Take That – Now and Then: Inside the Biggest Comeback in British Pop History. Martin RoachЧитать онлайн книгу.
really here”, so I was dismissed.’ The debut album was still to be completed at this point.
Less than two months after Korda stopped working at RCA, Take That released their third single on the label, a cover of Tavares’ disco classic ‘It Only Takes a Minute Girl’, which, to everyone’s delight, flew into the Top Ten at No. 7 on its June 1992 release, spending a full two months in the lists. The excellent video featured some incredible dancing from Howard and Jason—a frequently missed or underrated aspect of the band’s success.
The record company and band mustered up huge PR opportunities, dozens of signings, meet-and-greets, store appearances, club shows and PAs, everything anyone could think of to work the record. There was also a very clever strategy of data collection, which might sound like some business buffoonery to the average pop fan but was actually a very astute piece of marketing on RCA’s part, as Nick Raymonde explains: ‘I’d got one shot left after the first two singles had stiffed. So I went in to see Hugh Goldsmith [Head of Marketing at RCA], and said, “I need you to come and see Take That. Come with me because it’s only if you see them, then do the maths like I did, that you will understand the potential and, hopefully, think of the missing link that will stop the next single failing.”
‘We drove up to Warrington to see them at a club PA and he just watched the show, turned to me and said, “Yeah, I get it. I totally understand what we need to do.”’ Hugh suggested they ask fans to fill in forms each and every single time the band played, so that they had the addresses and details of what they knew to be a large fan base. This might be standard procedure now, but back in 1991 it was innovative stuff. And it was all done manually, as e-mail was not yet commonplace. Within five weeks, RCA had over 10,000 girls’ names on a list. So when the song was released, the fans knew about it and…bingo.
The track was recorded with producer Nigel Wright at his home, which had a studio and swimming pool, so it was an enjoyable experience. The choice of song was also a masterstroke, giving the band huge visibility overnight. Given that the previous two singles had only spent five weeks in the charts put together, this was massive progress, but most importantly it put Take That in the Top Ten and onto the nation’s television sets. Take That had finally
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