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.
"Chasin' Wild Trains" is the thirteenth studio album by Kim Carnes, released in 2004. It was Carnes' first full-length album since 1991's "Checkin' Out the Ghosts" which was released only in Japan and her first to be released both in the U.S. and internationally since 1988's "View from the House". "Chasin' Wild Trains" was originally released by the Sparky Dawg Music label in the U.S. and later re-issued internationally by Dutch label Corazong. The album did not chart, however.
The sound quality is good and the performances are excellent. I recently had the opportunity to compare Kashkashian's performance with Hindemith's own 1930s recording and while I naturally give props to Hindemith for recording his own work I like Kashkashian's performance of the Op. 24 viola sonata more– not just for sound but for the speed and fire she puts into the wild fourth movement. Hindemith's contribution to viola repertoire is probably the single most important one of the 20th century and this is probably the best available recording of his works. It includes all the solo and with-piano works on just two discs. It's also nice that Kashkashian and Levin recorded the viola works that were unpublished during Hindemith's lifetime, giving us a fuller insight into his work for the instrument than we might otherwise hear.