Zevon met The Boss through Jon Landau, Springsteen’s manager, so when Springsteen had trouble finishing a song with the working title “Janey Needs a Shooter,” Zevon jumped in to flesh out the piece. Despite that, Browne still considered him a friend and co-produced a memorial tribute show for Zevon in 2016 with a fellow Zevon fan, Judd Apatow. Browne and Zevon co-wrote “Tenderness On The Block,” played a few gigs together but then had a falling out. The chart-topping singer-songwriter was an early advocate for Zevon and pitched him to Asylum record chief David Geffen in the ‘70s and then produced Zevon’s first two albums for that very label. The Everly creative partnership lasted until 1973 when the duo split up but Phil Everly popped up again when he sang backup on several songs on Zevon’s self-titled 1976 album. This gig included a 1970 summer-replacement variety show entitled Johnny Cash Presents the Everly Brothers which featured guests as varied as Kenny Rogers, Jackie DeShannon, and then-newcomer, Billy Joel. That’s the secret of rugged individualism.” Here are some the finest examples of the magic he made with talents of equal stature.īefore his breakthrough as a solo artist, Zevon acted as the music director and piano player for the Rock and Roll Hall of Fame duo, the Everly Brothers. He once told a writer, “I’ve had a lot of help from my friends. Instead, Zevon worked on side projects as his main way of collaborating with other musicians and writers.
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The full matching of titles and readers being released by Simon & Schuster Audio is below.Warren Zevon was a unique musician known, in the late ‘70s especially, for his gonzo personality, notorious drinking, and hits like “Werewolves of London” and “Excitable Boy.” Yet, he had a subtler side too which you could see in more introspective songs like “Tenderness on the Block” and “Desperados Under the Eaves.” Both aspects of his personality shared a wry sense of humor and his quirky individualism would have probably prevented him from playing long-term in a group. One could also suppose that Bridges was picked for Hank Williams’ “Your Cheatin’ Heart” because of the Williams song catalog having played such a large part in “The Last Picture Show,” although, ironically, maybe, that was one of the few big Williams hits not included on that film’s soundtrack. One connection seems clear enough: Renée Zellweger reads a chapter about the Judy Garland-sung “Come Rain or Come Shine” not too many years after playing Garland on the big screen. The chapters may well have been assigned at random, but Dylanologists may still have fun speculating on what reason, if any, Buscemi was picked to read about the Fugs’ “CIA Man,” Elvis Presley’s “Viva Las Vegas” and Warren Zevon’s “Dirty Life and Times”… or why Mirren was the woman for the job of intoning “On the Street Where You Live” from “My Fair Lady” and the Frank Sinatra standard “Strangers in the Night” as well as Costello’s new-wave-era classic… or why Woodard’s voice was the one for a literary exegesis of Little Richard’s “Tutti Frutti,” the Nina Simone classic “Don’t Let Me Be Misunderstood” and Rosemary Clooney’s “Come On-a My House.”
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He will read short introductions or interstitial pieces that appear between chapters in the book, described by publisher Simon & Schuster as “a series of dream-like riffs that, taken together, resemble an epic poem and add to the work’s transcendence.” As first promised when the book was announced, Dylan himself will also do some reading for the audiobook, although he’s not taking on any full chapters himself.
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