7 Days of SAWmas! #6: Send A Prayer (To Heaven) – Errol Brown

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 sixth day of SAWmas!, the DJ played to me…

Send A Prayer (To Heaven) – Errol Brown

1990 was a year of mixed fortunes for Stock Aitken Waterman. After enjoying their most successful year the previous year, 1990 saw Mike, Matt and Pete struggle to gain the same levels of attention and sales in a sea of new dance and indie acts. True, they had a very successful year by anyone else’s standards, but perhaps not by their own.

Established acts like Kylie Minogue, Jason Donovan, Sonia and Big Fun gave SAW a healthy chart presence, but other worthy releases by new acts fared less well. So, no doubt hopes were high when SAW teamed up with the legendary Errol Brown at the end of 1990 for a Christmas single.

Brown rose to prominence as lead singer (and co-writer) of Hot Chocolate, the hugely successful 1970s and 1980s pop soul band, scoring hits with You Sexy Thing, So You Win Again and It Started With A Kiss. The band, originally produced by hitmaker Mickie Most, enjoyed a successful career into the mid-1980s.

Post Hot Chocolate, Brown commenced a solo career with WEA Records, scoring hits in 1987 with singles Personal Touch (produced by Tony Swain & Steve Jolley), and Body Rocking (produced by Richard James Burgess). However, his 1989 debut solo album That’s How Love Is and its accompanying single Love Goes Up and Down (produced by Paul Staveley O’Duffy) fared less well, and Brown parted ways with his record label.

By the time 1990 came around, it would seem that Brown had written Send A Prayer (To Heaven) and was on the lookout for a deal to issue the track with him as performer. Clearly, he landed at PWL Records, and given that no further collaborations between Brown and SAW were issued, it would appear this was a one-single deal.

Send A Prayer (To Heaven) was a diversion from Brown’s recognised style, musically and lyrically. His work with Hot Chocolate, not to mention his solo recordings, were predominantly soul and dance orientated, albeit very much in a pop vein. However, Send A Prayer (To Heaven) was very much a traditional MOR ballad, possibly leaning more towards a Cliff Richard-style Christmas hit than the funkier fare Brown was better known for. If anything, Brown’s songwriting (combined with SAW’s production) created a festive track that Cliff would have coveted for himself (although Cliff had no complaints in 1990, given that he got the Christmas number one with Saviour’s Day).

It appears that Brown was a man of faith, and this is clearly demonstrated in the song’s lyrics. Brown's lyrics are even more overtly religious than those of Saviour’s Day, with lines such as “Send a prayer to heaven and let heaven show its way” and “Send it to Heaven so His miracle we can reveal”. However, this does not detract from the wider message of Brown’s song, which asks us to look around us and see the injustice many people face. “For all those people still hungry on this day / All those people suffering their lives away” is the powerful opening line, whilst the second verse carries “For those on this day still in captivity / For the many others still fighting to be free”. Whilst the title may not sound very seasonal, the song carries repeated references to Christmas (and perhaps the absence of Christmas in the song title led people to regard this solely as a religious song).

Brown’s performance is faultless, and, perhaps given he wrote the song, one really feels that he believes every word he sings on this track. Brown is well complemented by fine backing vocals from Mae McKenna, Miriam Stockley and Mike Stock, with Lloyd Aaron also providing vocals on this release.

The arrangement is lovely; never did Stock Aitken Waterman sound so festive. Opening with mournful resonant synth pads, the track slowly builds up, adding subtle percussion, piano and strings. A dramatic middle eight is accompanied with dramatic sweeping strings and thumping timpani, then we reach a dramatic climax, where SAW throw in everything and the kitchen sink with jubilant chimes, soaring backing vocals. The track carries an extended coda, with harps, strings and a lovely bit of jazz organ.

Aside from Pete Hammond’s neat 7” mix, there was an extended version, The Full Monte Mix, which deviates from the standard SAW 12” template. There is no extended introduction with the various instrumentation building up; this mix instead opens with the single mix, with the extended material being located in the middle of the mix. This features an impressive orchestral interlude, created electronically by Stock and Aitken along with Ian Curnow, who is credited with providing additional keyboards. Curnow was (and is) a talented programmer and musician with a real knack for orchestral elements, and his involvement is no surprise. The Full Monte Mix is actually credited to Pete Hammond, Phil Harding and Ian Curnow; such crediting of multiple mix engineers would occur when two different mixes were combined into one, and one assumes that happened here.

The B-side carried a second original Christmas track, Family Christmas Time, which was a co-write between Brown and SAW. Arrangement wise, this is a rather more jolly affair, based around woodwind and piano; this deviation from the standard SAW sonic template again shows the diversity of its producers. The lyrics show Brown in contemplative mood, contrasting this happy Christmas with unhappier ones of years gone by. The lyrics appear to reflect Brown's own experiences of Christmas; at the time of release, a short item in Smash Hits saw Brown explain that he lost his parents at a young age and used to feel lonely at Christmas but that this changed when he married and had children. Mixed by Dave Ford, this track came in both 7” and extended versions.

The single was issued on 7”, 12”, cassette single and CD single (with the CD disc itself erroneously crediting the B-side as Family Christmas Tree!).

Radio 1’s Simon Bates gave the track its first radio play, saying that Pete Waterman had phoned to say he “had the Christmas number one”. Bates acknowledged that the track did indeed have the hallmarks of a Christmas hit, but as it was, Send A Prayer (To Heaven) could only make #83 on the UK Singles Chart.

There could be a number of reasons for this; it didn’t appear to get much radio play, there wasn’t much in the way of press promotion, and crucially, there doesn’t appear to have been a video to accompany the track. There is also an argument to say that the charts had moved towards dance and indie by the time this track came out; however, Cliff Richard managed to get the Christmas number one that year with Saviour’s Day, so there was clearly still a market for this kind of Christmas ballad. Which must have been galling for both Brown and SAW as Send A Prayer (To Heaven) was arguably a better song and production, coming across as a more genuine, heartfelt effort than Saviour’s Day.

Whether or not this chart placing boils down to the track not resonating with the public, it has to be said that SAW had experienced mixed fortunes in 1990 and the market had started to move away from them. As a result, their productions were receiving less coverage and airplay, so it may be that not enough people got to hear it.

A shame, as this is a well written, performed and produced Christmas track which, in other circumstances, would have become a staple of Yuletide playlists by now. The overt religious tone of the lyrics may not be to everyone’s taste but many would agree with their sentiment.

The track is available digitally as part of a single bundle which contains various mixes, instrumentals and backing tracks of both Send A Prayer (To Heaven) and Family Christmas Time.

For a long time, it appeared that this would be the last Christmas single from Mike, Matt and Pete, as Matt Aitken would leave the team partway through 1991, followed by Mike Stock’s departure in 1993. But the three producers would unexpectedly reunite in 2015 to provide a further Christmas track for one of their most famous artists…

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)

7 Days of SAWmas! #2: Especially For You – Kylie Minogue and 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 8 blogposts during December as we take a look back at some seasonal gems…

On the second day of SAWmas, the DJ played to me…

Especially For You – Kylie Minogue and Jason Donovan

If Mike Stock, Pete Waterman and others around the SAW operation at the time are to be believed, then the trio’s second attempt at a Christmas number one was unplanned and mounted at the last minute.

1988 had seen the huge success of Neighbours actress Kylie Minogue’s debut album and its string of hit singles, making her a superstar and turning Stock Aitken Waterman into household names. Her fellow Neighbours actor Jason Donovan had also teamed up with SAW towards the end of the year, and had enjoyed a hit with his debut single Nothing Can Divide Us.

As Kylie and Jason’s Neighbours characters were boyfriend and girlfriend, there was much speculation as to whether the pair were an item in real life. Whilst it later turned out they were in-fact dating, this speculation was denied at the time, but did not dampen the public’s romantic hopes of them being in love.

With both parties having launched pop careers, the speculation switched to whether or not Kylie and Jason would release a duet for Christmas. Waterman, in his autobiography I Wish I Was Me, remembers that he was constantly approached by teenagers asking when the Kylie and Jason song would be coming out.

Stock, in his memoir The Hit Factory: The Stock Aitken Waterman Story, adds that there were growing calls for a Kylie and Jason duet, and that SAW initially resisted these, but changed their minds when Woolworths apparently tried to place an advance order for 400,000 copies of the mythical duet!

PWL’s marketing manager Tilly Rutherford came up with the title, and as the main songwriter of the trio, Stock set to work on the composition. The only problem was that both Kylie and Jason had returned to Australia, so SAW recorded a demo version of the track (a short clip can be found below), with Mae McKenna performing the Kylie parts and Stock singing the Jason parts.

It fell to Aitken and Waterman to fly out to Sydney to record Kylie and Jason’s vocals, with the full track being completed upon their return.

Given how successful the track was, it seems surprising to discover that there were some misgivings about the track once the initial mixes came in. Waterman states that he hated the initial version, suggesting that it lacked passion, and added that Stock also disliked it.

In an interview with Paul Smith, Waterman states that the problem with the initial version was that SAW had “tried to make it Peaches and Herb but it didn’t work”. (Note: Peaches and Herb were a 70s soul duo, who recorded Reunited, a ballad about a couple getting back together, as is the case with Especially for You).

Waterman goes on to say that Stock carried out a further remix, but “it still wasn’t wonderful, so I thought I’d have a go. Somehow it all came together at the last moment…”

This is a great story delivered with typical Waterman bonhomie, but a glance at the record sleeve will tell you that it was in fact Pete Hammond who was responsible for the final mix.

In his memoir Get Down Here Quick And Mix Yourself A Hit!, Hammond states that several mixes had been done by various engineers, but PW rejected them all on the basis that the track “just didn’t feel right” and eventually got Hammond to do it.

Hammond comments that he called up the master to prepare his mix, and was of the opinion that there was a drum timing problem. He fixed this and changed the kick sound, but apparently the main change he made was to the intro. The original mix opened with a two-part drum hit, followed by Kylie’s first line. Hammond took some backing harmonies from the bridge (performed by Mae McKenna, Miriam Stockley and Mike Stock), and put them right at the start of the song, creating that evocative opening.

One of those early mixes has been released (see below); this particular mix fades in with a drawn out synth pad before the two-part drum hit, and straightaway it’s clear that Hammond’s clever cut and paste creates an impact the early mix perhaps lacks. In addition, the drum track lacks the punch of the final mix, whilst the synth pads of the early mix are swapped for some nice guitar work in the final version.

All that said, it is clear that the final version has other instrumentation the earlier version lacked, so it appears that Stock and Aitken did some overdub work prior to Hammond’s final mix, which may be the 4 hour mixing session Waterman refers to.

If I’m totally honest, I wasn’t crazy about the record at the time (I think I felt it a bit slushy when in fact many SAW ballads have a bit of an edge to them) but listening to that final version now, there is much to appreciate about both song and the record. The backing vocals bring real warmth, as do the strings and the Spanish guitar solo, creating a lighter-than-usual backing for the main vocals. Kylie probably sounds the most comfortable here; whilst Jason’s voice would improve considerably with each release, he was still new to recording at this time. That said, his voice is pleasant here and does not detract from proceedings. Lyrically, it’s great to have a SAW song about two former lovers reuniting (rather than splitting up, or worse, not getting together at all!), whilst the fluid melody of the verses sells the tentative nature of these two lovers getting back together. The chorus is joyous and memorable, and both vocalists sound great here.

The B-side carried another Kylie and Jason duet, All I Wanna Do Is Make You Mine, which is a fun, upbeat number with Grease leanings. I probably preferred this at the time, with its clattering drums, rumbling bass, chugging guitars and horn blasts really selling the catchy melody, most notably its wonderful bridge.

As it was, Especially For You was issued in time for Christmas, but, just like the 1987 battle for Christmas number one, SAW were thwarted by EMI Records, as Cliff Richard’s Mistletoe and Wine claimed the Yuletide number one. Whilst widely derided, it is clear that Cliff’s tribute to a traditional British Christmas appealed to a large section of the record buying public. It wasn’t all bad news for Kylie, Jason and SAW, as Especially For You was the first number one single of 1989, selling just short of a million copies.

And as 1989 would prove to be SAW’s most commercially successful year, they would go on to have two records vying for the Christmas number one that year. However, it turns out that there would be a third Christmas track from SAW that would go unreleased for over 20 years…

You've Got A Friend: looking back at the 1990 Big Fun & Sonia charity single for Childline

October 2016 sees the 30th anniversary of Childline, a UK support service which helps vulnerable children and young people. For much of its history, Childline has been a telephone based service but this September, Childline (with the help of Barclays Bank) is launching an iPhone and Android app called For Me, which will allow children and young people to seek help via their phones and tablets.

To coincide with the launch of the For Me app, Childline asked Mike Stock to write and produce a record to help promote the app and support the charities involved.

This record -- which I'll come to later -- is released on Friday 9 September 2016, but as SAW fans know, this is not the first record Mike Stock has made in support of Childline.

The Childline service had been set up in 1986 by BBC TV presenter Esther Rantzen and BBC producers Sarah Caplin and Ritchie Cogan on the back of Childwatch, a programme they had produced about child abuse. Childline offered -- and still offers -- a 24/7 telephone counselling service for children and young people up to the age of 19, offering support for a wide range of issues.

Childline would eventually be incorporated into the NSPCC in 2006, but the service had been funded for its first three years by benefactor Ian Skipper. By 1990, funding was a real issue for Childline; the service was getting more calls than it was able to handle, meaning that there were children and young people unable to access the help they needed. Its founder, TV presenter Esther Rantzen, was appealing for funding on TV and in the press, and was also looking at other funding opportunities.

Back in early 1990, SAW were still riding high after dominating the charts the previous (and most commercially successful) year. Whilst there were signs that the market would start to move away from them later in the year, they and their acts were still enjoying great success. Two such acts were male trio Big Fun -- who had enjoyed three big hit singles so far -- and solo singer Sonia, who had followed up her debut number one single, You'll Never Stop Me Loving You, with three further hits.

Both acts were on the bill at a Childline Big Day Out charity event at the Alton Towers theme park in early 1990, and as Big Fun member Phil Creswick states in his notes for the 2010 reissue of the Big Fun A Pocketful of Dreams album, Rantzen asked Big Fun and Sonia if they would record a charity single to raise funds for the charity. Both acts liked this idea, and Big Fun's manager Bill Grainger put the idea to Pete Waterman.

By this time, SAW already had produced a number of charity records, including Let It Be (in aid of the 1987 Zeebrugge Ferry disaster), Ferry 'Cross The Mersey (in aid of the 1989 Hillsborough football tragedy) and most recently, a new version of Band Aid's Do They Know It's Christmas. Therefore, it was almost a given that SAW would agree to support Childline in this way.

A SAW produced version of the 1971 Carole King classic, You've Got A Friend, was recorded, but, for some unknown reason, it was decided that this cover version would not be released. Instead, a new composition with the same name was written by SAW. It is assumed that, given the speed surrounding most of the SAW charity singles, the artwork for the single had been produced before the decision was made not to proceed with the cover version, which would have forced the new composition to carry the same name.

The Carole King cover version remained unreleased until 2010, when it was issued as an extra track on the re-issued Big Fun album (although a short snippet had been available a few years before on the PWL website). Listening to it now, it is a solid version in what many would consider typical SAW style for the time; driven by some pleasingly chunky house piano, backed by swirling synth pads and a funky bassline, it's a fizzy and endearing version of the song. There's no question that this version would have been a hit, so it is difficult to work out why it was ditched in favour of a new composition.

That said, I do think the better track was issued as the single. While the Carole King cover was very much in the vein of early 1990 SAW, the mid-tempo SAW composition is refreshingly different -- and actually, in a different class.

The first thing that grabs you, after some jazz piano and the tight drumming kicks in, is the gorgeous saxophone riff, courtesy of occasional SAW collaborator Gary Barnacle. Barnacle was a very prominent session musician at the time, and this is certainly reflected by his credit on the cover (although it is fair to assume that, given the track's charitable status, this was offered in return for an unpaid contribution). The use of "real" instruments -- whether it be brass, strings or guitar -- was always a welcome addition to SAW records, and actually occurred more often than people think, even if you have to sometimes listen very closely due to their placing in the mix. Here though, Barnacle's sax is right out front, and really embellishes what was an already classy production.

The SAW composed You've Got A Friend is Mike, Matt and Pete in their jazzy soul mood. Underpinning the sax riff is a solid rhythm track -- more laidback than usual but energetic all the same -- whilst the aforementioned jazz piano combines with some neat rhythm guitar, warm synth pads, steady bass and sustained strings. Adding to proceedings are the lovely backing vocals from Mae McKenna, Linda Taylor and Mike Stock, which as usual bring real warmth to the track.

Vocally, it is Sonia who takes the lead, handling the second and third verses solo with typical finesse, with Big Fun's lead vocalist Mark Gillespie handling the first verse. The chorus, as one would expect, is sung by all four performers, and here, the combination of voices works well. That said, I think I'd have preferred it to have been a solo track for Sonia rather than a joint effort with Big Fun. It's almost churlish to suggest this -- given the goodwill shown by the participants for a deserving cause -- but for me, the Big Fun vocals detract a little from the overall effect of this track -- Gillespie's falsetto is very unique, but there is something about its tone which I sometimes find it difficult to warm to.

Lyrically, the track posits as a message to the listener from a friend and/or a lover, offering their support in bad times -- but of course, the lyrics can also relate to the help offered by Childline to those children and young people who are feeling vulnerable and in need of help. This is a "multiple meaning" lyrical trick which SAW used a number of times to great success, and indeed, one which Stock and his co-writer Johan Kalel have used on the Chloe Rose Childline-supporting track.

The whole affair adds up to a more mature sound for SAW compared to much of their output at the time -- and one wonders if this had any impact on its ultimate chart position. Certainly, a peak of #14 is completely respectable (and probably in line with both acts' chart performance in 1990), but given that the charity records helmed by SAW in previous years were much more successful, there must have been some slight disappointment at this chart position.

For me, the problem was this: the SAW composed You've Got A Friend is a classy, mature track that would have appealed to an older audience who would not be seen dead buying a record performed by Big Fun and Sonia (or indeed, produced by SAW). And I suppose the flipside of this is that the teenage audience who predominantly bought records by Big Fun, Sonia and SAW may have considered You've Got A Friend as too mature for them.

That said, I still consider this a fine record, immaculately arranged, mixed and produced. Somewhat underrated in the SAW canon, it's yet another stylistic departure for SAW and one wonders if it would be better remembered had it been performed by a SAW performer such as Sybil or Lonnie Gordon. I would direct you to seek out the extended instrumental, which really showcases the terrific playing by Stock, Aitken and indeed Barnacle -- it's a lovely, smooth listen.

Released in June 1990, the track came in four mixes: the 7" mix, the extended mix, the 7" instrumental and the extended instrumental -- all mixed by Pete Hammond. The 7" mix can be found (as can the previously unreleased Carole King cover) on the 2010 Cherry Red Special Edition of the Big Fun album A Pocketful of Dreams, whilst the other three mixes are currently out of print -- though one hopes for a digital release at some point.

It is worth noting that You've Got A Friend was the penultimate PWL single for its performers: Big Fun would release a SAW produced cover of the Eddie Holman track Hey There Lonely Girl in July 1990, but it's #62 chart position would see it as their final release on Jive Records. Sonia's SAW-produced cover of the Skeeter Davis track End Of The World performed better with a #18 peak in August 1990, but alleged business disagreements would see Sonia leave PWL & Chrysalis Records for a fairly successful run of singles with Simon Cowell's IQ Records.

Whatever your view of the track, You've Got A Friend raised much needed funds for the Childline support service and was therefore a worthy effort by all concerned. And 26 years on, Mike Stock is helping Childline once more, having written and produced a new charity single to support this much-needed service. The track -- For Me -- is the debut single for new pop singer Chloe Rose, and is an upbeat, contemporary pop song which carries the Childline message across in a very clever way. I've covered the track in more detail here. All proceeds go to support Childline, the NSPCC and the Wayne Rooney Foundation, so I would urge you to buy the track as not only is it for a great cause, it's also a terrific melodic pop song --  and we don't get enough of those these days.

You can buy For Me by clicking on the image below:

References:

Phil Creswick & Tom Parker - sleevenotes to A Pocketful of Dreams 2010 re-issue (Cherry Red)
Childline - Wikipedia page

KCM Hotshot #1: Always Doesn't Mean Forever - Hazell Dean

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

I'm Mandy - Buy Me! Why couldn't Stock Aitken Waterman break Mandy Smith in the UK?

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.

Despite Burns' reference to Brigitte Bardot, one cannot help but note a parallel between Smith and the youthful Marianne Faithfull. Both dated Rolling Stone members (Faithfull was in a relationship with Mick Jagger), both were blonde ingénues and I Just Can't Wait could be seen as the antecedent of Faithfull's debut record As Tears Go By. Although As Tears Go By was lyrically a story of heartbreak as opposed to I Just Can't Wait's optimistic and defiant lyrics, both records share a downbeat, melancholic sound.

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.

Welcome to Kean Canter Mattowski!

Many years ago, I ran a website about Stock Aitken Waterman called Kean Canter Mattowski. And now, it's back!

This is a place where I will write about varying aspects of Stock Aitken Waterman, as well as PWL personnel such as Phil Harding, Pete Hammond and many others.

And in case you're wondering, Kean Canter Mattowski is an anagram of Stock Aitken Waterman (which they used as a pseudonym on their 1990 dance track, Ole Ole Ole by L.A. Mood).

Thanks for checking in!