Hugh Padgham

Hugh Padgham was among the most successful producers in contemporary British pop, perhaps best known for his extended collaboration with <a href="spotify:artist:4lxfqrEsLX6N1N4OCSkILp">Phil Collins</a>. His career began during the early '80s, at which time he served as a recording engineer on high-profile projects including <a href="spotify:artist:7C4sUpWGlTy7IANjruj02I">Peter Gabriel</a>'s third solo LP, <a href="spotify:artist:2qT62DYO8Ajb276vUJmvhz">XTC</a>'s Black Sea, and <a href="spotify:artist:7AC976RDJzL2asmZuz7qil">Yes</a>' Drama. In 1981, Padgham graduated to production duties with <a href="spotify:artist:5NGO30tJxFlKixkPSgXcFE">the Police</a>'s Ghost in the Machine; that same year, he also produced <a href="spotify:artist:70OOVjoX5a8tiVKwUYgqQ0">Collins</a>' Face Value, working with the singer on <a href="spotify:artist:3CkvROUTQ6nRi9yQOcsB50">Genesis</a>' Abacab as well. In 1982, Padgham reunited with <a href="spotify:artist:70OOVjoX5a8tiVKwUYgqQ0">Collins</a> for Hello, I Must Be Going!, while also working again with <a href="spotify:artist:2qT62DYO8Ajb276vUJmvhz">XTC</a> on the acclaimed English Settlement and with <a href="spotify:artist:0Upmz8QvuLAkKAfRlJYWTL">Split Enz</a> on their Time and Tide; all were very successful, and in the wake of the blockbuster sales of <a href="spotify:artist:5NGO30tJxFlKixkPSgXcFE">the Police</a>'s 1983 LP Synchronicity and <a href="spotify:artist:3CkvROUTQ6nRi9yQOcsB50">Genesis</a>' self-titled smash, he became one of the most sought-after producers around.

Although <a href="spotify:artist:0oSGxfWSnnOXhD2fKuz2Gy">David Bowie</a>'s dismal 1984 effort Tonight was a rare misstep, Padgham returned to form a year later with <a href="spotify:artist:70OOVjoX5a8tiVKwUYgqQ0">Collins</a>' blockbuster No Jacket Required, which won a Grammy as Album of the Year. After wrapping up work on <a href="spotify:artist:3CkvROUTQ6nRi9yQOcsB50">Genesis</a>' 1986 smash Invisible Touch, he worked with <a href="spotify:artist:4STHEaNw4mPZ2tzheohgXB">Paul McCartney</a> on Press to Play, but maintained an increasingly low profile over the remaining years of the decade, scoring his greatest commercial success with <a href="spotify:artist:70OOVjoX5a8tiVKwUYgqQ0">Collins</a>' 1989 album ...But Seriously while also producing critically well-received efforts from <a href="spotify:artist:5sMku8iI6FH3ypZTErz4kv">Julian Cope</a> (My Nation Underground) and <a href="spotify:artist:0iCwkCRUEPkbSNyTVPKxf2">Julia Fordham</a> (Porcelain). In 1991, Padgham reunited with <a href="spotify:artist:0Ty63ceoRnnJKVEYP0VQpk">Sting</a> for The Soul Cages, and worked with Michelle Shocked on Arkansas Traveler; <a href="spotify:artist:0Ty63ceoRnnJKVEYP0VQpk">Sting</a>'s Ten Summoner's Tales followed in 1993, as did <a href="spotify:artist:01Ppu7N8uYJI8SAONo2YZA">Melissa Etheridge</a>'s hit Yes I Am. In 1996, he worked again with <a href="spotify:artist:70OOVjoX5a8tiVKwUYgqQ0">Collins</a> on Dance into the Light and with <a href="spotify:artist:0Ty63ceoRnnJKVEYP0VQpk">Sting</a> on Mercury Falling, effectively bringing his career full circle. During the 2000s Padgham continued to work with <a href="spotify:artist:0Ty63ceoRnnJKVEYP0VQpk">Sting</a>, and also produced such albums as In Violet Light (2002) by <a href="spotify:artist:0YMeriqrS3zgsX24nfY0F0">the Tragically Hip</a> and I Want You to Know That There Is Always Hope (2008) by <a href="spotify:artist:4gabaIWq4MwMxp6HT3z5Eb">I Was a Cub Scout</a>. ~ Jason Ankeny, Rovi