Director's Cut

The director has taken a big carving knife and slashed her masterpieces.If you don't have the albums `The Sensual World' or `The Red Shoes', buy them instead and you'll hear the original versions of these songs in all their brilliant glory.I wonder why Kate Bush would want to change one note of the majestic original of `The Sensual World'. (On this CD the song is titled `Flower of the Mountain'). Why would she want to change the fantastic original lyrics to `Rubberband Girl?'In case you haven't read the liner notes, the lead vocals on this have all been re-recorded. Two decades (of smoking?) haven't been kind to Kate's voice since the wonderful `Sensual World' album was recorded in the late `80's. Most of the vocals on `The Director's Cut' sound like bad karaoke versions. The most pleasing vocal sound on the album is the synthesised computer voice on `Deeper Understanding'. Kate herself sounds tired, cramped and strained. Gone are the exuberant, soaring, free-form sounds of old.For `The Whole Story' album in 1986, Kate scrubbed her hauntingly atmospheric vocal for `Wuthering Heights' and replaced it with an inferior performance, so she has been known to mess with perfection before.On the other hand, `Lily' and `Top of the City' sound quite good here. Kate manages to get her vocal chords into reasonable shape for these two. `This Woman's Work' sounds terrible, both in arrangement and vocal performance. It goes for about six and half minutes, and is nothing short of boring, whereas the version she recorded in the 80's was heart-wrenching.Keep in mind that the writing, performance and production for most of these songs in their first life were top-notch. In the mixes of many songs on this CD, Kate has even left out the heavenly sounds of her Uillean pipes and the Trio Bulgarka.I have read that when she recorded `The Sensual World' in the late 80's, Kate wanted to use the original words from James Joyce's `Ulysses', but his estate would not allow it. However, on the liner notes for `The Director's Cut' is written, `Text from `Ulysses' used by kind permission of the Trustees of James Joyce Estate', so I'm guessing this is where she's got the new lyrics from. Hers were better. Perhaps being given permission to follow through her initial idea has inspired this re-record / remix project.Kate is a woman of unique ideas. In an early interview she referred to the piano as her friend. On the video for `Babooshka' she cuddled up with her `lover', a double bass. On the cover for `Never Forever' she lifted up her skirt and gave birth to a stream of beautiful and grotesque mythical beasts, her songs. They came out trilling like angels, lilting, screaming in wonderment at their creation, bellowing, roaring, whooping and whispering of enchantment. This time she's pushed out a batch of mutants.This imaginative musician has always been in perfect control of her art, showing brilliant judgement in her production work. In the case of `Director's Cut', though, it's a shame one of the cast didn't speak up and tell her that this was a very bad idea.

First, I must address the detractors. I cannot comprehend why some of us (being merely listeners, music lovers and consumers) feel such a sense of entitlement to an artist's life-long work that we feel able to dictate what the artist chooses to do with his or her work. This is simply unwarranted on all accounts. Enjoy this album for what it is: an interesting and more mature interpretation of some classic tracks OR simply stick with the originals and don't buy it! If I compose a painting and receive compliments and accolades but I am not pleased with the painting, I, as its creator, have every right to manipulate it until I am happy with it. This is how I see this album. Kate Bush has given her loyal listeners many years of enjoyment. If she chooses to reinterpret her work for her own satisfaction, who has the right to stop or criticize it? "I want you as a dream/ Not the reality.' - Some of the listeners need to examine this line, as they are demanding this of the evolving songs that belong to Kate Bush.I love this revisiting of classic tracks. I will attempt to make a few comparisons between the original tracks and the new versions that appear on "Director's Cut.""The Sensual World/Flower of the Mountain" - I had always wanted to hear this work with the words of Joyce, as she intended. I adore both the original and the chance to hear her original intention. Well done!"Song of Solomon" - I prefer the new version, honestly. This is one of my absolute favorite songs of all time. I love the more subdued vocals and the warmer production on "Director's Cut." The vocal is more mature and relaxed. Again, job well done."Never Be Mine" - WOW!!! The new recording is so exquisite! Again, I must say that I prefer the new version. Slower and allowed to unfurl at a more natural pace, this track shines on "Director's Cut." From the description of the fields burning and the unrequited love against this backdrop - just astounding in this new version.I have enjoyed each of these songs for many years. The album feels like running into an old friend. Although you have both changed and years have come and gone, the connection is still strong and timeless; and you are excited for an update. These reworkings may take some time for fans to warm up to, but I feel that it is such a worthwhile effort. As for those in demand of new material, I am certain it will come when the time is right. "Aerial" was a long time coming, but 6 years later, I still find new things to appreciate about that staggering work. "Director's Cut" will no doubt provide many years of listening enjoyment as well.

This is not, strictly speaking, a new Kate Bush album. Just a warning for all of you who'd gotten used to agonizingly long waits between Bush records. It was easy to hope, when Director's Cut was first announced, that we'd been blessed ahead of schedule with the latest transmission from her private art-rock fairy land. Instead, this is a rethink of a somewhat controversial period in her career, by an artist who claims not to give much thought to her albums once they've been sent to market.Director's Cut transforms songs from 1989's The Sensual World and 1993's The Red Shoes. Sometimes crucial elements (rhythm tracks, vocals) are re-recorded. Some aspects (like certain guest performances) are left unchanged. Occasionally an entire song gets a note-by-note remake. It's a major and unexpected reinvention of familiar and very time-bound material, not quite "new" and also not quite what fans have been playing for years now. The very different mix of Director's Cut changes not just the sound but the emotional kick inside many of these songs. What was once the work of a shy woman who came to roaring life on record is now just as often subdued, reflective, inward-looking. It's worthy of standing as its own entry in Bush's discography, without necessarily replacing the albums it draws from.

I only recently bought this CD as I wasn't in the mood for hearing reworkings of songs I knew so well and liked as they were. But, I now possess a copy and I feel that it's worth listening to as long as you listen and appreciate it as an album in its own right and without comparing it to the originals. I particularly like the reworking of Rubberband Girl as it has a completely different arrangement. Kate's voice is mellower now and this gives each song a new identity. Glad I added it to the collection at last.

Interesting and eclectic collection of reworked tracks given a mature relook. Production values are slightly poor - some of it sounds like she's recorded it in her garage. One for hard core fans.

A bit disappointed Ordered after reading glowing reviews about remastering tracks I prefer tbe originals mostly

Not her vest. But worth a listen.