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Record producer (music producer)

A Danish recording session
Occupation
Names	Record Producer
Activity sectors	Music Industry Music
Description
Competencies	Instrumental Skills, Keyboard Knowledge

A record producer is an individual working within the music industry, whose job is to oversee and manage the recording (i.e. "production") of an artist's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, selecting songs and/or musicians, coaching the artist and musicians in the studio, controlling the recording sessions, and supervising the entire process through mixing and mastering. Producers also often take on a wider entrepreneurial role, with responsibility for the budget, schedules, and negotiations.

Today, the recording industry has two kinds of producers: executive producer and music producer; they have different roles. While an executive producer oversees a project's finances, a music producer oversees the creation of the music.

A music producer can, in some cases, be compared to a film director, with noted practitioner Phil Ek himself describing his role as "the person who creatively guides or directs the process of making a record, like a director would a movie. The engineer would be more the cameraman of the movie."^[1] The music producer's job is to create, shape, and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will typically develop an overall vision for the album and how the various songs may interrelate.

In the US, before the rise of the record producer, someone from A&R would oversee the recording session(s), assuming responsibility for creative decisions relating to the recording.

With today's relatively easy access to technology, an alternative to the record producer just mentioned, is the so called 'bedroom producer'. With today's technological advances, it is very easy for a producer to achieve high quality tracks without the use of a single instrument; that happens in urban music (like hip hop, rap, etc). Many established artists take this approach.

In most cases the music producer is also a competent arranger, composer, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer is also in charge of the creative mix. He or she will liaise with the sound engineer who concentrates on the technical aspects of recording, whereas the music producer keeps an eye on the overall project's marketability.

History[link]

Early record producers[link]

During the 1890s, Fred Gaisberg ran the first recording studio and provided the closest approximation of production by guiding an opera singer closer or further away from a gramophone's horn to match the dynamics in the score. (Citation: Gronow and Saunio 1998, p. 8; Moorefield 2005, p. 1).

However in the first part of the 20th century the record producer's role was similar to the role of a film producer in that the record producer organized and supervised recording sessions, paid technicians, musicians and arrangers, and sometimes chose material for the artist. In the mid-1950s a new category emerged, that of the independent record producer. Among the most famous early independent producers are the famed songwriting-production duo Leiber & Stoller, "Wall of Sound" creator Phil Spector and British studio pioneer Joe Meek.

Magnetic tape enabled the establishment of independent recording studios in major recording centres such as London, Los Angeles and New York. Unlike the old record company studios, which were effectively a "closed shop", these new studios could be hired by the hour by anyone who could afford to do so.

The biggest and best commercial studios were typically established and operated by leading recording engineers. They were carefully constructed to create optimum recording conditions, and were equipped with the latest and best recording equipment and top-quality microphones, as well as electronic amplification gear and musical instruments.

Top-line studios such as Olympic Studios in London, Fine Recording in New York City, United Western Recorders, and Musart in Los Angeles quickly became among the most sought-after recording facilities in the world, and both these studios became veritable "hit factories" that produced many of the most successful pop recordings of the latter 20th century.

Evolution of the role of the producer[link]

Prior to the 1950s, the various stages of the recording and marketing process had been carried out by different professionals within the industry – A&R managers found potential new artists and signed them to their labels; professional songwriters created new material; publishing agents sold these songs to the A&R people; staff engineers carried out the task of making the recordings in company-owned studios.

Freed from this traditional system by the advent of independent commercial studios, the new generation of entrepreneurial producers – many of whom were former record company employees themselves – were able to create and occupy a new stratum in the industry, taking on a more direct and complex role in the musical process. This development in music was mirrored in the TV industry by the concurrent development of videotape recording and the consequent emergence of independent TV production companies like Desilu.

The new generation of independent producers began forming their own record production companies, and in many cases they also established their own recording labels, signing deals that enabled the recordings they produced to be manufactured and distributed by a major record company. This usually took the form of a lease deal, in which the production company leased the usage rights to the original recording to a major label, who would press, distribute and promote the recording as their own, in return for a percentage of any profit; the ownership of the master recordings typically reverted to the producer after the deal expired.

Producers would now typically carry out most or all of the various production tasks themselves, including selecting and arranging songs, overseeing sessions (and sometimes also engineering the recordings) and even writing the material^[2], although it became a common practice for producers to claim a writing credit even if they did not actually contribute to the song.

Independent music production companies rapidly gained a significant foothold in popular music and soon became the main intermediary between artist and record label, discovering and signing new artists to production contracts, producing the recordings and then licensing the finished product to record labels for pressing, promotion and sale. (This was a novel innovation in the popular music field, although a broadly similar system had long been in place in many countries for the production of content for broadcast radio.) The classic example of this transition is renowned British producer George Martin, who worked as a staff producer and A&R manager at EMI for many years, before branching out on his own and becoming a highly successful independent producer with his AIR (Associated Independent Recordings) production company and studios.

As a result of these changes, record producers began to exert a strong influence, not only on individual careers, but on the course of popular music. A key example of this is Phil Spector, who defined the gap between early rock and roll and the Beatles (1959–1964). Although many of Spector's s productions were credited to acts such as The Ronettes, The Crystals, the Righteous Brothers, the Paris Sisters and Bob B. Soxx & the Blue Jeans, in reality they were created using a crack team of top-rank Los Angeles session players (now known as "The Wrecking Crew") and often featured an interchangeable lineup of lead singers, including Ronnie Spector and Darlene Love. The prime example of Spector's modus operandi is the record widely regarded as his masterpiece, "River Deep, Mountain High". It is credited to "Ike & Tina Turner", but it is now well-known that Ike Turner was paid $20,000 to stay away from the sessions; the backing track was in fact performed by the Wrecking Crew, and the backing vocals were provided by a chorus of 21 singers, comprised of Ikettes Janice Singleton and Diane Rutherford and most of the female singers on Spector's roster, including Ronnie Spector, Darlene Love and Cher. Spector's Wall of Sound production technique also persisted after that time with his select recordings of the Beatles, the Ramones, Leonard Cohen, George Harrison, Dion and Ike and Tina Turner.

Some producers also became de facto recording artists, creating records themselves or with anonymous studio musicians and releasing them under a pseudonym. In the USA, some of the earliest examples in popular music were the novelty records released under the name Alvin & The Chipmunks, which became hits in many countries in the mid-1950s. These records, written, performed and produced by entertainer David Seville, relied on the simple gimmick of recording an instrumental track, then overdubbing the vocals while the the tape ran at half-speed. When played back at regular speed, the music would sound normal, and the voices would remain synchronised with the music, but the pitch and timbre of the voices would be dramatically shifted up, creating the instantly recognisable, chirpy "helium" effect. In the UK in the early 60s, Joe Meek was the first British pop producer to make records with studio-created groups, and he had major hits with singles like "Telstar" and Heinz's "Just Like Eddy".

Other examples of this phenomenon include the records by fictional groups the Archies and Josie & the Pussycats, produced by Don Kirshner and Danny Jansen respectively, who were contracted by TV production companies to produce these records to promote the animated children's TV series of the same name. Similarly, Jeff Barry and Andy Kim recorded as the Archies. The same producer-as-artist phenomenon can be found with many modern-day pop-oriented street- and electronic-music artists. In later years this became a prominent and often successful sideline for major producers, as evidenced by the string of albums by the studio group The Alan Parsons Project (created by former EMI/Abbey Road staff engineer Alan Parsons) and the successful musical adaptation of H.G. Wells' War of the Worlds, devised and produced by former David Essex producer Jeff Wayne.

Another change that occurred for the role of producers occurred progressively over the 50’s and 60’s. The development of multitrack recording and new technology such as electric guitars, amplifiers, and better microphones led to a fundamental change in the way recordings were made. The goal of recording no longer was simply accurately capturing and documenting live performance. Instead producers could manipulate sounds to an unprecedented degree and producers like Spector and Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio and were no longer reserved to the role of functional engineer. Examples of such engineers includes George Martin, Joe Meek, Teo Macero, Phil Spector, Brian Wilson, and Biddu. These producers became known as creative producers who turned the studio into a creative space.

Another notable related phenomenon in the 1960s was the emergence of the performer-producer. As pop acts like The Beatles, The Rolling Stones, The Beach Boys and The Kinks rapidly gained expertise in studio recording techniques, the leaders of many of these groups eventually took over as producers of their own work. In some cases this was not credited at the time - many recordings by acts such as The Rolling Stones, The Small Faces, Donovan, The Kinks and The Who are credited to their various producers of the time, Andrew Loog Oldham. Mickie Most or Shel Talmy, but many of these performers have since asserted that many of their recordings in this period were (in practial terms) either self-produced - e.g. The Rolling Stones' Decca recordings - or were collaborations between the group and their recording engineer - e.g. The Small Faces' Immediate recordings, which were made with Olympic Studios engineer Glyn Johns.

Similarly, although The Beatles' productions were credited to George Martin throughout their recording career, many sources now attest that Lennon and McCartney in particular had an increasing influence on the production process as the group's career progressed,and especially after the band retired from touring in 1966. The Beach Boys are probably the best example of this trend - within two years of the band's commercial breakthrough, group leader Brian Wilson had taken over from his father Murry, and he was sole producer of all their recordings between 1963 and 1967. Alongside The Beatles and Martin, Wilson also pioneereed many production innovations - by 1964 he had developed Spector's techniques to a new level of sophistication, using multiple studios and multiple "takes" of instrumental and vocal components to capture the best possible combinations of sound and performance, and then using tape editing extensively to assemble a perfect composite performance from these elements.

Equipment and technology[link]

Mixing Console

There are numerous different technologies utilized by the producer. In modern day recordings, recording and mixing tasks are centralized within computers. However, there is also the main mixer, outboard effects gear, MIDI controllers, and the recording device itself.

See also[link]

• Music executive
• Musician
• Audio engineering

References[link]

Further reading[link]

• Gibson, David and Maestro Curtis. "The Art of Producing". 1st. Ed. USA. ArtistPro Publishing, 2004. ISBN 1-931140-44-8
• Burgess, Richard James. The Art of Music Production. 3rd Ed. UK. Music Sales, 2005. ISBN 1-84449-432-4
• Hewitt, Michael. Music Theory for Computer Musicians. 1st Ed. USA. Cengage Learning, 2008. ISBN 139781598635034
• Gronow, Pekka and Ilpo Saunio (1998). An International History of the Recording Industry. ISBN-X. Cited in Moorefield (2005).
• Moorefield, Virgil (2005). The Producer as Composer: Shaping the Sounds of Popular Music. ISBN. 123
• Olsen, Eric et al. (1999). The Encyclopedia of Record Producers. ISBN 0-8230-7607-5, ISBN 978-0-8230-7607-9
• Zak, Albin. The Poetics of Rock: Cutting Tracks, Making Records. Berkeley: University of California Press, 2001.
• List of the Producers of the Current Top 100 Songs, Top 100 – Album Credits

External links[link]

• Record Producer Video Interviews
• Music Producers Directory

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Rob Cavallo at the Yahoo! Yodel Studio on October 13, 2009

Rob Cavallo is a record producer and A&R, most famous for signing and producing Green Day^[1]. He is currently Chairman of Warner Bros. Records.^[2]

History[link]

Cavallo, born in Washington, D.C., moved to Los Angeles, California when he was about ten years old. As a teenager, he played in local bands, and after graduating from high school he began working as a recording engineer.^[3] Cavallo eventually graduated from the University of Southern California where he received a Bachelor of Arts degree in English Composition, Communications and Sociology in 1985.^[4] In the mid– to late 1980s, Cavallo worked with the so–called "hair metal" bands around Hollywood as a record producer. This continued into the 1990s, but when the "hair metal" scene died out, he began seeking out alternative rock bands to work with.

Cavallo currently lives in Hidden Hills, California with his wife Kim and children.

Projects[link]

Cavallo was an in–house producer with the band Green Day. He has co–produced every album from their multi–platinum success Dookie to American Idiot. Cavallo has also produced four studio albums for the Goo Goo Dolls, 1998's Dizzy Up the Girl, 2002's Gutterflower, 2006's Let Love In, and 2010's, Something for the Rest of Us.

Cavallo has also produced records for Jawbreaker, Alanis Morissette, Sixpence None the Richer, Less Than Jake, Fleetwood Mac, Jewel, My Chemical Romance, Kid Rock, Avril Lavigne, Paramore, David Cook, Shinedown, Dave Matthews Band, Adam Lambert, Switchfoot, and Meat Loaf, among others.

Partial discography[link]

Goo Goo Dolls[link]

• Dizzy Up the Girl (1998)
• Gutterflower (2002)
• Let Love In (2006)
• Something for the Rest of Us (2010)

Green Day[link]

• Dookie (1994)
• Insomniac (1995)
• Nimrod (1997)
• Warning (executive producer) (2000)
• Shenanigans (2002)
• Cigarettes and Valentines (unreleased) (2003)
• American Idiot (2004)
• ¡Uno!, ¡Dos!, and ¡Tré! (2012/2013)

My Chemical Romance[link]

• The Black Parade (2006)
• Danger Days: The True Lives of the Fabulous Killjoys (2010)

Avril Lavigne[link]

• The Best Damn Thing (2007)

Other projects[link]

• 1995 – Dear You – Jawbreaker
• 1997 – The Beauty Process: Triple Platinum – L7
• 2000 – Sooner or Later – BBMak
• 2001 – Weird Revolution – Butthole Surfers
• 2001 – Blowback – Tricky
• 2002 – Divine Discontent – Sixpence None the Richer
• 2003 – Anthem – Less Than Jake
• 2003 – Say You Will – Fleetwood Mac
• 2003 – My Degeneration – Flashlight Brown
• 2004 – B is for B–sides – Less Than Jake
• 2004 – Trouble – Bonnie McKee
• 2005 – Room Noises – Eisley
• 2006 – Under The Skin – Lindsey Buckingham
• 2006 – Goodbye Alice in Wonderland – Jewel
• 2006 – Paris – Paris Hilton
• 2007 – Happiness Ltd. – Hot Hot Heat
• 2007 – Rock N Roll Jesus – Kid Rock
• 2008 – All Sides – O.A.R.
• 2008 – Gift Of Screws – Lindsey Buckingham
• 2008 – David Cook – David Cook
• 2008 – Coming To Terms – Carolina Liar
• 2008 – The Sound of Madness – Shinedown
• 2009 – Big Whiskey and the GrooGrux King – Dave Matthews Band
• 2009 – Happy Hour – Uncle Kracker
• 2009 – Brand New Eyes – Paramore
• 2009 – Hello Hurricane – Switchfoot
• 2009 – For Your Entertainment – Adam Lambert
• 2010 – Foxy Shazam – Foxy Shazam
• 2010 – Hang Cool, Teddy Bear – Meat Loaf
• 2011 – People and Things – Jack's Mannequin
• 2012 – Amaryllis – Shinedown
• 2011 - 2012 Untitled - The Indecent

Other work[link]

• RENT: Original Motion Picture Soundtrack (2005)

References[link]

External links[link]

• Rob Cavallo's legendary Taylor Guitar used on 10 number one songs

• Video Interview with Rob Cavallo

Eric Lau is a British music producer and DJ from London, England. His production style is characterized by heavy drums, often unrecognisable samples and a mixture of live and sequenced instrumentation.

He first gained exposure with the song "Im Fine" featuring Rahel on Gilles Peterson's Brownswood Bubblers (Part 4),^[1] this release marked the resurgence of the stripped back soul style and was followed swiftly by his debut EP for Fat City Records.

He released his debut album "New Territories" in 2008 on Ubiquity Records to critical acclaim. Straight No Chaser wrote "New Territories represents the arrival of a talented artist and perceptive one-man production house."^[2]

After a two year absence Lau returned in 2010 with a new EP titled "Kilawatt: V2", as the second instalment of the producer series released by Kilawatt. The release was received positively by both critics and fans.

On 27 September 2010, Lau released a 20-track instrumental LP entitled "Makin' Sound".

In February 2011 Lau followed up "Makin' Sound" with "Quadrivium", another 20-track instrumental project, featuring music inspired by the John Martineau book of the same name.

In November 2011 Lau released "The Mission - Single" with Detroit rapper Guilty Simpson and Georgia Anne Muldrow contributing a remix.

On February 3, 2012 Lau released the much anticipated "The Mission - EP", featuring vocals from rapper Guilty Simpson, Fatima and Olivier Daysoul. The vinyl edition of the release also featured contributions from drummer Chris "Daddy" Dave, and producer Damu The Fudgemunk.

Discography[link]

• Brownswood Bubblers (Part 4) (2006)
• Presents Dudley And Friends (2006)
• Producer No. 1 (2007)
• New Territories (2008)
• Kilawatt V2 (2010)
• Eric Lau & Friends - See & Under Standing (Reprise) (2010)
• Makin' Sound (2010)
• Quadrivium (2011)
• The Mission - Single (2011)
• The Mission - EP (2012)
• What I'd Rather - Single (2012)

References[link]

External links[link]

• Kilawatt Music's Web Site
• Ubiquity Records Web Site

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Bryan-Michael Cox (born December 1, 1977) is an American songwriter and record producer. In 2009, Cox was inducted into the Georgia Music Hall of Fame.

History[link]

Bryan-Michael Cox was born in Miami and grew up in Houston, where he attended the High School for the Performing and Visual Arts. While in the eleventh grade he met and was mentored by Greg Curtis (who produced and co-wrote Keyshia Cole's 2006 hit, "Love"). Under Curtis, Cox learned the basic foundation of creating songs, including production, using audio equipment, recording, as well as structuring and writing songs. During his senior year, he was joined at the school by singer Beyoncé Knowles and her former Destiny's Child group member LeToya Luckett. He was part of a recording session, which consisted of three demo songs, for the group then known only as "Destiny".

In 1997, he moved to Atlanta to attend Clark Atlanta University (CAU), where he majored in music. He obtained an unpaid internship with the Noontime production company.^[1] He worked with Jagged Edge, which resulted in him meeting Jermaine Dupri, which lead to Cox producing and writing for Usher Raymond, Mariah Carey, Nivea, Monica, Da Brat and Lil' Bow Wow. Cox has co-written and co-produced hits such as Carey's "Don't Forget About Us", Usher's "Burn" and U Got It Bad's "Confessions, Pt. 2". He has won two Grammy awards his for work on albums by Carey and Usher. Mary J. Blige's "Be Without You" marked his first Hot 100 Top 5 hit without Dupri.

Cox founded the Blackbaby, Inc. production company in 1998.^[2] He signed R&B newcomers Bertell and Dirty Rose. He is recording his own solo project titled "The Love: Exposed".^[3] Cox appeared on MTV's Making The Band television series and helped form the R&B Quintet Day 26. He also appeared in and co-produced Monica: The Single, a pilot reality TV show for Monica that appeared on the local Atlanta station Peachtree TV. The show was picked up by BET and the title was changed to Monica: Still Standing. He is developing his own show called The Studio Exposed with executive producer James DuBose & creator/producer Breht Gardner. He featured on Jermaine Dupri's online series "Living The Life" and is part of the group Ocean's 7, which includes Trey Songz, Usher Raymond, Johnta Austin, Nelly, Tyrone Davis, and JD.

Cox founded December First Publishing Group which is a joint venture with Warner/Chappell Music. His publishing company publishes songwriter Kendrick "Wyldcard" Dean and new comers Aion David Clarke, Kage Holmes, The Kid^{[disambiguation needed ]}, Torica Cornelius, and Fatin Horton.

Awards and nominations[link]

References[link]

External links[link]

• Bryan's Journey. The official blogsite
• Bryan-Michael Cox at the Internet Movie Database

Steve Lillywhite
Background information
Born	1955
Origin	Egham, England
Genres	Rock New wave
Occupations	Record producer
Years active	1977–present
Associated acts	Kirsty MacColl (former wife)

Stephen Lillywhite, CBE (born 1955) is an English Grammy Award winning record producer. Since he began his career in 1977, Lillywhite has been credited for working on over 500 records^[1] and has collaborated with a variety of musicians including XTC, Siouxsie and the Banshees, Simple Minds, Chris Cornell, The Rolling Stones, Dave Matthews Band, U2, Peter Gabriel, Morrissey, The Psychedelic Furs, The Pogues, Beady Eye, Blue October and Phish.

Early career[link]

Lillywhite entered the music industry in 1972, when he worked as a tape operator for Polygram. He produced a demo recording for Ultravox, which led to them being offered a recording contract with Island Records. Lillywhite soon joined Island as a staff producer, where he worked with many of the leading new wave musicians. His first commercial success was with Siouxsie and the Banshees in August 1978, after producing their first single, "Hong Kong Garden". He also produced "Ku Klux Klan" - the first single that Steel Pulse released under Island Records in 1978.

1980s[link]

In 1980, Lillywhite produced the album Peter Gabriel (also known as III or Melt). The same year, he produced The Psychedelic Furs debut album, as well as Boy, the debut album of the then practically unknown U2. Lillywhite went on to produce U2's October and War. He moved on to produce work by Simple Minds, Big Country, XTC, The Chameleons, Toyah, Talking Heads, Eddie and the Hot Rods, Morrissey, The Rolling Stones and the Shine album by the former ABBA vocalist Anni-Frid Lyngstad.

In 1987 Lillywhite worked with The Pogues, producing "Fairytale of New York". It was due to him that his then wife, Kirsty MacColl, provided the lead female vocal for their biggest hit. The single narrowly missed being the UK Christmas number one single, but was still one of the biggest selling records that year.

1990s[link]

During the 1990s, Lillywhite continued to produce Morrissey, but began to make his mark with albums by Travis, Phish and on multi platinum albums, including Under the Table and Dreaming, Crash, and Before These Crowded Streets by the Dave Matthews Band. In 1990, he co-produced U2's Achtung Baby, along with Brian Eno, Daniel Lanois and Flood. In 1991 he returned to Dublin to produce the debut album, A Sonic Holiday, with the Kilkenny based band, Engine Alley. He was also brought in to produce the debut (and only album) by The La's. In 1996, he produced Phish's Billy Breathes, and he returned to produce Joy in 2009.^[2]

Lilywhite was featured as the subject for a BBC Radio 1 documentary series on record producers. In 1999, he produced Boston band Guster's Lost and Gone Forever.

2000s[link]

In 2000, Lillywhite was fired from his fourth album by the Dave Matthews Band after band members cited creative differences. In 2001, a number of their recordings emerged on a bootleg album, known now as The Lillywhite Sessions; many of the songs from those recordings followed later, on the Dave Matthews Band's album Busted Stuff. The unfinished tracks appeared online, and the majority of the tracks were re-recorded, without Lillywhite, with Stephen Harris^{[disambiguation needed ]} as the preferred choice by the band.

In 2002, Universal Music Group head Lucian Grainge invited him to become managing director. Lillywhite signed singer-songwriter Darius Danesh and executively produced his debut album Dive In, which spawned three Top 10 hits, and Mercury Records' first number one in eighteen years. He also signed Razorlight, and also produced Jason Mraz's Mr. A-Z.

In September 2005 Lillywhite joined Columbia Records as a Senior Vice President of A&R. During his tenure he signed MGMT. He left the label at the end of 2006. Lillywhite collected consecutive Grammy Awards for Record of the Year with U2's "Beautiful Day" and "Walk On." In 2006, Lillywhite won three more Grammys: Producer of the Year (Non-Classical), Best Rock Album also with U2's How to Dismantle an Atomic Bomb; and a partial win for Album of the Year, also for How to Dismantle an Atomic Bomb.

In late 2006 he began working with Chris Cornell on Carry On, his second solo album, which was released in June 2007. He also produced two songs on Switchfoot's album, Oh! Gravity., which was released on 26 December 2006. In February 2007 Lillywhite began work with Crowded House on tracks for their first studio album in fourteen years, Time On Earth. The majority of the album was produced by Ethan Johns, but Lillywhite produced four songs with the full touring line-up, including new drummer Matt Sherrod as well as studio guest guitarist Johnny Marr. Lillywhite's next project was working with Matchbox Twenty on an EP, that comprised a portion of Exile on Mainstream. The two disc album entered the US charts at #3 and Australian charts at #1, and included "How Far We've Come". In 2008, Lillywhite was in the recording studio with U2 working alongside Brian Eno and Daniel Lanois on tracks for 2009's No Line on the Horizon. He was also at work in Austin, Texas with Blue October on that group's follow-up to Foiled, called Approaching Normal. He joined his fellow music producer Flood in 2008 to work with 30 Seconds to Mars, on This Is War which was released on 4 December 2009.

In 2008 Lillywhite produced a number of recordings for the World Cafe radio show on NPR. This included sessions at Avatar Studios in New York with Fleet Foxes, She & Him, Bell X1, Dr. Dog, and Mercury Rev.

In November 2009, he began presenting a weekly radio show on East Village Radio called "The Lillywhite Sessions".^[3] It has been reported that Lillywhite is currently working with The Killers on their fourth studio album, tentatively titled Battle Born. The album is currently slated for summer 2012 release.

2010s[link]

On 25 May 2010, the official Oasis website announced that Lillywhite was working with Liam Gallagher, Gem Archer, Andy Bell^{[disambiguation needed ]} and Chris Sharrock on material for their new band Beady Eye. Also, On 3 February 2010, Amy Lee of Evanescence announced on her Twitter that Lillywhite will be producing their upcoming third album, which was expected to be released in late 2010.^[4] However, in June 2010, Lee announced that due to conflicts with their record label, the band's album would be delayed^[5] and in February, 2011, drummer Will Hunt announced that the band would be working with Foo Fighters and Alice in Chains producer Nick Raskulinecz.^[6] Later, during an interview with Spin.com, Lee said that "Steve [Lillywhite] wasn't the right fit".^[7] In 2011, Bono & The Edge brought Lillywhite in to Produce the "Spiderman Turn Off The Dark" cast recording for Interscope. This was followed by his Producing Oberhofer's debut LP for Glassnote (2012 release). The Killers' frontman Brandon Flowers also announced on 4 January 2012 that Lillywhite was working with the band on a new album due for release around summer 2012. On 16 February 2012, the official Dave Matthews Band website announced that the Dave Matthews Band has returned to the studio with Lillywhite. They are producing a new studio album; the date has not yet been announced.

Lillywhite was appointed Commander of the Order of the British Empire (CBE) in the 2012 New Year Honours for services to music.^[8]

Selected works[link]

• 30 Seconds to Mars – This Is War
• Annifrid Lyngstad – Shine
• Beady Eye – Different Gear, Still Speeding
• Big Country – The Crossing, Wonderland, Steeltown
• Blue October – Approaching Normal
• Chris Cornell – Carry On
• Climie Fisher – some songs from Everything
• Counting Crows – Hard Candy
• Crowded House – Time on Earth
• Darius Danesh – Dive In
• Dark Star – Twenty Twenty Sound
• Dave Matthews Band – Under the Table and Dreaming, Crash, Before These Crowded Streets, The Lillywhite Sessions (unreleased)
• Elwood – The Parlance of Our Time
• Guster – Lost and Gone Forever
• Jason Mraz – Mr. A-Z
• Joan Armatrading – Walk Under Ladders
• Johnny Thunders – So Alone
• Kirsty MacColl – Kite, Electric Landlady, Galore
• Marshall Crenshaw – Field Day
• Matchbox Twenty – Exile on Mainstream
• Morrissey – Vauxhall and I, Southpaw Grammar, Maladjusted
• Ours – Distorted Lullabies
• Penetration – Coming Up for Air^{[disambiguation needed ]}
• Peter Gabriel – Peter Gabriel (aka Peter Gabriel III or Melt)
• Phish – Billy Breathes, Joy
• Rearview Mirror – All Lights Off
• Simple Minds – Sparkle in the Rain
• Siouxsie and the Banshees – The Scream
• Switchfoot – Oh! Gravity.
• Talking Heads – Naked
• The Adventure Babies – Laugh
• The Killers - Battle Born
• The La's – The La's
• The Members – At the Chelsea Nightclub
• The Pogues – If I Should Fall From Grace with God, Peace and Love
• The Psychedelic Furs – The Psychedelic Furs, Talk Talk Talk
• The Rolling Stones – Dirty Work
• The Smiths – mixed the "Ask" single (The World Won't Listen)
• Thompson Twins – Set
• Tom Robinson – Sector 27
• Toyah – The Changeling
• Travis – Good Feeling
• U2 – Boy, October, War, and How to Dismantle an Atomic Bomb; as well as some songs on The Joshua Tree, Achtung Baby, All That You Can't Leave Behind, and No Line on the Horizon
• Ultravox – Ultravox!, Ha!-Ha!-Ha!
• Urban Verbs – Early Damage
• World Party – Bang!
• XTC – Drums and Wires, Black Sea

References[link]

External links[link]

• Artist Management For Steve Lillywhite
• Steve Lillywhite on Twitter
• Steve Lillywhite on Facebook
• Allmusic article on Steve Lillywhite