This paper-thin, promotional puff-piece runs about as deep as some of the more lightweight bubblegum pop tracks Stock, Aiken and Waterman used to churn out in an afternoon.
Carried entirely by grabs from talking heads the likes of Kylie Minogue, Rick Astley, Simon Cowell and of course the trio themselves, "Legends of Pop" is an amiable walk down memory lane of some of the artists and hits the independent writer/producers launched into the world. There's no doubting their impressive portfolio, and there's a genuine novelty to episode one in revisiting those artists and songs and getting a first hand account of how they came into being. In particular, the relationship the trio had with twins Mel & Kim is a highlight. A genuine friendship marred by a deep sense of loss and acknowledgement of what could have been. It's the standout moment of the documentary.
Episode two however misses the mark. It continues the hit parade theme, spending too much time charting the successes of the company, and the unsatisfying conclusion leaves one reaching for Google for more information. It's only then you realise just how much SAW's history the documentary brushes over, or downright ignores. While the trio elaborate a little on what ultimately drove them apart, there's no mention of some of the troubles with their artists. Rick Astley's decision to exit the business is palmed off as a result of loneliness he felt while on the road - no mention of his failed attempt to change his image. Kylie Minogue's later court battle for unpaid royalties, and her dispute with Waterman over her own desire to mature her music and image are not mentioned. Instead, both artist and producer spend all their time speaking glowingly of one another - as does everyone else interviewed for the film. In fact so overwhelming is the level of backslapping in this film that you begin to wonder if one, or all three former partners stumped up the cash to make it. While we're regularly reminded of the numerous Stock, Aitken and Waterman critics over the years, it's telling that not one of them is given a voice amongst the never-ending plaudits. This is despite the fact that when all of SWA's chart topping singles are put into the one documentary it drives home the fact that most of them do indeed sound the same. Even the court case Stock and Aitken ultimately bring against Waterman is dealt with only in an end credit, without revealing the outcome.
Disappointingly, there's also no interrogation of how Matt and Mike created and developed the SAW sound. Matt is clearly very proud of some of their work and occasionally refers to production techniques used, but we're largely left wondering what those techniques were and how the process was impacted. At one point a straight-faced Matt reveals a deliberate shift in sound from "pop/dance" to "dance/pop", but we're given no appreciation of the difference.
While the three are engaging interviewees and individually speak very fondly of the early days, it's clear not all is well between them today. A post script reunion where the trio revisit the old studio and sit down in the local pub for a pint is brief, with all three clearly uncomfortable, as if a reunion was a condition of the documentary going ahead. There's much more going on here than the documentary reveals, and ultimately that's its failing.
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