Some of the comments I read on here, pretty much all of which I concur with, were focusing in on what's negative about the album. I don't really want todo that. Its not that the points are wrong or invalid. Its just - FUCK OFF - this album is great, end of story.
I'm gonna go out on a limb here (and @Shaney is gonna kill me for saying it), but side 2 (or parts thereof) reminds me a bit of side 2 of The Wall by Pink Floyd. Come on, the percussion on Walking the Witch. Thats Run Like Hell, no? Even the grunts and shouts on it, The Trial, no? I never read any more into it to see if there was any connection between musicians, contributors, etc, but regardless, I don't think I'm wrong.
Yeah, I can see the similarity, the helicopter and shouting are very Wall-ish, and the yoke flying over the crowd during this but in the gigs was even more so but it sounds to me more coincidental than a direct influence. it's not that similar, like. Its hard to do anything with shouting voices and helicopter noises without sounding like the wall.
In a stunningly premature move, the NME featured Kate Bush in a ‘Where Are They Now?’ article in August 1985. By the end of the year, her album ‘Hounds Of Love’ - generally regarded as her masterpiece - had reached Number One in the UK album charts.
What do yiz think of the albums that followed Hounds of Love?
The Sensual World : Some great tunes but a bit weak overall, it's like it's aiming for a more mature and subtle kinda thing but falls a bit flat.
The Red Shoes : Again, great tunes marred by kinda naff 90s arrangements and production.
Aerial : Not great. Some good songs but over all a dragged out slog.
Director's Cut : I really like this one, I find myself listening to it a lot. The original versions of The Sensual World and Rubberband Girl were better but everything else is way better here and it works quite well as an album in it's own right.
50 Words For Snow : If it didn't have two shit songs (the Elton John one and the Stephen Fry one) it'd be great but they add 16 minutes of drag. Lake Tahoe is amazing.
Waking the Witch as well. Two very silly tracks really. The Jig of Life kind of sounds like a comedy number from the Princess Bride or Willow or something. Did it make any sense live when she was acting it out?
I love all the what I assume is fretless bass throughout the album. I just kind of assumed it was Mick Karn but it isn't, although he appears on some other stuff by her.
Watching You Without Me and The Morning Fog are quite touching songs.