'Inside Story' of working with Stock Aitken Waterman at PWL Studios - Phil Harding's BOOK Interview
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- čas přidán 14. 07. 2024
- 0:00 Opening Titles
0:24 Introduction
6:24 Early days of Stock Aitken & Waterman
8:32 Dead Or Alive
17:53 Princess
23:42 Mel & Kim
28:30 Rick Astley
34:34 Kylie Minogue
40:34 PWL and the music industry 1988-91
53:17 Summary
Interviewed by Matt Bristow | Video courtesy of Cherry Red TV
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Phil Harding's book 'PWL FROM THE FACTORY FLOOR' reveals behind-the-scenes and discusses the state-of-the-art techniques used at one of the most successful and fast-paced studio of all time. BOOK: PWL FROM THE FACTORY FLOOR out now from www.PHILHARDINGMUSIC.COM/shop & Amazon (with top reviews)...
ABOUT PHIL HARDING...
Working from the basement in Pete Waterman's PWL Studios, the home of producers Stock Aitken Waterman (on the top floor), Phil Harding and Ian Curnow remixed and produced dance and club versions of many big name artists in the 1980s (Pet Shop Boys, Diana Ross, Michael Jackson/The Jackson 5, Rick Astley, Depeche Mode, The Four Tops, ABC, Erasure, Five Star, Eighth Wonder, etc) as well as remixing/mixing many classic Stock Aitken Waterman hits (Dead Or Alive, Kylie Minogue, Bananarama, Mel & Kim and many more).
During the 1990s, Harding/Curnow ran P&E Music from The Strongroom studio complex, producing hits for artists such as East 17 (including Christmas No.1 ‘Stay Another Day’), Deuce, 911, Let Loose, Caught In The Act and Boyzone (including No. 1 ‘Words’) - and working with top managers such as Tom Watkins (also Pet Shop Boys and Bros), Louis Walsh and Simon Cowell.
PHIL HARDING's new book 'POP MUSIC PRODUCTION' for music creators, students and 90s pop music fans looks at the business, culture, songwriting and production processes of the era and today... Along with his sought-after 12-Point Mixing Plan, fascinating production case studies and behind-the-scenes working with artists such as EAST 17 and BOYZONE, and managers TOM WATKINS, LOUIS WALSH and SIMON COWELL.
Available now from:
www.PhilHardingMusic.com/shop [SIGNED COPIES]
www.amazon.co.uk/Pop-Music-Pr... ... [HARDBACK, PAPERBACK & KINDLE]
#pwlthehitfactory #philhardingmusic #iancurnow #petewaterman #stockaitkenwaterman #80smusic #musicproduction #pwlfromthefactoryfloor #popmusicproduction #80sdance #80sdancemusic #80spop #90spop#petshopboys #dianaross #erasure #bananarama #peteburns #mikestock #jasondonovan #rickastley #kylieminogue - Hudba
Thanks for this! Love listening to Phils insight on the PWL days💯 Now i want his Book
on it all👍
1992 was a year that SAW practically folded but another production company started worldwide fame. That was Swedish Cheiron production with Dr Alban and Ace of Base records. Surprisingly enough their success story lasts until this day. I wonder whether SAW could last longer if they tried to adapt to new trends.
Props for filming the video as if we were actually in the 80's! :-D Anyway love Phil's book and his work.
not sure if that was on purpose or due to financial restrictions hehe
22:50 he’s talking about “After the love has gone” remix that sounded like Chief inspector by Wally Badarou which I thought was the original version at first
Don’t care what anyone says. I remember in 1987-1989 every song from SAW had ‘that’ beat. If there had been AI intelligence at the time this would have been the company that had it in the basement. So many songs within such a short time with so much Top 20 chart success. They definitely had a Midas touch but just for a short time. Great, happy, feel good songs, unlike now (2023). Happy times back then 😊. Watching ‘The Hitman and her’ was hard to watch with Pete Waterman and Michaela Strachaern was pretty embarrassing
There was two samples they always used, one was “victim of pleasure” Justin Strauss mix and the other was Kym Mazelle “wait” beats and pieces mix and a lot was Roland tr727 factory demo rhythms
Such a charismatic interviewer 🙄
I'm wondering when it was recorded. Around 2010 maybe?
Yes it was 2010
mel and kim
With the exception of Donna Summer, the superstar, some of the other acts were pretty bad, they did not make it in North America.
Rick Astley was a great one, he had two #1 in the United States ans was huge in the rest of the world
Bananarama a US #1 with "Venus" and #4 with "I Heard A Rumour." Lots of other SAW produced songs did well in the US. Even "Dead or Alive" had good success with "You Spin Me Round."
It wasn’t embarrassing, it was simply the USA didn’t get it , it was Rap and Rock ,rather bland , SAW were big all around the world
Rick Astley had 2. number 1 hits in America