Top of the World Where the Gatekeepers Stand Rock Over the Hill – The Irish Times

Kate Bush is not meant to be disrespectful. The Brothers Grimm could hardly imagine an ogre miserable enough to mean something like that. But if someone, upon the release of her first single, dared suggest that she was still making headlines after more than 40 years, they would be escorted into a dark room and asked to sleep away from the ravings.

Wuthering Heights was a hit in 1978. It was ranked #1 in the UK and Ireland. She was the first woman to achieve number one in the UK with a song written solely by herself. But there was a sense that Wuthering Heights—a homage to the most terrifying romantic horror novel—was on the frontier of a new territory. She got a lot of that back in 1978. I eventually came out on top by Brian and Michael’s L.S. Lowry paean Matchstalk Men and Matchstalk Cats and Dogs. This will definitely be the last we hear about both artists. In a year dominated by the new wave, NME couldn’t find a place for Wuthering Heights on this year’s 30 singles (or even on 19 “also-rans”).

Someone as idiosyncratic as Kate Bush – who trained in mime and interpretive dance – has always generated animosity among critics who prefer “old ladies” to rolling knuckles and making dirty jasmine tea.

But here we are. After being included in the latest Stranger Things series, Running Up That Hill – from Bush’s classic 1985 album Hounds of Love – became her first single to reach the top 10 in the US. There was more. “Kate Bush hits her first number on the Billboard Albums Chart with Hounds Of Love, which tops top alternative albums on June 11,” NME, after all this time, told readers who weren’t even close to giving birth when the ink avoided Wuthering Heights. it’s the truth. Bush has never before translated to the United States. To this point, her highest-grossing single out there was Don’t Give Up in 1986. Even this collaboration with Peter Gabriel, the inevitable hugging material in most of the world, could only manage 72 on the Billboard chart.

To be fair to the largely apocalyptic rock establishment of the late twentieth century, it has long won – as much as it cares – something like critical respect in the UK. In the 1970s, Melody Maker, NME’s main competitor, was still awarded “Lady of the Year” in its annual poll. To be clear, the paper was not suggesting that Joni Mitchell, a regular winner before she turned 30, was at the time of any type of geriatric. The term, made famous by Hells Angels and other hairy weights, means something between “girlfriend” and “tolerable woman hanger.” The clear meaning was that no woman was expected to exercise her privilege in the newspaper’s report on Christmas. Women with acoustic guitars were tolerated. Someone like Kate Bush – who trained in mime and interpretive dance – has always generated animosity among critics who prefer “old ladies” to rolling knuckles and making dirty jasmine tea. Catherine Earnshaw may have stunned Emily Bronte’s lonely novel Out of Her Belly, but Roccocrats are likely to think of Rochester’s manic-fever first wife in a book written by Emily’s younger sister. It wasn’t until after the hounds that Bush won more critics. The LP joined The Jesus and Mary Chain, The Fall and Prefab Sprout in the top ten on the 1985 NME.

Anyway, Stranger Things has finally earned this unique musician the recognition across the Atlantic it deserves

American rock gatekeepers were no less sexist than their European counterparts, but another complication in this society contributed to the near-total shutdown of the Bush. Americans have long felt the need to put everything and everyone into at least one category, without reason that has any social meaning. You see this in the ridiculous awards at the always funny Grammy Awards. Don’t confuse “best performance R&B” with “traditional best performance R&B”. Could either of them appear on “Best Advanced R&B Album”? Doctoral theses are structured around less difficult questions. What was Kate Bush? She fiddled with brogue rock musicians like Dave Gilmore, but she just knew how to run Top of the Pops. Wikipedia is hesitant between pop art, art rock, and experimental pop. However, will they decide which radio station it belongs to?

Anyway, Stranger Things finally earned this unique musician – an artist arrogant compared to Michael Powell and Ronald Fairbank – the transatlantic recognition she deserves. She looks so happy. “It’s all really exciting! Thank you so much to everyone who supported the song.” Belfast Telegraph, also beaming, found space to note that, fittingly for the rally season, the song features clear beats on the Lampeig drum. All of this is made possible by the double-edged sword that is the Flow Revolution. Artists may not get much reward from playing their music, but if throwing a needle at a folk show highlights an old tune, it can, in a matter of minutes, be played entirely on speakers from Seattle to Sarajevo. The gambler may choose to pay actual cash for the entire album. Just watch what happens when Matchstalk Men and Matchstalk Cats and Dogs unlock the next series of succession.

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