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Reviews of the Essex Hideaway album via Google's automatic translator
From Montreal Voir Weekly 13 January 2005
Having begun within the Software Servant boys there is more than 25
years and being made a name at Katrina and the Waves by composing the
hit which one knows, Rew in is only with its third album solo since the
end of these two groups. EnjouE9 musical craftsman obviously
preferring quality with the quantity, the guitarist rather takes again
the formula of an English rock'n'roll engraved and free like all than
the easy ways of the commercial success which he already knew. With
proof, one finds in the songs of Essex Hideaway a vitality and
intonations which point out those heard formerly at Church or in Elvis
Costello. Rew was thus not deprived to leave an album far from the air
time, preferring with reason to make some at its head and to remain
original.
From Gaesteliste de Internet-Musikmagazin 2 February 2005
Beside Robyn Hitchcock most relevant softly the Boy, Katrina & The Waves
founder and of many colleagues - e.g. Julian Dawson - as brilliant
musicians estimated Kimberley Rew submits with "Essex Hideaway" - one
may hardly believe it - only his third solo album. Whereupon the master
shows in principle everything that he can do. And that is - without
specific order - Glam -, Pub -, Folk -, Psychedelia -, kind and wenn's
to be must also "correct" normal skirt. The style is obviously less
important thereby than that that sounds if possible everything after the
70s. The fact that Rew played otherwise in each case the second banana
can be actually only because of its evenly not impressing singing it
voice. As idea-rich Kompositeur and first of all brilliant guitarist he
needs to hide itself anyhow behind nobody: So many exzellente, but
perfectly different guitar parts one did not hear already for a long
time no more on a disk united. The whole with a prize of dry humor is
rounded off: Thus the CD begin e.g. with a church song inclusive.
Child choir and on the Cover stands that "if necessary Nuesse are
contained" - only if someone should be allergisch. Who stands on
typically English sound and diagonal ideas, which sound nevertheless
good however and come along a little old-fashionably, which should
themselves clean-whistle this disk times.
From Kinda Musik 28 January 2005
At the beginning of Essex Hideaway was scared undersigned rot
themselves, because the first number ' Bless This album ' has been
rather litterally taken, and sounds the terrible ' Netherlands sings '.
Until Kimberley start sing Rew (da's therefore a vent). And Eo-gevoel
god thanks is amen replaced and Monty Python-achtige geinigheid. '
Always look on the bright side or life ' therefore, a pinch English
cabaret, combined with m.o.r.-rock and all spontaneous and ongepland,
which is Rew. With an unwarped plat English tongue fall natural. Rew,
earlier already to admire as a gitarist at The soft boys and Katrina &
The Waves (both their hit ' Walking on Sunshine ' and Katrina's winning
number ' Love shine a light ' on euro vision songfestival 1997 Rew was
written) in the past 25 years however but four cd's has brought out,
because he was busy. And that is jammer, because he can make plates. Rew
use of a scale to gastmuzikanten, and not lowest also. Don Airey
(keyboards) played rather with Deep Purple, Black Sabbath and later also
with Ozzy Osbourne. Ian Gibbons (piano) played for seventeen years in
The Kinks, and Dave Mattacks (drums) have among other things played the
drums at Paul McCartney. And that cooperation has something magically,
because the solidarity, skill and enthusiasm radiate of it. It hear that
the men have terribly much fun have been had in the studio, as a result
of which it already spirituously striking as album still funnier
becomes, and nowhere afgezaagd, far-fetched or oubollig. The past of Rew
comes up if he takes a loopje with its former group The soft boys, with
the koddige number ' That's soft boy, ' a relaas concerning a little boy
who is too gentle for its own bestwil. Each number works magic smiles at
the face work of those that wants listen. That is nou exactly it
beautiful of Rew, he is a ouwe rots in the profession, but the complete
plate has been interlarded with irony and zelfspot. And that is now
exactly where it most of the ouwe rots to is lacking and what she makes
frequently tiring to listen to. Except pleasant jet ear play and
melodiously talk (because it means there, however, on) can Rew also
still whistle, thus appears on ' Short smart Haircut ' that verderop the
plate gets a continuation with ' even Shorter Haircut '. This finishes
with Eo-gevoel with which started the plate, and continues in the
eindstuk ' Epilogue '. The chancel thanks us for listening, and
pronounces the hope that everyone sat with Rew and consorten in the
groove. And how!
From Kinsiane 1 February 2005
Trentuno tiny insufficient uniforms in twelve songs, one medium that
does not catch up the three minuteren to brano, made moreover the
opening (Bless this Album) and the epilogue (Epilogue blank), two
eccentric episodes for sun voices and organ that carry the listener
on nearly religious tonalities. In means ten POP song meticulously
enriched from the unmistakable taste of Kimberley Rew, chitarrista
and English author who many will perhaps find it hard to recognize,
although has been the main craftsman of happened of groups like
Katrina & the Waves (the someone remembers Walking of Sunshine) and
one column above all carrying of the Soft Boys di Robyn Hitchcock.
Essex Hideaway is only its quarter cd in more than vent' years than
career, activity that has often left in disparte in order dedicating
itself to a darker job in the rears. The talent but does not lack
and it is felt in the way in which its second disc for the Canadian
Bongo Beat has manifactured this. It cannot be screaied to the
miracle, but it is also true that its POP-rock from the detached
accent english exercises one sure attraction. They make themselves
then the worshippers of the melodica stravaganza of the Kinks and the
many ahead disciples of years seventy: Kimberley Rew belongs in
bottom to the generation of Dave Edmunds, Nick Lowe and Squeeze,
personages of cult that risuonano in notes of these grazioze
"canzoncine". To begin from Phoenixstowe, POP music of which Ray
Davies it would go fierce, tramutata in the end in a long
instrumental tail with assolo it spaces them and psichedelico.
Operation this last one that is repeated in Ballad of the Lone
Guitarist. Absolutely "kinksiane", to the limit of the plagio, Short
Smart Haircut and That' s soft Boy: they put the buonumore truly and
they prepare for the best one of the bunch, Jerome K Jerome, onlooker
historical dissertation on a dark personage who colors itself of
guitars clears up some. Rew possesses a voice dolciastra that it
could not more be adapted: with the aid of people navigated like
Dave Matthacks (battery) and Ian Gibbons (slowly), plus the
appearance of the usual friends (Alex Cooper and Vince de la Cruz
from the Katrina & the Waves), door a.termine the task, remaining
faithful to its clichE8. Perhaps this remains the greater limit of a
disc that, puttinges from part a pair of brani po' interlocutors
(Your Mother Was Born in That House, Even Shorter haircut) motivating
force too much soon the moorings. Essex Hideaway even contains
winning cues and some lightning bolt of genius, but it is like if it
were stopped on the threshold
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