Interview: Behind the scenes with producer John Leckie

This award was reinstated about three years ago, recognising that musical talent runs deeper than simply the bands themselves, and that music is a collaborative process.

First up is John Leckie, who produced the legendary Stone Roses eponymous debut (1989) album, alongside pretty much every other guitar band that matters. His recent work has included Butterfly House by the Coral (2010) as well as re-mastering the Stone Roses album.

How do you feel about being nominated for a BRIT?
Well you may not know but I was nominated in 1996 and actually won in 97, so it'd be amazing if I won again this year. That was around the time of having worked with Radiohead, the Verve, Cast and Kula Shaker's debut album. I'm pleased the award has been reinstated, although we (producers) don't get on the TV show, as I'm not sure we're glamourous enough. We're like film directors.

What does a producer do?
Well, we inject some magic into songs, into the demos. A lot of records are released today without producers, and to us, they sound like demos. Many only sound half way there.

Is there any album you wished you had produced?
The first Glas Vegas album, and if not that then new second album (out soon). Failing that the third! I can't understand all James Allan's (singer) words, and if I worked with him I'd make sure you could.

How do you compare with the other nominees?
Well they're all huge. To be honest I'm a little pessimistic that I'm going to win. I worked with the Coral, which I think should be up for Best Album, and I tend to do all kinds of other projects, like jazz (the Portico Quartet), and world music such as Baba Maal. I probably stick out, the others are almost all working with celebrity - Take That, Tom Jones, I don't know why I'm in there!

I notice there is some common ground between you and Stuart Price.
Oh, is there?

You worked with Mark Owen on his Green Man (1997) album
Oh yes, Take That! Did Stuart produce the Take That album? Oh, he's bound to win then. Take That are fantastic aren't they? When I worked with Mark we clicked, he's younger than me but he immediately felt like a mate, that whole project was great, I'm surprised the album hasn't been re-released. He approached me, and he gave it absolutely everything. I've bumped into him a few times: at Abbey Road I walked into the room where Take That were doing something, and there was a wonderful warm buzz in the environment around them. I never thought I'd hear myself say that! They are pure entertainment. But Mark was great to work with.