Alice Rivivra

Song recorded by Italian singer Sabrina on her 1995 album ‘Maschio dove sei’. It is a cover version of Kim Wilde’s Stay Awhile, with new Italian lyrics. Later on in her career she also recorded the song with the original English lyrics.


Lyrics

Tra vecchi ricordi qui
Il vento porterà
La storia infinita… Va…
Si ripeterà

Danzando nel tempo senza età
Io la rivivrò…
Nell’aria sentirai

Favole… Timide…
Io racconterò
Le favole di un’ eta’
che non scorderò

Tra i vecchi giocattoli
Che dormono lassù
Dai libri di favole
Folletti sveglierò

Nei dolci profili mi vedrai
Candida realtà…
E Alice rivivrà

Favole… Timide…
Io racconterò
Le favole di un’età
che non scorderò

Io donna bambina resterò
Candida realtà…
E Alice rivivrà

Favole… Timide…
Io racconterò
Le favole semplici…
E ti addormenterò…

Favole… Favole…

Stay Awhile

Song written by Ricky and Marty Wilde. Third track of the album Catch as Catch Can.

Versions

There are two versions of ‘Stay Awhile’: the album version and the rough mix.

Live performances

‘Stay awhile’ was performed live during the Catch Tour in 1983 and during the Dutch tour in November 2017.

Cover versions

A cover of the song was recorded by Sabrina, in English and in Italian.

Credits

Lead guitar, backing vocals: Steve Byrd
Bass guitar, backing vocals: Mark Hayward Chaplin
Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, backing vocals: Ricky Wilde
Produced by Ricky Wilde
Engineer: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley


Lyrics

I’m touching your face and I
Can’t get very far
You travel a million miles
Always in the stars
And crossing the clouds
A fading moon
Whispered “It’s goodbye”
But as it starts to die

Stay awhile
Show your love
Child amoung the stars
Just stay awhile
Lay with me
Tell me who you are

I’ve never believed in much
What can I be worth ?
I’m always a shooting star
Falling down to earth
I prayed in my heart
You’d never know
Feelings wouldn’t show
But now before you go

Stay awhile
Show your love
Child amoung the stars
Just stay awhile
Lay with me
Tell me who you are

And crossing the clouds
A fading moon
Whispers “It’s goodbye”
But as it starts to die

Stay awhile
Show your love
Child amoung the stars
Just stay awhile
Lay with me
Show me who you are

Just stay awhile

Sparks

Song written by Ricky and Marty Wilde. Ninth track of the album Catch as Catch Can.
A remix of this track, made by Glenn Howard, was released by Disconet.

Versions

There are three versions of ‘Sparks’: the album version, the Disconet remix and the rough mix.

Credits

Flute, saxophone: Gary Barnacle
Lead guitar, backing vocals: Steve Byrd
Bass guitar, backing vocals: Mark Hayward Chaplin
Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, backing vocals: Ricky Wilde
Produced by Ricky Wilde
Engineer: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley


Lyrics

Caught in the times we live in
Caught in the time we know
It’s taking a real hard line
You feel you’ve become a number
Nobody needs your trouble
Gives you the time of day
But kicking the world behind
Won’t make it go away

‘Cos we’re strong
And we’re big enough to take
Whatever time will bring

We’ve only one life
And we’ve got a lot to give
There’s only one time
And we’ve got to make or break it

Let the sparks fly out again – sparks
Let the feelings tell you when – sparks
Let the sparks fly out again

A flick of the fingers
And they’ll cut you down for sure
You gotta be hard sometimes
And so you pretend it’s nothing

Finding what to believe in
That’s what it’s hard to do
Boy there was another time
I saw the best in you

‘Cos we’re strong
And we’re big enough to take
Whatever time will bring

We’ve only one life
But we got a lot to give
There’s only one time
And we’re gonna make or break it

Sing It Out for Love

Song written by Ricky and Marty Wilde. Tenth track of the album Catch as Catch Can and B-side to the single of House of Salome.

Versions

There are two versions of ‘Sing It Out for Love’: the album version and the rough mix.

Credits

Flute, saxophone: Gary Barnacle
Lead guitar, backing vocals: Steve Byrd
Bass guitar, backing vocals: Mark Hayward Chaplin
Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, backing vocals: Ricky Wilde
Produced by Ricky Wilde
Engineer: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley


Lyrics

They’ve been out on the road so long
Now they’re working their way through all the dirty towns
Singing their hearts out
To the drunks who haunt the bars
Still the ghosts will keep on calling
Sing it out
Sing it out for love again

Guess she heard through a million tears
“When you sing you should brush the hair out of your eyes”
“Come and sit by me girl
Would you like to share my beer?”
Feel his hand slip down her shoulder
Sing it out
Sing it out for love again

But she’s lonely – thinking of home
Thinking is sad
And knowing she lost the life
She could have had

Watching trucks as they roll on by
And she’ll wave as they disappear around the bend
Shrugging her shoulders
And she’ll head back to the bar
“Cue the band” the boss is shouting
Sing it out
Sing it out for love again

But she’s lonely – thinking of home
Thinking is sad
She’s thinking about the good times
Never had
And wondering why the bad times
Get so bad

Shoot to Disable

Song written by Ricky and Marty Wilde. Seventh track of the album Catch as Catch Can.

Versions

There are three versions of ‘Shoot to Disable’: the album version, the rough mix and the original mix.

Live performances

‘Shoot to disable’ was performed live during the Catch Tour in 1983 only.

Credits

Flute, saxophone: Gary Barnacle
Lead guitar, backing vocals: Steve Byrd
Bass guitar, backing vocals: Mark Hayward Chaplin
Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, backing vocals: Ricky Wilde
Produced by Ricky Wilde
Engineer: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley


Lyrics

Mirrored in your face
Is a look that says it all
Boy I’m slow
I’ve been uncertain
Just couldn’t be sure
Now I know

You say it’s over
But just how long have you known
(You better go now)
But as you leave me

Shoot – Shoot to disable
Shoot – Shoot to disable

Maybe I got careless
Maybe it’s true
I ran too fast
But on recollection
It didn’t do much
So I pass

You’re such a hard man
Why can’t you take steady aim
(Just get it over with)
Don’t fool around now

Shoot – Shoot to disable
Shoot – Shoot to disable

Oh, what a fool I was to love

Love Blonde

Song written by Ricky and Marty Wilde. Fourth track of the album Catch as Catch Can. It was released as single, marking a successful comeback after half a year’s absence in the charts. The re-styled Kim Wilde, somewhat mocking her ‘sexy dumb blonde bombshell’ image in an extravagant leather dress managed to climb high into the charts in numerous countries.

Versions

Six different versions have been released through the years.
The album version, the 7″ version and the 12″ extended remix were all released in 1983.
In 2020, the Popfidelity Allstars Special Remix and the Popfidelity Allstars Instrumental version were released.
In 2024, Project K’s Limelight Mix was released.

Formats

‘Love Blonde’ was the first single to also be released on the 12″ format in the UK, featuring an extended remix. A limited quantity of 12″ records also contained a colour poster to add to the collectability of this item.
See also this page in the discography.

Music video

A music video was filmed to promote the single. It was directed by Mike Mansfield.
Go to this page for more information.

Live performances

‘Love blonde’ was performed live during the Catch Tour in 1983, the Rage to Rock Tour in 1985, the Another Step Tour in 1986, the German tour in December 1992, the Hits Tour in 1994, during a concert at Tivoli in Copenhagen (Denmark) in 2003, during the Live 2009 Tour, the Come Out and Play Tour in 2011 and the tour with Nik Kershaw in Australia in 2013.

Cover versions

‘Love blonde’ has been covered by Lynn Sweet and in Swedish as ‘Hon gÃ¥r rakt fram’ by Cotton Club.

Kim about ‘Love blonde’

‘Love blonde’ is a real tongue-in-cheek ‘up yours’ to all the poeple who take the piss out of blondes. There’s that dizzy sexual stereotype of blondes with no brains and this is just really taking the rise out of those people who think that – and the blondes who believe it. (1)

When my dad told me that he wanted to write a song called ‘Love Blonde’, I just looked at him and said, you know, give me a break, I don’t think I could handle the sort of flack I’d get, making a record with a title like that. He just said, ‘look, either you do it, or you don’t’, and that was it. I could see what he was getting at.
So I went out and bought the most over the top dress I could find, and I send it up as much as I dare because I’m not really that much of an extrovert performer in that way. It’s going to annoy an awful lot of people, I think it’s just fun, and I look upon my career as having as much fun as I can. (2)

I really wanted to do something in the style of the Fifties. But in a contemporary way. A bit like Queen with ‘Crazy little thing called love’ or ‘Runaway boys’ by the Stray Cats. My father who writes all the lyrics grew up in the Fifties. He has a closet full of old rock and roll records. And he was a big British rock idol himself, together with Cliff and Adam Faith. You can trust him with the job. Brother Ricky composed the song. To keep true to the original style, we dressed in clothes from that era. And we used an upright bass. (3)

Well, unfortunately, people don’t seem to realise sometimes that I’ve got a sense of humour. A lot of things that I do or I say are dictated by humour. It’s like this last single .. It’s a bit like a tongue in cheek. I like this image of the platinum blonde, irresistible woman, like any other woman does, but what I sing there, it is for fun. Because I’ve got a good sense of humour, I like to look at myself with humour, laugh about myself . (4)

(It’s) not about myself, but I do sing about the type of girl people take me for. It’s about all the cliches about blondes, that they’re sexy, but dumb and cool, etcetera. I think it’s a funny lyric, but you shouldn’t take it literally. It doesn’t matter to me that the media portray me as this sex symbol, or that people really see me like that. They don’t really know me, and they don’t know any better than that. As long as they buy my records and accept me as an artist, I am very satisfied. (5)

I speak about the cliches that people talk about when they talk about blondes – that they would be a bit dumb, vain and crazy. Brigitte Bardot has always suffered from that image. And I have also had to deal with this at the beginning of my career. The song is not so seriously, it’s more like a parody. (6)

I hesitated recording that song. I didn’t want to emphasize it too much. But the song was too strong to resist. I felt that it wouldn’t be a hit in England. It’s almost a crime being attractive and being able to sing too. (7)

I had kind of a problem with that at the time. Should I really be singing this song about me? And I asked dad, ‘Is it about me?’ And he said, ‘No, it’s about the mythology of the blonde sex symbol.’ I said, ‘Yes, but that’s how everyone’s perceiving me,’ so he told me to just take the piss out of it and enjoy it. And he was right, you know. It is all superficial, that side of it. So kind of acknowledging it in a song like that, because it was an unpredictable thing to do, knocks people back a bit. Most people have fun playing about with my image, talking about me, so I thought, ‘Why not do it myself?’. (8)

Credits

Flute, saxophone: Gary Barnacle
Lead guitar, backing vocals: Steve Byrd
Bass guitar, backing vocals: Mark Hayward Chaplin
Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, backing vocals: Ricky Wilde
Produced by Ricky Wilde
Engineer: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley

Highest chart positions

Australia: 34
Germany: 26 (15 weeks)
Ireland: 29 (1 week)
Netherlands: 10 (7 weeks)
Sweden: 7 (8 weeks)
Switzerland: 11 (3 weeks)
United Kingdom: 23 (8 weeks)

Interview sources:
(1) Return of the love blonde, No. 1 (UK), 16 July 1983
(2) Blondes have more fun, Melody Maker (UK), 20 August 1983
(3) Kim Wilde: no sex, but sensuality, Veronica (Netherlands), 27 August 1983
(4) A blonde to love, Rock & BD (France), September 1983
(5) Singer Kim Wilde: “I dress nonchalant and that’s how I am”, Flair (Belgium), October 1983
(6) Kim Wilde: “I take all the blondes by the arm”, Mädchen (Germany), 1983
(7) Kim Wilde – the sex kitten of Rock ‘n’ Roll, Veronica (Netherlands), 7 January 1984
(8) Kim Wilde, Record Collector (UK), September 1993


Lyrics

Something’s coming down the street
Something static under your feet
Never looking left or right
‘coz she’ll just blow you out of sight

She’s never waiting on your smile
Devastating, what’s in her style ?
Situation no-go zone
But she’ll cut loose when she’s alone

She’s a love Blonde
She’s a love Blonde
She’s a love Blonde
She’s got that sensuality for love

When the boys say “how you been
What you doin’, Can we get in ?”
Eyes’ll flash and lips will smile
And she’ll just tease them for a while

‘Cos now you see her, now you don’t
You could be there, only you won’t
If you’ve got that savoir faire
Well that girl knows and she’s aware

She’s a love Blonde
She’s a love Blonde
She’s a love Blonde
She’s got that sensuality for love

Oooh, well if she fills your dreams tonight
Oooh, just lay back and hold on tight

She’s a love Blonde
She’s a love Blonde
She’s a love Blonde
She’s got that sensuality for love

House of Salome

Song written by Ricky and Marty Wilde. First track of the album Catch as Catch Can. It was released as the third single off the album in 1983 by RAK Records, but did not succeed in achieving chart success anywhere.

Formats

For a long time it was, together with Water on Glass, the only single to not have been released on 12″ single anywhere. The 7″ single was released in Europe only.
See this page in the discography for more information.

Versions

Four versions of ‘House of Salome’ have been released through the years:

  • the album version, released in 1983
  • the instrumental version, released in 2020
  • the rough mix, released in 2020
  • Luke Mornay Mix of the Seven Veils, released in 2024

Live performances

‘House of Salome’ was performed live during the Catch Tour in 1983 only.

Chart positions

Belgium: 36 (2 weeks)

Credits

Lead guitar, backing vocals: Steve Byrd
Bass guitar, backing vocals: Mark Hayward Chaplin
Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, backing vocals: Ricky Wilde
Produced by Ricky Wilde
Engineer: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley


Lyrics

Shadows run in the heat of the desert
Hands beat at the door
Someone stands and calls
For the name of Salome

As the veils were pushed away
He gazed upon a face
He’d never seen
Was she a dream ?

He heard the sound from a distance voice
You’d better watch out!
You’d better watch out!
He heard the sound from a thousand years
Calling out
Calling out

In the house of Salome
You have to surrender

“Run with her” said the young handmaiden
“She will be your queen
All your life you’ll live
In the dream of Salome

Take her mouth and with your hands
Just kiss her painted lips
Don’t you make a move
’till Salome calls you”

As the music danced around the desert night
He smelt her perfumed skin
As they made love

He heard the sound of a distant voice
You’d better watch out!
You’d better watch out!
He heard the sound of a thousand years
Calling out
Calling out

And as the music danced around the desert night
He smelt her perfumed skin
Was she a dream?

In the house of Salome
In the house of Salome
In the house of Salome
This house calls you!

Dream Sequence

Song written by Ricky and Marty Wilde. Fifth track of the album Catch as Catch Can. In the last verse of the song, Kim’s younger sister Roxanne is mentioned.

During the Snapshots & Greatest Hits Tour, the intro from ‘Dream Sequence’ was used at the start each concert, supported by video images from Kim’s childhood.

Versions

There are three versions of ‘Dream Sequence’: the album version, the instrumental demo and the ‘In Reverse’ version.

Cover versions

There are no cover versions of ‘Dream Sequence’, but there is an alternate version of the track called Shadows Across the Floor.

Ricky about Dream sequence

I was really just experimenting with a new synth I had just acquired, a Roland Jupiter 8, and it all came amazingly quickly. I wanted it to sound as different to a Kim Wilde track as possible, so it kindof turned out to be a little ‘out there’ but we loved writing and recording it.

Credits

Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, backing vocals: Ricky Wilde
Produced by Ricky Wilde
Engineer: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley


Lyrics

“Goodnight. Rox, I’ll see you in the morning.”

Shadows across the floor
Memories fading in
Voices are far away
Now it can all begin

“New York are on the phone
They want you here today”
“Was it a fashion show?”
“Sorry they wouldn’t say”

There’s a world full of dreams
Lying on a pillow
There’s a world no-one knows
Wrapped up in her mind
(It’s all imagination)

Now she is back in school
(It’s the revolution)
Staring at broken glass
(Do what we want you to)
Flicking the flies away
(Total autonomy)
Watching the trains go past

Fighting the Indian war
Cochise is closing in
Now she can touch his face
Riding so close to him

There’s a world full of dreams
Lying on a pillow
There’s a world no-one’s seen
Living in her mind

Sailing across a sea
Images on a screen
Watching the boats go by
Red merging into green

Roxanne don’t run away
(You’ve been naughty girl)
I told you not to go
(Stay in the garden)
Why do you run away?
Mommy will worry so

“That’s right, this was all their land – right across the horizon, as far as you can see. Well, they were made to move on to other areas. Why? Well, I suppose ‘cos we were stronger, and we wanted the land. No, I know it doesn’t make it right. That’s how it was.”

Dancing in the Dark

Song written by Nicky Chinn and Paul Gurvitz. Sixth track of the album Catch as Catch Can.
Released as the second single off that album, this was the second track Kim recorded which was not written by Ricky & Marty Wilde or any member of the Wilde family (the first one being Bitter is Better). This particular track did not help in re-establishing Kim’s career.

Versions

There are seven versions of ‘Dancing in the Dark’:

  • album version
  • extended remix by Nile Rodgers
  • an instrumental version, released on the B-side of the 12″ single of ‘Dancing in the dark’ in 1983
  • a full instrumental version, released by Cherry Pop in 2020
  • RAK mix, released by Cherry Pop in 2020
  • Rough mix, released by Cherry Pop in 2020
  • Luke Mornay Moonlight Mix, released by Cherry Pop in 2024

Formats

‘Dancing in the dark’ was released on 7″ and 12″. The 12″ format contains the extended and instrumental versions.
See also this page in the discography.

Music video

A music video was filmed to promote the single. It was directed by Tim Pope.
See this page for more information.

Live performances

‘Dancing in the dark’ was performed live during the Catch tour in 1983 only.

Cover versions

Another version of this song was released in the same year by Tony Sherman. Other cover versions were recorded by Patty Brard, Stacey Q and Lynn Sweet.

Kim about ‘Dancing in the dark’

After ‘Dancing In The Dark’, I thought, ‘I can’t carry on much longer like this – I’ve got to get my songwriting together. Not just because the single was a flop but because I wasn’t happy with it as a song and I wasn’t happy wasting my time promoting it when I could be writing. (1)

No-one expected that ‘Dancing in the dark’ would do so bad. Every monday I woke up in fear and informed with my record company if the record had made the charts yet. They reacted coldly. Kim Wilde had disappointed her entourage. And I lost my selfconfidence. No, it wasn’t really a good song. My brother and father went through a less creative period. They own up to that now. And it can’t be a success everytime of course. I still thought I’d failed though. (2)

Why do you think ‘Dancing In The Dark’ made a limited impression on the charts?
I think it has got a lot to do with RAK records. They wanted us to keep coming up with hit singles almost one after the other. They got greedy and failed to recognise that we were her to make music and not 7 inch records. This was one of the reasons why I left RAK. Ricki’s writing naturally suffered y’know there’s a limit to how much you can do. (3)

After ‘Love Blonde’ we did a version of a song called ‘Dancing In The Dark’ and that’s when we hit rock bottom… or rock bottom-ish I should say, because we were still doing quite well in a few European countries.
The singles just weren’t so good for a while. We dried up. It happens to a lot of people. But it was worse for Ricki and Marty because they were the official songwriters. I had this kind of optimistic nonchalance and I just thought ‘Oh well. C’est ia guerre.’ I can’t deny that I must have got despondent about it sometimes. (4)

Credits

Bass guitar, backing vocals: Mark Hayward Chaplin
Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, backing vocals: Ricky Wilde
Produced by Ricky Wilde
Engineer: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley

Highest chart positions

Belgium: 11
Denmark: 3
Finland: 9
Germany: 26 (12 weeks)
Switzerland: 9 (9 weeks)
United Kingdom: 67 (2 weeks)

Interview sources

(1) The Wilde style, No. 1 (UK), 8 October 1984
(2) Kim Wilde takes fate into her own hands, Hitkrant (Netherlands), 3 November 1984
(3) Kim Wilde, Chartbeat (UK), December 1984
(3) “I’m game for a laugh!”, Smash Hits (UK), 24 April 1985


Lyrics

We were dancing
Dancing in the dark
Sweet romancing
Something’s gonna start

He stepped into the night
With his heart open wide
I was standing there
With nowhere left to hide
He looked to me like a shadow
Moving in the night
Then he took a hold of my hand
In the soft moonlight

And we were dancing (dancing, romancing)
Dancing in the dark (dancing, romancing with you)
Sweet romancing (dancing, romancing)
Something’s gonna start (dancing, romancing with you)

I could hear his heartbeat (dancing in the dark)
Pounding in the night (sweet romancing)
I could feel his body (something’s gonna start)
Starting to be kind

With his soft red lips
Made up my mind (dancing in the dark)
His soothing kiss
Was all I desired

And we were dancing
Dancing in the dark
Sweet romancing
Something’s gonna start

We kissed and touched
But it wasn’t enough
To stop this wheel of fire
One step at a time
And I knew he was mine
We were lost in the heat of desire

And we were dancing
Dancing in the dark
Sweet romancing
Something’s gonna start

No way
No way at all
To stop us moving closer
Each look in his eyes
Made my heart beat in time
Over and over and over and over

And we were dancing
Dancing in the dark
Sweet romancing
Something’s gonna start

And we were dancing
Dancing in the dark
Sweet romancing
Something’s gonna start

Catch as Catch Can

Released in 1983, ‘Catch as Catch Can’ was Kim Wilde’s third album. The name of this album came from the song ‘Caroline Says’ on the album ‘Berlin’ by Lou Reed.
This album was the last one to be recorded by Kim before the contract with RAK Records ended. Although the single Love Blonde fared well in the charts, the following single, Dancing in the Dark flopped, as did the album in most countries.

Music

Like on previous albums, Ricky and Marty Wilde wrote all the songs on the album, with the exception of ‘Dancing in the Dark’.
‘Catch as catch can’ was an album made with lots of synthesizer noises, making it an almost abstract, near-concept-album. Beautifully textured noises in Dream Sequence were alternated by straightforward, mid-tempo ballads like Sing It Out For Love.

Tracks

This album contains the tracks House of Salome, Back Street Joe, Stay Awhile, Love Blonde, Dream Sequence, Dancing in the Dark, Shoot To Disable, Can You Hear It, Sparks, Sing It Out For Love.

Artwork

The sleeve was designed by Malcolm Garrett for Assorted Images. It features photography by Sheila Rock.

Formats

‘Catch as catch can’ was originally released on LP and tape. It was also released on cd, in Japan only. The album was available for some time in that country and on import in other territories, but after it was deleted it became a rare collector’s item almost instantly.
Fans had to wait until 1995, when ‘Catch as catch can’ was released as part of a 3cd boxed set The Originals.
Both of these cd releases contained some mastering faults. The song Sparks suffers from a premature fade-out, while Dancing in the dark is mastered onto the CD with a very unfortunate fade-in intro.
See this page in the discography.
In 2009, the cd was finally remastered and re-released by Cherry Pop records with new liner notes by Steve Thorpe and a handful of bonus tracks.
See this page in the discography.
A deluxe edition of the album was released in 2020, for the first time without all the flaws in previous editions. It included liner notes by Marcel Rijs and several previously unreleased demos and remixes.
See this page in the discography.

Credits

Flute, saxophone: Gary Barnacle
Lead guitar, vocals: Steve Byrd
Bass guitar, vocals: Mark Hayward Chaplin
Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, vocals: Ricky Wilde
Produced by Ricky Wilde
Engineers: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley
Tape ops: Chris Dickie, Dietmar Schillinger, Mike Nocito
Recorded at RAK studios, Nivram, Wessex. Mixed at Wessex and RAK.

Chart performance

Germany: 23 (13 weeks)
Netherlands: 21 (10 weeks)
Sweden: 17 (12 weeks)
Switzerland: 6 (16 weeks)
United Kingdom: 90 (1 week)


Can You Hear It

Song written by Ricky and Marty Wilde. Eighth track of the album Catch as Catch Can.

Versions

There are two versions of ‘Can You Hear It’: the original version, released on the B-side of ‘Love Blonde’, and the album version. The two versions are very similar, but you can hear a difference in the mix when you pay attention to the drums, which are much more pronounced in the single B-side version.
In 2020, Cherry Pop released the Project K: Project Kim Remix and the Rough Mix of this track.

Formats

‘Can You Hear It’ was released as the B-side of the single Love blonde. It was released on 7″ and 12″ single.
See also this page in the discography.

Credits

Flute, saxophone: Gary Barnacle
Lead guitar, backing vocals: Steve Byrd
Bass guitar, backing vocals: Mark Hayward Chaplin
Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, backing vocals: Ricky Wilde
Produced by Ricky Wilde
Engineer: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley


Lyrics

Feel it in the rushing wind
Brushing up against your mind
Look for a way to go
Head for the border sign
You could be gone
You could be far away
Soon you must fly free

And 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 calling you?
Can you?
Can you hear it calling you?
Can you hear it coming through to you?
When you hear it calling you
It’s your freedom

If you are on your own
If you have been betrayed
Stand by the truth you love
Don’t let it get mislaid
You’re not alone
And nothing can hold you down
Soon you will be free

And yes
Somehow you’ll find what you’ve been missing
There was more to life
Than anything you dreamed about

Can you hear it calling you?
Can you?
Can you hear it calling you?
Can you hear it coming through to you?
When you hear it calling you
It’s your freedom

Back Street Joe

Song written by Ricky and Marty Wilde. Second track on the album Catch as Catch Can.

Versions

There are two versions of ‘Back Street Joe’: the album version and the original mix.

Credits

Lead guitar, backing vocals: Steve Byrd
Bass guitar, backing vocals: Mark Hayward Chaplin
Drums: Trevor Murrell
Keyboards, bass, guitar, Linn programmes, synclavier, backing vocals: Ricky Wilde
Produced by Ricky Wilde
Engineer: Pete Schwier, Will Gosling, Simon Schofield, Keith Fernley


Lyrics

Dancing with Back Street Joe
That was a time I loved
When we were kids so young
So long ago

Dancing with Back Street Joe
Back in a time I loved
We used to move all night
That was a time to know

There comes a time in your life
When you just wanna break free
But now I wanna go back
I wanna have him with me

Dancing with Back Street Joe
We used to want that sound
And everytime it played
We used to hang around

There was music and
There was rhythm and
There was something I can’t explain
Out of nowhere he’d
Move his shoulder
And make you feel you could
Live again

Then came a moment in time
When I just had to be free
But now I wanna go back
I wanna go back and see
That look in his eyes again
And now on the streets
I look for you Joe

Dancing with Back Street Joe
Back in the streets I love
We used to dance all night
Was it so long ago?