Shayne Ward "My Heart Would Take You Back"

Here is Shayne Ward's first single off forthcoming album written and produced by Mike Stock

A little too MOR for my SAW/PWL tastes but still classy in that sort of romantic song for female fans of this gorgeous lad ;).

Peter Wilson's forthcoming new album... Pulsation

Peter Wilson's forthcoming new album Pulsation is about to be released on August 23rd and pre-order from the Energize site is available. From the snippets displayed in the video below, I can't wait and have already ordered my physical 2CDs copy. The digital version only displays 15 tracks, not the bonus remixes.

CD1
01 Lonely is the night *
02 Pulsation *
03 I should have known better *
04 Love is on the line #
05 What goes around comes around
06 I still call your name 
07 Unconditional
08 I'm alive *
09 Building a bridge to your heart *
10 Crying in the rain #
11 Crazy beautiful #
12 Here I go impossible again *
13 Dangerous
14 What goes around comes around (Pete Hammond Radio Mix)

CD2
15 Love on the run 
16 What goes around comes around (A2E Extended Version)
17 Lonely is the night (Luc Labarre Remix)
18 When love is said and done (Matt Pop Extended Mix)
19 Intoxicated (Ford & Curnow Alternative Mix)
20 I should have known better (Matt Pop Going Going Gone Mix)
21 Take me as I am (Luc Labarre Club Mix Reloaded 2013)
22 Crying in the rain (Pete Hammond's No 1 in Heaven Mix)
23 Laser light (Matt Pop Alternative Club Mix)
24 When love is said and done (Matt Pop New Start Remix)

# Produced by Pete Hammond
* Produced by Matt Pop

Sammy Paul's "24 Hours" CD ...and Peter Wilson strikes PWL Heaven back again !

Aussie pop diva Sammy Paul has finally released her 24 Hours album on Energize Records and it's got PWL inspiration all over it ! No surprise after all as the mastermind behind the whole project is Stock/Aitken/Waterman addict Peter Wilson, singer, writer & producer. He has written all the songs on the album with his T1 production partner Chris Richards and even if they have produced half of it, othe production talents are none but PWL gurus Pete Hammond, Dave Ford and Matt Pop. So this CD is a must-have for every Hit Factory forum member and every SAW maniac.

01 INSIDE OUT 3:30 9/10

The album starts with a haunting intro and an echoed vocoderized male voice. Sammy Paul soon takes the mic and starts the first of a dozen Peter Wilson/Chris Richards written songs that gets more powerful with every suceeding chorus. The productions duties have been shared by the T1 duo with mixers Argonaut and it gives a more trancey atmosphere to the track, which I like too. The bridge takes us into a nearly religious mood with a choir organ but then the beats re-appear and give us the final choruses back.

02 SUPERSONIC LOVER PETE HAMMOND RADIO MIX 3:24 10/10

Next track is the Pete Hammond original radio mix of Supersonic lover, a perfect upbeat PWL inspired pop song  written by Peter Wilson and reproduced later on this CD by SAW fan DJ from the Netherlands Matt Pop. This version uses every Hit Factory studios music touches that made the PWL magic back in the 80's and it's a heavenly tribute song to this era. The full mix is called "sophisticated bang bang" and its rhythm and inspiration bring back Dead Or Alive's best PWL moments in memory. There are even vocal stuttering effects and Sammy Paul's vocals are diva-esque ; her vocal range reminds me of a mix between Hazell Dean and Nicki French. I think I'll never get bored of that single ! (Thanx Peter for the corrective info)

03 WHY MATT POP RADIO MIX 3:38 10/10

Next comes the first single that initiated the partnership between Peter Wilson and the aussie diva for Energize and although this was a song co-written and co-produced with Dave Ford by the T1 duo, the first version offered here is the Matt Pop radio remix, the original Dave Ford radio mix only appearing as last bonus track on second CD. In truth, it is this version that sounds more PWL-ish to me and that must be the one fans have chosen as their prefered one. The song itself is a pure diva anthem whose beat is galloping into hands-in-the-air disco heaven and that version is very more energetic and dancey than the original, less retro but less instant pop too.

04 10 SECONDS 3:14 5/10

10 Seconds is the first Wilson/Richards song they've produced alone and I must admit it is a lot less appealing than the three previous ones. The song itself is more of a mid-tempo and mixes R&B influences to synthetic effects, but with beautiful vocals by the lady.

05 GIMME ALL YOUR MONEY EXPLICIT RADIO MIX 3:45 8,5/10

The first time I've listened to that third single from the forthcoming album, it made me fear I wouldn't like it after all as there was a change of mood from the two first singles tht were very PWL sounding. Gimme all your money is a much more in-your-face attitude diva song and in the end, I've learned to like it :) I mean, it is a grower ...or is it the Almighty remix, over the T1 original production with some help & mix by Matt Pop, has helped me get more into it ? Maybe their usual galoping dance rhythm helped the song reach the upper state to become a pop anthem.

06 TWISTED 3:44 8/10

Another T1 produced track but one that fits better the bill for my 24 Hours album idea. Even if the sounds are darker and more synthpop, the rhythm is good, the verses upbeat and moving and the chorus, even though a lil' too rock for me, is nice and efficient. In fact, there's a guitar solo that really put this song into another direction but still can't put me off it so the song's really good :).

07 LOSE YOURSELF 3:34 8,5/10

Although Lose yourself is another Wilson/Richards song, it is this time produced and mixed by Matt Pop but while I was expecting another full PWL tribute, it starts all calm and moody like a big ballad before some added beats makes me think of Sandra Cretu in her Enigma period, but Sammy's voice isn't thin and still powerful on this one. I must admit I was deceived it wasn't another SAW sound remake but the ballad works for what it is and after all, Miss Paul wasn't maybe a die-hard fan of the PWL sounds and didn't intend to only sounds like a retro diva like that...

08 DREAM WITH ME 2:13 9/10

Proof with track #8, that is an acoustic ballad sung by her only with a guitar. Near the end, more symphonic synthés are added but it's already the end of this very short track where Sammy Paul showcases her melancholia through her beautiful voice. I'm shocked to really like it :) !

09 THIS IS THE FUTURE 4:29 9,5/10

But it is time to go back to full pop/dance sounds with This is the future, that could easily be a further single to me. It has some more vocoderized vocals in the background and a full-on-vocal diva chorus that would do well too in an Almighty remix ! The original T1 production is good, trancey and then again inspired by synthpop a la Human League I feel. At times Sammy's voice is echoed and it really puts you in a trance, closing your eyes to fall into the depths of this track but it would really need a punchier mix if released as a single, but it has what it takes already ! NB : this one has been co-written by Sammy Paul with the Pete Wilson & Chris Richards.

10 HOLD YOU IN MY ARMS 3:40 10/10

Hold you in my arms, that comes next, could easily become a further single too, and this time the Matt Pop production brings back the beats and PWL inspiration, even though it recalls more of the 90's than the 80's. The arrangements are upbeat, poppy and sweet, with a chorus that, although repetitive, is moving and dreamy at the same time, with nice male backing vocals.

11 24 HOURS 3:45 10/10

But the track that screams to become the fourth single is the title track in its remix form that is included at track #10. From the first beat you recognize Pete Hammond's midas touch and the T1 original version that is included further the CD sounds very dissimilar in fact. Mr Mixmaster, once again, transforms every thing he mixes into a pure diamond, brilliant pop made to dance. I think Sammy's vocal range is a little bit too low-key on the verses but the chorus sounds just perfect ! It makes it feel like the Blue System songs, with raw vocals on verses and energetic lightful choruses :). I suspect my Hit Factory forum fellow members to be in need of the full extended mix but I, radio edits afficionado, am fully pleased with this !

12 ENDLESS ROAD ARGONAUT RADIO MIX 4:00 9,5/10

Now comes the time for the bonuses with this Time Bandits cover version first unveiled on Peter Wilson's latest album Lazer light in this duet form, but this time it has been remixed by the same team who co-produced Inside out. This version (used on single) is still good (and shorter than the original which clocks at 5:03) but it erases the lightful 80's inspiration to add some coldwave/techno elements so it is well-balanced on Sammy's album and I really like it too. Shall I say Pete's vocal is still mixed upfront and Sammy sounds more like a background vocalist on choruses ;).

13 SUPERSONIC LOVER MATT POP RADIO MIX 3:30 9/10

The Matt Pop new production of Supersonic lover would have sounded nice and poppy enough if Pete Hammond's own version hadn't been made but compared to his, Matt's sounds tawdry compared to the perfect jewel that was at #2... But still 9/10 ;).

14 WHY SLEAZESISTERS RADIO MIX 3:22 9,5/10

The Pete Martine & James St James remix of first single's Why is less faulty as it takes the song into a darker clubby direction and even though the rhythm sounds like nearly industrial, it has a real new punch that gives an extra power to the song.

15 GIMME ALL YOUR MONEY ALMIGHTY EXPLICIT RADIO MIX 3:41 10/10

We stay on the discotheque's atmosphere with the Almighty remix of Gimme all your money and as I wrote earlier, this verson really gives the song what it missed to become a full diva anthem in my heart : I like it a lot !

16 24 HOURS T1 ORIGINAL VERSION 5:31 9/10

Last song on CD#1 of the album, the original version mixed by Chris Richards of the title track, and it really sounds SO different to the Pete Hammond remix on track #11 it is hard to believe it is the same song ...except the low-key vocals of the verses fit in better here, with the haunting and laid-back arrangements of the original version. That makes me think, if released in single, the remix should included re-recorded vocals at a higher key to match the new production better. That may be difficult to do... But as it is, the original is really good too ! Is it me or is my version on CD is cut just before the end. The digital tracklisting says 5:36 and the vocal cuts right after starting to fade out... ?

On the bonus CD#2 bought from the Energize site (http://www.energiserecords.com/#!sammy-paul-24-hours/c15rs), we have one more song, Love is beautiful, that was the Bside to Why and was featured on the Valentine's day compilation of the same name last year. It is a beautiful ballad written and produced like the rest by the T1 duo.

Other tracks are the Pete Hammond's Sophisticated bang bang mix and Matt Pop's extended master mix of Supersonic lover, Dave Ford's radio mix, Matt Pop's club mix and SleazeSisters' dub version of Why, Almighty's explicit club mix and dub of Gimme all your money, and Matt Pop's Road to Amsterdam mix of Endless road. A mixes' combinaison that must wet every PWL fan's pants after one single listen :)...

Most of it, this good album, produced and released independently, has enough PWL inspired pop music on it to make all of us SAW fans buy it and will make us wait 'til Peter Wilson's next album, Pulsation, scheduled for August, whose first single What goes around comes around, although produced and written by new mates Arve Furset & Elias Muri (A2E), sounds less retro but very up-to-date and extra-addictive. Plus, there's a full 13'43 London town in Oslo mix by Pete Hammond and a Matt Pop and Argonaut remix too... I hope a radio edit of Pete's mix will be included on the album XXX !

les hits de Kylie Minogue en version orchestrale ou piano/voix...

Depuis que l'info avait filtré l'année dernière, la sortie sur CD des sessions d'enregistrements de Kylie Minogue aux mythiques studios londoniens d'Abbey Road, sous la houlette de son directeur musical de tournée et producteur Steve Anderson, et avec le Royal Philarmonic Orchestra, était attendue par les fans de la belle australienne avec anticipation, d'autant que la rumeur d'un album de reprises façon jazz/swing avait déjà couru il y a quelques années de cela, après que son pote Robbie Williams ait publié son Swing when you're winning. Kylie nous avait de plus depuis longtemps habitué sur ses tournées à reprendre en version acoustique ou swinguante certains de ses vieux tubes, et c'était toujours un exercice où je l'adorais. Quoi de mieux en effet pour ré-apprécier ses bons vieux tubes pop que de les redécouvrir en version dépouillée faisant la part belle à la voix de son interprète et à la mélodie originale ? Son album The Abbey Road Sessions clôture donc cette année 2012 célébrant ses 25 ans de carrière, et qui a vu une mini-tournée de chansons méconnues la produire en Australie, un nouveau best of sortir, un single Time bomb sortir presque confidentiellement, et une box regroupant 25 de ses plus grands tubes s'offrir en édition limitée à prix d'or pour les ultra-fans (dont je ne fais cependant pas partie...).

L'album démarre par All the lovers, l'un de ses derniers tubes, et une timide guitare qui gratouille doucement comme pour inviter Kylie à prendre le micro. Ce titre à l'origine electro/pop de son dernier album Aphrodite se pare ici de nouveaux atours, somptueux et élégants façonnés de main de maître par Steve Anderson et Colin Elliot à la production, et ici de Cliff Masterson à la direction de l'orchestre, sans oublier Terry Ronald pour diriger des choeurs suaves et chauds. On se laisse glisser avec plaisir dans la volupté sensorielle qui émane des enceintes et on frissonne lorsque les arrangements se réduisent pour ne laisser place qu'à la seule voix sensuelle, extra-sensorielle même, de la belle. Mais lorsque les cordes reprennent de l'ampleur, on se sent emporté très haut dans le plaisir et on sent déjà que l'écoute de cet album va être un met délicat à savourer comme un délicieux chocolat que l'on laisserait fondre sur sa langue pour en prolonger le plaisir.

On a night like this enchaîne avec la même équipe, et ce titre de l'année 2000, pourtant très enlevé dans sa version originale produite par l'équipe de production METRO dirigée par Brian Rawlings, prend comme un nouvel élan, symphonique cette fois, qui continue l'envol extatique de nos tympans.

Better the devil you know calme le jeu puisque cet incontournable méga-tube de 1990 écrit par le trio de producteurs de ses débuts Stock Aitken & Waterman s'expose mis à nu en version piano/voix, juste épaulé par de beaux choeurs soyeux et une légère guitare par moment. Dans sa version originale sautillante, c'est je crois bien mon titre préféré de Kylie, ou en tout cas celui que je choisirais s'il ne  fallait en garder qu'un, et dans cette version acoustique, toute dans l'émotion feutrée et contenue, elle se magnifie encore peut-être. Les détracteurs de l'usine à tubes que le trio et ses studios PWL peuvent aller se rhabiller : cette nouvelle version prouve s'il en était besoin que Mike Stock et ses acolytes avaient un sens de la mélodie incroyable !

Même version dépouillée, mais plus axée sur la guitare, pour un autre tube de l'époque, de 1989 même, fourni par le trio, Hand on your heart. Et c'est comme si la voix de Kylie, précise, mélancolique, nous faisait partager sa nostalgie d'une lointaine époque maintenant, mais qui lui a ouvert la voie pour la carrière qui s'est ensuite offerte à la petite star de série télé australienne qu'elle était lorsqu'elle débarqua à Londres pour enregistrer en moins d'une heure le titre qui allait faire d'elle la nouvelle coqueluche de la pop anglaise mais aussi européenne voire mondiale pendant de longues années. Hand on your heart avait déjà été repris en version pop/rock acoustique en 2006 par l'artiste anglais underground José Gonzales mais cette version n'en est pas pour autant une copie, loin de là !

Retour aux années 2000 pour une version ballade pas si différente de celle déjà offerte en concert du I believe in you, single inédit co-écrit par le leader des Scissor Sisters pour sa compilation Ultimate de 2004. Sauf que cette version s'appuie essentiellement sur la guitare acoustique et les choristes. Le piano accompagne seulement dans un deuxième temps. Qu'importe, la magie est là ! Et la voix de Kylie est comme depuis le début très mise en avant.

Simple duo piano/voix pour le titre suivant, Come into my world, titre de Cathy Dennis et Rob Davis de l'album Fever de 2001, et c'est éblouissant de simplicité, et d'intensité ! Alors que l'original était très produit, en bon et efficace single pop/dance teinté d'électro, là, cette version tout en légèreté garde son effet hypnotique, rien qu'avec ses voix, lead et de choeurs, et le martèlement du piano derrière : magique !!

Retour des cordes pour Finer feelings, un des derniers tubes des années 90 écrits par Stock Aitken & Waterman, et qui était déjà un mid-tempo moins synthétique dans son son, et qui avait été remixé par Steve Anderson (alors au sein de son duo Brothers In Rhythm avec le DJ Dave Seaman) pour sa version single. Je retrouve ici l'esprit original, mais avec 100% de vrais instruments, pas de synthés, un vrai batteur, des percus, et ces cordes et choeurs très présents qui donnent profondeur et ampleur au morceau.

L'enchaînement est parfait puisque c'est le premier tube post PWL Confide in me qui suit, et ce single de 1994 était le premier composé et produit par Steve Anderson pour Kylie. Là, aussi, cette version ne s'éloigne pas tant de la version originale, remplaçant juste les synthés et programmations originelles par de vrais instruments pour lui donner un relief différent. C'était déjà cette ambiance quasi orientale qui me gênait à l'époque et là, les percussions accentuent encore cette inspiration indienne.

Avec Slow, Kylie réussit là encore à recréer la moiteur et la langueur du titre original, de 2003 et de l'album Body language, en version organique. Et là où l'original était déjà très sexy, avec la voix ultra sensuelle de son interprète, ce son live des instruments, de la basse, de la batterie lourde et pesante pour rythmer le tout, cette version Abbey Road fait encore monter la température et l'on se croirait en plein revival flower power, années érotiques ou baba cool.

Nouveau virage temporel, Swingin' london cette fois, pour un The locomotion retro sixties qui retrouve son esprit Motown et nous donne envie de nous déhancher en rythme. Heureusement, à 2'34, on n'a pas le temps de perdre son souffle...

Et c'est avec son plus grand tube que Kylie enchaîne, j'ai nommé Can't get you out of my head, qui n'a pas perdu de son rythme dans cette version symphonique où les choeurs comme les cordes hachurent le celèbre "la la la la la la la la la" sur la toile harmonique de cette autre chanson de Cathy Dennis et de son compère d'écriture. C'est apparemment l'extrait choisi pour représenter l'album en radio mais je ne suis pas convaincu de son efficacité : et d'un, on connaît tellement la chanson dans sa version originale qu'il est difficile d'en imposer une nouvelle, et de deux, d'autres avaient plus d'atouts pour se faire redécouvrir du grand public, Better the devil you know en tête.

Where the wild roses grow suit, à nouveau comme sa version originale de 1995 en duo avec Nick Cave, qui a ré-enregistré sa partie pour l'occasion, et j'avoue ne pas trop voir la valeur ajoutée de cette version. L'original était déjà assez organique à mon goût et cette ballade sinistre plombe surtout l'ambiance ici, je trouve. Mais bon, il semble que c'est un favori parmi les fans... J'aurais préféré moi voir ici ré-interprété son autre duo méconnu, Bury me deep in love... A noter que c'est Steve Anderson himself qui les accompagne au piano, quand c'est ailleurs David Tench qui s'y colle...

Il garde les rênes sur un second titre, l'inédit uniquement interprété en concert jusque là et co-écrit par lui, Flower. Caressant et voluptueux, ce premier extrait promotionnel a ravi les fans mais était moins attrayant pour le grand public et les radios, sans doute. Les arrangements et l'orchestre philharmonique de Londres parent cette chanson magnifiquement et la font chatoyer comme un pur joyau caché dans son écrin noir et blanc.

Uniquement supportée par de doux arrangements de cordes, Kylie reprend enfin son incontournable I should be so lucky, et lui confère une intensité dans le doute et l'hésitation qu'elle n'avait pas abordé dans la version live déjà offerte par le passé, plus dans le style West End / Broadway. Mais je verrais bien une comédie musicale composé du répertoire de la belle australienne s'installer à Londres, surtout si le livret est composé des premiers tubes made in PWL.

C'est ensuite au tour de Love at first sight de s'offrir un lifting orchestral, pas le titre de Stock Aitken & Waterman de 1988, mais celui de 2001 extrait de Fever. Et ça lui va plutôt bien, d'autant que la chanson ne perd ni en rythme ni en légèreté. La voix de Kylie s'y fait toujours aussi sexy et plus que l'extrait précédent du même album, j'aurais plus apprécié ce choix-ci pour séduire les playlistes radiophoniques...

Et il est déjà temps de refermer le livre (version Deluxe) de ce bel album, mais il n'est jamais trop tard (lol) pour bien faire et c'est avec un nouveau tube des années 80 que Kylie nous dit au-revoir, avec un Never too late en piano/voix sublimissime qui nous touche jusqu'au plus profond de l'âme. Là encore, je ne peux qu'applaudir le talent de ses auteurs et rêve même de redécouvrir tout le répertoire de Stock Aitken & Waterman en version acoustique ainsi !

Heureux fans japonais qui peuvent profiter d'un dix-septième titre bonus pour prolonger le plaisir, et c'est le single de 2008 écrit par Calvin Harris, In my arms, qui s'offre une nouvelle version symphonique pour finir en beauté ces sessions aux studios Abbey Road. Cordes sirupeuses à souhait et violons presque tziganes pour une version capable de charmer même les serpents à n'en pas douter... J'aurais aimé qu'elle charme le boss de EMI pour lui faire une place sur l'édition française aussi !

Mais plus heureux encore les fans australiens qui profitent, eux, d'un dix-septième et ultime titre différent, Wow, extrait lui aussi de l'album X. Cette version fait la part belle aux voix, lead et choeurs, épaulées d'une guitare et de percus quasi tribales, et cette fois, on sent vraiment que c'est un ultime rappel, comme interprété en boeuf joyeux avant de se dire au-revoir. On est bien loin de l'électro/pop efficace et pétillante de la version originale qui m'avait séduit, mais n'était-ce pas là justement le propos ? Redécouvrir autrement ? Se laisser surprendre, aussi...

Et si ces Abbey Road Sessions sont superbes à écouter, elles le sont également à feuilleter, dans l'édition livre cartonné Deluxe que j'ai choisi d'acheter (dommage pour l'absence de titre bonus, par contre...), qui est un objet classieux et raffiné, distillant de très beaux clichés de Kylie Minogue et de son micro rétro. Ce CD a toute sa place sous le sapin de cette fin d'année 2012, même si l'on est pas fan absolue de son interprète : il suffira à donner une élégance à toute soirée, repas entre amis, qui s'étonneront de croire reconnaître une chanson mais pas vraiment...

Spencer's quest for Pop made in 90's at PWL

I told you weeks ago Spencer's latest single The quest for pop (it's what I love) was released and available at his site's shop (

www.SpencerOfficial.com) as a preview from a new self produced album dedicated to the sound of 90's pop. I've ordered it myself and have received it a couple of weeks ago. Now I have made my mind up to what I wanted to share with you about this PWL fan album. I didn't want to post a review if it were to be negative and that was the initial reason why Spencer hasn't landed on my blog earlier ; I have needed a couple more listens to know what to say and how to say it and still ask other PWL fans out there reading to buy it. It is not that it is a bad album. In fact, it has glorious moments and the first single produced by Pete Hammond is one of them, but that special teaser has raised the bar very high and the album can only deceive from that high start on as there are no other song produced by Pete Hammond or Matt Pop for example, and most of the album tracks could have shined brighter for sure if they had been given the chance to get better production. The one produced by the Hit Factory forum Steen Ulrich sound closer to the Hammond level I must say, but nearly all others, produced by Leonie Polley with Clive Knightley, suffer from a lack of something sparkling that could have given the original songs written by Spencer Mackrill some extra attraction power. All in all, thou shall not forget this is only a fanmade album, recorded and produced independently and, with that in mind, it is a really strong effort that should be supported by buying it.

The album start with The quest for pop (it's what I love) that is produced & mixed by Pete Hammond and is a full retro PWL pop gemm with addictive rhythm and nice melody. I especially like the bridge where Spencer goes namedropping the 80's/90's artists he likes and he took inspiration from. The video is extra value too and as a fan product, you should keep in mind that Spencer's record should be considered as a whole thing, music & image. Spencer knows damn well this album starter is the highlight of his CD as he has placed the full Pete Hammond extended mix at the end as an extra.

Second track is a cover version of Giorgio Moroder & Philip Oakey's single Together in electric dreams produced by the duo responsible for most of the production on the album. It is nice to re-discover this song but I think the magic is missing to make it a possible pick by radios. Maybe one of the downpoint is that Spencer's voice is just one boy next door's type and it doesn't add some colour to the song...

Next track, I'm here, gets me right from the start with its pulsating intro and it is the first of the Steen Ulrich productions, co-written by himself too this time, and sure he has made a good job on this one, except I don't memorize a particular chorus line and that makes it a good album track but without what it needs to be a good single. You're the one has an attractive beat and somehow a seemingly catchier chorus, except that it doesn't grab me ; the production as the vocals sound too lame to make the difference.

On the contrary In my dreams has all it takes to get us back on our feet : it has a PWL inspired beat and a very melodic song structure, all from Steen Ulrich's mind, music, lyrics & production. On this one, I have found what's missing to give it a glitterin' touch : female backing vocals, because when Spencer's vocals are added in the background, it gives the song some deepness and female vocalist would have enlighten it some more. The bridge is especially wellmade with some vocal samples that really pay tribute to earlier SAW productions. I really like this one !!

This fool sees Spencer get back in the hands of the production duo that mixes his voice a little too in the front I think, with less music to give it the power it lacks. The song is good though and this one makes me think of Jason Donovan, who is one of Spencer's major inspiration, as his previous cover versions She's in love with you and When I get you alone on his first album What have I done? proved it. This time, he's made his the album track Change your mind, another Stock/Aitken/Waterman song, all with once again a winning Steen Ulrich production, not that retro oriented this time, but they've kept the "ch-ch-ch-change your mind" part in the chorus and in the bridge HURRAH ! I have always been a fan of this Jason song and their version is a nice tribute that is the new single : Spencer must realize some of his personal material is not strong enough to make people lend an ear to his music but with a SAW cover song, he sure finds a way to make other fans talk about him.

The next song is another self-written number, and one that has the strongest chorus of the album I think, as this King of the castle really stay in the head, but once more, it is the production that is a little too new wave-ish for me when it would have sounded nearly perfect with some extra pop value from Matt Pop for example. Quest for love follows and I must say it is a little redundant on the same CD to have a song called The quest for pop and another called Quest for love. The production on this one really sounds home-made (maybe it is the case) but is rather good. Catchier is the following track Love is blind that has got what I would call a Dieter Bohlen beat, with nice verses and good chorus. The bridge is another attempt to relive the PWL years with a "Wohoho" directly coming from Kylie and another vocal sampling. The song is credited to "Dowdall" and I don't know if it is a cover or an original song given to Spencer... ?

Next one is the last original song, called It's over, and if the verses make it only an album track, the chorus is catchy with the title line repeated enough to make me sing along. The Polley/Knightley production tries to make it sound like PWL I think but only Steen Ulrich succeeded here to follow the Pete Hammond steps ! It would be interesting to hear what It's over would have sounded if it had been produced by him... Spencer teams up again with some Superbackings production like on his first album for a mash-up version of Somewhere over the rainbow / What a wonderful world but don't expect a NRGized galloping version ; it is all warm and sweet with a reggae beat : nice but strange.

It is followed by the extended mix of Pete Hammond's The quest for pop (it's what I love) and a new version (the Encore mix) of She's in love with you and the new production by Steen Ulrich shines on this Jason Donovan SAW song : this time it pays tribute to the PWL sound of 1990 and it is a must-have !

So in conclusion, yes it is a mixed album, with some tracks very professional and others more home-made and sounding less powerful, but just for the tracks that try to match the PWL standards, every SAW fan should give Spencer a thank you by buying it : he keeps on working on his dream and every penny given to his music will be helpful to make this dream last a little longer and each time it makes us dream we could be the one singing this tribute to the good old PWL days ! This is what Spencer achieves : he helps us think everybody can make his dream a reality and we can be part of it... Just for £5.99 : you should not pass on it !

http://www.spencerofficial.com/shop.cfm

new Pete Hammond remix for Parralox

PWL Mixmaster Pete Hammond has just added his midas touch to one of the best singles from australian synthpop duo Parralox, made of singer Amy and writer/producer John von Ahlen (who's featured in the credits for Peter Wilson's latest album), Sharper than a knife, and it should soon see this new version gets a release. Till then, I can share the beautiful animated lyrics video, that pays tribute to more than a couple of 80's synthpop groups' singles cover art.

Teaser vids for new unreleased SAW songs by Samantha Fox...

From the vaults of PWL Studios and included on the latest Cherry Pop re-mastered Deluxe Editions of Samantha Fox's Just One Night album : two unreleased SAW produced (finished in 2012 by Matt Pop) That's what love can do and A second chance : HEAVEN is here ! ...and soon in my post :)

Peter Wilson's third album "Lazer Light" full review

I have posted about it previously as I was highly anticipating its release. I've received my double CDR album last weekend and have overplayed its tracks ever since ! Lazer Light, Peter Wilson's third album and second for Energize Records, is a pure retro eighties & pwl inspired pop delight ! But it is not a full Stock Aitken & Waterman tribute album at all. It has mixed inspirations all looking back in the 80's and the sounds may be varied enough as its producers & writers. I think on this one Peter Wilson has taken a step back on the songwriting duties to leave room for its old collaborator, John von Ahlen, taking a break from his next forthcoming Parralox album to write and produce 5 tracks on Peter's album.

The album opens up with the first one of them, Love overload, and it has a killer rhythm that makes me think of Dead Or Alive's first SAW hits. The chorus is haunting and strong, and I feel some italo inspirations were called on this song too. I like it a lot and it could easily become a single off the album. The bonus CD ends with a remix of it by Poison Beat that leads it into nowadays dance sounds with some romanian "popcorn" beats and a more laidback approach.

New single Take me as I am is next and this Ian Curnow co-written and Dave Ford/Ian Curnow new production is pure hi-NRG/dance, not that PWL sounding when you listen to it closely ...except it has an addictive chorus ! It has been remixed by the Almighty team and they've added a slightly clubbier sound to the original to match their usual goal and make you dance with your hands in the air and your ass shakin' in rhythm :) Their dub version is included on CD#2 but you've got to purchase the single to get their radio edit & full remix, as well as Ian & Dave's big 12'' version.


Next track is another von Ahlen song/production and is another one that's been remixed by Poison Beat on bonus CD. Love me like a machine sounds a lot more 90's inspired with its repetitive trance/house chorus line repeated in pure diva style by Peter Wilson. The beat is a little too cheapy "pling-plong" for me though and I don't see this become a single, except if the Poison Beat was edited to match a radio version timing as this is the one that bettered the song, adding a galoping rhythm that sounds as if it has been borrowed from an old eurodance hit from Masterboy or so ; this is the version I like the most and it makes us do a nice return to the 90's where Dance music was high in the charts.

Previous single Broken man comes next and every SAW/PWL lover in the world must know (and own) this one already by heart as this Pete Hammond co-written/produced song gave us what we've been waited for for years : a new "SAW" hit to cherish ! Except it has been written by Wilson/Richards/Hammond... I had secretely hoped they would have teamed up more to record other highlights on this album together but Broken man is the only one and there is just another piece of PWL retro-mania featured at the end of CD#1 (more on this later!). At 3'34, the radio version does sound too short for my ears but -lucky me- the full extended mix is added as a bonus on the album + a Matt Pop less PWL sounding remix is featured in the bonuses ! No trace here of the Sleaze Sisters remixes that were on the single pack and I must admit they were no must-have for once ; the original is better !

When love is said and done follows and this Matt Pop first production keeps up with the PWL memories by sounding a bit like Too many broken hearts. Co-written with Peter Wilson, this new song sounds like a pure SAW 1990 pastiche, with a full voice-sampled bridge, and I suppose a handful more of this kind would have sounded too cheesy on a 2012 album, but I would have loved it SOOOO much !


Back to John von Ahlen on Without you, but with some PWL inspired sounds (and a voice-sampled bridge again) too, except the tempo's slowed down and this new track just sound like a good album filler for me.


Matt Pop is back on duty on the title track, Laser light, but this time it is not for a full SAW tribute, but for a more original song, one of the kind of Broken man, with a killer chorus in two parts like Dieter Bohlen did, but with pop/dance arrangements that do not sound retro for once. Like the two previous songs, this one doesn't have a remix featured on the bonus CD and I think it is a loss as it should have been ! Maybe on its single release ?


But now comes the real treat for every SAW addicted boy and girl in the world : Every little bit of my heart and its brilliant shiny Matt Pop production that makes this Curnow/James composition sound like Kylie Minogue's Better the devil you know (the intro particularly) mixed with Sonia's You'll never stop me loving you on the whole, duplicating the SAW 90's housey pop era with maestro. And this time, the extended version is included in the bonuses and will please the extra inches lovers ;) I must admit I can't get enough of this one and the replay button is hit every time I play the CD while the repeat is on mode for the Window Media Player listens.


Matt Pop follows this masterpiece by a cover version of a 1985 single by the dutch band Time Bandits named Endless road, that Peter sings into a duet with fellow singer and labelmate Sammy Paul, who's just released her second single Supersonic lover with perfect Pete Hammond retro remixes after she first teamed with Dave Ford on Why. A full album with Peter Wilson (and friends) is on its way for Energise Records and I think it'll be another must-have for my collection... Their song here does always sound very eighties even though the production makes it more up-to-date than the original for sure !


After the Broken man lonely hearts remix by Pete Hammond, the album's CD#1 ends with Don't let me go, a synth-pop track by John von Ahlen that clocks at 6'18 and becomes a bit boring in my ears I have to admit :(

On the bonus CD#2, there are a remixes of album tracks I have already talked about but more goodies like the opening track, Love you more, last from the von Ahlen sessions, and one that sounds trender than the previous one featured for example. Really upbeat and with pleasant arrangements, this one has strong warm vocals by Peter and I wonder why it hasn't been exchanged with Don't let me go for final inclusion on album ? Maybe just to make the limited physical package more south-after after all ?

Another reason to get it is the Stock Aitken & Waterman cover version of Bananarama's Ain't no cure by Peter Wilson in the old 1997 demo form he recorded back then with John von Ahlen, but at 5'09 and with a pure PWL sound displayed, it is a must-have here ! I would have loved to see his two other recordings How can this be real love and What a night included too ! Maybe on his next single package ?

Another demo that fits is Broken man, produced by Peter Wilson & Chris Richards before Pete Hammond took it in his hands, and it sounds incredibly different, downbeat and almost country/pop, with a hard rocky guitar too ! I don't really like it but it is interesting to hear this version after the single mix.

Last bonuses are the instrumental versions of the Pete Hammond produced You better not fool around and Twenty four seven from the Stereo album (along the london bridge remix of the latter) for those who wants to sing instead of Peter... I would have prefered a radio edit of the SAW composition myself but apparently only the extended version (and its instrumental) exists so Who can do the job for me please ?

So finally, what to think of Lazer Light ? That it is a must-have for us, Hit Factory forum members, but for every other pop addicted music lovers too. I was surprised not to see Peter Wilson have more writing & producing credits on this one ; maybe he was too busy promoting the last album and as the two have followed very shortly, I won't complaign about it, but I thought he would wrote more with Matt Pop, Ian Curnow and Pete Hammond, so I was suprised (and upset at first) to see John van Ahlen "steal" half of the songs here :) Maybe his latest work will appear on Sammy Paul forthcoming album so I keep my fingers crossed and put Lazer Light  on replay, right now !

You can get it by ordering the physical 2xCDR on http://www.energiserecords.com/

or buy it on download : http://itunes.apple.com/us/album/laser-light/id533392920 or http://www.amazon.co.uk/Laser-Light/dp/B0089C9TMQ/
Don't forget the singles : http://www.emusic.com/listen/#/album/peter-wilson/broken-man/13200085/:http://www.emusic.com/listen/#/album/peter-wilson/take-me-as-i-am/13419321/
Or Sammy Paul's latest : http://www.emusic.com/listen/#/album/sammy-paul/supersonic-lover/13441113/:

Another retro PWL single sensation from SAW fan Spencer !

I have first featured Spencer's tribute work on my blog a couple of years ago, when I have bought his first album What have I done that includes cover versions of Jason Donovan's Stock/Aitken/Waterman songs When I get you alone and She's in love with you as well as Erasure's Oh l'amour or Belvedere Kane's Never felt as good and Adam Rickitt's Make me believe in love.Now's the time for a comeback post as Spencer is releasing a brand new single produced by Pete Hammond, The quest for pop (it's what I love), with remixes by Matt Pop, and a forthcoming new album is on its way too and it will include another Jason Donovan S/A/W cover (Change your mind) as well as the Giorgio Moroder/Phil Oakey song Together in electric dreams ! Take a listen (and a look) at this new PWL tribute (Spencer travel thru time & PWL Studios and you can recognise tribute scenes from Kylie or Jason videos) and you can try to recognize the 80's popstars featured as cartoon characters... I LIKE IT !

Help yourself by downloading it on his homepage http://www.spencerofficial.com/music.cfm
All you need is a PayPal account !

Peter Wilson's forthcoming third album keeps bringing PWL memories back to our ears :)

After Follow me in 2007 and Stereo last year, aussie boy and Stock Aitken & Waterman fan, singer, songwriter & producer Peter Wilson will release his third album on July 9th and from the sample video below, it still sounds in the same retro hi-NRG dance/pop as its previous offerings, not a thing that I will ever complain for...
The album is called Laser Light and features new production work by ex PWL partners Pete Hammond, Dave Ford & Ian Curnow along S/A/W inspired Matt Pop or Parralox's aussie man John Von Ahlen, with Peter Wilson's own T1 music partner Chris Richards. The tracklisting for the double CD looks particularly promising, including his previous fabulous & addictive single Broken man as well as the latest one Take me as I am and a full set of remixes and bonus tracks and I CAN'T WAIT !!!

CD1

Love overload

Take me as I am (by Dave Ford & Ian Curnow)

Love me like a machine

Broken man (by Pete Hammond)

When love is said and done

Without you

Laser light

Every little bit of my heart  (by Ian Curnow)

Endless road

Broken man (Pete Hammond "Lonely Hearts" mix)

Don't let me go

CD2

Love you more

Broken man (Matt Pop's full cry epic)

Take me as I am (Almighty dub)

Twenty four seven (Pete Hammond "London Bridge" mix)

Love me like a machine (Poison Beat remix)

Every little bit of my heart (extended version)

You better not fool around (Pete Hammond instrumental)

Twenty four seven (Pete Hammond instrumental)

Broken man (original demo)

Ain't no cure (Stock Aitken Waterman / Bananarama cover version)

The album will be available for order via www.energiserecords.com

Peter Wilson comes back with a SMASH !

Australia's biggest openly Stock Aitken & Waterman addicted pop singer & producer Peter Wilson has just released digitally his new single Broken man and it sounds as if it was 1989 back again ! It does sound like his most effective SAW tribute ever, even though previous works from him already sounded a lot like what every PWL fan wanted to hear.
But this time, it's a real SMASH he's got in his hands and every single boy and girl in the world that has been addicted to the Hit Factory's releases back in the 80's and 90's must not pass on this new single. The magic touch is that Peter Wilson has brought in the mix no-one but Mr MixMaster himself, Pete Hammond, to co-write, produce and mix the song for him, and as you should know by his retro remixes of the latest years, Pete Hammond still has the midas touch he had in the PWL studios' years to make every tune magic and Broken man touches every button right in the right place !

As soon as the intro starts, we know this song is a pure hit, 3'36 of SAW heavenly bliss that will get every member of the Hit Factory forum has an overuse of the repeat button of every media this song will be played on. It has a strong chorus, a killer rhythm and arrangements in the hi-nrg/dance way Stock Aitken & Waterman used to produce their hits back in between 1987 and 1990.
Kids and rockers surely will say it sounds naff and old-fashioned but every hi-nrg/pop lover around the world will be overwhelmed by the happy feeling this song will enhance under his skin, the kind of feeling every new PWL release used to put me under back in the days, a mix between excitation and intense pleasure, the kind of enjoyment that can last so much longer than a physical orgasm, but with the same intensity. I'M NOT JOKING ! This song is endorphine for the ears, the heart and the feet.

For old music perverts like I am, a manufactured CDR is even available from the label's site (http://www.energiserecords.com/) to order via Paypal and it is so valuable that it includes a full length extra mix by Pete Hammond. Here is the tracklisting :
1/ Broken man radio mix by Pete Hammond 3:36
2/ Broken man Sleazesisters radio mix 2:44
3/ Broken man Pete Hammond's lonely hearts mix 7:36
4/ Broken man Matt Pop's full cry epic 8:01
5/ Broken man Sleazesisters Platinum club mix 5:14
6/ Broken man Pete Hammond you sing mix 7:31 *
* exclusive to the physical version on CDR
While all three Pete Hammond mixes enlighten the song with retro sound from 1988/89, Matt Pop's remix takes the song into a younger revival sound, say 1990/92, mixed with some spacial/Robert Miles atmosphere. Pete Martine & James St James (the Sleazesisters duo) make it even trendier with a full electro/techno clubby 1998/99 sound that brings acid/house inspiration in the mix too.
A Matt Pop's radio mix would have fitted the package perfectly for the "radio-edit" adict that I am but I suspect it could be included on Peter Wilson's next single release that should follow in June, just prior his third album release, Laser light, that will include more production work by Pete Hammond, Dave Ford & Ian Curnow, Matt Pop & John Von Ahlen, the man from the aussie retro synthpop superband Parralox.

Finally, I cannot not talk about the cover art of this single that is the best ever Mr. Pete Wilson has managed to release for me : The black & white photo is simple but nice and he looks so much gorgeous and appealing in this white shirt with tie than in his loose T-shirt and pale skin from the Twenty four seven covers. The new logo, all in orange, black & white is great too, and reminds me of the first Rick Astley singles' logos.
I CAN'T WAIT FOR LASER LIGHT TO BE RELEASED JUST IN TIME BEFORE SUMMER ! I'll overplay Broken man just to help me wait...
There is no video for the song yet but here is a short snippet :

Peter Wilson's second album will get you retro-intoxicated by the 90's PWL sound

It is finally (high)time I post my review for fellow Hit Factory forum-mate Peter Wilson's second released album, Stereo, that is out on iTunes
(http://itunes.apple.com/au/album/stereo/id442724062)
or on manufactured CDR +bonus disc full of remixes via his label (http://www.energiserecords.com/).
I already owned his first one, Follow me, released on Klone Records in 2007 with the Boney M sampled single Doin' fine and cherished the Steen Ulrich remix in the style of Stock Aitken & Waterman of I wanna dance as well as the other one he produced in that PWL style, I love you unashamed, so it is with great anticipation that I was a-waiting for this new album recorded with Matt Pop, the one and only european producer that mixes as if he was Pete Hammond and Phil Harding united in the same person for retro-PWL remixes of pure bliss.

Between these two CDs, Peter Wilson has emerged as a new force in underground pop/dance production teams, working with songwriting & production partner Chris Richards inside their T1 alias, for Haywoode, Carol Jiani & Evelyn Thomas (Are you man enough), Samantha Fox & Sabrina on their cover of Blondie's Call me or Amanda Lear on her Brand new love affair 2009 album. But when his brand new single Intoxicated was released last year, along Matt Pop, I felt something even better was coming. Co-written by the australian partners with their new production friend, it was a clear move in the right direction, taking from where Peter left with Klone, 90's influenced euro-pop, and into a clearer direction, aiming at recreating the sound Peter Wilson or Matt Pop (such as I) fell in love when they were younger, the PWL sound, made of Stock Aitken & Waterman songs/production with genius mixes by MixMasters Pete Hammond and Phil Harding... In that sense, Intoxicated was perfect as leading single for the forthcoming album ; the inspiration was clear but well incorporated with today's sound, so that it would not be taken for a full-on retro number.

Stereo starts with Intoxicated in full glory and even though it hasn't been the breakthrough hit Peter Wilson deserved, it is the better way to let this brand new CD start to play. Included as a bonus is its remix by none others than Dave Ford & Ian Curnow, the PWL ex-partners, on their Back to the Borough remix that takes the sound right back to 1988/90 with full PWL treatment, like Pete Hammond and his recent retro remixes succeeds in. It has been the start of a new dream story for Peter Wilson as the duo has collaborated more with him on his album, producing and even co-writing with him, but we'll see more of this later.
Second track is another Matt Pop production that was co-written with Peter Wilson, Walk the night, and it sounds very reminiscent of the first album, with Italodance/Eurobeat inspiration, and definitely retro 80's. The arrangements are really haunting on the verses but the chorus is strong and appealing, although not enough for me to become a single.
The new single and real treat comes next, with a song called Twenty four seven whose credits must have driven every Hit factory forum member mad even before listening to it : "written by Stock/Aitken, produced by Dave Ford & Ian Curnow and mixed by "Mixmaster" Dave Ford" says the CD inlay and it is like it were PWL times again ! Alas not, the song is only a re-interpretation of an unreleased one that Mike Stock & Matt Aitken wrote in their Love This Records days and that was recorded by a stranger dude called Dean Cohen. The demo version of the song was airplayed on fan's radioshow sometimes but remains unreleased to these days so this new version with full PWL producers sounded like heaven on earth ...and it truly IS ! Peter Wilson's version sounds a lot more PWL-ish and HITmade than Dean's mellow original. It seems it is the new forthcoming single (along with a new track Broken man as B-side) and I wonder if Matt Pop is gonna give it a hand for a mix or two too. Not that Dave Ford & Ian Curnow's work ain't my cup of tea, but they've updated their sound for the new millenium and the song doesn't sound that much retro PWL to me, more into the late 90's PWL productions. I like it a lot and can't wait for the official releases to download the new remixes for it !
On track 4 is the current second single off the album and the other Ford/Curnow production that gave its name to the CD, Stereo. This is the one Peter Wilson co-wrote with Dave Ford and Ian Curnow and whoever came with it, it has the magic "I-iaïaïï... woa-iaïaïï" vocal gimmick that gets stuck in your head and makes this song addictive and dangerous like poison : once you've listened to it, for the whole day you've got it in the head ! That is a hit and I can't be wrong about that... The remix package includes a Matt Pop retro stereo remix that gives the song a 300% PWL sound from 1988/89 and I only regret there hasn't been a radio version of that remix. Peter Wilson & Chris Richards' T1 astral flight remix makes it trancey and clubby for continental clubs and the Glamma club mix just takes it to club heaven. But thu shall not forget the original Ford/Curnow long play that clocks at 7'07 and is included in the album's bonus CD too.
Next is another 90's PWL inspired upbeat except the song soon sounds more like a Modern Talking/PWL crossover like Dieter Bohlen used to write for his Blue System project in the 90's... And truth is Tell me the truth IS a Dieter Bohlen song he wrote in 1991 for Bonnie Tyler and her Bitter blue album, except Peter Wilson's voice sounds a lot better than her (or Dieter's if he had sung it) and the Matt Pop production makes it the perfect follow-up hit single release for me. It could really be big in Germany and nearby countries where this sound has always been high in the charts. The Matt Pop's nothing but the truth remix sounds perfect too while the classic 12'' mix is less retro and I really hope all Modern Talking/Blue System fans will buy Peter's album just for these gems ! They'll like the rest of it too, for sure.
Time for a new Peter Wilson/Matt Pop composition and One starts nicely, with electronic sounds and arrangements that remind me of Erasure for once. I think it takes too long before the chorus finally comes but then it didn't grab me neither and I feel at nearly 5'30 that this song is just an album track, a try into a different territory. When the break comes, it definitely sounds even more like Erasure so I guess it was another inspiration the duo had in mind when they wrote this one. Peter's vocal range shines extremely well on this one though and there's no doubt he is a talented singer too !
The other track that has surely set the Hit factory fans on fire was Peter's cover version of Haywoode's Stock/Aitken/Waterman hit from 1986, You better not fool around, with full Mel & Kim-a-like retro production by another PWL Mixmaster, Pete Hammond himself, and in full length glory, with an album version of 7'49. Poor me who likes radio edits over original 12'' :(. But there's nearly no annoying time thanks to the two Pete's talents. I'd love to see it get a single release too, so that a more radio friendly edited version sees the light of day, as well as more remixes, even though this original sounds perfect, as if he was Hit Factory made and recorded at the PWL studios back in the days, and just re-discovered from the original tapes and released now...
Next is another Peter Wilson/Matt Pop composition and it could sound difficult to face the comparaison after such a masterpiece but I live for love, although it starts a little too gimmickly with distorted sounds, lives up to the model and is a very good slice of dance/pop, upbeat and fun, with good chorus and strong vocals. I only would have loved the Matt Pop production to be more PWL inspired on that one, as the acid distorted synthé loops that are completely invading the song at moments are very boring, even at first listen. It is a shame 'cos I love the song a lot...
Thankfully, an even better track follows, and Heart beat fast shares with the previous song its better things, a good rhythm, a killer chorus, but with a full retro PWL beat a la Dead Or Alive that makes my feet can't stop moving in rhythm all through the song. I have to precise Chris Richards is back as co-writer on this one, along Peter & Matt, with Matt Pop's better than ever production skills, so when the song comes to its end at 3'33, I already miss it and there is no remix for it included on the bonus CD. It would deserve some though !
Last song on track #10 is called Better run away and is a Peter Wilson/Chris Richards T1 alone composition, even though the production is another retro PWL Matt Pop work, even more with Dead Or Alive inspired effects this time. At 6'46, this is another extended original version included that sounds like it could have been stolen from the Vineyard basement DAT chamber of secrets for sure... but there is a 4'49 Dave Ford's T1 remix on the bonus CD that shortens its length more into radio friendly format, even though it updates its sound too so that the retro PWL treatment is replaced by a trancey dance storm. I miss a Matt Pop radio version ! Could there be one, one day ?
My CD includes then the Ford/Curnow remix of Intoxicated and Matt Pop's retro remix of Stereo before the bonus remix CD shares more beats but the iTunes version follows with Mechanical as track #11. Written and produced by Peter with Chris Richards, this is the Peter Wilson's demo version they did for Amanda Lear without her releasing it. It is very different from the sound of the rest of the album ; it is more laid-back, haunting with layers of synthés a la Giorgio Moroder. I must admit I can't hear what Amanda's voice would have sounded on this one. Pete's surely fits the job more here :) but it is a nice bonus, definitely not worth full inclusion in the tight Stereo tracklisting, but a good way to wait for the remixes to come like an encore.
Remixes are all courtesy of Matt Pop, T1 or Dave Ford with/without Ian Curnow except the Glamma remix of Stereo I already talked about and a SleazeSisters anthem mix of Intoxicated that would fill every club floor with boys and girls dancing in ectasy with their hands in the air in just a second, for sure ! Peter Wilson and PWL addicts should order the double CD from the Energize Records site, just for the bonus remixes that are not available via iTunes, but beware though, these are manufactured CDRW with full colour printing & inlay and high quality sound, but they don't look like your usual CD from records companies.
Another let-down maybe that can be explained by the lower profil artist's budget is the video for Stereo, that unexpectedly has filmed Peter in front of tagged workhouse walls for a full urban/R&B image that doesn't fit the song at all. On the opposite, the short extracts showing him in a basement with sunglasses under redlight or classy in a rotating armchair would have fitted the video of this clubby song a lot more... But it's always easy to judge when it is already fine enough to have a full video for this single, and Peter said he likes it and took fun acting for it ...so that's all folks !



Now if you want to know more about him, follow him on Facebook, and don't forget to buy his album whichever way you want from the links I started this post with :
http://www.facebook.com/pages/Stereo-The-Album-OUT-NOW/117191718366388