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Speaker 1: Now here's a highlight from Coast to coast am on

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Speaker 1: iHeart Radio. I'm sorry, dude, I just don't see it.

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Speaker 1: I'm looking at at Peter Asher photos from when you

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Speaker 1: are on the rise, still in what we would call

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Speaker 1: here on you know, on this side of the Atlantic,

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Speaker 1: the British invasion. The hair that looks like Austin Powers, yes, glasses, yes,

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Speaker 1: maybe even the Soho Edwardian look that you had some

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Speaker 1: gear for sometime. I don't even know. But the teeth

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Speaker 1: are nothing. You just don't Those Austin Powers teeth are

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Speaker 1: iconic exaggerated. But I had my two front teeth in

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Speaker 1: and I had it done pretty quick, which since I

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Speaker 1: go to America. But if that very first album got

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Speaker 1: the one in right movie, if you look like those

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Speaker 1: front teeth are pretty bad, I have four teeth out right.

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Speaker 1: I don't know. I could see where they kind of

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Speaker 1: In England at the time, that was part of Britain's

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Speaker 1: reputation with everyone has bad teeth, and and the dentistry,

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Speaker 1: particularly orthodontics, was not what it was in America. In America,

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Speaker 1: every kid gets their teeth done. In England, every kid didn't.

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Speaker 1: So yeah, I did have some major orthodontic work done

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Speaker 1: as soon as I was in America, lived in America.

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Speaker 1: Totally get that, but exaggerated, Yeah, because it was based

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Speaker 1: on my crossover teeth that I can get. I could

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Speaker 1: totally get there. But when I'm what I'm saying, when

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Speaker 1: Austin Power's first smiles in that first movie, it gets

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Speaker 1: a belly laugh, right mind? Yeah, all right, So so

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Speaker 1: let's talk. Let's skip forward a little bit, because that

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Speaker 1: association with Paul McCartney and the Beatles that served you well.

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Speaker 1: When the Beatles launch Apple Records, how was it that

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Speaker 1: you were asked to be the A and R guy

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Speaker 1: for Apple Records? Well, um, I already decided that I

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Speaker 1: wanted to be a record producer. I loved the studio,

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Speaker 1: I loved what you could do, and I realized what

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Speaker 1: a record producer did and when I can do that,

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Speaker 1: I wanted to do that. So that was a very

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Speaker 1: deliberate effort on my part, and I did, in fact,

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Speaker 1: you know, produce some records before I was at Apple.

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Speaker 1: I got the first record I ever produced was with

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Speaker 1: a friend of mine called Paul Jones, who you may

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Speaker 1: remember it was the original lead singer at Banford Man yeah,

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Speaker 1: I did. He guy brilliant singer, brilliant, hormonic command and

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Speaker 1: um and actually that record is remembered now largely for

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Speaker 1: the veg I got a pretty good lineup of musicians.

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Speaker 1: I wanted my first ever production to have a really

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Speaker 1: cool band, so I got this guy, Nicky Hopkins to

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Speaker 1: play par right. I love Nicky Hopkins right and all

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Speaker 1: the all the Ringo Star albums he was on among

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Speaker 1: the other ones. Yeah. Yeah. Paul Samuel Smith played bass. Yeah,

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Speaker 1: he's playing the Yardbirds and went on to produce Collie

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Speaker 1: Simon and Cat Stevens um and I asked him if

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Speaker 1: he could bring the guitar plan from his band because

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Speaker 1: I would very much admired him. So that's how Jeff

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Speaker 1: Beck ended up playing on the session. That's amazing too,

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Speaker 1: and Paul McConney playing drums, which is self yeah, and

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Speaker 1: Ringo as he always points out, as everybody wanted to

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Speaker 1: play the drums anyway, So that that was. And so

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Speaker 1: Paul was aware of me producing stuff. So as the

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Speaker 1: idea for Apple, the newest new company, grew and he

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Speaker 1: and I would sit in and I was talking about it,

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Speaker 1: and he had big diagrams and multi colored sort of

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Speaker 1: diagrams of how it was all supposed to work. Um.

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Speaker 1: He asked me first if I would produce some records

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Speaker 1: for this new label, and I said, of course, I

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Speaker 1: would love to, And then he said, well, actually we're

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Speaker 1: going to need somebody to be ahead of A and R.

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Speaker 1: Do you want to do that? No? One? Yes? Please?

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Speaker 1: You know, that's, as you know, an industry for basically

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Speaker 1: who gets signed and what kind of records they make,

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Speaker 1: and who produces whom and that kind of thing. So

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Speaker 1: that's how I ended up being at a band offer

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Speaker 1: Apple Records and keeping my eyes and ears open for talent,

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Speaker 1: and as you know, it was lucky enough to find something. Yeah,

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Speaker 1: you found. Well, let's just talk about James Taylor, because

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Speaker 1: that was kind of a fluke that James Taylor was

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Speaker 1: in England to be findable. Yes, the story bound that

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Speaker 1: involves a great guitar play called Danny korchmar him. Danny

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Speaker 1: was in a band called the king Bees who backed

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Speaker 1: Peter and Gordon on a couple of our American tours,

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Speaker 1: and he and I became very close friends. Used to

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Speaker 1: stay with him and his wife when I was in

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Speaker 1: LA and so on. So even after the Peter and

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Speaker 1: Gordon touring era was over. Coach and I remained good friends,

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Speaker 1: and then he was subsequently in a band called the

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Speaker 1: Flying Machine with his childhood friend James Taylor. That there

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Speaker 1: was a New York band. They weren't doing well. They

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Speaker 1: were signed to a bogus record label and had no money.

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Speaker 1: Several of them were strung out on drugs and they

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Speaker 1: set on the other. So the band broke up and

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Speaker 1: James decided to go to England. He had a girlfriend

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Speaker 1: he thought he could stay with in London. Turned out

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Speaker 1: he couldn't, but that was another story. But um, so

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Speaker 1: he went off to London and before he left Cooch

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Speaker 1: his old friend said, oh, I have a friend in London.

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Speaker 1: You should look him up. Here's his phone number. And

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Speaker 1: he didn't even know that I had his new job

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Speaker 1: at the time. So that's how James ranged my doorbell

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Speaker 1: and phoned me out. First rang the doorbell, came over

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Speaker 1: and played me some songs and they went crazy, and

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Speaker 1: I basically said, look, this is a strange coincidence, but

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Speaker 1: I've just got a new job for a brand new

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Speaker 1: record label. I can sign people. Would you like a

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Speaker 1: record contract? Anyone? Yes, He's had loved one, and that's

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Speaker 1: what we did. So a couple of days after we

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Speaker 1: men um, I took him into Apple and and I

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Speaker 1: think it was John, I was George and Paul I

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Speaker 1: think you were there, and they both loved James as

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Speaker 1: much as I did, and agreed absolutely that I should

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Speaker 1: sign him, and I did. Yeah, and you and so

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Speaker 1: you're as I as I understand it, correctly, this is

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Speaker 1: wrong that you're recording that first James Taylor album for

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Speaker 1: Apple Records at the same time the Beatles are doing

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Speaker 1: the White album. Not exactly. James has been known to

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Speaker 1: say that, but he's actually he's not right. Okay, good, Well,

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Speaker 1: that's why I asked. He also admits when I say,

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Speaker 1: he says, oh, yeah, yeah, I don't remember, because we

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Speaker 1: were not they were working a lot at at Abbey Road.

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Speaker 1: We did that album a Trident studio, right, Okay, that's

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Speaker 1: what happened. It's it's all ties in together in an

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Speaker 1: odd way, because I wanted to make this album on

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Speaker 1: an eight track machine. At the time, he am, I

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Speaker 1: only had four tracks. Were with that Love was on

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Speaker 1: four track, but I knew that this James album, I

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Speaker 1: wanted to use a lot of different instrumentations spring quartet here,

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Speaker 1: brass quartet here, all right, and so a trap would

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Speaker 1: make it a lot easier. So we had heard about

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Speaker 1: Trident who had an eight track machine. So I booked

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Speaker 1: Trident and and that's where we made the all record

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Speaker 1: and mixed in everything. But Paul came at my request

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Speaker 1: to play on the song Carolina in my mind, right,

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Speaker 1: He came in to lay based on that, and that

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Speaker 1: was the first time he had ever used an eight

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Speaker 1: track machine, and he went, this is cool, and I'm

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Speaker 1: going to bring all the Beatles back here. And he

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Speaker 1: brought the Beatles back a couple of weeks later, tried

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Speaker 1: to do their first eight track recording, which was Hey Jude,

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Speaker 1: and there ended up enough to be there for that edition.

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Speaker 1: That's very cool and that eight track. It just happened

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Speaker 1: to watch a clip the other day. I was deep

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Speaker 1: diving on something else and I came across George Harrison

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Speaker 1: talking about the fact that he took the last eight

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Speaker 1: track that had been at at Abbey Road. He had

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Speaker 1: it at his house, he had it with him after

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Speaker 1: the Beatles broke up. He took the eight truck. Yeah, yeah,

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Speaker 1: that's what he said in a YouTube interview. All right,

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Speaker 1: so but this is like, so you know, obviously we've

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Speaker 1: never met and you've never heard me before, but I've

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Speaker 1: had on several other producers because while I really enjoy

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Speaker 1: the work of artists, I know from my side of

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Speaker 1: the glass on other things that the decisions that producers

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Speaker 1: make are often actually the key part of the success

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Speaker 1: of any recording session. And it could be just you know,

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Speaker 1: it could be the way something is mixed. It could

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Speaker 1: be the fact that a knob is just one third

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Speaker 1: further up or down, or a slide pot is just

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Speaker 1: a little bit pushed or pulled. And producers, especially when

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Speaker 1: they're doing the arrangements and they have a feel for

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Speaker 1: the music for the artists, they become something that gestall

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Speaker 1: builds into something else. So the reason why I say

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Speaker 1: I preface that is by saying I've always been interested

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Speaker 1: no tracking with you as a producer from a distance,

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Speaker 1: that you had a chance to do something which not

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Speaker 1: many producers can do, and many producers would be too

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Speaker 1: afraid to do, which is to make two versions of

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Speaker 1: the same song Carolina in my mind on that Apple record.

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Speaker 1: And then when you follow James Taylor back to the

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Speaker 1: United States, you redo Carolina in my mind, right, yes

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Speaker 1: we do, but actually the reasons for doing so were

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Speaker 1: more legal than musical. Tell me about that, because it

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Speaker 1: was we didn't do it until we had the Greatest

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Speaker 1: Sits album, and on the Greatest Sits album, obviously we

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Speaker 1: wanted to put Caroline in my Mind and something Way

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Speaker 1: She Moves on it, which were everyone's favorite tracks. It

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Speaker 1: seemed off the Apple album. We couldn't use the Apple album.

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Speaker 1: All the Apple and the Beatles of fans were totally

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Speaker 1: tied up in legal fandangos with Alan Klein and all

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Speaker 1: of that. Sure, so that's why we recut them both.

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Speaker 1: But in recutting them, you didn't recreate them. That's what

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Speaker 1: a lot of people would do. They would go into

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Speaker 1: a studio and then they would they would essentially try

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Speaker 1: to get and and it's the really kind of not

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Speaker 1: totally different songs. I mean, obviously on a ven diagram

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Speaker 1: they overlap, but you have in the Apple version of

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Speaker 1: Caroline in my mind, it's much more up tempo. Uh yeah, really,

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Speaker 1: and then and then the slow down version that has

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Speaker 1: that wonderful I mean, you get all that high end

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Speaker 1: on the acoustic guitar and all of that and I

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Speaker 1: look at that and I think that to me is

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Speaker 1: I would pinpoint and I'd say that's the real genius

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Speaker 1: of that is being able to to not do the

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Speaker 1: easy thing would just be rerecorded for the greatest Hits

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Speaker 1: album like Kenny Rogers had done and a million other

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Speaker 1: artists had done that didn't have you know, access to

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Speaker 1: their masters, and instead you took it in a different direction.

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Speaker 1: And I just think it's beautiful. I love the second pa.

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Speaker 1: I think James gets read a lot of credit for

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Speaker 1: that because he wanted to do it a little more

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Speaker 1: like what the way he was doing this own live

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Speaker 1: on the road. That's interesting, So that would suddenly a factor.

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Speaker 1: So I think rose out of a conversation between James

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Speaker 1: and myself, you know where where we thought that the

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Speaker 1: people were starting to get to know the live version

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Speaker 1: of Carolina with this brilliant band that we didn't put

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Speaker 1: it together, so we felt maybe that would be the

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Speaker 1: one they'd rather have than the one that on the

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Speaker 1: record that had not been particularly a hit. But your sound.

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Speaker 1: I mean, there was a period of time particularly and

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Speaker 1: I'm not I mean the ten thousand, the X Peace

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Speaker 1: Train and a lot of other stuff from the eighties

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Speaker 1: that people may not originally associate with you, but there

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Speaker 1: was a sound that you came up with that when

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Speaker 1: it wasn't you, it was people trying to steal it

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Speaker 1: from you, and you in your work with Linda Ronstat,

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Speaker 1: not just James Taylor later on Bonnie Ray and I mean,

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Speaker 1: we could go on, but you're that shaping of that.

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Speaker 1: You took artists like a Linda Ronstat who had already

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Speaker 1: had like three albums out, and you took that in

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Speaker 1: a direction which is sort of to me. And you

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Speaker 1: may be too humble to say this, but I would

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Speaker 1: say is distinctly Peter Asher, Well, thank you. I mean,

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Speaker 1: I guess that's possibly true. I certainly I don't think

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Speaker 1: of myself as a goun to produce. You has a

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Speaker 1: sound in mind before I go into the studio so much.

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Speaker 1: I mean the kind of bodess I've worked with. Clearly

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Speaker 1: every record is a collaboration because your brilliant, extraordinary artists

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Speaker 1: and singers in the case of James and Linda. But

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Speaker 1: I do like the this is I suppose it said

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Speaker 1: in stylistic unity. Yes that I do like I like

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Speaker 1: Sally Kenny Clean records something. Yes, I been accused of

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Speaker 1: making you know, my records are too neat and tidy. No,

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Speaker 1: I kind of like, yeah, I'm with you, and you

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Speaker 1: have a lot of high end on those. Nothing's ever muddy.

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Speaker 1: Um on a Peter Asher record, thank you, that's yeah.

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Speaker 1: And and there are other people that take longer to

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Speaker 1: get there. I mean I would put you up there

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Speaker 1: with like Alan Parsons or other people that have a

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Speaker 1: distinct you can tell you can you can almost you know,

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Speaker 1: rub your hand out and feel their fingerprints on it.

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Speaker 1: And those Linda Rons. I mean you you change the

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Speaker 1: direction of her career positively, just like you did with

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Speaker 1: James Taylor. Not that she wasn't already successful, but you

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Speaker 1: gave it a focus and she went when she started

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Speaker 1: working with you, obviously, I mean it just went up

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Speaker 1: a level, right. It's not like a wheel made a

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Speaker 1: big difference to her career and mine. But um, yeah,

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Speaker 1: I think I I was such a fan of hers

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Speaker 1: and her ideas and her voice. I think one of

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Speaker 1: the mistakes that have been made before he is actually

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Speaker 1: not really listening to Linda's own ideas because she's brilliant.

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Speaker 1: She's one of the most extraordinary musicians I know and

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Speaker 1: and always, you know, and my intention always was to

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Speaker 1: find the best way to do that particular song, because

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Speaker 1: Linda was a great chooser of songs as well. I

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Speaker 1: mean I chose some of them, but she was really

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Speaker 1: at near for a great song and still does. And yeah,

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Speaker 1: so I made a conscious effort to focus on the

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Speaker 1: brilliance of her voice and her singing. Yeah, and that's

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Speaker 1: what I Like A Wheel was all about. You know.

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Speaker 1: It's so true in I'm a kind of an opera

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Speaker 1: fan and I'm a big, d big Randy Newman fan,

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Speaker 1: and so Randy Newman's faust was like, I mean, I

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Speaker 1: was like lined up outside the door where the record

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Speaker 1: store opened and I and I really like your work

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Speaker 1: on that. And that song feels like home, Uh, is

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Speaker 1: such a and and so you've got Bonnie ray It

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Speaker 1: doing it, You've got Linda Ronstadt doing a version of it. Uh.

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Speaker 1: They're all beautiful. Um, and Randy Newman's version of it,

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Speaker 1: by the way, it's beautiful in its own way too.

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Speaker 1: It sounds still underrecognized. Yeah, and what a cost you know,

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Speaker 1: James Taylor had done Henley, Randy, Linda, Bonnie, Elton John Yeah. Yeah,

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Speaker 1: And so you're again I come down to it and

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Speaker 1: I can oh, that's that sound again. That's just a

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Speaker 1: beautiful sound. And and but it was not just that.

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Speaker 1: It was JD. South or Um and then Andrew Um

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Speaker 1: and then Andrew Gold. Um was a genius. He was

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Speaker 1: a genius. And boy did he die too young, way

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Speaker 1: too young. He was extraordinary and played every instrument and

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Speaker 1: saying brilliantly right and sang originally brilliantly in the backup

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Speaker 1: and a studio capacity for Linda, didn't he yes for Linda.

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Speaker 1: And that's why. And I ended up producing his first

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Speaker 1: solo album, which was the One but Lonely Boy on

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Speaker 1: it and that's where you know, a lot of people

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Speaker 1: know him for thank you for being a friend and whatever.

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Speaker 1: And it was just still a great song. But it's

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Speaker 1: really the deeper tracks on those Andrew gold albums where

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Speaker 1: he really shines to me. I mean, his work on

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Speaker 1: Linda is amazing, and a lot of his own solo work.

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Speaker 1: He's again somebody who will be rediscovered every decade or so,

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Speaker 1: I hope. So he's that good and that means you

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Speaker 1: will be too, well, thank you, that's yeah, right, So

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Speaker 1: when you look back on it or when you're talking

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Speaker 1: with your daughter, or we're talking about people and you're

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Speaker 1: talking about your favorite moments. What comes to mind for

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Speaker 1: you when when I've all this all this, you know, sephinite,

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Speaker 1: we've talked about for the last hour, what for Peter Asher,

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Speaker 1: You're suddenly just like, yeah, I still love hearing that.

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Speaker 1: Oh well, I guess you know. I like hits, you

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Speaker 1: know everybody does. And when you there's really when you

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Speaker 1: listen to pron Rain or you've got a friend, or

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Speaker 1: you're no good or you know, or some of the

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Speaker 1: actually a couple of those Maniacs tracks, I think, yeah,

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Speaker 1: so yeah, I suld get excited when any of those things.

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Speaker 1: You know, if I I'll be honest, and if I'm

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Speaker 1: driving down Pacific Coast Highway by myself and I record

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Speaker 1: I'm proud of, whether it's one I'm produced, or whether

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Speaker 1: it's I go to Pieces, which is probably my favorite

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Speaker 1: Gordon record. Yeah, you know, I turned it up and go,

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Speaker 1: oh it's me, you know, yeah, it's it's exciting, you

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Speaker 1: know what I pretend it's not. I'm delighted and those

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Speaker 1: records still sound pretty good to me. Listen to more

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Speaker 1: Coast to Coast a every weeknight at one a m

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Speaker 1: Eastern and go to Coast to coast am dot com

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Speaker 1: for more