Kate Bush: Hounds Of Love (Mini LP CD Packaging) CD Track Listing

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Kate Bush Hounds Of Love (Mini LP CD Packaging) (1985)
Hounds Of Love (Mini LP CD Packaging)\n\nOriginally Released 1985\nCD Edition Released \nRemastered + Expanded CD Edition Released June 30, 1998 \nJapanese Mini-LP CD Edition Released November 10, 2005\n\nAMG EXPERT REVIEW: Kate Bush's strongest album to date marked her breakthrough into the American charts, and yielded a set of dazzling videos. The material ranges from the sensual ("Hounds of Love," "Running up That Hill" -- the latter one of the most sensual recordings ever made) to the mystical ("Hello Earth," "The Morning Fog"). This was also the first album produced by Bush entirely at her own home studio, and the results are spellbinding, the layered instruments recalling the Beatles at their most ornate, but also displaying an exquisite timbrel range, bringing out the richness of the individual instruments. [In 1997, as a part of EMI's 100th anniversary, Hounds of Love was reissued, augmented with a bunch of rare singles, B-sides, outtakes, and more from the same period.] -- Bruce Eder\n\nAmazon.com Editorial Review\nFew 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 \n\n\n\nAMAZON.COM CUSTOMER REVIEW\ntheres a lot, maybe too much, going on here, September 9, 2006\nReviewer: Scott B. Saul "opinionated, yet truthful, music critic" (COOPER CITY, FL USA)\nI like this cd but I do not love it. I never understood why this is the most beloved by her fanatical fans. The cd is too busy with too many sounds going on. The lack of songs makes it hard to listen to repeatedly. This would be hard to put in your car and listen to over and over again. \n\nAs for purely good songs, I count 4. "Running up the Hill" kicks off the album, has a throbbing, tribal drumbeat, and is the strongest track. "Big Sky" utilizes Bushes etheral voice and passionate vocals. "Cloudbursting" is interesting, had a pretty cool video with Donald Sutherland, and creates a weird drama to the song. "Dream of Sheep" is a sensual, quite song. \n\nI have always thought that this cd is more interesting rather than being a collection of great songs. Kate Bush is an acquired taste...she is not for everybody. \n\nThis cd is good when you are using headphones and get to hear all the little strange noises, groans and yelps by Bush. This is not music to crank up in a car. \n\nI have always liked her debut "Kick Inside" the best b/c I feel that is her most organic, conventional work. \n\nWhile Kate Bush is a very talented artist, she is also really eccentric. Many of her fans that rave about her work are also eccentric and therefore over exagerate the quality of her work. They love Kate Bush and all her mysterious romance as opposed to just loving her music. \n\n\n\nAMAZON.COM CUSTOMER REVIEW\nGenerally haunting favourite of both casual and serious fans, March 19, 2005\nReviewer: V. E. Beard "The Muse-wail Interpreter" (Nottingham, UK)\n \n"Hounds Of Love" by Kate Bush \nGenres: Rock, Prog-Rock/Art Rock, Alternative Pop/Rock, College Rock \nRelease Date: 1997(1985-6,1988) \n\nThis entirely self-written and produced album was a huge success for Kate both in England and overseas, the single "Running Up That Hill (A Deal With God)" being a hit in America. She produced it all inside her own private studio at her house in England, and when released in September of 1985, it knocked Madonna's "Like A Virgin" off the top of the album charts. \n\nThe success is understandable, as this is Kate's best album to date. However the two halves of it are very different. There is the first half of the album entitled "Hounds Of Love" and features the more commercial, pop-orientated arrangements and tunes on the album. The second half is a mini concept album called "The Ninth Wave" in which Kate tells the story of a drowning woman which may end with her surviving and waking up, or dying and being reborn. This was extremely ground-breaking and sounds like nothing else that came out of the '80s and is therefore not dated in the least today. It's a shame that movie plans for this concept fell through. Everyone who brought this album the first time around probably brought it for the four hit songs packed on side one, the only non-single being a strange song ("Mother Stands For Comfort" that would only be out of place with the rest of "The Ninth Wave" for the mood ring synthesizers. It too could have been a hit single with the crashing glass sounds (used also on "Running Up That Hill" and an earlier Kate masterpiece "Babooshka"), cold piano, and warm electronic waves. All four singles are spectacular, and even groundbreaking on "Cloudbusting", a beautiful if not instantly catchy number full of strings and heavy drums about a machine that makes it rain. Kate rocks out on "Hounds Of Love" and "The Big Sky" and performs with sensual and energetic catharticity on "Running Up That Hill". Full, bewitching and layered pop/rock is not where the album description ends. \n\nRiding the death-whale that is "The Ninth Wave" Kate moves on to haunting territory with the sentimental sounding "And Dream Of Sheep" (Kate sings and plays the piano beautifully) that leads onto the tense and brilliant "Under Ice" which stirs up the imagery of a snowy day with a tragic accident waiting underneath the ice on the lake, through to the calm but ominous and eventually terrifying "Waking The Witch", then onto the mellow "Watching You Without Me". Sampling is used very expertly on all of those tracks. Kate then experiments further with the Irish sounds used on 1982's "The Dreaming" album with the dramatic, unforgettably epic "Jig Of Life" (Complete with recited poetry by her brother John during the climax). Then the creepy "Hello Earth" breathes down your neck like a scene out of "Nosferatu" during the dark cathedral chants before Kate is reborn in some way through the light and bouncy "The Morning Fog". \n\nArguably the best and most enduring album released in the 1980's, this is widely regarded as Kate's masterpiece. It shows off all her best qualities and in their best light. The British reissue in 1997 by EMI adds 2 uneventful remixes (although the commentaries on the appearances of clouds by the disguised voices of Kate and her brother on "The Big Sky" remix are enjoyable to listen to) and a few B-sides, "Under The Ivy" and the beautiful a-capella rendition of the traditional myth-song "My Lagan Love" standing out more than anything. Someone should have told EMI that 1988's "Be Kind To My Mistakes", although good, would have made a better inclusion on a future re-issue of 1989's "The Sensual World". "The Handsome Cabin Boy" or "Not This Time" would have been better. Also, the Orgonon remix of "Cloudbusting" should have been used rather than the extended 12" remix of "Running Up That Hill" \n\nBest Tracks: Every single one. "Running Up That Hill (A Deal With God)" is the most catchy, and "Under Ice" the most instantly memorable from "The Ninth Wave". The B-side gems "Under The Ivy" & "My Lagan Love" a impress greatly.\n\n\n\nAMAZON.COM CUSTOMER REVIEW\nOne of the truly great eighties albums, March 4, 2004\nReviewer: pnotley@hotmail.com (Edmonton, Alberta Canada)\n\n"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.")\nThen there is the second side, "The Ninth Wave." The songs are all clearly different from each other, in style and tempo and instrumentation, and they discuss such subjects as sleeping, ice-skating, witch-hunts, ghosts, Irish jigs, the evening and a statement of love. But they are all united in their theme about a drowning woman. It starts off with the apparently soft and increasingly sinister "And Dream of Sheep." ("Like poppies, heavy with seed/They take me deeper and deeper"). Then there is the short, effective and quite chilling violin driven "Under Ice." The dramatic "Waking the Witch" follows, where Bush is confronted by a demonic inquisitor and which contains the aforementioned Pink Floyd reference, a forceful drumbeat as well as a brief sequence of bells. But the best cut is "Watching you Without Me," about the strange ghostlike presence, which is my favourite Kate Bush song of all. Here her voice, singing relatively understated material, shows off its true power and nuance. Then there is "Jig of Life" as well as "Hello Earth." The latter is the longest song on the album, as it starts off with childish innocence (Hello Earth/With just one hand help up high/I can blot you out,) and then moves on to a threatening storm. Finally there is "The Morning Fog," with its simple melody, relatively simple arrangement and genuine expression of love for her family. (The 1998 CD includes six other songs, including remixes of "Running up that Hill" and "The Big Sky." The four unreleased songs are all good, though they do not cohere with the original album. The best of them is "Burning Bridge.")\n\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe most brilliant mystical masterpiece in rock, March 14, 2003\nReviewer: A music fan\nAfter the dark, but inconsistent "The Dreaming", Kate Bush moved onto what was truly a tale of a spiritual struggle with the marvellous and mysterious "Hounds Of Love". If "The Dreaming" was obsessed with evil powers and their workings, "Hounds Of Love" was truly a tale of a woman's spiritual experience. Moreover, Kate Bush never failed to be honest. yet mysterious about the portraits given, especially on the brilliant opener "Running Up That Hill" and the powerful, ecstatic rocker "The Big Sky".\nIn both these songs the melodic way in which the dense drumming of Stuart Elliott and Charlie Morgan blended with Alan Murphy's powerful guitar work was astonishing, and the title tune, dealing with a woman's troubles in childhood, was almost as brilliant, as was the haunting "Mother Stands For Comfort", a reflection on the evil within humanity.\n\nThe second side, known as "The Ninth Wave" was the tale of a drowning woman and her experiences from drowning to rescue. Logically arranged, the songs on this side manage remarkably well to remain as songs.\n\n"And Dream Of Sheep" possessed a remarkable beauty from the melodic whistles, and the synthesised strings of "Under Ice" possessed great dramatic power. "Watching You Without Me" was perhaps the most mysterious piece of all on an album of Sophianic mystery - one just does not know what is inside Bush's mind in her remote solitude symbolised by this song. "Hello Earth", highlighted by the line "get out of the waves, get out of the water", gave an almost apocalyptic tone to the mystiucal story on "The Ninth Wave". This is made even more intense by the use of Gregorian chant by the Richard Hickox Singers between more conventionally structured verses, though given a beautiful tone by Liam O'Flynn's amazing uillean pipes.\n\nThe last track on the original album, "The Morning Fog" symbolised a return to the world by the drowning woman and was the most accessible piece on the whole record. The bonus tracks (except for the ridiculous extended mix of the amazing "The Big Sky") fit in very well with the labums mysterious, almost apocalyptic tone, notably with the line "you and me against the world" of "Burning Bridge".\n\n"Hounds Of Love", as symbolised by the purple on its cover, was and is an amazing tale of spiritual wisdom.\n\n\n\nAMAZON.COM CUSTOMER REVIEW\n Kate Bush at Her Artistic and Commercial Apex, January 7, 2002\nReviewer: Gary F. Taylor "GFT" (Biloxi, MS USA)\n\nAt 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.\nHOUNDS 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. In these selections, she seems to be telling a story of her dreamlife, capturing the beautiful and fearsome images that come to her in sleep and then awakening to face the new day with the concluding "Morning Fog." Throughout the recording, Bush seems considerably less interested in vocal gymnastics than in the past-although "Big Sky" and "Waking The Witch" certainly make good use of her remarkable talents in that direction. Her voice is full, rich, and sure, and her bursts into extreme displays of range seem less a matter of showmanship than of artistic inevitability. This is Kate Bush shorn of her eccentricities, and she is every bit as remarkable without them as she was when she gave them full play.\n\nAlthough Bush has always been extremely well regarded in England and in Europe, she was not widely known in the United States, where her recordings were deemed too alternative for the mass market. With HOUNDS OF LOVE, however, she made a perfect leap into American commercial success, creating a more popular sound without sacrificing any of her uniqueness in the process. It was and remains a remarkable feat, and even some fifteen years after its release HOUNDS OF LOVE remains as fresh and as compelling as the first day it was recorded. A powerful statement by a truly gifted artist, highly recommended.\n\n\nAMAZON.COM CUSTOMER REVIEW\nA Work of Genius, October 8, 1999\nReviewer: A music fan\nComparisons to Peter Gabriel's third and fourth albumns are inevitable, though not entirely apt. Though Kate, like friend and sometimes collaborater Gabriel, seems intent on stretching the song form to its absolute limits, cramming the aural space with myriad bits of shading and drama and replacing mere "moon-june-spoon" lyrics with intricately structured (and beautifully calibrated)narratives, Bush displays a far more feminine sensibilty and, thus, her compositions are warmer, fuller, more deeply personal. This is her masterpiece, coming on the heels of the wildly adventerous "The Dreaming" and years before the more "tasteful"--and less interesting--"Sensual World". The first half of the CD is astonishing, revealing Bush's mastery of both her songcraft and of the cutting edge (circa 1984/85)electronic devices at her disposal. At this point, the genius of "Running of That Hill" is acknowledged by just about everyone. It's hard to imagine any other artist attempting to capture the essence of a woman's oragasm in music and pulling it off with such skill. The fact that it is matched by such numbers as "The Big Sky", "Mother Stands For Comfort" and, especially, the magnificent and moving "Cloudbusting" only serves to highlight Kate's genius. Capable of conveying complex, at times ambiguous, emotions in intricately structured compositional frameworks, she positions herself as the natural succesor to such innovators as Laura Nyro and "Hejira" period Joni Mitchell. High praise indeed. The disc's second half, subtitled "The Ninth Wave" is a staggering contemplation on drowning and the afterlife, incorporating such seemigly divergent elements as Celtic bagpipes, ambient sound effects, multi-tracked voice-overs, hard rock guitars and Tibetan chanting to form a cohesive, compelling whole. Richly symbolic and utterly convincing (to the best of my knowledge, Kate has never had a near-death experience, though, from the evidence here, it sure sounds like it) this section is "art rock" in the best sense of the word: experimental, audacious, and grippingly original. Even in a career rife with superb albums, Kate has never before or after matched this album for sheer mastery of form or sense of purpose. A work of genius, to be sure, and one of the landmark records of the 1980's.\n\n\nHalf.com Details \nContributing artists: Bill Whelan, Donal Lunny, Eberhard Weber, John Williams, Liam O'Flynn, Michael Kamen \nProducer: Kate Bush \n\nAlbum Notes\nPersonnel: Kate Bush (vocals, piano, synthesizer); Bill Whelan, Michael Kamen (arranger); Alan Murphy, Brian Bath, John Williams (guitar); Donal Lunny (bouzouki); John Sheaham (fiddle, whistles); Paddy Bush (violin, fujare, dijeridu, balalaika, background vocals); Jonathan Williams (cello); Liam O'Flynn (Uilleann pipes); Kevin McAlea (synthesizer); Del Palmer (bass, background vocals); Eberhard Weber, Danny Thompson (bass); Morris Pert (percussion); Stuart Elliot, Charlie Morgan (drums); Brian Bath, John Carder Bush (background vocals).\n\nAdditional personnel: The Medicci Sextet, The Richard Hickox Singers.\nEngineers: Del Palmer, Haydn Bendall, Brian Tench.\nPersonnel: Kate Bush; John Williams , Youth.\n\nRecording information: Abbey Road, London, England (1985); Windmill Lane, Dublin, Ireland.\n\nThough not the most prolific of album artists, Kate Bush's works make up in impact what they lack in frequency. Her style and material has always been unique, eccentric even, but HOUNDS OF LOVE is probably the strongest mix of controlled musical experimentation and lyrical expression. It deals with big issues--childhood fantasy and trauma, conflict, sexuality--but rarely lapses into pretension. The intense arrangements are perfectly matched to the subjects: "Running Up That Hill" is climactically erotic, "Cloudbusting" broodingly triumphant, while "The Big Sky" is just big. And it's all her own work.\n\nIndustry Reviews\nRanked #44 in AP's list of the 'Top 99 Of '85-'95' - ...HOUNDS OF LOVE introduce[s] a more streamlined sound, keyed to the relentless beat of [songs like] 'Running Up That Hill' and 'Cloudbusting'...\nAlternative Press (07/01/1995)\n\n\n\nROLLING STONE REVIEW\nStill a precocious, coddled child at twenty-seven, Kate Bush loses herself in daydreams and then turns them into songs. This can take some time: Hounds of Love is her first LP in three years, and the textural detail suggests she was working the whole time. Since the album was planned as part of a video project, Bush's wide-screen composing and producing style and the vivid instrumental support make her Carrollian carols seem like a movie soundtrack that challenges you to provide the missing scenes.\n\n"Running up That Hill (A Deal with God)" has become her first Top Forty single in the U.S. (in the U.K., Kate rules as Madonna does here), but it's not more melodic than some of the other songs ("And Dream of Sheep" could be a huge, if bizarre, hit for Barry Manilow), just less complex. Making full use of her four-octave soprano and brother Paddy's ethnomusicological abilities (he plays dijeridu, balalaika and fujare on the LP), the Mistress of Mysticism has woven another album that both dazzles and bores.\n\nLike the Beatles on their later albums, Bush is not concerned about having to perform the music live, and her orchestrations swell to the limits of technology. But unlike the Beatles, Bush often overdecorates her songs with exotica. There are sound effects, spoken passages and her own Fairlight squonks fluidly choreographed with a web of bodhran, bouzouki, fiddles, whistles, uillean pipes, choirs and string sections. There are also electronic mutations of guitar, bass and drums that are matched only by Brian Eno's rock productions.\n\nBush's sound collages make appropriate settings for her themes of transcendence: in "Under Ice," she seems like a panicked fish; "The Big Sky" and "Hello Earth" find her walking on the moon; and in "Watching You without Me," she's an eavesdropping ghost able to sing Middle Eastern drones. Her most unsettling out-of-body experience is "Waking the Witch," a nightmarish political parable of how the devil sometimes hides in God's clothing. But Hounds of Love requires a lyric sheet and a footnote appendix -- the B side is a twenty-five-minute fantasy suite inspired by Celtic mythology, and the Oedipal puns of "Cloudbursting" (and maybe "Mother Stands for Comfort") refer to the writings of Wilhelm Reich's son Peter.\n\nThere's no arguing that Bush is extraordinarily talented, but as with Jonathan Richman, rock's other eternal kid, her vision will seem silly to those who believe children should be seen and not heard. (RS 467 - Feb 13, 1986) -- ROB TANNENBAUM
This rock cd contains 12 tracks and runs 47min 30sec.
Freedb: a40b200c
Buy: from Amazon.com

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