The desires of Molly Bloom, leaping from the last pages of James Joyce's Ulysses, were in Kate Bush's mind when she wrote those words, but imagine them as a prayer from Mary Magdalene for Jesus to abandon biblical glory for a life and a home. There's a creeping horror that develops in Kate Bush's 'Waking the Witch,' from 1985's Hounds of Love, which tells the story of a woman accused of witchcraft. "Stepping out of the page and into the sensual world," Bush sings. What might have been if Marty had tapped world-builder, demon-expeller, deity-confronter Kate to score his notoriously misunderstood meditation on the ways human frailty is essential to faith? Peter Gabriel's Temptation score is thrilling, but Bush in the late '80s had all the tools he did at her disposal: global and historical curiosity, an obsession with new sounds and rhythms, utter musical magnetism. I can't help but fantasize about how a different song from Bush's sixth album - its title track - would have sounded in another '88 film from another titan of '80s cinema: The Last Temptation of Christ by Martin Scorsese.
In 1988, movie audiences first heard Bush's hit "This Woman's Work" in the John Hughes romance She's Having a Baby, more than a year and a half before it appeared on The Sensual World. Oblivious to the myriad rumours pertaining her whereabouts, an inspired Bush was revelling in the creative freedom that her own studio.
Last week "Running Up That Hill (A Deal With God)" cracked the Billboard Hot 100's top 10 - the first time the singer-songwriter has ever had a hit that high on the chart.īut there's far more to Kate Bush's discography than "Running Up That Hill (A Deal With God)." The artist's catalog of witchy, shape-shifting pop is full of songs ripe for the cinematic treatment, from the kooky vocals of "Babooshka" to the Emily Brontë-inspired "Wuthering Heights." Here, several NPR Music staffers convene to offer up the quintessential Bush tracks we think deserve a powerful resurgence in a TV show or movie, or would have changed the course of cinema history had they only been deployed in movies that, sigh, went in another direction. A fter retreating from the public gaze following the poor reception to The Dreaming, Kate ensconced herself womb-like in the brand new 48-track home studio she had built.
In particular, it pays close attention to the 1985 album Hounds of Love, which forms the centrepiece of the authors.
The main body of this book consists of a linear track-by-track musical analysis of Kate Bushs albums released between 19. After Bush's 1985 song "Running Up That Hill (A Deal With God)" was featured in the newest season of the '80s-set Netflix show Stranger Things, it appeared that a completely new, much younger audience had been exposed to Bush's music for the first time, and they naturally began to stream the cult classic en masse. Reviews arent verified, but Google checks for and removes fake content when its identified. Are there any artists more deserving of a chart-altering, paradigm-shifting music sync than Kate Bush? This past week, the British artist was thrust into a new spotlight.