Kate Bush - Running up that Hill - main synth sound

[S.Crow]

This Woman’s Work, I can’t listen to that lightly, I have to be in the right mood, preferably alone.

I know what you mean as that song cuts me very deeply.
Although I know it via the Maxwell live version and after that I discovered her original which doesn't do it for me.
I know, sacrilege!
Here's the video of his live performance and his voice is amazing:
https://youtu.be/-JYxc5ftEzg

[Arpangel]

This Woman’s Work, I can’t listen to that lightly, I have to be in the right mood, preferably alone.

I know what you mean as that song cuts me very deeply.
Although I know it via the Maxwell live version and after that I discovered her original which doesn't do it for me.
I know, sacrilege!
Here's the video of his live performance and his voice is amazing:
https://youtu.be/-JYxc5ftEzg

Two completely different versions, completely.
I found the male visual aspect, and the falsetto, a bit distracting, but it was still a powerful performance, it’s a very deep feminine song though, I’m not sure I could sing it with conviction being a man.

[S.Crow]

Two completely different versions, completely.

Definitely, like the difference between the original version of All Along the Watchtower and the definitive cover version.
I like some of Kate’s stuff a lot, but on some of her songs her voice spoils the song for me, I just don’t like the tone.
On this one, for me, her voice is more akin to Dylan’s harmonica than the majesty of Maxwell.
It’s funny to listen to Dylan’s warbling on the original after listening to the skill of Hendrix on the cover.
I also don’t like the production, too much reverb, and it sounds like a demo to me.
I couldn’t play it all the way through just now, don’t want to tarnish my relationship to the song.

[Arpangel]

Two completely different versions, completely.

Definitely, like the difference between the original version of All Along the Watchtower and the definitive cover version.
I like some of Kate’s stuff a lot, but on some of her songs her voice spoils the song for me, I just don’t like the tone.
On this one, for me, her voice is more akin to Dylan’s harmonica than the majesty of Maxwell.
It’s funny to listen to Dylan’s warbling on the original after listening to the skill of Hendrix on the cover.
I also don’t like the production, too much reverb, and it sounds like a demo to me.
I couldn’t play it all the way through just now, don’t want to tarnish my relationship to the song.

Have to disagree completely, her version has a feel, that’s different to the context he’s trying to put it in, too much reverb? just the right amount for me.

[S.Crow]

As much as I respect KB and admire some of her songs, it’s sometimes in spite of her vocals. It’s a bit fingers on a blackboard for me at times.
Wuthering Heights was a good case in point. It almost sounds like a comedy version of a singer being done by Pamela Stephenson.

The production work is usually to my liking except for this case where it jars.
The combination of the voice and the production kills it for me.
Not sure if I have ever made it to the end.

[Eddy Deegan]

As much as I respect KB and admire some of her songs, it’s sometimes in spite of her vocals. It’s a bit fingers on a blackboard for me at times.

I'm a big fan of Kate Bush and think she's an exceptionally talented songwriter/performer but I know what you mean. She has an incredible voice but when she's hitting the higher octaves on an ongoing basis there is something I find slightly stressful about it, as if part of me is desperate for her to resolve back to a more comfortable pitch.

That said I think it's probably more my problem as a subjective listener. That vocal style definitely works for her as an artist. Kate's work is right up there with Mike Oldfield's for me in the emotional connotation sense. I've had many a wonderful evening listening to either or both of them.

[DunningUpThatHill]

As much as I respect KB and admire some of her songs, it’s sometimes in spite of her vocals. It’s a bit fingers on a blackboard for me at times.
Wuthering Heights was a good case in point. It almost sounds like a comedy version of a singer being done by Pamela Stephenson.

The vocals on WH = acquired taste, but I actually like them. I file them under KB’s characters. Young KB was no stranger to theatrics and many of her songs are not merely written but performed from the perspective of some persona she steps into. When it isn’t a crazy high pitched voice like on WH, it’s an accent like the mockney on There Goes a Tenner or the Aussie (well…) on The Dreaming. And she did indeed say in interviews that she sang WH like that because the song called for it. (I almost can’t handle how adorable she was in that clip… her speaking voice beats any ASMR)

My #1 KB nails on chalkboard issue is her tremolo. The title song on The Sensual World is riddled with it, particularly on the ’Mmmmm-m-m-m-m-m-m yesss…’ bits. It doesn’t sound remotely ”sensual”, it sounds unnatural and labored, with a speed like a goat on spin cycle. On Heads We’re Dancing she does the spin cycle LFO on every syllable from start to finish. I know from other songs that she’s perfectly capable of producing a normal, pleasant and moderate speed vibrato, so it’s a mystery why she sometimes makes the deliberate choice to do the goat on spin cycle thing or the stuttery irregular tremolo that sounds like she’s in dire need of a blanket after having been rescued from drowning in ice water.

[Arpangel]

As much as I respect KB and admire some of her songs, it’s sometimes in spite of her vocals. It’s a bit fingers on a blackboard for me at times.
Wuthering Heights was a good case in point. It almost sounds like a comedy version of a singer being done by Pamela Stephenson.

The production work is usually to my liking except for this case where it jars.
The combination of the voice and the production kills it for me.
Not sure if I have ever made it to the end.

Whoa! back up a bit son!
Right, listen to Bulgarian voices, those women, nothing more to say.
Miss Bush was making western popular music, using at the time, a technique that seemed very strange, a hybrid voice, but now, it all makes sense, she even got those women to help her out on one of her records.
Their voices make Kates seem positively normal to us, she was taming it down, and making it acceptable to popular tastes.
After hearing Wuthering Heights, I ran at full speed down to my mates house, burst through the door and screamed WTF! You’ll never guess what I’ve just heard! HEAVEN! some bird called Kate Bush?! quick! get that record!
I’m now trying to figure out how to incorporate Tuvan throat singing into my music.

[DunningUpThatHill]

Well well, looks like this old gem is now suddenly the hottest item on iTunes after being prominently featured in Stranger Things 4 on Netflix. Kate's been trending on Twitter non stop for over a week and it seems like all of Gen Z is now hearing RUTH for the first time. Is this where the be-all end-all investigation happens?

[Arpangel]

Well well, looks like this old gem is now suddenly the hottest item on iTunes after being prominently featured in Stranger Things 4 on Netflix. Kate's been trending on Twitter non stop for over a week and it seems like all of Gen Z is now hearing RUTH for the first time. Is this where the be-all end-all investigation happens?

You’ve managed to mention more or less everything that when I talk about them I have to make the sign if the cross, to protect me from their demonic forces.
iTunes Netflix Twitter
I think I’ve filtered down to the Red Shoes, as my all time fave of hers, it’s impossible really, but that one still gets played here.

[djcozzer]

Cello 2 with dollops of portamento

[Valiant]

Well well, looks like this old gem is now suddenly the hottest item on iTunes after being prominently featured in Stranger Things 4 on Netflix. Kate's been trending on Twitter non stop for over a week and it seems like all of Gen Z is now hearing RUTH for the first time. Is this where the be-all end-all investigation happens?

Hey! I've been trying to make as close to a 1:1 remake as possible in Ableton and came across your posts. Is there any chance of getting a sound demo or more detailed steps? The samples are clearly what she used, but her processing almost completely changes the tonality of them. I can't describe it, but these sounds alone just aren't enough.

I can't find any combination of chorus, delay, EQ, etc. to get a truly accurate remake of that lead line. I've even tried tape VSTs mimicking the tape machine she would have used and shaping the sound with super short IR's of the RMX16 that she was known to use too hoping to get closer.

No videos on youtube, or obscure posts have come close to an authentically accurate recreation, they're always decent foundations but nowhere in the same league.

I'd be incredibly grateful if you could take the time to break things down in as much detail as possible.

Thank you for your discoveries so far!