Skip to main content

Interview: producer Hugh Padgham on Yes, Genesis and Derek & Clive

Hugh Padgham
(Image credit: Hugh Padgham)

He’s the man who produced Genesis during the hugely successful period in the 80s, and also worked with Peter Gabriel, and on Yes’ Drama opus. This is Hugh Padgham.

“I started as a tape op at Advision Studios in London at the end of 1973,” he says of his first job. “But I was made redundant because of the three-day week in 1974. However,I got a job at Lansdowne Studios [also in London], which was owned by a jazz producer called Denis Preston. I worked with so many different types of bands from avant-garde jazz to heavy rock and pop. I got a very good overall education in recording techniques.”

Padgham’s big break came when he became involved with Townhouse Studios in London.

“We had the best equipment, and I was constantly busy. We opened in late ’78, and I didn’t have time for a holiday for a few years! My first session there was on the Derek and Clive album Ad Nauseum. And in ’79 I got to work with Peter Gabriel on his third solo album. It was a real experience working with him – he takes so long to do anything!”

It was through Gabriel that Padgham met Phil Collins, working with him on the enormously successful Face Value album in 1981, and was then introduced to the world of Genesis. His first album with them was 1981’s Abacab; he was also there for 1983’s self-titled release and then for the monster-selling Invisible Touch three years later.

“It was Phil who brought me in, to record Abacab,” recalls Padgham. “I co-produced the others. During that period they were more rhythm- oriented, and a rock band as opposed to a prog one. Genesis were fine to work with, and I’m proud that those albums were their most commercially successful.”

If the Genesis sessions were smooth, then the same cannot be said of Drama.

“It was full of dramas. There was so much tension around. I’d done a Buggles session, and it was Trevor Horn who roped me into the Yes camp to help out. Eddy Offord [who produced the album with the band] was mad, but a genius. I got on well with Steve Howe and Alan White. But it was not easy!”

These days, Padgham has his own studio, which he believes is essential, for any producer, and despite the massive fall in record sales is still much in demand.

This feature originally appeared in Prog 7. 

Malcolm Dome

Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica, published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the Anthrax song Metal Thrashing Mad in 1984. He would later become a founding member of RAW rock magazine in 1988.

In the early 90s, Malcolm Dome was the Editor of Metal Forces magazine, and also involved in the horror film magazine Terror, before returning to Kerrang! for a spell. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He was actively involved in Total Rock Radio, which launched as Rock Radio Network in 1997, changing its name to Total Rock in 2000. In 2014 he joined the TeamRock online team as Archive Editor, uploading stories from all of our print titles and helping lay the foundation for what became Louder.

Dome was the author of many books on a host of bands from AC/DC to Led Zeppelin and Metallica, some of which he co-wrote with Prog Editor Jerry Ewing.