Masters of Production: Hugh Padgham

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Hugh Padgham is one of the world’s top producers, on par music industry legends like Phil Spector, George Martin, Quincy Jones, Phil Ramone, Brian Eno, and Rick Rubin, to name but a few. The reason why Padgham enjoys, perhaps, not quite the same name recognition is because he prefers to remain behind the scenes, or, in his case, the desk. He likes to call himself “an invisible catalyst,” someone who gets the best out of the artists he works with, without taking any of the limelight.

Over the course of a career spanning five decades, Padgham has been the “invisible catalyst” behind dozens of best-selling, multi-platinum albums, many of them genuinely ground-breaking. Among them are recordings by XTC, Peter Gabriel, The Police, Yes, Phil Collins, Genesis, Kate Bush, David Bowie, Howard Jones, Paul McCartney, Sting, Roger Waters, Suzanne Vega, Sheryl Crow, The Bee Gees, Peter Frampton, McFly, and many more. Altogether it earned him four Grammy Awards.

Most of the above-mentioned credits are British, and there is indeed something quintessentially British about Padgham as a person, his engineering and production approach, as well as the musical directions he tends to works with. Padgham’s most important and innovative musical achievements came into being during 1978-1985, a period that has been critically underrated, as it was sandwiched between more attention-grabbing genres like prog rock, punk and AOR in the 1970s and (synth)pop, hip-hop, alternative rock, and heavy metal in the 1980s.

While the late seventies did see the rise of the much-lauded New Wave movement in the US, in the UK completely different yet equally epoch-making developments were afoot, resulting in a wave of pioneering albums that introduced not only new musical developments, but that also were the first with a truly modern sound. The reason for the latter was that, in contrast to the US, the British innovations were to a large degree inspired by new developments in studio and music technology.
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