[Here is the latest version of my list of all the Kate Bush music that I know of. Note that this is not meant to be a discography, but simply a list of every snippet of KT music known by me to be in circulation. Recordings are listed in _rough_ chronological order. As a reference point, a very brief listing of Kate's official U.K. releases to date precedes the non-LP list.
A complete discography, including all foreign pressings with their catalogue numbers, is impracticable. EMI has many, many divisions throughout the world. I have seen advertisements for EMI-Singapore pressings of two Kate Bush records. Who knows whether EMI-Pakistan, or EMI-Sri Lanka, or EMI-Sierra Leone haven't pressed some Kate Bush records, too? If there's one thing I've learned in my years of Kate Bush fanaticism, it is that even the wealthiest and most monomaniacal fan cannot hope to amass a "complete" colleKTion, or compile a definitive KaTalogue.
Finally, I'd like to thank Peter FitzGerald-Morris, the editor of Homeground, who has tirelessly worked over the past seven years to keep an organized record of the facts of Kate's career. This catalogue, and all of the other lists included in The Garden, could not have been made were it not for Peter's invaluable chronological Homeground series, Five Years Ago... and Medialog, and the astonishingly good chronology which he compiled for EMI/IMP Publications' Kate Bush Complete (a re-edition of which will re-appear in Love-Hounds soon).]
(For notes on the b-sides, see the non-LP-track discography after this section.)
The Kick Inside: Moving; The Saxophone Song; Strange Phenomena; Kite; The Man With the Child in His Eyes; Wuthering Heights; James and the Cold Gun; Feel It; Oh To Be in Love; L'Amour Looks Something Like You; Them Heavy People; Room For the Life; The Kick Inside.
Lionheart: Symphony in Blue; In Search of Peter Pan; Wow; Don't Push Your Foot on the Heart Brake; Oh! England, My Lionheart; Fullhouse; In the Warm Room; Kashka From Baghdad; Coffee Homeground; Hammer Horror.
Never For Ever: Babooshka; Delius; Blow Away; All We Ever Look For; Egypt; The Wedding List; Violin; The Infant Kiss; Night Scented Stock; Army Dreamers; Breathing.
The Dreaming: Sat In Your Lap; There Goes a Tenner; Pull Out the Pin; Suspended in Gaffa; Leave It Open; The Dreaming; Night of the Swallow; All the Love; Houdini; Get Out of My House.
Hounds of Love: Running Up That Hill; Hounds of Love; The Big Sky; Mother Stands for Comfort; Cloudbusting; And Dream of Sheep; Under Ice; Waking the Witch; Watching You Without Me; Jig of Life; Hello Earth; The Morning Fog.
The Whole Story: Wuthering Heights (New Vocal); Cloudbusting; The Man With the Child in His Eyes; Wow; Running Up That Hill; Hounds of Love; Breathing; Army Dreamers; Sat In Your Lap; Experiment IV; The Dreaming; Babooshka.
The Sensual World: The Sensual World; Love and Anger; The Fog; Reaching Out; Heads We're Dancing; Deeper Understanding; Between a Man and a Woman; Never Be Mine; Rocket's Tail; This Woman's Work; Walk Straight Down the Middle (bonus track, on CD and cassette only).
(U.K. releases unless otherwise stated)
The Man With the Child in His Eyes/Moving
Hammer Horror/Coffee Homeground
Kate Bush On Stage (4-track live EP): Them Heavy People/Don't Push Your Foot on the Heart Brake/ James and the Cold Gun/L'Amour Looks Something Like You
Breathing/The Empty Bullring
Babooshka/Ran Tan Waltz (This b-side was first called "The Ran Tan", and it has also been identified as "Open Wide".)
Army Dreamers/Delius/Passing Through Air
December Will Be Magic Again/Warm and Soothing
Sat In Your Lap/Lord of the Reedy River
There Goes a Tenner/Ne T'enfuis pas
Night of the Swallow/Houdini (Irish release only)
Ne T'enfuis pas (remix)/Un Baiser d'enfant (Canadian release)
Running Up That Hill/Under the Ivy (seven-inch)
Cloudbusting (The Orgonon Mix)/Burning Bridge/My Lagan Love (twelve-inch)
Hounds of Love/The Handsome Cabin Boy
Hounds of Love (Alternative Hounds remix)/Jig of Life/The Handsome Cabin Boy (twelve-inch)
The Big Sky (Special Single Mix)/Not This Time
The Big Sky (The Meteorological Mix)/The Morning Fog/Not This Time
Don't Give Up (duet with Peter Gabriel--Kate is on a-side only)
Experiment IV/Wuthering Heights (New Vocal);
Experiment IV (Extended Remix)/Wuthering Heights (New Vocal)/December Will Be Magic Again (twelve-inch)
The Sensual World/The Sensual World (instrumental)/Walk Straight Down the Middle
Love and Anger/Walk Straight Down the Middle (U.S. cassingle only)
This Woman's Work (Special Single Mix)/Be Kind to My Mistakes/I'm Still Waiting (twelve-inch, compact disk single)
Love and Anger/?/? (forthcoming UK twelve-inch, compact disk single)
Very little concrete information about Kate's early demo recordings has ever been made available to fans. The number of songs recorded, their titles, even their rough dates, remain obscure. Kate has only released one demo recording officially, the song Passing Through Air; and has played only a part of one other demo (a song known as Maybe) on the radio. More will be said of these recordings below.
Kate first began writing simple songs from about 1969, when she was eleven years old. By 1971 she had written early versions of such songs as The Man With the Child in His Eyes and The Saxaphone Song. In 1972 she recorded a large number of songs herself, at home, with only her own piano accompaniment. With the help of a family friend named Ricky Hopper Kate submitted copies of these recordings to several publishing houses and record companies, without result. There were at least thirty songs on each of these tapes. It is not yet clear whether there were several different collections of thirty songs each, or whether copies were made of a single collection of thirty; but Kate has said that by the time she went in to record the first album, The Kick Inside, in 1977, she had accumulated finished versions of about two hundred songs, so it is quite possible that those first demos of 1972-73 numbered more than thirty.
It is very difficult to know how fully developed Kate's art was by 1972. The earliest Kate Bush recording which fans can give a solid date to is Passing Through Air. But this recording belongs to a second group of demos. Recorded in the summer of 1973, at which time Kate was either fourteen or fifteen years old, Passing Through Air was a result of her first recording session with a band. This track was recorded at David Gilmour's home studio, under his direction, along with an unspecified number of other original Kate Bush compositions, including a song which Kate has never publicly given a title, but which fans have come to refer to as Maybe. N.B.: Some confusion has arisen by the similarity in title between Maybe--which may once have had an alternate title, Davey--and a solo-piano demo recording of a song which has come to be known as While Davey Dozed, or sometimes simply Davey. The two songs are completely different.
Following the rejection of the thirty-song solo demo-tapes (ca. '72-73), family friend Ricky Hopper made contact with David Gilmour (of Pink Floyd), whom he had known during his student years at Cambridge University. Gilmour listened first to some of the solo recordings, and then had Kate perform for him in person. To his great credit, he was impressed. He arranged a rehearsal with Kate at his own home. With drummer Peter Perrier, bassist Pat Martin (both members of the group Unicorn) and Gilmour himself on electric guitar, Kate, singing and playing piano, recorded simple demo recordings of several of her own songs (probably a dozen or more), among which were the versions of Passing Through Air and the so-called Maybe which fans know today. (Kate has never released the latter song officially, but she did play an excerpt of it during an appearance on a British radio programme.)
Ten recordings from these early Gilmour sessions briefly appeared in the form of an album (possibly East or West German) known as Kate Bush: The Early Years. Few people have actually seen this album, but Peter FitzGerald-Morris, while insisting that he does not own a copy, nevertheless did print the track-listing in his fanzine Homeground. It is important to remember that none of the titles in that track-listing has been authenticated by Kate herself. They are probably only make-shift titles suggested by words the producers of the album thought they heard in Kate's demo-vocals. In fact one title in the list is almost certainly incorrect. With that qualification duly made, I list the titles from the Early Years collection:
These first Gilmour-produced demo recordings also failed to interest the labels. In 1975, therefore, Gilmour arranged for and financed (again to his credit) another recording session, this time under fully professional conditions. Only three songs were recorded: The Man With the Child in His Eyes, The Saxophone Song and a new version of the song known as Maybe. The first and second of these three recordings were later incorporated, almost without changes, into Kate's debut album for EMI, The Kick Inside. The third of these recordings was a more polished version of the song which Kate played part of an earlier version of on the radio programme Personal Call. That version, from the first Gilmour ("house") sessions, is presumably included in the Early Years LP. The second version has never been heard by fans.
This new set of three demos, together with Gilmour's personal backing, finally succeeded in obtaining a contract for Kate with EMI. In 1976 Kate bought a modest piano for 200 Pounds and, according to Peter, began only then to "screech into existence her unmistakable voice."
Then, according to Peter, Kate went on to record two more "tapes" of demos during the months surrounding the LP sessions. Peter has not explained or substantiated these statements, but if we assume that they are true, then it would seem that another set of twenty-two demo recordings, which has now begun to circulate among fans in at least two forms, dates from about this time--i.e., ca. 1976-1977.
These twenty-two tracks have only started to surface within the fan community since the spring of 1989. The first sign of their existence came in the form of a bootleg seven-inch EP (anonymously pressed and distributed) called Kate Bush: The Cathy Demos, Volume One. This EP contained four tracks, the first four of a twenty-two-track collection of demos, all of which featured Kate singing alone and accompanying herself at the piano without backup. Volumes Two and Three have since quietly appeared on the market, and at least one more EP will appear soon.
Meanwhile, a cassette, also entirely anonymous in origin, but sometimes called Fiddle (a reference to the song Violin), became available through classified ads and at U.S. record swapmeets in 1989. This cassette contained a total of twenty-two tracks, the first four of which, in vastly superior sound, appeared as the "Cathy Demos Volume One" EP. <Volume Two contained the next five tracks, and Volume Three contained the next six after that.> (The sound reproduction on the cassettes is noticeably inferior to that found on the vinyl EP.)
Most recently, sixteen of these same recordings appeared in LP form, under the titles "Cathy's Album" and "The Sensual Woman". A follow-up bootleg LP is rumored to be scheduled for release early in the spring of 1990, and it will contain the remaining tracks from the original collection of twenty-two, as well as a group of other unrelated rare recordings (about which the reader may learn more below).
If Peter's claims about Kate's development of her high range only after the beginning of 1976 are accurate, then we must conclude that this collection of twenty-two songs dates from the period 1976-1977. Certainly the sophistication of Kate's compositional style, lyrics and keyboard work support such a dating. On the other hand, if the collection dates from 1976 or 1977, then we must accept the notion that Kate was re-recording songs (such as "Something Like a Song", "Disbelieving Angel" and "Davey") which she had already composed four or even five years earlier, and which she had recorded with Gilmour during her first sessions with a band in the summer of 1973. This is possible, of course, but it also suggests the possibility that the collection of twenty-two songs dates from considerably earlier than 1976. Whatever the correct date of the recordings, they are an absolutely invaluable document of Kate's early talent and astoundingly precocious mastery of the crafts of songwriting and performance.
With the exception of the five titles which have since been authenticated through their inclusion in Kate's albums, the titles on the following list of twenty-two songs are completely hypothetical, and in some cases may not even accurately reflect the songs' lyrical content. They are merely temporary and tentative titles which are used solely to facilitate identification of individual songs. In some cases I have not even been sure of the words I have chosen to represent the songs, because the sound quality of the recordings is not clear enough to enable me to decipher the lyrics properly. These disclaimers made, then, here are the twenty-two songs which make up, for want of a better group title, the "Cathy Demos" collection:
An additional six demo recordings have recently begun to circulate among fans, in very poor-quality audio. These recordings are of a far more refined and polished type, and are fully orchestrated and produced. They would seem to have been recorded in 1976 or 1977, and are probably among the many tracks which were worked on prior to the final selection of the thirteen songs on "The Kick Inside". Five of the titles are familiar: "Moving", "Don't Push Your Foot on the Heart Brake", "L'Amour Looks Something Like You", "Kite" and "Strange Phenomena". They are very professional in sound, but Kate's vocals seem (perhaps only in hindsight) a bit constrained by the backing rhythm, and the tone of some of the instrumentalists' work sounds inappropriately lightweight for the songs, in comparison with their official versions.
The sixth track from this group of demos is an unreleased song called "Scares Me Silly". Apparently an effort by Kate to make a very pop-oriented tune, it is extremely bouncy and catchy, laden with melodic hooks. Its lyrics are fascinating, as well (they describe the challenge of retaining the original spark of feeling of a song during the recording process). Perhaps the song's carefree tone may have been the reason for its omission from "The Kick Inside", though as is often the case with Kate's music, the lyrics belie the song's light-hearted sound.
Finally, there are at least two known demo versions of the song "Babooshka". Excerpts from the demos were apparently played by Kate herself on a British radio programme ca. 1980 or 1982. (I have heard that she played demos of "Sat In Your Lap" as well, although this has never been confirmed.) The first demo of "Babooshka" features Kate on piano, and she has added one backing vocal during the choruses. The second version has a percussion pattern from an early rhythm-box, and features a synthesizer and, in addition to the lead vocal, at least two over-dubbed backing vocals.
The six demos from ca. 1976-77 and the two demos of "Babooshka" are both rumored to be included in the forthcoming bootleg album follow-up to "Cathy's Album". This second LP will also (it is rumored) contain Kate's never-released cover version of "Brazil", the title song from the Terry Gilliam film, for which Michael Kamen composed the orchestral score. (Don't expect to hear this version in the film itself--it was recorded for the soundtrack album only, after the film had already been released, and if it ever becomes available, it will be through the bootleg market.)
(N.B.: Includes, for completeness' sake, all b-sides and non-LP singles.)
The only distinction of this original U.K. single mix is a strange spoken introduction in which Kate repeats the words "He's here!" which was added just prior to the song's release as a single in 1978.
Sung live on the German TV programme "Bio's Bahnhof" (with host Dr. Alfred Biolek), on February 9, 1978, with the KT Bush Band supplying live backup.
Sung live on the same programme as no. 2, but with a pre-recorded backing track.
Sung live on another German programme, "Scene '78", in the spring of '78, with a pre-recorded backing track.
Sung live on Japanese TV, June 18, 1978 during the Seventh Tokyo Song Festival.
Sung live on the Japanese TV programme "Sound in S", June 23, 1978.
Sung live on the Japanese TV programme "Sound in S", June 23, 1978.
A four-track EP of "live" performances from the Tour of Life, featuring "Them Heavy People", "Don't Push Your Foot on the Heart Brake", "L'Amour Looks Something Like You",and a long version of "James and the Cold Gun". The original performances were taken from the May 13, 1979 concert at London's Hammersmith Odeon, and then re-mixed in the studio. These were mixed differently for the subsequent film soundtrack, so that the performance which is the common source of EP and film seems quite different in the latter version.
A German/Dutch TV documentary featuring a long interview and live performances of songs from the Tour of Life that were never officially released. The concert footage comes from the Hamburg and Mannheim shows.
One of the earliest bootleg Kate Bush albums, this 2-LP set was put out in 1983 by a New York-based outfit. It consists of a transfer onto vinyl of the "Hammersmith" video's audio track (see entry no. 9), and another vinyl transfer of the audio portion of Kate's 1979 U.K. Christmas TV special (see entry no. 14 below for details about this latter program). Both recordings have appeared more recently in a made-in-U.K. bootleg 2-LP set called "Moving", as well; and also as two of the three records which comprise the recent U.S.-made "Kate Bush Live in Europe '79-'80" bootleg set. In addition, nine tracks from "Hammersmith" turned up as a third bootleg LP called "A Bird in the Hand". There are several additional editions of these tapes to be found.
Another bootleg by the New York group, this record features part of the Paris concert, which was given at the Theatre des Champs-Elysees on May 6, 1979. The album includes some interesting versions of LP tracks, including the very different live arrangement of "Egypt". The identical recording was also included as the third LP in the more recent "Live in Europe '79-'80" bootleg set mentioned in entry no. 11 above. This first edition is identified as being a production of the non-existent "Fan Club of Taiwan". The same recording has also appeared as a bootleg audio-cassette.
Many titles for various bootleg recordings of a number of dates from the Tour of Life concert series. Among these are the Bristol, London Palladium and Manchester dates. They feature not only songs, but a chant, readings by John Carder Bush, and incidental bits of music, all of which were heard while Kate changed costumes in between songs during the concert. Specifically, there are: a heartbeat passage preceding "Room For the Life"; an ethnic chant performed by the band in unison; two synthesizer introductions to songs; three brief readings by John--one known as "Two in One Coffin" (preceding "The Kick Inside"), the others passages of unidentified prose (perhaps by John); an arrangement of Satie's 1st "Gymnopedie", which is used to frame "Symphony in Blue", and a short jam session by the KT Bush Band. Also of note is the live version of "Egypt", which sounds very different from the LP version.
This was a forty-five minute TV special which aired in England on December 28, 1979; sometimes called the "Christmas Special". In addition to a couple of lip-synchs of LP tracks and one or two new vocal performances of old songs, several new and unique bits of music appeared on this show. They include a brief introduction, an arrangement of part of Satie's "First Gymnopedie" (as an introduction to "Symphony in Blue"); an early version of "December Will Be Magic Again"; a choral introduction for Peter Gabriel (Kate's guest on the show--he sings "Here Comes the Flood"), sometimes referrred to as "Peter, the Angel Gabriel"; a brief bit of blues piano; and a duet with Peter of Roy Harper's song, "Another Day".
Approximately one year after taping the "Kate" special, Kate and Peter Gabriel returned to the studio to re-record this song. It was never released, however, and has never been heard.
A song co-written by Kate and Gabriel and originally intended as the b-side for the single of "Another Day". They were "not satisfied with the results", however, and the project was shelved. Consequently, no-one has ever heard this track.
A live performance of the Beatles song, sung by Steve Harley, Peter Gabriel and Kate Bush during a modified Tour of Life show, staged at London's Hammersmith Odeon on May 12, 1979 for the benefit of the surviving relatives of Bill Duffield, Kate's lighting director for the Tour, who had died in an accident at the very beginning of the tour. An excerpt from this performance appears in a very limited edition red plastic flexi-disc, made officially by the Kate Bush Club for the Japanese branch of the Club. In addition to the excerpt from the song, the flexi-disc includes brief spoken messages from John Carder Bush and Kate. A longer excerpt of the same song (but without the spoken messages) has recently appeared on a 1987 2-LP bootleg set called "Passing Through Air"-- the only unusual material to be found on that bootleg album, which otherwise consists primarily of more than usually illegal, poor-quality re-pressings of official EMI b-sides and re-mixes. In addition to songs from The Tour of Life, this concert featured a version of "Them Heavy People" with verses sung by Harley and Gabriel; "The Woman With the Child in Her Eyes" sung by Harley and Gabriel; Gabriel's "I Don't Remember" sung as a duet by Gabriel and Kate; and Harley's "Come Up and See Me", sung by Harley, with Kate and Gabriel on backing vocals. A poor recording of a few excerpts from the Duffy concert surfaced ca. 1987 as a bootleg live album called "If You Could See Me Fly", an album which also included excerpts from two early demo versions of "Babooshka".
A live performance given at the London Symphony Orchestra's 75th anniversary concert, November 18, 1979. As far as I know, no recording of this performance has ever surfaced in any form.
A live solo performance given on a British TV programme called "Ask Aspel" on September 5, 1978.
A live performance given during the Prince's Trust Gala Concert on July 21, 1982. Kate is backed by Phil Collins on drums, Gary Brooker on keyboards, Pete Townsend and Midge Ure on guitars and backing vocals, and Mick Karn on bass. This was released on a video-cassette of excerpts from the Gala Concert.
Almost unnoticeable changes from the LP mix.
The b-side of the "Breathing" single.
The b-side of the "Babooshka" single.
Unlike the LP mix, this version does not fade out.
A cover version recorded by EMI artist Ray Shell on February 21, 1981, to which Kate contributed backing vocals.
The 1981 Christmas single, this song was actually written much earlier, and was performed both on the "Kate" programme (see entry no. 14), and on Abba's "Winter Snowtime Special" on December 21, 1979 (in a third arrangement which featured bongo drums).
The b-side of the "December Will Be Magic Again" single.
A benefit single by Leslie Duncan, with Kate (virtually indistinguishable) singing in the all-star back-up chorus, released November 30, 1979.
A duet with Roy Harper of his song, on his album "The Unknown Soldier", recorded in February, 1980. A rumour persists that Kate and Harper recorded an entire album's worth of duets during these sessions, and that the tapes may someday become available on the black market.
A duet with Zaine Griff of his song, on his 1982 LP "Figures", recorded in June, 1982. This song was a tribute to the dancer/mime/ choreographer Lindsay Kemp, with whom Kate and Zaine had studied together for a time in 1976. Kate sang on this one track only.
Two tracks from Peter Gabriel's third solo album, for which kate recorded backing vocals in January, 1980.
A song from the film starring Alan Arkin, it was recorded by Kate in February, 1979, and featured music by Maurice Jarre and lyrics by Paul Webster. No soundtrack was ever commercially released; consequently, the song is only known from the nearly unlistenable film print itself (dialogue obscures most of Kate's vocal).
This track, isolated from the complete mix, was heard briefly on a British TV documentary called "Looking Good, Feeling Fit," which aired August 6, 1981.
Different in sound (especially the rhythm and relative prominence of the lead vocal track) from the LP version. This mix was actually begun as far back as September, 1980.
The b-side of the "Sat In Your Lap" single. The original song is by Donovan, who, the rumour goes, contributes backing vocals (though if so, unidentifiably).
The b-side of the single, "The Dreaming". An instrumental version of "The Dreaming", "Dreamtime" is very similar to the LP track except for a longer, different ending and the absence of lead vocal tracks.
Originally the b-side of the single release of "There Goes a Tenner". The same recording was later remixed (the rhythm sound brightened and the lead vocal moved farther up in the mix) for French and Canadian release as an a-side.
The b-side of the remixed "Ne T'enfuis pas", this is a French- language version of the track "The Infant Kiss", the original of which is found on the album, "Never For Ever".
Identical to the LP version, except for the missing lead vocal track. Featured on the twelve-inch single.
An extended remix of the original recording, featured on the twelve-inch single.
An extended remix of the original recording, featured on the twelve-inch single.
An extended version of the original recording, with a brief insert of new music.
An extended remix of the original recording, with completely different vocals.
A seven-inch version of the original recording, with a slight remix and a different opening.
An extended remix of the original recording, featured on the twelve-inch single.
The b-side of the "Running Up That Hill" single.
The b-side of the seven-inch "Cloudbusting" single, and the first b-side of the twelve-inch.
The second b-side of the "Cloudbusting" twelve-inch, this track is an a cappella recording of the traditional Irish folk-song.
The b-side of the "Hounds of Love" single, this track is a Fairlight-backed recording of another traditional Irish folk-song.
The b-side of the single, "The Big Sky".
Featured on the twelve-inch single.
This version includes a brief insert from the twelve-inch extended mix.
Both live, from the album of the April 4/6, 1986 Comic Relief shows, called "Utterly, Utterly Live". Kate accompanies herself on electric piano for "Breathing", and sings the comic song (not of her composing) "Do Bears Sh... in the Woods?" with British comic actor Rowan Atkinson. The video version of these concerts features what appears to be a different night's performance of the same two songs. (The programme was performed a total of three times.)
A cover of the old popular song, not included in the 1985 Terry Gilliam film "Brazil", but promised for inclusion in the soundtrack LP--which, however, will probably never be officially released. A bootleg pressing of Kate's recording for the album may become available eventually, however.
Theme song which Kate wrote and recorded for the 1987 Nicholas Roeg film, "Castaway". This version appeared on the soundtrack album, and is the original, full-length mix. An abridged version of the same recording was heard during the title-sequence of the film itself. See entry number 69 for further information about this song.
Theme song for the 1987 John Hughes film "She's Having a Baby", released in February 1988. (For some months prior to its release this song was sometimes referred to by fans as "Make It Go Away", because of the prominence of that phrase in the song.) Two later mixes of this song exist. See entries nos. 70 and 71.
A duet with Peter Gabriel of a song from his album "So".
A track from Big Country's 1986 album of the same name. Kate sings backing vocals.
A track from Go West's 1987 album "Dancing on the Couch". Kate sings backing vocals. She probably agreed to contribute to this track because of her friendship with the late guitarist Alan Murphy, who was an unofficial member of Go West at the time.
7" and 12" single by Ferry Aid for the survivors and families of the 1987 Zeebrugge ferry disaster. Kate sang three lines of the song during a separate studio session unrelated to the rest of the recording.
Songs performed by Kate in concert on behalf of Amnesty International's "The Secret Policeman's Third Ball" shows. The second of the two Amnesty concert performances of "Running Up That Hill" is included on the official soundtrack album, and "Let It Be" (backed with a poor-quality recording of the first of the two Amnesty performances of "Running Up That Hill") is available as a bootleg seven-inch single.
Actually an LP track, since it is featured on Kate's compilation LP, "The Whole Story".
A live performance of the song recorded at Abbey Road Studios for the 100th edition of the Tyne Tees TV programme "The Tube".
Duet with Midge Ure of his song, from his album "Answers to Nothing", released in September 1988.
Kate sings one line in a guest appearance for the "all-star" recording of a song (not written by Kate) about the dwindling rain forests of South America. This song was recorded for and broadcast during a programme about ecological issues called "Our Common Future" in 1989. As with the Zeebrugge "Let It Be" charity record (see entry 60), Kate did not participate in the group chorus sessions, but came in at a different time to sing her one line alone.
A plan to record a cover version of Elton John's song, as part of a compilation of recordings by various artists in a tribute to John and his lyricist Bernie Taupin, has been scratched and re-scheduled more than once now. As of January 1990 is has been de-activated, and there is no sign that the song will ever be released.
An excerpt from an unidentified Bulgarian folksong, heard briefly during a segment of an episode from the British music series, "Rhythms of the World". Kate sings the vocal drone accompaniment to Yanka Rupkhina's solo.
This extract of an early, "rough" version of "Rocket's Tail" is found in a segment from the British music series, "Rhythms of the World" (see number 67). During this segment Kate is seen at a mixing desk with Kevin Killen (?), supervising the vocal contributions of the Trio Bulgarka.
A supplementary track on the CD-single of "This Woman's Work", this version of the song Kate wrote for Nicholas Roeg's film "Castaway" in 1987 is drastically abridged and re-mixed.
This version of the song which Kate wrote for the John Hughes film "She's Having a Baby" is a very slight remix of the original. It was remixed by Kevin Killen, probably in order to fit the timbre of the rest of the album, "The Sensual World".
This version of the song which Kate wrote for the John Hughes film "She's Having a Baby" features a sharper, more prominent bass line in the second half and a boosted lead vocal line.
The b-side from the "This Woman's Work" single.
©1990 Andy Marvick