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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$6.77
$5.77 (used)
The Kick InsideThe Kick Inside
Parlophone 1997
Audio CD$4.27
$0.48 (used)
The Sensual WorldThe Sensual World
SBME SPECIAL MKTS. 2008
Audio CD$2.27
$2.59 (used)
The Whole StoryThe Whole Story
EMI 1990
Audio CD$5.98
$1.54 (used)
The Red ShoesThe Red Shoes
Sbme Special Mkts. 2008
Audio CD$2.96
$2.70 (used)
50 Words For Snow50 Words For Snow
ANTI Records 2011
Audio CD$9.77
$9.47 (used)
Never For EverNever For Ever
Parlophone 1990
Audio CD$6.50
$3.93 (used)
The DreamingThe Dreaming
Import
Fish People 2011
Audio CD$7.90
$20.48 (used)
AerialAerial
Sony Legacy 2010
Audio CD$12.48
$9.99 (used)
Right Now on Ebay (logo)
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14h 24m
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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)

3.94 | 212 ratings
The Kick Inside
1978
3.33 | 159 ratings
Lionheart
1978
3.96 | 192 ratings
Never For Ever
1980
4.06 | 195 ratings
The Dreaming
1982
4.10 | 276 ratings
Hounds of Love
1985
3.43 | 133 ratings
The Sensual World
1989
2.66 | 111 ratings
The Red Shoes
1993
3.76 | 178 ratings
Aerial
2005
2.74 | 56 ratings
Director's Cut
2011
3.80 | 107 ratings
50 Words For Snow
2011

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

4.23 | 29 ratings
Live At The Hammersmith Odeon
1994

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

4.97 | 10 ratings
Live At The Hammersmith Odeon (Video)
1981
3.60 | 9 ratings
The Single File (VHS)
1983
3.84 | 15 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
2.96 | 5 ratings
Hounds of Love: A Classic Album Under Review
2008

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

3.52 | 55 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
0.00 | 0 ratings
There Goes a Tenner
1982
0.00 | 0 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
 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
Collaborator Neo-Prog Team

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.

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 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
Collaborator Neo-Prog Team

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.

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 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.

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 Hounds of Love by BUSH, KATE album cover Studio Album, 1985
4.10 | 276 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

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 The Kick Inside by BUSH, KATE album cover Studio Album, 1978
3.94 | 212 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.

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 Lionheart by BUSH, KATE album cover Studio Album, 1978
3.33 | 159 ratings

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Lionheart
Kate Bush Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars I think the problem with this album is that it sounds too much like the debut. To me it sounds like KATE BUSH took all the songs from her first album THE KICK INSIDE and reassembled them into new creations. Apparently this doesn't hold well with most as told by the lower ratings and I have to agree that I prefer the debut as well, but not by much. Those songs may be a tad catchier but this is a great album itself. I love most of these songs and even though I can tell which song sounds like certain ones from the debut, it doesn't really matter. I'm not against using a successful musical formula and getting a little mileage out of it.

With songs as good as these she probably could have gotten another few albums out of this sound and considering Kate was only 19 at the time of both these albums being released I think I can cut her a little slack. This music is every bit as ingenious as the debut and not just simply rushed out shlop to cash in. Just listen to the arrangements. Geez, they're brilliant! Like I said, I do prefer the debut because many of those songs are off the charts spectacular and it was the first album I heard. This doesn't have the surprise value of the debut but it sure comes close to the quality overall.

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 The Kick Inside by BUSH, KATE album cover Studio Album, 1978
3.94 | 212 ratings

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The Kick Inside
Kate Bush Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars This was appropriately my first KATE BUSH album and I fell for it upon first listen. Nobody in all of the musical world sounds like her. At the young age of 13 she already had her fingers on the pulse of the musical world and was creating, crafting and delivering her own passionate array of well polished songs with her own unique stamp on them. By the time she was sending demos she had already created over 50 songs.

After sending her demos around one finally got to David Gilmour who would help her refine them into more professional sounding pieces and thus would help catapult her into instant stardom in her native UK. By the time she was 19 her debut album was released and her singles such as 'Wuthering Heights' began to fly up the charts at home and then abroad.

I listen to this now and it does the same for as it did the very first time I heard it. Powerful stuff indeed because of Kate's strangely idiosyncratic vocal style and haunting cord changes that she has successfully integrated into the music to give it a unique feminine style. It still gives me goosebumps. 4.5 rounded up

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 The Dreaming by BUSH, KATE album cover Studio Album, 1982
4.06 | 195 ratings

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The Dreaming
Kate Bush Crossover Prog

Review by Second Life Syndrome
Collaborator Post/Math Rock Team

4 stars Good gravy! I was not expecting this when I decided to check out Kate Bush's music. I guess I was expecting some very 80s synthy pop/rock, but what I got instead was a FEARLESS voice! Kate Bush is like no one else, and I guess that explains why so many people love her.

The music on this album is definitely a foundation and nothing more. There are all kinds of strange instruments used, and they add a feeling of eclecticism to the music. I think this is simply a reflection of Kate's character, though. She doesn't do things "normally".

Her voice, however, is the true star here. I couldn't believe my ears when I heard what I can only describe as "harsh" vox come from her mouth. Wildly diverse uses of her voice are present, from low growls to high-pitched tone variation that doesn't seem like it should be possible. But, she always makes it work. In fact, there are times when I thought I should be repulsed, but in no time at all it simply worked and worked well.

Kate Bush is something of an anomaly. I've seen discussions about getting her out of "prog- related" and into "crossover", and I couldn't agree more. This is progressive music through and through, and I think the character and style that Kate presents is proof enough.

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 The Dreaming by BUSH, KATE album cover Studio Album, 1982
4.06 | 195 ratings

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The Dreaming
Kate Bush Crossover Prog

Review by BrufordFreak

5 stars For several years I thought this might be the greatest album ever created/recorded. As time has passed, it's freshness and innovations have staled a bit, but upon donning my headphones and re-immersing myself into The Dreaming, I can recall my lust and enthusiasm for this music as I heard it first in 1982. While I never cared much for "Sat in Your Lap" or "Suspended in Gaffa," I always find the rest of the album spell-binding. The ironic humour and quirkiness of "The Dreaming" (10/10), the raw power of one of my favorite songs of all-time, "Get Out of My House" (10/10), the eerie/sexy mysteriousness of "Houdini" (9/10), "The Night of The Swallow" (9/10), "All The Love" (9/10), "Pull Out the Pin" (8/10), and even the teenie-popper, "There Goes a Tenner" (7/10), the raw power and inventiveness of the vocals on "Leave It Open" (8/10), the awesome drumming of Stuart Elliott, the Fairlight CMI, the wonderful incorporation of traditional Irish/Celtic instruments, the intricate storytelling, the incredible vocals--it all makes for one heck of a ride! This is by far the most highly rated 1980s album I've ever critiqued--even outshining the Heads, Crimson, Gabriel, Sylvian, U2, The Cocteau Twins and The Cure. This is, in my opinion, Kate's most breathtaking, refreshing, innovative album--a masterpiece. Simply astounding lyrics/storytelling and vocal acrobatics.

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 The Sensual World by BUSH, KATE album cover Studio Album, 1989
3.43 | 133 ratings

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The Sensual World
Kate Bush Crossover Prog

Review by BrufordFreak

5 stars While The Dreaming is, IMHO, Kate's prog masterpiece, it is my opinion that The Sensual World is every bit it's equal--perhaps even more masterful in that it comes from a woman with nine years more wisdom and maturity than The Dreaming.

1. The Sensual World (3:57) is one of Kate's most overtly sexual songs (of which she has a few) only this is from the perspective of the experienced woman who knows what she likes and knows how to get what she wants. Definitely a new and future-harkening sound from Ms. Bush. One of my all-time favorite Kate songs. (10/10)

2. Love and Anger (4:42) is another one of Kate's gut-wrenching emotional roller-coaster rides. Drags on a bit in the same range of chords and pacing--though the instrumental performances are rock solid. It feels a bit like other songs of Kate's from preceding albums. (8/10)

3. The Fog (5:06) is highlighted by the incredible strings and guitar work. Another very pleasant dreamy, emotion-based musical journey. (9/10)

4. Reaching Out (3:12) begins like an old ELTON JOHN song, which is appropriate in that it is an emotional song about human nature. The chorus is quite strong, powerful and engaging--one of Kate's strongest on this album. Unfortunately, going back to the soft/delicate A Section is a bit incongruous. But that chorus--and with it Michael Kamen's orchestration and Alan Murphy's guitar work--are redeeming. (8/10)

5. Heads Were Dancing (5:21) starts out just like a DEPECHE MODE song before Kate's unmistakable voice enters. The odd vibratos Kate uses while she holds the "second" syllable of words like "dance" and "do" are a bit too odd. Love Mick Karn's bass work. Eerie song. (8/10)

6. Deeper Understanding (4:46) has a cool JANE SIBERRY/PETER GABRIEL feel to it but doesn't really suck the listener in--it's one of those stories that is a bit too obtuse or obscure for me to get drawn into. (7/10)

7. Between A Man and A Woman (3:30) has such an unusual feel with it's staccato beginning and screech-opened B section. At this point in Kate's career, this kind of beat/rhythm is becoming a bit too standard for Kate's music. (7/10)

8. Never Be Mine (3:44) is another of my all-time favorite Kate songs. Eberhard Weber had been one of my favorite artists for over fifteen years, and I had become entranced by the Western arrival of Les Mysteres des Voix Bulgares (and had even seen the Bulgarian State Radio & Television Female Vocal Choir in '90) thus, the timely incorporation of The Trio Bulgarika, Eberhard, and with Kate's penchant for Irish/Celtic instruments was both synchronous and popular with me. (9/10)

9. Rocket's Tail (4:07) is creative and risky in that for the first 90 seconds Kate's dreamy and later assertive lead vocal is backed only by the diatonic dissonance of The Trio Bulgarika. Nice try, gutsy, but the "meshing" just doesn't happen. It does better with the engagement of the heavy blues-rock instrumentation. The quirky "He-he-he, he-he-he" part is equally unsettling and almost grating to my ears. (7/10)

10. This Woman's Work (3:38) is quite a highly praised and anthemic song for many--and deservedly so. Powerful in message and delivery. I find myself often skipping it to reach the next song. (9/10)

11. Walk Straight Down The Middle (3:48) is the third of my all-time favorite Kate songs to emerge from The Sensual World. From the opening notes, Eberhard Weber's bass, along with the amazingly fragile-sounding vocal delivery of one of music's all-time great theatrical singers, this song sucks me in. Great rhythms and deeply engaging sound with wonderful and quirky vocal acrobatics. Plus the song employs absolutely masterful use of pauses, timing and spacing, e.g. check out the 2:22-2:39 section followed by the amazing resonant bass and jungle vocal calls. (9/10)

I have to say, in terms of high creativity and gutsy experimentation, there aren't many albums that can top this one. Whether or not it all works or not is definitely a matter of personal opinion. To me this is a 4.5 star album that helps earn Kate the PA inclusion. Kamen, Weber/Karn/Giblin/(Palmer), Gilmour, Trio Bulgarika, the Bush family, and Kate's voice and presentation in peak form all make this a masterpiece of progressive rock music.

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

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