The precocious one
For some it's the voice--ethereal, sensuous and operatic are a few of the more common attempts at description. For others, it's the progressive rock-influenced lyrical dexterity and experimental instrumentation, often an amalgam of electronic loops, sound effects, and "primitive" percussion. And then, of course, there are the leotards.
All aspects of Kate Bush, and there are many, conspire to drive you to love or hate her work. Today, her late 70s theatrical aesthetic, tempered by the lens of 80s music video art (not to mention hair styles), can appear a bit precious if not touched, leading one to wonder what drives such a devoted following (and I do mean devoted). Is it just one of those inexplicable, positively British things?
Her mainstream hits such as the early and defining "Wuthering Heights", "Running Up That Hill (A Deal With God)", and "This Woman's Work," combined with her collaborations with Peter Gabriel ("Games Without Frontiers," "Don't Give Up"), retain the timbre and spirit of excess that Kate Bush embodies. A kind of modern day Maya Deren, eyes wild and lips puckered, she is as comfortable humming number sequences ("Pi") as chirping with birds ("Aerial Tal"), both from last year's much anticipated if uneven Aerial.
Musically and lyrically, her most accomplished effort is also my first introduction, 1985's Hounds of Love. Highlights include the insistent If of the aforementioned "Hill," the swooning vocals and lazy banjo of "Cloudbusting," and the entire second half of the album, a 20 plus minute concept piece entitled "The Ninth Wave" that stretches from the invocation ("Little light!") of "And Dream of Sheep" to the creepy imagery of "Under Ice" to the slow-motion chants submerged in the closing bars of "Hello Earth" (back in the day, my 90 minute Maxell XLII cassette tape--yeah, you know the one--cut short the redemptive waking of the final track "The Morning Fog," thus leaving me forever plummeting).
Cloudbusting - Kate Bush
And Dream of Sheep - Kate Bush
Pi - Kate Bush