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Steve Lillywhite

Steve Lillywhite

English record producerWikipedia

Search complete. 48 mentions across 23 episodes found for "Steve Lillywhite".

Sep 15, 2026

RobHOST
2:28
And this is the first album that they did without longtime producer Terry Brown, who had done every album with them from Fly By Night to Signals.
RobHOST
2:36
And they originally were going to use a producer named Steve Lillywhite.
RobHOST
2:38
And this is sort of part of Rush lore.
RobHOST
2:41
Getty even mentions this in his 2024 biography, how mad they were when Steve Lillywhite...
RobHOST
2:47
He
CraigHOST
2:47
backed out
Tom BaileyGUEST
19:26
[laughs]
Steve BlameHOST
19:27
You worked, early on you worked with Steve Lillywhite, and we've just mentioned-
Tom BaileyGUEST
19:31
Yeah
Steve BlameHOST
19:31
... uh, Thomas Dolby.
speaker_0ADVERTISER
23:23
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speaker_0ADVERTISER
23:29
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Tom BaileyGUEST
23:35
I, I, I think Steve Lillywhite, to answer your question, said once, um, In The Name of Love was the only record he's ever made that used a drum machine.
Tom BaileyGUEST
23:46
[laughs] So it wasn't really his bag, you know.
DonHOST
5:57
Yeah, and so they were, you know, known for their improvisation across genres, rock, jazz, funk, bluegrass, psychedelia, and so forth.
DonHOST
6:06
Billy Breathes was produced by Steve Lillywhite, who we've talked about quite a bit.
DonHOST
6:11
I would not have guessed that.
DonHOST
6:12
No, no.

16 MINS LATER

DudeHOST
21:46
I was stretching.
DonHOST
21:48
Production.
DonHOST
21:49
So, again, Steve Lillywhite is the producer.
DonHOST
21:52
And it sounds like he was a force in kind of keeping them tighter or shorter songs, more direct songs.
Matt NathansonGUEST
51:04
Bono picking Ino and then Ino bringing Lanois is such a crucial part of their development.
Matt NathansonGUEST
51:12
Because... that's why Bono was so great at what he did because he understood the team and he understood that the band needed something more than Steve Lillywhite.
Matt NathansonGUEST
51:23
And so to bring in, you know, and Lanois who were just, Lanois was just beginning to be the master.
Matt NathansonGUEST
51:30
Um, it's, it's just, it's everything.
Jason BarnardHOST
5:52
mean, really productive stuff.
Jason BarnardHOST
5:53
Almost every single year there was a new album with Steve Lillywhite and Hugh Padgham.
John LeckieGUEST
5:58
Yeah.
Jason BarnardHOST
5:59
Were you doing it from about 79 to 80? What was I doing? But what were you doing in the period of Drums and Wires, for example, and Black Sea?
speaker_0HOST
26:39
This was their return to the studio after a five-year breakup.
speaker_0HOST
26:43
It was produced by Steve Lillywhite and peaked at number 13 on the Billboard Albums chart.
speaker_0HOST
26:49
It had tracks backwards down the number line and time turns elastic.
speaker_0HOST
26:58
Also, on that same day, they did sort of a twofer.
RalphHOST
9:36
Do either of you wanna take a crack at this, by the way? I bet you can do it.
Keith Lowell JensenGUEST
9:41
Uh, I'm gonna guess Steve Lillywhite is in the chain.
RalphHOST
9:44
That's not what I was thinking of, but yes, that would work.
RalphHOST
9:47
So Steve Lillywhite produced for The Pogues.
Keith Lowell JensenGUEST
9:51
Right.
RalphHOST
9:51
But he also produced for Ralph? King Crimson? No.
RalphHOST
9:58
Oh, okay.
RalphHOST
9:59
Uh- No, you tell me.

Unknown podcast

Gated Reverb Explained: The Phil Collins–Hugh Padgham Innovation Behind 80s Drum Power

Sep 8 · 1 Mention

speaker_1UNKNOWN
3:45
That unintentional artifact was what Collins' snare eventually sounded like.
speaker_1UNKNOWN
3:51
Once that demo landed, other producers like Steve Lillywhite were eager to replicate the sound.
speaker_1UNKNOWN
3:57
They would load up a reverb module and plug a gate downstream.
speaker_1UNKNOWN
4:02
Even if you had only analog gear, say a plate reverb followed by a hardware noise gate, you could nail the '80s aesthetic.

Unknown podcast

Virgin Records and the Signing of The Sex Pistols

Sep 6 · 1 Mention

speaker_0UNKNOWN
5:48
Recording that album was another saga of chaos and precision.
speaker_0UNKNOWN
5:53
The band worked under producer Steve Lillywhite with an unpolished, raw approach, recording live takes with minimal overdubs to capture their frenetic energy.
speaker_0UNKNOWN
6:05
The songs were written over several months With Sid Vicious joining early on and later replaced by Glen Matlock in the studio due to creative differences.
speaker_0UNKNOWN
6:17
This period highlighted how punk could still produce complex songwriting even under a tight budget.

Unknown podcast

The Clash and the 1980 Triple‑Album Gamble: How ‘Sandinista!’ Broke Punk Rules

Sep 5 · 1 Mention

speaker_1UNKNOWN
2:13
It was a collective experiment.
speaker_1UNKNOWN
2:16
Speaking of experiments, they had hired engineer Steve Lillywhite and producer Mick Jones, but the band kept an almost total DIY feel in the mixing rooms.
speaker_1UNKNOWN
2:27
They'd gone to the studios at Red Bus Studios in London.
speaker_1UNKNOWN
2:31
There, the trio of strummers, Jones, Strummer, Simonin, were constantly flipping dials for dub echo chambers while Hedden was busy on his drums.

13 more episodes mention Steve Lillywhite.

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