Hugh Padgham was coming through the ranks in the late 1970s but it was his move to The Townhouse studios in 1978 where he started to work with a number of great artists including XTC, Peter Gabriel and Phil Collins. Throughout the 1980s Hugh Padgham worked very closely with Phil Collins on all of his solo albums, as well as albums with Genesis.
That close collaboration with Peter Gabriel and Phil Collins, saw Hugh Padgham work on Face Value, Abacab, Hello, I must be Going, Genesis, No Jacket Required, Invisible Touch and But Seriously. From here he went on to work with artists such as Julia Fordham on her beautiful debut album, The Police on Ghost in the Machine and Synchronicity and then on to Sting’s solo work as well.
The 1980s and early 1990s were the peak period for Hugh Padgham and he had a hand in some wonderful albums. The ground breaking Face Value is one, and Julia Fordham’s self titled debut is another for me at least. There is a real class about Hugh’s work, his style may not be as ‘obvious’ as CLA’s, but it is always classy and deserving of the four Grammy’s that came his way.
Looking at Hugh’s effects racks is not unlike a history of Japanese digital effects, with a huge collection of digital reverbs and delays from both Roland and Yamaha. Even a Boss CE-300 Chorus makes it into his rack’s at Sofa Sound Studios. There is of course a well represented range of Lexicon and AMS reverbs and delays to help balance things out.
Hugh Padgham was credited with engineering the Synchronicity album from 1983, as well as co-producing and mixing the album.
The Invisible Touch album from 1986 was a massive hit globally for Genesis, and featured Hugh Padgham in the seat for engineering duties and co-production.