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However, it was subsequently released on Kate Bush’s album Hounds of Love with the title Running Up That Hill (A Deal with God). But even this highly conceptual sprawl is grounded by arresting images: “There’s a ghost in our home just watching you without me,” she breathes on “Watching You Without Me.” With Hounds of Love, Kate Bush ascended from oddball genius to master alchemist, transmuting her most outré impulses into something irresistible. This was due to Bush’s management’s belief that certain market would be offended by such a song with God in its title. On 10 June, The Whole Story rose from number 76 to number 19 on the UK Albums Chart, 143 peaking a week later at number 17. Kate Bush 's strongest album to date also marked her breakthrough into the American charts, and yielded a set of dazzling videos as well as an enviable body of hits, spearheaded by 'Running Up That Hill,' her biggest single since 'Wuthering Heights.' Strangely enough, Hounds of Love was no less complicated in its. And she ran with the freedom those frontloaded hits gave her: Side B is a suite about a sailor that revels in the uncoolness of Irish jigs and the campy call-and-responses of musical theater. Hounds of Love also rose in popularity on various album charts, with it reaching number 1 on Billboards Top Alternative Albums chart, making it Bushs first US chart-topping album in her career. She also found room to explore her literary obsessions amid the ringing choruses: “Cloudbusting” draws on a memoir by the son of Freud acolyte Wilhelm Reich, wrapping its allusions around pliant vocals that soar like birdsong and curl in on themselves with feline grace. A paean to love of all kinds-and, most of all, to love of life-it reeled in listeners with an opening half stuffed with buoyant singles like “The Big Sky” and “Running Up That Hill (A Deal With God),” which dreamed of empathy across lines of identity and circumstance. Self-confessed Kate Bush mega-fan, Outkast’s Big Boi, gave a surprisingly philosophical, breakdown of the track to Pitchfork just last year check it out here. The result was Hounds of Love, which remains both the best Kate Bush album and the most Kate Bush album. The track first appeared on her 1985 Hounds of Love LP and has since been covered by dozens of artists, including Tori Amos and Placebo.
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After emerging as a loner teen prodigy in 1978, with a love anthem howled in the voice of Wuthering Heights’ heroine, she kept the weirdness cranked up to 11 after achieving fame and soon drifted far enough from the mainstream to alienate early fans.Īt that pivotal juncture, Bush decamped to a farmhouse in the country-not to fade into obscurity, but to make hits without compromising her idiosyncrasies. Then there was Kate Bush, an artist whose music shared elements with most of these but who never had much use for genres or cliques. In the decade after punk wrecked itself, British rock splintered into tiny, overlapping scenes: goth and industrial, prog survivors and art-rock innovators, a dozen strains of post-punk, New Romantics and New Pop and synthpop and dream pop.