Search - Kim Wilde :: Catch as Catch Can

The Love Blonde Fades A Bit

Bradley Jacobson | 08/18/2009

(3 out of 5 stars)

"At the time of its release, I think Catch As Catch Can made some people think Kim Wilde was being some kind of sythn crazed girl, but it really isn't all that far off from her first two albums though it is most certainly touching on those 80's romantic synth band sound that was emerging - which makes you think this would be a hit record right? Well you're wrong. The album didn't do well at all and wasn't even released world wide. In fact other than a rare Japan issue, there has only been one release of the album on CD - in 1995 as part of a 3 CD set with the first two albums. But now thankfully, Cherry Pop Records has released this album.



The album opens up with the fast paced yet moody "House Of Salome" with a full on sax background and the tale of a very intense woman, it's 80's all over it, before breaking into a jaunty little number "Back Street Joe" that has some of the coolest little synth beats going through it. Plus it's one of those 'all those years ago' type of lyric that I like. Then we move onto the moody balladry of "Stay Awhile" which could have fit on the other albums if it weren't for those drum machines that give it that oh so 1983 feel. It proves once again that Kim can really carry a pouty little stance in her ballads. I love her.



The album's highlight and only real hit was the single "Love Blonde" released a few months before the album. It is one of THE best Kim Wilde singles ever released. Kind of a rip at all those who felt she was just an airhead blonde. Instead she is a vixen who can make you feel like putty in her hands. Though it's sung in the third person you get the impression she knows exactly who the love blonde is. I love it, and with what can only be described as a swagger type of backbeat, it was a deserved hit.



Then it's onto more moodiness, with the best of the ballads found in "Dream Sequence" - with lyrics that seem to imply the heroine is some kind of celebrity but really just lost in her dreams. It's a great song and has that complete blasse reading, mixed with a bunch of strange ethereal noises, a big church organ and you hear all of that early 80's glory mystery in it.



The second single wasn't as successful and in fact to this day Kim doesn't have much to say about it other than it not being a very good song. I have to disagree with her, though. "Dancing In The Dark" was co-written by Nicky Chinn and produced by Nile Rodgers. It's a little dancy ditty than has some good moments. Though I guess hearing it along with all these moody moments that make up Catch As Catch Can, it does kind of stand out - but I don't think that's such a bad thing.



"Shoot To Disable" throws a little more fire into the mix with a bit of a rock and roll flavor to it. In fact the song was the original title track to the album until it was switched - the Catch title comes from a Lou Reed song not on this album.



Then we break into "Can You Hear It" which is a bit more poppy in presentation and has some great lines, "Yes somehow you'll find what you've been missing/ there was more to life/ than visions we had dreamed about/ can you hear it? / can you hear me calling you?/can you hear it calling you? It's your freedom" It's pretty and includes a Spanish styled guitar (years before Madge brought it into the fold) and happened to have been the B-side to the "Love Blonde" single.



"Sparks" livens up the set a bit with a jaunty little bass line and some cool synth keyboard action with a bit of an anthem about not giving up. It's a catchy little ditty that reminds me of earlier Kim gems.



The original album ends with another ballad typed song, "Sing It Out For Love" which actually takes a whole different direction than all the songs that preceeded it. Wroking in some guitar it comes off completely different sound almost reminisent of Olivia Newton-John circa 1976. And to me that's a damn good thing. The bridge is great and has some of Kim's best singing. Very simple yet very poignant.



Cherry Pop thankfully kept up with some great bonus tracks. The first is a fun little rocking jaunt full of "oh oh oh's" - it's "Back Street Driver" which was the b-side to the "Dancing In The Dark" single. Oh and it happens to have an organ solo and that shizz gets me everytime!



Then we have the 12" and 7" versions of the two singles - "Love Blonde" and "Dancing In The Dark". Of course "Love Blonde" being the superior song in its original form is also the true winner of the two in the 12" version. In fact, it's one of my favorite of the remixes in Kim's output.



All in all, Catch As Catch Can is a different take on the romance/new wave sound of her first two albums but it's not so completely different that the album needed to be ignored.



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