![]() Unlike the great extended live version on Untitled, this performance does not contain a lengthy drum solo and is all the more engaging for it. Eventually, McGuinn and White drop out allowing the rhythm section to solo, which here is augmented by their road manager, Jim Seiter, adding additional percussion elements. For the next 10 minutes, they venture deeper into psychedelic territory that features a propulsive bottom end by Battin and Parsons and McGuinn and White blazing away on their guitars. The contrast with what proceeded it is extraordinary and after such a sizzling performance, they head straight for the stratosphere into "Eight Miles High." An improvisation begins from scratch and before you know it, the group has created a scintillating raga-oriented jam. They take this song at a hyperdrive tempo, with Battin and Parsons propelling McGuinn and White. Within the first few seconds of "Jesus Is Just Alright," it is obvious that the intensity level has been seriously cranked up. When they resume playing electric, it is in a far more aggressive manner than earlier in the set. They wrap up this acoustic diversion with Woody Guthrie's "Pretty Boy Floyd," featuring crowd-pleasing banjo pickin' from drummer Gene Parsons. Tambourine Man," which is delightful in this context. This is followed by a rare acoustic rendition of the Dylan song that first established the Byrds reputation, "Mr. The begins with an instrumental, "Black Mountain Rag," featuring outstanding acoustic guitar picking from White. The group then does a complete turnaround and become more intimate with a three-song acoustic set. Yet another example of Clarence's keen sense of recognizing talented songwriters. A quick truncated rendition of Dylan's "My Back Pages" is up next, which transitions directly into a hot little jam that becomes Jimmy Reed's classic, "Baby What Do You Want Me To Do." This initial electric portion ends with Clarence White again taking lead vocal duties on Jackson Browne's "Jamaica Say You Will." Browne, then relatively unknown, would soon see this song close the forthcoming Byrdmaniax album. Next up is the first of two songs where Clarence White assumes lead vocal duties, "Truck Stop Girl." While not known for his vocal abilities, this is still an engaging performance and proves White had a keen sense for recognizing songwriting talent, as this song was written by Lowell George and Bill Payne, soon to be recognized as the founders of Little Feat. The recording begins a few minutes into the standard opener of this era, McGuinn's "Lover Of The Bayou." They continue with one of Dylan's unreleased Basement Tapes compositions, "You Ain't Goin' Nowhere," with full electric instrumentation, unlike the version featured on the Sweethearts Of The Rodeo album several years before. This was a key ingredient to the cohesiveness and strength of the group's live performances during this era. ![]() He was equally potent in both acoustic and electric settings and possessed the all-too-rare ability to think in terms of a soulful unified sound. White was an utterly unique talent, with blazing guitar chops, a razor sharp sound, and astounding musical sensibilities. This was due in no small part to the contributions of ex-Kentucky Colonels guitarist, Clarence White, whose innovative stringbending techniques, combined with McGuinn's signature sound, extended their exploration of country music elements within a heavier rock framework. The group's extensive touring schedule during this era developed a new legion of fans and the Byrds had finally gained a deserved reputation as a compelling live band. White, Battin, and Parsons all contributed material during the sessions, which displayed a solid group effort, rather than being an overt vehicle for McGuinn. When many of their contemporaries had broken up or were nearing the end of their creativity, the double album Untitled, released the previous year, had redefined the Byrds' sound. Following numerous personnel changes throughout the late 1960s, the Byrds had sustained a consistent lineup for nearly two years by 1971, a major accomplishment. Recorded in Amsterdam during the European leg of the Byrds 1971 tour, this previously unheard recording captures the group just a month prior to the release of Byrdmaniax. ![]() Roger McGuinn - guitars, vocals Clarence White - guitars, mandolin, vocals Skip Battin - bass, vocals Gene Parsons - drums, banjo, vocals Jim Seiter - congas, percussion (on tracks 10 & 11)
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |