How are the U2 sessions going?
You know, just the usual. It's a U2 album. I mean, I could talk for an hour about how they recorded — it's a completely unique way of working — but that's probably not right, considering the record's not done yet.

Are you involved in the reissues of Boy, War and October that are coming out this summer?
Well, we're talking about an extra song more that we're trying to do a vocal on at the moment that was sort of discovered ...

You found it?
I didn't, someone found it. I'm not sure if I should say anything about that, really. But it's well worth remastering these records. It's a mad sound that no one would be allowed to make now.

The title of your new radio show has a familiar ring to it ...
It's just a bit of fun really. To call it The Lillywhite Sessions is a little bit cheeky, because it was the name of a Dave Matthews album I did that never got released. Although it got released on the Internet, and everyone thought it was great. It wasn't finished, and I never got paid for it, but I thought I'll at least own the name.

How do you feel about that record now?
Time is a great healer. I felt sad when I was fired, because I wasn't allowed to finish my vision. But at the end of the day, life goes on, so it's fine.

Would you produce Dave Matthews again?
Oh, I would feel honored if they ever asked me. They're great musicians, and I get them. I get their strengths, and I think I'm good at that.

Will you be curating The Lillywhite Sessions?
I've done a couple artists that they've mentioned, and if there is anyone I want to be on it, I can do that as well. The good news is these are artists who are normally on the road, so their chops are good. They're what I would call "match fit." The two live performances I've done so far (She & Him, Goldfrapp), I mean, I would like to think they are singing better than on the album.

What styles will the show focus on?
It's NPR, it's an open book. We say to the artist, "Look, what do you want to do? I'm here to facilitate." We go into Avatar Studios in New York City with a blank piece of paper, and three hours later we come out with something. It can be a bit like old-time recording, to be honest. Records used to be made in about three hours. The guy who produced "House of the Rising Sun" said it took 15 minutes to record.

You produced Vauxhall and I, Southpaw Grammar and Maladjusted. Tell us a Morrissey story.
He's fantastic, a man of very few words. So when he says something, you really listen. He doesn't like sitting in the studio for a long time, but it's good because when he comes in he has fresh ears on how his music sounds. You know, he's a very mysterious man, and after having lived with him over a total of three albums for about six months, in a big house in the country, I never saw him come downstairs without his hair fully done. And he loves wearing Morrissey T-shirts. He's Morrissey.

Most Morrissey stories end that way.
Well, exactly. I went to see him about three months ago in New York. I must admit, I loved the show. He's got a great band of musicians with him. His singing was fantastic. I mean, he's got his pitch control down really well, and his vibrato is pure. I was very impressed with him.

Who are you looking forward to producing in the future?
I found this band that has sold a lot of records, but no one knows much about them. They're called Blue October, and there's something about them. I saw a gig; they played one new song, and it was my favorite. I think it could be their time.


The Lillywhite Sessions at Avatar Studios debuts June 11

The Lillywhite Sessions at Avatar Studios on MySpace