Sarah Dallin.

It's quite hard to deal with when you're that young, 'cause, you know, we were very young and, um, you don't expect people to speak about you in that way.

Um, and I do think it was very much the, the female thing and being taken seriously.

That's probably the hardest thing when you're not given credit for something you've, you know, you've written songs.

It's what you do for a living, and then people just blow it off because it's pop music.

I mean, pop music was a very dirty word, which it isn't so much now.

Um, can't remember what Nile Rodgers said about that bit, but he did say to me.

Sarah Dallin agrees.

Sarah Dallin and Keren Woodward.

Do you know what it was? It was the high-energy beat.

And you know, obviously that wasn't the first time it had been, you know, used, but it was the first time we'd heard it and it was very much that whole scene at Heaven, the nightclub where we used to go religiously because we just loved, loved, loved the music.

And yeah, that song was just fantastic, uh, that beat.

So that, that's why we, uh, contacted Stock Aitken Waterman.

I sit around.

It was an absolute, um, blast.

I mean, it was just the best.

[laughs]

Well, Keren and I, um, I was at London College of Fashion doing journalism, and Keren was at BBC.

Keren and I were rampant on the club scene.

We just loved dancing and went to all the clubs.

And living in Soho, we were able to walk home afterwards, so we were out about most nights.

Um, and Siobhan, uh, she was living in Wardour Street in Soho.

Sara Dallin

People probably thought, "Oh, well, it's Sam Svengali putting three little girls together and dressing them up" But it, it was so far removed from what we were.