's all these things that 565 00:27:17,520 --> 00:27:20,320 Speaker 1: are happening. They're also like one of my favorite fun 566 00:27:20,359 --> 00:27:23,520 Speaker 1: facts about the song cloud Busting is that there's also 567 00:27:23,520 --> 00:27:27,520 Speaker 1: this Patty Smith's song called Birdland that is inspired by 568 00:27:27,720 --> 00:27:31,760 Speaker 1: this like psychology book called cloud Busting by Wilhelm Reich 569 00:27:31,840 --> 00:27:34,280 Speaker 1: that inspired both of these songs, which I just think 570 00:27:34,359 --> 00:27:36,840 Speaker 1: is like such a weird random connection between these. 571 00:27:36,720 --> 00:27:39,360 Speaker 4: Two yeah, Kate Bush Patty Smith's book Club. 572 00:27:39,600 --> 00:27:44,440 Speaker 1: Yeah yeah, connections, but like it's like such a weird 573 00:27:44,480 --> 00:27:46,560 Speaker 1: references that just like kind of our across this album. 574 00:27:46,600 --> 00:27:51,320 Speaker 1: That's also incredibly poppy, you know, Like the title track 575 00:27:51,480 --> 00:27:54,440 Speaker 1: is such a great pop song. It's so yeah amazing, 576 00:27:54,480 --> 00:27:56,200 Speaker 1: like how much she's able to really bounce on and 577 00:27:56,280 --> 00:27:57,960 Speaker 1: obviously it worked both in and now. 578 00:27:58,680 --> 00:28:00,680 Speaker 4: Yeah, yeah, I'm the big fan. And there's this I 579 00:28:00,720 --> 00:28:03,119 Speaker 4: think she's Irish. Her name is Orla Gartland and she 580 00:28:03,240 --> 00:28:07,280 Speaker 4: does a running up that Hill cover into Time after Time. 581 00:28:07,280 --> 00:28:10,359 Speaker 1: That is so good. Wow, it's great. 582 00:28:10,640 --> 00:28:13,040 Speaker 4: You guys should listen to it after this. It's wonderful. Well, 583 00:28:13,040 --> 00:28:14,840 Speaker 4: thank you so much for joining us, Thank you for 584 00:28:14,920 --> 00:28:16,160 Speaker 4: having me, guys, Thank you. 585 00:28:16,119 --> 00:28:19,119 Speaker 1: So much, Thank you, Thanks so much for listening to 586 00:28:19,200 --> 00:28:22,560 Speaker 1: Rolling Stone's five hundred Greatest Songs. This podcast is brought 587 00:28:22,560 --> 00:28:25,800 Speaker 1: to you by Rolling Stone and iHeartMedia Brennan. Hosted by Me, 588 00:28:25,920 --> 00:28:30,000 Speaker 1: Britney Spanos and Rob Sheffield. Executive produced by Jason Fine, 589 00:28:30,160 --> 00:28:33,399 Speaker 1: Alex Dale and Christian Horde, and produced by Jesse Cannon 590 00:28:33,480 --> 00:28:36,880 Speaker 1: with music supervision by Eric Zeiler. Thanks so much for listening.