The issue includes a major section on Kate’s Before the Dawn live shows in 2014, with appreciations of the shows from those who were there, and curious tales around the whole event. You can see the strength of her face and the strength of her eyes, and I think that’s the determination not to go on the assembly line that existed for women pop stars in the late 70s,” he says, “Kate was courageous because she didn’t want anything to do with that. She was very clear that she wanted the work to be about her music, not her looks.” The Cloudbusting machine in the video was designed and constructed by people who worked on the Alien creature [12] [13] and bears only a superficial resemblance to the real cloudbusters, which were smaller and with multiple narrow, straight tubes and pipes, and were operated while standing on the ground. [14] In a reference to the source material of the song, Bush pulls a copy of Peter Reich's A Book of Dreams from Sutherland's coat. [6] The Irish Charts - All there is to know > Search results for 'Cloudbusting' ". Fireball Media . Retrieved 17 January 2016.

The album and single covers were a clear attempt to project what Kate’s music was about. With albums there’s permanence – it’s like creating a painting, something people will treasure. I think the fact we worked from a home studio and could finish when we wanted, almost in a cottage industry, had huge advantages.” Thomson, Graeme (26 August 2014). " "This girl is very, very tough..." The untold story of Kate Bush's Hounds Of Love". Uncut . Retrieved 19 July 2019.

If you are a Kate Bush fan but are not familiar with the book, then here is some more detail about a collection of photos that move the heart and imagination: I’m afraid I won’t be able to attend the ceremony tonight, but for me the real honour is knowing that you felt I deserved it. John has been taking pictures of Kate since she was just six years old, meaning his book covers her life in full; from before her break to her rise as a global pop icon. It’s hard to get closer to someone than through their sibling, so you can bet this is an insider’s peek at in its most honest form.

I want to cover a small window of her childhood where she was in a family home and the earliest musical seeds were being planted. There aren’t interviews with Kate Bush really before 1978, so these photographs are invaluable and give us a great impression of a curious and shy girl who was absorbing so much around her and, even as a child, possessed this unnatural ability and prolific intent! I am going to be referring from the 2015 book, KATE: Inside the Rainbow. It is a great book I would urge any Kate Bush fan to own:When you look through the images in the book, do you see changes develop as the years go on? There’s a sophistication that seems to really develop in Kate’s imagery fromHounds of Loveonwards… Yes, I agree. You can see the development in the sense that she becomes more expert at conscious projection, more confident in knowing what works and what does not, and I think the same thing applies to my photography. One thing that strikes me, looking through the book, is her willingness to try different things - poses, props, costumes etc - in the pursuit of a great shot. Did either of you take the lead in those situations, or was it quite a 50/50 partnership? I think this is dictated by two different things. With album and single shots, there is a very specific intention to project a persona that matches the songs; with promotional shots, variety becomes very important otherwise every session would have looked the same. With album and single sessions, Kate always had a very definite idea of what she wanted before she stepped in front of the camera and it was a question of trying to realise that in a photographic context. Describing her life as a teenager as “interesting and difficult”, Ms Bush, then 24, concluded: “I was very lonely. And even after I left school there were times when the loneliness became desperate.”