"Bush was writing songs of her own. A family friend, Ricky Hopper, heard her music and arranged for a demo to be recorded, which brought Bush to the attention of Pink Floyd lead guitarist David Gilmour. (crikey! i never knew that)
By the time Bush was 16, she had signed to EMI Records, though the company made the decision to bring her along slowly.
She studied dance, mime, and voice, and continued writing. By 1977, she was ready to enter the recording studio and begin her formal career, which she did with an original song, "Wuthering Heights," based on material from Emily Bronte's novel.
"Wuthering Heights" rose to number one on the British charts. Bush became an overnight sensation at the age of 17 and was obligated to turn in an accompanying album in short order. This Kate Bush did with The Kick Inside, a collection of material she had written over the previous three years; the album reached number three and sold over a million copies in the U.K."
For David Gilmour see Number 923
For Pink Floyd see Number 497
For more Pink Floyd visit MM Vol 1 Number 138
Kate Bush was reincarnated in the 90s and became Bjork, or so it would seem. Both these women possess similar vocal ranges and like doing obscure lyrics and tones.
Kate Bush still records today with her last album released in 2005.
Oh and i know your racking your noodle over what was the "other" song that was a hit. So i will be nice and let you out of your misery....it was........ "Babooshka"
What does Rolling Stone think of Kate Bush?
Eccentric and idiosyncratic, Kate Bush's work is an odd offshoot of English art rock, capturing much of its spirit while avoiding the worst of its instrumental indulgences. Despite an occasional flash of pop accessibility, her early efforts are easily dismissed. The Kick Inside, with its effusive arrangements and parade of dead lovers, seems almost a parody of rock romanticism; Lionheart was a rush job, and sounds it; Never for Ever, though stylistically adventurous, is undercut by uneven arrangements. Eventually, Bush discovered digital synthesis, and with it constructed a universe better suited to her songs. Unlike her early albums, the sound of The Dreaming and Hounds of Love is as focused as it is fantastic, lending credibility to her witches, sorcerers, and demon lovers. After The Whole Story, a greatest hits collection, Bush jettisoned such juvenalia altogether; though her music maintained its sense of aural adventure, she addressed herself assiduously (if less affectingly) to more mature (and markedly feminine) material in The Sensual World and The Red Shoes. This Woman's Work, an import-only box set, surveys her pre-Sensual World output with the completist ardor of a devoted fan; objective, it is not. [Source:Rolling Stone J. D. CONSIDINE]
Labels: Kate Bush