Paul Frazer Clarke Perspective on You're My Breath

I’m Paul Frazer Clarke, a Perth-based composer, producer and recording artist with a 37-year career in the music industry. I’ve been signed to major labels and publishers including Warner Chappell & MCA Music in the UK and Europe, co-created the first drum & bass album in history, and written and produced for artists across pop, soul and dance. I have a 27 year track record in Film, TV & Broadcast Media Composition and Producing.  Today, most of  my projects are via my production company, Radio Circus, where I compose and produce music for artists, film, TV and other media. I co-own and international music publishing company Blushing Zebra which is administered worldwide by Sentric Music

“You’re My Breath” reflects the breadth of my background — from early days in the UK producing and writing for labels to decades composing for film and television. That experience taught me how to balance sophistication with accessibility. The track carries jazz-tinged moments and soulful textures that draw on my love of artists like George Duke and Jeff Lorber, while the polished production comes from years of studio work in both pop and media music. It’s personal, but also crafted to resonate widely — the kind of song that can live on playlists and on screen.

Early 1970's listening to Radio 1 in the Uk on a transistor radio. Shows my age!

Like a lot of my work, it blends different genres. This track has flavours of R&B, Jazz Funk, Soul and Pop. 

My music is built on a degree of detailed musicality — carefully crafted arrangements, strong melodies, and a depth of harmony that reflects my years writing for both artists and media. It blends soul, Rock, R&B, Funk and jazz overtones, with touches of sophisticated pop, creating songs that feel timeless yet contemporary. I draw influence from artists like Sting, Steely Dan, George Duke, Stevie Wonder, PM Dawn and Robert Glasper, so the result is a blend of groove and sophistication: music that works for late-night listening and beyond, but is also crafted enough to reward close attention.

When I first moved to Australia, I heard this amazing jazzy house music playing in a surf shop in the centre of Perth, WA. I had to ask the young lady at the counter who was playing.... she replied "That's Naked Music" - I looked a bit embarrassed until she clarified that that was the name of the compilation series. Turned out, it was my first exposure to deep house. 

Soulful. Sophisticated. Timeless.

Those three words capture both the emotional heart of my music and the care I put into crafting it — a blend of feeling, high musicality, and longevity.

I enjoy both. Collaboration is great, especially if you are prepared to test yourself with people who are able to push you to be the best version of yourself. I like new challenges. Many tracks on my album (Backstories From A Soundtrack To Life) are collaborations and they blend influences, musicianship and styles - which all shape the individualised sounds of each track. 

"The producer is responsible for what comes out of the speakers and for getting the best out of the artists and musicians involved in the track". "The producers job is not to impose themselves nor insist on tweaking every fader, dial and knobs".
I've purposely steered clear of thinking I have to know what every knob, dial and slider is and every mixing plug-in.... that's the engineers domain. I reckon if you get embroiled in too much micro detail, you loose the ability to listen properly. 

Only a year ago. Until I was preparing to release my first solo album, I had purposely avoided it. I've had to embrace it and understand the value it brings in the overall mix of artist and music exposure. 

Yes, of course. Back in the day, you released tracks if you were (normally) extremely good or worked extremely hard. And, if you were signed. These days, technology has been amazing, but it has killed the ability for most people to make money out of music. Cheap software targeted at non-musicians for instant track gratification is the worst culprit. The process for success was a lot clearer and simpler, it was tough, but that's how it should be. Not everyone can waltz into a professional sports team can they? 

It started as an experiment to blend different styles but to remain relevent. I chose PM Dawn and George Duke as a starting point, then crafted more of an modern R&B feel into it all through the vocals and then developed the entire track until I was happy with it.  

1. Great musicality
2. Strong Melody
3. Suitable strong hooks
4. An intelligent arrangement
5. Groove

I don't subscribe to the view of some people that 3 chords is all listeners can cope with. It seems to be the current way.... it's a cop-out and shows lazyness and a reflection on the fact that too much songwriting is 'out of the box' tech driven, not talent driven.