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BIOGRAPHY 


Nick Magnus is a composer, keyboard player and producer, starting his musical career in early 1976 with the cult symphonic rock ensemble, The Enid. At the end of that year, he and drummer Robbie Dobson left The Enid to spend two years with the progressive rock band
Autumn. On February 15th, 1999 Autumn release a Mini CD of their material originally recorded 23 years ago, entitled Oceanworld.

In 1978, Nick began an 11-year working relationship, touring and recording with ex - Genesis guitarist Steve Hackett. The band extensively toured Europe, the UK and the US, and Nick appears on at least twelve of Hackett’s albums to date.

The latter half of the 80's was spent doing session work with many diverse recording artistes such as China Crisis, Renaissance, George Martin, Mungo Jerry, Johhny Mars, Cilla Black, Jose Carrerras, Brian May, Richie Havens, Bonnie Tyler, Mike Batt, Classix Nouveaux, David Essex, Pete Bardens (Camel), Duncan Browne, Chris Rea, and Colin Blunstone.

The 1990s saw album chart successes for Nick’s co-productions of the Project D synthesiser albums. More recently, he has achieved platinum sales for his productions and arrangements for the internationally acclaimed series of Pan Pipe Moods albums, released by Polygram records.

Nick has released three solo albums, Straight On Till Morning in 1993, Inhaling Green in 1999 and Hexameron in 2004.

Productions in 1998 included Polygram’s Celtic Dreams, followed by Celtic Dreams 2 in 1999, both of which have enjoyed international success. Nick's 2000 dance remix version of music from the smash-hit TV gameshow Who Wants To Be A Millionaire? hit the singles charts, and last summer audiences applauded the new arrangements of Lennon and McCartney songs Nick contributed to the West End musical, 'All You Need is Love'.

As well as a varied history as a composer, producer and arranger, Nick also penned the soundtrack to the cult horror film "Bloody New Year", and as a result of contributing to numerous other works for film, TV and radio, has gained much experience in working with music to picture.

He has also delivered lectures and seminars on many aspects of music technology and music production, whilst also writing diverse articles on these subjects for the music press.

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