THE KICK INSIDE

Kate Bush is an artist that's had numerous musical peaks throughout her career (The Dreaming being her most experimental, Hounds Of Love her most complete and well-written), but "The Kick Inside" seems to be her magnum opus. A perfect combination of a rawly produced progressive record with a very warming eagerness to experiment, all laden with captivating melodies, her debut perhaps encapsulates my favourite version of the ever-changing Kate Bush.

"Moving" begins with a different but not exactly intriguing whalesong prelude, flowing into the main song. A beautifully crafted wistful air is instantly formed, and the lyrics and harmonies just leave you awestruck. There's so much going on, and the nymph-like "Lilies" section is another touch of magic. "The Saxophone Song" again strikes you with a gorgeous verse, and quite an underplayed, suppressed emotion (even sexuality), that almost bursts through with the sax but I think it's lacking a little somewhere. The intricate vocal work and chord progressions just about make up for this.

"Strange Phenomena" is, I suppose forces a hypnotic eeriness onto you, with an immediate augmented chord, but that's what makes up the album's rawness that keeps it more embedded and working with rock than pop. A typical Kate song on the whole, with a little something extra though. Now... "Kite" has to be the most unique song (and my most-listened-to) from the album. There's something so luxurious and irresistible in her voice that just purrs at you. I don't think anyone could ever match her dexterity and musicianship on here. This one track in particular just pours out of the speakers, and sounds so effortless and hedonistic.

Having now entered the chain of 4 consecutive Kate Bush classics, those gentle piano chords of "The Man With The Child In His Eyes". The chords seem a little jolting in some places, but they definitely grow on you. The chorus on the other hand is so original, and to think she wrote this at the tender age of 15... I'm that age now, and the fact that I know someone that young can compose something so otherworldly is inspirational to me, and I'm sure many others. This song alone spurs me on and lets me know that it can be done! "Wuthering Heights" similarly tells me that it's also possible to arrange and perform a number one progressive pop single by 17. This track is of course a mini-masterpiece in so many countless aspects of songwriting, and she still manages to attain a very intimate, honest narrative with the listener. It also takes a helluva lot of guts to release this as a debut song so soon after the apotheosis of British punk.

"James And The Cold Gun" has a bit more grit in it, with some bluesy but incredibly uplifting techniques and intrinsically powerful. I'd never have thought someone who could sing so gently could convey a heavy rocking track as is possible from a female teenage soprano to my knowledge. "Feel It" is regrettably where the album starts to go downhill. These final few songs are probably the reason why this gets a 4-star review (but incredibly close to a masterpiece). However, it is a gradual slope, and the courage to write such a blatantly sexual song as a female teenager certainly gets a lot of admiration from me. The frequent modulations during the chorus, and the almost-whispered storyline places this very far above mediocrity, and maintains the classy touch.

"Oh To Be In Love" has really grown on me recently, and I'm becoming more and more appreciative of her vocal technique here with every listen. As with all of her stuff, some of her best work! Very simplistic and elegant, but undeniably a very impressive little ditty. Not up there in the league of her greatest songs because it lacks a certain transcendental quality, but maybe her best love song. "L'Amour Looks Something Like You" has some excellent moments and just about keeps up with the remainder of her high standard songs, but the consistency begins to dissolve a tad more. Still captivating, don't get me wrong, but it doesn't quite have that extra dimension. Nothing wrong with it at all, just not the best song on here.

"Them Heavy People" is one of those songs I'm not sure if I should have an unrequited love for or be cringing at. Usually I do both, but I guess I'll have to pick sooner or later... The music and lyrics aren't as sophisticated as her other singles from "The Kick Inside" (e.g. Rolling the ball) but the narrative is particularly intriguing and kooky, as is her wild vocal style. Notably more far-fetched and risk-taking and that's kind of why I think I love it? "Room For The Life" kind of reminds me of a slow Ziggy song, with some additional prog ingredients thrown into the mix. This track was particularly average on first inspection, but as I've not had to listen so much to the first half hour, it's growing on me. Despite the repetitiveness, it's well-structured and has got a certain charm that I really can't not commend her on.

I'll refrain from saying that the title track is the low point of the album, but it could well be. Aside from the usual gracefulness of Kate, it lacks a punch and whilst it has the lavish chords and another incredible vocal delivery, it feels like it maybe had to be quickly written, as it feels more distant and not fully experiencable if I can say so. However, I'd like to end on a high note saying how this record in its entirety proves how prolific a songwriter she was at this fertile moment of her life. Countless artists have attempted to replicate the ingenuity of Kate and each one has failed. She will undoubtedly be remembered for years to come for the innate talents she was given, and this is where it all began.

B/A: How I'm moved.