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Working with Kylie was always a dream.  She never threw a tantrum, always delivered and, to top it all, she was quick. This usually meant we could get down the pub for last orders. The shame is that Kylie never joined us. After "I Should Be So Lucky" she was too big a star and would have caused a riot. We frequented the Gladstone mainly, and all the other artists could normally share a drink with us. I always felt that my relationship with Kylie was highly professional. After the much talked about incident over our first meeting and the writing of "I Should Be So Lucky", I was subsequently always ready with a clean sheet of lyrics typed out by Lucy, a working backing track and a decent pop tune in time for her arrival. We sometimes had to co-write with other artists, by contrast, as part of the deal. This often led to protracted sessions where not very much got done. Kylie was fortunate in that respect, because I was on the ball and ready to roll the moment she arrived. I reserved that level of commitment for her alone. I didn't get much time, as a consequence, to really get to know her. I thought, given the pressure of her workload, that I could serve her best by getting the job done quickly. You wouldn't have swapped speed for success, of course, but in the songs I wrote for Kylie something in me was on fire and unstoppable. I realised that she felt excluded from the process to a degree. She has said as much, and I hope she will see one day that the way it worked was actually for the best. It doesn't hurt me when the trendies or the anti-SAW brigade have a go at us. They mean nothing and they've always got an agenda. But there is always that little twinge of pain, no matter how thick my skin has grown after years of criticism, when your artist joins in the chorus of disapproval. It is all the more difficult to take at times when you did things for all the right reasons, out of love and respect for your artist. It hurts when your artist doesn't see that. Over the years nearly all our successful acts have attacked our time working together, to some degree. Some of them are now on tours promoting the 80s with a new enthusiasm. Is there some irony there? I really hoped that, above all, Kylie would never have denigrated our work together. Looking back I don't know how it could have been any better. I can't be more proud of what we did. It took a lot of love and passion. I hope all the artists realise that it was our belief that we were doing the right thing and that we had their best interest at heart. What would hurt me most, after all this time, is Kylie not seeing this.


(c)2008 M Stock 

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© 2008 Mike Stock