It’s clear 1991 was a transitional year for the Stock Aitken Waterman elite. Kylie Minogue laid the groundwork for her mid-decade indie phase by taking more creative control on Let’s Get To It. Rick Astley made a bid for serious singer-songwriter credibility with Free. And shortly before entering his hellraising phase, Jason Donovan ventured into the rock’n’roll world of, erm, Andrew Lloyd Webber musicals.
Yet the most convincing, and unfairly overlooked, change in musical direction from the PWL stable appeared courtesy of a group in a continuous state of flux.