"I love this artist. He's called Rod Thomas and is from Wales and when he asked me to sing on his next record I was so flattered. And here is singing a song by my most favourite artist ever, Kate Bush."

"Terry Gilliam’s pièce de résistance, in my humble opinion. Such an assured aesthetic, with a perfect dystopian message. I highly recommend looking for the cut of the song “Brazil” with Kate Bush on vocals. It’s a masterpiece rivaled only by this astounding film."

"I first encountered Kate Bush through 'Wuthering Heights'. I remember my sister rushed out and bought that single in 1978 so I was very aware of her. The Sex Pistols and Kate Bush were my formative music, not The Smiths and David Bowie, that came later. For me Hounds Of Love is the biggest influence on [Suede's] Dog Man Star. I love the way it's a record of two halves, and the second half is a concept record about fear of drowning. It's an amazing record to listen to really late at night, unsettling and really jarring. I always wanted to make a record that was a concept album but not in an ELP sense. I wanted to make one that had a musical coherence, and wasn't just ten songs stuck together but had this sense of journey, that took the listener to a new world. And that's the impact Hounds Of Love had on Dog Man Star."

"It’s very hard for me to prepare for something like this because I collect non-stop, discover new things every day, and take music very seriously. I hate the technological rip-offs that pass for music formats these days, and go back to vinyl to hear a good record because the sound is always so much fuller. “I don’t even like listening to music in the car. But iIt would be ridiculous not to mention Kate Bush as someone who creates a powerful dreamscape and a great mood, but I also love Traffic, the pop textures of Marc Bolan, and all kinds of techno."

"My abiding memory really, was spending several months in Ireland in a big country mansion, post-Welcome To The Pleasuredome, and attempting to write songs for the Liverpool album while travelling the world with Frankie and things. We were in the house of the King of Leinster, who'd decided to rent it out to pop groups who needed rehearsal space - I think the Thompson Twins had been there previously - and Paul [Rutherford, Frankie singer], who I think is an even bigger Kate Bush fan than me, brought the album and it never left the turntable. We knew that Julian Mendelsohn, who'd mixed 'Relax' and 'Two Tribes', had been involved in it. It just stayed on the turntable for what seemed like months, over and over and over again. Almost to its detriment in a way. It's just an incredible record. What more you can say?"

"A lot of record shops were closing around this time, and I won’t use the internet to buy them. The internet is for porno, encyclopedias, and video games, of which I waste an awful lot of time on. So I slowed down in the purchasing around here and went back to old stuff like Kate Bush. On “Wuthering Heights,” her voice is almost hysterical but always in her own register. I find it very soothing for her to be squealing away up there, it’s fantastic. She’s a gift. I love PJ Harvey too. That’s one very interesting woman who doesn’t play the sex category. She strides in there at the level of any man, and I’m really proud for her in that respect, because that’s really what we wanted in punk—we wanted girls to be the equal to the boys, and she carries that great tradition. "

"The first half is just an astonishing rundown, it's almost like a greatest hits. This record, and Kate Bush in general, has a lot to do with me making music at all. It was her complete inability to do what everybody else was doing, she just was a law unto herself. I found that incredibly awe-inspiring, in most ways. I also loved her use of strings, in a sort of choppy choppy way, rather than a sentimental way. In pop music, you tend to have strings just colouring in the chords at the back or doing a syrupy high note, and I always thought they could do more than that, and she proved it in a kind of [mimics heavy staccato strings] kind of baroque style, which I have shamelessly pilfered basically. The second half she goes off on one, and some of it's a bit silly, but, you know, who cares? Even when it's silly it's great. Now I'm pretty sure I just took one listen to 'Running Up That Hill', which would've been the first single, and thought, ""I'm having that"". I would've bought it on cassette because that was the era, and I probably wore out the cassette until it warbled and I had to buy a new one!"

"Well, it’s got ‘Wuthering Heights’ on it, that’s the big song… But it’s one of those albums that made me realise that there is more than one way to skin a cat, you know, because I always used to feel slightly inadequate about my voice. I always wanted to sound like Steven Tyler or Bon Scott or someone like that... but actually I sound more like Kate Bush! I didn’t really acknowledge that before and then when I was listening to that stuff I thought that she makes a lot of the same choices I would make, melodically and stuff – and possibly presentation-wise! I discovered this around 2003. We’d already made our album by the way – we didn’t copy hers [laughs]. But it made me feel better about everything really. It’s hard to go and record stuff or go out and perform when you’re having a confidence crisis. But listening to that made me feel a million times better. There are beautiful songs on this. She’s a beautiful songwriter. I actually heard a rumour that at 18 she had that record ready to go but the record label wouldn’t let her because they thought it would destroy her, because it was so powerful it would engulf her and she would drown in her own success… [laughs] but I don’t know how true it is. So I’ve bought everything that she’s ever released now and I’m still researching it, but that’s where you start isn’t it?"