Gary Langan got his start as an assistant in the control room during the recording of Queen's A Night At The Opera album. Other examples of Dudley's early 80s work as a studio musician can be heard on Wham's Bad Boys and Young Guns (Go For It!). Jeczalik in exploring the possibilities of the Fairlight CMI. It was during these recording sessions where Dudley and Horn cemented a mutual interest with Gary Langan and J.J. She wrote the orchestrations for songs such as The Look Of Love and played keyboard across the album, including on hits such as Poison Arrow. It was during the recording of ABC's The Lexicon Of Love, however, where Anne really began to shine. This was remake of some tracks from the Big A project (including the space disco classic Fly On UFO), and is regarded by some as the proto-Buggles album because of the Horn/Downes collaboration with the songwriting and production style.ĭudley was quickly taken into the Trevor Horn fold, adding keyboard work to Beatnik, a track on The Buggles' second album, Adventures In Modern Recording. Anne Dudley (the musician):Īnne Dudley seems to have first worked with Trevor Horn on 1979's Star To Star, a space disco album by Chromium (The Chrome in the US), where she played keyboard along with Geoff Downes. This blending of bands resulted in tracks being recorded by both bands for their respective albums ( The Buggles - I Am A Camera, Yes - Into The Lens), and cemented a relationship between Yes and Trevor Horn which would last across several albums. They were eventually invited to join the band, and Drama ended up being the first Yes album produced by Trevor Horn. Chris Squire was a fan of The Age Of Plastic, and asked Horn and Downes to sit in with the band in the studio. While working on a second album for The Buggles, Horn found he was working in the studio next to the band Yes, who were working on their first album after the departure of Rick Wakeman and Jon Anderson. It also set into motion a chain of events which would lead to Art Of Noise. It did become an early litany of the production which Horn would use throughout his career. It wasn't a huge success, but the strength of the lead-off single combined with its airing as the first (prophetic?) video on the first day of MTV two years later cemented its place in pop music history. The Buggles' first album, The Age Of Plastic, was a concept album examining modern life in the face of rapidly changing technology. They recorded their own version of Video Killed The Radio Star, but the band only ever released one album.) (Wooley left the band before this success, to form Bruce Wooley And The Camera Club (a band which featured long-time drummer Rod Thompson, Matthew Seligman, and a very young Thomas Dolby!). It was immediately accepted, and eventually Video Killed The Radio Star would become a number one hit in 16 countries. In 1979, Horn, Downes and Wooley recorded a demo for a song which they submitted to Island Records. He achieved wide early success as a songwriter with the Dusty Springfield hit Baby Blue. His other early production work includes John Howard ( I Can Breathe Again/ You Take My Breath Away, Big A ( Carribbean Air Control), and Tina Charles ( Makin' All The Right Moves). Many of these early efforts were done with Bruce Wooley and Rod Thompson (members of the first two acts already listed), and the three of them created The Killers, who released the single Killer (On The Dance Floor) in 1978. The first production effort by Horn easily located online is from LIPS, Say Hello To My Girl. Trevor Horn got his start in the music business in the mid-1970s with forgotten acts such as Fallen Angel And The Tina Charles Band, Boogatti, and Christopher J. There was no sense at the time that we were a band, it was just a bit of a laugh.Before Diversion 0, we must: Meet The Players: But then we wouldn’t do anything else for a few weeks, so it was very much a different set up than the norm because we weren’t a band. Then we showed it to Paul Morley and he came back the following day and said, “I think we should call it ‘Moments in Love’, so that’s where it got its name from. In an interview with Paul Waller, JJ Jeczalik, one of the two headmen of Art of Noise, explained how the song all came together:įor instance with ‘Moments in Love’ I wrote the tune and then we got the whole track going. The original 10-minute version came off their albums Into The Battle with the Art of Noise and (Who’s Afraid Of) The Art of Noise, while the single version was released on the soundtrack for Pumping Iron II: The Women, a documentary about female bodybuilders. “Moments In Love” is an electronic, synthesized track produced by Art of Noise in 1983.
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