"Let's Kiss and Make Up" is a song by The Field Mice from their 1989 album, Snowball. It is better known in the form of Saint Etienne's cover version of 1990, which retitled it "Kiss and Make Up" and was released as a single. Saint Etienne version Saint Etienne were "drinking buddies" with Michael Hiscock from The Field Mice. The group recorded two demos of this song in their first studio session in January 1990, with Moira Lambert on lead vocals. Notably, they would go on to record with her what would become their first hit single, "Only Love Can Break Your Heart," in that same session. The first demo of "Kiss And Make Up" was released as a bonus track on the group's 2009 release, Foxbase Beta, a remix of their 1991 debut album, Foxbase Alpha, the second demo was released on the 25th anniversary vinyl boxset of same album. A re-recorded version of "Kiss And Make Up," with New Zealand singer Donna Savage of Dead Famous People on vocals, was released in 1990 by Heavenly Records as the band's follow-up single to "Only Love Can Break Your Heart." This version can be found on several compilation albums. "Kiss and Make Up" does not feature on the original UK version of Foxbase Alpha, but does feature on the US release. The US release contains a fourth version of the song, re-recorded with Sarah Cracknell on vocals. Cracknell had recently joined Saint Etienne as the group's full-time vocalist. Critical reception In an 2016 retrospective review, Justin Chadwick from Albumism described "Kiss and Make Up" as a "piano-driven house number". Stephen Thomas Erlewine from AllMusic noted its "irresistible girl group pop". Upon the release, Everett True from Melody Maker wrote, "After repeated listening, time spent happily lost inside the dreamy, slightly ambient tone of this dance track, I have come to a conclusion: this is fab. It has a slightly androgynous female vocal, a piano which cascaded like a rivulet of water from pillar to post, drum machines which take on human characteristics all of their own, words of hope and wistfulness, more piano which, mirroring the percussion, keeps pounding away, a bass line that makes my head swoon." Selina Webb from Music Week found that Donna Savage "lends her husky tones to this moody swayer", adding that "this, despite its only footshuffling dance appeal, should take them closer to crossover