Hazell Dean

“Most kids dream of being a pop star
I have lived my dream,
I AM THE Queen of Hi-NRG!”
Hazell Dean established a formidable reputation as the “Queen of the British Clubs,” dominating dancefloors throughout the 1980s with a succession of club anthems that successfully crossed into the mainstream charts. With her unmistakable voice and commanding stage presence, she became one of the defining figures of the era’s Hi-NRG and dance music scene.
Her musical journey began while she was still at school. Her first band, The Vandals, saw her playing rhythm guitar, while her talents as a drummer and keyboard player further showcased her versatility as a musician. Even at an early age, her powerful vocal ability was attracting attention and setting her apart as a natural performer.
Although Hazell did not achieve her first major chart success until 1984, her rise had been years in the making. Long before mainstream recognition arrived, she had already built a solid foundation as a singer, songwriter, and live performer. Her professional career began in the 1970s, where she honed her craft through relentless dedication, experience, and perseverance—qualities that would ultimately pave the way for her enduring success.
“I always wanted to be a successful recording artist. No compromise, and I knew I would achieve that through sheer determination and hard work.”
Leaving Essex to pursue her ambitions as a professional performer, Hazell accepted her first residency with a dance band in Stoke-on-Trent, marking the beginning of an intensive period of live performance that would sharpen her craft and stage presence. During the 1970s, she appeared with several of Britain’s best-known dance bands, including The Andy Ross Band, performing regularly at London’s prestigious Lyceum Theatre.
Her growing reputation soon attracted the attention of respected music manager Victor Billings, whose previous clients included Dusty Springfield and Kiki Dee. Billings recognised Hazell’s star potential after witnessing her performance at the Royal Albert Hall in 1976 during her Song For Europe bid to represent the United Kingdom in the Eurovision Song Contest.
Around the same time, Hazell joined The New Seekers on a UK tour, stepping into the spotlight for the first time as a solo artist. The experience further established her as a confident live performer and emerging recording talent.
By then, Hazell had also begun writing and recording her own material. While signed to DECCA Records, she achieved her first breakthrough on the Northern Soul scene, gaining recognition for her distinctive sound and vocal style. It was during this period that she came to the attention of Ian Anthony Stephens, the songwriter behind the Hi-NRG anthem Searchin’ (I Gotta Find a Man)—a connection that would help shape the next phase of her career and cement her place in dance music history.
The single stormed club charts across Europe, America, and eventually the UK, becoming a defining gay club anthem in the process. Following her debut performance at Heaven in 1984, Hazell Dean’s enduring connection with the LGBTQ+ club scene and community truly began—a relationship that would remain at the heart of her career for decades to come.
Hazell had steadily developed her distinctive vocal style through performing pop and soul material, gaining confidence as she heard her voice professionally recorded and produced. Over time, her sound naturally evolved towards the burgeoning dance music scene, where her powerful vocals and dynamic stage presence found the perfect home.
In February 1984, she achieved her first UK chart entry with the double A-side single Evergreen / Jealous Love, which reached the UK Top 75. Just two months later, Hazell returned to the charts with her electrifying recording of Searchin’ (I Gotta Find a Man) on Proto Records. The track surged to No. 6 in the UK charts and remained in the Top 75 for an impressive 15 weeks, cementing her status as one of Britain’s leading dance music stars.

“Searchin’ looking for love……..”

Reflecting on the song’s breakthrough success, Hazell recalled:
“‘Searchin’’ was successful upon its initial launch in Europe in 1983. However, it was re-released in 1984 after I had entered the Song for Europe contest. Proto and I decided that if I didn’t win the competition — and thankfully I didn’t — we would re-release Searchin’, which is exactly what we did.
There was already demand for the single via the gay clubs, and through hard work and a massive amount of personal appearances, it started to chart and grow.”
The success of Searchin’ not only launched Hazell into mainstream recognition but also established her as one of the defining voices of the Hi-NRG era.
Hazell made her Gay club debut at “Heaven” in London – and things were never to be the same again:
“Everything changed with that show. I could hear the audience chanting my name…and I loved it!”
The success of Searchin’ (I Gotta Find a Man) marked a pivotal turning point in Hazell Dean’s career and led directly to a collaboration that would become a landmark moment in British pop history. Recognising her growing popularity and crossover appeal, producers Mike Stock, Matt Aitken, and Pete Waterman wrote her follow-up single, Whatever I Do (Wherever I Go) — a record that not only became a major hit for Hazell, but also delivered the first Top 10 success for the legendary Stock/Aitken/Waterman production team.
Hazell was among the very first artists to work with the trio, who would later dominate the charts with more than one hundred Top 40 hits and become one of the most successful songwriting and production partnerships of the decade. Whatever I Do (Wherever I Go) climbed into the UK Top 5, firmly establishing Hazell as a mainstream chart artist while simultaneously helping launch the SAW hit-making empire.
Recalling how the collaboration came about, Hazell said:
“I was very high on the charts with Searchin’ and by fluke met Pete Waterman when he was visiting Proto Records one day.
He asked me what I had in mind for a follow-up. He suggested I meet Matt and Mike, who played me the Divine track You Think You’re A Man — I loved it!”
The partnership proved to be a perfect match. Hazell’s commanding vocals, club credibility, and instinctive feel for dance music aligned seamlessly with the trio’s emerging pop production style, creating a sound that would soon define a generation of British chart music.
Between then and the end of the 80’s Hazell became a chart regular thanks to singles such as
• What Ever I Do (#4)
• Back In My Arms (#41)
• No Fool For Love (#41)
• They Say It’s Gonna Rain (#58)
• Who’s Leaving Who (#4)
• Maybe (#15)
• Turn It Into Love (#21)
• Love Pains (#48)
From the mid-1980s through to the close of the decade, Hazell Dean became a familiar and enduring presence in the UK charts, firmly establishing herself as one of Britain’s leading dance-pop vocalists. Building on the momentum of her early successes, she delivered a string of hit singles that reinforced both her commercial appeal and her standing within the club scene.
Among her most notable chart successes were Whatever I Do (Wherever I Go), which reached No. 4 in the UK Singles Chart, alongside fan favourites such as Back In My Arms and No Fool For Love, both of which showcased her unmistakable vocal power and emotional delivery. Her versatility as a performer was further reflected in releases including They Say It’s Gonna Rain, Maybe, and Turn It Into Love, each helping to cement her reputation as a defining voice of 1980s British dance music.
One of her biggest career highlights came with Who’s Leaving Who, which became another major hit by reaching No. 4 and reaffirming her ability to bridge the worlds of mainstream pop and club culture. She closed out the decade with further chart success through tracks such as Love Pains, continuing a remarkable run that made her one of the era’s most recognisable and consistent recording artists.
Throughout this period, Hazell maintained a rare balance between chart success and underground club credibility — a combination that secured her enduring popularity with both mainstream audiences and the LGBTQ+ dance community that had championed her from the beginning.
Unlike many of Stock/Aitken/Waterman stable at that time – Hazell Dean achieved massive worldwide success, having chart hits across Europe, South Africa, Australia, and the Far East.
However, much of Hazell’s success was achieved in America.
With Searchin’ topping the Dance Charts for consecutive 5 weeks,” Love Pains” was voted best HI NRG remix ’89 and although it was to be her last release with Stock Aitken & Waterman “Better Off Without You” was voted best commercial 12″ single 1991.
Along with being voted best female performer in the prestigious Club Mirror Awards and best live performer three times by the Federation of American DanceClubs.
The single “They Say It’s Gonna Rain” became a Miami Anthem and proved to be a massively successful with the Florida dance radio stations.
It Topped the Chart in South Africa for a staggering 18 weeks, and remains an anthem there as it uniquely features a Zulu rain chant.
Since the early 1990s, Hazell Dean has successfully expanded her career beyond performing, establishing herself as a respected songwriter and producer. Drawing on years of chart experience and club success, she collaborated with a range of artists and producers, contributing both creatively and musically to numerous recording projects.
Among her notable songwriting and production credits were collaborations with Ian Levine on releases for acts including Bad Boys Inc (A&M Records), Upside Down (World Records), and Gemini (EMI Records). These partnerships highlighted Hazell’s adaptability and continued relevance within the evolving pop and dance music landscape.
Throughout this period, she also worked alongside a number of acclaimed writers and producers, including Barry Upton, Clive Scott, John Worsley, and her long-time creative partner Pete Ware. Together, they crafted material that reflected Hazell’s instinctive understanding of melody, dance culture, and commercial pop songwriting.
Hazell’s songs and recordings attracted international attention, leading to cover versions and collaborations with artists across Europe, Japan, and the United States. Performers including Joli Otis, The Nolans, France Joli, and Patricia Paay recorded material connected to Hazell’s songwriting catalogue, while additional collaborations involved artists such as Kim Weston, Mary Johnson, Miguel Brown, Dollar, Rose Marie, and the boy band Men 2 B.
Demonstrating both her versatility and enduring appeal, Hazell also recorded a duet version of Sisters Are Doin’ It for Themselves with American vocalist Marina for MRK Records.
Alongside her work for other artists, Hazell continued recording her own material, much of which appeared on her albums Heart First (Proto Records) and Always (EMI Records). These releases showcased a more personal and mature side of her artistry, reaffirming her status not only as a celebrated performer, but also as a gifted songwriter. These self-penned songs feature heaving on her releases with SP Music.
In December 2012 Hazell appeared as part of the PWL line up at The O2 Arena London for “The Hit Factory Live”, an experience she counts as one of the best in her career:
“Everything had come full circle. To perform in an arena of that size is always special, but to perform in an arena in your ‘home’ is amazing! I cannot describe the feeling of walking onto that stage – it was spectacular.
It was packed! I had friends and family there, plus of course my PWL peers. I came off stage and walked straight into Pete Waterman’s arms.
It was magical and it was emotional, and I don’t know if I will ever experience anything like that again.”
Hazell Dean’s enduring popularity was further underlined by the remarkable success of her Greatest Hits collection, which became one of the strongest-selling titles in the prestigious EMI Gold series. The compilation introduced her music to a new generation of listeners while reaffirming the lasting appeal of the classic dance-pop sound that had defined her career.
Interest in Hazell’s catalogue continued to grow with a series of carefully curated reissues from Cherry Pop Records, including expanded editions of her albums Heart First and Always. These releases were warmly received by long-time fans and collectors, celebrating both her chart successes and the depth of her recording legacy.
In December 2013, Cherry Pop released Evergreen, a definitive anthology of Hazell’s greatest recordings. The collection quickly became a highly sought-after release among her loyal fanbase, offering a comprehensive overview of her influential career in dance and pop music.
Further delighting fans was the release of a previously unheard album recorded during the 1970s, featuring interpretations of songs by the legendary songwriting duo Bacharach & David. Issued for the first time on CD, the collection revealed another side to Hazell’s artistry and introduced many listeners to the sophistication and versatility of her earlier recordings.
In 2025, one of the most eagerly anticipated archive projects finally arrived with the release of Hazell Dean – The DECCA Years. Regarded by many fans as the “Holy Grail” of her early work, the collection shone a long-awaited spotlight on the formative recordings that helped shape her journey.
Continuing to evolve creatively while remaining true to her dance music roots, Hazell Dean entered a new and highly productive chapter of her career during the 2010s. In 2013, she released the album In the Name Of… through an independent label, reaffirming both her enduring vocal power and her unwavering connection to the club scene that had supported her throughout her career.
The project reunited Hazell with her long-time creative partner Pete Ware — together known to fans as the “Dean & Ware” partnership — alongside Dutch remixer Matt Pop. Their collaboration breathed fresh life into a selection of songs that held particular personal significance for Hazell, while introducing her sound to a contemporary dance audience. The results proved immensely popular with fans old and new.
Beginning with a dynamic cover of Sharon Redd’s classic In the Name of Love, followed by the dramatic Shattered Glass, Hazell demonstrated that her commanding vocals and emotional delivery remained as compelling as ever. Her reinterpretation of Dame Shirley Bassey’s This Is My Life became an instant Pride anthem, while her unexpected and heartfelt take on Pat Benatar’s We Belong emerged as one of the project’s standout successes.
In August 2014, Hazell released a powerful version of Dusty Springfield’s I Close My Eyes and Count to Ten, once again showcasing the soaring vocals that had become her trademark. The single immediately entered the Euro Hi-NRG Club Pop Dance Top 50 Singles Chart, reaching No. 1 and remaining there for two consecutive months.
Momentum continued into 2015 with the release of 24 Hours, a Hi-NRG reinterpretation of the Gene Pitney — and later Dusty Springfield — classic 24 Hours from Tulsa. The single quickly entered the Euro Hi-NRG chart, further cementing Hazell’s reputation as one of the genre’s most enduring and respected voices.
The Queen of HiNRG reigns supreme!

June 2015 saw the release of Nightlife, an album blending classic covers with original material written and co-written by Hazell herself. Among the contributors was her nephew, Josh Read, then a music graduate from Bath University. Widely praised by fans and critics alike, Nightlife was immediately hailed by many as one of the strongest studio albums of her career — a testament to the enduring strength of the Dean & Ware creative partnership.
Hazell’s prolific output continued with the release of the Evergreen / Judgement Day EP in July 2016. The release featured a touching Tribute Mix dedicated to Hazell’s late mother, alongside an energetic Matt Pop club remix and an extended version of Judgement Day, another self-penned track from Nightlife.
Later that year, in December 2016, Hazell embraced the festive season with the EP Happy New Year & The Way Old Friends Do, serving as the lead release from her forthcoming album Re:Visited.
Released in February 2017, Re:Visited revisited and reimagined many of Hazell’s best-loved recordings for a contemporary audience. In response to fan demand for longer dance versions, Re:Extended followed in May 2017, offering expanded remixes and extended club mixes.
The period culminated in March 2018 with the release of the lavish four-disc retrospective box set Hazell Dean – Collected.
“Things just dont seem to be slowing down!”
And of course, Hazell’s popularity on the global gay scene remained undiminished.
After Hazell’s track “Whatever I Do (Wherever I go)” was featured in the ground breaking Channel 4 drama “it’s a Sin” which focused on the AIDS in the early 1980’’s the prejudice faced by those affected during this dark period in LGBTQ+ history the writer commented on the inclusion of Hazell in the shows soundtrack:
“I wanted those women in there – the Kelly Maries and the Hazell Deans – because when the Aids crisis came along, they kept coming to the gay clubs. They would turn up and perform at 2am and that was their life for decades.
They never abandoned their gay fanbase; they never turned away. They hugged people when you were being told not to. Those women are soldiers.” – Russell T Davies
Throughout her career, Hazell Dean has shared a uniquely close and enduring bond with the LGBTQ+ community — a relationship built on loyalty, mutual respect, and decades of unwavering support. Reflecting on that connection, Hazell once said:
“There’s been a mutual loyalty over the years. The gay audience has stuck by me throughout and I have returned that loyalty.
The gay audience appreciates a good voice. My audience isn’t exclusively gay, but I guess it’s a very high proportion, and for that I am very grateful.”
Since first embracing the club scene in the mid-1980s, Hazell has become a celebrated figure at Pride events across the globe, performing for audiences in cities including London, Paris, New York City, Amsterdam, Stockholm, and across South Africa. Her ongoing visibility, advocacy, and support have established her not only as a beloved performer, but also as a genuine and consistent LGBTQ+ ally.
In recognition of her longstanding contribution to the community, Hazell was honoured as an “Icon of Pride” by Chester Pride in 2019. She was also proudly included in The Pride Power List in both 2020 and 2021 — the definitive annual celebration of the 100 most influential individuals working towards greater LGBTQI+ equality, visibility, and inclusion.
Further reflecting her commitment to advocacy and representation, Hazell became a patron of Pride in Surrey in 2020. That same year, she received nominations in two categories at the National Diversity Awards — Lifetime Achiever and Positive Role Model — recognising not only her remarkable career in music, but also her lasting impact as a champion of inclusivity, acceptance, and Pride culture.

“In the current climate, with a dramatic increase in hate crimes towards the LGBTQ community reported in the UK and other countries, it is so important to show our visibility locally, and especially to actively support our Trans family”
In 2022 Hazell was delighted to have been able to contribute items from her own personal collection to the archive.
https://www.bishopsgate.org.uk/collections/hazell-dean-archive

In addition to the archive held at Bishopsgate Institute, Hazell has loaned more of her own precious memorabilia to “QUEER BRITAIN” the first permanent UK museum dedicated to celebrating LGBTQ+ history and the Queer people who have impacted every part of culture.
https://queerbritain.org.uk/history-2022-granary-square

Between 1984 and her final Pride appearance in 2021 Hazell performed to millions of rainbow flag-waving revellers in the UK and around the world.
That is something she will always be VERY proud of.
Hazell made her last Pride appearance (as a performer) at Hasting Pride on 29th August 2021.
She retired completely from live performance with two truly phenomenal performances on Saturday 18th September 2021 at Let’s Rock Leeds, followed by her final show at Wentworth Festival.
“It was a tough day, so many emotions.
After over 50 years as a performer, I left the stage with the audience chanting my name!”
“I finished in the way I wanted, on my terms, on huge stages, with the sun shining on my face and with the audience roaring – it’s an amazing feeling.”
“It was perfect”
The show mic has been hung up for will continue to record and release music at a (very) leisurely pace.
Working with production partner, Pete Wareand with SP Music she has released some of her discontinued catalogue following demand from fans:
“The Dean & Ware Collection Vol. 1” and “The Dean & Ware Collection Vol. 2” albums were released digitally in 2021.
This was followed by a festive remix of “Happy New Year” in December 2021, and dark and moody Back in Control remix of the self-penned “Out of Control”.
A limited-edition Double CD of “The Dean & Ware Collection Vols. 1 & 2” which included exclusive new remixes was released in March 2022.

“I am Retired AND Fabulous!”

Although officially “Retired & Fabulous” and enjoying a well-deserved break, Hazell has recording plans scheduled ahead up to 2027, but this time she is doing it her way – collaborating with SP Music & Remixer JNR having a LOT of fun with her early hits and updating them to absolute Bangers!
There are plans for two new albums of original material for 2026 & 2027, with a JNR Remix in the planning album just for fun.
Hazell remains committed to being a visible ambassador of LGBTQ+ community, and staunch ally to our Trans family, and is proud to be a patron of Trans Radio UK.
Hazell Dean is described by “Classic Pop Magazine” as a National Treasure.
She is affectionately known as: The Empress of Eurobeat, Duchess of The Dancefloor and of course she is and will ALWAYS be…….
Hazell Dean – The Undisputed Queen of HiNRG
“God Save The Queen(s)!”