Kate Bush - The Red Shoes UK orig A1/B1 LP with inner EX

	£		74
	$		98

Kate Bush - The Red Shoes Vinyl 12" LP UK 1993 EMI EMD 1047 A:
B: EMD 1047 A-1-1-1 FOR H
EMD 1047 B-1-1-1 Vinyl EX- clean, shiny with just a little light sleeve scuffs, it's a quiet cut (in order to fit it all on) but it plays with a minimum of fuss, just trace surface noise i parts
Labels EX clean Sleeve & Inserts EX- clean, very light edge wear, inner NM Click to hear a sample taken from this item.   Original UK 1st pressing. A1/B1 + printed inner sleeve. Very rare, not many of these were made at the time.

Classic Kate. Nuff said. Want more? OK then...

Review by Ned Raggett. All music
The album is a continuation of Bush's multi-layered and multiple musical pursuits and interests. If not her strongest work -- a number of songs sound okay without being particularly stellar, especially given Bush's past heights -- Red Shoes is still an enjoyable listen with a number of diversions. The guest performer list is worthy of note alone, ranging from Procol Harum pianist Gary Brooker and Eric Clapton to Prince, but this is very much a Kate Bush album straight up as opposed to a collaborative work like, say, Santana's Supernatural. Opening song "Rubberband Girl" is actually one of her strongest singles in years, a big and punchy song served well with a horn section, though slightly let down by the stiff percussion. "Eat the Music," another smart choice for a single, mixes calypso and other Caribbean musical touches with a great, classically Bush lyric mixing up sexuality, romance, and various earthy food-based metaphors. Another highlight of Bush's frank embrace of the lustier side of life is "The Song of Solomon," a celebratory piece about the Bible's openly erotic piece. Those who prefer her predominantly piano and vocal pieces will enjoy "Moments of Pleasure" with a strong string arrangement courtesy of Michael Kamen. Other standouts include "Why Should I Love You?" with Prince creating a very Prince-like arrangement and backing chorus for Bush (and doing quite well at that) and the concluding "You're the One," featuring Brooker.

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