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Hounds of Love

4.8 out of 5 stars 247 customer reviews

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Audio CD, October 25, 1990
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Editorial Reviews

Product Description

CD Album

Few women have expanded the vocabulary of rock as bewitchingly as Kate Bush; among male stars, only Prince may have taken as many risks. Hounds of Love saw Bush reining in the kookier aspects of The Dreaming, channelling them into epic electro-pop that tackled big issues of life and death and God with gripping drama and intensity. "Running Up That Hill" was one of the great singles of the '80s; "Cloudbusting" was string-driven, magically pretty; "Jig of Life" showed that Bush is one of the few pop artists who can flirt with Celtic mysticism without sounding twee or trite. Forget the riot grrrls: Bush is the real thing. --Barney Hoskyns

Track Listings

Disc: 1

  1. Running Up That Hill (A Deal With God)
  2. Hounds Of Love
  3. The Big Sky
  4. Mother Stands For Comfort
  5. Cloudbusting
  6. And Dream Of Sheep
  7. Under Ice
  8. Waking The Witch
  9. Watching You Without Me
  10. Jig Of Life
  11. Hello Earth
  12. The Morning Fog

Product Details

  • Audio CD (October 25, 1990)
  • Original Release Date: 1985
  • Number of Discs: 1
  • Label: Capitol
  • ASIN: B000002U9E
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (247 customer reviews)
  • Amazon Best Sellers Rank: #84,158 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By Gary F. Taylor HALL OF FAMETOP 500 REVIEWERVINE VOICE on January 6, 2002
Format: Audio CD
At first listening, HOUNDS OF LOVE would seem to have little in common with Kate Bush's previous work; in some ways, however, it is a logical extension, for throughout her earlier work she had increasingly fused unlikely instruments with synthesizers while gradually leaving behind certain vocal affectations. For HOUNDS OF LOVE she would repeat this, fusing distinctly Irish-sounding instruments with synthesizers while continuing to downplay her extraordinary range to create a remarkably clean yet multi-layered sound that serves her material remarkably well. At the same time, she worked her penchant for macabre and bizarre imagery into a much more subtle idiom. The resulting HOUNDS OF LOVE seems, to me at least, like a combination of the melodic delicacy of her earliest recordings with the raw power of her immediately previous THE DREAMING.
HOUNDS OF LOVE breaks into two distinctly separate yet stylistically similar parts, and it is a tribute to Bush's talents that she was able to unify these portions in such a way as to make them obviously different in content without making them feel separate in tone. The first half of the recording-"Running Up That Hill," "Hounds of Love," "Big Sky," "Mother Stands For Comfort," and "Cloudbusting"-are at once independent of each other yet distinctly of the same album, raveling the same musical and lyrical thread. The second half-"And Dream of Sheep," "Under Ice," "Waking the Witch," "Watching You Without Me," "Jig of Life," and "Hello Earth"-are more in the line of a single recording from which the individual titles cannot be easily separated.
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Format: Audio CD
"Hounds of Love" is the best Kate Bush album, her most successful, and yet it may be her least accessible. Certainly it contains a much wider musical range than most albums in 1985, what with the drums, guitars and pianos, followed by the bouzoukis, fiddles, uillean pipes, cellos and balalaikas. The album also has a wide range of allusion. Not only does it include a clip from "The Wall," but it also makes reference to Tennyson and Reich. Even more amazingly it actually make the portentous imperialist and the pseudo-scientific quack sympathetic and aesthetically successful. It starts off with the unusual love song "Running up that Hill," ("I'd make a deal with God/And get him to swap our places"). The video consists of a strange, intimate pair of dancers, which slowly spirals out of the attic where they are dancing to a strange foreign runway. "The Hounds of Love" is next and it is probably the song I care about the least. But then there is the joyful cheeriness of "The Big Sky." Then there is the carefully understated "Mother Stands for Comfort," ("She knows that I've been doing something wrong/But she won't say anything.") "Cloudbusting," one of Kate Bush's triumphs, refers to William Reich and his crackpot belief that by manipulating "orgone energy" (energy from orgasms) he could make it rain. Yet the song is a moving success, with its cello-driven melody, notwithstanding the fact that in both the song and the video Bush is playing a boy. ("Ooh I just know that something good is going to happen/And I don't know when/But just saying it could even make it happen.")
Then there is the second side, "The Ninth Wave.
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Format: Audio CD
Kate Bush's fifth studio album was accused of being more accessible to the general public. While not as wonderfully bizarre as its predecessor, The Dreaming, Hounds Of Love not only proved she still had what it took, but had her develop a concept album for the latter seven songs.
The first half, Hounds Of Love, is basically most of the singles. "Running Up That Hill (A Deal With God)" It's that chorus, where's she's "runnin' up that road/runnin' up that hill/with no problem", which makes me wonder what the angels Damiel and Cassiel from Wings Of Desire would think. Would Kate accept a compromise trade, where she would trade places and become an angel instead of God?
"The Big Sky" is a big yes to all those introspective, inwardly directed "extraterrestrial" cloudgazers who say, "that cloud looks like such and such" instead of literalists who say "that cloud looks like a bunch of suspended rain and ice particles." I always liked Kate because she was in her own Bush universe and who cares if no one understood her songs?
"Cloudbusting" is my favorite single from here, especially with its regimental rhythms of the synthesizers.
It is the Ninth Wave portion of this album that is intriguing. The series of seven songs portray the saga of a drowning woman. Now, how she manages the transition from the insomniac state of "And Dream Of Sheep" to "Under Ice", I'm not sure. Presumably, the radio doesn't help, so she goes outside to skate in order to work herself to a goodnight's sleep.
The action happens in "Under Ice", which begins with her skating, "cutting lines in the ice", spitting snow. In the last verse, she sings of something trying to come up, and guess what?
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