Simon Britton & Cliff Randall of Red Rhythm
Cliff Randall and Simon Britton are Red Rhythm, hailing from the UK. They are hit songwriters, producers and expert re-mixers. They are currently producing for the new Rev Run (Run DMC) album that includes tracks with Snoop Dogg, Method Man and Kid Rock.Simon and Cliff’s last 35 mixes/tracks have all gone Top 10 in the UK, including four UK number ones. Their recent songwriting, production and remix credits include Ashanti, Aaliyah, Boyz 2 Men, Sean Paul, Run DMC, Liberty X, Kool & The Gang, Eminem, Chaka Demus & Pliers, Jimmy Cliff, Sting, Usher and Michael Jackson. Their massive US R&B hit “Da Dip” by Freak Nasty sold over 2.3 million units and spent 18 months on the Billboard Charts.
Simon and Cliff began their careers as artists for various major record companies, both separately and together. They decided to concentrate on writing and producing. Initially they were commissioned to do club remixes and made a name remixing artists such as Oceanic, Heaven 17 and Run DMC.
Red Rhythm’s own infamous track “Someone Call The Doctor” was a massive UK Club Chart Hit and was featured on the US Emmy© Award-Winning Hit TV Show Queer Eye For The Straight Guy which is broadcast in 100+ countries. The track was also licensed worldwide in the TV ad campaign for one of the biggest selling gadgets, “Movin’ & Grooving Dancing Flowers, Snakes, and Aliens” moving iPod players. The track was installed in the demo chip of every single production unit with multi-million worldwide sales.
The smash Irish boy band D-Side’s debut UK Top 5 single “Stronger Together” was written by Cliff & Simon and was produced by Grammy© Award-Winning Producers CutFather & Joe. It went on to hit Number One in Japan and various other countries throughout Southeast Asia.
Not restricted to one genre or style of music, the lads have shown their diverse ability by writing and producing thumping club tunes, funky R&B, classic pop songs and wide-screen rock tracks. They have even written and produced some dodgy football songs including the official Leeds United and Manchester City Football Club tracks.
They have also written, produced and mixed entire soundtracks for Universal Pictures, which achieved Gold and Double Platinum status — sales in excess of One Million. They wrote and produced the entire soundtrack for the film Pinocchio Effect for New Line Cinema/i-Dream.
With their own state-of-the-art studios in London, they are able to develop artists, write to any brief or spec given by advertising agencies or Music Supervisors, and Write/Produce/Mix for some of the world’s best known artists, whilst having an extensive catalog available.
How has working with MusicSupervisor.com help you in exploiting your music?
Massively! MusicSupervisor.com has gotten us a couple of licenses including Red Rhythm’s “All of Us Together” in Swing Vote with Kevin Costner. With all the A-listers in a Disney/Touchstone film, it opens doors for us. We got a couple of record deals internationally off of it. I’ve got to be honest with you though, at first Cliff said, “Don’t put that record on the website! It’s a rubbish Euro-track.” When we went to the premiere of Swing Vote, Cliff had to eat humble pie!
With record sales shrinking, music supervisors and song brokers like you guys are the new gods. Film/TV is becoming like radio. I must say the search criteria forms at MusicSupervisor.com take a long time to fill out, but it’s worth it… the search engine can help music supervisors find great independent tracks that do it for less money — and the placements help launch careers.
You guys are the Robin Hoods of the industry! One thing about Cliff and I, we’ve seen a lot of companies come and go, but MusicSupervisor.com is one of the best.
How did you and Cliff meet?
Cliff was looking for a female vocalist. He said I was the only person who applied. Back in the day I was a Boy George character, I had the same management molding me. I had the big hair and make-up, very ambiguous. It’s incredible, because obviously I’m straight. But back in the day I was told: “Build on the hype of your sexuality” — a bit like Annie Lennox, but with a guy! Cliff picked me up at Heathrow airport and couldn’t believe what he saw. I had credit cards as earrings. We hit it off.
We shared similar record collection: Human League, Depeche Mode, Howard Jones. Within a year we were writing loads of stuff, we were signing various record deals under different artist names — taking advantage, rich pickings, very naughty! We did festivals, had chart success especially in Germany. Our last festival was in Manchester on the day that Princess Diana passed away. Were onstage, there were loads of young girls screaming. I felt really odd. We looked at each other. We wanted to write and produce for other people. We wanted to go gracefully.
You had a hit with “Someone Call the Doctor” and an unusual kind of sync deal.
“Someone Call the Doctor” was installed in the iPod Dancing Flower. You plug in your iPod and the flower dances to your music. It became a massive gadget worldwide, every airport has them, they’re in Toys-R-Us and Walmart. “Someone Call the Doctor” was installed in the demo-chip. These flowers have become such a famous gadget, they’re featured in many TV shows. We keep getting royalties whenever the Dancing Flower’s on camera!
Tell us about what you are doing currently with Rev Run (Run DMC) record.
We’ve got three majors breaking their necks for the album. We’re producing the Leona Lewis track, and we have Kid Rock, Snoop Dog and Method Man on the record. Also we’ve got a couple of U.K. artists including Bananarama. It’s been all over the U.K. press. An ’80s girl band on Rev Run’s record? It’s just a crazy collaboration we thought of.
Finally, what’s the best part about getting a film/tv placement with MusicSupervisor.com?
I remember when I got my first Gold record… it was a magical experience. So the whole sync thing was kind of new for me — any musician would be lying to you if they said they didn’t want to see their name come up in the credits at the end of a major film. Bottom line: I would’ve paid Disney to be in Swing Vote! When somebody has a vision to put your music to a scene in a film, and that song really works, that’s a real art in itself.