Eruditorum Press

Christmas and Easter nihilists

Dreams of Orgonon

All the Love

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A mostly unloved dirge on The Dreaming’s tails-side, “All the Love” exists as a buffer between the uxorial laments of “Night of the Swallow” and “Houdini.” Little distinguishes it from its fellow LP tracks — its lyrics scan like an embryonic “Houdini” or “Suspended in Gaffa,” presaging future such Bush songs as “Hello Earth” or “Never Be Mine.” Admittedly the song’s points of intrigue are mostly limited to what comes after it, with “All the Love” mostly existing to get The Dreaming to ten songs. 

Sonically, “All the Love” sounds like a callback to Never for Ever, to the point one wonders if the song is a holdover. The song’s centering of melody over rhythm is an aberration on the rhythm-preoccupied Dreaming, with Stuart Elliott’s drums quietly accentuating things rather than taking a “lead instrument” role. The relatively high position of Del Palmer’s bass playing in the mix also feels superannuated and reminiscent of “Blow Away (For Bill)” or “Egypt,” some of the oldest songs in Bush’s studio career. “All the Love” has some flourishes characteristic of the mid-80s — the sampling of phone conversations is the sort of thing Pink Floyd or The Smiths did around the same time (see The Wall, “Rubber Ring”). Nonetheless, “All the Love” sounds old, an adscititious swan song for Bush’s early style. 

There’s certainly a callback to the subject matter of Never for Ever, nominally catastrophes that damage and alienate families. While Never for Ever’s songs are largely narrative, The Dreaming deals with Modernist techniques of abstraction, dissociation, and stream-of-consciousness, shifting the dramatic arena to the human mind. “All the Love” is social, even amusingly caustic in its distance from human living. Its lyrical triumph, “the first time I died…”, setting up an account of a person whose deathbed experience includes “good friends of mine” who “hadn’t been near me for years.” Where the hell have you been? Why are you doing this performative fraternal visitation now? The answer comes as “we needed you/to love us too/we waited for your move.” We’re given a set of people (or perhaps just one faction) who struggles to love people and relate to them properly.

There seems to be some concession of wrongdoing, admitting she wasn’t the most forthcoming to her friends (“but I know I have shown/that I stand at the gates alone”). But she tempers this with an admission that the emotional distance was mutual: “I needed you to love me too.” There’s even a sort of “if I could start again” concession, as the character asserts the inevitability of reincarnation (or afterlife?) with “the next time I dedicate/my life’s work to the friends I make/I give them what they want to hear.” Its grief for a lost, atemporal past binds itself to the effluvium of old and new styles “All the Love” embodies. In the words of Bauhaus, “all we ever wanted was everything. All we ever got was cold.”

(Bush.) Bush — piano, Fairlight.

…

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Lord of the Reedy River

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(Donovan, Goodbye Again)
(Donovan, If It’s Tuesday, This Must Be Belgium)
(Donovan, HMS Donovan)
(Hopkin, Postcard)
(Bush, “Sat In Your Lap” B-side)

CW: brief discussion of rape.

Cycling several incarnations before appearing on record, Scottish singer Donovan Leitch’s “Lord of the Reedy River” is a minor classic of his career. Getting performances on a 1968 TV programme and a 1969 celebrities’ demo reel romcom before appearing on Donovan’s 1971 double LP HMS Donovan. Serene, erotic, creepy, and sensuous all at once, Donovan somehow manages to make the Greek myth of Leda and the swan, a fable in which Zeus seduces or rapes (depending on the telling; Ovid, surprisingly, removes the rape, while Yeats writes about it as one) the Aetolian princess Leda. Donovan’s telling is a strictly romantic and erotic one, rejecting the sexual violence of the tale in favor of a sensuous, mythical love affair (“she fell in love with a swan” has no business sounding as beautiful as it does, but that’s Donovan). It’s a stunning piece of work that fixates on the uncanny and eerie aspects of the tale (“he filled her with song,” “she in my boat long hours/he in his royal plumage”). The song’s sense of place is potent and inextricable from its sensuousness (“black was the night and starry,” “she threw him some flowers/in the reedy river”). Most delightfully, the song has a Shape of Water ending, with the final act of its drama being the “glide” of “two swans.” With its chilling harmonies, palpitating vocal, uncanny vocal, and genuine lyrical beauty, “Lord of the Reedy River” is a masterpiece, an unjustly forgotten landmark of late-60s-to-early-70s folk music. 

Its album of origin HMS Donovan was a favorite of Kate Bush, a long-standing Donovan fan. Wavering between slating “Sat in Your Lap” with a cover of either Donovan or Captain Beefheart (the latter of which is mind-boggling to think about), Bush opted to cover the melodic Scotsman after serendipitously watching him perform on a Crystal Gayle programme. The choice was an interesting if unsurprising one — Donovan is as much a part of the British songwriting tradition Bush hails from as Ferry or Bowie or Waters. Yet the form of mystical, childlike ballad exemplified by “Lord of the Reedy River” was something of Bush’s past, an aesthetic that Bush had largely moved past by when she recorded The Kick Inside. This was an unexpected return to her musical roots. 

And yet the song works as a unit of Bush’s Dreaming era. The sensuous, place-centered ethos of “Lord of the Reedy River” is the sort of thing Bush explores throughout her four albums we’ve read about. The mythical aspect of Bush’s work has never departed, nor has her tendency to explore complex subjects through a perspective of searing childlike simplicity (one of the most useful critical tools for exploring the endemic truths of myth). Simplicity isn’t inherently equivalent to reductivism — simple truths have fractal implications. Certainly “Lord of the Reedy River” is both unostentatious and unnerving.…

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Get Out of My House

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Get Out of My House

CW: This entire blog post discusses domestic abuse, sexual violence, and severe emotional manipulation at length and in triggering detail.

“The little fucker had thrown my papers all over the floor. All I tried to do was pull him up… a momentary loss of muscular coordination.”
Jack Torrance, The Shining.

***

The woman who raised me had seemingly few qualms about shrieking her disapproval at me several times per day. Usually she accomplished her purpose with words, but sometimes she would punctuate her castigations with a punitive strike of her hand. It was unclear to me what this accomplished beyond making me afraid of my own parent. If that was her purpose, she succeeded impressively.

In the summer of 2015, I learned that there was a familial precedent for my birth-giver’s violent tendencies. For a couple months, I stayed with her parents while she worked abroad. After a minor argument in which I told the family that an extended episode of severe depression would impair my ability to join the family on a daytrip, my grandfather trailed me to my guest bedroom and aggressively pushed me through the door. As I attempted to raise myself from the floor and understand what had just happened, my grandfather stormed into the room, leaned on the floor, and pinned me down with his thumb close enough to my windpipe to be threatening. I recall little of the following altercation, except for when I was called an “evil little shit,” “an unruly child,” and worth reporting to the police. When the cops eventually arrived at the house (a process that entailed my grandfather disconnecting the landline while I barricaded myself in my room as my then-mother pounded on the door and begged me not to call the police), they concurred with my family. I was told later that my ambiguously defined ill behavior was out of line and repeat incidents could call for juvenile detention. The event was left unaddressed.

Months later, my birth-giver pressured me into emailing her father an apology. At that point, I acquiesced to the idea that I was a delinquent whose behavior disrupted and hurt the whole family. It felt like a resolution. I was at peace with my family, insofar as one can maintain a truce with a person who remorselessly assaulted them. The fatuousness of viewing abuse stories as having a clear-cut beginning or ending did not occur to me. I could do nothing but retreat inward and shrink, hoping desperately that I could be small enough to escape from the small-minded capriciousness of the people who should have raised me.

***

The Dreaming sees Kate Bush turning towards an epistemological centering of subconscious and repressed emotions. It calls to the listener, inviting them to unleash their trauma, rage, and fear in torrents of vital and horrible catharsis. Bush reveals that the adolescent optimism of her previous albums, while real and legitimate, masked deep-rooted emotions beyond neophyte positivity and bravado. While those other albums (particularly the doleful Lionheart and sometimes Delphic Never for Ever) contain great darkness themselves, The Dreaming sees Bush unleashing the id, allowing the powerful emotiveness of her work to reveal its full breadth and ability to be furious, wretchedly disconsolate, and full of hurt.…

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Leave It Open

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Demo
Leave It Open

The first song to have a demo completed for The Dreaming (“Sat In Your Lap” was initially released as a standalone single), “Leave It Open” introduces much of the album’s ambition and cadences. Another treatise on the nature of thought and repression, Bush develops and inverts her previous metaphysical ideas about the world, presenting it as a frightening and hostile sphere yet treating interaction with it as an inevitability, and even a relationship where a person’s interiority can have input. As the refrain stipulates with a degree of bellicosity, “harm is in us, but power to arm.” In “Leave It Open,” Bush creates an ethos of wondrous fear, where allowing the self to become a vessel for something Other is an act of submissive reclamation of human potential.

Let’s start counterintuitively (in the spirit of The Dreaming) with the coda of “Leave It Open”, which sees Bush proffering a rare, aphoristic thesis statement in the form of a repetitive double-backmasked chant: “we let the weirdness in.” Amusingly, upon release this was Bush’s most controversial coda, with listeners calling into Bush’s television and radio interviews attempting to guess what distorted words Bush is singing (“we paint the penguins pink” is the best one). “We let the weirdness in” sounds unlikely — it’s disjointed, with abstractions and syntactic ambiguity. As my friend Rohanne points out on the brilliant Kate Bush podcast Strange Phenomena, The Dreaming sees Bush shifting from writing character narratives to reorienting her songwriting around concepts and abstractions. What is “the weirdness?” And how are we letting it in? “Leave It Open” concludes on a note of imprecision and unknowability. But the song also begins there — the verses and refrains are similarly disjointed in their grammar: “with my ego in my gut/my babbling mouth would wash it up.” The clauses are unclear in their relationship to their object and subject, phrasing abstractions in a way that suggests they’re corporeal stimuli. “Wide eyes would clean and dust/things that decay, things that rust” suggests bodily fluidity. The aversion to coherent speech and language is almost Burroughsian: language is a virus, and can only be allowed through in a broken, primal form, taking after a rhythm track. The Dreaming’s incipient nucleus of uncertainty creeps forth.

Moreso than “Sat In Your Lap,” “Leave It Open” emphasizes a theme that pervades The Dreaming in its exploration of madness as a feminist liberation. It sees Bush unharnessing herself from the tyranny of rational thought and conventional speech in favor of “letting the weirdness in.” An infusion takes place, with the song mostly looking at forms of opening and closing (“my door was never locked/until one day a trigger come cocking”). “Leave It Open” describes physically allowing unknowable things into one’s mind and body. Bush’s vocals are an entourage of different voices, with her lead vocal a tremulous inhalation (“watched it weeping/but I made it stay”), and her B.V.’s a series of childlike, high-soprano shouts (“but now I’ve started learning how!”).…

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Sat In Your Lap

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We did it. I hit $300 on the Patreon because of your support. Thank you so much to everyone who pledged (all 98 of you), shared the link, contributed to reaching the goals, or was just kind and supportive. This is quite literally life-changing for me. I can making a living off my passion without having to compromise financial security or my mental health. You people are amazing and I am indebted to you all. To be clear, $300 is a minimum though. I’m a disabled trans woman, and people will inevitably drop their pledges. Continued support would be great. But in the meantime, thank you. My life is better for your support. 

Demo
Sat In Your Lap (single)
Sat In Your Lap (LP version)
MV
Dance rehearsal (fragment, Looking Good Feeling Fit)

The aftermath of Never for Ever was a period of burnout for Bush. Prone to depressive burnouts after the completion of projects, she found herself drifting into a nadir of fruitless ennui, which she deemed “the anti-climax after all the work.” Completing Never for Ever in May 1980, Bush, not for the last time, put significant space between herself and the public, taking a holiday after an exhausting several months of recording. By the time Never for Ever was released in September, Bush was only just recovering from her creative inertia. Her timing was auspicious, as Never for Ever not only became her first #1 LP in the UK but the country’s first ever #1 studio album by a female solo artist ever. Never for Ever’s success was accompanied by heaps of promotion by Bush, including the usual run of performing songs on talk shows as well as signing albums for hundreds of fans at a time. Now she had more creative agency than she had previously, touting Never for Ever as “the first [album] [she] could hand to people with a smile.” Kate Bush the prodigy who sang “Wuthering Heights” was already a distant memory, transforming into Kate Bush the great 1980s British songwriter.

Yet Bush’s listlessness and struggle to write songs persisted for some time. It’s not hard to see why — the stress of Never for Ever’s production and the attention of the British public would be enough to put a damper on anyone’s creative output. It took seeing other musicians at work to get her motivated again. In September, Bush and her boyfriend Del Palmer attended a Stevie Wonder concert at Wembley Arena. Wonder was in a period of creative renewal himself. Having recently turned out a rare Motown flop in the distinctively titled Journey Through “the Secret Life of Plants”, he’d rebuilt confidence with his delightful Hotter than July LP. The concert broke Bush out of her writer’s block — “inspired by the feeling of his music,” as she later wrote, Bush got back to work on her songs, and forged a path towards her next album.

Bush’s work to date was largely harmonic, built around what notes went together interestingly on the piano.…

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Breathing

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Breathing
MV
Comic Relief (’86)

My Patreon is doing tremendously well, having gotten over the $200 threshold thanks to my amazing backers. This is a huge deal for me. It means being able to survive off work that doesn’t interfere with my disabilities and allows me to focus on my writing. I can’t thank y’all enough. Yet nothing is quite nailed down – $300 is the point where I’ll be able to comfortably live off Patreon income until my seasonal job resumes, and the page has stalled at $206. So here’s some fun: at $225, I’ll cut a podcast with Daniel Harper (yes! the guy from “I Don’t Speak German!”), and at $250, Jack (the other IDSG guy!) will cut a podcast on “Alien” and “The Shining.” You don’t want to miss out on that now, do you? Of course not. Feel free to back, or at least share my work. Every bit helps. Thanks so much.

*********************

“Outside gets inside, through her skin
I’ve been out before, but this time it’s much safer in.”

A refugee of fire and radiation self-sequesters in the only shelter it knows. It’s safe in here, it lies to itself, seeking the consolation of its comforting abode. Mother, where are the angels? I’m scared of the changes. Mother is silent, smothered by the asphyxiating light in the night sky. The being responds accordingly, attempting to preserve itself the only way it can: breathing, inhaling every last respirable substance in its vicinity. There are two possible trajectories: out and in, a cyclical dichotomy of breath its hope for life relies upon. Yet its perambulation towards personhood is mutable and futile. If the being is inducted into humanity, its christening into personhood will be a hydrodynamic baptism by fire. It is the first and the last, the honored and the scorned — its story begins where it ends. This is how Kate Bush imparts the awful truth: the world will end, now, and we will hear every syllable of its last, desperate cries for clemency.

What energy did Kate Bush put into her best song? “Breathing” was her “little symphony,” as Bush diminutively but proudly deemed it. Wrought over three tormented days at the tail end of Never for Ever’s Abbey Road sessions, “Breathing” had a rigorous parturiency. On some days, Bush worked for 20 hours, sometimes stopping to rest (often failing) or get high (keyboardist Max Middleton notes this seemed to relax Bush, rather than helping with any creative breakthroughs). More energy was spent on the sessions than Bush’s, however — far from accepting her band playing instruments like craftsmen, Bush was a spiritual taskmaster, making her session musicians play the song again and again until they “felt it.” Eventually it became a ritual, almost a spiritual transformation, which shaped “Breathing” accordingly. Even poor Brian Bath, who claims that Bush drove him to record his guitar part “about 200 times,” admits that “the song had changed, there was this extra thing happening in it.” Max Middleton insisted on amending his Fender Rhode part for each take, trying to make every performance more unnerving than the last.…

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Army Dreamers

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Hello all! Since we only ever moved Christine off the site to make room for Boys in Their Dresses, and since that project has faltered while she keeps absolutely killing it, I thought it would be a good idea to put her back on the site.

More personally, as you probably don’t know if you don’t read my Twitter, my family has recently made the decision to legally adopt Christine, having already helped her relocate away from her abusive family and to Ithaca so she could transition safely. Christine is currently looking for housing, which is exciting for a trans woman in the middle of a pandemic. She’s also disabled and working through some pretty serious trauma of the sort you might expect when your story is “an abusive family so bad you moved across several states and were adopted.” We’re trying to give her some space to heal so she can go back to school and become the amazing and badass woman that anyone who has read her work can blatantly tell she’s going to be. But, well, there’s only so much we can do.

You have all been incredible in supporting me and letting me have the career of my dreams here. And so I’m asking you, if you enjoy her work at all, to do the same for her. We figure she can scrape by if her Patreon gets to $300 a blog post. That’s just over double where she is right now, so it’s not a small thing. But, well, my daughter needs help, so I’m asking you to do what you’ve done for me so many times and help an amazingly talented woman have the life and financial stability she deserves.

You can support Christine’s work at her Patreon.

Thank you, 
El.

Note from Christine: the Patreon is up to $139, which is hopeful and close to the halfway mark but not anywhere close to $300. Times are tough on everyone right now, but if you could share my work and the link to my Patreon, that would mean an insurmountable amount to me.

Army Dreamers
Music video
German performance (“Mrs. Mopp”)
Dutch performance
Friday Night, Saturday Morning

 

The senseless homicide, epistolary self-cuckoldry, and generational trauma in Never for Ever is a sort of horror writing from Bush. Her reverence for family and domesticity is clear throughout her work, and in how she lives — she stepped mostly out of public view for many years after the birth of her son. In Never for Ever, Bush explores what happens when families are torn apart by the infrastructure of modernity: weaponry, dissociation, social pressure, celebrity. Preliminary sketches of The Dreaming surface in the record’s soundscape of classical instruments and synthesizer innovations, underlined by trauma and madness. If Lionheart was Bush’s inward retreat in response to the world’s frightening instability, Never for Ever turns that lens outwards, exploring the impact of violence on families and survivors.

Bush has dabbled in folk music before, through engagements with parabolic theming, classical acoustic instrumentation, and straight-up rewrites of folk ballads.…

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Another Day

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CW: child sexual abuse. 

Another Day
Another Day (Bush/Gabriel)

We must address some important facts in this blog post. For starters, folk musician Roy Harper is a songwriter of note. He’s got solid and interesting work in his discography, bits of which get covers by remarkable artists like the Cocteau Twins or, as this post demonstrates, Kate Bush and Peter Gabriel. It’s intuitive that Bush and Gabriel would choose to duet on a cover of “Another Day”; an sturdy and compelling break-up song, whose themes of wistfulness and the cognitive dissonance of desire overlap with both artists’ interests. The Harper album “Another Day” hails from, Flat Baroque and Berserk, has songs that are the equal of mid-tier tracks from Joni Mitchell’s Blue, Bob Dylan’s Bringing It All Back Home, or Dave Carter and Tracy Grammer’s Flowers of Avalon. Harper’s work is firmly second-tier folk music, respectable but not transcendent. Given that he’s a direct influence on Led Zeppelin, Pink Floyd (with whom he cut a lead vocal on “Have a Cigar”), and Pete Townshend, he’s clearly a figure with some relevance to both rock and folk music and a force to be reckoned with.

The other thing we need to address in this blog post is the revelations about Roy Harper that have been made over the years. He is the subject of child sexual abuse allegations by two women, who were 11 and 16 at the time the abuse occurred. These women, who have chosen to be anonymous, have recounted their trauma in accounts too harrowing to quote on this blog but which can be read here. As is typical of these cases, Harper was cleared of these charges in 2015 and served no prison time.  Any discussion of Harper must at least acknowledge the violence he’s committed against these women, and that he effectively ruined their lives.

It’s not often when relating the story of Kate Bush that I have to talk about things like this. Most figures in this narrative aren’t actively monstrous, although we’ll talk about Rolf Harris in time. But in the era of #MeToo, it’s vital that we talk about the violence committed by influential persons. When you write about Roy Harper, you can’t simply stop at saying Flat Baroque and Berserk is pretty good. While the objective quality of his work isn’t diminished by his actions, what he’s made is necessarily tainted by his crimes. The fact that these songs were written by a rapist has them in the same way that the revelations about Louis CK and Kevin Spacey have affected their work.

Harper is also influential enough that in 1979, “Another Day” was covered on TV by two popular artists. Bush and Gabriel covered it on Bush’s BBC Christmas special, “Kate,” the most gonzo thing the BBC has aired that’s not The Web Planet. It’s an eclectic piece of stage theater that serves as a 45-minute sampler of the Tour of Life as well as a warm-up for Never for Ever.…

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Magician

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Magician

A good landmark of an artist’s prestige is when they start doing music for films. A new star will show up on the scene and filmmakers will take advantage of their star power to grab a young, hip audience for their movies. There was a period a few years ago where young bands like Florence + the Machine and Paramore gained traction by recording songs for the Twilight Saga. Of course the inverse is also true, as long-established stars are also likely to help a film earn more press. The UK’s bestselling single of 1979, Art Garfunkel’s “Bright Eyes,” is inextricable from its haunting appearance in Watership Down. Just as a song can mark a film, a film can mark a song.

Of course, this is in no way an assurance of a song or movie’s quality. A song and a movie can both be deservedly forgotten. Such is the case with “Magician,” which, while a footnote in Kate Bush’s wider career, still marks the beginning of a trend for her.

“The Magician,” or “Magician” as it’s usually called, was written by lyricist Paul Webster and composer Maurice Jarre for the virtually unseen film The Magician of Lublin. An adaptation of Nobel-winning writer Isaac Bashevis Singer’s Yiddish novel of the same name, it was such a critical and commercial bomb that it’s nearly impossible to see now unless you find either the world’s best torrent site or fork over $226 USD for the VHS. Its near-unseeability causes the near-unlistenability of Bush’s song for it, as “Magician” has never been commercially released either. “Magician” exists as a low-quality audio clip from the movie, with static and diegetic noises all over it (someone says “cow” or a similar-sounding word at one point). It’s easier to hear than, say, the Phoenix demos, as it’s a professional recording rather than a home demo, but it’s possibly even more obscure than them.

If we’re being honest, the lack of HQ ways to listen to “Magician” is no great loss. This isn’t a lost gem, just a mediocre film track that happens to set a precedent for Bush. Webster and Jarre give Bush a slog of a track to sing through, a bogstandard piece of carnival music set in a minor key like a particularly manic depressive Dresden Dolls song, with lyrics strung together by tedious aphorisms and hackneyed couplets. How did someone read Webster’s lyrics and decide that “When you reach for a star/only angels are there/and it’s not very far/just to step on a stair” wasn’t a laughable opening? The rest of the song is a series of banal vignettes about whimsical creatures and individuals having downbeat times in “the circus of life,” where “life is bitter and gay.” It’s hard to imagine any vocalist making this work, and Bush doesn’t do much to elevate it, opting for a Shirley Bassey impression that she only utilizes in her worst work. The whole thing sounds like a parody of itself, and what’s more, it’s a boring one.…

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Wow

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Wow (album version)
Video 1 (Keith Macmillan)
Video 2 (The Whole Story)
San Remo
ABBA
French TV
Tour of Life

It begins with the sound of an orchestra warming up, strings humming in anticipation of an incoming trobairitz. Then, a four-note synth loop, which is played for nearly the entire first minute of the song, when it gives way to the song’s rhythm section. Twenty-nine seconds in, the wail of a processed guitar ushers in the vocal of Kate Bush, who delivers the opening line. “We’re all alone on the stage tonight,” she sings with equal trepidation and excitement. “We’ve been told we’re not afraid of you.” With that, the audience is hoisted onto the stage, and “Wow” commences.

The similarities between “Wow” and “Wuthering Heights” are largely structural. Both songs have arpeggiated hooks (“Wow” opens with the notes of a C major chord), followed by tense, melodically wrought verses, before breaking into the song’s triumphant chorus. “Wow” is shorter, its album version capping off at four minutes, compared to the four-and-a-half minutes of “Wuthering Heights,” with its intro which is built into the verse, keeping the song moving after its chorus. The chorus and verse of “Wow” are repeated twice each, with the intro and outro essentially built into the verses, letting the song flow smoothly while also breaking it into distinguishable segments.

This clarity is something some other songs on Lionheart lack, like “In the Warm Room” and “Fullhouse” (and if you recall, I quite liked “Fullhouse”). Bush wasn’t given adequate time to flesh her compositions out, and as a result Lionheart is a victim of second album syndrome. Just as, say, Give Em Enough Rope or Every Open Eye needed more oxygen and room to push themselves and make their songs come along, Lionheart needed more time than it had to bring its songs to life. There’s brilliance and innovation in it, and some of Bush’s finest songs, but too often there’s mere hints of what these songs could be (if Bush was going to give the Director’s Cut treatment to any of her albums, it should have been Lionheart).

As the one single from Lionheart to reach the top 20, peaking at #14, (“Hammer Horror” just barely made it into the top 40), “Wow” was a not-insignificant success for Bush. It’s tempting to ask why. “Hammer Horror” has all the theatricality of “Wuthering Heights,” if not more. Why didn’t it speed to the top of the charts like “Wuthering” and “The Man with the Child in His Eyes?” Maybe “Hammer Horror” was just too odd for the charts, with its sprawling shape and gothic paranoia. More crucially, it’s not tender, and if the charts are anything to go by, listeners like Bush when she’s tender. The three highest-charting singles of the first three years of Bush’s career, “Wuthering,” “Child,” and “Babooshka,” all lean into the mystery, sweetness, and tragedy of domestic life. “Wow,” meanwhile, isn’t domestic at all, taking place entirely on the stage.…

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