American born RIDER describes herself as “alternative pop”, exploring a variety of styles while ensuring larger than life melodies are at the core of her work.
Originally from Pennsylvania, RIDER emigrated to the UK and studied at LIPA, the educational establishment that includes Eddie Lundon of CHINA CRISIS as one of its lecturers.
Looking like Lana Del Rey gone synthwave, the London based singer and multi-instrumentalist’s most recent single ‘Tell Nobody’ is an energetic neon lit stomper that wouldn’t have sounded out of place in a John Hughes teen movie. With her Trans-Atlantic timbre, RIDER’s dulcet tones suit the mood fabulously.
The accompanying sci-fi inspired video directed by Ollie Rillands of Shapeshifter Films features a young gamer girl who dreams of travelling into the future and builds her own time machine; RIDER herself makes a cameo as a shop assistant who sells a PP9 battery to the junior inventor at a hush-hush ‘Tell Nobody’ discount.
With her powerful voice and application of self-produced organic textures alongside the electronic, RIDER embroils an air of optimism within her heartfelt expression, as on ‘Hurts Me Too’, a soulful tune which could be likened to AFTERHERE, the HEAVEN 17 side project fronted by Berenice Scott.
Having recently developed a taste for NINA, FM-84 and THE MIDNIGHT, it will be interesting to see where she heads next.
While songs like ‘You’ recall the West Coast New Wave of THE GO GOS and ‘A Little Light’ takes a more steadfast approach to LORDE’s almost similarly titled ‘Green Light’, RIDER’s eclectic blend of genres highlight her sweet passionate approach to her music.
As RIDER herself puts it: “Life is sweet!”
‘Tell Nobody’ is released by Sapien Records, available on all digital platforms
Gregory is best known as the front man of HEAVEN 17 while Scott is a singer / songwriter who is also the Sheffield electronic pioneer’s live keyboardist; she joined their concert set-up in 2011 while releasing her most recent solo album ‘Polarity’ in 2014.
As well as HEAVEN 17, the pair have also been part of HOLY HOLY.
A supergroup led by Spiders drummer Woody Woodmansey and producer Tony Visconti, HOLY HOLY perform the songs of DAVID BOWIE from the period between 1969 to 1973 at concerts around the world and it was while touring that AFTERHERE came into being.
What began as a platform for soundtrack work eventually mutated into songs for their debut album ‘Addict’; “Glenn being part of one of the most innovative electronic bands calls to mind elements of KRAFTWERK and of course HEAVEN 17” Berenice Scott said, “We both love classic, brilliant songwriting such as the HALL & OATES catalogue and one of my favourite singers is Karen Carpenter, and then we kind of end up meeting somewhere in the middle with a shared love of DAFT PUNK.”
For their debut gig at Venue 2 of 229, an underground location in Central London, Scott and Gregory reversed their known roles from HEAVEN 17. Beginning with an introspective instrumental ‘Butterfly’, it was certainly unusual to see Gregory behind two synthesizers.
The soulful electronically assisted pop of ‘After the Night’ had its rainy backdropcomplimented gentle backbeat from Al Anderson on electronic drums,
It showcased how with Scott taking the majority of the lead vocals, AFTERHERE’s songs take on a more personal and emotional level compared with the socio-political animal that is HEAVEN 17.
‘Darkstar’ saw Gregory take the first verse in a duet with Scott, their two very different voices working well in unison and providing enough anguish around a solid bassline, swooping electronics and subtle piano.
Aided by a synthetic rumble and thundering rhythms from Anderson, ‘Unbroken’ was full of emotive drama with Scott exclaiming “I’ll be there for you”. The jazzier overtones of ‘It’s OK’ were disturbed by some solid schaffel beats, although Scott’s terrifically rich voice was not overawed by the dominant percussive backbone.
With a solemn demeanour, ‘I Won’t Cry’ with its mix of piano and synths came over like an electro-FLEETWOOD MAC and was amusingly boosted by Gregory’s BEE GEES inspired falsetto backing vox.
Then in a nod to HEAVEN 17 and DAVID BOWIE, Scott provided solo piano interpretations of ‘Temptation’ and ‘Wild Is The Wild’ which were both voiced by Gregory.
The haunting overtures of ‘Liar’, which formed part of AFTERHERE’s first soundtrack commission, more than suited the parent TV show’s heavy subject content; “is he dead?” grinned Scott to the audience at the song’s conclusion in a reference to the series one cliffhanger…
The excellent ‘Addict’ album title track dealt with emotional exploration of relationships, but proceeding were injected with a dancey boost, courtesy of the funky GOLDFRAPP of ‘Breaking Rules’; with groovy reminisces of ‘Twist’ and ‘Yes Sir’, the song’s captivating sexually charged seduction almost got Scott up on her feet, although she remained somewhat the reluctant front woman despite having the voice and looks to more than fulfil the role.
The nocturnal atmospheres of ‘A Place To Be’ were perfect as the penultimate song of the evening before Berenice Scott and Glenn Gregory closed with a stark trip-hop styled cover of ‘All Along the Watchtower’.
With an introduction by ‘Liar’ and ‘Vanity Fair’ director James Strong, he explained how he wanted the music for his shows to be slightly darker in tone. A song that has been reinterpreted by many in the past including Jimi Hendrix, Bryan Ferry and U2, authentic guitar sounds emerged from Gregory via his Roland GAIA. Combined with Scott’s spooky air, it came over like MORCHEEBA doing Dylan.
It was an enjoyable debut performance from AFTERHERE with Scott particularly impressing. Gregory had said he was particularly nervous in his new role as a live musician, but he needn’t have worried. Both he and Scott just need to get a bit more confident within their role reversals and everything else will nicely fall into place.
With thanks to Sacha Taylor-Cox at Hush PR
‘Addict’ is released by Manners McDade in CD and digital formats
AFTERHERE is the brand new project of HEAVEN 17 front man Glenn Gregory and live keyboardist Berenice Scott.
Glenn Gregory along with band mates Martyn Ware and Ian Craig Marsh scored a number of hits including ‘Temptation’, ‘Come Live With Me’, ‘Crushed By The Wheels Of Industry’, ‘Sunset Now’ and ‘This Is Mine’ as HEAVEN 17.
Berenice Scott joined their live set-up in 2011 while releasing her most recent solo album ‘Polarity’ in 2014.
As well as HEAVEN 17, the pair have also been part of HOLY HOLY, the supergroup led by Spiders drummer Woody Woodmansey and producer Tony Visconti who perform the songs of DAVID BOWIE from the period between 1969 to 1973 at concerts around the world.
As AFTERHERE, Berenice Scott and Glenn Gregory got their first commission for the soundtrack of the ITV drama ‘Liar’. With their debut album ‘Addict’ due for release later this month, music from it will feature in another ITV drama ‘Vanity Fair’ due for broadcast in September 2018.
Berenice Scott kindly chatted about the comings and goings of AFTERHERE and more…
You’ve been working live with HEAVEN 17 since 2011, so how did AFTERHERE happen?
Glenn and I started chatting about working together on something a couple of years into my playing with HEAVEN 17. We didn’t really have a firm idea of what that might be, we just kind of started conceptualising things… Glenn would occasionally ping ideas my way, things he was working on for his other film / TV composing projects, or new H17 tracks, things like that.
But it wasn’t until we were touring together with HOLY HOLY that we began to formulate AFTERHERE and what that entity might be. In fact, I remember standing in the corridor of a rehearsal studio in London called The Joint, guitars blaring out David Bowie and both of us deciding on the name. So I guess that’s the moment that it happened!
You began with providing the soundtrack of the TV drama ‘Liar’? How did you find that experience of putting music to moving pictures?
Absolute joy from start to finish. I’d witnessed Glenn at work scoring for a TV film before we started working together and it was enthralling to see the process and also the choices Glenn would use and why he would do particular things in places to aid the pace, mood and story. Since studying piano classically from a young age I’ve always written piano compositions, so when Glenn and I were pitching for ‘Liar’ it was fascinating to combine all these elements. Particularly with a heavy subject content such as ‘Liar’ it was moving to be supporting the storyline whilst retaining that subtlety that’s needed for scoring. With pop music, it’s out and out emotion isn’t it! Glenn and I love building the sometimes long tension and release that’s involved with film composing.
Conceptually, how do you see AFTERHERE differing from your own solo work?
I think I’d say that I find the initial approach to writing very similar; I still try to access the same creative flow and emotion, but that very quickly becomes a joint project, with both our wells of taste and experiences being pooled together.
Because we have a very similar work ethic it is a pretty seamless transition from the singer / songwriter world I’ve inhabited to the more cinematic, electro concept we visualise as being ‘us’.
What particular artist influences were each of you bringing to the table?
As the album started taking shape we both started to naturally pick out and identify various influences… Glenn being part of one of the most innovative electronic bands calls to mind elements of KRAFTWERK and of course HEAVEN 17. We both love classic, brilliant songwriting such as the HALL & OATES catalogue and one of my favourite singers is Karen Carpenter, and then we kind of end up meeting somewhere in the middle with a shared love of DAFT PUNK. When we’re asked about what our tracks sound like I think we both agree that those could be our references.
What is the creative dynamic of AFTERHERE with Glenn, was it decided quite early on that you would be lead vocalist?
There’s never a moment before we start writing a song that we decide on who will sing. In fact strangely we just start an idea and write as if we both could sing it, almost as if we might be writing for another singer because it’s the song and story that is most important to us. It’s only when its fully taken shape that the song settles on either one of us. It’s invariably a case of “you do it” – “No you do it!” That kind of thing for a while before we agree on who has to stand up and leave the comfy studio chairs to sing.
But you do duet with Glenn on ‘Dark Star’…
When I get to the studio in the mornings, Glenn will usually have been in a couple of hours before me, brushing up on yesterday’s session, having a fresh listen etc. Often I get there and he’ll play me what he’s been up to and I’m always like “Yes that’s f****** brilliant!!”
Well, on one of those mornings he played me ‘Dark Star’ with his vocals and I was blown away. It had to be a duet. The lyrics suddenly made sense and gradually the ending vocal arrangement developed and became a much bigger thing too in the process.
You’ve played around with a few subtle vocal processing techniques on the album, so when do you decide it’s appropriate to use in a recording?
I don’t know really, it shifts and changes for me every day. Some days I’ll wake up and just sing with a morning growly voice and not give a sh*t. ‘Blackout’ was one of those. And then sometimes I’m searching for a precision and particular sound that probably doesn’t exist, but I’m still going to die trying and also test Glenn’s patience in the process ha! It’s all just a choice isn’t it?
What are your views about how it is used in modern mainstream pop?
As long as you know you’re happy to sit down in a room with a piano or guitar and just sing without a mic, effects etc, then I’d say just knock yourself out in the studio – experiment away. Even if you arrive back at a place without any effects. Glenn’s voice for example requires nothing at all! You could leave a channel completely naked with his voice and still have clarity, volume and presence. I’m all for that, I also love creating an almost ethereal atmosphere, but it’s a fine balance.
‘Blackout’ could be described as “dubstep soul”?
‘Blackout’ started with an early morning after a late night voice, it was all about the feel of the vocal.
I played it to Glenn who loved it immediately, the only danger was would we be able to find that voice again when we finally wrote the finished lyrics!
Glenn did some beautiful work on the backing track, in fact it was ready for a vocal for about 4 weeks, all we had to do was wait for the right time to do it.
We had planned to do it after getting back really late from a gig one night – I stayed over at Glenn’s house with the intention that we both got up at 6AM to go straight into the studio to get the same husky vocal from the guide, but of course that didn’t happen! Waking up late and Starbucks got in the way of that. It was about a week later when I finally did the vocal and thankfully managed to match the vocal from the rough.
And if it’s Dubstep Soul that we created, I’m very happy that we did.
HEAVEN 17 lyrics are often reflecting socio-political concerns, has this been the case with AFTERHERE or have they been much more personal?
It’s more personal, well, universal and personal I’d say, all the songs on the album are emotional and connected both musically and lyrically.
Was the Kim Wilde track ‘Without Your Love’ which you and Glenn did with Gary Barlow for the ‘Fly’ soundtrack souvenir from 2016 originally pencilled in for AFTERHERE?
Well spotted! In a roundabout way it was sort of pencilled in… we actually had a song that Glenn sang, I forget the title now, anyway Gary Barlow happened to hear it as he was in contact with Glenn for a different track for the soundtrack, and somehow we all started working on that original piece to eventually make ‘Without Your Love’. Kim felt like the perfect choice, so Glenn gave her a call and that was that.
So what’s the title track album opener ‘Addict’ all about?
‘Addict’ is all about emotion and emotional involvement, exploration of relationships, it’s about discovering depths, nuance and desire. Sometimes leaving something or someone behind is the only way to discover that you need it, and maybe that you shouldn’t need it! It’s about connection beyond the everyday and the heartache or joy involved in that.
The wonderful ‘Breaking Rules’ is a surprise and appears to have you exploring your inner GOLDFRAPP?
That’s really great to hear, thank you! We always wanted to have a driving track on the album that you could hopefully move your feet to, party to… possibly get in a little trouble! I don’t know, we’re both fans of classic club tracks and I guess as the song is set in a club-type setting it was always going to push towards having that feel.
You’ve done a trip-hop styled cover of Bob Dylan’s ‘All Along The Watchtower’, how did that come together? The song’s been reinterpreted by many people in the past, which version is your own favourite?
Glenn and I were working closely with the director James Strong when we were composing for ‘Liar’, and as he started filming for the new ITV blockbuster ‘Vanity Fair’, he came to us to bat ideas around for a possible theme for the show. He knew he wanted it to be slightly dark in tone, but also to have the lyrical relevance needed for introducing the show each episode.
We all circled around ‘Watchtower’ and let that idea percolate for a bit whilst James continued filming and we were recording our album. At some point it just popped up and sprung itself into shape in the studio as the edits of the opening titles started being sent over to us along with visuals and ideas from James.
In terms of my favourite version I would have to say Jimi Hendrix’s, it’s the version I know most well and I’m sure I’m not alone in that!
Was there any new interesting bits of kit that you found a revelation to work with recording this album, either hardware or software?
Glenn! Haha! No but seriously, when I was laying down vocals something felt very different to any other times I’ve recorded in studios, whether alone with myself engineering or with other artists and producers.
We sort of found a zone, I can’t really explain it other than a total trust just being there which allows you that kind of creative freedom. Equally if something isn’t working it’s fantastic to have that trust so you can set aside ego and move on and try different things.
Are there any plans to take AFTERHERE out live at all?
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Berenice Scott
The ‘Addict’ album is released on 31st August 2018 via Manners McDade
‘Eddie The Eagle’ is a biopic by ‘X-Men: First Class’ director Matthew Vaughn about Eddie Edwards, who represented Team GB in ski-jumping at the 1988 Winter Olympics in Calgary.
It was the same Olympics which inspired the Disney film ‘Cool Runnings’ about Jamaica’s first bobsleigh team entry!
Based on true events, the film stars Taron Egerton as Eddie Edwards and Hugh Jackman as Edwards’ fictional trainer.
Whereas ‘Cool Runnings’ had artists performing cover versions for the soundtrack, ‘Fly – Songs Inspired by the film Eddie The Eagle’ differs in having a collection of original songs curated by Gary Barlow, each recorded by British artists who are now usually seen frequenting retrospective events such as Rewind, Here & Now and Let’s Rock.
So, a concept album based around the legend of a bespectacled plasterer, featuring contributions from members of FRANKIE GOES TO HOLLYWOOD, SOFT CELL, SPANDAU BALLET, ULTRAVOX, ERASURE and OMD, in collaboration with a member of TAKE THAT? On paper, this is a terrible idea!
But Gary Barlow has long been an admirer of ULTRAVOX in particular; his 2010 interpolation of ‘Vienna’ for the track ‘Eight Letters’ on TAKE THAT’s Stuart Price produced album ‘Progress’ resulted in the rather unusual writing credit of Barlow / Donald / Orange / Owen / Williams / Ure / Cross / Cann / Currie. The TAKE THAT track ‘Love Love’ for the film ‘X-Men: First Class’ also indicated Barlow’s interest in electro forms.
The era in which ‘Eddie The Eagle’ reigned has been symbolised by both aspiration and fighting against the odds, and that comes across in the song titles.
As a side note, it is interesting how with the political climate that existed during this time, this project has gathered musicians whose politics cover the whole colour spectrum, from the Jeremy Corbyn supporting Martyn Ware to the self-confessed Tory boy Tony Hadley. While some say politics should be kept separate from music, many would argue music is an artistic reflection of the incumbent environment. So what of the music?
Holly Johnson’s ‘Ascension’ is typically epic, recalling a steadily building uptempo reboot of ‘The Power Of Love’, while ‘Out Of The Sky’ sees Marc Almond tackling his most overtly electro number for many years. Having previously shared a stage with Gary Barlow and earned some extra royalties too, Midge Ure’s ‘Touching Hearts & Skies’ stands quite ably within the concept as a tune reminiscent of ULTRAVOX’s classic synth rock.
Having found success outside of OMD with the first incarnation of ATOMIC KITTEN including a No1 in ‘Whole Again’, Andy McCluskey has a proven pedigree in mainstream pop spheres. He does a good job in co-writing with Barlow on ‘Thrill Me’, which is sung by the film’s two stars.
Taron Egerton won ‘The Stephen Sondheim Society Student Performer of the Year’ while at RADA and Hugh Jackman of course appeared in the musical epic ‘Les Misérables’; so their combined capabilities in the vocal department stop the song from becoming an ironic novelty. According to McCluskey, Egerton and Jackman’s vocals were recorded without his knowledge! Unsurprisingly ‘Thrill Me’ does sound like ‘Sugar Tax’ era OMD, crossed with imperial ‘Everything Changes’ phase TAKE THAT. Who’d have thunk it eh?
Nik Kershaw is another with a songwriting career outside of his own, penning ‘The One & Only’ for Chesney Hawkes back in 1991; ‘The Sky’s The Limit’ is an archetypical MTV friendly ballad that could have been made back then, with hints of A-HA and SAVAGE GARDEN.
One of the songs not part of the original ‘Fly’ concept is HEAVEN 17’s ‘Pray’; previously released by Messrs Ware and Gregory in 2014, it’s a terrific hybrid of the early avant phase of THE HUMAN LEAGUE and ‘Young Americans’ era Bowie. This slice of prime electronic soul is a stand-out on the collection and proof that the Sheffield masters still have it.
But members of the HEAVEN 17 crew do contribute to the energetically synthy engine room of Kim Wilde’s ‘Without Your Love’. It’s an enjoyable homage to her earlier sound, co-written by Glenn Gregory and live H17 keyboardist Berenice Scott in collaboration with Barlow.
Tony Hadley does his overblown Foghorn party piece on ‘Moment’ and Spandau fans will be more than happy with the end result, others perhaps not so.
The often under rated Howard Jones delivers the enjoyable modern schaffel stomp of ‘Eagle Will Fly Again’, while the blue-eyed soul offerings from ABC and GO WEST will satisfy their existing fans. However, Paul Young appears to have lost his voice on the vintage widescreen AOR of ‘People Like You’. Meanwhile on the autotuned ‘Fly’, Andy Bell actually starts to sound more like Tony Hadley than Alison Moyet!
Like with the music from back in the day, some of it is brilliant, some of it is likeable and some of it you’d rather not hear again.
But that in an essence, is why music derived from this period still resonates today… it was about songs and melodies, not tuneless dance excursions or ultra-fast talking supposedly passing for vocals. ‘Fly – Songs Inspired By The Film Eddie The Eagle’ is an interesting curio as a “Where Are They Now?” snapshot. Whatever your tastes, there is a good reason why all of the artists featured on this album still have a career performing.
BEF finally played the first of two special concerts featuring an impressive line-up of guest vocalists to celebrate the three volume high-tech covers series ‘Music Of Quality & Distinction’ and in particular, the latest release subtitled ‘Dark’.
Announced on stage by its musical director Martyn Ware as “the last ever BEF concerts”, the production company made its live debut as part of a dual weekender with its most successful subsidiary HEAVEN 17 in Autumn 2011.
Taking place at The Roundhouse in London, it was a gloriously ambitious outing which included the likes of Sandie Shaw, Boy George, Kim Wilde and Midge Ure. Tonight’s show was in the slightly more intimate confines of Shepherd’s Bush Empire.
It provided an opportunity to showcase a number of songs that had not been aired at the last BEF show. It is always to their credit that the BEF / HEAVEN 17 umbrella always give value for money to their loyal followers by varying setlists, something which other acts from the Synth Britannia era who still tour could learn from.
Naturally, Glenn Gregory opened proceedings with a song that could be seen as 2013’s electronic music scene theme tune ‘It Was a Very Good Year’.
With its eerie HUMAN LEAGUE meets THE FUGEES breakbeat arrangement, it was a fine opening that reflected Martyn Ware’s electronic roots with his love of contemporary soul and classic songwriting.
But there were surprises from the off…
First guest Andy Bell from ERASURE gave an emotive rendition of QUEEN’s ‘Love Of My Life’ in addition to his contribution to the impressively diverse ‘Dark’, KATE BUSH’s ‘Breathing’. Then one of the ‘Dark’ album’s best numbers ‘Don’t Wanna Know’ got its premiere courtesy of COMMUNARDS singer Sarah Jane-Morris.
The contrast of her deep blues with the blippy electronics came over like a darker gothic version of YAZOO. Slightly more laid back but no less dramatic, her version of ‘Family Affair’ also highlighted the funkier standpoints of the BEF sound.
HEAVEN 17’s contemporaries SCRITTI POLITTI’s Green Gartside and PROPAGANDA’s Claudia Brücken took their turns on the stage with Green reprising his raspy tones on ‘Didn’t I Blow Your Mind This Time’ and ‘I Don’t Know Why I Love You’. Meanwhile Claudia (who didn’t actually appear on the ‘Dark’ album as she was recording her own covers LP ‘The Lost Are Found’) gave a beautifully Germanic edged realisation of ‘The Look of Love’ that recalled ‘Felt Mountain’ era GOLDFRAPP and a finger-clickin’ good ‘These Boots Are Made For Walking’.
But there were a trio of amazingly heartfelt performances; first Glenn Gregory performed ‘Party Fears Two’ which he first sung at this very same venue in 2007 for the Billy Mackenzie 50th Birthday Tribute Concert.
It was a fitting remembrance of the late vocalist from THE ASSOCIATES who sang on Volumes 1 and 2. Trained undertaker and singer/songwriter David J Roch gave his Moroder-esque spacey disco take of Bill Withers’ ‘Same Love’, one of the stand-out tracks on ‘Dark’.
However, the biggest surprise of the evening came when regular HEAVEN 17 / BEF live band member Berenice Scott stepped out from behind her keyboards for a dazzling cinematic rendition of BLONDIE’s ‘Picture This’.
Endearingly sung by “possibly the sexiest lady ever to have got behind a synthesizer”, the crowd was aghast with her vocal abilities; it came as such a surprise that it almost stole the show. The extremely modest Miss Scott though had actually ventured back to her keys before the lengthy song’s conclusion, so didn’t quite feel the full weight of applause that acknowledged her performance.
On the final stretch, The Swiss Family Wilde took to the stage with Kim joined by her niece Scarlett and brother Ricky for a Motown triple tribute. Beginning with the magnificent but little known Stevie Wonder composition ‘Every Time I See You I Go Wild’, the spine tingling industrial backdrop suited Ms Wilde’s vampish demeanour. Then it was a pair of Hitsville classics that featured on the first volume of ‘Music Of Quality & Distinction’ series ‘There’s A Ghost in My House’ and ‘You Keep Me Hanging On’ which Kim had a hit with herself back in 1986.
With Tamla influences very much dominating this section of the show, it was appropriate that to finish was an extended workout of ‘Temptation’. Centred around the band’s two backing vocalists Billie Godfrey and Kelly Barnes, the pair had already demonstrated their power particularly on their respective interpretations of ‘Smalltown Boy’ and ‘Just Walk In My Shoes’. The spectacle of the pair engaged in a battle of the disco lung smiths was a wondrous delight
This evening of fun and frolics was a marvellous achievement on the part of Martyn Ware and the BEF band Asa Bennett, Julian Crampton and Berenice Scott for their abilities and professionalism in learning and playing so many songs for effectively a one-off event. It is a shame that there will be no more BEF events such as these but they are an extremely big logistical undertaking. But then again, for anyone who attended this or the Sheffield Academy show, or The Roundhouse back in 2011, these will be special memories to be cherished for a long time.
It Was A Very Good Year (featuring Glenn Gregory)
Breathing (featuring Andy Bell)
Love Of My Life (featuring Andy Bell)
Don’t Want to Know (featuring Sarah Jane Morris)
Family Affair (featuring Sarah Jane Morris)
Smalltown Boy (featuring Billie Godfrey)
Free (featuring Billie Godfrey)
Co-Pilot The Pilot (featuring Kelly Barnes)
Walk In My Shoes (featuring Kelly Barnes)
Party Fears Two (featuring Glenn Gregory)
Didn’t I Blow Your Mind This Time (featuring Green Gartside)
I Don’t Know Why I Love You (featuring Green Gartside)
Picture This (featuring Berenice Scott)
The Look Of Love (featuring Claudia Brücken)
These Boots Were Made For Walking (featuring Claudia Brücken)
Every Time I See You Go Wild (featuring Kim Wilde)
There’s A Ghost In My House (featuring Kim Wilde)
You Keep Me Hanging On (featuring Kim Wilde)
Boys Keep Swinging (featuring Glenn Gregory)
Temptation (featuring Glenn Gregory, Billie Godfrey and Kelly Barnes)