The Ivors Interview - Trevor Horn

“All the best singers need great material and that doesn’t grow on trees.”

Trevor Horn, the recipient of the 2010 Ivor for PRS For Music Outstanding Contribution to British Music, is best known for his work as a producer. He has worked with artists including Dollar, Frankie Goes to Hollywood, Paul McCartney, Tom Jones, Grace Jones, Robbie Williams and Pet Shop Boys.

Trevor was also co-founder of The Buggles whose biggest hit, Video Killed the Radio Star, was the first music video played on MTV. In 1980, he briefly joined Yes, a group he later returned to as a producer. In 2010, he reformed The Buggles to play their debut live gig, with the proceeds going to London’s Royal Hospital for Neuro-disability.

How special was it to win an Ivor?

It was lovely. I got a CBE earlier this year as well, and it’s always nice to be recognised. And the thing is I’ve not finished yet – I’ve got more things to do, more records to make.

What are you working on at the moment?

I’ve just finished a new Yes album. It is great to work with people who have been playing a long time and whose playing has got better. I used to be in the band so that has put me in a good position – I can shout at people a lot more than normal. It has been a lovely experience working with them.

What made you a songwriter?

My father was a musician. He was a bass player and I became a professional bass player too. The Beatles were my first inspiration – them and Bob Dylan. My father played in swing bands, which is also what I started off on really.

Which artists and bands have you most enjoyed working with?

Generally, you enjoy working with artists that you have a lot of success with because you tend to work with them more than once. I love working with Seal, Anne Dudley, and I’ve always been a big Yes fan. Pet Shop Boys were lovely – all the ones that were successful were pretty much great to work with. And the ones that weren’t, I’m not going to tell you!

As a producer, do you have to be someone who is good at resolving conflicts?

It’s not like that. Being a producer, you’re really in charge of the dream. But it’s not your dream, it’s the artist’s. So your responsibility is to make the artist’s dream into the reality of a record. But that means you’re not in charge – the artist is in charge. You’re working for somebody. It’s a tricky position when you’re going into people’s music, but you work together as a team and it’s something that you can’t do in an hour - you have to be patient and careful. Of course, you have to solve conflicts and things like that, like how should we do the middle eight – those are the types of conflicts that I’m used to solving.

What music are you listening to at the moment?

I tend to have vague, odd tastes. At the moment I’ve got a load of recordings of Bing Crosby with Al Jolson live. It was on the radio in the 30s, and that’s my favourite thing at the moment. Al Jolson is like the original pop singer – he is absolutely brilliant. I like to listen to older music a lot.

Do you feel it is important that we are still celebrating music writing as a skill?

As a skill, yes, because everything stems from that. You can have the best voice in the world but if you’re not singing a really great song you won’t be heard. All the best singers need great material and that doesn’t grow on trees.