Kate Bush | ||
| Allmusic Biography : One of the most successful and popular solo female performers to come out of England during the second half 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. Bushs music was an ambitious and idiosyncratic melange of folk rock, art rock, prog, and pop, often performed with the bold brio of a West End stage production, and her lyrics were artful meditations full of drama, fantasy, danger, and a sense of wonder at the human and natural worlds. Bush became an immediate star in the U.K. in 1978 with the release of her debut single, "Wuthering Heights" and the subsequent album The Kick Inside, when she was just 19 years old. While the crystal-clear high notes and lush melodrama of "Wuthering Heights" became her first calling card, it was with the albums The Dreaming (1982) and Hounds of Love (1985), both of which Bush produced herself, that she developed a more mature and personal approach that embraced a unique approach to instrumentation and the use of the recording studio; those two albums also marked Bushs first real breakthrough in North America. Always working at her own deliberate pace, the reclusive Bush retired from music after 1993s The Red Shoes, not returning to the public eye until the release of 2005s Aerial, though her work in the 21st century confirmed that her time away from the studio had in no way blurred her creative vision or compromised her abilities. As a girl, Catherine Bush studied piano and violin while attending the St. Josephs 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 Gilmours 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 shed 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 Brontes novel (and more directly inspired by Bushs 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. Bushs second album, Lionheart, reached number six but didnt 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 the first 37 years of her career, 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 Swedens 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 Bush subsequently 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 80s, 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 1982s 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 EMIs 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 Billboards charts. By this time, in England Bush 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, Bushs 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. Bushs 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 Directors Cut in 2011. It was a collection of 11 redone songs taken from 1989s The Sensual World and 1993s 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, she 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 Bushs 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. She revealed she would perform a series of concerts at Londons 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. Bushs concerts, featuring an ambitious blend of music, dance, and drama, received enthusiastic reviews, and the show received the Editors 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 Bushs own Fish People label, distributed by Rhino Records in Europe and the U.K. and by Concord Music in the United States. In November 2018, Bush released a series of box sets -- two on CD and four on vinyl -- that featured remastered versions of her entire back catalog, with the new mastering overseen by Bush and James Guthrie. The second CD set included four bonus discs that featured rare and unreleased material, including demos, 12" mixes, alternate versions, and interpretations of other artists songs. The four rarities discs were given a stand-alone release in March 2019 as a box set titled Other Sides. | ||
 | Album: 1 of 20 Title: The Kick Inside Released: 1978-02-17 Tracks: 13 Duration: 43:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Moving (03:01) 2 The Saxophone Song (03:52) 3 Strange Phenomena (02:58) 4 Kite (02:57) 5 The Man With the Child in His Eyes (02:41) 6 Wuthering Heights (04:29) 7 James and the Cold Gun (03:36) 8 Feel It (03:02) 9 Oh to Be in Love (03:18) 10 L’Amour Looks Something Like You (02:28) 11 Them Heavy People (03:05) 12 Room for the Life (04:05) 13 The Kick Inside (03:34) |
| The Kick Inside : Allmusic album Review : Kate Bushs 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 Bushs 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. | ||
 | Album: 2 of 20 Title: Lionheart Released: 1978-11-13 Tracks: 10 Duration: 36:55 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Symphony in Blue (03:36) 2 In Search of Peter Pan (03:46) 3 Wow (04:00) 4 Don’t Push Your Foot on the Heartbrake (03:15) 5 Oh England My Lionheart (03:12) 6 Fullhouse (03:14) 7 In the Warm Room (03:35) 8 Kashka From Baghdad (03:56) 9 Coffee Homeground (03:39) 10 Hammer Horror (04:39) |
| Lionheart : Allmusic album Review : Proving that the English admired Kate Bushs work, 1978s Lionheart album managed to reach the number six spot in her homeland while failing to make a substantial impact in North America. The single "Hammer Horror" went to number 44 on the U.K. singles chart, but the remaining tracks from the album spin, leap, and pirouette with Bushs vocal dramatics, most of them dissipating into a mist rather than hovering around long enough to be memorable. Her fairytale essence wraps itself around tracks like "In Search of Peter Pan," "Kashka From Baghdad," and "Oh England My Lionheart," but unravels before any substance can be heard. "Wow" does the best job at expressing her voice as it waves and flutters through the chorus, with a melody that shimmers in a peculiar but compatible manner. Some of the tracks, such as "Coffee Homeground" or "In the Warm Room," bask in their own subtle obscurity, a trait that Bush improved upon later in her career but couldnt secure on this album. Lionheart acts as a gauge more than a complete album, as Bush is trying to see how many different ways she can sound vocally colorful, even enigmatic, rather than focus on her materials content and fluidity. Hearing Lionheart after listening to Never for Ever or The Dreaming album, its apparent how quickly Bush had progressed both vocally and in her writing in such a short time. | ||
 | Album: 3 of 20 Title: On Stage Released: 1979-08-31 Tracks: 4 Duration: 16:49 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia AlbumCover | 1 Them Heavy People (04:05) 2 Dont Push Your Foot on the Heartbrake (03:40) 3 James and the Cold Gun (06:19) 4 LAmour Looks Something Like You (02:45) |
 | Album: 4 of 20 Title: Never for Ever Released: 1980-09-08 Tracks: 11 Duration: 37:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Babooshka (03:20) 2 Delius (Song of Summer) (02:51) 3 Blow Away (For Bill) (03:34) 4 All We Ever Look For (03:48) 5 Egypt (04:12) 6 The Wedding List (04:15) 7 Violin (03:15) 8 The Infant Kiss (02:50) 9 Night Scented Stock (00:51) 10 Army Dreamers (02:58) 11 Breathing (05:28) |
| Never for Ever : Allmusic album Review : Never for Ever has Kate Bush sounding vocally stable and more confident, taking what she had put into her debut single "Wuthering Heights" from 1978 and administering those facets into most of the albums content. Never for Ever went to number one in the U.K., on the strength of three singles that made her countrys Top 20. Both "Breathing" and "Army Dreamers" went to number 16, while "Babooshka" was her first Top Five single since "Wuthering Heights." Bushs dramatics and theatrical approach to singing begin to solidify on Never for Ever, and her style brandishes avid seriousness without sounding flighty or absurd. "Breathing," about the repercussions of nuclear war, conveys enough passion and vocal curvatures to make her concern sound convincing, while "Army Dreamers" bounces her voice up and down without getting out of hand. "Babooshka"s motherly charm and flexible chorus make it one of her best tracks, proving that she can make the simplest of lyrics work for her through her tailored vocal acrobatics. The rest of the album isnt quite as firm as her singles, but they all sport a more appeasing and accustomed sound than some of her past works, and she does manage to keep her identity and characteristics intact. She bettered this formula for 1985s Hounds of Love, making that albums "Running Up That Hill" her only Top 40 single in the U.S., peaking at number 30. | ||
 | Album: 5 of 20 Title: The Dreaming Released: 1982-09-13 Tracks: 10 Duration: 43:29 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 Sat in Your Lap (03:29) 2 There Goes a Tenner (03:25) 3 Pull Out the Pin (05:27) 4 Suspended in Gaffa (03:55) 5 Leave It Open (03:20) 6 The Dreaming (04:41) 7 Night of the Swallow (05:23) 8 All the Love (04:30) 9 Houdini (03:52) 10 Get Out of My House (05:25) |
| The Dreaming : Allmusic album Review : Four albums into her burgeoning career, Kate Bushs The Dreaming is a theatrical and abstract piece of work, as well as Bushs first effort in the production seat. She throws herself in head first, incorporating various vocal loops, sometimes campy, but always romantic and inquisitive of emotion. Shes angry and pensive throughout the entire album, typically poetic while pushing around the notions of a male-dominated world. However, Kate Bush is a daydreamer. Unfortunately, The Dreaming, with all its intricate mystical beauty, isnt fully embraced compared to her later work. Album opener "Sat in Your Lap" is a frightening slight on individual intellect, with a booming chorus echoing over throbbing percussion and a butchered brass section. "Leave It Open" is goth-like with Bushs dark brooding, which is a suspending scale of vocalic laments, but its the vivacious and moody "Get Out of My House" that truly brings Bushs many talents for art and music to the forefront. It prances with dripping piano drops and gritty guitar, and the violent rage felt as she screams "Slamming," sparking a fury similar to what Tori Amos later ignited during her inception throughout the 90s. Not one to be in fear of fear, The Dreaming is one of Kate Bushs underrated achievements in depicting her own visions of love, relationships, and role play, not to mention a brilliant predecessor to the charming beauty of 1985s Hounds of Love. | ||
 | Album: 6 of 20 Title: Kate Bush Released: 1984 Tracks: 11 Duration: 35:14 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Babooshka (03:22) 2 Delius (Song of Summer) (02:51) 3 Moving / The Saxophone Song (03:03) 4 Hammer Horror (04:18) 5 Wuthering Heights (04:30) 6 Dont Push Your Foot on the Heartbrake (03:40) 7 The Kick Inside (03:35) 8 Violin (03:15) 9 The Infant Kiss / Night Scented Stock (00:50) 10 Army Dreamers (03:00) 11 LAmour Looks Something Like You (02:50) |
 | Album: 7 of 20 Title: Hounds of Love Released: 1985-09-16 Tracks: 18 Duration: 1:13:18 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 Running Up That Hill (A Deal With God) (04:59) 2 Hounds of Love (03:03) 3 The Big Sky (04:41) 4 Mother Stands for Comfort (03:08) 5 Cloudbusting (05:10) 6 And Dream of Sheep (02:45) 7 Under Ice (02:21) 8 Waking the Witch (04:18) 9 Watching You Without Me (04:07) 10 Jig of Life (04:16) 11 Hello Earth (05:59) 12 The Morning Fog (02:37) 13 The Big Sky (Meteorogical mix) (07:44) 14 Running Up That Hill (extended version) (05:44) 15 Be Kind to My Mistakes (03:03) 16 Under the Ivy (02:09) 17 Burning Bridge (04:38) 18 My Lagan Love (02:30) |
| Hounds of Love : Allmusic album Review : Kate Bushs strongest album to date also marked her breakthrough into the American charts, and yielded a set of dazzling videos as well as an enviable body of hits, spearheaded by "Running Up That Hill," her biggest single since "Wuthering Heights." Strangely enough, Hounds of Love was no less complicated in its structure, imagery, and extra-musical references (even lifting a line of dialogue from Jacques Tourneurs Curse of the Demon for the intro of the title song) than The Dreaming, which had been roundly criticized for being too ambitious and complex. But Hounds of Love was more carefully crafted as a pop record, and it abounded in memorable melodies and arrangements, the latter reflecting idioms ranging from orchestrated progressive pop to high-wattage traditional folk; and at the center of it all was Bush in the best album-length vocal performance of her career, extending her range and also drawing expressiveness from deep inside of herself, so much so that one almost feels as though hes eavesdropping at moments during "Running Up That Hill." Hounds of Love is actually a two-part album (the two sides of the original LP release being the now-lost natural dividing line), consisting of the suites "Hounds of Love" and "The Ninth Wave." The former is steeped in lyrical and sonic sensuality that tends to wash over the listener, while the latter is about the experiences of birth and rebirth. If this sounds like heady stuff, it could be, but Bush never lets the material get too far from its pop trappings and purpose. In some respects, this was also Bushs first fully realized album, done completely on her own terms, made entirely at her own 48-track home studio, to her schedule and preferences, and delivered whole to EMI as a finished work; that history is important, helping to explain the sheer presence of the albums most striking element -- the spirit of experimentation at every turn, in the little details of the sound. That vastly divergent grasp, from the minutiae of each song to the broad sweeping arc of the two suites, all heavily ornamented with layered instrumentation, makes this record wonderfully overpowering as a piece of pop music. Indeed, this reviewer hadnt had so much fun and such a challenge listening to a new album from the U.K. since Abbey Road, and its pretty plain that Bush listened to (and learned from) a lot of the Beatles output in her youth. | ||
 | Album: 8 of 20 Title: The Whole Story Released: 1986-11-10 Tracks: 12 Duration: 48:54 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover | 1 Wuthering Heights (new vocal) (04:58) 2 Cloudbusting (05:10) 3 The Man With the Child in His Eyes (02:41) 4 Breathing (05:28) 5 Wow (03:45) 6 Hounds of Love (03:03) 7 Running Up That Hill (A Deal With God) (04:59) 8 Army Dreamers (03:14) 9 Sat in Your Lap (03:29) 10 Experiment IV (04:21) 11 The Dreaming (04:13) 12 Babooshka (03:29) |
| The Whole Story : Allmusic album Review : The first compilation of highlights from Kate Bushs work is still one of the better ways of getting introduced to her music, even 20-plus years after its original release. Bush made a special effort on behalf of this collection -- originally an LP -- by re-recording and remixing her debut hit "Wuthering Heights"; she felt that her teenaged vocal didnt properly represent the song and, in fact, at one point thought to re-do the vocals on several other of the early numbers included. The collection is an excellent overview, presenting the many sides of her music, and bookending her whole career through 1984, from her debut to her then newest single, "Experiment IV"; nor is it confined exclusively to major hits, as important lesser-charting entries are also featured. As with Bushs other LP-era releases, American listeners thinking of buying this collection should be aware that the British CD edition was mastered from tapes that were at least one generation up on their American counterparts and, thus, sounds distinctly better than the U.S. version. | ||
 | Album: 9 of 20 Title: Live at Hammersmith Odeon Released: 1989 Tracks: 12 Duration: 53:20 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia AlbumCover | 1 Moving (03:32) 2 Them Heavy People (04:02) 3 Violin (03:32) 4 Strange Phenomena (03:25) 5 Hammer Horror (04:25) 6 Dont Push Your Foot on the Heartbrake (03:59) 7 Wow (03:59) 8 Feel It (03:14) 9 Kite (06:12) 10 James and the Cold Gun (08:44) 11 Oh England My Lionheart (03:22) 12 Wuthering Heights (04:50) |
 | Album: 10 of 20 Title: The Sensual World Released: 1989-10-17 Tracks: 10 Duration: 42:07 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Wikipedia Allmusic AlbumCover | 1 The Sensual World (03:58) 2 Love and Anger (04:42) 3 The Fog (05:07) 4 Reaching Out (03:12) 5 Heads We’re Dancing (05:21) 6 Deeper Understanding (04:46) 7 Between a Man and a Woman (03:30) 8 Never Be Mine (03:45) 9 Rocket’s Tail (04:07) 10 This Woman’s Work (03:39) |
| The Sensual World : Allmusic album Review : An enchanting songstress, Kate Bush reflects the most heavenly views of love on the aptly titled The Sensual World. The follow-up to Hounds of Love features Bush unafraid to be a temptress, vocally and lyrically. Shes a romantic, frolicking over lust and love, but also a lover of life and its spirituality. The albums title track exudes the most sensually abrasive side of Bush, but she is also one to remain emotionally intact with her heart and head. The majority of The Sensual World beams with a carefree spirit of strength and independence. "Love and Anger," which features blistering riffs by Bushs mentor and cohort David Gilmour, thrives on self-analysis -- typically cathartic of Bush. Michael Nymans delicate string arrangements allow the melodic "Reaching Out" to simply arrive, freely floating with Bushs lush declaration ("reaching out for the star/reaching out for the star that explodes") for shes always searching for a common peace, a commonality to make comfort. What makes this artist so intriguing is her look toward the future -- she appears to look beyond whats present and find a peculiar celestial atmosphere in which human beings do exist. Shes conscious of technology on "Deeper Understanding" and of a greater life on the glam rock experimental "Rockets Tail (For Rocket)," yet shes still intrinsic to the reality of an individuals heart. "Between a Man and a Woman" depicts pressure and heartbreak, but its the beauty of "This Womans Work" that makes The Sensual World the outstanding piece of work that it is. She possesses maternal warmth thats surely inviting, and its something thats made her one of the most prolific female singer/songwriters to emerge during the 1980s. Shes never belonged to a core scene. Bushs intelligence, both as an artist and as a woman, undoubtedly casts her in a league of her own. | ||
 | Album: 11 of 20 Title: Aspects of the Sensual World Released: 1990 Tracks: 5 Duration: 19:15 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 The Sensual World (LP version) (03:58) 2 Be Kind to My Mistakes (03:03) 3 I’m Still Waiting (04:28) 4 Ken (03:49) 5 The Sensual World (instrumental mix) (03:56) |
 | Album: 12 of 20 Title: This Woman’s Work: Anthology 1978–1990 Released: 1990-10-22 Tracks: 96 Duration: 6:06:32 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Moving (03:01) 2 The Saxophone Song (03:52) 3 Strange Phenomena (02:58) 4 Kite (02:57) 5 The Man With the Child in His Eyes (02:41) 6 Wuthering Heights (04:29) 7 James and the Cold Gun (03:36) 8 Feel It (03:02) 9 Oh to Be in Love (03:18) 10 L’Amour Looks Something Like You (02:28) 11 Them Heavy People (03:05) 12 Room for the Life (04:05) 13 The Kick Inside (03:34) 1 Symphony in Blue (03:36) 2 In Search of Peter Pan (03:46) 3 Wow (04:00) 4 Don’t Push Your Foot on the Heartbrake (03:15) 5 Oh England My Lionheart (03:12) 6 Fullhouse (03:14) 7 In the Warm Room (03:35) 8 Kashka From Baghdad (03:56) 9 Coffee Homeground (03:39) 10 Hammer Horror (04:39) 1 Babooshka (03:20) 2 Delius (Song of Summer) (02:51) 3 Blow Away (For Bill) (03:34) 4 All We Ever Look For (03:48) 5 Egypt (04:12) 6 The Wedding List (04:15) 7 Violin (03:15) 8 The Infant Kiss (02:50) 9 Night Scented Stock (00:51) 10 Army Dreamers (02:58) 11 Breathing (05:28) 1 Sat in Your Lap (03:29) 2 There Goes a Tenner (03:25) 3 Pull Out the Pin (05:27) 4 Suspended in Gaffa (03:55) 5 Leave It Open (03:20) 6 The Dreaming (04:41) 7 Night of the Swallow (05:23) 8 All the Love (04:30) 9 Houdini (03:52) 10 Get Out of My House (05:25) 1 Running Up That Hill (A Deal With God) (04:59) 2 Hounds of Love (03:03) 3 The Big Sky (04:41) 4 Mother Stands for Comfort (03:08) 5 Cloudbusting (05:10) 6 And Dream of Sheep (02:45) 7 Under Ice (02:21) 8 Waking the Witch (04:18) 9 Watching You Without Me (04:07) 10 Jig of Life (04:04) 11 Hello Earth (06:13) 12 The Morning Fog (02:34) 1 The Sensual World (03:58) 2 Love and Anger (04:42) 3 The Fog (05:07) 4 Reaching Out (03:12) 5 Heads We’re Dancing (05:21) 6 Deeper Understanding (04:46) 7 Between a Man and a Woman (03:30) 8 Never Be Mine (03:45) 9 Rocket’s Tail (04:07) 10 This Woman’s Work (03:39) 11 Walk Straight Down the Middle (03:48) 1 The Empty Bullring (02:16) 2 Ran Tan Waltz (02:41) 3 Passing Through Air (02:05) 4 December Will Be Magic Again (04:51) 5 Warm and Soothing (02:43) 6 Lord of the Reedy River (02:42) 7 Ne tenfuis pas (02:33) 8 Un Baiser dEnfant (03:02) 9 Under the Ivy (02:09) 10 Burning Bridge (04:38) 11 My Lagan Love (02:30) 12 The Handsome Cabin Boy (03:12) 13 Not This Time (03:41) 14 Walk Straight Down the Middle (03:48) 15 Be Kind to My Mistakes (03:03) 1 I’m Still Waiting (04:28) 2 Ken (03:49) 3 One Last Look Around the House Before We Go… (01:04) 4 Wuthering Heights (new vocal) (04:58) 5 Experiment IV (04:21) 6 Them Heavy People (live) (04:08) 7 Don’t Push Your Foot on the Heartbrake (live) (03:39) 8 James and the Cold Gun (live) (06:25) 9 L’Amour Looks Something Like You (live) (02:44) 10 Running Up That Hill (12" Mix) (05:46) 11 Cloudbusting (The Organon mix) (06:32) 12 Hounds of Love (alternative) (03:48) 13 The Big Sky (Meteorological mix) (07:45) 14 Experiment IV (12″ mix) (06:37) |
 | Album: 13 of 20 Title: The Red Shoes Released: 1993-10-28 Tracks: 12 Duration: 55:25 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Rubberband Girl (04:45) 2 And So Is Love (04:18) 3 Eat the Music (05:11) 4 Moments of Pleasure (05:17) 5 The Song of Solomon (04:28) 6 Lily (03:53) 7 The Red Shoes (04:01) 8 Top of the City (04:15) 9 Constellation of the Heart (04:47) 10 Big Stripey Lie (03:33) 11 Why Should I Love You? (05:02) 12 You’re the One (05:52) |
| The Red Shoes : Allmusic album Review : The album is a continuation of Bushs multi-layered and multiple musical pursuits and interests. If not her strongest work -- a number of songs sound okay without being particularly stellar, especially given Bushs past heights -- Red Shoes is still an enjoyable listen with a number of diversions. The guest performer list is worthy of note alone, ranging from Procol Harum pianist Gary Brooker and Eric Clapton to Prince, but this is very much a Kate Bush album straight up as opposed to a collaborative work like, say, Santanas Supernatural. Opening song "Rubberband Girl" is actually one of her strongest singles in years, a big and punchy song served well with a horn section, though slightly let down by the stiff percussion. "Eat the Music," another smart choice for a single, mixes calypso and other Caribbean musical touches with a great, classically Bush lyric mixing up sexuality, romance, and various earthy food-based metaphors. Another highlight of Bushs frank embrace of the lustier side of life is "The Song of Solomon," a celebratory piece about the Bibles openly erotic piece. Those who prefer her predominantly piano and vocal pieces will enjoy "Moments of Pleasure" with a strong string arrangement courtesy of Michael Kamen. Other standouts include "Why Should I Love You?" with Prince creating a very Prince-like arrangement and backing chorus for Bush (and doing quite well at that) and the concluding "Youre the One," featuring Brooker. | ||
 | Album: 14 of 20 Title: Aerial Released: 2005-11-02 Tracks: 16 Duration: 1:20:04 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 King of the Mountain (04:53) 2 𝜋 (06:09) 3 Bertie (04:18) 4 Mrs. Bartolozzi (05:58) 5 How to Be Invisible (05:32) 6 Joanni (04:56) 7 A Coral Room (06:12) 1 Prelude (01:26) 2 Prologue (05:42) 3 An Architect’s Dream (04:50) 4 The Painter’s Link (01:35) 5 Sunset (05:58) 6 Aerial Tal (01:01) 7 Somewhere in Between (05:00) 8 Nocturn (08:34) 9 Aerial (07:52) |
| Aerial : Allmusic album Review : Fierce Kate Bush fans who are expecting revelation in Aerial, her first new work since The Red Shoes in 1993, will no doubt scour lyrics, instrumental trills, and interludes until they find them. For everyone else, those who purchased much of Bushs earlier catalog because of its depth, quality, and vision, Aerial will sound exactly like what it is, a new Kate Bush record: full of her obsessions, lushly romantic paeans to things mundane and cosmic, and her ability to add dimension and transfer emotion though song. The set is spread over two discs. The first, A Sea of Honey, is a collection of songs, arranged for everything from full-on rock band to solo piano. The second, A Sky of Honey, is a conceptual suite. It was produced by Bush with engineering and mixing by longtime collaborator Del Palmer. A Sea of Honey is a deeply interior look at domesticity, with the exception of its opening track, "King of the Mountain," the first single and video. Bush does an acceptable impersonation of Elvis Presley in which she examines his past life on earth and present incarnation as spectral enigma. Juxtaposing the Elvis myth, Wagnerian mystery, and the image of Rosebud, the sled from Orson Welles Citizen Kane, Bushs synthesizer, sequencer, and voice weigh in ethereally from the margins before a full-on rock band playing edgy and funky reggae enters on the second verse. Wind whispers and then howls across the cuts backdrop as she searches for the rainbow body of the disappeared one through his clothes and the tabloid tales of his apocryphal sightings, looking for a certain resurrection of his physical body. The rest of the disc focuses on more interior and domestic matters, but its no less startling. A tune called "Pi" looks at a mathematicians poetic and romantic love of numbers. "Bertie" is a hymn to her son orchestrated by piano, Renaissance guitar, percussion, and viols. But disc ones strangest and most lovely moment is in "Mrs. Bartolozzi," scored for piano and voice. It revives Bushs obsessive eroticism through an ordinary womans ecstatic experience of cleaning after a rainstorm, and placing the clothing of her beloved and her own into the washing machine and observing in rapt sexual attention. She sings "My blouse wrapping itself around your trousers/Oh the waves are going out/My skirt floating up around your waist...Washing machine/Washing machine." Then theres "How to Be Invisible," and the mysticism of domestic life as the interior reaches out into the universe and touches its magic: "Hem of anorak/Stem of a wall flower/Hair of doormat?/Is that autumn leaf falling?/Or is that you walking home?/Is that a storm in the swimming pool?" A Sky of Honey is 42 minutes in length. Its lushly romantic as it meditates on the passing of 24 hours. Its prelude is a short deeply atmospheric piece with the sounds of birds singing, and her son (who is "the Sun" according to the credits) intones, "Mummy...Daddy/The day is full of birds/Sounds like theyre saying words." And "Prologue" begins with her piano, a chanted viol, and Bush crooning to romantic love, the joy of marriage and nature communing, and the deep romance of everyday life. Theres drama, stillness, joy, and quiet as its goes on, but its all held within, as in "An Architects Dream," where the protagonist encounters a working street painter going about his work in changing light: "The flick of a wrist/Twisting down to the hips/So the lovers begin with a kiss...." Loops, Eberhard Webers fretless bass, drifting keyboards, and a relaxed delivery create an erotic tension, in beauty and in casual voyeurism. "Sunset" has Bush approaching jazz, but it doesnt swing so much as it engages the form. Her voice digging into her piano alternates between lower-register enunciation and a near falsetto in the choruses. There is a sense of utter fascination with the world as it moves toward darkness, and the singer is enthralled as the sun climbs into bed, before it streams into "Sunset," a gorgeous flamenco guitar and percussion-driven call-and-response choral piece -- its literally enthralling. It is followed by a piece of evening called "Somewhere Between," in which lovers take in the beginning of night. As "Nocturne" commences, shadows, stars, the beach, and the ocean accompany two lovers who dive down deep into one another and the surf. Rhythms assert themselves as the divers go deeper and the band kicks up: funky electric guitars pulse along with the layers of keyboards, journeying until just before sunup. But it is on the title track that Bush gives listeners her greatest surprise. Dawn is breaking and she greets the day with a vengeance. Manic, crunchy guitars play power chords as sequencers and synths make the dynamics shift and swirl. In her higher register, Bush shouts, croons, and trills against and above the bands force. Nothing much happens on Aerial except the passing of a day, as noted by the one who engages it in the process of being witnessed, yet it reveals much about the interior and natural worlds and expresses spiritual gratitude for everyday life. Musically, this is what listeners have come to expect from Bush at her best -- a finely constructed set of songs that engage without regard for anything else happening in the world of pop music. Theres no pushing of the envelope because there doesnt need to be. Aerial is rooted in Kate Bushs oeuvre, with grace, flair, elegance, and an obsessive, stubborn attention to detail. What gets created for the listener is an ordinary world, full of magic; it lies inside ones dwelling in overlooked and inhabited spaces, and outside, from the backyard and out through the gate into wonder. | ||
 | Album: 15 of 20 Title: Director’s Cut Released: 2011-05-16 Tracks: 11 Duration: 57:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Flower of the Mountain (05:15) 2 Song of Solomon (04:45) 3 Lily (04:05) 4 Deeper Understanding (06:33) 5 The Red Shoes (04:58) 6 This Woman’s Work (06:30) 7 Moments of Pleasure (06:32) 8 Never Be Mine (05:05) 9 Top of the City (04:24) 10 And So Is Love (04:21) 11 Rubberband Girl (04:37) |
| Director’s Cut : Allmusic album Review : During her early career, Kate Bush released albums regularly despite her reputation as a perfectionist in the studio. Her first five were released within seven years. After The Hounds of Love in 1985, however, the breaks between got longer: The Sensual World appeared in 1989 and The Red Shoes in 1993. Then, nothing before Aerial, a double album issued in 2005. Its taken six more years to get The Directors Cut, an album whose material isnt new, though its presentation is. Four of this sets 11 tracks first appeared on The Sensual World, while the other seven come from The Red Shoes. Bushs reasons for re-recording these songs is a mystery. She does have her own world-class recording studio, and given the sounds here, shes kept up with technology. Some of these songs are merely tweaked, and pleasantly so, while others are radically altered. The two most glaring examples are "Flower of the Mountain" (previously known as "The Sensual World") and "This Womans Work." The former intended to use Molly Blooms soliloquy from James Joyces novel Ulysses as its lyric; Bush was refused permission by his estate. That decision was eventually reversed; hence she re-recorded the originally intended lyrics. And while the arrangement is similar, there are added layers of synth and percussion. Her voice is absent the wails and hiccupy gasps of her youthful incarnation. These have been replaced by somewhat huskier, even more luxuriant and elegant tones. On the latter song, the arrangement of a full band and Michael Nymans strings are replaced by a sparse, reverbed electric piano which pans between speakers. This skeletal arrangement frames Bushs more prominent vocal which has grown into these lyrics and inhabits them in full: their regrets, disappointments, and heartbreaks with real acceptance. She lets that voice rip on "Lilly," supported by a tougher, punchier bassline, skittering guitar efx, and a hypnotic drum loop. Bushs son Bertie makes an appearance as the voice of the computer (with Auto-Tune) on "Deeper Understanding." On "RubberBand Girl," Bush pays homage to the Rolling Stones opening riff from "Street Fighting Man" in all its garagey glory (which one suspects was always there and has now been uncovered). The experience of The Directors Cut, encountering all this familiar material in its new dressing, is more than occasionally unsettling, but simultaneously, it is deeply engaging and satisfying. | ||
 | Album: 16 of 20 Title: 50 Words for Snow Released: 2011-11-21 Tracks: 7 Duration: 1:05:09 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover | 1 Snowflake (09:47) 2 Lake Tahoe (11:08) 3 Misty (13:32) 4 Wild Man (07:16) 5 Snowed In at Wheeler Street (08:05) 6 50 Words for Snow (08:30) 7 Among Angels (06:48) |
| 50 Words for Snow : Allmusic album Review : Kate Bushs 50 Words for Snow follows Directors Cut, a dramatically reworked collection of catalog material, by six months. This set is all new, her first such venture since 2005s Aerial. The are only seven songs here, but the album clocks in at an hour. Despite the length of the songs, and perhaps because of them, it is easily the most spacious, sparsely recorded offering in her catalog. Its most prominent sounds are Bushs voice, her acoustic piano, and Steve Gadds gorgeous drumming -- though other instruments appear (as do some minimal classical orchestrations). With songs centered on winter, 50 Words for Snow engages the natural world and myth -- both Eastern and Western -- and fantasy. It is abstract, without being the least bit difficult to embrace. It commences with "Snowflake," with lead vocals handled by her son Bertie. Bushs piano, crystalline and shimmering in the lower middle register, establishes a harmonic pattern to carry the narrative: the journey of a snowflake from the heavens to a single human beings hand, and in its refrain (sung by Bush), the equal anticipation of the receiver. "Lake Tahoe" features choir singers Luke Roberts and Michael Wood in a Michael Nyman-esque arrangement, introducing Bushs slippery vocal as it relates the tale of a female who drowned in the icy lake and whose spirit now haunts it. Bushs piano and Gadds kit are the only instruments. "Misty," the sets longest -- and strangest -- cut, is about a womans very physical amorous tryst with, bizarrely, a snowman. Despite its unlikely premise, the grain of longing expressed in Bushs voice -- with bassist Danny Thompson underscoring it -- is convincing. Her jazz piano touches on Vince Guaraldi in its vamp. The subject is so possessed by the object of her desire, the mornings soaked but empty sheets propel her to a window ledge to seek her melted lover in the winter landscape. "Wild Man," introduced by the sounds of whipping winds, is one of two uptempo tracks here, an electronically pulse-driven, synth-swept paean to the Tibetan Kangchenjunga Demon, or "Yeti." Assisted by the voice of Andy Fairweather Low, its protagonist relates fragments of expedition legends and alleged encounters with the elusive creature. Her subject possesses the gift of wildness itself; she seeks to protect it from the death wish of a world which, through its ignorance, fears it. On "Snowed in at Wheeler Street," Bush is joined in duet by Elton John. Together they deliver a compelling tale of would-be lovers encountering one other in various (re)incarnations through time, only to miss connection at the moment of, or just previous to, contact. Tasteful, elastic electronics and Gadds tom-toms add texture and drama to the frustration in the singers voices, creating twinned senses: of urgency and frustration. The title track -- the other uptempo number -- is orchestrated by loops, guitars, basses, and organic rhythms that push the irrepressible Stephen Fry to narrate 50 words associated with snow in various languages, urgently prodded by Bush. Whether it works as a "song" is an open question. The album closes with "Among Angels," a skeletal ballad populated only by Bushs syncopated piano and voice. 50 Words for Snow is such a strange pop record, its all but impossible to find peers. While it shares sheer ambition with Scott Walkers The Drift and PJ Harveys Let England Shake, it sounds like neither; Bushs album is equally startling because its will toward the mysterious and elliptical is balanced by its beguiling accessibility. | ||
 | Album: 17 of 20 Title: Before the Dawn Released: 2016-11-25 Tracks: 29 Duration: 2:35:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Lily (04:48) 2 Hounds of Love (03:33) 3 Joanni (06:07) 4 Top of the City (05:24) 5 Never Be Mine (05:55) 6 Running Up That Hill (A Deal with God) (05:40) 7 King of the Mountain (08:05) 1 Astronomer’s Call (02:43) 2 And Dream of Sheep (03:37) 3 Under Ice (03:04) 4 Waking the Witch (06:38) 5 Watching Them Without Her (01:57) 6 Watching You Without Me (04:23) 7 Little Light (02:08) 8 Jig of Life (04:11) 9 Hello Earth (07:55) 10 The Morning Fog (05:23) 1 Prelude (01:55) 2 Prologue (10:10) 3 An Architect’s Dream (05:22) 4 The Painter’s Link (01:39) 5 Sunset (08:00) 6 Aerial Tal (01:30) 7 Somewhere in Between (06:59) 8 Tawny Moon (06:08) 1 Nocturn (08:51) 2 Aerial (09:43) 3 Among Angels (05:48) 4 Cloudbusting (07:16) |
| Before the Dawn : Allmusic album Review : If Kate Bush had stumbled onto the stage at Londons Apollo Hammersmith theater on August 26, 2014, sang "Knees Up, Mother Brown" for 15 minutes, and then wandered off, most folks in attendance would have still felt theyd witnessed something remarkable. After all, it was the first time the gifted and reclusive artist had performed on-stage since 1979, and the fact she was greeting her audience at all seemed just short of impossible. Given the craft and ambition of Bushs body of recorded work, it came as no surprise that she had something quite grand in mind for her audience when she made her unexpected return to public performance with a run of 22 shows that stretched from August to October 2014. Bushs elaborate show included costume changes, actors, dancers, puppets, magicians, film projections, and a loose narrative that turned the concert into a three-act stage production. Before the Dawn is a live album recorded during two nights of Bushs show ("Before the Dawn" was also the name she gave the event), and in many respects it plays more like the original cast album of some eccentric West End spectacular than a typical concert souvenir. While Act One (the first disc of the three-CD edition) is song-oriented and features a couple of Bushs bigger hits ("Running Up That Hill" and "Hounds of Love"), Acts Two and Three are devoted to a pair of extended suites. "The Ninth Wave" is drawn from the second half of 1985s Hounds of Love album, and "A Sky of Honey" features material from 2005s Aerial and 2011s 50 Words for Snow. While the music in Acts Two and Three is often strikingly beautiful and the performances are superb, they also seem to be one part of a larger stage performance. You cant help but wish you could see what was happening as well as hearing it, especially the long passages where instrumental work and other vocalists dominate the soundscape. But even with just the audio, Before the Dawn is something quite remarkable. Bushs vocals are splendid, and if she has a bit less control on-stage than in the studio, theres a frisson that more than compensates, and this is a striking expression of her own glorious and playfully mad vision of the collision of humanity and nature. Her accompanists match the rigor and precision of Bushs carefully crafted studio creations (especially the percussion of Omar Hakim and Mino Cinelu, the guitar work of David Rhodes, and Bushs own piano), and while the clarity and spaciousness of the mix make it hard to believe this is a fully live recording, the liner notes insist it is. Kate Bush is too much of a visionary to come back to the stage with any old show, and Before the Dawn is an album just as special as she is, a remarkable and expansive creative statement full of wonder and magic that rivals the best of her LPs. | ||
 | Album: 18 of 20 Title: Remastered, Part I Released: 2018-11-16 Tracks: 78 Duration: 5:05:54 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Moving (03:01) 2 The Saxophone Song (03:52) 3 Strange Phenomena (02:58) 4 Kite (02:57) 5 The Man With the Child in His Eyes (02:40) 6 Wuthering Heights (04:29) 7 James and the Cold Gun (03:36) 8 Feel It (03:02) 9 Oh to Be in Love (03:18) 10 L’Amour Looks Something Like You (02:28) 11 Them Heavy People (03:05) 12 Room for the Life (04:05) 13 The Kick Inside (03:34) 1 Symphony in Blue (03:36) 2 In Search of Peter Pan (03:46) 3 Wow (04:00) 4 Don’t Push Your Foot on the Heartbrake (03:15) 5 Oh England My Lionheart (03:12) 6 Fullhouse (03:14) 7 In the Warm Room (03:35) 8 Kashka From Baghdad (03:56) 9 Coffee Homeground (03:39) 10 Hammer Horror (04:39) 1 Babooshka (03:20) 2 Delius (Song of Summer) (02:51) 3 Blow Away (For Bill) (03:34) 4 All We Ever Look For (03:48) 5 Egypt (04:12) 6 The Wedding List (04:15) 7 Violin (03:15) 8 The Infant Kiss (02:50) 9 Night Scented Stock (00:51) 10 Army Dreamers (02:58) 11 Breathing (05:29) 1 Sat in Your Lap (03:29) 2 There Goes a Tenner (03:25) 3 Pull Out the Pin (05:26) 4 Suspended in Gaffa (03:55) 5 Leave It Open (03:20) 6 The Dreaming (04:41) 7 Night of the Swallow (05:23) 8 All the Love (04:30) 9 Houdini (03:50) 10 Get Out of My House (05:25) 1 Running Up That Hill (A Deal With God) (04:59) 2 Hounds of Love (03:03) 3 The Big Sky (single mix) (04:36) 4 Mother Stands for Comfort (03:08) 5 Cloudbusting (05:10) 6 And Dream of Sheep (02:45) 7 Under Ice (02:21) 8 Waking the Witch (04:18) 9 Watching You Without Me (04:07) 10 Jig of Life (04:04) 11 Hello Earth (06:13) 12 The Morning Fog (02:37) 1 The Sensual World (03:58) 2 Love and Anger (04:42) 3 The Fog (05:07) 4 Reaching Out (03:12) 5 Heads We’re Dancing (05:21) 6 Deeper Understanding (04:46) 7 Between a Man and a Woman (03:30) 8 Never Be Mine (03:45) 9 Rocket’s Tail (04:07) 10 This Woman’s Work (03:39) 1 Rubberband Girl (04:45) 2 And So Is Love (04:18) 3 Eat the Music (05:11) 4 Moments of Pleasure (05:17) 5 The Song of Solomon (04:28) 6 Lily (03:53) 7 The Red Shoes (04:02) 8 Top of the City (04:14) 9 Constellation of the Heart (04:47) 10 Big Stripey Lie (03:31) 11 Why Should I Love You? (05:02) 12 You’re the One (05:52) |
 | Album: 19 of 20 Title: Remastered, Part II Released: 2018-11-30 Tracks: 97 Duration: 8:09:06 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 King of the Mountain (04:53) 2 𝜋 (06:09) 3 Bertie (04:18) 4 Mrs. Bartolozzi (05:58) 5 How to Be Invisible (05:32) 6 Joanni (04:56) 7 A Coral Room (06:12) 1 Prelude (01:26) 2 Prologue (05:42) 3 An Architect’s Dream (04:54) 4 The Painter’s Link (01:35) 5 Sunset (05:58) 6 Aerial Tal (01:01) 7 Somewhere in Between (05:00) 8 Nocturn (08:34) 9 Aerial (07:52) 1 Flower of the Mountain (05:15) 2 Song of Solomon (04:45) 3 Lily (04:04) 4 Deeper Understanding (06:33) 5 The Red Shoes (04:58) 6 This Woman’s Work (06:29) 7 Moments of Pleasure (06:32) 8 Never Be Mine (05:05) 9 Top of the City (04:24) 10 And So Is Love (04:21) 11 Rubberband Girl (04:37) 1 Snowflake (09:47) 2 Lake Tahoe (11:08) 3 Misty (13:32) 4 Wild Man (07:16) 5 Snowed In at Wheeler Street (08:05) 6 50 Words for Snow (08:31) 7 Among Angels (06:49) 1 Lily (04:48) 2 Hounds of Love (03:33) 3 Joanni (06:07) 4 Top of the City (05:24) 5 Never Be Mine (05:55) 6 Running Up That Hill (A Deal With God) (05:40) 7 King of the Mountain (08:05) 1 Astronomer’s Call (02:43) 2 And Dream of Sheep (03:37) 3 Under Ice (03:04) 4 Waking the Witch (06:38) 5 Watching Them Without Her (01:57) 6 Watching You Without Me (04:23) 7 Little Light (02:08) 8 Jig of Life (04:11) 9 Hello Earth (07:55) 10 The Morning Fog (05:23) 1 Prelude (01:55) 2 Prologue (10:10) 3 An Architect’s Dream (05:22) 4 The Painter’s Link (01:39) 5 Sunset (08:00) 6 Aerial Tal (01:30) 7 Somewhere in Between (06:59) 8 Tawny Moon (06:08) 9 Nocturn (08:51) 10 Aerial (09:43) 11 Among Angels (05:48) 12 Cloudbusting (07:16) 1 Running Up That Hill (05:47) 2 The Big Sky (Meteorological mix) (07:45) 3 Cloudbusting (The Organon mix) (06:32) 4 Hounds of Love (alternative) (03:48) 5 Experiment IV (12″ mix) (06:38) 1 Walk Straight Down the Middle (03:49) 2 You Want Alchemy (04:21) 3 Be Kind to My Mistakes (03:02) 4 Lyra (03:18) 5 Under the Ivy (02:10) 6 Experiment IV (04:49) 7 Ne T’Enfuis Pas (02:34) 8 Un Baiser D’Enfant (03:02) 9 Burning Bridge (04:12) 10 Running Up That Hill (A Deal With God) (2012 remix) (05:36) 1 Home for Christmas (01:47) 2 One Last Look Around the House Before We Go… (01:04) 3 I’m Still Waiting (04:28) 4 Warm and Soothing (02:43) 5 Show a Little Devotion (04:18) 6 Passing Through Air (02:05) 7 Humming (03:16) 8 Ran Tan Waltz (02:41) 9 December Will Be Magic Again (04:51) 10 Wuthering Heights (new vocal) (04:58) 1 Rocket Man (I Think It’s Going to Be a Long, Long Time) (05:00) 2 Sexual Healing (05:58) 3 Mna Na H-eireann (02:54) 4 My Lagan Love (02:30) 5 The Craft of Love (02:57) 6 Sam Lowrys 1st Dream / "Brazil" (02:10) 7 The Handsome Cabin Boy (03:12) 8 Lord of the Reedy River (02:42) 9 Candle in the Wind (04:28) |
 | Album: 20 of 20 Title: The Other Sides Released: 2019-03-08 Tracks: 34 Duration: 2:11:59 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Running Up That Hill (05:47) 2 The Big Sky (Meteorological mix) (07:45) 3 Cloudbusting (The Organon mix) (06:32) 4 Hounds of Love (alternative) (03:48) 5 Experiment IV (12″ mix) (06:38) 1 Walk Straight Down the Middle (03:49) 2 You Want Alchemy (04:21) 3 Be Kind to My Mistakes (03:02) 4 Lyra (03:18) 5 Under the Ivy (02:10) 6 Experiment IV (04:49) 7 Ne T’Enfuis Pas (02:34) 8 Un Baiser D’Enfant (03:02) 9 Burning Bridge (04:12) 10 Running Up That Hill (A Deal With God) (2012 remix) (05:36) 1 Home for Christmas (01:47) 2 One Last Look Around the House Before We Go… (01:04) 3 I’m Still Waiting (04:28) 4 Warm and Soothing (02:43) 5 Show a Little Devotion (04:18) 6 Passing Through Air (02:05) 7 Humming (03:16) 8 Ran Tan Waltz (02:41) 9 December Will Be Magic Again (04:51) 10 Wuthering Heights (new vocal) (04:58) 1 Rocket Man (I Think It’s Going to Be a Long, Long Time) (05:00) 2 Sexual Healing (05:58) 3 Mna Na H-eireann (02:54) 4 My Lagan Love (02:30) 5 The Man I Love (03:18) 6 Sam Lowrys 1st Dream / "Brazil" (02:10) 7 The Handsome Cabin Boy (03:12) 8 Lord of the Reedy River (02:42) 9 Candle in the Wind (04:28) |