The song became a big hit and reached No. The album, titled The Kick Inside , was released in February and featured 13 tracks. Bush's cinematic and literary influences, two qualities which would later be considered key to her work, were most obvious in the song "Wuthering Heights".
Three other singles were released over the world during the next two years: "Them Heavy People", "Moving" which reached number one in Japan and "Strange Phenomena". It peaked at number Bush made an appearance on Saturday Night Live in December Despite this publicity, The Kick Inside failed to enter the top of the Billboard albums chart. The album peaked at No. Eventually clocking up 71 weeks in the chart. Six different varieties of the album's cover are known:  the regular UK cover, a variant UK cover, the US cover, the Canadian cover, the Yugoslavian cover, the Japanese cover, and the Uruguayan cover, the Uruguayan cover being the rarest and most expensive due to its unusual head-on photo of Bush.
In the UK, it was released twice as a limited edition picture disc. This is housed in a full colour outer sleeve 'Kite' picture by Jay Myrdal. It sports a sticker declaring that it's a picture disc cat. Two versions were actually released: The first edition has a circular sticker stating that it is a picture disc usually in the top left hand corner.
The second pressing apparently aimed at the US market, where the first pressing had proven popular has an oval sticker usually top centre. The first edition does not have this wording. Contemporary reviews were full of praise for the album. Billboard favoured the songs "Wuthering Heights" and "Them Heavy People" among others and said she wrote "evocative lyrics" and delivered them with "smooth and unrestrained vocals".
In later reviews, the album continued to receive universal praise. Pitchfork said of the album, "It is ornate music made in austere times, but unlike the pop sybarites to follow in the next decade, flaunting their wealth while Britain crumbled, Bush spun hers not from material trappings but the infinitely renewable resources of intellect and instinct: Her joyous debut measures the fullness of a woman's life by what's in her head.
Some of these songs were written when she was 13! Helmed by Gilmour's friend, Andrew Powell, it's a lush blend of piano grandiosity, vaguely uncomfortable reggae and intricate, intelligent, wonderful songs.
All delivered in a voice that had no precedents. From Wikipedia, the free encyclopedia. Kate Bush. It resolves into a more run of the mill chorus than Moving and the guitar coda is also more generic which might have aided the commercial success of this single.
Some other hallmarks of her music like the prominence of harps are also already evident. There is still some way to go yet for the development of fretless bass to approach its eventual importance in her sound. Also, on two songs, namely Saxophone Song and Man with the child in his eyes, she shuns her theatrical attack and goes for a mellow tone. She sounds very sincere in a Sandy Denny vein but a tad unremarkable with this approach.
Not surprisingly, such a tone is nowhere in evidence by the time of The Dreaming. While Kate Bush's 'natural' voice is beautiful, it lacks presence and power so even if I get off sometimes on her overwrought theatrics, I find that more appealing and memorable. Her trademark theatrics do help shore up the second half of the album. For it swiftly slides downhill post Wuthering Heights.
It's not as if the songs suddenly start to stink. On the contrary, James and the Cold Gun for instance is a very catchy song and Feel It anticipates some aspects of her subsequent work. But Kate is unable to sustain the marvellous impression created by the first half - and it does set the bar really high. The second half sounds more like an alternative Kick Inside wherein it is just a regular debut of a promising pop artist with some distinct stylistic aspects and the songs tend to resolve to safety rather than thrill.
The two halves put together is a fairly schizophrenic experience and I am sure a lot of fans just avoid the second half altogether, even though it is decidedly not nearly that bad. Because said inconsistency mars the impact of this album quite a bit, I cannot rate this album 5 stars.
But it's a very strong 4 stars that I do give and has some of my favourite Kate Bush tracks as well as that of, I am sure, many other fans. After sending her demos around one finally got to David Gilmour who would help her refine them into more professional sounding pieces and thus would help catapult her into instant stardom in her native UK. By the time she was 19 her debut album was released and her singles such as 'Wuthering Heights' began to fly up the charts at home and then abroad.
I listen to this now and it does the same for as it did the very first time I heard it. Powerful stuff indeed because of Kate's strangely idiosyncratic vocal style and haunting cord changes that she has successfully integrated into the music to give it a unique feminine style. It still gives me goosebumps. It took me 40 years to finally listen to get The Kick Inside and give it the attention it deserved.
And I was impressed. I should have bought it at the time after all. Well, better late than never. Although no track here surpass her most famous hit song how could it be different? Still a teenager, she sounds as confident as any seasoned pro. Well, and considering that some of them were written when she was 13 make them even the more remarkable!
Of course the fact that the album was very well produced and arranged does not hurt either. She was backed by some of the finest musicians at the time: most of them from the Alan Parsons Project, which helped to give the record a bands feel and a cohesive whole, even if some of the stuff was quite varied.
Al in all a stunning debut for this great artist. Maybe her most accessible album in her long career. Not perfect, of course, but an incredible start for someone so young.
And one who stood so well the test of time. A must have for any music lover. Yesterday I listened to this album after a long while, and I felt a good deal of the same magic that fulfilled me as a teenager.
At the time, around , I already had all Kate Bush's studio albums up to that point. Being a debut of a very young and unexperienced performer, in the artistic measures The Kick Inside understandably loses in several ways to masterpieces such as Hounds of Love and The Dreaming, but it also has unique charm, or indeed magic if you like, that is hard to find elsewehere in any popular music.
It is starry-eyed romantic, very melodic, a little naiive in a good way, and most of all deeply sensual. I know people who have made love while playing this album I haven't, perhaps to avoid competition of my attention. It has 13 songs. I have never much enjoyed 'Kite' or 'Them Heavy People' slightly silly, merry songs that I rather skip , and 'James and the Cold Gun' is a bit boring melodically until the final vocal line and the following guitar solo of Ian Bairnson.
The remaining ten songs are either extremely lovely or very enjoyable. The overwhelming sensualism continues on the vinyl's B side.
How sad that sex in today's pop music is usually very banal and commercial, not sensual and intimate like this. Kate Bush b. That undoubtedly explains the certain naivism, or child-like sense of wonder -- not that it would be a bad thing in the first place. Later she became more and more self-sufficient as her own producer, but for the success of the debut's music, the work of well chosen collaborators is invaluable. Arranging and producing were on the hands of Andrew Powell who had worked with The Alan Parsons Project as well as several musicians playing here.
The following album Lionheart -- which is pretty good -- was quickly made within the same year, and its song cycle is less captivating than this song cycle. The album cover for The Kick Inside is not very convincing with all the orientalism that would suit better for a Chinese restaurant. A strong debut album by a gifted piano player, composer with original high-pitched voice.
Not surprisingly, songs are piano oriented with mellow arrangements and a touch of progressive rock textures while being rooted in songwriter pop. However, compositions are more ambitious than commercial po Some albums are a blueprint to wich albums, I'd yet have to discover in the expanded and wonderful universe of recorded music, have to comply. 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 wa This is a really good debut and it is remarkable to think that this creative talent came from a teenager. Bush was already writing songs as young as eleven! Her style was very original and eclectic especially for the time, although I think this early sound still influences and affects many people I have always admired Kate Bush from afar. Not as a sex object but as an artist.
Her sophistication and her career is an example for everyone. She is a mythical person. Strangely enough because she refuse to be a mythical person. Instead, she is doing her weekly shoppings in just the kind of s Kate isn't a prog rocker. She isn't even a sheer rocker. More complex desires tended to elicit her more inherently sensual and accomplished writing. This is the other teenage recording, her voice a little higher, less powerfully exuberant, but disarmingly confident. The sweet calypso reverie is elegant, and good relief from the brawnier, propulsive arrangements that stood staunchly alongside Steely Dan.
Skip to content Search query All Results. As a girl, really, I've always been into words as a form of communication. And even at school I was really into poetry and English and it just seemed to turn into music with the lyrics, that you can make poetry go with music so well.
That it can actually become something more than just words; it can become something special. Self Portrait, There are thirteen tracks on this album. When we were getting it together, one of the most important things that was on all our mind was, that because there were so many, we wanted to try and get as much variation as we could.
To a certain extent, the actual songs allowed this because of the tempo changes, but there were certain songs that had to have a funky rhythm and there were others that had to be very subtle. I was very greatly helped by my producer and arranger Andrew Powell, who really is quite incredible at tuning in to my songs.
We made sure that there was one of the tracks, just me and the piano, to, again, give the variation. We've got a rock 'n' roll number in there, which again was important. And all the others there are just really the moods of the songs set with instruments, which for me is the most important thing, because you can so often get a beautiful song, but the arrangements can completely spoil it - they have to really work together. I think it went a bit over the top [ In being orientally influenced ], actually.
We had the kite, and as there is a song on the album by that name, and as the kite is traditionally Oriental, we painted the dragon on. But I think the lettering was just a bit too much.
On the whole I was surprised at the amount of control I actually had with the album production. Though I didn't choose the musicians.The Kick Inside is a superb debut album. The 18 year old singer songwriter was spotted by Floyds Dave Gilmour, and to this day her contribution to progressive popular music has /5(32).