Date: 1 January 1988
Originally published in: Mladý Svét (Czechoslovakia)
Recording technology today has reached such a degree of perfection that it rescinds many of the shortcomings that would otherwise be denied the owner of distorted and faint voices. Were Kim Smith’s Wilde’s (born November 18, 1960 in London) singing fake for the second time after her first attack hit the charts with the songs Kids in America and Chequered Love, which brought her to the record Best Mirror of the season in Record Mirror. 1981 after Toyah and Kate Bush. Despite the occasional pulling of my ears, however, the arrangement is layered by Phil Spector, a dreamy voice, serious. Kim Wilde had been an erotic symbol (but also bleached blonde to Debbie Harry’s alluring), but only in the last two years had the record company instructed her to accentuate this feature even at the cost of her video clips (namely Say You Really Want Me) will have trouble getting shown on television. Kim, however, seems to be quite a shy girl to get angry with someone, saying, “I’m a kid in the back of a class who never raises her hand, even though she knows the right answer.” And also sensitive: “In school I felt ashamed among children whose parents often did not have money to pay the rent, while I lived quite comfortably”.
The comfort in her home in Knebworth, now extended by a digital recording studio, was deserved by rock and roll star Marty Wilde (b. 15.4.1939 in Greenwich), father of Kim and three other children. He did equally well as Cliff Richard and Tommy Steele, during the fifties in England. For us, the only evidence of this is Marty’s recording of Lonely Avenue on the 2 x 10 album from Albion, which Supraphon released just in the year when the singer’s daughter first succeeded. In fact, he could have helped Brother Ricky into the studio as a choirist (she had shortly after completing her studies at an art school), but on that beautiful day he gave her preference and then offered the photos to listen to the RAK record company where the door was open at that time. After initial successes – remember at least Cambodia, View from a Bridge, Dancing in the Dark – Kim Wilde’s stock fell on the charts as smoothly as her self-esteem as co-writer grew. On the fourth album Teases and Dares of December 1984 she had three attempts, on the fifth Another Step of November 1986 even ten. Yet, on a single after yearly debut, she released an evergreen record that was already the world’s best-selling Supremes band in 1966 and then returned to the charts in the new versions of Vanilla Fudge, Wilson Pickett and Jackie de Shannon – You Keep Me Hangin’ on. Initial resistance to Kim Wilde’s discotheque weakened a week from the week as the record climbed to the top of the US hit parade, which it reached June 1987.
And so that the singer does not have to apologize criticism, there was a telegram by co-author Lamont Dozier admiring and commending her version.