I think she looks like a really scary Mother in Law on the vid.

Kookiness only works up to a certain age, but at 47 it just looks a little disturbing.

Love the imagery of the video though. And the song just grows and grows on me the more I hear it.

Just saw the video on Kates Website. It is nice that the video isn´t animated and to actually see her in it but I think she could have done a bit more than moving on a chair and hiding in a coat. I think it looks quite amateurish and I found the flying Elvis suit really ridiculous. Expected something more serious or arty to fit the theme of the song. She should have hired a better director like Michel Gondry who shot some of Björks best videos.

Thanks for the heads up on the vid!

i was expecting something more than Kate moving her shoulders from side to side in a trenchcoat and a flying Elvis suit, but at least they put some mountains in the vid, this song always brings [img]aerial[/img] of mountains to mind. i'm not complaining, though.

i do miss my sexy Kate.

I was shocked and stunned when I saw the video...
Shocked that Kate was in the video at all- I really thought that she wouldn't be performing after not appearing on any of the new cover art.
Then stunned by the literal images in the video- Elvis jumpsuit, snowy mountains- even a Rosebud sledge!
I did come away feeling a little let down

But thinking back to it and then watching it again around 5 times- I feel it works really well...
Old elvis meeting up with his past.
The aisles of weeping statues.
Kate's choice of outfit representing American history- or not!?(sorry-I'm very tired)
And yes, kookiness and madness.
We all wanted a Michel Gondry type High Art video(me included- I love his stuff!)
But it has so much heart and thought behind it...
So embrace it as our mad old Auntie is back and confusing the hell out of us again-
All this before we've even heard the 'Washine Machine Bird Song' Album. x

After seeing the video I have 2 say this:

Kate is beautiful than ever!!!!!

I can't see the video bugger BUGGER

lol @ the vid. Kinda tacky looking like most of hers. I guess that's what gives them their charm.

More importantly... the Observer gave the album a 5 review.

Cloudbuster said:

Hehehe
Me too. I had a good laugh. She looks TOTALLY offa her rockers. Loves it!

After three tries.....I still couldn't see all of the video because of Mozilla's technical difficulties I saw most of it though

Think I might use this avvie next.

Hey, look! Isn't that Celine Dion?

*ducks*

Horsefeathers said:

I swear....SOME people shouldn't be allowed to have alter-egos

btw....howcome this thread isn't a sticky anymore?

AnckSuNamun said:

Tori did it.

stevenpottle said:

Now I've read your post, Stephen , I may re-evaluate the video...

I was out on Saturday night so I couldn't watch it Luckily, a good friend of mine had and dropped it off on Sunday.

Before I'd seen it, though, her comment was :"It's a bit crap". I just told her I'd make my own mind up and - knowing she isn't a Kate fan - prayed she was wrong. When I saw it, I did think it was a little underwhelming. I had all these images of Kate standing on a mountain top and stuff. Not an Elvis suit flying off a washing line.

But, as you say, I think a lot of heart has gone into it. And I doubt we'll see her leaping across the screen anymore.

Perhaps we should just be glad we've got *a* Kate video.

Cloudbuster said:

I nearly choked on my breakfast when I saw it!

could someone please print observer review here...and any further reviews...

Here's the Observer Music Monthly's review...


KATE Bush - Aerial

5 out of 5

She's still deep, if occasionally unfathomable. Jason Cowley delights in an alchemist's return.

Why do so many pop performers produce their best work when they are in their early-to-mid twenties? A simple answer is that pop isd essentially a juvenile form, the expression of a certain youthful worldview and a rebellious sensibility, and the more a musician matures and learns about music, the greater the desire to complicate and to experiment with what once felt so natural and spontaneous.

Few artists experiment more than Kate Bush - often to thrilling effect. Her first single, 'Wuthering Heights', was a huge number one hit in 1978, when she was just 19. After that surprise, EMI allowed her near-absolute artistic control. Since 1980 she has produced and written all her own material and, as the wait for each album has grown longer and longer, she has become the musical equivalent of a celebrated novelist who refuses to be edited: she has the freedom to do whatever she wants and at whichever speed she desires. If she wants Rolf Harris to play didgeridoo for her as he did on 'The Dreaming' (1982) and again on this new album, Aerial, she can have him. If she wants to combine the orchestral arrangements of Michael Kamen with uninhibited rock guitar, as she does here, she can. If she refuses to play live, as she has done for more than twenty years, no-one will try to force her to change her mind.

Twelve years is a long time to wait for any artist, even from one as consistently inventive as Kate Bush, but at least Aerial offers value. It's a 14 track double album, and the more experimental of the two records is 'A Sky Of Honey'. It begins not with music but with birdsong, the wind in the trees and the voice of a child calling her parents. What follows is a suite of seven unashamedly romantic songs taking us on a long day's journey into night and then on through to the next morning when birdsong is heard once more and the whole cycle starts all over again. There are similarities here with the second side of the remarkable Hounds Of Love (1985) and to the song sequence 'The Ninth Wave' that took us into the consciousness of a drowning woman (the sea, in her work, has long been a source of inspiration and of threat). That album, memorable for its daring, its imaginative use of sampling, and its erotic intensity, was, like much of Bush's work, preoccupied with memory - and with how we are never entirely free from the voices and sounds of childhood. It remains her best album.

'A Sky Of Honey' is music of pagan rapture - songs about acts of creation, natural or otherwise; about the wind, rain, sunlight and the sea. Sometimes it is just Kate alone at her piano, her voice restrained. Sometimes, as on the outstanding 'Sunset', she begins alone and softly, but soon the tempo quickens and the song becomes an expreminent in forms: jazz, progressive rock, flamenco.

There are weaknesses. at times, Bush can be too fey and whimsical, especially on 'Bertie', which is about the joy of motherhood, or on 'Mrs Bartolozzi', a rhapsody to nothing less than a washing machine: "My blouse wrapping itself around your trousers...slooshy sloshy/slooshy sloshy". And the bold, musically adventurous second album is a little too insistent in its 'hey, man' hippyish sensibility, with Kate running freely through the fields or climbing high in the mountains. She did, after all, once dress up as a white witch for the cover of Never For Ever (1980), on which she is portrayed flying through the air, like a giant bat.

"What kind of language is this?" Kate Bush sings, self-interrogatively, on the title track, the last of the album. It's a good question, to which she offers a partial answer on 'Somewhere In Between', which in ambition and content is where most of the songs on the album are suspended - somewhere in between the tighter, more conventional structures of pop and the looser, less accessible arrangements of contemporary classical and the avant garde; somewhere, in mood and atmosphere, between the lucidity of wakefulness and the the ambiguity of dream; between the presumed innocence of childhood and the desire for escape offered by the adult imagination; between abstraction and the real. Even when she escapes her wonderland to write about actual figures in the known world, she remains attracted to those figures such as Elvis ('King Of The Mountain', the album's first single) or Joan of Arc ('Joanna') that, in death as indeed life, have a mythic unreality.

So, again, what kind of language is this? It is ultimately that of an artist superbly articulate in the language of experimental pop music. But it is also the language of an artist who doesn't seem to want to grow up. Or, more accurately, who has never lost her child-like capacity for wonder and for pagan celebration and who, because she is sincere and can communicate her odd and unpredictable vision in both words and through sumptuous music, occupies a cherished and indulged position in the culture. There is no one quite like her, which is why, in the end, we must forgive her eccentricities. We are lucky to have her back.



Best tracks (according to the Observer Music Monthly): 'Sunset', 'Somewhere In Between', 'King Of The Mountain'.


There you go!
[Edited 10/19/05 9:57am]

Cloudbuster said:

damn her!

onenitealone said:

thanks for that

AnckSuNamun said:

You're welcome.

As far as I know, this is the first full review that's been published.

I likes the review lots.

HamsterHuey said:

I've only read one lukewarm review yet.

The rest have been dandy.

Cloudbuster said:

I am afraid all the reviewers might go potty about the fact it is SHE. And that the wait has been so long that we would like ANYTHING, as long as she releases SOMETHING... you know?

HamsterHuey said:

No. I don't know.

Cloudbuster said:

I was afraid you would not. Then again, yer a git, so it is not really strange.

HamsterHuey said:

2 page article in today's 'The Independent'!!!! (UK)


If I get chance, I'll type it out later. Otherwise, can anyone find a link?

Kate Bush: Finally, something for the grown-ups
Published: 21 October 2005
Early next month, Kate Bush releases Aerial, her first new album since The Red Shoes back in November 1993. Even by the relaxed schedules adopted by pop's more established artists, this is an extraordinary career hiatus - not quite the 20 years separating Steely Dan's Gaucho and Two Against Nature, perhaps, but well on the way there.

Entire pop scenes and musical movements have budded, bloomed and withered in the interim - Oasis's first singles, for instance, appeared in 1994 - but such is the diminutive Kate's enduring artistic stature that the forthcoming double-album has prompted a feverish flurry of record-company attention on its behalf. Some would consider their concern paranoiac - only last week, I was accosted like a shoplifter in the street by an EMI security guard, for the terrible crime of believing that the lyric-sheet I had been given at a playback of the album was mine to keep. Apparently, none shall know of Her words until the two discs are actually brought down from the mountaintop to the record shop. But we'll let that pass.

The more pertinent concern is whether her music remains relevant in a music landscape that has seen Britpop come and go, grunge atrophy into skate-metal, hip-hop conquer the known world, and talent-contest TV reduce chart pop to a production-line of vacuity. Changes flash by ever more rapidly in the modern, computer-assisted music world, and in decoupling from its dizzy progress for a dozen years, Kate Bush runs a serious risk of getting flattened like a hedgehog crossing a motorway upon her return.

Extraordinarily, she manages to traverse both carriageways with only superficial damage to a few spines: indeed, such is the idiosyncratic nature of her work that she could probably disappear for a half-century and still sustain her own unique position in the pop firmament. But then, who else would write about an obsessive-compulsive housewife or attempt a vocal duet with trilling birds, or, in the most courageous of the album's many unusual strategies, sing huge strings of numbers, a gambit that brings new meaning to the old critic's chestnut about being happy to listen to someone singing the telephone directory?

The only track so far available from the album, the single "King Of The Mountain", employs references to Elvis and Citizen Kane to illustrate her musings upon fame and wealth and isolation. "Why," she wonders, "does a multi-millionaire fill up his home with priceless junk?" The rest of the album - particularly the extended song-cycle that occupies the entire second disc - seems like her own suggestion as to how to use that lofty position more profitably, in a spiritual and aesthetic manner. A reggae lilt underscored with misty synthesiser textures, " King Of The Mountain" has the gently insistent quality that proved so effective on several of her previous singles.

The picture adorning the single's sleeve is by Bush's young son, " lovely, lovely Bertie", whose presence toddles joyously through much of the new album, clearly illuminating her world. Many years ago, back near the start of her career, she regarded the domestic demands of motherhood as a dubious prospect, claiming her work was her love, and how could she do that and bring up a child at the same time? The answer, presumably, was not to work for a dozen years.

Ironically, childhood - and particularly the struggle not to relinquish it - has always been one of the driving concerns of Bush's work, an itch discernible in tracks as obvious as "In Search of Peter Pan" (from 1978's Lionheart) and as oblique as "The Fog" (from 1989's The Sensual World), where her father at one point advises her to " Just put your feet down, child/'Cos you're all grown up now". When asked about this aspect of her work, she has always freely admitted being like a little girl in many ways, and furthermore, happily presumes she'll still be that way in her dotage. It's certainly still a factor on Aerial , both in the track "Bertie" itself and in the memories and reminiscences that cobweb some other songs. But compared to the darker corners of the mind sometimes mined in earlier songs, the new album seems a much sunnier affair: an enduring image I took away from it - not necessarily a lyric, though it might have been - was of windows flung wide open, their curtains billowing out in the breeze, a room's long-dormant dust stirred into life again.

Another significant concern in Bush's work has been sexuality, both in codified, metaphorical form, and more explicitly in tracks like "Feel It ", "In The Warm Room" and most obviously "The Sensual World", where she emulates Molly Bloom's soliloquy from Ulysses (she had wanted to simply quote from Joyce's novel, but the publisher's demurral forced her to devise her own equivalent reverie). She's unafraid, too, of tackling more problematic areas of sexuality, as for instance when she dealt with cradle-snatching in "The Infant Kiss" and incest in "The Kick Inside". But not all that seems erotic in her music is about sex, as an EMI employee discovered when he found her working on the hypnotic "out-in-out-in" chant section of "Breathing" (from 1980's Never For Ever), and expressed outrage at EMI's young pop princess making such an overtly sexual record. The song is, of course, about breathing. Duhhh!

This is perhaps the main area where Bush is less relevant than she once was, for all her obvious influence on such soul-baring doyennes of sexual openness as Tori Amos, Sinead O'Connor and Björk. Since she was last involved, the bar on female sexual expression has been booted so much higher - or dragged lower, depending on your viewpoint - by the brazenly pornographic contributions of hip-hop and R&B divas, whose revelations would make Hugh Hefner blush. But in doing so, they have also scoured away the elements that brought the most interesting frissons to Bush's take on sexuality - the entire spiritual aspect, most notably, but also the notion of sexuality as something to be attained, something to build up to, a most satisfying mountain to scale.

Not, of course, that Kate Bush has ever really been writing for the same market as Lil' Kim or Mousse-T or whoever it was who went on so charmingly about licking her booty and her crack. Bush has always been a nice middle-class girl writing for other nice middle-class girls (and boys) who wouldn't necessarily be put off by references to writers such as James Joyce and the Brontë sisters, or oddball mystics and weirdos like GI Gurdjieff and Wilhelm Reich, and who wouldn't balk at hearing non-pop musicians such as Eberhard Weber, the Trio Bulgarka and, er, Rolf Harris.

It's not an exclusively middle-class constituency, but it is one that exults in exercising the mind rather than just the body, that finds greater liberation in the imagination than in raucous, boozy indulgence. One that reads, in other words. And although it sometimes seems as if it's been completely obliterated by the waves of corporate dumbed-down drivel that routinely crams the airwaves, it's a massive audience lain long dormant, forced to subsist on the drab pablum of Keane and David Gray until something more substantial comes along.

At around an hour and a half, Aerial is unquestionably a substantial piece of work, and its manifold peculiarities and quirks offer much more interesting fare than that available from today's AOR mainstream. It's also a more mature undertaking than any of her previous albums, an extended meditation on art and light, fame and family, creativity and the natural world. Indeed it seems, come to think of it, like an expansion of the theme of Laura Veirs' gorgeous "Rapture". And since that was the finest song of last year, I'd have to say that leaves Kate Bush still operating at the cutting-edge of intelligent adult pop, every bit as relevant now as at any point in her career. Just a little bit weirder, thank heavens.

'AERIAL': TRACK LISTING

Disc 1
1. King Of The Mountain
2. Pi
3. Bertie
4. Mrs Bartolozzi
5. How to be Invisible
6. Joanni
7. Coral Room

Disc 2
1. Prelude
2. Prologue
3. An Architect's Dream
4. The Painter's Link
5. Sunset
6. Aerial Tal
7. Somewhere In Between
8. Nocturn
9. Aerial

IS KATE BUSH STILL RELEVANT?

Mutya from Sugababes

I think she is still relevant. It's nice to see people reinvent themselves. She was a great performer and a great singer. I like that song, you know the one, "It's me, I'm Cathy..." I love that song. I remember listening to it growing up. I think our older fans like her music.

KT Tunstall

I'm really looking forward to Kate Bush's return - I'm no expert on her work but I know some of it and I think she's an incredibly original and talented artist. Anyone who writes most of an album like her first album, The Kick Inside, at 15 years old has got to be pretty special.

Katie Melua

Of course she's still relevant. I wasn't actually in the country when her music first came out, so I only discovered it three or four years ago. What's amazing is that something like "Wuthering Heights" still sounds so different. I actually saw her about nine months ago, we were just passing at an industry event and I went up to her and said I was a big fan and asked her about the new record. She was really excited about it but quite nervous because she felt that everyone was hyping it up a bit and she just wanted to bring out an album. You know, she's a musician.

Hussein Chalayan, fashion designer

For me, it's not important how well the songs will be received because I think she's already an amazing influence in what she's done. I listen to her stuff a lot while I sketch and I think there is a weird sense of emotional encouragement in her work. There's something therapeutic in her voice and in her attitude, so that sometimes just listening to it can encourage youor give you some kind of energy.

Björk

To me, Kate Bush will always represent the age of exploring your sexuality, when you change from a girl to a woman. I guess that's what I found fascinating about Kate, she totally stuck out. She created her own look and sound. There's a timelessness to her music.

Alan Bentley, director of the Brontë Museum

One of the main things that brings people to the Brontë Museum from all over the world is Kate Bush. We have copies of her No 1 hit single " Wuthering Heights" in our collection of Brontë-related items. People often arrive at the Brontë novels through that song.

Early next month, Kate Bush releases Aerial, her first new album since The Red Shoes back in November 1993. Even by the relaxed schedules adopted by pop's more established artists, this is an extraordinary career hiatus - not quite the 20 years separating Steely Dan's Gaucho and Two Against Nature, perhaps, but well on the way there.

Entire pop scenes and musical movements have budded, bloomed and withered in the interim - Oasis's first singles, for instance, appeared in 1994 - but such is the diminutive Kate's enduring artistic stature that the forthcoming double-album has prompted a feverish flurry of record-company attention on its behalf. Some would consider their concern paranoiac - only last week, I was accosted like a shoplifter in the street by an EMI security guard, for the terrible crime of believing that the lyric-sheet I had been given at a playback of the album was mine to keep. Apparently, none shall know of Her words until the two discs are actually brought down from the mountaintop to the record shop. But we'll let that pass.

The more pertinent concern is whether her music remains relevant in a music landscape that has seen Britpop come and go, grunge atrophy into skate-metal, hip-hop conquer the known world, and talent-contest TV reduce chart pop to a production-line of vacuity. Changes flash by ever more rapidly in the modern, computer-assisted music world, and in decoupling from its dizzy progress for a dozen years, Kate Bush runs a serious risk of getting flattened like a hedgehog crossing a motorway upon her return.

Extraordinarily, she manages to traverse both carriageways with only superficial damage to a few spines: indeed, such is the idiosyncratic nature of her work that she could probably disappear for a half-century and still sustain her own unique position in the pop firmament. But then, who else would write about an obsessive-compulsive housewife or attempt a vocal duet with trilling birds, or, in the most courageous of the album's many unusual strategies, sing huge strings of numbers, a gambit that brings new meaning to the old critic's chestnut about being happy to listen to someone singing the telephone directory?

The only track so far available from the album, the single "King Of The Mountain", employs references to Elvis and Citizen Kane to illustrate her musings upon fame and wealth and isolation. "Why," she wonders, "does a multi-millionaire fill up his home with priceless junk?" The rest of the album - particularly the extended song-cycle that occupies the entire second disc - seems like her own suggestion as to how to use that lofty position more profitably, in a spiritual and aesthetic manner. A reggae lilt underscored with misty synthesiser textures, " King Of The Mountain" has the gently insistent quality that proved so effective on several of her previous singles.

The picture adorning the single's sleeve is by Bush's young son, " lovely, lovely Bertie", whose presence toddles joyously through much of the new album, clearly illuminating her world. Many years ago, back near the start of her career, she regarded the domestic demands of motherhood as a dubious prospect, claiming her work was her love, and how could she do that and bring up a child at the same time? The answer, presumably, was not to work for a dozen years.

Ironically, childhood - and particularly the struggle not to relinquish it - has always been one of the driving concerns of Bush's work, an itch discernible in tracks as obvious as "In Search of Peter Pan" (from 1978's Lionheart) and as oblique as "The Fog" (from 1989's The Sensual World), where her father at one point advises her to " Just put your feet down, child/'Cos you're all grown up now". When asked about this aspect of her work, she has always freely admitted being like a little girl in many ways, and furthermore, happily presumes she'll still be that way in her dotage. It's certainly still a factor on Aerial , both in the track "Bertie" itself and in the memories and reminiscences that cobweb some other songs. But compared to the darker corners of the mind sometimes mined in earlier songs, the new album seems a much sunnier affair: an enduring image I took away from it - not necessarily a lyric, though it might have been - was of windows flung wide open, their curtains billowing out in the breeze, a room's long-dormant dust stirred into life again.

Another significant concern in Bush's work has been sexuality, both in codified, metaphorical form, and more explicitly in tracks like "Feel It ", "In The Warm Room" and most obviously "The Sensual World", where she emulates Molly Bloom's soliloquy from Ulysses (she had wanted to simply quote from Joyce's novel, but the publisher's demurral forced her to devise her own equivalent reverie). She's unafraid, too, of tackling more problematic areas of sexuality, as for instance when she dealt with cradle-snatching in "The Infant Kiss" and incest in "The Kick Inside". But not all that seems erotic in her music is about sex, as an EMI employee discovered when he found her working on the hypnotic "out-in-out-in" chant section of "Breathing" (from 1980's Never For Ever), and expressed outrage at EMI's young pop princess making such an overtly sexual record. The song is, of course, about breathing. Duhhh!

This is perhaps the main area where Bush is less relevant than she once was, for all her obvious influence on such soul-baring doyennes of sexual openness as Tori Amos, Sinead O'Connor and Björk. Since she was last involved, the bar on female sexual expression has been booted so much higher - or dragged lower, depending on your viewpoint - by the brazenly pornographic contributions of hip-hop and R&B divas, whose revelations would make Hugh Hefner blush. But in doing so, they have also scoured away the elements that brought the most interesting frissons to Bush's take on sexuality - the entire spiritual aspect, most notably, but also the notion of sexuality as something to be attained, something to build up to, a most satisfying mountain to scale.
Not, of course, that Kate Bush has ever really been writing for the same market as Lil' Kim or Mousse-T or whoever it was who went on so charmingly about licking her booty and her crack. Bush has always been a nice middle-class girl writing for other nice middle-class girls (and boys) who wouldn't necessarily be put off by references to writers such as James Joyce and the Brontë sisters, or oddball mystics and weirdos like GI Gurdjieff and Wilhelm Reich, and who wouldn't balk at hearing non-pop musicians such as Eberhard Weber, the Trio Bulgarka and, er, Rolf Harris.

It's not an exclusively middle-class constituency, but it is one that exults in exercising the mind rather than just the body, that finds greater liberation in the imagination than in raucous, boozy indulgence. One that reads, in other words. And although it sometimes seems as if it's been completely obliterated by the waves of corporate dumbed-down drivel that routinely crams the airwaves, it's a massive audience lain long dormant, forced to subsist on the drab pablum of Keane and David Gray until something more substantial comes along.

At around an hour and a half, Aerial is unquestionably a substantial piece of work, and its manifold peculiarities and quirks offer much more interesting fare than that available from today's AOR mainstream. It's also a more mature undertaking than any of her previous albums, an extended meditation on art and light, fame and family, creativity and the natural world. Indeed it seems, come to think of it, like an expansion of the theme of Laura Veirs' gorgeous "Rapture". And since that was the finest song of last year, I'd have to say that leaves Kate Bush still operating at the cutting-edge of intelligent adult pop, every bit as relevant now as at any point in her career. Just a little bit weirder, thank heavens.

'AERIAL': TRACK LISTING

Disc 1
1. King Of The Mountain
2. Pi
3. Bertie
4. Mrs Bartolozzi
5. How to be Invisible
6. Joanni
7. Coral Room

Disc 2
1. Prelude
2. Prologue
3. An Architect's Dream
4. The Painter's Link
5. Sunset
6. Aerial Tal
7. Somewhere In Between
8. Nocturn
9. Aerial

IS KATE BUSH STILL RELEVANT?

Mutya from Sugababes

I think she is still relevant. It's nice to see people reinvent themselves. She was a great performer and a great singer. I like that song, you know the one, "It's me, I'm Cathy..." I love that song. I remember listening to it growing up. I think our older fans like her music.

KT Tunstall

I'm really looking forward to Kate Bush's return - I'm no expert on her work but I know some of it and I think she's an incredibly original and talented artist. Anyone who writes most of an album like her first album, The Kick Inside, at 15 years old has got to be pretty special.

Katie Melua

Of course she's still relevant. I wasn't actually in the country when her music first came out, so I only discovered it three or four years ago. What's amazing is that something like "Wuthering Heights" still sounds so different. I actually saw her about nine months ago, we were just passing at an industry event and I went up to her and said I was a big fan and asked her about the new record. She was really excited about it but quite nervous because she felt that everyone was hyping it up a bit and she just wanted to bring out an album. You know, she's a musician.

Hussein Chalayan, fashion designer

For me, it's not important how well the songs will be received because I think she's already an amazing influence in what she's done. I listen to her stuff a lot while I sketch and I think there is a weird sense of emotional encouragement in her work. There's something therapeutic in her voice and in her attitude, so that sometimes just listening to it can encourage youor give you some kind of energy.

Björk

To me, Kate Bush will always represent the age of exploring your sexuality, when you change from a girl to a woman. I guess that's what I found fascinating about Kate, she totally stuck out. She created her own look and sound. There's a timelessness to her music.

Alan Bentley, director of the Brontë Museum

One of the main things that brings people to the Brontë Museum from all over the world is Kate Bush. We have copies of her No 1 hit single " Wuthering Heights" in our collection of Brontë-related items. People often arrive at the Brontë novels through that song.

Thanks peppeken!

Believe it or not, I actually typed all that out, then saw your's!

GREAT article.

no probs. I had a dream last night I had the cd....cant wait....literally had shivers down my spine reading the review.