Roger McGuinn: Roger McGuinn CD Track Listing

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Roger McGuinn Roger McGuinn (1973)
Originally Released June 8, 1973\nCD Edition Released January 20, 2004\n\nAMG EXPERT REVIEW: Roger McGuinn's 1973 self-titled solo debut was in most respects a breath of fresh air after the final days of the Byrds, in which the group was floundering in directionless mediocrity. In a sense, it's a back-to-basics album that emphasizes much of what McGuinn does so well: his forceful reedy vocals, his guitar playing, and his skills at both writing earnest folk-rock material (usually with future Bob Dylan collaborator Jacques Levy here) and interpreting unusual traditional and contemporary songs. Never was it folkier than on the acoustic "I'm So Restless," which benefited from harmonica by Dylan himself (about whom the song was partially about). All four of the other original Byrds play on "My New Woman," which is virtually a reunion of the original quintet, with the addition of saxophone by jazzman Charles Lloyd; David Crosby makes unobtrusive cameos on some other tracks. As likable as it is, however, the album isn't an unqualified triumph. Some of the songs aren't so hot, some of the Moog synthesizer (by McGuinn) is unnecessary, his vocals sometimes seem to have been recorded with too much brittleness, and none of this is as good as the best of the Byrds. Unexpected influences make themselves heard in the Beach Boys harmonies of "Draggin'" (with Bruce Johnston of the Beach Boys on piano and backup harmonies), the Vietnam blues of "Hanoi Hannah," and the gospel-rock of "Stone." -- Richie Unterberger \n\nAlbum Description Editorial Review\nWhen the Byrds were finally laid to rest by Roger McGuinn, the obvious next step was a solo career for the man whose gravelly voice, 12-string guitar leads and unerring sense of musical taste had been synonymous with the band he'd founded almost a decade earlier. McGuinn's self-titled 1973 solo debut--with stirring guest appearances from Bob Dylan and Charles Lloyd--was a relentlessly eclectic joy from top to bottom, drawing stirring inspiration from all eras of the Byrds' storied career. Here it is, tickets ready please, for the first stop of the ongoing, ever-fascinating solo career of Roger McGuinn. \n\nAmazon.com Customer Review\nThe Byrds Reunion that should have been, June 2, 2004\nReviewer: A music fan\nReleased and recorded around the same time as the original Byrds reunion album, this is a far better record. Had McGuinn chosen to be less democratic on the latter release, it might have sounded like this. Some of the compositions here are very good, capturing the best of McGuinn's experimental inclinations. "New Woman" echoes the jazziness of "Get to you", and "Time Cube" recalls "Space Oddysey", both of the latter and superior cuts from the NOTORIOUS BYRD BROS. "I'm so restless" and "New Woman" both demonstrate that Roger had heard a lot of John Lennon's autobiographical compositions - the first a very interesting critique of the Stones, The Beatles and Dylan; the second song is about his then current love who turned out to be a rather unworthy subject. "Bag Full of Money" ranks right up there with any of Roger's folk/country/rock compositions, possibly the best song on the album. "Stone", "The Water is wide" are both terrific cover treatments although David Crosby's harmony is too loud and doesn't blend but nags at you like "HI GUYS! I'M SINGING HARMONY!" "Drivin Wheel" doesn't compare to the Clarence Byrds version and McGuinn's vocal on "Jamaica" only makes one realize what an underrated vocalist White was. As for Roger's superstar inclinations of that period, "Heave Away" would have been an excellent title for the Byrds reunion album.\n\nAmazon.com Customer Review\nMcGuinn soars on self titled solo album with Byrds reunion, March 1, 2004\nReviewer: Wayne Klein "Wayne Klein" (Fairfield, CA United States) \nFlying solo after the disasterous Byrds reunion album for Asylum Records, Roger McGuinn made one of his best solo albums. At first McGuinn was working with producer Terry Melcher but, after some honest criticism by David Crosby ("Too plastic" was his assessment), McGuinn opted to produce the effort himself and the more "organic sound" (again Crosby via McGuinn)compliments the material. One of the best Byrds solo records along with Gene Clark's "White Light" (aka "Gene Clark"), "Roger McGuinn" focuses on what McGuinn does best; create interesting, layered melodies that are highlighted by his sharp guitar playing and nuanced vocals.\nThe opening track (featuring Bob Dylan on harmonica)nods to McGuinn's folk roots while the second track is a Byrds reunion in all but name; every member of the original line up plays or sings on the song. It's one of McGuinn's most perfect melodies and the harmony vocals by David Crosby and Gene Clark (which recall, of all things, Brasil 66)along with the jazz inflectecd tenor sax of Charles Lloyd bring the song to life. Another winning composition "Draggin'" nods in the direction of The Beach Boys with its layered harmony vocals and California sun melody. "Lost My Drivin' Wheel" rocks along at a good pace. "Time Cube" is a throw back to 1967 Byrds with its science fiction theme and the contrasting instruments of moog sythesizer and banjo all with a thematic tip of the hat to Arthur C. Clarke. "Bag Full of Money" imagines a past for the enigmatic D. B. Cooper (for those unfamiliar with him, he robbed a plane in mid-flight and then parachuted away never to be heard of or seen again). "Hanoi Hannah" supposedly has nothing to do with Jane Fonda (Jane paid a visit to McGuinn trying to rally him to her cause and visit North Vietnam)but one can imagine McGuinn thinking of her as he penned the song with frequent collaborator Levy. The album closes on a trio of strong songs "Heave Away" (a remake of an Irish sea shanty featuring "Spanky" McFarlane on vocals; "M'Linda" and "The Water is Wide" feature the legendary percussionist Hal Blaine and the latter has Bruce Johnson (of The Beach Boys)and David Crosby on harmony vocals.\n\nThe two bonus tracks are nice additions to the album. "John, John" is spare featuring only McGuinn on vocals and guitar while the outtake remake of Jackson Browne's "Jamaica, Say You Will" pulls out all the stops with a full band (again featuring Blaine). \n\nThe booklet has a nice summary that discusses what prompted the album and commentary by McGuinn himself. The remastered sound is very good although the album sounds a bit "flat" (probably due to the year it was released 1973--it could have benefited from a remix but, then, that would be disturbing history). Thank God that Sundazed reissued this original Columbia Release. Now if we could only get The Byrds reunion album reissued by Rhino (write them! I did), I'd be a happy fan.\n\nAmazon.com Customer Review\nOne of McGuinn's best efforts, February 10, 2004\nReviewer: P. Duffy (phoenixville, pa United States) \nHaving survived David Crosby's manipulation of the Byrds reunion, McGuinn wisely decided to retire the franchise and set about sticking to his guns. This self-produced project is a true gem. While duly credited for all that the Byrds accomplished, it was with this unassuming, unpretentious, finely honed and simply crafted release that Roger McGuinn set the record staright as to what he stood for. His subsequent releases were quite good as well, especially JOLLY ROGER, but this one is really a sublime success in every respect.\nStripped of all overproduction tendencies, it virtually pre-dated the punk reaction to the bloated business of rock. It is simple, organic, direct and honest. The opening "I'm so Restless" is as to the point today as it was 30 years ago. The rest of the package is certainly a mix of good natured satire of prevalent rock styles that endure through the present, a few commentaries on the social idiosyncrasies of the day ( "Hanoi Hannah" - particularly amusing when you consider what a money grubbing snob Fonda turned into- and "Bag Full of Money" - a D B Cooper tribute), and some positively extraordinary harmonizing with David Crosby. Crosby never sounded this good and spot on with Nash. You are left wondering what might have been had egos been checked at the door.\nThroughout, McGuinn's exquisite guitar playing rings so absolutely true that it is as much today as it was then a refreshing sound altogether. Drummer John Guerin (at the time sharing duties with the L A Express, and more so with Joni Mitchell) lays down a spartan time signature. Spooner Oldham graces several of the tunes with his remarkable skills. But in reality, it is the wonderfully natural and uncomplicated singing of McGuinn and Crsoby that totally sets this apart.\nThe two supplemental tracks are nice but unnecessary. Although it is a short album, it was in fact complete as is. The reason for its brevity in 73 was to maintain the sonic quality on vinyl. Going back to that after this CD. I feel that vinyl warmth was truly exceptional, and has remained so. Is the CD better? Not really. Just more permanent, and this is a record that should never be lost.\nMcGuinn toured with this band for quite a while. I remember seeing them in a movie theatre in Devon, PA, with about 60 other people. He was brilliant and the band was fantastic and energetic. I hope there are some tapes of those tours that McGuinn would consider revisting, remastering and releasing. He was a Wilbury before the concept was hatched elsewhere. Pity he had not been called in when Orbison passed. In any case, purchase this. It is wonderful!\n\nAmazon.com Customer Review\nBag Full of Influences, January 23, 2004\nReviewer: Morgan Broman (Alexandria, VA United States) \nFor his first solo album, Roger McGuinn captained an engaging trip through his primary musical influences; "I'm so Restless" is a straight folk song (with Bob Dylan on harmonica); "Draggin'" is a Beach Boys tribute featuring drag racing 747 jetliners; "Heavy Away" is a sea chantey; " Bag Full of Money" is catchy country-rock; "Lost my Drivin' Wheel" features a heavier rock sound: and "Water is Wide" ends the original album with a sweet campfire sing-a-long. McGuinn clearly had a lot of sounds he wanted to explore after disbanding the Byrds, and his famous 12-string guitar is used only sparingly on this 1973 effort. The high quality of the songs holds the album together and, for first-time listeners, every new track is a surprise. Even the droning "Time Cube," in which McGuinn revisits his fascination with science fiction topics, is not bad. A very solid disc - I would place it second only to Gene Clark's "No Other" in a ranking of outings by an original member of the Byrds (Gram Parsons was a later addition to the band). The two bonus tracks; the traditional "John, John," and Jackson Browne's "Jamaica Say You Will;" are welcome additions and fit nicely into the overall feel of the album.\n\nHalf.com Album Credits\nBilly Higgins, Contributing Artist\nBruce Johnston, Contributing Artist\nBuddy Emmons, Contributing Artist\nChris Hillman, Contributing Artist\nDavid Crosby, Contributing Artist\nGene Clark, Contributing Artist\nSpanky McFarlane, Contributing Artist\nJohn Fiore, Engineer\nRaghu, Engineer\nRoger McGuinn, Producer\n\nAlbum Notes\nPersonnel: Roger McGuinn (vocals, guitar, harmonica, Moog synthesizer); David Crosby (vocals, guitar); Gene Clark, Spanky McFarlane (vocals); Jerry Cole (guitar); Buddy Emmons (steel guitar); Charles Lloyd (saxophone); Spooner Oldham (piano, organ); Bruce Johnston (piano); Chris Etheridge, Chris Hillman, David Vaught (bass); Michael Clarke, Jim Gordon, John Guerin (drums); Hal Blaine (tambourine, percussion); The Jimmy Joyce Children's Chorus.\n\nRecorded at Wally Heider Studio # 4, Los Angeles, California. \nOriginally released on Columbia (31946). \nIncludes liner by Jud Cost.
This rock cd contains 13 tracks and runs 41min 31sec.
Freedb: 9c09b90d
Buy: from Amazon.com

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