It's been a long time since I listened to a Kim Wilde album, and it's time for her to get her chance back in the spotlight.
Kim Smith was born to mother Joyce Baker, and father, Marty Wilde (AKA Reginald Smith), the latter a highly successful rock and roller. Marty scored several 1950s and 1960s hit singles including Endless Sleep, Sea of Love and Bad Boy, being among the first generation of British pop stars to emulate American rock and roll. Between her father and brother, Ricky, who wrote virtually all of her material, Kim would find major success as a solo artist.
This all began when brother Ricky, who was actively worked on his own producing career used his sister for backing vocals on a demo. This was heard by producer Mickie Most, who took an immediate interest in Kim's voice. Working with her father and brother, the demo for Kids In America was recorded, and presented to Most, who was blown away. He signer her to RAK Records, and work commenced on her 1981 self titled debut.
While this album didn't fare well with me, critics gave it favorable reviews. The initial demo, now turned first single, reached number two in the UK, and became a top five hit in several other countries. However, in the US, it would peak at number twenty-five. Follow-up single, Chequered Love, would also become a top five hit in several countries, while the third and final single, Water On Glass, would peak at number eleven in the UK.
Her 1982 follow-up, Select, while not as successful as her debut sales wise, would produce two France number one hits, Cambodia, and View From A Bridge. Kim was hesitant to perform live shows, and this caused a bit of controversy for the singer. She would finally perform live for the first time in Denmark in September of 1982 before embarking on a tour of the UK.
Listening to Select, I was greeted by album opener, Ego. It was fairly solid, and a good starting point. However, as things progressed from there, I found myself tapering off in interest.
I was hoping that single, View From A Bridge, would be a turning point, getting me back in the fold, and serving to make me a fan. This didn't happen. Frankly, I'm not sure how it reached number one. Especially in 1982, when there were so many amazing singles. This song was just okay.
The irony here is that I really like Kim's voice. It's distinct, unique, and can definitely grab your attention. However, the material she's working with, for the most part, isn't that good. It's kind of disappointing because I really want her to smash it out of the park. It's really disappointing because I also made it a point to track down all of her studio albums. It was one of those bug bit me days, and suddenly, I needed them all in my collection. Maybe that was my fault. Maybe I expected too much.
When Can You Come Over came on, and was followed by Wendy Said, I started to hear something. That was a mixture of distinct 50's / 60's jukebox style writing, mixed with 80's new wave. While I get that this makes sense with the origin of the two songwriters, her father and brother, something else dawned on me. For that answer, I thought back to my listening session of New Edition's doo-wop cover tribute album, Under The Blue Moon. Specifically, what I didn't like about that release. Individually, I love these two eras, but when combined, it just doesn't work for me. This could be why I frequently want to like Kim Wilde, but don't. Even the final track, and subsequently last single, Cambodia, didn't hit any high notes with me.
I'm dying her, Kim. I want to get into your music, but it's just not working for me.
1983's Catch As Catch Can was the last album she released on RAK Records before moving to new label MCA. However, the album would not be successful. Great...I guess I have that to look forward to.
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| THIS WEEK ON THE CHARTS September 3, 1983 |
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| THIS WEEK ON THE CHARTS September 3, 1988 |
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