by Stewart Mason
Kim Wilde's third album was never released in the U.S. -- EMI America had dropped the singer after 1982's career high point, Select, didn't spawn any hits -- which is a shame since this admittedly uneven album is a key transition point in her career. Catch as Catch Can is probably Wilde's most experimental album, a continuation of the dark-hued synth rock feel of Select with hints of the more commercial dance-pop sound that would characterize the rest of her career. Certainly the first single, the gimmicky, campy strut &Love Blonde,& is the oddest single of Wilde's career. Elsewhere, the genuinely beautiful ballad &Can You Hear It& (probably the prettiest song Wilde ever recorded), &Sparks,& and the quirky &Dream Sequence& have an atmospheric, nearly psychedelic tinge, thanks to hazy backing vocals and diffused, dreamy arrangements. However, other songs like the opening &House of Salome& and the stuttering &Back Street Joe& point toward the purely electronic Hi-NRG disco sound that would characterize 1984's Teases and Dares, and indeed pretty much every Kim Wilde release thereafter.