Legendary Soft Boys and Katrina & The Waves member,  Kimberley Rew , Releases ‘Best Of' Compilation on 11/9



“Kimberly Rew is a gentle genius and his songs are a revelation.”   - Vicki Peterson, The Bangles.

“Kimberley Rew is where pop and archaeology meet: the six-string guardian of old England, rocking the neolithic pathways just as the glaciers did before him. I can't remember a time before Kimberley, and I dread a world without him. Monster!” - Robyn Hitchcock.

New York, NY Kimberley Rew, the guitarist for British 70s art-rock band, The Soft Boys, and co-founder of Katrina and the Waves will be releasing a CD compiling the best songs of his solo career on 11/9 through iTunes and all major digital retailers . The compilation will chronologically cull the best 14 songs of Rew's five solo albums over the course of his twenty-year career.  Kimberley Rew's first solo album, The Bible Of Bop , was self released in 1981 and was compiled from four different recording sessions with three different bands – The dBs (from New York), The Soft Boys (with the legendary Robyn Hitchcock on guitar) and the second incarnation of The Waves (now featuring Katrina Leskanich and Vince De La Cruz).  Rew's subsequent four solo albums, the latest being The Safest Place, which was released in March of this year, have been lauded efforts that have achieved critical success and establish Kimberley Rew as a stalwart in the pantheon of alternative and underground songwriters.  “Stomping All Over The World”, which is the first song on The Best Of Kimberley Rew , features musical performances by former band mates Robyn Hitchcock and The Soft Boys .  The next two tracks on the forthcoming compilation feature musical performances by the legendary DBs. Further verifying Kimberley's status as a venerated songwriter who can hold court with the biggest and best of songwriters, Glen Tilbrook of Squeeze also guests on the song Simple Pleasures, track four on this compilation. Although Rew is best known for penning “Walking On Sunshine”, he's also written hit songs for The Bangles and Celine Dion and with his band Katrina & The Waves has even won the Eurovision song contest in 1997 with “ Love Shine A Light ”!!



The Best of Kimberley Rew


The Best Of Kimberley Rew
  1. Stomping All Over The World
  2. My Baby Does Her Hairdo Long
  3. Hey, War Pig!
  4. Simple Pleasures
  5. Honey, Is That Love
  6. The Radio Played Good Vibration
  7. English Road
  8. Screaming Lord Sutch
  9. Jerome K Jerome
  10. Your Mother Was Born In That House
  11. White Horse
  12. Old Straight Track
  13. The End OF Our Rainbow
  14. A Girl Called String



Notable Press and Artist Quotes

"I remember the very first time I heard one of Kimberly's great songs.....'That's Just the Woman In Me'. For more than 10 years I couldn't get the song out of my mind, and I finally had the chance to record it a few years ago. Now, that's what I call a memorable songwriter!" - Celine Dion

“I have great memories of touring Europe in the 80's with Katrina and the band. It was wonderful to see the love of her audience and how the band ignited them.  I remember how powerful “Walking on Sunshine” was at that time so it's not surprise it has remained a classic till this day.”
- Mick Fleetwood, Fleetwood Mac

"I have been a fan of Kimberly Rew's song writing for 25 years, and am dumbfounded by his guitar playing every time I see him play"
- Peter Buck, REM.

“Kimberly Rew is a gentle genius and his songs are a revelation.”  
- Vicki Peterson, The Bangles.

“Kimberley Rew is where pop and archaeology meet: the six-string guardian of old England, rocking the neolithic pathways just as the glaciers did before him. I can't remember a time before Kimberley, and I dread a world without him. Monster!”
- Robyn Hitchcock.

“The early morning (after the long night) that we finished "Walking On Sunshine" was one of the greatest experiences of my professional career. I'll always remember doing the final edits on the 2 track, and all of us knowing we had something that was really special.  Congratulations to Kimberly and the band on the song's anniversary.  It's a classic.”
- Scott Litt, record producer (REM, Nirvana, Incubus).

“When the Soft Boys split up, Kimberley was bursting with new songs, and ready to get into the studio. It was amazing how many great pop tracks he had written while being in the Soft Boys. We went into The Church studios in London with the band and laid down and mixed about 10 tracks in 2 days. All of them were great. Brown Eyed Son, came out as a single, but much as the Soft Boys were "a band out of time", in that Underwater Moonlight came out in the heat of the London punk scene, radio and press were focused on other things, and the single went largely un-noticed. Kimberley was undeterred, and with endless energy from Alex, Katrina, and Vince behind him, the band powered on, continued writing, gigging, and refining their art, and finally broke through with the massive worldwide hit Walking On Sunshine."
- Richard Bishop, owner of Kimberley's first record label and now manger of Henry Rollins, The Crystal Method and Robyn Hitchcock.



The Best of Kimberley Rew (songs from all the solo albums) available now on iTunes

Kimberley Rew - WeirdMusic.net EXCLUSIVE INTERVIEW:

Do you Like/Write Weird Music ?

I hadn't come across this website before- if you mean are my songs weird, no, they're quite traditional and mainstream.

- When and where did your experience in music start ?

For American readers- in the UK we had a single public radio station, the BBC, with more or less one weekly pop music show, which was Alan Freeman's Pick of the Pops on Sunday afternoon, which I started listening to in 1962. I had the great good fortune to be given a guitar in 1964- the price of which was way beyond anything I could save from my pocket money (allowance).

- What are you currently working on and what are your plans for the rest of the year ?

As you'd expect, the next album- it's November so it makes the 'rest of the year' part easier to answer. My wife Lee and I play in a bar band called Jack, and sometimes as a duo (called Kim and Lee!).

- What do you consider your greatest inspirational sources in music ?

You can guess from the dates above that it's Beatles, Rolling Stones, etcetera. Since when if anything my tastes have gone further back in time rather than forward, to 1950s rhythm and blues, rock and roll.  

- Please describe your personal studio for us...

I'm very lucky that my old band Katrina and the Waves built a studio, outside of our home town of Cambridge, which we still have and gets used a fair bit, which I could never have built or operated myself- it was a ramshackle old location, with a great many tumbledown outbuildings, which the planning laws (zoning laws) allowed to be replaced by a prefabricated structure to house the studio; the paint's looking shabby now, which makes it more homely; it contains a Studer 2 inch 24 track tape recorder- I can't explain why, and I'm not a gear snob, but it really does sound better than digital. 

- What are your favorite readings ?

I used to be a huge rail fan, and I've started collecting Middleton Press railway books- must be into three figures now, so I can read them, forget them, and read them again!  

- In your opinion, what role does the third sector, public and non-
  profit entities; have for music on the Internet ?

The internet is there of course, and you can buy whatever song you want- maybe the album (originally dictated by the length of a 33 RPM record and the aspirations of whatever artist) has had its day- after all, I grew up in the singles era. (But I can't help thinking in terms of albums!) Good luck to all sectors.  

- Are you religious ?

Not really- but I do hunger for meaning.

- The person you would never want to meet ?

That's negative!

- If you were another person would you be friends with you ?

If I was someone else, it wouldn't be me writing this

- What is your best physical attribute ?

This invites big headedness!

- Do you have a secret talent and what is it ?

If I told you, it wouldn't be a secret talent

- 3 things you cannot live without?

My wonderful wife Lee, times three. 









Guitarist/songwriter Kimberley Rew may not be a household name, but his contributions to the new wave movement were quite significant. First, as a member of the seminal neo-psychedelic/punk outfit the Soft Boys, Rew's ringing, Byrdsy riffs combined with those of leader and future cult icon Robyn Hitchcock to exert a massive influence on groups like R.E.M., whose jangly guitar-pop would become one of the dominant sounds in '80s alternative rock. When the Soft Boys disbanded, Rew formed Katrina and the Waves, best known for their one huge hit single "Walking on Sunshine"; Rew composed that song as well as "Going Down to Liverpool," which was originally recorded by the Waves but achieved greater recognition after being covered by the Bangles. As a solo artist, Rew's only release for years remained the 1982 compilation The Bible of Bop, which featured Rew's performances backed by the Soft Boys, Katrina and the Waves, and the dB's. That all changed in 2000, when after years of silence he released his proper solo debut, Tunnel Into Summer. In 2001, to the surprise of many, Rew and Robyn Hitchcock opted to reunite The Soft Boys for a riotously received concert tour; after getting off the road, The Soft Boys cut a new album, Nextdoorland, which appeared in 2002. That same year, Rew returned to the studio as a solo act, and released Great Central Revisited. The Soft Boys reunion proved to be short lived, with Hitchcock disbanding the group in 2003; Rew responded by returning to the studio, and completing a fourth solo set, Essex Hideaway, which appeared in 2005.

Kimberley Rew first came to notice in the late 1970s as a member of Robyn Hitchcock's Soft Boys.
In 1981 Rew made a solo single backed by American band the dBs before helping to form Katrina and the Waves, and writing 1985's evergreen Walking on Sunshine (produced by Pat Collier and Scott Litt). The Bangles also recorded Rew's Going Down to Liverpool. Katrina and the Waves toured opening for the Kinks, the Beach Boys, and Squeeze among many others. Rew concurrently guested with Ashley Hutchings, Robyn Hitchcock, Julian Dawson and Boo Hewerdine.
In 1997 Katrina and the Waves won the Eurovision Song Contest for the UK with the Rew composition Love Shine a Light.
In 1999 Rew rejoined Robyn Hitchcock for the Jewels for Sophia album and tours. In 2001 the Soft Boys reconvened to rerelease their Underwater Moonlight album (now hailed as a gem from the vaults), and to tour and record.
Rew has released four solo albums in the present century.




This essay was originally written in September 2002 for inclusion in thesoftboys.com website.

The Soft Boys by Kimberley Rew

Robyn Hitchcock arrived in the medium-sized college town of Cambridge, England in 1975 to look for musicians for his band- not an obvious choice of location as a hotbed of talent but none of this would apply if he hadn't. I first heard him at some weekly informal musical get-togethers at the Great Northern Hotel run by a man called Sunshine Joe, with a backing band he later described as 'people who were living in my house'. Robyn wore black leather trousers and jacket, long hair and beard, and either glowered at the audience or, then as now, launched into lightningly impromptu song introductions which took the subject matter on a season ticket to Unexpectedsville.
At the time I was renting a room in a terraced house whose basement contained Spaceward recording studio. Robyn arrived and recorded and we met in the kitchen where he stubbed his fag on the lino and was rebuked by recording engineer Mike Kemp. Mike subsequently invented the 'Sadie' hard disk recorder and retired to the Algarve.
Morris Windsor and Rob Lamb (and original Waves singer Rob Kelly) were in local rock outfit Mad Hatter whom I heard at a cricket pavilion on one of those balmy summer night college shindigs. Rob and Morris went on to form Sheboygan (which I thought for a long time was a quote from Surfin' USA, but then found was a generic name for 'Nowheresville') and discovered pub-rock. The next year, 1976, in pursuit of a 'white soul' style, they teamed up with Robyn and Andy Metcalfe to form Dennis and the Experts and began to rehearse in Robyn's front room. Uneasy about the way things were shaping, in December Rob quit (subsequently forming the respected Ducks on the Wall, whose Adrian 'Hots' Foster gave us the phrase 'I've got the hots for you'). Except Robyn was in bed at the time so he had to shout his resignation thru the keyhole.
Dennis and the Experts were booked that month for a university Christmas ball- recruiting Alan Davies on guitar, Robyn arrived at the venue, which being an educational institution had a blackboard, that night being used to list the evening's musical program. Erasing 'Dennis and the Experts', he chalked in 'The Soft Boys'. Thus were they born.
Now began the group's truly formative year. All the distinctive musical ingredients were brewed- incisive lyrics, unexpected twists (at least few expected twists), the twin guitar attack. There was a vague feeling among the local musos that it wasn't 'proper' music- proper music at the time was more a swamp of 'tasteful' licks at the pinnacle of which, if swamps have pinnacles, was Steely Dan. Nobody of course ever actually could play like Steely Dan, but that distant peak was always in view. Certainly it was hard to hear the subtleties of the Soft Boys thru the group's two four-by-twelve WEM columns. That all changed with the appearance of the EP Give it to the Soft Boys on Raw Records, run by local entrepreneur Lee Wood, that summer of 1977. There was Wading thru a Ventilator in all its glory, lyrics originally aimed at Robyn's neighbour Vyrna Cole now turned in upon himself, the rising guitars of the middle eight raising hair on arms.
The Soft Boys began to get second-on-the-bill gigs in London, supporting among others the Pirates, Elvis Costello and the Vibrators where they met long-term producer Pat Collier. I joined in January 1978, having baby-sat and sat in the previous month. We signed to the short-lived Radar Records, who had Costello and Nick Lowe and were thus considered the last word in cool. (This is the only time in my life I have ever been cool and then only by association). We opened for the Damned- the only time in my life I have ever attended a punk gig.
Radar financed an album to be made over two weeks at the residential Rockfield studios on the Welsh border. But the coolness was already returning to room temperature and the album was mothballed, followed shortly by the rest of the record company. This was the time when the nation limped half-heartedly after punk- it was not the glittering golden age that it was later labelled. Gigs in Swansea, Leeds and elsewhere were attended by small numbers of punks who had a miserable time (but if you were a punk that of course meant you had a great time because the object was to be miserable). It was also the time of Supertramp's Logical Song and Dire Straits' Sultans of Swing, which were played incessantly at ear-melt volume in these joints, and which I never want to hear again. Bands such as Squeeze and the Police, who had been 50p on the door at the Hope and Anchor when we were charging 75p, whizzed past at 100mph.
Robyn put up the cash to record A Can of Bees independently at Spaceward on his own Two Crabs label. After the album's quiet reception and some more recording of songs like When I Was a Kid and The Asking Tree, Andy left to team up with Telephone Bill and the Smooth Operators in summer 1979. Also taking the opportunity to quit were harmonica player Jim Melton, sound engineer Ivan Carling and lighting man Mungo Carstairs. This left the skeleton of Hitchcock, Windsor, Rew and new bass player Matthew Seligman. Matthew was a respected local player- my girlfriend Lee used to listen with her head in his bass cabinet.
Oddly at the time no one could drive. I passed my driving test and the day after ferried the gear down to London's Rock Garden (the first place I saw the phrase 'coffee-table album') in a borrowed Volkswagen van. The handbrake didn't work but if you took your foot off the gas it stalled. So if you stopped on a hill you had to either balance the van on the clutch or theoretically stay there for ever.
We returned to Spaceward and recorded I've got the Hots, He's a Reptile, Song Number Four and You'll Have to go Sideways. This last consisted simply of a guitar riff repeated over and over for three minutes. The studio owned a Mini Moog synthesiser, then costing some GBP600 (a vintage Stratocaster was GBP300). I prevailed on engineer Mike Kemp to let me plaster the multitrack with one-finger Moog (they'd just gone 16-track). This was the first and probably last time anything of the sort was attempted.
The Cambridge City Rowing Club Boathouse now became available for band rehearsals- the second Cambridge outfit to use it were the Dolly Mixtures, who later achieved fame backing Captain Sensible. It was an unloved building, curtains terminally adrift from their plastic rails, sandwiched between much swankier structures belonging to the historic colleges. Day after day we would meet there to work on the songs that eventually became the Underwater Moonlight album, plus efforts such as Goodbye Steve, whose words changed completely with every rendition, which were dug up for the 2001 bonus And How It Got There disk, before retiring to Hambis' cafe where egg and chips were 40p. Hambis' house rules were No Schoolboys and No Chips Alone. The Face of Death (who had inspired that song and was now indeed dead) had redecorated the joint and it was thought, rather cruelly, that one corner where the dado plunged alarmingly floorwards was where he had actually expired.
As the new decade began we ventured to Pat Collier's 4-track Alaska studios, located in a dripping tunnel near London's Waterloo station- still there, with the same cigarette burns on the same sofa. (It's long since gone 24-track, stopped dripping and has been home to many hit recordings). This was a one-man operation in the truest sense- ie there were other employees but they didn't actually do anything. Pat would frequently record the band in filthy overalls (Pat, not the band) having just installed a false ceiling or something. A welcome feature was the La Ronde across the street where one could get nourishing bread pudding- this was later demolished to make way for the Jubilee Line tube extension (the La Ronde not the bread pudding). We recorded Queen of Eyes, Kingdom of Love, I Wanna Destroy You (please note this last is a parody of punk, not punk itself).
The first stirring of suspicion of the group's worth independently of the media hooha of two years previously came with the appearance in our career of the tiny Armageddon label, who put out the Kingdom of Love EP, which crept to about 25 in the New Musical Express 'alternative' charts. Increasing our crew to one with Howie Gilbert, we embarked on a tour of Scotland, staying in a 'family room' with five beds in an Edinburgh hotel. This was connected by intercom to the front desk. Being asked in the morning if there were still five of us, Robyn, whose bed was nearest the intercom, replied 'no, one of us has had a baby'.
It was felt that the forthcoming album needed technical beefing and we switched to the 8-track James Morgan studio. It was in James Morgan's house in a street in a South London neighbourhood which to this day I have never been able to find again. Here we put down Insanely Jealous, Underwater Moonlight, Positive Vibrations etc.
The Underwater Moonlight album appeared in summer 1980. By this time the band had already moved to London and Robyn had recorded The Man Who Invented Himself. Things were changing. Only the Stones Remain was probably our last solid studio effort, eventually appearing on the posthumous half-live Two Halves For The Price Of One budget-priced album, but we never really found a decent place to rehearse in North London. One attempt was in the basement of a house occupied by an emigre Scottish heavy metal band. This like that hotel room was connected by intercom to the living room upstairs. Morris played his usual kit but, during a break, was tempted over to the heavy band's kit because it had 14 million tom-toms. He immediately received a protest on the intercom from an irate Scottish drummer.
The group was however yet to embark on its biggest single adventure- a trip to New York, staying at the Iroquois on 44th street, playing at such places as the Danceteria, the Mudd Club and Maxwells in Hoboken, the only place in the world where I've appeared with the old Soft Boys, the new Soft Boys, Katrina and the Waves, Robyn Hitchcock solo, and myself solo. We returned, as you often do from New York, at six in the morning, somehow bringing a New York band, the Method Actors, with us, sitting opposite them on the rattling tube. Once thru the front door I retired to bed due to lack of funds.
The group's last show was at second-league pub venue the Golden Lion, Fulham, London in February 1981. Unknown to us we were already 'influencing' some younger American musicians.
Many adventures followed over the next nineteen years but what mainly happened to the Soft Boys was that the Underwater Moonlight album became 'legendary', reappearing on Rykodisc in 1992 with a host of extra tracks. Its subsequent unavailability perhaps fuelled the mystique until 2001 when Matador picked up the baton. Robyn was on his second post-Egyptians album; Morris was working with the Gliders, Matthew was finishing the first Snail offering and I had completed eighteen years with Katrina and the Waves. Several reunions happened at the Feghorn pub in Central London's last surviving neighbourhood of Clekenwell, topped off by an appearance at Matthew's wedding reception in Kensal Green. It felt like the next booking the week after the Golden Lion.
Kensal Green saw the debut of Sudden Town and it soon became clear that Hitchcock was not the man simply to dust off relics, always thinking in terms of the next new song. First, however, came the picking up of the transatlantic thread- a month in Spring 2001 across the USA, the natural extension to the 1980 New York trip, culminating at San Francisco's Fillmore.
The group reconvened in Pat Collier's new Gravity Shack studios in South London to record a contribution to a Tribute to Paul McCartney album, which developed into the Nextdoorland album sessions. The leftover songs were assigned to a CDEP called Side Three. The bread puddings were replaced by cheese and bean wraps and sushi, which always looked to me suspiciously like party nibbles. Punk metal dirges from the next studio were replaced by the dim thud of electronic beats thru the floor from a warren of 'programming rooms'. To keep in shape there were gigs at Evershot village hall in Dorset, the Victoria and Albert museum (strangely) and, very satisyingly, opening for the Pretty Things on the South Bank, including a version of Astronomy Domine with stereo Barrett guitar from Robyn and Pretty Things' special guest Dave Gilmour. At the time of writing, September 2002, the Soft Boys are about to embark on a second American tour to celebrate Nextdoorland- 'not bad for a reunion album', commented Nigel Cross. Happy listening and thank you all for helping to make the Soft Boys a major experience of my life.


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