And by her mid-20s she’d essentially been consigned to the status of minor one-hit wonder.īy this point, even Bush’s homeland appeared to have cooled toward her increasingly complex singular vision: 1982’s self-produced The Dreaming, once self-described as the "she’s gone mad" record, sold barely a fraction of its three predecessors and the NME would later run a slightly embarrassing piece asking "Where Are They Now?" Although second single "The Man with the Child In His Eyes" briefly graced the lower reaches of the US Hot 100, audiences weren’t convinced enough to pick up its parent album. America, on the other hand, was a little more wary of this incredibly precocious enigma whose literate blend of art-pop, prog-rock and folk often needed its own CliffsNotes.
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