Vinyl Vault

At 19 years old, Kate Bush came out of nowhere to top the British charts with “Wuthering Heights,” a baroque take on the famous novel. Armed with a piercing, operatic voice and a truly eclectic songwriting style, Bush’s debut album, 1978’s The Kick Inside, featured that smash single and twelve other examples of her unique talent. But, now that the novelty has worn off, how does the album hold up to a song-by-song review?

The Kick Inside (1978, EMI Records)

Side A

  A1. “Moving”
It’s not long before that voice grabs you, as she sings of a lover and his “beauty’s potency.” The melody is swirling and unexpected, far from what you would expect from a pop song. But, then again, I guess it isn’t pop at all. It’s something far deeper and mysterious, even as it suffers from the strained poetry of the lyrics.

  A2. “The Saxophone Song”
As usual, Bush’s piano and voice are at the center to begin, before the other instruments surround her. This one has a bit of a sleepy 70’s studio vibe that hampers it, along with the obviousness of the sax solos telegraphed by the lyrics.

  A3. “Strange Phenomena”
Strange would be the operative word here. It sounds like an Andrew Lloyd Weber ballad about menstrual cycles. If that’s your bag, then this is the song for you. Download it just for eccentricity’s sake.

  A4. “Kite”
This sounds like the most bizarre Captain and Tenille song ever, bouncing around on a poppy bassline and circus-like organ. Pass.

  A5. “The Man with the Child in His Eyes”
There’s a welcome subtlety and straightforwardness to Bush’s approach here, just piano and strings highlighting her gift for melody. It comes a bit too close to easy listening for comfort, but there’s enough of her quirkiness present to steer it clear in the end.

  A6. “Wuthering Heights”
“Heathcliff/It’s me/ I’m Kathy.” Taking the Emily Bronte novel and capturing its mysterious, romantic essence in the span of less than 5 minutes, Bush deservedly topped the charts for the only time in her career to date. It’s a lovely tune that achieves a difficult-to-obtain combination of complexity and accessibility.

Side B

  B1. “James and the Cold Gun”
For all of her artsy forays, Bush displays a toughness with this vaguely discofied groove. She tells the tale of a gangster lying low with surprising authenticity, alternately intrigued and disgusted by his me-first lifestyle.

  B2. “Feel It”
On such sentiments Cinemax After Dark has thrived for years. Kate doesn’t leave much for the imagination on this carnally-tinged track. You could blush listening to this one. Gusty stuff, but a little overwrought.

  B3. “Oh To Be In Love”
This is the purest pop shot on the album, all tinkling keys and bouncy brass against a “Be My Baby” beat, accentuating this ode to an overwhelming love.

  B4. “L’Amour Looks Something Like You”
Bush once again has her mind in the “boudoir”. This one also struggles for poetic grace but comes off a little clumsy. Still, it’s nearly redeemed by a typically ingenious song structure.

  B5. “Them Heavy People”
Once again, you’re in for a wild and woolly musical ride, all shifting tempos and a song that veers from a reggaefied bounce to Broadway balladry at the drop of a dime.

  B6. “Room for the Life”
The “I Am Woman” sentiments are a bit much, but Bush’s heart is in the right place, and the track has some nice flourishes. Among them is electric guitar borrowed from the Brian May playbook and fetchingly exotic percussion, which break down into a fun coda that sounds like “The Lion Sleeps Tonight” was on the Kate Bush playlist as a kid.

  B7. “The Kick Inside”
Even with the inscrutable lyrics, the finale whips up a mesmerizing spell via Bush’s indomitable vocal and ethereal strings. Very pretty.

The Bottom Line

Bush’s idiosyncratic was already on full display on The Kick Inside, even if it wasn’t quite fully formed. You’re left with a bit of a bumpy ride, but one that’s far from dull.