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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 February 17, 1978\nCD Edition Released \nRemastered + Expanded CD Edition Released N/A\nJapanese Mini-LP CD Edition Released November 10, 2005\n\n\nAMG EXPERT REVIEW: Kate Bush's first alb
EXTD=um, The Kick Inside, released when the singer/songwriter was only 19 years old (but featuring some songs written at 15 and recorded at 16), is her most unabashedly romantic, the sound of an impressionable and highly precocious teenager spreading her 
EXTD=wings for the first time. The centerpiece is "Wuthering Heights," which was a hit everywhere except the United States (and propelled the Emily Bront novel back onto the best seller lists in England), but there is a lot else here to enjoy: The distur
EXTD=bing "Man with the Child in His Eyes," the catchy rocker "James and the Cold Gun," and "Feel It," an early manifestation of Bush's explorations of sexual experience in song, which would culminate with "Hounds of Love." As those familiar with the latt
EXTD=er well know, she would do better work in the future, but this is still a mightily impressive debut.  -- Bruce Eder\n\nAmazon.com Editorial Review\nKicking things off with a whimper, not a bang, Kate Bush quietly released her 1978 debut, The Kick Ins
EXTD=ide and that disc still to this day affects an incredible number people, Tori Amos and Sarah McLachlan among them. There are so many elements that make this disc unique--Kate's soaring soprano, her warm piano playing--but the one thing that perhaps s
EXTD=ticks out most is how different her sounds were from anything else circulating at that time. Ten years before "alternative" hit the forefront, this music was neither easy nor palatable, truly an alternative from the other styles out there. Among the 
EXTD=more legendary tracks, search out "The Man with the Child in His Eyes" and her timeless classic "Wuthering Heights." --Denise Sheppard \n\nAmazon.com Product Description\nOut of print in the U.S., this is the debut album by the highly acclaimed Briti
EXTD=sh pop vocalist. Contains all 13 of the tracks from when EMI first released it for her in 1978, including the international smash 'Wuthering Heights' and the U.S. chart hit 'Man With The Child In His Eyes'. Also contains the original European cover a
EXTD=rt. The All-Music Guide gave 'The Kick Inside' four & a half stars (out of five possible). An EMI release. --This text refers to the Audio CD edition. \n\n\nAMAZON.COM CUSTOMER REVIEW\nMore Than A New Discovery , December 9, 2006\nReviewer: Gregory B
EXTD=. Callahan (Modena, NY United States)\n\nI recently read that Kate Bush's "Wuthering Heights" was not initially inspired by the actual book but by a television mini-series based on same (not even the classic Laurence Olivier/Merle Oberon film apparen
EXTD=tly). My initial reaction was one of shock. I mean, Kate must have been all of 15 or 16 when she conceived of the song, but haven't all well-bred (and reasonably well-read) young English girls read the Bronte classic by then? And wasn't it just the h
EXTD=eight of presumption to pen a three minute musical adaptation of that narrative without having digested the actual book itself? Well, that's the librarian in me speaking, I guess. The more 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 rather than its source novel. \n\nFirst of all, Kate supposedly read the novel right after having composed the song, in order to verify that her "research" was right. So all is forgiven
EXTD= on that score. Secondly, it seems all the more emblematic of her teenage creative soul that she would take her inspiration where she found it--even if it's not necessarily through the accepted channels. And then, just the fact that she apparently ad
EXTD=mitted it without much reservation is charmingly candid. \n\nAnd of course it is a great song--one of many on this, Kate Bush's astonishing debut album. And I am not one to use words like "astonishing" lightly. To think that this almost flawless, tru
EXTD=ly poetic and musically sophisticated record was the work of a 19 year old almost boggles the mind. And one considers that many of the tracks were actually written when Kate was an even younger teen, well, it's clear that we are dealing with a true p
EXTD=rodigy. \n\nIn terms of her adolescent burst of creative energy, Kate Bush reminds me of no one so much as Laura Nyro. Like Nyro, her songs were both quirky and yet eminently listenable. They were,in fact, full of hooks. Both women simultaneously enj
EXTD=oyed "cult" status while proving to be "commercially viable," (Nyro, unfortunately, primarily in the role of a hit factory for OTHER artists--even though her own interpretations were invariabley superior; Bush enjoyed considerable popularity on her h
EXTD=ome turf, but had to wait years to achieve any prominence in the US). Despite wildly divergent influences (Laura being steeped in NYC Doo-Wop, R&B, Broadway, and--really just--a bit of folk; while Kate was rooted in an Anglo-Celtic folk tradition, me
EXTD=lded with a particularly British brand of progressive rock), they were in so many ways, sisters under the skin. Kate Nyro? Laura Bush? (Strike that last.) \n\nIf you accept that premise, then you might also agree with me that Kate Bush's early work d
EXTD=isplays the same kind of "madcap energy" that Laura saw in her own early work. Her songs were wildly inventive, musically and lyrically. Her off-handed spirituality galled some critics, but others found her bandying about of names like Gurdjieff and 
EXTD=Jesus in the context of a bouncy, spirited near novelty number ("Them Heavy People") completely winning. A similar spirit sends a song like "Kite" aloft. And keeps it there. \n\nThe slower tempoed tunes are equally captivating, many of them moody med
EXTD=itations on love and loss that should have been beyond her years (as, say, Nyro had been a decade or so before with tunes like "December's Boudoir'). One can allow a 19-year old her Romanticism, so when she sees herself "in a Berlin bar, in a corner 
EXTD=brooding," the listener indulges her her fantasy. Everyone's entitled to what Joni Mitchell calls their "dark cafe days." And at least, the young Kate Bush spent her time there sincerely grooving to a genius player's saxophone. And the sax arrangemen
EXTD=t captures that sentiment beautifully. \n\nAnd speaking of arrangements, KICK INSIDE does differ from any number of other promising debut albums in one significant regard: the production and arrangements are spot on. They complement Kate's material b
EXTD=eautifully. Kate did not start producing her own material for another few years, but she either lucked out and had the most compatible producer and arrangers possible or she was already--at the age of 19--calling the shots behind the scenes. \n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nAmazing debut., May 23, 2005\nReviewer: Michael Stack (Watertown, MA USA)\n\nOne of the most brilliant and mature debut albums in the history of pop music, Kate Bush's "The Kick Inside" is stunning, especially given that she
EXTD= was only 20 when this was released. What makes it even more remarkable is that as good as this is, this is far from the best work she did. \n\nVocally, the influence Bush had through this album on woman singers a generation later (i.e. Tori Amos, P.
EXTD=J. Harvey, Sarah McLaughlin, Happy Rhodes) is certainly noticable-- with her girly vocals floating gently above piano-driven ballads and bizarre near swinging rock songs, the path to alternative/female vocal music so prevelent in the mid-90s is clear
EXTD=. It may be the case that her voice is somewhat hard to deal with-- remembeing she was 20, and her vocal does occasionally get a bit, for lack of better word, shrill. Still, this remarkably doesn't get in the way of the music. \n\nThe album is at its
EXTD= best with its ballads, Bush seems to have a more self-assured confidence in her voice on powerful opener "Moving", the stunning "The Man With the Child in His Eyes" and "L'amour Looks Something Like You". Its largely the more energetic pieces where 
EXTD=vocally she becomes less focusewd ("Kite", the otherwise excellent "James and the Cold Gun"). And of course there's the album's hit, "Wuthering Heights", a musical interpretation of Emily Bronte's piece that soars, bubbles and was deserving of its su
EXTD=ccess. \n\nBush would do better albums-- "Never For Ever" took the sounds of this record to a level of full maturity, "The Dreaming" is bizarre and brilliant, and "Hounds of Love" shows Bush at the peak of her powers and maturity, but in many ways, t
EXTD=his is the best place to start exploring Bush's music. Recommended.\n\n\nAMAZON.COM CUSTOMER REVIEW\n"Moving" Indeed, December 31, 2002\nReviewer: Snow Leopard "Remember, how you see the problem IS the problem" (Olympia, WA)\nReleased while still in 
EXTD=her teens, this debut by Kate Bush is deceptively simple. One would not expect tons of musical sophistication in the structures of her songs. And, if the truth be told, the emotional palette of the album is fairly limited as well--that is to say, com
EXTD=pared to her later work, there is a romantic dreaminess suffusing Bush's vocals throughout that is of unparalleled beauty, and even naivete.\nBehind the simplicity of the verse-chorus song structures is a ferocious imagination. The vocal line of the 
EXTD=opening song, "Moving" is more than enough to sound like some kind of complete reinvention of all singing. It is one of the most beautiful (and moving) things that Bush has ever recorded. And, as throughout all of her career, the musicians she has pl
EXTD=aying for her are genuine masters of tact, taste and musicianship. The bass player, in particular, deserves to be in the Hall of Fame for his playing.\n\nThere is no doubt that this is 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 recorded when she was sixteen. Again, compared to her later work, there is a very dominant style of piano-bass-drum music over which Bush's sensuous vocals sail. The attempt at a more roc
EXTD=k orchestration on "James and the Cold Gun", while musically lush in performance, seems a bit forced and is one of the weaker spots on the album. Basically, if the opening song grabs you by the soul and makes you sit up, then the whole thing is a ban
EXTD=quet of similar delights.\n\nLastly, the album also features the (now) signature Kate Bush song, "Wuthering Heights". One of those rare kinds of song that deserves every bit of admiration that Bush's devoted fans lavish on it. Newcomers should be war
EXTD=ned not to overread the meaning in the lyrics, here or anywhere else. Bush's lyrics seem to be very private, on the one hand, or are imaginative projections of the person in her song. In other words, and as Bush has asserted in interviews, the artist
EXTD= should not be mistaken for her subject.\n\nOver the course of her career, one can actually hear the young woman who is singing on this album growing up--songs about broken hearts, rather than romantic idylls about Prince Charmings. The freshness, ev
EXTD=en the innocence, captured on this disk is truly remarkable. The singing, often in the very high range, is almost painfully moving--a truly amazing musical experience if you can be open to it without irony.\n\n\nAMAZON.COM CUSTOMER REVIEW\nA Complete
EXTD=ly New Voice, December 31, 2001\nReviewer: Gary F. Taylor "GFT" (Biloxi, MS USA)\n\nImagine that Alice Cooper, David Bowie, Stevie Nicks, and Patti Smith pooled their musical genes and gave rise to a single unique musical artist. What would that arti
EXTD=st be like? Well, if the artist happened to be a young English-Irish woman, it might be Kate Bush: a superior musician, a remarkable vocalist, a talented writer, a theatrical visionary, and a truly unique--often to the point of the bizarrely weird--p
EXTD=erformer.\nDuring the recording of her first three albums, Kate Bush--a protege of Pink Floyd--seemed primarily preoccupied with extending her vocal range, which is quite astonishing, and then twisting what would normally be considered an elegant sop
EXTD=rano into a cat-like sound that bespeaks of angels, devils, faires, witches, lovers, and killers all rolled into one. The result is often gothic in tone, darkly flavored, and extremely strange, with the delicacy of her voice playing sharply against t
EXTD=he intensity of her material. Some loved her; some hated hated her; but none were ever indifferent to her.\n\nTHE KICK INSIDE is her debut album, and the first of three recordings on which she would increasingly refine a unique vocal style that might
EXTD= best be described as at once delicately haunting and intensely theatrical. Her voice was indeed a remarkable instrument, and some of her best songs here--such as the justly famous "Wuthering Heights"--achieve their effect by the combination of littl
EXTD=e-girlish soprano tones that suddenly descend into a fierce and passionate alto. Also notable are the album's warmer, more sensuous tracks, particularly "The Man With The Child In His Eyes." But there is a lighter side to her work as well, purely pla
EXTD=yful music that fuses her extraordinary voice with unexpected rhythms and styles, such as the pure-fun "Kite" and the intelligentsia-inclined "Them Heavy People." Regardless of the particular track, however, the cumulative impact of THE KICK INSIDE i
EXTD=s remarkable, and once heard Kate Bush is never quite forgotten.\n\n\nHalf.com Details \nProducer: Andrew Powell, Dave Gilmour \n\nAlbum Notes\nPersonnel: Kate Bush (vocals); David Paton (acoustic guitar, bass, background vocals); Ian Bairnson (guita
EXTD=r, background vocals, bottles); Paul Keogh, Alan Parker (guitar); Paddy Bush (mandolin, background vocals); Alan Skidmore (saxophone); Andrew Powell (keyboards, bass, celeste, bottles); Duncan Mackay (electric piano, organ, clavinet); Bruce Lynch (ba
EXTD=ss); Stuart Elliott (drums, percussion); Barry De Souza (drums); Morris Pert (percussion).\n\nRecorded at AIR London Studios in June 1975, and July and August 1977. \n\nIn the-mid '70s a friend of Kate Bush's brother brought her talents to the attent
EXTD=ion of Pink Floyd guitarist David Gilmour. He arranged some demos for her and she was soon signed to EMI Records. Though Bush was only a teenager at the time, EMI decided to give her an advance and sent her off to write songs, and take dance and mime
EXTD= lessons. When she was 16, her handlers decided the time was right, and Bush's first single, "Wuthering Heights," was released. The song was a smash hit (it went to Number One on the UK charts), not only because of her less-than-innocent appearance o
EXTD=n the back of London buses, and unlike anything the British market had ever heard. \nForced by her sudden success to release an album, THE KICK INSIDE was recorded and released, featuring songs she had written over the previous few years. THE KICK IN
EXTD=SIDE is a remarkable debut. Though it's obvious that Kate was a teenager at the time, there is a frightening amount of talent packed into these 13 songs and evidence of a knowing well beyond the singer's years.\n\nIndustry Reviews\nRanked #40 in NME'
EXTD=s list of the 'Greatest Albums Of The '70s.'\nNME (09/18/1993)\n\nRanked #83 in NME's list of the 'Greatest Albums Of All Time.'\nNME (10/02/1993)
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