‘Listen To Me: ’ celebrates the musical pioneer’s innovation, genius By Mike Greenblatt

HE MAY BE DEAD, Th ink of it: Holly saw Elvis in ’55, A half-century later, recording artists chucked his bluegrass duo, formed a continue to record — and fi nd hits with but Buddy Holly’s ca- band and started hiccupping his vocals — Holly’s songs. reer is in full swing. It’s -style, furiously writing up “Look at all the great songs he wrote a storm of songs. He toured England in such an incredibly short career,” a damn shame, too, only once but inspired a generation of muses , the Grammy-Award since one would be acolytes ... including Th e Beatles (who winning producer of both “Listen To name themselves aft er Holly’s Crick- Me: Buddy Holly” (Verve Forecast), hard-pressed to fi nd ets). His was a self-contained rock band a various-artists tribute album, and a another recording art- in an age when singers sang songs of PBS concert special with many of the other . He charted 27 times. same artists that is scheduled to air in ist whose premature He died in the infamous plane crash December. death — in this case that also killed Th e Big Bopper and “He was a smart, determined, rather (tour mate Dion and erudite guy. Had he lived, he not only on February 3, 1959, Holly bassist Waylon Jennings stayed would have written a ton more great at age 22 — robbed on the bus). songs, but he would have for sure gone Not even death on to start his own label and produce the world of so much can overtake the other artists,” Asher says. “He wouldn’t music, a lifetime of in- vibrant, brilliant have fallen by the wayside as a druggie music of the or rest on past laurels to play Vegas. novation. It’s a point bespectacled kid He’d be a major mogul today at 75, and that can be debated from Lubbock, I bet he’d still be alive. It’s interesting to Texas, who was speculate what would have happened forever. >>>>> anything but a hick. had we not lost him so early, because he was so very cool.” Asher knows a little something about cool. As half of Peter & Gordon, his McCartney-penned “World Without Love” partly defi ned 1964 pop culture. He then discovered, managed and pro- duced for 20 years; spear- headed the 1970s southern California rock ascent of (includ- ing singing background harmonies on her hit single version of “It’s So Easy”); produced , and 10,000 Maniacs; and produced and managed . But talk to him, and it’s all about what he’s working on now and what he’ll work on tomorrow as one of the most respected industry bigwigs in Hollywood.

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808 BuddyHollyTribute.indd 24 10/25/11 8:32:59 AM “Listen To Me: Buddy Th e genesis of this Holly” starts off with project started when a terrifi c reading of a company called “Not Fade Away” by Songmasters called , the song Asher with an with the Bo Diddley idea. beat that Th e Rolling “Th ey came Stones famously cov- to me and ex- ered. It’s the type of plained what tune that lends itself they do and to interpretation, who they and Nicks nails it. are,” Asher “Maybe Baby,” in the recounts. hands of Train front- “Th ey do a man Pat Monahan, is lot of charity stuff . I was happy cool, breezy, casual and found ‘Take Your Time’ for them. to jump in. Th e fi rst thing we did, pop. Th en comes a stunner: Brian Both songs were so much fun to redo of course, is sit down and make lists Wilson’s singular Beach Boy aesthetic like that.” of who we’d like to have, who might was never more suited to another ’s “Th ink It Over” sounds actually say yes, and who we could get. author than that of Holly. His title tune, like a long-lost Beatle track. Fellow We asked quite a lot of people over a “Listen To Me,” is sheer magic. Fab, Sir Paul McCartney, participated period of time. Some people said yes Th roughout the album, there are mo- in a diff erent Holly tribute earlier this right away. Some people said maybe. ments that shine with creativity: from year that aimed to turn Holly’s material Some people said no, because they the trumpet solo on Imelda May’s “I’m inside-out in an attempt to take an were too busy or they didn’t care that Looking For Someone To Love” to the alternative spin on the material. much about Buddy Holly. Th ere were mournful violin in Natalie Merchant’s “It was funny,” admits Asher, “be- all kinds of diff erent responses. Stevie oh-so-sad “Learning Th e Game.” Asher cause we didn’t know there would be Nicks, for instance, was in from the agrees. two tributes. I don’t think anybody did. beginning. She worked with my friend, “Natalie’s version makes you cry,” It got rather confusing. It’s like when Waddy Wachtel, one of my favorite he adds. “It’s amazing. Buddy Holly’s two diff erent movie companies make guitar players. So Waddy and I co-pro- original is so bouncy. But read the the same movie. But, in the end, it’s a duced the Stevie track. She was great! lyrics. We slowed it down and gave it good thing, because it shows how fl uid She’s on the TV show, as well. Just a whole ’nother meaning. Same thing the songs are and how they can work in fantastic! In fact, I just fi nished mixing with Th e Frays’ song. I love Th e Frays diff erent ways.” her live version. ters LLC ters Photos courtesy Lester Cohen/© 2011 Songmas 2011 Cohen/© Lester courtesy Photos

Boz Scaggs, and Peter Asher perform at songstress Stevie Nicks chose to Hollywood’s Music Box Theatre in celebration of Buddy Holly. record “Not Fade Away” in tribute to Buddy Holly.

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808 BuddyHollyTribute.indd 25 10/25/11 8:33:44 AM Nicks chose to perform Holly’s ‘Not Fade Away.’ “She knew right away she wanted that one. It was the fi rst one we did,” Asher said. Th e strength and beauty of Holly’s timeless melodies and lyrics on such songs as “True Love Ways” () and “Crying Waiting Hoping” (Chris Isaak) are accentuated by the respectful and soulful interpretations on the album. And if timelessness is the true barometer of genius, even those who never heard a song like “Words Of Love” would have to fall in love with it in the hands of Jeff Lynne. For the album, Songmasters opted to go with Ronstadt’s original hit single of “Th at’ll Be Th e Day.” Asher agreed, citing it as the defi nitive version. Th e last song recorded was Zooey Deschanel’s take of ‘It’s So Easy.’ Th e actress was unable to take part in the PBS concert due to her taping session for her new Fox TV show “New Girl.” “I’d always liked her voice on the She & Him records, and I read somewhere she was a big Linda fan,” Asher said. “In her case, I just found her in my house! She was actually at a party our daughter Victoria was hav- ing. I was upstairs and my wife said, ‘Y’know, Zooey Deschanel’s here.’ So I came downstairs and asked her to participate.” Asher is all over the PBS special, co-hosting, produc- ing and dueting with Lyle Lovett on “Well All Right.” Th e one oddball moment, the one crazy tack-on to the end of the album that you have to take with a grain of salt, as if granting genius its eccentricites, is the formerly beautiful “Raining In My Heart” by Eric Idle. “Th at’s Eric and I sitting around having a glass of wine and talking,” Asher confesses. “He’s my best friend, and LLC Songmasters 2011 Cohen/© Lester courtesy Photos we hang out together a lot. I was telling him about the Lyle Lovett (above) and singer- Shawn Colvin project and how much fun I was having doing it. I played (below) perform during the “Buddy Holly: Listen to Me — The him some of the tracks. And he said, ‘What if I did a reci- Ultimate Buddy Party” event, which was fi lmed in September tation?’ We were thinking of the Peter Sellers version of for PBS. The program is slated to air in December (check local listings.) Lovett also recorded the track “Well All Right“ ‘A Hard Day’s Night,’ which we both loved. In the end, it for the “Listen to Me: Buddy Holly” tribute album. ended up much less to do with that and more to do with the Spike Milligan records that we both loved as kids in England and the Spike Jones records we grew to love in America.” Between Buddy Holly, fi lm work, and the constant quest to discover new sound, Peter Asher has plenty on his plate. He’s teamed with German fi lm composer Hans Zimmer, with whom he just fi nished soundtrack work for the animated feature fi lm “Madagascar 3.” He loved working with Rodrigo y Gabriela so much on “Pirates of the Caribbean” that he’s producing the Mexican guitar duo’s next album. “You need to know to know who they are,” he enthus- es. “Th ey’re amazing ... just incredible instrumentalists. I didn’t know that much about them until we decided to use them on ‘Pirates.’ Th ey’re hugely successful. Th ey re- cently did two nights at Th e Hollywood Bowl, completely sold out. Just the two of them playing guitars! I just spent 10 days recording with them in Cuba, a fantastic experi- ence.” GM 26 GOLDMINE December 2011 goldminemag.com

808 BuddyHollyTribute.indd 26 10/25/11 8:34:34 AM Songmasters: The people behind the Buddy Holly tribute

The Buddy Holly special features Raul Malo, Boz Scaggs, Graham Photo courtesy Lester Cohen/© 2011 Songmasters LLC Songmasters 2011 Cohen/© Lester courtesy Photo Nash, Gabe Saporta, Paul Anka, Victoria Asher, Waddy Wachtel, Chris Isaak, producer Peter Ash- er, Michelle Branch, Lyle Lovett, When Peter Asher was fi rst con- “So much of rock starts with Shawn Colvin and Patrick Stump. tacted with the idea of a Buddy Holly Buddy Holly: the confi guration of the tribute, it didn’t take him long to decide guitar-based band, the contemporary “We are pleased with the wide to sign on. singer-songwriter-performer, even the variety of work that we have done, and “I was 14 in 1958 when Buddy Holly independent producer of his own cre- plan to do,” said Cohen. “Technology toured England and I didn’t go,” Asher ative work,” Cohen said. “And so much has made it easier to create and produce said from his Capitol Records offi ce. “I of Buddy Holly’s music and legacy is music, but harder to develop a music wish I had.” captured in the remarkable career of career. Young talent today has more Asher’s love of Holly aside, there Peter Asher.” competition, more pressure to fi t a was no question that he was the right Cohen co-founded Songmasters in mold, fewer resources, and almost no choice to helm “Listen to Me: Buddy 1994, when she was head of product guidance in how to develop a success- Holly,” said Jennifer Cohen, co-founder development for Warner Music Inter- ful life in music. We thought we might of Songmasters, the compay behind the national. She wanted to use her lifetime be able to help in our own small way to project. experience in music and entertainment give young artists a real shot.” “To us, Peter is Buddy’s best curator, to bring its power to the service of Th e “Listen To Me” project was cre- possessing a genuine love of Holly’s important charitable and educational ated out of that impulse. music, an extensive and exceptional eff orts. To that end, she’s worked on “Simply put,” she continues, “‘Listen record of performing and producing such prestigious projects as the 50th to Me’ is a series that features today’s some of the most notable versions of anniversary of the United Nations great performers honoring their Holly’s songs, and a lifetime career of Declaration of Human Rights, AmFAR musical roots: the true, great, original producing award-winning albums and (for AIDS research) and “Share Our performers who changed music and records,” said “He was not only the Strength” (ending childhood hunger) culture to raise substantial support obvious choice for a Holly tribute, he benefi ts. for the next generation of outstanding was the only choice worth considering. Hooking up corporate clients to music makers and innovators. Benefi t- Th rough both this album and this con- benefi t charities using music and ting music industry charities include cert, he has once again shown why he events, acting as global music distribu- the Grammy Foundation, Artists House deserves the accolades he has received.” tors with the 2006 creation of Th e Mu- Music, and the Songwriters Hall of Th e Buddy Holly project is the fi rst sic Coalition, Cohen and senior partner Fame, which awards the Holly Prize. in Songmasters’ planned Listen to Me Regan McCarthy not only developed For more information about Song- Series, which pays tribute to ground- better deals for artists, but have received masters and the Listen To Me project, breaking artists who continue to two Ford Foundation grants for their visit www.songmasters.org. inspire fans and musicians today. eff orts. —Mike Greenblatt goldminemag.com December 2011 GOLDMINE 27

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