5 Things You Might Not Know About David Foster
Today we celebrate the birthday of musician / producer / songwriter extraordinaire David Foster, whoâs worked with so many different artists over the years that weâre not even going to try and list them all. We are, however, going to offer up a list of five artists, and while itâs likely that you may not be aware of most of these credits, itâs even more likely that youâre not aware of any of them. Read on and see which category youâre in!
- He produced a song for a âDoonesburyâ character.
In 1977, Garry Trudeau arranged for the release of a 7â single by Jimmy Thudpucker, the resident rock star of the comic strip âDoonesbury.â Given his fictional nature, however, Thudpucker needed considerable backup to actually bring the song to fruition, and he definitely got it. In addition to having Foster twiddling the knobs for the track and playing keyboards, the song also includes musical contributions from â hang on, let us take a deep breath first â Donald âDuckâ Dunn, Jeff Porcaro, Mike Baird, Bill Champlin, Steve Cropper, Jay Graydon, Steve Lukather, Dan Ferguson, Steve Forman, Leon Rubenholt, Jim Horn, Doug Atwell, Chuck Findley, Trevor Lawrence, Steve Madaio, Quitman Dennis, and Don Menza. Oh, yeah, and then thereâs the squadron of background vocals, which consists of Donny Gerrard, Brooks Hunnicutt, Lisa Roberts, Joyce King, Jana Lee Dare, Jeanne Anne Chapman, RenÃ©e Armand, Verna Richardson, Jim Haas, Ron Hickland, and Stan Farber. On top of that, the contributor with the highest profile isnât even credited: someone in the mix is none other than Keith Moon! Thatâs a whole lot of talent for a fictional character.
- He also produced the final single released by Sonny & Cher.
When Sonny Bono approached David Foster and asked him if heâd be willing to arrange a new single that he was going to be recording with his ex-wife, Cher, Foster countered with a request to not only arrange it but also co-produce the single with Sonny. Sonny agreed, and his giddiness about the single proved infectious, which made it all the more painful for Foster when Cher â although she proved to be a consummate professional â arrived at the studio by saying, âLetâs get this over with,â did two takes, and was out the door. As Foster explained in his memoir, Hitman: Forty Years Making Music, Topping the Charts, and Winning Grammys, âIt was the last place she wanted to be, it was the last song she wanted to sing, and Sonny was clearly the last guy on the planet she wanted anything to do with.â The same was apparently true of their audience, too: the single failed to chart, and it has never appeared on any album or compilation.
- In addition to working with Peter Cetera, he also worked on solo material by another member of Chicago.
Actually, when Foster produced the albums SINGLE (1978) and RUNAWAY (1981), Bill Champlin wasnât yet a member of Chicago. Within a few months of releasing the latter album, however, Champlin â who had already been invited to join Chicago in the wake of Terry Kathâs death â finally agreed to take the band up on their offer, remaining in their lineup through 2009.
- Heâs participated in albums which connect him to all four Beatles.
First of all, he played on âCall Me,â a track from Ringo Starrâs GOODNIGHT VIENNA album. Then he played on George Harrisonâs EXTRA TEXTURE album. Several years later, he contributed synthesizers to âThe Girl is Mine,â by Michael Jackson and Paul McCartney. And what of John Lennon? Well, he never actually played on anything of Lennonâs, but he did play on the Keith Moon song âMove Over Ms. L,â which was written by â wait for it â John Lennon. Hey, close enough, right?
- He was the piano player for the stage version of The Rocky Horror Picture Show.
Not only was it Fosterâs first regular gig in Los Angeles, it was also â as he described it in the aforementioned autobiography â âmy first regular, weekly paycheck as an adult. I was making three hundred dollars a week, which was fantastic, and every night everyone would show up about half an hour before the show and jam for about twenty minutes. By the end of the first week, I was pretty much running those little jam sessions, and by the end of the second week I think I became, unofficially, the music director.â