![]() From the first “Mmh, yes” that emerges from the opening peals of wedding bells, Bush’s languorous performance astrally vaults the listener to the mother of all postcoitally sunny Sunday mornings. With Wuthering Heights, 11 years previously, Bush had alchemised Catherine Earnshaw’s tormented pleas for Heathcliff’s forgiveness into a sexual fever dream and if anything, Molly’s speech was an even more suitable case for such a treatment. It isn’t hard to see why the rhapsodic conclusion of Joyce’s modernist masterpiece took root in the singer’s subconscious. “Like trains of thought continually tumbling” is how Kate Bush described Molly Bloom’s soliloquy at the end of James Joyce’s 1922 novel, Ulysses. Its other meaning was clear: all bets are off. The apex of the experimental, mind-voyaging approach of its parent album, The Dreaming combines didgeridoos, Aussie race politics and daringly daft theatricals in a flummoxing lead-off single (allegedly titled ‘The Abo Song’ on early promo vinyl – oops), where multi-Kates brew a bad-trip babble through which “See the light ram through the gaps in the land” ripples like a seam of gold. “Extraordinary” might turn out to be a prominent adjective over the next 18 pages, but it won’t be more aptly applied than here. Here, MOJO delves into the undergrowth to select Bush’s 50 greatest songs… From songs about being inside her mother’s womb, 42-minute explorations of nature to taking Emily Brontë to the top of the charts, no other oeuvre in pop music has quite so many surprises, uniquely brilliant ideas and beautiful music. With the possible exception of David Bowie, no other artist has created as singular, rich and dazzling a creative world as Kate Bush. ![]()
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