![]() 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. The phrase is like a parent telling a child that it's time to go to sleep, and could signify the serene feeling that comes with the end of a tumultuous experience.Anne Dudley first came to fame as one of the shadowy figures behind the seminal Art of Noise. The final line, "go ahead now, it's bedtime" seems to be a soothing end to the emotional ride the song has taken the listener on. The repetition of "noise" and "sound" could also represent the turbulence and disruptions that come with love. The combination of art (beauty), noise (problems), and sound (emotions) could be a way to encapsulate the intense and complex emotions that come with the experience of falling in and out of love. The following verses "the art, the noise, the sound" could be a metaphor for this experience. The lines suggest the starting of an emotional journey, an experience that could be explosive like a lit fuse. Lucky Gordon include the repeated phrases "fuse is lit" and "now the fuse is lit" which appear at the beginning of the track. The lyrics of the song "Moments in Love" by Art of Noise feat.
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