Kate Bush appeared in the Tower Records in New York twice, to sign records for fans. (not the first of last time she did so there she was back in 1993 promoting The Red Shoes), there was demand there. It is clear that, as Bush did promotion in the U.S. It is a case of critics not being too sure but fans and buyers being a lot keener. I know that perception has changed since its release in 1985. Pitchfork gave the album a perfect score, noting that the album draws from synth-pop and progressive rock whilst remaining wholly distinct from either style. There's no arguing that Bush is extraordinarily talented, but as with Jonathan Richman, rock's other eternal kid, her vision will seem silly to those who believe children should be seen and not heard."The New York Times characterised the album's music as "slightly precious, calculated female art rock" and called Bush "a real master of instrumental textures", while The Independent called Hounds "a prog-pop masque of an album". But unlike the Beatles, Bush often overdecorates her songs with exotica. Like the Beatles on their later albums, Bush is not concerned about having to perform the music live, and her orchestrations swell to the limits of technology. However, Rolling Stone, in their first ever review of a Kate Bush record, was unimpressed: "The Mistress of Mysticism has woven another album that both dazzles and bores. The review noted "while her eclecticism is welcomed and rewarded in her homeland her genius is still ignored here – a situation that is truly a shame for an artist so adventurous and naturally theatrical", and hoped that "this album might gain her some well-deserved recognition from the American mainstream". album of the day), Spin observed that "with traces of classical, operatic, tribal and twisted pop styles, Kate creates music that observes no boundaries of musical structure or inner expression". Awarding the record the title of "platter du jour" (i.e. “ In the US, reaction to the record was mixed. were kinder and helped ensure that Kate Bush was not completely overlooked in the country, it is strange to think that there was mixed critical reception: The album got to thirty in the U.S., as did the first single, Running Up That Hill (A Deal with God).
![hounds of love pitchfork hounds of love pitchfork](https://media.pitchfork.com/photos/5931df66d13a3d6b24767108/2:1/w_790/2ff844c2.jpg)
![hounds of love pitchfork hounds of love pitchfork](http://lossless-galaxy.ru/uploads/posts/2011-05/1306481746_hounds-of-love.jpeg)
Even though the album’s second side, The Ninth Wave, is quite challenging and has some darker sounds, audiences were a lot more receptive. Perhaps audiences in the U.S., bonding with homegrown artists like Madonna, felt greater connection with the sounds on Hounds of Love. In 1985, the mainstream sound had changed dramatically. Maybe it was the most accessible Bush album. There has been retrospective examination of The Dreaming. That album won some good reviews, though it didn’t make much of an impact in the charts there. It is true that, even after the releasee of The Dreaming, she was more of a cult concern.
![hounds of love pitchfork hounds of love pitchfork](https://media.pitchfork.com/photos/5931dcb8d13a3d6b24766da4/16:9/w_1280,c_limit/1037e281.jpg)
I have discussed how, perhaps, Kate Bush never really got recognition in America. Marks the anniversaries of three Kate Bush studio albums – 1980’s Never for Ever (7th), 1982’s The Dreaming (13th) and Hounds of Love (16th) -, I am writing pieces on those releases. IN THIS PHOTO: Kate Bush at Tower Records, New York in 1985 (where she was promoting Hounds of Love)