16 Kate Bush Quotes on Kate bush

Kate Bush quotes on kate bush

43. My terrible fear of dying No longer plays with me, for now I know that I'm needed For the symphony.

158. The light Begin to bleed, Begin to breathe, Begin to speak. D'you know what? I love you better now.

189. I thought you were crazy, wishing such a thing. I saw only a stick on fire, Alone on its journey Home to the quickening ground, With no one there to catch it.

225. All young gentle dreams drowning In life's grief Can you hang on to me?

230. Have you ever seen a picture Of Jesus laughing? Mmm, do you think He had a beautiful smile? A smile that healed.

236. Another Hollywood waitress Is telling us she's having your baby And there's a rumour that you're on ice And you will rise again someday.

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.

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.

301. 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.

302. A Sky of Honey is a celebration of song itself, which has a child's joyful lack of inhibition about it - Kate Bush is heard laughing freely towards the end while a young child, possibly her son, is heard several times... Aerial stands alongside The Hounds of Love and The Kick Inside as her finest work.

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...

310. 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.

318. Although she had piano and violin lessons at school, Bush is essentially self-taught. I have always been fascinated by the difference of dynamics at work between popular artists and conventionally trained classical musicians, and had a similar experience with the Edge, of U2, when we worked together on the score of a film called Captive. In fact, gifted 'pop' musicians like Bush and U2 are far more demanding of themselves in the studio than classical musicians can afford to be, and will spend days working on a tiny fragment.

322. 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.

325. For me, Kate Bush was always a trump card when the tiresome 'question' of female artistic genius came up. ... Before disgust stopped me getting dragged into these skirmishes, I had a ready arsenal of Girl Greats - Patti Smith, Bjork, Nina Simone, w:Delia Derbyshire:, Polly Harvey, and so on. And yet, there would often be some caveat why genius eluded my candidates (ripped off Dylan etc). Until we would get to Kate. Female genius? Kate Bush. End of. Aerial, the first Kate Bush album in a young lifetime (12 years), re-establishes the fact. It is extraordinary - jaw-dropping, no less.

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.