- KATE BUSH - - THE SENSUAL WORLD - THE SENSUAL WORLD/4 LOVE AND ANGER/9 THE FOG/15 REACHING OUT/21 HEADS WE'RE DANCING/26 DEEPER UNDERSTANDING/32 BETWEEN A MAN AND A WOMAN/38 NEVER BE MINE/44 ROCKET'S TAIL (For Rocket)/49 THIS WOMAN'S WORK/54 WALK STRAIGHT DOWN THE MIDDLE/60 Music Arranged by Bill Pitt Music Processed by Musicprint Ltd., All Photographs by John Carder Bush Folio ©Copyright 1990 EMI Music Publishing Ltd. 127 Charing Cross Road, London WC2H OEA- KATE BUSH - THE SENSUAL WORLD — the sixth studio album from KATE BUSH — was released world wide on October ‘6th. It features 10 new BUSH compositions (11 on CD and cassette), was produced by KATE, recorded by Del Palmer and mixed by Kevin Killen. THE SENSUAL WORLD was recorded mainly at KATE’s studio in Kent but also in Dublin and at EMI's Abbey Road complex. BUSH plays piano and keyboards and is augmented by a host of acclaimed musicians including the unusual voices of The Trio Bulgarka, from Bulgaria, on three of the songs (DEEPER UNDERSTANDING, NEVER BE MINE and ROCKET'S TAIL) and the haunting sound of Davey Spillane’s Uillean pipes on the single, THE SENSUAL WORLD (originally inspired by the James Joyce novel Ulysses) kate began violin lessons (reluctantly) around the age of 9 but took a passionate interest in the piano. The day her father showed her the scale of C, KATE became a songwriter. ‘As a result of a 3-track demo, organised and financed by Pink Floyd's Dave Gilmour, KATE had signed to EMI before leaving school. Accepting a modest advance from EMI, she was able to concentrate full time on expanding her catalogue of songs and studying dance (initially inspired, and later taught by theatrical mime- master, Lindsay Kemp) which was to prove so invaluable with the dawning age of video. ““¥d wanted to make a record more than anything else,” she remembers, and her ambition was achieved in mid 1977 with the recording of her debut album — THE KICK INSIDE. Her frst single — WUTHERING HEIGHTS — became a No. 1 single in January 1978 and was followed by the album which rapidly sold over 1,000,000 copies in the U.K. alone! The pressure was on to make and release a second album but when KATE realised her recording schedule had to be fitted around promotional demands all over the continent, she vowed to exercise much more control over her career in future. Nonetheless the LIONHEART album came out in December and a decision to tour was made. 30 odd dates took place in Britain and Europe during the Spring of 79, Every show was a sellout and the two an half hours of music, dance, mime and magic defied critics’ expectations but exhausted KATE to such an extent she’s not been able to seriously contemplate the idea of another tour. The KATE BUSH ON STAGE (Live EP) came out in September and was the first co-production between KATE and Jon Kelly (who'd engineered the frst two albums) Then came the five and a half minute single — BREATHING — which championed green issues back in 1980 and which marked a significant change in the expectations of BUSH observers. The BABOOSHKA single in June, 1980, was followed in September by the album NEVER FOR EVER and here was vinyl confirmation that KATE had much to offer the often bland world of pop. “THE DREAMING album was so difficult to make,” says KATE, “just about averything that could go wrong did during that period.” With studio problems and her method of working and the cost involved, she decided to upgrade her own demo studio to a professional recording level. Meanwhile critics were left to ponder the merits of an album that had yielded SAT IN YOUR LAP and the title track as singles. In fact THE DREAMING added considerably to the BUSH fan base between its release in September 1982 and that of the HOUNDS OF LOVE album exactly 3 years later. As with THE DREAMING, KATE produced it with Del Palmer engineering — and for the first time, recorded in their own studio. The HOUNDS OF LOVE quickly established itself as KATE’s most successful album to date both in a commercial and critical sense. It was the first to give her real chart success in America where it went Top 30 (as did the RUNNING UP THAT HILL single). It was also the catalyst for several superb videos, perhaps most memorably the one that accompanied CLOUDBUSTING which starred KATE and Donald Sutherland — one of her favourite actors The million-selling compilation album and video — THE WHOLE STORY — came next, late in 1986. Both formats were amongst the best-selling ites that year and KATE’s videos, many of which are directed by her, are almost as popular as her records. “| know it’s taken a long time but each record gets harder to make,” she says, explaining the gap between the albums HOUNDS OF LOVE and THE SENSUAL WORLD. “This is my most personal and female album so far and | particularly wanted The Sensual World as the first single because I feel itis a strong expression of positive female energy.” * THE SENSUAL WORLD -THE SENSUAL WORLD Mmh, yes, Then 'd taken the kiss of seedcake back from his mouth Going deep South, godown, mmh, yes, Took six big wheels and rolled our bodies Offof Howth Head andnto the flesh, mmh, yes, He said | was a flower of the mountain, yes, Butnow I've powers cir a woman's body - yes. Stepping out of the page into the sensual wold ing out... " Towhere the water and the earth caress ‘And the down of apeach says mmh, yes. Do! look for those millionaires. Like a Machiavellian girl would? When I could wear asunset, mmh, yes, ‘And how we'd wished tolive in the sensual world. Youdon't need words —just one kiss, then another. ‘Stepping out of the page into the sensual world. Stepping out, off the page into the sensual world. ‘And then our arrows of desire rewrite the speech, mmh, yes, {And then he whispered wouldI, mmh, yes, Be safe, mmh, yes, rom mountain flowers? Andatfist wit the charm around him, mm, yes, He oosenedit soifit slipped between my breasts Heldrescueit, mmh, yes, ‘Andhis spark took life in my hand and, mmh, yes, |said, mmh, yes, Butnot yet, mmh, yes, Mmh, yes,The Sensual World Words and Music by KATE BUSH In A Whispered Voice F Ee Dimai? yes, — then I'd ta -kenthe kiss of seed-cake back. Mmh, — from his mouth— go-ing deep south, go. down, mmh,— es i —— yes, took six big__wheels and rolled our bo - dies off of Howth Head and in - cm? at Ea an = as ~_ — to the flesh,— mmh,— yes. He said 1 was a flower of the moun- cu? Bom? cm aH Hit) 8 <> cS S35 tain, i but now I've powers_o’er a wo - man’s bo - dy——_ F EWE ae fa ves. Step-ping out of the — page_ Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H OEA.6 Fm? F —s — in - to the sen - su-al world, EWE Em? BYE Stepping out, —______ To where the F E66 Dial? He ey Gall > <3 wa -ter and the earth ca-ress__and the down of a peach says mmh,. 8 i a — yes. Do I look for those mil - lion - aires like a Mach-ia-vel - li - an Dina? cm? F Ga fe te) Aa TRE girl______ would? When 1 could — wear a sun- 6 Dbmai? cm bm? Aa faa ae ii] ae <> o: < set mmh,. yes. — And how wed— wished to live— cm? Bom? cmt Bom? = a sen - su-al world. You don’t need words: justcut one kiss then an- oth = er, Step-ping EDF Fa? BHF out of the page _ in - to the sen - EWE BHF su + al world EWE BHF Fous? EWE fe And then our F 6 Dhei2 a HE 4 pee ar = rows of de - sire re - wrile_ the speech, mmh,——_ yes, — and then he cm? Fm? Ee HE HY fa ~ <_ yes, be safe mmh, whis - pered— would 1, mmb, Doma cm? HE! ea ¥ <> c — yes, from moun-tain flow - ers?. And at first with the charm a -round—Bs Dina? cm Bom? a ie a — hee mmh,_—-yes__—- He loosened it soit it cat Bm? Bbm? slipped be-tween my breasts _ Hed = res = cue it__ Se mmh, —____ yes. And his spark took life in my_ Ee Dona? cm mmh, yes, but not 5 Cm7sustLOVE AND ANGER Itlay buried here, itlay deep inside me. tssodeep | don'tthink that can Speak aboutit. Itcould take me all of my life Butit would only take a moment to. Telyou what 'm feeling But! dont know fl'mready yet. Youcome walking into this room Like you're walking into my arms, ‘What would do without you? Takeaway the love and the anger ‘Andalite piece of hope holding us together Looking fora moment thal never happen Livingin the gap between past and future Takeaway the stone and the timber ‘Anda ite piece of rape wontthaldittogether Ifyou canttel your sister Ifyou carittelapriest Canis deep yuck youcan Speak aboutit to anyone... Can youtellitto yout heart? Can you find itn your heart Toletgoof these feelings Like bel toa Southerly wind ‘we could be like two strings beating, Speaking in sympathy... What would we do without you? Twostrings speak in sympathy Takeaway the love and the anger Andalite piece ofhopehaldingus together Looking for a moment that'l never happen Livingin the gap between past and future Take away the slone and the timber Andaiitle piece of rope won't holdit together We're building ahouse ofthe future together (What would we do without you?) Wel, fi so deep you dont thnk that you Can speak about it Justremember to reach out and touch the past and the future. Wel fits so deep you dont think you can speak aboutit Dorit ever think that you carit change the past and the future. Youmight not, not think so now Butjust you waitand see —-someone will come to help you10 Love And Anger Words and Music by KATE BUSH Steadily cous oa ae It lay bur - ied here, it hy If you can't__________ tell your sis - ter if you ae Se = deep________ in = side ___ me.___ It’s so deep I don’t think that 1__ can’t tell a priest ’coz it's. so deep you don’t think that you— Fass He me — can speak a - bout it, ___— It could — cn speak a - bout it to an-y = one. Can you FIA take me all__ my life__ but it would on -ly take a mo- ment to— tell it to—— your heart?_ Can you find it' in your heart. © aa a8 a you what I'm feel - but 1 — tell to let go of these — feel - like a Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H OEA.% BF " (sbjc) Hi —— don’t know if I'm — rea- dy yet, You come walk - —— bell to a south - er - ly wind we could be F & Hg avo 4 een) See beter? SSS 6S SSE ing in to this room like you're walk - ing in - to my arms. — like two — strings beat - ing, —__ speak - ing in sym-pa - thy BoE F sat aes fied! AS and what would I do with - out a what —— would we do with - out ___ ss ‘Bx only hagas causa os , a = Two strings speak in sym = - pa thy. — Baas ca ae Take a-way the love and— the (What would we do with - out you? —_) a Bhsus2 e ae ae ag an - ger and a little piece of hope hold - ing us to-geth - er7 S BC Bhsus2 aed Hn Hg look-ing for a mo-ment_that-'ll nev - er hap - pen liv-ing in the gap be - tween F Bbc Ee a past and fu - ture take a-way the stone and the tim - ber and a — Be es = as fe lit-tle piece of rope won't-hold it to-geth - er. it to-geth - er We're ¢ BIC Bhsus? Ee ia ae build -ing_ahouse of — the fu - ture— to-geth-er. (What would we do with-out you? __ ¢ BIC Bhsus? F z A =, Well, it’s so deep_ Well, it’s so. deep hic Bhsus? ie ae —- — you don't think that you can speak = a= bout _____ it — you don’t think that you can speak a= «bout _—it¢ Bbc Bsus? F ae sid a a just. re -mem-ber_ to reach out and touch_ the past and the fu - ture, don’t ev - er think — that you can’t change. the past and the fu - ture. ¢ Bic Bosusz F ¢ ae ae ae ae me Bic By nee ¢ ie ae fae ae (What would we do with - out you?__) You might not,- 3 not think so now but just you wait Bbic Bsus? Hil He — and see some-one will come to help c Bhic Bhsus2/C FIC © fe a weTHE FOG Yousee, I'm all grown up now. He said “Just putyour feet down child ‘Cozyou'reall grown-up now’, Justlke a photograph | pick you up Justlke a station on the radio pick you up Justlike a face in the crowd ‘pick you up Justlke a feeling that you're sending out Ipickitup Butlcanttletyougo IHlletyougo Yousiipinto the fog. This love was big enough for the both of us, Thislove of yours, Was big enough tobe frightened of Itsdeep and dark like the water was, The day learned o swim. He said “Just put your feet down child” Just put your feet down child The waters only waist high [Met goof you gently Then you can swim tome. {sthis love big enough to watch over me Big enaugh tolet goofme? ‘Without hurting me Like the day learned to swim. “Cozyou'teall grown-upnow? Just put your eet down child The water is only waist high. {let go of you gently Thenyou can swim tome.16 The Fog Words and Music by KATE BUSH Steadily (nstr.) (Spoken): ‘You see, T'm all grown up now. He said: “Just put your feet down “coz you're all grown - up now.” Fm Bb6 1s aE By ——"—_ (sung): Just like a pho - to graph — Just lise a face in the crowd fs = eS cs — 1 pick— you up — I pick— you up just like a stat - ion on thera - just like a feel - ing that you're send - Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H OEA.Cm Be Fm Gn? + divo_sT-opick you up___ but can't 1 pick you up — let you go if 1 ket you go—___ you B Em a Fm im slip in = to the fog. —— Bh6 at cm SHY = > love was big ¢ - nough— for the both of us, — this Fm Ab6 ® cn qe Tree fa Hy was big © - nough ——__ to be fright-ened of — Jove of yours,Fm sust Gut ws HF Bg = it's deep and dark like the wa - ter was Bhs Fm6/Ab Gm? sust Fm EH grey aa oe the day 1 teamed to. swim. Gn Bb6 Fm (Spoken): He said: “Just put your feet down child” & Fm Eb6 Fm aa at fa eg just put your feet down child the19 Fm 4 Abs Gm? TH let go of you gent = ly Abs. Gm? sus ig _ then you can swim a) aa me. — Fmsust Gm? cm ies ait Is — love Gn? cm Fm idl ey fe == big = nough— to watch ov - er me— m9 at eT = big ¢- nough to let go of: me?__ With-out hurt - ing me — like the20 Fm Gm Fm EB at ae ge day 1 leamed—to swim. — (Spoken): “Coz you're gn 5 Fm B Fm pe fi ae a ay all grown up now.”” Just put your feet down child_ Fm 5 Fm a GE of you gent - ly then you can Eb6REACHING OUT See how the child reaches out instinctively Toteel how fre will fel ‘See how the man reaches out instinctively For what he cannot have. The pulland the push otal. Reaching cut forthe hand Reaching out for the hand that smacked Reaching out for that hand to hold. Reaching out for the Star Reaching out for the Star that explodes. Reaching out for Mama, See how the flower leans instinctively toward the light ‘See how the heart reaches out instinctively Fornoreason but to touch. The pul and the Push ofit ll Reaching out for the hand Reaching out for the hand that smacked Reaching out for that hand to hold, Reaching out for he Star Reaching out forthe Star that explodes Reaching out for Mama. (Cant we see...) Reaching out for Mama.Reaching Out Words and Music by KATE BUSH Eb/Ab Hai EbIAb a He ix cme AED the child rea - ches out in - the flower Jeans in - See how Bbieb Db/eb + stine = tive = ly feel how fire will feel. - stine - tive - ly to ward the light ____ ‘Cm/Eb ABIES = See how the man __ rea - ches out in - see how the —_ heart _ rea - ches out in - h(E f a bye [==y J] - stine - tive = ly for what he can - not___ have, - stinc - tive - ly for no tea - son Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H OEA.2B 5 & DYES ae but to touch. — The pull andthe push of __ ’ Db i ire : ae a ae 5 te — it reach - ing out for—_ the hand ies ee reach -ing out for— the hand that smacked reach- ing out for__ AED Es ea ig — the hand —____ to hold. Reach - ing out for__—the star” ‘Db/Eb reach - ing out — for — the eter: that ex - plodes. AbIEb — reach -ing out for B Eb/Ab ae Fe bab Fmyab Bb/Ab (Can't we see.) ~ E/Ab as Reach - ing out for mo -HEADS WE'RE DANCING You talked me into the game of chance, |twas '39 before the music started When you walked up to me and you said “Hey, heads we dance.” Well, didrit know who you were Until saw the morning paper There was a picture of you ‘picture of you ‘cross the frontpage |tlooked just lke you, just ike youin every way. Butit couldnt be true, Itcouldnt be true You stepped out ofa stranger They say that the Devils a charming man Andjust ike you | bet he can dance ‘And he’ coming up behind in his long Tiled black coat dance Alltailsin the air Butthe penny landed witht head dancing Apicture of you, a picture of you in uniform Standing with your head held high Hot down to the floor Butit couldn't be you Iteouldn't be you, ltSapicture of Hitler He go do-do-do-do-do He go do-do-do-do-do He go do-do-do-do-do Do you want to dance? ‘Well|, couldn't see what was to be ‘Sol juststood there laughing, ‘Apicture of you, a picture of youin uniform Standing with your ead held high Hotdown to the floor Butitcouldn' be you, Itcouldn'tbe you Isa picture of Hitler He go mmhsmmh-mmh-mmh-mmh Hegommh-mmh-mmh-mmh-mmh Hegommh-mmh-mmh-mmh-mmh Heads we're dancing27 Heads We're Dancing Words and Music by KATE BUSH Steadily Fao 3rd EWP Bor =. HBS ag ies — = You talked me in - to the game— of chance. Favs Eb ee aa It was thir - ty ~ nine be - Faust a et fore the mu -sic start ed —_ when you EbIE BoE oi ae a walked up to me and you said “Hey, heads we dance. Wj Ay did-n't know Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H OEA.— um - til 1 saw the mom - ing pa. = per. —_ EbE DWF Ee EE There was a pie-ture of you a pic-ture of you Foust EDF = ‘cross the front — page —_ it looked just like = you __ DBF i i just like you ine -ve -ry way. _ But it EbIF DbF could-n’t be true, —___ it could-n't be true aa SS — + os be you stepped out of a stran - ger.Fino 3rd a They say that_ the De - is oa Frsust ag a charm - ing man and just like you —____ T bet he can dance. and he’s com-ing up be-hind in his cat Ms Jong tailed _ black coat dance —__ all EDF DwF — tails ___ in the ee but the pen - Fm? CmTsuss me ae =, - ony lan = ded with its head danc_- ingEb/Ab b2/6 a pic - ture of | you a pic - ture of — you in un i = form___ stand = ing with your hI Foust head held high hot down to the — floor __ but it EOF DoF Foss ee Ee ae could - n't be you it could - n't be you__ it's a pic-ture of | Hit- Fraud BF - der. He 0 do - do - do-do - do he go He go mmh mmh mmhmmh = mmb he go Frsusd do - do - do-do - do he go do - do - do-do - do_ mmh mmh mmhmmh = mmh he go mmh mmh mmh mmh = mmha Fra rot a a (aos do you want to dance? Well EbIF Fisusd =— f 1 could-n't see what was to be —__ so 1 just stood— — there laugh - ing. = heads we're dane : ing. Frsust DBE do - do - do-do - do____ do - do - do- do - do Faust He Do youwan-na dance? | (DEEPER UNDERSTANDING Asthe people here grow colder |turn to my computer And spend my evenings with it Likea friend. | was loading anew programme \had ordered from a magazine “Are youlonely, are you lost? This voice consoles a must” \press Execute. Helo, know that you've been feeling tired, I bring you love and deeper understanding, Hell, know that you're unhappy bring youlove and deeper understanding Well venever felt such pleasure Nothing else seemed to matter Ineglected my bodily needs |did not eat, | did not sleep The intensity increasing "Tilmy family found me and intervened But! was lonely, | was lost Without my ite black box Ipick up the phone and go Execute Hello, | know that you've been feeling tired, I bring you love and deeper understanding Helo, know that you're unhappy, Ibring youlove and deeper understanding. Iturn to my computer like a friend Ineed deeper understanding. Give me deeper understanding,33 Deeper Understanding Words and Music by KATE BUSH Steadily Dm oust ‘As the peo - ple here grow cold - er 1 tum_ to my_ com-pu - ter and © wit cost ae te ey —~s spend my eve - nings with it like a friend. I was = cou ¢ load - ing a new pro - gramme 1 had ord - ered from a mag - a - zine Bsus? fae a wi “are you lone - = ly, are. you_lost? Dev Gauss Bs ag es ae This voice con-sole isa must” T press ex - e = cute. Hell - Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H OBA.4 i om Cs ag fied a 2 I know that you've been _—feel_- ing. tired, I bring you F B gn F 2 8B sib eae and deep-er un-der-stan - ding, Hell - 0, —_ I & fy (To Codae Be > be He and know that you're un - —hap~ py, — 1 bring you love qn Ei ag deep - er un - der-stand - ing. Well I've nev - er felt. such plea - sure no- thing oust Binal? is tf else seemed_ to mat - ter I ne - gleet- ed my bod -i ly oust iB at Sa! —— — needs 1 did not — eat, 1 did not — sleep__ the in - ten -oust Causa si-ty in ~ creas - ing ‘til my fam - i -ly— found me— and in-ter - vened — out omy lit = tle os FIA =] ie = and go ex-e- cute, Dm » black box 1 pick up the phone DS. al Coda CODA aa Hell - deep -er un - derstand - ing. F B | hell -0, — andgn De oust a EE if deep -er understand - ing, 1 tum to my com-pu - ter ‘tit eas like a — friend (instr, —__ eed 1 need bie? go, F » ey a deep-er un-der - stand - ing (Instr. Gm F 5 Ea i EB ) Give me deep -er un ~der-stand - ing B Ga Dm 2 i aa ieBETWEEN AMAN AND AWOMAN With her hand in his hand They were both happy again. Youstarted taking sides, They started arguing. He said it was her fault ‘She said it wasnitatall Butthe truth lies somewhere the middle. Where angels earto tread you gorushingin ‘Well had to tell you then ‘And now|'mteling youagain Stay outofthis ‘Youmust not interfere Dorit youseethisis Between aman anda woman? Every day and night, I pray, Pray that you wil stay away forever Isso hard forlove to stay together ‘With the modern Western pressures I doritwanttosayit But! had tel you then ‘Andnow I'm teling you again Stay outof this Oh, know youmeanto help me, ‘And! know you've good intentions But tay out ofthis, Thisisntyourproblem, Donot interfere --you are not needed here Letthe pendulum swing Between amananda woman. Don't you see you're in the way — Between aman andawoman, Every day and righ pray, Let the pendulum swing Between aman anda woman, Between aman anda woman.39 Between A Man And A Woman Words and Music by KATE BUSH Lively Fm B Ha a ae With her hand in his hand they were both hap- py a - gain. Dial? & He a =. You start-ed tak - ing sides,__—theystart- ed ar = - gu. = ing__ Fm 5 a — He said it was her fault she said it was - n't at all __ Dpmai7 m7 Fm GE! EH if but the truth lies some-where in the mid - dle, _ Where an - B Domai? Cm? ae es ab =~ + gels fear_ to tread___ you go rush - ing in Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H OEA.40 BF Fm Fm? Bhm/F well I and now I'm EDF had tell = - ing Bhsus4/F to tell you then Em? stay out this don't you see — Fa? ES this Fat you — must not. in + ter fere BI be - tween a man. BhF man?. Eve-ry day EF and night, 1 pray, pray that — youBhm/F way, BbIF a Fa? for-ev- er. Fm er It’s a hard EDIE with — Fa? the = for love to. stay to. - get mod = em ures __ don’t want to say__it__. BF ity but and had now I'm you tell - then stay outEm Em7+ He ae ions but stay out of BbF EbE Eb Fm Oh, 1 know. you mean to. help know you've good in - tent this is - n't your prob - lem, — BF = do not in — de tween a man and ter ~ fere you— are not_ He du = tum let the pen - swing — Fm Eb/F43 BhF Em EbIF ae ae EB Don't you see_ you're in the way BbIF Fat Eb be - tween a = man__ anda wo -_man. BF Fm BHF EF a Eve-ry day and night «1 pray, —__ EWE Fm HH let the pen - du -lum swing — Fo? Fm Zz and =a Wo - man, Eb Bbm/F BF EmNEVER BE MINE Hook t you and see Myf that might have been Your face just ghostlyin the smoke, They're setting fre tothe cornfields Asyou'te taking me home. The smell of burning fields Will now mean you and here, Thisis where | want tobe Thisis what | need Thisis where | want to be This what | need This is where | wantto be But! know that this will never be mine. oh, the thrill and the hurting The thrill and the hurting know that this will never be mine. |wantyouas the dream Notthe realty That clumsy goodbye kiss could fool me Butl'mlooking back over my shoulder Atyou, happy without me. Thisis where want to be This is what | need This is where | want to be This is what | need This is where | want to be But | know that this will never be mine Ooh, the thrill and the hurting Willnever be mine Thethillandthe hurting {twillnever be mine. Itcannever be The thr andthe hurting Willnever be mine.5 Never Be Mine Words and Music by KATE BUSH Not too fast Cm7susd Baca Gmisust Gt fe ie} 1 look at_____you and my Tife that — Cm7aust Cm & at a I 4 <_ might have been — your face just ghost - ly in the smoke. Gat Abajo Ge Ea ee They're set - ting fire. to the = com- Abmai9 Bosus2+4 Cm7auss a ae ay Ss - fields as you're tak - ing me home, ‘The smell of Bhadgo Fmsust Gm7aust He ey V3 bum -ing — fields— will now mean you and here. Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H OEA.Bhadas Ge Fm? This Gm? what oT need this fa "5 ten g i att i where 1 want to this Fm? Fa? EWG and 1 know that — Ey fii this will this yadds ae where 1 want to Bbadao oe is where I want to. be— EbIG Be nev-er be mine. — To Coda® Fm? Eb/G ey Ei fie] < Fm? Eb/G ii the thrill Fm? EbIG a BB Tx and ie er my shoul - kiss____could Bsus? ae der fool — but I'm me or DS. al Coda =a at you, hap-py with - out me, — Fm? —_Eb/G Bs nf = will nev-er be mine _ Fm? EWG be a 6p eae = the hurt - ing— Em? Eb/G a Ix Ad libs —to EndROCKET'S TAIL (For Rocket) That Noverber night, looking up into the sky, YYusaid Hey wish that was me up there— Itsthebiggestrocket could ind Andi holding the night init arms ony foramoment, Icaitsee the look nits eyes Butl'm sureit must be laughing! Butitseemed tome the saddest thing 'dever seen ‘And thoughtyou were crazy wishing such thing — I saw only a stick on fire None ont journey Home to the quickening ground Withno one there tocathit Iputon my pointed hat And my black and siver suit AAnd| check my gunpowder pack ‘And| strap the stick on my back And dressed as arocket on Waterloo Bridge Nobody seems to seeme Then wih he fuse in my hand ‘And now shooting nto the right Andstilasarocket llandin the ver. Wasit me said you were crazy? | put on my cloudiest suit Size lightning boots to ‘Cozlamarocket Ontire Lookatme go with my talon re With my tll on ire Oniire Hey lok atme go, lok a meRocket's Tail (For Rocket) Words and Music by KATE BUSH Moderato gm m7 B F a Aaa | EB ae look -ing up in-to the sky, you said That No + vem-ber night ¢ cm B Ei} i EB “Hey, wish thatwas me up there —__ it’s the big-gest rock-et_ I could find and it’s hold-ingthe night in its arms if on - ly for a cm F B _* mo - ment. I can’t see the look in its eyes butI'm sure it must be F Gm cm Eb an tn eet at laugh = ing.”_ But it seemed to me the sad-dest thing Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H OEA.Td ev-er seen— and Frusd such a Fsus2 on its thing— 1 1, 1 thought you were F ae saw on = ly a stick oust F ae Ee) jour - ney F gm ae home to the quick -en -ing 31 cma at wish-ing cra - zy 5 on fire a - Tone- 5 HB S, ground _ with no - one there to a and my black strap the stick catch it, F a sil-ver suit and 1, 1 Guus tit ~ on my back — and dressed 1 put on my point-ed hat and tn a check my gun - pow-der pack_ and 1__ a asa rock - et on52 Fesus? ae a a Wa-ter-loo bridge. no - bo - dy seems to see me._ Then with a fuse in my ae a Ei a i hand and now shoot -ing in - to the night. cm F cm & ah He if a And still as a rock-et I land in the riv - er was it said you were cra = zy? faF 8 Fa | 6 " ire put on my cloud - i -est suit zB a) fii] sie 5 light - ning boots cm? es ee too "con 1 am a rock-et gm cm? 8b | 7” ge on tail on fire fire __ ca? 8 F sty ie ae cm? tty gee with my tail on fire — on fire— hey, look at me go, — 5 a look at look at me _ all,THIS WOMAN'S WORK Pray God you can cope | stand outside this womans work, This woman's world, oh, its hard on the man Now his partis over ‘Now starts the craft ofthe father. {know you have alittle life in you yet {know you have aot of strength eft {know you have alittle in you yet know you have alot of strength left I should be crying but lust catletit show | should be hoping but | cant stop thinking Ofallthe things | should ve said That never said, Allthe things we should've done Thatwe never did, Alte things | should ve given But! didn't Oh, daring, make it go, Make it go away. Give me these moments back Give them back tome Give me that litle kiss Give me your hand. {know you have ait itin you yet | know you have alt of strength eft {know you have ait lifein you yet {know you have aot of strength et I should be crying but lust cantletit show {should be hoping but | cant stop thinking Ofallthe things we should've said ‘That were never said. Allthe things we should've done That we never did ‘Allthe things that you needed from me ‘Allthe things that you wanted for me ‘Althe things | should've given But! didn't Oh, darling make it go away Justmake it go away now.This Woman's Work Words and Music by KATE BUSH Slowly DWF EWG AWC hm? DoF EWG AWC Bhat a EB at) EEE Ah ha ooh oh —__ ah-ha ooh Dy EWG. AbIC Bim? AWC Db on =< a ah-ha ooh ooh_ ooh, ___ Pray God Abc Db AbIC by ane ae iy —— youcan cope I stand__ out - side this wo-man’s Domnaj7/F EWG. Fm B Bb iif Ei a op ie work, this wo-man’s world. Ooh— it’s hard-_ on the man now his part is ov - now starts the craft of the fa - Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H OEA,DWP EWG DIF 8 rey ia aE He ther. 1 know you have a lit - tle life in you yet Abc Bom Db & #333 ae res a I know you have a lot of strength left Ishould be cry-ingbut I just can’t let it show AbIC Bim De 5 ie aE iB — | should be hop-ing but I can't stop think-ing of all the things I should've said but I ne-ver said, Dir 5 a Ea] Ge ee all the things we should-'ve done_though we ne-ver di all the things I should've gi-ven but Idid-n't._ DoF 5 Bb be 5 eae a i a ae == Oh dar - ling makeit go ___ make it go a- way Bhm_ 4 a DWE eb isaedl ie a Give me these _5 asic bm DWF EB — mo - ‘ments — back give them Abie Bom DyF give me that —— hand. I know you havea lit-tle life you yet 1 know you have a lot of strength left. ave Bm tt ae = SS vee vurrcgs @ I know you have a lit-tle life in you yet 1 know you have a lot of strength left. > 6 asic bi a eh #85 i I should be cry-ing but I just can't let it show58 DWF B Bm a a8 oe I should be hoping but I can't stop think - ing. DoF EWG ae ea za fall the things we should-'ve said but we ne-ver said all the things we should-"ve done but we ne-verdid DyF Eb/G AWC Bbm Hai g ae all the things that you want - ed from me all the things that you want-ed for me Db B Bhm7/F 5B ae ae a] ‘ll the things 1 should-"ve gi- ven but 1 did - n't Dhmai? ae On, dar = ling make it go oa - way Abc Dwr EG just make it go a+ way now.WALK STRAIGHT DOWN THE MIDDLE Can't move my arms Can't move my legs Can't say no, | can't say yes Can't help myselt | need your hep. We go.. (oh, Ooh, what do we do, now we dust can't move? We'e caling out for Nidde Steet nh, Ooh, what do we do, Now we just can't move? ‘We hang on to every line ‘And walk straight down the middle of it He thought he was gonna de But he didn't ‘She thought she just couldn't cope But she dd We thought it woud be so hard But it wasm't.it wasn't easy though! Can't say yes | can't say no Cari begin Can't et go.. Help me now. We go oh, Ooh, what do we do, now we ust can't move? Wet caling out for Middle Street Ooh, Ooh, what do we do Now we just can't move? ‘We hang on to every line ‘And walk straight down the middle of it He thought he was gonna die But he didnt ‘She thought she could never cope but she did We thought it was all over But it wasnit._.| hadn't started yet. ‘And walk straight down the middle of it ‘And walk straight down the middle of it Caling out for Middle Sveet We'e caling out for Middle Street Waking staight down the middle oft61 Walk Straight Down The Middle Words and Music by KATE BUSH Slowly (Cno 3rd add Bbno 3rd add9 ir ae ==. Can't move my arms — can't move my legs csus2 Ca can't say no,___sT_s can't say yes. bmi? can't help my -self I need your help. — We go ooh, ooh, ~—what do we do, now we just can’t move? cm a \ ing out for Mid dle Street. we go ooh, ooh, what do we do, now we Copyright © 1989 KATE BUSH MUSIC LTD., London WC2H 0EA.just can’t move? walk straight down the mid - dle Db Ey We — hang of it, on to eve-ry line and Fm ABIES He thought Fm ABE eS iS he was gon-na die but a 5 He Ea S she just could-n't cope — ome cm ae — he did - n't but she did she thought To Coda @ cmo Fm AME it would be so hard but it Badd ae - y— though! — was - n't__ ous? a it was-n’t eas - cm ain si) I can'tsay yes I can't. say no_6 Bhada9 Abmaj7 Gaye a att DS. al Coda 2S = = can't be-gin_ can’t let go help me now. CODA o Fm Bsus Abmai7/c 8 ee an ate He a Ht FB Hee we thought it was all ov -er—_ but it was-n't__ it had-n't como Bhaaa9 Abmai? aa a Et Walk straight down the mid - dle of it, — cmt om cml cm ae i We're call-ing out for Mid -dle Street cml on cm? me 2 ah walk - ing straight down the middle of it.THE SENSUAL WORLD LOVE AND ANGER THE FOG REACHING OUT HEADS WE'RE DANCING DEEPER UNDERSTANDING BETWEEN A MAN AND A WOMAN NEVER BE MINE ROCKET’S TAIL (For Rocket) THIS WOMAN'S WORK WALK STRAIGHT DOWN THE MIDDLE 2- Order Ref 14451 ‘Southend Road, Woodtord Green, Essex IG8 HN, England 9 "780863!596827