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Pocketmags Digital Magazines

MY LIFE IN VINYL TREVOR HORN

THE LEGENDARY PRODUCER AND ERSTWHI L E BUGGLE CASTS A CHRONOLOGICAL EYE BACK OVER THE A LBUMS THAT MADE AN INDEL IBLE MARK ON HIS GL I T TERING CAREER

If anyone could be said to defi ne the sound of British pop in the 80s, it would be Trevor Horn. If the idea that someone who had previously earned a living playing in the band on Come Dancing would be the architect of the most forwardthinking pop of the decade seems unlikely, it’s nevertheless true. After hits with The Buggles, and an even more unlikely stint with progrockers Yes, he became a full-time producer, working with Dollar in 1982, which led to one of pop’s great imperial periods.

The Horn sound, where dazzling sonic modernity was lavished on great songwriting, became emblematic of one of pop’s golden eras, applied to old rockers reinventing themselves (Yes’s Owner Of A Lonely Heart), young guns in search of their first hit (ABC, Frankie Goes To Hollywood), sophisticated art-pop (Propaganda, Art Of Noise) and cross-cultural collisions (Malcolm McLaren’s Duck Rock). It’s one of British pop’s great CVs.

Sitting in the conservatory of his London home, looking in over his basement studio, Horn reflects on his life and career to select 10 albums that shaped his view of what music could be and how he put that view into practice.

THE BEATLES WITH THE BEATLES (1963)

“This album made me want to be in a band more than anything.

The early Beatles records were chock full of filler, but there was so much energy in With The Beatles. Most of the music I was playing at that point was either classical music in the orchestra, or the double bass with my dad’s band – I was 14 – and The Beatles were like a breath of fresh air. When I listen back to it now, I realise a lot of it was live recording and that it had that BBC sound to it: whereas in the 60s the Stones went to America and recorded at Chess on an MCI board – MCI boards sounded gritty, and the Stones’records had a gritty kind of texture to them – The Beatles sounded like the BBC.

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About Classic Pop

In our latest issue, we take an exclusive behind-the-scenes look at the latest archive release from Prince. Originals gathers together tantalising demos from the iconic songwriter that became hits in the hands of other artists, from The Bangles and Martika to Kenny Rogers. We talk to those who knew Prince best for the inside track on this fascinating new album. So much more than just a founder member of Duran Duran, Stephen Duffy returns with a new Lilac Time album and a reissue of his superb solo LP I Love My Friends. Classic Pop shares a pint with him for an entertaining chat. Elsewhere, we find out if the B52s are serious about hanging up their microphones as they return to the UK for a farewell tour. Is this really the last goodbye from the art-pop party starters? We meet the band to get the definitive answer. In our new album-by-album feature, we take an in-depth look at the recording career of Talk Talk, from reluctant New Romantic poster boys to an outfit that explored the furthest reaches of art-rock. Legendary producer Trevor Horn talks us through his life in vinyl and we catch up with Colin Hay to delve into the troubled history of Men At Work. Our classic album is OMD’s career pinnacle Architecture & Morality and we also look at the 80s British reggae scene including chats with the key players from the era. Our packed new album reviews section includes Prince, Mark Ronson, The Divine Comedy, Hot Chip and more. On the reissues front, we serve up a tasty selection including Depeche Mode, Blancmange, Ian Dury & The Blockheads and a five-star review of Abba. In our live reviews section, we check out gigs by ABC, Wet Wet Wet, Suede, Bananarama and more.