Stock, Aitken & Waterman

This made for interesting viewing - I had a vague idea how the SAW singles performed in America but not Australia. The biggest shockers for me were This Time I Know It's For Real peaking at #40, I Just Don't Have The Heart making a dismal #100 and the amazing 1993 Sybil singles not even cracking the Top 100 (or Top 200 in When I'm Good and Ready's case!)
Australian charts were crazy. You could have a number one single and album, but the follow up single would peak at #460 before the third single made number #5.
 
This made for interesting viewing - I had a vague idea how the SAW singles performed in America but not Australia. The biggest shockers for me were This Time I Know It's For Real peaking at #40, I Just Don't Have The Heart making a dismal #100 and the amazing 1993 Sybil singles not even cracking the Top 100 (or Top 200 in When I'm Good and Ready's case!)

‘This Time I Know It’s for Real’ had an unusual chart run in Australia, taking almost seven months to reach its peak. Part of the problem was it peaking at different times in different states. It also spent 10 of its 36 week chart run hovering between numbers 40 and 43. Our chart was not like the UK chart where you debuted at #2 and were out of the top 40 five weeks later.

Sybil had zero promotion here. I wasn’t really aware of her until 1994.
 
The latest episode of the Podacast was brilliant and yet so frustrating at the same time. That's What Love Can Do, was truly one of SAW's best and the fact it took 2 years to be a hit and still flop in other places, is just infuriating!

Looking forward to the coverage of the rest of Boy Krazy’s output. It seems to be common consensus that it was a mistake to release All You Have To Do as the follow-up single (well it did only get to no.91 so fair enough I guess) but I love it:



Those ooooh-oooooohs (which almost reach whistle note levels of intensity) and the whispered “all you have to do”s are early 90s pop perfection.
 
Looking forward to the coverage of the rest of Boy Krazy’s output. It seems to be common consensus that it was a mistake to release All You Have To Do as the follow-up single (well it did only get to no.91 so fair enough I guess) but I love it:



Those ooooh-oooooohs (which almost reach whistle note levels of intensity) and the whispered “all you have to do”s are early 90s pop perfection.

I also love this track. Spent years searching for a CD single of it only to find out it was never released on CD
 
Looking forward to the coverage of the rest of Boy Krazy’s output. It seems to be common consensus that it was a mistake to release All You Have To Do as the follow-up single (well it did only get to no.91 so fair enough I guess) but I love it:



Those ooooh-oooooohs (which almost reach whistle note levels of intensity) and the whispered “all you have to do”s are early 90s pop perfection.

This an absolute early 90s bop in the best possible way-and the speaking bits are the best part of the whole song as well! Nice to see some love for it!
 
I mean the song is a little bonkers but that's not a bad thing - and I think this could have fit into the musical very easily



And easy to see where this Jewels & Stone mix gets its inspiration from ...



I do find it a little weird that in American bands they can have members that are so young Ruthann was 14/15 making That's What Love Can Do - like having a 12yr old Joey in New Kids
 
I mean the song is a little bonkers but that's not a bad thing - and I think this could have fit into the musical very easily



And easy to see where this Jewels & Stone mix gets its inspiration from ...



I do find it a little weird that in American bands they can have members that are so young Ruthann was 14/15 making That's What Love Can Do - like having a 12yr old Joey in New Kids

All about the Dave Ford mix for me:


90s House Pop was the best!
 
Another excellent episode, arguably, Let's Get To It was perhaps one Kylie/Hit Factory album too far in least of commercial terms, but it's a fabulous record full of variety of the sounds of the early 90s. And am I sucker for New Jack Swing, so it's the original UK mix of Word Is Out all the way for me! #16 is not a flop by any means, but still such a shame this had to be the one who broke her back to back top 10 streak.
 
Another excellent episode, arguably, Let's Get To It was perhaps one Kylie/Hit Factory album too far in least of commercial terms, but it's a fabulous record full of variety of the sounds of the early 90s. And am I sucker for New Jack Swing, so it's the original UK mix of Word Is Out all the way for me! #16 is not a flop by any means, but still such a shame this had to be the one who broke her back to back top 10 streak.
It's all relative. Boy Krazy hitting number 16 would have been a success - Kylie at this point in her career with the first single from a new album, it was a flop. Something misfired with the public that this didn't go Top 10. The Rhythm of Love singles pushed her out of the Top 5 but what was it about this song that just didn't connect as much that even a fanbase couldn't make it a Top 10 hit

I blame Davina McCall
 
It's all relative. Boy Krazy hitting number 16 would have been a success - Kylie at this point in her career with the first single from a new album, it was a flop. Something misfired with the public that this didn't go Top 10. The Rhythm of Love singles pushed her out of the Top 5 but what was it about this song that just didn't connect as much that even a fanbase couldn't make it a Top 10 hit

I blame Davina McCall
Word Is Out probably would have flopped alas if any major pop gal released it here, New Jack Swing never really caught on in the UK give a take a few songs.
 
It was hot on the heels of I Wanna Sex You Up, which i assume was the reference track - swing beat lite I always thought, but #16 was disappointing.
 
I had never even heard Word I'd out until I bought the single and played it at home. It had barely any interest from radio. Releasing the album right after was a mess as barely anyone noticed. I guess there was also a bit of overkill/exhaustion at the relentless release schedules. Plus, even at her peak she'd never launched an album after one single.
 
It's all relative. Boy Krazy hitting number 16 would have been a success - Kylie at this point in her career with the first single from a new album, it was a flop. Something misfired with the public that this didn't go Top 10. The Rhythm of Love singles pushed her out of the Top 5 but what was it about this song that just didn't connect as much that even a fanbase couldn't make it a Top 10 hit

I blame Davina McCall

The ROL singles not making Top 5 and Word Is Out flopping were all because half the fanbase moved on and the ones that didn't just wanted bland non-sexy, next door Kylie.
 
The ROL singles not making Top 5 and Word Is Out flopping were all because half the fanbase moved on and the ones that didn't just wanted bland non-sexy, next door Kylie.
Or maybe the ones that moved on were the ones who wanted bland, non-sexy Kylie and the ones who stayed, or came back, were embracing her newfound fashion goddess self. They were just less in numbers.

I for one had left after Enjoy Yourself because the album sounded like it was mostly made for 9 year olds and I had gotten sick of her girl next door image, but I rushed back right after seeing the What Do I Have To Do video. The video of Shocked sealed the deal. Finally she was doing something interesting and looked bloody amazing! Of course I had even liked Better The Devil You Know and Step Back In Time, but somehow I still remained a bit cautious and was half dreading that the Hand On Your Heart dress from hell would make a comeback. The 3rd and 4th videos clearly proved that this wasn’t going to happen, she was now firmly in control, had a fabulous wardrobe and THIS made me a bigger fan of hers than I had ever been. Haven’t looked back since.

This is also why I find it so irritating that SAW and David Howells clearly still think that Kylie’s PWL success started diminishing because of her new sexy image and had she just kept on dressing like Doris Day she would’ve stayed as huge as during the first two albums. This is s-u-c-h misogynist bullshit and they really should know better. Had she not grown up and changed her image when she did she wouldn’t have had ANY fans left, and certainly wouldn’t still be around today. Well maybe on a Debbie Gibson level, bless her heart, but you get my point.
 

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