CD 1 :

01. You Keep Me Hangin' On
02. Hit Him
03. Another Step (Closer to You)
04. The Thrill Of It
05. I've Got So Much Love
06. Victim
07. Schoolgirl
08. Say You Really Want Me
09. She Hasn't Got Time for You
10. Brothers
11. Missing
12. How Do You Want My Love
13. Don't Say Nothing's Changed
+
14. Songs About Love
15. Loving You
16. Hold Back
17. Another Step (Closer To You) (ft. Junior, Single Remix)
18. Say You Really Want Me (UK Single Remix)

CD 2 :

01. Schoolgirl (Head Mastermix)
02. You Keep Me Hangin On (W.C.H Club Mix)
03. You Keep Me Hangin On (W.C.H Mix)
04. Another Step (Extended Mix)
05. Say You Really Want Me (Extended Version)
06. Say You Really Want Me (Video Remix)
07. Say You Really Want Me (David Todd Remix)
08. Say You Really Want Me (Radio Edit)
09. Say You Really Want Me (Instrumental)
10. Say You Really Want Me (US 7" Version)
11. Say You Really Want Me (Urban Version)
12. Megamix

Vocals - Kim Wilde
Bass – Gary Twigg (tracks: 3 to 5, 9 to 11, 13)
Drums – Matthew Letley (tracks: 3 to 5, 9, 11, 13)
Guitar – Steve Byrd (tracks: 1 to 7, 9, 11 to 13)
Keyboards [Fairlight Iii & Synths] – Ricki Wilde (tracks: 1 to 5, 7, 9 to 11, 13) 

Kim Wilde's fifth album was her eventual American breakthrough, finally giving the British singer a Top Ten hit with a Hi-NRG cover of the Supremes' "You Keep Me Hangin' On." Competent but not groundbreaking, it was a perfectly fine, albeit not particularly memorable, single, which pretty much sums up the rest of Another Step as well. All of Wilde's previous records were produced by her brother Ricky Wilde, but although he's in charge of not quite half of this album, the rest is essayed by the Michael Jackson-related hitmaking team of Bruce Swedien and Rod Temperton, synth pop expert Richard James Burgess, and, on two tracks, Wilde herself. Naturally, the tag-team approach gives Another Step a frustratingly all-over-the-place feel, but Wilde's voice, considerably improved from chirpy early records like "Kids in America," mostly holds the album together. The album's other singles, the Temperton/Swedien effort "Say You Really Want Me" (which, to no one's surprise, sounds like a Michael Jackson reject) and the soul-pop duet with British R&B singer Junior, "Another Step (Closer to You)," sound like label-mandated product. Other tracks, like the perky "I Got So Much Love" and the downright giddy "Schoolgirl," are more listenable, but the now-dated state-of-1986 production makes even the decent tunes a bit trying at times. Another Step is an improvement over 1984's dismal Teases and Dares, but that's not saying much. ---Stewart Mason, AllMusic Review

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01. Kids In America [0:03:25.70]              play
02. Chequered Love [0:03:21.55]
03. Water On Glass [0:03:35.40]
04. Everything We Know [0:03:42.25]
05. Young Heroes [0:03:16.10]
06. 2-6-5-8-0 [0:03:10.65]
07. You'll Never Be So Wrong [0:04:10.30]
08. Falling Out [0:04:02.55]
09. Tuning In Tuning On [0:04:24.10]
10. Ego [0:04:10.65]
11. View From A Bridge [0:03:30.40]
12. Words Fell Down [0:03:31.00]
13. Action City [0:03:23.15]
14. Just A Feeling [0:04:09.65]               play
15. Chaos At The Airport [0:03:18.30]
16. Take Me Tonight [0:03:51.60]
17. Can You Come Over [0:03:34.65]
18. Wendy Said [0:03:48.60]
19. Our Town [0:03:47.20]
20. Cambodia - Reprise [0:03:19.52]

Those who are into irony have to appreciate the fact that Kim Wilde, England's top female pop-rocker of the 1980s, enjoyed her first major hit with the anthemic "Kids in America" -- for someone who was born and raised in the U.K., she sang quite convincingly about American youth. But Wilde had a lot more than a taste for the ironic going for her in the early to mid-1980s; the singer was very much in her prime when the recordings on this CD came out in 1981 and 1982. At the time, Wilde's forte was synthesizer-minded new wave -- an approach that serves her well on "Kids in America," "Water on Glass," "View from a Bridge" and other melodic yet exuberant hits found on Greatest Hits. Other high points of this collection, which EMI put out in 1996, range from the ska-influenced "2-6-5-8-0" to the angry "Ego" and the gutsy "Words Fell Down." As much as Greatest Hits has going for it, however, it's far from the last word on Wilde; essential hits like "Love Blonde" and "Child Gone Away" are missing. Nonetheless, Greatest Hits can serve as a rewarding introduction to her Rak output of the early 1980s. ---Alex Henderson, AllMusic Review

Kim Wilde (ur. 18 listopada 1960 w Londynie, Wielka Brytania) – brytyjska piosenkarka. Zadebiutowała w 1981 z piosenką "Kids in America", który trafił na 2 miejsce angielskiej listy przebojów. W 1987 roku Kim wyjechała do Stanów Zjednoczonych z promocją swoich dwóch singli, "You keep me hangin'on" oraz "Say you really want me", który w USA wyszedł już w 1986 roku, i doszedł do 44 miejsca tamtejszej listy przebojów.

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1. "It's Alright"   	Anthony Mortimer 	4:17
2. "In Between Days"   	Robert Smith 	3:06
3. "About You Now"   	Lukasz Gottwald, Cathy Dennis 	3:34
4. "Sleeping Satellite"   	Tasmin Archer, John Beck, John Hughes 	4:09
5. "To France"   	Mike Oldfield 	3:59
6. "A Little Respect"   	Vince Clarke, Andy Bell 	3:22
7. "Remember Me"   	Nickolas Ashford, Valerie Simpson 	3:50
8. "Anyone Who Had a Heart"   	Burt Bacharach, Hal David 	3:50
9. "Wonderful Life"   	Colin Vearncombe 	4:50
10."They Don't Know"   	Kirsty MacColl 	2:38
11."Beautiful Ones"   	Brett Anderson, Richard Oakes 	3:47
12."Just What I Needed"   	Ric Ocasek 	3:45
13."Ever Fallen in Love (With Someone You Shouldn't've)"   	Pete Shelley 	3:15
14."Kooks" (with Hal Fowler) 	David Bowie 	2:53

It’s always exciting when a true pop icon, who created so many innovative songs over the years, announces the release of a new album. Kim Wilde did just that in June. The album, Snapshots, offers up Wilde’s interpretations of tracks from The Cure, East 17, Erasure, The Cars, The Sugababes and more.

Wilde has for years proven that she knows how to deliver a superb pop track. Her back catalog of hits is quite impressive: “Kids In America”, “View From A Bridge”, “You Came” and “Never Trust A Stranger”, just to name a few. Then there is her history of covering tracks by other artists. Kim has always taken a cover and made it her own. After all, her cover of The Supremes “You Keep Me Hangin’ On” was nothing short of remarkable. She took the track, re-worked it and made it sound new. So how does Snapshots hold up against this stellar track record? Well, truth be told, not well.

Snapshots kicks off smashingly, with a cover of East 17′s 1993 single “It’s Alright.” While it is not groundbreaking, the song does fit Kim like a glove. But it’s pretty much all downhill from there. The biggest misstep on Snapshots is her take on Erasure’s irresistible “A Little Respect”. The emotion that Erasure poured into the song has been replaced with a dull, lifeless vocal.

Nearly everything on this ill fated album was best left in the past. Kim Wilde has never sounded so out of touch with her former self. Let’s hope for a more inspired album next time – I know she still has it in her. Snapshots is out August 26, 2011 in Germany, Austria and Switzerland. ---Jared, allureofsound.com

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1 	1969 	4:04
2 	Pop Don’t Stop   (Featuring – Ricky Wilde)	3:50
3 	Kandy Krush 	3:15
4 	Stereo Shot 	3:39
5 	Yours ‘Til The End 	4:35
6 	Solstice 	5:23
7 	Addicted To You 	3:44
8 	Birthday 	3:38
9 	Cyber.Nation.War 	4:55
10 	Different Story 	3:41
11 	Rock The Paradiso 	3:45
12 	Rosetta    (Featuring – Frida Sundemo)	4:46

Backing Vocals – Scarlett Wilde
Bass – Paul Cooper 
Drums, Percussion – Jonathan Atkinson
Guitar – Neil Jones
Guitar, Keyboards, Backing Vocals – Ricky Wilde
Keyboards, Piano – Steve Power 
Vocals - Kim Wilde

“Hang on”, I hear you cry, “Kim Wilde? Isn’t that a bit… pop?” And you may be right, but wait until you get into the review for more details. After all, this is a woman who is – at least in part – responsible for this site actually existing.

No “Kids in America” may have meant an early end for Lawnmower Deth. Sadly, they continued, much to the disappointment of the music community. As such, I got talking to one Sean Merrigan on their facebook page a few years ago. A conversation that resulted in me meeting James Costin, and registering this domain name, and gathering more Crew members, and… you get the picture. So Ms Wilde is metal, in my book, or at least “guilt” (sic) by association.

The fact that she’s since gone on to perform the aforementioned track live with Lawnmower Deth and record a Christmas single with them proves that she’s not a one-trick pop pony, rather someone who’s open to trying new things. With Here Come The Aliens, her first full album of original material released in the UK since 1995 if you can believe that, she proves it even more.

Opener “1969” is basically the title track with the chorus referencing the album name. Honestly, if this isn’t a rock track then I don’t know what is. Pounding drums, solid rhythm guitars, great backing rhythms… honestly, Halestorm could have written this and just let Kim guest on vocals while Lzzy concentrated on the guitar.

“Pop Don’t Stop” is the one that’s been teased on Kim’s YouTube channel (and released on her VEVO channel – check it below), and it’s definitely a lighter number (with a keyboard intro that brings back memories of “Video Killed The Radio Star”‘s own introduction). While it’s very much a love song devoted to the music that is pop, coupled with a driving rhythm and catchy chorus, this doesn’t make it anything you should feel guilty about listening to. There are pop-rock and pop-punk tracks out there that are every bit as commercial. This one has Eurovision all over it – why do we always submit crap for this competition when there’s material like this around?

OK, so we’ve established that Here Come The Aliens is more “pop-rock” and that by listening to it you don’t risk having all the patches removed from your battle jacket as you should if you were caught sneaking a listen to, say, the Spice Girls. So what are the rest of the tracks like?

Well, basically, they’re damn good. In honesty, I was expecting something a bit more 80s, but what we have is a very modern album. I’m assuming the rockier feel is down to the work of one Mr Wilde, Kim’s brother. Ricky shreds a guitar in a manner that lends rock credibility to each and every song, such as “Kandy Krush” which comes across almost as a piece of J-Rock with its near nerdy title reference.

“Solstice” starts off as the first track I thought I wouldn’t like as it’s so soft… but after a listen I was hugely impressed by this number which gives Kim a chance to really show off her voice with the backing music flowing more below than around her. A cracking ballad. “Cyber Nation War” is never going to have Fear Factory quaking in their boots over the industrial competition, but once more shows that the Wilde family aren’t aiming to appease those with their musical tastes firmly entrenched in a (wonderful) period running ‘twixt 1980 and 1989.

Another corker is “Rock The Paradiso” which, if it were played in a venue with that name, would surely live up to its title. The album ends of the surprisingly gentle and ethereal “Rosetta”, a slightly odd choice – I’d have gone for one of the bouncier numbers to encourage a repeat listen, but it didn’t put me off flipping back to track one several times. It’s not a bad song by any means, just not where I’d have put it in the running order.

So despite half this review coming across like me justifying its inclusion on these pages, I’m hoping that the other half has made you think “hey, ok – I’ll give it a shot” – because you should. OK, so if your CD shelf is 99% extreme and death metal, with the lightest album being Scream Bloody Gore, then it’s not going to be for you. But if you like the more mainstream rock acts then you could be surprised by this 1980s pop queen’s newest outing. --- Mosh, moshville.co.uk

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