Steve Lillywhite: Difference between revisions

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He worked with [[Evanescence]] in 2010 as the Producer for their [[Evanescence (album)|third studio album]], but parted ways in June the same year as he "wasn't the right fit".
He worked with [[Evanescence]] in 2010 as the Producer for their [[Evanescence (album)|third studio album]], but parted ways in June the same year as he "wasn't the right fit".


In 2013, Lyllywhite talked about his work on Evanescence's third album in a interview<ref>https://tapeop.com/interviews/93/steve-lillywhite/</ref>:
In 2013, Lillywhite talked about his work on Evanescence's third album in a interview<ref>https://tapeop.com/interviews/93/steve-lillywhite/</ref>:


{{quote|'''What are things that arise that cause your involvement in producing an artist's album to stop, like that one Dave Matthews Band or the Evanescence record?'''
{{quote|'''What are things that arise that cause your involvement in producing an artist's album to stop, like that one Dave Matthews Band or the Evanescence record?'''

Revision as of 18:25, 16 September 2019

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Stephen Alan Lillywhite, CBE (born 15 March 1955) is an English record producer. Since he began his career in 1977, Lillywhite has been credited on over 500 records, and has collaborated with a variety of musicians including U2, the Rolling Stones, XTC, Dave Matthews Band, Steel Pulse, Peter Gabriel, Talking Heads, Morrissey, the Killers, Kirsty MacColl, the Pogues, David Byrne, Big Country, Blue October, Siouxsie and the Banshees, Simple Minds, the Psychedelic Furs, Phish, Counting Crows and Joan Armatrading. He has won six Grammy Awards, including the Producer of The Year in 2006, and was made a Commander of the Order of The British Empire (CBE) in 2012 for his contributions to music.

He worked with Evanescence in 2010 as the Producer for their third studio album, but parted ways in June the same year as he "wasn't the right fit".

In 2013, Lillywhite talked about his work on Evanescence's third album in a interview[1]:

Vin1.jpg What are things that arise that cause your involvement in producing an artist's album to stop, like that one Dave Matthews Band or the Evanescence record?

Well, the Dave Matthews record was a strange situation. With Evanescence, I suppose that I was interested in the idea of Amy [Lee] as a great artist. When I was involved there weren't really many band members involved, so the record was a really interesting combination of electronic sounds, but it didn't have any power chords. I like that. Very rarely do you hear any power chords on records I've made. I suppose I was interested in seeing how she could take her music in a new direction. Maybe I was wrong, but I was thinking, "Does the world really need another Evanescence album that sounds like Evanescence?" I don't know — maybe it did. But what happened was a few people lost their nerve. I don't even think it was her. It was people at the record company who really had no other band. They were thinking more in terms of the commerce rather than the art.

Vin2.jpg


When Amy released her cover of Chris Isaak's "Baby Did a Bad Bad Thing" in 2015, she revealed the cover was slated for inclusion on the original, third album produced by Lillywhite that was rejected by her label. She called it "broken record", and added she owns those unfinished recordings and "plan to finish some, re-do some, and probably keep a couple to myself."[2] Lillywhite is credited as a producer on the "Baby Did a Bad Bad Thing" cover, along with Amy herself and Will "Science" Hunt.

Note