Hounds of Love is the fifth studio album by English singer-songwriter and musician Kate Bush, released by EMI Records on 16 September 1985. It was a commercial success and marked a return to the public eye for Bush after the relatively poor sales of her previous album, 1982's The Dreaming. The album's lead single, "Running Up That Hill", became one of Bush's biggest hits. The album's first side produced three further successful singles, "Cloudbusting", "Hounds of Love", and "The Big Sky".
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Hounds of Love proved there were no compositional mountains Bush couldn’t climb. While the second side asserted her vanguard bent, the first side yielded four UK Top 40 hits. Neither synth-pop nor prog-rock, Hounds of Love nevertheless drew from both with double-platinum rewards on her home turf, and yielded her first . hits, even without a tour. And its idiosyncrasies have only fueled Hounds ’ lingering influence: Florence and the Machine cribs its Gothic angst. Anohni mirrors its animal divinity. St. Vincent draws from its sexual politics and sonic precision.
The Filth Hounds, Newcastle upon Tyne.
Hounds of Love is the fifth studio album by singer, songwriter and producer Kate Bush. Widely considered her magnum opus, it lit another rocket under Bush’s career (following the she’s gone mad response of her previous record) and went onto finally break the US market alongside becoming her best-selling album. Split across 2 discs, the album incorporates 2 very different sections. The first to be recorded in Bush’s own home studio, the album is a drastic departure from The Dreaming. Featuring more honed production and techniques, it allowed Bush to leave the bustle of London and retreat back into the countryside, away from the grips of her label EMI. Instead of crowded cityscapes, songs were written gazing across scenery and allowed the harsh mankind’s screwing things up energy to depart in favour of a more positive one.
Hounds of Love is actually a two-part album (the two sides of the original LP release being the now-lost natural dividing line), consisting of the suites "Hounds of Love" and "The Ninth Wave. The former is steeped in lyrical and sonic sensuality that tends to wash over the listener, while the latter is about the experiences of birth and rebirth. experimentation at every turn, in the little details of the sound. That vastly divergent grasp, from the minutiae of each song to the broad sweeping arc of the two suites, all heavily ornamented with layered instrumentation, makes this record wonderfully overpowering as a piece of pop music. since Abbey Road, and it's pretty plain that Bush listened to (and learned from) a lot of the Beatles' output in her youth.
|A1||I Can't Grow Peaches On A Cherry Pie|
|A2||The Gipsy Cried|
|A3||If Time Stood Still|
|A4||Old Man In New York|
|A5||A Day In The Life Of A Fool|
|A6||What's He Got That I Ain't Got|
|B1||I'll Take You Where The Music's Playing|
|B2||A Summer Song|
|B4||The Office Girl|
|B5||Never Try To Catch The Sun|
|B6||Hi-Ho Silver Lining|
- Record Company – Sonet Grammofon AB
- Engineer – Michael B. Tretow
Barcode and Other Identifiers
- Matrix / Runout (Label, A-side): 1209 A
- Matrix / Runout (Label, B-side): 1209 B
- Rights Society (Boxed): NCB
|SXS 3730||The Hounds||From The Hounds With Love (LP, Album)||Stone Records||SXS 3730||Canada||1967|