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KATE BUSH

Crossover Prog • United Kingdom


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Kate Bush biography
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", divided in several sections that hold different atmospheres. Two years later "The whole sto...read more

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Hounds of LoveHounds of Love
Import
Emi 2011
Audio CD$8.70
$6.87 (used)
The Kick InsideThe Kick Inside
Parlophone 1997
Audio CD$4.55
$0.69 (used)
The Whole StoryThe Whole Story
Import
EMI 1989
Audio CD$4.55
$0.32 (used)
AerialAerial
Sony Legacy 2010
Audio CD$13.52
$3.07 (used)
LionheartLionheart
Parlophone 1990
Audio CD$5.02
$2.98 (used)
50 Words For Snow50 Words For Snow
ANTI Records 2011
Audio CD$13.84
$3.01 (used)
The Red ShoesThe Red Shoes
SBME SPECIAL MKTS. 2008
Audio CD$3.36
$2.40 (used)
The Sensual WorldThe Sensual World
SBME SPECIAL MKTS. 2008
Audio CD$2.58
$1.39 (used)
Never For EverNever For Ever
Parlophone 1990
Audio CD$5.06
$3.61 (used)
The DreamingThe Dreaming
Import
Fish People 2011
Audio CD$8.42
$7.23 (used)
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KATE BUSH discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

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

3.93 | 246 ratings
The Kick Inside
1978
3.33 | 173 ratings
Lionheart
1978
3.96 | 222 ratings
Never For Ever
1980
4.09 | 228 ratings
The Dreaming
1982
4.11 | 334 ratings
Hounds of Love
1985
3.49 | 150 ratings
The Sensual World
1989
2.66 | 120 ratings
The Red Shoes
1993
3.76 | 200 ratings
Aerial
2005
2.76 | 60 ratings
Director's Cut
2011
3.73 | 119 ratings
50 Words For Snow
2011

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

4.17 | 31 ratings
Live At The Hammersmith Odeon
1994
0.00 | 0 ratings
1979 Television Special
2014

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

4.83 | 13 ratings
Live At The Hammersmith Odeon (Video)
1981
3.51 | 9 ratings
The Single File (VHS)
1983
3.84 | 16 ratings
The Whole Story VHS
1986
2.35 | 7 ratings
The Sensual World, The Videos (VHS)
1990
3.04 | 8 ratings
The Line, The Cross & The Curve (VHS)
1993
2.88 | 6 ratings
Hounds of Love: A Classic Album Under Review
2008
3.04 | 4 ratings
1979 Television Special
2014

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

3.52 | 56 ratings
The Whole Story
1986
3.66 | 21 ratings
This Woman's Work
1990

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

4.05 | 2 ratings
The Man With The Child In His Eyes
1978
5.00 | 1 ratings
Wuthering Heights
1978
2.52 | 10 ratings
On Stage
1979
4.00 | 2 ratings
December Will Be Magic Again
1980
4.00 | 2 ratings
There Goes a Tenner
1982
4.05 | 2 ratings
Night of the Swallow
1983
3.33 | 3 ratings
Cloudbusting
1985
3.85 | 7 ratings
Experiment IV
1986
0.00 | 0 ratings
The Man With The Child In His Eyes / Sat In Your Lap
1986
2.09 | 6 ratings
Aspects of the Sensual World
1990
2.09 | 7 ratings
Rocket Man / Candle in the Wind
1991
2.09 | 3 ratings
And So Is Love
1993
4.00 | 5 ratings
Wild Man
2011
2.00 | 1 ratings
Running Up That Hill (A Deal With God) (2012 Remix)
2012

KATE BUSH Reviews


Showing last 10 reviews only
 Never For Ever by BUSH, KATE album cover Studio Album, 1980
3.96 | 222 ratings

BUY
Never For Ever
Kate Bush Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars NEVER FOR EVER is the third release by KATE BUSH and this is the album that began to expand her sound after the progressive piano ballads and occasional rockers that graced the first two albums. Here she hit the mark in many ways. This was her first #1 album in the UK and she was also the first British female solo artist to top the album chart and also this album entered the charts at #1. This is very much a transition album between the first two albums that were practically identical in sound and approach and the following two albums that would lead to some of the best albums the 80s had to offer.

The first noticeable difference between the previous albums and this one is the huge expansion of instrumentation, sounds and song structures. It seems that everything was expanded in the KATE BUSH universe but yet there is something oh so familiar that ties the rhythms and melodies to her origins. The romanticism has retained its core feel but expansion into other lyrical arenas such as nuclear war in "Breathing" also makes its way into this first 80s album.

I can't find one bad track on this one but "Violin" really stands out for me since it not only takes KATE's unique vocal style to a more acrobatic level but is one of the most rocking tracks she has performed on at this point in her career. A really catchy and brilliant track that just rocks my freakin' socks. Songs like "The Infant Kiss" definitely bring previous endeavors such as "Wuthering Heights" to mind, thus connecting this leap of innovation to the past offerings of this brilliant vocalist turned producer (her first effort as such.)

NEVER FOR EVER sees KATE BUSH evolving into the next phase of her career which is transitionally as pleasant as the first phase and the second. Equally embracing both sides of the equation, this is simply an album filled with the brilliant progressive pop melodies she created started with "The Kick Inside" and ratcheted up the interesting developments that would lead to her upcoming pinnacle of progressive pop paradise. As pianist, composer, vocalist and producer, she really struts her stuff on this one and gains the momentum to push her limits to unforeseeable heights.

 Hounds of Love by BUSH, KATE album cover Studio Album, 1985
4.11 | 334 ratings

BUY
Hounds of Love
Kate Bush Crossover Prog

Review by TCat
Prog Reviewer

5 stars This is not only Kate Bush's masterpiece, it is also on my list of perfect albums. It is one of those rare albums that I consider a 6 star recording. This is an amazing album with a wide variety of moods, styles and dynamics. It's one thing that KB has one of the most versatile and unique voices in music and that makes her music original and interesting. But to add to that the genius that so very few artists can do so well as what Kate did on this album and that is to mix the perfect blend of pop, experimentation and prog to make not only a successful album, but also one that is so amazing and that keeps it's timelessness over the years to still remain so great and not ever get stale. This is one album that I still enjoy as much as I did in it's day. If anything, my appreciation for it has grown.

The album is divided into two suites. The first 5 tracks are more individual, but have an underlying theme of different aspects of love. "Running Up That Hill" is the classic KB song full of mystery and lushness that is unbeaten. It reminds one of a foggy morning, so beautiful and strange. That feeling continues with "Hounds of Love". Both of these tracks carry with them the love of life that exists even with the limitations that humans have, the 2nd one being more carefree, while the 1st is more of a yearning for the impossible. "The Big Sky" also continues the poppish sound, but through these songs, you hear a constant beat, but there is an underlying current that makes the music so very un-typical of pop music that hasn't been copied or never will be. There is that air of mystery always apparent, yet almost with a childish attitude of happiness that comes with human nature, especially when it comes to love. "Mother Stands for Comfort" is probably the most inaccessible song on this side of the album. It is a moody slower song with some strange sounds and atmospheres. It includes a lot of vocal tricks of which Kate always has plenty of up her sleeve. This is one thing that has kept her from being completely pop fodder, her voice is unconventional, yet so beautiful and acrobatic. The music that accompanies her voice is not just backup sounds either, it is always important and interesting, just as interesting as the voice and the lyrics. Even on this album, it's still unconventional even with it's vicinity to pop. I hate calling this album pop by the way, because it is so much better than that genre. The last song on this side is "Cloudbursting" which is based on a relationship with a scientist and the work they are experimenting with. This returns to a consistent beat that was evident in different forms throughout the first side except for the 4th track.

The 2nd half of the album is even more interesting, beautiful and amazing. This suite is called "The Ninth Wave" and consists of tracks 6 - 11. Even with the greatness of the first half, this side is even better, mainly because there are a lot more prog elements in the music and because it is so original. The vocals and lyrics still retain their importance, but the instruments now are even more important and are used so well. There is an underlying story to the concept of this part of the album that has to do with dreaming, drowning and dying but living afterwards in a different realm. "And Dream of Sleep" is one of the most beautiful songs ever sung, so peaceful, yet so powerful. "Under the Ice" is so mysterious and uses strings to build tension and work together with the voices here to add suspense. The very strange yet wonderful "Waking the Witch" utilizes some amazing recording tricks that continue with the tension building, and this almost seems to be inspired by Pink Floyd's "The Trial" off of The Wall album. The music isn't copied, but the idea is similar with a dramatic ending. The helicopter sound effect is actually taken from The Wall and credit is given. "Watching You" is more of a floating piece with some cool percussive sounds and more of a minimalistic approach but Kate's vocals soar and flow around the instruments. "Jig of Life" is based on celtic music but starts off in minor key to build more tension and drama, but the tension is released as suddenly the jig takes on a major key and becomes very traditional sounding Irish dance tune for a short while after which Kate interrupts and starts putting moments in their proper places....suddenly the jig is minor again and a male voice builds tension again as poetry is recited. Quite an amazing song. "Hello Earth" closes out the suite in a beautifully sung quieter piece that is interrupted a few times by a Gregorian style chant with minimal strings or syth is played in the background. This is surprisingly effective especially with the release of the tension, even though she is free floating above the earth and all seems perfect, the chanting is done in minor key and reminds you that not all is as great as it seems. Simply amazing music, I can't describe how much I love this album. The last song is actually not part of the suite, but is more of a stand-alone song called "The Morning Fog" which brings everything back to earth again. This is a short piece that is reminiscent of Kate's earlier works and it actually fits in well with the rest of the album.

I can't help but love this album, I think it is probably my favorite album of that decade when it was released, in the 80s. If it isn't my favorite, then it is definitely up there with the best. Perfect musicianship, so many little inticricies and little nuances that keep it constantly fresh and interesting to listen to. No doubt I have to call this one of the most important recordings of it's time and even still to this day. Like I said before, this is a 6 star album in my own book, but I only have 5 to work with here. This is a masterpiece.

 1979 Television Special by BUSH, KATE album cover DVD/Video, 2014
3.04 | 4 ratings

BUY
1979 Television Special
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

3 stars To the question who is my all-time favourite of female musicians, the answer is KATE BUSH without any hesitation. I have enjoyed her music since my teens. But like it is the case with all of my long-time favourites (GENESIS of the 70's being the most important), I have never felt I should like everything - or, for God's sake, to have every available music - by those favourites. This fact was brought to my mind with this DVD release. The 1979 Christmastime television special starts with 'Violin', a wild, actually punkish song from the then upcoming third album Never For Ever. I simply can't stand it! I have forced myself to listen to it less than five times in my entire life, and having it now served with an artistic visual performance didn't make it any better musically. If I had been originally introduced to her music with this song, I would have needed to win a deep prejudice first before letting her to become my favourite.

Sorry for that long introduction not quite up to the point. On the other hand this speculation about the liking or disliking of one's favourites gets very poignant with this DVD. You see, first I thought: "Wow, this is Kate Bush! This is rare! This is something special indeed!" And then, after viewing it, I thought "well, naturally it was interesting to see, but I won't miss it at all after I have returned the DVD to a friend." In one word, the television performance (it's not a live concert in the truest sense) is terribly UNEVEN. Enjoyable at its best, an embarassing nuisance at its worst.

After Kate has danced in bat-like clothes and screamed all the horrible high notes of 'Violin', she gets a spare moment to change costumes while two faceless men dressed up like gigantic violins - or cellos or whatever - move slowly to Erik Satie's tiny and pretty piece 'Gymnopédie No. 1'. Next Kate sings and plays piano on 'Symphony in Blue', a fine and too forgotten track from Lionheart. In the end, I prefer this kind of honest live performance of a good song over the arty-farty coreographics for silly songs. I know, 'Them Heavy People' enjoyed success at the time and was a live favourite in her tour of '79. Kate and two men in large trench coats keep pushing each other as if they were rubberballs. It gets slightly irritating before the naive ear-worm song is over.

A choir-like introduction of "angel Gabriel" is amusing. PETER GABRIEL plays his 'Here Comes the Flood' all by himself on keyboards. We remember how he prefers that ripped-down version (also heard on the ROBERT FRIPP album Exposure, 1979) over the heavily overproduced 1977 album version. Kate's non-album track 'Ran Tan Waltz' is among her poorest songs, and the amateurish coreography (for three again) featuring Kate dressed as a man is equally silly and annoying. 'December Will Be Magic Again' appeared as a single almost a year later; here its live performance, Kate back on piano, is among highlights.

'The Wedding List' and 'Egypt' are also tracks to be released in 1980's album Never For Ever. Here the television performances are totally made up; the former song features acted scenes of the bloody wedding and the female rage with a gun, while the latter sees Kate miming the song with a veil covering her nose and her round eyes almost popping out, against various Egyptian sceneries. This kind of a cheap and half-baked music video stands time much worse than a real concert. (And when you're listening to an album, you can direct your own inner videos!) Then comes a sad ballad 'Another Day' written by Roy Harper, performed with Peter Gabriel, though probably just miming instead of real live. They sit apathically looking very tired (of each other), visualizing a dead relationship. Gabe has short hair like in the covers of his 3rd "peter gabriel" album. This song is the most valuable rarity on the whole DVD. The 45-minute set ends with 'Don't Push Your Foot on the Heartbrake', in my opinion one of the weakest Lionheart songs. I can't say I much enjoy the semi- dance performance (again accompanied by two men); the whole thing looks somehow very gayish, a bad slice of phoney cabaret.

All in all the song selection is interestingly very unexpectable, and that certainly has its pros and cons. I would have rather chosen other songs from The Kick Inside and Lionheart. A minus comes also from the shaky end credits, totally missing the band?! Still, to give only two stars would feel too heartless. I don't recommend you to buy this DVD but it's worth seeing once. At least parts of it can be found on YouTube.

 There Goes a Tenner by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1982
4.00 | 2 ratings

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There Goes a Tenner
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

4 stars Some while ago I reviewed another 7" single off The Dreaming album and pointed out how far from typical for the singles market its material is (and yet surprisingly many singles were released). With this one you get also a non-abum track which increases the value of interest.

'There Goes a Tenner' is, like many of the album's songs, very narrative and cinematic. One can also consider it as humorous, both for the lyrics and the peculiar rhythmic structure. "OK, remember / OK, remember..." It takes you right in the middle of a scene of crime, among a group of thieves doing a major gig - which turns out to be a disaster in the true spirit of classic crime films. Kate Bush even refers to movies in the lyrics, as the protagonist sees his/her partners as actors: "You are Bogart, he is George Raft that leaves Cagney and me". In my opinion this clever and witty song is not quite among the very finest of the marvelous album, but it's amusing and highly personal, with a perfect production full of finely crafted details.

'Ne t'enfuis pas' is one of the few songs where Kate Bush sings in French. I can't figure out with my extremely rusty school French what's it about. Musically, this synth-oriented song sounds "modern" and to some degree a bit clinical product of its time, and makes me think of TALK TALK (songs like 'Have You Heard the News?' or 'Renée') or JAPAN of the time. This is not to say it wouldn't be a good and enjoyable song. I'm not sure if it's a fretless bass or a Fairlight that Bush used most distinctively in the Hounds of Love song 'Mother Stands for Comfort'. It sounds nice nevertheless. I've got this song and other b-siders in "This Woman's Work" compilation set.

 Night of the Swallow by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1983
4.05 | 2 ratings

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Night of the Swallow
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

4 stars This is a surprising single when the nature of the songs is considered. But very pleasantly surprising, and extremely satisfying for those listeners who prefer artistic values and uncoventional details over catchiness and hit potential! Both tracks are taken from Kate Bush's fourth album The Dreaming (1982), which was her most adventurous and innovative work to date at that point. In fact all singles from that album are far from typical in the single market, whereas Never For Ever clearly had songs such as 'Babooshka' that are quite obvious choices for 7" releases.

'Night of the Swallow' is actually very representative of the album's deep and mysterious spirit. Kate's magnificent vocal performance carries the song that has almost cinematic power in its scenery. Apart from the strong chorus ("with a hired plane, with no names mentioned...") which is spiced up with folk instruments - there are Uillean pipes if I remember right, and isn't that instrument in her lap on the rather unclear cover picture? - the playing remains very delicate, making the vocals and lyrics the centre of all attention. The spellbinding atmosphere of this song is very English and "old" in a way. The arrangement is highly original and full of interesting details, such as the fast tap-tap-tap percussion pattern on the chorus.

All my praises above fit as well to the other song, 'Houdini'. Again, Kate takes you in the middle of the story, a scene, with a fin de siecle atmosphere. The inner movie behind your eyes could be black and white, or with a worn-out sepia tone. The sensual melodies are magical and the string arrangement makes the song simply a perfect piece of art. The cover of The Dreaming album refers to this song ("with a kiss I'd pass the key..."). I'm not sure how directly the lyrics follow the performance methods and fate of Harry Houdini, the famous chain king, but that's not important. The final minute or so is deeply moving, as if you had just seen a great film instead of only listening to a song. Eberhard Weber's bass is marvelous here. "...You, and I, and Rosabel, believe." Goosebumps!

The only thing to stop me rating this single with five stars is the fact that both songs are on the album. The Dreaming may not be this gorgeous all the time (in fact I don't like all tracks) but it's so unique entity that the separate single releases are a bit unnecessary.

 December Will Be Magic Again by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1980
4.00 | 2 ratings

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December Will Be Magic Again
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

4 stars Just a little bit late for being right on time with this review, unless the Christmas season lasts till Twelfth Night. :) Shortly after the release of her third album Never For Ever, KATE BUSH released a single for Christmas. Containing two very pleasant non-album tracks, this really is a single I appreciate a lot. [I have the songs in my copy of "This Woman's Work" compilation CD.]

'December Will Be Magic Again' (4:51) sounds very much like the aforementioned studio album. There are moments in it that distantly remind me of the songs 'Blow Away' and 'The Wedding List', although this song is completely individual. It is dreamy, soft and romantic, full of her distinctive magic. Unlike with most season songs, I don't get tired of it even with multiple listenings, and one actually don't need a Christmas season for listening to it. My most negative remark is the difficulty to hear the lyrics right, due to her unique singing style. For example, I don't think she sings anything about Humphrey Bogart, but that's how I hear the two most repeated words. Of course I might find the lyrics from the Internet but I'm too lazy to try right now.

'Warm and Soothing' (2:43) is a tender and minor key piano-centred song. It has a near-twin in Kate's output: the erotically coloured ballad 'In the Warm Room' from Lionheart (1978). Well, this is melodically not quite that simply structured or as easy to follow textually. "Warm and soothing, that's how I remember home", it begins, and it seems that the lyrics go forward all through the song without having any repeated refrains or choruses. This fact naturally only helps the song not to wear off easily.

 The Man With The Child In His Eyes by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1978
4.05 | 2 ratings

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The Man With The Child In His Eyes
Kate Bush Crossover Prog

Review by Matti
Prog Reviewer

4 stars 'The Man With the Child in His Eyes' and 'Moving' are both outtakes from KATE BUSH's debut album The Kick Inside. I don't know in which order the album and its two singles - the other one being naturally the smash hit 'Wuthering Heights' inspired by Emily Bronte's classic novel - were released, but I think I've read somewhere Kate telling how the recording of 'The Man...' was the very first one. She was pretty nervous, and understandably so, with an orchestration backing her ethereal vocal performance. But unlike on some early live broadcast of 'Wuthering Heights' that I've seen on TV, nervousness doesn't show here. This song is among the softest she has ever done. The lyrics are perhaps rather naive, romantic daydreaming of a young introvert girl, but the composition is mature, as well as the arrangement. She was really lucky to work with exactly the right people. And WE the listeners are lucky!

'Moving' has always been among my favourite songs from that debut. She truly sounds like no one else; the dreamy song has a magical, otherworldly atmosphere. Wonderful songs, but five stars are in my principles reserved for singles that contain also a non-album track.

 Running Up That Hill (A Deal With God) (2012 Remix) by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 2012
2.00 | 1 ratings

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Running Up That Hill (A Deal With God) (2012 Remix)
Kate Bush Crossover Prog

Review by Star_Song_Age_Less

— First review of this album —
2 stars Firstly, Kate Bush is one of my favorite songwriters and performers. It therefore pains me to give anything of hers a measly two stars. However, Kate Bush's single "Running Up That Hill (A Deal With God) (2012 Remix)" is a double-edged sword of good meets tragic... the odd duck in Bush's already odd pond.

When I first saw that a remix of "Running Up That Hill" had been released, I was excited and purchased it immediately. I also listened to it with a huge grin on my face the whole time. I loved it. The new leading vocal track clarified a lot of words that I had not been able to understand before, and Bush's older voice had a richer depth. So I thought, "great!"

Then a few days later, I decided to listen to the old version on The Hounds of Love. I expected to feel disappointed and want to listen to the new one again, but that's not what happened. Instead, the old, unaltered version brought me to higher heights and did its old trick - which I had forgotten about - of greatly creeping me out in parts (in a good way - in other words, it was emotionally moving for me). After it had ended, I felt confused. Why had I had such a strong reaction to the old version?

I replayed the 2012 remix. Then I listened to the old version and the remix back to back several times. Here are the differences: - The instrument and backing vocal parts in the remix, for some strange reason, were transposed down a half-step. I don't mean that they re-recorded them - they clearly didn't - but that they electronically manipulated all the audio except for the original lead vocals down a half step. (??!?!?) Why make such a decision? I did some reading and found that it was to accommodate Bush's now deeper voice... which also seems strange. It's only a half step, it's not going to make a whole lot of difference to the difficulty of singing it... but the electronic manipulation dulled the sound of everything in the background. The original version was so much brighter! - The old lead vocals were scrapped and new ones recorded. The annunciation is much clearer now (which is why I was excited at first). There's some richness to the voice that wasn't there before, and the effect on her voice is slightly different. However, upon further listening, I just felt that the original performance was better because it sounded more passionate and dynamic.

So, the pros: clearer lyrics, vocal richness. The cons: dull sound to everything but the lead vocal, less passion.

Here's the thing I find weird - if Bush really wanted to re-do "Running Up That Hill," why didn't she just actually re-do it? If she was too busy (and she has been busy according to the Fish People website), why not leave the instrument tracks alone and just sing it more clearly? Sacrificing everything else to the lead vocal isn't a good compromise. Even weirder, this song had already been remastered along with the rest of The Hounds of Love.

All this said, if you are like me and you love Kate Bush, you probably want to get this anyway since the lyrics truly are much more clear. I enjoyed hearing the new performance even if it didn't bring me to the emotional height of the old one. However, if you are looking for a good introduction to Kate Bush or if you're just a casual fan, I'd advise you to skip this remix and go straight to The Hounds of Love.

 Hounds of Love by BUSH, KATE album cover Studio Album, 1985
4.11 | 334 ratings

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Hounds of Love
Kate Bush Crossover Prog

Review by ProggyDon

3 stars Like everyone else I'm currently caught up in Kate fever and in preparation for the shows I've been trawling through the likely material we'll be hearing live. She has produced some great pop, ballads and even prog but I'm sorry to say I just don't get the euphoria surrounding this album. Yes, it's good and it has some interesting ideas, but not any really memorable melodies. I'm all for experimentation and innovation - ironically it's what a lot of prog albums are sorely lacking - but it has to go hand in hand with strict quality control. Not all 'interesting' albums are necessarily good.

It's odd, this is one of those albums that is revered by everyone I know, it's treated with a 'holy' respect, and disrespecting it is a mortal sin! Yes that's a bit over the top but you know what I mean? I know I'm in a real minority here, but for me this is Kate Bush without the songs, or at least any recognisable song structure. I don't get The Ninth Wave - it feels so piecemeal to me, and Running Up That Hill is just a one line melody repeated endlessly!

Love Kate Bush and the fact that she's never been afraid to try new things, I'd just like a few hummable tunes on the Hounds of Love.

Phew, that was good to finally get off my chest

 The Kick Inside by BUSH, KATE album cover Studio Album, 1978
3.93 | 246 ratings

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The Kick Inside
Kate Bush Crossover Prog

Review by Xonty

4 stars Kate Bush is an artist that's had numerous musical peaks throughout her career (The Dreaming being her most experimental, Hounds Of Love her most complete and well-written), but "The Kick Inside" seems to be her magnum opus. A perfect combination of a rawly produced progressive record with a very warming eagerness to experiment, all laden with captivating melodies, her debut perhaps encapsulates my favourite version of the ever-changing Kate Bush.

"Moving" begins with a different but not exactly intriguing whalesong prelude, flowing into the main song. A beautifully crafted wistful air is instantly formed, and the lyrics and harmonies just leave you awestruck. There's so much going on, and the nymph-like "Lilies" section is another touch of magic. "The Saxophone Song" again strikes you with a gorgeous verse, and quite an underplayed, suppressed emotion (even sexuality), that almost bursts through with the sax but I think it's lacking a little somewhere. The intricate vocal work and chord progressions just about make up for this.

"Strange Phenomena" is, I suppose forces a hypnotic eeriness onto you, with an immediate augmented chord, but that's what makes up the album's rawness that keeps it more embedded and working with rock than pop. A typical Kate song on the whole, with a little something extra though. Now... "Kite" has to be the most unique song (and my most-listened-to) from the album. There's something so luxurious and irresistible in her voice that just purrs at you. I don't think anyone could ever match her dexterity and musicianship on here. This one track in particular just pours out of the speakers, and sounds so effortless and hedonistic.

Having now entered the chain of 4 consecutive Kate Bush classics, those gentle piano chords of "The Man With The Child In His Eyes". The chords seem a little jolting in some places, but they definitely grow on you. The chorus on the other hand is so original, and to think she wrote this at the tender age of 15... I'm that age now, and the fact that I know someone that young can compose something so otherworldly is inspirational to me, and I'm sure many others. This song alone spurs me on and lets me know that it can be done! "Wuthering Heights" similarly tells me that it's also possible to arrange and perform a number one progressive pop single by 17. This track is of course a mini-masterpiece in so many countless aspects of songwriting, and she still manages to attain a very intimate, honest narrative with the listener. It also takes a helluva lot of guts to release this as a debut song so soon after the apotheosis of British punk.

"James And The Cold Gun" has a bit more grit in it, with some bluesy but incredibly uplifting techniques and intrinsically powerful. I'd never have thought someone who could sing so gently could convey a heavy rocking track as is possible from a female teenage soprano to my knowledge. "Feel It" is regrettably where the album starts to go downhill. These final few songs are probably the reason why this gets a 4-star review (but incredibly close to a masterpiece). However, it is a gradual slope, and the courage to write such a blatantly sexual song as a female teenager certainly gets a lot of admiration from me. The frequent modulations during the chorus, and the almost-whispered storyline places this very far above mediocrity, and maintains the classy touch.

"Oh To Be In Love" has really grown on me recently, and I'm becoming more and more appreciative of her vocal technique here with every listen. As with all of her stuff, some of her best work! Very simplistic and elegant, but undeniably a very impressive little ditty. Not up there in the league of her greatest songs because it lacks a certain transcendental quality, but maybe her best love song. "L'Amour Looks Something Like You" has some excellent moments and just about keeps up with the remainder of her high standard songs, but the consistency begins to dissolve a tad more. Still captivating, don't get me wrong, but it doesn't quite have that extra dimension. Nothing wrong with it at all, just not the best song on here.

"Them Heavy People" is one of those songs I'm not sure if I should have an unrequited love for or be cringing at. Usually I do both, but I guess I'll have to pick sooner or later... The music and lyrics aren't as sophisticated as her other singles from "The Kick Inside" (e.g. Rolling the ball) but the narrative is particularly intriguing and kooky, as is her wild vocal style. Notably more far-fetched and risk-taking and that's kind of why I think I love it? "Room For The Life" kind of reminds me of a slow Ziggy song, with some additional prog ingredients thrown into the mix. This track was particularly average on first inspection, but as I've not had to listen so much to the first half hour, it's growing on me. Despite the repetitiveness, it's well-structured and has got a certain charm that I really can't not commend her on.

I'll refrain from saying that the title track is the low point of the album, but it could well be. Aside from the usual gracefulness of Kate, it lacks a punch and whilst it has the lavish chords and another incredible vocal delivery, it feels like it maybe had to be quickly written, as it feels more distant and not fully experiencable if I can say so. However, I'd like to end on a high note saying how this record in its entirety proves how prolific a songwriter she was at this fertile moment of her life. Countless artists have attempted to replicate the ingenuity of Kate and each one has failed. She will undoubtedly be remembered for years to come for the innate talents she was given, and this is where it all began.

B/A: How I'm moved.

Thanks to fishy for the artist addition. and to kev rowland for the last updates

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