Kate Bush and Hounds of Love

Dr Ron Moy is Lecturer in the School of Media, Critical and Creative Arts, at Liverpool John Moores University, UK.

• Introduction Part One: Her Early Work 1. The Kick Inside 2. Lionheart 3. Never for Ever 4. The Dreaming Part Two: Hounds of Love 5. Commercial Context and Critical Reception of Hounds of Love 6. The Conceptual Work 7. Ideas and Influences 8. Hounds of Love 9. Summary 10. A Daughter of Albion?: Kate Bush and Mythologies of Englishness Genealogy 11. Creative Influences 12. Accent and ‘The Grain of the Voice’ 13. Language and Register 14. Style Indicators 15. Kate Bush and Auteur Theory 16. From Ingénue to Auteur 17. Shades and Degrees of Authorship 18. Audio Texts, Video Texts: Extensions or Detractions? 19. The Society of the Specular 20. Pop Video: History and Developments 21. An Overview of Kate Bush’s Early Videos 22. Hair of the Hound 23. Coming to Terms with Video 24. The Sensual World: The Video 25. The Line, The Cross and The Curve Part Three: Her Later Work 26. The Whole Story 27. The Period Leading up to The Sensual World 28. The Sensual World 29. This Woman’s Work 30. The Period Leading up to The Red Shoes 31. The Red Shoes 32. The Period Leading up to Aerial 33. Aerial: A Sea of Honey 34. A Sky of Honey 35. Coda: We Become Panoramic

'This is one of the few serious studies of Kate Bush, a hugely successful and influential British female pop artist. By focussing on Bush’s albums released between 1978 and 2005, and paying close attention to the 1985 album, Hounds of Love, Ron Moy presents a fascinating account of this artist’s achievements. Exploring the complex interactions of songs, video texts, mythologies of national identity, and authenticity, he executes an interdisciplinary approach that will undoubtedly be of use to a wide range of scholars within the field of popular music studies.' Stan Hawkins, University of Oslo ’Moy [...] provides enlightening critical discussions of authorship, creative process and performance... It will be well received by students and researchers across several disciplines, and will no doubt provoke further discussion within musicology.’ Popular Music