From the moment 18-year-old Kate Bush stepped on to the stage at Top of the Pops and gave a career-defining performance of Wuthering Heights, she has beguiled and baffled with her every unhinged shriek and wild, wide-eyed gesture. Since that extraordinary 1978 debut, she has released a further 30 singles, despite being anything but your typical singles artist. Bush’s greatest hits – and even those that failed to much trouble the charts – all display a creativity and variety unparalleled in pop music. The Dreaming (1982). Taken from: The Dreaming Reached: 48 On the title track of her head-scratchingly brilliant fourth album – as Bush called it “my ’she’s gone mad’ album, my ’she’s not commercial any more’ album” – she beats about the bush, quite literally.

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Its hypnotic, mantra-like chants and earthy lyrics about the exploitation of Australia’s Aborigines (’Bang!’ goes another kanga on the bonnet of the van.”) show Bush at her bonkers best. But she slips into a laughably poor Aussie drawl, overdoes the impersonated sheep noises and – gulp – invited Rolf Harris to play on didgeridoo. At least she ditched the working title, The Abo Song. The Red Shoes (1994). Taken from:The Sensual World Reached: 12 Yet another Bush track inspired by literature. From the opening peal of church bells, this wondrous approximation of the unpunctuated stream-of-consciousness that closes James Joyce’s Ulysses – in which Molly Bloom lustily recalls her seduction of Leopold (“Mmh yes/ then I’d taken the kiss of seedcake back from his mouth/ Going deep south/ Going down”) - positively swoons.

Listen out for the uilleann pipes and the rather saucy horse whip among other ancient musical exotica thrown at the gorgeous production. Moments of Pleasure (1993). Taken from: The Red Shoes and Director’s Cut Reached: 26 A seemingly routine ballad (by Bush’s standards) about the sadness sparked by thinking fondly of lost loved ones. But, driven by strings and piano, it is one of her most painful and personal songs – the memories she recalls here are strictly for Bush’s circle only (“Hey there, Bubba, dancing down the aisle of a plane”), yet they touch upon universal truths. If it doesn’t nudge a tear or two, try the moodier Director’s Cut reworking. You’ll be a wreck.

Tracklist: 1. Running Up That Hill (A Deal With God) [2018 Remaster] 05:00 2. Hounds Of Love (2018 Remaster) 03:02 3.

The Big Sky (2018 Remaster) 04:35 4. Mother Stands For Comfort (2018 Remaster) 03:08 5. Cloudbusting (2018 Remaster) 05:09 6. And Dream Of Sheep (2018 Remaster) 02:45 7. Under Ice (2018 Remaster) 02:22 8.

Waking The Witch (2018 Remaster) 04:18 9. Watching You Without Me (2018 Remaster) 04:07 10. Jig Of Life (2018 Remaster) 04:03 11. Hello Earth (2018 Remaster) 06:12 12. The Morning Fog (2018 Remaster) 02:35. AllMusic Review by Bruce Eder 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.'

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Strangely enough, Hounds of Love was no less complicated in its structure, imagery, and extra-musical references (even lifting a line of dialogue from Jacques Tourneur's Curse of the Demon for the intro of the title song) than The Dreaming, which had been roundly criticized for being too ambitious and complex. But Hounds of Love was more carefully crafted as a pop record, and it abounded in memorable melodies and arrangements, the latter reflecting idioms ranging from orchestrated progressive pop to high-wattage traditional folk; and at the center of it all was Bush in the best album-length vocal performance of her career, extending her range and also drawing expressiveness from deep inside of herself, so much so that one almost feels as though he's eavesdropping at moments during 'Running Up That Hill.'

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.