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DISCID=a40b200c
DTITLE=Kate Bush / Hounds Of Love (Mini LP CD Packaging)
DYEAR=1985
DGENRE=Rock
TTITLE0=Running Up That Hill (A Deal With God)
TTITLE1=Hounds Of Love
TTITLE2=The Big Sky
TTITLE3=Mother Stands For Comfort
TTITLE4=Cloudbusting
TTITLE5=And Dream Of Sheep
TTITLE6=Under Ice
TTITLE7=Waking The Witch
TTITLE8=Watching You Without Me
TTITLE9=Jig Of Life
TTITLE10=Hello Earth
TTITLE11=The Morning Fog
EXTD=Hounds Of Love (Mini LP CD Packaging)\n\nOriginally Released 1985
EXTD=\nCD Edition Released \nRemastered + Expanded CD Edition Released
EXTD= June 30, 1998 \nJapanese Mini-LP CD Edition Released November 10
EXTD=, 2005\n\nAMG EXPERT REVIEW: Kate Bush's strongest album to date 
EXTD=marked her breakthrough into the American charts, and yielded a s
EXTD=et of dazzling videos. The material ranges from the sensual ("Hou
EXTD=nds of Love," "Running up That Hill" -- the latter one of the mos
EXTD=t sensual recordings ever made) to the mystical ("Hello Earth," "
EXTD=The Morning Fog"). This was also the first album produced by Bush
EXTD= entirely at her own home studio, and the results are spellbindin
EXTD=g, the layered instruments recalling the Beatles at their most or
EXTD=nate, but also displaying an exquisite timbrel range, bringing ou
EXTD=t the richness of the individual instruments. [In 1997, as a part
EXTD= of EMI's 100th anniversary, Hounds of Love was reissued, augment
EXTD=ed with a bunch of rare singles, B-sides, outtakes, and more from
EXTD= the same period.]  -- Bruce Eder\n\nAmazon.com Editorial Review\n
EXTD=Few women have expanded the vocabulary of rock as bewitchingly as
EXTD= Kate Bush; among male stars, only Prince may have taken as many 
EXTD=risks. Hounds of Love saw Bush reining in the kookier aspects of 
EXTD=The Dreaming, channelling them into epic electro-pop that tackled
EXTD= big issues of life and death and God with gripping drama and int
EXTD=ensity. "Running Up That Hill" was one of the great singles of th
EXTD=e '80s; "Cloudbusting" was string-driven, magically pretty; "Jig 
EXTD=of Life" showed that Bush is one of the few pop artists who can f
EXTD=lirt with Celtic mysticism without sounding twee or trite. Forget
EXTD= the riot grrrls: Bush is the real thing. --Barney Hoskyns \n\n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\ntheres a lot, maybe too much, going
EXTD= on here, September 9, 2006\nReviewer: Scott B. Saul "opinionated
EXTD=, yet truthful, music critic" (COOPER CITY, FL USA)\nI like this 
EXTD=cd but I do not love it. I never understood why this is the most 
EXTD=beloved by her fanatical fans. The cd is too busy with too many s
EXTD=ounds going on. The lack of songs makes it hard to listen to repe
EXTD=atedly. This would be hard to put in your car and listen to over 
EXTD=and over again. \n\nAs for purely good songs, I count 4. "Running
EXTD= up the Hill" kicks off the album, has a throbbing, tribal drumbe
EXTD=at, and is the strongest track. "Big Sky" utilizes Bushes etheral
EXTD= voice and passionate vocals. "Cloudbursting" is interesting, had
EXTD= a pretty cool video with Donald Sutherland, and creates a weird 
EXTD=drama to the song. "Dream of Sheep" is a sensual, quite song. \n\n
EXTD=I have always thought that this cd is more interesting rather tha
EXTD=n being a collection of great songs. Kate Bush is an acquired tas
EXTD=te...she is not for everybody. \n\nThis cd is good when you are u
EXTD=sing headphones and get to hear all the little strange noises, gr
EXTD=oans and yelps by Bush. This is not music to crank up in a car. \n
EXTD=\nI have always liked her debut "Kick Inside" the best b/c I feel
EXTD= that is her most organic, conventional work. \n\nWhile Kate Bush
EXTD= is a very talented artist, she is also really eccentric. Many of
EXTD= her fans that rave about her work are also eccentric and therefo
EXTD=re over exagerate the quality of her work. They love Kate Bush an
EXTD=d all her mysterious romance as opposed to just loving her music.
EXTD= \n\n\n\nAMAZON.COM CUSTOMER REVIEW\nGenerally haunting favourite
EXTD= of both casual and serious fans, March 19, 2005\nReviewer: V. E.
EXTD= Beard "The Muse-wail Interpreter" (Nottingham, UK)\n     \n"Houn
EXTD=ds Of Love" by Kate Bush \nGenres: Rock, Prog-Rock/Art Rock, Alte
EXTD=rnative Pop/Rock, College Rock \nRelease Date: 1997(1985-6,1988) 
EXTD=\n\nThis entirely self-written and produced album was a huge succ
EXTD=ess for Kate both in England and overseas, the single "Running Up
EXTD= That Hill (A Deal With God)" being a hit in America. She produce
EXTD=d it all inside her own private studio at her house in England, a
EXTD=nd when released in September of 1985, it knocked Madonna's "Like
EXTD= A Virgin" off the top of the album charts. \n\nThe success is un
EXTD=derstandable, as this is Kate's best album to date. However the t
EXTD=wo halves of it are very different. There is the first half of th
EXTD=e album entitled "Hounds Of Love" and features the more commercia
EXTD=l, pop-orientated arrangements and tunes on the album. The second
EXTD= half is a mini concept album called "The Ninth Wave" in which Ka
EXTD=te tells the story of a drowning woman which may end with her sur
EXTD=viving and waking up, or dying and being reborn. This was extreme
EXTD=ly ground-breaking and sounds like nothing else that came out of 
EXTD=the '80s and is therefore not dated in the least today. It's a sh
EXTD=ame that movie plans for this concept fell through. Everyone who 
EXTD=brought this album the first time around probably brought it for 
EXTD=the four hit songs packed on side one, the only non-single being 
EXTD=a strange song ("Mother Stands For Comfort" that would only be ou
EXTD=t of place with the rest of "The Ninth Wave" for the mood ring sy
EXTD=nthesizers. It too could have been a hit single with the crashing
EXTD= glass sounds (used also on "Running Up That Hill" and an earlier
EXTD= Kate masterpiece "Babooshka"), cold piano, and warm electronic w
EXTD=aves. All four singles are spectacular, and even groundbreaking o
EXTD=n "Cloudbusting", a beautiful if not instantly catchy number full
EXTD= of strings and heavy drums about a machine that makes it rain. K
EXTD=ate rocks out on "Hounds Of Love" and "The Big Sky" and performs 
EXTD=with sensual and energetic catharticity on "Running Up That Hill"
EXTD=. Full, bewitching and layered pop/rock is not where the album de
EXTD=scription ends. \n\nRiding the death-whale that is "The Ninth Wav
EXTD=e" Kate moves on to haunting territory with the sentimental sound
EXTD=ing "And Dream Of Sheep" (Kate sings and plays the piano beautifu
EXTD=lly) that leads onto the tense and brilliant "Under Ice" which st
EXTD=irs up the imagery of a snowy day with a tragic accident waiting 
EXTD=underneath the ice on the lake, through to the calm but ominous a
EXTD=nd eventually terrifying "Waking The Witch", then onto the mellow
EXTD= "Watching You Without Me". Sampling is used very expertly on all
EXTD= of those tracks. Kate then experiments further with the Irish so
EXTD=unds used on 1982's "The Dreaming" album with the dramatic, unfor
EXTD=gettably epic "Jig Of Life" (Complete with recited poetry by her 
EXTD=brother John during the climax). Then the creepy "Hello Earth" br
EXTD=eathes down your neck like a scene out of "Nosferatu" during the 
EXTD=dark cathedral chants before Kate is reborn in some way through t
EXTD=he light and bouncy "The Morning Fog". \n\nArguably the best and 
EXTD=most enduring album released in the 1980's, this is widely regard
EXTD=ed as Kate's masterpiece. It shows off all her best qualities and
EXTD= in their best light. The British reissue in 1997 by EMI adds 2 u
EXTD=neventful remixes (although the commentaries on the appearances o
EXTD=f clouds by the disguised voices of Kate and her brother on "The 
EXTD=Big Sky" remix are enjoyable to listen to) and a few B-sides, "Un
EXTD=der The Ivy" and the beautiful a-capella rendition of the traditi
EXTD=onal myth-song "My Lagan Love" standing out more than anything. S
EXTD=omeone should have told EMI that 1988's "Be Kind To My Mistakes",
EXTD= although good, would have made a better inclusion on a future re
EXTD=-issue of 1989's "The Sensual World". "The Handsome Cabin Boy" or
EXTD= "Not This Time" would have been better. Also, the Orgonon remix 
EXTD=of "Cloudbusting" should have been used rather than the extended 
EXTD=12" remix of "Running Up That Hill" \n\nBest Tracks: Every single
EXTD= one. "Running Up That Hill (A Deal With God)" is the most catchy
EXTD=, and "Under Ice" the most instantly memorable from "The Ninth Wa
EXTD=ve". The B-side gems "Under The Ivy" & "My Lagan Love" a impress 
EXTD=greatly.\n\n\n\nAMAZON.COM CUSTOMER REVIEW\nOne of the truly grea
EXTD=t eighties albums, March 4, 2004\nReviewer: pnotley@hotmail.com (
EXTD=Edmonton, Alberta Canada)\n\n"Hounds of Love" is the best Kate Bu
EXTD=sh album, her most successful, and yet it may be her least access
EXTD=ible. Certainly it contains a much wider musical range than most 
EXTD=albums in 1985, what with the drums, guitars and pianos, followed
EXTD= by the bouzoukis, fiddles, uillean pipes, cellos and balalaikas.
EXTD= The album also has a wide range of allusion. Not only does it in
EXTD=clude a clip from "The Wall," but it also makes reference to Tenn
EXTD=yson and Reich. Even more amazingly it actually make the portento
EXTD=us imperialist and the pseudo-scientific quack sympathetic and ae
EXTD=sthetically successful. It starts off with the unusual love song 
EXTD="Running up that Hill," ("I'd make a deal with God/And get him to
EXTD= swap our places"). The video consists of a strange, intimate pai
EXTD=r of dancers, which slowly spirals out of the attic where they ar
EXTD=e dancing to a strange foreign runway. "The Hounds of Love" is ne
EXTD=xt and it is probably the song I care about the least. But then t
EXTD=here is the joyful cheeriness of "The Big Sky." Then there is the
EXTD= carefully understated "Mother Stands for Comfort," ("She knows t
EXTD=hat I've been doing something wrong/But she won't say anything.")
EXTD= "Cloudbusting," one of Kate Bush's triumphs, refers to William R
EXTD=eich and his crackpot belief that by manipulating "orgone energy"
EXTD= (energy from orgasms) he could make it rain. Yet the song is a m
EXTD=oving success, with its cello-driven melody, notwithstanding the 
EXTD=fact that in both the song and the video Bush is playing a boy. (
EXTD="Ooh I just know that something good is going to happen/And I don
EXTD='t know when/But just saying it could even make it happen.")\nThe
EXTD=n there is the second side, "The Ninth Wave." The songs are all c
EXTD=learly different from each other, in style and tempo and instrume
EXTD=ntation, and they discuss such subjects as sleeping, ice-skating,
EXTD= witch-hunts, ghosts, Irish jigs, the evening and a statement of 
EXTD=love. But they are all united in their theme about a drowning wom
EXTD=an. It starts off with the apparently soft and increasingly sinis
EXTD=ter "And Dream of Sheep." ("Like poppies, heavy with seed/They ta
EXTD=ke me deeper and deeper"). Then there is the short, effective and
EXTD= quite chilling violin driven "Under Ice." The dramatic "Waking t
EXTD=he Witch" follows, where Bush is confronted by a demonic inquisit
EXTD=or and which contains the aforementioned Pink Floyd reference, a 
EXTD=forceful drumbeat as well as a brief sequence of bells. But the b
EXTD=est cut is "Watching you Without Me," about the strange ghostlike
EXTD= presence, which is my favourite Kate Bush song of all. Here her 
EXTD=voice, singing relatively understated material, shows off its tru
EXTD=e power and nuance. Then there is "Jig of Life" as well as "Hello
EXTD= Earth." The latter is the longest song on the album, as it start
EXTD=s off with childish innocence (Hello Earth/With just one hand hel
EXTD=p up high/I can blot you out,) and then moves on to a threatening
EXTD= storm. Finally there is "The Morning Fog," with its simple melod
EXTD=y, relatively simple arrangement and genuine expression of love f
EXTD=or her family. (The 1998 CD includes six other songs, including r
EXTD=emixes of "Running up that Hill" and "The Big Sky." The four unre
EXTD=leased songs are all good, though they do not cohere with the ori
EXTD=ginal album. The best of them is "Burning Bridge.")\n\n\n\nAMAZON
EXTD=.COM CUSTOMER REVIEW\nThe most brilliant mystical masterpiece in 
EXTD=rock, March 14, 2003\nReviewer: A music fan\nAfter the dark, but 
EXTD=inconsistent "The Dreaming", Kate Bush moved onto what was truly 
EXTD=a tale of a spiritual struggle with the marvellous and mysterious
EXTD= "Hounds Of Love". If "The Dreaming" was obsessed with evil power
EXTD=s and their workings, "Hounds Of Love" was truly a tale of a woma
EXTD=n's spiritual experience. Moreover, Kate Bush never failed to be 
EXTD=honest. yet mysterious about the portraits given, especially on t
EXTD=he brilliant opener "Running Up That Hill" and the powerful, ecst
EXTD=atic rocker "The Big Sky".\nIn both these songs the melodic way i
EXTD=n which the dense drumming of Stuart Elliott and Charlie Morgan b
EXTD=lended with Alan Murphy's powerful guitar work was astonishing, a
EXTD=nd the title tune, dealing with a woman's troubles in childhood, 
EXTD=was almost as brilliant, as was the haunting "Mother Stands For C
EXTD=omfort", a reflection on the evil within humanity.\n\nThe second 
EXTD=side, known as "The Ninth Wave" was the tale of a drowning woman 
EXTD=and her experiences from drowning to rescue. Logically arranged, 
EXTD=the songs on this side manage remarkably well to remain as songs.
EXTD=\n\n"And Dream Of Sheep" possessed a remarkable beauty from the m
EXTD=elodic whistles, and the synthesised strings of "Under Ice" posse
EXTD=ssed great dramatic power. "Watching You Without Me" was perhaps 
EXTD=the most mysterious piece of all on an album of Sophianic mystery
EXTD= - one just does not know what is inside Bush's mind in her remot
EXTD=e solitude symbolised by this song. "Hello Earth", highlighted by
EXTD= the line "get out of the waves, get out of the water", gave an a
EXTD=lmost apocalyptic tone to the mystiucal story on "The Ninth Wave"
EXTD=. This is made even more intense by the use of Gregorian chant by
EXTD= the Richard Hickox Singers between more conventionally structure
EXTD=d verses, though given a beautiful tone by Liam O'Flynn's amazing
EXTD= uillean pipes.\n\nThe last track on the original album, "The Mor
EXTD=ning Fog" symbolised a return to the world by the drowning woman 
EXTD=and was the most accessible piece on the whole record. The bonus 
EXTD=tracks (except for the ridiculous extended mix of the amazing "Th
EXTD=e Big Sky") fit in very well with the labums mysterious, almost a
EXTD=pocalyptic tone, notably with the line "you and me against the wo
EXTD=rld" of "Burning Bridge".\n\n"Hounds Of Love", as symbolised by t
EXTD=he purple on its cover, was and is an amazing tale of spiritual w
EXTD=isdom.\n\n\n\nAMAZON.COM CUSTOMER REVIEW\n Kate Bush at Her Artis
EXTD=tic and Commercial Apex, January 7, 2002\nReviewer: Gary F. Taylo
EXTD=r "GFT" (Biloxi, MS USA)\n\nAt first listening, HOUNDS OF LOVE wo
EXTD=uld seem to have little in common with Kate Bush's previous work;
EXTD= in some ways, however, it is a logical extension, for throughout
EXTD= her earlier work she had increasingly fused unlikely instruments
EXTD= with synthesizers while gradually leaving behind certain vocal a
EXTD=ffectations. For HOUNDS OF LOVE she would repeat this, fusing dis
EXTD=tinctly Irish-sounding instruments with synthesizers while contin
EXTD=uing to downplay her extraordinary range to create a remarkably c
EXTD=lean yet multi-layered sound that serves her material remarkably 
EXTD=well. At the same time, she worked her penchant for macabre and b
EXTD=izarre imagery into a much more subtle idiom. The resulting HOUND
EXTD=S OF LOVE seems, to me at least, like a combination of the melodi
EXTD=c delicacy of her earliest recordings with the raw power of her i
EXTD=mmediately previous THE DREAMING.\nHOUNDS OF LOVE breaks into two
EXTD= distinctly separate yet stylistically similar parts, and it is a
EXTD= tribute to Bush's talents that she was able to unify these porti
EXTD=ons in such a way as to make them obviously different in content 
EXTD=without making them feel separate in tone. The first half of the 
EXTD=recording-"Running Up That Hill," "Hounds of Love," "Big Sky," "M
EXTD=other Stands For Comfort," and "Cloudbusting"-are at once indepen
EXTD=dent of each other yet distinctly of the same album, raveling the
EXTD= same musical and lyrical thread. The second half-"And Dream of S
EXTD=heep," "Under Ice," "Waking the Witch," "Watching You Without Me,
EXTD=" "Jig of Life," and "Hello Earth"-are more in the line of a sing
EXTD=le recording from which the individual titles cannot be easily se
EXTD=parated. In these selections, she seems to be telling a story of 
EXTD=her dreamlife, capturing the beautiful and fearsome images that c
EXTD=ome to her in sleep and then awakening to face the new day with t
EXTD=he concluding "Morning Fog." Throughout the recording, Bush seems
EXTD= considerably less interested in vocal gymnastics than in the pas
EXTD=t-although "Big Sky" and "Waking The Witch" certainly make good u
EXTD=se of her remarkable talents in that direction. Her voice is full
EXTD=, rich, and sure, and her bursts into extreme displays of range s
EXTD=eem less a matter of showmanship than of artistic inevitability. 
EXTD=This is Kate Bush shorn of her eccentricities, and she is every b
EXTD=it as remarkable without them as she was when she gave them full 
EXTD=play.\n\nAlthough Bush has always been extremely well regarded in
EXTD= England and in Europe, she was not widely known in the United St
EXTD=ates, where her recordings were deemed too alternative for the ma
EXTD=ss market. With HOUNDS OF LOVE, however, she made a perfect leap 
EXTD=into American commercial success, creating a more popular sound w
EXTD=ithout sacrificing any of her uniqueness in the process. It was a
EXTD=nd remains a remarkable feat, and even some fifteen years after i
EXTD=ts release HOUNDS OF LOVE remains as fresh and as compelling as t
EXTD=he first day it was recorded. A powerful statement by a truly gif
EXTD=ted artist, highly recommended.\n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=A Work of Genius, October 8, 1999\nReviewer: A music fan\nCompari
EXTD=sons to Peter Gabriel's third and fourth albumns are inevitable, 
EXTD=though not entirely apt. Though Kate, like friend and sometimes c
EXTD=ollaborater Gabriel, seems intent on stretching the song form to 
EXTD=its absolute limits, cramming the aural space with myriad bits of
EXTD= shading and drama and replacing mere "moon-june-spoon" lyrics wi
EXTD=th intricately structured (and beautifully calibrated)narratives,
EXTD= Bush displays a far more feminine sensibilty and, thus, her comp
EXTD=ositions are warmer, fuller, more deeply personal. This is her ma
EXTD=sterpiece, coming on the heels of the wildly adventerous "The Dre
EXTD=aming" and years before the more "tasteful"--and less interesting
EXTD=--"Sensual World". The first half of the CD is astonishing, revea
EXTD=ling Bush's mastery of both her songcraft and of the cutting edge
EXTD= (circa 1984/85)electronic devices at her disposal. At this point
EXTD=, the genius of "Running of That Hill" is acknowledged by just ab
EXTD=out everyone. It's hard to imagine any other artist attempting to
EXTD= capture the essence of a woman's oragasm in music and pulling it
EXTD= off with such skill. The fact that it is matched by such numbers
EXTD= as "The Big Sky", "Mother Stands For Comfort" and, especially, t
EXTD=he magnificent and moving "Cloudbusting" only serves to highlight
EXTD= Kate's genius. Capable of conveying complex, at times ambiguous,
EXTD= emotions in intricately structured compositional frameworks, she
EXTD= positions herself as the natural succesor to such innovators as 
EXTD=Laura Nyro and "Hejira" period Joni Mitchell. High praise indeed.
EXTD= The disc's second half, subtitled "The Ninth Wave" is a staggeri
EXTD=ng contemplation on drowning and the afterlife, incorporating suc
EXTD=h seemigly divergent elements as Celtic bagpipes, ambient sound e
EXTD=ffects, multi-tracked voice-overs, hard rock guitars and Tibetan 
EXTD=chanting to form a cohesive, compelling whole. Richly symbolic an
EXTD=d utterly convincing (to the best of my knowledge, Kate has never
EXTD= had a near-death experience, though, from the evidence here, it 
EXTD=sure sounds like it) this section is "art rock" in the best sense
EXTD= of the word: experimental, audacious, and grippingly original. E
EXTD=ven in a career rife with superb albums, Kate has never before or
EXTD= after matched this album for sheer mastery of form or sense of p
EXTD=urpose. A work of genius, to be sure, and one of the landmark rec
EXTD=ords of the 1980's.\n\n\nHalf.com Details \nContributing artists:
EXTD= Bill Whelan, Donal Lunny, Eberhard Weber, John Williams, Liam O'
EXTD=Flynn, Michael Kamen \nProducer: Kate Bush \n\nAlbum Notes\nPerso
EXTD=nnel: Kate Bush (vocals, piano, synthesizer); Bill Whelan, Michae
EXTD=l Kamen (arranger); Alan Murphy, Brian Bath, John Williams (guita
EXTD=r); Donal Lunny (bouzouki); John Sheaham (fiddle, whistles); Padd
EXTD=y Bush (violin, fujare, dijeridu, balalaika, background vocals); 
EXTD=Jonathan Williams (cello); Liam O'Flynn (Uilleann pipes); Kevin M
EXTD=cAlea (synthesizer); Del Palmer (bass, background vocals); Eberha
EXTD=rd Weber, Danny Thompson (bass); Morris Pert (percussion); Stuart
EXTD= Elliot, Charlie Morgan (drums); Brian Bath, John Carder Bush (ba
EXTD=ckground vocals).\n\nAdditional personnel: The Medicci Sextet, Th
EXTD=e Richard Hickox Singers.\nEngineers: Del Palmer, Haydn Bendall, 
EXTD=Brian Tench.\nPersonnel: Kate Bush; John Williams , Youth.\n\nRec
EXTD=ording information: Abbey Road, London, England (1985); Windmill 
EXTD=Lane, Dublin, Ireland.\n\nThough not the most prolific of album a
EXTD=rtists, Kate Bush's works make up in impact what they lack in fre
EXTD=quency. Her style and material has always been unique, eccentric 
EXTD=even, but HOUNDS OF LOVE is probably the strongest mix of control
EXTD=led musical experimentation and lyrical expression. It deals with
EXTD= big issues--childhood fantasy and trauma, conflict, sexuality--b
EXTD=ut rarely lapses into pretension. The intense arrangements are pe
EXTD=rfectly matched to the subjects: "Running Up That Hill" is climac
EXTD=tically erotic, "Cloudbusting" broodingly triumphant, while "The 
EXTD=Big Sky" is just big. And it's all her own work.\n\nIndustry Revi
EXTD=ews\nRanked #44 in AP's list of the 'Top 99 Of '85-'95' - ...HOUN
EXTD=DS OF LOVE introduce[s] a more streamlined sound, keyed to the re
EXTD=lentless beat of [songs like] 'Running Up That Hill' and 'Cloudbu
EXTD=sting'...\nAlternative Press (07/01/1995)\n\n\n\nROLLING STONE RE
EXTD=VIEW\nStill a precocious, coddled child at twenty-seven, Kate Bus
EXTD=h loses herself in daydreams and then turns them into songs. This
EXTD= can take some time: Hounds of Love is her first LP in three year
EXTD=s, and the textural detail suggests she was working the whole tim
EXTD=e. Since the album was planned as part of a video project, Bush's
EXTD= wide-screen composing and producing style and the vivid instrume
EXTD=ntal support make her Carrollian carols seem like a movie soundtr
EXTD=ack that challenges you to provide the missing scenes.\n\n"Runnin
EXTD=g up That Hill (A Deal with God)" has become her first Top Forty 
EXTD=single in the U.S. (in the U.K., Kate rules as Madonna does here)
EXTD=, but it's not more melodic than some of the other songs ("And Dr
EXTD=eam of Sheep" could be a huge, if bizarre, hit for Barry Manilow)
EXTD=, just less complex. Making full use of her four-octave soprano a
EXTD=nd brother Paddy's ethnomusicological abilities (he plays dijerid
EXTD=u, balalaika and fujare on the LP), the Mistress of Mysticism has
EXTD= woven another album that both dazzles and bores.\n\nLike the Bea
EXTD=tles on their later albums, Bush is not concerned about having to
EXTD= perform the music live, and her orchestrations swell to the limi
EXTD=ts of technology. But unlike the Beatles, Bush often overdecorate
EXTD=s her songs with exotica. There are sound effects, spoken passage
EXTD=s and her own Fairlight squonks fluidly choreographed with a web 
EXTD=of bodhran, bouzouki, fiddles, whistles, uillean pipes, choirs an
EXTD=d string sections. There are also electronic mutations of guitar,
EXTD= bass and drums that are matched only by Brian Eno's rock product
EXTD=ions.\n\nBush's sound collages make appropriate settings for her 
EXTD=themes of transcendence: in "Under Ice," she seems like a panicke
EXTD=d fish; "The Big Sky" and "Hello Earth" find her walking on the m
EXTD=oon; and in "Watching You without Me," she's an eavesdropping gho
EXTD=st able to sing Middle Eastern drones. Her most unsettling out-of
EXTD=-body experience is "Waking the Witch," a nightmarish political p
EXTD=arable of how the devil sometimes hides in God's clothing. But Ho
EXTD=unds of Love requires a lyric sheet and a footnote appendix -- th
EXTD=e B side is a twenty-five-minute fantasy suite inspired by Celtic
EXTD= mythology, and the Oedipal puns of "Cloudbursting" (and maybe "M
EXTD=other Stands for Comfort") refer to the writings of Wilhelm Reich
EXTD='s son Peter.\n\nThere's no arguing that Bush is extraordinarily 
EXTD=talented, but as with Jonathan Richman, rock's other eternal kid,
EXTD= her vision will seem silly to those who believe children should 
EXTD=be seen and not heard. (RS 467 - Feb 13, 1986)  -- ROB TANNENBAUM
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