To Bring You My Love is the third studio album by the English alternative rock musician PJ Harvey, released on 27 February 1995 by Island Records.

Harvey made only one public appearance in 1994, performing a cover version of the Rolling Stones' "(I Can't Get No) Satisfaction" with Icelandic singer Björk at the annual BRIT Awards.

Using the royalties that she had received from her first two studio albums, she bought a house in rural England close to her parents' home in Yeovil.

For this recording she recruited producer Flood, her old Automatic Dlamini bandmate John Parish and a new line-up of session musicians including multi-instrumentalists Joe Gore, Eric Drew Feldman, Mick Harvey and drummer Jean-Marc Butty.

The subject matter and tone of the songs on To Bring You My Love differ somewhat from what Harvey had presented on her earlier albums.

They focus more on revenge ("Rid of Me", "Rub 'til It Bleeds"), or act as an attack on traditional masculinity[6] ("Man-Size", "50ft Queenie", "Me-Jane").

[8] The deep, rumbling organ tones provide many of the lower notes on the album, replacing traditional basslines.

[9] As her second full-length release on a major label, To Bring You My Love received a heavy promotional push from Island Records.

Extensive MTV rotation and college radio airplay for the first single "Down by the Water" — with its eccentric, eye-catching Maria Mochnacz-directed music video of Harvey drowning in an emerald pond while wearing an extravagant wig, heavy make-up and a slinky red satin evening gown — gave Harvey her biggest radio hit to date, reaching number two on Billboard's Modern Rock chart.

[23] The moderate commercial breakthrough of To Bring You My Love had nothing to do with any scaling-down of her trademark lyrical intensity: the infanticide fable "Down by the Water" — whose whispered coda of "Little fish big fish swimming in the water/Come back here, man, gimme my daughter" references the old Lead Belly blues standard "Salty Dog" — ostensibly deals with a mother drowning her child.

[16] The Independent shared the same point of view, writing that Harvey's performance "make[s] the record stand out from its peers"; reviewer Nicholas Barber saw it as "a threatening, nightmarish creature", adding "imagine Siouxsie and the Bad Seeds".

[25] Los Angeles Times noted the "rich imagery" of the lyrics, writing that "in the most gripping moments, [...] [Harvey] speaks with the captivating clarity and force of someone reaching for a final, life-saving anchor.