Read Ebook {PDF EPUB} Ride the Wind by Anne Dudley Ride the Wind by Anne Dudley. from the album Poldark · Copyright: Writer(s): Anne Dudley Lyrics Terms of Use. Memories like voices that call on the wind, Medhel an gwyns, medhel an gwyns, Whispered and tossed on the tide coming in, Medhel o' medhel an gwyns. Voices like songs that are heard in the dawn, Medhel an gwyns, medhel an gwyns, Singing the secrets of children unborn, Medhel o' medhel an gwyns. Dreams like the memories once borne on the wind, Medhel an gwyns, medhel an gwyns, Lovers and children and copper and tin, Medhel o' medhel an gwyns. Dreams like the castles that sleep in the sand, Medhel an gwyns, medhel an gwyns, Slip through the fingers or held in the hand, Medhel o' medhel an gwyns. How we made: ABC's and Anne Dudley on . Disco was a dirty word by 1982. But I loved the strings on Chic records, and the whole soundscape of Earth, Wind & Fire. Fusing that with the likes of the Cure and Joy Division was what we were after – while Mark White, our guitarist, was keen to give the album the feel of a film soundtrack. The highly theatrical sleeve even had a touch of that old movie classic The Red Shoes to it: that was a pretty bonkers film, more intense and emotional than factual. The Lexicon of Love is a bit like that. I used a lot of falsetto, partly to convey the rollercoaster ride – the elation and despair – of being in love. We'd made the top 20 with our first single, Tears Are Not Enough, in 1981, and wanted this follow-up album to be more polished. After hearing Dollar's Hand Held in Black and White, which had this panoramic, widescreen sound, we approached its producer, . He got what we were trying to do immediately. We were full of ideas and thought we could change rock'n'roll – very ambitious for guys who'd just been signing on the dole in Sheffield. Lyrically, while I loved the likes of Gary Numan and OMD, I wanted to take my songs to a more emotional level, along the lines of Rodgers and Hammerstein or Cole Porter. At that time, there were few songs about really loving or hating someone; and, whereas punk had been quite blokey, women make their presence felt in Lexicon. It was unusual to feature strings so prominently, too, unless you were Cilla Black or Cliff Richard. The Look of Love, which got to No 4, had all these pizzicato arrangements over a moog bassline, while (No 5) was very Bridge Over Troubled Water. Imagewise, the gold lame suits and dinner jackets were us turning away from punk. There was an element of James Bond to it all, very aspirational and cosmopolitan. Thirty years on, I'm performing these songs with a full orchestra. I've lived a full life and have two children now, so it's interesting coming back to All of My Heart – and singing it as a man rather than a boy. Anne Dudley, keyboards, arranger. ABC had no keyboard player, so Trevor Horn brought me in. At some stage during the recording of The Look of Love, he decided it needed a real string and brass section. With the confidence of youth, I volunteered to do the arrangement, even though my experience was minimal. When we recorded the 30-piece string section at Abbey Road, I was often the youngest person in the room. I'd always loved the orchestral flourishes in Gamble and Huff's disco classic The Sound of Philadelphia. These became my chief inspiration, alongside the soaring yet simple string lines in Bee Gees records; and there was even a bit of Vaughan Williams in there, too. I remember hearing the mix of The Look of Love and being amazed at how loud Trevor had made the strings. It was really nailing the ABC colours to the mast: this was to be an unapologetically lush and epic album. From then on, it was a given that we would add strings to many tracks, developing the unique sound of the album – a combination of cutting-edge technology, electronic sounds and real instruments. It's a mixture I've been exploring ever since. To be honest, I thought All of My Heart was rather weak at first, until Trevor added the dramatic pause at the end of the chorus, before the line "all of my heart". We then mixed in some timpani, while the fadeout was a chance for me to have an English pastoral moment. In the end, it was probably Martin's best vocal performance, and it became a stand-out song. But the tracks were all outstanding, Martin's witty and effortless lyrics encapsulating the trials of young love. The Lexicon of Love made it to No 1, and I'm delighted with how it sounds 30 years on – and not too embarrassed by my youthful efforts. IsraBox - Music is Life! Artist : Anne Dudley Title : Poldark - The Ultimate Collection (Music from TV Series 1-5) Year Of Release : 2019 Genre : Soundtrack, Classical Quality : MP3 320 kbps; 16-bit/44.1kHz FLAC; 24-bit/44.1 kHz FLAC & booklet Total Size : 427; 845 MB; 1.66 GB. Anne Dudley - The Hustle (Original Motion Picture Soundtrack) (2019) [Hi-Res] 3-05-2019, 02:17. Artist : Anne Dudley Title : The Hustle (Original Motion Picture Soundtrack) Year Of Release : 2019 Genre : Soundtrack Quality : MP3 320 kbps; 16-bit/44.1kHz FLAC; 24-bit/48.00 kHz FLAC Total Size : 87; 219; 434 MB. Anne Dudley - Poldark: Music from the TV Series (2015) [Hi-Res] 25-04-2019, 18:15. Artist : Anne Dudley Title : Poldark: Music from the TV Series Year Of Release : 2015 Genre : Soundtrack, Classical Quality : 24-bit/48kHz FLAC Total Size : 543 MB. Dave Dudley - Cowboy Boots (Reissue) (1991) 21-02-2019, 07:03. Artist : Dave Dudley Title : Cowboy Boots Year Of Release : 1991 Genre : Country Quality : Mp3 320 / Flac (image, .cue, log) Total Size : 117/258 Mb. The Gene Dudley Group - Zambidoose (2015) [Hi-Res] 31-12-2018, 09:54. Artist : The Gene Dudley Group Title : Zambidoose Year Of Release : 2015 Genre : r&b/soul, blues, brass, funk Quality : 24-bit/44.1kHz FLAC Total Size : 416 MB. Dudley Moore - Have Some Moore! (2018) 30-11-2018, 00:00. Artist : Dudley Moore Title : Have Some Moore! Year Of Release : 2018 Genre : Jazz Quality : FLAC (tracks) Total Size : 513 MB. Dudley Moore Trio - Jazz, Blues & Moore (2005) 24-10-2018, 15:12. Artist : Dudley Moore Trio Title : Jazz, Blues & Moore Year Of Release : 2005 Genre : Jazz, Swing Quality : FLAC (tracks+.cue, log) Total Size : 385 MB. Sandra Dudley And Lori Mechem - All Of My Life (2013) 28-07-2018, 06:01. Artist : Sandra Dudley And Lori Mechem Title : All Of My Life Year Of Release : 2013 Genre : Vocal Jazz Quality : FLAC (image+.cue,log) Total Size : 292 mb. Anne Dudley - Plays The (2018) 15-06-2018, 12:35. Artist : Anne Dudley Title : Plays The Art Of Noise Year Of Release : 2018 Genre : Instrumental, Contemporary Classical Quality : 320 kbps | FLAC (tracks) Total Size : 145 mb | 298 mb. Jason Edward Dudley - Ascension (2018) 15-05-2018, 20:24. Artist : Jason Edward Dudley Title : Ascension Year Of Release : 2018 Genre : New Age, Ambient, Chillout, World, Enigmatic, Ethereal Quality : FLAC (tracks) Total Size : 262 MB. Sandra Dudley - To You (2003) 10-10-2016, 06:53. Artist : Sandra Dudley Title : Close To You Year Of Release : 2003 Genre : Jazz, Vocal Jazz Quality : Mp3/320 Total Size : 161 Mb. The Gene Dudley Group - Zambidoos (2015) 1-12-2015, 11:59. Artist : The Gene Dudley Group Title : Zambidoos Year Of Release : 2015 Genre : Funk, Soul, Disco Quality : FLAC Total Size : 254 MB. Anne Dudley Interview. Back in the summer of 1987 seminal sampler/synth band The Art Of Noise played Toad’s Place in New Haven, CT. At the time I was a DJ at WRTC-FM, the radio station of Hartford’s Trinity College. I hosted a show I called Mutant Central Broadcasting that delved into punk, new wave, synth and all kinds of new (at the time) music. Cutting edge “you-don’t-hear-this-on-commercial-radio” stuff. One of the perks was free concert tickets and backstage passes. So when The Art Of Noise played Toad’s, I grabbed a mic and deck and made the 45 minute trek. It was a great show, and afterwards AON member Anne Dudley gave some interviews. She was very charming, but I could tell she was tiring of the same stupid questions from the same type of “music reporters.” She perked up a bit when she found out I was from college radio, and even more so when I said, “Why don’t you interview me? You seem bored of the same-old same-old.” We had a blast. After Anne’s full interview of her interviewer aired on my show, local fanzine Subculture (long since deceased) asked for a portion in written form for their magazine. I obliged. And recently I found my old issue of Subculture with said interview snippet, and have transcribed it to HTML. Submitted for your enjoyment is Anne Dudley of The Art Of Noise interviewing yours truly. Thanks for being such a brick, Anne. And for the fond memories. And you know, in hindsight I should have taken you up on your offer to run away to Canada together. You’re a great gal. mneptok interviews anne dudley of the art of noise. july 15, 1987 toad’s place – new haven, ct usa. from the hartford, ct area fanzine subculture. slip of a tongue an interview with anne dudley of the art of noise. the art of noise are people, not machines. the art of noise know their limitations. the art of noise sing and dance. they move and remain in flux. they played toad’s place july 15th. they spoke to me after the show and queried … anne dudley : do you come down to toad’s place very often? mneptok : only when the art of noise are in town. so i’ve been here about six times in the past week. ad : really? and which version of the art of noise did you prefer? the mutant version, the minimalist version? m : i liked the small version. ad : the small version. that would be our jazz trio. m : right. the benny goodman cover tunes were terrific. the production was very clean and the band seemed to have a genuine interest in the music they played. ad : so you were totally taken in by it? m : i haven’t been able to put it out of my mind. ad : well, i’m very flattered. you see, i wasn’t even there. as a matter of fact, none of the art of noise were there at all; we sent our managers. we have very attractive managers, we just put them in costumes and make-up… m : i couldn’t believe the guy dressed up as yourself, he was very convincing as a woman. ad : exactly, i just control him from my satellite in orbit around new haven. m : is it small in there? do you have to sit with your knees around your cheeks? ad : well, have you ever seen doctor who ? do you have doctor who here? m : oh! you fly in a police box! ad : yes, yes. all british people do that. m : is that a regulation 32-j/c flying police box? ad : i’m afraid i’m not at liberty to divulge that information. m : i always liked tom baker as doctor who. he had a really cool scarf. ad : yes, he did. what else do you remember about him? m : curly hair…shifty eyes… ad : shifty, like most of our band. we were going to have him in the art of noise if he could have played anything at all. anyway, tell me what it’s like to live in this part of the country. m : well, we buy records, listen to them a lot, come to see the bands and then talk with them because they have nothing better to do than drink beer and talk with us. ad : you know, nobody eats in england. three or four pints of english beer a night fills you. i can’t say i’m very impressed with the food in america. it’s all sort of bland. like turkey sandwiches. m : well, the closest that stuff has come to to turkey is driving by a turkey farm on the way to the store. it’s all spun by monsanto chemical corporation. no nourishment, it won’t keep you going. ad : you know, the only way i make it through the show is saying “to be in england in the summertime…” people seem to think that me saying that is the funniest thing in the world. m : why, don’t you like england? ad : i wouldn’t be anywhere else. bus driver : five minutes! ad : oh no! time to go to canada. m : upper new york state is beautiful this time of year… MOVIE MUSIC UK. Poldark is one of those British period romantic dramas that the BBC does so well. Based on the series of historical novels by Winston Graham, this is actually the second adaptation of the story made by Auntie Beeb, following the massively popular and successful series starring Robin Ellis and Angharad Rees which first began airing in 1975. The stories follow the fortunes of Ross Poldark, a British Army officer who returns to his home in Cornwall from the American Revolutionary War only to find that his fiancée, Elizabeth Chynoweth, having believed him dead, is about to marry his cousin Francis. Ross attempts to restore his own fortunes by reopening one of his family’s long-derelict tin mines, and after several years he marries Demelza Carne, a poor servant girl, and gradually comes to terms with the loss of Elizabeth’s love. However, as is always the case with stories such as these, the course of true love never runs smooth, and the dramatic saga of the Poldark family continues across the generations. The show stars Aidan Turner as Poldark, Eleanor Tomlinson as Demelza, Heida Reid as Elizabeth, and Kyler Soller as Francis. The score for Poldark is by the Oscar-winning British composer Anne Dudley, who has been largely absent from mainstream scoring work for what feels like years – although she acted as musical producer and wrote additional music for the 2012 Hugh Jackman version of Les Misérables, her last high profile international projects were almost a decade ago in 2006, when she wrote scores like Tristan + Isolde, and the critically acclaimed Dutch WWII drama Black Book. Since then, Dudley has been working mainly on British TV projects, and although Poldark is still a British TV project, the scope and international profile of the show may finally draw her back into the mainstream. It’s been 18 years since , when she became the second (and, to date) last female composer to win an Oscar, and it’s time she reclaimed her spot in the limelight. Her score is classically rich, with emphasis on strings and piano, and highlighting specifically Chris Garrick’s gorgeous violin solos. It would have been very easy for Dudley to use the score for the original 1970s Poldark, which was composed by the veteran Welsh composer Kenyon Emrys- Roberts, as inspiration, such was its popularity at the time, but thankfully Dudley chose to forge her own path with a score which is much more contemporary in its tone, but still retains that rich, passionate feel, and even incorporates some inflections from traditional Cornish and Celtic music, in which the region of Cornwall is steeped. The score’s main theme is actually the sixth cue, the appropriately titled “Theme from Poldark,” and is centered around a virtuoso solo violin melody which emerges from a lovely, rolling piano motif. Other cues feature snippets of it here and there, but it never really plays in full anywhere else in the score, at least not to that extent. Brief hints of it appear in “The Bal Maidens,” where it is accompanied by a dancing cimbalom and with a light percussion beat, and “Resurgam,” which takes the theme and re-works it as a somber, dirge-like piece full of loss and regret. Later, the dramatic “Working the Quillet” takes the two-note opening salvo from the theme and uses it to add a sense of driving urgency, before Chris Garrick’s expressive solo violin takes the idea off in a more determined, slightly frenzied direction. Some of these cues remind me a little of the music wrote for his period pieces like Pride & Prejudice and Jane Eyre, and will undoubtedly appeal to listeners who appreciate that sort of writing. Much of the rest of the score is built around textures and instrumental combinations which play off each other to convey the mood, which is usually one of brooding angst or romantic longing. Harps and strings, and then cellos and piano, combine in “The Crossroads”. A gorgeous romantic theme emerges in “The Longest Walk”. An unsettling synth texture, metallic and insistent, accompanies the despondent orchestral lines in “An Army Against One Man”. A solo piano anchors the reflective, wistful “Love of My Life,” while Garrick’s violin returns in “The Red Dress,” and the penultimate “Copper and Tin,” a wonderfully dynamic piece. The score’s only action sequence is “Liberty of Tyranny,” which builds on the instrumental ideas heard earlier in “An Army Against One Man,” but adds a propulsive string ostinato to bring the piece to life. Elsewhere, “Where the Land Meets the Sea” and “A Seam of Ironstone” are very bold indeed, with Dudley pitting Garrick’s violin and variations on the main theme against an anachronistic synth pulse that at times creates a mood of anticipatory dread. The subsequent “A Blood Red Moon” almost enters horror music territory with its creepy-beautiful harp textures and sinister- sounding tremolo violin writing, while the final cue, “Luck of the Devil,” ends on a similarly dark and intense note with its searching string writing, mysterious and almost subliminal glockenspiel, and threatening chords. The song “Medhel an Gwyns,” which is sung on-screen by actress Eleanor Tomlinson in-character as Demelza, translates from the original Cornish as “Soft is the Wind,” and is a beautiful piece that is part lullaby, part folk song, and speaks to the romance of Cornwall: the copper and tin mines, its castles, its rugged coastline, and the equally rugged people who live there. For those who don’t know, Cornish is one of the so-called Brittonic Celtic languages, similar to Welsh and the Breton language of northwestern France, and was once the predominant language of the county until the mid 19th century, but has just 600 or so native speakers in the UK today. If there’s one criticism to give to the score for Poldark it’s that, without the context of the show to give it some framework, some listeners may find it to be a little anonymous. The main theme is not present enough in the body of the score to be really memorable, while the violin textures – although undeniably lovely – are just that: textures, absent of any standout element beyond the excellence of the actual performance. The secondary themes are certainly present, but it takes some digging and some familiarity with the story arc to pick them out, while the brief allusions to Cornish folk music are nice, but don’t really develop far enough down that road for those who want a strong representation of the traditional music of the setting. With these caveats in mind, I still give Poldark a recommendation to those who enjoy scores that revel in wild and turbulent romance, and because I’m personally pleased to see Anne Dudley receiving some international press after several years away. Buy the Poldark soundtrack from the Movie Music UK Store. The Crossroads (2:05) Medhel an Gwyns (written by Anne Dudley and Mike O’Connor, performed by Eleanor Tomlinson) (2:14) The Longest Walk (2:43) The Bal Maidens (1:19) An Army Against One Man (3:45) Theme from Poldark (0:45) Love of My Life (2:00) The Blue Dress (2:03) Resurgam (3:24) Liberty or Tyranny (2:33) Daring to Hope (1:38) Working the Quillet (2:31) Truth and Consequence (4:36) Where the Land Meets the Sea (2:52) The Carnmore Copper Company (3:07) Becoming Porcelain (2:43) A Seam of Ironstone (1:31) A Blood Red Moon (3:49) Copper and Tin (2:34) Luck of the Devil (4:11) Running Time: 51 minutes 42 seconds. Sony Music 8887509679-2 (2015) Music composed and conducted by Anne Dudley . Performed by The Chamber Orchestra of London . by Anne Dudley . Featured musical soloists Chris Garrick, Peter Schoeman, David Cohen, David Daniels, Lucy Wakefield, Skaila Kanga and Anne Dudley . Recorded and mixed by Mat Bartram . Album produced by Anne Dudley .