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Posts Tagged ‘Joan Baez’

 (Above: The voice of the Byrds, Roger McGuinn, transforms “Eight Miles High” and shows off his guitar chops with this stunning acoustic arrangement.)

By Joel Francis
The Kansas City Star

The stage was empty, but the sound was unmistakable. The shimmering jangle from the 12-string blonde Rickenbacker guitar rang clear throughout the Folly Theater as Roger McGuinn, voice and architect of the Byrds, strolled out casually from stage right. The chorus of the opening song, a cover of Bob Dylan’s “My Back Pages,” resonated throughout the night: “I was so much older then/I’m younger than that now.”

For the next 100 minutes, McGuinn treated the two-thirds full theater to a stroll through his back pages, or, more specifically the music that influenced the sound of the Byrds and his songwriting. It took McGuinn half a hour to work his way up to the rock and roll era. He explained a reworking of “Jesu, Joy of Man’s Desire” ended up as “She Don’t Care About Time,” a Byrds b-side, sang a sailor chanty, a spiritual and paid homage to Woody Guthrie and Lead Belly. He also used his own “Chestnut Mare” as an example of the cowboy songs from the old West.

These performances were interesting as a musical history lesson, but the show didn’t really take off until Elvis entered the building. Calling the transistor radio the iPod of its day, McGuinn explained how the portable radio freed him from having to listen to his parents’ music (and vice versa). The thrill of watching Presley inspired McGuinn to get his first guitar.

Now inspired, McGuinn told the audience about his lessons at the Old Town School of Folk Music in Chicago, where each week not only was a new song taught but several different styles of playing it. From there he took the crowd on a expedition through the Limeliters and Chad Mitchell Trio in Los Angeles into Bobby Darin’s band before landing at the Brill Building in New York City.

It was there McGuinn first heard the Beatles and recognized the folk-chord structures they used. Alone in his vision to marry folk with the British Invasion, McGuin fled the Greenwich Villagescene for the Troubador in Los Angeles where he met Missouri native Gene Clark and group that would become the Byrds were born.

Each adventure was illuminated by a musical representation of the time, from the Limeliter’s “There’s A Meeting Here Tonight” and Joan Baez’ “Silver Dagger” to “You Showed Me,” the first song McGuinn and Clark wrote together, which later became a Top 10 hit for the Turtles.

McGuinn performed most of the set seated on a piano bench at center stage. The only musician onstage, he was surrounded by four instruments, an acoustic and electric 12-string guitar, a 7-string guitar and a banjo. The open cases around him made McGuinn look like a posh busker.

The crowd relished every note and story. The room was often so quiet you could hear McGuinn’s pick hitting the strings. He frequently had to prod the audience to get involved, even singing the chorus on major songs like “You Ain’t Goin’ Nowhere,” another Dylan cover.

Although his tenor voice had lost some of its range, McGuinn’s singing was strong and his guitar playing was impressive. The best moment was a fascinating new arrangement of “Eight Miles High” that was more Ravi Shankar than Timothy Leary. Appropriately, the autobiographical journey ended with a relatively recent song, “May the Road Rise To Meet You.”

Set List: My Back Pages; She Don’t Care About Time; Leave Her Johnny, Leave Her (Time For Us To Leave Her); Old Blue; Chestnut Mare; Pretty Boy Floyd; Rock Island Line; Heartbreak Hotel (excerpt); Unknown Spiritual; There’s a Meetin’ Here Tonight; Silver Dagger; Gambler’s Blues (aka St. James Infirmary); The Water Is Wide; You Showed Me; Mr. Tambourine Man; You Ain’t Goin’ Nowhere; Mr. Spaceman; Dreamland; Up To Me; Eight Miles High; Turn, Turn, Turn. Encore: Feel A Whole Lot Better; Bells of Rhymney; May The Road Rise To Meet You.

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 (Above: It may have been the holiday season, but John Lennon wasn’t pulling any punches when he put this video together. This extended cut also includes edited interviews with Lennon.)

By Joel Francis
The Daily Record

Before it was a song, “Happy Xmas (War Is Over)” was a billboard. In 1969, two years before the song was written and recorded, John Lennon and Yoko Ono proclaimed “War is Over! (If You Want It)” on signage in New York, Rome, Berlin, Tokyo and several other major cities around the world. The signs were an outgrowth of Lennon and Ono’s bed-in for peace, but the phrase stuck in Lennon’s head.

When the couple relocated to New York City in 1971, Lennon quickly feel in the company of radical ‘60s activists Jerry Rubin and Abbie Hoffman. Lennon had already gone on record against the Vietnam War at a Beatles press conference in 1966. The conflict was also a frequent topic of conversation during the bed-in. Instead of giving peace a chance, though, the United States had become even more entrenched in combat.

Inspired by his social circle and frustrated by another holiday season marked by fighting, Lennon turned his billboard slogan into a song. Lennon wrote the song over two nights in a New York City hotel room and recorded it almost immediately. Despite being released less than three weeks before Christmas, the single still managed to reach the Top 40. The feat was replicated each time the single was re-released. In Lennon’s native England, the single did not appear until 1972, when it went in the Top 5.

After a whispered shout-out (whisper-out?) to the pair’s children, Phil Spector’s wall of sound kicks in. The opening line – “And so this is Christmas/and what have you done?” – is both a nostalgic look back and the previous year and question of accountability. Despite having hope for the upcoming year, Lennon admits “the world is so wrong.” A chorus of children from the Harlem Community Choir echoes the words that started it all: War is over/If you want it.”

The melody is based on the folk ballad “Stewball,” a song about a British race horse. The first versions of “Stewball” date to the 18th century, but Woody Guthrie and Lead Belly put their stamp on the song in the 1940s. During the folk revival of the early ‘60s, both Peter, Paul and Mary and Joan Baez included the song in their repertoire.

Many artists, including skiffle singer Lonnie Donegan, a big influence on Lennon and most British musicians of his generation, have cover “Stewball,” but their numbers pale in comparison to the roster of those who have recorded “Happy Xmas (War Is Over).” From Andy Williams and Celine Dion to Maroon 5 and American Idol David Cook to the Moody Blues and the Polyphonic Spree, the song has been covered by nearly every conceivable artist in nearly every conceivable genre.

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(Above: The only acceptable version of “Hoochie Coochie Man.”)

By Joel Francis
The Daily Record

A fun game has been going around the internet recently: Name 15 albums that influenced your taste in music today in 15 minutes. Because we never play anything straight up at The Daily Record, we twisted the rules a little and came up with 15 songs we dislike by artists we like.

  1. Led Zeppelin – “Stairway to Heaven.” Might as well get this heavy out of the way first. Classic rock radio has destroyed this great band’s best-known song. I’ve heard it so many times at this point I can conjure it up in my sleep. I never need to hear it again. Let me go one step further: I’d rather hear a half-hour live version of “Moby Dick” than have to sit through “Stairway” again.
  2. Joni Mitchell – “The Circle Game.” Joni Mitchell’s 1970 song about the cycles of life is actually a remarkable song. It works too well, though, leaving me completely depressed and feeling like I care about has decayed around me in just under 5 minutes. No wonder Mitchell selected this song to close her classic album “Ladies of the Canyon.” After this there’s nowhere to go.
  3. Beastie Boys – “Fight For Your Right To Party.” The Beastie Boys were a lot more creative and fun than the frat boy stereotype this dumb song earned them.
  4. Van Halen – “Love Walks In.” The Sammy Hagar period of the band is rightly painted as inferior to the original lineup, but you can’t help when you were born and I came of age right in the middle of Van Hagar. I never had a problem with Eddie switching from six-string to synths, but the sugary melody combined with lyrics about aliens made this song more than I could handle.
  5. Boogie Down Productions – “Jimmy.” Usually a master of the message, KRS-One’s sermon on safe sex comes off as both preachy and simplistic. The idiotic chorus destroys what little credibility may remain. The track did inspire the Young MC cut “Keep It In Your Pants” from his follow-up to “Stone Cold Rhymin’.” I wish I didn’t know these things, but I do and there’s nothing anyone can do about it.
  6. Anyone – “The Long Black Veil.” First performed by Lefty Frizzell in 1959, this country classic has become a staple for Johnny Cash, The Band, Emmylou Harris, Joan Baez, Bruce Springsteen and a dozen more. I can’t argue with any of those artists, but for a reason I could never put a finger on, it never resonated with me.
  7. Radiohead – “Creep.” This song introduced Radiohead to America, and for that I should be grateful, but “Pablo Honey” is the outlier in their catalog for me. In my mind, the catalog officially starts with “The Bends.”
  8. James Brown – “Killing Is Out, School Is In.” This song became the unintentional center point of Brown’s 2002 concert at the River Market. A lackluster set had already been derailed by a couple Janis Joplin covers by Brown’s then-wife and mayor Kay Barnes onstage proclamation of James Brown Day. Several years after Columbine, the message was not only no longer timely, but embarrassing. The song was later released as a single. Thankfully few heard it.
  9. David Bowie – “Changes.” Yet another song ruined by radio and turned into lazy shorthand for its era by television and movie producers.
  10. The Beatles – “The Long and Winding Road.” Dislike may be too strong a word for this song, but Paul McCartney had already delivered a better ballad for the “Let It Be/Get Back” project. This one feels like a syrupy afterthought to me.
  11. Steve Earle – “The Devil’s Right Hand.” This number brought Earle acclaim as a songwriter before he established himself as a recording artist in his own right. I think Lynyrd Skynyrd covered the same turf better with “Saturday Night Special.” The verses aren’t band, but the song is overly reliant on the repetitive chorus.
  12. The Who – “Behind Blues Eyes.” This sensitive number never seemed to fit in with the rest of “Who’s Next” and it seemed even more out of place as a single. Pete Townshend usually struck the right balance of being tough and vulnerable at the same time (see “The Song Is Over” or “How Many Friends”). He sounds weak and whiney on “Blue Eyes.” Limp Bizkit’s cover confirmed my instinct. Sympathy for Fred Durst? Never!
  13. Anyone but Muddy Waters – “Hoochie Coochie Man.” In the hands of Waters and the Chess studio pros, this is a blues masterpiece. For just about anyone else, it is usually a lame attempt for a middle-aged white guy to show he’s hep to the blooze. I’m looking at you Eric Clapton, Alexis Korner, Steven Seagal and Dion.
  14. Jay-Z – “Young Forever.” Alphaville’s 1984 hit “Forever Young” worked perfectly as the soundtrack to Napolean Dynamite’s dance with Deb. In the hands of Hova, however, it is ridiculous.
  15. Louie Armstrong – “What A Wonderful World.” There’s nothing wrong with Satchmo’s sublime performance. He manages to walk the tightrope between sincere and saccharine as the strings underneath support his presentation. Unfortunately, no one understood the song’s message, as it has a crutch when movie producers want to tug on heartstrings. Joey Ramone’s version was great upon release, but in the decade since it has become a hipster version of the same cliché.  I guess this leaves me with Wayne Coyne and the Flaming Lips’ weird yet heartfelt reading. I don’t think mainstream America is ready for that to be thrust down their throats – yet.

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