Podcasts about Stock Aitken Waterman

Så er det blevet tid til 2025's første MIX-Special, og denne gang er dette vidunderlige musikblad med til at føre os hele 35 år tilbage i tiden. Det er derfor også en utrolig velvalgt person der er på forsiden – en mand der er kendt for at rejse i tiden, nemlig den utroligt populære skuespiller Michael J. Fox, som i februar 1990 er aktuel i både en Vietnamkrigsfilm og hele 2 fortsættelser til en af verdens bedste film, Tilbage Til Fremtiden. Vi skal desuden synge sammen med Gloria Estefan og imponeres over danske OneTwo som gør stort comeback. Vi skal igennem alfabetet med Rockers By Choice og Prince og møde en meget stor Depeche Mode fan, men der bliver selvfølgelig også plads til masser af faste MIX-indslag som bl.a. RåMIX, CementMIX, Dans On The Beat, Blå Bog og MIXbix. Derudover ifører vi os læsebriller og afslører om vi har nogle tatoveringer. Vi kigger på plakater, vi mødes med en farlig Alice Cooper på golfbanen i Mogenstrup, vi tager et kig på det store had til Stock Aitken Waterman og ikke mindst stakkels Kylie Minogue, og så kommer vi da også lige forbi en Totokoncert, en overlevelsesboks, en selvironisk Phil Collins og en ung kvinde fra Mundelstrup som elsker tillægsbilletter. Husk I kan læse med i bladet på vores Facebook: https://www.facebook.com/NogetVedMusikken/ Playliste: Alan Silvestri - Main title/End credits Gloria Estefan - Get on your feet Rockers By Choice - Nej til narkotika Martika - Toy soldiers Prince - Alphabet St. OneTwo - Den bedste tid Depeche Mode - Enjoy the silence Phil Collins - Hang in long enough Milli Vanilli - Girl I'm gonna miss you

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

Mike Stock is a British Hit Machine. He's a songwriter and producer with over 100 Top 40 UK hits including 16 #1s. Artists include Rick Astley, Kylie Minogue, Bananarama and Donna Summer. He's recognized as one of the most successful songwriters of all time by Guinness World Records. As part of the team Stock Aitken Waterman in the ‘80s and ‘90s he holds the UK record of 11 #1s with different acts selling 200 million records.In honor of Mike's many successes my featured song in this episode is Mike's first #1 record from 1985, “You Spin Me Round (Like A Record), by Dead or Alive. ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------Connect with Mike at:www.mikestockmusic.com—---------------------------------------ROBERT'S SINGLES:“THE RICH ONES ALL STARS” is Robert's latest single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.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

Presented with the evidence, we change our minds about BandAid40 - that's the power of Christmas...and George Michael appearing on screen with Robbie Williams. We hate all versions of Last Christmas except the original, but Paulo found one that made his palms sweaty. Dori finds 80s Steve Buscemi sexy, Paulo wishes gymnasts wore undies and after watching Sigourney Weaver in Ghostbusters Noël did his best impression of an exploding Stay Puft man...white, sticky stuff etc etc. Plus, we link Grace Jones to the most unlikely place on earth. Dolph Lundgren's nipples quiver with delight. #80s music, #Band Aid, #charity single, #nostalgia, #Phil Collins, #Whitney Houston, #Madonna, #Michael Jackson, #80s culture, #famine relief, #Ethiopia, #Band Aid 40, #Stock Aitken Waterman, #Kylie Minogue, #Cliff Richard, #Jimmy Somerville, #Bono, #lyrics, #generational gap, #charity initiatives, #Robbie Williams, #George Michael, #80s cinema, #Parting Glances, #AIDS crisis, #gay community, #Reagan era, #Steve Buscemi, #Bronski Beat, #Gymkata, #80s action films, #Farrah Fawcett, #Kirk Douglas, #Lady Terminator, #Saturn 3, #Grace Jones, #pop culture, #trivia, #Raiders of the Lost Ark, #The Princess Bride, #Bill and Ted's Excellent Adventure, #Coming to America, #Dirty Dancing, #Stand By Me, #Top Gun, #Fast Times at Ridgemont High, #The Goonies, #Ghostbusters, #Back to the Future, #Ferris Bueller's Day Off, #Beverly Hills Cop, #Big, #When Harry Met Sally, #Die Hard, #Trading Places, #cultural significance, #impact on music, #legacy, #historical context, #charity efforts, #remakes, #music appreciation, #iconic films, #80s nostalgia, #pop culture references.

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

Hello everyone! Welcome back to Hits 21! It's time for a new season: Hits 21 - The 90s. At the roundtable from now on it's Rob, Andy, and Ed, with Lizzy stepping aside for the next while. This week we've got almost uninterrupted Stock Aitken Waterman, Rob's demanding justice for De La Soul, and we find out which of us existed when these songs were released. Twitter: @Hits21UK Email: hits21podcast@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

Oft erkennt man schon am Sound eines Songs, aus welchem Jahrzehnt er stammt. Nie gelingt das so deutlich wie bei den Produktionen des Trios Stock-Aitken-Waterman, die in den 80ern für eine rekordverdächtige Flut an Hits sorgten: Kylie Minogue, Rick Astley, Jason Donovan oder Bananarama sind Beispiele. Die Soundschrauber beweisen: Hinter diesen scheinbar simplen Songs steckt sehr viel Cleverness! Hosted on Acast. See acast.com/privacy for more information.

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

On today's show, Legendary record producer Mike Stock gives his take on the weekend's controversial Eurovision Song Contest GUEST 1 OVERVIEW: Mike Stock rose to fame as part of Stock Aitken Waterman in the 1980s, known for their prolific songwriting and producing, winning numerous awards. He earned nine Ivor Novello awards, including three for Songwriter of the Year. Starting at age seven, Stock's passion for music led to his first song, and by nineteen, he signed his first publishing deal. Collaborating with artists like Sir Paul McCartney and Kylie Minogue, Stock's work resulted in over 100 UK hits during the 1980s and 90s. GUEST 2 OVERVIEW: Lucy Marsh is a spokesperson for The Family Education Trust which is a national education trust that researches the consequences of family breakdown. GUEST 3 OVERVIEW: Ingrid Tarrant is a broadcaster and commentator.

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

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio theatre reviews. This week we have all those Stock Aitken Waterman hit factory songs from the 80s and 90s as Vidar was reviewing ‘I Should Be So Lucky' a brand new musical that is all about love, laughter and last-minute getaways at the Alexandra Theatre in Birmingham with description by Professional Audio Describer Anne Hornsby.  About I Should Be So Lucky: The Wedding's Off, but the Honeymoon is On! All the hit factory songs you know and love – finally on stage in an all-new, feel-good musical! Head from the aisle to the isles in the official Stock Aitken Waterman musical featuring the soundtrack of a generation with music from pop royalty including Kylie Minogue (I Should Be So Lucky), Rick Astley (Never Gonna Give You Up), Jason Donovan (Especially for You), Bananarama (Love In The First Degree) and more, all intertwined in an original story of love, laughter and last-minute getaways! Dive deep into a heartwarming and rib-tickling tale of Ella and Nathan – a star-crossed couple with wedding jitters and tropical dreams. Will their love sail smoothly, or are stormy break-ups ahead? Only time and tunes will tell. For more about ‘I Should Be So Lucky' along with details about venues, dates and times of performances do visit the shows website - https://soluckymusical.com (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

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

Cette quinzaine on t'emmène dans les années 80 pour découvrir le trio qui a FAIT le son de la 2e moitié de la décennie. Si leur nom ne te dit rien, tu connais assurément des dizaines de morceaux produits par ces 3 anglais à la production boulimique. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

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

Legfrissebb adásunk során Uj Péter, Sallai László és Bihari Balázs ült a Wanted konyhaasztala köré, hogy a március 8-án megjelent új, Invincible Shield című Judas Priest-album kapcsán áttekintse a brit heavy metal zenekar munkásságát a hatvanas évek végétől, az ötven évvel ezelőtt megjelent debütáló albumon át a nagy világkörüli turnékig, Halford távozásáig, majd visszatéréséig, egészen a jelenig. Beszélünk Birminghamről, a Black Sabbath-ról, a Beatlesről, az AC/DC-ről, Závodi János apukájáról és a bőrruhákról, lengyel motorosokról, a vietnámi boltosok és a zsilettpengék kapcsolatáról, olajválságról, a Stock-Aitken-Waterman-rejtélyről, Paul McCartney öregkori énekhangjáról és nemcsak a műsor elején, hanem a végén is konklúziót vonunk az új albumról. Műsorvezető: Bihari Balázs A Wanted podcast adása az NKA Hangfoglaló program támogatásával készült.

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

 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

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

Get ready for a theatrical journey packed with drama, laughter, and musical magic! First up, renowned director Sam Mendes takes the helm in a fierce and funny new play by Jack Thorne. In The Motive and the Cue, witness Johnny Flynn as Richard Burton, Mark Gatiss as John Gielgud, and Tuppence Middleton as Elizabeth Taylor. As the year is 1964, and Burton is set to play Hamlet in an experimental Broadway production under Gielgud's direction, the collision of two ages of theatre brings forth a riveting exploration of the politics of a rehearsal room and the intricate relationship between art and celebrity. After a sold-out run at the National Theatre, this celebrated production is transferring to the West End for 15 weeks only.Next, dive into the surreal world of Franz Kafka's Metamorphosis in a thrilling new adaptation by Frantic Assembly and Lemn Sissay OBE. The story follows Gregor Samsa, who wakes up one morning to find himself transformed into something dangerous and untouchable. Combining Lemn Sissay's lyrical adaptation with Frantic Assembly's uncompromising physicality, this promises to be a visceral and vital depiction of humans struggling within a crushing system.Brace yourself for a journey down the aisle and into the isles with the official Stock Aitken Waterman musical - I Should Be So Lucky. Featuring the soundtrack of a generation, this musical takes you on a rollercoaster ride of love, laughter, and last-minute getaways. With hits from pop royalty including Kylie Minogue, Rick Astley, Jason Donovan, Bananarama, and more, this British musical, directed and written by Debbie Isitt, is a celebration of the infectious tunes produced by Stock Aitken Waterman.

Dans les années 80, beaucoup de tubes ont été fabriqués par un trio, les producteurs anglais Stock Aitken Waterman. Quand on vous dit leur nom comme ça, ça ne nous vous dit sûrement rien, mais quand vous les entendrez !

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

En MetalProgPop Cast nos juntamos 4 amigos para hablar y discutir sobre música. Guido Vilariño (el Rey Tut) es el fanático del Metal, Angel Appiani es el fanático del Rock Progresivo, Gonzalo Ares (El Colo, El Colorado, ex-Bombi) es el fanático del Pop, y Santi Grillo es el fanático del podcast. Nosotros la pasamos muy bien, y esperamos que Uds también. En el día de hoy analizamos.... Hold Me in Your Arms es el segundo álbum de estudio del cantante inglés Rick Astley, lanzado el 26 de noviembre de 1988 por RCA Records. Es la continuación de su exitoso álbum debut Whenever You Need Somebody, y fue su último álbum producido y escrito con el equipo de Stock Aitken Waterman. Continuó el éxito de Astley, con los tres sencillos del álbum en el Reino Unido convirtiéndose en los diez primeros éxitos. Si bien no alcanzó el mismo nivel de ventas que su álbum debut, se vendió bien en todo el mundo, logrando certificaciones Platino y Oro en todo el mundo.

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

Find Leigh @chewingthecud I Should Be So Lucky is a British jukebox musical written by Debbie Isitt, which uses the music of the pop writing team Stock Aitken Waterman.

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

Rick Astley is a singer and songwriter from England, whose debut single, "Never Gonna Give You Up," became an international smash hit. The song came out in July 1987 and won the BRIT Award for “British Single of the Year.” It hit number one in 25 countries, and Rick Astley was nominated for a Grammy for Best New Artist. And then, 20 years after the song came out, it became a new kind of phenomenon, when the meme Rickrolling was born. Last year, the music video for "Never Gonna Give You Up" passed a billion streams on YouTube. The song was written and produced by the production team Stock Aitken Waterman, who became hitmakers for artists like Kylie Minogue, Dead or Alive, and others. For this episode, I spoke to Rick Astley, and songwriter and producer Mike Stock, and the two of them tell the story of how "Never Gonna Give You Up" was made. For more, visit songexploder.net/rick-astley.