Back to "Snapshots". After the middle part of the booklet to judge, the album title was probably inspired by the many pictures sent in as part of the "Fan Contest 2011". About the whys and wherefores of this Kim recordings are then initially generally clear and concise information (in English). It's taken further in the booklet even in German, each with a few thoughts on the individual titles (to hear / see the original in English on their website or on Youtube, "track by track"). Finally, that was the way, snapshots seems to have been produced specifically for the German market and only at Saturn, there is a CD-edition with the bonus track "Forever Young" (original by Alphaville). Another bonus track, there's only on iTunes: "I'll Stand By You" (originally by The Pretenders). For normal fan or a buyer, it would certainly have been nice if both titles would be found on the regular CD edition, which would have been technically possible easily ... but the decisions in the marketing departments of the music industry are sometimes difficult to understand.
For me personally, provides "snapshots" in its quality, an increase (albeit small) compared to the previous two albums the current comeback phase ("Never Say Never" u. "Come out and play") that comes but not quite at Kims classic albums of the 80's approach. That you can have success with cover versions, Kim showed already with the Beegees cover "If I Can not Have You" and especially, of course, "You Keep Me Hangin 'On". However, since they did not hesitate to give the songs a completely new face, especially in instrumentation. In snapshots they are in this respect somewhat more cautious, which was already criticized by many reviewers. But I would not go so far as to speak of irrelevance or cheap production. One can find it disappointing when "Sleeping Sattellite" can hardly be distinguished from the original - the song itself is of course great (my favorite Shit 90) that it does not bother me much. At least of the songs, I know the original, seem The Cure's "In Between Days" and "A Little Respect" (although according to fans of this song in concerts always well received) in Kim's implementation really barely managed, the rest on the other hand can be really be heard! The absolute highlight is "Ever Fallen in Love", played in the original by the Buzzcocks for me. Even the opener "It's Alright" wins considerably, perhaps because the original version at the time was more or less uninteresting to me. The idiosyncratic in some places stock selection is evident in any case by means of statements in the booklet. Perhaps the vorgenomme because of the limited number of tracks on CD selection was not always happy in the eyes of fans, what the example "A Little Respect" is clear: apparently it was on behalf of all Vince Clark projects (including Yazoo, Depeche Mode ) on the plate. Many would have preferred as desired "Enjoy The Silence". Instead of songs of Sugababes, which even with a Gary Numan / Adina-Howard-mash-up ("Freak Like Me") Cover THE hit of the past decade have delivered, even a Bananarama cover would certainly have been a good alternative (stellvertetend for department British Girl Groups).
A posthumous tribute learns Kirsty MacColl with the inclusion of "They Do not Know" and many lines in the booklet. In addition it should be mentioned that Kirsty's version in the late 70 no bestseller in the charts because of strikes and other hardships, however, was a respectable radio airplay hit in England. We will be remembered more like the 83er Hit version of Tracey Ullman. Stylistically somewhat out of place affects the Bowie cover "Kooks", what comes along with acoustic guitar and especially the duet partner Hal Fowler (Kim Wilde's husband!).
For the double-A-side single releases "It's Alright" and "Sleeping Sattelite" two attractive, but not overpriced video clips were filmed. Talk Admittedly not everyone's taste in the nowadays available possibilities of computer animation, etc., but as other reviewers example of ridiculous faked metal types on guitar in the video, then go too far, especially when it comes to doing the meritorious Nick Beggs (Kaja Googoo, Ellis Beggs & Howard) is. I would have liked to. In the band like Bayern Ribery or Robben in a team On the CD he seems to have however not cooperate - in the booklet are in small print next to the "family" "only" listed some of my unknown German musicians. Nothing against it, but when England's elite musicians have gathered in Kim's kitchen (so Nick, etc.), even more impressive record would certainly emerged. But if everything Kims voice subordinates and gives all in all a "typical" Kim Wilde Album (especially if you did not know the originals) with scattered synth pads and some 80s retro factor. Just in 4 star (if it were up, from 3.7 to 3.8), but at least - Kim Wilde is here an interesting venture entered into for respect!
