byrds
April 26, 2017 | Author: qymae | Category: N/A
Short Description
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Photographs: Barrie Wentzell: 2/3, 12, 14, 15, 17, 20/21, 22/23, 24, 144 James Roark: 19 Design: Bloomsbury Group
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All The Things Bad Night At TheWhiskey Ballad Of Easy Rider The Bells Of Rhymney Birmingham Jail Chestnut Mare Drugstore Truck Drivin' Man Eight Miles High 124 Feel A Whole Lot Better 125 Here Without You 126 Hey Joe 127 Hungry Planet 128 If I Had A Hammer 129 I Knew I'd Want You 130 I Trust 131 Just A Season? 132 King Apathy III 133 Lover Of The Bayou 134 Midnight Special Mr. Spaceman 135 Mr. Tambourine Man 136 Old Blue 137 Renaissance Fair 138 So You Want To Be A Rock And Roll Star 139 Take A Whiff (On Me) 140 This Land Is Your Land 141 Turn! Turn! Turn! 142 You Won't Have To Cry Discography
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The Byrds are a four,man musical group formed five years ago as a five,man group. Only one of the present Byrds, Roger McGuinn, was in the original group. The quartet now includes Skip Battin, bass, Gene Parsons, drums, and ClarenceWhite, guitar. With the exception of the Beatles, no other group has changed the course of popular music more than the Byrds. Formed in Los Angeles in the summer of 1964 by McGuinn, David Crosby, Gene Clark, Chris Hillman and Michael Clarke, they were the first electric group with a folk repertoire. For some reason, folk,rock becaq1e a fad, a trend, a phase, the bandwagon the music business jumped on. At the same time, there was a whole generation ready to explode, to become the Woodstock nation. America did not know about the underground when The Byrds played San Francisco, bringing along with them their incredible hairy band of dancers. Now we know what freakiness is. But then there was no connection we could make comfortably to the bunch of people who were the Byrdsfreaks. They followed the group to San Francisco, travelled with them to the midwest and eventually left them for who knows what? Some for Frank Zappa's Mothers, some for communes in Santa Fe and Maui, some for marriage and diffusion into the straight world. But that first record, "Mr. Tambourine Man," was some sort of signal, releasing inhibitions all over the place. Among the musicians, the
"'Our records-and, for that matter, all artact as a sort of balancing thing for the world.' "He (McGuinn) sees The Byrds' albums as
electronic magazines (cartoons, features and editorials). In this way, they are eclectic." " 'They are bi--annual, audio magazines, dating
from the time we first started recording. I think of myself as the editor of the magazine. Even 'Sweetheart of · the Rodeo' fit. You
don't think doing an all--country music is in itself an editorial? It was a feature on country music, a close.-up, a Special iSSUe.' "
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The best music business writer and press agent - press officer, to use this country's term - is Derek Taylor. He works for the Beades. For a time he was in Los Angeles and his first clients here were The Byrds. "When The Byrds opened in Ciro's, as nervously adventurous translators of folk~into--rock; few of us knew the extent to which their innovations would influence popular music. They were the first, the first, the first- though it doesn't really matter that they were the first, they were the first - hair~emancipated American group to make it with
integrity and international acceptance. "The Byrds won their status because they deserved to and retained it because despite appalling internal grief and strife, they were too strong even for the forces of self~estruction and The Byrds are still here because within us and without us they are invincible. "There are only a few groups with value, who relate to values beyond the sound of music. "There are only a handful of those with the power to reach to the edge of the world and touch, just touch a human spirit and leave the touch to work and activate what it may.
" The Byrds are one of these groups and one cannot say why because if it isn't felt, then it isn't to be explained in words."
But to the lover of rock music anywhere, he is a glowing coal in the ashes of the rock 'n' roll business - a business with a frantic, rat-race economy that transforms artists into hustlers, and hustlers into superstars. McGuinn lives with his wife, Ianthe, and their two sons in a rustic hilltop house, ten miles outside of Hollywood. Approaching it, up a long winding driveway, I notice an ordinary-looking closed-circuit TV camera protruding unobtrusively from the side of his garage. Nothing special. When I get to the front door, McGuinn greets me with a quick smile and a can of beer. We sit in his den, cramped with a half-dozen television sets, several guitars, a letter from Pete Seeger thanking the Byrds for their recording of "Turn, Turn, Turn," a photo of Albert Einstein, a crying baby, a dozing manager, a well-thumbed copy of Robert Heinlein's STRANGERS IN A STRANGE LAND, a sturdy mahogany table holding a Moog synthesizer manufactured by the R. A. Moog Co. , Trumansburg, N.Y., several tape recorders and assorted toys, gadgets and memorabilia. At first, we talk haphazardly about the faith, hope, and the compromises inherent in being in a rock group. Time passes, but not clock-time. Byrd-time maybe. I ask McGuinn what was. so special about the early Byrds.
He flashes a cocky, boyish smile, and says, "We were the first of the long-haired rock groups. That was very important then. The competition over here was low, and we approximated the style and the feeling of the Beatles. It was a sandwich between the Beatles and Dylan" - he pauses and smiles again - "both popular items at the time . I took the rock side of the Beatles and D ylan's folk thing. I calculated the voice, between D ylan and Lennon for 'Mr. T ambourine Man,' like a computer calculation." He takes a sip of beer. "In time , we got our own style." McGuinn is sort of tall, but has i his face a sort of puckish look. His somewhat quizzical expression could melt flint. It's a trial for him to talk to interviewers; he's been burned a great deal, but he's learned to accept it, just as he's learned to accept the agonyand-annuities of being the keeper of the Byrd's aviary. He has the endearing gift children have of curiosity and wonder, of making the moment seem an end in itself. He remembers going to the Museum of Science and Industry in Chicago at the age of three, pushing a lot of buttons, learning the physical functions of things, examining, always examining, and seeing his first airplane. "I've always been curious," he says. "Always making things. The first thing I ever made was a jeep, out of tinker-toys" - he has since graduated to radio electronics and kinetic sculpture- " I had the jeep worked out so that the leverage was just right and the ... " The rest of the sentence hangs in the air, stillborn, like any other inexpressibly wondrous memory. "I used tolook up and see Constellations going over. I remember the noise they made. When you 're young, a Super Connie makes a lot of noise. I used to go out to the airport and hang out, and watch the planes with my grandfather." "Did you want to be a pilot ?" "Still do. I guess I've always wanted to. " He laughs when he remembers how most people thought "8 Miles High" - a song about an airplane ride - was "about dope. " The expression briefly turns to gloom. But
only briefly . "That was a time that I over-estimated our audience. I know the pain of doing that. "Look at 'SD.' You write this real hip $Ong and this really" mock-grimace- "hip audience doesn't like it, doesn't understand it at all, thinks it must be 'about dope.' " "What was it about then ?" I ask. "It was an ethereal trip into metaphysics, into an almost Moslem submission to an Allah, an almighty spirit, free-floating, the fifth dimension being that 'mesh' Einstein theorized about. He proved theoretically - and I choose to believe it - that there's an ethereal mesh in the universe, and . probably the reason for the speed of light being what it is is because of the friction going through that mesh." McGuinn recites th e following lines from the song: " ' How is it that I can come out to here and be still floating, and never hit bottom and keep falling through, just relaxed and paying attention .. .' " He takes another sip of beer. "We were talking
about a way of life, sort of a submission to God or whatever you want to call that mesh, that life force. "I believe the universe is alive. And I'm into science fiction to the point that I'm long past doubting that there's a way of exceeding the speed of light. I believe this race will eventually get into teleportation.'' He pauses, rubs his face, smiles, and confesses little faith in homo
sapiens. "I think the human race will survive only if it's supposed to," he says. "I sometimes speculate that it will evolve , temporarily at least, into machines." He is talking freely now, relishing in abstractions. "Whatever we are, inside these robots, will move into bigger, stronger robots, and time will be less important." "Are you a religious person?" I asked McGuinn.
" That's a bad word. I believe in in the immortality of a spiritual essence of everyone. I wouldn't say that I was religious, because there's no religion that I fully subscribe to. But I do believe in the same things they all believe in, what they all coincide on. That, to me, is like scientific analysis, where you find enough factors to weigh and balance, and take those as truths." He recounts and revalues spirituallity with the devo tion of one who has been quoting some sort of personal chapter and verse for his whole life. I ask him what happened after the disappointment of "SD ," the failure of the song to "hit". "Of course, I was discouraged. At least, as to putting out spiritual data to a record-buying public for AM radio consumption. Now you have to understand," he says, "I was also spirituality involved in 'Tambourine Man' and 'Turn, Turn, Turn.' " He takes another sip of beer, this time
barely touching the can to his mouth. "Like in my interpretation of 'Tambourine Man,' whether D ylan meant it or not, the tambourine man was Allah, the eternal life force, and 'take me for a trip upon your magic swirling ship' was just like 'let my soul go where you want it to and I promise to go under it.' It was sort of an Islamic concept. "Perhaps I got too intellectual with 'SD,' because the other two had a heavy sugar coating over the spiritual message that was in there - by the vibrations in my voice, sort of telepathically conveying it. " 'So You Want To Be A Rock 'N' Roll Star' had sort of a sour grapes viewpoint. It was tongue-incheek, more of a parody, bringing out into the open what was funny to me. Here's a list of the ingredients; here's what you have to do. The Byrds got very intellectual for a time. I think David (Crosby) was the driving force behind that." " Bow ?" I wondered. "Well, if you look at his career after he joined Crosby, Stills, Nash & Young, he's done DEJA vu, which is an intellectual interpretation of the reincarnation phenomenon.'' McGuinn doesn't like to talk about Crosby. There is a blank, faraway look in his eyes when remembering ex-Byrds, almost like a long-haired Pan looking down from some media Never Land at all the lost children. "What was Crosby like ?" I ask. "He wasn't exactly resistant to the muse, just sort of passive" McGuinn grins, and adds devilishly - "sort of apathetic, at the time, as I recall. " When he left" - and McGuinn doesn't wish to discuss why - " there was an interim period when we were in a daze. We recorded THE NOTORIOUS BYRD BR OTHERS. That had the last traces of David. The rest we did ourselves just to kinda show David we could do without him , I guess. A lot of people like the album the best of the ten. I don't, particularly, because of what went on during the course of it" - and again the sarcasm towards the audience, I imagine"But if some kid was making it with a girl for the first time when he heard it, it becomes a great album .
"Anyway," he says, "we mellowed out into country music, and we're curving out of it now into something else. As long as it sounds good, it doesn't matter what." "Are you too close to your music to talk about it? For instance, what do you think of UNTITLED (the Byrds' tenth LP] ?" " 'Chestnut Mare' is the most impressive piece on it," he says, with more matter-of-factness than I would expect. "I only wish it would have been more perfect. Say the last note o n the end, where I just ran out of breath. It would take Ezio Pinza to sing that song. There's no stop to it. It's really up there. I like 'Truck Stop Girl.' It really has a groove to it. I like 'Take A Whiff' a lot, althou gh I think it has too many whiffs in it. 'Hungry Planet' falls short in a way, but I still like the synthesizer on it towards the end. I like 'Just A Season.' 'You All Look Alike,' I don't particularly like. Maybe I'm prejudiced against it, because I did a better vocal that wasn't used. " He's talking without resistance, smiling freely, relaxing. He's at the peak of his craft, this strange, charming, remarkably talented Byrd, all things are ecliptical for him, no sharp turns in sight, no hassles; there's a new Byrds album coming up, also a synthesizer one, perhaps even a Byrds-Burrito Bros. collaboration, and things seem like they are going to turn out all right after all.
·"I think (the human · race) will survive only if it's supposed to. I sometimes speculate that it will evolve, temporarily at least, into machines ... "
I get a crash-course of McGuinnisms: On Clairvoyance: "Clairvoyance is no more amazing than television. In clairvoyance, the human being is the receiver. Certain people, who have their receivers in good shape, can receive high frequency impulses, and translate them into words and activities. Though scientifically unproven, I choose to believe in it." On Acting: "I'd like to, but not in any folk-rock-doc." On Interviewers: "There's this English chick, named Penny Valentine, a ver~· personable, not-terribly-attractive, sort of homely-blond-girl, who asked me what I thought of selfd estructiveness as a tendency in people. I said, 'it exists.' She asked me if I h ad that tendency. I said, 'yes, everybody does.' I had a drink in my hand. She asked, 'is that why you're drinking?' I said, 'I guess this is self-destructive on some level, but as a rule I'm not an alcoholic.' And that was the gist of what we said. "And here's how it comes out in print, as a direct quote from me: 'And that's why I drink so much, I think I'm indestructible.' " On English Readers: "They read and relish trash. T hat's all they've got to do on that d reary little island.'' On Writing "The Ballad of 'Easy Rider' " with Bob Dylan: " H e wants me to lie and say he didn't but that was a long time ago. He wrote a couple of lines. I don't think he gives a shit
anymore. Just ask him.'; On Creation: "You don't have much part in what you're doing. You're like a trolley car - shooting down the tracks - and you get the electricity from the wire above you and the tracks below you. Creation is like being in a trance. It's . .. entrancing.'' And on ... and on ... And as we talk, I realize that Hollywood, the city where it all began for the Byrds, hasn't changed all that much. 1t remains a symbol of reality in this hip, enlightened, miserable twentieth century. Sometimes I think it's the emptiest, gaudiest, saddest place in the history of the world. McGuinn shows me an ad he's just received for cemetery plots. "I thought I'd get myself a plot to go out and cherish," he says. He flashes that cynical smile, and I remember how he once flashed it at Ciro's, and how much the Byrds mattered and still do, how very special they are to me personally, how they made my passing hours that much easier. "This is going to be my place. To everything there is a season.'' Innocence and experience mingle for one more instant. "A time to plan, a time to die, a time to buy a plot at Forest Lawn." The telephone rings, McGuinn answers and becomes engrossed. I let myself out - " ... Anyway .. . accident, onto the freeway - " ... An earphone? ... Oh, I see ... " back to Hollywood - " ... It's for use with triceivers ... " - and headlines about Manson and the Middle East, back to bombings, bummer air, hype, dead and dying people-" ... An application where you want to not have to hold the microphone .. .''a constant succession of sloe-eyed, goggle-faced super-star types pass through town - " . . . Like the astronauts use ... " -I can remember when nowhere in the whole Western Hemisphere had men, as men, musicians, and media manifestations, loomed as large and p romising as OUR Byrds - " ... right ... right .. .'' From a forthcoming book on Southern California rock 'n' roll. Copyright, Michael R oss, 1970.
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down_
Let your wa-ters wash
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Flow
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want
It flows
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The riv-er __ flows_
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Words & Music by ROGER McGliNN
-
•
.
•
•
Take me from this
.
•
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•
•
•
•
-e road
e-
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@)Copyright 1969 by Blackwood Music Inc., Last Minute Music & Patian Music, New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
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41
Birmingham Jail New Words & New Music Adaptation by
HUDDlE LEDBETTER
Slowly '\.11. t!
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boys, ter,
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hear the wind Bir-ming-ham
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2.Write me a
blow.
jail.
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Put your head out the Ad - dress it all
07 dow ver
I
Hear the wind blow, Send it by mail, I
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blow, let
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1.Hear the wind 2.(Write me a)
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3. Birmingham jail, boys, the Birmingham jail, Address it all over that Birmingham jail. 4. High sheriff will arrest you, bind you over in jail, Can't get nobody to go your bail. S. To go your bail boys, to go your bail, Can't get nobody to go your bail. 6. Send for your lawyer, come down to your cell, That's where he can clear you in spite of all hell. 7. In spite of all hell, boys, in spite of all hell, That's where he can clear you in spite of all hell. 8. Get a ticket for your money, come back for the rest, Tell you to plead guilty for he know that is best. 9. He know that is best, boys, he know that is best, Tell you to plead guilty he know that is best. 10. Down in the valley, the valley so low, Put your head out the window and hear the wind blow. 11. Hear the wind blow, hear the wind blow, Put your head out the window and hear the wind blow.
©Copyright 1963, 1965 & 1966 by Folkways Music Publishers, New York, N.Y. Assigned to Kensington Music Limited, London, for the British Commonwealth (excluding Canada).
~
42
Chestnut Mare t)
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ways
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(Ad lib tempo)
fl
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Words & Music by ROGER McGUINN & JACQUES LEVY
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Eb
Abmaj7 Ab6
Ab
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f..
herd.
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Pret- ti - est - - mare I've ev - er
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seen,
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you have to- take
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can.
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to
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word.
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,
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Bb7
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Eb
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@Copyright 1971 hy Blackwood Music Inc., Patian Music & Welcome Publishing Inc., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
43 ~
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do
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give_ her
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Bb7 (sus4) Bb7
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Ebmaj7
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1.
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brand.
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Ridge,
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after this chestnut mare
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weeks now
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her meal, or bathing.
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This one day, I happened to be real close to her .I saw her standing over there in a clearin',
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46
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Verse 2. Then we were falling, down this crevice, 'bout a mile down I'd say, I looked down and I see this red thing below us, comin' up real fast, And it's our reflections in a little pool of water about six feet wide and one foot deep, And we're falling down, right through it. We hit, splashed that pool dry. That's when I lost my hold, and she got away. But I'm gonna try to get her again some day. (To Chorus).
47
Drug Store Truck Drivin' Man
Words & Music by ROGER McGUINN & GRAM PARSONS
Not too slow ~
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t)
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store
dr.iv- ing
truck I
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D
A7
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He's the
il
.
r
--
man
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the
h
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Ku
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Klux- Klan;
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head of .It
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f
. II
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""d" D @Copyright 1969 by Blackwood Music Inc./McHillby Inc., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada & Australasia).
48
'~ t)
. Sum-mer
II
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rolls
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round
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if
he's
not in
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1. Well,he' s 2. Well, he
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VERSES
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the I
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plays told ~
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He He 1\
f
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hill know
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town.
A7
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To Coda.
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luck-y
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4
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H~'ll be
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re-c6rds ' - - du night on his
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you've ra -
your 0
fill; show.
l
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had di -
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49
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He's He's
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far - mer's got him a
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Em
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and
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plays. floor.
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-r
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if
he's
not
in-
town.
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Verse 3. He's been like a father to me He's the only D. J. you can hear after three I'm an all-mght musician in a rock n' roll band and Why he don't like me I can't understand. (to Chorus)
'1.:
D
50
Eight Miles High
Words & Music by GENE CLARK, DAVID CROSBY & JIM McGUINN
Em
. Moderately
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Eight Signs No
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stran-ger just be - ing a-fraid of los - ing
it's
flolf
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you'll find that are some - where a - mong those
.
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and when you touch down go - ing that say where you're there warmth to be found
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c
D
high the street is
-
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.._.
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miles in where
than their their
•
R epeat 3 t'tmes
.
known. own. ground.
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Repeat 3 times
.
• /
©Copyright 1966 & 1967 by Tickson Music Co., Hollywood, California. Assigned to Essex Music Limited, London, for the British Commonwealth (excluding Canada & Australasia).
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hud- died in storms, and black lim - ou - sines
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52
Feel A Whole Lot Better Words & Music by GENE CLARK
Moderately
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feel
r
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can't stay
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way
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did_
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what you
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right_
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when you're
-
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©Copyright 1965 & 1966 by Tickson Music Co., Hollywood, California. Assigned to Lakeview Music Publishing Company Limited, London.
3
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had_
me
be - lieve
that
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and that's the way
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that you were put-ting me
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Here Without You
Words & Music by GENE CLARK
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83
Mr. Tambourine Man
Words & Music by BOB DYLAN
Moderato (in 2) "
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TAM-BOU-RINE MAN
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