Kate Bush quotes - page 15
Can't you see where memories are kept bright?
Tripping on the water like a laughing girl.
Time in her eyes is spawning past life,
One with the ocean and the woman unfurled,
Holding all the love that waits for you here.
Catch us now for I am your future.
A kiss on the wind and we'll make the land.
Come over here to where When lingers,
Waiting in this empty world,
Waiting for Then, when the lifespray cools.
For Now does ride in on the curl of the wave,
And you will dance with me in the sunlit pools.
We are of the going water and the gone.
We are of water in the holy land of water
And all that's to come runs in
With the thrust on the strand.
Kate Bush
I simply think she is one of the greatest figures in British music over the last 30 years. There are an awful lot of people in the business wandering around claiming to be artists, but she is one of the few who can genuinely make that claim... I don't think there is any competition, she's on a different level and quite outside them all.
Kate Bush
A Sky of Honey is, in a sense, a lyric poem set to music. Full of lush, fecund melodies which swing from jazz to rock, it is threaded through with bird song and chatter and feels distinctly organic and earthy.... Side two is the album Pink Floyd might have made if Kate Bush had been their lead singer and lyricist in 1979.
Kate Bush
Illusion, dance, mime, even magic - the Tour of Life, as it was called, had the lot.
I shan't forget the way those Pink Floyd-like whale sounds that open The Kick Inside album heralded Kate's entry to the stage as waves were projected on huge screens and her band launched into Moving.
For a split second, the audience thought Kate was lip-synching because there was no microphone, but in pre-dating Madonna by a couple of decades, she was wearing a headset to allow free movement around the stage.
Every song from that first album was performed before the switch to stuff from follow-up Lionheart, virtually every number warranting a change of costume and stage set. ... The entire show was pure theatre.
Kate Bush
After a thousand songs on the theme of boy-meets-girl-boy-loses-girl or Thatcher's Britain, exposure to her music comes as an imaginative release as we go giddily flying into the limitless possibilities of the poetic viewpoint. Here is talk of whales, of Peter Pan, kites, Houdini, mysticism... Acquaintances have observed, "She lives in a world of her own." But it's a world that lives within all of us, and her songs shine light into neglected areas of our minds.
Kate Bush
Her talent was precocious. "The Saxophone Song" and "The Man With the Child in His Eyes" were recorded as demo tapes when Kate was still at school. The first album, The Kick Inside (1978), caused tremendous media interest and is still the public's favourite. Her voice, criticized at the time, was small and childlike, the range erratic, if impressive. Since then it has improved enormously, deepening and gaining power and flexibility, until now it is a great asset, individual and capable of both subtle and stunning effects.
Kate Bush
When the conductor Richard Hickox rang me one day in 1984 to ask if I could help with a rather unusual job for which he and his choir had been engaged, I was intrigued. Kate Bush, it transpired, was working on her new album, Hounds of Love, and for one track, Hello Earth, she wanted a chorus to recreate the orthodox singing/chanting that made such a contribution to the film Nosferatu.
Kate Bush
Come the recording day, a group of male choristers, more accustomed to singing church services than backing vocals, descended on Bush's home, which was equipped with its own studio. Doubtless they were imagining that they were about to meet a wild-eyed rock babe, but Kate, quiet and unassuming - the kind of sympathetic, slightly shy girl who greets you from behind the counter at the local chemist - introduced us to her friend the bass player Del Palmer, who engineered the session. None of the singers or Richard had ever gone over and over four or five phrases so exactingly. No measure of Bach or Mozart had, in their experience, been subjected to such surgical scrutiny, and I began to worry that their voices might begin to tire. But Bush knew and got what she wanted and "Hello Earth" is, I think, a remarkable track on the album that finally broke the American market and established her as an iconic and hugely influential figure. I can't wait to hear what she has been up to now.
Kate Bush
It's clear Bush is still a force to be reckoned with. The problem, though, with female genius - for many men at least - is that very frequently it is not like male genius. And with its songs about children, washing machines going 'slooshy sloshy', Joan of Arc, Bush's mother, not to mention the almost pagan sensuality that runs through here like a pulse, Aerial is, arguably, the most female album in the world, ever. ... the artistry here is so dizzying, the ambition and scope so vast, that even the deafest, most inveterate misogynist could not fail to acknowledge it. Genius. End of.
Kate Bush
When Kate Bush came along, sort of '78, I was in The Slits, and I remember I was sitting in a van outside our singer's house, waiting to do a gig, and "Wuthering Heights" came on the radio, and I was like "Ooh, WHAT? What's this?" And I kept waiting for the melody to repeat, because, you know, at that time, pop music was very much Radio One, you know it was repeating melodies very quickly, and this melody it meandered on, and this high-pitched voice warbling and dropping, but I was absolutely spellbound.
Kate Bush