By the time she was a teenager, 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. 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. Bush became an overnight sensation at the age of 17 and was obligated to turn in an accompanying album in short order. This she 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. Bush's second album, Lionheart, reached number six but didn't achieve anything like the sales totals or critical acclaim of its predecessor.
In England during the spring of , Bush embarked on what proved to be the only concert tour of her career to date, playing a series of shows highlighted by 17 costume changes, lots of dancing, and complex lighting. The tour proved both exhausting and financially disastrous, and Bush has avoided any but the most limited live concert appearances since, primarily in support of certain charitable causes.
By this time, Bush was established as one of the most challenging and eccentric artists ever to have achieved success in rock music, with a range of sounds and interests that constantly challenged listeners.
During this period, Bush began co-producing her own work, a decisive step toward refining her sound and also establishing her independence from her record company. Although 's The Dreaming reached number three, the single "There Goes a Tenner" failed to reach the charts, and most observers felt that Bush had lost her audience.
Bush was unfazed by the criticism, and even began taking steps to make herself more independent of her record company by establishing a home studio. After two years' absence, Bush re-emerged in August of with "Running Up That Hill," which reached number three on the English charts and became her second biggest-selling single.
The accompanying album, Hounds of Love, the first record made at her track home studio, debuted on the British charts at the number one position in September of and remained there for a full month, and soon after "Running Up That Hill" gave Bush her long-awaited American breakthrough, reaching number 30 on Billboard's charts. In October of , Bush's first new album in almost four years, The Sensual World, reached the British number two spot. Bush's next album, The Red Shoes , debuted in the American Top 30, the first time one of her albums had ever charted that high.
Moving 2. The Saxophone Song 3. Strange Phenomena 4. Kite 5. Wuthering Heights 7. James And The Cold Gun 8. Feel It 9. In the next scene, a distraught man played by Tim McInnerny is pacing in the waiting room of a hospital.
It is then revealed through flashbacks that his wife played by Bush has collapsed while they were having dinner. The story blurs into a continuous scene where he carries her to the car, a desperate race to the hospital, and his wife being wheeled away on a stretcher as he races in behind her. While waiting, the husband is wracked with fear and imagines his wife in happier times, kissing him in the rain, and even imagines the nurse coming to tell him she has died.
The nurse then pulls him out of his reverie, as she reassuringly puts her hand on his shoulder and tells him about his wife's situation, the outcome of this is left ambiguous; yet the nurse is seen smiling as she speaks, implying a happy outcome. The final scene of the video returns to Bush as silently closes the piano keyboard.
John Hughes, the American film director, had just made this film called 'She's Having A Baby', and he had a scene in the film that he wanted a song to go with. And the film's very light: it's a lovely comedy. His films are very human, and it's just about this young guy - falls in love with a girl, marries her. He's still very much a kid.
She gets pregnant, and it's all still very light and child-like until she's just about to have the baby and the nurse comes up to him and says it's a in a breech position and they don't know what the situation will be. So, while she's in the operating room, he has so sit and wait in the waiting room and it's a very powerful piece of film where he's just sitting, thinking; and this is actually the moment in the film where he has to grow up.
He has no choice. There he is, he's not a kid any more; you can see he's in a very grown-up situation. And he starts, in his head, going back to the times they were together. There are clips of film of them laughing together and doing up their flat and all this kind of thing. And it was such a powerful visual: it's one of the quickest songs I've ever written.
It was so easy to write. We had the piece of footage on video, so we plugged it up so that I could actually watch the monitor while I was sitting at the piano and I just wrote the song to these visuals. It was almost a matter of telling the story, and it was a lovely thing to do: I really enjoyed doing it. That's the sequence I had to write the song about, and it's really very moving, him in the waiting room, having flashbacks of his wife and him going for walks, decorating It's exploring his sadness and guilt: suddenly it's the point where he has to grow up.
He'd been such a wally up to this point. There's a film called 'She's Having A Baby'. And John Hughes, the director, rung up and said that he had a sequence in the film that he really wanted a song written to be with. And I'd only worked the once before on the 'Castaway' film - where I'd really enjoyed that - so I was extremely tempted by the offer.
And when he sent the piece of film that the song was going to be part of, I just thought it was wonderful, it was so moving, a very moving piece of film. And in a way, there was a sense that the whole film built up to this moment. And it was a very easy song to write. It was very quick. And just kind of came, like a lot of songs do. Even if you struggle for months, in the end, they just kind of go - BLAH!
So that was the first song that I wrote for 'The Sensual World' album. In fact at the time we weren't even sure whether to put it on the album or not. And I must say that Del was very instrumental in saying that I should put it on the album, and I'm very glad I did.
Because I had the most fantastic response - in some ways, maybe the greatest response - to this song. And I was really - I was absolutely thrilled, that you felt that way about it.
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