A Journey Through Stock Aitken Waterman

To mark reaching the end of the journey through every single produced by Mike Stock, Matt Aitken and Pete Waterman from 1984-1993, Gavin and Matt celebrate the music of the Hit Factory by counting down our listeners' favourite 20 singles from the list of 200 we have discussed on the podcast. What will be number 1? (Subscribers, numbers 50-21 are counted down in the bonus material at chartbeats.com.au/saw-bonus)Support the showSubscribe for bonus material at chartbeats.com.au/sawInstagram: @chartbeatsauThreads: @chartbeatsau, @matthew_denby360Bluesky: @chartbeatsau, @matthewdenby.bsky.socialFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Shortly after Mike Stock left PWL in 1993, he purchased a building to house a brand-new studio complex and record label, Love This, and reunited with Matt Aitken to resume their songwriting and production work together. Although, over the next few years, the duo would release many more cover versions than original songs, having success with the likes of Nicki French, Jocelyn Brown & Kym Mazelle, John Alford, Newton (in Australia) and Robson & Jerome. Mike Stock joins us for one final time to recap the highlights from the Love This era and give his rationale for the emphasis on remakes, He also discusses working with Simon Cowell on quite a few projects, including the theme to kids' TV show Mighty Morphin' Power Rangers and how the problems plaguing Love This, such as a dispute with the London Underground over rail work that compromised his studios and issues surrounding the release of "Santa Maria" by Tatjana, resulted in the label being shut in 1997. Mike goes on to talk about some of the work he's done since, such as tracks by pop acts Scooch and Girls@Play, and what he would like his overall musical legacy to be. Matt Aitken, Miriam Stockley and Julian Gingell also feature to share their memories of this era. Support the showSubscribe for bonus material at chartbeats.com.au/sawInstagram: @chartbeatsauThreads: @chartbeatsau, @matthew_denby360Bluesky: @chartbeatsau, @matthewdenby.bsky.socialFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Although both Matt Aitken and Mike Stock had left the building, PWL Records continued to release music — and in this epilogue episode, we look at some of the artists who succeeded and some that didn't hit the mark in the few years after the demise of Stock Aitken Waterman. Former PWL MD David Howells joins us to discuss the challenges of starting afresh with new talent to replace Mike and Matt, and talks about what prompted his own departure from the business he had helped steer since the mid-'80s. With a strong focus on dance music at PWL in the '90s, one of the more consistent acts — in terms of quality and chart success — was Loveland. Paul Taylor returns to explain how the group behind hits like "Let The Music (Lift You Up)" and "I Need Somebody" came about, and how PWL's Manchester business received much of Pete Waterman's attention at this point. Paul also discusses his own unceremonious exit from the group. Meanwhile. Slamm remained signed to PWL and were put to work with Gary Miller on increasingly poppy music, with singer Johnny Wilks recapping that era of the band's journey for us. Then, we finish by looking at how Pete's initial run with PWL ended in 1996 and who the songwriters and producers were that would provide him with a second wave of success in the following years with acts like Steps, Tina Cousins and Westlife.Support the showSubscribe for bonus material at chartbeats.com.au/sawInstagram: @chartbeatsauThreads: @chartbeatsau, @matthew_denby360Bluesky: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Every journey has an ending, and in this episode, we reach the final three singles produced by Mike Stock and Pete Waterman in 1993 — and discuss the events surrounding the termination of the partnership as Mike left PWL. Former Miss America Suzette Charles joins us to talk about her singing/acting/pageant career and how she turned up at PWL demanding an audience with Pete. Her eventual collaboration with Mike yielded underrated gem "Free To Love Again" and five other fan favourite tracks that went unreleased at the time. She also fills us in on her studio reunion with Mike in the past few months and what we can expect from their recent work together. Sybil returns to discuss her final Stock and Waterman single, "Stronger Together", and reflect on her pop career. Plus, Johnny Wilks from Slamm talks about releasing a remake of "Virginia Plain" — the final SW production in the '90s. Then, we hear from Mike about his decision to leave PWL and what brought him and Pete, and then all of SAW back together again in the 2000s and beyond.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

The top 40 resurgence was over, with the next few Stock and Waterman singles released in 1993 struggling on the UK chart. But it wasn't for want of trying. Tapping into the same piano house sound that had yielded hits for Sybil (with and without West End), "Looks Like I'm In Love Again" by Key West featuring Erik had come to PWL via Eddie Gordon's Sanctuary imprint. The man behind Key West (and the writer of the song), music industry legend Richard Hewson joins us to discuss his decades-long career, working as an arranger for some of the biggest names in music and as an artist in his own right as The RAH Band. He reveals the story behind "Looks Like I'm In Love Again" and how Erik ended up taking over from the original vocalist. Eddie also shares his memories of that project and reveals how girl group Eternal almost signed to PWL. Meanwhile, Sybil returns to discuss her next single, a remake of "Beyond Your Wildest Dreams", and how she navigated her career in both the UK and the US. For something completely different, PWL snapped up five-piece band Slamm — and their vocalist, Johnny Wilks, talks us through that unexpected decision and recalls the making of their first single for the label, "Energize". Plus, there's the final Pat & Mick release and one last WWF Superstars single.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

The commercial resurgence at PWL continued in 1993, with all four of the singles covered in this episode becoming UK hits. Still on her hot streak following the success of "The Love I Lost" with West End, Sybil returned to the top 5 with original tune "When I'm Good And Ready", which was credited to her alone. Sybil tells us what she thought of the song, which was poppier than her usual efforts, and Mike Stock shares his thoughts about the single coming together and its various mixes and remixes. After the disappointment of "Last Thing On My Mind", Bananarama were back in the top 30 with their remake of "More, More, More". Mike also discusses that track and the Please Yourself album. Meanwhile, another track was made with the World Wrestling Federation Superstars, with "Wrestlemania" reaching the top 20, and Coronation Street star Bill Tarmey visited the Hit Factory for a successful charity remake of "One Voice". Pete Day recalls working on both those singles, which came to PWL courtesy of Simon Cowell. Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Things were looking up at the Hit Factory in early 1993. Mike Stock and Pete Waterman found themselves in the UK top 5 with back-to-back singles — something that hadn't happened in three years. And the latest of those big hits came from a remake of "The Love I Lost" released by West End featuring Sybil. The story behind the single is an intriguing one, with various mixes and multiple people having input on the track along the way. Significant among those people was Eddie Gordon, who'd spent the previous few years working on major hits for record companies like MCA, Motown and Atlantic. With his background in soul, funk and R&B, he was employed by PWL both to find songs and artists for new imprint Sanctuary Records and to develop his idea to cover "The Love I Lost" as West End (a name he'd used as a pseudonym for various projects). Eddie joins us to talk about the selection of Sybil as vocalist for the single and how he, Tony King and Asha Elfenbein (as AKA) remixed the original production, with their mixes becoming hot property in clubs before the track was reworked yet again for commercial release. He also provides insight into the business of PWL in the early '90s with new sub-labels and imprints. Plus, Sybil returns to the podcast to share her memories of "The Love I Lost" coming together, the elements of the track she insisted be changed and its success.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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 episodeTo hear the full Greatest Hits by Kylie Minogue bonus episode and all the other extra content, you can subscribe at chartbeats.com.au/subscribeSupport the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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. Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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". Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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".Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Support the Show.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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!Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Support the showSubscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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. Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

 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". Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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. Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

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.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Although they'd achieved some hits with ballads that they had produced, Stock Aitken Waterman were better known for their uptempo pop/dance tracks, but in mid-1990, four ballads in a row emerged from the Hit Factory. Three of those were the latest releases in the jukebox era series of remakes, with Big Fun ("Hey There Lonely Girl"), Sonia ("End Of The World") and Jason Donovan ("Rhythm Of The Rain") all reinterpreting golden oldies. In the cases of those first two artists, it would be their final singles with SAW — and we discuss what became of both Big Fun and Sonia after they parted ways with PWL. Also this episode, Lonnie Gordon's long-awaited follow-up to "Happenin' All Over Again" finally hit stores, but it was a complete change in style from the song that had taken her into the UK top 5. Mike Stock, Julian Gingell and Lonnie herself talk about the situation involving soulful ballad "Beyond Your Wildest Dreams" being chosen over clubbier tracks "How Could He Do This To Me" and "If I Have To Stand Alone".Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

When they came to work with Stock Aitken Waterman, pop act Yell! had one top 10 hit under their belt already — a remake of Dan Hartman's "Instant Replay". Signed to Simon Cowell's Fanfare label, the duo comprised of Daniel James and Paul Varney recorded their follow-up, "One Thing Leads To Another", with SAW, but it was not the success anyone hoped it would be, despite being a fresh new sound from the Hit Factory and the guys both being talented singers. Paul joins us to discuss his start in the entertainment industry and Yell!'s short-lived career, while we explore the external factors that impacted their success, including record company wrangling and negative press that took a particularly cruel tone. As it would turn out, not even Jason Donovan was able to live up to his previous successes in mid-1990 as his latest single, "Another Night", became his first to miss the top 10. Jason talks about the reaction to that chart shock and why going out on the road later in the year would prove essential to his longevity. Mike Stock, Matt Aitken, Peter Day and David Howells also share their thoughts on the Between The Lines era of Jason's career. Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

They'd been on the verge of breaking through for a couple of years, and sisters Romi & Jazz had their hopes up when their record label paired them with Stock Aitken Waterman for their latest single in 1990. The siblings join us to share their musical journey — from their first steps into the industry with a bhangra meets hi-NRG remake of The Four Tops' "Reach Out", which was co-produced by former SAW associate Pete Ware, to their two initial singles with Chrysalis Records, "People In The House" and "Love Crime". Romi and Jazz talk about their aim of breaking down barriers with their fusion sound and rewriting the rule book for Asian women, despite some resistance from men in their culture to them even being onstage in the first place. Their collaboration with SAW, "One Love One World", was a club-influenced, socially conscious track born out of Romi and Jazz talking to Mike Stock and Matt Aitken about the struggles they'd faced as young Indian women. Another song with a more serious theme than you'd expect from the Hit Factory was "You've Got A Friend", a collaboration between Sonia and Big Fun (featuring Gary Barnacle on saxophone) for UK charity Childline. With help from Matt Aitken, we discuss the record and why the original track was chosen over a cover of the Carole King song of the same name, which the pop stars also recorded.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

As great a song as it is, "Better The Devil You Know" would not have been anywhere near as impactful as it was without its accompanying music video. A landmark in Kylie Minogue's career, the video transformed her image from that of girl-next-door to "sex kitten", according to director Paul Goldman, who joins us to detail the before, during and aftermath of the shoot, including his run-ins with PWL over the direction it took. Stylist Nicole Bonython-Hines recalls piecing together the various looks for the video and manager Terry Blamey gives his thoughts on why the video was so important for Kylie. We also hear from Sharon McPhilemy and David Howells from PWL about the reaction from Kylie's UK label to the new-look star. Then, Kylie's long-time musical director, Steve Anderson, talks us through their enduring relationship with the song and how it has been reinterpreted on tour over the decades.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

After two very successful albums at PWL, but little in the way of artistic control, Kylie Minogue was ready for a change. And in this first part of a two-part special looking at landmark release "Better The Devil You Know", we hear from those closest to her about the strategy taken to compel Stock Aitken Waterman to agree to a more collaborative approach. From directly influencing the style of tracks — edgier, clubbier — to veto power on the final mixes, Kylie gained input to an extent way beyond any other Hit Factory artist. In turn, SAW delivered what is widely regarded as one of their all-time best tracks. The lead single from eventual third studio album Rhythm Of Love, "Better The Devil You Know" was SAW tapping back into their club roots, but in a way that was still pure pop. And while the song has gone down as a landmark release in Kylie's career, not everyone was thrilled with the way the working relationship or the musical output was developing. In Part 2 (coming soon), we'll focus on the game-changing music video. Interviews in Part 1: Mike Stock, Matt Aitken, Yoyo, Pete Hammond, Julian Gingell, Miriam Stockley, Karen Hewitt and one more very special guest connected to Kylie, who features on the podcast for the first time.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

His journey with Stock Aitken Waterman was one of the most successful, with multiple UK number 1 hits and the highest-selling album in Britain in 1989. And now, Jason Donovan joins the podcast to talk about his time at the Hit Factory. From his first steps into the music industry with Mushroom Records in Australia to his early sessions with Pete Hammond and then Mike Stock and Matt Aitken to that blistering run of singles in 1988 and 1989, Jason speaks honestly about what the experience was like for him and the artistic restrictions and business decisions at play during his debut album era. Then, we move into 1990 and his first single for the new decade, "Hang On To Your Love", and the Between The Lines album, with Jason talking about the musical direction taken, how he felt more comfortable vocally and the changes that were going on around him on the charts.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Her time at PWL might not have yielded any hits, but the short-lived pop career of Japanese singer Kakko is the stuff of legend. We take a deep dive into the story behind her debut single, "We Should Be Dancing”, hearing from PWL's David Howells and Nicki L'Amy Brée about how the aspiring performer learnt the ropes at the label before being sent into the studio with both Mike Stock and Matt Aitken, and Phil Harding and Ian Curnow, all of whom also recall the project. After an aborted first attempt with a song called "Stop The Clock”, Stock and Aitken settled on “We Should Be Dancing”, which is one of the most polarising SAW singles of all time. While Kakko didn't trouble the UK chart, the latest releases from Big Fun, Sonia and Pat & Mick kept the Hit Factory in the top 40, although not always at positions the artists had become accustomed to. As musical trends changed dramatically in 1990, we hear from engineer Peter Day about SAW's latest trick to keep their tracks club-friendly: the ubiquitous “woo! yeah!” sample, which featured on both Big Fun's “Handful Of Promises” and “Counting Every Minute” by Sonia. Pat Sharp and Mick Brown also join us again to reflect on the unexpected achievements of their remake of “Use It Up And Wear It Out”.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

New year. New artist. New hit. Stock Aitken Waterman's hit streak continued in 1990 with the breakthrough single for American club artist Lonnie Gordon, who had relocated to the UK in the 1980s and made a name for herself with a series of personality-filled anthems like "No Regrets", "Love Eviction", "(I've Got Your) Pleasure Control" and "It's Not Over". We hear from Lonnie about those early records — and their spoken sections — and how she targeted SAW as the producers she wanted to take her to the next level. After signing a deal with Supreme Records, home of Mel & Kim and Princess, Lonnie found herself working with PWL soon enough, with the Black Box-inspired "Happenin' All Over Again" the vehicle to take her to a more mainstream audience. Lonnie recalls the experience of working with Mike Stock and Matt Aitken on the UK top 5 track, while Mike, PWL's Julian Gingell and Supreme Records' Nick East all give their memories of the redoubtable singer.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Any fears that the public had tired of Stock Aitken Waterman were dismissed as 1990 got underway and the latest single by Kylie Minogue became the next UK chart-topper for the trio. Taken from the soundtrack to her feature film debut in The Delinquents, Kylie's remake of 1950s classic "Tears On My Pillow" got the new decade off to a great start in terms of UK chart success, although the single was not as embraced in Australia, where it became her lowest-charting hit to date. As well as looking at the cover version, we talk about the film it was released to support and the controversy at the time about the more grown-up content in The Delinquents. We also hear from Kylie's Australian-based stylist Nicole Bonython-Hines about the star's iconic look for the film's Sydney premiere. Then, we welcome Mike Stock back to the podcast for a special chat about B-sides in general and, specifically, "We Know The Meaning Of Love", the track which appeared on the flip side of "Tears On My Pillow" and just may have been considered as a duet at one point.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

The name Yoyo is well known to Stock Aitken Waterman fans, appearing on the back covers of dozens of hit singles and albums. The long-time PWL engineer was an integral part of the team from May 1986 when he earned a job as an assistant at the new studios at the Vineyard, London. Yoyo (real name: Boyowa Olugbo) quickly established himself as a studio talent thanks to his remix work alongside fellow assistant Jamie Bromfield as the Extra Beat Boys and he was promoted to assist first Phil Harding and then engineer for Mike Stock and Matt Aitken. In this exclusive interview, Yoyo recalls early remixes he and Jamie did for artists like Mandy Smith and Dollar, and then talks about working with SAW and artists like Mel & Kim, Kylie Minogue, Rick Astley, Bananarama, Donna Summer, Dead Or Alive, Sonia, The Reynolds Girls, Big Fun and more. He also reveals why he ultimately decided to move on from PWL as the '90s began.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

And so our journey reaches the end of the '80s and the conclusion of Stock Aitken Waterman's most commercially successful year. The final three singles released in 1989 were all top 10 hits, including "Listen To Your Heart" by Sonia, which saw a return to the poppy fare of her debut and caught the attention of comedy duo French & Saunders, who sent up the red-headed teenager in savage style shortly after. The single also featured fan favourite B-side "Better Than Ever", which was previously recorded by Lisa Fabien. We hear the story of Lisa's dreams of success with SAW and what happened to her version. Meanwhile, Jason Donovan capped off a massive year with brand new track "When You Come Back To Me", which was hotly tipped to take out the coveted UK Christmas number 1 spot and came with a music video featuring the entire PWL team, including stylist Sharon McPhilemy and hair stylist Lino Carbosiero, who recall the shoot. Jason and Sonia, along with a who's who of pop music, were also a part of charity ensemble Band Aid II, who remade "Do They It's Christmas?" five years after the original release. Mike Stock talks about updating such a landmark song.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Kylie Minogue. Big Fun. Donna Summer. The last time we encountered these three artists, things were going swimmingly for each of them. In the case of Kylie, she had just racked up her seventh UK top 2 hit in a row — a run that was broken by "Never Too Late", the third single from Enjoy Yourself. As well as discussing why a tune as good as "Never Too Late" wasn't as well received as Kylie's previous singles, we hear from Mike Stock about the meaning behind the song, while Sharon McPhilemy fills us in on that dress-up music video. We also take a look at how Enjoy Yourself came together, with Kylie beginning to seek more artistic involvement in the process. Meanwhile, Big Fun moved from a remake to an original Stock Aitken Waterman composition, "Can't Shake The Feeling". Matt Aitken talks about the difficulty of nailing down the track and we look at the boy band's competition at the time: some new kids on the pop block. As for Donna Summer, the fourth single from Another Place And Time was met with a muted reception, barely scraping into the UK top 75. Was "When Love Takes Over You" the right choice? Plus, Donna's husband and manager, Bruce Sudano, recalls shooting the video, which was directed by Donna, and why she faced resistance whenever she tried to slow the tempo down.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Teen heartthrobs past and then-present rubbed shoulders as Stock Aitken Waterman wrote and produced the latest hit for music industry veteran Cliff Richard and the final single was lifted from Jason Donovan's debut album, Ten Good Reasons. Matt Aitken reveals what it was like to work with an artist as well-established as Cliff and how the song they collaborated on, "I Just Don't Have The Heart", had to pass the milkman test. And while the selection of "Every Day (I Love You More)" for Jason was uncontroversial, the circumstances surrounding the first attempt at a music video for the track brought an end to director Chris Langman's work with PWL. Stylist Sharon McPhilemy, meanwhile, recalls shooting the video that did end up being released. This episode's third SAW-produced single was the follow-up to Sonia's UK chart-topping debut, but why didn't "Can't Forget You" follow "You'll Never Stop Me Loving You" into the upper reaches of the British chart? Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

As we hit the second half of 1989, we take a look at the latest singles from Kylie Minogue and Donna Summer. On "Wouldn't Change A Thing", PWL's pop princess took another step towards a cooler sound and, in the video, a more grown-up image. Stylist Sharon McPhilemy fills us in on how the looks in Kylie's first UK-shot music video came together. We're also joined by Donna's husband and manager, Bruce Sudano, who provides their perspective on the ups and downs of the '80s, what it was like working with Stock Aitken Waterman and why they loved "Love's About To Change My Heart". Meanwhile, boy band Big Fun scored their first hit with a remake of "Blame It On The Boogie". We trace their story through a former incarnation as Seventh Avenue and a pre-PWL single with house producer Marshall Jefferson. Then, we hear about almost-single "I Feel The Earth Move", produced by Phil Harding and Ian Curnow, who describe their reaction to that cover version being shelved. Mike Stock and Matt Aitken also join us to discuss working with Big Fun on "Blame It On The Boogie" and the trio's much-discussed vocals. Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

The UK chart-toppers continued for Stock Aitken Waterman as another two singles reached the top spot in 1989. First, there was Jason Donovan's remake of a much-covered tune. Part of SAW's series of '50s and '60s covers performed by their teen-friendly artists, "Sealed With A Kiss" had the potential to widen Jason's appeal even further, but was the plan to go for the parents and grandparents of the kids buying his records as well? We speak to Mike Stock and David Howells, and hear archive quotes from Jason about the decision. Next, new singer Sonia, Pete Waterman's latest Liverpudlian discovery, shot to the top with debut single "You'll Never Stop Me Loving You". Mike discusses the inspiration for the song, while stylist Sharon McPhilemy recalls what it was like to put Sonia's look together. We also hear from Sequal's Angie Vollaro and Maria Christensen about this episode's third single, fan favourite "Tell Him I Called". Angie and Maria talk about their emergence on Miami's freestyle scene and getting snapped up by a major label, who connected them with SAW. Beyond Sequal, we hear about Maria's time as a solo artist and a songwriter for acts like Celine Dion and Eternal, and the worldwide smash she co-wrote during her time in girl group 3rd Party.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

In this special episode focusing on the PWL look, we hear from former PWL MD David Howells, who was responsible for the label's visuals, stylist Sharon "Shazza" McPhilemy and hairstylist Lino Carbosiero. The three members of the PWL team talk about working with the label's roster of artists and what the approach to image and style was.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

After blitzing the Australian and UK charts with her debut album, it was time for Kylie Minogue to move onto her follow-up, Enjoy Yourself, and thanks to the chart-topping success of its lead single, "Hand On Your Heart", there would be nothing difficult about this second album. Mike Stock returns to the podcast to discuss the inspiration and enthusiasm he had for working with Kylie at this point, and we also hear from Matt Aitken and backing singer Miriam Stockley on that topic. We take an in-depth look at the music video for "Hand On Your Heart" and director Chris Langman joins us to explain the lack of enthusiasm about it. Meanwhile, future production duo Julian Gingell and Barry Stone (aka Jewels & Stone, The Alias), who began working as assistant engineers at PWL around this time, share their Kylie memories. Another UK number 1 came from charity record "Ferry 'Cross The Mersey", which was released in the wake of the Hillsborough football disaster, with Liverpudlian acts Gerry Marsden, Paul McCartney, The Christians and Holly Johnson performing on the single. Mike talks about the process of putting that together. And we wrap up the episode with the second single from Donna Summer's Another Place And Time. Did Donna dislike the song? Which version is better: single or album? We speak to Mike, Phil Harding, Pete Hammond and Mae McKenna to address those questions and more.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

By early 1989, Jason Donovan had a couple of hits under his belt, but his music career went into overdrive with the release of "Too Many Broken Hearts" and the mass hysteria that followed his every move in the UK. Jason has been the first to acknowledge it took him a while to warm up as a singer and we hear from engineer Karen Hewitt and long-term PWL session singers Mae McKenna and Miriam Stockley about the crucial role backing vocals played in rounding out the Stock Aitken Waterman sound. A major part of Jason's teen appeal was his image, which was showcased in the music video for "Too Many Broken Hearts". Director Chris Langman and David Howells answer a few questions about the clip. Who was that girl on the tractor and where did the guitar come from? The second song in this episode is the second charity single by Pat & Mick. Another disco cover, "I Haven't Stopped Dancing Yet" became the duo's biggest hit. We hear from Mick Brown about the follow-up and, for the first time on the podcast, Pat Sharp shares his memories of being a part-time pop star.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

She was the queen of disco; they were an unstoppable pop music force. Together, Donna Summer and Stock Aitken Waterman made some of their best music together. In this look at the first single from the Another Place And Time album, we chart Donna's landmark run of hits in the 1970s and difficult transition into the 1980s thanks to a deal with Geffen Records that saw her taken away from the songwriting and production team of Giorgio Moroder and Pete Bellotte, with whom she'd collaborated on classics like "Love To Love You Baby", "I Feel Love" and "Hot Stuff". Following a commercially underappreciated couple of albums, Donna's union with SAW resulted in her greatest success in years and another trans-Atlantic smash for the Hit Factory with the joyous lead single "This Time I Know It's For Real". We hear from Matt Aitken, Dee Lewis and Pete Hammond about working with Donna on the album, which is regarded by fans as a high point in SAW's career, and David Howells talks about the distinctive front cover image that caused waves in the US. Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

A protest song. A novelty record. A camp classic. The beginning of the end. "I'd Rather Jack" by The Reynolds Girls has been called a lot of things over the years and it remains one of the Stock Aitken Waterman singles that is most fiercely debated by fans. A swing at restrictive radio playlists, the record was fronted by teenage sisters Linda and Aisling Reynolds, who got their deal with PWL Records by approaching Pete Waterman repeatedly after his weekly radio show in their home city of Liverpool. The duo was seen as the perfect act to perform the track, which was the natural successor to SAW's previous swipe at the industry, "Roadblock". Matt Aitken reveals the unexpected inspiration for the song, while David Howells and Lino Carbosiero talk about their memories of turning the sisters into pop stars. As well as reflecting on the importance of "I'd Rather Jack" as a sign of how SAW were laser focussed in their targeting of the teen and pre-teen market in 1989, we also dive deep into the archives to detail the feud that erupted between The Reynolds Girls and Pete Waterman after the song had been a top 10 hit in the UK, and discuss Linda and Aisling's hasty exit from the music industry and our own efforts to track down the elusive sisters.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Thanks to a little help from comedy trio Dawn French, Jennifer Saunders and Kathy Burke (aka Lananeeneenoonoo), Bananarama's hit streak continued as their remake of The Beatles' "Help!" took them back to the UK top 3 in early 1989. Released in support of Comic Relief, the cover version was true to the song's pop roots musically, but came with added input from the satirical girl group sprinkled throughout. Like the French & Saunders sketch from Christmas 1988 that had inspired the collaboration, the jokes were incredibly pointed, with Jacquie O'Sullivan's role in the group turned into a punchline (with her blessing, it would seem). But following the success of "Help!", Bananarama hit a difficult patch, with their ongoing work with Stock Aitken Waterman unable to deliver anything they were happy with and the trio turning to producer Youth for the bulk of their 1991 album, Pop Life. We look at the troubled SAW sessions from 1988 to 1990 and discuss why fan favourite "Ain't No Cure" was a wasted opportunity, with input from Matt Aitken on the matter. Plus. we hear from Youth about Pop Life, which gave Bananarama their last UK top 30 hits as a trio.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Samantha Fox joins us to kick off our look at the singles produced by Stock Aitken Waterman released in 1989, with her remake of "I Only Wanna Be With You" the first track to hit the chart that year. We go right back to the start of Samantha's career and hear from her about becoming famous as a glamour model, being approached by Jive Records to audition to sing "Touch Me (I Want Your Body)" and turning that into a worldwide chart-topper. Samantha discusses how on her self-titled second album, her work with two very different sets of producers — SAW and Full Force — resulted in her having completely separate top 10 hits on either side of the Atlantic. Then, we hear about the songs Sam recorded with SAW along with "I Only Wanna Be With You" for third album I Wanna Have Some Fun — one of which made the album and one which another Hit Factory artist released instead. Samantha also fills us in on the record company wrangling behind fourth album Just One Night that resulted in the SAW tracks recorded being left off and reveals what she has planned in 2023 for her 40th year in showbiz.Subscribe for bonus material at chartbeats.com.au/sawTwitter: @ChartBeatsAU, @MrMattDenbyInstagram: @chartbeatsauFacebook: Chart Beats: A Journey Through PopEmail: chartbeats.au@gmail.com

Before we continue our journey into the singles released in 1989, Matt Aitken joins us for a special episode recapping the era from 1984-88. We go way back to SAW's first single, "The Upstroke", and talk about the record that brought Mike Stock, Matt Aitken and Pete Waterman together, as well as some of the hi-NRG tracks that followed (including previously un-discussed songs by Rik LeVay and The Lewis's). Matt also gives his perspective on working with Divine, Dead Or Alive, Bananarama, Debbie Harry, Laura Branigan, Sabrina, La Toya Jackson and more. He also talks about the never-released tracks completed with Judas Priest and why some songs ended up being recorded by more than one artist. Did SAW make demo recordings? Who was "Turn It Into Love" written for? How did the Hit Factory ensure quality control? Which artist would he have liked to have done more work with? All these questions and more are answered by the A in SAW.

It was the single no one wanted to record. Not Kylie Minogue and Jason Donovan, who thought the idea of doing a duet would confirm the off-screen relationship they had been denying for months. And not Stock Aitken Waterman, who feared releasing a track by two of their biggest stars would seem cheesy and like a crass cash-in. But public demand in the form of 250,000 advance orders for a song that didn't even exist forced SAW's hands and they set to work on putting together "Especially For You". In this episode, Matt Aitken, former PWL MD David Howells, mixmaster Pete Hammond and engineer Karen Hewitt tell us about how the million-selling ballad and its B-side, "All I Wanna Do Is Make You Mine" came about. David and hair stylist Lino Carbosiero also discuss the important image makeover Jason underwent for the release, with his trademark mullet being trimmed into a look more befitting a PWL pop star.