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  • Bad Export for You: The British versions of her early albums are considered to have better sound than the American ones, likely due to the American releases being mastered from safety tapes.
  • Breakthrough Hit: Popular from the get-go in her native Britain since "Wuthering Heights", "Running up that Hill (A Deal with God)" and its parent album Hounds of Love was her American breakthrough.
  • Channel Hop: Bush was originally signed onto Harvest Records as her label in the US and Canada, only to shift over to EMI America Records for The Dreaming, with her first three albums being reissued through them as well. One pressing of The Kick Inside was even issued on EMI America's sister label Liberty Records. Between the release of the Greatest Hits Album The Whole Story in 1986 and the release of her studio album The Sensual World in 1989, Bush hopped over from EMI America to Columbia Records for unknown reasons. Notably, this had the knock-on effect of keeping the 1990 retrospective Boxed Set This Woman's Work: Anthology 1978-1990 from being released in those territories, as it included not only The Sensual World, but also its associated B-sides on the two CDs devoted to non-album material. In 2011, she'd shift over to her newly-created vanity label Fish People Records (distributed by EMI) in all territories for the release of Director's Cut, with the label switching distributors to Concord Records after the dissolution of EMI in 2012.
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  • Creator Backlash: In this interview, she reveals that she hates a lot of her older songs:
    Interviewer: Which of your old songs make you wince?
    Kate Bush: My God, loads. Absolutely loads. Either the lyric's not thought out properly or it's just crap or the performances weren't well executed. But you have to get it in context. You were doing it at the time and it was the best you could do then. You've got to live with it. Some of those early songs, though, you think, 'What was I thinking about? Did I write that?'
  • Creator Breakdown:
    • She's called The Dreaming her "angry that people are more fixated on my looks and not my artistry" album.
    • During the making of The Red Shoes, Bush dealt with the death of her mother and a breakup with Del Palmer.
  • Creator Couple: Her long-term boyfriend and bassist Del Palmer has played on her albums even after they broke up.
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  • Executive Meddling: "The Sensual World" was originally based on Molly Bloom's monologue in Ulysses, but James Joyce's heirs wouldn't let her use the text and she had to rewrite it. After the copyright on Ulysses expired, it was released with the original lyrics as "Flower Of The Mountain" on Director's Cut.
  • Late Export for You: EMI America Records declined to issue her albums Lionheart and Never For Ever in the U.S. following the failure of The Kick Inside there. The Billboard chart entry and favorable reviews for The Dreaming there prompted them to finally issue those albums stateside.
  • No Export for You:
    • The 1990 CD Boxed Set This Woman's Work: Anthology 1978-1990, containing all of Bush's studio albums at that point plus two discs of non-album material, was never released in the US or Canada on account of Bush's Channel Hop to Columbia Records in those territories the previous year, consequently cutting EMI America Records off from The Sensual World and its associated B-sides, the latter of which are intertwined throughout the non-album discs.
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    • The organizers of the 2017 Coachella festival had the chance to book Bush's first ever U.S. performance, but decided that American audiences wouldn't understand her.
  • The Other Darrin:
    • Rolf Harris' vocals were deleted from two songs on the 2018 remaster of Aerial and replaced by Bush's son Bertie. The deletion follows Harris' conviction and imprisonment for sex crimes against minors. However, Harris' didgeridoo parts on Aerial and The Dreaming remained on the remastered albums.
    • The Director's Cut version of "Deeper Understanding" sees Bertie playing into this trope once again by portraying the sentient computer, which on The Sensual World was originally represented by Bush singing through a Vocoder. Additionally, while Bush needed backing vocalists accompanying her to make her lines discernible in 1989, the 2011 version features Albert singing alone.
  • Reality Subtext: Contrary to popular belief, averted. She said a few times that her weird reputation probably comes from people assuming her songs are autobiographical, but really most of them are singing from a character's perspective. Even The Sensual World, confirmed to be more personally-driven than her other albums, focuses more on character stories than on overtly autobiographical lyricism.
  • Real-Life Relative: Her brother Patrick (Paddy) is a multi-instrumentalist who has played on most of her albums, their other brother John Carder Bush has provided vocals, the occasional lyric and a great many iconic photographs, and both of their parents contributed vocals to Hounds of Love. In addition, Kate's husband Danny McIntosh is also her regular guitarist, and their son Albert (Bertie) sings on 50 Words for Snow and Before the Dawn (as well as on Director's Cut and the 2018 remaster for Aerial, replacing the disgraced Rolf Harris in the latter case).
  • Reclusive Artist: She gained this reputation due to her reluctance to play live shows after her first tour (except for special occasions, like doing Live Aid with David Gilmour), her dislike of interviews, and the long hiatus between The Red Shoes and Aerial (over a decade). During this time, she was simply spending time with her family and taking a break to raise her son, but this didn't stop the rumour mill from claiming she was seriously mentally ill (perhaps stemming from her Cloud Cuckoolander reputation) or morbidly obese from being depressed and eating chocolate. In one interview, she wryly noted how this massive weight gain always seems to disappear right before she makes one of her rare public appearances. In 2016 she opened up about being labeled as such:
    Kate Bush: "I suppose people really like to put things into boxes or pigeonhole people. That tag kind of hung around for a long time when I wasn't making albums or between albums. I can think of a lot of worse things to be called and how can someone who's a recluse get up in front of 3 or 4,000 people and do all those shows? I'm not a recluse but it makes people feel comfortable to call me that I suppose.
  • Sequel Gap: Starting with Never for Ever, Bush would follow in fellow art pop pioneer Peter Gabriel's footsteps of making each album take longer to come out than the last one. Both Never for Ever and The Dreaming took two years to release after their predecessors, Hounds of Love needed three years, The Sensual World and The Red Shoes four, and Aerial a whopping twelve, which was so long of a wait that it led many to surmise that she'd quit music altogether before Aerial actually dropped. Director's Cut would break the upward curve by taking only six years, and 50 Words for Snow only needed half a year, the shortest gap between any two of her studio albums to date (just three months shorter than the gap between The Kick Inside and Lionheart), but as of 2020 Bush has yet to put out another record, in part due to her understandably placing greater priority on her family and personal life nowadays. Combined with her relative lack of live performances and public appearances, this trope played a considerable factor in Bush gaining a reputation as a Reclusive Artist.
  • Special Guest: Prince features prominently on "Why Should I Love You?" Bush returned the favor by appearing on Prince's "My Computer" three years later.
  • What Could Have Been: The original draft of the song "(Everything I Do) I Do It for You" from Robin Hood: Prince of Thieves was written from Maid Marian's point of view rather than Robin Hood's, and the song was offered to Kate Bush to record, but Kate disliked the song and turned it down. After the song was rejected by not only Kate but Annie Lennox and Lisa Stansfield, it was reworked and given to Bryan Adams and became a massive worldwide hit.
  • Working Title: The Title Track of The Dreaming was originally recorded and given out as a promotional single under the title "The Abo Song", in reference to its lyrics about the plight of Aboriginal Australians. Thanks to a rather unfortunate case of being Separated by a Common Language though, both Bush and EMI were unaware that "Abo" is actually a highly offensive racial slur in Australia, and had to recall the promotional single as quickly as possible upon finding out; the song was renamed "The Dreaming", after the Aboriginal mythological concept, in time for its commercial release as the album's second lead single.

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