Q&A with Nick Ingman

Exclusive Interview by Karen Beishuizen
Photos courtesy of Nick Ingman

Nick Ingman is an English composer who worked with Cliff Richard, Elton John and Lionel Richie. He wrote the tune for the TV show “Keeping Up Appearances” and also orchestrated and conducted for major movies: “Shakespeare in Love”, “Billy Elliott” and “Captain Corelli’s Mandolin”. He has been nominated for three Grammy Awards. Currently he works with the Chinese band Soundtoy.

KB: Did you always want to be an arranger and composer growing up?

When I was a teenager I listened to a lot of current pop records which I loved. I gradually started to listen to the backing on these records. Who played the instruments? Where did they do it? How did they organize themselves? It was my first inkling that there was “something” behind the singers – I, of course, was talking about arrangers — that’s an interesting job I thought , a sort of back room boy – never wanted to be in he foreground.

KB: In your first job as an assistant arranger you worked with Sir Cliff Richard. How did you get the job? You worked with Sir Cliff in the 90s as well?

Through a contact of my father, who was a musician and journalist , I got an interview with a top record producer called Norrie Paramor. I was hired as a tea boy. One of Norrie’s biggest starts was Cliff Richard and Norrie gave me some musical jobs to do including writing arrangements for Cliff.

I can’t remember any particular titles but I didn’t make any big records. After Norrie died I became Cliff’s MD and we worked together for twenty years. We did a huge tour in Australia and New Zealand and a number of shows at The Albert Hall in London.

KB: You composed the theme song for “Keeping Up Appearances”: Where did you get the inspiration from for the tune or did it pop up just like that?

I had worked with a BBC TV top Light Comedy producer and he commissioned me to write a number of signature tunes, When he told me about Hyacinth Bucket, I immediately thought of pomp and circumstances or anything by Elgar that was very British. I knew it had to be a march, so I played around with some ideas and came up with that tune!

KB: I read you were employed by American radio stations to provide easy listening tracks: how does that work? What is the process?

During the 1970s American radio stations were divided into AM ( current rock songs and younger audience) and FM which was basically elevator music for the old ones and played instrumental versions of the hits in slightly watered down versions. The FM music was known as Beautiful Music and was financed by the Mormon church. I had written a few arrangements for them but then they asked me to do more and in the end I recorded hundreds of titles.

KB: Your work as an orchestrator and conductor for movies. What is your favorite collaboration and why?

So many – probably “Shakespeare In Love” composed by Stephen Warbeck. It was a sleeper hit and became a huge movie.

KB: You worked with so many artists like Sir Elton John, David Bowie, Annie Lennox. What is your fondest memory?

Again so many – often the bigger the star, the less hassle and so more good music. The lesser talents tend to be edgy which makes the process less fruitful. Probably Elton John, making the soundtrack for the stage version of “Billy Elliot” or working with Lionel Richie possibly.
KB: If you could make an album yourself with 7 of your most favorite songs you worked on as an arranger: What songs would you pick?

“Pearl” – Sade
“Nothing Compares to U” – Sinead O’Çonnor
“It’s Raining Men” – Gerri Halliwell
“It Must Be Love” – Labi Siffre
“Feel So Different” – Sinead O’Connor
“High” – Lighthouse Family
“Inner City Blues” – Working Week

KB: You work with artists and you work with orchestras. Which do you prefer the most and what is the difference?

Chalk and cheese: with an orchestra you are a policeman, with an artist a therapist.

KB: What are you currently up to?

Working with a Chinese band called Soundtoy, rearranging some of their hits with orchestras.

Check out Nick’s website: HERE

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