In the run up to Christmas, what better way to get into the festive spirit than to take a look at 7 Yuletide tracks Stock Aitken Waterman came up with between 1987 and 2015? Join Kean Canter Mattowski for 8 blogposts during December as we take a look back at some seasonal gems…
On the first day of SAWmas, the DJ played for me…
When I Fall In Love – Rick Astley
Although Mike, Matt and Pete had been operating as a trio since 1984, it wasn’t until 1987 that they made their first assault on the Christmas market, and, given that 1987 had been their most successful year yet, the ambitious producers set their sights on the Christmas number one.
1987 had seen SAW really start the move from trendy underground producers into mainstream pop hitmakers; big hits from Mel & Kim, Bananarama and Sinitta had made a huge impact, but arguably it was the success of Rick Astley which really proved that SAW had arrived.
Rick’s debut hit Never Gonna Give You Up was an instant classic and this reputation only continues to build with the passage of time, whilst the follow-up – a polished remake of O’Chi Brown’s Whenever You Need Somebody – further entrenched the 21-year-old from Newton-Le-Willows as a rising star.
So all eyes (and a few betting slips) were on Rick Astley when it was announced that he was releasing a cover version of When I Fall In Love as his third single in time for Christmas 1987.
The song itself, composed by Victor Young and Edward Heyman, was first recorded by Jeri Southern in 1952, and whilst many other singers have also recorded it, perhaps the best known and most loved recording is Nat King Cole’s. Whilst this version was recorded at Christmas 1956, it wasn’t issued until April 1957 and is not especially connected with Christmas.
The SAW-produced Rick Astley version was probably the first of the “faithful cover versions” that became a SAW staple; Mike, Matt and Pete would take an old song, give it to one of their artists and wrap it up in a modern take of the original arrangement. Yesterday’s Sound, Tomorrow’s Technology, if you like. Notable examples include Jason Donovan’s Sealed With A Kiss, Kylie Minogue’s Tears On My Pillow and Big Fun’s Hey There Lonely Girl, but Rick’s When I Fall In Love must be the pioneering example.
It’s a lush production, eschewing the then-emerging trademark SAW synth sound for a warm, string-led arrangement, which is actually credited to Gordon Jenkins (who was responsible for the string arrangement of the Nat King Cole Version). The synthesised strings are so effective (especially for 1987) that one could be forgiven for thinking they are real, and one senses the involvement of PWL’s Ian Curnow, who had joined the organisation that year and had been given the task of getting to grips with the Fairlight music computer. (Certainly, Curnow is credited on the Whenever You Need Somebody album sleeve as providing Fairlight programming on the SAW-produced tracks).
Rick performs the song effortlessly; clearly, his mellifluous voice suits the track, and has a similar tone to that of Nat King Cole, which probably inspired the song choice.
Whilst the song itself is not explicitly about Christmas, the warmth of the arrangement and production of Rick’s version (not to mention the opening’s similarities with the arrangement of Nat King Cole’s The Christmas Song) creates a real connection with the Yuletide season. However, it’s the video which reinforces the seasonal feel, with Rick walking through the snow outside a log cabin.
It would be churlish to criticise such a classic song as When I Fall In Love, and certainly SAW created a typically polished version, but equally it is fair to say this is not the most exciting of SAW tracks. (For this listener, the real excitement was on the flipside, which contained a new SAW composition and production My Arms Keep Missing You, and would itself become the A side in the New Year of 1988). One wonders about the real appeal to SAW’s core audience of these “faithful cover versions”, and When I Fall In Love is no exception. But perhaps that’s just me, as it did reach number 2 in the UK Singles Chart.
So, what stopped it from getting to number one? Well, it was another old song which claimed that top spot that Yuletide, but a rather more contemporary take than Rick’s. Pet Shop Boys took the crown with their hi-NRG version of Always On My Mind, an old standard previously recorded by Willie Nelson, Brenda Lee and, most famously, by Elvis Presley. Neil Tennant and Chris Lowe had, like Rick and SAW, enjoyed a successful 1987, and topped it off by turning a tender ballad into an explosive dancefloor extravaganza.
However, no matter how good the Pet Shop Boys track was, there is possibly a second reason why Rick failed to reach the top spot. At the same time as Rick’s version was climbing the charts, Nat King Cole’s version was re-released… by EMI Records. Which just happened to be the record company who owned Parlophone, the label who Pet Shop Boys were signed to. There are suggestions that this was a deliberate act to take away sales from Rick Astley, and therefore increase Pet Shop Boys’ chances on reaching number one. How true this alleged intention was is unknown, but as the Nat King Cole re-release hit number 4, there must have been some impact on Rick’s sales.
So, SAW’s first attempt at Christmas number one was ultimately unsuccessful, but number 2 ain’t such a bad result at all. As it was, SAW would make their second attempt at Christmas number one the following year, albeit an attempt which was effectively forced upon them…
Based upon and expanded from material originally published in 80s UK Christmas Singles (available on Kindle)
When Stock Aitken Waterman produced Debbie Harry...
Even in this day and age when there appears to be a growing re-evaluation of Stock Aitken Waterman, many people still write them off as working with supposedly "lesser" artists. True, there were some artists they worked with whose musical ability was perhaps overshadowed by other qualities, but SAW did work with a number of big name artists. Some of those collaborations -- such as Donna Summer and Cliff Richard -- are well-known, whilst others are not widely known.
Perhaps one of the more surprising collaborations was their work with Debbie Harry, best known as the lead singer with new wave rock band Blondie.
SAW would produce two tracks with Harry; one which just missed the UK Top 40, whilst the other remains unreleased to this day. It's an interesting story which resulted in two great tracks that show a different side to both SAW and Harry.
Harry -- and Blondie -- first came to prominence in 1978. Her unique voice, her stunning good looks and her attitude made a huge impact on the worldwide music scene, but there was much more to Harry than her sex symbol status suggests. Along with Blondie guitarist (and boyfriend) Chris Stein, Harry co-wrote many of the songs -- resulting in huge anthems such as Atomic, Sunday Girl and Heart of Glass.
The band enjoyed huge success until 1982, when they disbanded (although the have reunited in recent years). Post-Blondie, Harry spent time caring for Stein during a serious illness, but eventually re-ermeged to relaunch a solo career (which had commenced with 1981's KooKoo album during a Blondie hiatus) in 1986 with a new album, Rockbird.
In the UK at least, Harry's return to prominence came with the release of French Kissin' In The USA, a hypnotic midtempo, synth-led anthem which reached #8 in late 1986. The follow up, Free To Fall, couldn't match this success and stalled at #46. Eager to avoid losing the momentum created by French Kissin'..., Chrysalis Records looked to Rockbird for a suitable follow up.
In Love With Love is one of the album's stronger songs, composed by Harry with Stein, and produced by former J Geils Band keyboard player Seth Justman. Apparently a sequel, in lyrical terms at least, to the Blondie hit Heart of Glass, In Love With Love is a delicate affair, with Eastern influences to the arrangement; aside from strident piano at the start and some effective rhythm guitar mid-track, it's predominantly synth-led with an emphasis on arpeggio sounds. Whilst Justman's version is pleasant, it's very understated and lacks the commercial punch of French Kissin'...
A decision was made to create a new version of the track for single release, and that task was assigned to Stock Aitken Waterman. It is unclear who made this decision and why, but given that French Kissin'... was a far bigger hit in the UK, it's likely that the decision was to build on that UK success, and certainly SAW's star was in the ascendant at this point.
What is also unclear is whether this is truly a new version of the track or a remix with additional production. Certainly, the credits on the single are "Produced by Seth Justman & Stock Aitken Waterman", and a listen to both versions would suggest there is little, if any, of the arrangement from the Justman version.
Whilst it is known that Harry did in fact travel to the UK to record vocals with SAW, it's unclear whether that was to record vocals for In Love With Love, and/or the second track this article will cover, so it may be that the vocals from the Justman version were used, hence his credit.
It is useful to listen to the original Justman version, then the SAW version. Obviously, different people will have different preferences, but what one can't deny is that the SAW version just explodes out of the speakers.
Original Seth Justman version
Stock Aitken Waterman version
Kicking off with an earshattering drum fill, the SAW version is driven by a pulsating synth riff, with electric guitars squealing away in the background. Pleasingly full snare sounds work hand-in-hand with handclaps to deliver a powerful rhythm track, whilst the "Heart of fire" chorus refrain uses a spooky, swirling synth pad to provide a haunting effect.
SAW also manage to create a much-needed lift into the chorus, which is something the album version lacked. Whilst its a predominantly electronic production, the presence of electric guitars and strong percussion really help to give the track a fuller, heavier sound than many SAW tracks.
Unfortunately, the SAW version of In Love With Love didn't fare much better than Free To Fall, peaking at #45 in the UK. A disappointing result for a strong record, which deserved a wider hearing.
This muted success, however, did not prevent a further collaboration between Harry and SAW, albeit one that still remains officially unavailable to this day.
Intended for the soundtrack of 1987 US movie Summer School, SAW produced a version of the Michael Jay & Rick Palombi composition Mind Over Matter, with Harry on lead vocals. Jay was by this time establishing himself as a pop writer and producer in the UK, thanks to the success of his collaborations with Five Star, most notably with tracks like If I Say Yes and The Slightest Touch.
Mind Over Matter itself was originally recorded by Nikki Leeger and released on RCA Records in 1986, but failed to make any in-roads to the chart. Produced by Chris Neil, this version is a US-styled pop rock, with an early 80s synth sound to it. The arrangement is sparse and simplistic in terms of instrumentation, certainly compared to the later SAW versions, whilst Leeger's dramatic, almost operatic vocals impress. The track is enlivened by some nice guitar work, and tricksy drum programming.
That said, it is arguable that the Leeger version did not capitalise on the strong pop sensibilities of the song, and whilst an interesting version, one can perhaps understand why it did not garner a more populist following.
But, as with In Love With Love, SAW were able to bring out the best in the song for the Harry version.
Opening with a sinister, drawn-out gong-like sound, the track explodes with a metallic clang and some brilliant wailing electric guitar. This dark intro gives way to dramatic swirling pads and a catchy synth riff which recurs through the track.
Harry's vocals in the verse are augmented by distorted, haunting vocal samples, whilst other incidental sound effects accompany the bridge, with orchestral hits heralding the chorus.
And it's a great chorus. "We're doing what can't be done / Mind over matter / There's no battle that can't be won / Mind over matter" cries a defiant Harry as she belts out the song in her trademark style.
The instrumental break gives us an early example of the sampled vocal locs that would later become a SAW staple, whilst the closing chorus refrain gives us more electric guitar.
As with In Love With Love, SAW give the track a rockier, heavier feel whilst retaining its pop sensibilities.
You get a real sense that this track would have given Harry a big hit, and pick up the momentum from the success of French Kissin' In The USA. However, record company issues scuppered the release; in a fascinating interview with Stephen Hill, Jay suggests that Harry's departure from Chrysalis Records to join Geffen meant that Harry's version of Mind Over Matter could not be issued as a single. [I would urge you to read Stephen's excellent article on the track and his insightful interview with Michael Jay].
The Harry version did finally emerge via the Internet about ten years ago, albeit in a low-quality copy initially, with a better quality version leaking a few years later. Hearing it even now, it is clear that this sounds like a hit record and would appear to have been a missed opportunity.
With Harry's version unable to be released, a decision was made to re-record the track with US female singer EG Daily and it is her version with featured on the Summer School soundtrack album.
Although the UK release carries the credit "Remixed by Stock Aitken Waterman", the Daily version was actually produced by SAW. Clearly, the bulk of the production is that of the Harry version, but with some modification to the arrangement.
Daily's raspy vocals suit the track and she pulls off a stirling performance, and if anything, this new version is possibly better than the Harry version. The production is punchier; it is less rocky but still possesses a heavier sound than many of the contemporaneous SAW productions of 1988 -- this may be down to the original production dating back to 1987.
Alas, this version didn't fare well in the UK Singles chart, just about scraping into the Top 100 at #96. But then Daily did not have the profile that Harry enjoyed, and again, one wonders if Harry's version would have gained wider exposure.
So, all in all, Debbie Harry's liaison with SAW was brief but ultimately fascinating. Further collaborations would have been welcome, but clearly this was largely a case of the record company hoping to benefit from a bit of the SAW midas touch to raise their artist's profile. It did result in two strong pop tracks, which may not have set the charts on fire but remain well regarded among hardcore SAW fans as they demonstrate a different take on the SAW sound.
UK vocalist Hazell Dean is probably best known for her hi-NRG dance records, such as Searchin' (produced by Ian Anthony Stephens) and her numerous recordings with Stock Aitken Waterman, such as 1984's Whatever I Do and 1985's No Fool For Love. However, her recordings with SAW have taken in other styles, and one in particular -- the 1987 single Always Doesn't Mean Forever -- marked a move in a different direction for Dean.
After a period of working with different producers between 1985 and 1986, Dean reunited with SAW for the effervescent 1986 single Stand Up. Unfortunately, that release didn't find a wide audience, peaking at #79, and it would be a year later before a further collaboration with SAW would emerge.
Always Doesn't Mean Forever took Dean into darker territory -- both lyrically, thematically and musically -- and away from the comfort zone of her earlier hi-NRG recordings.
Sure, the pulsating synths are still there, as is the strident percussion track, but there is a slightly darker feel to proceedings on this track. Heavy orchestral hits punctuate the track, and a robust electric guitar riff (courtesy of Aitken) recurs throughout.
This sparse but heavy arrangement suits the theme of the song well, as lyrically it deals with the end of a relationship, with the protagonist telling their former lover some cold hard truths about love (and indeed life). Dean's delivery of the lyrics is well suited, as there is an almost vicious tone to her vocal here. "I never asked you to feel this way / So don't you put the blame on me" she hisses at one point, not long after declaring "I never asked you to fall in love / Now you know what life's about".
Many people make the mistake that SAW songs are all happy and positive, but whilst the arrangements may be upbeat, the lyrics are often melancholic. But I'm not sure SAW ever got so vitriolic as they did with Always Doesn't Mean Forever; there's little sadness here, or little duty of care to the former lover -- Dean's had enough of tiptoeing around hurt feelings, and she's telling it like it is.
It's a very melodic song, with real pace and urgency to the verses, with an effective bridge ramping up the excitement. The chorus isn't necessarily as singalong as other SAW examples, but it is catchy whilst suiting the pessimism of the song. Dean spits the chorus out -- "And though you're old enough to fall in love / You're still too young to know why / Always doesn't mean forever / Every time". As already stated, this is beyond melancholy -- this is a downbeat record whose pessimism almost borders on nihilism.
The arrangement is an interesting collision of styles; there's definitely a Latin Miami sound influence in there (the 12" is named the My-Ami Mix) with the electric piano, the layered percussion and the fluttering synth that backs the bridge, but we also have the orchestral hits, the SAW trademark vocal locs and the electric guitar riff which point more towards the UK pop scene of the period. As ever, there is some great playing from both Stock and Aitken.
Notably, this track features an early appearance of the "Funky Joe" sound (as it was named by Stock & Aitken). Very prominent in Kylie Minogue's I Should Be So Lucky, this resonant, bouncy metallic tone would go on to feature in a number of SAW tracks of the period, and it certainly brings a hypnotic quality to Always Doesn't Mean Forever.
It's also worth noting that this song was originally written for (and recorded by) Sheila Ferguson of The Three Degrees; she had been recording a solo album with SAW (and Matt Bianco's Mark Fisher) in 1986, which remains unreleased at the time of writing. It would be interesting to hear Ferguson's version, which presumably would be more oriented towards a soul/funk sound.
Regarding Dean's released version, I'd advise new listeners to seek out the extended My-Ami version over the 7" mix, at least for a first listen; the track has more space to breathe, and the instrumentation builds up nicely. Even better, Aitken's guitars gain greater prominence towards the end and combine with an effective slowed down sample of Dean's vocal loc to create a really haunting feel which reinforces the downbeat lyrics.
It's worth pointing out that many SAW tracks were created as 12" mixes, then editing down to 7" mixes. Such editing was often seamless, but to my ears, I think the 7" mix of Always Doesn't Mean Forever is less successful in this regard. It's not bad by any means, but I think the edit loses some of the impact and appeal that the 12" mix possesses.
There are only 4 released mixes; the 7", the My-Ami 12", plus a slightly longer 7" instrumental and a shorter instrumental version of the 12" -- all mixed by Pete Hammond.
Released in June 1987, Always Doesn't Mean Forever failed to reach the Top 75, peaking at #92 -- a rare chart misfire at a time when SAW were very much on the ascendant. It's a good little track, and one I admire greatly, but I wonder if it's thematic bleakness went against it in terms of finding favour with radio playlisters and the record buying public. Nevertheless, it is an interesting diversion for both SAW and Dean, not simply in arrangement but especially lyrically and tonally.
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Always Doesn't Mean Forever - Hazell Dean
EMI Records - EM8, #92, 1987
Written, arranged & produced by Mike Stock, Matt Aitken & Pete Waterman
Mixed by Pete Hammond
Over the years, Stock Aitken Waterman worked with a wide-range of vocalists, from top-flight legends through to the girl next door. Within this, there was a spectrum of singing ability, but even so, the sure hand of the three producers would often guarantee some modicum of success for their artists.
But there is one artist in particular who, whilst controversial for a number of reasons, one would have expected to have greater success. She did have hits internationally, but UK success eluded her. So why couldn't Mandy Smith have a hit in Great Britain?
Mandy Smith was a well-known – and controversial figure – in 1986 for her relationship with Rolling Stones bassist Bill Wyman; although she was 16 in 1986, it was in this year that the press revealed she had been dating the 50-year old Wyman since she was 13. By the time Smith came to Waterman's attention, she was 16 and working as a model, though still dating Wyman and still plagued by that controversy.
It was apparently Pete Burns who suggested to Pete Waterman that SAW should make a record with her; whether this was a genuine suggestion or merely an aside is unclear, but a deal was made and Smith was the first signing to Waterman's PWL Records.
In many ways, the signing of Smith was an indication of the approach SAW would take in their most successful years of 1988 and 1989. In 1986, SAW were still largely operating under a model of producing tracks written by the artists they were asked to work with, so the very notion of taking a young artist, writing material for her and directing her career resulting in SAW and PWL protoyping what would become their modus operandi.
According to Smith's former manager Maurice Boland, the first track Smith recorded with SAW was a cover of Terry, originally released by British female singer Twinkle in 1964. It would seem this choice was also inspired by Burns' comments to Waterman; he had seen a photo of Smith on a motorcycle, which minded him of a similar photo of Brigitte Bardot, and of course Terry is a tragic tale of a boyfriend losing his life in a motorcycle accident; a storyline strangely popular in 1950s and 1960s pop! This update of Terry is very much a curate's egg; whilst featuring a robust hi-NRG backing evocative of the 1986 Dead or Alive track Brand New Lover, Smith's quiet vocal struggles against the relentless arrangement. In truth, the largely instrumental Matt's Mood Mix serves the track better, but it is interesting to note that Matt Aitken cited it as the worst SAW track when interviewed for Sean Egan's excellent The Guys Who Wrote 'Em book.
It appears Boland did not consider Terry as a suitable candidate for Smith's debut single, and urged SAW to record an original composition for his charge. SAW obliged, and the end result was Smith's 1987 debut single, I Just Can't Wait.
I Just Can't Wait was a slightly unusual record for SAW to make, even at this still-experimental time in their career. Most SAW-written songs played on a model of melancholic lyrics against a bright optimistic sound; here, that is reversed. Opening with shimmering synths and carried along with a languid bass line, the arrangement is otherwise sparse, with the record hanging largely on Smith's vocals as a result. Many have commented on the weakness of Smith's vocals – and indeed there is the suggestion that her vocals were augmented by ghost vocalists – but in fairness, she acquits herself well enough here.
I Just Can't Wait is clearly tailored lyrically to Smith; although the song casts Smith in the role of an archetypal teenager, one can't help wondering what Wyman made of lyrics such as "They'll never see you / The way that I do" and "They talk as if / I'm just a baby”.
However, the plaintive vocal, the low-key arrangement and the downbeat nature of the record makes for what is largely an ethereal listen. The song is expertly crafted, with a lovely chord progression in the verses, and even the spoken part over the instrumental section works, when most spoken parts don't -- but in my opinion, the song is a slow burner. Whilst I liked it back in 1987, it wasn't one of my favourite SAW tracks, but I must admit it has grown on me over the years and I find it to be an interesting record.
Interestingly, Boland's blog also suggests that the BBC banned I Just Can't Wait. Whilst it is more likely that the BBC chose not to playlist the track rather than banning it outright, it would suggest there was some nervousness about promoting Smith's records given the reputation she had acquired.
It peaked at #91 in the UK charts, but did achieve more success internationally. It's interesting to note that in countries where Smith's reputation did not precede her, the music was able to stand on its own and garner a successful response. Some European releases carried different versions of the standard 7” and 12” mixes, which were more upbeat and closer to the classic SAW style; these are also worth checking out.
As is well documented, the record would have a second life, as a result of one of its extended remixes. The UK 12” single carried the 7”, extended mix and B-side You're Never Alone, but a remix 12” was issued, featuring The Cool and Breezy Jazz Version.
Remixed by the Extra Beat Boys, this version was almost a complete departure from the original. Tapping into the Balearic style gaining popularity at the time, this version was primarily instrumental, with the verses only featuring well into the track, and the chorus omitted completely. As the title of the mix suggests, the arrangement leaned towards a jazz dance sound, heavy on bass and piano, driven along by impressive guitar work from Matt Aitken (who according to Pete Waterman performed it it one single take prior to going on a date!). Laidback but energetic, this reworking was quickly adopted by DJs out in Ibiza and also in clubs closer to home. Though this came too late to help get the track into the charts, it became – and still remains – a classic dance anthem. One wonders if a single edit of this version may have resulted in more chart success, but we will never know.
Single number #2 for Smith in 1987 was another original SAW composition. Positive Reaction was an upbeat, catchy pop stormer, taking its influence from the Latin Miami-style pop prevalent at the time. With arresting blasts of timpani, nicely building synth brass, and driven along with some terrific-Chic-style guitars from Matt Aitken, Positive Reaction was an intoxicating piece of dance pop, with a deliriously catchy chorus. This track was possibly ahead of its time, as it was indicative of the SAW sound and style which would see them dominate the charts a year or two hence. Smith's vocals are noticeably pitched higher here than on I Just Can't Wait, when possibly the lower-register suited her voice better. This is a joyous slab of pop in anyone's book, but again, it didn't perform well in the UK, missing the UK Top 100. A shame, as one can almost imagine that this could have been a big hit for Kylie or Sinitta, although it must be said the track suits Smith and she does make it her own.
Although subsequent singles would be provided by other PWL producers, SAW would record further tracks with Smith. Album track He's My Boy was again an upbeat, catchy track, which drew comparisons to Bananarama, whilst Smith was the first artist to record Got To Be Certain, but this was re-allocated to Kylie Minogue as the follow-up to I Should Be So Lucky. Smith's version is similar, but with different phrasing in places.
Smith would go on to release an album, entitled Mandy, with the remaining tracks produced by Phil Harding & Ian Curnow, Pete Hammond and Daize Washbourn. Singles three and four – Victim of Pleasure and Boys & Girls respectively – were both produced by Washbourn, but again failed to make any in-roads to the UK charts, despite both being effervescent pop songs. After a gap of a year, Smith returned for a fifth and final UK single – a cover of Human League's Don't You Want Me – produced by Pete Hammond. This earned Smith her best UK chart placing yet – it reached #59 – but she and PWL would part ways soon after.
So Smith had the benefit of good material, but it would seem that -- rightly or wrongly -- the odds were stacked against her. Not wanting to dwell on the ethical or moral aspects of the relationship between Smith and Wyman -- this is a music blog after all -- my recollection of events was that much of the public and media negativity was directed at Smith rather than jointly with or solely at Wyman. Perhaps this was symptomatic of the times; it is likely that Smith would gain more support these days than perhaps she did thirty years ago.
However, the fact remains that there was a lot of negativity towards Smith, and surely this must have had some impact on the success or otherwise of her recording career, at least in the UK. It is interesting to note that Smith did achieve some reasonable success in mainland Europe, with Switzerland, Italy and Sweden amongst others providing great support. There is footage on YouTube of Smith performing to enthusiastic crowds on Sweden's Peter's Pop Show, and it is fascinating to observe the warm reception she gets from the audience. No matter how good her material was or could have been, it is difficult to imagine her getting the same response in the UK.
And that's the wider point here: Smith's reputation via the media meant that it would have been near-impossible for her to achieve any big success in the UK. Pete Waterman told Smash Hits in 1987 that if "we could break Mandy Smith in Britain there would be an end to musical snobbery in this country", and whilst that might be a typically grandiose-Waterman claim, it's not difficult to see what he means. Possibly more than any other SAW/PWL artist, there was a perception that Smith was an opportunist, chosen for her looks and infamy than for her natural musical ability. Smith may not have been a natural performer but she grew more confident as time went on (compare her later videos and TV performances to her early ones), and by all accounts, she was a nice girl, albeit with a lot to deal with. But one can't help feeling that even if she had recorded Never Gonna Give You Up or I Should Be So Lucky, Smith still wouldn't have made huge inroads to the Top 40. But all that said, her back catalogue has been reissued in recent years and she still attracts a loyal band of ardent followers -- which cannot be said for many of her contemporaries.
And although she may not have had a massive UK hit, she does have the kudos of making a record which became a classic and influential dance music anthem. That's gotta be a win for the teenage singer who arguably was never really given a fair crack at being a pop singer by the media who were determined to cast her as something else entirely.
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