The album includes the singles "That Was My Big Mistake", "All the Love in the World", "Don't Say That It's Over" and "Sticky George" - some were released as The Korgis and others under the name James Warren & The Korgis.
Sticky George was re-issued on CD by Edsel Records in 1999.
Sticky George was recorded in the wake of the success of its predecessor, Dumb Waiters, and particularly the single "Everybody's Got to Learn Sometime", which gained international success. The Korgis recorded Sticky George after returning to England from a promotional tour in the United States. A number of tracks intended for the album had been written before the end of 1980.[2] Korgis members Stuart Gordon and Phil Harrison wanted greater creative input on the album. As it came to completion, James Warren had disagreements with them, which resulted in both Gordon and Harrison leaving the band. Warren suffered a minor nervous breakdown during this period and later attributed it to the recording of the album and the general pressures of fame.[3] One of those pressures was the expectation of Warren writing a suitable follow-up to "Everybody's Got to Learn Sometime" in the hope it would provide the band with another hit, particularly in America. He recalled in 2005, "It went to my head and I was ill-equipped at that time to deal with it very well. I became very kind of egocentric, I think. I didn't realise it at the time, but I think I had a bit of a nervous breakdown. There was a lot of pressure by the time we got in to record Sticky George. The whole thing became too much and I just didn't cope at all well. I think that was one of my worst phases."[4]
Upon its release, Record Business wrote, "Lush harmonies and quirky west country ideas are the trademarks of the Korgis, who can always be relied upon to make beautifully produced records. The carefully textured layers of guitar and synthesizer that underpin the saccharine sweet vocals of James Warren are well controlled, making sure the songs stay the right side of bland."[6] Greg McMillan of the Canadian newspaper The Hamilton Spectator commented that the Korgis are "to pop music in the 80s what 10cc was to the 70s" whereby they "sit back and observe, then create billowy and layered pop songs". He added that the album is "no-frills electro-pop that is inoffensive and lacking in brashness" and "well-crafted alternative rock where any kind of flaw at all is hard to locate".[7]
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