The song “I’d Rather Jack” was released in 1989 by The Reynolds Girls.
While it may not be a highly acclaimed achievement, the song “I’d Rather Jack” is a deliberate and provocative attempt to offend as many individuals as possible in a short span of three minutes. It boldly disregards not only Fleetwood Mac, but also the Rolling Stones, Pink Floyd, heavy metal, and any other “old” music. It is unrivaled in its ability to stir up reactions.
Nineteen. Sybil’s hit song “When I’m Good and Ready” released in 1993.
This is not exclusively a Stock Aitken and Waterman (SAW) creation – Matt Aitken had already left the group – but let’s not get caught up in details when there is such enjoyable music to be heard. This song combines elements of pop house and bubblegum soul, giving the classic SAW style a modern and polished update: less overtly synthetic, with a touch of luxury.
In 1987, Stock Aitken and Waterman released a song called “Roadblock”.
Roadblock was created as a response to those who claimed that all SAW productions were becoming too similar. The song had a mid-tempo beat with elements of funk, and was overall quite impressive. The idea that the first 12-inch version was an obscure 70s track seems unlikely, as it clearly has a late 80s sound.
The 1986 song “Love Is War” by Brilliant is outstanding.
The album Kiss the Lips of Life by Brilliant received positive reviews but was a commercial failure. Love Is War, which had a more refined production style influenced by US soul music instead of the style that made SAW famous, is still highly regarded. However, it did not bring in much success for pragmatic Pete Waterman. He later commented, “Forget critical acclaim, you can’t pay your rent with that.”
16. Morgan McVey – Looking Good Diving with the Wild Bunch (1987)
One of the weirder moments in SAW’s catalogue: on the B-side of Morgan McVey’s solitary flop single was a version featuring a rap by band member Cameron McVey’s future wife Neneh Cherry. A year later, Cherry polished it up and re-recorded it as Buffalo Stance, thus affording SAW a hand in one of the coolest singles of the 80s.
Mandy Smith’s 1987 track “I Just Can’t Wait” has a cool and breezy jazz version.
The SAW track that unexpectedly became incredibly hip. Lurking on the second release of Smith’s unsuccessful debut single was this remix that found favour as a Balearic anthem. It expunges almost all of Smith’s vocal in favour of an acoustic guitar solo, and sounds suitably sun-drenched and blissful.
The song “Happenin’ All Over Again” was released in 1990 by Lonnie Gordon.
Waterman’s DJing in the 70s influenced SAW’s productions, evident in the occasional incorporation of northern soul into their sound. This can especially be heard in “Happenin’ All Over Again,” where the catchy chorus can easily be imagined being played in a traditional dancefloor setting.
Kylie Minogue’s song “Je Ne Sais Pas Pourquoi” was released in 1987.
Kylie’s first set of singles produced by SAW included Je Ne Sais Pas Pourquoi, which was a standout and showed that the trio recognized the unique quality of their work. They began to move away from their loud and generic approach, offering a series of catchy tunes that were more understated compared to their usual style in the late 1980s.
In 1984, the song “Who’s Leaving Who” was released by Hazell Dean.
Hazell Dean was the artist who helped SAW make a name for themselves, with a series of popular songs that combined the high-energy sound of gay clubs in the mid-80s with a strong pop sensibility. “Who’s Leaving Who” stands out as the top song, featuring a melody that not only shows influence from Abba but reaches their level of quality: the bridge and chorus are truly fantastic.
In 1987, Bananarama released the song “I Heard a Rumour.”
A Frankenstein’s monster of a song made of repurposed samples – including a synth part from an old Samantha Fox track and a substantial chunk of a 1986 Italian hit by Michael Fortunati (“I’m pretty sure Waterman had to do a deal,” noted mix engineer Phil Hammond) – but the end result works: it pays to recycle.
The song “You Think You’re a Man” by Divine was released in 1984.
From its Waterman-voiced Two Tribes parody intro to Divine’s fabulously tone-deaf vocal snarl to its high camp lyric – “Then walk away! From the greatest lover you have ever known!” – You Think You’re a Man is completely preposterous and entirely irresistible: there’s something almost punk about how little it seems to care.
Number One – Say I’m Your Princess (1985)
The bank managers may have a different opinion, but it’s unfortunate that SAW remained steadfast in following one musical style. It was evident that they were capable of creating more than just formulaic music, as shown in Say I’m Your Number One – a blend of mid-tempo electro pop and soul, heavily influenced by the Brooklyn Bronx & Queens Band.
Donna Summer’s song “This Time I Know It’s for Real” was released in 1989.
SAW portrayed themselves as rebels, unaffected by the influence of music history. However, it was evident that they welcomed the queen of disco with open arms when she visited their Hit Factory studio. “This Time I Know It’s for Real” is a sparkling dance-pop track with a powerful and uplifting chorus.
7. In 1990, Kylie Minogue released “What Do I Have to Do?”
Several SAW musicians who wanted to try new things were let go, but they were reluctant to lose their valuable asset Kylie Minogue. Despite this challenge, the trio rose to the occasion and created improved songs with a more fashionable production style, featuring house music and powerful choruses. Their hit single “What Do I Have to Do?” shines with energy.
6. Mel & Kim – Respectable (1987)
The main focus of “Respectable” is its catchy hook, which includes sampled vocals and a jarring, off-kilter chord progression. Surprisingly, the record label believed it was too gimmicky and insisted on its removal, fueling SAW’s rebellious mindset expressed in the song’s lyrics: “Love us, hate us, we’ll always stay true to ourselves.”
5. Bananarama – Love in the First Degree (1987)
It seemed that SAW was unfamiliar with artists expressing their thoughts or helping with the writing of songs, but regardless, “Love in the First Degree” was exceptional. Despite its difficult beginnings, the song received the seal of approval from Motown executive Berry Gordy.
4. Kylie Minogue – Better the Devil You Know (1990)
Kylie’s transformation was marked by her song, which showcased a more refined and mature sound, deviating from her previous bubblegum pop style. The disco influence in the track was a departure from SAW’s reputation for cheap and mass-produced music. The 12-inch version features stunning string arrangements, while the lyrics contrast with the upbeat and celebratory melody.
The song “Showing Out (Get Fresh at the Weekend)” was released in 1986 by the musical duo Mel & Kim.
Experimental is not an adjective that is often used when it comes to SAW’s work, but 37 years on, Showing Out sounds appealingly odd. A pop-facing response to early house music, minimal and slightly disjointed, it’s more a series of hooks strung together than a song, but it really works.
2. Rick Astley – Never Gonna Give You Up (1987)
They lacked any sort of quality control, but at their peak, SAW proved to be much more skilled at songwriting than their critics acknowledged. The enduring success of “Never Gonna Give You Up” can be attributed to both Rick Astley’s humble and charming persona, as well as the expertly crafted composition of the song.
The 1984 song “You Spin Me Round (Like a Record)” by Dead or Alive.
SAW launched their music career in the shadow of Trevor Horn’s grand productions for Frankie Goes to Hollywood. Their first single, The Upstroke by Agents Aren’t Aeroplanes, was a weak imitation of Horn’s hit song Relax. They also made a parody of Two Tribes on Divine’s You Think You’re a Man. However, with their track You Spin Me Round, they finally reached the same level as Horn’s work. This single is less melodically sweet compared to their previous hi-NRG influenced songs, but it is still incredibly thrilling. From the very beginning, the rhythm is unrelenting and Pete Burns’ commanding vocals add to the excitement. The chorus will stay stuck in your head after just one listen. It’s a pop song that perfectly captures the wild energy and frenzy of a late-night dance floor.
Source: theguardian.com
