Legendary Producer for Genesis, Phil Collins, & XTC: Hugh Padgham
Vložit
- čas přidán 20. 08. 2024
- ➡️➡️Learn more about Hugh Padgham here: producelikeapr...
➡️➡️Interview Part One:- • Masters of Production:...
Today we will be continuing our conversation with multi-Grammy winning producer, Hugh Padgham!
➡️➡️ Watch Artists That Changed Music: Peter Gabriel: • Peter Gabriel: Artists...
Hugh Padgham is one of the world’s top producers, on par music industry legends like George Martin, Quincy Jones, Phil Ramone, Brian Eno, and Rick Rubin, to name but a few.
We will be looking back at his early career and his current work, as well as will be doing a deep dive into all of his work with Genesis, and Peter Gabriel and Phil Collins’ solo albums!
Padgham worked with Gabriel on his third solo album, and after being introduced to Collins through Gabriel, Padgham worked on Phil Collins’ enormously successful album, “Face Value”. Padgham is credited as creating the iconic drum sound in the albums hit song “In The Air Tonight”.
He then began working with Genesis, his first album with them being 1981’s “Abacab”, then 1983’s self-titled release, and then the hit album “Invisible Touch” in 1986.
Padgham’s produced and/or mixed albums and singles that add up to well over two hundred fifty million units sold worldwide. He’s won 4 Grammy Awards including Producer of the Year, Album of the Year and Record of the Year as well as a Brit Award for Best Single (Phil Collins’“Another Day In Paradise”), a Music Week Award for Best British Producer, a TEC Award for Outstanding Creative Achievement and Mix Magazine’s Top Ten Influential Producers of the Mix Magazine Era.
Currently, Padgham works in his own studio in north-west London called Sofa Sound, where he has an SSL G+ 64-channel desk, and tons of analogue outboard. He is managed by Joe D’Ambrosio of JD Management.
Padgham continues to work as an invisible catalyst, pushing artists and technology to the limits, and beyond. Although he has over the decades given interviews with some regularity, his extended appearance on Produce Like A Pro lifts the lid on his thinking and his engineering and production approaches to a far greater degree than ever before.
Watch the video below to hear more about Hugh Padgham and his work with these iconic artists!
❤️My Favorite Plugins:
➡️Waves MV2: waves.7eer.net...
➡️Waves RBass: waves.7eer.net...
➡️Renaissance Vox: waves.7eer.net...
➡️Renaissance Compressor: waves.7eer.net...
➡️Warren Huart IR Pack lancasteraudio...
➡️Warren Huart Kemper Pack lancasteraudio...
❤️GEAR:
➡️Stealth Sonics: stealthsonics....
➡️UK Sound 1173: vintageking.co...
➡️Apollo x16: u.audio/apollo...
➡️Apollo Twin: u.audio/apollo...
Join the community here:
Facebook Group
/ producelikeapro
Facebook Page:
/ producelikeapro
Instagram
/ producelikeapro
Twitter
/ producelikeapro
❤️❤️Free 3 Part Mixing Course:
• Happy Christmas! Here'...
Sign up here to get exclusive videos and content producelikeapro...
#ProduceLikeAPro
#HomeRecording
#HughPadgham
Giveaway Winners: www.producelik...
Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.
Who are some other producers/engineers you would like to hear from?
Alan parson!
Jem Godfrey a la Frost*?
Tony Visconti 🎶 and/or Henry Hirsch
Kurt Ballou
Daniel Lanois
Hugh Padgham is a LEGEND. What a great series! Dude has worked on some of the best albums of all time.
Agreed 100%!
I also agree. One of my hero's
MORE XTC BASED CONTENT PLEASE 😍😍😍 Drums and Wires, Black Sea and English Settlement are utter sonic game changers as well as being a masterclass is songwriting perfection.
Coming VERY soon!!
Exciting! Also I know it’s a pretty esoteric subject/band but I just feel like people have so much to learn from those albums.
@@jakecrawford3106 One of my favourite bands ever! Stay tuned, coming extremely soon! I expect to see a comment from you and reposts everywhere! Haha
@@Producelikeapro you got it man! I’m in the UK XTC tribute band Fossil Fools. I’ve had the seal of approval from Mr Five Sheds Moulding himself haha 💪🏻
Check out Dave Gregory on the That Pedal Show channel. He does a long interview with them and plays his Rickenbacker 12 string.
Why is Sting's Ten Summoners Tales and Mercury Falling so overlooked? They are complete masterpieces and Hugh even got Grammys producing both of them.
This is just part 2! We have plenty more to come!!
@@Producelikeapro Grrreat!!
@@Producelikeapro Ohhh pleeeaase yes, i would love to hear about the making of "Ten Summoners Tales" too...all time favourite album, such a great production.
Yes! Absolutely. I want to hear about Dominic Miller and how he worked. Pleeeeeeeeeeease!
It's not Hugh's fault. After Sting released "Nothing Like the Sun" , he started his long descent into his boring, New Age phase to appeal to Massage Therapists and alienated his core audience who missed the Jazzier sound of his first 2 solo records.
Looking forward to part three!!! Hugh produced albums that have become part of my musical DNA! From Genesis and XTC to Sting. This has made this 45 year old muso very happy indeed.
Taking an hour off from the day job to watch this. Frankly I could listen to Hugh all day. So generous in his storytelling. And so much detail. Absolutely fascinating. Totally compelling. Great interview Warren!
Thanks ever so much
Part three please! More details on the nightmare of Sychronicity.
Coming soon!
@@Producelikeapro I'm enjoying these interviews sooo much! What a lovely man Hugh is. Very cool guy. I hope part 3 has stories from The Police sessions. Ghost In The Machine and Synchronicity. I can't wait!!!
Yes
^^^ I want ALL the dirt on working with Sting
@@Producelikeapro Can't wait! 😊
Warren, you've been knocking it out of the park lately! I've been working on a cover of Genesis' It's Gonna Get Better and have been immersing myself in all things Padgham and Genesis. Your timing is perfect! Thank you!
That's one of my all time favorite songs, can you share the link do I can hear your cover?
it's crazy how many legends Hugh has worked with; for me personally XTC, Phil Collins, and The Police were the ones who he reached the peaks with music-wise. But he also did albums with Bowie, McCartney, Elton John, Zappa, Genesis, Tears for Fears, Brian Wilson, and more. He could probably a 10 part series just talking about what it was like working with all those guys just regarding their personalities and quirks, let alone the actual music side of it.
Just bought the SACD of English Settlement. I used to own the LP. I think Hugh would be quite happy with the way the SACD sounds. It does him proud.
Stay tuned!! You’ll love Wednesday’s video!!
My favorite Hugh/Phil moment that completely embraces the "famous" sound is the song "Doesn't Anybody Stay Together Anymore". The other example is Ball and Chain with XTC and Terry Chambers. These are just glorious examples among many of his engineering genius.
Thanks ever so much James!
THE Hugh Padgham. A living sonic legend. One of a select few of whom I was more likely to buy/listen to, if his name was attached to a recording.
Those were the days when that information was actually available and the sort of thing we always read as we listed to an album or perused in the record store. And yes, in a way we followed producers and players as much (or nearly as much) as bands.
Indeed. He was the first producer I became aware of, and I remembered his name because I saw it on all my favorite records. After Hugh was Steve Lillywhite.
I love that you're doing this.
When I was a teen and all these incredible albums were coming out, Hugh was just a name on the cover. I may well have bought almost everything he produced, and never really made the connection.
Now you have humanized him for me and made clear his incredible contribution to popular culture and music in general. Without even knowing it, Hugh was an inspiration for my own foray into production.
So amazing having Hugh on. I am a few years younger than Hugh but I remember when I was in high school and early college. I would look at some of my favorites albums and I would usually see Hugh's name on the credits. Human League, Psy Furs, XTC, Spandau, Madness, Gabriel, The Police, Sweet, Kate Bush and others. The point is Hugh was doing amazing work on fantastic albums with great bands & people when he was a very young man. He obviously continued/continues on doing great things. Thank you.
It has been an absolute pleasure spending 1h and 26 minutes listening to a true legend with so much wisdom, experience and mastery. Thanks!
Wow! Thanks ever so much! Yes, huge fan of Hugh's!!
Watching these 3 years after they were made. Hugh is a wonderful story teller and I love so many of the albums he recorded/produced. His DFA fader sounds very similar to Lee Sklar's producer knob on his bass, which also does nothing and is useful for keeping producers happy.
I have a Townhouse story which fits with what Hugh said about the limitations and even faults of different playback mediums changing the perception of a recording. I was doing a session at the Townhouse one evening and during a break in the tearoom/lounge, I got chatting to one of the mastering engineers. He told me he was finding it difficult to please a band whose recording he was working on. He and they couldn't say for definite what the problem was, but the band had a rough mix cassette which the engineer who recorded their sessions had given them and which they were happy with. They wanted the master to sound like it and it didn't. He asked if I would have a listen and suggest what the problem might be. We went to his studio and he played me the cassette and then the master he had produced. The master was getting on for a quarter tone flat, compared to the cassette. The cassette player it had been recorded on must have been running at slightly the wrong speed. I asked him to play the cassette whilst I played with the varispeed on the mastering machine and made the the pitches of both the same. He told me a few days later the band were happy with the result.
Fantastic interview, XTC is one of my all time favorite bands, I got to see them open for the Police in Austin Texas playing Black Sea on their last tour and it was Andy’s birthday, they blew me away, they were so great live. Hugh is such a legend, he was neighbors with my cousin Nic in London for a while, Nic said he was always nice when they crossed paths. Another interview knocked out of the park!
Wow! I'm quite envious indeed! That must have been an incredible show! Thanks for the great compliment!
Black Sea .... what a great sounding album
Their last tour was English Settlement..
Luvly interview going into so much detail. A lot of patience this man must have had, but still gets the job done I think. Thanks Hugh
Yes, indeed Robert!
One word: Synchronicity. Legend.
Got to hear more. Then fell out, Sting flew home, Miles Copeland ended up reading them the riot act
Hugh Padham produced the spnic masterpiece Engilsh Settlement Enough said. Plus, he's a cool, humble and sweet guy.
Agreed 100% Gary! A masterpiece indeed!
This channel is fantastic! I'm equally fond of the endless fountain of knowledge you share and your upbeat energy. I'd pretty much given up on music until I found yours and Rick Beato's channels.
The genuine enthusiasm for music is inspiring. Thank you!
That’s kind of you to say! I’m happy to be able to help in any way I can.
Just searched youtube for the single version of "In the air tonight". Can't believe I've never heard that version before with the toms! I only thought the album version existed!
Yes, amazing isn't it!
Same here. Never heard the single version before, ever. So much for 45's!
I've heard that version with the added toms on the radio several times but somehow remember it as a re-release...or maybe I'm confusing this with 'Blue Monday' by New Order now, which also was re-released with added bits. Anyway; Just like Hugh, I prefer the original album version of 'In The Air Tonight' 🙂
@@mightyV444 Same here, I started hearing that single version for the first time in 2000 give or take 10 years either way, and assumed it was a new version with the Tom's added in recently just to change it up a bit as the song was really getting iconic and increasing in airplay.
Hugh showed his wisdom regarding that poor suggestion. Thankfully, radio stations embraced the album version. The single version greatly decreases the impact of the epic (now iconic) entrance of the real drums. It still sounds cool, of course, with that great fill, but when you've heard the snare and tom throughout the whole song, the drum fill just doesn't hit you in the face like it does in the album version. Good call, Hugh! 😊
Because Peter played just the bass drum in Genesis during the live shows! These interviews with Hugh are truly the stuff of legend! These albums are treasures of my life and I thank you so much for making these conversations with Hugh available to us his fans. They are as priceless as the music he produced.
Thanks ever so much! I’m so glad you enjoy them
The Radioshack brand was sold as "Tandy" in the UK
Thanks!! Exactly
I think the actual unit Hugh’s referring to was known as the Archer Mini Amp. My studio partner Andy Tillison had one, which he’d bought after hearing about its use on “Melt”.
Yeah it was here too
If you watch the video for In The Air Tonight - that's the single version with overdubbed toms.. So when it was played on TOTP, that was the version
Thank you Mr Huart for the effort, time and passion you are putting into these shows. You are curating music history doing these, not only for the information, knowledge and skill demonstrated by your guests, but it’s all ‘from the horses mouth’ as they say. Essential, compelling content. Thank you (again!).
Yes! This and his other interviews are just gold. 🎵♥️
Captivating and fascinating to hear Hugh's thoughts on things past and present. "Abusing the equipment is just as important as using it" was enlightening to me. Thanks to you both for an awesome interview.
What a terrific interview binge day thus far! Just spent the last couple of hours watching/listening to a recent Andy Partridge interview(s). Now this!
Thanks ever so much!
Thanks for this Warren. I've been revisting the XTC back catalogue lately and am gobsmacked at how brilliant those albums still sound today. Absolutely stunning musicianship, writing and production.
Agreed! XTC’s catalog is a collection of beautiful sonic masterpieces, littered with some of the best songwriting since the Beatles!!
As someone who has never stopped visiting their catalog, I couldn't agree more!
its amazing how smart these guys were back in the day.........they have to deal with the music, the musicians, technology, the record label execs..............
What a great video. The information coming out of these videos are priceless. "The Golden Era". I am just intrigued by it all the time. Its a trip back to the past and I love everything about it tremendously. A great interview Warren and Padgham. Please keep these as often as possible. Its really a library of information.
This is by far one of the most clarifying,satisfying,detailed interview a ever watch in my life.Crazy,i thought i was crazy in overdub reinforcemnt drums to the master ha hahaha Padgham already did that hahahaha
Wow!! Thanks ever so much Mo Liga!
Someone who never gets interviewed is Pete Gleadall....’the third petshop boy’ long time programmer and musical director. He’s a real Logic genius and has done so much!
Marvellous idea!
@@Producelikeapro I second the Pete Gleadall interview request!!!
Please Warren don’t forget to talk about Mercury Falling with Hugh ! It is a masterpiece, and probably one of Sting top 3 albums.
During one of the three interviews Hugh mentions going into a studio with Phil and the freshly mastered “Face Value” and tracking toms straight on top of the mastered tape to make a single version of “In The Air Tonight” with a backbeat to please the record company. You can hear this version at the beginning of the “Classic Albums: Face Value” episode streaming free on Amazon Prime. I think this is also the version used for the music video for the song.
You both are right about audio quality diminishing. For example, one of my dad's albums "Latin Rendezvous" by Mantovani in Stereo, not Mono, is one of the best sounding albums I've ever heard period. It was recorded on the London label (PS295) with full frequency stereophonic sound in 1963. It sounds like you are sitting in the hall right next to the musicians. Just amazing how it was recorded like that back then.
There’s nothing better than beautifully recorded Classical music!!
English Settlement - It's such a shame that the original master tapes have been lost. I would almost kill for a Steven Wilson 5.1 surround mix.
Outstanding interview! Hugh Padgham was amazingly illuminating while being immensely entertaining.
Thanks ever so much
I LOVE Brand X. I always have Unorthodox Behaviour with me in the car. Phil was an INSANE drummer back in the day.
Agreed! I really did enjoy everything that Brand X recorded!
@@Producelikeapro Nuclear Burn was my first experience with that kind of music. I was blown away.
Yes, truly wonderful musicianship!
I'm not sure Hugh was much of a fan though
I was lucky enough to take some lessons with Percy Jones back in the 80s. A brilliant musician and a gem of a gentleman.
Thanks, Warren. Yet another amazing interview. I'm a bit of an XTC freak so it's wonderful hearing these stories. Thanks ever so much! :)
Finally, part 2! Bookmarked for listening to this evening.
Part 3 coming soon!!
What a fantastic interview!
You should get a medal for these.
Thank you wholeheartedly.
Aw shucks! Thanks ever so much
I've been a Hugh Padgham fan since Intruder in 1980. He's probably my fav producer/engineer soundwise
Amazing
Wonderful to hear more from Hugh about English Settlement, a life-changing album for many of us. The band did use a Prophet 5 on the album, though - it's not just the wee Korg!
Thanks ever so much Anton! Yes, great to be able to talk to Hugh!
Firstly, thank you for this. I just watched 3 hours of Hugh Padgham. Fantastic. Interesting comment about visuals become so much better through the years whereas audio has go down another path. But like Mr.Padgham is doing at Gearbox I think there are many bands on bandcamp especially who are making sonically well engineered and produced records on vinyl which sound amazing. A recent example is JISR Too Far Away. A beautifully produced record. Thank you again for these interviews, really great.
Glad you enjoyed it! Thanks ever so much for sharing!
ugh, i wish it was 3X as long. awesome video!!
Part Three coming soon!
Thanks Warren. What a great interview, looking forward to part 3.
Thanks so very much for having these wonderful conversations in front of the entire world. We're experiencing the end of an incredible era, and these documents ensure that the ideas, emotions and 'know-how', will live Forever. That means something. Truly.
Thank you Warren!
.....an absolute master class from Hugh ❤️
......I can’t wait for part three
🎧🎸 as a young guy growing up in the 70s and 80s in Cleveland Ohio....this is the music my life also!!!✌️
Great English Settlement recollections. And a third part covering The Police coming up? Bonus!
Yes, yes and yes!!
How to say “I think he was coked up” without saying he was coked up: “It was like he had drunk 24 bottles of Coca-Cola.”
It’s called British discretion.
@@thearno2885 see: Prince Andrew
@@WhyTheHorseface that nonce had zero discretion
This is golden, a whole new and fresh perspective on Genesis/PC work through the passionate and genius Hugh Padgham. Great image and sound production, thank you and congrats.
You’re not imagining things, Hugh. The audio encoders in iTunes have changed over the years. The CD is still going to copy digitally - bit-perfect every time, assuming a clean disc and a halfway decent drive in good working order. But the conversion to audio files will vary. (Well, Wave, Apple Lossless, FLAC, etc.. those will decode right back to bit-perfect copies.)
When I first got a hard drive large enough to keep my music collection “online” - this was a 2.1GB drive at the time - I auditioned several MP3 encoders. Fraunhofer was the gold standard, but it was commercial software and s-l-o-w. There was another I found that was very quick, easy to use, but ultimately couldn’t stomach because it sounded like garbage. I ended up using LAME - or, “LAME Ain’t an MP3 Encoder”, so-called because of the patents around the encoding process. This free, open-source software created files that were uh.. _remarkably similar_ (wink) to MP3 files. It sounded quite good, and has since gotten even better.
When I got my first iPod, I discovered this new fancy “AAC” format. Another MPEG-based encoding scheme meant to supersede MP3, being more efficient with space for the same quality, or better quality with the same space. That is likely what you were using on that Mac with iTunes.
These encoders use “perceptual encoding” tricks to analyze audio, break it down into frequency domain (compositing sound based on its constituent sinusoidal tones instead of point-in-time samples of amplitude), and will then make decisions on which frequencies are dominant and masking others, and give the most meaningful tones priority.
This process is fuzzy. The output depends on the choices made, which depends on the algorithm of how dominance and meaningfulness are measured. That can be, and is, the subject of ongoing research and refinement.
So yes. 10-15 years of optimizing will change the quality of encoding. Presumably for the better. :-)
Ironically, the video we all watch now uses the visual analog to that same process to encode video into something we can store and transmit. Raw, uncompressed digital video is as unwieldy now as raw, uncompressed, high-resolution audio was back when MP3 came out. You technically _can_ store it on a hard drive, but not much of it.
The compression process in both audio and video is feared and loathed unfairly, IMO. Would uncompressed be better? Of course!! But it is far less important than good recordings. Assuming sufficiently high bitrate and good playback environments. ;-)
Wonderful Interview! Thank you so much Warren and Hugh!
Thanks ever so much Alexey!
Thanks Hugh and Warren!
Thanks ever so much
What a fantastic interview, didn't want it to end. I'm a massive Genesis and PG fan.
How Wonderful. This is Art!!!!!!!!!
Thanks ever so much
What a great interview. I love the quote "The one thing you can't change in life is change" "You have to get on with it". Great interview Warren :)
I'm so into XTC, but also into Genesis' Abacab and their stuff onward. Thanks for making these great interviews with Hugh Padgham.
One of my very earliest drumming inspirations was “Senses Working Overtime” from XTC. There was a left hand tenor drum part during the verses, the use of tambourine as a featured instrument, the huge drum sounds…and the bass guitar orchestration is genius. What an incredible recording. As far as I know Hugh was at the controls for that one. 👍
I think Peter Gabriels idea about drums without cymbals came from him spending a lot of time listening to traditional African music, essentially collecting new rhythms.
That's my take as well, Eddie. I think his head was full of these obscure cassettes/field recordings of traditional African music genres and I imagine that there weren't too many cymbals on them!
I find it interesting that following her work with PG, Kate didn't have any cymbals on the Hounds of Love album.
The first Womad festival was in 1980, same year as PG3. So would agree as to his thought process.
Funny line at 59:50. "I still like to keep my fingers on the knobs". Don't we all Hugh, don't we all. All kidding aside, to Produce Like A Pro, thank you for these interviews. I've never seen any in depth interviews with Hugh before sharing his knowledge and experiences. Hugh is a very impressive guy.
Thanks ever so much! Yes, Hugh is a wonderful guest I learned so much!!
YES!!! Looking forward to this interview!
I agree Hugh: 96k/24-bit does sound totally different to 44.1k/16-bit.
And with the increase in disk sizes and speeds we can do this now - even at home.
Loving this interview
This was so amazing and included so many of my favorite musicians/projects. Lovely guy, fun to listen to. Thanks so much for all you do. Other producers: Danial Lanois
Whew Padgham...what a coup for your lovely channel...kudos 😍
He’s amazing
these are soooo great. I also watched Phil Colins. You do such a great job of asking the right questions and giving them room to talk. I write and record music and these get me really inspired🙏
What an extremely interesting interview. Hugh Padgham is a true producer legend.
Excellent interview. Very interesting, enjoyable and much appreciated. 👏
My shot in the fish barrel.
IMO Peter wanted a human and tribal sound.
Cymbals represented metal and the technology changes of the time and the industrial revolution.
This is awesome. Thanks Warren
Interesting perspective! I really appreciate it
The Radio Shack mini amp was sold in the UK as the Archer Mini Amp Speaker. I still have one and used it in my Home Recording days as a distortion pre amp.
I love to think that one day Hugh will get back together with some of the people he's worked with over the years for one last Hurrah big production album, but as he says himself there aren't the budgets there to do that anymore. Although I would say there are some obvious names who can still raise that kind of funding who Hugh hasn't yet worked with but who would nevertheless fit in with his signature sound - like Dweezil, Vai, the amazing Jacob Collier and Dirty Loops. But, if that doesn't happen, we do have all of that amazing music to look back on. I know from watching the first interview you did with him, I've discovered XTC and have been playing English Settlement pretty much non-stop since hearing you guys talking about it. It sounds like it was recorded yesterday. And, yes, No Thugs in Our House is an absolute gem. I was listening to it for the first time in a mega snow storm driving from Middlesbrough to Whitby mid-Feb, and the bleak weather outside was held back by the sheer love coming from the speakers. I also discovered Helicopter from Drums and Wires on that same ill-fated trip to the coast. It's weird because I am absolutely old enough to have heard those albums when they first came out, but am only now many years later actually discovering them thanks to PLAP. So... Thank you!
Loving these chats, and particularly like the drop down pics. Save's me googling them lol.
Part one was fabulous and so was this. Great stories! Looking forward to part 3.
Thanks! Glad you enjoyed it!
Thats was awesome! This is my fav music production channel by far!!
Thanks ever so much
"Virgin in the late '70s" - great time for music - thanks Mr P.
Wait - What? That's Kate Bush singing on 'Games Without Frontiers'?! 😮 I'd never known that! And it still sounds to me *now* like Peter's singing those BV's himself in falsetto voice, after having a close listen! And it can't be a coincidence then that Kate's album 'Hounds Of Love' doesn't have any (Crash) cymbals on it either 🙂
How did you not hear that?
@@trowdwp - I *still* don't! 😆
@@mightyV444 the je sans frontier refrain
@@trowdwp - Oh man, in French even! No wonder I never understood what was being sung there! 😄 I'm sorry, it just doesn't sound like a typical Kate voice to my ears! Due to the added 'room', I guess. I remember there also was a German version, 'Spiel ohne Grenzen'. And interesting count-in with "One, two, four"! 😄
It doesn't get said often enough, Warren, but you are a fantastic interviewer. Interviewing is definitely an art, and your interviews are among the very best.
Wow! Thanks ever so much! I really appreciate it!
Excellent interview!!! really interesting stuff. Thanks!!
Yes! Hugh is wonderful! Glad you enjoyed it!
Wonderful to see part 2. There is something about Hugh’s way of speaking that reminds me of Martin Gore.
I thoroughly enjoyed this interview, especially those backstories about Earth Wind and Fire and the Phenix Horns. So many little details about how those parts were recorded and the weird dynamic in the studio. The end result was worth it, Earth Wind and Fire with Phil Collins were a perfect match.
Fantastic interview....huge fan of all those productions, particularly XTC....this was a blast! Thanks
Glad you enjoyed it!
Legend has it , Gabriel got a sledge hammer and smashed all the cymbals up!
Hahah indeed! Maybe?
It's a marvellous privilege to hear these insider stories, thanks :)
Thanks ever so much!
The single version of In The Air was used in the UK. It was released in a 7" booklet with cartoons by Phil's brother
Thanks so much for the interview ! What a great guy, could listen for hours !
His work with Bowie is under rated .
Just finished this ... and Im already looking forward to giving it another listen... you are both legends in my world 😁🎶🎶👍👍
“King for a Day” is a song I’ve been trying to track down for awhile now. I heard it playing in a department store a long time ago and hadn’t heard it in years. I thought it was cool but didn’t know that was XTC. Thanks to this episode I stumbled upon it. 🤩👌
In 1972 Neil Young kept drummer Kenny Buttrey from using hi-hat and cymbals on Harvest album. "Out On The Weekend, "Harvest," are very open and distinctive for that. "Old Man" follows that formula until some cymbals in the chorus. Rest of the album reverts to cymbal use. Thanks, Warren and Hugh--good stuff!
Brilliant interview. Hugh’s comment regarding the ‘DFA’ button, every DAW should have one!
Another great interview!! Looking forward to part 3. One correction to note: XTC’s first album was “ White Music “ (1978) “ Go 2 “ was also released in ‘78.
Indeed! Slip of the tongue!
Oh yaaayyy! I'd been looking forward to this! And I was also wondering just then what to do with my evening! AND I'd watched an XTC gig only last night, so that fits too! Thank you, gentlemen! 😀
Amazing man! Genesis and Phil Collins make for great accolades!
Heard it 2 times in a row. Quite fascinating! Thxs
Another cracking. Really enjoyed it cheers.
Thanks ever so much
This is wonderful. He had a hand is just about all of my favorite albums. Thank you.
Warren, thank you so much for this. What a legend Hugh is. More please!
In the early eighties digital was the holy grail. The more digital something sounded the better. It was expensive so it had to be good. Every musician wanted to hear more of that lexicon sound because they paid for it - leading to that overreverbed sound the eighties are infamous for. That said I just bought a AMS RMX-16 in perfect condition.
Aaaaawesomeness!!! I learn so much from your interviews with him, looks like my day just got longer 😀🤘