If “Relax” – as Mark Sinker put it during the subsequent discussion – was a non-DJs idea of a club record, “You Spin Me Round” is a DJ’s idea of a Frankie track. In fact, it sounds like Stock, Aitken and Waterman have broken into Trevor Horn’s studio at night, nicked a load of his gear, done a bag of speed and started pressing buttons at close to random. Marvellous, in other words. The hidden force driving the record’s mania is that hyperfast sequenced keyboard run, its chattering bleeps like a player piano installed on the bridge of the Enterprise, adding a note of derangement to a track already lacking in restraint.
Without Pete Burns, of course, “You Spin Me Round” would be considerably shyer. It’s a fine example of a limited performer finding the one perfect record for him: he gets to play the Lion Queen, prowling and roaring his way around the song-stage in his finest panto predator style while the drum machines bang out a strutter’s rhythm. “I WANT YOUR LOVE!”
“You Spin”‘s crude machine-rush wouldn’t be matched on a number one for years but its chassis was already well-travelled: hi-NRG club beats and keyboards in debt to Patrick Cowley, Bobby “O”, and other NYC and European post-disco music. SAW always knew their stuff (and could be somewhat sniffy about the fact when their credentials were mocked). But this is trashier, buzzier, more immediate even than that: there’s a Dionysian kick to it which feels more like a rebuke to New Pop than its barbarous fag-end. Sadly it’s a staging post on its producers’ journey to the centre of the cheap, and without Pete Burns to frame they never achieved this wildness again.