After a bit of a lay-off we all got back together to make another album, unlike shit-loads of other bands we'd never actually split-up (though quite a few people thought we had), we'd just had a break from each other. Anyway in 1990 we signed a new deal with Rebel Records (part of SPV) from Germany.
You may remember that around the end of the Eighties/early 90's that pop music was completely dominated by Stock, Aitken & Waterman, you just could not escape hearing Jason Donovan, Kylie Minogue, Bananarama
etc., god it was awful, just soul destroying meaningless crap. Bearing this in mind, we thought doing our own Stock, Aitken & Waterman covers would be a right laugh.
During May we locked ourselves in Kev Stagg's rehearsal studio in Brighton and set about choosing which songs to do, it took about two weeks to rehearse all the material and then we moved all the gear into Kev's recording studio (Esselle Studio). Del knew Ralph Jezzard from working with him for Flesh For Lulu so we got him down to engineer and produce. Funny thing was, he'd just finished producing for EMF and Jesus Jones and about a month later, both bands really hit the big time, we were paying him £75 per day,
he'd probably get that an hour now!
So we started recording for the first time in our home town which was bloody handy seeing as the World Cup finals were on. In fact, whenever England played, recording definitely took a back seat, before long though it was all done. Marcus Mystery again helped out as did Rocco and Nick from Flesh For Lulu amongst others. On the night we had to do the backing vocals, Trapper brought up all the barmaids from the Green Dragon which was a right laugh. The mix was done at Gooseberry Studios in London by Ralph and Del.
The sleeve was done a few weeks later up in London, what happened is Del and Trap and John McFarland all got into John's flash car and drove around looking for tramps and dossers. Having found some they were paid some money and given loads of Tennents Super Lager which of course they were pleased with, come to think of it, so would I have been! Loads of photos were taken with the tramps, the car and record sleeves of Stock, Aitken & Waterman bands, of course we had to black-out the eyes of the various groups/artists. The end result I think looks really good though I don't know which tramp was supposed to be me! The title comes from the fact that Stock, Aitken & Waterman called themselves the 'Hit Factory'. They were asking for it really.
The album came out shortly after and then we went on tour supporting Die Toten Hosen in Germany. Every night we played to two or three thousand people and of course we played some songs from the album hoping to promote it. We all thought the whole idea of a punk band doing these shit covers was hilarious, unfortunately we were the only ones. I don't think anyone at all got the joke! Which is fair enough in Germany as they're hardly renowned for their sense of humour but add to that the fact that it was next to impossible to buy over here and basically it was a bit of a flop. Which is a right fucking shame, the production on the album was head and shoulders above anything we'd done previously it was a great idea and you can actually hear I think, we had a laugh making it. It's a bit of an enigma really this album, it sounds fucking brilliant, we play great but most of the songs are shit!