It could be said that very few albums/records are perfect. There are thousands of good albums, and compositions; many great works spanning decades. But, “perfect” is something one could rarely apply to any of them. Usually, there will be a weak part here or there. Maybe, sometimes, one of the songs will not be quite up to the standard of the rest. Even Genesis, one of my favorite bands, who successfully crafted ambitious works, often in the style of prog-rock, do not have an album I would consider perfect. The guitarist from Genesis famously said that he thinks they, the band, are lucky not to have a “definitive” record. And bands like Queen come close with a work such as A Night at the Opera, but there’s still a weak bit here and there. It’s a great record but not “perfect.”
If Pink Floyd’s Dark Side of the Moon could be considered one of the few “perfect” albums of the 70s, with every piece and part put together in such a manner to create the balanced cohesiveness without blemish or weakness for any second of the album, I would say that Kate Bush’s Hounds of Love could be considered one of the few perfect albums of the 80s. Like Dark Side, it’s perfectly crafted for maximum effect, meaning, musically cohesive and brilliant. Not to mention, it is an amazing work of art. Not one second should or could be changed, added, or taken away, to make it any better than it is.
Hounds is Kate’s 5th album. I believe it took her at least a year or more to create and perfect it. She had been very successful early in her career, and though the album preceding Hounds, The Dreaming, is an amazing work in its self, (as well as a good indicator of what was to come next) she had dipped a little in the consciousness of the musical public. People did not know if Kate would still remain a major artist. Then, in 1985, she dropped the bombshell that was The Hounds of Love, and she was, if not already, immortalized as a major artist. She was always very good, but this album took everything to a new level.
Like Dark Side, Hounds is divided into two halves (as all albums in those days had to be), but unlike Dark Side, which plays like one continuous song from start to finish (both sides included), each side of Hounds is distinctly different. Side one, Hounds of Love, is a collection of individual songs. Though many might say it’s Kate’s way of working together unrelated ideas as well as give the record company the possibility of some “hits,” a closer listen will reveal that each individual song flows together perfectly, and each are an amazing work in of themselves. The 2nd side, The Ninth Wave, is where the album is elevated to the status of greatness. This is not simply a collection of songs but one cohesive vision, and it plays (listener take note) seamlessly from start to finish like one long song.
If Pink Floyd’s Dark Side of the Moon could be considered one of the few “perfect” albums of the 70s, with every piece and part put together in such a manner to create the balanced cohesiveness without blemish or weakness for any second of the album, I would say that Kate Bush’s Hounds of Love could be considered one of the few perfect albums of the 80s. Like Dark Side, it’s perfectly crafted for maximum effect, meaning, musically cohesive and brilliant. Not to mention, it is an amazing work of art. Not one second should or could be changed, added, or taken away, to make it any better than it is.
Hounds is Kate’s 5th album. I believe it took her at least a year or more to create and perfect it. She had been very successful early in her career, and though the album preceding Hounds, The Dreaming, is an amazing work in its self, (as well as a good indicator of what was to come next) she had dipped a little in the consciousness of the musical public. People did not know if Kate would still remain a major artist. Then, in 1985, she dropped the bombshell that was The Hounds of Love, and she was, if not already, immortalized as a major artist. She was always very good, but this album took everything to a new level.
Like Dark Side, Hounds is divided into two halves (as all albums in those days had to be), but unlike Dark Side, which plays like one continuous song from start to finish (both sides included), each side of Hounds is distinctly different. Side one, Hounds of Love, is a collection of individual songs. Though many might say it’s Kate’s way of working together unrelated ideas as well as give the record company the possibility of some “hits,” a closer listen will reveal that each individual song flows together perfectly, and each are an amazing work in of themselves. The 2nd side, The Ninth Wave, is where the album is elevated to the status of greatness. This is not simply a collection of songs but one cohesive vision, and it plays (listener take note) seamlessly from start to finish like one long song.
Side A: Hounds of Love
Kate had been experimenting with the Fairlight for many years, and began with Hounds to write some songs, in a similar way to Peter Gabriel’s Security, around rhythms and loops. This was cutting edge at the time. Brian Eno and others of his time created music similar to this in the 70s. Talkingheads had a couple amazing records in the early 80s, aided by Eno, where rhythm and atmosphere took the front seat, but they mostly still used analogue instruments. Kate and Gabriel, among others, in the early 80s, with the aid of technology, started actually programming and sampling. The result for Hounds is a completely new sound for Kate. If I were a songwriter, and I am not, I would feel limited by repeating a single rhythm or loop throughout a song. But for those like Kate Bush, who are extremely talented songwriters, it provided a new creative tool. Every beat, every synth sound, every instrument on Hounds is carefully crafted for a completely unique sound and atmosphere.
Kate had been experimenting with the Fairlight for many years, and began with Hounds to write some songs, in a similar way to Peter Gabriel’s Security, around rhythms and loops. This was cutting edge at the time. Brian Eno and others of his time created music similar to this in the 70s. Talkingheads had a couple amazing records in the early 80s, aided by Eno, where rhythm and atmosphere took the front seat, but they mostly still used analogue instruments. Kate and Gabriel, among others, in the early 80s, with the aid of technology, started actually programming and sampling. The result for Hounds is a completely new sound for Kate. If I were a songwriter, and I am not, I would feel limited by repeating a single rhythm or loop throughout a song. But for those like Kate Bush, who are extremely talented songwriters, it provided a new creative tool. Every beat, every synth sound, every instrument on Hounds is carefully crafted for a completely unique sound and atmosphere.
The album starts off with Running up That Hill, or as Kate would rather call it, A Deal With God. It fades in with a chord that persists in the background for the duration of the song. Soon to follow are the drums and rhythm section. Then, the very unique, perfectly placed, subtle, and beautiful synth melody picks up. The song seems limited on first listen, but somehow it gets stuck in your head. It’s very original. No other song sounds anything like it. It’s a song about the difficulty of communication between men and women and the resulting disconnect. It is frequently a source of conflict in life, and Kate perfectly explains this constant misunderstanding between the sexes. She acknowledges that there’s no way to really understand the other’s point of view unless you could actually become that person for a while. This is not just true of men and women, but it often rings true for all people. We are put on the earth as individuals with different experiences and ways of thinking. As empathetic as one might be, as much as one might try to understand the point of view of another, it’s impossible to really know the experience without becoming the other person. We can say not to judge someone else unless we walk around in their shoes, but, as Kate explains, it goes far deeper. We would have to walk around in one’s body and mind. Kate says if only God would allow us to switch places, then we would not have this conflict created by misunderstanding. Her insight is strikingly accurate and personal. Though she mourns a difficult, universal experience, she does not offer a real life solution. I believe God can still build bridges between people without us having to change places. Despite conflict and misunderstanding, we can forgive and accept individuals. Running Up That Hill became an international hit for Kate. It is, if nothing else, a beautiful song.
The second song on side one is Hounds of Love. I believe I heard Kate was watching a TV program where a young girl was being chased by dogs, as a fox is chased during a traditional fox hunt. Kate took the idea and applied it to the fear of love, attachment, and commitment. The Hounds are a symbol of the love that is chasing her through the woods. She is afraid, so she runs. But, unlike a fox hunt, if she is caught, the result is positive.
Song three is The Big Sky. Like the previous two songs, it’s written around a rhythm and a consistent sonic coloring. It is an enjoyable song, almost sounding as big as the sky she is trying to describe.
In the 4th song, Mother Stands for Comfort, Kate confronts the “unconditional love” and rose-colored lens a mother has for her children. Even if the son is a murderer, the son’s mother will see the best in him and sometimes even hide him or try to protect him. Here we are forced to think of the negative aspects of this unconditional love of motherhood. Usually a good thing, sometimes it can be bad for the child and the child’s victim. If she really loved her son, would she not turn him in to protect him from himself? Musically, this song, though it flows perfectly with the rest on side one, gives the listener a break from the more upbeat rhythms of the first 3 songs. There is still a repetitive drum line, but here the lovely bass comes to the forefront. The synth sounds are, again, completely unique to Kate and the album. But, there is also Kate’s beautiful Piano. The song has dark tones and little sounds of crashing and breaking, perfectly conveying the meaning of the song.
Song three is The Big Sky. Like the previous two songs, it’s written around a rhythm and a consistent sonic coloring. It is an enjoyable song, almost sounding as big as the sky she is trying to describe.
In the 4th song, Mother Stands for Comfort, Kate confronts the “unconditional love” and rose-colored lens a mother has for her children. Even if the son is a murderer, the son’s mother will see the best in him and sometimes even hide him or try to protect him. Here we are forced to think of the negative aspects of this unconditional love of motherhood. Usually a good thing, sometimes it can be bad for the child and the child’s victim. If she really loved her son, would she not turn him in to protect him from himself? Musically, this song, though it flows perfectly with the rest on side one, gives the listener a break from the more upbeat rhythms of the first 3 songs. There is still a repetitive drum line, but here the lovely bass comes to the forefront. The synth sounds are, again, completely unique to Kate and the album. But, there is also Kate’s beautiful Piano. The song has dark tones and little sounds of crashing and breaking, perfectly conveying the meaning of the song.
The last song on side one of Hounds, is Cloudbusting. This song is based on a book I have not read. The story is told from the point of view of a child whose father created a machine that can change the weather. Because of the power of this machine, the government takes away the child’s father and his technology. The child is mourning the loss of his/her father. Musically, the song has a rhythm similar to a train, which is not unique to music. But, the way Kate does it is completely unique. Choppy strings provide melody and rhythm, with a marching band esque snare drum. The song even ends with the sound of a steam train.
Side B: The Ninth Wave
Dark Side of The Moon had an overarching theme of the pointlessness of life, that life is fleeting, the resulting hedonism, and there may be no reason to draw a distinction between sanity and madness. Dark Side is existential in the way pop culture uses the word “existential,” while The Ninth Wave, the second half of Hounds of Love, is about death, the temporal nature of life, but not about pointlessness. I would argue The Ninth Wave more deeply explores the reality of our lives. Life is short and fleeting, and “in the midst of life we are in death.” The Ninth Wave is tied together with a theme of death. Death, in this musical work, is symbolized by water. This is not a new concept, but a powerful illustration: Baptism also uses water as a symbol of death. Not only does Kate weave death and water together, but she inserts the fragility of life; that life is partially a waiting for death. In life, we are sleeping or waiting to die. And death comes with certainty but often when we do not expect. And, in the end of The Ninth Wave, as with life, we are surprised to find that death is not the end. There is a Morning Fog of rebirth and resurrection. It emerges from the darkness like one switching on the lights in a dark room.
Dark Side of The Moon had an overarching theme of the pointlessness of life, that life is fleeting, the resulting hedonism, and there may be no reason to draw a distinction between sanity and madness. Dark Side is existential in the way pop culture uses the word “existential,” while The Ninth Wave, the second half of Hounds of Love, is about death, the temporal nature of life, but not about pointlessness. I would argue The Ninth Wave more deeply explores the reality of our lives. Life is short and fleeting, and “in the midst of life we are in death.” The Ninth Wave is tied together with a theme of death. Death, in this musical work, is symbolized by water. This is not a new concept, but a powerful illustration: Baptism also uses water as a symbol of death. Not only does Kate weave death and water together, but she inserts the fragility of life; that life is partially a waiting for death. In life, we are sleeping or waiting to die. And death comes with certainty but often when we do not expect. And, in the end of The Ninth Wave, as with life, we are surprised to find that death is not the end. There is a Morning Fog of rebirth and resurrection. It emerges from the darkness like one switching on the lights in a dark room.
The Ninth Wave starts out with And Dream of Sheep. It is the exposition of the story arch of this piece of music. A shipwreck has happened in the night on the high seas, and a survivor has gone overboard with only a life vest and a “little light” beacon on his chest flashing at regular intervals. He is adrift by himself in the vast ocean waiting to die. He is holding on to some hope that there will be rescue, but having a hard time not going to sleep, or letting go of life. The entire records can be interpreted as this man’s dream as he floats in a half sleep in the dark ocean. He and we, as we experience the album, are constantly in a state of being half awake or half asleep while floating though life: Holding on and letting go. The main instrument driving the song is a piano. Kate is in the prime of her vocal abilities and the beauty of the song along with its meaning is almost overwhelming. With this song, as persist throughout The Ninth Wave, Kate uses samples and sounds that reoccur throughout the album. Every time I listen to this record I hear something I’ve never noticed before.
And Dream of Sheep leads seamlessly into Under Ice. Here, someone is skating on a frozen river to music that mimics a cold atmosphere of snow and ice. You can almost hear the skates as the protagonist moves over the frozen water. Like in life, as we hove just above death not thinking of the danger that lies beneath us, in an instant there are cracks, and the floor literally falls out beneath us. Into the ice-water, into death, we fall.
Seamlessly, The Ninth Wave passes into Waking the Witch. The rising action has begun. Here we hover between waking and sleeping. The dream continues as voices of those we know and love tell us to “wake up,” but we can not seem to open our eyes. There is a piano with delay, persistent samples, singing humpback whales, chanting saints, and a feeling like we are under water. Then, the song quickly switches on a dime. Kate’s voice skips in digital flutters as she struggles to wake. Right away, we are in the midst of a grate evil some women have historically experienced. Many years ago, when a woman was thought to be a witch, sometimes people would force her underwater to see if she would drown or survive. As Kate puts it, “The red roses go down.” And drown they do. Into death they pass because of the evil of fear. I believe St. Teresa of Avila once said, “I am not afraid of the devil, but I am afraid of people who are afraid of the devil.” Those who misunderstood God, and the love of Christ, judged their fellow sisters, and became the perpetrators of the evil they were trying to prevent. The judge, in the song, speaks loudly with anger, and the victim prays for mercy and help. There are church bells, signifying the great need for mercy, and the evil for which the church is capable. But, the judgment of men is luckily not the last judgment. God save us from misusing the name of Christ. When we stand before him one day, we will tremble.
Waking the Witch ends with the sound of a helicopter flying overhead, and a man in the helicopter with a megaphone calling “get out of the water.” This leads us directly into Watching you without Me. In this song, there is a syncopated rhythm with a catchy and beautiful synth line. The bridge of the song, where Kate sings something in reveres, sounding somewhat like music from India, is one of my favorite moments on the album. I always turn up the volume. In the song, Kate talks about how death is actually unnatural, or feels unnatural. How can a loved one be in the same room with you one moment, and then be gone from life the next moment? This feels very unnatural. We can no longer hold onto a moment than we can hold onto life. Someone is here one day, and gone the next. It does not make since. It causes grief.
Next, the listener is lead directly into “Jig of Life.” This song has elements of traditional British Isles jig music with a fiddle. But, instead of sounding happy like many traditionally jigs, this one is very angry. There is no screaming; this is not heavy metal. It is successfully emotionally angry without being overly bombastic. It is about the sorrow and grief that is the loss of life. When we die, will we be forgotten? Kate is angry at death for taking away each moment which we can never get back. She talks about holding onto moments like they are objects, but she can never do that. We have no power over death. We are nearing the climax of the story arch of The Ninth Wave. The plot thickens with a piece of poetry at the end of the song. We are born, we live, death calls to us, written on our palm is our time span, and soon “the life spray cools.” Moments come and go like ocean waves. In this waking life we can not better hold onto a moment than we can a wave in the sea. And, like the passing of water, so the time of our life passes.
Next, the listener is lead directly into “Jig of Life.” This song has elements of traditional British Isles jig music with a fiddle. But, instead of sounding happy like many traditionally jigs, this one is very angry. There is no screaming; this is not heavy metal. It is successfully emotionally angry without being overly bombastic. It is about the sorrow and grief that is the loss of life. When we die, will we be forgotten? Kate is angry at death for taking away each moment which we can never get back. She talks about holding onto moments like they are objects, but she can never do that. We have no power over death. We are nearing the climax of the story arch of The Ninth Wave. The plot thickens with a piece of poetry at the end of the song. We are born, we live, death calls to us, written on our palm is our time span, and soon “the life spray cools.” Moments come and go like ocean waves. In this waking life we can not better hold onto a moment than we can a wave in the sea. And, like the passing of water, so the time of our life passes.
This brings us to Hello Earth. Kate expands her concern of death of individuals to the death of the entire earth. How temporary is the world in which we live, and how small and fragile is the Earth. If you once walked on the moon, or if you ever left the orbit of the earth, you would perceive the whole world smaller than your own hand. And while we are on this small fragile world, we, like the singing monks in this song, call out to the Lord for mercy. We pray for deliverance from the waves and water. The monks cry out for mercy and help. I would be lying if I did not confess that the crying of these monks, like that of all humanity and creation, brings tears to my eyes. They say we need you Lord. We are powerless over death. Christ was “there at the birth, out of the cloudburst, ahead of the tempest.” The monks sing out for salvation. And under the waves goes Christ. He goes into death on our behalf. We have reached the climax of The Ninth Wave. “Go to sleep little earth.”
Many would have ended the album here, but Kate takes the story through to resolution. The last song is The Morning Fog, and there is resurrection. “Little life begins to breathe again… being born again.” And “I love you better now.” Christ died and rose out of the water of death so that we and the whole earth might also rise from death to eternal life. Musically the song is peaceful, hopeful, and it sounds like a new day. And Kate ends by telling her family and friends that she loves them. In the end, there will be Love. The last note implies that there is more to come after this new beginning. We have only just begun.