We were sitting around for four or five months. So, I almost left The Byrds and went off with Dino to do that, because Columbia wasn’t releasing the single. Dino wanted to start a band with space helmets and wireless microphones, and that sounded really cool to me. In the meantime, I knew Dino Valenti from San Francisco, who was later in Quicksilver Messenger Service. And then it sat around between January and May. And then Gene Clark and David Crosby and I went into the studio and recorded the vocals for it. Tambourine Man,” with the help of the Wrecking Crew and me on my Rickenbacker electric 12. And if we got a hit with the single, you could go back in the studio and record the album.
So, the deal they gave us was for one single. They thought it was like the mafia doing heroin. They were a little bit scared of rock ‘n’ roll. They had Doris Day and Steve Lawrence & Eydie Gormé, and some jazz and classical stuff. So, it wasn’t an album deal we got from Columbia. We had to get a hit single before we could do the album. And he said, “I did it for the folk scene.” And I said, “But folk singers don’t play electric guitars.” Maybe it was a prophetic thing. Hall, who owned the Rickenbacker company, why he just decided to make an electric 12-string guitar. I did a lot of stuff for Elektra Records. And I recorded the demo of “The Sound Of Silence” for Paul Simon. I was a go-to studio guy in New York for 12-string acoustic folk records. Here are McGuinn’s thoughts on eight classic Byrds albums. He also can easily recall details about the most pivotal albums, and his (not always favorable) impressions of his former bandmates. But he remains a sharp and spry musician, as evidenced by how often he slipped into Byrds songs on his trademark 12-string during our Zoom call. When we spoke, he had recently celebrated his 80th birthday. “But we wanted to be like The Beatles, and we got to do that.”Īlong with fellow surviving members Crosby and Chris Hillman, McGuinn contributes to a forthcoming collectible art book about the band, The Byrds 1964-67, due out September 20. “I regard The Byrds as a nine-year detour from my dream of being a folk singer like Pete Seeger,” he says during a recent interview. to Wilco, as well as heartland rockers like Tom Petty and The Heartbreakers. It’s him playing the 12-string guitar parts that grace iconic singles like “Turn! Turn! Turn!” and “My Back Pages,” which subsequently informed pop-minded experimental guitar bands from multiple generations, from the Velvet Underground to R.E.M.
The one constant in The Byrds was Roger McGuinn, a founding member and the only person to appear on every record. Among the members are singer-songwriters who went on to have important careers outside of the band, including Gram Parsons, Gene Clark, and David Crosby. Tambourine Man, The Notorious Byrd Brothers, and Sweetheart Of The Rodeo - that profoundly influenced the future direction of California rock, country, and psychedelic music. Between 19, the L.A.-based group released 12 albums - including classics like Mr. The album features seminal recordings from the artist’s coffeehouse era (Gerde’s Folk City, 1962), his mythic 1963 breakout concerts at New York’s Town Hall and Carnegie Hall, a duet with Joan Baez from the historic March on Washington (August 28, 1963), definitive performances from his European and world tours of 19, incandescent moments from the 19 Newport Folk Festivals and more.The Byrds are on the shortlist of great American bands. Most of the performances on the album have been previously available only on the extremely limited edition “50th Anniversary / Copyright Extension” albums (three highly-collectible compilations–released in 2012, 20–of rare early Dylan recordings).Īcross two discs-worth of music, Live 1962 – 1966: Rare Performances from The Copyright Collections chronicles Dylan’s transformation from groundbreaking acoustic “folk” artist to iconic force of pop culture. Bob Dylan’s Live 1962 – 1966: Rare Performances from The Copyright Collections is now available digitally or as a 2-CD set.
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