![]() The band we signed weren’t quite the band who had appeared on the original demo, though we didn’t know that at the time. It was the perfect pop moment, which sparked the age of multiple dance remixes that are obligatory for today’s digital pop and dance artists. I try not to look back on this period too much, but am aware Frankie Goes to Hollywood is the lens I’ll always be viewed through. This was a disappointment as it was every young kid’s dream to appear on that show with a No 1. We had already performed it on The Tube and Top of the Pops’ 20th anniversary show, which catapulted the single up the charts, but were unable to play Top of the Pops when Relax reached its peak position. ![]() ZTT celebrated Relax being banned by the BBC, as it went to No 1 in the UK shortly afterwards. Unlike the other members, I attended many of the studio sessions so I wasn’t surprised by the final version after he scrapped three or four others. Trevor didn’t like the band’s standard of playing as he couldn’t sync it to his machinery, which was fairly cutting edge at the time. The sound of us jumping into the swimming pool was sampled into the Fairlight – the only thing that survived those sessions. We were booked into the Manor Studio to record it. Their only asset was Trevor Horn at his peak, which was a big carrot waved in front of our donkey. We all had to sign on the dole because ZTT were tight with money, unless they were spending it on our behalf in their own studios. This proved to be a very expensive choice. Beggars Banquet offered us each £40 a week for the next year, but we signed to ZTT. Relax was written in my head, and I sang it out loud to myself walking down the middle of Princes Avenue in Liverpool, laughing as I went.
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