Kate Bush, ‘Hounds of Love,’ 1985
And if I only could
I’d make a deal with God
And I’d get Him to swap our places
Be runnin’ up that road
Be runnin’ up that hill
Be runnin’ up that building
When Kate Bush released Hounds of Love in 1985, she charted a course that not only redefined her career but also the landscape of progressive pop and art-rock. One of the most distinctive features of Hounds of Love is its split structure, which divides the album into two parts: “Hounds of Love” (Side A) and “The Ninth Wave” (Side B). This bifurcation not only sets the album apart from conventional records but also showcases Bush’s storytelling abilities and her ambition to redefine the boundaries of musical narrative. Side A touches on the themes of love and desire, presenting an upbeat, pop-oriented sound, in stark contrast to the conceptual and experimental nature of Side B. In side A, Running Up That Hill, with its thudding drums and eerie Fairlight synthesizer stabs, opens the album with a palpable sense of urgency and emotional depth. The song deals with the complexities of human relationships and the yearning for deeper understanding, highlighted by the lyricist’s negotiation with a higher power to swap places with a loved one. The title track Hounds of Love, commencing with a line from the 1957 British horror film Night of the Demon, underscores the exhilaration and fear inherent in romantic entanglements, symbolizing love as a relentless pursuit, much like hounds chasing their prey. In stark contrast, Side B forms a seven-track conceptual suite, which tells the harrowing tale of a woman drifting alone in the sea at night, battling isolation, fear, and the sheer will to survive. Tracks like And Dream of Sheep and Under Ice evoke a sense of claustrophobia and dread while Waking the Witch delves into the protagonist’s desperate struggle to stay awake and alive. This narrative arc paints a vivid picture of human vulnerability against the unknown, making it one of the most evocative concept pieces in modern music.
Bush’s revolutionary use of the Fairlight CMI synthesizer stands as a hallmark of Hounds of Love. This instrumental choice enabled her to blend synthetic textures with organic sounds, creating a sonic tapestry that feels both timeless and ahead of its era. The intricate layering of vocals and the incorporation of traditional instruments like uilleann pipes and didgeridoo add to the album’s eclectic charm. Tracks such as The Big Sky and Cloudbusting exemplify Bush’s flair for expansive, cinematic compositions. The former exudes an almost childlike wonder with its soaring choruses and thunderous percussion, while the latter’s orchestral arrangement builds to an emotional zenith that mirrors its lyrical themes of discovery and revelation. Noteworthy is Bush’s newfound rhythmic focus which manifests in the pounding drums and sawing cello of the title track, which imbues the song with a kinetic energy that propels the listening experience. The use of the Irish drum (bodhran) in Jig of Life and the ethereal choral sections in Hello Earth further illustrate Bush’s meticulous attention to detail in constructing her sonic worlds.
Talking ’bout stupid things
I can’t be left to my imagination
Let me be weak
Let me sleep
And dream of sheep
Cocteau Twins, ‘Heaven or Las Vegas,’ 1990
You’re the match of Jericho
That will burn this whole madhouse down
And I’ll throw open like a walnut safe
You will seem more like being that same bot-tle of exquisite stuff
When reflecting on the late 80s and early 90s music landscape, dream pop pioneers Cocteau Twins surface as pivotal architects of ethereal soundscapes. Drawing upon elements of lush soundscapes, incomprehensible yet captivating lyrics, and a profound blend of electric and acoustic instrumentation, Heaven or Las Vegas melds emotional intensity with transcendental beauty. The album deeply entrenches personal experiences, where the juxtaposition of life and death is palpably woven into its fabric. The album’s title itself is reflective of the dualities presented — “Heaven” signifying true, unadulterated beauty, and “Las Vegas” embodying artifice and excess. This contrast can be interpreted as a metaphor for the dualities present in life and love, such as purity versus decadence, reality versus illusion, and the divine versus the mundane. This thematic interplay is apparent in songs like Cherry-Coloured Funk and Iceblink Luck, which, while lyrically opaque, evoke strong imagery associated with longing, illusion, and introspection. Throughout, Elizabeth Fraser’s lyrics are often an amalgamation of English phrases, nonsensical sounds, and evocative imagery, which often leaves the listener deciphering the emotional undercurrents rather than explicit messages. For instance, Heaven or Las Vegas includes lines like “I want to love, I’ve all the wrong glory / But is it Heaven or Las Vegas?” and “Reaching this itch in my soul / Is like any good playing card.” These lyrics suggest a search for meaning and fulfillment within a world rife with distractions and false enticements, akin to the attractions of Las Vegas. Fraser’s approach to lyricism and vocal delivery can be seen as akin to painting with sound. Her glossolalia invites listeners to project their own interpretations and emotions onto the tracks, making each listening experience unique.
Musically, “Heaven or Las Vegas” is a tour de force of dream pop composition. Guitarist Robin Guthrie’s work is paramount to the album’s sound, with his use of lush, reverb-drenched guitars and intricate arpeggios providing a “heavenly” backdrop that perfectly complements Fraser’s vocals. Tracks like Cherry-Coloured Funk open the album with shimmering, metallic guitar riffs, setting a tone that’s consistently maintained throughout the album’s duration. Songs like Iceblink Luck and Wolf In The Breast showcase the band’s ability to blend pop sensibilities with dreamy atmospherics. Iceblink Luck, for example, is highlighted by its dazzling starburst of a guitar line and sprightly rhythm, providing a stark contrast to the more introspective and somber tones of other tracks on the album. Also, Guthrie employed multiple electric guitars, including a 1959 Jazzmaster and Stratocaster, to craft the album’s rich sonic landscape. The use of multi-tracked vocals, swathes of effects-laden guitar, and sophisticated drum machine programming all contribute to the album’s lush, ethereal quality. The interplay between the various instrumental textures and the haunting vocal harmonies is tight but never overbearing, allowing individual elements to breathe and flourish.
The chill must itch in my soul
That’s like any old playing card
It must be why I’m thinking of Las Vegas
It’s why it’s more brighter than the sun is to me
Bonnie Raitt, ‘Nick Of Time,’ 1989
Bonnie Raitt’s tenth studio album, Nick of Time, is an album steeped in personal reflection and existential themes. At its core, it grapples with aging, loss, and redemption. Raitt, approaching forty at the time of the release, sought to create an album that resonated with the baby boomer generation struggling with middle age and life’s inevitable transitions. The title track encapsulates this beautifully. Inspired by observations and personal conversations, it touches on the anxieties of a friend yearning for a child and Raitt’s reflections on her aging parents. The emotional weight of Nick of Time is balanced by an undercurrent of optimism. Raitt does not shy away from depicting moments of despair but often juxtaposes them with messages of hope and resilience, as seen in Thing Called Love and I Will Not Be Denied. This duality ensures that the album is not merely a collection of forlorn ballads but a complex, layered exploration of the human experience. Nick of Time is a genre-spanning endeavor that touches on blues rock, country, R&B, and pop. Don Was’s production on this album is characterized by its clean, inviting surfaces, which allow Raitt’s gritty vocals and guitar work to shine through without being overshadowed by unnecessary embellishments. Tracks like Cry on My Shoulder and Nobody’s Girl illustrate this approach, blending Raitt’s rootsy sensibilities with a modern polish that broadens her appeal without compromising her artistic integrity. Was avoided overproducing the album, instead opting for an understated approach that aligned with Raitt’s desire for a return to her musical roots. This decision paid off, as the album’s production enhances rather than detracts from its emotional resonance. Nick of Time was instrumental in ushering in a broader acceptance of female artists who straddled the line between commercial pop and deeper, more introspective work. It paved the way for the kind of country crossover success that would later define the careers of artists like Shania Twain.