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Another factor which had unnerved the label was the song’s original title of A Deal With God. Kate insisted on Running Up That Hill, as she deemed it more representative of the album’s direction.
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Running Up That Hill opens Side One, which also contains Hounds Of Love's equally dramatic title track, The Big Sky and Cloudbusting, which was EMI’s preferred choice as lead single. The result was effectively two mini-albums, with Side One the “pop” side (albeit art-pop), and Side Two an unapologetic prog concept suite about a woman drifting alone at sea at night. Bush was in love with the Fairlight CMI synth and, after recording her demos, spent over a year on overdubs, mixing and tweaking. Hounds Of Love, on the other hand, gained rave reviews, the number one spot in the UK, a respectable showing in the US, and passed a million sales by 1998. The Hounds Of Love album itself prompted something of a change of fortune, as its predecessor, The Dreaming, hadn’t sold too well. It’s plausible that the knock-on effect of Running Up That Hill’s revival will detonate a comparable explosion of interest in all things Kate. When Bush made her first live appearances for 35 years at a Hammersmith Apollo residency in 2014, her albums made a return to prominence, taking up lofty positions in the charts. Yet 37 years after it initially reached number 3 in the UK (her biggest hit apart from 1978 debut Wuthering Heights), Running Up That Hill seems to have snowballed beyond that tie-in success and is encouraging many young viewers, who perhaps only knew of Kate Bush as somebody Florence Welch gassed on about in interviews, to investigate her back catalogue and embrace the worlds of albums such as 1985's Hounds Of Love (which yielded this song), The Kick Inside (1978), The Dreaming (1982), The Sensual World (1989) and The Red Shoes (1993).