Kate Bush

"Live at Hammersmith Odeon"
Running Time 52 minutes
EMI TVD 90 D503 2

The first Kate Bush concerts were given at the London Palladium in April 1979. They were a tremendous success and brought to the public eye her wide range of talent. This film was made from recordings at London's Hammersmith Odeon on 13th May 1979.

Kate's use of dance and mime as a natural part of her stage act, combined with her musical skills as a songwriter, vocalist and pianist, make her performance ideal for the video medium.

She conceives, designs and produces all of her shows which is a feat in itself and is assisted in her stage performance by two dancers: Gary Hurst and Stewart Avon-Arnold, an illusionist and mime artist: Simon Drake, along with first-class 7-piece band and vocal duo. Backing vocals are provided by Liz Pearson and Glenys Groves with the band's personnel including Alan Murphy (guitar, whistle), Brian Bath (guitar, mandolin and vocal harmonies), Del Palmer (bass), Paddy Bush (mandolin, vocal harmonies, additional instruments), Kevin McAlea (piano, keyboards, sax, 12 string guitar), Ben Barson (synthesiser, acoustic guitar) and Preston Heyman (drums).

The opening song 'Moving' is a creative fusion of bubbling sea and dolphin-like noises as Kate emerges silhouetted against a single bold spot. Her use of a discreet radio mic headset allows complete freedom as she makes her sensitive dance movements.

'Them Heavy People' follows without a break and brings in two dancers in raincoats and hats. There is considerable use of over-dubbing of recorded pictures in this and other numbers, with subtle use of colour. The stage set can now be seen with backstage drop containing Kate's entrance 'circle' and central sloping ramp to stage level, with the band positioned across the back on both sides.

'Violin' has interesting harmonies and musical arrangement (with predominant use of root, fifth, flattened fifth motiv). Simon Drake appears as the mad violinist whilst dancers become elongated double basses. 'Strange Phenomena' uses an opening space landscape and floating dance movements which create plenty of emotion over the steady tempo. Words are sometimes obscured and it would have been nice to have a printout of Kate's own lyrics, although the interpretation always carries the songs through.

'Hammer Horror' shows Kate stepping out of the pupil of an eye to dance energetically to a taped backing including her vocal part. At this point the complete costume changes for each number becomes a noticeable feature of the performance. This song also shows Kate's tremendous vocal range. 'Don't push your foot on the heart-brake' has overdubbed torchlights and dancers which fill the screen, with grand piano opening accompaniment that soon breaks in and out of a strong rock piece. It is in fact quite difficult to place your band behind you and still achieve lighting control that 'paints' the set picture. Here it is extremely well done using the minimum of props - just three 'fence grids' here.

Audience applauds as dry ice rolls across the floor for 'Wow'. This is one of her most popular songs and shows off her unusual emphasis on movement (for a vocalist). 'Feel It' is a gentler solo with Kate on piano. 'Kite' puts echoed chords and rhythm to good use against a lighthearted beat - the dancing is particularly good and the visual effects make this artistically interesting.

'James and the Cold Gun' is a powerful piece, yet containing Kate's softer articulated lyrics as well. Inevitably the gun appears and a long dance sequence portrays the dramatic shooting enhanced by drum 'ricochets' and strong lights. 'Oh England my Lionheart' brings Kate into close-up with piano and harpsichord accompaniment and distant bird sounds.

'Wuthering Heights' provides a suitable end to this memorable collection of songs, which are all complete in themselves. Sound balance and production from the Manor Mobile is well done, with plenty of interchanging solos from the band, and only the one criticism of indistinct vocals in places.

Considering this is a video derived entirely from the stage performance alone, it must serve as a prime example of the integration of music, dance and visual effects and should capture your interest time and time again - one of the most difficult requirements of any video film.