The mid-to-late Seventies were full of noteworthy debut albums by an array of artists; Boston, Television and Heart to name but a few. Another outstanding record by a newcomer was The Kick Inside by Kate Bush, which appeared in the year 1978.
There is no doubt that this is an ambitious and mature work, particularly bearing in mind how young the singer-songwriter was when these songs were written and recorded. She certainly hit the ground running, and this was seemingly the culmination of her youthful endeavours. The thought occurs that her later work failed to match the focus and sharpness of The Kick Inside. Either she peaked early, or she failed to fulfill her potential.
The timing and context of Kate's arrival on the music scene is intriguing. She didn't conform to any notion of pigeon-holing. She tends to be labelled as "art pop" or "art rock", which to my mind are usually tags attached to artists who otherwise defy precise and easy categorization. By 1978, the singer-songwriter boom was spent, and punk, new wave and disco held sway. Against this backdrop, it is easy to see why she made such an impact. An original talent, with a different, challenging take on things.
One criticism is that too many of the songs on this debut sound alike. This may partly be down to the instrumental backing and the nature of Kate's voice. However, these factors do imbue the record with a certain aura and cohesion.
Her influences are tricky to pinpoint. Clearly the female singer-songwriters of the previous era are here in spirit, if not always overtly in style. The effect of Laura Nyro is detectable to my mind, in the form of the uncompromising arrangements and lyrics, the prevalence of piano and also the subject matter.
The album exudes a bright and fresh sound, even several decades later. This was the period before everything became submerged by electronics and the urge to experiment with all the shiny new technology coming on stream.
The list of topics tackled by these songs, such as "Strange Phenomena", was not exactly standard back in 1978, Indeed, Kate Bush might have been a pioneer in addressing "awkward" issues, a practice which later became so fashionable.
"The Saxophone Song" has a haunting quality to it, and "Kite" is a standout, being both sparky and vibrant. "The Man With The Child In His Eyes" is probably my favourite from this LP, having a dramatic sweep and cinematic flavour. The lyrics are still cryptic and the imagery enigmatic, but the melody is more direct and digestible.
"Wuthering Heights" is one of those tracks which has suffered in my mind from over-exposure, thus making it tricky to evaluate. Despite the literary overtones, it feels a little artificial and sterile, as if the artist was trying too hard to impress.
Of all the pieces on The Kick Inside, the one which most betrays the influence of Laura Nyro is "Feel It". It reminds me somewhat of the New York Tendaberry-era material in its general atmosphere and style. The concluding song, the title track, might just be the highlight of the whole thing...
The mix sometimes makes it difficult to make out the words clearly. This might have been intentional; the need to listen attentively in order to understand the songs renders the album a real challenge. The intensity is unrelenting, with no let-up. Every song matters, and has something worthwhile to say, demanding our attention. A rare quality in any record, let alone a debut.
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