Steve Lillywhite
English record producerWikipedia
48
MENTIONS
23
EPISODES
20
PODCASTS
Search complete. 48 mentions across 23 episodes found for "Steve Lillywhite".
Sep 15, 2026
Ep. 20: April 1984 - Rush, Venom, Saxon, Corrosion of Conformity, Grave Digger
R
2:28RobHOST
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.
R
2:36RobHOST
And they originally were going to use a producer named Steve Lillywhite.
R
2:38RobHOST
And this is sort of part of Rush lore.
R
2:41RobHOST
Getty even mentions this in his 2024 biography, how mad they were when Steve Lillywhite...
R
2:47RobHOST
He
C
2:47CraigHOST
backed out
Tom Bailey
T
19:26Tom BaileyGUEST
[laughs]
S
19:27Steve BlameHOST
You worked, early on you worked with Steve Lillywhite, and we've just mentioned-
T
19:31Tom BaileyGUEST
Yeah
S
19:31Steve BlameHOST
... uh, Thomas Dolby.
S
23:23speaker_0ADVERTISER
Acast helps creators launch, grow, and monetize their podcasts everywhere.
S
23:29speaker_0ADVERTISER
Acast.com.
T
23:35Tom BaileyGUEST
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.
T
23:46Tom BaileyGUEST
[laughs] So it wasn't really his bag, you know.
I Love 1996: Phish & Fugees
D
5:57DonHOST
Yeah, and so they were, you know, known for their improvisation across genres, rock, jazz, funk, bluegrass, psychedelia, and so forth.
D
6:06DonHOST
Billy Breathes was produced by Steve Lillywhite, who we've talked about quite a bit.
D
6:11DonHOST
I would not have guessed that.
D
6:12DonHOST
No, no.
16 MINS LATER
D
21:46DudeHOST
I was stretching.
D
21:48DonHOST
Production.
D
21:49DonHOST
So, again, Steve Lillywhite is the producer.
D
21:52DonHOST
And it sounds like he was a force in kind of keeping them tighter or shorter songs, more direct songs.
Episode 414: Episodes Revisited - From The Archives - Matt Nathanson discusses "Achtung Baby" from U2
M
51:04Matt NathansonGUEST
Bono picking Ino and then Ino bringing Lanois is such a crucial part of their development.
M
51:12Matt NathansonGUEST
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.
M
51:23Matt NathansonGUEST
And so to bring in, you know, and Lanois who were just, Lanois was just beginning to be the master.
M
51:30Matt NathansonGUEST
Um, it's, it's just, it's everything.
John Leckie on XTC and The Dukes of Stratosphear
J
5:52Jason BarnardHOST
mean, really productive stuff.
J
5:53Jason BarnardHOST
Almost every single year there was a new album with Steve Lillywhite and Hugh Padgham.
J
5:58John LeckieGUEST
Yeah.
J
5:59Jason BarnardHOST
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?
Michael Jackson Kisses Lisa Marie Presley At The MTV VMAs, Chuck Berry Duck Walks: Music History Today Podcast September 8
S
26:39speaker_0HOST
This was their return to the studio after a five-year breakup.
S
26:43speaker_0HOST
It was produced by Steve Lillywhite and peaked at number 13 on the Billboard Albums chart.
S
26:49speaker_0HOST
It had tracks backwards down the number line and time turns elastic.
S
26:58speaker_0HOST
Also, on that same day, they did sort of a twofer.
Hell's Ditch by The Pogues
R
9:36RalphHOST
Do either of you wanna take a crack at this, by the way? I bet you can do it.
K
9:41Keith Lowell JensenGUEST
Uh, I'm gonna guess Steve Lillywhite is in the chain.
R
9:44RalphHOST
That's not what I was thinking of, but yes, that would work.
R
9:47RalphHOST
So Steve Lillywhite produced for The Pogues.
K
9:51Keith Lowell JensenGUEST
Right.
R
9:51RalphHOST
But he also produced for Ralph? King Crimson? No.
R
9:58RalphHOST
Oh, okay.
R
9:59RalphHOST
Uh- No, you tell me.
P
Unknown podcast
Gated Reverb Explained: The Phil Collins–Hugh Padgham Innovation Behind 80s Drum Power
Sep 8 · 1 Mention
S
3:45speaker_1UNKNOWN
That unintentional artifact was what Collins' snare eventually sounded like.
S
3:51speaker_1UNKNOWN
Once that demo landed, other producers like Steve Lillywhite were eager to replicate the sound.
S
3:57speaker_1UNKNOWN
They would load up a reverb module and plug a gate downstream.
S
4:02speaker_1UNKNOWN
Even if you had only analog gear, say a plate reverb followed by a hardware noise gate, you could nail the '80s aesthetic.
P
Unknown podcast
Virgin Records and the Signing of The Sex Pistols
Sep 6 · 1 Mention
S
5:48speaker_0UNKNOWN
Recording that album was another saga of chaos and precision.
S
5:53speaker_0UNKNOWN
The band worked under producer Steve Lillywhite with an unpolished, raw approach, recording live takes with minimal overdubs to capture their frenetic energy.
S
6:05speaker_0UNKNOWN
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.
S
6:17speaker_0UNKNOWN
This period highlighted how punk could still produce complex songwriting even under a tight budget.
P
Unknown podcast
The Clash and the 1980 Triple‑Album Gamble: How ‘Sandinista!’ Broke Punk Rules
Sep 5 · 1 Mention
S
2:13speaker_1UNKNOWN
It was a collective experiment.
S
2:16speaker_1UNKNOWN
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.
S
2:27speaker_1UNKNOWN
They'd gone to the studios at Red Bus Studios in London.
S
2:31speaker_1UNKNOWN
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.
Create an account to see the whole feed, search across every transcript, and follow the entities you care about.