Peter Asher | The Magnificent Others with Billy Corgan

The Magnificent Others with Billy Corgan
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About this episode Peter Asher details his transition from pop star to record producer and manager, highlighting his discovery of… AI summary

Peter Asher details his transition from pop star to record producer and manager, highlighting his discovery of James Taylor at Apple Records and his work with Linda Ronstadt. He provides technical insights into 1960s recording techniques, the Beatles' songwriting process, and the importance of identifying unique vocal talent in the music industry.

Key takeaways 6
  • Production Ambition: Asher realized early on that producing allowed him to hire superior musicians and control the arrangement, which appealed to him more than performing.
  • James Taylor Discovery: Taylor was introduced by Cooch (Danny Cimaroli); Asher recognized his unique blend of folk influences, complex guitar playing (Sigoria/Bream), and harmonic sense (Manhattans) immediately.
  • Recording Technique: Asher utilized a 'dry' sound with natural tones at Sunset Sound, crediting the 'LA Wrecking Crew' (Randy Meisner, Carol King) for clarity. He emphasized singing live into a single microphone capsule to achieve internal vocal conjunction.
  • Beatles Songwriting: 'I Will' was written by Paul McCartney in Asher's basement piano room; John Lennon initially disliked the lyrics but accepted the song. The bridge was added just before the session after Asher requested it.
  • Linda Ronstadt Management: Asher managed Ronstadt by listening to her ideas rather than imposing his own, noting her intelligence and distinct voice were often underestimated by the industry.
  • Musical Identity: Asher believes the common link among great singers (Ross, Sher, Ronstadt, Host) is an instantly identifiable, unique tonality that cannot be imitated.
Notable quotes 5 AI-generated: wording and quote attribution may be wrong. Use the play link to verify.
  • “Once I discovered what a record producer could do, you know, that you could hire musicians vastly better than yourself and tell them what to play, I thought that was brilliant.”
    ▶ 0:00 Asher explaining his motivation to leave performing and become a producer.
  • “It's not not often that somebody will take themsel out of the spotlight and make it about somebody else. That's true, I suppose. Yeah. But I I would that's what I was determined to do.”
    ▶ 0:07 Discussing the ego required to be a successful producer versus a performer.
  • “I think it makes the difference, whatever that feeling is... You're probably doing it this way... still think that there's a way there's something about the fact that you're not just singing at the same time but you're singing into the same physical capsule you know so your voices are internally conjoined and that balance is the balance”
    ▶ 1:03:53 Explaining the technical reason for singing duets into a single microphone.
  • “I don't know. I mean, we we lucked out. We had the right song. Um, Linda sang it brilliantly, but um it was just it was one of those cases where you you work a couple of days on a record in the studio and you kind of go, if this isn't a hit, I don't know what is.”
    ▶ 33:02 Reflecting on the success of 'You're No Good' with Linda Ronstadt.
  • “He said, 'You won't have to tour anymore. You can have a normal schedule. You'll make the same amount of money that you're making now.' And I thought I said I said, 'You're crazy. I'm not I'm not done. I'm a star. I'm a star, baby.'”
    Asher recounting an early offer to switch to production while still in his 20s.

Chapters & Sections (34)

0:00 Peter and Gordon breakup and production ambitions chapter 2
2:09 Peter and Gordon Reunion and Production Origins
4:34 Appeal of record production and Manfred Mann
6:18 Apple Records Discovery and James Taylor chapter 1
8:34 Paul McCartney's Discovery of Mary Hopkin
12:34 Producing James Taylor at Apple Records chapter 3
14:01 Recording James Taylor's Debut Album
15:35 Secret of Great Management
17:12 James Taylor's 80s Musical Evolution
20:26 Recording Style and Producer Transition chapter 2
22:05 Producer Transition and Performance Preferences
23:22 Ego, Stardom, and Production Shift
25:23 Linda Ronstadt's Solo Career and Management chapter 1
28:03 Kate Taylor's Music Career and Personality
30:07 Linda Ronstadt's Vocal Mastery and Hit Success chapter 1
32:00 Andrew Gold's Role in You're No Good
34:58 Distinctive Vocal Identity in Singers chapter 1
37:27 Identifying Unique Vocal Characteristics
40:58 Family Background and Early Acting Career chapter 2
42:49 Musical Family and Early Acting
44:29 Boris Karloff Acting Experience
46:19 Paul McCartney Living with Peter Asher Family chapter 1
48:46 Paul McCartney and John Lennon Writing I Want to Hold Your Hand
51:58 John Lennon's Personality and I Love You Songwriting chapter 1
54:04 Paul McCartney Writes I Love You Bridge
57:06 The Searchers' Early Singles and Package Tours chapter 1
59:47 Package Tours and Vocal Pitch
1:01:21 Recording Sessions and Paul McCartney Pseudonym chapter 2
1:02:58 Live Vocal Recording Techniques
1:04:20 Producer Control and McCartney Pseudonym
1:06:31 The Magnificent Others and Beatles Studio Sessions chapter 3
1:08:28 Beatles Studio Sessions and Recording Process
1:10:33 Beatles Outtakes and American Beatlemania
1:12:07 Beatles Live Performance and Longevity Reflections

Transcript

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