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DISCID=a30a240d
DTITLE=Kate Bush / The Kick Inside (Mini LP CD Packaging)
DYEAR=1978
DGENRE=Rock
TTITLE0=Moving
TTITLE1=The Saxophone Song
TTITLE2=Strange Phenomena
TTITLE3=Kite
TTITLE4=The Man With The Child In His Eyes
TTITLE5=Wuthering Heights
TTITLE6=James And The Cold Gun
TTITLE7=Feel It
TTITLE8=Oh To Be in Love
TTITLE9=L'Amour Looks Something Like You
TTITLE10=Them Heavy People
TTITLE11=Room For The Life
TTITLE12=The Kick Inside
EXTD=The Kick Inside (Mini LP CD Packaging)\n\nOriginally Released Feb
EXTD=ruary 17, 1978\nCD Edition Released \nRemastered + Expanded CD Ed
EXTD=ition Released N/A\nJapanese Mini-LP CD Edition Released November
EXTD= 10, 2005\n\n\nAMG EXPERT REVIEW: Kate Bush's first album, The Ki
EXTD=ck Inside, released when the singer/songwriter was only 19 years 
EXTD=old (but featuring some songs written at 15 and recorded at 16), 
EXTD=is her most unabashedly romantic, the sound of an impressionable 
EXTD=and highly precocious teenager spreading her wings for the first 
EXTD=time. The centerpiece is "Wuthering Heights," which was a hit eve
EXTD=rywhere except the United States (and propelled the Emily Bront 
EXTD=novel back onto the best seller lists in England), but there is a
EXTD= lot else here to enjoy: The disturbing "Man with the Child in Hi
EXTD=s Eyes," the catchy rocker "James and the Cold Gun," and "Feel It
EXTD=," an early manifestation of Bush's explorations of sexual experi
EXTD=ence in song, which would culminate with "Hounds of Love." As tho
EXTD=se familiar with the latter well know, she would do better work i
EXTD=n the future, but this is still a mightily impressive debut.  -- 
EXTD=Bruce Eder\n\nAmazon.com Editorial Review\nKicking things off wit
EXTD=h a whimper, not a bang, Kate Bush quietly released her 1978 debu
EXTD=t, The Kick Inside and that disc still to this day affects an inc
EXTD=redible number people, Tori Amos and Sarah McLachlan among them. 
EXTD=There are so many elements that make this disc unique--Kate's soa
EXTD=ring soprano, her warm piano playing--but the one thing that perh
EXTD=aps sticks out most is how different her sounds were from anythin
EXTD=g else circulating at that time. Ten years before "alternative" h
EXTD=it the forefront, this music was neither easy nor palatable, trul
EXTD=y an alternative from the other styles out there. Among the more 
EXTD=legendary tracks, search out "The Man with the Child in His Eyes"
EXTD= and her timeless classic "Wuthering Heights." --Denise Sheppard 
EXTD=\n\nAmazon.com Product Description\nOut of print in the U.S., thi
EXTD=s is the debut album by the highly acclaimed British pop vocalist
EXTD=. Contains all 13 of the tracks from when EMI first released it f
EXTD=or her in 1978, including the international smash 'Wuthering Heig
EXTD=hts' and the U.S. chart hit 'Man With The Child In His Eyes'. Als
EXTD=o contains the original European cover art. The All-Music Guide g
EXTD=ave 'The Kick Inside' four & a half stars (out of five possible).
EXTD= An EMI release. --This text refers to the Audio CD edition. \n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nMore Than A New Discovery , Decembe
EXTD=r 9, 2006\nReviewer: Gregory B. Callahan (Modena, NY United State
EXTD=s)\n\nI recently read that Kate Bush's "Wuthering Heights" was no
EXTD=t initially inspired by the actual book but by a television mini-
EXTD=series based on same (not even the classic Laurence Olivier/Merle
EXTD= Oberon film apparently). My initial reaction was one of shock. I
EXTD= mean, Kate must have been all of 15 or 16 when she conceived of 
EXTD=the song, but haven't all well-bred (and reasonably well-read) yo
EXTD=ung English girls read the Bronte classic by then? And wasn't it 
EXTD=just the height of presumption to pen a three minute musical adap
EXTD=tation of that narrative without having digested the actual book 
EXTD=itself? Well, that's the librarian in me speaking, I guess. The m
EXTD=ore I thought about it, the more I liked the idea that Kate's cla
EXTD=ssic (some might say "signature" song) was based on a screenplay 
EXTD=rather than its source novel. \n\nFirst of all, Kate supposedly r
EXTD=ead the novel right after having composed the song, in order to v
EXTD=erify that her "research" was right. So all is forgiven on that s
EXTD=core. Secondly, it seems all the more emblematic of her teenage c
EXTD=reative soul that she would take her inspiration where she found 
EXTD=it--even if it's not necessarily through the accepted channels. A
EXTD=nd then, just the fact that she apparently admitted it without mu
EXTD=ch reservation is charmingly candid. \n\nAnd of course it is a gr
EXTD=eat song--one of many on this, Kate Bush's astonishing debut albu
EXTD=m. And I am not one to use words like "astonishing" lightly. To t
EXTD=hink that this almost flawless, truly poetic and musically sophis
EXTD=ticated record was the work of a 19 year old almost boggles the m
EXTD=ind. And one considers that many of the tracks were actually writ
EXTD=ten when Kate was an even younger teen, well, it's clear that we 
EXTD=are dealing with a true prodigy. \n\nIn terms of her adolescent b
EXTD=urst of creative energy, Kate Bush reminds me of no one so much a
EXTD=s Laura Nyro. Like Nyro, her songs were both quirky and yet emine
EXTD=ntly listenable. They were,in fact, full of hooks. Both women sim
EXTD=ultaneously enjoyed "cult" status while proving to be "commercial
EXTD=ly viable," (Nyro, unfortunately, primarily in the role of a hit 
EXTD=factory for OTHER artists--even though her own interpretations we
EXTD=re invariabley superior; Bush enjoyed considerable popularity on 
EXTD=her home turf, but had to wait years to achieve any prominence in
EXTD= the US). Despite wildly divergent influences (Laura being steepe
EXTD=d in NYC Doo-Wop, R&B, Broadway, and--really just--a bit of folk;
EXTD= while Kate was rooted in an Anglo-Celtic folk tradition, melded 
EXTD=with a particularly British brand of progressive rock), they were
EXTD= in so many ways, sisters under the skin. Kate Nyro? Laura Bush? 
EXTD=(Strike that last.) \n\nIf you accept that premise, then you migh
EXTD=t also agree with me that Kate Bush's early work displays the sam
EXTD=e kind of "madcap energy" that Laura saw in her own early work. H
EXTD=er songs were wildly inventive, musically and lyrically. Her off-
EXTD=handed spirituality galled some critics, but others found her ban
EXTD=dying about of names like Gurdjieff and Jesus in the context of a
EXTD= bouncy, spirited near novelty number ("Them Heavy People") compl
EXTD=etely winning. A similar spirit sends a song like "Kite" aloft. A
EXTD=nd keeps it there. \n\nThe slower tempoed tunes are equally capti
EXTD=vating, many of them moody meditations on love and loss that shou
EXTD=ld have been beyond her years (as, say, Nyro had been a decade or
EXTD= so before with tunes like "December's Boudoir'). One can allow a
EXTD= 19-year old her Romanticism, so when she sees herself "in a Berl
EXTD=in bar, in a corner brooding," the listener indulges her her fant
EXTD=asy. Everyone's entitled to what Joni Mitchell calls their "dark 
EXTD=cafe days." And at least, the young Kate Bush spent her time ther
EXTD=e sincerely grooving to a genius player's saxophone. And the sax 
EXTD=arrangement captures that sentiment beautifully. \n\nAnd speaking
EXTD= of arrangements, KICK INSIDE does differ from any number of othe
EXTD=r promising debut albums in one significant regard: the productio
EXTD=n and arrangements are spot on. They complement Kate's material b
EXTD=eautifully. Kate did not start producing her own material for ano
EXTD=ther few years, but she either lucked out and had the most compat
EXTD=ible producer and arrangers possible or she was already--at the a
EXTD=ge of 19--calling the shots behind the scenes. \n\n\nAMAZON.COM C
EXTD=USTOMER REVIEW\nAmazing debut., May 23, 2005\nReviewer: Michael S
EXTD=tack (Watertown, MA USA)\n\nOne of the most brilliant and mature 
EXTD=debut albums in the history of pop music, Kate Bush's "The Kick I
EXTD=nside" is stunning, especially given that she was only 20 when th
EXTD=is was released. What makes it even more remarkable is that as go
EXTD=od as this is, this is far from the best work she did. \n\nVocall
EXTD=y, the influence Bush had through this album on woman singers a g
EXTD=eneration later (i.e. Tori Amos, P.J. Harvey, Sarah McLaughlin, H
EXTD=appy Rhodes) is certainly noticable-- with her girly vocals float
EXTD=ing gently above piano-driven ballads and bizarre near swinging r
EXTD=ock songs, the path to alternative/female vocal music so prevelen
EXTD=t in the mid-90s is clear. It may be the case that her voice is s
EXTD=omewhat hard to deal with-- remembeing she was 20, and her vocal 
EXTD=does occasionally get a bit, for lack of better word, shrill. Sti
EXTD=ll, this remarkably doesn't get in the way of the music. \n\nThe 
EXTD=album is at its best with its ballads, Bush seems to have a more 
EXTD=self-assured confidence in her voice on powerful opener "Moving",
EXTD= the stunning "The Man With the Child in His Eyes" and "L'amour L
EXTD=ooks Something Like You". Its largely the more energetic pieces w
EXTD=here vocally she becomes less focusewd ("Kite", the otherwise exc
EXTD=ellent "James and the Cold Gun"). And of course there's the album
EXTD='s hit, "Wuthering Heights", a musical interpretation of Emily Br
EXTD=onte's piece that soars, bubbles and was deserving of its success
EXTD=. \n\nBush would do better albums-- "Never For Ever" took the sou
EXTD=nds of this record to a level of full maturity, "The Dreaming" is
EXTD= bizarre and brilliant, and "Hounds of Love" shows Bush at the pe
EXTD=ak of her powers and maturity, but in many ways, this is the best
EXTD= place to start exploring Bush's music. Recommended.\n\n\nAMAZON.
EXTD=COM CUSTOMER REVIEW\n"Moving" Indeed, December 31, 2002\nReviewer
EXTD=: Snow Leopard "Remember, how you see the problem IS the problem"
EXTD= (Olympia, WA)\nReleased while still in her teens, this debut by 
EXTD=Kate Bush is deceptively simple. One would not expect tons of mus
EXTD=ical sophistication in the structures of her songs. And, if the t
EXTD=ruth be told, the emotional palette of the album is fairly limite
EXTD=d as well--that is to say, compared to her later work, there is a
EXTD= romantic dreaminess suffusing Bush's vocals throughout that is o
EXTD=f unparalleled beauty, and even naivete.\nBehind the simplicity o
EXTD=f the verse-chorus song structures is a ferocious imagination. Th
EXTD=e vocal line of the opening song, "Moving" is more than enough to
EXTD= sound like some kind of complete reinvention of all singing. It 
EXTD=is one of the most beautiful (and moving) things that Bush has ev
EXTD=er recorded. And, as throughout all of her career, the musicians 
EXTD=she has playing for her are genuine masters of tact, taste and mu
EXTD=sicianship. The bass player, in particular, deserves to be in the
EXTD= Hall of Fame for his playing.\n\nThere is no doubt that this is 
EXTD=a first album by a first-rate artist. One song, one of the disc's
EXTD= stand-outs, "The Man with a Child in his Eyes" was apparently re
EXTD=corded when she was sixteen. Again, compared to her later work, t
EXTD=here is a very dominant style of piano-bass-drum music over which
EXTD= Bush's sensuous vocals sail. The attempt at a more rock orchestr
EXTD=ation on "James and the Cold Gun", while musically lush in perfor
EXTD=mance, seems a bit forced and is one of the weaker spots on the a
EXTD=lbum. Basically, if the opening song grabs you by the soul and ma
EXTD=kes you sit up, then the whole thing is a banquet of similar deli
EXTD=ghts.\n\nLastly, the album also features the (now) signature Kate
EXTD= Bush song, "Wuthering Heights". One of those rare kinds of song 
EXTD=that deserves every bit of admiration that Bush's devoted fans la
EXTD=vish on it. Newcomers should be warned not to overread the meanin
EXTD=g in the lyrics, here or anywhere else. Bush's lyrics seem to be 
EXTD=very private, on the one hand, or are imaginative projections of 
EXTD=the person in her song. In other words, and as Bush has asserted 
EXTD=in interviews, the artist should not be mistaken for her subject.
EXTD=\n\nOver the course of her career, one can actually hear the youn
EXTD=g woman who is singing on this album growing up--songs about brok
EXTD=en hearts, rather than romantic idylls about Prince Charmings. Th
EXTD=e freshness, even the innocence, captured on this disk is truly r
EXTD=emarkable. The singing, often in the very high range, is almost p
EXTD=ainfully moving--a truly amazing musical experience if you can be
EXTD= open to it without irony.\n\n\nAMAZON.COM CUSTOMER REVIEW\nA Com
EXTD=pletely New Voice, December 31, 2001\nReviewer: Gary F. Taylor "G
EXTD=FT" (Biloxi, MS USA)\n\nImagine that Alice Cooper, David Bowie, S
EXTD=tevie Nicks, and Patti Smith pooled their musical genes and gave 
EXTD=rise to a single unique musical artist. What would that artist be
EXTD= like? Well, if the artist happened to be a young English-Irish w
EXTD=oman, it might be Kate Bush: a superior musician, a remarkable vo
EXTD=calist, a talented writer, a theatrical visionary, and a truly un
EXTD=ique--often to the point of the bizarrely weird--performer.\nDuri
EXTD=ng the recording of her first three albums, Kate Bush--a protege 
EXTD=of Pink Floyd--seemed primarily preoccupied with extending her vo
EXTD=cal range, which is quite astonishing, and then twisting what wou
EXTD=ld normally be considered an elegant soprano into a cat-like soun
EXTD=d that bespeaks of angels, devils, faires, witches, lovers, and k
EXTD=illers all rolled into one. The result is often gothic in tone, d
EXTD=arkly flavored, and extremely strange, with the delicacy of her v
EXTD=oice playing sharply against the intensity of her material. Some 
EXTD=loved her; some hated hated her; but none were ever indifferent t
EXTD=o her.\n\nTHE KICK INSIDE is her debut album, and the first of th
EXTD=ree recordings on which she would increasingly refine a unique vo
EXTD=cal style that might best be described as at once delicately haun
EXTD=ting and intensely theatrical. Her voice was indeed a remarkable 
EXTD=instrument, and some of her best songs here--such as the justly f
EXTD=amous "Wuthering Heights"--achieve their effect by the combinatio
EXTD=n of little-girlish soprano tones that suddenly descend into a fi
EXTD=erce and passionate alto. Also notable are the album's warmer, mo
EXTD=re sensuous tracks, particularly "The Man With The Child In His E
EXTD=yes." But there is a lighter side to her work as well, purely pla
EXTD=yful music that fuses her extraordinary voice with unexpected rhy
EXTD=thms and styles, such as the pure-fun "Kite" and the intelligents
EXTD=ia-inclined "Them Heavy People." Regardless of the particular tra
EXTD=ck, however, the cumulative impact of THE KICK INSIDE is remarkab
EXTD=le, and once heard Kate Bush is never quite forgotten.\n\n\nHalf.
EXTD=com Details \nProducer: Andrew Powell, Dave Gilmour \n\nAlbum Not
EXTD=es\nPersonnel: Kate Bush (vocals); David Paton (acoustic guitar, 
EXTD=bass, background vocals); Ian Bairnson (guitar, background vocals
EXTD=, bottles); Paul Keogh, Alan Parker (guitar); Paddy Bush (mandoli
EXTD=n, background vocals); Alan Skidmore (saxophone); Andrew Powell (
EXTD=keyboards, bass, celeste, bottles); Duncan Mackay (electric piano
EXTD=, organ, clavinet); Bruce Lynch (bass); Stuart Elliott (drums, pe
EXTD=rcussion); Barry De Souza (drums); Morris Pert (percussion).\n\nR
EXTD=ecorded at AIR London Studios in June 1975, and July and August 1
EXTD=977. \n\nIn the-mid '70s a friend of Kate Bush's brother brought 
EXTD=her talents to the attention of Pink Floyd guitarist David Gilmou
EXTD=r. He arranged some demos for her and she was soon signed to EMI 
EXTD=Records. Though Bush was only a teenager at the time, EMI decided
EXTD= to give her an advance and sent her off to write songs, and take
EXTD= dance and mime lessons. When she was 16, her handlers decided th
EXTD=e time was right, and Bush's first single, "Wuthering Heights," w
EXTD=as released. The song was a smash hit (it went to Number One on t
EXTD=he UK charts), not only because of her less-than-innocent appeara
EXTD=nce on the back of London buses, and unlike anything the British 
EXTD=market had ever heard. \nForced by her sudden success to release 
EXTD=an album, THE KICK INSIDE was recorded and released, featuring so
EXTD=ngs she had written over the previous few years. THE KICK INSIDE 
EXTD=is a remarkable debut. Though it's obvious that Kate was a teenag
EXTD=er at the time, there is a frightening amount of talent packed in
EXTD=to these 13 songs and evidence of a knowing well beyond the singe
EXTD=r's years.\n\nIndustry Reviews\nRanked #40 in NME's list of the '
EXTD=Greatest Albums Of The '70s.'\nNME (09/18/1993)\n\nRanked #83 in 
EXTD=NME's list of the 'Greatest Albums Of All Time.'\nNME (10/02/1993
EXTD=)
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