Stock, Aitken &... Brazilian?? When Mike, Matt & Pete went bossa nova in 1986!

1986 was an interesting year for Stock Aitken Waterman. The writing and production team had only been together for two years, but had already achieved significant success with their early work for acts such as Divine, Hazell Dean, Dead Or Alive and Princess. 1986 would see the team experiment with a number of different styles and genres, before finding a niche in the dance-pop style that would take them into the stratosphere, and some of their most interesting records were made during this period.

Perhaps the most surprising releases during this phase was a delightful trio of singles which saw the triumvirate tackle a bit of Brazilian bossa nova & latin jazz.

First up was Mondo Kane -- which appears to have been Stock Aitken Waterman undercover as a studio band, albeit fronted by the team's regular backing singers Dee Lewis and Coral Gordon -- and their debut single, New York Afternoon.

New York Afternoon was written by US jazz saxophonist Richie Cole, who originally recorded it in 1977 with Eddie Jefferson on vocals. This original version has a very traditional jazz feel, with an arrangement led by piano, bass, and of course, saxophone. As the title suggests, the song relates the lazy Sunday afternoon enjoyed by two lovers as they wander through New York in June, making memories that "We'll remember / When skies are grey and snow's fallin' in December / That was a New York afternoon". It's a very accessible, well-performed track, benefiting from Jefferson's rich voice -- and scatting!

Whilst the Mondo Kane take on New York Afternoon would retain the jazz influence of the original, Stock Aitken Waterman introduced a bossa nova element -- resulting in a sound tipping its hat to artists such as Herb Alpert and Sergio Mendes. Indeed, Mike Stock has commented that the Sergio Mendes & Brasil '88 version of Waters of March (from the 1978 album Brasil '88) was an influence on the Mondo Kane sound. It's an inspired decision, as the Mondo Kane version of New York Afternoon is simply joyous.

Opening with a chirping bird flute riff (which would recur throughout the track), the track is carried along with some fine nylon guitar, sharp bass and high-hat, bass drum and cross-stick percussion. The Jefferson role on the Mondo Kane version was taken by guest vocalist Georgie Fame, the legendary jazz / R&B singer, and his mellifluous vocals brings an extra dimension to proceedings, although Lewis and Gordon are less prominent as a result. The track also includes a terrific saxophone solo (alas uncredited); the addition of real brass always lifted a Stock Aitken Waterman track, as it does here.

Mondo Kane - New York Afternoon: Extended Version

In addition to the main 7" mix, there was an Extended Version (which really highlights the fine playing by Mike Stock, Matt Aitken and then-regular keyboard player Andy Stennett), the Nip On mix (which omits Fame's lead vocal, allowing Lewis and Gordon their moment in the sun), and the Little Samba Mix (which appears to be a re-edit of the 7" mix). The B-side was an original Stock Aitken Waterman instrumental composition, Manhattan Morning, which is the vein of the A-side, but with a more modernistic arrangement -- a pleasant listen all the same. Phil Harding was on mixing duties for all the above.

The single was released on Lisson Records, a label run by music industry legend and PWL A&R Tilly Rutherford, but despite some fair promotion, the record peaked at #70 in the charts. A word for the sleeve, which takes the look of a 1940s film poster. Announcing "A Fiesta of Music", it lists the song title and performers in a billboard style, with prominent credit for the producers -- indeed, in line with the film poster theme, the front cover carries a "Produced and Directed by Stock Aitken Waterman" statement. The rear of the sleeve, unusually, carries a detailed description of the recording techniques and facilities of PWL Studios!

The sleeve also carries a credit for soul DJ (and Georgie Fame fan) Chris Hill as A&R Co-Ordinator, which would suggest that he was responsible for Fame's involvement and would indeed play a significant role in the second of the three tracks we're looking at.

Our second track is Samba (Toda Menina Baiana) by Georgie Fame. A cover of the 1979 Gilberto Gil track Toda Menina Baiana (retitled Samba for this release, although the original title was used as a subtitle) with English lyrics by Fame, the song title translates as "Every Bahian Girl", referring to the Bahia state of Brazil. The song itself discusses the good and bad qualities of the "Bahian girl", indicating that this duality is God's will.

Samba saw Mike, Matt and Pete develop the bossa nova sound further; if anything, it leaned even further towards the Brazilian elements found in the Gil original. Ambling along with classic bossa nova percussion, nifty bass and flute, the low-key arrangement allows Fame's voice to take centre stage. Fame is at ease with both his English lyrics and the original Brazilian Portuguese lyrics, and his light scatting during the chorus is nicely done. Lifted by the bright backing vocals, handclaps and lovely trumpet, it's a delightfully uplifting track with a real summer feel -- and it's almost a shame that this was released late Autumn/early Winter.

Georgie Fame - Samba: Toda Menina Baiana Mix

Alongside the main 7" mix, there was the Toda Menina Baiana Mix (which is a straight extended version) and a further 12" remix, Ipanema Beach Party Mix (which interpolates elements of Fame's Yeh Yeh, and Astrud Gilberto's Girl From Ipanema amongst others). The 7" and 12" mixes were by Pete Hammond, with the Ipanema Beach Party Mix by Phil Harding.

The single was released on Ensign Records (a subsidiary of Chrysalis Records); Chris Hill was A&R at Ensign, and was credited as Executive Producer. One account has it that Samba was apparently especially recorded by Fame & Stock Aitken Waterman for a soul weekender in South Wales, but either way, the concept is credited to Hill on the sleeve. Unfortunately, the single stalled at #81, but it's another interesting diversion from what is regarded as the typical Stock Aitken Waterman sound -- and well worth checking out.

The final record of the three bossa nova tracks is the second (and sadly last) Mondo Kane single, which was released in late 1986. An Everlasting Love (In An Ever-Changing World) (The Doop De Do Song) was an original Stock Aitken Waterman composition, again performed by Lewis and Gordon but sans Fame this time.

An Everlasting Love (In An Ever-Changing World) (The Doop De Do Song) carried the sonic hallmarks of its predecessor -- nylon guitar, latin percussion -- but introduced some different elements such as synth pads, drum fills and electric piano. This broadened the sound but without losing the bossa nova basis. Lewis and Gordon's vocals are lovely, switching between the breathless delivery of the verses and the buoyant singalong of the catchy "do-do do do do do do do-do do do do do do" chorus refrain. There's definitely more of a pop vibe to this track but that's no bad thing; it still benefits from a shimmering latin jazz sound and is a charming listen.

Mondo Kane - An Everlasting Love (In An Ever-Changing World) (The Doop De Do Song): A Foggy Day In London Town Mix

This release only had three mixes: the Radio Edit, A Foggy Day In London Town Mix (both mixed by Pete Hammond) and an Instrumental version (mixed by Phil Harding).

As before, the single was released by Lisson Records, with pretty much the same front sleeve (albeit with different colours and text). The rear sleeve again carried the technical blurb about PWL Studios -- which incidentally ends with "As PW (Pete Waterman) always says, "always remember you can't hum a bass drum"!! Unfortunately, this single fared less well than even New York Afternoon and Samba, and appears not to have made the Top 100.

Stock Aitken Waterman's intriguing experiment into bossa nova and latin jazz largely came to an end with the final Mondo Kane single release. One factor must surely be the failure of these three singles to reach the Top 40 but it should also be considered that by the end of 1986, Stock Aitken Waterman had had hit singles with Bananarama's Venus and Mel & Kim's Showing Out (Get Fresh At The Weekend) -- these successes would suggest that Stock Aitken Waterman had found the new sound they had been looking for, and this would indeed be the case. As a result, there was perhaps less of a need to explore the sound adopted by the Mondo Kane and Georgie Fame singles. Whilst Stock Aitken Waterman would not return to this genre wholesale, they would include latin jazz elements in subsequent tracks, such as The Cool & Breezy Jazz Mix of Mandy Smith's I Just Can't Wait, and the Jazz Mix of Erik's The Devil and The Deep Blue Sea.

Whilst the influence of Sergio Mendes has been cited, it should also be noted that acts like Matt Bianco and Working Week had enjoyed some success with a latin jazz / bossa nova sound in that mid-1980s period. However, the interest in these acts chartwise was waning at the point these three Stock Aitken Waterman productions were issued (though it is fair to say that Matt Bianco went on to sustain a good level of global success and continue still to this day). Indeed, the Mondo Kane records are unfairly classed by some commentators as Matt Bianco rip-offs, which is simply a lazy comparison. If anything, the three tracks covered here all benefit from Stock Aitken Waterman merging their pop sensibilities with this jazz-funk genre, resulting in contemporary records which make a respectful nod to traditional styles.

All three tracks remain interesting examples of the versatility of Stock Aitken Waterman as producers, and demonstrate that they were capable of much more than their trademark style suggests. Best listened to if you fancy groovin' on a New York Afternoon, or indeed, on a Manhattan Morning...

Beyond Belief: Why wasn't Lonnie Gordon's brilliant ballad a massive hit?

Everyone knows Stock Aitken Waterman (SAW) as hit-making writers and producers, but as many fans know, there are a number of singles in their back catalogue which were not big hits. Some of these lower-charting tracks are among the most interesting and admired tracks Mike, Matt and Pete were involved in, and as such, deserved better recognition and success than they achieved.

One example of this is Beyond Your Wildest Dreams by Lonnie Gordon, one of the best songs SAW ever wrote, and one of the best records they ever made.

It was the follow-up to the smash-hit Happenin' All Over Again; it had a real laidback, jazz-soul sound that suited the summer of 1990; and simply oozed class.

Yet this astonishing ballad peaked at #48 on the UK Singles Chart.

It is arguable that, out of all the lesser-known SAW singles, this is the one that really deserved to do better. Sure, it's downtempo, but this ain't no drippy, over-produced ballad; this is grown-up, honest stuff.

A story of a woman trying to get her partner to put the hurt of past loves behind them and let her into their life, the song is at turns brooding and plaintive, both compassionate and passionate. Lyrically, this is emotionally mature material which really resonates. The end of the first verse -- "The past / hurt your pride / and you're always looking back" -- provides a neat coupling with the first bridge "But the future / ain't what you believe", whilst the middle eight lyrics -- "I've been hurt / and on my bended knee / You've experienced / the same as me" -- possess a real poignancy, showing empathy with the other party. Some detractors of SAW state that all their songs sound the same -- a nonsense disproven by this track especially -- but this is not a song which many other Hit Factory artists could have pulled off the way Gordon does here.

Notably, the record does not sound anything like the perceived idea of a typical SAW production. Carried along by a delicate percussion track, laidback jazz piano and female backing vocals, the track is given space to breathe, allowing Gordon's vocals their moment to shine. She is an amazing vocalist who doesn't always get the credit she deserves, and this is surely one of her best performances. Mike Stock and Matt Aitken's musicianship is well demonstrated here; the piano work is delightful, and Matt Aitken's guitar work deserves special mention. His guitar playing, perhaps lost a little in the 7" mix, is the highlight of the main extended version, and is reminiscent of his rightly-lauded work on The Cool & Breezy Jazz Mix of Mandy Smith's I Just Can't Wait.

The song -- and Gordon's breathtaking performance -- builds slowly and steadily, until we get a release of emotion with the middle eight -- after which we get to the nub of the matter and Gordon lays her heart bare. The middle eight is a thing of beauty, lyrically (as mentioned above) and melodically, but the emotion Gordon brings to her delivery makes it all the more touching.

Often, it is the bridge which is the most striking and unique element of many SAW songs, but is often overlooked due to the killer choruses the team crafted. If anything, the bridge in Beyond Your Wildest Dreams is arguably the real hook of the song, the signature of SAW in a song which doesn't immediately sound like one of theirs. The song carries three variations of the bridge, with the first two building up to the third and final iteration, which Gordon almost spits out "If only you won't / hold back / stop fighting / me please...".

It's a remarkable song and a brilliantly crafted record, which poses the question... why wasn't it a bigger hit?

There are a number of possible explanations. The first is that switching Gordon from dance to ballad maybe came too quickly. Happenin' All Over Again was a proper belter and seemingly set Gordon up as a dance diva; perhaps the follow-up track should have also been an upbeat dance track, so that Gordon was more established before going for a ballad. And yet, that appears to have been the original intention. The follow-up to Happenin' All Over Again was originally How Could He Do This To Me?, another upbeat (and lyrically strong) track, but the story goes that Supreme Records decided to release Beyond Your Wildest Dreams instead.

It is worth considering that 1990 saw Stock Aitken Waterman looking for a "harder" sound to take them into the new decade, and it is believed that three records in particular formed part of this experiment. Sonia's Counting Every Minute was one, as was Big Fun's Handful of Promises -- and Happenin' All Over Again. It could be that there was a view that Beyond Your Wildest Dreams was again a new take on the SAW sound, and that may have led to the enthusiasm for that to be the follow-up. Conjecture on my part perhaps, but one can perhaps understand how the record company would have been seduced by the sophisticated sound of this track.

The second possible reason could have been the six month gap between the release of Happenin' All Over Again and Beyond Your Wildest Dreams; in hindsight, perhaps this gap should have been smaller in order to capitalise on the success of Happenin' All Over Again and establish Gordon in the eyes (and ears!) of the record buying public. (It has been suggested that Gordon's record label, Supreme Records, was struggling at this time; indeed, it would later fold. This may be a contributing factor).

Another reason could be the beginning of a change in SAW's fortunes. They were still riding high at the start of 1990, but by the time Beyond Your Wildest Dreams was released in July 1990, some commentators were suggesting the SAW bubble had burst. This was mainly instigated by the failure of Jason Donovan's Another Night to reach the top ten in June 1990, stalling at #18 (although the follow-up Rhythm of the Rain would reach #9 in August 1990). The music scene was undergoing big changes at this time and it is fair to say that as 1990 progressed, SAW were not enjoying the same level of success as in previous years, but I would argue that it wasn't so much that the public was tired of the SAW sound -- it was more that the media had moved away to the new styles of music, therefore SAW material was not getting the same level as coverage as in previous years. Certainly Beyond Your Wildest Dreams does not appear to have enjoyed the same level of promotion achieved by Happenin' All Over Again.

The final possible reason is one which could apply to many records which do not become big hits: perhaps people just didn't like the record enough to go out and buy it in droves. In fairness, I find it difficult to understand why many of the SAW "flops" didn't break through, but I do feel that Beyond Your Wildest Dreams deserved to be a bigger hit. That said, Stock & Waterman re-recorded the track with Sybil for a 1993 release and that stalled frustratingly at #41, despite a strong production and an amazing performance by Sybil. I recall that version getting airplay -- on local radio at least -- but again the song didn't seem to take off.

Some fans jokingly refer to "The Curse of Beyond Your Wildest Dreams", as not only did the Lonnie Gordon and Sybil versions miss out on a Top 40 chart placing, but a third version was recorded by Nancy Davis in 1992. Davis was a waitress who won a karaoke contest run by women's magazine more!, which included Stock & Waterman as judges; this led to her releasing two singles through PWL Records -- a Stock & Waterman original If You Belonged To Me and a cover of the Jackie Wilson classic Higher and Higher. Unfortunately, neither track was a big hit and there were no further releases from Davis --  although it appears she recorded other tracks with Stock & Waterman, including the cover of Beyond Your Wildest Dreams. Davis had a soulful and very engaging singing voice -- if perhaps not as powerful as Lonnie and Sybil -- but judging by the clip of her version which appeared on the PWL Empire website, she performed the song with real emotion.

For me though, Beyond Your Wildest Dreams is one of the very best Stock Aitken Waterman songs; it's mature, heartfelt and very accomplished. It's almost criminal that this song has not yet had a second life. Here's hoping that it is a song whose time is yet to come; after all, sometimes the wildest of dreams can come true...

Lonnie Gordon - Beyond Your Wildest Dreams
Written and produced by Stock Aitken Waterman
Supreme Records  SUPE 167 / #48, 1990

Extended Version: mixed by Dave Ford

80s UK Christmas Singles #9: Jason Donovan - When You Come Back To Me

Today's 80s UK Christmas Singles post is "Jason And His Amazing Stock Aitken Waterman Christmas Single!"

Jason Donovan - When You Come Back To Me
Former star of Australian TV soap opera Neighbours, Jason Donovan had made quite an impact on the music scene in 1989, which is in no small part due to the continued success of the writing and production team of Mike Stock, Matt Aitken and Pete Waterman.  With When You Come Back To Me, the three producers clearly contrived to make a Christmas song without it actually referring to the season.  Whilst it features the usual Stock Aitken Waterman 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 and tubular bells sprinkled on top.  There's a nod to the time of year in the lyrics, with references to people having "armful(s) 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.  It’s a typically melodic song from the hit-making trio—it’s full of hooks and has a killer chorus—and is perhaps one of the best tracks they came up with for Donovan.  In addition to the main single release, a second 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, replacing them with choral backing vocals, tinkly bells and plucked strings.  Given both Donovan and Stock Aitken Waterman's huge success in 1989, this would have likely been a Christmas number one—had it not been for the rush-release of Band Aid II.

Written by: Mike Stock, Matt Aitken & Pete Waterman
Produced by: Mike Stock, Matt Aitken & Pete Waterman
PWL Records PWL 46 / #2

From my Kindle book "80s UK Christmas Singles" --  a bargain at 99p!

80s UK Christmas Singles #8: Chris Rea - Driving Home For Christmas

Today's 80s UK Christmas Singles post is a Rea-lly seasonal 1988 diatribe at the state of the roads in late December...

Chris Rea - Driving Home For Christmas 
Chris Rea's second attempt at a 1980s Christmas hit single was rather more successful than the previous year's Joys of Christmas, even though it was not a new song.  Rea states that the idea for Driving Home For Christmas came to him many years before he (wrote and) recorded it; apparently, his then girlfriend drove from Middlesbrough to London to pick Rea up and drive him back, as this method of travel was cheaper than the train.  It was this experience which is borne out in the lyrics; counterbalancing the frustration of Christmas motorway traffic with the anticipation of being reunited with family and friends.  Driven by a playful piano melody, underpinned by lush strings and carried along with light percussion, the jazz-tinged track makes for a wistful, easy listen.  Rea's trademark gravelly voice provides an interesting contrast with the lightness of the arrangement, suggesting that even a northerner can be softened by the prospect of the Yuletide season.  It is largely devoid of the usual sonic adornments that typify most Christmas tracks, although there is a smattering of sleigh bells midway through.  Driving Home for Christmas first emerged in 1986 as the B-side to the Hello Friend single, and it was two years until Rea and Magnet issued it as a lead track.  That said, this 1988 release of the Driving Home for Christmas EP was not as hugely successful as its later reputation would suggest, stalling at #53 that year.  However, the track found a second lease of life due to its use in advertising campaigns and the proliferation of Christmas compilation albums over the years.  The record has become a modern Christmas classic, and a staple of Yuletide airplay.  It is a perfectly judged seasonal piece, finding extra resonance these days thanks to the sheer insanity of Christmas motorway traffic.

Written by: Chris Rea
Produced by: Chris Rea & Jon Kelly
WEA Records YZ 325 / #53, 1988

From my Kindle book "80s UK Christmas Singles" --  a bargain at 99p!

80s UK Christmas Singles #7: Rick Astley - When I Fall In Love

Today's 80s UK Christmas Singles post is a "Not Really a Christmas song but..." entry, taking us back to 1987 when Pet Shop Boys and Nat King Cole ganged up against Rick Astley...

Rick Astley - When I Fall In Love
With a rich deep voice totally at odds with his youthful appearance, Rick Astley had exploded on to the music scene in 1987 with his smash hit debut solo single Never Gonna Give You Up.  Yet another successful act for the increasingly successful writing and production team Stock Aitken Waterman, Astley's boy-next-door looks and down-to-earth appeal led to a string of hits, including this faithful cover of the Nat King Cole classic When I Fall In Love.  Eschewing the synth-led dance sound of his earlier hits, Astley's cover was a sumptuous, string-laden affair, based on the original arrangement by Gordon Jenkins.  Whilst not a Christmas song per se, the warmth of the production and a video showing Astley wandering through the snow give the track a Christmassy feel.  Clearly designed to be the 1987 Christmas number one, it found itself in contention with another cover version, Pet Shop Boys' radical reworking of Always On My Mind.  However, EMI Records (via its Capitol imprint) re-issued the original Nat King Cole version—the back of the sleeve actually stated “This is the ORIGINAL ‘When I Fall In Love’”—which reached number 4 and took sales away from the almost-identical Astley cover, giving Pet Shop Boys—signed to EMI subsidiary label Parlophone—a clear run at the number one position.

Written by: Edward Heyman & Victor Young
Produced by: Mike Stock, Matt Aitken & Pete Waterman
RCA Records  PB 41683 / #2

From my Kindle book "80s UK Christmas Singles" --  a bargain at 99p!

80s UK Christmas Singles #6: Max Headroom - Merry Christmas Santa Claus (You're A Lovely Guy)

Max Headroom - Merry Christmas Santa Claus (You're A Lovely Guy)
Billed as the World's first computer generated TV host, Max Headroom was actually actor Matt Frewer behind complex prosthetic make-up and digitally-manipulated speech patterns.  Debuting in 1985 in TV movie Max Headroom: 20 Minutes Into The Future, the character went to host a Channel 4 music programme, and later featured in his own US TV drama series.  The character's popularity led to him featuring on a hit single with The Art of Noise, Paranoimia, in 1986, which no doubt led Chrysalis Records to release this solo Christmas single, in which Max urges the listener to send some Christmas love back to the selfless St Nick.  Written by the writers behind the Channel 4 show, it's quite a straight Christmas song lyrically, albeit with an irreverent edge.  In contrast with the technical wizardry behind the vocal locs from Max is a very seasonal arrangement courtesy of producer Keith Strachan, who would later play a prominent part in the 1988 Christmas number one.  Strachan throws the Christmas kitchen sink into the electric piano-led production, which features horns, bells and a choir, but manages to give the track room to breathe.  One of the better Christmas novelty tracks, and much more listenable than you might expect.

Written by: Paul Owen & David Hansen
Produced by: Keith Strachan
Chrysalis Records CLAUS 1 / Chart position unknown

From my Kindle book "80s UK Christmas Singles" --  a bargain at 99p!

80s UK Christmas Singles #5: Queen - Thank God It's Christmas

Thank God it's extract number 5 from 80s UK Christmas Singles, and today it's Queen!

Queen - Thank God It's Christmas
Rock band Queen are acknowledged as one of the world's biggest music acts, with the golden era of their career spanning over two decades.  Best known for their 1975 classic Bohemian Rhapsody, the band would actually gain a whole new lease of life thanks to their blistering performance at 1985's Live Aid concert, so this Christmas single catches them in the calm before the storm.  Written by drummer Roger Taylor and guitarist Brian May, Thank God It's Christmas combines the band's anthemic abilities with a tender seasonal element.  With an arrangement mainly reliant on echoing staccato percussion and synth pads, the song is brought to life by Freddie Mercury's soaring vocals—with a little help from sleigh bells!  The sparse arrangement is bolstered by the backing harmonies from the other band members, though John Deacon's bass and Brian May's guitar make their presence known as the track continues.  It does not contain much in the way of the usual Christmas single adornments, but its starkness holds a certain appeal for the wintry climes of the season.  There were actually two tracks in contention for the band's 1984 Christmas single; this single, which was of course the victor, and a Brian May composition, I Dream of Christmas—though May later reused the track as a 1987 single for his partner Anita Dobson.

Written by: Roger Taylor & Brian May
Produced by: Queen & Reinhold Mack
EMI Records QUEEN 5 / #21

From my Kindle book "80s UK Christmas Singles" --  a bargain at 99p!

80s UK Christmas Singles #4: The Pretenders - 2000 Miles

Today's 80s UK Christmas Single extract is a beautiful piece of melancholy from 1983...

The Pretenders - 2000 Miles
Led by charismatic frontwoman Chrissie Hynde, rock band The Pretenders have enjoyed critical and commercial success through their career, most notably with singles such as Brass In Pocket and Don't Get Me Wrong.  1983 saw the release of this Christmas song, although to call it such almost devalues its status, as this is actually a thoughtful, melancholic track. Ostensibly about a lover (and parent) pining for their lost love during Yuletide, it is believed that the song is actually about Pretenders guitarist James Honeyman-Scott who had passed away in 1982.  Carried along by a circling guitar riff, Hynde's husky vocals are plaintive here—the lament is obvious.  Common consensus has it that the 2000 miles mentioned in the title is a Biblical Nativity reference, but Hynde states that the title was inspired by Otis Redding's Thousand Miles Away.  Now firmly accepted as a Christmas standard, it is yet a further example of the variety of theme and narrative of the Christmas single, and most of all, a moving contemplation on love and loss.

Written by: Chrissie Hynde
Produced by: Chris Thomas
Real Records ARE 20 / #15

From my Kindle book "80s UK Christmas Singles" --  a bargain at 99p!

80s UK Christmas Singles #3: Dizzy Heights - Christmas Rapping

Today we cover the UK's first hip-hop record -- which, amazingly, was a Christmas song...

Dizzy Heights - Christmas Rapping
Former member of hip-hop act The Krew, Dizzy Heights combined the Yuletide season and rap to break new ground with Christmas Rapping, which is widely acknowledged as the first UK hip-hop single.  Initially credited to to Dizzy H, this is a very accessible rap track—interpolating elements of Jingle Bells—with Dizzy’s words underpinned with a robust electro backing.  The chorus refrain of “Christmas Rapping” is performed by female vocalists, followed by an unintentionally sinister-sounding Santa laugh from Dizzy.  The middle eight breakdown features a group chant of lines from Good King Wenceslas, Silent Night and Jingle Bells.  It’s an odd combination of elements which shouldn’t really work, but the end result is surprisingly credible.  Whilst the title is clearly an obvious pun, it is also notably a respectful nod to the 1979 Kurtis Blow US rap track Christmas Rappin’.  The track is held in high regard by the UK hip-hop fraternity, but is perhaps somewhat neglected when it comes to seasonal playlists and compilations.  A shame, as it’s a great Christmas track and a truly innovative record.

Written by: B. Beaton, T. Morris, L. Phillips & F. Morris
Produced by: T Morris, L Phillips & F Morris
Polydor Records  WRAP 1 / #49

From the Kindle book "80s UK Christmas Singles" --  a bargain at 99p!

80s UK Christmas Singles #2: Holly and the Ivys - Christmas on 45

Today's extract is the strange case of Pink Floyd's Dave Gilmour and his Christmas novelty record...

Holly and the Ivys - Christmas on 45
One would not associate the frontmen of Pink Floyd and The Dream Academy with a Yuletide take on Stars on 45, but that's precisely what David Gilmour and Nick Laird-Clowes did with Christmas on 45, recorded under the moniker of Holly And The Ivys.  Laird-Clowes had gotten to know Gilmour in the 1970s through being an assistant with counter-culture figure Jeff Dexter, and even recruited Gilmour's brother Mark as guitarist for his band The Act.  That friendship led to the creation of this record, a medley comprising O Come, All Ye Faithful, Once In Royal David’s City, God Rest Ye Merry Gentlemen, Ding Dong Merrily On High, O Little Town Of Bethlehem, Away In A Manger, and Hark! The Herald Angels Sing.  Interestingly, although Laird-Clowes is credited as the writer of the B-side Have Mercy On The Child, Gilmour is not credited at all, and the nearest thing to a production credit was "Arranged by Rock Music Co. Ltd".  That said, those in the know would recognise Gilmour's trademark guitar playing on the A-side.  Whilst the record has a similar syncopated rhythm to the Stars on 45 records popular that same year, the inclusion of an orchestra and a choir gives it a lush, seasonal feel, reinforced all the more by the focus on traditional Christmas carols.  It is probably one of the better examples of the Christmas medley, and certainly one that conveys the spirit of the season.  Even with handclaps.

Written by: Rev GW Woodward / Traditional
Produced by: David Gilmour and Nick Laird-Clowes (uncredited)
Santa Records SANTA 1 / #40

From the Kindle book "80s UK Christmas Singles" --  a bargain at 99p!

80s UK Christmas Singles #1: Jona Lewie - Stop The Cavalry

Here's the first extract from my 80s UK Christmas Singles book -- and I'm starting off with a popular classic:

Jona Lewie - Stop The Cavalry
Offbeat artist Lewie started out in the 1970s as part of Terry Dactyl and the Dinosaurs, a novelty act best known for their Seaside Shuffle hit. He later ended up at the legendary Stiff Records, which released his best known singles—You'll Always Find Me In The Kitchen At Parties, and the evergreen Yuletide classic, Stop The Cavalry.  The track sees Lewie take the role of a soldier—actually an eternal soldier representing all those who have fought in conflicts over the years—arguing at the futility of war and pleading for withdrawal; hence the name of the song.  With a melody inspired by Hugo Alfven's Swedish Rhapsody No.1, Lewie's droll, spoken-word rendition is kept in time by a chugging synth line, whilst the track comes to life in the instrumental chorus with a brass band in full pomp.  Lewie maintains that his song is not actually a Christmas song, and is in fact an anti-war protest song.  There may be only a singular reference to the season—contained in the recurring line "Wish I could be home for Christmas"—but the warmth of the arrangement and the sentiment of peace to all men conveyed makes it sit well at Yuletide.  Perhaps not in the latter day, Spector-inspired, style of the Christmas record, but it actually makes a nod back to the Victorian Christmas musical tradition.  Its anti-war message in fact carries even more significance in the current climate of conflict, and as such, is possibly the most resonant Christmas record in this book.

Written by: Jona Lewie
Produced by: Jona Lewie & Bob Andrews
Stiff Records  BUY104 / #3

From the Kindle book "80s UK Christmas Singles" --  a bargain at 99p!

80s UK Christmas Singles -- out now on Kindle!

My new book 80s UK Christmas Singles has just come out on Kindle. Covering 81 pop singles released for the Christmas charts between 1980 and 1989, the book covers big hits, obscure curios and some downright bizarre releases.

Artists covered include: Kate Bush, Jona Lewie, Barron Knights, Darts, Jim Davidson, The Damned, St Winifred's School Choir, Chris Squire and Alan White, Holly & The Ivys, The Snowmen, Flogwell Flax, Hysterics, Johnny Mathis and Gladys Knight, Human League, The Waitresses, David Essex, David Bowie & Bing Crosby, Cliff Richard, Santa Claus & The Christmas Trees, Dizzy Heights, Peter Auty and the Sinfonia of London, Renee & Renato, The Pretenders, The Jingle Belles, Dennis Waterman & George Cole, Elton John, The Jets, Frank Kelly, Flying Pickets, Band Aid, Frankie Goes To Hollywood, Gary Glitter, Queen, Wham!, Captain Sensible, Alvin Stardust, Kenny Rogers and Dolly Parton, The Bouncing Czecks, Paul McCartney & The Frog Chorus, Shakin Stevens, Weekend, Bryan Adams, Aled Jones, Keith Harris and Orville, Frank Sidebottom, Boris Gardiner, Spitting Image, Mini-Pops, Max Headroom, Jackie Wilson, Mel and Kim, The Pogues and Kirsty McColl, Run DMC, Chris Rea, Bad News, Anita Dobson, Phil Spector, Rick Astley, Pet Shop Boys, Chris Rea, Alexander O'Neal, Cliff Richard, Bros, Boney M, Star Turn On 45 (Pints), Freheit, Band Aid II, Jason Donovan, Coldcut, Jive Bunny, Ann Charleston & Ian Smith, Kevin Bloody Wilson, Jethro Tull and Max Bygraves.

Best of all, it's only 99p!

And you can get it here!

I'll be posting some extracts from the book (and some standalone 80s Christmas articles) in the run up to Christmas so please do check in!