KATE BUSH Special
Interviews, pictures, reviews and more
Note - This item is very heavy and the postage cost offered is significantly below the actual cost of sending this via airmail.
An expanded, updated, upgraded edition
Forty years ago next month, a very weird debut single was released, against the better judgment of the record company, EMI. The executives were keen on “James And The Cold Gun” as the best way to launch their new prodigy. Kate Bush, though, had other ideas.
“I felt that to actually get your name anywhere, you’ve got to do something that is unusual,” she told Melody Maker’s Harry Doherty, “because there’s so much good music around and it’s all in a similar vein.” “Wuthering Heights”, by most measures, was not much like the other good music around in 1978. It was a world away from punk, though its antic, non-conformist spirit would gain the admiration of prime iconoclasts like John Lydon. It made sense to both prog and pop fans, but occupied a hitherto unexplored interzone somewhere between the two extremes. The effect was remarkable and, it seemed, not a little unhinged. Even in the volatile charts of the 1970s, success felt like a long shot.
And yet, of course, “Wuthering Heights” went to Number One, and Kate Bush immediately disproved those who believed that its ravishing eccentricities were the hallmarks of a one-hit wonder. Over 40 years, Bush’s music has become a cornerstone of the British canon: idiosyncratic, potent, proudly beyond fashion or expectation.
We celebrate these 40 years in a deluxe, updated version of our Ultimate Music Guide to Kate Bush.
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