I mean, I don't let go of it at any stage - I perform some of it myself, I conduct it myself, I get involved in the mixing - and it's very satisfying to do that. What I particularly enjoy about composing is the fact that you see it through from absolutely nothing on the sheet of paper to the finished product. "No, I consider that to be all part of the same process. It's got to be the best thing."ĭo you prefer composing to actually making the music? I think that if you can make your living as a composer you're probably the luckiest person in the world. I suppose nowadays I do more composing than anything else. The balance between those categories has changed throughout the years, really. "Well, that very much depends on which project I'm working on at any particular time. Tools Of The TradeĬomposer, musician, arranger, producer in what order do you see yourself? Anne's husband, Roger, is the engineer on all of her projects, as well as her artistic sounding‑board. Now comes Ancient and Modern, a project which sees Anne Dudley returning to her classical roots and exploring the English choral tradition by way of a choir and a 50‑piece orchestra, with modern embellishments of traditional hymns courtesy of state‑of‑the‑art recording technology. Televison themes and scores for films such as Buster and The Crying Game have won her widespread acclaim, while the album Songs From the Victorious City, her 1990 collaboration with Killing Joke singer Jaz Coleman, won critical plaudits for its ambitious combination of Arabic music with Western pop. I never have the slightest idea as to who's going to listen to the music or enjoy the music, and so it's always a delight to me when people do like it. Collaborations with Duane Eddy ('Peter Gunn'), Max Headroom ('Paranoimia') and Tom Jones ('Kiss') all made the charts, while tracks such as 'Moments In Love', 'Beat Box' and 'Crusoe' provided a kind of blueprint for the remixology age, but soon it was time for Anne Dudley to move on once again. Other mid‑'80s arrangements included Wham's 'Everything She Wants', Paul McCartney's 'No More Lonely Nights', and some of the tracks on his Press To Play album, while the association with Trevor Horn also led to the founding of Art of Noise, whose pioneering, innovative use of sampling had a wide‑ranging influence that is still evident in much of today's hi‑tech music. At around the same time, she began the professional relationship with producer Trevor Horn that continues to this day, and it was as part of Horn's 'A Team' that she arranged tracks such as ABC's 'The Look of Love', Frankie Goes To Hollywood's 'Two Tribes' and Malcolm McLaren's 'Buffalo Gals' (which she also co‑wrote). Her training had provided her with a diverse understanding of the traditional, the avant‑garde and the popular, and her fascination with the immediacy of pop's creative process led her to become a session keyboard player and arranger. However, disliking what she viewed as the very narrow approach towards classical composition, Anne felt more drawn towards pop music. Richard Buskin talked to her about her musial history and forthcoming album.Ī composer, musician, arranger and producer, Anne Dudley originally gained a Performer's Diploma, Bachelor of Music Degree and the B Music Prize for the highest marks in her year at the Royal College of Music, before then acquiring her Masters Degree at Kings College. But she refused to be confined by the boundaries of pop, and has since exercised her considerable talents in album arranging and composing for film and TV. Anne Dudley first came to fame as one of the shadowy figures behind the seminal Art of Noise.
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