Author:Trevor Horn
Taking its title from the second Buggles album, this autobiography covers the years from the author’s childhood up to 2004, after which his life was thrown into turmoil by a series of traumatic family events. Beginning with his first introduction to music as a child, and then working his way up as session man and by playing in a number of journeyman bands on the dance hall circuit, he recounts how his career finally took off in a big way with Video Killed The Radio Star. As he takes us through the key stages of his personal life, he ties this in with the music he was working on at the time – there are some great chapters on ABC’s superb Lexicon of Love record and his work with artists such as Grace Jones, Seal and, of course, FGTH. Pleasingly, there are two chapters on Yes, one as a band member, the other as producer of their biggest selling album 90125, which was Yes but not as we knew it and rejuvenated the band. There’s plenty of technical detail for those interested in the equipment and techniques he pioneered, but fortunately he explains things in relatively simple terms that a layman such as me can (sort of) understand. Horn is certainly a very engaging storyteller, and this is a thoroughly entertaining and enlightening read, which I’d really recommend you seek out if you’re interested in the author’s groundbreaking production work over the years.
Length of Read:Medium
Might appeal to people who enjoyed…
Taking a fascinating look at how some of the biggest records of the eighties and nineties were created.
One thing you’ve learned
Horn has that essential ability to get along on a personal as well as professional level with the artists he works with but isn’t afraid to be ruthless with band members who don’t meet his standards, as various members of ABC, FGTH and even Yes would testify.
Twang says
Oh this looks fun. I’m in.
Freddy Steady says
Me too I reckon. That first Buggles album is a belter.
Moose the Mooche says
A thin excuse for me to once again post this excellent clip.
Martin Hairnet says
Most excellent. The instrumentation and sound put me in mind of Ommadawn era Mike Oldfield.
Moose the Mooche says
Funnily enough, it reminds me exactly of that film about TB from the noughties where our hero plays along on bass with the Viv Stanshall sequence…. after about forty seconds he looks at the camera and says, “It’s fuckin’ hard work, this!”
fitterstoke says
Apologies for my ignorance, but…TB? Trevor Boulder??
Twang says
Terry Butcher
Moose the Mooche says
Timothy Bottoms.
…not that I’m judging
Twang says
Tony Blair
fitterstoke says
I sense that I’m being mocked…
Moose the Mooche says
No. It’s perfectly reasonable that in a comment that refers to Mike Oldfield you wouldn’t be able to work out what TB stands for. How many documentaries has he made about tuberculosis? Dozens, probably.
fitterstoke says
I have resigned myself to never finding out…
fitterstoke says
Bugger…the penny drops at last. I wonder why I assumed that TB must have been both “our hero” and a bass player?
I’ll collect my jotters at the end of the day…
hubert rawlinson says
Get your rocks off.@fitterstoke
In response to Trevor Boulder.
fitterstoke says
Well, right back atcha, Hubes – but I’m now filled with shame and remorse (see above)…
…and, talking of shame…
Podicle says
“I hope you enjoy our new direction. This one’s written by the bass player!”
Bargepole says
MC Escher says
As a very average musician not versed in playing Blues can someone explain why the dance bands would play in (for example) F so that the horns would be in the key of G ? Seems nuts to me
mrxsg says
I’m two thirds through the audio book.
Thoroughly enjoyed it. He’s a great narrator as well.