Kim Wilde's second album didn't score any hits on the level of the debut's "Kids in America," although the dramatic "Cambodia" was a sort of cult favorite in some circles. That said, it's a far better album than the patchy debut; the songs, again by brother Rikki Wilde with occasional collaborations by father Marty Wilde, don't have the bubblegum tinge that colored much of 1981's Kim Wilde. The arrangements are more synth-oriented, at times approaching the dark atmospherics of Japan or Orchestral Manoeuvres in the Dark. The occasionally melodramatic lyrics cover topics like police brutality and paranoia – unsurprisingly, new insights aren't much in evidence – and even the love songs, like the delicate "View from a Bridge," aren't exactly happy. The overall vibe of this album is so chilly that the one basically upbeat song, "Can You Come Over," sounds really out of place, but overall, it works. Wilde sings with a clinical detachment here that suits her voice quite well; whenever Wilde tries to emote musically, the results sound forced and melodramatic, but her icy edge on this album is surprisingly appealing.
There's no doubt many heard Kim Wilde searching for the beat on "Kids in America," but know now that she finds it – thus, the rest of this sterling debut comes dangerously close in quality to that killer kickoff. The second cut, "Water on Glass," follows the sound from the wild streets to Wilde's brain, maintaining a high level of exuberant class. Weird staccato runs down the streets of "Our Town," while "Everything We Know" chills into an icy groove. Wilde only wants to be free in "Young Heroes," and by side two's single, "Chequered Love," she gives permission to touch her and do anything (surprising, considering her pro-pop dad and brother wrote the whole LP). Hard guitars and xylophones get physical, until horns and ska skip into "2-6-5-8-0"; by this point in the record, Wilde can pull off anything she wants, and ends up sounding like a No Doubt B-side. "You'll Never Be So Wrong" mellows the turgid tempo but not the precise passion, and she just plain gets upset in "Falling Out." From the womb to the end of "Tuning in Turning On," Kim Wilde is one excellent inaugural, one excellent chapter in the evolution of hi-NRG, and one excellent slab everyone should own.
Ray Lema and Laurent de Wilde, two piano drivers.
One celebrates its seventy years this year and continues to display a trajectory of tremendous richness. Curious about everything, he paced the planet and opened very early his Congolese culture to the thousand winds of the music of the world, China, Brazil, Bulgaria, North Africa, America, Europe, to trigger each time fertile encounters.
Since the beginning of his career as a jazz pianist, he has since 2000 multiplied the paths of traverse, electro, slam, reggae, theater , Documentary, twisting each time his instrument with a communicative energy and success.
Laurent de Wilde (born in Washington, D.C. in 1960) is a French jazz pianist, composer and writer. In 1987, he recorded the first of a series of four albums for Ida Records Off the Boat with Eddie Henderson, Ralph Moore, backed by Ira Coleman on bass and Billy Hart on drums. In 1989, Odd and Blue was released with Coleman and Jack DeJohnette (drums), followed in 1990 by Colors of Manhattan, with Coleman, Henderson and Lewis Nash. De Wilde then returned to Paris to settle but came back to New York in 1992 to record a trio album, Open Changes, with Coleman and Billy Drummond (drums). The success of this record in 1993 earned him the Django Reinhardt Prize, awarded to the best musician of the year. He now shares his time between Paris and his career in New York as a leader or sideman with Barney Wilen, Aldo Romano and André Ceccarelli.
After his electronic experiences, De Wilde comes back with his trio and acoustic jazz lovers are delighted. The album contains outstanding guest star appearances such as Laurent Robin (Michel Jonasz, Michel Potal), Darryl Hall (Hank Jones, Elizabeth Kontomanou) among others.A very good album where a variety of styles (groove, blues, reggae, swing, free) find in the performance of this trio a unite and compact sonority. A genuine trio of a modern jazz that is open to the world and curious of everything around.
On his second solo outing, Danny Wilde really delivered the goods with "Any Man's Hunger". For starters, it featured the biggest hit of his solo career, Time Runs Wild (Mainstream Rock #15) and the album itself landed in the Billboard Top 200. But in addition to being the most successful of his 80s solo albums, it is also arguably his best 80s album from start to finish. The writing, the hooks, and the craftsmanship are all in top form and there are more than a handful of songs that you won't be able to get out of your head. "Any Man's Hunger" is quite simply a great rock record–-and a nice slice of Americana (although recorded in London.)
With The Rembrandts on hiatus in the late 1990s, Danny Wilde found himself working as a solo artist. And while 1998's Spin This was credited to Danny Wilde + The Rembrandts (at the label's demand), this is clearly a Wilde solo album–-and its probably his best. Spin This is loaded with great tunes and fantastic guest musicians. The first single, Long Walk Back, is a jangly rocker co-written with Gin Blossom Jesse Valenzuela….