On Kate Bush's 61st birthday, one Vogue writer looks back on the significance of The Kick Inside, Bush’s auspicious 1978 debut.
It all began with her smash-hit single, 1977’s “Wuthering Heights,” which takes as its subjects Catherine Earnshaw and Heathcliff of the eponymous Emily Brontë novel. “Heathcliff,” the infectious chorus goes, “It's me, I’m Cathy, I've come home, I’m—so co-o-o-old / Let me in through your wind-o-o-ow.” From the outset, Bush determined that the strength of her imagination—paired with an iron-clad resolve to see it through—would be central to her art.
It’s a bonkers concept for a song—especially one that would sit atop the U.K. charts for a month straight, replacing ABBA’s “Take a Chance on Me”—with the most incredible pseudo-operatic vocals to match; but that’s not even my favorite track on.
There was something unquestionably dreamy about the songstress: Beyond her long, black hair and lithe figure—she was a student of both dance and mime—her meandering melodies and fondness for and. Still, there existed from the start a deeply corporeal side to her work, too, manifested in songs that addressed all areas of the sexual experience.
Strictly speaking, “This Woman’s Work” is about a breech birth , but more recently, the song has been reclaimed as anand one can understand why. I can see myself in the dance studio now, tired, anxious, but feeling more and more myself all the time. “I know you've got a little life in you yet,” Kate was singing urgently over the speakers, and I could feel it. “I know you've got a lot of strength left.
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