PWL - from the Factory Floor [Paperback]

This book is an utter masterpiece on so many levels, and no matter what level of interest you have in phenomena that was Stock Aitken & Waterman, you'll quickly discover interesting facts and nuggets that you won't read anywhere else. To me, the name Phil Harding was just something that I often saw (no pun intended) on the back of the biggest hit records I bought in the 80's. Little did I know that he did much of the heavy lifting work on some of the most successful SAW (and other) records of all time.

One of the most impressive features of the book comes from Phil Harding's clearly wonderful mild nature. There is no muck racking or abuse going on and the only slightly bad word you'll find in the entire text is a mild poke at Simon Cowell, who appears early in his career as a bit of a beggar and blagger with limited musical knowledge. Quote of the book in this respect has to be "What's that ticking sound...." and this is seconded only by his flat 'Fanfare'.

For the 'SAW fan' there is sufficient and interesting background on the artistes, accompanied by amusing anecdotes in many places. There are also wonderful black and white pictures that range from studio shots through to floor plans and promotional adverts - it's a real treasure trove.

For the budding producer this text is totally invaluable, giving away business and production information that is massively useful if you read between the lines. It covers how many of the sounds were achieved, the equipment that was used and the process which was followed in sufficient detail. It describes the working methodology and, most importantly, that not everything they touched was a massive success and that perseverance was often important in turning things around.

The success of SAW was not just down to Mike, Matt and Pete and this book opens your eyes to the many other people involved who were critical cogs in this hit machine. They pretty much all get acknowledged, mentioned or a hat tipped in their direction in this book.

I grew up with Stock, Aitken & Waterman, going on to make a good living as a mobile DJ playing their records in the late 80's. Their work literally helped me put food on my table. Some people unfairly slated them for records that 'sounded the same' but reading this book you soon come to realise this really was not the case. Perhaps the team did make 'uncool' records in some peoples eyes, but they packed dance floors and filled the charts. Commercial success feeds you, critical acclaim is a luxury. The major contribution that Phil Harding made to this success is both very understated and undeniable and this is a five star read. I can't wait for his next book on the 90's boy band phenomena!

I finally got my copy from the UK yesterday and i am loving every minute of reading this fantastic book! Compared to Pete Waterman's book of about 10 years ago this is in a completely different league. I especially enjoy the section on my favourate PWL artist Hazell Dean. I strongly recommend this to anybody who enjoyed and still love the great pop tunes from the PWL/ Stock Aitken Waterman stable that defined 80s music for me.

Stock Aitken Waterman (SAW) were the names on everyone's lips throughout the latter half of the 80s, as there wasn't a week that went by, that one of their songs or acts were in the Top 10. Pete Waterman Limited (PWL) was the UK's answer to Motown with the studio writing and producing hit after hit for the likes of Rick Astley, Bananarama, Kylie & Jason, Mel & Kim, and Dead of Alive, to name but a few, and even Cliff Richard got in on the act.
Phil Harding was a recording and mixing engineer with PWL throughout their creative period and worked on most of the songs that came out of `The Hit Factory', and this expanded edition tells the inside story from his side of the glass.
Phil had his first paid session working on Berni Flint's Top 3 hit `I Don't Want To Put A Hold On You' as well as working on several Clash albums, Aimee Stewart's `Knock On Wood', Toyah and Killing Joke so he knew his stuff by the time he came to PWL.
There's fascinating stories throughout the book including how Pete Waterman built this company from working on a building site (as he was pissed off with the music business) after discovering The Specials, and then losing them to another manager, to returning to work behind the scenes with Musical Youth, but it was always the limelight Pete wanted, hence the formation of PWL in 1984.
It's common knowledge that `You Spin Me Round' was their first produced no. 1 single, but Phil goes on to say that during the mixing of one of Dead or Alive's song a row erupted between Stock and Aitken on one side and Pete Burns on the other, and thankfully Pete intervened and became the peacemaker.
The one thing evident throughout this book is that Waterman always wanted the latest technology in his studios, no matter what the cost, to keep ahead of the game. One such incident recalls Pete convincing the makers of a £5000 microphone to part with it for half-price in return for a credit on every record they used it on.
It's important to know also that it wasn't all success here. Harding lists several groups and singers throughout that I've never heard of, that for one reason of another never made it, and then others like Princess or The Reynolds Girls who couldn't follow their first hit (due to management problems rather than ability).
Waterman may not have being doing the writing (apparently he only suggested song-titles) but he had a big say in single releases, no more so than correctly scrapping Mel & Kim's planned debut `System' for the eventual successful `Showing Out'.
Other revelations include Rick Astley's first release. It wasn't, as I thought `Never Gonna Give You Up'. Apparently he'd released a duet called When You Gonna' (credited to Rick & Lisa), and that he recorded `Nothing Can Divide Us' long before Jason Donovan got his hands on it also.
It's great to hear that Simon Cowell had to start somewhere also, and apparently he'd hang around reception pleading with S.A.W. to produce follow up singles to Sinitta's `So Macho', and was often threw out by Waterman.
It's great to know that even the best make mistakes and Harding tells us that Waterman almost signed Take That (but their management didn't want the PWL sound on their records), or that Pete turned down `West End Girls' and `When Will I Be Famous'.
As this chronological story enters the 90s and Harding left PWL in 1992, (he would go on to have success with East 17 and Boyzone), it's nice that he also reminds us that Pete made it back to the big-time in the late 90s with the success of Steps.
But this story is not just about Pete Waterman. From a technical point of view, Harding covers everything from the template for making a 12" single, a discography of everything he's ever worked on (from Barry Blue in 1973, to Elton John, to the late Gerry Rafferty, and getting his hands on the 16-track analogue recording of The Jackson 5's `I Want You Back'), and a complete S.A.W. discography from 1984 - 1993 which makes essential reading.
And if you're interested in sound recording and engineering, you'll love the technical section at the back of the book. Harding has really covered it all here, and along with Pete Waterman's `I Wish I Was Me', and Mike Stock's `The Stock Aitken Waterman Story', this is really the third part in the trilogy and is essential reading.