DAVID FOSTER
At the Wilbur Theatre, Boston. April 11 at 8 p.m. Tickets $39-$85, www.thewilbur.com
It’s quite possible you have David Foster songs on your iPod and don’t know it.
Earth Wind and Fire’s “After the Love Is Gone,’’ Chicago’s “You’re the Inspiration,’’ Josh Groban’s “You Raised Me Up,’’ Kenny Loggins’s “I’ll Be There,’’ Celine Dion’s “Because You Loved Me.’’
It doesn’t stop there. The composer-producer has helped create hits for a who’s who of A-listers: Madonna, Christina Aguilera, Michael Jackson, Whitney Houston, Barbra Streisand, Seal, Stevie Wonder, Dolly Parton, ’N Sync, Mary J. Blige, Kenny Rogers, Rod Stewart, Diana Krall, Natalie Cole, Michael Bolton, Chaka Khan, Hall & Oates, Andrea Bocelli, Gloria Estefan, and others.
It’s why they call the Canadian the “Hitman,’’ and why the Hitman has earned 16 Grammys, 47 nominations, an Emmy, a Golden Globe, and three Oscar nominations.
Oh, and he’s currently writing music for two musicals he hopes reach Broadway — one based on iconic cartoon character Betty Boop, the other on Amy Bloom’s novel “Lucky Us.’’ (“I’m co-writing it with Jewel. That’s thrilling for me. The ideas flow out of her.’’)
His extended family is large, and largely famous, so you may know him through other contexts: Foster, 68, and his then-wife, actress Linda Thompson, were central characters in “The Princes of Malibu,’’ a reality show about his stepsons, Brandon and Brody Jenner, the children of Thompson and Caitlyn (then Bruce) Jenner. His other famous stepkids include models Gigi and Bella Hadid. His daughters, actresses Sara and Erin Foster, are co-creators and costars of the VH1 parody reality show “Barely Famous.’’
The Hitman is now on tour performing many of those hits himself. In advance of his show Wednesday at the Wilbur Theatre, Foster spoke to the Globe by phone from Capitol Records in Hollywood, just before a studio session with Michael Buble.
Q. How did you start out as a composer-producer?
A. I was a late bloomer. I was a session musician in LA, and the writing came from being in-studio with artists who needed one more song for a record. And maybe I was just the piano player, but being the opportunist I’ve always been, I’d say, “Hey, let’s write it together.’’ I started with people who knew the drill. One [early teacher] was Kenny Loggins; he’d direct me. Boz Scaggs, when we wrote for “Urban Cowboy’’ with John Travolta. I learned from those artists. I wrote [a few songs] as a kid, but they were total [expletive]. [Laughs]
Q. How did you start out as a musician? I read that you opened for Chuck Berry?
A. I quit school; I have no clue why my parents let me [except] they saw I needed to get off the island, Vancouver Island. I was with some older guys who promised my parents they’d take care of me, and we found a gig with Chuck Berry. It was hardcore. Some of the [expletive] I saw, you couldn’t believe.
Q.Wow. And how did you career take off from there?
A. Same as your career. You probably always knew you wanted to be a writer. I always knew I’d do music. Same thing. It’s a story you’ve heard a hundred times. The people who know just know. When I was a musician, I’d watch producers, and I’d learn more from the bad ones than the good ones. The bad ones taught me what not to do. They didn’t know how to deal with musicians — they were just there to make sure the wine was good. The good ones, like Quincy [Jones], it was like going to college. I just always knew I could do what they were doing.
Q. I know you’re a huge Beatles fan. You got to work with George Harrison and Ringo.
A.I produced Paul [McCartney] as well, and it was just incredible. There was one night — this was when John [Lennon] was alive — we were sitting at George Harrison’s house, Ringo was there, we were drinking and it was like “Hey, let’s call up Paul and John!’’ We thought we had that power to get the Beatles back together [laughs]. George was incredible; he was a Zen master. When you think of what they accomplished in nine years, from “She Loves You’’ to the White Album, that arc of growth, I’ve never seen that before or since in a group. My desert island album would be the Beatles’ “1,’’ because it takes you through their life.
Q. What’s your writing process?
A. For me, it’s a job. Some people say, “Oh, the sun comes over the mountains and I run to the piano!’’ For me, it’s: “Tomorrow I’ll write with so-and-so, and we’ll meet at 11 a.m.’’ It’s a job. It’s a good job, but it’s a job. I bet there are times when you write something when your fingers can’t go fast enough, other times you sit there and stare. Same thing.
Q. What’s your process when you co-write a song with someone?
A. It’s like — this sounds cheesy — but like we become one person. It can be intimate. It’s like a marriage. Like you’re jumping into bed with someone. I’ve written songs with many people — some I didn’t know; someone just thought it was a good idea for us to get together. [That] can be awkward, but the music prevails.
Q. You’re a celebrity judge on “Asia’s Got Talent.’’ How did that happen?
A. Here’s the thing about Asia: Asian people, the continent as a whole, they put more importance on the writer/producer of a song [than the singer]. I learned that 30 years ago when I started going there — they were happy to have me play the songs I’d written and produced. They didn’t need Whitney to enjoy themselves.
With “Asia’s Got Talent,’’ we’re going into the third season. There’s some insanely crazy talent. These three girls, they sounded good. I asked the middle one, “What’s your name?’’ She said, “Mariko.’’ I said, “What’s your real name?’’ And in a man’s voice, she said, “Josalito.’’ They were three guys from [the Philippines]. So there’s more variety in acts.
DAVID FOSTER
At the Wilbur Theatre, Boston. April 11 at 8 p.m. Tickets $39-$85, www.thewilbur.com
Interview was edited and condensed. Lauren Daley can be reached at ldaley33@gmail.com.
