Thomas Dolby completely floored me with The Golden Age of Wireless. I listened to it endlessly, trying to figure out his techniques. Radio Silence, Airwaves, Europa and the Pirate Twins, Windpower, all brimming with brilliance, so ahead of its time. There was also a song on Aliens Ate My Buick called The Key To Her Ferrari which has so many great ideas packed into one song.
There was a song that didn’t make it onto Diva called Step By Step. We worked long and hard but whatever we did didn’t seem to give it the right tone for the album. Someone, possibly Annie, had the idea of sending it to Clive Davis with a view to Whitney Houston recording it. It was deemed to be a good idea and could even work in the movie she was making, The Preacher’s Wife. As I’d produced the track up to this point it was agreed that I’d continue working on it with Whitney.
One of the significant people in my life is Trevor Horn. I was asked to engineer for him for a couple of days on a project that turned out to be Frankie Goes To Hollywood. I wasn’t all that interested in going at the time. I’ve never considered myself to be an engineer, it's only ever been a means to an end. But I needed the money so I accepted, and 2 days turned into 6 years.
Throughout my working career, with two notable exceptions (one good, one bad), I’ve never worked for the money. This was a conscious decision I made when I was young and completely broke. Not because I didn’t need the money, but because I felt that if I was good enough the money would take care of itself. Naive and idealistic possibly, but had money been my motivation I’d have picked a more lucrative path. My remuneration has never played any part in the effort I’ve put in to a project. The only limiting factor has been time. So far this formula...
I saw Hans Zimmer after a Buggles show where I’d been playing guitar. He said we should work together. Fortuitous timing as I was beginning to feel frustrated with the predictability of song structure. I thought nothing of it until several months later when I got a phone call and it became a reality. The first score he asked me get involved in was The Dark Knight Rises. Talk about being seriously thrown in at the deep end. I didn’t have a clue what I was doing, but thanks to Satoshi Noguchi, Remote Control’s then wonder kid, I muddled through,...
Larry Klein has produced 6 new tracks on Cliff Richard's new album 'Music-The air that i breath' the tracks were mixed by Tim Palmer in Austin TX. Star musicians played on the sessions, Vinnie Colaiuta on Drums,Larry Klein on Bass, Dean Parks on Guitar, Greg Phillinganes on Keyboards, Larry Goldings on Organ & Backing singers Amy Keys, Windy Wagner & Clydene Jackson. The tracks were recorded at Village Recorders in Los Angeles vocals at Germano Studio in NYC. The album was released on October 30
I probably know everything Jeff Beck has done throughout his career. For me there are great guitar players and then there’s Jeff Beck who stands head and shoulders above everyone. From the Yardbirds on he’s created sounds that have been totally original. He’s never “sold out” and has always pushed boundaries.
Melody Gardot's new album 'Sunset in the Blue' is released October 23. Produced by Larry Klein Sunday Times review There’s been a tantalisingly long wait since the charismatic American expat’s last album. Now she returns to the gently introspective mood and romance of the much loved set My One and Only Thrill, the arranger Vince Mendoza adding more of his languorous string arrangements. It’s Gardot in the wee small hours, cosmopolitan and cultured, relaxed and kittenish. One for the long winter nights
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