Now 82, Peter Asher might be the least likely musical Renaissance man. As Dan Geller and Dayna Goldfine’s documentary so entertainingly charts, Asher was not only the Grammy-winning producer of some seminal albums of the 1970s—including smash hits like James Taylor’s Sweet Baby James (1970) and Linda Ronstadt’s Hasten Down the Wind (1976)—he was also closely involved with the Beatles and Carole King, among others, in a colossal career that is now well into its seventh decade.

As Asher charmingly recounts, he and his sisters Jane and Clare became performers as children, although only Jane stuck it out to become a bona fide star, later appearing opposite Michael Caine in Alfie (1966) as well as in Polish auteur Jerzy Skolimowski’s Deep End (1970). Asher himself was in a few movies and plays as a child, but he gravitated toward music, meeting Gordon Waller in high school and forming a duo, Peter and Gordon. It was also serendipitous that sister Jane was dating Paul McCartney—they were together from 1963 to 1968—and the Beatle moved into the Asher home, where he wrote songs with John Lennon on the family piano.

One of several great stories Asher shares is when he heard John and Paul play a new song together on the piano—”I Want to Hold Your Hand.” They also handed him a song that the Beatles vetoed, “A World Without Love,” which Peter and Gordon recorded instead. It became a number one hit on both sides of the Atlantic. After a few years of touring and recording, the duo broke up, and Asher, thanks to his sister’s then-boyfriend, took the job as A&R head at the Beatles’ new Apple label, where he signed unknown singer-songwriter James Taylor. Taylor’s Apple debut—which was also Asher’s producing debut—didn’t sell well, but Asher knew he had a diamond in the rough and quit Apple to move to Los Angeles and become Taylor’s manager. He also produced Taylor’s string of successful 1970s albums, none of which were on Apple.

There’s so much to Asher’s music biz legacy that it’s impressive how much Geller and Goldfine cram into Peter Asher: Everywhere Man, whose title cleverly performs double duty as a Beatles-adjacent pun and a nod to Asher’s incredible Zelig–like ability to work with or know seemingly everybody in the business. While managing and producing Taylor, Asher also did the same with Ronstadt, who became the most successful female pop singer of the 1970s under his guidance. He also worked with a who’s-who of other musicians, including Diana Ross, Ringo Starr, Elton John, Bonnie Raitt, Cher, and Neil Diamond, along with comedian Robin Williams, whose album Live 2002 won a Grammy under Asher’s production.

Asher engagingly recalls his career in vintage interviews over the decades, in a sit-down with the filmmakers, and onstage during one of his touring music-and-talk performances. Only once—when he’s asked about the painful breakup of his first marriage—does he choose not to elaborate. But when he discusses his former singing partner Gordon Waller, he candidly admits to being unsure about reuniting but was glad that they did for several appearances before Waller’s premature death at age 64 in 2009.

Geller and Goldfine manage to corral an astonishing array of Asher’s musical colleagues for new interviews. (Asher’s former not-quite brother-in-law McCartney is also heard from in excerpts from an archival audio interview.) From Taylor and Ronstadt to Steve Martin, Eric Idle, Twiggy, and Paul Shaffer, they all speak of Asher with a touching mixture of jocularity and awe about his many accomplishments. The result is an unabashedly nostalgic trip back to a musical era that no longer exists, appetizingly brought back to life for two hours.