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KATE BUSH

Crossover Prog • United Kingdom


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Kate Bush biography
Catherine "Kate" Bush - Born July 30th, 1958 (Bexleyheath, Kent, England)

A demo of Kate Bush reached David Gilmour in 1975. Being impressed by her true original talent, the PINK FLOYD guitar player financed her fist proper recording session before introducing the result to EMI. In 1978 her debut album was issued but two songs were written years before that. "The Kick inside" must have been one of the most passionate albums ever written. In 1978 Bush' talents were an amazing revelation : a rare talent for melody and poetic imagery but especially the sound of her voice was something which was never heard before at the time. On the debut album her innocent sounding voice is in full helium mode and reaches ear ear-splitting frequencies. The songs are piano driven but the colourful arrangements are unmistakable in the vein of progressive rock. Similarities can be found in the sound of Gerry Rafferty at the time or the first albums from The ALAN PARSONS PROJECT. No wonder the full TAPP-line-up was in charge as the backing band on this record. Unlike the aforementioned bands, Bush's music is very feminine and reveals more light & playful pop & rock tunes. The hits "Wuthering heights" and "The man with the child in his eyes" introduced her to a large pop audience. Within months following the release of her debut album, she was already recording a successor album. Even though "Lionheart" contained another hit single, the compositions were less sparkling. On "Never for ever" her sound is enriched with traditional folk influences provided by more session musicians. Moving further away from the standard pop format, Bush challenged her audience with more experimentation with a most refreshing result. This album gave her the confidence to take full control of her music. She co-produced her next album "The Dreaming" on which she explored the fairytale weirdness even more. With it's haunting rhythm's this album could be described as manic and fearsome, one of Bush' strangest efforts. On the musical side her sound got innovated by the use of computer and fairlight, also the influence of an artist like Peter Gabriel was heavy felt. In 1985 Bush released her magnum opus and most successful album to date. "Hounds of love" is divided in a pop side and a progressive side. On the pop side it seemed the controversial influences from the previous album were incorporated in accessible pop songs. The epic side consists of one fascinating suite : "The ninth wave", di...
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KATE BUSH discography


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KATE BUSH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.92 | 350 ratings
The Kick Inside
1978
3.34 | 239 ratings
Lionheart
1978
3.95 | 307 ratings
Never For Ever
1980
4.10 | 334 ratings
The Dreaming
1982
4.17 | 483 ratings
Hounds Of Love
1985
3.50 | 224 ratings
The Sensual World
1989
2.75 | 175 ratings
The Red Shoes
1993
3.85 | 272 ratings
Aerial
2005
2.98 | 92 ratings
Director's Cut
2011
3.79 | 167 ratings
50 Words For Snow
2011

KATE BUSH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.13 | 42 ratings
Live At The Hammersmith Odeon
1994
3.60 | 5 ratings
1979 Television Special
2014
4.06 | 30 ratings
Before The Dawn
2016

KATE BUSH Videos (DVD, Blu-ray, VHS etc)

4.22 | 22 ratings
Live At The Hammersmith Odeon (Video)
1981
3.47 | 11 ratings
The Single File (VHS)
1983
4.00 | 18 ratings
The Whole Story VHS
1986
2.32 | 9 ratings
The Sensual World, The Videos (VHS)
1990
2.96 | 9 ratings
The Line, The Cross & The Curve (VHS)
1993
2.85 | 8 ratings
Hounds of Love: A Classic Album Under Review
2008
1.00 | 1 ratings
The Only Girl in the World
2012
2.87 | 4 ratings
1979 Television Special
2014

KATE BUSH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.67 | 3 ratings
The Single File 1978 - 1983
1984
3.54 | 72 ratings
The Whole Story
1986
3.69 | 26 ratings
This Woman's Work
1990
1.00 | 1 ratings
Moments of Pleasure - The Best Works 1978 - 1993
1993
3.50 | 6 ratings
The Other Sides
2019

KATE BUSH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.92 | 5 ratings
The Man With The Child In His Eyes
1978
2.95 | 3 ratings
Wow / Fullhouse
1978
3.75 | 4 ratings
Hammer Horror / Coffee Homeground
1978
4.00 | 4 ratings
Wuthering Heights
1978
2.61 | 14 ratings
On Stage
1979
3.00 | 5 ratings
Babooshka / Ran Tan Waltz
1980
4.91 | 4 ratings
Breathing / The Empty Bullring
1980
3.00 | 3 ratings
Army Dreamers
1980
3.92 | 7 ratings
December Will Be Magic Again
1980
3.86 | 3 ratings
Sat in Your Lap
1981
3.87 | 4 ratings
There Goes a Tenner
1982
3.80 | 5 ratings
The Dreaming
1982
2.24 | 6 ratings
Suspended in Gaffa
1982
3.33 | 3 ratings
Kate Bush
1983
3.96 | 5 ratings
Night of the Swallow
1983
3.00 | 2 ratings
Ne T'enfuis Pas
1983
4.76 | 6 ratings
Running Up That Hill
1985
3.20 | 5 ratings
Cloudbusting
1985
3.74 | 12 ratings
Experiment IV
1986
1.00 | 1 ratings
The Man With The Child In His Eyes / Sat In Your Lap
1986
1.00 | 1 ratings
The Big Sky (Special Single Mix)
1986
3.00 | 4 ratings
The Sensual World
1989
3.00 | 2 ratings
This Woman's Work
1989
2.00 | 3 ratings
Love and Anger
1989
2.39 | 9 ratings
Aspects of the Sensual World
1990
2.11 | 9 ratings
Rocket Man / Candle in the Wind
1991
2.13 | 5 ratings
And So Is Love
1993
2.50 | 2 ratings
Rubberband Girl
1993
3.00 | 2 ratings
Moments of Pleasure
1993
1.00 | 1 ratings
Eat the Music
1993
1.00 | 1 ratings
The Red Shoes
1994
1.00 | 1 ratings
King of the Mountain
2005
3.63 | 8 ratings
Wild Man
2011
2.00 | 3 ratings
Running Up That Hill (A Deal With God) (2012 Remix)
2012

KATE BUSH Reviews


Showing last 10 reviews only
 Director's Cut by BUSH, KATE album cover Studio Album, 2011
2.98 | 92 ratings

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Director's Cut
Kate Bush Crossover Prog

Review by TCat
Forum & Site Admin Group Eclectic / Prog Metal / Heavy Prog Team

4 stars In between the release of the amazing albums "Ariel" and "50 Words for Snow", Kate Bush released "The Director's Cut", which is an overlooked, yet still enjoyable "sort-of compilation" album. The songs on this collection were originally released on the albums "The Sensual World" and "The Red Shoes", two of Kate's most accessible albums. People that know Kate's music know that these two albums were probably the most affected by the record label to try to make her music a bit more appealing to the masses. Even though I still love both of those albums, I don't consider them her strongest works, yet I still enjoy listening to them for the ingenuity that exists on them, even if it might be to a lesser extent than usual.

On "The Director's Cut", Kate Bush re-visits some of the songs from those aforementioned albums, and she does it in a good way. Making them a bit more pensive, a bit more experimental and a lot clearer and cleaner than before, she approaches the sound and style of her newer albums of the time. For the most part, this works quite well and gives the songs more life.

I have to admit, though, that at first I had a hard time listening to this album as I had grown so accustomed to hearing these songs done a certain way. However, with time, this album has aged very well and I have grown to appreciate these renditions much more. I love the new, stripped down and simpler feel of "Lily", "The Red Shoes", "Moments of Pleasure" and "Never Be Mine". The biggest surprise is her re-working of "This Woman's Work", probably one of her most recognized songs. This is one I didn't think needed to be reworked, but the version on this album is simply beautiful and emotional. It feels more heartfelt and seems to reflect how the song was meant to feel. If you don't hear anything else from the album, make sure you hear this new version. Eric Clapton's contribution to "And So Is Love" is kept intact on this version and it pares quite well with the quieter and more atmospheric feel of the new version. It ends up sounding quite lovely.

There are a couple of songs here that I am not as enthusiastic about. "Flower of the Mountain" (originally known as "The Sensual World") is one that is okay, but it doesn't top the original, which is exotic, mesmerizing and one of my favorite tracks from Kate Bush. "Song of Solomon" also sounds better on the original album than it does in this form. "Top of the City" isn't too bad, but really didn't need to be re-done in my opinion. I actually loved the upbeat sound of "Rubberband Girl" in the original version, and while this one is upbeat, it seems unnecessary and a bit bland compared to the original.

So, overall, this is a pretty good collection of re-made tracks that I think most people will be happy to hear as many of her long-time fans were a bit disappointed by the albums that these songs originally came from. As for myself, the tracks I love far outweigh the ones that I am less excited about. The sound of the album (mine is on vinyl and sounds amazing) is excellent and the large booklet (which is full of beautiful artwork spreads for each track along with the lyrics is tastefully and amazingly put together) makes it all worth the purchase. These things elevate the package to a four star album, at least as far as the vinyl edition is concerned. Instead of the full size booklet, the CD edition comes with remastered versions of the original "The Sensual World" and "The Red Shoes" which probably won't appeal to the fans as much. I can't tell you whether the sound is as awesome on the CD as it is on the vinyl, so this rating applies to the vinyl package.

 Babooshka / Ran Tan Waltz by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1980
3.00 | 5 ratings

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Babooshka / Ran Tan Waltz
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

3 stars 20-Year Chronological Run-Through pt. Eighteen: 1980.

-- First review for this single -- KATE BUSH had a nice habit, especially in the eighties, to release non-album songs as B- sides of her singles. There are so many of them that they nearly fill a whole disc in This Woman's Work compilation box. But first the main dish.

'Babooshka' was taken from her delicious third album Never For Ever, and it spent 10 weeks in the UK chart, peaking at number five. The lyrics tell an intriguing story of a wife's desire to test her husband's loyalty by sending him "scented letters" signed as Babooshka. Bush didn't know at the time that the Russian word (pronounced Baabushka) actually means grandmother. She was inspired by the English folk song 'Sovay', in which a woman dresses as a highwayman and accosts her lover in order to test his devotion.

The music accompanies the story perfectly. It has both seducing sensualism behind the veil of mystrery and the thorn of the rose, so to speak. In the end there's the sound of breaking glass created by Fairlight CMI digital synthesizer. Kate Bush and Peter Gabriel were pioneers of its use in popular music. 'Babooshka' is a fine song, and a good example of how Bush had matured as an individual artist since her Lionheart album.

'Ran Tan Waltz' then is a good example of Kate's B-siders. A light-hearted and a bit silly song one wouldn't want to hear on an album. The waltz rhythm is emphasized in the staccato kind of arrangement featuring also accordion. Have to admit this song stands rather poorly repeated listenings, but still, it's more interesting to have these "throwaway" pieces, shameless deviations from the normal standards of the artist, on the backs of singles instead of simply using the album material.

 Suspended in Gaffa by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1982
2.24 | 6 ratings

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Suspended in Gaffa
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

2 stars The third single from The Dreaming was released in November 1982 in continental Europe; in the UK There Goes a Tenner was released instead. 'Suspended in Gaffa' has never been among my Kate Bush favourites, in fact it's one of those few songs that leave me rather intact. I have no idea what's it about (Wikipedia: "about seeing something one really wants, then not being able to ever experience it again"), and I don't like it musically either. Sort of bumpy what comes to melodies.

On the B side is her French-language song 'Ne t'enfuis pas' (=don't run away) which was used on some other singles too. Sonically more clinical and programmed, this feels closer to Kate Bush in the latter half of the 80's, reminding a bit of e.g. 'Experiment IV', although much less dramatic, or songs like 'Deeper Understanding' and 'Between a Man and a Woman' from the album The Sensual World (1989). The Fairlight and bass sound nice anyway. Not Kate Bush at her best of course, but an interesting non-album piece. Somehow it also reminds me of Talk Talk's It's My Life album.

For the boring album song however I don't want to give this single more than two stars.

 Sat in Your Lap by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1981
3.86 | 3 ratings

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Sat in Your Lap
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

4 stars The Dreaming (1982) saw Kate Bush really coming out as a strong, individual artist who bravely followed her own risk-taking musical visions as her own producer. The notoriously "difficult" album was preceded (15 months prior!) by this single that amazingly peaked at No. 11 despite being rather peculiar as a pop song.

It's notably faster and more percussive than her earlier output, having almost a frenzy atmosphere. I have actually never quite "got" it completely: it is said to deal with existential frustration and quest for knowledge. Nevertheless, I am impressed by its hilarious uniqueness.

The B sider is Kate's first cover, Donovan's 'Lord of the Reedy River'. I'm not familiar with the original, but I presume her version to be quite personal. The tempo is very slow, and her frail vocals are backed by delicate flute-reminding synths. Now this is a perfect example of an interesting, small-scale non-album song.

 Army Dreamers by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1980
3.00 | 3 ratings

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Army Dreamers
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

3 stars For the B sides of the singles from her third album Never For Ever (1980) Kate Bush wrote non-album songs in opposition to all previous singles. Army Dreamers was the third and final single from NFE, and it peaked at 16 in the UK single charts in October 1980.

The brightly melodic and delicate song is basically a waltz. The lyrics deal with a mother grieving for her young adult son killed on military manoeuvres. The background vocals are easily identified as David Gilmour's.

'Delius' also comes from Never For Ever. It is a beautiful and seducingly sensual tribute to English composer Frederick Delius, and it features only a little of lyrics. Very charming! 'Passing Through Air' is one of her many non-album tracks of the time. It's only about two minutes long and yet it barely manages to live up to that length. Starting quite promisingly, it soon gets trapped into the boring chorus. Sad to say, that makes it a terribly half baked little throwaway song.

 Wow / Fullhouse by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1978
2.95 | 3 ratings

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Wow / Fullhouse
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

3 stars There had been two singles taken from Kate Bush's debut album The Kick Inside (released in February 1978), both containing album tracks only, and the same procedure continued with Lionheart, the slightly weaker econd album that was maybe pushed out a bit too quickly. In November 1978, one month before Lionheart, came Hammer Horror / Coffee Homeground. Neither of the songs among my favourites of the album, nor did the single reach top 40 in the charts.

Wow / Fullhouse was released in March 1979 and 'Wow' was a top 20 hit in the UK. Bush has said the song was her attempt at writing something spacey in the Pink Floyd style. Spacey it may be, but quite far from Floydian atmospheres. It's a mellow and very sensual song about show business. I still enjoy it.

'Fullhouse' was one of the three newly composed songs of Lionheart. It is pretty mellow too but gets a bit edgier on the chorus, which I find less pleasant than the wonderful, moody melodies before it.

 The Sensual World by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1989
3.00 | 4 ratings

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The Sensual World
Kate Bush Crossover Prog

Review by Heart of the Matter

3 stars Single which each side are the opening and the closing track of the eponymous album. The difference that this material bears with the content of Kate's cellebrated first three albums is, I think, basically a matter of dynamics and melodic construction:

In the first place, we don't have here the great sensation of momentum "always waiting to build up", but a climatic, cyclic, never peaking dynamic feel sustained by percussion.

In the second, we don't have melodic hooks gripping the listener's attention for good.

Just like the main album, this is a record where you have to want to stay, in order to seize the goods. With a little patience, it really pays off.

 The Sensual World by BUSH, KATE album cover Studio Album, 1989
3.50 | 224 ratings

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The Sensual World
Kate Bush Crossover Prog

Review by TCat
Forum & Site Admin Group Eclectic / Prog Metal / Heavy Prog Team

4 stars I have a hard time understanding just why this album isn't one of Kate Bush's more revered albums, especially in the progressive universe. While it's true it might be a little bit lesser than her previous albums, it is still an amazingly beautiful and diverse album and offers some of her most memorable songs, however, there is that feeling that the songs don't gel together as well as on past albums, but this should only be a minor flaw, as the songs on their own are very powerful, innovative and leave a lasting impression.

The album starts off with two strong tracks, the lush and sultry "The Sensual World" and the bold and driving "Love and Anger", both of which were released as singles and both did rather well. These are followed by the more experimental "The Fog" which show Bush at her most innovative, harkening back to some of the less accessible songs off of "Hounds of Love", mysterious and yet intriguing, her vocals doing things that other vocalists wouldn't dare try while using non-traditional (at least in a rock/pop setting) instruments, usually instruments that are folk instruments, yet hardly ever used together in the same setting. "Reaching Out" has one of Bush's most beautiful and emotional choruses ever, as she shows the power behind her dynamic singing. No one else can emote and utilize their voice as well as Kate Bush can, and that is why she is always one of my favorite artists. Tender and powerfully emotional, this is an amazing song. "Heads We're Dancing" ends the first side with an upbeat track that features Mick Karn's signature fretless bass.

The first few times I listened to this album, I had a hard time with the 2nd half of this album, especially because of the inclusion of the Bulgarian vocal ensemble "Trio Bulgarka" and I didn't like the way those vocals contrasted with the songs, sounding like they were just place there to be more artsy. But as time went on, I came to appreciate the inclusion of this, and now it all just seems natural. She uses the ensemble on 3 of the tracks on the 2nd side, including "Deeper Understanding" which has since become another of my favorite Bush songs. It is very obvious that, even though many think this was a commercial album for Bush, that she was still working to make it extremely innovative, and she succeeded. You can call it art pop if you want, to me it is still all amazingly original and excellent. "Between a Man and Woman" tends to reflect some of Bush's older material and I think would have fit easily on any of her previous albums. "Never Be Mine" again utilizes the Trio Bulgarka. Between this track and the previous one, I tend to believe is the reason that most of the public tends to discount the entire album. These two songs are arguably a bit easier to forget and tend to weaken the album a bit, but once the music from this album starts to find its way into your head, heart and soul, that these less interesting songs start to stand out a little more. Overall, this album is a grower, but that is also its strength, that you can go back to it and discover new things each time you hear it.

"Rocket's Tail" again uses the Trio Bulgarka, and this one is the least accessible of all of the songs on this album. Even though this track is difficult to get into, it was one that stood out at the very beginning for me. Much of the first half of the track is acapella, vocals divided by the main lyrics that Bush sings and the foreign words that the trio sings, and the melodies even contrast each other at times. Everything comes alive when David Gilmour finally kicks in with his guitar solo, and the track definitely stands out as his guitar and the foreign vocals make for a new and interesting experience. "This Woman's Work" was meant to end the album, and it did on the original vinyl version. This is one of Kate's most famous tracks, and also another of her most beautifully written and sung songs ever. It speaks for itself, and even though it has been covered by others, no one can express it like she can. So beautiful and emotional! It is a testament to her powerful songwriting and lyrical brilliance and if it is the song that most of the public will remember her by, then it is well deserved as such. The CD and cassette versions of the album also included the track "Walk Straight Down the Middle" which is a little out of place on this side of the album since it is pretty much the more inaccessible side, but it still works, and it ends up closing the album with another sultry performance from my most favorite female artist.

Even though it is a little bit weaker than its predecessors, it is still an album I love to listen to, and it still has some all time favorites of mine, but its weakness comes more in the way the tracks work more on an individual basis than they do in a cohesive way, and that is the only drawback from this excellent album. I was not a big fan of the album at first, but it grew on me as I became more familiar with each track, and now I consider it a favorite. But it doesn't quite reach the pinnacle of some of her other albums, but it still one that is worthwhile and I still consider it an excellent album.

 Aerial by BUSH, KATE album cover Studio Album, 2005
3.85 | 272 ratings

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Aerial
Kate Bush Crossover Prog

Review by sgtpepper

4 stars The most progressive album by Kate Bush and the least departure from her original sound also making it harder to map this album to her. Kate Bush may have decided to make one of the most ambitious albums of her career or she just decided not to sleep on laurels. Song lengths are longer, ideas have more space to expand. From the first track with nice melody/motive with complex drums, to rhythm experimental "Pi", to modern "Joanni" with emotional vocals and excellent piano lines on "A coral room", she has plenty of nice surprises with depth for her listeners. The second disc is equally engaging. I like the hypnotic "Somewhere in between". Well recommended album by K.B., one of her best and the most progressive one.
 The Red Shoes by BUSH, KATE album cover Studio Album, 1993
2.75 | 175 ratings

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The Red Shoes
Kate Bush Crossover Prog

Review by sgtpepper

3 stars Starts strongly by very mid 80's sounding song and quite catchy melody "Rubberband girl" - it could actually be as well come from Madonna. The rest of the album is more reflective and has greater depth while not immediately always accessible. There are fewer proggy elements than on previous albums.

"And so is love" has a nice modern Hammond organ in the background with Claptonesque guitar solo. As usual, also on this album, Bush absorbs worldbeat elements such as the African "Eat the music".

"Moments of pleasure" is an excellent aching ballad with emotional vocals and strong piano. "The song of Solomon" reminds of late 70's Bush because of focus on vocals and piano. Celtic influences are reflected in the title track, it also has an interesting drum beat.

"Why should I love you" is probably the most known and catchy track together with "Rubberband girl", it features muscular bass guitar and creative guitar.

Overall, it is another fine album by Kate Bush.

Thanks to fishy for the artist addition. and to Quinino for the last updates

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