The album of Kate Bush Hounds Of Love was released in 1985. The airing of season 4 of Stranger Things with the cover of the song Running Up That Hill has revived this track and the album during this summer. The tape that is used in the series has also become a cult item that is hard to find today. This review includes the cassette (a must-have for collectors), and the original and remastered 2018 versions in vinyl, CD and streaming formats.

The review includes 11 editions: 3 vinyls (1985, japan 1985, 2018), 3 CD(1985, 1997, 2018), Cassette and 4 streaming (1985 and 2018 for Qobuz and Tidal).

Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.
The synthesis of the review and the samples are available here.

This album includes 12 tracks and 6 bonus tracks (depends on the media) reviewed:

1. Running Up That Hill (A Deal With God)
2. Hounds Of Love
3. The Big Sky
4. Mother Stands For Comfort
5. Cloudbusting
6. And Dream Of Sheep
7. Under Ice
8. Waking The Witch
9. Watching You Without Me
10. Jig Of Life
11. Hello Earth
12. The Morning Fog
13. The Big Sky (Meteorological Mix)*
14. Running Up That Hill (12″ Mix)**
15. Be Kind To My Mistakes*
16. Under The Ivy*
17. Burning Bridge*
18. My Lagan Love*

* only on ED6 CD EMI 1997, ** only on ED3 CD EMI 1997 and Ed4 Cassette

First we will analyze each edition in detail (technical and qualitative analysis), then we will compare the successive editions with their dynamics and assign a final score, and you will be able to listen some samples.

The streaming versions may evolve over time, those presented here correspond to the version tested at the date of publication, or update of the review.

Review of the editions:

Part 1: Presentation of the editions

Part 2 : Waveform and dynamique comparaison

Parts 3 : Spectrum comparisons

Part 4 : Spectrogram comparaisons

Part 5 : Summary, scoring and Sample

Part 1: presentation of the editions

Ed1: Vinyl ref : 24 0 3841 – 1985

Presentation

This is the original vinyl release of this album.

Label	‎EMI
Reference	24 0 3841
Format (speed)	Vinyl
Type	LP 33 rpm
Master
Mastering/Pressing	Mixed by Brian Tench and Julian Mendelsohn
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	EU
Year original	1985
Year production	1985

Ed2: Vinyl Japan ref : EMS-91113 – 1985

Presentation

This is the original vinyl release of this album from Japan.

Label	‎EMI
Reference	EMS-91113
Format (speed)	Vinyl
Type	LP 33 rpm
Master
Mastering/Pressing	Mixed by Brian Tench and Julian Mendelsohn Mastered by Ian Cooper
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	Japan
Year original	1985
Year production	1985

Ed3: Vinyl remastered 2018 ref : 0190295593865 – 2018

Presentation

This is the remastered vinyl release in 2018.

Label	‎EMI
Reference	0190295593865
Format (speed)	Vinyl
Type	LP 33 rpm
Master	Digital
Mastering/Pressing	Mixed by Brian Tench and Julian Mendelsohn Remastered by Bernie Grundman, James Guthrie and Joel Plante
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	Europe
Year original	1985
Year production	2018

Ed4: Cassette ref : TCKAB1 – 1985

Presentation

Ths is the original cassette with a bonus track : Running Up That Hill (12″ Single Version).

Label	‎EMI
Reference	TCKAB1
Format (speed)	Cassette
Type	Analog cassette with Dolby B NR and XDR technology, played on Nakamichi LX3
Master
Mastering/Pressing	Mixed by Brian Tench and Julian Mendelsohn Mastered by Ian Cooper
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	UK
Year original	1985
Year production	1985

Ed5: CD ref: CDP7 461642 – 1985

Presentation

This is the original CD released in 1985 with a 12-page booklet.

Label	‎EMI
Reference	CDP7 461642
Format (speed)	CD
Type	CD 16 bits 44.1 kHz with a 12-page booklet
Master	Digital
Mastering/Pressing	Mixed by Brian Tench and Julian Mendelsohn Mastered by Ian Cooper
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	Europe (Made in Japan)
Year original	1985
Year production	1985

Ed6: CD EMI100 ref : 724385797828 – 1997

Presentation

This is the Digitally remastered 1997 EMI First Centenary edition with 6 bonus tracks : The Big Sky (Meteorological Mix), Running Up That Hill (12″ Mix), Be Kind To My Mistakes, Under The Ivy, Burning Bridge and My Lagan Love.

Label	‎EMI
Reference	724385797828
Format (speed)	CD limited edition with 6 bonus tracks
Type	CD 16 bits 44.1 kHz with a 12-page booklet
Master	Digital
Mastering/Pressing	Mixed by Brian Tench, Julian Mendelsohn and Del Palmer Remastered by James Guthrie and Joel Plante
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	Europe
Year original	1985
Year production	1997

Ed7: CD ref : 0190295568948 – remastered 2018

Presentation

This is the remastered CD in 2018.

Label	‎EMI
Reference	0190295568948
Format (speed)	CD
Type	CD 16 bits 44.1 kHz with a 12-page booklet
Master	Digital
Mastering/Pressing	Mixed by Brian Tench and Julian Mendelsohn Remastered by James Guthrie and Joel Plante
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	Europe (Made in Japan)
Year original	1985
Year production	2018

Ed8: Qobuz Original

Presentation

This is the original release from Qobuz presented in 16 bits 44.1 kHz

Label	‎EMI
Reference	Qobuz
Format (speed)	Streaming
Type	Lossless in 16 bits 44.1 kHz
Master	Digital
Mastering/Pressing	Mixed by Brian Tench and Julian Mendelsohn Mastered by Ian Cooper
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	Europe
Year original	1985
Year production	1985

Ed9: Qobuz Hi-Res – Remastered 2018

Presentation

This is the remastered release in 2018 from Qobuz presented in 24 bits 44.1 kHz

Label	‎EMI
Reference	Qobuz Hi-Res remastered 2018
Format (speed)	Streaming
Type	Hi-Res 24 bits 44.1 kHz
Master	Digital
Mastering/Pressing	Mixed by Brian Tench and Julian Mendelsohn Remastered by James Guthrie and Joel Plante
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	Europe
Year original	1985
Year production	2018

Ed10: Tidal Original

Presentation

This is the original release from Tidal presented in 16 bits 44.1 kHz

Label	‎EMI
Reference	Tidal
Format (speed)	Streaming
Type	Master encoded in MQA 16 bits 44.1 kHz and decoded by Audirvania in 24 bits 88.2 kHz
Master	Digital
Mastering/Pressing	Mixed by Brian Tench and Julian Mendelsohn Mastered by Ian Cooper
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	Europe
Year original	1985
Year production	1985

Ed11: Tidal Master – Remastered 2018

Presentation

This is the remastered release in 2018 from Qobuz presented in 24 bits 44.1 kHz

Label	‎EMI
Reference	Tidal Master remastered 2018
Format (speed)	Streaming
Type	Master encoded in MQA 24 bits 44.1 kHz and decoded by Audirvana in 24 bits 88.2 kHz
Master	Digital
Mastering/Pressing	Mixed by Brian Tench and Julian Mendelsohn Remastered by James Guthrie and Joel Plante
Original recording	Recorded in Analog multitrack, mixed in analogue, mastered (analog and digital)
State	Europe
Year original	1985
Year production	2018

Part 2 : Waveform and dynamic comparaisons

Waveform

The waveform represents all the tracks of the album for each version.

We can classify the waveforms of the different versions according to 4 categories.

The remastered versions in 2018 all present the same representation of the waveform, whatever the media Vinyl, CD and streaming.

The waveform of the 1985 versions are also similar, with a different level variation on the first track compared to the 2018 versions.

A difference for these versions of 1985 (Vinyl 1985 and cassette) compared to the other versions of 1985. We notice less variation of the waveform on the first track. This is due to the dynamic compression of the cassette (DR9 for the first track) and certainly due to the increase of the treble for the vinyl of 1985 (with a DR12).

For the 1997 EMI100 CD version (Ed6) we find dynamic limitation with flat zones (yellow zone) in the waveform. For the 1997 EMI100 CD version (Ed6) we find dynamic limitation with flat zones (yellow zone) in the waveform. The first waveform represents the tracks equivalent to the 1985 CD, and the second one the 6 bonus tracks.

The zoom on the waveforms below confirms the analysis on the whole album. Except for the Ed1 vinyl of 1985, the Ed4 cassette and the Ed6 CD EMI which have specific treatment at the level of mastering and support, the other versions are similar according to the years of production, whether it is of 1985 or remastered in 2018.

Dynamic

Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).

For our 6 editions we have obtained the following Dynamic Range (DR) :

	Ed1: vinyl	Ed2: Vinyl Japan	Ed3: Vinyl 2018	Ed4: Cassette	Ed5: CD 1985	Ed6: CD 1997	Ed7: CD 2018	Ed8: Qobuz	Ed9: Qobuz 2018	Ed10: Tidal	Ed11: Tidal 2018
GLOBAL	DR12	DR13	DR12	DR10	DR12	DR10	DR12	DR12	DR12	DR12	DR12
Min	DR11	DR11	DR12	DR8	DR11	DR8	DR11	DR11	DR11	DR11	DR11
Max	DR14	DR14	DR14	DR12	DR13	DR13	DR13	DR13	DR13	DR13	DR13
unning Up That Hill (A Deal With God)	DR12	DR12	DR12	DR9	DR11	DR7	DR11	DR12	DR11	DR12	DR11
Hounds Of Love	DR11	DR12	DR12	DR10	DR11	DR8	DR12	DR12	DR11	DR12	DR11
The Big Sky	DR12	DR12	DR12	DR10	DR11	DR9	DR12	DR11	DR11	DR11	DR11
Mother Stands For Comfort	DR11	DR11	DR12	DR9	DR11	DR11	DR11	DR11	DR11	DR11	DR11
Cloudbusting	DR11	DR13	DR13	DR10	DR12	DR9	DR12	DR12	DR12	DR12	DR12
And Dream Of Sheep	DR14	DR14	DR14	DR12	DR13	DR13	DR13	DR13	DR13	DR13	DR13
Under Ice	DR12	DR14	DR12	DR11	DR12	DR11	DR13	DR13	DR12	DR13	DR12
Waking The Witch	DR12	DR12	DR12	DR8	DR11	DR9	DR11	DR11	DR11	DR11	DR11
Watching You Without Me	DR11	DR14	DR14	DR11	DR13	DR13	DR13	DR13	DR13	DR13	DR13
Jig Of Life	DR12	DR13	DR12	DR9	DR11	DR9	DR11	DR11	DR11	DR11	DR11
Hello Earth	DR12	DR13	DR13	DR10	DR12	DR10	DR12	DR12	DR12	DR12	DR12
The Morning Fog	DR11	DR12	DR12	DR8	DR11	DR8	DR11	DR11	DR11	DR11	DR11
The Big Sky (Meteorological Mix)						DR8
Running Up That Hill (12″ Mix)				DR9		DR9
Be Kind To My Mistakes						DR8
Under The Ivy						DR11
Burning Bridge						DR10
My Lagan Love						DR10

The DR analysis is nice, all editions have a DR12/DR13, even the remastered versions in 2018, except two exeption with a DR10 for the cassette and the EMI100 CD from 1997.

As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.

Part 3 : spectrum comparisons

Spectrum

The Spectrum allows to check the tonal balance of the music (balance between treble, medium and bass sounds) and to detect process that may have been carried out during the recording, the mixing, mastering or manufacturing phases. It is also possible to detect frequency interference issues.

The curve represents the average frequency distribution over the sample “Running Up That Hill”.

The comparison between the 1985 Japanese Vinyl (Ed2) and the 1985 Vinyl (Ed2) shows an important accentuation above 7 kHz (yellow zone) up to 10 dB. We also find variations below 1 kHz (green zone) with an attenuation between 100 and 200 Hz for the 1985 vinyl. This will result in a clearer sound for the 1985 vinyl compared to the other versions.

The comparison between the 1985 Japan Vinyl (Ed2) and 2018 Vinyl remastered (Ed3) shows a disturbed frequency response (yellow area) above 15 kHz which is a characteristic feature of Bernie Grundman lacquer cuts. In the low frequencies (green zone), there is a 5 dB bass boost at 50 Hz for the 2018 remastered vinyl.

The comparison between the cassette (Ed4) and Vinyl remastered 2018 (Ed3) shows an emphasis of nearly 10 dB at 15 kHz and a strong attenuation above 17 kHz for the cassette (yellow area) and an increase below 1 kHz (green area) of 5 dB for the cassette. We will thus find a warmer sound for the cassette while keeping details in the top of the spectrum.

The comparison between CD (Ed5) and Japanese vinyl from 1985 (Ed2) are very similar, with a small difference above 10 kHz (yellow area) and a small attenuation below 1 kHz (green area) for the vinyl. The yellow arrow shows the cutoff around 20 kHz which shows the use of a digital master for both editions.

The comparison between the 1985 CD (Ed5) and the 1997 EMI100 CD (Ed6) are very similar, with small differences in the highs (yellow area) and lows (green area). The yellow arrow shows the cutoff in the upper spectrum which is around 20 kHz for the 1985 CD and 22 kHz for the 1997 CD.

The comparison between the 1985 CD (Ed5) and the remastered 2018 CD (Ed2) are very similar, despite small differences in the highs (yellow area) and lows (green area). The yellow arrow shows the cutoff in the upper spectrum which is around 20 kHz for the 1985 CD and 22 kHz for the 2018 remastered CD.

The comparison between the 1985 CD (Ed5) and the 1985 Qobuz (Ed8) are almost identical, with small differences in the treble (yellow area) and bass (green area). The yellow arrow shows the cutoff in the upper spectrum which is around 20 kHz for the 1985 CD and the 1985 Qobuz.

The comparison between the 2018 remastered CD (Ed7) and the 2018 remastered Qobuz (Ed9) are completely identical.

The comparison between the original Tidal version of 1985 (Ed10) and Qobuz (Ed8) are identical up to 20 kHz. Above 22 kHz, we find in the red zone a spectrum folding which is due to the MQA decoding imposing the output at 88.2 kHz. You can find explanations on this phenomenon here

The comparison between the original Tidal 2018 remastered (Ed11) and Qobuz 2018 remastered (Ed9) are identical up to 22 kHz. Above 22 kHz, we find in the red zone a spectrum folding which is due to the MQA decoding imposing the output at 88.2 kHz. You can find explanations on this phenomenon here

Part 4 : Spectrogram comparaisons

Spectrogram

Spectrogram is another representation of frequency versus time of a track. For each channel (right and left), horizontal axis represents time, and the vertical axis represents frequency. The amplitude is represented by the intensity (brightness) of the color of each point in the image.

The spectrogram of the vinyls (Ed1, Ed2 and Ed3) shows a rising signal above 22 kHz (yellow arrow). As the master is limited to 22 kHz, the signal above 22 kHz (white arrow) is mainly composed of distortions due to the vinyl playing principle.

The spectrogram of the cassette shows a signal remaining below 22 kHz (yellow arrow) towards 17 kHz. Above 22 kHz (white arrow) we find the background noise of the tape playback.

For the CD and Qobuz versions, we find a limit of the high frequency at 22kHz due to the sampling frequency of 44.1 kHz (yellow arrow). Above 22 kHz (white arrow), the black area indicates that there is no signal.

For the Tidal versions (Ed10 and Ed11), there is a zone delimited by a high frequency at 22 kHz due to the 44.1 kHz sampling frequency of the master (yellow arrow). Above 22 kHz (white arrow), we find the phenomenon of spectrum folding due to MQA decoding and the 88.2 kHz frequency imposed in playback. Find more details here.

A particularity of the cassette (Ed4) is that it has a test signal on each side that allows to calibrate the reading.

Part 5 : Summary, scoring and Samples

Ed1: Vinyl ref : 24 0 3841 – 1985

We find on this vinyl of 1985 the original mix, with a good pressing, however, the accentuation of the highs for this vinyl gives a sound with a rising balance which is heard on the voice.

• Rating:
  • Dynamic: ●●●●o (3.5/5)
  • Bandwidth: ●●●●o (4/5)
  • Surface noise: ●●●●o (4/5)
  • Restitution: ●●●oo (3.5/5)

• Sample : “Running Up That Hill” 24 bits 88.2 kHz:

Ed2: Vinyl Japan ref : EMS-91113 – 1985

On this Japanese vinyl, we find the original mix of 1985, with a very good pressing. Unlike the previous vinyl (Ed1), there is no treble emphasis, so we find the balance of the original recording which is similar to the CD. This is one of the best pressings of this album.

• Rating:
  • Dynamic: ●●●●o (4/5)
  • Bandwidth: ●●●●o (4/5)
  • Surface noise: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Running Up That Hill” 24 bits 88.2 kHz:

Ed3: Vinyl remastered 2018 ref : 0190295593865 – 2018

This vinyl with the 2018 remastered version is immediately different from the 1985 versions, there is a different balance with the lower end of the spectrum being more present, it’s a sound balance that is more contemporary compared to the 1985 version. The quality of pressing is very good.

• Rating:
  • Dynamic: ●●●●o (3.5/5)
  • Bandwidth: ●●●●o (4/5)
  • Surface noise: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Running Up That Hill” 24 bits 88.2 kHz:

Ed4: Cassette ref : TCKAB1 – 1985

The tape of this album has almost become a collector’s item with the Stranger Things series. This tape also includes the 12″ Mix version of Running Up That Hill. We find in listening a warmer sound with low frequencies more put forward as the high frequencies (above 10 kHz). However, your tape will not have the precision and detail of other media.

• Rating:
  • Dynamic: ●●●oo (3/5)
  • Bandwidth: ●●●●o (3.5/5)
  • Surface noise: ●●●oo (2.5/5)
  • Restitution: ●●●oo (3/5)

• Sample : “Running Up That Hill” 24 bits 192 kHz:

Ed5: CD ref: CDP7 461642 – 1985

The 1985 CD is dynamic like the vinyl version. We find the same tonal balance.

• Rating :
  • Dynamic: ●●●●o (3.5/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Running Up That Hill” 16 bits 44.1 kHz:

Ed6: CD EMI100 ref : 724385797828 – 1997

The CD released for the 100 years of EMI was very promising with the bonus tracks including the 12″ Mix version of Running Up That Hill. But the dynamic limitation was applied for this 1997 CD, with for the first track a DR7 instead of the DR12 of the 1985 CD. This is clearly audible at the end of the sample, where this CD loses the precision and detail of the sound. Even the cassette (with its DR9) manages to do better.

• Rating :
  • Dynamic: ●●●oo (3/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●oo (3/5)

• Sample : “Running Up That Hill” 16 bits 44.1 kHz:

Ed7: CD remastered 2018 ref : 0190295568948 – 2018

The CD remastered in 2018 doesn’t have the flaws of the 1997 version, we find a dynamic album with a DR12 like the original 1985 album, it’s a good surprise for a remaster made in 2018. This version has an adjusted sound balance with more present bass, corresponds to the criteria of listening today, it is a very pleasant version to listen, which leaves less the voice present.

• Rating:
  • Dynamic: ●●●●o (3.5/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Running Up That Hill” 16 bits 44.1 kHz:

Ed8: Qobuz Original

No bad surprise for this streaming version which is similar to the 1985 CD version..

• Rating:
  • Dynamic: ●●●●o (3.5/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Running Up That Hill” 16 bits 44.1 kHz:

Ed9: Qobuz Hi-Res – Remastered 2018

The remastered version in 2018 is globally identical in sound rendering between the CD version and the streaming version.

• Rating:
  • Dynamic: ●●●●o (3.5/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Running Up That Hill” 24bits 44.1 kHz:

Ed10: Tidal Original

This Tidal version is similar to the Qobuz version of 1985, with the decoding of the MQA in 88.2 kHz, there are frequencies which are generated above 22 kHz and which are due to the decoding. Depending on the DACs, there may be a small difference in rendering due to the 88.2 kHz reading.

• Rating:
  • Dynamic: ●●●●o (3.5/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Running Up That Hill” 24 bits 88.2kHz:

Ed11: Tidal Master – Remastered 2018

Consistent with the 1985 Tidal version, This 2018 Tidal version is similar to the 2018 Qobuz version. We find the same principle of decoding the MQA in 88.2 kHz. Depending on the DACs, there may be a small difference in rendering due to the 88.2 kHz reading.

• Rating:
  • Dynamic: ●●●●o (3.5/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Sample : “Running Up That Hill” 24 bits 88.2kHz:

This album is a good surprise, it offers 2 versions, original and remastered in 2018, which are dynamic and sounding according to its time. The choice between the two versions depends on the tastes of each one, either the original version with a voice more present and low register a little more in the background, or a rermasterized version where the low register takes back more importance in the balance and with a very beautiful sound opening. Concerning the digital or vinyl versions,it’s also a question of preferences, the quality is present for all the supports, the vinyl bringing a sound a little bit warmer (except for the Ed1) than the CD. Remain the 1997 CD version which remains behind, it’s a pity with the presence of the 6 bonus tracks.

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Detail of the ratings :

• Dynamic :
  1. Significant dynamic compression, DR less than 7
  2. Compression of the present dynamics, DR between 7 and 9.
  3. Correct piece DR >=10
  4. No dynamic compression (DR >12), dynamic rendering
  5. No dynamic compression, high DR and very dynamic sound rendering
• Spectrum :
  1. Spectrum cut and less than 15 khz
  2. Spectrum cut at 15 khz
  3. Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
  4. Spectrum conforming to the original (but not HD)
  5. Spectrum conforming to the original with HD resolution (higher than 24kHz)
• Surface noise (only for vinyl):
  1. Continuous audible noise
  2. Audible surface noise except on passages with a high level of noise
  3. Reduced surface noise, barely audible on low level crossings
  4. Low surface noise, very good quality
  5. Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
• Spatialization :
  • Between 0 and 5 for 5.1 or 7.1 channels configuration
  • Between 0 and 10 for Atmos configuration (7.1.4)
  • For more information on spatialization, you can read the article describing this parameter here.
• Sound result :
  1. Low quality of the sound mixing dynamics, clarity, separation of voices and instruments.
  2. Average quality of the sound mixing dynamics, clarity, separation of voices and instruments.
  3. Quality of the sound mixing dynamics, clarity, separation of voices and instruments. Good record.
  4. High quality of the sound mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
  5. Maximum quality of the sound mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.

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