It was December 1989. The decade of big hair and synthesizer pop was wheezing its final breaths. Pete Waterman, the man behind the "Hit Factory," was basically the king of the UK charts. He, along with Mike Stock and Matt Aitken, had this idea: let’s redo "Do They Know It's Christmas?" for a new generation. While the 1984 original featured legends like Bowie, Bono, and George Michael, the Band Aid II members were a very different breed. They were the stars of the Smash Hits era. Honestly, if you didn't have a poster of them on your bedroom wall in the late eighties, you probably weren't paying attention to the Top 40.
Most people today can name the heavy hitters from the first version. But ask someone to list the Band Aid II members, and you'll likely get a blank stare followed by, "Wait, was Kylie Minogue in that?" Yes. She was. Along with a collection of artists that perfectly captured that specific transition point between eighties glam and nineties dance-pop.
The project was sparked by a massive famine in Ethiopia, much like the original, but the vibe in the studio was reportedly way more disciplined. No drug-fueled chaos here. This was a Stock Aitken Waterman (SAW) production. They ran a tight ship.
The Core Lineup: Who Showed Up to the SAW Studio?
The roster for Band Aid II was basically a "who's who" of the PWL records stable and the biggest TV stars of the moment. You had Kylie Minogue and Jason Donovan, who were the Posh and Becks of their day. Their inclusion was a massive deal. They had just come off the back of Neighbours mania and their duet "Especially for You." Having them as Band Aid II members guaranteed the single would fly off the shelves of every Woolworths in the country.
Then you had the boy bands. Bros was there, though by '89, the "Brosmania" was starting to cool off just a tiny bit. Matt and Luke Goss were the focal points. Then there was Big Fun—a group that basically personified the SAW sound. Short-lived? Maybe. But for that one week in December, they were essential.
The girl groups weren't left out either. Bananarama made a return appearance. Interestingly, they were the only artists to appear on both the 1984 original and the 1989 version. Well, Sarah Dallin and Keren Woodward were there for both; Siobhan Fahey had left by '89 and was replaced by Jacquie O'Sullivan.
It's weird to think about now, but Technotronic was part of the mix too. "Pump Up the Jam" was huge. They brought a bit of that nascent nineties house energy to a track that was otherwise very "bubblegum."
Other notable names in the room:
- Jimmy Somerville: Known for his incredible falsetto in Bronski Beat and The Communards.
- Wet Wet Wet: Marti Pellow’s vocals were a huge get for the track.
- Cliff Richard: The evergreen pop star who lent a bit of "elder statesman" credibility to the younger crowd.
- Lisa Stansfield: She was just becoming a global powerhouse with "All Around the World."
- Sonia: The "You'll Never Stop Me Loving You" singer who was a SAW staple.
- The Pasadenas: Bringing that soul-pop flavor.
- Chris Rea: Yes, the "Driving Home for Christmas" guy himself.
Why the 1989 Version Felt Different
Look, we have to be honest. Critics usually bash this version. They call it "plastic" or "over-produced." Because Stock Aitken Waterman produced it, it has that unmistakable "heartbeat" bassline and polished sheen. It lacks the raw, desperate, slightly out-of-tune passion of the 1984 version where Bono famously shouted his lungs out.
But here’s the thing: it worked.
The Band Aid II members did exactly what they were supposed to do. They appealed to the kids. The 1984 version was for the Live Aid generation; the 1989 version was for the Saturday Superstore generation. It stayed at Number One for three weeks. It raised millions. Does it matter if the snare drum sounds like a wet cardboard box? Not really. The goal was charity, not winning a Grammy for avant-garde composition.
The recording session took place at Southlands Studios in London. Unlike the first time around, where Bob Geldof was famously yelling at everyone to get their parts right, Pete Waterman was the one calling the shots. He treated it like a regular day at the office. Efficient. Professional. Slightly corporate.
The Forgotten Contributions and Surprising Snubs
There are some names among the Band Aid II members that often fall through the cracks of pop history. Does anyone remember D Mob? They were a pioneering acid house/urban group. Having Gary Haisman in the choir was a nod to the growing "Second Summer of Love" scene that was exploding in the UK underground.
And then there’s Kevin Kitchen. Or Glen Goldsmith. These were artists who were big for a minute but didn't have the staying power of a Kylie or a Cliff.
What's really fascinating is who wasn't there. Rumor has it that some of the "serious" rock artists of the late eighties turned it down because they didn't want to be associated with the "cheesy" SAW production style. It created a weird divide in the music industry. You were either a "real" artist or you were a "pop puppet." The Band Aid II members were firmly in the latter camp in the eyes of the music press, but they had the last laugh when the royalties started rolling in for the famine relief fund.
A Breakdown of the Lead Vocals
If you listen closely, you can hear how the lines were split. It wasn't as democratic as you'd think.
- Kylie Minogue takes a prominent early line.
- Chris Rea and Jimmy Somerville provide the contrast between gravelly rock and high-pitched pop.
- Jason Donovan gets his moment in the sun, naturally.
- Marti Pellow (Wet Wet Wet) handles some of the more soulful flourishes toward the end.
The "Feed the World" refrain at the end is a massive wall of sound featuring everyone, but the SAW production flattens the voices so much it’s actually kind of hard to pick out individual singers compared to the '84 version. It’s more of a collective "pop" sound.
The Legacy of the 1989 Effort
Does it hold up? Musically, it’s a time capsule. It sounds like 1989 in a way that few other songs do. It’s the sound of the transition from the eighties to the nineties.
But the legacy of the Band Aid II members shouldn't be judged on their synth-drum sounds. They stepped up when the call went out. They raised roughly £3 million in its initial run. For a bunch of "pop puppets," that's a pretty significant achievement.
It also marked the peak of the Stock Aitken Waterman era. Shortly after this, the musical landscape shifted. Grunge was coming. Britpop was on the horizon. The era of the squeaky-clean pop star was about to be challenged by guys in flannel shirts and tracksuits.
How to Explore This Era Further
If you’re a fan of pop history or just want to win your next pub quiz, there are a few things you should do to really understand the impact of this lineup.
First, go watch the music video on YouTube. Pay attention to the fashion. The oversized blazers, the bleached hair, the sheer earnestness of everyone involved. It’s a masterclass in late-eighties aesthetics.
Second, check out the documentary footage of the recording. You can see Pete Waterman directing the Band Aid II members like a conductor. It’s a great look into how pop music was manufactured during that era.
Third, compare it to Band Aid 20 (2004) and Band Aid 30 (2014). You’ll see a pattern. Each version reflects the dominant "sound" of the time. 1984 was New Romantic/Post-Punk. 1989 was SAW Pop. 2004 was Indie/Coldplay-esque. 2014 was modern Ed Sheeran-style acoustic pop.
Practical Steps for Music Historians and Collectors:
- Hunt for the 12-inch vinyl: The 12-inch version of the 1989 single actually has some interesting remixes that you won't find on Spotify easily. It’s a staple in bargain bins at record stores and worth a couple of pounds for the nostalgia.
- Research the "Aitken" departure: If you want to know why this sound died out shortly after, look into why Matt Aitken left the trio in 1991. It explains a lot about why Band Aid III didn't happen until much later.
- Check the B-side: The B-side of the single contains the original 1984 version. It was a smart move by the producers—giving people the classic they loved while selling them the new version.
The 1989 group might not have the "cool factor" of the original, but they were the ones who kept the flame alive when the crisis in Africa was no longer the "trendy" cause of the week. They proved that pop music, even the sugary-sweet kind, could still do some heavy lifting for the world.