Producer Perry Finds Rhythm Is Better With Warner Records

Why did Richard Perry, one of the most successful record producers of the modern pop era, give up his independence as a free-lance producer to take a staff position at Warner Bros. Records? Was it because Perry, who hasn’t produced a Top 10 single since DeBarge’s “Rhythm of the Night” in 1985, was having trouble coming up with hits on his own?

Perry--articulate, aggressive with a booming, excitable voice--is too confident and wily a record industry veteran to be thrown by such a question.

“Maybe I wanted to see how the other half lived,” he calmly quipped, seated on a barstool in the den of his luxurious home high in the hills above the Sunset Strip. “As you can see, I’m certainly not down and out. But working at Warners is like going back home. I started there as a staff producer about 20 years ago.”

Perry’s first big hit as an independent producer was with Barbra Streisand’s 1971 album, “Stoney End.” He later struck gold with such varied artists as Carly Simon, Ringo Starr, Diana Ross, Leo Sayer, Julio Iglesias and, most notably, the Pointer Sisters. With the Pointers, Perry produced some of the most danceable pop-soul singles of the early to mid-’80s, including “He’s So Shy,” “Jump,” “Automatic” and “I’m So Excited.”

But the word around the industry after his last two albums with the Pointer Sisters fell far short of expectations was that he was cold--maybe, some suggested, he had even lost his touch.

In the last few years, were artists still beating down his doors to hire him as producer?

“Not really,’ he replied candidly. “But I did turn down some projects.”

Perry, though, hasn’t been idle.

He was mainly busy recording “Rock, Rhythm and Blues,” a just-released album of oldies utilizing contemporary artists to salute the early days of rock and R&B.; Perry had been working on this album for Warner Bros. for two years--long before he ever thought about joining the company as staff producer (official title: vice president of artist and repertoire).

The album includes Chaka Khan’s remake of “Fever” (originally a 1956 hit by Little Willie John), the Pointer Sisters’ “Mr. Lee” (the Bobbettes, 1957), Randy Travis’ “It’s Just a Matter of Time,” (Brook Benton, 1959), Christine McVie’s “Roll With Me Henry” (Etta James, 1955) and Elton John’s “I’m Ready” (Fats Domino, 1959). The first single is Rick James’ “This Magic Moment/Dance With Me” (a Drifters hit medley).

“Anybody who doubts I can still produce should listen to this album,” Perry said.

Perry, 46, is an old-fashioned pop producer, the kind who prefers--in most situations--live musicians over synthesized instruments. Also, he is not convinced, like his youthful peers, that the drum machine is the ultimate. And he reveres the song above all else.

His boss, Warner Bros. Records president Lenny Waronker, has no doubts about Perry’s continued ability to turn out hits.

“If we didn’t think he could make a contribution, why would be hire him?” asked Waronker, who said he had heard none of the industry scuttlebutt about Perry. “We hired Richard because of his experience--particularly in pop and R&B.; He’ll help in making decisions about signing artists and about their musical direction. Of course, he can deal with young artists. He’s not living in the past. He knows the current musical scene. There’s a lot young artists can learn from him.”

Perry said that what frustrated him most about being an independent producer was fighting to get proper attention for his artists’ albums.

One reason the Pointers’ albums weren’t selling, Perry said, was inadequate support by RCA Records: “They didn’t care about the Pointers’ albums. It was a political thing. Some people at RCA didn’t didn’t want them on the label and weren’t willing to work for them.”

An RCA spokesperson declined comment.

While Perry blames the Pointers’ RCA demise on inter-label politics, there are other opinions. According to one theory, fans simply tired of the Pointers and all those techno-dance tunes. Some say the records just weren’t that good. Others, though, contend black radio stations’ lack of enthusiasm for the Pointers contributed to their downfall.

Last August, while putting the finishing touches on the “Rock, Rhythm and Blues” album, Perry reevaluated his position as an independent producer. “I got tired of fighting those battles with record companies,” he said. That’s when he approached Warner Bros. about being a staff producer.

His next project is producing some cuts on an album by Thelma Houston, a former Motown singer he helped get signed to Warner Bros. He’s also working with Luther Vandross on a version of the Beatles’ “Michelle” for the sound track of an animated film--a deal for another label that was worked out before he came to Warner Bros.

Perry voiced just one misgiving about returning to a record company: You’re limited to the company’s artists.

“If you like an artist on another label or some new artist who’s not signed, you can’t do anything with them unless they’re signed to your label. I don’t like that part, but I have to get used to it.”

LIVE ACTION: The Ramones, whose three scheduled concerts at the John Anson Ford Theatre have been consolidated into one June 2 concert at the Hollywood Palladium, will also be at the Country Club on June 4. . . . Cowboy Junkies will be at the Coach House in San Juan Capistrano on June 9 and 10. . . . Engelbert Humperdinck will be at the Celebrity Theatre in Anaheim on July 7, and K.T. Oslin will be there Aug. 4. . . . Georgia bands Drivin’ N’ Cryin’ and Love Tractor will be at Bogart’s on June 22.