Director’s Cut is clearly an album Bush made largely for herself, and at this point in her career, she’d surely earned that privilege. Her main goal was re-working material from The Red Shoes, warming up that album’s sterile, digitized production. She succeeded: “Lily” is transformed into a ghoulish funk ceremony, with Bush’s Christian-witchcraft poetry bolstered by John Giblin’s liquidy bass ; liberated from its dated mix, “Rubberband Girl” emerges as a raw, Stones-y rocker. Some re-casted moments from The Sensual World feel less necessary (Did gaining lyrical access James Joyce’s Ulysses really add much to the already-splendid title-track?), but even the least revelatory moments on Director’s Cut still feel sonically fresh.