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populQr
Music(1999)Volume 18/2. Copyrightt 1999CambridgeUniversityPress.
Printedin the United Kingdom
Cathy's
homecoming and
Other
world:
Kate
Bush's
'Wuthering Heights'
the
NICKY LOSSEFF
Curiosity value quite possibly accounted for the success of Kate Bush's first single
in 1978. Those who have continued to admire her more particularlyfor her later
musical achievements,l which have surely consolidated her position as one of the
most individual and innovative artists of the 1980s and 1990s, do so possibly in
spite of (ratherthan because of) the impact of 'WutheringHeights'. No other song
of hers has had the same public appeal - it stayed in the Britishchartsfor seventyfive weeks (Rice 1991) - and perhaps the smaller group of admirers who remain
loyal engage more with the intensely personal visions into which her lyrics have
matured, as opposed to that first, more musically zany, original hit.
Nevertheless, I assume qualities of greatness in 'WutheringHeights' which
make me want to write about the song. Some of those qualities of greatness are
interpreted here through an examination of the interaction between meanings
inherent in the music and in the lyrics. I argue that these meanings concern the
duality of the real and the Other world, and that these dualities are explored musically in two particularlypowerful ways: harmonicstructureand vocal timbre.My
suggestion is that the duality of 'tonic'keys in this song, A majorfor the verses and
D bmajorfor the refrain,mirrorthe duality of the two worlds; and that one of these
keys, though it has greaterclaim to be the 'true'tonic, is never really established,a
factor which poignantly echoes the concept of 'home' for Cathy and Heathcliff in
the texts of both Emily Bronteand Kate Bush. Vocal timbretoo reflectsthe division
of real and Other world, and the concept of registralzones is used here as a way
of hearing in which world Cathy is sited.
'WutheringHeights' speaks in the first person with Cathy's voice from the
Other world. In the song, she is addressing Heathcliff,with whom she was of one
soul in the material world. Cathy's soul-locked relationshipwith Heathcliffis distilled into a couple of dozen lines of lyrics:much as the librettistof a Baroqueopera
might have pared down materialfrom a large-scaleliterarywork to create an aria,
which focuses on the drama and emotion inherent in a single moment of time as
opposed to recitative,which takes the narrativeonwards. In Emily Bronte'snovel,2
Cathy'sghost pleads to be let in at the window not to Heathcliff,but to the unfortunate Mr Lockwood, who is sleeping in Cathy's old bedroom (Bronte1994, pp. 367). The incident takes place very near the beginning of the novel, in the 'real time'
of the framing story, which concerns Mr Lockwood's residence at Thrushcross
227
228
NickyLosseff
The changing tenses of the lyrics, from past historicto present,do indeed help
us pin down the exact moment of Cathy's existence which is explored and
expanded by the song; but this is a cerebralprocess, one which relies on the reflection of hindsight and where meaning is located in, and limited by, the form of the
words themselves. Though Kate Bush portraysher version of Cathy's spirit-lifein
language, she also evokes it with immediacy through a signifier that Bartheshas
characterisedas 'the grain of the voice' (1977, p. 294). Kate Bush's vocal qualityunknown to the public at the time of the song's release, and which would seem to
KateBush's'WutheringHeights'
229
have been the aspect of the song that struck the first-timelistener most forcefullytransmits,at the junctureof language and pure sound, intuitive ratherthan cerebral
meaning.3 Inside her voice, the listener participates in the essentially solipsistic
world of the spirit. What gives her voice its distinctive quality? Many early
reviewers commented on what they heard as an incrediblyhigh tessiturain 'Wuthering Heights',4but this is a misleading impression, since Kate Bush simply uses
the vocal range normal for the average female voice - between e' and e" - going
down to an ab and with a top note of only f #". 'Kite', for instance, has an
(appropriately)much largerrange of two and a half octaves, from g to a swoop up
to c"', and we should not forget that a few years earlier,Minnie Rippertonentered
truly ethereal domains - a full octave above the highest note of 'Wuthering
Heights' - in 'Loving You'.
In reality, the eeriness and Other-worldlinessKate Bush manages to portray
has little to do witli pitch and much to do with timbre. Some early reviewers did
come close to identifying the 'quality' as opposed to the pitch of her voice as the
really unusual factor,but few came close to pinning down exactly how Kate Bush
manipulates her voice to produce so many different types of sound. Clarke (1978)
called it 'a voice not unlike that of a newly-neuteredcat', whereas to Young (1978a),
it was 'either Minnie Mouse or Heavenly Host, depending on your point of view'.
More accurately,Wigg (1978) perceived a 'high-pitched oriental sound'. Usually,
the description 'oriental'would imply a routing of the air through the nose, which
Kate Bush does not do; however, singers of Peking Opera and popular Indian
female vocalists such as LataMangeshkarnarrow the gap at the back of the mouth
by lowering the soft palette to produce a characteristicthinner,more reedy sound,
and it is this technique that Kate Bush exercises here.
If vocal 'grain'is a signifier of meaning, then what does Kate Bush's voice tell
her listener in this song? ElizabethWood (1994)has written on timbre and phonic
environment as a powerful signifier of sexuality, raising issues about what voices
that step outside of normal ranges can mean. Her point of referencewas primarily
the classically trained voice, where pitch and timbre are interrelatedand defined
within recognised boundaries of 'chest' (low), 'middle' and 'head' (high) registers.
The relationship in pop genres between vocal range and timbre would of course
reveal different codes at work, since a singer of popular music pushing her chest
register to the absolute upper limit (a common phenomenon) does not convey the
same message as a classically trained singer doing the same (a very rare
phenomenon); classical singers are trained to move as imperceptibly as possible
over the 'breaks'between registerswhere they naturallyoccur,whereas pop singers
often 'chest' up to more than an octave past their breaks.Thus, for classicalsingers,
only the very top of their total range conveys what we might call thestrainof the
voice:the kind of tension which accumulateswhen the voice is pushed well past its
break to register emotional intensity. We often hear this at relatively low pitches
for popular singers:listen to Tammy Wynette singing 'StandBy Your Man', where
she communicatesa new emotion simply by chesting up to an a'. Classicallytrained
voices, on the other hand, are often valued more if they can seem to float effortlessly
to the top of their register, transmitting 'strain' as little as possible. The issue for
Wood though, and the issue here, is what is signified when well-defined boundaries
Kate Bush's Cathy in effect occupies a timbralspace that had not been
are crossed.
not least because she never really exploits the chest register at all in
before,
heard
this song but sings entirely in middle and head registers, while manipulating her
230
NickyLosseff
vibrato/soft palette to produce different vocal effects. Just as for the esteemed
classicalsinger who can float up to the vocal stratosphere,there is almost no exploitation of the strain of the voice in this song; the effect is of hovering inside a welldefined space ratherthan pushing against it. This timbralspace is more powerfully
defined by the song's placing within the album The KickInside than when 'Wuthering Heights' is heard singly; it needs a context to achieve its full effect, and on this
album, perhaps more than any other, Kate Bush's explorationof vocal timbre and
range is very wide.5
There are certainly moments in 'WutheringHeights' when changing presentations of sexuality - that of child, then adult; that of love, then jealousy and possession- are differentiatedthrough changes in vocal timbre. The most significant
example of this is her plunge from pouting, flirtatious child on 'how could you
leave me/when I needed to' through the dangerous and anger-flashingmanipulation of 'possess you/I hated you', down to a curiously tender a b on 'I loved [you
too]'. Even so, the tenderness and sensuousness of this moment is accomplished
through use of the lowest range of middle, ratherthan chest, register;it might well
be that vocally, this was a conscious or unconscious technical decision, made to
facilitate the move to the octave above on '[I loved] you too'. In so compressed a
medium as the individual song, though, we ignore such small nuances of meaning
at our peril. For Cathy in this song, the chest register is a forbidden zone, representing perhaps a groundedness in the corporeal;thus, Cathy's unearthlytimbre
is on the larger scale probablynot primarilyan explorationof sexuality, but of the
spirit. In fact, Kate Bush made it clear that she had deliberatelyset out to cultivate
such a thing, explaining that 'I tried to project myself into the role of the book's
heroine and, because she is a ghost, I gave her a high-pitched,wailing voice' (Wigg
1978).This is the voice that wants to grab Heathcliff's soul away - as opposed to
his body? Critically,as the music finally fades out, the housing of this voice within
the human body loses its role to the wail of the electric guitar - as if Cathy no
longer has need of words, or indeed anything associated with the living being, to
sing her song. This is far removed from the dark and passionate, earthy, earthly
Cathy of Emily Bronte,whose speaking voice one imagines as anything but wraithlike and wailing; yet it is utterly right for Kate Bush's spirit-Cathy,removed from
the real world which she wants to access solely in order to take away Heathcliff's
soul. And it is not just Cathy's unearthlyvoice that tells us we are in the realms of
the spirit. Before the singing even starts, we have been taken there by the piano
and celeste, in the two-plus-two bar introductoryphrasewhere the opening motive,
stated in the middle register of the piano, is repeated in the airy, upper regions,
reached via an ethereal sounding celeste glissando. Even though voice and piano
enter for the first verse back in the middle register, somehow in our imaginations
we have still been left in the heavenly one.
Let us turn now to the harmonicworkings of 'WutheringHeights', the other
'site of the spirit' in this song. It might well be true that for most popular music, as
commentatorssuch as McClaryand Walser(1990)have observed,the musical interest lies in factorsother than the organisationof the pitch material.However, 'Wuthering Heights' has a harmonic (and harmonic-rhythmic)structurewhich cries out
to be considered in detail. My purpose here is not to delineate long-term tonal
movement or chord progressions simply for their own sakes, but to suggest that
the relative functionalmeanings of keys and chords also have symbolic meanings:
meanings which illuminate, and are in turn illuminated by, the song's lyrics. One
Heights'
KateBush's'Wuthering
231
A; WhP
i! 0 ...................
o ^
P {X
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OX\
X X * *X eZce
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o e l--
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(#)
NickyLosseff
232
Svl
Iin
-A;
IV
111 maj
I I
VERSE
sx
>
> >#'
>
L_ >
I ["3]
I hated you
Vl
iv
A;
D;
Ct
FX
Sb;Sl (^,
,,,
V in B;m ? no-instead
aj
m
1ll
[bridge]
Wutheringffeights
thc
Bad drcams in
REFRAIN
--
E;m
G;
E;m
night
ii
lV
G;
in Di
IV
IV
window
honse
Heath - cliff
G;
D;
A;
G;
D;
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E; m
G;
2
VERSE
REFRAIN then:
i in B; mor
V
vi
letmc
Oo
ii -
IV
I in D;
havc it
E;m
G;
A;
B; m
D;
1.
Example
:
--
(i0###
eArRrAlyr
I r J.
E:<r
CZ
17 7
-------------------
8La
thc
Out on
wi
ley
91
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i''-
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Example2.
(+i###j
}
Out on the
wi
Will
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moors
r rr
lr
roll
we d
Wvl
and
fall
lo
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tfl
tp###Z}
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Example3.
KateBush's'WutheringHeights'
1$;}22"';;;i7}1}
i###
ii
I ha-ted you,
1"
(S 0###
1ll
tllX
I inA;
Vl
2
I lovedyoutoo.
>=
233
4.
Example
E bm - G b - F (stated three times)
implied: iv
- VI - V in Bbm
Thus, early on in the song, Bb minor suggests a brooding presence, the place of
Cathy's nightmares, which is implied though not reached: a threat of darkness,
perhaps, that remains to be realised. This reflectsthe anxiety of the lyrics, in which
Cathy contemplates the imminence of her death. Laterin the song, the threat will
seem to have become real. At this early stage, however, the F major harmony instead of functioning as V in Bb minor - becomes by sleight of hand III in Db; a
resolution effected via the conventional pattern
III - IV F
Gb -
- V
ii
Ebm - Ab - Db
[repeat]
Gb Ebm Ab Ab Db Gb Gb Gb Ab Db Gb Gb [repeat]
Although with this pattern it would be possible to argue that the Db major
234
NickyLosseff
G;
!;;Stc
E; m
$ S
Heath- cliff
A;
A;
n r
>ZeLi
its mc
D;
n e
Ca-thv
comc
homc
01
Im
S
50
[etc.]
Example5.
iNSb;;>}l:
come home
[A; ]
drumbeat:
Im
so
$
coldf
D;
G;
G;
G;
A;
D;
O
1:
Heath- cliJf
G;
G;
G;
Example6.
the first real entry of percussion - a rolled build-up on cymbal, culminating with
the close of the high-hat;and in equivalent places later in the song, we get a full
drum build up culminating in a cymbal stroke. Second, the instrumentation
increasesdramaticallyin density and dynamic as the refrainbegins on its G bchord;
previously, the only accompanying instrument has been keyboards. Third, this
opening Gb accompanies the first utterance of Heathcliff's name. This is a real
moment of catharsis:partly because Heathcliff has only been referred to as an
unnamed 'you' in the strangely shifting harmoniesof the verse, partly because the
initial weirdness of the song's opening gives way to a familiar and powerful riffdriven groove - probably the characteristicmost responsible for the song's chart
success. Thus, when a G b occurs again in the refrain (which happens with great
frequency, as we shall see), we have alreadyheard it and returnto it, as a harmony
lodged in our consciousness, rather than one encountered afresh. As to the frequency of G bchords in this section, we cannot ignore their sheer quantity.They far
outnumberany other, making up half the total harmonyuntil the returnto A major
in preparationfor the verse:
Gb
Gb
Gb
Gb
Gb
Gb
Ebm
Gb
Gb
Ebm
Gb
Gb
- Ab - Gb -
Ab - Db
Ab - Db
- Ab - Ab - Db
- Gb - Ab - Db
- [A - A]
235
forms (such as sonata form) depend is that of the tonic being stated and then left
while the music moves through the 'adventures' of different keys, secure in the
knowledge that the home key will be reached safely in the end. Nor am I arguing
that the focus on the chord of IV (Gb)in this section is particularlyunusual viewed
in the context of popular music in general. Rather,I suggest that in this song, it can
be read as significantlyadding a layer of meaning to the lyrics. For not only does
the moment of arrival on the Db tonic coincide with Cathy's articulationof the
work 'home', but even more suggestive is the song's leap away from D b almost as
soon as it arrivesthere - like having touched something too hot. Home is unequivocally not a place Cathy can stay. In fact, of course, she cannot even get in. The music
moves immediately away from the Db tonic and on to the nagging, ever-present
G b subdominant. She tries again, saying 'let me in at your window'- the point of
entry to the home;and windowis accompaniedby the second occurrenceof the D b,
or harmonicallyspeaking, 'home'. But the music cannot rest at this sounding of the
tonic either. As before, it jumps away immediately to G b. In trying to get home,
through the window, Cathy has been wrong-footedby the curious placementof the
D b tonic within the bar, and denied the comfortof rest within the 'home' key . The
real world is closed to her forever.
At this point, the C # chord from the verse, where it is foreign to the A major
tonality, becomes significant as the only harmony (enharmonicallyspeaking) that
the two sections - verse and refrain- have in common. Is it too obvious to suggest
that this duality of keys perhaps echoes the two worlds of the song: A for the Other
world where we first meet Cathy - where she is harmonicallysituated - and Db
for the 'real' world she cannot enter, and which Heathcliffstill inhabits?This possibility is strengthenedby the words of the second verse: 'Oh it gets, dark, it gets
lonely, on the other side from you'. As for the first verse, the music moves from A
to C #/D b;as it reaches this harmonicgoal, the words too reach the 'other side'.
Perhaps one of the most interesting factors here is that though the heroine is
literallythe Subjectof the text, speaking as she does in the first person, nevertheless
she identifies, in A major,as harmonicallyOther to the true tonic of D b, and this
would seem to reinforcethe identificationof the hero as male and the objectof the
hero's gaze as female - a constructionthat theorists have suggested is common to
so much narrative.7At first sight, the harmonic, Db major 'Subject'represents
Home, that is, Cathy'sreal Home in the living world. Cathy is now, as an inhabitant
of the Other world, Other more to her old living self than to anotherperson. However, as we have discussed in relation to vocal timbre, genders and sexualities are
not the primary dualities in this song; if we look on to the second verse, we find
Heathcliffidentified more and more closely with Cathy's concept of Home, even if
he never appears ostensibly as the real protagonistof the drama. She speaks of the
Other side as being dark and lonely without him, her one dream and her only
master; on the Other side, she pines for him and finds 'the lot / falls through
without you', going on to declare that she has roamed the night too long and is
coming back to his side, to WutheringHeights 'to put it right'.It seems more appropriate thus to place Home, in Db, as Subject,and both Cathy and Heathcliff in A
majoras Other - and thinking back to Emily Bronte'snovel, this reflectsthe reality
of their situation more accurately. Wuthering Heights never really was Home to
Heathcliff, in the sense of being a place of comfort, rest and ease. It was simply
where he was domiciled. In this instance, Cathy's real Home is with Heathcliff Wuthering Heights, as a real or conceptual Home, being closed to both of them.
236
NickyLosseff
Db
I
Of course, the promise is illusory, since the song ends by fading away into the
endless circlingIV-V-I-IV progressionsof the refrain,with its G bmajorsubdominant still needling away at the harmonicdiscourse and marginalisingall else. In any
case, B b minor is the relative minor of Db major- the two sides of the same coin;
only death can now be Home for Cathy and Heathcliff.We know from the end of
the novel that eventually for Heathcliff, his 'soul's bliss kills [his] body' (Bronte
1994, p. 276) and that in such a way, he and Cathy do come together. But in the
song, that moment of bliss is not reached.Instead,Cathy and Heathcliffare locked
into a cycle of perpetualisolation from each other.
Thus, in 'WutheringHeights', Kate Bush has articulatedsome of the primary
meanings of her text through a sophisticated harmonic framework. And the
relationshipbetween the musical content and meaning in her songs is something
4WSsb; . - .
- .
- . .
# ''
hts
237
e.
Example7.
of which she herself was quite conscious. In one 1978 article, she was quoted as
saying 'the chords almost dictate what the song should be about because they have
their own moods' (Blake 1978);and in another, 'I just start playing the piano and
the chords start telling me something' (Ellis 1978).
In an early interview, Kate Bush said she associated major keys with happy
events and minor with sad (Blake1978). 'WutheringHeights' does not at first seem
an obvious candidatefor majortonality, replete as it is with the angst of unfulfilled
longing. It is perhaps significant then that in both underlying melodic movement
and harmonic progression, the song's major tonalities of A and Db are each, as I
have said, tempered by underlying non-diatonic scales, and I focus now on the
song's modal permeation. The A major verses, as we have seen, sink from A
through F # and E to C #: a harmonic progression which is mirroredbeautifully at
the end of that phrase by an inflected,mirror-imageflourish in the piano part - see
Example 7.
One could constructa mode from this consisting loosely of minor thirds followed by semitones - or, perhapsmore appropriately,a mode constructedfrom the
(enharmonic)constituents of majorand minor triads on C #, F and A: c Fe-f-g Fa[-c-c #].It is not, as I have said, truly allied to the so-called Greekor 'church'modes,
with their stepwise movement, and which in an era of post-tonality are too easily
perceived as inflected major or minor scales. In the verses, the presence of Kate
Bush's unusual mode, both harmonicallyand in the structureof the melody, permits a comfortablemove from A to D b and back again - since both those keys are
inherentin the mode itself. Perhapsthis modal inflexion is responsiblefor the sense
of organicism which pervades 'WutheringHeights', despite the often unconventional harmonicpatterningand irregularphrase lengths. And thinking about melodic/harmonic movement in this way could also make sense of the curious lack of
real leading note to tonic motion in the melody, because although we do at least
notionally get a gF[a] between the first and second phrases, the g# is of course
part of the foreign C major harmony and not the dominant, E, as more conventional harmonicpatternswould have led us to expect. Melodic motion also contributes to the feeling of opening out into the 'true' Db key centre at the start of the
refrain,since the e-d-c Fe circularmotive ('Out on the wiley') transformsitself into
f-eldlf-eWdWetc.
at 'It's me, Cathy, I've come home'. Significantly,it is the
refrain,with its IV-V-I patterns,whose melody avoids the leading note altogether,
instead weaving in and around the home note of Db by means of an enriched
pentatonic scale. It seems that even here, in the more conventionally 'functionalharmonic'section, Kate Bush preferredto soften the strongerlines of tonality with
a modal brush - see Example8.
At this point, I would like to step sideways: having suggested that Kate Bush
Example8.
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238
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NickyLosseff
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o?
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9.
Example
shies away from truly grounded tonality,what of the relationshipbetween melody
and bass? Usually, where these two stratameet, we can expect a mixtureof consonant intervals: thirds, fourths, fifths, sixths, and where dominant sevenths occur,
sevenths. In contrast, 'WutheringHeights' pans out like a piece of medieval organum; almost all the underlying structuralpoints of coincidence are fifths, with the
occasional octave or unison, and only one sixth. The lack of structuralthirds is
anothercontributoryfactor to the dominance of the modal, ratherthan the tonal.
To my view, this modality serves to enhance, ratherthan diminish or dilute,
the tonality in which the song is based. Because the lyrics themselves so sparsely
explore the complex and many-layeredrelationshipbetween Cathy and Heathcliff
in Emily Bronte's novel, we are left with a more open field in which to weave
threads of meaning from the words, within and around the events, both simultaneous and unfolding, of what emerges as a staggeringly complex musical structure.
As I have already suggested, 'WutheringHeights' seems in some ways like
an aria from an opera whose librettois based on a novel, with verbiage stripped to
the bare bones and one moment of emotional significanceexpanded in depth. But
in a full opera, Cathy's characterwould be explored little by little as the drama
unfolded; whereas here the whole story is summed up as she taps on the window.
Kate Bush was disarmingly open in early interviews about the inspirationfor the
song: she had turned on the television while a dramatisationof WutheringHeights
was being screened, and had caught the moment where Cathy's wrists are cut on
the broken glass of her window (Blake1978).If we are to take this comment at face
value, then that event was truly fortuitous, since the window is one of the most
potent symbols of the novel: not only at the beginning,when, to Lockwood'shorror,
Cathy taps on the glass to be let into her old bedroom, but also at the end, when
Heathcliffis close to gaining his single wish to join Cathy in death. Here, after he
has almost stopped eating, and has become bright and cheerful, he is observed by
Nelly Dean looking 'eagerly towards the window' (ibid, p. 271), then rising and
going out. Later,he leans against the ledge of an open lattice;Nelly closes all the
casements and eventually, to rouse him, asks 'Must I close this?'(Bronte1994, p.
272). Thereis no doubt in the reader'smind just what lies outside. Nelly notes that
the window of Heathcliff's bedroom is 'wide enough for anybody to get through;
and it struck me that he plotted another midnight excursion' (ibid, p. 273). Just
before she finds him dead, she sees
the master'swindow swinging open, and the rain driving straightin . . . The lattice,flapping
KateBush's'WutheringHeights'
239
to and fro, had grazed one hand that rested on the sill; no blood trickled from the broken
skin, and when I put my fingers to it, I could doubt no more:he was dead and stark!(ibid,
p. 277)
The first thing Nelly does is to hasp the window; only the spirits of the living are
left inside. No wonder the window remained the seminal image for Kate Bush and one which she retained as central to the song, the lens through which all else
is focused as retrospectiveor remembrance.
'WutheringHeights' is not the only song on TheKickInsideto explore extended
tonality, irregular phrase lengths or unusual vocal timbres. Perhaps part of its
power lay, paradoxically,in the fact that within its chart-popcontext it was so well
grounded in more conventional frameworksof harmony, phrase-lengthand vocal
range - the familiarcharacteristicsof the refrainserving to set off the song's more
bizarre aspects in greater relief. Thus, the irregularitieskick harder against those
orthodox conventions. Perhaps the album's title had a musical meaning too.
Endnotes
1 Kruse (1990) concentrates on these later
achievements, with particular reference to
Hounds of Love, in her sociologicaland literary
(as opposed to musical)assessment.
2 Wuthering Heights. All page numbers refer to
the Penguin PopularClassicsedition, 1994.
3 I thank Neil Sorrelland Toni Calam for their
often long and always helpful discussionswith
me on issues of timbreand vocal technique.I
thank RachelCowgill for her insights on sexuality as discussed in this section.
4 See for instance Anon (1978);Doherty (1978);
Nulman (1978).
5 Ellis (1978),Fowler(1978)and Frith(1978)were
among early reviewers who identified not just
an unusual voice but the astonishingvarietyof
sounds KateBush producedon The KickInside.
6 It could be argued that there is also a minor
References
Anon. 1978. 'Learningto sing and defying conventions',Radio and Record News, February[accessedat
<http://www.gaffa.org/reaching/i78 rrn.html>]
Barthes,R. 1977. 'TheGrainof the Voice', in Image Music Text, ed. S. Heath (London),pp. 179-89
Blake, J. 1978. 'Sexy Kate sings like an angel', Evening News, 18 February [accessed at <http://
www.gaffa.org/reaching/i78 cn.html>]
Bronte,E. 1994. WutheringHeights (Harmondsworth;first published 1847)
Clarke, S. 1978. 'Kate Bush city limits', New Musical Express, 25 March [accessed at <http://
www.gaffa.org/reaching/i78 nme.html>]
Doherty, H. 1978. 'Bush baby', Melody Maker, 8 March [accessedat <http://www.gaffa.org/reaching/
i78 mml.html>]
Ellis, M. 1978.'Kate'sfairy tale', RecordMirror, 25 February[accessedat <http://www.gaffa.org/reaching/i78 rm.html>]
Fowler,M. 1978.'Bushstands alone', Daily Utah Chronicle,3 April [accessedat <http://www.gaffa.org/
reaching/i78 duc.html>]
Frith,S. 1978. 'Theshape of things to come', Creem,July [accessedat <http://www.gaffa.org/reaching/
i78 crm.html>]
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NickyLosseff
Discography
Kate Bush, 'Wuthering Heights', and 'Kite', The KickInside. EMI Records, CDEMS 1522. 1978
Minnie Ripperton, 'Loving You,' Epic EPC 3121. 1975.