As her 80s albums are reissued, we look across the year career of the singer-songwriter and actual, no-further-questions genius. Fri 23 Nov Not a hit, for some reason. A forgotten and atypical Bush single — a straight orchestral reading of the Great American Songbook standard, recorded for a tribute album of Gershwin songs by the legendary harmonica player Larry Adler. Very nice, but inessential.
Kate bush need your loving 11 April Wes Anderson movies - ranked! I found a book on how to be invisible On the edge of the Labyrinth Under a veil you must never lift Pages you must never turn In the Labyrinth. In the same interview, she denied that she was a perfectionist, saying: "I think it's important that things are flawed Kate Bush: Under the Ivy. Target Books. Manchester, United Kingdom. An unwillingly Hot german porn stars narrator who only knows for sure that the love and tears of his soon-to-be bereaved loviny all in vain, and all Kate bush need your loving late A soul looking down on its death bed?
Christina aguilera nude sexy. 28. The Dreaming (1982)
Collector's Guide Publishing. See also: The Demos section in Wieland's Dreaming. Passing through air. In July it is finally perfect. From the Kate bush need your loving of ten I felt old. And it really hotted out about ten thirty, another two people came in [laughter] -Jay and my father. She took a hiatus between her seventh and eighth albums The Red Shoes and Aerial I wasn't sure for some weeks although I noticed some slight differences in the voice. This friend of mine came to me and said, "My friend has a very talented sister" and would I listen to her. Walking for miles.
Yet, these fiercely singular pieces, which nobody else could have authored, are also maps of the heart, the psyche, the imagination.
- Kate Bush born Catherine Bush 30 July is an English singer-songwriter, musician and record producer.
- In , aged 19, she topped the UK Singles Chart for four weeks with her debut single " Wuthering Heights ", becoming the first female artist to achieve a UK number one with a self-written song.
- Lyrics licensed by LyricFind.
- Lyrics submitted by stentorian.
In , aged 19, she topped the UK Singles Chart for four weeks with her debut single " Wuthering Heights ", becoming the first female artist to achieve a UK number one with a self-written song. She was the first British solo female artist in the world to top the UK album charts and the first female artist to enter the album chart at number one.
Bush began writing songs at Her debut album, The Kick Inside , was released in Bush slowly gained artistic independence in album production, and has produced all her studio albums since The Dreaming She took a hiatus between her seventh and eighth albums The Red Shoes and Aerial She drew attention again in with her concert residency Before the Dawn , her first shows since 's The Tour of Life.
Bush's eclectic and experimental musical style, unconventional lyrics, and literary themes have influenced a diverse range of artists. She has been nominated for 13 British Phonographic Industry accolades,  winning for Best British Female Artist in ,  and has been nominated for three Grammy Awards. Both brothers were involved in the local folk music scene. John was a karateka at Goldsmiths College karate club; Kate also trained there, becoming known as "Ee-ee" because of her squeaky kiai.
Her family's musical influence inspired Bush to teach herself the piano at the age of She also played the organ in a barn behind her parents' house and studied the violin. Bush, speaking to Melody Maker magazine in According to Mercer, he felt Bush's material was good enough to release, but felt that if the album failed it would be demoralising and if it was successful Bush was too young to handle it. After the contract signing, EMI gave her a large advance, which she used to enroll in interpretive dance classes taught by Lindsay Kemp , a former teacher of David Bowie ,  and mime training with Adam Darius.
She began recording her first album in August She retained some of these even after she had brought her bandmates back on board. Stuart Elliott played some of the drums and became her main drummer on subsequent albums. The Kick Inside was released when Bush was 19, with some songs written when she was as young as Bob Mercer blamed Bush's lesser success in the United States on American radio formats, saying there were no outlets for Bush's visual presentation.
In an interview with NME in , Bush criticised the choice: "People weren't even generally aware that I wrote my own songs or played the piano. The media just promoted me as a female body.
It's like I've had to prove that I'm an artist in a female body. The album was produced by Andrew Powell, assisted by Bush. While it gained high sales and spawned the hit single " Wow ", it did not reach the success of The Kick Inside , reaching number six in the UK album charts. Bush set up her own publishing company, Kate Bush Music, and her own management company, Novercia, to maintain control of her work.
Members of her family, along with Bush herself, composed the board of directors. It was described by The Guardian as "an extraordinary, hydra-headed beast, combining music, dance, poetry, mime, burlesque, magic and theatre". Because of her need to dance as she sang, sound engineers used a wire coat hanger and a radio microphone to fashion a headset microphone; it was the first used by a rock performer since the Spotnicks used a primitive version in the early s.
The first two albums had resulted in a definitive sound evident in every track, with orchestral arrangements supporting the live band sound.
Never for Ever was her first album to feature synthesisers and drum machines, in particular the Fairlight CMI , to which she was introduced when providing backing vocals on Peter Gabriel 's eponymous third album in early September saw the release of The Dreaming , the first album Bush produced by herself. The Dreaming received a mixed reception in the UK, and critics were baffled by the dense soundscapes Bush had created to become "less accessible".
It pre-dated the album by over a year and peaked at number 11 in the UK. Continuing in her storytelling tradition, Bush looked far outside her own personal experience for sources of inspiration. Hounds of Love was released in Because of the high cost of hiring studio space for her previous album, she built a private studio near her home, where she could work at her own pace.
The second side of the album, The Ninth Wave , takes its name from Tennyson's poem, " Idylls of the King ", about the legendary King Arthur's reign, and is seven interconnecting songs joined in one continuous piece of music.
Bush provided a new lead vocal and refreshed backing track on "Wuthering Heights", and recorded a new single, " Experiment IV ", for inclusion on the compilation. The title track drew its inspiration from James Joyce 's novel Ulysses. In the United Kingdom album charts, it reached the number-two position. In , the boxed set This Woman's Work was released; it included all of her albums with their original cover art, as well as two discs of all her singles' B-sides recorded from to In , Bush released a cover of Elton John 's " Rocket Man ", which reached number 12 in the UK singles chart,  and reached number two in Australia.
In , it was voted the greatest cover ever by readers of The Observer newspaper. Bush's seventh studio album, The Red Shoes , was released in November The album gave Bush her highest chart position in the US, reaching number 28, although the only song from the album to make the US singles chart was "Rubberband Girl", which peaked at number 88 in January It was released on VHS in the UK in and also received a small number of cinema screenings around the world.
The initial plan had been to tour with The Red Shoes release, but did not reach fruition. During this period, Bush had suffered a series of bereavements, including the loss of guitarist Alan Murphy , who had started working with her on The Tour of Life in , and her mother Hannah, to whom she was exceptionally close.
Bush describes playing the song to her mother, who thought the line where she is quoted by Bush as saying, "Every old sock meets an old shoe", was hilarious and "couldn't stop laughing. She had originally intended to take one year off, but despite working on material, twelve years passed before her next album release.
Her name occasionally cropped up in the media with rumours of a new album release. The press often viewed her as an eccentric recluse, sometimes drawing a comparison with Miss Havisham from Charles Dickens 's Great Expectations. According to the winter issue of HomeGround , a Bush fanzine , it was scrapped when Disney asked her to rewrite the song and she refused. Aerial, as on Hounds of Love , is divided into two sections, each with its own theme and mood.
The first disc, subtitled A Sea of Honey , features a set of unrelated themed songs, including "King of the Mountain"; "Bertie", a Renaissance-style ode to her son; and "Joanni", based on the story of Joan of Arc. In , Bush was asked to write a song for The Golden Compass soundtrack which made reference to the lead character, Lyra Belacqua.
The song, " Lyra ", was used in the closing credits of the film, reached number in the UK Singles Chart  and was nominated for the International Press Academy 's Satellite Award for original song in a motion picture.
In May , Bush released the album Director's Cut. The album, which Bush described as an entirely new project rather than a collection of mere remixes, contains 11 substantially reworked tracks from her earlier albums The Sensual World and The Red Shoes , recorded using analogue, rather than digital, equipment to create "a warmer sound".
All the tracks have new lead vocals, new drums, and reworked instrumentation. Some of them have been transposed to a lower key to accommodate her lowering voice. Three of the songs, including " This Woman's Work ", have been completely re-recorded, with lyrics often changed in places.
It debuted at number-two on the United Kingdom chart. Bush's next studio album, 50 Words for Snow , was released on 21 November At Metacritic, which assigns a normalised rating out of to reviews from mainstream critics, the album received an average score of 88, based on 26 reviews, which indicates "universal acclaim".
Bush turned down an invitation to perform at the Summer Olympics closing ceremony. Instead, a new remix of her single "Running Up that Hill" was played. In March , Bush announced her first live concerts in decades: Before the Dawn , a night residency in London running from 26 August to 1 October at the Hammersmith Apollo.
The concerts received positive reviews. In October , Bush announced two boxsets of remasters of her studio albums, released on 16 and 30 November. Vocals from Rolf Harris , who was convicted of multiple sexual assault charges in , were replaced by Bush's son Bertie. Bush's musical aesthetic is eclectic , and is known to employ varied influences and meld disparate styles, often within a single song or over the course of an album.
This would continue throughout her career. By the time of Never for Ever , Bush had begun to make prominent use of the Fairlight CMI synthesizer, which allowed her to sample and manipulate sounds, expanding her sonic palette. Bush has a dramatic soprano vocal range. She has described herself as a storyteller who embodies the character singing the song and has dismissed efforts by others to conceive of her work as autobiographical.
Other non-musical sources of inspiration for Bush include horror films, which have influenced the gothic nature of her songs, such as "Hounds of Love", which samples the horror movie Night of the Demon. Kate Bush is regarded as the first artist to have had a headset with a wireless microphone built for use in music. Later, her idea was adopted by other artists such as Madonna or Peter Gabriel and used for performances. I don't believe in God, but if I did, her music would be my bible".
It's an amazing record to listen to really late at night, unsettling and really jarring". As the beat started I was transported somewhere else. Her voice, the imagery, the huge drum sound: it seemed to capture everything for me.
As a songwriter you're constantly chasing that feeling". Bush's only tour, the Tour of Life, ran for six weeks in May , covering Britain and mainland Europe. I think [Bush] liked it but the equation didn't work I could see at the end of the show that she was completely wiped out. Bush returned to headline performance with a night residency, Before the Dawn , which ran from 26 August to 1 October at the London Hammersmith Apollo.
Gabriel appeared on Bush's television special, where they sang a duet of Roy Harper 's " Another Day ". She sang a line on the charity single "Spirit of the Forest" by Spirit of the Forest in In Bush produced a song for another artist, Alan Stivell 's "Kimiad" for his album Again ; this is the only time she has done this to date. Stivell had appeared on The Sensual World. Bush had to sing the song in Irish, which she learned to do phonetically.
Bush provided backing vocals for a song that was recorded during the s titled Wouldn't Change a Thing by Lionel Azulay, the drummer with the original band that was later to become the KT Bush Band. The song, which was engineered and produced by Del Palmer, was released on Azulay's album Out of the Ashes.
Bush's son, Bertie, featured prominently in the concert Before the Dawn. She previously had a long-term relationship with bassist and engineer Del Palmer from the late s to the early s.
Kate Bush — Passing Through Air. The doom of eternity balms. And this was all pre But then in about three weeks Back to the Gaffaweb. Skies of greay are not today.
Kate bush need your loving. Add your thoughts
If you pour down rain today, I need your love, So much, so much! Laughing through smiles. You lick my love with the years. Walking for miles. You cool my brow with your tears. If you pour down rain today, I need your love, need your care So much, so much, so much! Are not today. Explain lyrics. No way could I have afforded to do anything like that. So he put up the money, we went into the studio, recorded three tracks In July it is finally perfect.
During the first year of the EMI contract Kate makes two further demo tapes. These are very possibly the songs known to us originally from the Phoenix broadcast and later from the various bootlegs. The date 'Nov. Also, although IED is the first to admit loving Passing Through Air, and especially Maybe, he thinks it would be silly to try to argue that either of those songs -- particularly PTA -- is as complex or as stylistically singular as any of the 23 solo-demos.
Kate was intensely proud of his poetry and, loosely, described a two page poem he published in [The Creation Edda] to her friends as 'book'.
This maybe explains to some extent the inclusion of the poem "Before the Fall" into one of her songs? Kate attends dancing lessions, takes driving lessons passes the test in the second try and continues writing and singing.
And I actually remember, well, the summer of '76 which was really hot here. We had such hot weather, I had all the windows open. And I just used to write until you know four in the morning, and I got a letter of complaint from a neighbor who was basically saying "Shuuut Uuuup! They did shift work and my voice had been carried the whole length of the street I think, so they weren't too appreciative.
He'd say things like 'Does that hurt? He was really good. A week later you'll be on top of that note and trying to reach the one above it. Like, it's really comforting just to sit down and play it.
Like a minor chord is very likely to tell me something sad. If I ever made enough money I'd like to get a piano that sings: a great big singing beast like a Steinway. I just start playing the piano and the chords start telling me something. Lyrics for me just seem to go with the tune, very much hand in hand. Some lyrics take a long time to come, others just come out like When I'm at the piano I hate to think that I'm a female because I automatically get a preconception.
There was a full moon and the curtains were open, and every time I looked up for ideas, I looked at the moon. Actually, it came quite easily. I couldn't seem to get out of the chorus - it had a really circular feel to it, which is why it repeats. I was really pleased, because it was the first song I had written for a while, as I'd been busy rehearsing with the KT Band. It is reported that recordings of these performances exist, unfortunately they are only in the possession of the Bush family.
And Brian had told me he'd heard some of her songs and they were really great, and I trusted his opinion. Then at our first rehearsal - Kate, Brian and me, and a fellow called Vic King [? But I also just thought: this girl's like just eighteen, whereas I'd been struggling for years on my bass. It was a phenomenon because it was so completely different from what anyone else was doing. But not everybody can put on a whole integrated show.
And as soon as we got our little band together years ago, right from the word go it was theatrics and show. The first night that we turned up, there were four people there. And it really hotted out about ten thirty, another two people came in [laughter] -Jay and my father. And then the next week it was a bit better, it was about The songs being sung were, they were mainly standards, actually. But then in about three weeks And I think maybe about the fifth or six week And this was all pre The night she first did 'James and the Cold Gun' In fact, that was really good.
I working the lights [laughter] and Lisa [??? We were hoping to get these huge blocks of dry ice which we were going to try out in the night. They [just said And we did and it was phenomenal! Yeah, that was very, very impressive.
The actual recording sessions for the album. Very probably our 'Kick Inside Demos' are from these sessions. They are probably among the many tracks which were worked on prior to the final selection of the thirteen songs on The Kick Inside. Five of the titles are familiar:. This sixth track is an unreleased song. It is extremely bouncy and catchy, laden with melodic hooks. Its lyrics are fascinating, as well they describe the challenge of retaining the original spark of feeling of a song during the recording process.
An officially released Demo album by KaTe herself. Makes a big difference. Strange, mysterious experience! Patrick Bush, musician and instrument maker, Director of Novercia Ltd Finally, there are two known demo versions of the song "Babooshka". Recorded some time between January and June during the sessions for "Never for Ever".
Excerpts from the demos were apparently played by Kate herself on a Capital radio programme called "Small Beginnings" on July 17th, The first demo of "Babooshka" features Kate on piano, and she has added one backing vocal during the choruses. The second version has a percussion pattern from an early rhythm-box, and features a synthesizer and, in addition to the lead vocal, at least two over-dubbed backing vocals.
The name of the track is 'Turkish Delight'. It isn't written or performed by Kate. It was a cold methodical rip-off of an accountant's view of what constituted the 'Kate Bush Style'.
DJs who could not find space for Tenner on their programmes, found space for this travesty, introducing it as 'the new Kate Bush single' yet another one.
We thought it sounded like Faith Brown doing an impression of Pamela Stephenson doing an impression of Kate on a bad day. To me it sounds even now quite good. I wasn't sure for some weeks although I noticed some slight differences in the voice.
Strange experience. He had worked for EMI at the time of Kate's initial signing, and aquired the tapes then. It is not clear if all the available bootleg versions of the demos come from this source. There are several differences in the recording quality, which might indicate different sources. Also "Organic Acid" the 23rd piano demo, which only appeared once on the fifth Demos-EP points to a second source. Nobody knows Kate's titles. They are only guesses. The following early sources are known: [Many other obscure, but wrong labelings appeared later on CD's and LP's.
The Phoenix broadcast titles seem to be the nearest to the original because DJ John Dixon read them directly from the original [! What follows are the song titles in succession as they appeared on the Phoenix tape IED's titles in brackets :. So, I think, what we have here, appears to be the track-listing of Kate's original demo tape. They appear to be legitimate, though none of us can be certain of course. It is also interesting to mention that "Organic Acid" 5'45 is missing.
When you calculate the duration of the whole thing, you come to something like 60'54 minutes. This indicates a C60 tape. So, maybe Organic Acid comes from another tape? IED: "Fiddle" is the title of an early ? What follows is a list of various titles that are in use for the demo songs. All titles in brackets are uncertain i.
Try to use the Phoenix titles only and prepare your Demos-CD with these titles! This helps to avoid confusion. They are added for completeness sake. It's not clear if this conceivable tape has been sent to EMI. It is completely unclear: - how often Gilmour visited Kate. They seem to be completely unknown songs.
The 25 best Kate Bush songs of all time | Louder
As her 80s albums are reissued, we look across the year career of the singer-songwriter and actual, no-further-questions genius. Fri 23 Nov Not a hit, for some reason.
A forgotten and atypical Bush single — a straight orchestral reading of the Great American Songbook standard, recorded for a tribute album of Gershwin songs by the legendary harmonica player Larry Adler.
Very nice, but inessential. That said, the dramatic orchestral arrangement is great. A single by default, not design: it charted on downloads from the soundtrack album of The Golden Compass alone.
Other countries got the extraordinary if impenetrable Suspended in Gaffa as a single from The Dreaming. Its shifts from am-dram oompah to hypnagogic ambience are suitably unsettling and odd.
Then again, The Big Sky is essentially a song about how nice clouds are. Still, its wide-eyed glee is genuinely infectious. Seemingly released as a single to disabuse anyone who thought 50 Words for Snow might be a straightforward Christmas album, Wild Man deals with sightings of the yeti, features both Andy Fairweather-Low, pretending to be a Nepalese mountain-dweller, and an addictive, insistent guitar riff. The one undisputed classic on Lionheart.
Perhaps the beautiful, sunlit Somewhere in Between might have worked out of context of the Sea of Honey song-suite, but instead Bush plumped for a song that involved her impersonating Elvis and knowingly ruminating on the benefits of withdrawing from the public eye.
There were a lot of songs about nuclear war around in the early 80s, but few as strange and bewitching as Breathing, written from the point of view of a fully sentient foetus. Five episodic minutes long, blessed with a gorgeous chorus and a spoken-word section describing a nuclear blast, it signalled that Bush had seized artistic control of her career.
She was right: powered by its string arrangement, Cloudbusting twists and turns dramatically, before reaching its final euphoric refrain. Its anti-war message is straightforward, but its eerie mood gets under your skin and into your bones like cold weather. Like a lot of Bush tracks, Hounds of Love looks faintly ridiculous on paper the hook is provided by backing vocalists barking like dogs , but the reality is sublime. Bush had to resort to tears to persuade her label to release it as her debut; as an opening statement of individuality, this takes some beating.
Coming up with The Man With the Child in His Eyes — lushly melodic, at turns creepy and erotic, mysterious and alluring — would be an astonishing achievement at any age.
But if you were forced to choose one song that encapsulates her uniqueness, you should choose Running Up That Hill, a hit in and remixed in , and a track that simultaneously functions as pop and something infinitely stranger.
Its sound is ghostly and faintly sinister — an ominous cloud of synthesiser hangs in the background; weird, garbled backing vocals crash in out of nowhere — but its chorus is exhilarating and euphoric. It draws the listener inexorably into its idiosyncratic world: pop music made by someone alive to the possibilities of what pop music can be. Actors playing nightmarish versions of themselves in cinema - ranked!
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