Showing posts with label Roger McGuinn. Show all posts
Showing posts with label Roger McGuinn. Show all posts

Tuesday, January 30, 2018

ALIENS: MR. SPACEMAN/BYRDS


For me this was always the consummate Byrds track, given as it is one of the earliest outriders, 1966, for their later more overt country influences. Undoubtedly a yee-haw hayride of a tune, yet coupled with, literally, spaced out lyrics, it was ideal for the time; the Byrds still in their first flight of success, together with  the race for the moon being in full pelt. Too 'and western' for the UK charts it bombed in my home-land, but did better at home, no little assistance coming from the phased psychedelia of the instrumental middle 8. Indeed it is still argued as to whether it was forerunner more of psychedelia or of country-rock. Both, say I.



The video represents it's first airing, on the Smother Brothers Show, with a 4 member band, the legendary rotating door of this band already in full swing. Whilst writer of the song and singer Jim (later Roger) McGuinn is clearly still present, along with Chris Hillman and Michael Clarke, on 12-string rickenbacker, bass and drums respectively, David Crosby is conspicuously absent for the first time. Especially as he was, arguably, the biggest space cadet and sci-fi freak in the band. And Gene Clark, in or out of the band depending on whether there was a plane trip expected, and who was nominally only a supporting musician for the recording, is there, pretending to play Crosby's guitar. It seems certain his is the key second voice in the harmony however, miming though they all are. A memorable tale from the time was that the band famously took out a million dollar insurance policy, with Lloyds of London, against being abducted by aliens. They didn't of course. And weren't. Although, with Jim to Roger, who's to say?

It remained a staple of live performances over the years, as members came and went, McGuinn the sole staple, but the style of the song fitting well with the directions driven by later members Gram Parsons and Clarence White. There is a nice video filmed in the desert featuring the former, but with the original recording still the one playing. Various reunions of the earlier line-up also featured it, as have various off-shoots of the original band, notably the equivalently ever changing Flying Burrito Brothers, who probably featured every other living Byrd, McGuinn apart, at some stage. McGuinn also trots it out at the drop of a hat, it often being the song chosen should he make a guest appearance, as he here does with Wilco.


Do the time warp here

Tuesday, November 11, 2014

Farming: Turn! Turn! Turn!


The Byrds: Turn! Turn! Turn!
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They say that writers should stick to what they know, but I’m going to chuck that advice away and write about two things that I know and care little about—farming and the Bible.

We start with farming, the autumn harvest inspired theme for the next two weeks. I was born in Queens, New York, the son of two apartment dwellers from Brooklyn. And although I grew up in the New York suburbs, I had very little connection to the land. My father kept the windows closed, to keep the heat in during the winter and the air conditioning in during the summer. We lived on a steep hill, and as long as I could remember, my parents paid for people to come and mow our lawn, rather than have to deal with the risk of having a lawnmower fall on my father, or presumably me, as eldest child, when that responsibility would have become mine. We had some shrubs and trees on our half acre, but again, the garden guys pretty much dealt with them.

For some reason, the first time I met my future in-laws, who live on a large property in north central Connecticut, these generally considerate people (who loved and maintained their land despite the fact that in real life they were an architect and architecture professor and a children’s librarian, not farmers) thought it would be amusing to give me a scythe and send me out into a pasture. I sucked it up, cut the long grass, nursed the calluses on my hands and have a story that I still tell decades later. And, I think, got their respect.

I’m such a “city boy” that my first night in Westchester after living in Manhattan, and sleeping through car alarms, ambulances and all sorts of street noise, I woke up at first light, angry that my sleep was disturbed by unfamiliar sounds, only to be informed by my amused wife that the offending sound was “birds.” She, the daughter of the scythe owners, wanted to garden on our tenth of an acre lot, so, with my less than rudimentary carpentry skills, I built my first raised bed. Then a second, and last summer, a third. My wife enjoys gardening. She enjoys planting. She enjoys pruning, and she even tolerates weeding. I enjoy eating the herbs and vegetables that we grow, and when I “garden” it usually means picking tomatoes or peppers, and occasionally staking something up that has fallen, so that I can pick more veggies. Also, I will, on occasion, carry out specific tasks directed by my wife, like schlepping wheelbarrows of soil or mulch to places of her choosing.

"Turn! Turn! Turn!," which includes the line “A time to plant, a time to reap” was written by Pete Seeger, who based the lyrics on a passage from the Bible’s Book of Ecclesiastes. As an atheist, I have to admit that I’m not as up on the Bible as some of my more religious friends, but like the rest of the Bible, there are disputes about Ecclesiastes’ writing, author and meaning. But it is pretty clear that its message of wisdom and enjoyment of the simple pleasures of life has been influential, and certainly would resonate with Seeger, who added the era-appropriate last line, calling for peace.

The song was first released, as "To Everything There Is a Season" by The Limeliters, a folk trio, in 1962, a few months before Seeger’s version was released. In 1963, Marlene Dietrich released a German version backed by Burt Bacharach conducting a full studio orchestra, which sounds exactly like you would think. One of the backing singers on The Limeliters’ version was a young musician named Jim McGuinn, who subsequently rearranged the song for release, as "Turn! Turn! Turn! (to Everything There Is a Season),” by Judy Collins, also in 1963. McGuinn, who changed his name to Roger on the advice of Bapak, the founder of the Subud spiritual association that McGuinn was exploring, and his band, The Byrds, released the version that became a huge hit in 1965. Its message of simple pleasures, and peace, and the jangling folk-rock and great harmonies, struck a chord, and The Byrds’ version hit number 1 on the Billboard charts.

Wednesday, February 1, 2012

Getting There: On Roller Skates

Roger Miller: You Can't Roller Skate in a Buffalo Herd

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Melanie: Brand New Key

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Roger McGuinn & Chris Hillman: Skate Date

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I really wanted to contribute an entry about roller skating -- sure, partly because it fits in with this week's theme. But, mainly because I was looking for an excuse to use this wonderful picture of Edvard Petrini's pedaled roller skates.

Problem is, the first two songs that came to mind actually aren't about skating. The first was Roger Miller's "You Can't Roller Skate in a Buffalo Herd." The title may mention roller skating, but it's merely a non sequitur -- though the advice offered is sound.

Then, of course, there's Melanie's "Brand New Key." But, even when it was released in 1971, few listeners thought the song was really about the missing key to her quad skates. (“I don’t go too fast, but I go pretty far” indeed.) The song's lascivious reputation was cemented by its insertion into the Boogie Nights soundtrack, during a memorable audition scene.

Finally, I remembered a song about skating that really is...a song about skating: "Skate Date" by ex-Byrds Roger McGuinn and Chris Hillman. It appeared on their 1980 album City, made just after Gene Clark bolted what had been McGuinn, Clark & Hillman. The harmonies, as always, are nice, but it's not among McGuinn's most profound songs. "Skate Date" would have benefited from a dash of "Brand New Key" double-entendre.

But, "Skate Date" is definitely about skating.

And now I feel fully justified using the picture.

Thursday, July 29, 2010

You First: You Ain't Goin' Nowhere



Bob Dylan & The Band: You Ain't Goin' Nowhere

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Bob Dylan (with Happy Traum): You Ain't Goin' Nowhere

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Nitty Gritty Dirt Band (with Roger McGuinn and Chris Hillman): You Ain't Going Nowhere

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Shawn Colvin, Mary Chapin Carpenter, and Roseanne Cash: You Ain't Goin' Nowhere

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Cracker (with Adam Duritz and Joan Osborne): You Ain't Going Nowhere

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Folks who know me well know that my current favorite pastime is sitting around with other musicians playing and singing songs. In the past few years, I've found several groups of people to play with on a regular or semi-regular basis. With every group, I've brought this old Dylan song. Some people know it, some don't, but it always goes over well. It's easy to play (just three chords), fun to sing, and offers plenty of room for solos.

Dylan first recorded it with what became the Band during his 1967 Woodstock time-out, but the first released version was by the Byrds, who countrified it for their groundbreaking Sweetheart of the Rodeo the following year. Bob's version was eventually released on The Basement Tapes in 1975, but before that, he recorded a radically different version with Happy Traum on banjo for his Greatest Hits, Vol. 2 album (complete with a dig at Roger McGuinn for messing up the lyrics on the Byrds' version).

Since then, the song has been covered by many, and it's usually the Byrds' version that's followed, and that's the template used by The Nitty Gritty Dirt Band (with Byrds Roger McGuinn and Chris Hillman), Cracker (with Adam Duritz and Joan Osborne) and the trio of Shawn Colvin, Mary Chapin Carpenter, and Roseanne Cash.