Songs that Changed Music: Kate Bush - Wuthering Heights

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“Wuthering Heights” launched the nineteen year old Kate Bush into the international spotlight. It not only hit number one in the UK (making Bush the first female artist in the UK to reach number one with a self-written song), it also grabbed the number one spot in Australia, Italy, New Zealand, and Ireland. Further, the song made it into the top ten in Denmark, Belgium, Finland, The Netherlands, Norway, Sweden, Switzerland, and Spain.

“Wuthering Heights” remains one of Kate Bush’s most successful and beloved tracks. In 2016, Pitchfork named it number five on their list of the best two hundred songs of the 1970s. It was also foundational in helping Bush develop her interest and skills in music production. She has gone on to record ten studio albums, many of which she produced or co-produced herself. She has also received three Grammy nominations and in 2013, she was appointed as a Commander of the British Empire by Queen Elizabeth.

Bush’s relationship with the track was intensely personal. She had penned the song after discovering Emily Brontë’s famous mid-nineteenth century novel through a television broadcast of the BBC’s 1967 film adaptation. She explained:

“When I first read Wuthering Heights I thought the story was so strong. This young girl in an era when the female role was so inferior and she was coming out with this passionate, heavy stuff. Great subject matter for a song. I loved writing it. It was a real challenge to précis the whole mood of a book into such a short piece of prose. Also when I was a child I was always called Cathy not Kate and I just found myself able to relate to her as a character. It’s so important to put yourself in the role of the person in a song. There’s no half measures. When I sing that song I am Cathy.”

The lyrics tell the story from the point of view of the novel’s protagonist Catherine (“Cathy”) Earnshaw. It captures the destructive passion of Cathy’s relationship with Heathcliff (“I hated you, I loved you too”) and the haunting presence she holds throughout the story. “Heathcliff, it’s me, Cathy. Come home, I’m so cold. Let me in your window,” she wails in the song’s chorus. Bush’s vocals are intoxicating in their originality. She uses the full range of her voice, both enticing and unsettling the listener – somehow managing to condense the essence of Brontë complex character into a few minutes of exquisite songwriting and performance.


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