- This outstanding pressing boasts solid Double Plus (A++) sound on both sides – exceptionally quiet vinyl too
- Forget the domestic pressings (with the different cover), forget all the lame reissues that have come or will come down the pike — if you want to hear this album right, a Hot Stamper British pressing is the only way to go
- We will not be in a hurry to do this shootout again – with so many incompetent “record dealers” in the game now, getting clean copies of Kate Bush’s albums across the pond was much more difficult and expensive than it should have been
- Includes Bush’s hit “Wuthering Heights,” and a number of tracks written by this precocious artist at only 15
- 4 stars: “… the sound of an impressionable and highly precocious teenager spreading her wings for the first time… a mightily impressive debut.”
*NOTE: On side one, a mark makes 8 light ticks at the beginning of Track 1, Moving.
This vintage British pressing has the kind of Tubey Magical Midrange that modern records rarely even BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What the best sides of The Kick Inside have to offer is not hard to hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1978
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We’re Listening For on The Kick Inside
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
The Saxophone Song
The Man With The Child In His Eyes
James And The Cold Gun
Oh To Be In Love
L’Amour Looks Something Like You
Them Heavy People
Room For The Life
The Kick Inside
AMG 4 Star Review
Kate Bush’s first album, 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 wings for the first time.
The centerpiece is “Wuthering Heights,” which was a hit everywhere except the United States (and propelled the Emily Brontë novel back onto the best-seller lists in England), but there is a lot else here to enjoy: The disturbing “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 latter well know, she would do better work in the future, but this is still a mightily impressive debut.