Anderson and Berenyi had been friends since the early 1980s, and published the Alphabet Soup fanzine together. In 1986 Anderson joined The Rover Girls as bassist and Berenyi joined The Bugs as guitarist but neither band lasted long.
Lush formed in 1987, initially named The Baby Machines, with a line-up of Meriel Barham (vocals), Emma Anderson (guitar), Miki Berenyi (guitar), Steve Rippon (bass), and Chris Acland (drums). After Rippon joined, the band members decided on a change of name to Lush, making their live debut at the Camden Falcon on 6 March 1988. Barham was fired, with the rest of the band deciding she lacked commitment (she later joined Pale Saints). Anderson and Berenyi then took on lead vocal duties.
Lush gained recognition when Robin Guthrie helped the band sign to 4AD. The band's first release was Scar, an EP, in 1989. Critical praise for Scar and a wildly popular live show established Lush as one of the best-selling alternative bands of the period. That year the EPs Mad Love, produced by Robin Guthrie, and Sweetness and Light, produced by Tim Friese-Greene of Talk Talk fame, followed.
In 1990 the compilation Gala, which combined the material from the first three EPs, was released by Reprise in the United States, this being the first exposure of Lush in North America.
Lush's first full-length album of completely new material was Spooky in 1992. Produced by Robin Guthrie, Spooky featured a sound very similar to Guthrie's band Cocteau Twins, with walls of sound and a great deal of flange. Reviews were mixed and critics of the album hold that Guthrie's production brought the sound away from the band's original creative vision. Bassist Steve Rippon left the band at this stage in order to concentrate on writing, though his book Cold Turkey Sandwich - a fictionalized chronicle of his time in touring - was rejected by publishers. He was replaced by Phil King. Also in 1992, Lush toured America as part of the Lollapalooza festival.
The band's second studio album Split was released in 1994 and featured a harsher sound alternated with long and softer tracks as "Desire Lines" and "Never-Never". Despite critical praise, the album sold poorly.
After adapting to the newly popular sounds of the Britpop era, Lush's 1996 Lovelife became the biggest seller of their career, including the hit singles "Ladykillers", "500" and "Single Girl", which was released in several different versions with different tracks along with the title track. Also on this album, Jarvis Cocker from Pulp contributed guest vocals to "Ciao!" and the record included the now classic/melancholic favorite "Last Night".
In 1996, drummer Chris Acland committed suicide by hanging, at his parents' house, allegedly due to depression. The situation proved too hard for the band, and in 23 February 1998 the three remaining members of Lush decided to disband.
Emma Anderson has since formed a new band, Sing-Sing, who have released two full-length albums to date.
On September 28th 2015 Lush announced their reunion. The reunited band consists of Anderson, Berenyi & King with the addition of Justin Welch on drums, an old friend of Acland.
Lush discography:
Scar EP (1989)
Mad Love EP (1990)
Sweetness and Light EP (1990)
Gala compliation of the above EPs (1990)
Spooky (1992)
Split (1994)
Lovelife (1996)
The Childcatcher
Lush Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The innocence I find between your girlish thighs is like the fountain of youth to my old bones."
And she replies, "Daddy's little girl's a precocious child
I love to please, I'll do anything that you ask of me
Eager to fulfill all of Daddy's needs."
"Baby," he says, "I can never love older girls like I love you.
'Cause you accept everything I say and do."
And she replies, "I'm in no position to make demands.
I have no past, no one else has done to me what you do.
I've got no one else to compare you to."
"And as you grow older, try to stay sixteen all your life,
Old women grow bitter, don't let that happen to you."
"And why is it charming pretending I'm younger than my years?
Why can't I grow up with dignity, set me free?"
"Baby," he says, "Now that you're older I feel our love has died.
Once upon a time you never criticised me.
Oh, I much preferred you as a child."
And I reply, "Everything you said to me was a lie.
I know your kind, you just want a daughter without a wife.
You don't need a girlfriend you need a life."
The Childcatcher by Lush is a dark and disturbing song that tells the story of a man who sexualises and objectifies a much younger girl. The lyrics are from the perspective of both the man and the girl, providing a glimpse into the twisted dynamic of their relationship. The song opens with the man comparing the girl to a "clean white page" and himself to a pen, implying that he has the power to shape and control her. He goes on to describe her innocence and youthfulness as being like a fountain of youth to his "old bones," which further underscores his predatory nature.
The girl's responses to the man's advances are equally troubling, as she describes herself as "Daddy's little girl" who will do anything to please him. She also admits that she has no one else to compare him to, which suggests that she may be trapped in this abusive relationship.
As the song progresses, the man's true motives become clear. He admits that he prefers younger girls because they are easier to please and will not challenge him. He also warns the girl against growing older and becoming bitter, as he seems to fear losing his power over her. The girl, however, grows increasingly frustrated with the man's demands and eventually confronts him, calling him out for lying to her and using her as a substitute daughter.
Overall, The Childcatcher provides a chilling commentary on the dangers of sexualising young girls and the lasting damage it can cause. The lyrics are powerful and unsettling, forcing listeners to confront the uncomfortable reality of child sexual abuse.
Line by Line Meaning
"Baby," he says, "You are like the clean white page and I the pen.
He compares her to an unblemished, blank page and sees himself as the one who will leave marks on it.
The innocence I find between your girlish thighs is like the fountain of youth to my old bones."
Her virginity and youthful nature is a source of rejuvenation for him, despite their age difference.
And she replies, "Daddy's little girl's a precocious child
She identifies herself as a 'little girl' to please him, despite her growing age and maturity.
I love to please, I'll do anything that you ask of me
She seeks validation and acceptance from him by being submissive and obedient.
Eager to fulfill all of Daddy's needs."
She prioritizes fulfilling his desires over her own wants and needs.
"Baby," he says, "I can never love older girls like I love you.
He implies that he prefers younger girls who are easier to manipulate and control.
'Cause you accept everything I say and do."
He values her lack of objection to his actions and opinions, and takes advantage of it.
And she replies, "I'm in no position to make demands.
She feels powerless in their relationship, unable to voice her own desires or opinions.
I have no past, no one else has done to me what you do.
She sees him as the only person who has ever shown her affection and attention, despite his true intentions.
I've got no one else to compare you to."
Her lack of experience with other relationships limits her ability to recognize how toxic theirs is.
"And as you grow older, try to stay sixteen all your life,
He encourages her to remain innocent and naive, rather than allowing her to grow and mature.
Old women grow bitter, don't let that happen to you."
He propagates harmful ageist and sexist stereotypes, suggesting that mature women are inherently unhappy and unattractive.
"And why is it charming pretending I'm younger than my years?
She questions why society values youth and innocence over maturity and wisdom.
Why can't I grow up with dignity, set me free?"
She challenges him to let her grow and mature with respect and autonomy, rather than continuing to treat her like a child.
"Baby," he says, "Now that you're older I feel our love has died.
He no longer finds her youthful nature and submissive behavior appealing, as she is no longer a child.
Once upon a time you never criticized me.
He preferred her when she was too naive to recognize and challenge his harmful behavior.
Oh, I much preferred you as a child."
He longs for the power and control he had over her when she was younger and more innocent.
And I reply, "Everything you said to me was a lie.
She finally recognizes that he has been manipulating and lying to her all along.
I know your kind, you just want a daughter without a wife.
She sees his true intentions, that he wants the affection and submission of a daughter rather than an equal partner or spouse.
You don't need a girlfriend you need a life."
She realizes that the root of their unhealthy relationship is his own deep-seated issues, and that she is not responsible for fixing them.
Lyrics © BMG Rights Management
Written by: MIKI BERENYI
Lyrics Licensed & Provided by LyricFind