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Blessed with one of the sweetest falsettos in the game, however, Maxwell almost makes it sound easy on the standout from his 2001 LP Now. However, its impossibly high notes mean few have even attempted. Written from the perspective of a father-to-be as his wife experiences a difficult labor, “This Woman’s Work” is lyrically the Bush song that is ripest for male interpretation. Whichever side of the fence you sit on, it’s clear that the post-punk outfit had great affection for the source material, and few others have transformed it so dramatically. Yet some purists believed that reducing Bush’s artistic statement to such rowdiness was nothing short of a travesty. Brightside” as Britain’s ultimate indie festival anthem, its call-and-response structure seemingly designed to instigate a mass sing-along in an impossibly muddy field. Their high-spirited rendition briefly rivalled The Killers’ “Mr. top 10 hit in 2005, The Futureheads’ “Hounds of Love” is perhaps the most divisive entry in the oeuvre of Bush covers. But Jones strips it back even further on a multi-layered a cappella take which is nothing short of spellbinding.Ī surprise U.K.
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The third single from 1980’s Never for Ever, anti-war waltz “Army Dreamers” was already a relatively sparse affair. And the artist formerly known as Becky Jones seemed more than happy to embrace such comparisons when she launched her solo career.
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Saint Saviour began drawing comparisons with Bush from the moment she first came to attention on Groove Armada’s Grammy-nominated album Black Light. While some would believe it’s sacrilegious to strip back everything that made “Wuthering Heights” such an innovative piece of art pop, Pyke’s laconic minor key vocals and autumnal folk arrangement means this is far more intriguing than just a simple campfire sing-along. Aussie troubadour Josh Pyke added his name to that list in 2007 with his contribution to gender-swapped covers album No Man’s Woman. It takes a brave, or some would say foolish, individual to take on the high drama of Bush’s signature hit. Nelson’s storytelling abilities arguably make the desperate verses all the more poignant, while the ever-haunting O’Connor steps into Bush’s supportive shoes with aplomb. Heavily inspired by American roots music, the ex-Genesis frontman initially wanted Dolly Parton as a duet partner before longtime friend Bush happily accepted being second choice. But Willie Nelson and Sinead O’Connor’s country-tinged version is perhaps the closest that anyone has come to matching songwriter Peter Gabriel’s original vision. “Don’t Give Up” has been given the superstar treatment by both Alicia Keys & Bono and P!nk & John Legend. Willie Nelson and Sinead O’Connor, “Don’t Give Up” While it lacks the primal energy of the original, Matthew Caws’ typically plaintive tones and the seemingly effortless production almost makes you believe they wrote it themselves.ħ. Taken from their 2010 palindromic-titled covers album If I Had A Hi-Fi, “Love and Anger” follows the same peppy power pop formula that made the trio such college rock favorites back in the mid-’90s. Native New Yorkers Nada Surf didn’t venture too far outside their comfort zone when tackling Bush’s Alternative Songs chart No. Ultimately, this is the intriguing sound of one of Britain’s greatest pop divas covering one of Britain’s greatest pop mavericks. It was described by the beehived blonde as one of the prettiest songs ever written and she imbues it with the same sense of poignancy and intimacy that made her such a ’60s soul icon. Performed live at London’s Royal Albert Hall just a year after the original’s 1978 release, Dusty Springfield’s take on “The Man with the Child in His Eyes” is perhaps the first notable Bush cover. Dusty Springfield, “The Man with the Child In His Eyes”
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But with violinist Rebecca Zeller and cellist Alexandra Lawn in full flow, this chamber pop take on The Dreaming cut still has plenty of high drama to offer.ĩ. Perhaps wisely, frontman Wes Miles doesn’t attempt the vocal theatrics of the original. Late ’00s blogosphere favorites Ra Ra Riot often closed their early live shows with a cover of “Hounds of Love.” But it was an earlier Bush classic that the Syracuse collective chose to grace their debut album, The Rhumb Line.