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Sep 10

KYLIE MINOGUE – “Hand On Your Heart”

Popular60 comments • 4,095 views

#627, 13th May 1989

“Hand On Your Heart” lands in similar emotional territory to “Too Many Broken Hearts” – this is it, do you love me or not? But while musically it’s just as cheap the Kylie track has ten times the Jason song’s presence. “Too Many Broken Hearts” verges on the triumphant, with “Hand On Your Heart” you know someone’s cornered but the lyrics and the delivery keep switching sides as to who: this is an ultimatum, but it’s also a final move. “Look me in the eye”, “put your hand on your heart” – from the emotional grammar of soap we know very well that winners in love don’t have to say these kinds of things, they’re the kind of demands you make as a way of hastening the inevitable, for all Kylie’s obvious desperation to avoid it.

So for once Stock Aitken And Waterman have hit on a mood that perfectly matches the clattery rush of the music. This isn’t as well-produced as “Especially For You” or as well-sung as “Never Gonna Give You Up” or as definitive as “Respectable” but it’s the SAW song I feel the most. There’s an urgency here that gets at something about teenage angst – the constant momentousness of it, maybe – that better-crafted pop can describe but rarely capture. It’s in the way Kylie is forced to gabble her lines and given a chorus that’s a chain of finger-pointing emphases.

Which works terrifically: nothing else in a SAW hit captures a moment so well. But “Hand On Your Heart”‘s problem is that its so effective in its chorus that the verses have almost nothing to do. It’s telling that on the Jose Gonzales cover version – which cleverly transposes the song into the only style more predictable than SAW-style Europop – he gets more mileage out of the slushy boilerplate in the verses than on his morose reading of the chorus. Kylie, meanwhile, just sounds like she’s marking time – and the rote inclusion of that male-voiced dance breakdown wastes more goodwill. In the end this laziness stops “Hand On Your Heart” being a great pop single, but there’s more life here than either singer or producers often managed.

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Comments

  1. 1
    Sam Howells on 9 Sep 2010 #

    Quite right: an underrated Kylie single and the best of her ‘early’ #1s.

  2. 2
    Billy Smart on 9 Sep 2010 #

    I often think – well, instinctively feel, really – that the rhyme and build between the three lines – (put your hand on your heart and tell me) that we’re THROO-UUGH!/ OOO-OOH!/ OO-OO-OWOH! – reaches a level of inarticulate emotional truth that a thousand more clever songs could never hope to reach.

    And I love that housey middle-eight bit, too!

  3. 3
    JLucas on 9 Sep 2010 #

    As a big pop/Kylie fan and SAW apologist, I can’t say I’m a huge fan of this one. I enjoy it, but I much prefer the pretty much unimpeachable run of ‘Better The Devil You Know/Shocked/What Do I Have To Do’ from Rhythm Of Love, plus a fair few of her lesser hits from this time (Je Ne Sais Pas Pourquoi and Wouldn’t Change A Thing in particular).

    I can see why it was one of her defining hits though. That “Look me in the eyes and tell me you don’t want my love” pre-chorus is as perfect a pop moment as SAW ever produced. For me though, the actual chorus doesn’t *quite* live up to it.

  4. 4
    ciaran10 on 9 Sep 2010 #

    Falls into the guilty pleasure category as well for me.

    Great momentum and showed that there was a charm in kylie for all the naffness

    I wouldnt go as high as 7 though.I feel a 6 would do it justice.

    there is also a distinctly “neighbours” vibe to that sleeve.

  5. 5
    Billy Smart on 9 Sep 2010 #

    If you listen to the 1992 Kylie Greatest Hits in sequence (and selectively programme out the regrettable cover versions), it does take you on an emotional journey from girlhood to womanhood. This one, alongside ‘Wouldn’t Change A Thing’ in particular seem like pivotal points of transition. In the 1988 hits you think of the singer as still being at school, stuck in unrequited loves, having to be certain, trying on grown-up emotions for the first time (in ‘Je Ne Sais Pas’). While by the 1990/91 quartet (as good a run as the first four Smiths or Sex Pistols singles in my book – I wish they’d been number ones), its all about confidence, and knowing how to deal with the life experience that she’s accrued (Its better the devil you know, I remember dancing in the old days, I’m shocked by the power of our sexuality, etc)

    The 1989 bits in between, I imagine sung by a 19 year-old, struggling with her first job and trying to make the best of a serious relationship that sadly probably isn’t going to last.

  6. 6
    weej on 9 Sep 2010 #

    I’ve listened to it again, and still don’t really get it. It just seems like a single reasonably-ok hook padded out to song length – an unremarkable filler from midway through the second side of an album. And there’s something slightly annoying about the way the lyrics are so full of doubt but she sings them like she hasn’t noticed it.
    Actually this is the only hit of hers from this period that I didn’t remember, so perhaps it’s a case of unfamiliarity breeding contempt.

  7. 7
    Tom on 9 Sep 2010 #

    #6 I didn’t remember it either, and it absolutely leapt out at me when I first d/led all the #1s for this project. Maybe I’m just suffering audio hallucinations but there’s a rawness to this I think even the classic 91/92 hits lack and certainly none of her self-conscious later stuff.

  8. 8
    lonepilgrim on 9 Sep 2010 #

    apart from the by-the-yard SAW production this is the definition of anonymous for me. The rhythm clatters along incessantly, the instrumentation lacks colour and the vocal rarely strays beyond the same few notes. I’m sure there are songs I’d love that had all those same qualities but this isn’t one of them.

  9. 9
    tonya on 9 Sep 2010 #

    I agree this is a special song, marred by a singer who sounds like she doesn’t know what the words mean. “I want to hear you saying you don’t want my love”: well no, you don’t, and it would be great if Kylie could convey that. It’s a stupid rhetorical device we’ve probably all used/had used against us, and it’s painful to hear it in a bouncy song. 7 or 8 from me.

  10. 10
    Alan not logged in on 9 Sep 2010 #

    I like single covers that feature hats

  11. 11
    MikeMCSG on 9 Sep 2010 #

    I think Tom’s review underlines that at 24 I was simply too old to appreciate this stuff. It just sounds like a production-line single for a mediocre singer to me.

  12. 12
    flahr on 9 Sep 2010 #

    Agree with #6 here – just not feeling this. I can tell it’s put together far better than ISBSL, but there was an enthusiasm in that that’s missing here.

    I think it might be better if it was a bit higher.

  13. 13
    Billy Smart on 9 Sep 2010 #

    TOTPWatch: Kylie Minogue performed Hand On Your Heart on the Top Of The Pops transmitted on May 4 1989. Also in the studio that week were; Edelweiss, Debbie Gibson, Roxette and ill-remembered Eurovision losers Live Report. Andy Crane & Jenny Powell (who?) were the hosts.

  14. 14
    thefatgit on 9 Sep 2010 #

    When this came up, all I remembered was the chorus. The verses just seem to be one-dimensional, non-melodic gap-fillers. Dentist’s amalgam. Harmless, but unengaging. I can’t bring myself to hate it, or like it either. Pop beige, I’m afraid.

  15. 15
    lonepilgrim on 9 Sep 2010 #

    re 13 Jenny Powell appeared on several BBC yoof programmes during the 80s and was a lively and attractive personality (for me at least). Last seen on Celebrity Masterchef this summer looking a bit less yoof-full

  16. 16
    Erithian on 9 Sep 2010 #

    Another vote on the “don’t like” side of the ledger I’m afraid – that stomping rhythm track just distracts after a while, the verse is a means of passing time and the chorus is fine but not that memorable, while the video just repeats the cute-Kylie tricks which worked well on ISBSL. Much more of this and her career would have drifted.

    Like Tom and a few others, I have little memory of this from the time. Possibly in my case because my other main obsession was taking so much of everyone’s attention over the past month or so that there was little room left to absorb this – as we will be discussing when we turn to the next number one.

  17. 17
    Tom on 9 Sep 2010 #

    Aw, I thought I would struggle to get people agreeing on this one and it seems I was right!

  18. 18
    Billy Smart on 9 Sep 2010 #

    re 15. Oh, of course, from the inaccurately-titled ‘No Limits’! She attracted some lascivious classroom comment, as I recall. I don’t remember her in relation to Radio 1 or Top Of The Pops, though.

  19. 19
    Chelovek na lune on 9 Sep 2010 #

    A step forward from the stuff on her first album, for sure. A bit less teenage soap-opera puppet, a bit more woman singer. But she wasn’t there yet. Although in some ways it was a slighter song, I think I preferred “Wouldn’t Change A Thing”, but for me “Step Back In Time” was Kylie’s first sublime single. (I note that none of my favourite tracks of hers, then or later on, trouble the bunnies).

    I’d give this a six, I think. It’s still a bit too teenage bubble-gum.

  20. 20
    swanstep on 9 Sep 2010 #

    New to me (at least as of a week ago when I ear-peeked ahead)… and not at all the pleasant surprise that I found Especially for You a few weeks back. This just sounds completely formulaic to me. I mean, call that a chorus hook if you want, but it’s essentially the same jolly chorus SAW have been peddling for years at this point (it’s almost precisely Astley’s ‘Whenever I need somebody, I’ll send my love to you’ isn’t it? which was….). At any rate I prefer the (I assume later) more william orbit-ish mix of the song used in this youtube vid, and looking at some later live peforms. of the track it seems clear that Kylie and her handlers did the right thing and worked on adapting the song away from its (aversive) SAW production roots:
    4 (5 or 6 for some of the remixes/do-overs)

  21. 21
    Billy on 10 Sep 2010 #

    Maybe it’s because I missed the whole Stock/Aitken/Waterman overload of 1987-89, being not even a year old when this was released, but from the moment I heard their songs I fell in love with their sound. ‘I Should Be Lucky’ got me hooked to them in early 2003, and I heard this about four years later.

    This is nice. Kylie’s done much better (‘Lucky’ and ‘Better The Devil You Know’ are my faves) but there’s a good tune to it, as generic as the lyrics are. According to Wikipedia, this song brought cassette singles into the charts – it sold enough on combined CD/vinyl/cassette to be #1 a week earlier, but tapes weren’t counted in the chart at the time. The rules were changed fairly quickly and cassette singles continued to sell strongly for the next decade.

  22. 22
    swanstep on 10 Sep 2010 #

    Whoops, that more william orbiti-sh mix link should be this.

  23. 23
    MBI on 10 Sep 2010 #

    I think I’m gonna have to stand up for this one — Tom’s review is pretty accurate as far as its failings as well as its underestimated positives. Kylie’s bland delivery can’t entirely damage this song very much, and it’s easily the best Kylie song on the list so far.

  24. 24
    will on 11 Sep 2010 #

    Not one of her better singles. As others have commented, it’s a decent-ish chorus but not much of a song.

    Another vote here for the follow up, Wouldn’t Change A Thing. An absolute peach of a single and the one that changed my whole view of SAW. Even this dyed-in-the-wool indie kid couldn’t resist the breakbeat and ‘I-I-I-I’ hook.

  25. 25
    Ciaran Gaynor on 12 Sep 2010 #

    Ooh I’d be giving this at least an 8 and possibly a 9. Because to me this is a distillation of everything I always thought pure pop should be; bright, fizzy, childish, infectious, and fun.Hand On Your Heart is probably my favourite Kylie single actually, even ahead of Shocked and Can’t Get You Out Of My Head.

  26. 26
    punctum on 12 Sep 2010 #

    By 1989, SAW’s work had divided fairly easily into two camps; there were records like “This Time I Know It’s For Real,” “I’d Rather Jack” and “Ferry ‘Cross The Mersey” which represented the music in which they really believed, the songs for which they put out that extra ounce of effort and inspiration, and then there was the workaday stuff, the teenpop fodder they provided by rote for Kylie and Jason (and later that year, Big Fun and Sonia) to keep the kids happy and the business wheels turning.

    Like “Too Many Broken Hearts,” “Hand On Your Heart” – do you see a theme emerging here? – uses its bright and breezy surface to mask a song about trying to stave off imminent loss. But when Kylie sings “put your hand on your heart and tell me that we’re through” there’s an ineradicable wink in her eye which suggests that he doesn’t have the heart (and there’s another clue – is Cliff’s 1989 SAW-produced single a reply to Kylie?) to let her go.

    Then again, the couplet “I thought that we were just beginning/And now you say we’re in the past” may represent some premature fear about losing her record-buying constituency; Enjoy Yourself, the second Kylie album from which this was the lead single, is the kind of cautious, minimal advance made by people who aren’t quite sure whether there’s going to be a third album. The production and arrangement are more expansive than before, with greater depth at the bottom, a slightly more three-dimensional layering of sounds, some Deep House influence in the rhythm – all tentative moves towards sophistication. But essentially “Hand On Your Heart” represents business as usual, another day in the Hit Factory clocked up, and as ever, just two payslips away from homelessness.

  27. 27
    thefatgit on 12 Sep 2010 #

    @22 Swanstep, the bassline of that version is identical to that of the PSBs version of Sterling Void’s “It’s Alright” off Introspective.

  28. 28
    swanstep on 13 Sep 2010 #

    @27. Thanks for that. I’m not a huge fan of the PSBs, but It’s Alright (which I never realized was a cover/version) is pretty jolly great… spooky at the time too with all its upfront gloominess while everyone else was partying like history was ending in 1989, or something. I’ll have to check out IA’s bassline…

    @25. Your invocation of what ‘pure pop should be’ encouraged me to look down the charts to see whether there was anything much better at the time… and lurking around #90 is XTC’s King for a Day. XTC’s precious album Skylarking was close to perfect, and really grew on people and by word of mouth over a couple of years. Their 1989 follow-up Oranges and Lemons was pretty good too, and it got some serious push for a change – vids and the like – for its two brilliantly poppy singles, Mayor of Simpleton in addition to King for a Day. In a sane pop world these tunes would have at least threatened some of SAW’s minions at the top of the charts, but alas it wasn’t to be.

  29. 29
    Mark G on 13 Sep 2010 #

    I don’t remember her in relation to Radio 1 or Top Of The Pops, though.

    I remember she introduced the Happy Mondays and the Stone Roses on *that* edition.

  30. 30
    Jude Rogers on 13 Sep 2010 #

    I adored this when I was twelve. Still do. Mainly because I’ve never got over the pre-chorus line – it’s great – but also that video. THOSE FROCKS: http://www.youtube.com/watch?v=FfNaRnuFbsE I want all of them. And the shoes. In a size 16. Now. Thanks.

  31. 31
    Jude Rogers on 13 Sep 2010 #

    (That’s the shoes in a 7, the dresses in a 16. I do not have the feet of Nick Cave, although Kylie will get a glimpse of those in a few years.)

  32. 32
    wichita lineman on 13 Sep 2010 #

    This is what I hear on the chorus – a melancholy tug created by running an almost Jobim-ish monotone vocal line over shifting chords. I love it. It makes Kylie sound confident that the response to looking her in the steely-blue eye will be “I just don’t have the heart” (nice spot, Punctum), but there’s just enough doubt stirred by the downward arc of the chords. I really should know the technical term for this. It’s probably all explained in This Is Your Brain On Music. Certainly, from the comments above it doesn’t like everyone hears it this way at all!

    The whoa-oa-oa at the end of the chorus puts me in mind of Sam Cooke, a trick he deployed first on You Send Me. Has anyone noticed the similarity of the opening instrumental hook to Little Star/Fight For This Love?

    Oh, and – as I read another barbed reference to them – am I really on my own in considering Big Fun’s Can’t Shake The Feeling amongst SAW’s best?

  33. 33
    Ciaran Gaynor on 13 Sep 2010 #

    @31 Big Fun’s vocals on Can’t Shake The Feeling are appalling. They completely overshadow the song.

  34. 34
    wichita lineman on 14 Sep 2010 #

    Fair comment. Though it sounds like it’s only the one ‘Fun, sounding like Lou Christie on horseback (in shakiness and pitch rather than Milk Tray gallantry) – the bulk of the vocals are by more than competent femme sessioneers. Vox for me are overridden by the house piano build and the post-chorus Psycho-string sweep. It careers ever upwards, thrillingly, like the Hollies’ similarly maligned I’m Alive.

    So, still just me is it?

  35. 35
    MikeMCSG on 14 Sep 2010 #

    #34 Sorry WL, I just don’t remember it. Sadly we’re coming out of the period where I can comment on the charts generally as opposed to the artists I favoured (which wouldn’t include Big Fun). Those who can earn a living discussing music are lucky indeed !

  36. 36
    DietMondrian on 14 Sep 2010 #

    Why is she grinning her way through the video when the lyrics are about a break-up? Mindless.

  37. 37
    wichita lineman on 14 Sep 2010 #

    Err… Del Shannon grinned his way through his abduction/abuse hit Keep Searchin’ on telly. The Furious Five grinned their way through The Message when I saw them in ’83. Showbiz, it’s been around for a while!

  38. 38
    anto on 14 Sep 2010 #

    This is just ok. Personally I think S/A/W were long beyond their peak by 1989. Big Fun* were a travesty (and partly a forewarning of the Jedwards of this world), The Reynolds Girls sole hit carried a worthy sentiment but sounded not just disposable but disposed-of and a certain red-haired singer we should shortly be encountering was even more of a personality star than Kylie.

    * In a similar vein to Big Fun were the duo Yell. A blond one and a dark-haired one whose cover of Instant Replay did rather well and then it turned out the one with dark hair was about 32 and had like a whole football team of children or something like that.

  39. 39
    wichita lineman on 14 Sep 2010 #

    “Personality star”? This is all getting a bit Mojo. Does anyone prefer the Manics or Nick Cave collaborations to HOYH? I can’t remember how either of them go, and remember both sounding pretty predictable at the time.

    Re 38: If Jedward had made a decent record I’d have forgiven them their omnipresence last Nov/Dec. But, just to be contrary, I’d Rather Jack sounds less sure-footed to me in my Tango In The Night-loving dotage.

  40. 40
    Rory on 15 Sep 2010 #

    @39, “Does anyone prefer the Manics or Nick Cave collaborations to HOYH?”

    Ooo, me, me! I only heard “Some Kind of Bliss” a few months back and it was stuck in my head for weeks. As for the Cave collaboration, it’s neither’s finest hour, but it’s fine. This, on the other hand, I couldn’t remember at all, and a week after watching the YouTube video I still couldn’t tell you how it goes; I gave it 4.

  41. 41
    will on 15 Sep 2010 #

    Some Kind Of Bliss is a very underrated track and its failure was largely a case of rotten timing. It was unfortunate to come out just as the Britpop backlash started, during the two weird post-Diana weeks when even Radio One played grey, forlorn-sounding music that ‘fitted the national mood’.

  42. 42
    Matthew H on 15 Sep 2010 #

    I handed over real money to Tower Records for ‘Some Kind Of Bliss’, which is a cute little pop song for all its indie clothes. The only quibble I ever had was its stringing out of the final chorus for about four minutes.

    ‘Hand On Your Heart’ was a bit plain for me. 1989 was only about fancying Kylie; 1990 I fancied her AND bought all the records.

  43. 43
    DietMondrian on 15 Sep 2010 #

    @37 – a fair point, I suppose. Still: the video irks me terribly.

  44. 44
    Jude Rogers on 15 Sep 2010 #

    I think you are on your own re: Big Fun, Wichita Lineman, dear. Even as an 11-year-old cauldron of SCREECHY HORMONES JORDAN KNIGHT LOOK AT ME SCREAM, I didn’t get the song, and I still don’t get it. Utterly spot-on dissection of the HOYH chorus and how it works, though – it’s incredibly melancholic, desperately, even, and that’s something I sensed back then that only gains power over time.

  45. 45
    anto on 15 Sep 2010 #

    Re 39: That wasn’t entirely a criticism. Her personality was/is lovely
    but I think S/A/W were coasting at this stage nonetheless.
    I don’t think I was being a bit Mojo. I was being a bit Select which is nowt to be ashamed of.
    Good point about the Kylie/Nick Cave match-up though. I thought it was a creepy dirge but then I can’t stand Nick Cave.

  46. 46
    wichita lineman on 16 Sep 2010 #

    Certainly nothing wrong with Select, Anto. In fact if anyone has a run from the start to around ’96 I’m in the market for buying them.

    I’ll quietly put my copy of Can’t Shake The Feeling away in my drawer of ‘secret’ things.

  47. 47
    punctum on 16 Sep 2010 #

    I’m pretty sure I have the whole run of Select up in the attic but unfortunately I ate all the free foodstuffs at the time so that will depreciate their value considerably. Anyone else remember the special editions in cereal boxes with free cereals, sweets etc.? David Cavanagh, what a writer (REM, Blur, Sugar etc. album reviews) – where is he now? Perhaps my favourite feature was the one where Mark Owen Discovers Indie and chews the fat with Laetitia Sadier and other unlikelies.

    “Can’t Shake The Feeling” – nice chord change coming out of the chorus but the vocals lack personality.

    What is this “personality star” phenomenon? It’s the Paul O’Grady Show with special guest PERSONALITY STAR um John Barrowman.

  48. 48
    Billy Smart on 16 Sep 2010 #

    The Britpop years were the golden age of giving away free sweets with magazines. Smash Hits seemed to have some sort of deal going in promoting experimental brands at the time. By far the worst were a sub-TicTacs version of peppermints that tasted of soap and carried a warning on the label that they had laxative properties. I still ate them, though.

  49. 49
    Gavin Wright on 16 Sep 2010 #

    Re: #47, I remember those editions of Select, I’m sure at least one came with a free bag of Twiglets though my favourite freebie had to be the Jon Carter ‘Live at the Heavenly Social’ mix cassette (which I’ve sadly since lost/thrown away).

    As for David Cavanagh, Amazon seems to suggest that his Creation Records book is due for a repress next February which means I might finally be able to get a reasonably-priced copy of my own… No idea what he’s been up to since then though.

  50. 50
    Dominic on 16 Sep 2010 #

    #31 on the hook, yes, now you mention it.

    On Big Fun. Oh no. Truly atrocious (although I almost had a soft spot for one of their singles, was it called “Handful of Promises”, that was so so so terribly bad that it was almost, but not quite, good). Their duet with Sonia was at least semi-listenable, I suppose.

    But who would have guessed at the time that the fluorescent jackets that they sported would 20 years later be adopted as a sign of authority by police officers and general elf-and-safety-conscious types

  51. 51
    wichita lineman on 16 Sep 2010 #

    Re 49: Reprint presumably to tie in with the Creation documentary about to screen at the LFF. Executive Producer: Alan McGee. According to someone who’s seen it, expect self-serving anecdotes and chronic history re-writing. And it’s all cut as if we have ADD.

    If you haven’t read the Cavanagh book it’s very good, and straight enough that McGee got Paolo Hewitt to rush-write a rival history.

  52. 52
    Tom on 16 Sep 2010 #

    I’d like a run of Selects too! I would also very much like a run of DELUXE, the “men’s magazine” launched by the same team which lasted half a dozen issues and was very easily the best men’s mag I have ever read. In today’s ZOO/NUTS environment it seems to represent some fantastic outer space miracle of publishing that probably never actually happened. So perhaps I ought never to actually see it again.

  53. 53
    Tom on 16 Sep 2010 #

    I can’t stand “Where The Wild Roses Grow”. “Some Kind Of Bliss” is a bit more interesting because it’s kind of fascinating to hear what the MSPs do with the brief to write a pop song. But it’s no “Little Baby Nothing”. (“THANK GOD” cry half the readers)

  54. 54
    Mark M on 17 Sep 2010 #

    Re 52: So you were the Deluxe reader! You clearly got the idea better than I did, and I wrote a few features for it (the commissioning briefs did my head in). It’s my professional opinion that there is no market for men’s magazines aimed at reasonable human beings.

  55. 55
    Mark M on 17 Sep 2010 #

    Re 51: the Paolo Hewitt Creation spoiler book is hilarious (15% deliberately, I’d guess).

  56. 56
    Dominic on 17 Sep 2010 #

    #54

    At present I’m inclined to agree, but I must ask, just why is that? It’s not the case in, for example, France. What has gone wrong with British culture to make it so?

  57. 57
    Steve Mannion on 17 Sep 2010 #

    I’d argue that having to segregate mags for gender in such a way at all is a bigger cultural failing. If I want a magazine about lifestyle and culture I don’t want it to be mostly written by, covering and focussed on just the one gender.

  58. 58
    Mark M on 17 Sep 2010 #

    Re 56: I’m not quite sure why the British ones are so objectionable – in the US, Esquire had a tradition of great writing back in the day (I have no idea what’s it like now), and plenty of other men’s mags have been pretty good for a while – Details, Gear, etc.

    Re 57: In theory, you’d think so… In practice, what market there is for a non-gendered lifestyle magazine seems satisfied with the weekend newspaper supplements.

  59. 59
    Billy Smart on 24 Sep 2010 #

    David Cavanagh is still at work as a music journalist! Terrific Sweet piece in today’s paper – http://www.guardian.co.uk/music/2010/sep/23/sweet-strange-history

  60. 60
    Auntie Beryl on 20 Jan 2013 #

    The chorus melody to this was such a blatant steal from Waiting For A Star To Fall by Boy Meets Girl that I rejected the entire thing, and I wasn’t alone in that opinion among the fifth form. 5.

    Redemption for Kylie would come later with Step Back In Time, which as noted above didn’t trouble the number one spot.

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