meet with their new label and to be in New York while Litt mixed the album. Due to a problem with the drum tracks for "Walking on Sunshine", Litt had to re-record the drums at the Power Station. When drummer Alex Cooper had finished his work in a couple of takes, "it was phenomenal," Litt said in 2017. "All of a sudden the song exploded. As soon as the drums were done, that spurred us on to do more. I was flying guitars around." Talking with Goldmine magazine in 2021 about working with Litt on "Walking on Sunshine", Leskanich said, "Boy did he wave a magic wand over it, because it was his idea to start with the drums and said that the DJs will go crazy with that sound and it will wake up America. That was a stroke of genius. He was a great producer, getting the sound right." Litt also re-arranged parts in the song, like holding the horns out of the first chorus, and Leskanich's "Woo," which was somewhere else in the song, was put in after the drum intro. "Scott absolutely made that track," Collier said. "He took it in hand and made it what it is." According to Leskanich, "Walking on Sunshine" was never meant to be the album's first single, as Capitol originally wanted to go with "Do You Want Crying". "Capitol sent out a sampler of four tracks and all the DJs said, "It's the "Sunshine" song because we can talk over the intro and it's got the right energy for summer," she said. When the song was released as a single in March 1985, it charted all over Europe, the US, Canada and Australia. By July 1985, Katrina and the Waves had sold more than 300.000 copies worldwide. Critical reception In two contemporary reviews for Village Voice and Playboy, critic Robert Christgau wrote, "For a while I thought the only thing Capitol had done right was sign them, but between the exuberant Katrina Leskanich and the surefire Kimberley Rew this band would be hard for any label to fuck up: not one of the twenty songs on the band's two Attic LPs ... is a loser." Christgau felt that, as a songwriter, Rew has an "unerring knack for up-to-the-minute Sixties-style hooks" and writes "rock-outsider lyrics that never get obtrusively specific," while Leskanich has "a voice so big and enthusiastic she could