The _DISCoveries_ article

[ed@das.llnl.gov (Edward Suranyi)]

Here at last is the article that appeared in the February issue of
_DISCoveries_:

-----------------------------------------------------------------------

The Sensual World of Kate Bush
by William R. Creal

     It was late on a cold, dark night in the winter of '81-'82.  I was
a tired, disenchanted lump, sinking deeper into the oblivion of the couch,
mindlessly flipping channels on the television, when suddenly I was
startled into consciousness.  A barefoot young woman, with a black cowboy
costume clinging seductively to her lithe body, was sensuously snaking 
across a stage.  She was armed with a rifle and was using it to mow down
three male attackers to the accompaniment of swirling musical rhythms, 
punctuated by imaginary gunfire.  For the next fifteen minutes and through
two more equally transcendent songs, I was captivated by her performance.
Even more, I felt privileged -- madly fortunate.  It was as if I had
stumbled upon some forgotten wonder not of this world.  I was intoxicated,
transported, bewitched; in short, I was introduced to Kate Bush.
     I later learned I had viewed the final portion of the _Live at
Hammersmith_ video.  That information, while enlightening, did me little
good at the time.  The video seemed unavailable in any store this side of
the moon.  Still, I made my discovery.  Soon I was hearing that
distinctive, exotic voice on the local progressive radio station.  Then,
the infant MTV began running two stunning videos of this enchantress.  I
couldn't get enough; unfortunately, I quickly learned how literally true
that statement was.  Kate Bush was a "serious artist."  A label which was,
and still is to some extent, the equivalent of a commercial death sentence
as far as many record industry magnates are concerned.  I could hear her
and I could see her, but I couldn't bring her home.
     When at last the fates graciously allowed a progressive record store
to open nearby, I had three albums to catch up on, and two questions to
answer:  who was Kate Bush, and from where did she come?

Them Heavy People

     Kate Bush was born one midsummer's night on a forsaken English moor
to the god, Apollo and the muse, Euterpe.  Her childhood was spent roaming
the surrounding hills with her cousin Pan, philosophizing with him and
developing her inherited musical talents.  She explored the mystical world
within her, absorbing, then discarding reality, determined to create her
own more perfect, more sensual world.  She was part enchantress, part
sorceress, casting her spells with deep, radiant eyes, goddess-like
beauty, and a voice capable of charming the most ferocious of beasts.  
And when at last she ventured forth amongst the mortals, none could resist
her.
     There is, of course, an *official* version, which contends that
Catherine Bush was born to Dr. Robert and Hannah Bush in the county of
Kent, England, on July 30, 1958.  Though she had a normal childhood, she
was not a normal child.  Her family recognized this, it seems, from the
moment of birth and they respected and encouraged her uniqueness, giving
her ample freedom to discover and develop her abilities.
     Cathy's early development was greatly influenced by her older
brothers: Paddy, a telented and versatile musician with a fondness for 
unusual instruments, and John Carder Bush, an accomplished poet and 
photographer.  Their gentle guidance introduced Cathy to a panorama of
fabulous territory, all of it awaiting her special touch.  To this day,
her brothers remain among her staunchest supporters, Paddy contributing
musically and John with album and single sleeve photography.
     To say Cathy Bush was precocious would be an understatement.  By
fourteen, she had composed numerous songs on the family piano, setting
her poetry to music.  Two years later, through the intervention of a
friend, she met David Gilmour, of Pink Floyd.  After early rejections by
the music companies, Gilmour helped her sift through dozens of songs for
a suitable demo tape which was recorded at his home studio.  The tape was
presented to EMI, Pink Floyd's label, and the company was so impressed
with her abilities they advanced her enough money to take time to refine
her creations and inevitably -- to grow into the woman, Kate Bush.
     During this period, she left school, unable to find meaning in the
creativity-stifling environment of organized education.  With Paddy, she
formed the KT Bush Band.  The origainal lineup also included a bass player
named Del Palmer, who would quickly occupy an irreplaceable spot in both
her musical and personal life.  She took dance and mime lessons, too, 
learning skills that when eventually coupled with her music, would yield
a stunningly unique result.
     In 1978, EMI saw its investment pay off in a big way.

Rolling the Ball

     "Out of the wily, windy moors. . ."
     With these words, preceded by a tinkling of fairy dust as the spell
was cast, Kate Bush ensorcelled the unsuspecting music public.  Her
piercing, ethereal voice wailed like a greedy siren:  "Ooh, let me have
it, let me grab your soul away."  And she did.  That first, trademark
single, _Wuthering Heights_, fought its way to number one in the U.K. and
in most of the Western European countries, while the album itself, _THE 
KICK INSIDE_ (released in February 1978), went triple platinum.  All this
in the midst of a musical and cultural revolution as bands like the Sex
Pistols and the Clash attemped to rearrange the world through their
savagely chaotic songs.  Kate's fragile voice and the delicately intimate
subject matter of her lyrics crept through the carnage and created a niche
all its own.
     Although backed by a massive promotional campaign featuring posters
of an innocently voluptuous Kate, the record was not an overnight smash.
It took time for the music press to understand this extraordinary
creature, but by the release of the second single, _The Man with the Child
in His Eyes_ (No. 6 on U.K. charts), she conquered both the critics and
the public.  (Something yet to happen on a large scale in the U.S.)
     From the cry of whales that opens the album, through songs thick with
the heat of impassioned lovers, to the soothing title tracks and its tale
of incest and suicide which closes it, _THE KICK INSIDE_ sustains a
mystical sensuality, never straying so far into reality that the magic is
diluted.  In her liner notes, Kate requests "all of you with open ears,
please feel it."  And in the end, the entranced listener is compelled to
do just that.

They Took the Game Right Out of It

     Her second album, _LIONHEART_, rushed together in less than two
months, was a gasp for creative breath.  EMI was not about to let the
whirlwinds of publicity stop spinning -- they wanted another album at
once.  Thus, in November 1978, less than nine months after _THE KICK
INSIDE_ appeared, _LIONHEART_ was born, prematurely.
     There was not enough time to do this one right, at least not the 
way Kate would have liked it.  While there are several excellent new
songs, most are simply reworked versions of songs that didn't make the
first album.  As such, there is both a noticeable lack of unity, and an
absence of purpose.  It is more a stream-of-consciousness album,
meandering from one idea and musical style to another, rather than the
purposeful flow of lyrical and instrumental concepts normally expected
from a Kate Bush concoction.
     Given that, it is nevertheless interesting.  The singles _Hammer
Horror_ (No. 44) and _Wow_ (No. 14) are worthy successors to her previous
hits, and the quasi-title track, mourning a dying-going-on-dead British
airman, has a graceful, caressing melody and Kate's usual *unusual* 
atmospheric vocals.
     Other songs deal with a girl's maturing ability to cope with death
and life (_Symphony in Blue_) and with a young boy's loss of childhood
innocence (_In Search of Peter Pan_).  There are homosexual lovers in 
_Kashka from Baghdad_, and a food-poisoner serving "hemlock on the rocks"
in _Coffee Homeground_.  As on _THE KICK INSIDE_, the music is
piano-based, as Kate continued to use that instrument to work out her
songs.
     Overall, _LIONHEART_ is a pleasant album, but it clearly did not
benefit from the exteriorly imposed deadline, and so is not definitive
Kate Bush.  Still, it paid off for EMI, going gold and peaking at No. 6
on the U.K. charts.  Meanwhile, Kate's rapid ascent into stardom
continued.  In various polls of January 1979, she was named the No. 2
Female Sex Object.  (The latter aided, no doubt, by the gorgeous photos
on _LIONHEART_.)
     The next step was the obligatory tour, but this time and for all time
to come, she did not tolerate any outside interferences or demands.  The
result was a landmark tour that was all Kate Bush, and a lightning journey
from mere stardom to superstar immortality.

Wow Wow Wow

     The tour of spring 1979 was conceived, written, designed, directed,
choreographed, produced, and oh, yes, performed by Kate Bush.  For upwards
of two and a half hours per, for twenty-eight shows in six weeks, across
the U.K. and Europe, it was performed by Kate Bush.  Drawing on everything
she had learned for the past five years, it was the perfect and 
unprecedented combination of dance, theater, and music.  It was not a
revolutionary set of concerts in the truest sense of the word because no
one else, apparently including Kate who has never toured again, could 
ever hope to duplicate it.  It has, over time, simply become a legendary
achievement.
     It was her first opportunity to have total control over a project and
she took full advantage of it.  In each concert, there was a complete 
costume change virtually every other song, a total of about seventeen per
show.  During the longer breaks, to keep the mood alive there were poetry
readings by brother John.  Each song was treated to a set of props unique
to itself: a parachute for _Oh England, My Lionheart_; umbrellas for the
dancers in _Kite_; human violins for _Violin_.  On other songs, like
_Wow_, she showed that with only a headset, she could generate as much
excitement in one square foot of stage as she could supported by any
number of props or dancers.
     The British music press was struck with awe.  Reported _Melody
Maker:  "The most magnificent spectacle I've ever encountered in the
world of rock."  Said the _Bristol Evening Post_:  "A major artist by
any standards . . .each aspect was perfect in itself . . .spectacular
entertainment."  And from the _Record Mirror_:  "The best welding of
rock and theatrical presentation that we're ever likely to see."
     The amazing success of the tour showed what Kate could do when
she had complete creative control, and going back into the studio for
the next album, she was not about to relinquish it.

I'm Coming For You

     _NEVER FOR EVER_, released in late 1980, is in many ways her
_REVOLVER_.  From the cover artwork depicting a myriad of Boschian
creatures soaring out from under her billowing skirt (directly into her
music, one presumes), to the subject matter of the songs, it is a major
transitional point in Kate's career.
     Musically, it is influenced by the arrival of the Fairlight, a 
computer sampling device which, when she had mastered it, would give
Kate the power to better compose her music and translate her emotions
into sound.  Lyrically, the mystical, other-worldly aura of the previous
albums was evolving into a philosophical introspection as she began to
assimilate the realities of the world into her own life's experiences.
As a result, it is her first album that is as stimulating to the intellect
as it is to the senses.
     The initial single, _Breathing_ (No. 16), stunned reviewers with its
passionate rendering of nuclear Armageddon from the viewpoint of a fetus
who only wants to "keep breathing."  It is as close as Kate ever gets to
a "protest song."  (Though over the years she has supported many causes,
her spirit seems to be more that of a Samaritan than a protester.)
     Babooshka, the next single to be released, related the weaving of a 
tangled marital web by a wife testing her spouse's fidelity.  It made No.
5, thus becoming her highest charting single since _Wuthering Heights_.
     The final release, _Army Dreamers_ (No. 16), crackles with detached
irony as it describes the homecoming of a dead soldier, imagining what
might have been.  (Military men don't fair too well with Kate.  Yet 
another one gets it in _Pull Out the Pin_ on her next LP, _THE DREAMING_.)
    _NEVER FOR EVER_ was also Kate's first attempt at production (she
co-produced with Jon Kelly) and she had to be encouraged when the album
made No. 1 and went platinum.

The Pull of the Bush

     Having been introduced to the Fairlight on the last album, by the
release of _THE DREAMING_ (September 1982) it had become Kate's primary
method of working out songs.  On the album itself, she employs it to 
great effect on nearly every track.  Still, although it climbed to No. 3,
the album also seemed to climb right over the collective heads of the 
British radio producers and EMI execs.
     The first single, _Sat in Your Lap_, was actually released over a
year before the album came out and did fairly well (No. 11).  It also
marked a turning point in her career as it reflects a struggle for 
knowledge amidst a barrage of sonic chaos.  It was a stylistic departure
for her, burying once and for all the little wondering girl image that
had begun to fade on _NEVER FOR EVER_.
     _The Dreaming_, the next single, was even more confusing.  Why should
Kate Bush sing about the Australian aborigines' fight to save their
spiritual homeland?  And why does it have to sound like it *really is* an
aboriginal song?  It was not promoted well and peaked at No. 48.  It was
Kate at her creative best, which basically means it was too confusting for
the corporate heads at EMI.
     The third single, _There Goes a Tenner_, an unpretentious little tune
about a bad night in the lives of a band of Keystone robbers, did even
worse.  It became her first single ever to not make it on the charts.  A
fourth song, _Suspended in Gaffa_, was a smash in Canada and almost all
of Europe; however, it was not released as a single in Britain.
     In addition to the great influence of the Fairlight, this album is
also significant in that it was her first as sole producer.  Bit by bit,
Kate had taken over nearly every aspect of her work.  The final step
was to build a home studio where she could experiment with her songs in
complete solitude and without the pressures of knowing she was running
up the bill in a rented studio.  Construction of the studio began in
mid-1983 and when it was completed, the construction of her fifth album
commenced.

A Big Woof

     _HOUNDS OF LOVE_, released in September 1985 and produced by Kate at
her new in-home studio, is by far her most instrumentally diverse,
intellectually, and emotionally satisfying album.  It is, in fact, two
distinct albums, each with its own title, cover photo, and side.  The
first side is essentially a collection of masterful singles, as four
of the five songs were eventually released as such.  The first, _Running
Up That Hill_ (No. 3), considered by some to be her greatest all-around
song, actually received fairly consistent airplay on some radio stations
in the States.  Following that success were _Cloudbusting_ (No. 20),
based on Peter Reich's _A Book of Dreams_; the title track (No. 18),
featuring a barking Kate; and _The Big Sky_ (No. 37), with its thundering
drums, and Kate's lightning shrieks.
     Side two, with a photo of an apparently soaking wet Kate, is a
conceptual piece titled _THE NINTH WAVE_.  It starts in a dream (_And 
Dream of Sheep_), ends in fog (_The Morning Fog_), and between it tows
the listener along some of her most memorable imagery and complex 
symbolism.  It is basically a Hamlet-like "to be or not to be" dilemma,
set at sea (a "sea of troubles"?), and experienced by a 
going-down-for-the-third-time Ophelia.  The heroine does not necessarily
seek suicide, simply relief, and during her struggles she is visited by
witch hunters (_Waking the Witch_), ghosts (_Watching You Without Me_),
and future selves (_Jig of Life_).  It is a challenging set, both to the
listener and to Kate herself, who with _THE NINTH WAVE_ has forged a
kind of _Dark Side of the Ocean_.
     The album hit number one, went double platinum, and is without
question a masterpiece.
     In 1986, an excellent compilation album, _THE WHOLE STORY_, was
released.  Besides collecting the obvious hits, it also contains one new
single, _Experiment IV_ (No. 23), and new vocals to _Wuthering Heights_.
The latter is especially interesting since her voice, like herself, had
nearly a decade to mature.  Significantly missing from this version is
that sprinkling of fairy dust that began the original; its absence serves
to bring full circle Kate's personal and professional growth.  _THE WHOLE
STORY_, with its accompanying video, is a terrific encapsulation of her
remarkable talents.  The album, by the way, went No. 1, and triple
platinum.

Mmmmh, Yes

     Molly Bloom steps out of the page tentatively.  Her initial
sensation, the soothing sound of bells -- at first soft and low as if
coming from far beyond the hills -- but then, as she emerges completely
with dormant senses fully awakened, they are strong and loud, heralding
her arrival.  And ours, in _THE SENSUAL WORLD_.
     The first and title track on Kate's new album, _THE SENSUAL WORLD_ 
was released this past September and quickly nestled into the U.K. Top
10 [?].  (The 12-inch version has a double-tracked A-side, with or
without the vocals depending on where the needle hits.)  It captures and
transplants the aforementioned Molly Bloom and her erotic recollections 
from the final chapter of James Joyce's complex epic, _Ulysses_, into a
three-dimensional *real* world of the senses.
     The song is awash in Irish music (Uillean pipes, bouzouki, fiddle),
while Kate's seductive vocals become one with the instruments, now on top,
now immersed, as if floating gently along on the undulating waves of
sound.  Lyrically, it is as sinuously absorbing as the original, unlike
anything else in Kate's catalog.
     In the Kate Bush musical feast, if _THE KICK INSIDE_ was the tasty
appetizer, and _HOUNDS OF LOVE_ a hardy main course, then _THE SENSUAL
WORLD_ is certainly the rich, creamy dessert.  Its songs go down smoothly
and leave you licking your lips.  Overall, it is a distinctly feminine
album, as Kate wraps her voice lovingly around every syllable, coaxing
the purest sound out of each letter.  The effect of _THE SENSUAL WORLD_ 
is so alluring that when I finished listening to the record for the first
time, I almost asked it out.
     The second British single, (released in November, with the 7-inch
issued as a picture disc, EMPD 119, and the 12-inch with a limited edition
poster sleeve, 12EMP 119) was _This Woman's Work_, work being synonymous
with labor and labor being the reason for the song's birth.  Previously
available only on the movie soundtrack of _She's Having a Baby_, it is 
an achingly beautiful tune about the regrets of one's life when faced
with the death of a loved one:  "all the things we should've said that
were never said."  Being released so near Christmas, you have the feeling
that if he had heard this song, Scrooge would never have needed the three
spirits to effect his transformation.
     Kate is assisted on three songs by the Trio Bulgarka, a group of 
Bulgarian women whose stirring voices wordlessly enhance the music, and
on a song like _Deeper Understanding_, even elevate it to a higher 
emotional plateau.
     Other highlights on the album include:  _Heads We're Dancing_, in
which our heroine is swept off her feet by a "charming man" who, unknown
to her at the time, would soon thereafter sweep through Poland; _Love and
Anger_, the first U.S. single released by CBS, Kate's new American label,
and featuring old pal Dave Gilmour; and _Rocket's Tail_, with both the
Trio Bulgarka and vintage Floydian guitar work from Gilmour.  The latter
song is about whatever you would like to think it's about, but just
remember, it's dedicated to her cat.
     Upon its release in England, _THE SENSUAL WORLD_ entered the charts
at No. 2.  It remains to be seen, however, what the record will do in the
U.S.  CBS seems to having some trouble handling it.  Supposedly, they felt
there were no songs that were appropriate single material for U.S. radio.
Well that's the point, isn't it?  Kate's songs, thankfully, are not easy
to segue into or out of, especially on American Top 40 radio.  CBS'
dilemma is the ultimate confirmation of Kate's uniqueness.
     As could have been expected, the album was written and produced 
solely by Kate, and recorded by Del Palmer.  Brother Paddy and Dr. Bush
make appearances, and the cover photo (Molly in full "bloom," perhaps?)
was taken by brother John.  Despite any problems there might be in the
U.S., the album nevertheless seems destined to swell the ranks of the
Kate Bush Club (P.O. Box 120, Welling, Kent, U.K.  DA16 3DS).
     As far as CBS, well, how about a little deeper understanding, guys?
After all, it could have been worse:  instead of _Ulysses_, it might
have been _Finnegans Wake_.

Bushabilia:  The Collectible Kate

     In the spring of 1988, a poll conducted by the British magazine, 
_Record Collector_, showed Kate Bush to be the most collectible female
artist, and the thirteenth most collectible artist overall.  Collecting
Kate is not only a popular pastime, but an old one as well.  The first
true piece of Bushabilia was a beautiful limited-edition picture disc of
_THE KICK INSIDE_, issued in the U.K. in late 1979.  (It was later
reissued in North America.)  Of course, virtually any of her early records
are now collectors items.
     Among her singles, the real rarities are the non-U.K./U.S. editions.
Many, like the Canadian issue of _The Man with the Child in His Eyes_,
have different picture sleeves than their American or English
counterparts.  Other songs were included as singles exclusively in
selected countries.  For instance, there is French release of _Ne T'en
Fui Pas/Un Baiser D'Enfant_ (EMI 5444) and the Canadian version (72917)
which has _Dreamtime_ as the B-side.  _Un Baiser D'Enfant_ (79231) was
also released in Canada with _Suspended in Gaffa_ as the B-side.  Perhaps
the rarest of these is _Night of the Swallow_ (from _THE DREAMING_) 
recorded in Dublin and featuring several popular Irish musicians, and
accordingly was released only in Ireland.
     Two other 7-inch rarities come from the _HOUNDS OF LOVE_ LP.  The
first is an interview picture disc released only in Italy (KBP1).  The
front has the same picture of Kate as the _Hounds of Love_ single, but
the reverse is a lovely shot of her in a sweeping, low-cut ethnic
gown.  The second 7-inch rarity is the U.K. release of _The Big Sky_
(KBP4) single on picture disc, though not as difficult to find as the
Italian interview.  You will recognize it by the nice photos of that
wonderful face on front and back.
     One of the most attractive of all Kate Bush collectibles is _The
Single File_ (KBS1), a boxed set.  Originally released in 1983 in the 
U.K. and the U.S. (where it was a numbered, limited edition), this 
handsome set contains all of Kate's singles (with reproductions of the
original picture sleeves) from _Wuthering Heights_ through _There Goes a
Tenner_.  As a bonus, it throws in the aforementioned French single _Ne
T'en Fui Pas_ and the _Kate Bush Live on Stage_ EP.  And if that's not
enough, there's even a nice lyric/photo booklet.
     Not to be outdone, there are similarly interesting items among
Kate's 12-inch collectibles.  For starters, beginning with _Running Up
That Hill (12KB1), all (five) of Kate's singles have also been released
in 12-inch format.  Each contains remixed versions of the single as well
as at least one other non-album cut.  Some of the reworked versions, 
_Alternate Hounds of Love_ for instance, are as exciting as the original.
And never overlook the B-sides of any Kate Bush single; some, like _Under
the Ivy_ (flip side of _Running Up That Hill_), are among her most
intimate and moving songs.
     As far as LPs are concerned, the earliest collectibles are the three
different covers of _THE KICK INSIDE_.  The U.K. and most of Europe issued
the oriental-styled "kite" cover, with Kate gliding across a giant eye,
while the Harvest label in the U.S. and Canada chose a stunning close-up
for their releases.  Subsequently, EMI America rereleased the U.S. album,
this time with the familiar "Kate in a crate" cover photo.
     In more recent times, _HOUNDS OF LOVE_ was also released in multiple
versions, although it is the actual vinyl which differs rather than the
cover.  Besides the usual drab black vinyl, you can put the Canadian pink
disc on your turntable and watch it swirl around or if you like, try the
rather hefty-looking gray marbleized U.S. edition.
     If you still need more, there is the extremely rare _Interview with
Kate Bush_ (EMI SPRO 282), a Canadian-only promo, again from the _HOUNDS
OF LOVE_ era.  You might also hunt for the ultra-limited-edition _HOUNDS
OF LOVE_ promotional kit.  This wondrous little package contains the 
album, a biography/discography on lavender paper, and three publicity
photos, all deliciously wrapped in a gatefold sleeve tied together with, 
yes, a lavender ribbon.  Talk about sensuous.
     Finally, there's my personal favorite among 12-inch records:  _THE
WHOLE STORY_, Korean-style.  This release has only nine tracks instead of
the usual twelve found on other versions.  The three tunes omitted are
_Army Dreamers_, _Breathing_ and _Experiment IV_ -- all songs that cast
the military in an unfavorable light.

Come Across the Bridge

     The French writer Albert Camus once said of the great Franz Kafka
"[his] whole art consists in forcing the reader to reread."  While Kate
is no Kafka, the statement nevertheless applies to her music.  Repeated
"readings" are absolutely essential to fully appreciate the musical 
intricacies and lyrical depth of her songs.  As is evident, she spends
much time painstakingly crafting each song, infusing it with her rare 
and precise passion.  To paraphrase Francis Bacon, Kate's albums are
among the few which should be "chewed and digested."
     The purpose of this feature is to stimulate an interest in Kate Bush.
Not just in her collectibility, but in her music as well.  I have found 
by personal experience that knowing Kate eventually translates into
collecting Kate.  Alas, her creative output is far too intriguing and far
too wide in scope to be covered adequately in one story.  Her ground-
breaking videos, which I scarcely mentioned, are the culmination of all
her abilities and would demand a thorough examination of their own.  The 
same goes for her backup work on other artist's records, her songs on
movie soundtracks, and especially the marvelous non-album tracks found on
the B-side of her later singles.  In addition, as you might expect there
is a vast amount of unauthorized Kate Bush material, ranging from
interview picture discs to live albums of seemingly every concert stop
on the tour.  I leave all of the above for the adventuresome reader to
pursue and discover.
     I would like to thank Mike Murchison, Kate Bush collector
extraordinaire, for allowing me to ramble through his brain and his
collection.  Also, this could not have been written without reference
materials, so for further reading, I suggest _Kate Bush Complete_
(International Music Publications, 1987); _Kate Bush: A Visual
Documentary_, by Cann and Mayes (Omnibus Press, 1988); and any issue of
_Homeground_, the official Kate Bush fanzine.  Special thanks to EMI.
     Finally, I am grateful to whomever fixed it so that out of all the
eons that have gone and all that are yet to come, I could share a few
decades with Kate Bush.

Disc and Videography

[Warning:  I think some of the catalog numbers are incorrect.]

British 7-inch singles

Wuthering Heights/Kite.............................EMI 2719......01/11/78
The Man With the Child in His Eyes/Moving..........EMI 2806......05/28/78
Hammer Horror/Coffee Homeground....................EMI 2887......10/27/78
Wow/Fullhouse......................................EMI 2887......03/09/78
Kate Bush Live on Stage (EP)......................MIEP 2991......09/03/79
Breathing/The Empty Bullring.......................EMI 5058......04/14/80
Babooshka/Ran-Tan Waltz............................EMI 5085......06/23/80
Army Dreamers/Delius/Passing Through Air...........EMI 5106......09/22/80
December Will be Magic Again/Warm and Soothing.....EMI 5121......11/17/80
Sat in Your Lap/Lord of the Reedy River............EMI 5201......06/29/81
The Dreaming/Dreamtime (instrumental)..............EMI 5296......07/26/82
There Goes a Tenner/Ne T'En Fui Pas................EMI 5296......11/02/82
The Single File (boxed set of singles)................KBS 1......01/23/84
Running Up That Hill/Under the Ivy......................KB1......08/05/85
Cloudbusting/Burning Bridge.............................KB2......10/14/85
Hounds of Love/The Handsome Cabin Boy...................KB3......02/17/86
The Big Sky/Not This Time...............................KB4......04/28/86
Experiment IV/Wuthering Heights (new vocal).............KB5......10/27/86
The Sensual World/Walk Straight Down the Middle......EM 102......09/18/89
This Woman's Work/Be Kind to My Mistakes 
     (picture disc)................................EMPD 119......11/20/89
     [Of course, there is also a non-picture disc version of this.]

British 12-inch Singles

Running Up That Hill (12-inch remix)/Running Up
     That Hill (instrumental)/Under the Ivy...........12KB1......08/05/85
Cloudbusting (the Organon Mix)/Burning Bridge/My
     Lagan Love.......................................12KB2......10/14/85
Alternate Hounds of Love/The Handsome Cabin Boy/
     Jig of Life......................................12KB3......02/17/86
The Big Sky (the Meteorological Mix)/Not This Time/
     The Morning Fog..................................12KB4......04/28/86
Experiment IV (12-inch remix)/Wuthering Heights
     (new vocal)/December Will Be Magic Again.........12KB5......11/03/86
The Sensual World/The Sensual World (instrumental
     version)/Walk Straight Down the Middle........12EM 102......09/18/89
This Woman's Work/Be Kind to My Mistakes/I'm
     Still Waiting................................12EMP 119......11/20/89

British Albums

The Kick Inside....................................EMC 3223......02/17/78
The Kick Inside (picture disc)....................EMPC 3223......02/17/78
Lionheart...........................................EMA 787......11/10/78
The Dreaming.......................................EMC 3419......09/13/82
Hounds of Love.........................................KAB1......09/16/85
The Whole Story.......................................KBTV1......11/10/86
The Sensual World..................................EMD 1010......10/16/89

British Videos

[Warning for Americans:  These will not play on American VCRs.  You need
to get American videos, if they exist, or Japanese.]

Kate Bush Live at Hammersmith Odeon......VHS: TVE 90 1430 2.........10/81
					Beta: TXD 90 0503 4.........10/81
The Single File..........................VHS: TVE 90 1430 2.........12/83
					Beta: TXE 90 1430 4.........12/83
The Hair of the Hound....................VHS: MVR 99 0053 2.........06/86
					Beta: MXR 99 0053 4.........06/86
The Whole Story..........................VHS: MVP 99 1143 2.........11/86
					Beta: MXP 99 1143 4.........11/86

This information taken largely from _Kate Bush Complete_, International
Music Publications, 1987.

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Ed
ed@das.llnl.gov