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It's fan festival time again. Coming up on 20–22 June at the Mecca in Swindon, the sold-out 2025 XTC Fan Festival is a chance for friends old and new to come together and share in their love of all things XTC.On the line-up, as well as a trip to the Uffington White Horse, and interviews with Dave Gregory and Hugh Padgham, are performances from several cover bands. They include our guests in this episode of What Do You Call That Noise? The XTC Podcast: Dan Barrow, who is opening the festival with a one-man rendition of The Big Express in its entirety, and Peter Mills and Martin Malone, two of the members of Innocents Abroad, who will be working their way through the XTC songbook on Sunday afternoon.Music from Jeff FarrisFurther listening at Innocents AbroadWhat Do You Call That Noise? An XTC Discovery Book available from www.xtclimelight.com If you've enjoyed What Do You Call That Noise? The XTC Podcast, please show your support at https://www.patreon.com/markfisher Thanks to the Pink Things, Humble Daisies and Knights in Shining Karma who've done the same. ★ Support this podcast on Patreon ★
I denne uges (lidt forsinkede) udsendelse er det blevet tid til at tage fat i nogle af de fantastiske mennesker som slider og slæber i studierne, for at få de musikalske verdensstjerner til at lyde ekstra godt. I dette afsnit sætter vi nemlig fokus på 2 af musikkens helt store producere, Hugh Padgham og Steve Lilywhite. De er begge englændere og de er begge to også lige fyldt 70 år. De startede sammen i 1979, den ene som producer og den anden lydtekniker, men har på hver deres måde sat et kæmpe fingeraftryk på lyden af pop- og rockmusikken igennem 80'erne, 90'erne og 00'erne. Vi skal bl.a. lytte til musikalske perler fra The Police, U2, The Smiths, Phil Collins, The La's, Counting Crows, The Dream Academy, XTC, Peter Gabriel & Genesis. Derudover prøver vi at forklare hvad forskellen er på en producer, en lydtekniker og en mixer, vi går i dybden med de sagnomspundne ”Gated drums”, vi får brug for lommetørklæderne pga. Bonos hyldest til sin far, og så kan I desuden glæde jer til snakke om musiknørderi, havregryn (med eller uden mælk), aggressive skiture, en efterbearbejdet saxofonsolo, gravitas og masser af kærlighed til Stewart Copeland. Playliste: XTC - Making plans for Nigel Peter Gabriel - Intruder U2 - A day without me Phil Collins - In the air tonight The Police - Every little thing she does is magic Frida - I know there's something going on Hall & Oates - Maneater Kirsty MacColl - A new England Genesis - The Brazilian The Smiths - Ask The Dream Academy - Power to believe Phil Collins - Colours The La's - There she goes Sting - Fields of gold Dave Matthews Band - Rapunzel Counting Crows - Why should you come when I call? U2 - Sometimes you can't make it on your own The Killers - Battle born
Synchronicity es el quinto y último álbum de estudio de la banda británica de rock The Police. Fue publicado por A&M Records el 17 de junio de 1983. Este álbum se convirtió en el más exitoso de Police, gracias al éxito comercial de «Every Breath You Take», logrando posicionarse en el primer puesto de ventas de los Estados Unidos (vendió más de 8 millones de copias en dicho país), así como en el Reino Unido. El disco fue grabado en seis semanas en Monserrat, al igual que Ghost in the Machine, también producido por la banda junto a Hugh Padgham.
Born March 15, 1955, in Egham, Surrey, England, Steve Lillywhite, is a distinguished British record producer whose career began in 1972 as a tape operator for PolyGram.Over the decades, he has been credited on over 500 records, collaborating with a diverse range of artists including U2, The Rolling Stones, Peter Gabriel, Talking Heads, and Dave Matthews Band.Please use this link to watch the interview on youtube.https://www.youtube.com/watch?v=EV-Cb8M2dvwLillywhite's innovative production techniques have significantly influenced the sound of modern rock and pop music. Notably, he co-developed the gated reverb drum sound with Peter Gabriel and engineer Hugh Padgham during the recording of Gabriel's third solo album in 1980, a technique that became a hallmark of 1980s music.His work has earned him six Grammy Awards, including Producer of the Year in 2006, and in 2012, he was appointed Commander of the Order of the British Empire (CBE) for his contributions to music.As of recent years, Lillywhite has been residing in Indonesia.Join this channel to get access to perks:https://www.youtube.com/channel/UC5S9xw1B-ppDXVkAuvRRQtg/join#SteveLillywhite#MusicProducer#LegendaryProducer#IconicProducer#RecordProducerBand/Artist Related Hashtags#U2Producer#PeterGabrielProducer#TheRollingStonesProducer#MorrisseyProducer#SimpleMindsProducer#TalkingHeadsProducerGenre and Era-Specific Hashtags#NewWaveMusic#RockProducer#AlternativeRock#PostPunk#80sMusic#90sMusicAlbum and Production Style Hashtags#ClassicAlbums#BigSoundProducer#WallOfSound#InnovativeProducer#GrammyWinner#MusicProductionEngagement and Inspiration#BehindTheMusic#ProducerLife#StudioMagic#MusicMakers#InspiringSound Hosted on Acast. See acast.com/privacy for more information.
Returning to albumtoalbum for a long-overdue reunion is renowned actor, occasional Dalek and author of The Complete David Bowie, Nicholas Pegg. Nick's an old friend of the podcast and has tackled some of David Bowie's most acclaimed albums in previous episodes - as well as exploring entire eras (our 198More series of chats take an overview of Bowie's singles, soundtracks and various off-extramural activities 1981 - 1989). Now, he's back to tackle one of the most challenging artefacts in the Bowie oeuvre - the much-maligned 1984 album Tonight. A rag-tag bag of semi-sentient cover versions, marimbas, an absolutely bracingly brilliant long-form promo video (very 1984) a couple of superb Bowie evergreens, some blue-and-brown-eyed reggae and uncharacteristically insipid production, Tonight might not be the worst album of 1984, but it fell short of what long time Bowie fans had come to expect. Clearly geared to what Bowie assumed were his new Let's Dance-era fans, the album was recorded almost straight after the massive Serious Moonlight tour, without the satisfying thwack that conceptual cohesion and creative conviction characterising Bowie's best work to date. Here, Bowie opted to work with a young British producer, Derek Bramble, who had little awareness of Bowie's work. As Nick says in this episode, Bramble's lack of public profile might have appealed to Bowie, after the megawatt presence of Nile Rogers on Let's Dance. Fair enough. But then, getting happening, in-demand producer, most recently with The Police, Hugh Padgham on board, in the junior role of engineer, wasn't Bowie's brightest idea. In this episode, we kick off by looking back at the lead-up to the album's recording (in Canada), a cast of characters including Derek Bramble, Hugh Padgham, Iggy Pop and Carlos Alomar and the album's first three tracks - Loving The Alien, Don't Look Down and the unforgettable cover version of the Beach Boys' God Only Knows. With thanks to Nicholas Pegg, and Leah Kardos for the background music. During the conversation, we have references from Chris O'Leary, Charles Shaar Murray and that Bowie resource par excellence, bowiebible.com
El 2 de octubre de 1981, el mismo día en que Sting cumplía 30 años, The Police publicaron su cuarto álbum, ‘Ghost in The Machine’. El disco fue grabado en un momento en que el trío se encontraba en la cresta de la ola, pero al borde de la separación. The Police, junto al productor Hugh Padgham, dieron una vuelta de tuerca a su música, equilibrando el reggae y punk de sus comienzos con elementos progresivos y sintetizadores. El grupo se convirtió en la mejor banda del mundo, pero para entonces, la dinámica del trío se había perdido.
Fin 1982, Summers, Copeland et Sting ont bien fait de revenir enregistrer à Montserrat. C'est vrai qu'ils ont un temps songé aller à Stockholm dans le studio de Abba, là où Phil Collins vient de travailler avec Frida, quel son ! Mais la perspective du soleil, de la mer et du ski nautique est plus engageante pour les membres de Police pour supporter le fait de devoir travailler ensemble. D'une part les engueulades entre Stewart Copeland, le batteur et leader de Police, ne l'oublions pas, c'est LUI qui a fondé le groupe, c'est par lui et ses deux frères que le succès est arrivé, et d'autre part, les problèmes psychologiques de Sting, sont terribles. Demandez au producteur Hugh Padgham et aux ingénieurs du sons, c'est eux qui ont déjà dû subir ça lors du précédent album de Police, Ghost in the machine. Voilà un titre étrange, qui nous avait bien étonnés d'ailleurs, nous les fans, habitués aux titres latinos des trois premiers albums. On ignorait bien sûr que Sting est un grand bouffeur de bouquins et que Ghost in the Machine est le titre d'un livre d'Arthur Koestler, un auteur philosophe qui s'intéresse beaucoup à la psychiatrie. Et justement, Sting est en train de suivre une thérapie avec un disciple de Carl Jung, sans doute la raison pour laquelle on le voit photographié sur la pochette de ce nouvel album qui va sortir, avec en mains, un ouvrage de Carl Jung intitulé Synchronicity.
Gary Kemp and Guy Pratt continue their UK tour this week with Nick Mason's Saucerful of Secrets – but found time to spend even more time together to record a special episode where they chat about working with some of the best producers in the industry. It's a fascinating insight into the behind-the-scenes recording process for bands like Pink Floyd and Spandau Ballet and the most amazing story about Michael Jackson that you have to hear to believe!Plus, we dive into the Rockonteurs archive to listen to some of those producers whose names are as big as the artists they work with. We hear from Steve Lillywhite, Bob Ezrin, Hugh Padgham and Trevor Horn in a ‘Best of the Producers' episode. Instagram: @rockonteurs @guyprattofficial @garyjkemp @saucerfulofsecretsofficial @trevorhornmusic @sillywhite @bobezrin @hughpadghamofficial @gimmesugarproductions YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced by @thisBenJones for Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.
Gary Kemp and Guy Pratt continue their UK tour this week with Nick Mason's Saucerful of Secrets – but found time to spend even more time together to record a special episode where they chat about working with some of the best producers in the industry. It's a fascinating insight into the behind-the-scenes recording process for bands like Pink Floyd and Spandau Ballet and the most amazing story about Michael Jackson that you have to hear to believe!Plus, we dive into the Rockonteurs archive to listen to some of those producers whose names are as big as the artists they work with. We hear from Steve Lillywhite, Bob Ezrin, Hugh Padgham and Trevor Horn in a ‘Best of the Producers' episode. Instagram: @rockonteurs @guyprattofficial @garyjkemp @saucerfulofsecretsofficial @trevorhornmusic @sillywhite @bobezrin @hughpadghamofficial @gimmesugarproductions YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced by @thisBenJones for Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.
XTC fans were out in force at the Neo-Ancients festival in Stroud, Gloucestershire on Saturday 4 May 2024 when producer Hugh Padgham joined festival co-director Ben Wardle to talk about XTC's English Settlement. Your dedicated podcast host, Mark Fisher, was on hand with his trusty tape recorder to share it with you. Hugh talks about drunken jam sessions, Andy Partridge as a sumo wrestler and creating the flange effect on Jason and the Argonauts, as well as taking questions from the audience. Music courtesy of Knight in Shining Karma Robert Lawlor. What Do You Call That Noise? An XTC Discovery Book available from www.xtclimelight.com If you've enjoyed What Do You Call That Noise? The XTC Podcast, please show your support at https://www.patreon.com/markfisher Thanks to the Pink Things, Humble Daisies and Knights in Shining Karma who've done the same. ★ Support this podcast on Patreon ★
Nick Laird-Clowes in conversation with David Eastaugh https://www.cherryred.co.uk/product/the-dream-academy-religion-revolution-railways-7cd-box-set/ Seven CD box set of the complete recordings of The Dream Academy. Featuring their three official albums and including all official B-sides and remixes and unreleased tracks. The band's Nick Laird-Clowes has searched the Warner Bros archives to find rarities and unreleased tracks and has been closely involved with remastering, creating all new artwork, and choosing photographic material as well as writing comprehensive liner notes for the set. The Dream Academy were a British band featuring singer/guitarist and songwriter Nick Laird- Clowes, multi-instrumentalist Kate St. John, and keyboardist/songwriter Gilbert Gabriel. In I985 the group achieved worldwide success following the release of their first single ‘Life In A Northern Town' which saw their subsequent debut album going into the American Top 20. Their atmospheric music was the result of an unusual musical line-up of oboe and cor anglais, string synthesiser and acoustic guitar, while their three albums for Warner/Reprise brought them a large and devoted following. Their close musical association with David Gilmour saw him co-producing two of their three albums. Other co-productions included both Lyndsey Buckingham and Hugh Padgham. The cinematic nature of their recordings saw the band being asked to contribute music to films by both John Hughes (Ferris Bueller's Day Off and Trains, Planes and Automobiles) and Diane Keaton (Heaven). The group disbanded in 1990 and the intervening years have seen extensive sampling and cover versions of their debut single, (most notably by Dario G's ‘Sunchyme' and Sugarland And Little Big Town's reworking of ‘Life In A Northern Town') resulting in further international chart success and a Grammy nomination.
The plan for a quick live-in-the-studio album gradually morphs into something more 80s, more produced. Hello to Hugh Padgham. Warning: Contains Spies Like Us. Live on tape from Dublin & Belfast, it's Nothing Is Real. Website: nothingisrealpod.comX: @BeatlesPodFacebook Group: tiny.cc/NIRFBGMastodon: @nothingisreal@mastodon.ieInstagram: instagram.com/beatlespod/YouTube: tiny.cc/NIRYTSupport: tiny.cc/NIRsupportSupport this show http://supporter.acast.com/nothing-is-real-a-beatles-podcast. Become a member at https://plus.acast.com/s/nothing-is-real-a-beatles-podcast. Hosted on Acast. See acast.com/privacy for more information.
jD, Dan from London, Pete and Tim are joined by a very special guest on this episode that is dedicated to the new reissue of Phantom Power for its 25th anniversary.And make sure to listen to the VERY END!Transcript:[0:05] On August 31st, 2023, The Tragically Hip dropped the first track from the Phantom.[0:12] Power 25th Anniversary box set, a song called Bumblebee.I will always remember this day because my friends Dan from London, Pete and Tim were in Toronto for our big live finale and the four of us were off to Kingston to visit the Bad Houseand sightsee the tragically hip scenes in Kingston.The first thing we did inside the car was fire up Bumblebee.It was so odd to hear something so familiar but so new to my ears.I hadn't heard this melody or these bending guitar licks before and I wanted more.[0:53] Lucky for us there are several other tracks included on this box set.Songs we either hadn't heard, or maybe we've heard snips and pieces of in live performances, or maybe on a bootleg.And of course there are complete song ideas that wound up on Gord's first solo record, Coke Machine Glow.There is also a fantastic live show from Pittsburgh, demos, and alternate versions of songs that did make the final cut.In essence, this is an exciting time to be a hip fan.Although we are all collectively gutted that we'll never see our boys on stage again, as long as I've been a hip fan, I've clamored for these songs that somehow wound up on the cuttingroom floor.And I'm sure you have too.[1:41] Today we'll get a sense of what Dan, Pete, and Tim think of the Reissue and we'll speak with a very special guest about the making of this spectacular box set and so much more.So sit back, relax, and let's start getting hip to the hip.Track 4:[2:23] Hey, it's Shadeen here and welcome back to Getting Hip to the Hip.This is an out-of-sequence bonus, episode for everyone.We are going to be talking today about the box set of Phantom Power, and I am joined as always by my friends Pete and Tim, and today's special guest again, Dan from London. How's itgoing, everybody?Well, Dan got his ears lowered, looks like Dan got his ears lowered.Yeah, I lost some hair over the course of the last thing, yeah.He was shorn. Maybe it was his younger brother stepping in. Yeah.[3:07] So fellas, when we last left off and we talked about Phantom Power, I recall the conversation really revolving around fireworks.You guys both really loved that song.Something On was a little underwhelming for you.You got into Poets, you thought that was a good kickoff and here we are just like six months after, not even six months, like four months after releasing that episode and The TragicallyHip goes out and releases a 25th anniversary box set of Phantom Power.So we thought it would be cool to get the band back together and talk about that for a little bit.And we'll be joined by a very special guest who we won't reveal quite yet.Is there anything that in particular, Pete or Tim, you remember about your experience with the record, thinking back, and Dan, for you following one of them, what was your experiencewith the record in general?[4:24] Um, it's funny because I went back and I found my notes from the original and it's it's just crazy to look at.It's like it's a it's a time it's a time capsule because, yeah, there were certain songs that was like, this is good.And like and now I look at, like, some of the songs that I was.[4:44] You know, Gugu and Gaga over and I love fireworks, but I mean, by by and far, you know, Bob Cajun is probably one of the most just, I mean, it's on loop in my home.So many, so many days. She also listens to it as well, right?Oh, yeah, she absolutely loves that song. We're listening to the live version today, we went for a hike.[5:07] And Cherrigan Falls. Poets is like, I think didn't, didn't, goodness, 50 Mission, didn't they?They came out with Poets when they played the live event.That song just, I had like one line written for that song. And this is the line, this is how sad it is. Dig it.Verse phrasing is key to the song. Lines go to the next measure.Layers and guitars. Nice. Now I'm just like, I hear that song.And I just fucking stop what I'm doing. And I just like, I fucking love that song.It's crazy how this album grew on me like a fucking virus. It's amazing.Timmy? Great. Yeah. Great, great question, JD, for sure.I mean, there's still a few on it that I'm not a super fan of, just to start off being negative here.Like, the rules to me is still a yawner, you know, but like, I kind of dig Chagrin Falls more than I did last time.I don't think I was anti, but in Emperor Penguin, I've read so many times across platforms that people love Emperor Penguin, and that song's slowly growing on me too. It's one of myfaves.There's still some really good ones in there.[6:31] Thompson Girl I could still live without. That's another one that grew on me, Timmy. I feel you, but I grew on it.With the new songs, and this is a question for a few minutes ahead, but somebody asked with the new songs, are any of those potential replacements for what's on the original?Oof. So yeah, that got me thinking a little bit.Tim, why do you always have to embroil things in controversy?I mean, that just is a controversial question.I mean, probably because of aliens, I guess. Oh, stop it.[7:15] Dan, what did you think of Phantom Power? I mean, Phantom Power is an absolute solid album.It's just a kicker, isn't it? I mean, I always love something on, I think it was the first track I got into off the album and I still absolutely love it. I think that song kicks ass.Something about the bass drum and the bass just driving it and the timing is just fantastic.Obviously, yeah, Bob Cajun.That always used to come on at a certain point on my commute when I was arriving at a certain station and I now still have overwhelming feelings when I pull into that station.[8:02] I can't believe how big a song can be, how overwhelmingly amazing a song can be.But yeah, I mean, the other stuff, I mean, Escape is at hand, I think, is just my favorite track on the album.You know, again, it's a whole other different story and different sentiment that it carries.And I don't know, I think that is a Bob Cajun and Escape is at hand, I think that just works a genius.And I can't say much more than that.Yeah. You know, the loss related with Escape Is At Hand is so relatable for me. And probably everybody.But I tend to live with you, Dan.I think Escape At Hand is... There's something about that song that just hits home, I think, probably for most people.[8:58] Maybe not sociopaths. I don't know. Maybe not.I think, Dan, you hit on the point. It's crazy how songs, even if you listen to them and enjoy them, it's like they get to a point where you've listened to them so many times, and perhaps thesame situation, like you said, pulling into that particular tube station or whatever it is, that maybe you don't hear it for a while, but then you hear it again, And, and just like a flood ofmemories and images come back.Just weird how the human brain works, man. I mean, this summer, we were go, go ahead.I mean, I just, I was just gonna say also in terms of that as well, it's the same station that I come into, I used to come into every time Fiddler's Green came on as well.So there's a time in all the albums where some of this stuff happens.[9:49] That's cool. That's cool. So have any of you guys had a chance to listen to the bonus tracks or the outtakes or the live show or any of it?And if you haven't, that's cool.All of it. All of it? Yeah. Yeah.I'm just happy to have more live music from these guys.For the obvious reason. It's a nice sounding show. So I read some kind of critique, so it's not the best sounding live show they played. I mean, who cares?I'm just happy to have more live music. That's an easy go-to wherever I am, in the car, on a plane, whatever.So as far as the new songs go? Yeah, back to your question.Yeah, I dig most of them. What's the best of the bunch? Eh, I don't know, I'm not there yet, I wouldn't say I'm there yet, I kinda like them all for different reasons.[10:52] Vegas Strip may be the least, but I like all these songs. I haven't gotten to it yet.It's my least favorite, but I still really like it.Yeah, like Songwriters Cabal isn't my favorite, but I love that song.Mystery, just lastly. Mystery is kind of a phenomenal ending to this group of songs.It's just this somber kind of tearjerker.Yeah, that was that was a happy listen. Joy meant either you fellas dabble.[11:31] I dabbled today and a couple of days last week, not yesterday, but I think Thursday and Friday in the fly stuff, which I concur with Timmy, I just love the live shit and I don't give afuck If it was a, you know, if it was a tape recorder jammed behind a, you know, bathroom stall and you got it picked it up in the background.It's just cool to hear this band live, but I loved it. Um, of the new tunes.I agree. I'm not there yet, but I, I got, um, I did hear bumblebee a lot when that came out, cause that dropped first, if I'm not mistaken, right. It dropped the day we went to Kingston.Kingston.So we got to it on the way to Kingston. That was fun. That's right.But I would say of the new tracks, I think the strongest one is Insomniacs. Me too.I just think it's very brawling, fucking harking back, just cool, fucking, just has that cool, easy, fucking hip, early shit to it.Early feels to it. Yeah, you know, has the road apples feel to it or something.Yeah, yeah, yeah, yeah, I agree with that. I like that too. I could be swayed.[12:50] Okay. Dan? Yeah, and I mean for me, I've listened to the extra tracks.I mean, I still love Bumblebee.[13:04] There's something about that with the guitar bends, that like, I mean, I think we next sort of hear those kind of guitar bends on my music at work.Something very similar happens towards the end of that, doesn't it?But in terms of the live stuff, there's a few little things going on in there.I mean, obviously, when you get down to 100th Meridian, there's a kind of improvised extract of Bumblebee in there, which is fantastic.And also, in the Chagrin Falls live version, he breaks into Born Free, but in the alternate version of Chagrin Falls, he's singing Chagrin Falls with a Born Free kind of lilt to it.So there's these kind of little parallels between some of the stuff that's been chosen, I think.Yeah, so maybe that's the reasons for some of those selections.Yeah. To you for choosing this live this light those like cuts you mean I Think so. Yeah.Yeah. Yeah, there's definitely some some thread woven throughout.Yeah Too bad. We don't have anybody to ask We might get some insight from our special guest Yeah, we should kick to him right now.We'll go to a song and then we'll come in with our special guest Johnny fucking thing.Track 6:[17:35] Hello, hello, hello, hello, I hear you guys now. There we go. Oh good. Am I good?Am I good? Yeah Hello Hi johnny Good doing well Sorry about that Hi, that's my fault. Not yours.I'll take full credit for that We're just waiting for one more to join Okay, he's uh in the waiting room now.Oh, there he is amazing how everything just Clicked and then johnny came on because we were having some severe problems, Dan, can you hear us? Yeah, absolutely. Awesome. Can youhear me? Yeah. Grant.[18:18] How you doing technically there, Danny? Good. Can you hear me?I can hear you. I can see you.Perfect. So then are you done? Are you done taking the McDonald's in London?London? London. Yeah. Yeah. My dad, my dad's hometown. He's from Woolwich.Woolwich, really? Yes. Oh yeah. South of the river. And we got to Canada and some friends would say, are you from London, Ontario or London, England?And my dad would just shoot back, he'd go, there's only one, London.Ooh. Although they have a Thames where the Canadian one. Ooh. Anyway.[18:59] That's beautiful. Isn't there in London, Missouri or something, too? There's a London... Oh, they're all over the place.Yeah. What's the deal with that? What's the deal?I think there's one in India also. You can't throw a shoe without hitting a London, is basically what you're saying. Yeah.All right. Well, let's get things on the road here.Johnny, just a brief introduction. We've ran a podcast from May 2, 4 to Labor Day this summer, where I took my friends that have never heard of the hit before. One is in Spain, Malaga.One is in Portland, Oregon. That's Tim and that's Pete, who is from Spain.And then Dan is from London.And we took them through a record a week, starting with the Baby Blue record and working up to Man-Machine Poem and just.[19:54] Inculcated them into the world of Tragically Hip.We ended up with a big party at the end downtown at the Rec Room.We raised like almost four grand for Donnie Wenjack.Oh that's amazing. Incredible.Yeah, so that's our story. I'm sorry I had to get the The music stuffed down your throat like that.[20:19] Can you imagine doing it, Johnny, like of a band that you've never heard of, right?And I've heard of you guys, but like never heard of you guys. I mean, I never heard it.But it's crazy how we did get it literally shoved down our throats.And now we were going back today talking about Band and Power, about what our first reactions were for it.And even compared to now, how much everything's just grown on us.It's just like, and we're diehard fans now, but go back a year from today, we didn't know. That's incredible.Wow. It's crazy, man. Thanks for sticking with it. It's not always easy.My Spotify algorithm is still totally convoluted, but a lot of a lot of hit playing in there.So Johnny, let's start at the start and get to know a little bit about you as the drummer of The Tragically Hap.And youngest member of The Tragically Hap. That's right, that's right. It's a dig.[21:27] It's Gord Sinclair's birthday today, right? It is indeed.Yes. Yes. I had dinner with him and Paul the other night in Toronto, and we had a nice evening.And, you know, we're 40 years young next year.I was in high school when we started, and I guess here we are.Wow. Wow. Who, before you got into the band and as you guys were forming, um, you know, your sound and your, you know, cadence, who were your big influences?I've, I know Stuart Copeland came up at one point. Oh, without a doubt.Yeah. I've heard a story about an exam or something like that, that you missed.That's correct. Yeah, that's correct. Uh, and we later ended up working with Hugh Padgham, the great British producer. and Synchronously was coming out and it came out on the daybefore my.[22:29] My math exam for Mrs.Griffordy and Lynn got this record and I listened to it.I'd heard Every Breath You Take on the radio, but then when I heard Synchronicity II and just the blistering drumming of Stuart, I just had to drink it all in.I remember making the decision. I was like, I can listen to this record, I can study for the exam.If I don't study for the exam, I'm going to summer school, which I did.And then I took one day off to go see them at the Olympic Stadium in Montreal, but it was worth it because that was, that was really my education was living, eating and breathing.And if you were a drummer in the eighties, who, uh, the guy, he was instantly identifiable by a snare drum.Um, just the hit one snare drum, there was Stuart Copeland.So, And this was an era of drum machines, don't forget, this was Len drums and sequencers, and I loved all that stuff too, absolutely did, but to be on the radio, and Stuart was it, he was,and I'm still finding things out about him, that he held the drumstick between two fingers, he didn't hold it, he held it up here.[23:48] Instead of the two fingers, which is the traditional way to hold the drumsticks.But he invented a way to play and invented a kit, which was a sound, you know.And he really, I can't say enough things about Stuart Copeland.Yeah, he's amazing. But I'll also listen to Alan White of Yes, who was fantastic. and of course, you know, Neil Peart, Bob Rush.That's a pretty good pedigree.Well, you try and take a little bit from each guy, you know, you don't want to be a lab rat. You don't want to copy them.You want to just take all the little things you like the right hand from this guy, this snare drum from that guy, the bass drum.And of course, the great I saw him the other day, the Manu Katché, Peter Gabriel's drummer, who is the Picasso on the drums. He has hands down, Art Picasso on drums.High praise. Dan?Yeah, so yeah, those are your sort of past influences. But who do you enjoy listening to now? Who does it for you now?Well, it's really funny because what's on my turntable right now is Heavy Weather by.[25:12] Weather Report and I'm listening to Jaco Pastorius.I'm trying to get as much of him into me because he was the guy really, you know. You hear Geddy Lee talk about him, you hear.So I'm listening to a lot of bass players these days and loving it.So that's what's going on.[25:36] I gotta I gotta ask you, just because you mentioned synchronicity, this is just a this is just a note.And if you didn't know it, then I think we brought it up with Paul.But do you know that that record had 33 different covers?[25:53] I did, yes I did. I didn't know that I thought it had.I thought it had. Well, I guess it would because each guy was sort of on one of the strips and it changed.But I didn't know there were 33. 32 or 33. But yeah, it was when I found and some some versions are rarer than others. But that record is.And that song Mother is just nuts. And isn't Stewart Copeland singing that song?No, that song is Andy Summers, and I heard a story, they did part of it in the Moran Heights in Montreal and the engineer asked Hugh if he could bump himself off a cassette in the day.In those days there was no internet so it was cool. The engineers usually got to be able to do that.Here's a record I'm working on, just happens to be with the police.And he asked Hugh Padgham if he could leave that song off.A lot of people hated it. It's a hard song to listen to if you're not into the record. You know, what went into the trash bin was I Burned For You, that was slated to go on that record.And think about how that would have, you know, from Sting's soundtrack work, would have changed that record. Totally.[27:22] I'm a little curious of then and now also, when you first started playing drums, I raised a drummer.I have a 21 year old who plays drums.Awesome. Actually, yeah, the past year or so he's been out of the country and he's been more focused on DJing, techno of all things.But he's, you know, can hear kind of a drummer influence. But anyways, you know, we got him on hand drums early and drum lessons early.And I lived through, you know, a drum set in the basement.Just anywhere you went in my house, you had to go outside or take a call.It was just, you know, what was it like for you in your early years playing drums? Like what pushed you over to the drum set or being interested in it? And...Conversely, do you still play now? Do you still have access to a drum set or a drum set at home?[28:13] Great questions. Number one, my brothers had a friend who had a drum set and they said to me, they went and got the snare drum and they said, we'll get you the snare drum.And after a year, if you're still playing, we'll go get the rest of the drum kit.And I'm still playing. And so they Then I had an eye injury, which for three weeks I had both eyes sort of closed off with cotton batting.And it was a really weird, weird accident.I still, when I'm explaining it to people, my dad was on the phone.He was a pediatric cardiologist and he was talking to the hospital and we were at a friend's house.And it had this jar of erasers and pens and pencils and elastics and he was talking and I remember he had his hand on my head like that and I grabbed an elastic band and a pen, and I shotthe pen into my eye and yeah it was very bizarre I thought it was shooting at the other end so it went right in and I remember my dad saying to my mom don't touch it leave it leave it andshe was trying to pull it out and so I went in and my sense of hearing was heightened.[29:33] I could hear my dad walk down the hall after he had his morning rounds.I could hear the cadence of his footstep and so you know for that three weeks where I was unable to see, it just kicked that.At about seven years old into a different gear for me. I started hearing rhythm everywhere.As you do with your indicator of your car, to industrial sounds, trucks backing up. I can put a rhythm into it.Like your son, his, like you're saying about drumming, and now he's DJing, his internal clock is always going as a drummer because that's where it started. Absolutely.Yeah. So it's the same. Drummers are that way. You just pick those things up.And then second question. No, I'm not playing. I'm kind of doing what your son is doing with drum machines.But I have two drummers in the house, two nine-year-old boys.[30:29] And one is a lefty. And I would set a kit up for him and then my other son, Finn, and then I would forget about Willie.And then, so I just said, well, I'm going to set it up on the left for you because he has a great acoustic kit, a set of Gretsch 1960s.And now I play left because I'm not the drummer that I'm not, you know, I'm not that drummer anymore. So now I'm discovering all kinds of new things about playing on the left side, andleft-handed drummers I find are way more creative.It's funny you mentioned that because we often notice when I've gone to shows with my son, we'll just say immediately that guy's left-handed.You just see it like that. That's very cool.Ringo was left-handed, they say, and that's why no one could ever duplicate the way he got around the kit.Yeah. His left hand pushed his right hand, I think.Phil Collins, Ian Pace, they're not good drummers.They're incredible drummers. Those two guys for me, Ian Pace and Phil Collins.Phil Collins, the stuff that I listened to today, and I'm like, how is he doing that?How is he doing that? He was incredible.He really was. He is incredible.[31:48] Johnny, you've been hard at work on the Phantom Power reissue, the box set, the amazing box set.I got it last week, and it was so fun to open and just touch the vinyl, and the book that's inside is really wonderful.I'm just, I'm so curious what a project like that.[32:17] Entails like from a from a time perspective. And I know you guys are hard at work on another one for next year.Like, when does that begin? And what does that process even look like?Like, is it just climbing Everest or what?It's really fun. It's really great therapy for us.You know, we get to talk about the past and if one guy doesn't remember it, someone else will.We have weekly calls and it's fun.We didn't do any therapy after Gord passed away and we really should have.We have just all kind of dealt with things and I think really right now that this is our therapy.I'm in Toronto, so that's where the tapes are. I'm very happy to do it and we're digitizing things and Phantom Power was a different one because it was in different formats.It was on D88, little digital tapes.[33:11] DAT machines were around and kicking at that time.We also had our 2-inch machine and then Pro Tools, the dreaded Pro Tools was coming in.Well, you didn't have to make a decision and you could have a hundred tracks on something and and I was like the you know There was such economy when we were going to tape andAnd I really liked that.So, you know, if you look at the early records, we're still I, Think there's the most that we used was 18 tracks You know Don Smith would consolidate things and that was really a goldenperiod So, it's not as daunting as you think, it's been fun, it's been fun, it's been a discovery.[34:00] You know, to listen to some of those tracks and hear Gord Downie speaking in between takes is really these beautiful moments.So yeah, it's been a lot of fun.Robbie is in charge of the box set, putting it all together.So he's doing all of that stuff.And you know, Gord and Paul are very involved in it. But they have solo careers too.So, um, you know, uh, but we are, we're all together on this.Uh, it's not me, uh, just doing, um, the tape stuff there. They're involved in it too. Very cool.Yeah. I mean, I was going to ask in terms of the project from the offset, uh, you know, when you're going through the tapes and covering all of these tracks and these, these different takesof the tracks that you have, what, what shape, you know, with those tracks in, did they require a lot of work to get them up to spec, or was there anything that was kind of left off that was,you regard as pretty good, but it was still a bit too rough around the edges to include?[35:04] Well, if we did any editing back in the day, if it was tape, we would do chunk editing.We would take the ending of one, with the hip, we would play a tune, it'd be great, be great and we would get close to the end and then we'd anticipate the ending and I'd make the otherguy speed up so we get to it and then our producer would say well the ending of this one's good so let's take the last four bars so there we go there's the track.So they were in pretty good shape you know the tape that we got was really forgiving.The crazy thing is I heard about the Rolling Stones going back and doing stuff that they did in the early 60s.And the early 60s tape actually lasted better than the stuff they made in the 80s.They had to do very little to get them back into shape, which is cool.You got to bake them in what essentially is an easy bake oven for tapes at a low temperature and it just sucks all the humidity out.And so record companies are obviously very well prepared to do all that sort of stuff and then it's just digitizing them.But when you first have a go through the tape after it's been baked and it's coming off the head and going through a board at the studio, it never sounds better.You know and they shoot it over to Pro Tools and they say now we have it We've have it and I always say well it sounded better a few minutes ago when it was going through the machineand so, Yeah Tape is king.We lived in the Golden Age. We really did in the in the 80s and 90s When you when you still were spinning tape.[40:59] So I imagined with coming across tapes, you guys did so much work, you know, in the recording process that I imagined it was just so fun to go through. It has been.It was, you know, but, you know, talk about Bob Cajun being an example.We only really have two versions of that.[41:23] And Gord Sinclair and I had a conference and we were like, well, we can play that again and we can play it better. And we were like, yeah, let's do it.And so the version you hear is the demo version, really.It's just we said we would go back and address it later. I think we went on tour and then it was Steve Berlin listening to it, which was really cool because he he recognized you can't beatyour demo.And that's what bands try and do.And he was so smart with it. And he said, I'll let you play it again.But you're not going to beat this. It's just there's a vibe there.And Gordon and I were like, we're going to beat it. We're going to do it. And we never did.And so I always loved that, that he did that because as a producer, I wouldn't have done that.And I would have screwed it up if I was producing that record.And he had the brainpower and the knowledge and he'd made so many great records before that he just, he let us play it, but we never beat it.It's our biggest song, too. Well, we were talking before, I absolutely love that song.That song is the soundtrack of this past summer for my wife and I.You jammed it down her throat. Oh, yeah. She drank the Kool-Aid, man.Let me tell you. She sure did.I've tried. We're getting there.[42:46] That's the pocket of that song, in my opinion, and this is my opinion, and if Robbie was here, I'd maybe change it just to be sweet to him, but it's you and Gord.It's just that the pocket's so tight with that.But you said something earlier about tape, and I want to just touch on it real quick because you were talking about how they have Pro Tools and this and that, and how you would havemade a different decision with Bob Cajun.But we cut a record in this last March, our band, we did our second record.And the engineer was using Cubase, which is just another version of Pro Tools or whatever.You've got a million, you can do a million tracks. But like he was like, no, you're going to do this many. And I'm like, no, I don't like that.He's like, nope, that's it.Yeah, because you get to a point to where you could just you just go crazy.And you could do 25, 30 tracks, you know, on one take or 25, 30 takes.And it's just it's stupid at that point.You've got to appreciate the moment that it is, you know, whether it's, you know, you're never better than your demo, like you said. You know? Yeah.And and I don't know, I guess.[44:01] There was, and not to get off the topic of, of, of, of Phantom Power, but for me, and I know we all had this, this reaction.We felt like I felt like In Between Evolution was the Johnny Faye record.[44:17] Really? Yeah, and there's... I don't remember that record, really.Well, yeah, there's a specific thing. That's crazy because there there's at the end of certain songs, there's little, you know, hi-hat touch, there's a rimshot, there's just little sprinkles of youthat is the last sound you hear on multiple tracks and or, or the beginning of a track.And I'm like, I wonder if there's something to this, but they must have just been the take that you guys did and it's taking up, maybe so.That was confusing record.Well, it's interesting about the tape to dress the tape thing.Yeah. And you have limitations. You got to make decisions.Uh, and you know, and I didn't say that I read Keith Richard's book and he was like, give me eight tracks and I'll write you a hit.And, you know, when they went to 16, he was like, man, okay, but I can still do it. Nay. And it's true.Um, you know, that, that the a hundred guitar tracks or whatever, the layering and, and, uh, it's just, you know, it goes, just lets up on records, John Bonham.I worked with a guy named Terry Manning and he had, John Bonham got very upset with him because Terry Manning said to me, I was the guy who put the third microphone on thedrums, he didn't like that, he only wanted two.[45:36] Only wanted two. So yeah, Inbetween Evolution was, we worked with Adam Casper, he was fantastic, obviously he's a guy who worked with Pearl Jam and we were very chuffedabout working for him, with him.And we seemed to move around studios a lot.For me that was a little bit confusing, so I never knew what we really had in the can.And it was in Seattle, where I love. I absolutely love Seattle.And so that was cool to be there. But yeah, I don't sort of...It's just a record that's easy to associate with you.And I think at that time too, we were looking at videos. I remember talking about this video I saw of you.You were so in the friggin zone playing live.You broke a cymbal and somebody just came like middle of the song.You just kept going along, replace cymbal.That would be Mike Cormier. He was my drum check and he was amazing.He could tell when they were broken. He sort of mid-song and he'd say, should I wait for the end of the song? I was like, no, just get rid of it.[46:44] Yeah, you know, we're going through something now where we're going back even further and with Up To Here.And a question was asked earlier about is there some songs that were left off?And there was a song that was left off, Up To Here, and it's called Wait So Long. and it was a really, really special song.Our producer and his manager and some people at the record company really thought that that was the lead track.[47:15] It ended up being Blow It High Dough, I believe.Or New Orleans is sinking. But Wait So Long is a great track, and that will come out next year.Oh, that's exciting. We have a mix of it and everything from Don Smith, so that's fully intact.So when we looked through the tapes and thought, oh, what do we need to remix?There was that one, you know, the lettering. It was like, okay, we got that one.So that'll be great to get out.You know, hear what people think about that. So one of our go ahead, Judy.So I have an ammo system set up at home. So I've been listening to the mix and Dolby Atmos.And I'm just curious about how that works when you're when you're doing a mix of that because there are instrumentations and sounds that I've never heard in those songs before.And now all of a sudden, they're they're shooting over my head.And it's, it's really fucking tremendous. It's a great way to experience music.But I just wonder what it's like.Do you have a mixer that just takes care of that?Because I noticed there was there's three writing credits for mixers on the Yeah, on the album.So I'm just curious if one is just for Dolby Atmos, sir.Yeah, well, we had a guy in the first couple, I think he did Road Apples.[48:43] And his name is Rich Chicky, and you might know him because he's done all the Rush stuff.He's like the Rush in-house guy for Atmos.Since then, we've had our key engineer, Mark Braykin, has been doing the Atmos stuff because he built an Atmos room.[49:00] You're right on this one. Phantom Power has a lot of stuff. I was sitting in the back of the room when they were mixing that and it's like there's some backwards guitars and somestuff that just goes out and it makes sense.I'm not gonna lie, I'm not the hugest fan of, I get it, you know, let's send the hi-hat into outer space, changes the groove, changes the groove for a five-piece band, we're not gonna lie.[49:29] On an album like Road Apples, which Rich did, and he did a great job.I just don't get it. On Phantom Power, which would be the closest thing that we would ever have to Dark Side of the Moon, I get it.You sit in the back of the room and hear the backwards guitar or stuff swirling around. It's cool.But I know people want this in their headphones, but I guess I'm a little bit like Monomix guy.I don't mind that either. I love it. I love that. Yeah.Dan? I'm with you, Joni.[50:04] Coming back to the other aspect of the box set, which is the live recordings, I mean, what criteria do you sort of use for selecting the live recording?I mean, out of the three that have been, you know, re-released.[50:18] Obviously one was the Horseshoe, but the other two have been from, like, American venues.Would you perhaps, like, choose the American gigs because they might be lesser known to a predominant Canadian audience?Or, I don't know, how do you choose? We pick a gig that has fewer clams in it and less mistakes.We just kind of really, we really do.We did a live record called Live Between, it was way back in the day, and we argued about this.We had really sort of a good old fashioned fight about it.And Gord Downie wanted one from this place called the 40 Walk Club, which we'd listened to and it was a great, great version.It was a great night.And it's where REM, I think, got their start.And so we were sort of between that and another couple.[51:12] And then we ended up picking Detroit because it sounded good.Um, I think that's kind of what we go on when we're, we're picking these, um, these live, uh, albums and Gord Sinclair's son, um, is the one who really goes through them and says, there'ssomething here.He knows the hip really well. And so he really kind of directs us.So there's so many tapes out there. Um, and so he, he sort of says this one, um, from, uh, Chicago second night, a house of blues.This, this one's got something there. And so Colin Sinclair is really in charge of that.I don't think any other guy in the hip can take credit for it.[51:52] Can I just ask as well then, so what percentage of hip shows do you think were actually recorded, you know, documented?[52:00] It would depend on the period. One tour we went out with D88 machines, other eras we let people tape, like Fish Show or Grapevold Head, we would set up a little area where theycould get stuff off the board.That was cool. And there were some remote stuff, not a ton of 24-track, tape stuff. We would do stuff for Westwood One.Most of this stuff is going to be in-house, or a record company generated through a live truck, Usually in LA or New York, we have one coming up from a show we did in the States forRecord Day next year.Not a ton. There's not a ton. Two scoops in this session. That's great.That are coming out?[53:05] You mentioned Zeppelin too. I was going to ask you about Hedley Grange, but I forgot what I was going to say. You know where Bonham did that thing with the, for, for, um.[53:16] When the levee breaks, you know, yeah, they put the mics up on the stairs. God, that's so cool.But, but no, that was Jimmy. That was Jimmy Page. That was Jimmy Page doing that.He engineered page based on that. That's that's such a it's such a I mean, never in in history. Can anybody recreate that sound? I mean, it's just so cool.No, the sound of like a double bass almost, but people people don't understand that there's the economy of it.If you worked with one of These older guys, I always say that Don Smith was like Rudy Van Gelder, he got it.He knew, he kept on coming into the studio, back in the control room.He would make the live room, the studio sound, the control room sound like the live room. And he was constantly tweaking like that.[54:02] The guitar, if you listen to the Zeppelin, it's all the stuff that's implied in the chords I think.The drums are what everything is hanging off of. The guitars are really quite small, you know, you know, there's these these bands that came out in the 80s that were trying to be likeZeppelin, use 24 microphones on the drums.It sounded horrible, you know, and for John Bonham, it was just the way he played. He was really good.Incredible jazz sensibilities, an incredible groove. And he was able to move, you know, all four of those guys were spectacular.We went on the road with them. We went on the road with them, Paige and Plant, through the States, and it was incredible.[54:49] Yeah. Never a nicer, never a nicer guy than Robert Plant. He was so, so nice.Oh, yeah. That's that's, that's, that's amazing.Yeah, I'm a huge, I'm a huge Zep fan. But I just got to ask you real quick about the song Fireworks.Is there, there's got to be some Rush influence in that. I just hear so much like spirit of the radio in that tune.It's just such a, I think that when that song, when we heard that song on this record, Tim and I both, I was like, that was for our first favorite song on this record. Oh, that's sweet.[55:26] Don Smith's mix on the box set is really interesting.Because for Phantom Power, where we mixed it three different times.Yeah, I mean, Neil, I got to meet him a couple of times.He was obviously a huge influence and I would say, yeah, yeah.I went trick or treating as him one year. I crank called him.[55:50] Oh my gosh, amazing. Love Rush, man, love Rush.J.D. be mindful of the of the clock too on the thing. You're on mute.Yeah, we can't hear you, J.D.Oh, sorry about that, guys. I was just going to say we've got a minute 45 left of this session before it cancels out.So, Tim, if you've got a quick one and then we'll bid adieu.Well, I just had one of our pod listeners asked about Bumblebee and basically was like, why didn't this make the album?You know, this it could fit in there so well. So just a quick comment on that.And yeah, yeah, that was one that was that was on on the list.And I think it just, we just sort of Gord Sinclair was putting the sequences together for that.And it just for us, there was just something maybe missing. It's really great.[56:46] And I love the line when the moon's a water balloon.It just is so great. That's so Gord. You know, yeah.And I look at every time I look up at a supermoon and it looks like a water balloon. I think it's very cool.Well, it made the box set. So that's, yeah, that's important.Yeah. Well, Johnny, we really want to thank you so much for your time.It means a lot. And thank you gents for, for all your promotion to the hip. Our pleasure.Keep ramming, keep ramming it.Hopefully not your family. They love it too. It happens.Track 1:[57:29] Thanks for listening to Getting Hip to the Hip. Please subscribe, share, rate and review the show at gettinghiptothehip.com.Find us on Twitter and Instagram at gettinghippod.And join our Facebook group at facebook.com slash groups slash fully and completely.Questions or concerns? Email us at JD at getting hip to the hip.com.We'd love to hear from you.Track 6:[58:25] I can't wait for the music at work box set as well, just so you know, just so you know, we're dying for that one. Oh yes, please, please.I'll tell you, I'll tell you the one that I was listening to last night and the demos are really great and and I'm really pushing for this one is in violet light.Oh yes. Yeah. In violet light. The demos were just incredible.Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Phil Collins, Hugh Padgham, and me.
The Police, Sting, Hugh Padgham, and me.
Another audio commentary and another Hugh Padgham to add to the collection. Following The Police and Phil Collins we had to have a Genesis one and why not their most successful and (IMHO) their best, Invisible Touch? Sync up and enjoy this fab outing from Phil and the boys (or Tony and the guys. Or Mike + the non-Mechanics)PayPal Contributions gratefully received via 80sography@gmail.comHelp spread the word! Thanks x Play the game of happiness and never let on That it only lives on in a song
It's 1985, and after a whirlwind prior year the three remaining former Beatles are laying relatively low in their respective corners of the globe. Unable to accept the shortfall of his first solo cinematic debut, Paul McCartney is back in the studio - specifically his newly-minted Hog Hill Mill Studio - doing the one thing that always helps him in times of trouble: making new music. Sessions for his as-yet-untitled new LP feature co-written songs with rocker Eric Stewart and production from mid-80s producer dujour Hugh Padgham. Striking out for a contemporary sound, Macca sought to lose himself in a band environment once more - blending into a group of musicians who can generate excitement in a room...AND understand who's the boss. While Paul plonked away, Ringo Starr was himself BACK on the screen co-starring in Willie and the Poor Boys - a collection of artifacts which featured Bill Wyman's super-group project of the same name. All in all a fairly relaxed start to what would become yet another monumental year in music history... Hosted on Acast. See acast.com/privacy for more information.
This week it's a repost of Baxie's conversation with legendary 5-time Grammy Award winning producer/engineer Hugh Padgham. Originally posted on April 26th in 2021, Hugh talks about working with David Bowie, The Police, Phil Collins, XTC, Genesis, Peter Gabriel, and much more! This is one of my favorite episodes! Also available on Apple Podcasts, SoundCloud, Stitcher, Google, Spotify, and on the Rock102 website!
Phil Collins, Hugh Padgham, and me.
My guest is Grammy Winning Producer Hugh Padgham who has worked with Phil Collins, Peter Gabriel, Sting, Genesis, The Police, XTC, and David Bowie. He's also well known for THE Gated Drum Sound on "In The Air Tonight." This is Part 2 of a 2-part interview. In this episode, we discuss Approach to Production Steve Lillywhite Trust in Management Producer Differences The Excess of the '80s Comparing Eras of Recording Superior Drummer Budgets of Old Mixing Workflow Hugh's Jazz Label Gearbox Records The Analog Sound Thelonious Monk Buddy Rich The Momentum of Recording Digital Recorders Recording Sting The iPod's Effect Home Studio Phase PIL Metal Box Not Cutting Corners Finances for the Future Divorce Giving Back Matt's Rant: Saying Yes Links and Show Notes Hugh's Site Gearbox Records Hugh's Drum Pack for Superior Drummer Please leave us a 5 Star Review! Credits Guest: Hugh Padgham Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau WCA Theme Music: Cliff Truesdell Announcer: Chuck Smith
My guest is Grammy Winning Producer Hugh Padgham who has worked with Phil Collins, Peter Gabriel, Sting, Genesis, The Police, XTC, and David Bowie. He's also well known for THE Gated Drum Sound on "In The Air Tonight." In this episode, we discuss Buckinghamshire Upbringing Boarding School in Oxford Led Zeppelin 1 Pipe Organ Building Writing Studio Letters Recorders without Counters Working on Jingles Getting Fired Pie Studios Lansdowne Studios Virgin Records Manor Studios Townhouse Studios SSL NAB vs. CCIR Getting into Production Peter Gabriel Steve Lillywhite Phil Collins XTC THE Gated Drum Sound Management The Police and Miles Copeland Points and Royalties Non-Featured Artists Residential Studio Hell Matt's Rant: Adapting Links and Show Notes Hugh's Site Please leave us a 5 Star Review! Credits Guest: Hugh Padgham Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau WCA Theme Music: Cliff Truesdell Announcer: Chuck Smith
Bowie in Canada! Coming off his biggest commercial year, Bowie quickly gets back to the studio for more (insert descriptive adjective here) music. Featuring Iggy Pop, Tina Turner, Hugh Padgham and Carlos Alomar. They even do a Beach Boys song! What could go wrong? SONGS IN THIS EPISODE: Loving the Alien Don't Look Down God Only Knows Tonight
Phil Collins, Hugh Padgham, and me.
Nathan and Jacob fulfil a small dream as they review a much-berated album by their idol, Sir Paul McCartney!In the middle of the 80s (and the midst of his own creative drought), McCartney teams up with renowned producer, Hugh Padgham, to create an album of songs about summer, ancient civilisations, film sets, and old men talking about birds. But is it as bad as everyone says it is? Will these two McCartney superfans be forced to admit their hero got it wrong? Let's find out.Find us on Facebook - www.facebook.com/badthingspodcastTwitter - https://twitter.com/BadThingsPod (@badthingspod)Instagram - www.instagram.com/badthingspod (@badthingspod)Theme music - Boo Boogie by Doug Wood Hosted on Acast. See acast.com/privacy for more information.
Peter Gabriel, one-time member of Genesis, is an English musician who is renowned for powerful, innovative, "intelligent" music. When Gabriel left Genesis in 1975, after the album The Lamb Lies Down On Broadway, he stunned fans and critics alike by teaming up with Bob Ezrin (Lou Reed, Pink Floyd, Kiss, Alice Cooper) to produce the album known as “Car”, a disparate collection of songs – including “Solsbury Hill” - with strong riffs, great guitar work, a variety of styles, to establish his solo credentials. His 3rd album, known as “Melt”, broke Peter Gabriel as a world phenomenon. It received great reviews (mostly 5-star) and was much more rhythm-focussed, with songs like “Games without Frontiers” and “Biko”. The album has a lot of “strange” sounds on it, and introduced Kate Bush on backing vocals. It was a high point for Peter Gabriel, who has made other great albums after this but never anything better! Our album to “Hear before You Die” this week is “1999”, Prince's 5th studio album from 1982. This album contains songs that have since become standards - “1999” and “Little Red Corvette” - and highlight his obsession with sex. Prince influenced so many people – as songwriter, musician and studio experimenter. His sound was a key influence on R & B music through to the 90's. “1999” is not the type of album we would normally listen to, but it's just so damn good!References: Prince, “1999, Steve Lillywhite, Hugh Padgham, XTC - “Drums & Wires”, “Black Sea”, “War”, U2, Kirsty MacColl, “An Assassin's Diary”, Arthur Bremer, George Wallace, JFK, Steve Biko, Polaroids, Lewis Morley, Ahmet Ertegun, Jerry Marotta, “Ein Deutsches Album”, Johnny Warman, “Walking into Mirrors", “Sledgehammer”, “The Book of Love”, Alan Parker, Hipgnosis, Peter Gabriel.com The Rock TiktokGabriel PlaylistGabriel Concert
Words and Music by Phil Collins 1989Phil Collins Official YouTube Channelhttps://www.youtube.com/user/philcollins"Another Day in Paradise" is a song recorded by English drummer and singer-songwriter Phil Collins. Produced by Collins along with Hugh Padgham, it was released as the first single from his number-one album ...But Seriously (1989) (Wikipedia)Cover by Franco Cianflone at GS studiosThese selections and arrangements are for your listening pleasure only and not intended for any other purpose. Hosted on Acast. See acast.com/privacy for more information.
And we are back! Back!! BACK!!! with season 5 and another audio commentary with legendary producer Hugh Padgham.This time it is the first solo LP from Phil Collins; the massively successful and wonderful Face Value,Enjoy Hugh's track by track assessment as an interview or queue up your device and enjoy the album as we discuss the classic LP. You know what I mean...Hugh is on Instagram @hughpadghamofficial80sography on Twitter/Instagram and email is 80sography@gmail.comMusic thanks to Tomas Mulcahy for the music - more at tomasmulcahy.bandcamp.comHave paypal account at 80sography@gmail.com if you would like to support this podcast.Any contributions massively appreciated. Thanks for listening x
To celebrate the 80th birthday of Sir Fab Macca Whacky Thumbs Aloft we have the collated interviews with past guests discussing their experiences working with McCartney.Starting off with an unheard interview with Chris Hughes, enjoy the return to Pepperland so just press to play...CHRIS HUGHES (02:50)*Motor of LoveFigure of Eight (single version)STEPHEN LIPSON (30.44)Rough RideFigure of Eight (LP version)How Many PeopleOu Est Le SoleilHUGH PADGHAM (38.43)Spies Like UsPress To Play LPGARY LANGAN (59:37)My Carnival JIM YUKICH (63:53)*The EMI Beatles CommitteeJULIAN MENDELSOHN (72:09)It's Not True (remix)Tough On A Tightrope (12" mix)Off The Ground LPA PAUL McCARTNEY TOP TEN (90.33)* unreleased materialOn Twitter & Instagram under 80sographyEmail at 80sography@gmail.com On the waters of life you row your boat Into the strongest tide that you can find
Chapters00:00 - Introduction00:48 - A Tape Op At Manor Studios02:25 - A Typical Day At The Manor03:45 - The Engineers And The Bands06:01 - Tape Editing07:56 - Switching To Digital09:18 - From House Engineer To Freelance09:42 - Hugh Padgham and Steve Lillywhite12:24 - Early Sampling13:03 - Using An SSL Desk17:45 - Scritti Politti Cupid and Psyche18:25 - Synchronising MIDI and Tape22:24 - Getting The Scritti Sound23:48 - Working With UB4028:01 - The Age Of Chance 28:15 - From Tape To Digital To HD Recording29:09 - Working With Slave Reels30:48 - The Change To Digital Tape31:58 - Preferred Recording Medium33:02 - Engineering Apollo 44034:31 - Recording A Jazz Quartet35:59 - Using Logic and Plug-insHoward Gray BiogHoward started out in the early 80s as a teenage razor-sharp tape operator at The Manor - Virgin Records' quintessential getting it together in the country recording facility, before graduating to house engineer at one of the first Solid State Logic console equipped studios, west London's legendary Townhouse. Sessions there included Kate Bush, Phil Collins, XTC, OMD, PIL, The Stranglers, Japan, Rip Rig & Panic, Van Morrison and ABC. He worked on countless classic 80's records with producers like Mick Glossop, John Leckie, Hugh Padgham, Steve Lillywhite, Adrian Sherwood and Trevor Horn, engineering albums such as Simple Minds' Sparkle in the Rain, and the paradigm shifting Cupid & Psyche for Scritti Politti.His first production credits with UB40 (Red Red Wine) led to more, including The Cure, Terence Trent D'Arby, Danny Wilson, Manic Street Preachers, Age Of Chance, Screaming Blue Messiahs, Pete Wylie, Tom Jones and Art Brut - at the controls in seminal London studios Air, Trident, Roundhouse, Sarm, Metropolis, Eden, Strongroom, as well as New York, Paris, Tokyo, Munich, Oslo, Baltimore and more.Witness to the dawn of digital and early adopter of the Sequential Circuits Studio 440, the possibilities of sampling led Howard in the early 90s to form dance/rock/dub combo Apollo 440, prolific producers and remixers of, amongst others, U2, Scritti and Shabba Ranks, Jean-Michel Jarre, James, Hotei, Puretone and Jeff Beck from their Camden Town ‘Apollo Control' base. The group delivered three albums for Sony Records, numerous top 40 singles, including international hit Stop The Rock, film themes Lost in Space and Charlie's Angels. He still regularly directs their live performance/Dub sound system at European festivals from FOH. Mixer of The Anfield Rap, co-writer and producer of Pass and Move (it's the Liverpool Groove), and now nearing 500 credits on Discogs. His recent projects include Jazz LPs and Baroque Opera.James Gardner BiogJames Gardner is a composer, synthesizer programmer, researcher, and broadcaster based in Tāmaki Makaurau (Auckland). Born in Liverpool, James played and programmed synthesizers in London during the 1980s, and in 1990 co-founded the band/remix team Apollo 440. Following encouragement from Michael Finnissy, he left the group in 1993 to concentrate on notated composition. Moving to Aotearoa/New Zealand in 1994, he established the contemporary music ensemble 175 East, which he directed until 2010.As well as composing, he has written and presented many programmes for RNZ Concert including features on Frank Zappa, Morton Feldman, John Barry's James Bond soundtracks, and These Hopeful Machines – a six-part series on electronic music. https://www.rnz.co.nz/concert/programmes/hopefulmachinesAs a teacher, Gardner has lectured on music and music technology at the University of Auckland, Unitec Institute of Technology and the University of Canterbury, Christchurch, where he is an Adjunct Senior Fellow. His primary research topic is the synthesizer company EMS, and the electronic music studio of Peter Zinovieff.Website: https://www.gardnercomposer.com/Twitter: @JEGcomposer
This week on Rockonteurs, Gary and Guy chat to one of the UK's finest record producers, the 4 x Grammy Award-winning Hugh Padgham. Chances are Hugh was involved in the making of your favourite record. From The Police, Genesis, Paul McCartney, XTC, The Human League through to creating that iconic drum sound of the '80s for Phil Collins – Hugh has an unrivalled CV and some cracking stories to share.Rockonteurs is produced by Ben Jones for Gimme Sugar Productions. Hosted on Acast. See acast.com/privacy for more information.
This week on Rockonteurs, Gary and Guy chat to one of the UK's finest record producers, the 4 x Grammy Award-winning Hugh Padgham.Chances are Hugh was involved in the making of your favourite record. From The Police, Genesis, Paul McCartney, XTC , The Human League through to creating that iconic drum sound of the '80s for Phil Collins – Hugh has an unrivalled CV and some cracking stories to share.Rockonteurs is produced by Ben Jones for Gimme Sugar Productions. See acast.com/privacy for privacy and opt-out information.
On 12 February 1982, XTC's English Settlement was released. Forty years on, What Do You Call That Noise? The XTC Podcast reunites guitarist Dave Gregory and co-producer Hugh Padgham to look back at the recording of one of the greatest ever double albums. They talk about favourite songs, hanging out at the Manor and Andy Partridge's after-hours tomfoolery.Asking the questions are Mark Fisher and Sue Charles. Musical interlude by Ed Stainsby.Further reading in What Do You Call That Noise? An XTC Discovery Book available from https://www.xtclimelight.com If you've enjoyed What Do You Call That Noise? The XTC Podcast, please show your support at https://www.patreon.com/markfisher Thanks to the Pink Things, Humble Daisies and Knights in Shining Karma who've done the same.★ Support this podcast on Patreon ★
Very excited about this one - I've been looking to do another audio commentary for a while and what better place to continue with than one of the best-selling LPs of the decade.We join Producer, the great Hugh Padgham, and go through each song track-by-track, with additional chat further on, and, of course, a quickfire round on the album at the end.So sync up (should that be your desire) or just listen to a great interview on The Police's greatest album.And no skipping Mother...email: 80sography@gmail.comtwitter: @80sography
Episode 64 covers a short wrap-up retrospective discussion we had on The Police after listening to their full discography. Did they deserve to be considered not only one of the biggest bands of the 80s, but ever?! With such a short discography compared to other legendary acts of the time, would you consider The Police more of a "singles" band or an "album" band? Were The Police unique enough to stand out amongst the other new wave, post-punk, "ska" influenced bands of the era? All points discussed in this episode. Tune in next week for Episode 65 for Alex's special bonus episode before we jump into the next band discography journey...Available at https://lightthesky.net/podcasts/the-police/recap-retrospective/ and on all podcast streaming platforms (just search "Light the Sky Podcast.")Follow "Light the Sky Podcast" on Instagram, Twitter, and Facebook to stay up-to-date with all things LTS.LTS Website: https://lightthesky.net/Instagram: https://www.instagram.com/lighttheskypodcast/Twitter: https://twitter.com/LighttheSkyPod1Facebook: https://www.facebook.com/LightTheSkyPodcast/
Episode 62 covers The Police's fourth studio album, 1981's "Ghost in the Machine." The album was released on 2 October 1981 by A&M Records. The songs were recorded between January and September 1981 during sessions that took place at AIR Studios in Montserrat and Le Studio in Quebec, assisted by record producer Hugh Padgham. Ghost in the Machine topped the UK Albums Chart and peaked at number two on the US Billboard 200. The album produced the highly successful singles "Every Little Thing She Does Is Magic", "Invisible Sun", and "Spirits in the Material World", with a fourth single, "Secret Journey", also being released in the US. Ghost in the Machine was listed at number 322 on Rolling Stone's list of the 500 greatest albums of all time. Mark, Kevin, Alex, and Chris take you on a historical journey surrounding the album as well as share our favorites and not-so favorites from the record. We go on a deep dive track-by-track listen of this album as well as share personal stories of discovering The Police's "Zenyattà Mondatta." Tune in next week for Episode 63 covering the fifth and final Police studio album "Synchronicity."Available at https://lightthesky.net/podcasts/the-police/ghost-in-the-machine/ and on all podcast streaming platforms (just search "Light the Sky Podcast.")Follow "Light the Sky Podcast" on Instagram, Twitter, and Facebook to stay up-to-date with all things LTS.LTS Website: https://lightthesky.net/Instagram: https://www.instagram.com/lighttheskypodcast/Twitter: https://twitter.com/LighttheSkyPod1Facebook: https://www.facebook.com/LightTheSkyPodcast/
The 80s started in 1979. If one were to pinpoint a single thing that brought all the popular music of the 80s together, it would have to be the newly utilized “gated reverb” production technique for the drums. The drum solo that plays in Phil Collins' “In the Air Tonight” right before Mike Tyson punches Ed Helm—is the most popular example of that effect, and definitely one of the first. However, he wasn't the only group that engineer Hugh Padgham and producer Steve Lillywhite were working with when they accidentally discovered the effect. Along with Peter Gabriel, who was also recording at Townhouse Studios (London) at the time, there was also a New Wave group called XTC, and they had their own contribution to the popularity of the effect with their gorgeous sounding 1979 album “Drums and Wires”. The concept of the album was pretty simple. Great sounding drums. Great sounding guitar. Epic vocal delivery. And not overly produced. It set the standard for almost all genres in the 80s with the crispiest sounding drums ever heard. Today Brad, Jon, Dave, and Jake are very excited to have on guitarist and lead singer of the band The Mommyheads, and XTC fanatic, Adam Elk!!! Links from ep: The Mommyheads on Spotify: https://open.spotify.com/artist/30HbzG87mLz5XDSoNFQcr7?si=kxmvqnD_TryvlTiUOHZkIQ&dl_branch=1 The Mommyheads website: https://www.mommyheads.com/ Adam Elk on Spotify: https://open.spotify.com/artist/1ru3HHN3bQ40Y1QQID2d1y?si=q8r4Es0lTLq8QjyXDQf09w&dl_branch=1 Other Links: OUR DISCORD: https://discord.gg/2stA2P7pTC TACHP Desert Island Discord Playlist: https://open.spotify.com/playlist/4wNErQHfrAYgSsIZlLJ6ym?si=dtrMJCuqQwa1Zt7RtwrXNg (YouTube Playlist): https://youtube.com/playlist?list=PL4Uk6UBPMYEs3BtK1HwWJMyXlKwPH93Qx EVERYTHING ELSE: https://linktr.ee/FlyoverStatePark --- Support this podcast: https://anchor.fm/albumconcepthour/support
HUGH PADGHAM is a Grammy-winning producer/engineer who's worked with Genesis, Peter Gabriel, Phil Collins, Sting, XTC, David Bowie, Syd Barrett, Pink Floyd, and many more. Hugh and I chat about his massive list of credits, as he regales us with tales from his fascinating musical life.
* INCLUDES PREVIOUSLY UNHEARD MATERIAL *We conclude the epic season on The Boys From Bath with a compendium of interviews based on The Seeds of Love era (many thanks to listener Tom Teodorczuk for the idea).CHRIS HUGHES * (01:40)DAVE BASCOMBE ** (22.40)NICKY HOLLAND (44.09)DAVID BATES (65.12)IAN STANLEY (78.00)CLIVE LANGER/ALAN WINSTANLEY ** (97.51)HUGH PADGHAM * (105.41)SUMMARY (113.02)MY TOP 10 TFF SONGS OF THE 80S (115.20)* some unheard material** completely new stuffThanks for listening and hopefully see you down the road hitching a ride on the My 80sography station wagon xGrateful for any nice ratings/reviews to help get the word out. Contact at 80sography@gmail.com or on Twitter at @80sography working hour is over....
We reach the end of the 80s Padgham Parade where we began with more success with Phil, Sting & Genesis. Plus more besides including an ex-Beach Boy (THE Beach Boy), Hojo’s last big hit and an underrated gem of an LP. In PART 4; 1986 (part 2); Invisible Touch – Genesis (1:50) No One Is To Blame – Howard Jones (20:35) 1987; …Nothing Like The Sun – Sting (24:00) Remembrance Days – The Dream Academy (32:25) 1988;Julia Fordham- Julia Fordham (46:01) Brian Wilson – Brian Wilson (51.44) 1989; Woman In Chains – Tears For Fears (64:36) …But Seriously – Phil Collins (66:36) Thanks to Hugh and Joe. And thanks to all that listen and share a love for 80s music. When joy is in short supply it is our duty to share our own. Yeah x “At night a candle’s brighter than the sun”
Plenty more to uncover in the 3rd part of Hugh Padgham's 80sography as we hit the mid-80s with further success with Genesis, the task of following era defining hit albums with Human League and David Bowie, multi-platinum mega success of peak Collins and issues arising from working with an ex-Fab.In PART 3;1983 (part 2):King of Pain - The Police (2:40)Genesis - Genesis (5:31)1984:Hysteria - The Human League (18:49) Tonight - David Bowie (27:00)1985:No Jacket Required - Phil Collins ( 50:00)Spies Like Us - Paul McCartney (65:09)1986:Press To Play - Paul McCartney (66:57)Songs Covered;King of Pain - The PoliceMama - GenesisThe Lebanon - The Human LeagueLoving The Alien - David BowieSussudio - Phil CollinsOne More Night - Phil CollinsThanks for kind words and friendly reviews - feel free to give feedback or cup cake assortment via twitter @80sography or email at 80sography@gmail.com "Oklahoma was never like this"
Baxie talks to legendary 5-time Grammy Award winning producer/engineer Hugh Padgham about his incredible career! Hugh talks about working with David Bowie, The Police, Phil Collins, XTC, Genesis, Peter Gabriel, and much more! Also available on Apple Podcasts, SoundCloud, Stitcher, Spotify, and on the Bax & O'Brien website!
We are back for the 2nd part of the “My 80sography” interview with Hugh Padgham.Much to cover here in a phenomenally busy & successful stage of Hugh’s career.Discover the unique contribution he made to Maneater, the film David Bowie turned him on to and the one thing Sting is not good at (surprisingly, it’s not acting…) And much, much more.Also two quickfire rounds discussing Hugh’s favourites of the 80s and random questions on his career.IN PART 2;1982:Something’s Going On – Frida (03:11)The Dreaming – Kate Bush (07:47)H20 – Hall & Oates (11:47)English Settlement – XTC (20:43)Hello, I Must Be Going – Phil Collins (26:53)PADGHAM’S PICKS (33:11)1983: Conflicting Emotions – Split Enz (43:14)Synchronicity – The Police (50:22) MY 80SOGRAPHY QUICKFIRE ROUND (74:53) Songs Covered; Maneater – Hall & OatesSenses Working Overtime – XTCI Don’t Care Anymore – Phil CollinsYou Can’t Hurry Love – Phil ColliinsEvery Breath You Take – The PoliceMother – The PoliceMurder By Numbers – The Police Please rate & review kindly on iTunes and any other relevant platforms and help get word out to 80s-loving hepcats (sorry don’t know why I wrote that). Thanks. x Hall & Oates on MTV;https://www.youtube.com/watch?v=Rqn4LgDwm1IContact on Twitter @80sography or email 80sography@gmail.com “It’s hip to be detached and precious”
Welcome to “My 80sography” a new 80sography series where we talk to key figures who had a cultural and creative impact in what is, of course, the most entertaining and enjoyable of decades.We start with a season on music producers and what better place to start than with Hugh Padgham; a man responsible for as many hits and platinum albums in the 80s as anyone.So much covered (and HUGHge thanks to Hugh for that) that I’ve had to break it down into 4 parts.In part 1;Pre-1980: Ad Nauseum – Derek & Clive (09:28) 1980: Peter Gabriel (melt) – Peter Gabriel (12:33)Drama – Yes (29:58)Face Value – Phil Collins (recording) (36:45) 1981:Abacab – Genesis (47:58)Ghost In The Machine – The Police (60:25) Songs Covered;Intruder – Peter Gabriel (gated reverb!)In The Air Tonight – Phil CollinsBehind The Lines – Genesis/Phil CollinsAbacab – GenesisWho Dunnit? – GenesisEvery Little Thing She Does Is Magic – The PoliceOmegaman – The Police Please rate & review kindly on iTunes and any other relevant platforms and help get word out to like-minded souls. Thanks. x Contact on Twitter @80sography or email 80sography@gmail.com “I wish that I could really tell you all the things that happened to me”
Cath Kidston joins Tom to talk about her favourite music, her husband Hugh Padgham's work with Phil Collins and Sting, leaving her eponymous brand and her new book, A Place Called Home. This episode is brought to you by dBud, who make Volume Adjustable Earplugs. These are incredibly effective at filtering noise at the right level, giving you the hearing protection you need whilst retaining the clarity of the sound you are exposed to. Go to earlabs.co to check out dBud's earplugs. This episode is brought to you by Modal Electronics, who make beautiful, innovative and powerful synthesisers. You can enjoy vibrant wavetable patches with their ARGON8 series. You can produce state-of-the-art analogue-style synth textures with their COBALT8 series. Go to modalelectronics.com to check out their incredible array of synthesisers.
The one where ...We got together before the 2020 Lockdowns.We listen to Land of Confusion, by Genesis.Released in 1986Album: Invisible TouchPolitical commentary meets pop rock.Remembered and in it's day lauded for it's hysteric video production.We end up exploring the cover by Disturbed.
To celebrate the 40th anniversary of XTC's Black Sea, sound engineer Hugh Padgham joins guitarist Dave Gregory for a 90-minute special. They talk about the clanking anvils of Towers of London, the one-note solo of Love at First Sight and the slow-build tension of No Language in Our Lungs.
Después del fracaso de taquilla de su primer proyecto cinematográfico, Give My Regards to Broad Street, McCartney decidió que era hora de un cambio en su carrera musical. En un intento por dar a su música un sonido contemporáneo, unió fuerzas con Hugh Padgham, un productor musical con gran demanda y famoso por haber grabado con artistas como Peter Gabriel, Genesis, Phil Collins, The Police y XTC. Más información: www.radioborder.com.ar
Después del fracaso de taquilla de su primer proyecto cinematográfico, Give My Regards to Broad Street, McCartney decidió que era hora de un cambio en su carrera musical. En un intento por dar a su música un sonido contemporáneo, unió fuerzas con Hugh Padgham, un productor musical con gran demanda y famoso por haber grabado con artistas como Peter Gabriel, Genesis, Phil Collins, The Police y XTC. Más información: www.radioborder.com.ar
Greetings fellow Paul bearers and welcome to the first of two instalments that explore Paul McCartney's 1986 album, 'Press to Play'. This is an album that, apparently, is the worst effort that Macca has ever put to print. Well, let's put that to the test shall we? In this episode we cover... McCartney's Decline in Popularity Linda's Drug Bust Live Aid Eric Stewart vs Hugh Padgham, aka "The Producers". The recording of the album. The album artwork. The critical reception. ....and I will not be covering Give My Regards to Broadstreet, even though it did technically happen during this period. That is all coming in a future episode! This has been another one of those episodes that has taken far too long to come out, but I hope the wait was worth it! Please enjoy.... If you haven't seen the blog, check it out at www.paulmccartneypod.wordpress.com where you can see loads of episodes start out life as a random blog post, before being resculpted into the quality content you are here for today! If you want to support the show, check out our Patreon page at www.patreon.com/mccartneypodcast To get in contact with the show, drop us an email at paulmccartneypod@gmail.com Follow us on Twitter for all Macca updates by searching @mccartneypod. Hosted by Sam Whiles.
Decíamos ayer que The Police estaba en la cresta de la ola por méritos propios y por canciones como esta: Spirits in the Material World Traspasados los años 80 The Police fue abandonando su condición new wave para centrarse en su vertiente más pop. Así sucede en Ghost in the Machine (1981), un disco producido por Hugh Padgham que incluye los sencillos «Spirits in the Material World», que acabamos de escuchar, y «Every Little Thing She Does Is Magic» que escucharemos ahora. El éxito permanecía invariable en Europa y habían alcanzado el número 2 en los Estados Unidos. Al comienzo de la década de los 80 realizaron una gira por América del Sur. El concierto más importante de esta gira lo dieron los días 19 y 20 de febrero de 1982 en el Festival de Viña del Mar, en Chile, y fue todo un acontecimiento. En 1983 publican Synchronicity un álbum que obtuvo excelentes críticas gracias a un conjunto de canciones muy bien valoradas como «Every Breath You Take», que se convertiría en todo un himno de la banda. La gira de Synchronicity les permitió tocar en el Shea Stadium, un lugar mítico donde The Beatles se presentaron en 1965 ante 48.000 personas. Este fue el punto de inflexión de la fama del trío. El último concierto oficial de The Police en su etapa original fue el 4 de marzo de 1984 en Australia en la última fecha de la gira del disco Synchronicity. Las tensiones y egos entre los tres divos provocaron la disolución del trío, aunque nunca emitieron un comunicado sobre su disolución. Sting inició una carrera en solitario en 1985 llena de triunfos comerciales en donde había lugar para el pop con influencias jazz y del soul. Copeland se inclinó, entre otros proyectos, por la composición de bandas sonoras. Cuando todavía militaba en The Police editó varios EP's bajo el seudónimo Klark Kent, y después de la separación del grupo formó parte de diversos grupos, como por ejemplo Animal Logic. Colaboró también tocando la batería en algunas piezas del álbum So de Peter Gabriel. Por su parte Summers colaboró con grupos de rock progresivo y jazz. Andy Summers tocó como invitado en algunos conciertos de la gira de Sting en 1991, perteneciente a su disco solista The Soul Cages. Sting, por su parte, grabó como músico invitado en un disco de jazz de Summers. Durante este periodo The Police también realizó diversos conciertos en vivo como en 3 conciertos benéficos en junio de 1986 organizados por Amnistía Internacional y también tocaron en la boda del propio Sting celebrada en 1992. En 2003 el trío se reunió con motivo de su ingreso en el Salón de la Fama y cuatro años más tarde se reunieron para la entrega de los premios Grammy en febrero del 2007 e interpretaron «Roxanne». De esta época en solitario de Sting es este magnífico Englishman in New York Como muestra de la actividad en solitario de Copeland vamos a escuchar a su grupo Animal Logic en I’m Through With Love Del Sr. Summers no hemos sabido encontrar nada relacionado con esta época así que le vamos a escuchar en una grabación anterior a la formación de The Police con su grupo Strontium 90: New World Blues La separación del grupo fue la crónica de una muerte anunciada. El acento jamaicano de pega de Sting siempre había dado un poco de grima, y la entrevista que dio en 1979 a una revista no le hizo ningún bien. A la pregunta: “¿Sigue The Police un plan maestro?”, Sting contestó: “Si, Intentaremos superar a los Beatles. Me interesa atraer a un público masivo sin bajar el nivel, que sería lo más fácil del mundo: basta con hacer como Gary Glitter”. Bueno, el Sr. Gary Glitter, a pesar de sus numerosos éxitos musicales a lo largo de su carrera, acumula también numerosas condenas. En 1997 fue arrestado y condenado por posesión de cientos archivos de pornografía infantil. Más tarde, Glitter se enfrentó a cargos criminales y deportaciones de muchos países como Vietnam y Camboya, todos relacionados con el abuso sexual infantil. Glitter fue deportado de Vietnam a Reino Unido al final de su sentencia, por la que fue incluido en el registro de delincuentes sexuales. Todas estas condenas convirtieron a Glitter en una de las figuras más despreciadas del Reino Unido. Nuevamente, fue acusado, en junio de 2014, de delitos sexuales contra niños. El 5 de febrero de 2015 fue declarado culpable de intento de violación, cuatro cargos de asalto indecente y uno por tener relaciones sexuales con una niña menor de 13 años, entre 1975 y 1980. Fue sentenciado a 16 años de cárcel. En fin, suponemos que no se refería a esto cuando Sting citó a este despreciable personaje al que, al parecer, quería emular. Y es que Sting siempre ha resultado un poquito pedante, no solo para el público sino también para sus compañeros, con los cuales ha mantenido una relación de superioridad intelectual, intentando, también en sus letras, demostrar al mundo su pasado académico y lo leído que estaba. Pero musicalmente era el más talentoso del trio. Su carrera en solitario ha sido la más prolífica y la de mayor éxito. Un ejemplo: If you love somebody set them free. Para el primer disco que grabó Sting en solitario en 1985, The dream of the blue turtles, reunió a un grupo de músicos reconocidos como estrellas del jazz. El disco incluía el sencillo de mayor éxito «If you love somebody set them free», que acabamos de escuchar, además de otros como «Foretress around your heart», «We work the black seam» o «Consider me gone». En el plazo de un año se convirtió en triple platino. Sin abandonar es trabajo, vamos a escuchar otro corte: We work the black sean. En 1987, publicó Nothing like the sun, disco que supondría su reencuentro musical con Andy Summers. El LP incluía los éxitos «We’ll be together», «Be still my beating heart», «Englishman in New York» y «They dance alone» (canción en referencia a las madres argentinas y chilenas que perdieron a sus hijos en sendas dictaduras), dedicado a su madre, recientemente fallecida, y que pronto se convirtió en doble disco de platino, siendo reconocido como uno de los discos más importantes del rock & roll de los años 80. Vamos también a escuchar un par de temas de este importante trabajo. En primer lugar, The dance alone Y ahora, we’ll be together Ya hemos comentado que Sting es el más exitoso del trío Police. Esto le ha convertido en tipo multimillonario. No hace mucho tiempo, el compositor vendió todas sus obras, pasadas y futuras, a la compañía EMI por 30 millones de dólares. Uno de los contratos más abultados de la historia de la música, después del que firmara en su momento Elton John. Sting ha logrado lo que pocos consiguieron: multiplicar como solista el éxito que lo había llevado a la fama como miembro de un grupo. Pero la cabra tira al monte y, el 11 de febrero de 2007, The Police anuncia su reunión y abren el show de los premios Grammy interpretando «Roxanne». El primer concierto de The Police fue llevado a cabo en Vancouver (Canadá) el 28 de mayo de 2007 frente a más de veinte mil fanáticos. Como otros muchos artistas, Sting se ha sentido subyugado por la cultura india. Ahora practica yoga y meditación, reconociendo que le ayuda a “sobrellevar” la vida de artista. (que conste que esto es literal). A principios de 2005 Sting proclamó su interés por el hinduismo y declaró que quería pasar mucho más tiempo en la India por cuya cultura se siente fascinado. En una entrevista declaró: «En este momento lo que más me gusta es la religión hindú [...] Me he convertido en un adicto a la India. [...] Querría pasar el resto de mi vida descubriendo ese precioso país». Ya, pero bueno, por el momento, el artista vive en la preciosa región de La Toscana, en Italia, un lugar que, a lo mejor es un poco menos espiritual pero que, sin lugar a dudas, es mucho más agradable para vivir. Bueno amigos, se acabó el tiempo por hoy (creo que esta frase la dicen mucho los psiquiatras, no). Bueno, el caso es que, efectivamente, se nos acabó el tiempo. Nos oímos la próxima semana con más historias, más músicos y más música. Hasta entonces, ¡¡¡BUENAS VIBRACIONES!!!
Decíamos ayer que The Police estaba en la cresta de la ola por méritos propios y por canciones como esta: Spirits in the Material World Traspasados los años 80 The Police fue abandonando su condición new wave para centrarse en su vertiente más pop. Así sucede en Ghost in the Machine (1981), un disco producido por Hugh Padgham que incluye los sencillos «Spirits in the Material World», que acabamos de escuchar, y «Every Little Thing She Does Is Magic» que escucharemos ahora. El éxito permanecía invariable en Europa y habían alcanzado el número 2 en los Estados Unidos. Al comienzo de la década de los 80 realizaron una gira por América del Sur. El concierto más importante de esta gira lo dieron los días 19 y 20 de febrero de 1982 en el Festival de Viña del Mar, en Chile, y fue todo un acontecimiento. En 1983 publican Synchronicity un álbum que obtuvo excelentes críticas gracias a un conjunto de canciones muy bien valoradas como «Every Breath You Take», que se convertiría en todo un himno de la banda. La gira de Synchronicity les permitió tocar en el Shea Stadium, un lugar mítico donde The Beatles se presentaron en 1965 ante 48.000 personas. Este fue el punto de inflexión de la fama del trío. El último concierto oficial de The Police en su etapa original fue el 4 de marzo de 1984 en Australia en la última fecha de la gira del disco Synchronicity. Las tensiones y egos entre los tres divos provocaron la disolución del trío, aunque nunca emitieron un comunicado sobre su disolución. Sting inició una carrera en solitario en 1985 llena de triunfos comerciales en donde había lugar para el pop con influencias jazz y del soul. Copeland se inclinó, entre otros proyectos, por la composición de bandas sonoras. Cuando todavía militaba en The Police editó varios EP's bajo el seudónimo Klark Kent, y después de la separación del grupo formó parte de diversos grupos, como por ejemplo Animal Logic. Colaboró también tocando la batería en algunas piezas del álbum So de Peter Gabriel. Por su parte Summers colaboró con grupos de rock progresivo y jazz. Andy Summers tocó como invitado en algunos conciertos de la gira de Sting en 1991, perteneciente a su disco solista The Soul Cages. Sting, por su parte, grabó como músico invitado en un disco de jazz de Summers. Durante este periodo The Police también realizó diversos conciertos en vivo como en 3 conciertos benéficos en junio de 1986 organizados por Amnistía Internacional y también tocaron en la boda del propio Sting celebrada en 1992. En 2003 el trío se reunió con motivo de su ingreso en el Salón de la Fama y cuatro años más tarde se reunieron para la entrega de los premios Grammy en febrero del 2007 e interpretaron «Roxanne». De esta época en solitario de Sting es este magnífico Englishman in New York Como muestra de la actividad en solitario de Copeland vamos a escuchar a su grupo Animal Logic en I’m Through With Love Del Sr. Summers no hemos sabido encontrar nada relacionado con esta época así que le vamos a escuchar en una grabación anterior a la formación de The Police con su grupo Strontium 90: New World Blues La separación del grupo fue la crónica de una muerte anunciada. El acento jamaicano de pega de Sting siempre había dado un poco de grima, y la entrevista que dio en 1979 a una revista no le hizo ningún bien. A la pregunta: “¿Sigue The Police un plan maestro?”, Sting contestó: “Si, Intentaremos superar a los Beatles. Me interesa atraer a un público masivo sin bajar el nivel, que sería lo más fácil del mundo: basta con hacer como Gary Glitter”. Bueno, el Sr. Gary Glitter, a pesar de sus numerosos éxitos musicales a lo largo de su carrera, acumula también numerosas condenas. En 1997 fue arrestado y condenado por posesión de cientos archivos de pornografía infantil. Más tarde, Glitter se enfrentó a cargos criminales y deportaciones de muchos países como Vietnam y Camboya, todos relacionados con el abuso sexual infantil. Glitter fue deportado de Vietnam a Reino Unido al final de su sentencia, por la que fue incluido en el registro de delincuentes sexuales. Todas estas condenas convirtieron a Glitter en una de las figuras más despreciadas del Reino Unido. Nuevamente, fue acusado, en junio de 2014, de delitos sexuales contra niños. El 5 de febrero de 2015 fue declarado culpable de intento de violación, cuatro cargos de asalto indecente y uno por tener relaciones sexuales con una niña menor de 13 años, entre 1975 y 1980. Fue sentenciado a 16 años de cárcel. En fin, suponemos que no se refería a esto cuando Sting citó a este despreciable personaje al que, al parecer, quería emular. Y es que Sting siempre ha resultado un poquito pedante, no solo para el público sino también para sus compañeros, con los cuales ha mantenido una relación de superioridad intelectual, intentando, también en sus letras, demostrar al mundo su pasado académico y lo leído que estaba. Pero musicalmente era el más talentoso del trio. Su carrera en solitario ha sido la más prolífica y la de mayor éxito. Un ejemplo: If you love somebody set them free. Para el primer disco que grabó Sting en solitario en 1985, The dream of the blue turtles, reunió a un grupo de músicos reconocidos como estrellas del jazz. El disco incluía el sencillo de mayor éxito «If you love somebody set them free», que acabamos de escuchar, además de otros como «Foretress around your heart», «We work the black seam» o «Consider me gone». En el plazo de un año se convirtió en triple platino. Sin abandonar es trabajo, vamos a escuchar otro corte: We work the black sean. En 1987, publicó Nothing like the sun, disco que supondría su reencuentro musical con Andy Summers. El LP incluía los éxitos «We’ll be together», «Be still my beating heart», «Englishman in New York» y «They dance alone» (canción en referencia a las madres argentinas y chilenas que perdieron a sus hijos en sendas dictaduras), dedicado a su madre, recientemente fallecida, y que pronto se convirtió en doble disco de platino, siendo reconocido como uno de los discos más importantes del rock & roll de los años 80. Vamos también a escuchar un par de temas de este importante trabajo. En primer lugar, The dance alone Y ahora, we’ll be together Ya hemos comentado que Sting es el más exitoso del trío Police. Esto le ha convertido en tipo multimillonario. No hace mucho tiempo, el compositor vendió todas sus obras, pasadas y futuras, a la compañía EMI por 30 millones de dólares. Uno de los contratos más abultados de la historia de la música, después del que firmara en su momento Elton John. Sting ha logrado lo que pocos consiguieron: multiplicar como solista el éxito que lo había llevado a la fama como miembro de un grupo. Pero la cabra tira al monte y, el 11 de febrero de 2007, The Police anuncia su reunión y abren el show de los premios Grammy interpretando «Roxanne». El primer concierto de The Police fue llevado a cabo en Vancouver (Canadá) el 28 de mayo de 2007 frente a más de veinte mil fanáticos. Como otros muchos artistas, Sting se ha sentido subyugado por la cultura india. Ahora practica yoga y meditación, reconociendo que le ayuda a “sobrellevar” la vida de artista. (que conste que esto es literal). A principios de 2005 Sting proclamó su interés por el hinduismo y declaró que quería pasar mucho más tiempo en la India por cuya cultura se siente fascinado. En una entrevista declaró: «En este momento lo que más me gusta es la religión hindú [...] Me he convertido en un adicto a la India. [...] Querría pasar el resto de mi vida descubriendo ese precioso país». Ya, pero bueno, por el momento, el artista vive en la preciosa región de La Toscana, en Italia, un lugar que, a lo mejor es un poco menos espiritual pero que, sin lugar a dudas, es mucho más agradable para vivir. Bueno amigos, se acabó el tiempo por hoy (creo que esta frase la dicen mucho los psiquiatras, no). Bueno, el caso es que, efectivamente, se nos acabó el tiempo. Nos oímos la próxima semana con más historias, más músicos y más música. Hasta entonces, ¡¡¡BUENAS VIBRACIONES!!!
Pat welcomes Kevin Compton to the Co-Host chair to discuss the musical career of the band XTC. All of the songs Pat plays were picked by super fan Michael Bagford who also provides written commentary!
Part two of our look back to 1986. Ringo was finishing up narrating the "Thomas the Tank Engine" stories, Paul recorded tracks with Billy Joel's band for the unreleased "Return to Pepperland" album, and "Press to Play" hit shops after a bit of a delay. The Beatles had a hit record (again) as "Twist and Shout" rose the charts, and fans were treated to high-quality releases of both studio sessions (the bootleg/counterfeit of the scrapped "Sessions" album), and a near complete set of BBC recordings.
La aparición de XTC en la discografía coleccionada por Richard Coleman se inscribe, según comenta, entre casos afortunados promovidos por una tapa que vende, como la de Drums and Wires. Tapa híper moderna para aquella época ochentista. Los créditos del álbum agregan datos más que interesantes: ingeniería y producción discográfica Hugh Padgham y Steve Lillywhite, responsables, entre otras cosas, del gran disco de Peter Gabriel, Gabriel III. XTC se integró rápidamente a su era post punk, dice Richard que el camino continuó hacia una copia en cassette de Black Sea (1980), el disfrute de maravillosas polirritmias provenientes de las guitarras de Andy Partridge y Dave Gregory. Corría 1982, en su primer ensayo con Soda Stereo -su primer encuentro con Gus, además-, repasando data Gustavo Cerati le pregunta: ¿Conocés XTC? Respuesta obvia: ¿Vos también? Playlist: Respectable Street, General and Majors, Wake Up, Making Plans For Nigel.
In this episode we discuss and review Paul McCartney's 1986 album Press To Play. The album was Paul's attempt to find a "current" sound with producer Hugh Padgham, but the results and critiques were very mixed. We found some songs worth a listen, so check out what we had to say!
Music industry legend Hugh Padgham returns in the season 4 premier to brake down the iconic definitive Police album, Synchronicity.
Music industry legend Hugh Padgham returns in the season 4 premier to brake down the iconic definitive Police album, Synchronicity.
Icon puts a face on Face Value as the boys sit down with music industry legend Hugh Padgham to talk crappy Skype apps, the weather, and all things Phil Collins.
Icon puts a face on Face Value as the boys sit down with music industry legend Hugh Padgham to talk crappy Skype apps, the weather, and all things Phil Collins.
The first of a number of sit downs with one of the greatest engineer/producers of our generation, Hugh Padgham
The first of a number of sit downs with one of the greatest engineer/producers of our generation, Hugh Padgham
A new series in which each week Stuart Maconie examines the final album by a major artist. This week, Synchronicity by The Police. Released in 1983, it was the band's fifth album and it hit the number one spot on both sides of the Atlantic. In America, it knocked the commercial juggernaut of Michael Jackson's Thriller from the top of the charts, selling over 8 million copies in the process. It also produced five international hit singles, including their most famous track Every Breath You Take. As Sting & co toured the world to promote their most successful release, each night playing 60,000 seater venues, at that point in their career they could genuinely lay claim to being the biggest band on planet Earth. Although the split was never officially announced, Synchronicity was to be the last studio album they would ever record. Despite all of the success, the truth was the three members couldn't stand to be in the same room as each other. With archive interviews from Sting and Andy Summers and brand new contributions from Stewart Copeland, manager Miles Copeland, producer Hugh Padgham and journalist John Pidgeon, Stuart Maconie examines what went wrong.
Here's #23! Featuring The Police! Tracks: 1. Can't Stand Losing You (Sting) [From "Outlandos d'Amour"] 2. Contact* (Stewart Copeland) [from "Regatta De Blanc"] 3. When the World Is Running Down, You Make the Best of What's Still Around* (Sting) [from "Zenyatta Mondatta"] 4. Ωmega Man** (Andy Summers) [from "Ghost In The Machine"] 5. Low Life* (Sting) [B-Side to "Spirits In The Material World"] 6. O My God** (Sting) [from "Synchronicity"] 7. De Do Do Do, De Da Da Da* (Sting) [from "Zenyatta Mondatta] 8. Every Little Thing She Does Is Magic** (Sting) [from "Ghost In The Machine"] Produced by The Police, with *Nigel Grey and **Hugh Padgham. The Police are Sting (bass, vocals), Andy Summers (guitars, vocals) and Stewart Copeland (drums, vocals).