Song of the Day: War in Music (Day Two). “Our Little Army Boy is Coming Home from B.F.P.O …”

Army Dreamers was the third and final single released from Kate Bush’s third album Never for Ever (1980).   The song is about the effects of war and a mother grieving following the death of her young soldier son after he is killed on military manoeuvres.  During the grief process, she wrestles with her guilt over what she could have done to prevent it.

In the song, the acronym “B.F.P.O” stands for “British Forces Post Office”, the postal system for the British armed forces, who deliver the message:  “Our little army boy is coming home, from B.F.P.O”.  Whilst the B.F.P.O are responsible for all manner of post being delivered between soldiers and civilians, they are also responsible for the delivery home of the bodies of soldiers killed in action overseas.  The conflict which Bush refers to in the song is the Northern Ireland conflict, made apparent by the slight Irish inflection in Bush’s voice as she sings and also in performances of the song on television around the time of the song’s release, where she dresses as a housewife and an Irish jig is incorporated as part of the choreography.  At the time of its release, the Northern Ireland conflict was highly relevant.

As the song continues, in the line “Mourning in the aerodrome”, we find “Mammy” waiting for her son’s body to arrive home.  The line “The weather warmer, he is colder” is suggestive that the song is set in either Spring or Summer but despite the change in air temperature, “Mammy’s hero” is cold because he is dead.  The line in the chorus, “But he never had the money for a guitar” is suggestive that the dead soldier was from a poor background and thus, Army Dreamers could be seen as a statement on how the military can take advantage of the lower classes.

The song’s chorus finds the dead soldier’s mother thinks about what her son could have done with his life instead of joining the army, if only he had had the opportunity to do so.  “Should have been a politician , But he never had a proper education”, sings Bush, referring the way in which the Army is often an option for those without a formal education.  The reference to the profession of ‘politician’ is interesting as the dead soldier was taken advantage of by politicians to fight their country’s battles but politicians themselves are usually able to escape fighting in conflicts due to their privileged backgrounds.  Further to this, “Mammy” laments that he “Should have been a father, But he never even made it to his twenties”, a criticism of the army cheating young men out of ordinary lives.

The third verse finds “Mammy” telling of the futility of war whilst weeping over her son’s coffin:  “Tears o’er a tin box, oh, Jesus Christ, he wasn’t to know, Like a chicken with a fox, He couldn’t win the war with ego”.  The fourth verse of the song tells of how the army may have honoured the dead soldier with military medals but no amount of these awards were worth his life:  “Give the kid a pick of pips, And give him all your stripes and ribbons, Now he’s sitting in his hole, He might as well have buttons and bows”.   These verses are key to the subversive nature of the song, which suggests that the army is pointless.  This message had already been seen in the chorus with the words “What a waste”, whilst in these verses, Bush tells of how medals won for bravery and valour have no more significance than buttons and bows and that they are merely shows of ego.

As with all Kate Bush singles, Army Dreamers featured an astounding and memorable promotional video.  The video opens with a close up shot of Bush, dressed in dark green army camouflage and holding a child.  The child represents the mother’s memory of her deceased son.  Bush blinks in time with the sampled gun cocks in the song.  The camera pulls out and shows that Bush has a white-haired child on her lap.  The child walks away and returns in a military combat uniform.  Bush and several soldiers make their way through woodland amongst a series of explosions.  Interestingly, one of the soldiers has ‘KTB’, a monogram that Bush used early in her career, etched on the butt of his rifle.  Later in the video, Bush reaches out for the child soldier, but he disappears.  Finally, one of the soldiers is blown up.  Bush has said of the promotional video for Army Dreamers that it is one of the few times she has been completely satisfied with a promotional video for one of her songs.  In a 1980 interview with Doug Pringle for Profiles in Music, she explained:

“For me, that’s the closest that I’ve got to a little bit of film.  And it was very pleasing for me to watch the ideas I’d thought of actually working beautifully.  Watching it on the screen.  It really was a treat, that one.  I think that’s the first time ever with anything I’ve done I can actually sit back and say, “I liked that”.  That’s the only thing.  Everything else I can sit there going, “Oh, look at that, that’s out of place”.  So I’m very pleased with that one, artistically”.

Song of the Day: Crime in Music (Day Seven). “Hey Little Girl, Do You need A Ride?”

Diane is a song recorded by St. Paul, Minnesota band Husker Du for their 1983 Metal Circus EP.  Written by drummer Grant Hart, the song concerns the abduction, rape and murder of West St. Paul waitress Diane Edwards, whom Hart vaguely knew, by Joseph Donald Ture in 1980.  Ture (pronounced Toor-ee) was convicted of the kidnap, rape and murder in 1981 and sentenced to life imprisonment.  Whilst serving his sentence, Ture was also found guilty of the 1979 murder of eighteen year old Marlys Wohlenhaus in rural Alton, Minnesota and sentenced to a second life, consecutive life term.  Ture was later also found guilty of the murder of thirty-six year old Alice Hurling and three of her four children at their home in St. Cloud, Minnesota in 1978.  At the time of these convictions, Ture was also serving consecutive sentences of three Minnesota rapes.  Ture has always protested his innocence in relation to the homicide charges.

Diane is a graphically dark song telling how the abduction, rape and murder of Diane Edwards took place, told from the perspective of the murderer.  “Hey little girl, do you need a ride?  Well, I’ve room in my wagon, why don’t you hop inside, We could cruise down Robert Street all night long, But I think I’ll just rape you, and kill you instead” sings sings Hart in the opening verse of Diane, detailing what happened to Edwards and giving the listener a glimpse into the thoughts, desires and psyche of the killer.

In the second verse, the killer is seen attempting to convince his prey that his intentions are honourable by attempting to get her to go to a party with him:  “I heard there’s a party down at Lake Cove, It would be so much easier if I drove, We could check it out, we could go and see, Oh won’t you come and take a ride with me”.

As the song continues, verse three offers more insight into the killer’s depraved and twisted mind and we see the scene of the murder, with the lines, “We could lay down in the weeds for a little while, I’ll put your clothes in a nice, neat little pile, You’re the cutest girl I’ve ever seen in my life, It’s all over now, and with my knife”.

As with many of Husker Du’s songs, the lyrical content is brief, with Diane having three verses.  However, this briefness is the key to Diane’s effectiveness because it doesn’t say any more than it needs to.  What it does say though makes for some very dark and disturbing listening.  The wonderful verses are complimented by one of the most deceptively simple choruses in music history.  The chorus is simply Diane sung three times but with the backing vocals putting an inflection on the pronunciation of the name to emphasise the first syllable, making it:  “Die Anne”.

Whilst Husker Du’s original version of Diane is stirring and frightening enough, Northern Irish band Therapy? covered the song in 1995 for their album Infernal Love and released it as the third single from the record.  This version, as opposed to the fuzzy guitar that adorns the Husker Du original features just a haunting cello and singer Andy Cairns’ mighty voice on the main vocal and backing vocal.  The ingenuity of the backing vocal is made even more apparent on the Therapy? version, perhaps because of the starkness of the song’s cello only backing track.  When released as a single, Diane was coupled with a video every bit as graphic and powerful as the song itself, directed by W.I.Z, which breathed even more new life into the wonderful song.

Speaking of the song in an interview with Thumped in 2012, Grant Hart, when asked “How much of yourself do you put into what you do?  What I mean is, are you inseparable from the music you make or the art that you create?  Or is it a different you that we hear on record or see on stage?”, replied:

“Perhaps the best answer I can give to that question is … if an artist is honest and is not trying to come off as something they are not, then they are putting as much of their self into the songs they write as they can.  I stopped playing Diane because I could no longer stand putting on the mask of a monster.  A book came out about one of Diane Edwards’ murderer’s other victims [Justice for Marlys by John Munday (2004)] and it made me physically sick.  There was not as much info about the Edwards murder as the other girls.  The cruelty that this psychopath confessed to made me bloody-minded myself”.

Storm The Embassy: Ten Songs About Hostages. The Siege of the Iranian Embassy in London Ends After A Dramatic Raid by SAS Commandos. This Day in History, 05/05/1980.

1.  Stray Cats ‘Storm the Embassy’

(from the album Stray Cats, 1981).

2.  Muse ‘Stockholm Syndrome’

(from the album Absolution, 2003).

3.  Donna Summer ‘The Hostage’

(from the album Lady of the Night, 1974).

4.  Sia ‘Hostage’

(from the album 1,000 Forms of Fear, 2014).

5.  Scott Walker ‘Track Five’

(from the album Climate of Hunter, 1984).

6.  Blur ‘There Are Too Many of Us’

(from the album The Magic Whip, 2015).

7.  Black Box Recorder ‘Kidnapping An Heiress’

(from the album England Made Me, 1998).

8.  Suzanne Vega ‘If I Were A Weapon’

(from the album Songs in Red and Grey, 2001)

9.  David Bowie ‘1984’

(from the album Diamond Dogs, 1974).

10. Elvis Costello ‘Radio Silence’

(from the album When I Was Cruel, 2002).