The Boyowa 'Yoyo' Olugbo Interview
Listen to any Stock, Aitken & Waterman production released between 1986 and 1990 and, be it credited or not, the chances are that Boyowa Olugbo was involved. The self-motivated “creative” started out at PWL as a studio assistant (under the more recognisable pseudonym of 'Yoyo') then quickly progressed to become one of the team's lead studio engineers, before moving on to further develop his skills as a songwriter and producer in his own right.
Today, Boyowa is channeling his creativity into an entirely different venture, but his love of music and his experiences during those formative years working at PWL have undoubtedly shaped the person he is today.
Here, the original 'Extra Beat Boy' looks back on the time he spent in, and out of, the studio with Mel & Kim, and he shares some very personal recollections of his friendship with Mel - a connection that is poignantly bookmarked in his memories, and which he says, affected him ‘profoundly’.
It’s so great to chat with you. Now, before we start, should we call you Boyowa or Yoyo?
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Call me Yoyo. For this era, I’m Yoyo, so all good with that mate (laughs). Don’t worry.
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OK - Yoyo, it is! As 'Yoyo', your name is synonymous with many of Stock, Aitken & Waterman’s best-loved productions, and you continued to achieve great success after you left PWL with artists such as The Brand New Heavies and The Honeyz. Are you still working in the music industry?
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No. So, I stopped doing music properly around 2008, and I went into publishing. Before that, I was at Universal, putting artists with songs and artists with producers, and it was just, umm… I don’t know. Coming from my background, I found it really hard, to be fair. One: I’m a musician - I’m a trained pianist. Two: I’m a sound and mix engineer. And, three: I’m a producer and a songwriter. But I did all of those things progressively, and before I could call myself a ‘songwriter’, I’d been in the industry for about fifteen years. Plus, I’d sat with the most prestigious songwriters of their time [Mike Stock and Matt Aitken], doing song after song, hit after hit... and people just think that writing a hit song is really easy, but try and do that time and time and time again, and then you start to understand and realise that it is an absolute skill and a gift that a lot of people don’t have. But then [after moving on from PWL] I’d get these young producers or songwriters, and they wouldn’t know about melody and stuff. I found it really hard trying to explain to them that this should go here, this should go there, and I just ended up going back into the studio, which I didn’t want to do. I found it really frustrating... but maybe that was on my part. I should just have done a 'Simon Cowell' and said, 'No. It's not good enough'. But I couldn't do that, because that’s where I came from, you know? I came from being in the studio and recording. So, the only way I could really disengage myself was to just come out [of the music industry] completely. So, around ten years ago, I set up a business called Stennah & Hope, with two friends of mine, and we’ve been manufacturing home fragrances, scented candles, diffusers, room sprays, and toiletries for some really well-known, high-end, bespoke brands in the UK. So that’s what we’ve been doing for ten years. https://www.stennahandhope.co.uk/
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We've sampled some of your fragrances. They are gorgeous!
Oh, thank you. I love it, and it’s all still about being creative. As long as I’m creating, I’m happy. It’s when I’m not creating that I start to get frustrated (laughs).
Going back to your days at PWL, being creatively involved in so many of their well-known and well-loved productions must give you a huge sense of satisfaction.
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Do you know what? I do have a sense of satisfaction. And it’s only, probably, in the last few years that I’ve gone back and realised the process of what we were all doing and what was being achieved - and it was a team effort, you know? I really believe that! Success is made up of parts that become a whole. Everyone at PWL knew their roles. They loved what they did, and they did it well. That is how PWL ran; the studio side ran like clockwork and it was work, work, work... but everyone just loved it. I’ve worked in studios all over the world and, whether it’s America, Japan, Australia, or wherever... I’ve never come across a studio that had that amount of energy. There was always something going on (laughs). It was bustling and never quiet, and everyone was kind of on top of each other. Everyone knew each other and everyone liked each other. I’ve never had that experience in a studio since then, so it was special. It was very, very special.
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​Do you miss those days?
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I get asked that a lot! Umm… I don’t miss it, no. I think that it was an era. It’s like a chapter in a book. It finishes, and you close it... but that was a very big chapter in the book of my life, and it was a happy one as well. Do I have any regrets? No! Did I enjoy it? Yes, of course I did! It was such an enjoyable time. I made lots of friends, and I helped to make a lot of the songs that are still played now... and, when I hear them, I can look back and remember what we were doing and what was going on at the time. It was a part of my life… but, as one chapter ends, another begins.
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You’ve worked with so many famous artists, including of course Mel & Kim. Do you remember meeting the sisters for the first time?
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OK... so Mel & Kim are also very special to me. In fact, I’d say they were quite profound - especially where Mel was concerned. When Mel & Kim first came onto the scene, I would have been seventeen going on eighteen, and I was just the studio assistant... in fact, not even the assistant, I was the tea boy (laughs). I was there at PWL, learning the ropes in the studio, but then also going out and making tea and doing all that kind of stuff. One day, I went to get some sandwiches from the local cafe for Matt and Mike, and I remember seeing Mel just around the corner from the studio; she was standing outside the Borough Tube Station. So, I walked straight past her, and I just thought, WOW! Who’s that? (Laughs). You know, I was a young guy, and I’d just seen the most unbelievably beautiful girl that I had seen. She was just stunning! So, I got the sandwiches, and then I walked back past her. She looked at me. I looked at her, and then I went back to PWL. I must have taken the sandwiches to Matt and Mike and then gone off to do something in another part of the building, but I was still thinking about her (laughs). And then, when I came back into the main studio, there she was! Actually, both Mel and Kim were sitting in there - Mel had obviously been waiting outside the station for her sister. And, from then on, we just hit it off and we got on so well. As I said, I was a young boy - just full of life - and Mel and Kim were so full of life as well, and they just had all of this energy.
Did you spend a lot of time assisting the studio engineer during the girls' early recording sessions?
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Oh yeah! (Laughs). The engineer would have been Mark McGuire, so I was assisting Mark then. When you’ve got a mixing console, the engineer is obviously the pilot - he’s the person that’s flying the plane. Whether it’s recording a vocal or recording the instruments, he’s got control of everything... and I got on really well with Mark, so I was literally like his co-pilot, so to speak. That’s not the right term, but… (laughs). We are in the digital world now, but back then you had lots of outboard gear - patchbays. I’m sure you’ve seen what patchbay looks like - where you’re inserting inputs! It was literally like that. Mark would tell me to put a compressor over track-24, and I’d put the patchbay on (laughs). I’d be making sure that his job was made easier, so he could just focus on the sound, and make sure that the vocals weren’t overly-compressed, and stuff. But I was in and out of the studio even when I wasn’t assisting Mark, ‘cause there were these two girls in there - and they just looked AMAZING! So, I was more in than I was out (laughs). Me and the girls just clicked instantly, and we got a really good friendship later on, which I’ll dive into a bit later.
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Although PWL was in its early days, it must still have been a busy environment. Did the sisters hang out there when they weren’t in the studio (prior to their debut release), or was it a case of the artists coming in to record, then leaving quickly?
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Essentially, it was a case of the artists coming in, singing and then leaving, although Mel & Kim would never just go home. They would be around the studio, they would be interacting with all the girls in the office, I’d be sitting down talking to them. They were around all the time. They loved being in that environment - especially Mel, ‘cause she bounced off everyone, and she just brought a certain amount of energy into the building. Everyone at PWL loved them and everyone was wanting it to be successful. That happens sometimes with artists. You just get some artists that are... they're just sort of different, and… special. They’re like a magnet. Without them actually doing anything overtly outrageous, everyone just gravitates to their energy.
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How would you describe Mel & Kim to someone who had never met them?
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Essentially, they were just two down-to-earth young girls from London. Honest, relatable, fun... They could be the girl next door, you know? If you met them on the street, or wherever, they would strike up a conversation with you. They weren’t trying to be ‘pop stars’. They weren’t trying to be 'famous'. They weren’t trying to be rich and wealthy. They were just two young girls who loved singing, loved dancing, loved people… and just wanted to be in the music industry - and, whatever success happened after that, happened! It’s no surprise, all these years later, why Mel & Kim are still so loved, because they were just... just really genuine people. Despite being ‘pop stars’, they were very genuine and humble, and that’s why people warmed to them. You’re attracted to the ones that you are attracted to because of their aura... their light. Mel and Kim were vibrant and just full of so much energy, and you could just tell that they were being natural. There was no, they’re not talking to you because of this or because you don’t come from there! They were just down-to-earth... and you don’t meet many people like that. Most people have got a bee in their bonnet about something (laughs), but that’s how they were. I just think that they were so overwhelmed and happy to be within that environment, and getting this chance to sing and dance, and do what they always wanted to do.
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Do you recall much about the work that went into getting the girls' debut single right - including the last-minute change from System to Showing Out (Get Fresh at the Weekend)?
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So, the direction that Mike and Matt were going with them originally was quite 'RnB' and American influenced. System sounds like Princess, who was also on Supreme [Records], but Mike really wasn’t feeling it - it wasn’t so much Matt, but Mike really wasn't liking it. Listening to System, and then listening to Showing Out and F.L.M., which all came from the same batch of recordings, Mike and Pete [Waterman] realised that that American sound wasn’t gonna work with those two girls. With the energy that they both had, they needed something a lot more interactive, more up-tempo, and a bit lighter and brighter - and Showing Out was it! You could hear the girls' personalities and their energy in that song, and you could see them getting that out on stage as well. People love that! People wanna be a part of that. They wanna interact with that. They loved the positive energy that Mel & Kim put out.
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So, Mike was the main instigator of that change in musical style for Mel & Kim?
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Well, Pete and Mike always kind of agreed, and then there would be Matt, in the middle (laughs). It kind of always felt like they were ganging up on him... but they weren’t (laughs). I think it was just different musical tastes. Plus, Mike and Pete were older than Matt, so that’s gonna bear some influence.
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And out of the three, you worked most closely with Matt, didn’t you?
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Oh yeah. It was always just me and Matt. Back then, Karen Hewitt [PWL studio engineer] would do the vocals with Mike. Then, it was often me and Matt in the other studio, finishing the tracks and doing all the music and stuff... And Matt’s a proper character, man! If you know northern men, their sense of humour is very dark and can seem quite offensive, but Matt is very, very funny - he still is! Matt’s a one-liner, so being in the studio with him was an absolute laugh. When you are spending ten hours a day in the studio with somebody, they have to be funny. There’s nothing worse than working with people in the studio and there is no vibe - I’ve been there and it is the most frustrating and boring thing - but Matt was great. Don't get me wrong... Matt’s banter could sometimes rub people up the wrong way, but if you know and understand that humour, and you give it as well, it’s a good laugh - and Kim could definitely give it just as well (laughs). Sometimes, Mel & Kim would side with me and we’d gang up on Matt, but Matt could take it (laughs). The girls’ studio sessions were just really funny and there was always lots of laughter and banter.
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Fun stuff aside, the sisters were very new to studio recording. How did they adapt to working in that environment?
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They were professional, to be fair. It’s funny to say, when I’m sure that they hadn’t been in the studio before - that kind of studio anyway, ‘cause we are talking about a professional studio, but I don’t ever remember any challenges. As I said, I think that they were just full of excitement. Mike would try all different things, and they were so welcoming of it. There wasn’t any, ‘oh, I don’t wanna do it’. There was none of that - whereas, there were a few others that I could mention, but I’m not gonna, who were very difficult (laughs). You want to say to them, 'you’re in a studio, for God’s sake. Do you not understand how lucky you are. People would love to be in this environment.' It can be difficult with difficult artists, especially when they are recording vocals, but for those two girls, I think it was their dream so there was none of that prima donna stuff, or any front.
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We've heard that there was a table tennis set up in the studio, and that Mel was a bit of a wizz with her 'topspin'.
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(Laughs), that's right! So, the table tennis room was set up upstairs - it was in a vocal booth - and during the recording sessions, we would always take breaks and play for half an hour... because, otherwise it was just work, work, work, you know? We would also eat lunch in the studios – your lunchbox would be on the mixing desk, literally (laughs)! Matt and Mike were pretty good at table tennis, and I was good... but Mel was really good... yeah, she was great!
Success came incredibly quickly for Mel & Kim. How do you think they felt about what was happening to them?
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Excited! They were really, really excited. I think they were just glad that they’d got a record deal and that they were able to do what they loved; doing videos, doing PAs, being on Top of The Pops, and being on the cover of Smash Hits. Some artists just want a massive hit and to make lots of money, but I never got that from Mel & Kim – at all! I just got that they were so grateful and loved what they were doing; grateful to be working with Stock, Aitken & Waterman and to be within the music industry, and grateful to be involved... and that’s what I mean about being humble. They were very grateful for the opportunity and they gave it everything! They didn’t leave any stone unturned. And that energy that you see, and that laughter… That’s exactly how it was with them in the studio, and that’s how it was within the building when they were there.
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Success often changes people. Did you feel that the girls’ rapidly increasing fame and popularity dampened their initial excitement and energy at all?
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No. I didn’t see them change one bit. I just felt that they were on a curve. I think that they were on this wave, and they rode that wave until life just came and… just gave them the biggest knock down you could ever possibly have. But, before that, they hadn’t changed as people, and I can honestly say that. In fact, I think that the more success they got, the more resolute they were in maintaining their identity and who they were. Whereas, with a lot of the other artists from PWL - the ones that I was close to - I could see that the fame and the money did change them. It wasn’t nasty or anything, but it changed their personalities. We’re talking about young adults here - people under 25. All of a sudden, you’ve got worldwide number ones, and you’re on tours, and you’re on the front cover of every magazine, and you’ve got more money than you’ve ever had. So, of course, it’s gonna change you. Of course, it is! But, with Mel & Kim, they were always just… normal. It was almost like they were not famous, or anything. They were as natural as natural can be.
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Did you guys socialise much outside of the studio?
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Oh yeah. As I said, I got on really well with both Mel and Kim, but I got on really well with Mel. Me and Mel? We just clicked, man! Her energy was just… amazing! And I was eighteen by then, and I was just a flipping nightmare as well (laughs). We just really, really clicked! We would all go out to nightclubs together. There was this one time, myself, Mel & Kim, Rick Astley, and another friend of mine, went to The Hippodrome, which used to be this massive nightclub in Leicester Square. You must have heard of it! It’s not there anymore, but it was one of the clubs to go to... and that was just a crazy night (laughs). Rick hadn't released Never Gonna Give You Up at that point, but everyone couldn’t believe that Mel & Kim were there. To this day, my friend still talks about that night, because he was there with three of the biggest stars of that year (laughs). But even although the girls were hugely famous, they were still just two normal people going out to a nightclub and having fun! For me though, I was kind of still overwhelmed by it all... being around all of these artists you know? One minute they’re artists, and then the next minute they’re superstars... and I was seeing it all from a bird’s eye view. All I can say is, it was just fun being around Mel & Kim. It was very uplifting and positive. Lots of laughter, and smiles, and jokes. Yeah, it was a really, really good time.
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You and Mel were obviously very close. Is there anything that you think might surprise people about her?
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Mel was really intelligent! She was really smart – well beyond her years. You could have deep conversations with Mel about political issues and social issues... LGBTQ+ issues, and the social value of what was going on. She was very clued-up on that aspect. I can remember that because I was always like that as well. I was always way ahead of my years. Mel was very bright for her age, and men can get intimidated by that - especially when a woman is as stunning as she was - but that’s not on the woman. That’s on the man!
Mel & Kim’s love of music sparked their talent for songwriting. Was this something that you think the girls hoped to develop with Stock, Aitken & Waterman?
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I don’t know if I’m really jumping the gun here, but as the recording of their album went on and they got really successful, Mel & Kim wanted to do more, and they wanted to know more. But, at that point of Stock, Aitken & Waterman’s career, they weren’t really open to people just coming in and sitting down to write songs with them. That process, for them, would be a laborious one. PWL was a private studio - Mike and Matt would only work Monday to Friday and any mixing would happen within that time... usually through the night if the mixer was Pete Hammond (laughs). So, at the weekend, there was no one there, and so I would come in with another assistant called Jamie Bromfield, and we ended up being ‘The Extra Beat Boys'... but that’s another story (laughs).
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Oh, we definitely know of your brilliant work as one half of the original ‘Extra Beat Boys’, Yoyo (laughs).
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(Laughs). We were just young and keen. At seventeen / eighteen [years old], you’re just eager, aren’t you? And you’ve got loads of energy. That’s why we were in the studio all the time... ‘cause we were just young, and we didn’t have anything else to do, other than go out and get drunk - and I was never really a drinker - so, we just spent all of our time in the studio being creative. We would come in and pull up some tracks that SAW had been working on - we didn’t tell them, of course (laughs), ‘cause those tracks were mastered. If you fuck up those masters, or you erase something, you’re in serious trouble - you’re getting sacked! But we would get the tracks up and do our own drums and beats, and see what came up. Anyway, Mel understood that we were doing this, and I remember her asking me, ‘do you mind if we come into the studio on Saturday night, and we could just work on some tracks?' And I was like, ‘yeah, of course. Come in. That would be great’. The girls both wanted to come in to the studio and get some of their own ideas together and stuff. It wasn’t to say that they wanted to write songs for their album... they just loved being in the studio and they wanted to be in that environment. That week, they had done a photoshoot, which Mel gave me a Polaroid from... and on the back, she wrote: ‘To Yoyo. Saturday night! Love Mel’ - and, to this day, I’ve still got that. But then Saturday night came... I was in the studio, waiting for Mel, and she didn’t turn up. I was like, ‘Ok, it’s not a worry’. Me and Jamie were working on tracks anyway, although I did think that she had just blanked us. Then, maybe a week or so later… umm… Pete came into the studio… and he told us that Mel was really ill... and I realised, that was why she hadn’t turned up.
The signed test shot polaroid, given to Yoyo by the girls, following what proved to be their last professional photo session together. (Shot by David Levine).
Did you know at that point, how serious things were?
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Not right away. Essentially, I just knew that they weren’t able to come into the studio. But as time went on… I knew. And that was a really sad moment. So, what Mike and Matt did was, they ended up buying them lots of audio equipment, so that they could record stuff at home. The girls weren’t really 'technical', so they wanted me to help. I can’t remember whether it was Mel or Kim’s house, but I went over and I set it all up for them, and I taught them how to record and get their ideas down and stuff. That was really special, ‘cause, by that time, Mel was on a lot of chemo, and she was on lots of medication, and… oh man! It was so special that they trusted me and wanted me there. And then, later on, they came back into the studio to record That’s The Way It Is... Pete said that everyone had to finish early - everyone had to leave - so it was just me, Mike, Matt, and Pete in the studio. I remember feeling very tense on that evening. The studio was so quiet... and, as I said, that place was never quiet! So… yeah. That was the one recording that I did with them on my own. And that will always, for me, be…umm… a time that I won’t ever forget.
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Thankfully, people’s understanding of cancer is far more informed nowadays, but it is easy to underestimate the ignorance and stigma that surrounded the disease back then. This may sound like an absurd question, but in amongst all of that fear and uncertainty, how was Mel doing?
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I think she was coping fine - they both were. That wasn’t the problem. I'm not going to go into it, but you guys know... it was with everything else that went on with Kim’s boyfriend [selling private photographs of Mel, taken during her cancer treatment]. I’m not going to go into that, but I just remember that they were really disappointed with that, to be fair. That was a real disappointment for them both. You’re just like, really? Why would someone do that? But Mel was still upbeat. She was great, you know? And still so grateful. Grateful that I was there... grateful that she could still do some music. It’s funny that you should mention how there was much more of a stigma about cancer back then. I was only about 20 [years old] by then, and although I used to spend hours there just sitting and talking to them, I didn’t really know much about what was going on. I just knew that… this person that I’d known for this short amount of time, and just got on really well with, was just… just… somebody different… and was going through something so… so shocking. She was so young! I don’t want it to get too moody, but I just remember, not understanding. I just didn’t understand it. I didn't understand how you could go from... you know… having all that success, and then life just comes and strikes you down. It just all felt so unfair... but that’s life! Sometimes, all these years later, I still think, why? But look… Mel wasn’t dwelling on any of that. She really wasn’t dwelling on any of that! I put my hand on my heart, ‘cause I was there. I saw it firsthand, and I saw her in the way that only her family saw... and that remains special to me. But it didn’t in any way, dim her light. Her light was still shining brightly! It wasn’t out. She wasn’t dwelling on the negativity. It was the same old Mel.
Undoubtedly, she was incredibly brave!
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100%!
You mentioned setting up equipment so that the girls could record at home. What sorts of things were they recording?
​Everything from vocals or production ideas. They just wanted to get their song ideas together, so that they could take them in to Mike and Matt, so that the guys would know the direction and where they wanted to go. That’s all they wanted to do. They wanted to be creative and be able to put down their ideas and their direction, as opposed to just sitting and waiting for songs to be written for them. So, it was really just that. In their own environment, taking the time that they needed, going back and forth and honing into the craft of writing songs... because they were learning from Mike and Matt - two of the best of their time. It was just like myself. When you have great teachers at the beginning of your career, the rest comes really easily, because your foundation is so great. When you’ve been taught so well from the beginning, you’ve then got the basis to embellish on that. That’s what they wanted to do. They’d been given this chance and they wanted it to continue, regardless of what was happening to them.​
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There has long been some ambiguity around when and where the sisters recorded a track they wrote called You Changed My Life (which featured on the B-side That’s The Way It Is). Was that one of the songs they recorded at home, then took to Matt and Mike?
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Yeah, that was probably the most input that the girls had into actually writing with SAW, and I think it was recorded at home, yeah. I think that Matt and Mike were just trying to find a production that wasn’t too far away from where Mel & Kim came from, but they also needed to respect the situation as well. So, I remember there was a lot of time put into You Changed My Life. You know, you’ve got two songwriter/producers who have been working with two artists, and something drastic happens. They took a lot of care and love, producing that; it meant a lot to them. It wasn’t a case of just trying to thrash it out. They had a lot of respect for both Mel and Kim, and they had a lot of respect for Mel, and the way she was dealing with everything, and, as you said, being so brave, and not just dwelling and just… waiting. But I think it was a weird time for everybody, to be fair... so it doesn’t surprise me that the people that you’ve interviewed only have a vague memory of that. What happened with Mel... I think it really shocked everyone, and there was just a lot of shock within the studio. She was just so loved there. I think, for a long while, everyone was quite numb about it... and the same with Matt and Mike, so, it doesn’t surprise me that they don’t have too much of a memory about the recording of that. I just think that the whole thing was just so overwhelming and shocking for a lot of people.
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Had the Mel & Kim story played out differently, what do you think would have come next for the girls musically?
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That’s a good question. Had things been different, I think that they would have done another album, although maybe not all with Stock, Aitken & Waterman - maybe the other producers who were up-and-coming in the stable; like Phil [Harding] and Ian [Curnow]... or Daize Washbourne might have got involved. Supreme would have also got in some American producers, 'cause Mel & Kim had had some success in America. The girls would definitely also have wanted to get involved in the songwriting and have more input into what they were going to be singing about. That’s important to any artist, and I know it was really important to them. Then, after the second album, they probably would have gone solo. I think there were solo careers in both of them, you know? Kim went off and had a solo career, so I would expect that they would have gone solo.
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You shared such a vivid memory of seeing Mel for the first time. Do you recall the last time you saw her?
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Yeah. I remember going to the house... and later realising that that would probably be the last time... because Mel became quite ill after that… And then, soon after, we were told that she had passed... and that was just devastating. It was emotional for me… because of the bond we’d had from day one. From me and Mel looking at each other at The Borough Station… to then go full circle to where it all ended up... was just heartbreaking. That’s always gonna be a memory that I’ll never forget, and that’s something that’s gonna stay with me. I was so young, and you just feel you don’t understand it. Even today... still, it's something... It’s like, she was only a year or so older than me. Life can be so cruel sometimes, but I don’t think you understand about life until you’ve seen death or you’ve been close to death. People just take things for granted, but I think that it’s really important that you understand what life is. It’s like, you are here once. You get one chance. Live your life and try to live it well - and be happy! Mel was an incredible person and her passing taught me a lot, to be fair. I think I grew up because of it, and I became a lot older than my years after that. I very much pondered on what happened to her, and just being in that zone of thinking, 'enjoy life, man! Be kind and enjoy life'!.
Absolutely! Now, on a very different note, you mentioned earlier in our interview, rather modestly, how you used to experiment and create your own remixes of the SAW tracks, but many of your remixes gained great acclaim. Your mix of the girls' I’m The One Who Really Loves You is definitely a favourite of ours!
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Oh wow! (Laughs). I love that song! [Yoyo sings the line, “I’m The One Who Says She Really Loves You”]. I really love it. I loved the original version by Austin Howard, and then when the girls recorded it, I loved what they did with it, and I thought, I’m definitely doing a remix. I don’t give a shit what anyone thinks. I’m doing MY version! (Laughs). I really wanted to do that, and I really, really loved it. I’ve been listening to some of the mixes you sent, and I was just thinking... wow! This is incredible! I don’t even have these.... do you know what I mean? (Laughs).
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Yoyo, it has been brilliant to chat with you.
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Guys, this has been great. I’ve really loved doing this, and reliving the memories. I wish I'd done it sooner. Looking back, it really was such a great time. We only did one album with Mel & Kim, but it was a great album and some great history and stories to tell. By the way, I looked at your website and honestly... I think you have done an amazing job. A lot of dedication must go into that, to keep that alive. There are a few podcasts on SAW out there that have done really well, but they focus on the whole SAW story... but it’s really good that you guys have just focused on one particular act. It's a lot harder to do that.
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That is so kind. Thank you.
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Thank you so much. This has been an absolute pleasure.
