Musical I Should Be So Lucky celebrates the 1980s hits that Waterman and his colleagues Mike Stock and Matt Aitken made with Kylie Minogue, Bananarama, Mel & Kim and more
Musical I Should Be So Lucky celebrates the 1980s hits that Waterman and his colleagues Mike Stock and Matt Aitken made with Kylie Minogue, Bananarama, Mel & Kim and moreRick Astley on stage in 1988: the singer suffered a crisis of confidence when on the cusp of cracking the American market. Photograph: Pete Still/Redferns
Waterman is a fascinating fellow. To cover his costs as a budding DJ and record collector, he worked as a gravedigger and for British Railways before being taken on by General Electric, where he became a shop steward. At the moment when I Should Be So Lucky became one of the biggest hits of 1988, the impresario was struggling with illiteracy. He finally taught himself to read and write by scanning record contracts and books about the Motown label.
Waterman was, perhaps predictably, an early pioneer of talent shows. Between 2001 and 2003, he was a judge on the first two series of Pop Idol. He walked away with the canny observation that there can only ever be one winner from that format: his old friend Rick was a lovely, shy guy, and at the moment when he could have broken America, he said, ‘I can’t do this.’ And we backed off
From left: Mike Stock, Matt Aitken and Pete Waterman in the studio in 1985, just as their period of chart dominance was beginning. Photograph: Tim Roney/Getty Imagesand Cocteau Twins. Then the rise of Stock Aitken Waterman and the founding of PWL, Waterman’s independent label, shifted the goalposts. Indie was no longer synonymous with The House of Love. Pop music, conversely, was no longer the preserve of the major labels.
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