You know that feeling. Your heart is absolutely trashed, but you’re walking down the street with a fake smile plastered on your face because you refuse to let the world see you crumble. That’s the entire vibe of Go West King of Wishful Thinking. It is the ultimate anthem for the broken-hearted who are too proud—or maybe just too delusional—to admit they’re hurting.
Honestly, it’s a bit of a miracle this song exists at all. Released in 1990, it’s a masterclass in pop production, but the lyrics are surprisingly dark if you actually pay attention. Peter Cox and Richard Drummie, the duo behind Go West, managed to bottle up the specific brand of masculine posturing that involves pretending everything is fine when it’s clearly not.
Most people remember it from the Pretty Woman soundtrack. It’s the song playing when Julia Roberts is heading back to her old life, a moment of transition and false bravado. But the track has outlived the movie in a way most soundtrack fillers don't. It’s got a life of its own.
The Brilliant Irony of the Composition
Pop songs usually fall into two camps: happy songs in major keys and sad songs in minor keys. Go West King of Wishful Thinking flips the script. It’s incredibly upbeat. The snare drum hits like a gunshot. The brass stabs are bright and punchy. Yet, the singer is literally telling us he’s lying to himself.
"I'll get over you, I know I will / I'll pretend my ship's not sinking."
That’s heavy. If you played those lyrics over a slow acoustic guitar, it would be a tear-jerker. But by wrapping it in high-energy Blue-eyed Soul, Go West created something far more interesting. It’s a song about the effort of moving on. It captures the manual labor of trying to stop loving someone.
The track was produced by Peter Wolf (not the J. Geils Band guy, but the Austrian producer who worked with Starship and Santana). Wolf brought a high-gloss, expensive sound to the production that was typical of the era but had an extra layer of rhythmic complexity. The bassline doesn't just sit there; it drives the narrative forward. It’s the sound of someone walking away from a relationship as fast as their legs will carry them.
Why it didn't just die in the 90s
A lot of 1990 pop sounds dated now. The synthesizers can feel thin or cheesy. But there is a muscularity to this track that keeps it fresh. Peter Cox’s vocals are a huge part of that. The man has a voice that sounds like it’s been soaked in bourbon and then polished with silk. He hits those high notes with a grit that most pop stars today can’t replicate without a gallon of Auto-Tune.
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Also, we have to talk about the New Radicals. In 1998, Gregg Alexander basically built a career on a similar vibe, and you can hear the DNA of Go West in songs like "You Get What You Give." There’s a direct line between the defiant optimism of the early 90s and the power-pop revival that followed.
Behind the Scenes of the Recording
The song wasn't just a random hit; it was a calculated piece of songwriting. It was co-written by Cox, Drummie, and Martin Page. Page is a name you should know if you like 80s and 90s radio—he wrote "We Built This City" and "These Dreams." He knew how to craft a hook that would get stuck in your brain for three decades.
When they were in the studio, they weren't aiming for a "movie song." They were trying to save their career. Go West had a massive debut in 1985 with "We Close Our Eyes," but by the end of the decade, they were struggling to stay relevant. They needed a monster hit.
They found it by leaning into their soul influences. While the rest of the world was moving toward grunge or boy bands, Go West stayed true to that polished, funky pop-soul sound.
The recording process was meticulous.
- The vocals were layered to create a wall of sound in the chorus.
- The syncopated rhythm in the verses creates a sense of nervous energy.
- The bridge provides a momentary release before slamming back into the "I'll get over you" hook.
It’s almost scientific.
The "Pretty Woman" Factor
It is impossible to talk about this song without mentioning the movie. Pretty Woman was a cultural earthquake. It turned Julia Roberts into the biggest star on the planet and made everyone believe in R-rated fairy tales. Go West King of Wishful Thinking was the lead single from the soundtrack, and it benefited immensely from the film's success.
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But here’s the thing: the song is better than the movie’s context. In the film, it’s a bit of background noise. On the radio, it’s an event. It peaked at number 8 on the Billboard Hot 100, which is impressive for a UK duo in an era dominated by Mariah Carey and MC Hammer.
The music video is... well, it's very 1990. It features the band performing on a stylized set with dancers and some truly questionable fashion choices. It doesn't have the cinematic weight of the movie, but it captures the "look" of the decade perfectly. Lots of bright colors, oversized jackets, and that specific type of energetic choreography that feels a bit frantic now.
The New Found Glory Cover and the Song’s Second Life
If you were a teenager in the early 2000s, there’s a good chance you first heard this song because of New Found Glory. They covered it for their Screen to Screen 2 album.
Usually, when a pop-punk band covers a pop song, it’s a joke. They do it ironically. But New Found Glory played it straight. They recognized that the song’s structure—the driving beat and the "fine, I don't care" attitude—fits perfectly with the pop-punk ethos. It introduced a whole new generation to the genius of Go West.
Analyzing the "Wishful Thinking" Psychology
There is something deeply human about the lyrics. We all engage in wishful thinking. We tell ourselves we’re not hungry when we’re on a diet. We tell ourselves the car isn't making that weird noise. And we definitely tell ourselves we’re over an ex when we’re still checking their Instagram three times a day.
The song acknowledges the lie.
"I'll tell myself I'm glad you're gone / I'll throw a party just to prove I'm on my own."
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That's pathetic and brave at the same time. It’s the act of performing happiness until it becomes real. Psychologists call it "cognitive dissonance," but Go West calls it a Top 10 hit. The song doesn't judge the narrator for lying; it celebrates the lie as a survival mechanism.
Key Musical Moments to Listen For
Next time you hear it, don't just let it be background noise. Listen for these specific details:
- The Bass Entry: The way the bass kicks in after the initial keyboard intro is incredibly satisfying. It gives the song its "strut."
- The Backing Vocals: In the chorus, there are these subtle "high" harmonies that give the track an ethereal quality, contrasting with Peter Cox's grounded lead vocal.
- The Drum Fill: There’s a specific fill leading into the final chorus that is pure 90s gold. It’s loud, it’s gated, and it’s perfect.
The Impact on Modern Pop
You can see the influence of this sound in modern "retro" pop. Artists like Dua Lipa or The Weeknd often use that same combination of driving rhythms and bittersweet lyrics. They owe a debt to the production style perfected on this track.
The song proved that "Adult Contemporary" didn't have to be boring. It could be funky. It could be aggressive. It could be something you dance to while you're crying inside.
Why We Still Care
We live in an era of "authentic" music where everyone is trying to be as raw and honest as possible. There’s a place for that. But there’s also a place for the mask. Go West King of Wishful Thinking is the patron saint of the mask.
It reminds us that sometimes, you have to fake it until you make it. It’s okay to pretend you’re okay. In fact, sometimes it’s the only way to get through the day.
The song hasn't aged because the emotion hasn't aged. Breakups still suck. People still lie to themselves. And a great hook is still a great hook.
Actionable Insights for the Music Lover
If you want to truly appreciate the era and the craftsmanship of this track, here are a few things you can do:
- Listen to the 12-inch Remix: In the 90s, the extended mix was an art form. The Go West remixes often added even more funk elements and extended instrumental breaks that show off the musicianship.
- Check out the rest of the 'Indian Summer' album: This was the album the song eventually appeared on (it was added to later pressings). It’s full of high-quality pop-soul that often gets overlooked.
- Compare the versions: Put the original side-by-side with the New Found Glory cover. It’s a fascinating look at how a great melody can transcend genres.
- Watch the live versions: Peter Cox’s voice is even more impressive live. Search for their more recent performances; even decades later, his vocal control is staggering.
The next time this song comes on the radio, don't just change the station because you've heard it a thousand times. Turn it up. Lean into the delusion. Be the king or queen of wishful thinking for four minutes. It’s cheaper than therapy and a whole lot more fun to dance to.