Kate Bush released her debut album ‘The Kick Inside’ on this day in 1978 | Sonic More Music Kate Bush released her debut album ‘The Kick Inside’ on this day in 1978 –‘The Kick Inside’ was released on 17 February 1978 and contains Kate’s UK number one hit, “Wuthering Heights”. – Kate Bush was only 19 years old when ‘The Kick Inside’ was released – David Gilmour of Pink Floyd was the executive producer on “The Man with the Child in His Eyes” and “The Saxophone Song”. Share this: The Kick Inside - Kate Bush | Songs, Reviews, Credits | AllMusic The Kick Inside google+ AllMusic Review by Bruce Eder Kate Bush 's first album, The Kick Inside , released when the singer/songwriter was only 19 years old (but featuring some songs written at 15 and recorded at 16), is her most unabashedly romantic, the sound of an impressionable and highly precocious teenager spreading her wings for the first time.

The centerpiece is "Wuthering Heights," which was a hit everywhere except the United States (and propelled the Emily Brontë novel back onto the best-seller lists in England), but there is a lot else here to enjoy: The disturbing "Man with the Child in His Eyes," the catchy rocker "James and the Cold Gun," and "Feel It," an early manifestation of Bush 's explorations of sexual experience in song, which would culminate with "Hounds of Love." As those familiar with the latter well know, she would do better work in the future, but this is still a mightily impressive debut. Track Listing Kate Bush | New Music And Songs | Kate Bush About Kate Bush One of the most successful and popular solo female performers to come out of England during the last several decades of the 20th century, Kate Bush was also one of the most unusual, with her keening vocals and unusually literate and complex body of songs. As a girl, Catherine Bush studied piano and violin while attending the St. Joseph's Convent Grammar School in Abbey Wood in South London. She also amused herself playing an organ in the barn behind her parents' house. By the time she was a teenager, Bush was writing songs of her own.

A family friend, Ricky Hopper, heard her music and brought Bush to the attention of Pink Floyd lead guitarist David Gilmour, who arranged for the 15-year-old Bush to record her first demo. With Gilmour's help, Bush was signed to EMI Records at age 16, though the company made the decision to bring her along slowly. She studied dance, mime, and voice, and continued writing. She also began thinking in terms of which of the 200 or so songs she'd written would be part of her first recording, and by 1977, she was ready to begin her formal career, which she did with an original song, "Wuthering Heights," based on material from Emily Bronte's novel (and more directly inspired by Bush's seeing the 1970 film directed by Robert Fuest and starring Timothy Dalton and Anna Caulder Marshall). The song would set a pattern for much of her future work, which was filled with literary and other external thematic allusions, and sometimes made even fans feel as though her lyrics ideally would come with footnotes -- heady stuff for a teenage rock singer in the late '70s.

Her precocity was demonstrated by the approach she took to the song, deliberately affecting what she felt -- in her mid-teens -- was the voice of a ghostly Cathy, whom she regarded as a dangerous, grasping figure, reaching out to her lover even from the grave. "Wuthering Heights" rose to number one on the British charts when it was released in 1978, and Bush became an overnight sensation at the age of 19. Her debut album, The Kick Inside, a collection of material that she had written from 15 onward, some of it displaying extremely provocative and sophisticated sexual references and images, reached number three and sold over a million copies in the U.K. Bush's second album, Lionheart, reached number six but didn't achieve anything like the sales totals or critical acclaim of its predecessor, and in later years Bush regretted the rush involved in planning and recording that album to capitalize on the success of her debut. In England during the spring of 1979, Bush embarked on what proved to be the only concert tour of her career to date, playing a series of shows highlighted by 17 costume changes, lots of dancing, and complex lighting.

Bush was also apparently the first rock performer (at least since the days in the early '60s when Sweden's Spotnicks experimented with a more primitive version of the technology) to make use of a wireless voice microphone, which freed her up to move around the stage as few singers before her had been capable of doing. The tour proved both exhausting and financially disastrous, and ever since then Bush has avoided any but the most limited live concert appearances, primarily in support of certain charitable causes. This absence from the concert stage, the extended periods -- often as much as three to five years -- between albums, and the dense, reference-filled nature of her songs and lyrics have also resulted in Bush becoming one of the more enigmatic pop artists in England since the Beatles; her relatively private personal life has only added to the mystique surrounding her. But her relative aloofness and her unusual sound and approach to pop music also made it more difficult to "explain" or encapsulate her work in a few words to the uninitiated, especially in America, where radio play and television exposure proved much harder to come by during the first few years of her career.

By the start of the 1980s, Bush was established as one of the most challenging and eccentric artists ever to have achieved success in rock music, with a range of sounds and interests that constantly challenged listeners, encompassing literature, art, poetry, cinema, history, and all manner of other subjects. "Babooshka" (1980) became her first Top Five single since "Wuthering Heights," and her subsequent album, Never for Ever, entered the British charts at number one in September of 1980. During this period, Bush began co-producing her own work, a decisive step toward refining her sound and also establishing her independence from her record company. Although 1982's The Dreaming reached number three, the single "There Goes a Tenner" failed to reach the charts, and most observers felt that Bush had lost her audience.

Bush was unfazed by the criticism, and even began taking steps to make herself more independent of her record label by establishing a home studio, this partly in response to EMI's huge studio charges on her previous records -- from the mid-'80s onward, Bush was free to spend her time at her leisure working out her sound, and it seemed to pay off with her next release. After two years' absence, Bush re-emerged in August of 1985 with "Running Up That Hill," which became her second biggest-selling single. The accompanying album, Hounds of Love, the first record made at her 48-track home studio, debuted on the British charts at the number one position in September of 1985 and remained there for a full month, and soon after "Running Up That Hill" gave Bush her long-awaited American breakthrough, reaching number 30 on Billboard's charts. By this time, in England Bush was ranked alongside Madonna in terms of her musical impact, "Running Up That Hill" having bumped "Like a Virgin" out of the number one chart position.

The changes in her sound and her development as a writer/performer were showcased in the January 1987 best-of collection The Whole Story, for which she also re-recorded the lead vocal for "Wuthering Heights" to bring the song more in line with her sound as it was in her twenties (she later admitted that she would have liked to have done something similar with several of her other early recordings done when she was in her teens). The album also featured her latest single, "Experiment IV," whose lyrics were built on a science fiction story line that was echoed in the video, which Bush directed with a cast of familiar movie performers, and which came out like a miniaturized musical version of a Quatermass-like chiller. That same year, Bush won the Best British Female Artist award at the sixth-annual BRIT Awards in London. In October of 1989, Bush's first new album in almost four years, The Sensual World, reached the British number two spot, and received an unprecedented promotional push in America, where she signed with Columbia Records for her future releases.

Bush's next album, The Red Shoes (1993), inspired by the 1948 film by Michael Powell and Emeric Pressburger, debuted in the American Top 30, the first time one of her albums had ever charted that high -- Bush made a rare personal appearance in New York that December, an autograph signing at Tower Records on the Lower East Side, and the resulting line of admirers stretched almost six blocks, and required her to extend her appearance by several hours (she was still delighted and amazed by the procession five hours into the event). It would be another 12 years before Bush would resume her recording career. Rumors of a new album began circulating in the late '90s. During this time, Bush became a mother and quietly retreated to her countryside home in Berkshire, Reading, England. In 2005, Bush finally released her follow-up to The Red Shoes, the double-disc set Aerial. After another six-year silence, Bush released The Director's Cut in 2011. It was a collection of 11 redone songs taken from 1989's The Sensual World and 1993's The Red Shoes.

Bush claimed she was never quite satisfied with what was released, and therefore decided to rework elements in the chosen songs -- she recut all of her vocals and drums, and left virtually everything else unchanged. That said, the title of the song "The Sensual World" was renamed "Flower of the Mountain," because there, Bush also changed the words. Bush proved somewhat prolific in 2011 when she released 50 Words for Snow on Anti in November, an all new concept recording containing seven long tracks. Jazz drummer Steve Gadd plays throughout, with Bush's son Bertie guesting on one track and Sir Elton John duetting with Bush on "Snowed in at Wheeler Street." In March 2014, Bush shocked her fans by announcing she would be returning to the stage for the first time in 35 years. Bush revealed she would perform a series of concerts at London's Hammersmith Apollo Theatre in August and September of that year. Bush initially booked 15 shows, all of which sold out after just 15 minutes on sale. Another seven nights were soon added, which were also immediate sellouts.

Bush's concerts, featuring an ambitious blend of music, dance, and drama, received enthusiastic reviews, and the show received the Editor's Award at the London Theatre Awards. In late 2016, Bush released an album drawn from the London performances. Titled Before the Dawn, the live album was released by Bush's own Fish People label, distributed by Rhino Records in Europe and the U.K. and by Concord Music in the United States. ~ Bruce Eder, Rovi Hear more of The Kick Inside - Microsoft Store The Kick Inside 1978 • 13 songs • Rock • Indie / Alternative • Parlophone UK Kate Bush 's first album, The Kick Inside, released when the singer/songwriter was only 19 years old (but featuring some songs written at 15 and recorded at 16), is her most unabashedly romantic, the sound of an impressionable and highly precocious teenager spreading her wings for the first time.

The centerpiece is "Wuthering Heights," which was a hit everywhere except the United States (and propelled the Emily Brontë novel back onto the best-seller lists in England), but there is a lot else here to enjoy: The disturbing "Man with the Child in His Eyes," the catchy rocker "James and the Cold Gun," and "Feel It," an early manifestation of Bush 's explorations of sexual experience in song, which would culminate with "Hounds of Love." As those familiar with the latter well know, she would do better work in the future, but this is still a mightily impressive debut. ~ Bruce Eder Kate Bush - Wuthering Heights - Official Music Video - Version 1 - YouTube Kate Bush - Wuthering Heights - Official Music Video - Version 1 Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Dec 30, 2010 Official music video for the single "Wuthering Heights" -- Version 1 by Kate Bush.

Wuthering Heights was released as Kate's debut single in January 1978. It became a No.1 hit in the UK singles chart and remains Kate's biggest-selling single. Two music videos were created to accompany the single. In Version 1, Kate can be seen performing the song in a dark room filled with white mist while wearing a white dress -- this was the UK release. In Version 2 Kate dances in an outdoor environment while wearing a red dress -- this video was produced for the American release. The song appears on Kate's 1978 debut album, The Kick Inside, and was also re-recorded in 1986 for the greatest-hits album The Whole Story. "Wuthering Heights" came 32nd in Q magazine's Top 100 Singles of All Time, voted by readers. Category Kate Bush | Biography & History | AllMusic google+ Artist Biography by Bruce Eder One of the most successful and popular solo female performers to come out of England during the last several decades of the 20th century, Kate Bush was also one of the most unusual, with her keening vocals and unusually literate and complex body of songs.

As a girl, Catherine Bush studied piano and violin while attending the St. Joseph's Convent Grammar School in Abbey Wood in South London. She also amused herself playing an organ in the barn behind her parents' house. By the time she was a teenager, Bush was writing songs of her own. A family friend, Ricky Hopper, heard her music and brought Bush to the attention of Pink Floyd lead guitarist David Gilmour , who arranged for the 15-year-old Bush to record her first demo. With Gilmour 's help, Bush was signed to EMI Records at age 16, though the company made the decision to bring her along slowly. She studied dance, mime, and voice, and continued writing. She also began thinking in terms of which of the 200 or so songs she'd written would be part of her first recording, and by 1977, she was ready to begin her formal career, which she did with an original song, "Wuthering Heights," based on material from Emily Bronte 's novel (and more directly inspired by Bush 's seeing the 1970 film directed by Robert Fuest and starring Timothy Dalton and Anna Caulder Marshall).

The song would set a pattern for much of her future work, which was filled with literary and other external thematic allusions, and sometimes made even fans feel as though her lyrics ideally would come with footnotes -- heady stuff for a teenage rock singer in the late '70s. Her precocity was demonstrated by the approach she took to the song, deliberately affecting what she felt -- in her mid-teens -- was the voice of a ghostly Cathy, whom she regarded as a dangerous, grasping figure, reaching out to her lover even from the grave. "Wuthering Heights" rose to number one on the British charts when it was released in 1978, and Bush became an overnight sensation at the age of 19. Her debut album, The Kick Inside , a collection of material that she had written from 15 onward, some of it displaying extremely provocative and sophisticated sexual references and images, reached number three and sold over a million copies in the U.K. Bush 's second album, Lionheart , reached number six but didn't achieve anything like the sales totals or critical acclaim of its predecessor, and in later years Bush regretted the rush involved in planning and recording that album to capitalize on the success of her debut.

In England during the spring of 1979, Bush embarked on what proved to be the only concert tour of her career to date, playing a series of shows highlighted by 17 costume changes, lots of dancing, and complex lighting. Bush was also apparently the first rock performer (at least since the days in the early '60s when Sweden's Spotnicks experimented with a more primitive version of the technology) to make use of a wireless voice microphone, which freed her up to move around the stage as few singers before her had been capable of doing. The tour proved both exhausting and financially disastrous, and ever since then Bush has avoided any but the most limited live concert appearances, primarily in support of certain charitable causes. This absence from the concert stage, the extended periods -- often as much as three to five years -- between albums, and the dense, reference-filled nature of her songs and lyrics have also resulted in Bush becoming one of the more enigmatic pop artists in England since the Beatles ; her relatively private personal life has only added to the mystique surrounding her.

But her relative aloofness and her unusual sound and approach to pop music also made it more difficult to "explain" or encapsulate her work in a few words to the uninitiated, especially in America, where radio play and television exposure proved much harder to come by during the first few years of her career. By the start of the 1980s, Bush was established as one of the most challenging and eccentric artists ever to have achieved success in rock music, with a range of sounds and interests that constantly challenged listeners, encompassing literature, art, poetry, cinema, history, and all manner of other subjects. "Babooshka" (1980) became her first Top Five single since "Wuthering Heights," and her subsequent album, Never for Ever , entered the British charts at number one in September of 1980. During this period, Bush began co-producing her own work, a decisive step toward refining her sound and also establishing her independence from her record company. Although 1982's The Dreaming reached number three, the single "There Goes a Tenner" failed to reach the charts, and most observers felt that Bush had lost her audience.

Bush was unfazed by the criticism, and even began taking steps to make herself more independent of her record label by establishing a home studio, this partly in response to EMI's huge studio charges on her previous records -- from the mid-'80s onward, Bush was free to spend her time at her leisure working out her sound, and it seemed to pay off with her next release. After two years' absence, Bush re-emerged in August of 1985 with "Running Up That Hill," which became her second biggest-selling single. The accompanying album, Hounds of Love , the first record made at her 48-track home studio, debuted on the British charts at the number one position in September of 1985 and remained there for a full month, and soon after "Running Up That Hill" gave Bush her long-awaited American breakthrough, reaching number 30 on Billboard's charts. By this time, in England Bush was ranked alongside Madonna in terms of her musical impact, "Running Up That Hill" having bumped "Like a Virgin" out of the number one chart position.

The changes in her sound and her development as a writer/performer were showcased in the January 1987 best-of collection The Whole Story , for which she also re-recorded the lead vocal for "Wuthering Heights" to bring the song more in line with her sound as it was in her twenties (she later admitted that she would have liked to have done something similar with several of her other early recordings done when she was in her teens). The album also featured her latest single, "Experiment IV," whose lyrics were built on a science fiction story line that was echoed in the video, which Bush directed with a cast of familiar movie performers, and which came out like a miniaturized musical version of a Quatermass -like chiller. That same year, Bush won the Best British Female Artist award at the sixth-annual BRIT Awards in London. In October of 1989, Bush 's first new album in almost four years, The Sensual World , reached the British number two spot, and received an unprecedented promotional push in America, where she signed with Columbia Records for her future releases.

Bush 's next album, The Red Shoes (1993), inspired by the 1948 film by Michael Powell and Emeric Pressburger , debuted in the American Top 30, the first time one of her albums had ever charted that high -- Bush made a rare personal appearance in New York that December, an autograph signing at Tower Records on the Lower East Side, and the resulting line of admirers stretched almost six blocks, and required her to extend her appearance by several hours (she was still delighted and amazed by the procession five hours into the event). It would be another 12 years before Bush would resume her recording career. Rumors of a new album began circulating in the late '90s. During this time, Bush became a mother and quietly retreated to her countryside home in Berkshire, Reading, England. In 2005, Bush finally released her follow-up to The Red Shoes , the double-disc set Aerial . After another six-year silence, Bush released The Director's Cut in 2011. It was a collection of 11 redone songs taken from 1989's The Sensual World and 1993's The Red Shoes .

Bush claimed she was never quite satisfied with what was released, and therefore decided to rework elements in the chosen songs -- she recut all of her vocals and drums, and left virtually everything else unchanged. That said, the title of the song "The Sensual World" was renamed "Flower of the Mountain," because there, Bush also changed the words. Bush proved somewhat prolific in 2011 when she released 50 Words for Snow on Anti in November, an all new concept recording containing seven long tracks. Jazz drummer Steve Gadd plays throughout, with Bush 's son Bertie guesting on one track and Sir Elton John duetting with Bush on "Snowed in at Wheeler Street." In March 2014, Bush shocked her fans by announcing she would be returning to the stage for the first time in 35 years. Bush revealed she would perform a series of concerts at London's Hammersmith Apollo Theatre in August and September of that year. Bush initially booked 15 shows, all of which sold out after just 15 minutes on sale. Another seven nights were soon added, which were also immediate sellouts.

Bush 's concerts, featuring an ambitious blend of music, dance, and drama, received enthusiastic reviews, and the show received the Editor's Award at the London Theatre Awards. In late 2016, Bush released an album drawn from the London performances. Titled Before the Dawn , the live album was released by Bush 's own Fish People label, distributed by Rhino Records in Europe and the U.K. and by Concord Music in the United States. Kate Bush - Biography - IMDb Kate Bush Jump to: Overview (4) | Mini Bio (1) | Trade Mark (1) | Trivia (26) | Personal Quotes (21) Overview (4) 5' 3½" (1.61 m) Mini Bio (1) Kate Bush began playing piano at a young age and, by her mid-teens, had composed over 200 songs. Her talent caught the notice of David Gilmour (of Pink Floyd ) who assisted in arranging her contract with EMI. The first song she released, "Wuthering Heights", soared to #1 in England in 1978. Since then, Kate has achieved a notable career as a singer and musician.

Kate began producing her own albums and videos early on. Her growing interest in film was highly evident in the 1985 video for her song, "Cloudbusting", which starred Donald Sutherland , which is a mini-film in itself. Another 1985 video, "Hounds of Love", is a tribute to Alfred Hitchcock . Following the release of her 1993 album, "The Red Shoes", influenced by filmmaker Michael Powell , Kate produced the short film, The Line, the Cross & the Curve (1993), using five songs from the album as a basis for the film in a mysterious, mythical retelling of the tale of "The Red Shoes". - IMDb Mini Biography By: Karen Newcombe <kln@sirius.com> Trade Mark (1) 4 octave soprano voice Trivia (26) Signed to EMI Records at age 16. Her first single. "Wuthering Heights," topped the English charts a year later. Designed and invented a wireless microphone headset developed to enable her to sing and perform her complicated dancing at the same time.

Winner of the British Phonographic Industry Award for British Female Solo Artist [1987] Ranked #78 for FHM's 100 Sexiest Women [1995] Ranked #46 on VH1's 100 Greatest Women of Rock N Roll [1999] Was awarded Q Classic Songwriter Award [2002] Son, Albert (Bertie), with partner Danny McIntosh , born [July 1998]. Since her early teens, Kate had an unusual love for music, eventually leading up to a 1978 album debut with "The Kick Inside", by which time her single, "Wuthering Heights", had entered the charts. Almost 30 years down the road, Kate has been a high influence on numerous women in the music business. These women include Stevie Nicks , Björk , Sarah McLachlan , Tori Amos , Elizabeth Fraser (of The Cocteau Twins ) Pat Benatar , Dido , KT Tunstall , Katie Melua , Rihanna , Alison Goldfrapp (of Goldfrapp ) Toyah Willcox , Paula Cole and Chrissie Hynde (of The Pretenders ).

Younger sister of Paddy Bush and John Carder Bush . Shares a birthday with Emily Brontë , author of the book "Wuthering Heights" on which her hit song was based. Vegetarian Tori Amos , Natalie Cole , Dusty Springfield , Within Temptation, and Pat Benatar covered songs of hers. Teamed with Brian Eno to design Christmas cards for the charity 'Warchild.' Started playing piano at age 11 and wrote her first song at 13. Winner of the 2002 Ivor Novello Award for Outstanding Contribution to British Music. Although it has become one of her most popular recordings, Bush was not Peter Gabriel 's first choice to sing the emotional duet "Don't Give Up" with him. He originally wanted American country singer Dolly Parton , but she turned it down on the grounds that she didn't know who he was. However, Gabriel later described Bush's vocal on the song as "tremendous". She was awarded the CBE (Commander of the Order of the British Empire) in the 2013 Queen's New Years Honours list for her services to Music. She is a singer and songwriter.

Announced that she is to perform the end credits song on The Golden Compass, "Lyra". [November 2007] Recently completed her (as yet untitled) 8th studio album which is due for release sometime during 2005. [March 2005] Recently released her long-awaited eigth studio album, Aerial. [November 2005] New release of long awaited two CD set "Aerial" containing the songs "King of the Mountain" and "How to be Invisible". [December 2005] Abingdon, Oxfordshire, England: Singer and songwriter [December 2012] In 1983, she had a 24-track studio built in the barn behind her family home where the recording sessions for "Hounds of Love" took place over two years. In 2014, she attended the wedding of Elton John to his husband David Furnish . Born on the same day with British author, Emily Bronte on which her first song Wuthering Heights is based on Bronte's namesake novel.

Personal Quotes (21) When I'm writing I've been playing something for a couple of hours and I'm almost in a trance. At two or three in the morning you can actually see bits inspiration floating about and grab them. On her meeting and demonstrating her talents to Pink Floyd guitarist David Gilmour : "Absolutely terrified and trembling like a leaf, I sat down and played for him. He came along to see me and he was great, such a human, kind person - and genuine." Regarding her directorial debut, The Line, the Cross & the Curve (1993): "I shouldn't have done it. I was so tired. I'm very pleased with four minutes of it, but I'm very disappointed with the rest. I let down people like Miranda Richardson , who worked so hard on it. I had the opportunity to do something really interesting and I completely blew it". I am a private person, but I don't think I'm obsessively so. It's more that I choose to try and have as normal a life as possible. I don't like to live in the glare of publicity. I'm very opinionated. I'm so fussy and picky. What's good is that I know what I want.

It's when you don't know what you want when you're in trouble. Roy ( Roy Harper ) is one of the greatest English songwriters we've had, and people just don't realise it. And I really think that when they do we're going to have another top songwriter up there. He's brilliant. It's interesting how many young people are getting into old records, because there's a buzz they just can't get from contemporary music. Look how many old songs are hits again. (Speaking in 1993) They were just so beautifully, beautifully written, and they still stand up, and for pop music it's so well crafted. On every level: not just the songs but the arrangements and the vocal performances. (On the songs of The Beatles ) I don't think of myself as a musician. I only ever play the piano to accompany myself singing. I could never sit and read a piece of music. At best, I'm an accompanist. I like classical music, but I wish I was more eloquent with it. I hear things and think, 'That's beautiful,' but don't know what it is. As you get older, you do get more into instrumental music, don't you?

It's as if as you get older you don't want people telling you what they think or what you've got to think or do. Also, those great composers really knew what they were doing. A lot of contemporary art is made by people who haven't got any talent. Art made by talentless people can sometimes really work, but it's not the same as real craft. There's a lot of other stuff that I like to do. But I find making records really exciting. It's making something out of nothing and you can involve other people. It's brilliant. At one point I had this, well, I don't know if you'd call it a crush, a bit of one on Elton John . I thought he was fantastic. I thought he was so clever. It was before he got really famous...around Madman Across the Water. I thought he was so wonderful. I'd play the records and dream of being able to play like him, those fantastic hands. But a crush like that is quite sweet, isn't it? I had David Bowie on my wall, as well. I was never really driven to be famous.

Even from a young age, when I knew I wanted to be involved in music, it was really making an album, that's what I wanted to do. I wanted to try and make interesting music. So I think my values have always remained the same. I don't think I could really say that I've ever really been that happy with anything I've done. I think you are at the time and I always try my best and put lots of effort into the albums. I still remain a huge admirer of analogue tape and that warm, fuller sound that you get. The Red Shoes was recorded with digital equipment. At the time it was state of the art, what everybody was kind of pressurized to be using really, but in hindsight I felt that it had a very edgy sound. You create something and you have an intention that goes with that at the time, but once you release it, it's really up to other people how they interpret it or see it. It's like a painting. I'm sure half the time people look at a painting, they've no idea what the artist originally was thinking of. I'm not sure it matters.

I think if you can get something from it, if it's at all thought-provoking or it makes you feel something, then I think that's the achievement. [on The Dreaming] It was very important that it happened to me because it made me think "Right, do I really want to produce my own stuff? Do I really care about being famous?" And I was very pleased with myself that no, it didn't matter as much as making a good album. [on The Dreaming] I felt the album had done very well to reach number three but I felt under a lot of pressure and I wanted to stay as close to my work as possible and everyone was saying Oh, she's really gone mad now. I think it was felt that me producing Hounds of Love wasn't such a good idea and for the first time I felt I was actually meeting resistance artistically. David Bowie had everything. He was intelligent, imaginative, brave, charismatic, cool, sexy and truly inspirational both visually and musically. He created such staggeringly brilliant work, yes, but so much of it and it was so good. There are great people who make great work but who else has left a mark like his? No one like him.

I'm struck by how the whole country has been flung into mourning and shock. Shock, because someone who had already transcended into immortality could actually die. He was ours. Wonderfully eccentric in a way that only an Englishman could be. Whatever journey his beautiful soul is now on, I hope he can somehow feel how much we all miss him. See also Kate Bush — Listen for free on Spotify Kate Bush Play on Spotify One of the most successful and popular solo female performers to come out of England during the last several decades of the 20th century, Kate Bush was also one of the most unusual, with her keening vocals and unusually literate and complex body of songs. As a girl, Catherine Bush studied piano and violin while attending the St. Joseph's Convent Grammar School in Abbey Wood in South London. She also amused herself playing an organ in the barn behind her parents' house. By the time she was a teenager, Bush was writing songs of her own. A family friend, Ricky Hopper, heard her music and brought Bush to the attention of Pink Floyd lead guitarist David Gilmour , who arranged for the 15-year-old Bush to record her first demo.

With Gilmour 's help, Bush was signed to EMI Records at age 16, though the company made the decision to bring her along slowly. She studied dance, mime, and voice, and continued writing. She also began thinking in terms of which of the 200 or so songs she'd written would be part of her first recording, and by 1977, she was ready to begin her formal career, which she did with an original song, "Wuthering Heights," based on material from Emily Bronte's novel (and more directly inspired by Bush's seeing the 1970 film directed by Robert Fuest and starring Timothy Dalton and Anna Caulder Marshall). The song would set a pattern for much of her future work, which was filled with literary and other external thematic allusions, and sometimes made even fans feel as though her lyrics ideally would come with footnotes -- heady stuff for a teenage rock singer in the late '70s.

Her precocity was demonstrated by the approach she took to the song, deliberately affecting what she felt -- in her mid-teens -- was the voice of a ghostly Cathy, whom she regarded as a dangerous, grasping figure, reaching out to her lover even from the grave. "Wuthering Heights" rose to number one on the British charts when it was released in 1978, and Bush became an overnight sensation at the age of 19. Her debut album, The Kick Inside, a collection of material that she had written from 15 onward, some of it displaying extremely provocative and sophisticated sexual references and images, reached number three and sold over a million copies in the U.K. Bush's second album, Lionheart, reached number six but didn't achieve anything like the sales totals or critical acclaim of its predecessor, and in later years Bush regretted the rush involved in planning and recording that album to capitalize on the success of her debut. In England during the spring of 1979, Bush embarked on what proved to be the only concert tour of her career to date, playing a series of shows highlighted by 17 costume changes, lots of dancing, and complex lighting.

Bush was also apparently the first rock performer (at least since the days in the early '60s when Sweden's Spotnicks experimented with a more primitive version of the technology) to make use of a wireless voice microphone, which freed her up to move around the stage as few singers before her had been capable of doing. The tour proved both exhausting and financially disastrous, and ever since then Bush has avoided any but the most limited live concert appearances, primarily in support of certain charitable causes. This absence from the concert stage, the extended periods -- often as much as three to five years -- between albums, and the dense, reference-filled nature of her songs and lyrics have also resulted in Bush becoming one of the more enigmatic pop artists in England since the Beatles ; her relatively private personal life has only added to the mystique surrounding her. But her relative aloofness and her unusual sound and approach to pop music also made it more difficult to "explain" or encapsulate her work in a few words to the uninitiated, especially in America, where radio play and television exposure proved much harder to come by during the first few years of her career.

By the start of the 1980s, Bush was established as one of the most challenging and eccentric artists ever to have achieved success in rock music, with a range of sounds and interests that constantly challenged listeners, encompassing literature, art, poetry, cinema, history, and all manner of other subjects. "Babooshka" (1980) became her first Top Five single since "Wuthering Heights," and her subsequent album, Never for Ever, entered the British charts at number one in September of 1980. During this period, Bush began co-producing her own work, a decisive step toward refining her sound and also establishing her independence from her record company. Although 1982's The Dreaming reached number three, the single "There Goes a Tenner" failed to reach the charts, and most observers felt that Bush had lost her audience.

Bush was unfazed by the criticism, and even began taking steps to make herself more independent of her record label by establishing a home studio, this partly in response to EMI 's huge studio charges on her previous records -- from the mid-'80s onward, Bush was free to spend her time at her leisure working out her sound, and it seemed to pay off with her next release. After two years' absence, Bush re-emerged in August of 1985 with "Running Up That Hill," which became her second biggest-selling single. The accompanying album, Hounds of Love, the first record made at her 48-track home studio, debuted on the British charts at the number one position in September of 1985 and remained there for a full month, and soon after "Running Up That Hill" gave Bush her long-awaited American breakthrough, reaching number 30 on Billboard's charts. By this time, in England Bush was ranked alongside Madonna in terms of her musical impact, "Running Up That Hill" having bumped "Like a Virgin" out of the number one chart position.

The changes in her sound and her development as a writer/performer were showcased in the January 1987 best-of collection The Whole Story, for which she also re-recorded the lead vocal for "Wuthering Heights" to bring the song more in line with her sound as it was in her twenties (she later admitted that she would have liked to have done something similar with several of her other early recordings done when she was in her teens). The album also featured her latest single, "Experiment IV," whose lyrics were built on a science fiction story line that was echoed in the video, which Bush directed with a cast of familiar movie performers, and which came out like a miniaturized musical version of a Quatermass -like chiller. That same year, Bush won the Best British Female Artist award at the sixth-annual BRIT Awards in London. In October of 1989, Bush's first new album in almost four years, The Sensual World, reached the British number two spot, and received an unprecedented promotional push in America, where she signed with Columbia Records for her future releases.

Bush's next album, The Red Shoes (1993), inspired by the 1948 film by Michael Powell and Emeric Pressburger, debuted in the American Top 30, the first time one of her albums had ever charted that high -- Bush made a rare personal appearance in New York that December, an autograph signing at Tower Records on the Lower East Side, and the resulting line of admirers stretched almost six blocks, and required her to extend her appearance by several hours (she was still delighted and amazed by the procession five hours into the event). It would be another 12 years before Bush would resume her recording career. Rumors of a new album began circulating in the late '90s. During this time, Bush became a mother and quietly retreated to her countryside home in Berkshire, Reading, England. In 2005, Bush finally released her follow-up to The Red Shoes, the double-disc set Aerial. After another six-year silence, Bush released The Director's Cut in 2011. It was a collection of 11 redone songs taken from 1989's The Sensual World and 1993's The Red Shoes.

Bush claimed she was never quite satisfied with what was released, and therefore decided to rework elements in the chosen songs -- she recut all of her vocals and drums, and left virtually everything else unchanged. That said, the title of the song "The Sensual World" was renamed "Flower of the Mountain," because there, Bush also changed the words. Bush proved somewhat prolific in 2011 when she released 50 Words for Snow on Anti in November, an all new concept recording containing seven long tracks. Jazz drummer Steve Gadd plays throughout, with Bush's son Bertie guesting on one track and Sir Elton John duetting with Bush on "Snowed in at Wheeler Street." In March 2014, Bush shocked her fans by announcing she would be returning to the stage for the first time in 35 years. Bush revealed she would perform a series of concerts at London's Hammersmith Apollo Theatre in August and September of that year. Bush initially booked 15 shows, all of which sold out after just 15 minutes on sale. Another seven nights were soon added, which were also immediate sellouts.

Bush's concerts, featuring an ambitious blend of music, dance, and drama, received enthusiastic reviews, and the show received the Editor's Award at the London Theatre Awards. In late 2016, Bush released an album drawn from the London performances. Titled Before the Dawn, the live album was released by Bush's own Fish People label, distributed by Rhino Records in Europe and the U.K. and by Concord Music in the United States. ~ Bruce Eder, Rovi Read More Show less

Question: In 1978, who released her debut album ‘The Kick Inside’?
Answer: KATE BUSH