See the original article posted here: http://kevchino.com/review/kate-bush/director-s-cut/2269
Kate Bush's latest release, Director’s Cut, is the first on her own label, Fish People. Comprising of four tracks taken from the original album Sensual World (released 1989), and seven tracks from original album The Red Shoes (1993), the songs have been rerecorded by Bush to offer a new take on various old favorites. While most of the instrumentation has remained the same, many of the tracks have been recorded in a lower key due to Bush’s now lower vocal tones.
Bush has even gone as far as to alter the lyrics to The Sensual World’s title track, giving it the new moniker “Flower of the Mountain.” The reasoning behind this being, when originally recording this song, Bush wished to set an excerpt from Ulysses by James Joyce to an instrumental piece she’d composed, but was refused the rights. Upon asking a second time around for the Director’s Cut project, permission was granted, and the initial concept came to light.
The two original albums have an endearing and unique Bush-esque quality about them that is no doubt also swayed by memories associated to them around the original release dates. Both were outstanding albums and did relatively well at the time—The Red Shoes being the last album Bush recorded before taking a twelve-year hiatus, and being accompanied by a short film Bush produced herself, titled The Line, The Cross and The Curve. The new album is available in a deluxe box set, which includes all three albums, enabling the listener to sample both the old and the new and survey the merits of having new life breathed into the tracks.
However, one cannot help but wonder the point of all this. Why rerecord these albums? Were the original recordings not a worthy caliber within themselves? And if Bush was stepping into the studio, why not simply record new pieces instead of altering older songs? While the recording of the aforementioned “Flower of the Mountain” is an interesting story in itself, most of the remaining tracks come across as overproduced, erratic, and sometimes just plain bizarre. The addition of bloodcurdling screaming at the finale of “Lily” is a fine example of this, and “A Woman’s Work” has not benefited from the rerecordings whatsoever.
In theory an interesting project to undertake, but in the end a seemingly pointless one.
