7 Days of SAWmas! #7: Every Day’s Like Christmas (A Stock Aitken Waterman Remix) – Kylie Minogue

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 7 blogposts during December as we take a look back at some seasonal gems…

On the seventh day of SAWmas!, the DJ played for me….

Every Day’s Like Christmas (A Stock Aitken Waterman Remix) – Kylie Minogue

Ever since Stock & Waterman parted ways in 1993, fans have hoped that Mike, Matt and Pete would reunite to make music. Sure, Stock & Aitken did team up again in 1994 in a successful partnership which lasted until the early 2000s, whilst Waterman found new partners to work with and also enjoyed success. However, court cases and public spats over the years suggested that relations (on a business level at least) between the two factions were strained.

There was a glimmer of hope when the trio came together in 2005 to publicise the Stock Aitken Waterman Gold collection, with the three talking about making a comeback. Alas, this promise did not reach full fruition; Aitken abstained, leaving Stock & Waterman to team up on a one-off single for girl band The Sheilas (and, latterly, the 2010 UK Eurovision entry).

But December 2015 saw fans get the Christmas present they had been waiting for.

And, even better, it was all thanks to Kylie Minogue.

Minogue had been working on material for a Christmas album, Kylie Christmas, for release in late 2015. She had been working with various collaborators, including Coldplay lead singer Chris Martin.

In an interesting move, Coldplay had hooked up with hit Norwegian record production team Stargate (comprising Mikkel Eriksen and Tor Erik Hermansen) to create the band’s seventh album A Head Full of Stars in 2015.

It would appear that this collaboration led to Martin, Eriksen and Hermansen writing a Christmas song for Kylie Christmas. As per modern recording technology, Stargate produced the original track, with longtime Kylie collaborator Steve Anderson recording and producing the lead vocal track.

The resultant track, Every Day’s Like Christmas, is an atmospheric mid-tempo ballad, and was singled out as one of the highlights of the album, thus marking it out as a candidate as Kylie’s Christmas single.

However, no-one expected that Kylie and her record label Parlophone had approached Pete Waterman to ask if he, Mike Stock and Matt Aitken would come together again to remix the track in the trademark style.

The original triumvirate had not made a record together for 24 years, and whilst Stock & Waterman had collaborated in the meantime, the prospect of all three working together again had seemed unlikely.

But Mike, Matt and Pete agreed to reunite to work on this Kylie project; the brief was that the SAW version should be “dead retro” with “nothing modern”.

The full title of the release is Every Day’s Like Christmas (A Stock Aitken Waterman Remix) but the use of the word “remix” is misleading. Stock asserts that SAW did not merely remix the track; this was a new production with a new arrangement and instrumentation. It was Parlophone which stipulated that the track was credited as a SAW remix rather than a SAW production.

Certainly, comparing the SAW version with the original Stargate version, it is clear that this is not simply a remix; it would appear that all that was retained from the Stargate production were Kylie’s vocals and Chris Martin’s whistling motif. For one thing, the SAW version is faster, with a new drum and percussion track (courtesy of A Linn!), a throbbing DX7 bass, Stock’s synth pads and strings, plus Aitken’s distinctive guitar. Backing vocals were provided by Kirsten Joy and Mike Stock.

This arrangement and production really lifts the song and takes it in a different direction to the Stargate version; the Norwegian producers, it is fair to say, did a lovely job on the original’s contemplative vibe, but SAW bring a real sense of Christmas joy to proceedings.

The recording took place at Stock’s own MPG Studio. It’s not clear how the three worked together; the credits suggest that Stock took the lead on pre-production, keyboards and programming work, with Aitken only credited for guitar. That’s not to say that Aitken did not have any further input into the arrangement and production, and one would expect all three partners to have the final say on the end product.

One thing is clear; whilst Stock’s studio is state of the art, SAW did use some vintage equipment on this project, including a Yamaha DX7 synth, a Roland D-550 synth and a Linn Drum 9000 drum machine. Today’s Sound, Yesterday’s Technology, if you like!

Stock’s team at MPG filmed parts of the session and released a short video on social media – this showed Stock and Aitken working together in the studio, and it was a real thrill for fans to see the pair collaborating again. And whilst Waterman does not appear to have been at that session, it was even better to know that all three had reunited for this unique project.

And the icing on the cake was that the track was mixed by longtime SAW/PWL mix engineer and producer Dave Ford (who had been doing mix work at that time for Stock’s solo productions). Ford is a skilled mix engineer who brings out the best in the material and that is the case here – it’s a terrific mix that shows off the old SAW sound in a new way.

And a new way is correct: whilst the track clearly has the SAW DNA stamped right through it, it doesn’t quite sound like it is from 1988 – and actually I mean that as a compliment. What SAW achieved with this track was to knit various elements of their signature sound together, but give it an up-to-date slant. In that sense, the whole is greater than the sum of its parts – it sounds retro and modern at the same time.

SAW and Mike Stock expert Paul Smith advises that, whilst Parlophone did not request a 12” mix, Dave Ford completed an extended version as “good housekeeping” at SAW’s request; this mix became known, winningly and accurately, as The Three Wise Men Extended Version! Whilst a clip of this mix can be heard on the behind the scenes video of Mike Stock’s Facebook page, it frustratingly remains unreleased. Now that Minogue has now left Parlophone, there is probably no great impetus for this extended version to be released anytime soon – but hopefully it will surface at some point.

In the run up to release, there was little signal that the SAW reunion had happened, until a few days before when Stock hinted that there was big news coming up, culminating with him posting an old SAW pic as his Facebook profile pic the night before the news broke.

The track itself got its first play on 2 December 2015 and was immediately released on digital download and streaming formats. This unexpected SAW reunion received a warm reception, and this positive feedback far outweighed any naysayers.

The press release quoted Waterman as saying that “I wasn’t sure Chris Martin and Stock Aitken Waterman would be easy bedfellows but he said it was fine”. And indeed Martin was fine with it… although it appears he only found out about after the event when Cameron Adams of News Corp Australia Network informed him in an interview (published on 24 December 2015):

Cameron Adams: Everyone’s worried about Guns N’Roses and Oasis reforming and you’ve played a part in Stock Aitken Waterman reforming, congratulations

Chris Martin: What are you talking about?

Cameron Adams: Stock Aitken Waterman have reunited to remix the Christmas song you wrote for Kylie Minogue, Every Day’s Like Christmas

Chris Martin: Is this a joke?

Cameron Adams: Nope.

Chris Martin: I don’t think you’re being serious. Stock Aitken Waterman have remixed that Kylie song? No way! That’s great if it’s true!

Whilst it may have been news to Martin, the news of the Stock Aitken Waterman & Kylie reunion was fairly well publicised in TV, radio and press. Many UK newspapers ran articles on the project, whilst Stock and Waterman teamed up to carry out promotional duties for the release, including items on ITV News and Channel 5 News.

Aitken was unavailable for this promo, and fans would have to wait until 2016 to see all three together at the same time, when Mike, Matt and Pete were interviewed together in the Sky Arts Masters of Pop documentary. (They had also made another joint appearance on stage with Jason Donovan at the latter’s London gig in 2016).

All three apparently enjoyed the experience of reuniting for this project, and whilst they indicated that they’d be keen to work together again, they avoided making a firmer commitment as they did at the time of the SAW Gold release. (Stock and Waterman did of course reunite, but not Aitken).

As the official line goes, Stock Aitken Waterman would consider working together again if the right project came along, rather than on an ongoing basis. Of course, this makes sense; whilst all three are now in their 60s, they are pursuing their own interests inside and outside of music (Stock is the only member still actively writing and producing) and the music industry is a very different beast these days.

That said, many fans find the possibility of further collaboration hugely tantalising, and if SAW fans have learned anything over the past 30 years, never rule anything out when it comes to Mike, Matt and Pete!

In the meantime, we fans have a rich legacy of music to enjoy, and hopefully you have enjoyed this look back at the Christmas output of Stock Aitken Waterman.


Check back on 27 December 2017 for a special Kean Canter Mattowski Christmas treat: TWO new articles about EMI Records’ 1985 act Spelt Like This and their collaboration with SAW. One is my in-depth overview of the band’s time with SAW, whilst the second article is a lengthy and detailed first person account of the entire Spelt Like This story from the band’s lead singer and songwriter Alin Karna.

7 Days of SAWmas! #4: When You Come Back To Me - Jason Donovan

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 7 blogposts during December as we take a look back at some seasonal gems…

On the fourth day of SAWmas, the DJ played for me…

When You Come Back To Me – Jason Donovan

1989 saw Mike, Matt and Pete dominate the charts with 7 number one singles, and a further 15 Top 40 hits. A significant part of this success was due to their collaboration with Jason Donovan, who followed Especially For You with two solo number ones (Too Many Broken Hearts, Sealed With A Kiss) and a number two hit (Every Day), and a number one debut album (Ten Good Reasons).

Jason and SAW would end such a successful year by making another attempt at a Christmas number one with the release of a new single - recorded in October 1989 - from his forthcoming second album.

When You Come Back To Me, written and produced by Stock Aitken Waterman, is an up-tempo number which manages to convey the Christmas spirit without making any explicit reference to the season.

Whilst it features the usual SAW hallmarks of synth brass and electronic percussion, it has a very seasonal feel to it; it's underpinned with timpani, swirling strings and prominent backing vocals, with chimes, tubular bells and timpani sprinkled on top. There's a nod to the time of year in the lyrics, with references to "so many people" with "smiles on their faces" and "armful of presents", and there being a "chill in the air". It's a tale of separated lovers, which of course resonates deeply in the Christmas season.

As with many SAW songs, the real strength lies in Mike Stock and Matt Aitken’s melody. The memorable chorus is euphoric, conflating Donovan’s hope of reunion with the hope that Christmas offers many, and Pete Hammond’s immaculate final 7” mix seals the deal that this is a bona fide hit record.

(The 2010 digital release of the When You Come Back To Me single bundle contains the Original 7” Mix, by Dave Ford; this mix dispenses with the distinctive brass found on the final 7” mix and is perhaps less energetic, but is actually more atmospheric and seasonal. It may lack the impact of the Hammond mix, but is an interesting take all the same).

In addition to the main single release, a second remix 7" was released featuring The Yuletide Sleigh List Mix -- this very much turned the track into a Christmas song; opening up with a spoken intro by Donovan, the track removes most of the frenetic percussion and synths which adorn the main version and replaces them by choral backing vocals, tinkly bells and plucked strings.

There were a number of various mixes of the track; the main Extended Version (mixed by Pete Hammond) is an atmospheric longer take on the 7” mix, with the elongated intro and outro showing off the various layers of the track. Dave Ford’s No Probs Mix takes the track into a dance direction, with Ford deploying an effective house approach, whilst the Guitar Instrumental Mix, also mixed by Ford, is a showcase for Matt Aitken as he plays the melody line on a classical guitar. The 2010 digital release contains a No Strings Mix, which was mixed by Ford and appears to be a slight variation on the Yuletide Sleigh List Mix, plus various instrumental and backing track versions.

When You Come Back To Me was fairly well received at the time, and is still fondly regarded by many even now. Perhaps just as memorable was the bright orange overcoat which Donovan wore in the video and on the single sleeve! The single sleeve, the design of which is actually credited to Donovan, also carries handwritten (and annotated) lyrics to the song, and given these appear to be written in two different sets of handwriting, it appears these were Stock and Aitken’s own original handwritten lyrics.

Given both Donovan and SAW's huge success in 1989, When You Come Back To Me would have likely been a Christmas number one -- had it not been for the rush-release of a particular charity single. However, that particular charity record did actually see both SAW and Donovan – and many others – reach number one on the 1989 Christmas charts…

Based upon and expanded from the entry in 80s UK Christmas Singles (available on Kindle)

All Mixed Up #1: Love Truth & Honesty (Dancehall Version) – Bananarama

The first in a new series – which looks at classic SAW 12” mixes – kicks off with a look at possibly the definitive extended SAW remix…

You don’t have to be a huge Stock Aitken Waterman fan to have an awareness of how the Hit Factory structured many of their 12” mixes. The instrumentation would slowly build up layer by layer, then the full song would kick in, then we’d have a breakdown before the track builds up again to a reprise of the chorus, closing with the instrumentation breaking down to leave just the percussion.

Of course, there were many mixes which deviated from this form, but the above description covers the core template of the Stock Aitken Waterman (and indeed PWL) 12” mix.

For me – and it can get very personal when it comes to the art of the 12” – the extended mix which best represents this core template has to be the Dancehall Version of Bananarama’s Love Truth & Honesty.

Issued in September 1988, Love Truth & Honesty was perhaps a change in style for Bananarama, but then the band itself had recently undergone change. Siobhan Fahey had departed, with Jacqui O’Sullivan coming in as her replacement, starting with previous single I Want You Back, which was partially recorded and remixed from the original Wow! album version (which had featured Fahey). As such, Love Truth & Honesty was the first brand new material from the new Bananarama line-up.

A more thoughtful track for Bananarama, Love Truth & Honesty takes its rueful lyric of a woman betrayed by her lover and marries it with an upbeat arrangement; a clever juxtaposition often deployed by Mike, Matt & Pete. In terms of tune, it’s certainly a departure from preceding single I Want You Back and subsequent singles Nathan Jones and Help!, but in that sense, it’s an interesting diversion for Bananarama during this period.

Reaching #23 in the UK Singles Chart, the record didn’t set the world alight back in 1988 but over the years, it has become a firm favourite with both SAW and Bananarama fans.

Whilst there were radical remixes of the track, with PWL’s Phil Harding & Ian Curnow giving it a Baelearic overhaul, there was only one “standard” extended mix issued for the track as part of the original release, and that was Dave Ford’s Dancehall Version.

Ford had joined PWL in 1988, so at this time, he was one of the newer mix engineers compared to Phil Harding and Pete Hammond, but he was a very experienced music industry professional at this time. And this shows in his Dancehall Version mix.

Whereas other PWL mix engineers and producers have stated they added layers of production to Stock Aitken Waterman tracks, Ford has tended to underplay his contribution in this area and stressed he was always focused on making the most of the materials provided to him.

What you do get from a Ford mix is real clarity; he has a real straightforward approach, with a real sense of which elements of instrumentation work together.

His Dancehall Version mix is perhaps not the most radical mix to come out of the Hit Factory, but for a real SAW fan like me, the first couple of minutes of his mix gave a real insight into the various layers that make up a Stock Aitken Waterman track.

Let’s take a closer look at Dave’s mix:

0.00: The track opens with percussion, followed quickly by a drum fill
0.04: A Bananarama vocal loc – “L-L-Love” – signals the introduction of rhythm guitar
0.13: A metallic DX7 synth-bass sound is introduced
0.22: The “L-L-Love” vocal loc returns, signalling the introduction of the bass guitar
0.25: A synth-riff kicks in at this point
0.37: The “L-L-Love” vocal loc returns, signalling the introduction of synth pads
0.46: A rising synth line comes in, building up to –
0.50: A swirling, reedy synth pad is added
1.12: The horns make their first appearance
1.31: The appearance of chimes, and drum fills herald –
1.36: The main opening riff with all instruments in place, building up to –
2.01: Bananarama’s vocals kick in with “ooh-ooooh-oooh”, followed by the opening verse

Looking at the above list (and I’ve tried to capture the timings as best I can), we can see how Ford gives each new element their own “moment in the sun” but for different lengths of time. The rhythm guitar gets 9 seconds before it’s joined by the metallic DX7 synth-bass sound, whilst the synth riff gets 12 seconds of glory. Interestingly, the swirling synth pad gets 22 seconds, but I take that as Ford building atmosphere and pausing before the horns come in.

It's also worth noting that Ford makes use of the “L-L-Love” vocal loc to mark the addition of a new element, yet does not use this every time a new element is added. The fact he uses it sparingly makes it more effective.

Ford also uses a double start approach to tease the listener; the introductions of the horns at 1.12 suggest the start of the actual song, but we have to wait a further 24 seconds for the full intro, and even then, a further 25 seconds for the opening verse.

The simplicity of Ford’s approach in this intro makes it all the more effective, as he shows off Stock and Aitken’s playing and programming off in all its glory. Sure, these sounds may be sequenced in the mix, but they had to be played and/or programmed in the first place and this mix allows us to hear some of these in some form of isolation.

As for the rest of the mix, we get the bulk of what we’d call the single version between 2.01 and 5.13, at which point, we head towards the breakdown (which is designed to allow DJs to mix to another track).

Let’s get back to the minute by minute analysis:

5.13: The vocals end, leaving an extended instrumental period leading towards –
5.29: The breakdown, which removes all elements except for percussion, rhythm guitar and horns
5.46: The horns are removed
5.49: The synth riff returns
5.54: The swirling, reedy synth pad returns
6.00: A drum fill marks the return of the metallic DX7 synth-bass sound
6.17: The horns return, as do Bananarama’s vocals for a reprise of the chorus
6.52: Many of the musical elements drop out, leaving the percussion and synth-bass-style sound, and the track eventually fades out with various drum fills

As we can see, we get a breakdown, then a build up to a reprise of the chorus, then a final comedown towards the fade. As with the intro, we get a sense of the key layers of the track, albeit in reverse.

The mix has a real sense of symmetry in how it builds up from the start, and breaks down as it heads towards its end.

For me, there is so much to love about this mix. The metallic DX7 synth-bass sound is one of my favourite SAW / PWL sounds, and was a key element of their records in 1987 and 1988. It never fails to excite me, and it’s well used here. Likewise, the exposure of Matt Aitken’s rhythm guitar is very welcome, as much of his guitar work is often lost in the mix. The synth riff is effective, and is used sparingly and effectively, whilst the synth pads – often handled by Mike Stock – add real atmosphere to the whole affair.

The horns are great, but I think they dominate proceedings a little. The original 12” mix of Love Truth & Honesty was eventually released in 2015 as part of the Edsel In A Bunch Bananarama CD singles boxset, and interestingly uses the horns differently.

Whatever one may think of the record, I think it’s a must listen for anyone interested in how records are made, as it clearly shows what the key elements are and how they are put together to make the final record. That aside, it’s simply a terrific mix of a fab (if overlooked) Stock Aitken Waterman track.

And if you’ve read this far, here’s the Dancehall Version itself:

KCM Hotshot #3: Running Back For More – Delage

A look back at the underrated second single from 1990s SAW girlband Delage…

As discussed previously on this blog, Stock Aitken Waterman entered the 1990s in search of a new sound; a quest which became more important as their signature sound became less prevalent in the marketplace. This would result in a period of experimentation akin to that of 1985-1986, yielding some real undiscovered gems. One of these gems was Running Back For More, a 1991 house-inspired track from four piece girl band Delage.

A new band put together by PWL and named after one of Pete Waterman’s favourite classic cars, Delage were originally called Dazzle (and indeed, the promos of their debut single carried this name). The band originally comprised Rhonda, Karena, Charlotte and Judy, and were first referenced in a fascinating Smash Hits article entitled “Are Stock Aitken Waterman Down The Dumper?”. The Dumper, as Smash Hits put it, was the place that unsuccessful acts and records would end up after failing to achieve chart success, and 1990 had indeed seen a decline in the amazing success SAW had enjoyed in 1989. This article, built around an interview with Mike, Matt and Pete, enabled the trio to answer back to the critics who had written them off, and as part of that, they outlined some of their future plans. Boy Krazy were referenced (albeit as Boy Crazy), as were Delage; both as new acts to relaunch SAW in the 1990s.

Delage’s debut single would emerge a few months later, just ahead of Christmas, released via the PWL/Polydor joint venture which had been set up on the back of the Band Aid II single. The Boy Krazy singles were also issued as part of this arrangement, as were the two Grease-related megamixes put together by Phil Harding and Ian Curnow.

This debut release – a cover of the Hues Corporation’s 1974 hit Rock The Boat – was produced by SAW, and issued with a computer-generated cover of a boat, rather than a photograph of the band members. It’s a robust SAW production and a faithful cover, carried along by some energetic brass and strings, plus the inclusion of more modern elements such as a “1-2-3-4” sample, and a sax riff which tipped its hat to Chad Jackson’s Hear The Drummer Get Wicked.

This release reached #63 in the UK Singles Chart, which whilst unspectacular, wasn’t too bad for a single with limited exposure in the run up to Christmas. However, it would be nearly a whole year before a follow-up appeared.

The classy and understated SAW-composed and produced Running Back for More was issued in October 1991, by which time there had been a change in line-up between singles, with former members Charlotte and Judy replaced by Emma and Frances.

Certainly you can tell the difference in the vocals between Rock The Boat and Running Back For More; however, to my ears at least, the vocals on Rock The Boat sound very much like SAW stalwarts Mae McKenna and Miriam Stockley (who were indeed credited for backing vocals on the sleeve), whilst Running Back For More adds Cool Notes’ lead singer Lorraine McIntosh for backing vocals, therefore it is difficult to get a real sense of what Delage really sounded like. That’s not to suggest they did not sing on these tracks, just that I wonder if the vocals of McKenna & Stockley, and McIntosh were very prominent in the mix.

Running Back For More features one of Mike Stock’s most impressive lyrics; a story of a woman chastising her friend for remaining in an unsuitable relationship, Stock makes very word count and tells the story with maximum emotional effect. “You ain’t learned nothing at all / And you still ain’t closing the door / On the boy who tears you apart / Telling you every lie you know by heart” is the first verse, and that final line carries so much truth in its effective simplicity. The melody of the verses is wonderfully fluid, and adds even more to the delivery of the lyrics.

The track gives us yet more lyrical gold with “So don’t you come to me for advice / If the truth hurts more than his lies”; a line which may not mean much on paper, but is dynamite within the track itself.

The chorus is perhaps more sedate than most SAW choruses, but it totally works within the song. This is the apex of the song’s message: “Running Back For More / Like a fool / I don’t think you know what you’re doing / He’s gonna break your heart, that’s for sure / You’re running back for more / Running back for more”. It’s an understated chorus, but is clearly influenced by the US house style of that time.

More than any other SAW composition, the entire melody seems very organic with the chorus growing effortlessly from the building of the verses and bridge. There are no key changes, or dramatic shift in instrumentation, so there isn’t the usual lift into the chorus. This is no bad things though; this change of approach results in a cool, minimalistic house-influenced track.

Production-wise, there’s a change of emphasis in the sound. The arrangement is relatively sparse, driven mainly by a house piano and punctuated by techno bleeps, although there is effective use of strings at key moments. At the time of release, I wished that the track had a more typically dense SAW arrangement, but I’ve come to appreciate the delicacy of its instrumentation and its attempt to try something different.

The single was released on 7”, 12” and CD single formats, with the main track restricted to a 7” mix and an extended mix, both mixed by Dave Ford. (An unreleased 12” Remix of Running Back For More would emerge when a Running Back For More single bundle was issued on iTunes). The B-side was a further SAW composition and production, I Wanna Shout About It – a powerful, contemporary dance track. Ironically, this was possibly a more obvious candidate for the A-side than Running Back For More, as it was more in line with other chart fare at the time.

As I’ve written previously on this blog, SAW were experiencing mixed fortunes chartwise in 1991, and Running Back for More was a particular casualty. In fact, its #153 chart placing ranks it amongst the worst performing SAW singles – a great shame, as it is a much stronger track than this position suggests.

I can only speak for myself but it was difficult to actually find a copy of the record; even in a city the size of Liverpool, I only managed to find the CD single and 7” in the new releases rack of a second-hand record shop the week after release. That said, the PWL/Polydor releases seemed to suffer from distribution problems (aside from Band Aid II of course), and certainly this is reflected in the scarcity of the Running Back For More CD single, which now commands high fees on the record collecting market.

In some ways, the record’s availability is almost irrelevant when you consider its TV, radio and press coverage was virtually non-existent. I don’t recall any major radio play, or seeing the video on TV. And perhaps the main press coverage I do recall was in Number One magazine, when Sonia carried out that week’s single reviews. Coming not long after her split with SAW and PWL, Sonia rather predictably gave a negative review, dismissing the track as “yesterday’s beats” – highly ironic given that Sonia’s recent singles included the 60s-styled Only Fools (Never Fall In Love) and Be Young Be Foolish Be Happy!

Given the commercial failure of the single, there would be no further releases from Delage. There was however a further unreleased track, a SAW-produced version of the Bananarama track Ain’t No Cure. This latter track in particular was a missed opportunity for Delage and SAW; Ain’t No Cure had been recorded by Bananarama during the abortive 1989 sessions with SAW, and, on the basis that it was unlikely that the Bananarama version would be issued, it was called into use for Delage. The Delage version is a beefier, full-on hi-NRG assault with house overtones, and most notably employs a different emphasis on the verses (which is perhaps why Sara Dallin’s co-write credit is absent from the Delage version). This will be sacrilege to most Bananarama and SAW fans, but I much prefer the Delage version and genuinely think it would have had a great shot at chart success. However, Bananarama elected to include their version on Pop Life, which I assume removed it as an option for a Delage single.

Whilst Delage themselves parted ways with SAW and the PWL/Polydor deal, they did continue under the new name of Eden, and released two European singles in 1992.

Running Back For More -- as is the case with Rock The Boat and also Ain’t No Cure -- is available as single bundles on iTunes, including various mixes, instrumentals, backing tracks and B-sides.

Delage were cited as one of the bright new hopes for SAW in the early 1990s, but for various reasons they were not given the full support required to make this happen. However, Running Back For More remains an underrated track which represents an experiment in a new sound for SAW, and boasts an impressive lyric and melody. Well worth a listen.