Before they helped Max Headroom to hit the charts (Paranoimia) or resurrected the careers of Tom Jones (Kiss) and Duane Eddy (Peter Gunn), Art Of Noise brought sampling to the masses.
In the mid-80s it was easy to label Art Of Noise as pretentious, uncool art snobs. With an elitist style that coupled Paul Morley’s eccentric sleevenote pontification with the band’s techno synth pop – led by producer Trevor Horn – they took their music to the upper classes during the height of yuppiedom.
Anne Dudley went on to provide orchestral arrangements for the likes of Pulp and Boyzone.
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