Running Up That Hill (A Deal With God)

Kate Bush has explicitly stated that "Running Up That Hill" is about the fundamental inability of men and women to truly understand each other due to their differing perspectives. The song's central concept is a plea to a higher power, God, to 'make a deal' to allow them to 'swap our places.' This exchange of roles, Bush explained, would lead to a greater understanding and resolve the 'insecurities' and 'little problems' that arise from misunderstandings in a relationship. She felt that if a man could be the woman and the woman could be the man, they would be surprised by the other's experience, leading to empathy and clarity. The title itself was a point of contention; originally titled 'A Deal with God,' it was changed by the record label EMI, who feared the religious reference might lead to radio bans in some countries. Bush reluctantly agreed but has maintained that she still considers the original title to be the song's true name. The act of 'running up that hill' serves as a powerful metaphor for the immense effort and struggle required to overcome the emotional and communicational barriers within the relationship.

The narrative unfolds from the perspective of someone grappling with a profound emotional disconnect from their loved one. It begins with a declaration that they are not in pain, immediately followed by an invitation for their partner to truly feel what they are feeling, suggesting a hidden or misunderstood suffering. The core of the story is a desperate and hypothetical proposition: to make a deal with God. This pact would involve swapping their places, allowing each to experience the other's reality. The protagonist imagines that this exchange would eliminate all the problems and misunderstandings that plague their relationship. They envision themselves effortlessly 'running up that road, running up that hill, running up that building,' with these escalating obstacles symbolizing the immense challenges they face in their connection. The lyrics delve into the unintentional harm they cause each other, acknowledging that despite not wanting to inflict pain, deep wounds exist. There's a recognition of a 'thunder in our hearts,' a powerful yet tumultuous force within their relationship. The song questions the presence of hate for the ones we love and affirms the importance of both individuals, expressing a desire to escape unhappiness. A plea is made to 'steal this moment' and 'exchange the experience,' a desire to bridge the empathetic gap not just conceptually but viscerally. The recurring chorus reinforces the central theme: the only path to resolving their issues and achieving a state of being 'with no problems' is through this divine intervention of swapped perspectives. The repetition of 'running up that hill' at the end transforms from a depiction of struggle into a potential state of being, a continuous and effortless motion if only the deal could be made.

"Running Up That Hill" was written and produced entirely by Kate Bush for her fifth studio album, Hounds of Love. She composed the song in a single evening during the summer of 1983 at her home studio in Welling, England. The song began with the distinctive riff created on a Fairlight CMI synthesizer, and she then sang the drum pattern to her engineer and then-boyfriend, Del Palmer, who programmed it into a LinnDrum drum machine. The initial recording, which started on November 4, 1983, served as the working start, not just a demo. Stuart Elliott later added live drums, closely following the original programmed pattern, and Alan Murphy contributed guitar parts. Bush's brother, Paddy Bush, played the balalaika on the track. The song was the first one written for the album, and Bush felt it was the best representation of Hounds of Love, persuading her label, EMI, to release it as the lead single over their preference, 'Cloudbusting'. The song's original title was 'A Deal With God,' but EMI executives were concerned it would be controversial and receive limited airplay, particularly in religious countries. Bush compromised and changed the title for the single release on August 5, 1985, though the album version retains the full title, "Running Up That Hill (A Deal With God)".

The song's rhythmic and rhyming structure are integral to its emotional impact. The rhythm is defined by a persistent, driving drum pattern programmed on a LinnDrum machine, creating a feeling of constant motion and urgency that mirrors the lyrical theme of 'running.' This relentless beat provides the foundation for the entire track. The song is set in the key of C minor, and its tempo is moderately fast, contributing to the sense of pleading and desperation. The lyrical rhythm often follows a declamatory, almost spoken-word style in the verses, which contrasts with more fluid, sung melodies in the pre-chorus and chorus. The rhyme scheme is not strictly formal, leaning more towards free verse with instances of rhyme to enhance musicality, such as the slant rhyme in 'could' and 'God' in the chorus. The interplay between the driving musical rhythm and the more varied vocal rhythm creates a dynamic tension that reflects the emotional struggle described in the lyrics. The overall effect is a powerful, galloping feel that propels the song forward, embodying the continuous effort of 'running up that hill.'

"Running Up That Hill" is noted for its innovative blend of musical and literary techniques.

• Musical Techniques: The song is built upon a driving, relentless rhythm from a LinnDrum drum machine and a distinctive, haunting synthesizer hook created with a Fairlight CMI. The key of C minor lends a sense of angst and harmonic tension. Bush's vocal delivery is a key element; in the verses, it's almost a form of sung spoken word or recitative, while the pre-chorus features more melismatic singing. The arrangement is minimalistic yet atmospheric, using reverb extensively to create an ethereal quality. The harmony is notable for its use of dissonance to create tension, such as landing on a major seventh on the word 'could,' which emphasizes the longing and instability in the lyrics. The use of a balalaika adds a unique textural layer.
• Literary Techniques: The song functions as a persona poem, where Bush embodies a character to explore a specific emotional landscape. The central literary device is the extended metaphor of making a 'deal with God' to 'swap places.' Imagery of struggle is powerfully conveyed through the recurring motif of 'running up that hill.' The lyrics also employ direct address ('You, it's you and me') and rhetorical questions ('Is there so much hate for the ones we love?') to create an intimate and pleading tone. The repetition, or refrain, of the chorus and the titular phrase hammers home the central theme of the song.

"Running Up That Hill" has had a profound and enduring cultural impact. Upon its initial release in 1985, it became Kate Bush's most successful single of the 1980s, reaching number 3 in the UK and her only top-40 hit in the US at the time, peaking at number 30. The song was critically acclaimed and nominated for a Brit Award. Its influence has been sustained through numerous cover versions by artists like Placebo and Meg Myers. The song's most significant cultural resurgence occurred in 2022 when it was featured prominently in the fourth season of the Netflix series Stranger Things. The show used the song as a narrative device, a 'talismanic' song that saves the character Max Mayfield from the villainous Vecna, which has been interpreted as a metaphor for music's power to combat depression and trauma. This placement introduced the song to a new generation and caused a global phenomenon, sending it to number one in the UK (breaking several records, including the longest-ever gap between number ones) and to a new peak of number 3 on the US Billboard Hot 100. It became the most streamed song on Spotify in multiple countries and surpassed a billion streams in 2023. This renewed success highlighted the timelessness of the song's themes and production.

The song is rich with symbolism and metaphors that explore the complexities of human relationships.

• A Deal with God: This central metaphor represents the ultimate, almost impossible, act required to achieve true empathy between two people. Bush chose a 'deal with God' over a 'deal with the devil,' explaining that it felt 'so much more powerful.' It symbolizes a desperate plea for divine intervention to swap perspectives with a partner to overcome misunderstanding.
• Running Up That Hill/Road/Building: This recurring motif symbolizes the immense struggle and the overwhelming obstacles faced within a relationship. The escalation from a road to a hill to a building illustrates the increasing difficulty and effort required to bridge the emotional gap between two people. It represents the quest to overcome these barriers.
• Bullet Lies Deep / Tearing You Asunder: These violent images convey the deep, often unintentional, pain that people in a relationship can inflict on each other. They highlight the hidden wounds and the destructive potential that exists even in a loving connection.
• Thunder in Our Hearts: This phrase captures the tumultuous and powerful emotions within the relationship. It suggests a passionate, yet potentially destructive, inner turmoil shared by the couple.

The most prominent recurring motif is the lyrical phrase "And if I only could, I'd make a deal with God, and I'd get him to swap our places." This line encapsulates the song's central thesis and is repeated in each chorus, reinforcing the deep-seated desire for mutual understanding through an exchange of experiences. The action of 'running up that hill' is another critical recurring motif, often appearing immediately after the 'deal with God' line. Its repetition, sometimes escalated to 'running up that road' and 'running up that building,' emphasizes the continuous and arduous struggle involved in the relationship. The musical hook, a descending synthesizer riff played on the Fairlight CMI, is a powerful recurring musical motif that is present from the very beginning and serves as the song's signature sound, creating a haunting and memorable atmosphere. The phrase 'You, it's you and me' also recurs, grounding the grand, metaphorical struggle in the specific reality of a two-person relationship and highlighting their shared fate, whether happy or unhappy.