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Before we begin our journey through Mike Stock's final year working with Pete Waterman at PWL, we have a preview of what's still to come. Plus, we share the first 10 minutes of our recent Greatest Hits by Kylie Minogue bonus episode
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To wrap up 1992, Stock and Waterman worked with two new artists and two returning favourites. In the case of Kylie Minogue, it was to be her final single released with PWL. Fittingly, her version of "Celebration" was lifted from Greatest Hits and gave her a final UK top 20 hit before departing for new musical adventures. We hear from Phil Harding & Ian Curnow, who produced the track (which later had additional production added by Stock and Waterman). Also, music video director Gregg Masuak joins us again to discuss the shoot in Rio de Janeiro. Bananarama were also back for an even more ABBA-influenced single, "Last Thing On My Mind", which wouldn't be a hit for them but, years later, would give Steps their first UK top 10 single. Mike Stock shares his thoughts on both versions. In terms of the new artists, sibling duo Fresh released "Did I Say Ti Amo" and, thanks to Simon Cowell, PWL embarked on a collaboration with the World Wrestling Federation Superstars, resulting in a top 5 hit for "Slam Jam". Mike and former PWL engineer Pete Day recall the WWF project coming together.
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Summer 1992 didn't yield much in the way of Stock and Waterman productions. But in August that year, there was a sudden rush of releases, kicked off by a curious novelty record: a remake of "Summer Holiday" by Fat Slags, characters from Viz. Former PWL engineer Pete Day helps us get to the bottom of who exactly performed on the track. Meanwhile, Kylie Minogue got one step closer to departing the Hit Factory with new single "What Kind Of Fool (Heard All That Before)", which was included on her Greatest Hits album. Mike Stock and Terry Blamey tell us about the song, which sounded like classic SAW. Speaking of classics, Nancy Davis had another shot at success with a cover version of Jackie Wilson's "(Your Love Keeps Lifting Me) Higher And Higher". And the new-look Bananarama returned to work with Mike and Pete Waterman on "Movin' On", their first single as just the duo of Sara Dallin and Keren Woodward.
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In early 1992, Boy Krazy were still a year away from their belated massive success in the US with "That's What Love Can Do" and they followed up that debut single in the UK with "All You Have To Do". Now a four-piece, the girl group shifted musical gears, releasing a more club-influenced track, but once again it failed to connect. Ruth Ann, Kimberly and Josselyne discuss that single as well as "Good Times With Bad Boys", which was released in America after "That's What Love Can Do" had been a hit. The ladies also give their thoughts on the situation involving Johnna being positioned by the label as lead vocalist. Meanwhile, Pat & Mick returned to PWL for their annual cover version — a remake of "Shake Your Groove Thing", with Pat Sharp sharing his memories of the music video. We also hear from Mike Stock about PWL's latest signing Nancy Davis and her debut single, "If You Belonged To Me". And Steve Anderson is back on the podcast to tell the Brothers In Rhythm story and recall how he and Dave Seaman were commissioned to remix "Finer Feelings" by Kylie Minogue — and that single's connection to her post-PWL work.
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Following their launch in 1991 with debut single "Get Ready For This", Eurodance duo 2 Unlimited enjoyed a string of more than a dozen hits around the world. What does that have to do with Stock Aitken Waterman? Well, in the UK, the act fronted by Ray Slijngaard and Anita Doth was signed to PWL Records at a time when the Hit Factory's in-house productions were often struggling on the charts. Techno tracks like "Twilight Zone", "Maximum Overdrive", "Let The Beat Control Your Body", "The Real Thing", "Tribal Dance" and chart-topper "No Limit" were the sound of the future, while, as we've seen, more traditional pop/dance tunes were having a tough time of it. In this bonus episode, we explore the success PWL enjoyed with 2 Unlimited and what it meant for the working relationship between Pete Waterman and Mike Stock. Ray joins us to share his perspective on the rise of 2 Unlimited and the approach PWL took with the duo's tracks in the UK, initially using instrumental versions rather than ones with Ray's raps on them. He also discusses his personal and professional relationships with Anita and producers Jean-Paul de Coster and Phil Wilde, and the current status of 2 Unlimited.
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There was no denying the popularity of rave and techno in the UK in 1991, and Stock and Waterman went all clubby as the year drew to a close — with help from some key collaborators. DJs Paul Taylor and Danny Bennett (aka Danny Hibrid) from Angels nightclub visited PWL to work with Tony King on remixing Kylie Minogue album track "I Guess I Like It Like That". The result: a completely new single, "Keep On Pumpin' It", which came out in its own right. Paul and Tony tell the story of this club classic, which was issued to clubs as a white label ahead of its commercial release. Meanwhile, the unlikely pairing of Malcolm McLaren and Alison Limerick were brought together to work with SW on "Magic's Back", the theme song to Malcolm's documentary, The Ghosts Of Oxford Street. Alison talks about the project and her own run of '90s club classics, like "Where Love Lives", "Make It On My Own" and "Time Of Our Lives". And, as we commence our journey into 1992, the third single from Let's Get To It was Kylie's remake of "Give Me Just A Little More Time", which was backed by rave-inspired B-side "Do You Dare".
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Late in 1991, PWL was trying all sorts of things to get back in the charts on a regular basis, including working with '80s funk/soul band Cool Notes. Single "Make This A Special Night" harked back to some of SAW's earliest releases when they dabbled in R&B — and was one of several tracks recorded with the group, which was now a trio. Singer Lauraine McIntosh talks about Cool Notes' progression from reggae outfit to commercially successful soul group with mid-'80s hits "Spend The Night" and "In Your Car" — and the downturn in popularity that followed. She reveals the never-before-discussed story behind her 1988 guest vocal on "Don't Make Me Wait" by Bomb The Bass and how she wound up as a session singer at PWL, which led to Cool Notes' deal. Meanwhile, Kylie Minogue was also taken in a more soulful direction with "If You Were With Me Now", her big ballad duet with R&B sensation Keith Washington. Former PWL engineer Pete Day shares his memories of recording with Keith and we discuss the song's video and promotion, including the approach Kylie's Australian record company took with the single. Former Yell! member Paul Varney returned to PWL as a solo artist, but it seems the company didn't quite know what to do with him, almost releasing Kenny Thomas-esque track "If Only I Knew" before opting for the more pop-influenced "So Proud Of You", with both tracks ending up having a connection with the work of in-demand house producer and remixer Steve "Silk" Hurley. Paul talks about the back-and-forth situation with his two solo tracks and his subsequent musical projects, including writing Precious's 1999 Eurovision entry, "Say It Again".
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They were the pop stars that changed everything for the Hit Factory — and in this episode we discuss pivotal singles for Jason Donovan and Kylie Minogue. In Jason's case, his remake of "Happy Together" was his final single with PWL, as he made the leap to musical theatre and a new record label. The cover version was also the first Stock and Waterman production, with Matt Aitken now out of the picture. Jason joins us for one last time to discuss the parting of ways with PWL, his third studio album, All Around The World, and how his career has developed until the present day. As for Kylie, she kicked off her fourth studio album with new jack swing single "Word Is Out" and its controversial music video. Terry Blamey, Mike Stock, Julian Gingell and Pete Day all share their memories of the Let's Get To It era of Kylie's career, while remixer Tony King talks about his Summer Breeze remix, which was released as the official single version in Australia.
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To mark the third anniversary of A Journey Through Stock Aitken Waterman, former PWL remixer Tony King joins us to share his story of going from Phil Harding's assistant to being responsible for a Billboard Hot 100 smash hit thanks to his remix of "Don't Make Me Over" by Sybil. Tony recounts the "weird" way he landed a job at PWL and how his first task was to remix "Packjammed (With The Party Posse)" by Stock Aitken Waterman — in a matter of hours. He also talks about some of his early remixes on tracks by Kylie Minogue and The Reynolds Girls. We follow Tony's journey into the '90s and how crucial his partnership with Asha Elfenbein was to the development of his remix ability. He also weighs in on the changes at PWL in the '90s, including the departure of Matt Aitken and the proliferation of dance sub-labels and European licensing deals.
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The Boy Krazy story is one of the most interesting — and complicated! — in the SAW history. The American girl group was put together through auditions in New York, going through a few line-up changes before the final five-piece, Johnna, Josselyne, Kimberly, Renee and Ruth Ann, signed a deal with PWL Records and flew to London to start recording with Stock Aitken Waterman. Kimberly and Josselyne join us to reminisce about that process and how debut single "That's What Love Can Do" came together. Released in mid-1991 in the UK, it unfortunately didn't connect with the British public, but over a year later, it started picking up steam in the US when a Denver, Colorado radio station put it on high rotation. By 1993, it became one of SAW's biggest hits on the Billboard Hot 100. Kimberly and Josselyne talk us through the highs and lows of that process. And thanks to Mario at Cheer Up (@cheeruppopparty), we're also able to share some of an interview with Johnna, who performed lead vocals on "That's What Love Can Do". Great song, great story!
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It had to happen at some point. In May 1991, the Stock Aitken Waterman era ended when Matt Aitken walked away from his role as one third of the songwriting and production trio. In this episode, he explains what prompted his decision and we explore the changing nature of PWL at the time, which was a contributing factor in the split. Mike Stock also weighs in on Matt's departure and reveals whether he blames his musical partner for leaving. In terms of the music, we look at one of the most polarising singles in the SAW catalogue — and one which was among the last things Matt worked on. The latest Neighbours stars to come to the Hit Factory, Gayle and Gillian Blakeney (aka The Twins) were hoping to follow other SAW stars up the chart, but "All Mixed Up" was a commercial disappointment. It also divides fans like almost no other track. We follow the sisters' story from their early appearances on Australian TV to their deal with Mushroom Records and discuss why their SAW experience wasn't so great and why their single provokes such strong reactions. Plus, we take a quick look at the 1991 remix of "Roadblock", which featured in-demand rapper Einstein.
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The fourth in arguably the best singles run in pop music history was also a first for Stock Aitken Waterman, as external mix team DNA took care of the 7" remix of "Shocked" by Kylie Minogue, Neal Slateford from DNA tells us how the unprecedented remix came about following the runaway success of his and production partner Nick Batt's reinvention of Suzanne Vega's "Tom's Diner". A key component of the "Shocked" remix was the rap by Jazzi P, who also joins us to talk about the triumphs and trials she faced as a female hip-hop artist and how her contribution to the Kylie track came about. We also hear from the song's writers and producers Mike Stock and Matt Aitken, engineer Pete Day and PWL mix team Phil Harding & Ian Curnow about their involvement with "Shocked". Returning guests David Thomas and David Hogan talk us through the styling and music video for the single — and we sum up the importance of the Rhythm Of Love era in Kylie's career.
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She was our very first interviewee back in Episode 1 — and we finally reach the conclusion of Hazell Dean's Stock Aitken Waterman journey with her version of "Better Off Without You", which was released in 1991. The Queen of Hi-NRG joins us once again to discuss recording a song previously cut by Lonnie Gordon and her thoughts about the SAW sound struggling in the early '90s. Girl group Delage were also finding it hard to land a hit with original SAW tune "Running Back For More" missing the mark. Karina and Emma from the group return to chat about the track and Delage's metamorphosis into Eden once they left the Hit Factory. Pat Sharp and Mick Brown also pop in to talk about their 1991 charity cover, "Gimme Some", and we hear from Jason Donovan, Mike Stock and Sharon McPhilemy about "R.S.V.P." — the song that gave Jason's sound and image a makeover. We also look at his first foray into musical theatre and the ramifications of that on his working relationship with SAW.
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While "What Do I Have To Do" by Kylie Minogue stands on its own two feet as a song, the impact of the single was increased greatly due to the striking imagery on display on the single cover and in the music video. Celebrity stylist David Thomas takes us right back to the early years of his career and tells the story of how he was hired to style the video. His desire to take Kylie into a much more fashionable direction was something she was right on board with and their collaboration produced some of the most iconic visual images of her career. Video director David Hogan, who also joins us on the podcast, delivered an edgy, stylish, exciting music video that remains a fan favourite — and he recalls how it came together and some of the challenges posed by particular scenes. Responsible for the phrase "SexKylie" being coined, the video for "What Do I Have To Do" was a huge step in Kylie's career that further proved how in control of her image she now was.
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In 1991, it was another bold step forward for Kylie Minogue, and in the decades since, "What Do I Have To Do" has cemented its place among fans' all-time favourites from her extensive back catalogue. But the third single from Rhythm Of Love didn't come together easily, with a lengthy period of time spent mixing the club-influenced track — and remixing it. Songwriters and producers Mike Stock and Matt Aitken, mixers Phil Harding and Ian Curnow, and engineer Peter Day all join us to discuss the evolution of the song and the inspirations and thought processes behind the different versions. Backing vocalists Miriam Stockley and Mae McKenna also return to the podcast to reveal how Kylie threw the rulebook out the window when it came to recording the BVs for "What Do I Have To Do".
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You can have the best single in the world, but there's little chance of it being a hit if no one hears it. That's where pluggers come in — taking songs to radio and convincing programmers to playlist them. In 1987, Ron McCreight and his business partner, Robert Lemon, joined forces with PWL's Pete Waterman and David Howells in a plugging company that became known as Sharp End. In this special episode, Ron talks about how the music industry power players teamed up and the role Sharp End had in not only taking Stock Aitken Waterman's music to radio and TV but also handling publicity and promotion for many of the artists to work at the Hit Factory, including Kylie Minogue, Jason Donovan, Sinitta, Sonia, Hazell Dean, Mandy Smith, The Reynolds Girls, Big Fun, Boy Krazy and more.
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Check out previews of two of our most popular bonus track-by-track episodes. Gavin and Matt discuss Kylie, the debut album by Kylie Minogue, and, with special guest Barry Stone, talk about the first SAW-produced album by Dead Or Alive, Youthquake. As well as giving our thoughts on every song, we count down listeners' favourite tracks. If you enjoy these sneak peeks, you can subscribe to hear the full bonus episodes and all the other extra content at chartbeats.com.au/subscribe.
Meanwhile, existing subscribers can now listen to the bonus track-by-track episode for If I Have To Stand Alone by Lonnie Gordon, which has been added to the bonus content.
Thanks to everyone for listening and supporting the podcast — see you in 2024 for more of A Journey Through Stock Aitken Waterman.Support the show
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What a tumultuous year 1990 had been for the Hit Factory — and the final four singles produced by Stock Aitken Waterman that year certainly highlight that. What should have been Lonnie Gordon's second SAW-produced single, "If I Have To Stand Alone", came out as her third, but despite being in the same vein as top 5 hit "Happenin' All Over Again", it under-performed on the UK chart and the If I Have To Stand Alone album wasn't even released there at the time. Lonnie joins us for one final time to discuss the disappointment she faced as a result and the US dance hits she recorded with Black Box in the following years. New girl group Delage was launched in December 1990 with a remake of disco classic "Rock The Boat" — and Karina and Emma from the group reveal how the project came about. Meanwhile, one final single was belatedly released from Donna Summer's Another Place And Time album. Mike Stock tells us about the lyrical change Donna requested for "Breakaway" and the late singer's husband and manager, Bruce Sudano, talks about the song's success in South America and why Donna ultimately decided not to return to PWL. And we take a look at "Send A Prayer (To Heaven)" by Errol Brown — an often-forgotten Christmas song by the late former singer of Hot Chocolate.
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After the big creative risk that was previous single and video "Better The Devil You Know", Kylie Minogue and Stock Aitken Waterman went for something more playful with follow-up "Step Back In Time". With its fun lyrical nod to '70s disco music and a video dripping in retro style, the song was pure pop joy — and another big hit at a time when the Hit Factory sorely needed one. Mike Stock and Matt Aitken recall pulling the lyrics together for the nostalgic tune, while Phil Harding and Ian Curnow provide insight into the mixing stage, which was a crucial part of the process in delivering a single that satisfied Kylie's desire to be relevant in clubs. Phil and Ian also discuss the track they wrote with Kylie in 1990, "I Am The One For You", as part of PWL's efforts to accommodate her eagerness to develop her songwriting skills. Over in the US, Kylie also wrote with Michael Jay, who returns to the podcast to talk about Rhythm Of Love track "The World Still Turns", while former PWL engineer Peter Day also shares memories of working on the album, in particular the track "Always Find The Time". And on the visual side of things, Nick Egan details how he came to work with Kylie on both the "Step Back In Time" video and the cover for Rhythm Of Love.
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Although she had been signed to PWL in the UK for a while and scored a couple of hits with remakes of "Don't Make Me Over" and "Walk On By", Sybil went into the studio with Stock Aitken Waterman in 1990 to record soulful ballad "Make It Easy On Me". The American singer/songwriter joins us to discuss starting out with US label Next Plateau in 1986, her string of club hits that caught the attention of PWL, those Bacharach & David covers with Tony King's pivotal remix work and what it was like working with SAW themselves. Earlier in the episode, Matt Aitken helps us unpack "Wow Wow Na Na" by Grand Plaz and "Ole Ole Ole" by LA Mood — two SAW-produced dance tracks that were released anonymously. And as we reach Jason Donovan's final single from Between The Lines, "I'm Doin' Fine", we hear from him and his tour backing singer Dannielle Gaha about life — and love! — on the road.
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Email: [email protected] - Visa fler
