Kate Bush is a fascinating and awkward individual. I really love "Wuthering Heights" - it burst onto the music scene in 1978 and grabbed everyone's attention largely because of Bush's remarkable voice. I remember her on Top Of The Pops, in her black dress and white dress versions doing her amateur dramatics dance interpretations of the words of her songs. It wasn't a good image - such Pans People type dancing had always been, along with the DJ presentation, one of the embarrassing aspects of watching TOTP, but grudgingly accepted as part of the show; however, to find such dancing in one of the performers really wasn't cool. She did the same dance, this time in a red dress, on the video issued to promote the song. She was beautiful, indeed quite sexy in an awkward way (appearing a bit geeky and a bit unsure about sex and her own sex appeal), but she wasn't cool, and wasn't rock. Singer-songwriter she may have been, and the first female British singer-songwriter to reach number one, but she didn't fit comfortably in the conventional singer-songwriter, folk, or rock genres. She was more pop than authentic art, for all the arty fluff that accompanied her and her songs. I bought the debut album, but, despite having some excellent songs like "Man With The Child In His Eyes", it didn't grab me. Over the years she has released songs that while never repeating the magic of "Wuthering Heights" were sometimes pleasing and called for attention, such as "Running Up That Hill" and "Cloudbursting", though could also be a bit daft like "Army Dreamers", "Hammer Horror", and "Wow". And the albums never quite satisfied in the way that I always hoped they would.
 |
| Photo session Jan 1978 |
Anyway, I've long had this attraction to Kate Bush's wackiness, voice, and potential to be a bit different and wonderful, albeit rarely realised, so thought it was time I gave her a closer study. I found starting with her greatest hits album, The Whole Story, to be a useful introduction to her music. Though changing the vocals on "Wuthering Heights" was a typically daft Kate Bush mistake. She took away the best aspect of that song and replaced it with a still good vocal, but nothing like the utterly extraordinary experience of the original. It makes the song sound quite flat. Compare them yourself: Original vocal - Replaced vocal. Yes, exactly. Oh, if you're of the opinion that the new vocal is better, leave this blog right now - this place is not for you.
Driving in my car today I put in a CD I'd made up a while ago of tracks from 1968. There was this particular sequence: Tiny Tim, T. Rex, and Van Morrison, which put me in mind of Bush. A certain quirkiness, softness, twee charm, ethereal beauty, non-specific poetry, British eccentricity, soulfulness, pop sensibility yet with one foot firmly in an arch awareness of art. And that made me think of Molly Drake who sounds nothing like Bush, but has interesting points of commonality.
Bush's sexuality is worth noting. There's a schoolgirl virginal quality about her appearance and her lyrics. There's an innocent, unexperienced, romantic notion of sex and sex appeal. It's awkward, clumsy, twee, mildly charming, and not really sexy. Yet she was attractive, and had the potential to be very sexy if she didn't keep behaving in such a naff way. Her amdram videos complete with her awkward stage two ballet steps are compelling in a cringeworthy way, but reduce her sex appeal instead of build on it. Her lyrics present the idea of sex as the beautiful, virginal woman being seduced by the knight in shining armour, and that moment will be wonderful. Her lyrics, as such, mainly appeal to those whose experience and romantic views match hers. The rest of the world either ignores the lyrics or, if they do read them, find them immature, unrealistic, and superficial.
She has been inducted into the Rock and Roll Hall of Fame 2023. Inductee insight. Induction speech by BigBoi and performance by St Vincent (poor quality video). Bush, of course, didn't attend or sent a video message. But she put a nice message on her website to saying: "I’m only five foot three, but today I feel a little taller."
Wikipedia:
Catherine Bush CBE (born 30 July 1958)[1][2] is an English singer-songwriter and record producer. Bush came to notice in 1978 when, aged 19, she topped the UK Singles Chart for four weeks with her debut single "Wuthering Heights", becoming the first female artist to achieve a UK number one with a self-written song.[11] She has since released 25 UK Top 40 singles, including the top-10 hits "The Man with the Child in His Eyes", "Babooshka", "Running Up That Hill", "Don't Give Up" (a duet with Peter Gabriel) and "King of the Mountain". She has released ten studio albums, all of which reached the UK Top 10, including the UK number-one albums Never for Ever (1980), Hounds of Love (1985), and the compilation The Whole Story (1986). She is the first British solo female artist to top the UK album charts and the first female artist to enter the album chart at number one.[12]
Bush began writing songs at 11. She was signed to EMI Records after Pink Floyd guitarist David Gilmour helped produce a demo tape. Her debut album, The Kick Inside, was released in 1978. Bush slowly gained artistic independence in album production, and has produced all her studio albums since The Dreaming (1982). She took a hiatus between her seventh and eighth albums The Red Shoes (1993) and Aerial (2005). She drew attention again in 2014 with her concert residency Before the Dawn, her first shows since 1979's The Tour of Life.
Bush's eclectic and experimental musical style with literary and unconventional lyrical themes has influenced a diverse range of artists. She has been nominated 13 times for British Phonographic Industry accolades,[13] winning for Best British Female Artist in 1987.[14] She has also been nominated for three Grammy Awards. In 2002, she was recognised with an Ivor Novello Award for Outstanding Contribution to British Music. In October 2017 she was nominated for induction in the Rock and Roll Hall of Fame in 2018.[15] Bush was appointed Commander of the Order of the British Empire (CBE) in the 2013 New Year Honours for services to music.[16][17]
Albums
 |
| The Kick Inside (Feb 1978) |
The debut. Contains "The Man With The Child In His Eyes" and "Wuthering Heights", an extraordinary moment that she has never bettered. This was the album that broke her, and the sound she has here develops slowly and minutely over her career - the later albums being the most developed - longer, slower, more planned, though essentially the same sound: dreamy, quirky, poppy, arty. Most critics and fans rate Hounds of Love as her best album, and Dreaming also gets acclaim, but there is still widespread respect for the debut. Her best work overall was her singles, and that is a fascinating body of work, so her most representative album is the 1986 compilation The Whole Story (though, be aware, she redoes the vocal for "Wuthering Heights", so removing that track of its most fascinating aspect).
| Released | 17 February 1978 |
|---|---|
| Recorded | June 1975, July–August 1977 |
| Studio | AIR Studios, London |
| Genre | |
| Length | 43:13 |
| Label | |
| Producer | Andrew Powell |
| No. | Title | Length |
|---|---|---|
| 1. | "Moving" | 3:01 |
| 2. | "The Saxophone Song" | 3:51 |
| 3. | "Strange Phenomena" | 2:57 |
| 4. | "Kite" | 2:56 |
| 5. | "The Man with the Child in His Eyes" | 2:39 |
| 6. | "Wuthering Heights" | 4:28 |
| No. | Title | Length |
|---|---|---|
| 7. | "James and the Cold Gun" | 3:34 |
| 8. | "Feel It" | 3:02 |
| 9. | "Oh to Be in Love" | 3:18 |
| 10. | "L'Amour Looks Something Like You" | 2:27 |
| 11. | "Them Heavy People" | 3:04 |
| 12. | "Room for the Life" | 4:03 |
| 13. | "The Kick Inside" | 3:30 |
- Kate Bush – piano, lead vocals, backing vocals
- Andrew Powell – arrangements, keyboards
- Duncan Mackay – keyboards
- Ian Bairnson – guitars
- David Paton – bass
- Stuart Elliott – drums
Singles / TV appearances
"Wuthering Heights" 20 January 1978 No. 1
"Wuthering Heights" 20 January 1978 No. 1
"Moving" (single in Japan only)
"Them Heavy People" (single in Japan only)
"The Man With The Child In His Eyes" 26 May 1978 No. 6
"Them Heavy People" (single in Japan only)
"The Man With The Child In His Eyes" 26 May 1978 No. 6
Wikipedia
AllMusic: 8
Score: 7
 |
| Lionheart (Nov 1978) |
The second album was pushed out quickly and is widely regarded, including by Bush, as unsuccessful, though there's not a lot of difference between this and the debut. Bush sings in her high register, warbling as she does. The songs are competent pop - melodic structures that work effectively enough. It's a pleasant enough listen, but there's nothing that really catches the attention other than "Wow", which has the potential to be both trivial and irritating (as well as fascinating and compelling), but was a moderately popular single and is still liked by some.
Singles / TV appearances
"Wow" Lyrics 17 March 1979 No. 14 The song is vaguely about a homosexual stage actor who appears to want to be more successful. It's not clear. There's no memorable lines or tune. The opening is quite haunting and captures some of the spiritual feel of "Wuthering". The first verse suggests that the speaker is one of a group of supporting actors or dancers on stage with the great actor, who she has been told not to fear, and that they have all been made to learn their lines (in the official video - in which she appears in a long and transparent cotton skirt - she yawns at this point to act out the tedium of repeating what would possibly be minor lines). Then comes the most memorable part of the song - the simultaneously entertaining and silly chorus in which she repeats the word "wow" , which is presumably an ironic repeating of the superficially of what the great actor says to the supporting cast. Even more ironic is that the mocking pastiche ends up being associated with Bush rather than the actor, as it is Bush herself we hear saying those trite words. Score: 6
| Released | 12 November 1978 |
|---|---|
| Recorded | 7 July – September 1978 |
| Studio | Super Bear Studios (Berre-les-Alpes, France) |
| Genre | Art rock, baroque pop |
| Length | 36:32 |
| Label |
|
| Producer | Andrew Powell assisted by Kate Bush |
| No. | Title | Length |
|---|---|---|
| 1. | "Symphony in Blue" | 3:35 |
| 2. | "In Search of Peter Pan" | 3:46 |
| 3. | "Wow" | 3:58 |
| 4. | "Don't Push Your Foot on the Heartbrake" | 3:12 |
| 5. | "Oh England My Lionheart" | 3:10 |
| No. | Title | Length |
|---|---|---|
| 6. | "Fullhouse" | 3:14 |
| 7. | "In the Warm Room" | 3:35 |
| 8. | "Kashka from Baghdad" | 3:55 |
| 9. | "Coffee Homeground" | 3:38 |
| 10. | "Hammer Horror" | 4:39 |
- Kate Bush – vocals, piano, assistant arranger, harmony vocals (4, 5)
- Andrew Powell – arranger
- Duncan Mackay – keyboards
- Ian Bairnson – guitars
- David Paton and Del Palmer – bass
- Stuart Elliott – drums
Singles / TV appearances
"Wow" Lyrics 17 March 1979 No. 14 The song is vaguely about a homosexual stage actor who appears to want to be more successful. It's not clear. There's no memorable lines or tune. The opening is quite haunting and captures some of the spiritual feel of "Wuthering". The first verse suggests that the speaker is one of a group of supporting actors or dancers on stage with the great actor, who she has been told not to fear, and that they have all been made to learn their lines (in the official video - in which she appears in a long and transparent cotton skirt - she yawns at this point to act out the tedium of repeating what would possibly be minor lines). Then comes the most memorable part of the song - the simultaneously entertaining and silly chorus in which she repeats the word "wow" , which is presumably an ironic repeating of the superficially of what the great actor says to the supporting cast. Even more ironic is that the mocking pastiche ends up being associated with Bush rather than the actor, as it is Bush herself we hear saying those trite words. Score: 6
"Hammer Horror" Nov 1978 No. 44
"Symphony In Blue" 1979 TV special (single in Japan and Canada only)
"Don't Push Your Foot On The Heartbrake" Lyrics
Wikipedia
AllMusic: 6
Score: 4
 |
| Never for Ever (1980) |
Contains "Babooshka", a pleasant pop song which reached the top ten - her first single to do so since "Wuthering Heights". Rest of the album is also pleasant, though rather trivial, like the second single "Army Dreamers" where her voice is rather twee and can be somewhat irritating at times - there is little evidence here of the ethereal quality employed on "Wuthering". However, "Breathing" is an interesting single, and is the standout track on the album.
Singles / TV appearances
| Released | 8 September 1980 |
|---|---|
| Recorded | September 1979 – May 1980 |
| Studio | Abbey Road Studios and AIR Studios, London |
| Genre | Art rock, baroque pop, progressive pop |
| Length | 37:16 |
| Label | EMI (UK) EMI America (US) Harvest (Canada) |
| Producer | Kate Bush, Jon Kelly |
| No. | Title | Length |
|---|---|---|
| 1. | "Babooshka" | 3:20 |
| 2. | "Delius (Song of Summer)" | 2:51 |
| 3. | "Blow Away" | 3:33 |
| 4. | "All We Ever Look For" | 3:47 |
| 5. | "Egypt" | 4:10 |
| No. | Title | Length |
|---|---|---|
| 6. | "The Wedding List" | 4:15 |
| 7. | "Violin" | 3:15 |
| 8. | "The Infant Kiss" | 2:50 |
| 9. | "Night Scented Stock" | 0:51 |
| 10. | "Army Dreamers" (LP mix) | 2:55 |
| 11. | "Breathing" | 5:29 |
Singles / TV appearances
"Breathing" 26 April 1980 16
"Babooshka" 5 June 1980 No. 5
Wikipedia
AllMusic: 6
Score: 5
A more interesting, more mature album than the previous two, though doesn't have the strength of songs or impact of the debut. The focus on the drums gives it a good meaty sound.
Wikipedia
AllMusic: 7
Score: 6
Widely regarded as her best album. I like Bush - I think she's quirky, but she's not necessarily musical. So sometimes she throws in ideas that don't quite work, or are more odd than successful. It's like someone cooking, and just throwing in ingredients because they seem interesting, rather than out of an understanding of how they would blend in with the other ingredients, and so without a clear idea of what the finished product will be. Throughout her career, her songs have been regarded as odd rather more often than regarded as successful - and even when successful, there's still that naïve quality, which makes the success feel more accidental or incidental rather than planned. On this album there are odd noises here and there, which don't work, and incorporation of musical styles such as Irish dance, which come over as out of place and rather naff. I'll need to read some reviews to find a way into this album, because at the moment I'm not quite seeing why it is regarded as a successful album, let alone as her best.
Coming back to this I can now see what others see in it, and I do regard this as Bush's best work.
, which
Wikipedia
AllMusic: 9
Score: 7
Very useful and attractive compilation. Start here. Though changing the vocals on "Wuthering Heights" was a typically daft Kate Bush mistake. She took away the best aspect of that song and replaced it with a still good vocal, but nothing like the utterly extraordinary experience of the original. It makes the song sound quite flat. Compare them yourself: Original vocal - Replaced vocal.
At the same time as The Whole Story was released, Peter Gabriel released "Don't Give Up", a duet with Bush.
Wikipedia
AllMusic:
Score: 7 1/2
There is a dreamy theatrical feel to this album, which I suppose is there in much of Bush's work, but I am particularly feeling it here. This has the sound and feel of Bush - work that is on the edge of progressive pop, and has something of an affinity with Bjork, Cocteau Twins, Siouxsie Sioux, and Enya - musicians who like to explore creative, dreamy, feminine sounds. It's an attractive sound, though lacks the edge that can get and hold my attention. And this is a step too far, for me, from the early Bush that I find both interesting and special. There is no song here the match of "Man With The Child In His Eyes".
Wikipedia
AllMusic: 9
Score: 5
"Babooshka" 5 June 1980 No. 5
Wikipedia
AllMusic: 6
Score: 5
 |
| The Dreaming (1982) |
A more interesting, more mature album than the previous two, though doesn't have the strength of songs or impact of the debut. The focus on the drums gives it a good meaty sound.
| Released | 13 September 1982 |
|---|---|
| Recorded | September 1980 – May 1982 |
| Studio | Advision Studios, Odyssey Studios, Abbey Road Studios and Townhouse Studios, (all) London |
| Genre | |
| Length | 43:25 |
| Label | EMI (UK) EMI America (US and Canada) |
| Producer | Kate Bush |
| No. | Title | Length |
|---|---|---|
| 1. | "Sat in Your Lap" | 3:29 |
| 2. | "There Goes a Tenner" | 3:24 |
| 3. | "Pull Out the Pin" | 5:26 |
| 4. | "Suspended in Gaffa" | 3:54 |
| 5. | "Leave It Open" | 3:20 |
| No. | Title | Length |
|---|---|---|
| 6. | "The Dreaming" | 4:41 |
| 7. | "Night of the Swallow" | 5:22 |
| 8. | "All the Love" | 4:29 |
| 9. | "Houdini" | 3:48 |
| 10. | "Get Out of My House" | 5:25 |
Wikipedia
AllMusic: 7
Score: 6
 |
| Hounds of Love (1985) |
Widely regarded as her best album. I like Bush - I think she's quirky, but she's not necessarily musical. So sometimes she throws in ideas that don't quite work, or are more odd than successful. It's like someone cooking, and just throwing in ingredients because they seem interesting, rather than out of an understanding of how they would blend in with the other ingredients, and so without a clear idea of what the finished product will be. Throughout her career, her songs have been regarded as odd rather more often than regarded as successful - and even when successful, there's still that naïve quality, which makes the success feel more accidental or incidental rather than planned. On this album there are odd noises here and there, which don't work, and incorporation of musical styles such as Irish dance, which come over as out of place and rather naff. I'll need to read some reviews to find a way into this album, because at the moment I'm not quite seeing why it is regarded as a successful album, let alone as her best.
Coming back to this I can now see what others see in it, and I do regard this as Bush's best work.
| Released | 16 September 1985 |
|---|---|
| Recorded | January 1984 – June 1985 |
| Studio | Wickham Farm Home Studio (Welling, England), Windmill Lane Studios, and Abbey Road Studios (orchestral sections) |
| Genre | |
| Length | 47:33 |
| Label | EMI |
| Producer | Kate Bush |
| No. | Title | Length |
|---|---|---|
| 1. | "Running Up That Hill (A Deal with God)" | 5:03 |
| 2. | "Hounds of Love" | 3:02 |
| 3. | "The Big Sky" | 4:41 |
| 4. | "Mother Stands for Comfort" | 3:07 |
| 5. | "Cloudbusting" | 5:10 |
| Total length: | 21:03 | |
| No. | Title | Length |
|---|---|---|
| 6. | "And Dream of Sheep" | 2:45 |
| 7. | "Under Ice" | 2:21 |
| 8. | "Waking the Witch" | 4:18 |
| 9. | "Watching You Without Me" | 4:06 |
| 10. | "Jig of Life" | 4:04 |
| 11. | "Hello Earth" | 6:13 |
| 12. | "The Morning Fog" | 2:34 |
| Total length: | 26:21 | |
Wikipedia
AllMusic: 9
Score: 7
 |
| The Whole Story (1986) |
Very useful and attractive compilation. Start here. Though changing the vocals on "Wuthering Heights" was a typically daft Kate Bush mistake. She took away the best aspect of that song and replaced it with a still good vocal, but nothing like the utterly extraordinary experience of the original. It makes the song sound quite flat. Compare them yourself: Original vocal - Replaced vocal.
At the same time as The Whole Story was released, Peter Gabriel released "Don't Give Up", a duet with Bush.
| Released | 10 November 1986 |
|---|---|
| Recorded | 1975–1986 |
| Genre | Art rock |
| Length | 48:53 |
| Label | EMI |
| Producer |
|
All tracks are written by Kate Bush
| No. | Title | Original album | Length |
|---|---|---|---|
| 1. | "Wuthering Heights" (New Vocal) | The Kick Inside (1978) | 4:57 |
| 2. | "Cloudbusting" | Hounds of Love (1985) | 5:09 |
| 3. | "The Man with the Child in His Eyes" | The Kick Inside | 2:38 |
| 4. | "Breathing" | Never for Ever (1980) | 5:28 |
| 5. | "Wow" | Lionheart (1978) | 3:46 |
| 6. | "Hounds of Love" | Hounds of Love | 3:02 |
| No. | Title | Original album | Length |
|---|---|---|---|
| 7. | "Running Up That Hill" | Hounds of Love | 5:00 |
| 8. | "Army Dreamers" | Never for Ever | 3:13 |
| 9. | "Sat in Your Lap" | The Dreaming (1982) | 3:29 |
| 10. | "Experiment IV" | Previously unreleased | 4:21 |
| 11. | "The Dreaming" | The Dreaming | 4:14 |
| 12. | "Babooshka" | Never for Ever | 3:29 |
AllMusic:
Score: 7 1/2
 |
| The Sensual World (1989) |
There is a dreamy theatrical feel to this album, which I suppose is there in much of Bush's work, but I am particularly feeling it here. This has the sound and feel of Bush - work that is on the edge of progressive pop, and has something of an affinity with Bjork, Cocteau Twins, Siouxsie Sioux, and Enya - musicians who like to explore creative, dreamy, feminine sounds. It's an attractive sound, though lacks the edge that can get and hold my attention. And this is a step too far, for me, from the early Bush that I find both interesting and special. There is no song here the match of "Man With The Child In His Eyes".
| Released | 16 October 1989 |
|---|---|
| Recorded | September 1987 – July 1989 |
| Studio |
|
| Genre | |
| Length | 42:10 |
| Label | EMI |
| Producer | Kate Bush |
All tracks are written by Kate Bush
| No. | Title | Length |
|---|---|---|
| 1. | "The Sensual World" | 3:57 |
| 2. | "Love and Anger" | 4:42 |
| 3. | "The Fog" | 5:04 |
| 4. | "Reaching Out" | 3:11 |
| 5. | "Heads We're Dancing" | 5:17 |
| No. | Title | Length |
|---|---|---|
| 6. | "Deeper Understanding" | 4:46 |
| 7. | "Between a Man and a Woman" | 3:29 |
| 8. | "Never Be Mine" | 3:43 |
| 9. | "Rocket's Tail" | 4:06 |
| 10. | "This Woman's Work" | 3:32 |
| 11. | "Walk Straight Down The Middle" | 3:50 |
Wikipedia
AllMusic: 9
Score: 5
 |
| The Red Shoes (1993) |
The concept is a little arty, but has potential and "The Song of Solomon" is an interesting song, but on the whole this feels like a pop album straining to be meaningful.
Coming back to this, I feel I was a little harsh last time. There is a power and beauty about this. This is a mature and considered work. Arty, yes, but all the better for being so. This is a strong, interesting, beautiful album.
Wikipedia
AllMusic: 4
Score: 7
Coming back to this, I feel I was a little harsh last time. There is a power and beauty about this. This is a mature and considered work. Arty, yes, but all the better for being so. This is a strong, interesting, beautiful album.
| Released | 1 November 1993 |
|---|---|
| Recorded | June 1990–June 1993 |
| Studio | Abbey Road (London) |
| Genre | |
| Length | 55:30 |
| Label | EMI |
| Producer | Kate Bush |
All tracks are written by Kate Bush
| No. | Title | Length |
|---|---|---|
| 1. | "Rubberband Girl" | 4:42 |
| 2. | "And So Is Love" | 4:16 |
| 3. | "Eat the Music" | 5:08 |
| 4. | "Moments of Pleasure" | 5:16 |
| 5. | "The Song of Solomon" | 4:27 |
| 6. | "Lily" | 3:51 |
| 7. | "The Red Shoes" | 4:00 |
| 8. | "Top of the City" | 4:14 |
| 9. | "Constellation of the Heart" | 4:46 |
| 10. | "Big Stripey Lie" | 3:32 |
| 11. | "Why Should I Love You?" | 5:00 |
| 12. | "You're the One" | 5:52 |
Wikipedia
AllMusic: 4
Score: 7
 |
| Aerial (2005) |
Twelve years since her last creative release. I like this. A more mature album than her normal pop. Some sense of Joni Mitchell has crept in. It is softer, more dreamy, and with greater depth than her previous work. Her voice is more modulated and refined. Quietly attractive without being particularly special. Not the work for which she will be remembered, but a decent working record.
Wikipedia
AllMusic: 8
Score: 6
| Released | 7 November 2005 |
|---|---|
| Recorded | 1996–2005 |
| Studio | Abbey Road Studios (London) |
| Genre | |
| Length | 79:58 |
| Label | EMI Columbia (US) |
| Producer | Kate Bush |
All tracks are written by Kate Bush
| No. | Title | Length |
|---|---|---|
| 1. | "King of the Mountain" | 4:53 |
| 2. | "π" | 6:09 |
| 3. | "Bertie" | 4:18 |
| 4. | "Mrs. Bartolozzi" | 5:58 |
| 5. | "How to Be Invisible" | 5:32 |
| 6. | "Joanni" | 4:56 |
| 7. | "A Coral Room" | 6:12 |
| No. | Title | Length |
|---|---|---|
| 1. | "Prelude" | 1:26 |
| 2. | "Prologue" | 5:42 |
| 3. | "An Architect's Dream" | 4:50 |
| 4. | "The Painter's Link" | 1:35 |
| 5. | "Sunset" | 5:58 |
| 6. | "Aerial Tal" | 1:01 |
| 7. | "Somewhere in Between" | 5:00 |
| 8. | "Nocturn" | 8:34 |
| 9. | "Aerial" | 7:52 |
Wikipedia
AllMusic: 8
Score: 6
 |
| Director's Cut (2011) |
Remixed and partly re-recorded versions on songs from Sensual World and Red Shows. Not exactly a "director's cut" as Bush produced all the material both times, this is simply an update or remix, common in music - The Cure did this with Mixed Up in 1990. The most significant change is to "The Sensual World", which had been inspired by Molly Bloom's soliloquy; Bush had wanted to use Joyce's words as lyrics, but was refused, so wrote her own. This time she had been given permission, and so used the lyrics, changing the name to "Flower of the Mountain", a phrase from the soliloquy. Other than that I see little point in changing the originals.
Wikipedia
AllMusic:
Score: 5
Bush's last album of original material. She has lost some the unique beauty of her young voice, but makes good use of her mature voice. This is an interesting art album - and art it is, and interesting it is. There is beauty here, and some romantic and poetic ideas, though I'm not sure how successful it is. I like that it exists, though it is in the world of Enya and Cocteau Twins, in that it is more the idea of art rather than hard art. Aspirational, but lacking true depth. I like that it exists, but neither the music nor the ideas really engage me.
Lyrics
Wikipedia
AllMusic: 8
Score: 5
A recording of Bush live from one of the 22 dates at the Hammersmith Apollo in 2014. Bush was overweight, so asked those attending not to release photos or videos. And has not made freely available any recordings. Some recordings are starting to come out on YouTube and remain for a few months before they are taken down. Tracks I've listened to have been adequate rather than special. Decent stuff, and it would have been cool to be there. The album is not essential, however, other than as a record of a rather unusual event in which an artist who had only done two live tours - one when unknown, and one when famous - decided to do their first live concert after 35 years, and to do the tour in one location so the fans had to come to her.
The album follows the concert performance, which consisted of three parts - Act 1 being songs from several albums, mostly Hounds of Love, Act 2 being the whole of side two of Hounds of Love, and Act 3 being the whole of side two of Aerial plus two songs. There were a lot of theatrics in the concert which do not come across in the recording. It sold reasonably well, and was was reasonably well received, but nobody got excited.
| Released | 16 May 2011 |
|---|---|
| Recorded | 2009–2011 |
| Genre | |
| Length | 57:04 |
| Label |
|
| Producer | Kate Bush |
All songs written by Kate Bush except "Flower of the Mountain" lyrics by James Joyce.
- "Flower of the Mountain" – 5:15 (originally from The Sensual World, 1989)
- "Song of Solomon" – 4:45 (originally from The Red Shoes, 1993)
- "Lily" – 4:05 (originally from The Red Shoes, 1993)
- "Deeper Understanding" – 6:33 (originally from The Sensual World, 1989)
- "The Red Shoes" – 4:58 (originally from The Red Shoes, 1993)
- "This Woman's Work" – 6:30 (originally from The Sensual World, 1989)
- "Moments of Pleasure" – 6:32 (originally from The Red Shoes, 1993)
- "Never Be Mine" – 5:05 (originally from The Sensual World, 1989)
- "Top of the City" – 4:24 (originally from The Red Shoes, 1993)
- "And So Is Love" – 4:21 (originally from The Red Shoes, 1993)
- "Rubberband Girl" – 4:37 (originally from The Red Shoes, 1993)
Wikipedia
AllMusic:
Score: 5
 |
| 50 Words for Snow (2011) |
Bush's last album of original material. She has lost some the unique beauty of her young voice, but makes good use of her mature voice. This is an interesting art album - and art it is, and interesting it is. There is beauty here, and some romantic and poetic ideas, though I'm not sure how successful it is. I like that it exists, though it is in the world of Enya and Cocteau Twins, in that it is more the idea of art rather than hard art. Aspirational, but lacking true depth. I like that it exists, but neither the music nor the ideas really engage me.
Lyrics
| Released | 21 November 2011 |
|---|---|
| Recorded | 2010–2011 |
| Studio | Abbey Road (London) |
| Genre | |
| Length | 65:29 |
| Label | Fish People |
| Producer | Kate Bush |
All tracks are written by Kate Bush
| No. | Title | Length |
|---|---|---|
| 1. | "Snowflake" | 9:52 |
| 2. | "Lake Tahoe" | 11:08 |
| 3. | "Misty" | 13:32 |
| 4. | "Wild Man" | 7:17 |
| 5. | "Snowed in at Wheeler Street" | 8:05 |
| 6. | "50 Words for Snow" | 8:31 |
| 7. | "Among Angels" | 6:49 |
Wikipedia
AllMusic: 8
Score: 5
 |
| Before The Dawn (2016) |
A recording of Bush live from one of the 22 dates at the Hammersmith Apollo in 2014. Bush was overweight, so asked those attending not to release photos or videos. And has not made freely available any recordings. Some recordings are starting to come out on YouTube and remain for a few months before they are taken down. Tracks I've listened to have been adequate rather than special. Decent stuff, and it would have been cool to be there. The album is not essential, however, other than as a record of a rather unusual event in which an artist who had only done two live tours - one when unknown, and one when famous - decided to do their first live concert after 35 years, and to do the tour in one location so the fans had to come to her.
The album follows the concert performance, which consisted of three parts - Act 1 being songs from several albums, mostly Hounds of Love, Act 2 being the whole of side two of Hounds of Love, and Act 3 being the whole of side two of Aerial plus two songs. There were a lot of theatrics in the concert which do not come across in the recording. It sold reasonably well, and was was reasonably well received, but nobody got excited.
All songs written by Kate Bush, except "Astronomer's Call", "Waking the Witch", and "Watching Them Without Her", written with David Mitchell, and "Jig of Life" written with Bill Whelan and John Carder Bush.
Disc one: Act I
- "Lily" – 4:50
- "Hounds of Love" – 3:29
- "Joanni" – 6:09
- "Top of the City" – 5:13
- "Never Be Mine" – 5:57
- "Running Up That Hill (A Deal with God)" – 5:39
- "King of the Mountain" – 8:08
Disc two: Act II – The Ninth Wave
- "Astronomer's Call" – 2:38
- "And Dream of Sheep" – 3:35
- "Under Ice" – 2:59
- "Waking the Witch" – 6:35
- "Watching Them Without Her" – 2:01
- "Watching You Without Me" – 4:25
- "Little Light" – 2:04
- "Jig of Life" – 4:09
- "Hello Earth" – 8:00
- "The Morning Fog" – 5:19
Disc three: Act III – A Sky of Honey
- "Prelude" – 1:53
- "Prologue" – 10:12
- "An Architect's Dream" – 5:19
- "The Painter's Link" – 1:33
- "Sunset" – 7:59
- "Aerial Tal" – 1:29
- "Somewhere in Between" – 7:01
- "Tawny Moon" – 6:10
- "Nocturn" – 8:48
- "Aerial" – 9:45
- "Among Angels" – 5:50
- "Cloudbusting" – 7:16
- Kate Bush – vocals, piano ("The Ninth Wave" pre-recorded, "Prologue", "Among Angels"), pre-recorded synths
- Kevin McAlea – keyboards, Uilleann pipes, accordion
- Jon Carin – keyboards, guitars, programming, vocals
- David Rhodes – guitars
- Friðrik Karlsson – guitars, bouzouki, charango
- John Giblin – bass
- Mino Cinelu – percussion
- Omar Hakim – drums
Wikipedia
AllMusic: 8
Score: 5
Discography
The Kick Inside (1978)
Lionheart (1978)
Never for Ever (1980)
The Dreaming (1982)
Hounds of Love (1985)
The Sensual World (1989)
The Red Shoes (1993)
Aerial (2005)
Director's Cut (2011)
50 Words for Snow (2011)
Albums ranked
* BestEverAlbums
* NME
* Stereogum
* The Moderns
* BBCAmerica
* TheGuardian
* SteveHoffmanForum
* Ranker
Links
* Twitter
* Links
Songs ranked
*"Wuthering Heights" (1978) UK No. 1; Points 30
*"Running Up That Hill" (1985) UK No. 3; Points 20
*"The Man With The Child In His Eyes" (1978) UK No. 6; Points 16
*"Cloudbusting" (1985) UK No. 20; Points 11
"This Woman's Work" (1989) UK No. 25; Points 9
"Hounds Of Love" (1986) UK No. 18; Points 7
"Moments Of Pleasure" (1993) UK No. 26; Points 6
"The Ninth Wave" (1985) Album only; Points 5
"Breathing" (1980) UK No. 16: Points 3
"Moving" (1978) Album only; Points 3
"The Sensual World" (1989) UK No. 12; Points 3
"Wow" (1979) UK No. 14; Points 5
"Sat In Your Lap" (1981) UK No. 11: Points 2
"Get out Of My House" (1981) Album only; Points 2
"Babooshka" (1980) UK No. 5; Points 1
*"Wuthering Heights" (1978) UK No. 1; Points 30
*"Running Up That Hill" (1985) UK No. 3; Points 20
*"The Man With The Child In His Eyes" (1978) UK No. 6; Points 16
*"Cloudbusting" (1985) UK No. 20; Points 11
"This Woman's Work" (1989) UK No. 25; Points 9
"Hounds Of Love" (1986) UK No. 18; Points 7
"Moments Of Pleasure" (1993) UK No. 26; Points 6
"The Ninth Wave" (1985) Album only; Points 5
"Breathing" (1980) UK No. 16: Points 3
"Moving" (1978) Album only; Points 3
"The Sensual World" (1989) UK No. 12; Points 3
"Wow" (1979) UK No. 14; Points 5
"Sat In Your Lap" (1981) UK No. 11: Points 2
"Get out Of My House" (1981) Album only; Points 2
"Babooshka" (1980) UK No. 5; Points 1
Summary
[Note: Aspects which go toward final score are given a rough percentage figure of how much that aspect may have influenced the overall score. However, some bands may well exceed that percentage, particularly if their main focus is in that area.]
Voice/Musicianship (15%)
Image/Star quality (5%)
Lyrics/Music (20%)
Impact/Influence (10%)
Popularity (5%)
Emotional appeal (5%)
Authenticity (15%)
Art (5%)
Classic albums/songs (5%)
Originality/Innovation (5%)
Legacy (10%)
Total: 48/100
Links
* Louder
* SmoothRadio
* SmoothRadio
* Reddit
* TopTens
* PopMatters
* Far Out
* MMagazine
* TopTens
* PopMatters
* Far Out
* MMagazine
* KateBush (official site)
* katebushnews
* KateBushEncyclopedia
* Gaffa (fan site)
* TheWorldOfKateBush (fan blog)
* katebushnews
* KateBushEncyclopedia
* Gaffa (fan site)
* TheWorldOfKateBush (fan blog)
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