![]() For him it was just one card from his expsnsive deck, and an easy one. His brilliance was already well-known among his peers like Jackson Browne and Linda Ronstadt. It’s why both of them started singing and recording his songs. ![]() Linda recorded his song “Poor, Poor Pitiful Me,” which became a hit, though it sheds the dimension of irony that’s there when he sings it. Jackson started singing “Werewolves in London” in shows before Warren even recorded it, a reggae-tinged take as far back as 1975, and told people to remember the name of the songwriter. He even spelled it for them.īut Zevon remained a well-kept secret from the world at first. Waddy Wachtel, great studio guitarist on countless classics, took on production of what would be Zevon’s second album, Excitable Boy. Waddy was on a mission to make it the album that would break him through, Excitable Boy. He wanted to establish Zevon’s place in the world as a brilliant and serious songwriter – and a rocking one – more Springsteen than Jackson Browne. He pushed Zevon to write fast rockers, and to leave tender beautiful ballads like “Tule’s Blues,” one of Warren’s first and most beautiful ballads, unrecorded. “Werewolves of London” was one of those songs which fell into place easily, with input from many directions. After which, Warren took it home and tailored it.īut it started when he was hanging with Waddy and with fellow songwriter LeRoy Marinell. It’s one of many examples of his fun and fearlass “ Let’s all dive into the deep end right now!” approach to songwriting. Jorge Calderon, who wrote so many with Warren, said it was always that way. ![]() ![]() As soon as they had a concept – a title – or any ingredient that was interesting, Warren would quickly leap on it then and there. ![]()
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