Trevor Horn

didn't do very well that's the one i think

and she loved like diamond didn't do very well i think that was the one that i think i got to number 43 right so didn't go top 40 so that was you know and of course the journalists were loving this you know we told you they were one hit wonders and you had all the other bands doing well and we so we hit a bit of a sticky wicket And we then heard the ABC album that Trevor Horn had done, which was an amazing production.

And we said to Trevor, look, you know, we think this is a great song.

The song was Instinction.

And so he and Dudley did the arrangements to the orchestrations.

I then went in, re-recorded the vocal, which was an absolute

pleasure doing it with Trevor Horn because he's just such a lovely man, lovely producer.

The musician's musician, isn't he?

"Blah, blah, blah." You, you, you talk, yeah, we'll rock, paper, scissors, and the loser will have to go try to talk to him.

No. 'Cause we, we couldn't even come near Trevor Horn when he was on the boat.

Oh, God, yeah.

It's so funny, 'cause I forget who I was talking to about that.

That was what made me wanna make albums.

As a producer, I was massively into Trevor Horn as a child.

I was a big Frankie Goes to Hollywood fan, which is not really what most people say they were into.

The Beatles or The Stones or something a bit more traditional.

This is the 87 Podcast with Sean Tiller.

In 1984, there you are, you've got the record deal with ZTT, you've got the producer of the moment, Trevor Horn.

How quickly then was it a case of you going in the studio, doing that ultimate mix of Relax, the one that we know, the one that became a single, and then how long did it take from there to get it into the charts? Well,

apparently, Relax... held the record for the longest journey to number one ever because it came out in october 1983 it took three months to record for a start he kept scrapping version after version after version because it was the first going to be the first record on his new label yeah And he kept scrapping it and doing it again and again and again.

Orlando Goff.

And Andrew Poppy, who ended up getting signed to ZTT with Trevor Horn, was one of the composers of The Lost Jockey.

And I wanted to make a record with them, and I just managed.

And EMI, of course, didn't get it and turned it down.

even though Ireland and Trevor Horne and all those people immediately wanted them and they were great because it was like Philip Glass kind of repetitive things they had two organs they'd have two pianos and two people so two pianos with four hands all playing the variations of the riff the pattern kind of thing

Yeah, so I did that.

And I also did a band called Out Bar Squeak,

Yeah.

Trevor Horn.

Yeah.

All right.

Yeah, yeah, yeah.

Also, you listen to those old Trevor Horn records and they still also sound like the

future.

What