A straight cover of the Glenn Miller track from 1939, I recorded a Big Band including (and conducted by) jazz giant, Gilad Atzmon. The dance sequence had been filmed to the Glenn Miller original and it was necessary to capture a take with exactly the same swing and timing. This was...
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A straight cover of the Glenn Miller track from 1939, I recorded a Big Band including (and conducted by) jazz giant, Gilad Atzmon. The dance sequence had been filmed to the Glenn Miller original and it was necessary to capture a take with exactly the same swing and timing. This was...
The waltz in this scene had been shot using the The Blue Danube for playback. I felt this wasn’t the right track as it was supposedly the wedding song of one of the characters (a 60 year old Teddy Boy). My 2 suggestions were Pete Sarstedt’s ‘Where Do You Go To’ and...
Originally recorded by The Brothers Johnson in 1980, the track was a big disco hit and was produced by Quincy Jones. Built around a simple drum pattern, the key to getting the song right was the stylistically perfect bass line played by Ash Dublin. Having recorded all the parts, I sent...
Having always loved NYC noise-rock band Sonic Youth, I took their track ‘Sugar Kane’ as the theme tune (and identity) of the gender-fluid TV comedy detective Sugar Kane (who bore more than a passing resemblance to Anita Dobson). I recorded a straight cover of the track to use...
Having placed the funkiest jazz track in history in the cut and fallen in love with it, the clearances came back and we promptly fell out of love with it. This track needed to augment the state of two stoned pensioners who were ‘as high as kites’ whilst levening it with wry...
This track was a blatant attempt (at the request of Director Marc Munden) to reproduce the sound and vibe of Tom Waits’s ‘Murder In The Red Barn’. Waits uses bones as percussive elements but I didn’t have any lying around so had to make do with whacking a coal...
This dance scene had been shot to The Big Bopper’s ‘Chantilly Lace’ which, during the edit, presented a budgetary issue. I recorded a Chuck Berry-like track to match the energy of the dancing and to retain the sync with the action perfectly.
To play alongside this deliberately clinical and literal description of how sex is depicted in film and TV, I composed a track using rhythmical male and female breaths (the voices are Christine Lockhart and me) in a mechanised pattern. I initially thought it sounded like Stereolab but...
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A straight cover of the Glenn Miller track from 1939, I recorded a Big Band including (and conducted by) jazz giant, Gilad Atzmon. The dance sequence had been filmed to the Glenn Miller original and it was necessary to capture a take with exactly the same swing and timing. This was...
The waltz in this scene had been shot using the The Blue Danube for playback. I felt this wasn’t the right track as it was supposedly the wedding song of one of...
Having always loved NYC noise-rock band Sonic Youth, I took their track ‘Sugar Kane’ as the theme tune (and identity) of the gender-fluid TV comedy detective...
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A straight cover of the Glenn Miller track from 1939, I recorded a Big Band including (and conducted by) jazz giant, Gilad Atzmon. The dance sequence had been filmed to the Glenn Miller original and it was necessary to capture a take with exactly the same swing and timing. This was...
The waltz in this scene had been shot using the The Blue Danube for playback. I felt this wasn’t the right track as it was supposedly the wedding song of one of the characters (a 60 year old Teddy Boy). My 2 suggestions were Pete Sarstedt’s ‘Where Do You Go To’ and...
Originally recorded by The Brothers Johnson in 1980, the track was a big disco hit and was produced by Quincy Jones. Built around a simple drum pattern, the key to getting the song right was the stylistically perfect bass line played by Ash Dublin. Having recorded all the parts, I sent...
Having always loved NYC noise-rock band Sonic Youth, I took their track ‘Sugar Kane’ as the theme tune (and identity) of the gender-fluid TV comedy detective Sugar Kane (who bore more than a passing resemblance to Anita Dobson). I recorded a straight cover of the track to use...