Kick Horns are a UK horn section with our own studio in SE London, The Tall Place. We have played on over fifty top 10 albums and over fifty top 20 singles. Credits include Eric Clapton, The Rolling Stones, Beyonce, Blur, The Who, Dr John, Baaba Maal and Stereo MCs.

Members include Simon Clarke and Tim Sanders, who write the arrangements. We’ve recorded horns at The Tall Place for hits including Sax (Fleur East), Changing (Sigma featuring Paloma Faith), If I Go (Ella Eyre), Never Been Better (Olly Murs), Salute (Little Mix). We offer a complete package: arrangements, musicians, studio - anything from a solo to a brass section with three, four, five or more players. That’s why we don't quote a simple price per song. But to give an example, a four-piece horn section on a typical track would cost around $1000 - $1500, arrangement included. And we’ll always try to work something out for an interesting project on a smaller budget. (See the interview below for more about the way we work.)

My credits include

AllMusic verified credits for The Kick Horns:

  • Fleur East
  • Suede
  • Rufus Wainwright
  • Olly Murs
  • Pixie Lott
  • Rufus Wainwright
  • Rufus Wainwright
  • James Arthur
  • Gabrielle
  • Little Mix
  • Blur
  • Little Mix
  • The Rolling Stones
  • Deacon Blue
  • Kula Shaker
  • The Rolling Stones
  • The Rolling Stones
  • DeNniS
  • David Gray
  • Suede
  • The Magic Numbers
  • Christie Hennessy
  • Marc Moulin
  • Oumou Sangare
  • Rod Stewart
  • Michael McDonald
  • David Gilmour
  • Masayuki Suzuki
  • Michael McDonald
  • Michael McDonald
  • Michael McDonald
  • Michael McDonald
  • David Gray
  • David Gray
  • Art Brut
  • Art Brut
  • Art Brut
  • Hard-Fi
  • Hard-Fi
  • David Ford
  • Groove Armada
  • Victoria Hart
  • Victoria Hart
  • Alesha Dixon
  • Sugababes
  • a-ha
  • Jamelia
  • Jamelia
  • Westernhagen
  • Eric Clapton
  • Eric Clapton
  • Eric Clapton
  • David Gray
  • Darius
  • Darius
  • Darius
  • Dave Stewart
  • Mick Jagger
  • The Beautiful South
  • Rufus Wainwright
  • Rufus Wainwright
  • S Club
  • S Club 7
  • S Club
  • S Club 7
  • S Club
  • S Club 7
  • Jamiroquai
  • Rufus Wainwright
  • Rufus Wainwright
  • Rufus Wainwright
  • Rufus Wainwright
  • Rufus Wainwright
  • The Rolling Stones
  • Hooverphonic
  • Hooverphonic
  • Pretenders
  • Echobelly
  • Stereo MC's
  • Stereo MC's
  • Deacon Blue
  • Carole Fredericks
  • Jean-Jacques Goldman
  • Jacknife Lee
  • Geri Halliwell
  • Geri Halliwell
  • Rachid Taha
  • S Club
  • S Club 7
  • S Club
  • S Club 7
  • Deep Purple
  • London Symphony Orchestra
  • Khaled
  • Khaled
  • Khaled
  • Toploader
  • Toploader
  • The Animalhouse
  • The Animalhouse
  • S Club
  • S Club 7
  • Pocket Size
  • Pocket Size
  • Pocket Size
  • Ace of Base
  • Jamiroquai
  • Princess Erika
  • Groove Armada
  • Dr. John
  • Midget
  • Midget
  • Eric Clapton
  • The Beautiful South
  • The Dandys
  • The Dandys
  • Maryam Mursal
  • Supergrass
  • Sleeper
  • Spice Girls
  • Stiff Little Fingers
  • Kula Shaker
  • Right Said Fred
  • Right Said Fred
  • Suede
  • Fito Páez
  • Jimmy Somerville
  • Jimmy Somerville
  • Papa Wemba
  • Gregory Gray
  • Gregory Gray
  • The Pogues
  • The Soup Dragons
  • Jay Owens
  • Jay Owens
  • Suede
  • Suede
  • Suede
  • Menswear
  • Menswear
  • Blur
  • Blur
  • Galliano
  • Galliano
  • Ride
  • Helloween
  • Eric Clapton
  • Eric Clapton
  • Eric Clapton
  • The Levellers
  • Blur
  • Blur
  • Suede
  • Suede
  • The Verve
  • Horse
  • The Rolling Stones
  • The Rolling Stones
  • The Rolling Stones
  • Blur
  • Blur
  • Not Drowning, Waving
  • Pete Townshend
  • Tony Martin
  • Stereo MC's
  • Sarah Jane Morris
  • Sarah Jane Morris
  • Cathy Dennis
  • Jeff Wayne
  • Chris Rea
  • Mort Shuman
  • Mort Shuman
  • Deacon Blue
  • The Rolling Stones
  • The Rolling Stones
  • Jean-Jacques Goldman
  • Paul Young
  • Paul Young
  • Alison Moyet
  • Thee Hypnotics
  • Thee Hypnotics
  • Thee Hypnotics
  • Thee Hypnotics
  • Beverley Craven
  • Carmel
  • Howard Jones
  • Howard Jones
  • Terence Trent D'Arby
  • Jimmy Somerville
  • The Rolling Stones
  • The Rolling Stones
  • The Rolling Stones
  • The Rolling Stones
  • The Rolling Stones
  • Frazier Chorus
  • Frazier Chorus
  • Fish
  • Voice of the Beehive
  • a-ha
  • a-ha
  • James
  • Erasure
  • The Communards
  • The Communards
  • China Crisis
  • Alexei Sayle
  • Pete Townshend
  • Pete Townshend
  • Pete Townshend
  • David Gilmour
  • David Gilmour
  • David Gilmour
  • John Parr
  • Dead or Alive
  • The Levellers
  • Limited Warranty

Gear highlights

  • Neumann U87s
  • API preamps

Genres I specialize in

Reviews of Kick Horns

  • Default-avatar3 months agoby Verified Review

    It was a great pleasure to work with Kick Horns. They figured out what I wanted very quickly and brought satisfying result right away. I'm thinking of working more songs with horns know Kick Horns will deliver!!


  • Just the best. They understand rock'n'roll and always work to the highest standards. Highly recommended.

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Interview with Kick Horns

What was your career path? How long have you been doing this?
We started out individually playing with whatever bands would have us, for whatever money was on offer. Everything else came from the people we met and the things that we learned in those early days. The name Kick Horns was coined in 1983, around the time trumpeter Roddy Lorimer worked on early sessions for Wham! (Club Tropicana) and the Waterboys. Many other sessions and gigs came from that work and by 1984 the Kick Horns were picking up a solid reputation. We worked on David Gilmour’s 1984 solo album About Face, and with Walter Becker on Flaunt the Imperfection by China Crisis. In 1985 Pete Townshend brought us in to play on the White City album and for shows with Deep End (featuring David Gilmour, Simon Phillips and John ‘Rabbit’ Bundrick) at Brixton Academy. From all this, mostly by word of mouth, came other high profile work: The Who’s 1989 25th Anniversary tour, Steel Wheels with The Rolling Stones, sessions for Chris Rea, Primal Scream, the Stereo MCs, many pop acts great and small. Then in 1993 we got the call to join Eric Clapton’s band for his blues-only concerts at the Royal Albert Hall, and somehow stayed in that band for the next few years. Then there was Brit Pop – Blur, Dodgy, Suede and all – then there was Spiritualized and the Spice Girls, Baaba Maal and Dr John: it all just keeps going…
Can you share one music production tip?
The people matter more than the equipment
Tell us about your studio setup.
The Tall Place is a two-storey open-plan space with maple floor, high ceiling and natural light. The acoustic is warm and live, but well controlled. Equipment includes Neumann U87 mics and API preamps. More info and pictures at www.thetallplace.co.uk
What advice do you have for a customer looking to hire a provider like you?
Be as clear as you can about what you would like to hear and then trust us.
What's your typical work process?
Where possible, we try to arrange the session at a time when the artist or producer can attend. That way it’s easy to make choices about details – phrasing, note-lengths etc – on the spot. Sometimes too new ideas can crop up and be explored. We like that collaborative process. But often that’s not possible, so we try at least to have a briefing conversation with the client in advance, preferably face to face, by phone or email if necessary. We get as clear a picture as we can of what’s needed, the job the horns should do, any reference points or existing ideas the client may have. Then we agree the budget and the line-up and start work on the arrangements. In the studio, we record the three, four or more players as a section, each instrument with its own mic, together with a stereo pair of room mics, then add any overdubs that may be needed. If the artist/producer is at the session, they can simply take the audio files away on a hard drive. Or we can do all the necessary comping ourselves and then send the audio files via WeTransfer or similar. We usually send individual audio files of each instrument; plus two stereo pairs of a balance that sounds good to us, one with and one without the room; plus a stereo pair of just the room. No compression, eq or reverb on anything. We also send a rough mix of the whole song with the horns mixed loud for reference.
What do you bring to a song?
We help the song work as a whole by playing only what’s needed. We spend a lot of time working at the arrangements, often crossing out quite cute ideas because they’re distracting, making sure everything serves the dynamics and structure of the song as a whole. The point is always ‘what a great song’, not ‘what great horns’.
What's your 'promise' to your clients?
We will work as hard for your music as you do.
Tell us about a project you worked on you are especially proud of and why. What was your role?
Eric Clapton’s From the Cradle was recorded entirely live with no overdubs: Jim Keltner (drums), Dave Bronze (bass), Andy Fairweather Low (guitar), Chris Stainton (piano), Jerry Portnoy (harmonica), Eric and the Kick Horns all playing together in the same room. Every day we’d go into Olympic Studios, play two or three takes of any song we hadn’t yet nailed, have some lunch, then play some more. One time, Eric wanted to record Sinner’s Prayer. We listened to the original Ray Charles version in the control room, made a few notes, went into the live room and played the song twice. Take two went on to the album: from empty tape to complete performance in about half an hour.
Is there anyone on SoundBetter you know and would recommend to your clients?
Jay Stapley, Simon Edwards
What other musicians or music production professionals inspire you?
Memphis Horns, Tower of Power Horns, Seawind Horns, Little Feat, Dr John, Ray Charles, Steely Dan, Quincy Jones