33 Kate Bush Quotes on Art

Kate Bush quotes on art

1. Artists shouldn't be made famous. You know... they're just ... as important as... um doctors, and priests ... or maybe not as important sometimes, and yet they have this huge aura of almost god-like quality about them, just because their craft makes a lot of money. And at the same time it is a forced importance - you know, football stars and theatre stars - It is man-made so the press can feed off it.

70. One of the band told me last night That music is all that he's got in his life. So where does it go? Surely not with his soul. Will all of his licks and his R'n'B Blow away?

81. Four strings across the bridge, Ready to carry me over, Over the quavers, drunk in the bars, Out of the realm of the orchestra...

83. Give me the Banshees for B.V.s.

202. Split me open With devotion You put your hands in And rip my heart out Eat the music.

204. What am I singing? A song of seeds The food of love. Eat the music.

209. The Song of Solomon The song of everyone Who walks the path Of the solitary heart.

216. Feel your hair come tumbling down Feel your feet start kissing the ground Feel your arms are opening out And see your eyes are lifted to God With no words, with no song I'm gonna dance the dream And make the dream come true...

252. Oh will you come with us To find the song of the oil and the brush?

253. Watching the painter painting And all the time, the light is changing And he keeps painting That bit there, it was an accident But he's so pleased It's the best mistake, he could make And it's my favourite piece. It's just great.

288. 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.

289. 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.

291. 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 you or give you some kind of energy.

292. I didn't realise how commercially successful she might be. I thought of her more really, I suppose, in the terms of someone like Joni Mitchell - the level of a lady who's very talented, but would appeal to a more esoteric audience. But she had different ideas.

293. One of music's most reclusive and enigmatic figures has re-emerged into what some have seen as a rich era for British female singer-songwriters. Bush's new double album, Aerial, is due out in November, only her eighth after three decades in the business. It will be treated with due reverence.

294. That's a song where we were listening to a lot of Kate Bush last summer, and we wanted a song which had a lot of tom-toms in it,I just had my daughter up also, and was kind of feeling in a sense of awe and wonderment, so the song is kind of a Kate Bush song about miracles.

295. 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.

296. Her music remains reassuringly the same ecstatic alchemy of the humdrum and otherworldly. Recalling the hello-clouds wonder of The Big Sky from 1985's Hounds of Love or the frank paean to menstruation that is Strange Phenomena from her debut, The Kick Inside, Aerial finds Bush marvelling in the magic of the everyday: the wind animating a skirt hanging on a clothes line, the trace of footprints leading into the sea, the indecipherable codes of birdsong.

297. 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.

299. 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.

300. When EMI invites a group of journalists to the Royal Academy of Music, in London, for a one-off listen to Kate Bush's new album, they are sending a clear signal - this album is not to be dismissed lightly.

303. I always heard about Kate Bush being considered one of the most influential female artists during the modern era of pop/rock music, but never understood what her appeal was... But when I recently stumbled upon her debut 1978 single, 'Wuthering Heights,' I found myself spending hours absorbing as much of her pre-1985 material as possible . . . Listening to an early Kate Bush album brings you far, far, away to a dreamworld filled with pixies and love and Peter Pan and pure hearts . . . 'Wuthering Heights' and the rest of The Kick Inside display all of Bush's trademarks: a literary consciousness; flourishing, heartfelt waves and the ability to successfully incorporate just about every eccentric vocal style you've never heard into each song.

305. We've been holding our breath for a long time. Three years of playing the old songs and wondering 'whatever next?' Would it be even weirder than The Dreaming? Would it leave more admirers by the wayside, shaking their heads?... The real fans will happily go along for the ride, even if she isn't going the pretty way.

308. Her subjects come tripping from library shelves, television and cinema screens and musty books of fairy tales, the stuff that dreams are made of. She spins tunes that haunt, twist and turn the mind, triggering long forgotten moods. Listening intently to her albums is an experience akin to having a lucid and feverish dream. Jungian symbols of youth, innocence, spiritual escape and the dark, feminine realm abound. Ghosts haunt the black vinyl grooves... But it's not all brooding intensity. There are jokes, too...

309. It's a mischievous paradox that, while rock at its ultra-macho best is exhilarating and energizing, yet just at the moment when it is most strident and loud it leaves you needing something more. Then along comes a shy doctor's daughter from Welling who out-screams the best, out-powers the noisiest and tops it with the satisfying impact of musical and psychological depth. It's almost Wagnerian.

311. The album Never for Ever came next and starts in happy mood, with a summer night of a cha-cha-cha tribute to a new-found hero, 'Delius'. The philosophic All We Ever Look For creates a remarkable and rare mood of reassurance and upbeat resignation, a Bush specialty . . . The end comes in the horrifying 'Breathing', a vision of the nuclear holocaust through the eyes of an unborn child.

313. The new album, Hounds of Love, breaks new ground for Kate with the b-side. This is a story - The Ninth Wave - told in a series of songs, like a Pink Floyd concept album.

314. Casual listeners will miss the depth of the music. You must sit down with the lyric sheet and find out what's going on. All the vocal acrobatics and weird sounds click into place when you know what ideas, stories and situations they are expressing. In most rock and pop, the music and words may be linked, but are basically separate. Kate creates, more and more, a fusion between the two - the sounds directly expressing the subject. This is a throwback to Wagner's music-drama, with its leitmotifs, turning music into an idea. The Beatles revived the technique, and bands of the hippy era like Pink Floyd carried the banner. . . Kate is fast becoming a master in the use of this sonic montage, perhaps because the ideas she is using are far more complex, have more 'resonances', than those of her contemporaries.

317. I had always considered Kate Bush truly original both as a performer and as a songwriter with an unusually fresh sense of harmony. If her new album next month is awaited with some excitement after a long fallow period, then in 1985 it was assumed that Hounds of Love would be something of a final fling at the conclusion of a waning career. I soon realised how wrong this assumption was when Kate sent me a cassette: it was zany, ambitious and yet utterly Kate Bush, but with gaps where I was to do her bidding. Having chatted at length, she sent me a long letter with the words of the song and precise instructions on how it should unfold... Structure was carefully delineated, verses and choruses written out fully and marked up in colour, and she talked of the sound quality in the most graphic terms.

320. 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?

324. 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.

326. Aerial succeeds because it's all there for a reason. And because the good stuff is just so sublime. 'King of the Mountain', Bush's Elvis-inspired single, is both a fine opener and a total red herring. Bush's juices really get going on 'Pi', a sentimental ode to a mathematician, audacious in both subject matter and treatment. The chorus is the number sung to many, many decimal places. It's closely followed by a gushing ode to Bush's son, Bertie, that's stark and medieval-sounding. The rest of disc one (aka A Sea of Honey) sets a very high bar for disc two, with the Joan of Arc-themed 'Joanni' and the downright poppy 'How to Be Invisible' raising the hair on your arms into a Mexican wave. Disc two, subtitled A Sky of Honey, is a suite of nine tracks which, among other things, charts the passage of light from afternoon ('Prologue') to evening ('An Architect's Dream', 'The Painter's Link') and through the night until dawn. Things get a little hairier here.

327. 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.