Posts Tagged ‘1960s’

The Byrds albums, ranked

Posted: December 29, 2024 by John Ruberry in culture, entertainment
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By John Ruberry

The Byrds are deservedly one of the most acclaimed rock bands. However, despite their lasting fame and their membership in the Rock and Roll Hall of Fame, there are several misconceptions about them.

Formed in 1964, the original members were Chicago native Jim McGuinn (lead guitar and vocals)–he later changed his first name to Roger–Gene Clark (tambourine and vocals), David Crosby (rhythm guitar and vocals), Chis Hillman (bass and vocals), and Michael Clarke (drums).

All but Clarke were songwriters.

This is the “classic” lineup. Gene Clark, arguably the band’s principal songwriter in the early days, left the act in 1966, rejoining in 1967, and then he left for good, that is, until he joined the others for the disappointing reunion album, Byrds, in 1973.

Also in 1967, Clark quit again, and Crosby was fired. The latter gained superstar status after co-founding Crosby, Stills, and Nash–later joined by Neil Young. 

In 2018’s Sweetheart of the Rodeo Live, recorded with Marty Stuart and his Fabulous Superlatives, Hillman remarked that by the time The Notorious Byrd Brothers was finished, he and McGuinn “were the only two Byrds flying around at that time.”

In 1968, a series of members joined, and sometimes left, the Byrds. They are Gram Parsons, Gene Parsons (no relation), John York, Clarence White, and Skip Battin. 

Gram Parsons was the most noteworthy new Byrd, contributing two songs to Sweetheart of the Rodeo, and co-writing with McGuinn, “Drug Store Truck Drivin’ Man,” which appeared on Dr. Byrds and Mr. Hyde in 1969. By that time, Parsons and Hillman had left the Byrds, forming the pioneering country rock band the Flying Burrito Brothers. Over the years, Battin, Gene Parsons, and Michael Clarke later became members of the Flying Burrito Brothers.

Parsons, who died in 1973, released two groundbreaking solo albums after leaving the band he cofounded. 

The Byrds arguably created not only created the folk rock, but also country rock, and with The Band, they birthed the Americana music genre.

While it was true in the post-Sweetheart era, another misconception is that the Byrds were primarily a McGuinn project. Actually, like the Beatles, in the early days each member, except for Clarke, wrote and sang leads on songs. McGuinn, on the other hand, sang lead on the band’s two biggest hit singles, “Mr. Tambourine Man,” a Bob Dylan song, and “Turn! Turn! Turn! (To Everything There Is a Season),” a Pete Seeger cover.

McGuinn’s mastery of the 12-string guitar established the Byrds’ trademark sound. 

As for Dylan, another misconception is that the Byrds’ creative output, outside of their Dylan covers, was negligible. 

That’s absolutely not true.

So here are the rankings of the Byrds 12 studio albums.

12) Byrdmaniax (1971): Terry Melcher, who worked with the Byrds earlier in their career, was behind the boards for this over-produced mess. The Byrds had a hectic touring schedule at the time, the songs don’t have much feeling. Among the better tracks are “”I Wanna Grow Up to Be a Politician,” “Citizen Kane,” and the oft-covered spiritual “Glory, Glory.”

11) Farther Along (1971): The Byrds chose to self-produce this album and the sound is stripped down. Like Byrdmaniax, the best song is an old spiritual, the title track. “Bugler” and the Vaudeville-esque “”America’s Great National Pastime” standout.

10) (Untitled) (1970): This is a very strange collection. A double album, (Untitled) is half a live LP–the other half our studio tracks. Side two is an insufferable 16-minute long “Eight Miles High.” The studio songs are week, but “Chestnut Mare” is outstanding, it is the only Byrds song from the 1970s that can stand up to their earlier classics.

9) Ballad of Easy Rider (1969): Lots of people probably purchased this album, the top-selling album of the Byrds’ later career, believing it was the soundtrack to the enormously popular Easy Rider film. An acoustic version of the title song appeared on the actual movie soundtrack, sung by McGuinn, and the band’s version is also strong. Three covers, Woody Guthrie’s “Deportee (Plane Wreck at Los Gatos),” Dylan’s “It’s All Over Now, Baby Blue,” and “Jesus Is Just Alright,” which was recorded by the Doobie Brothers in 1972, are memorable.

8) Byrds (1973): The year prior, Creedence Clearwater Revival released its last album, the loathsome Mardi Gras. Dubbed “John Fogerty’s Revenge,” the two other members of the band–John’s brother Tom quit the year before–Fogerty turned the band into a democracy. The far-less talented other members, who has long objected to Fogerty’s dominance, sank CCR’s swan song. Byrds was a reunion of the band’s classic lineup, and this collection could be called David Crosby’s revenge. CSNY was on hiatus and Byrds was produced by Crosby, who believed that his 1960s Byrds’ compositions weren’t given enough respect. Only one of his songs, “Lady Friend,” was released as an A-side single during his first go-around in the band. Byrds, not surprisingly, sounds like a CSNY album. Although McGuinn denies it, the other members of the band, except for Gene Clark, were accused of saving their better compositions for their solo efforts. Crosby’s “Long Live the King” is a stellar track, but it belongs on a CSNY album. Clark’s “Full Circle” is terrific, it’s the opening cut, but it’s downhill from there

7) Dr. Byrds and Mr. Hyde (1969): With McGuinn being the only founding member of the Byrds left, it was a smart move to have Roger since lead vocals on every track, for continuity. Besides the aforementioned “Drug Store Truck Drivin’ Man,” the best cuts are the folk song, “Old Blue,” and a cover of “This Wheel’s on Fire,” which was co-written by Dylan and The Band’s Rick Danko. The original appears on The Band’s Music from Big Pink.

6) Fifth Dimension (1966): From here on in, the output is much more impressive. Shortly after recording of Fifth Dimension began, Clark left the Byrds for the first time. While he’s missed on this effort, there’s some dazzling stuff here, particularly the psychedelic hit “Eight Miles High,” which was written by Clark, Crosby, and McGuinn. The former had a terrible fear of flying. “Mr. Spaceman,” a McGuinn country rock tune, as well as a cover of “Hey Joe,” are the highlights of Fifth Dimension.

5) Younger than Yesterday (1967): McGuinn and Hillman stepped up for this album. The duo co-wrote the often covered single “So You Want to Be a Rock ‘n’ Roll Star.” Hillman’s “Have You Seen Your Face” and Dylan’s “My Back Pages” were deservedly given much deserved attention after they were released as singles.

4) Turn! Turn! Turn! (1965): The Byrds’ second album leads off with the soaring title track. There are two Dylan compositions, “The Times They Are a-Changin” and “Lay Down Your Weary Tune.” A cover of an old Porter Wagoner hit, “Satisfied Mind,” presages the Byrds’ later work.

3) Mr. Tambourine Man (1965): The title track on the Byrds’ debut album was a groundbreaking recording, and like “Turn! Turn! Turn! (To Everything There Is a Season),” it reached number 1 on the Billboard Hot 100 singles chart. There are three other Dylan covers here, including “Chimes of Freedom.” A Clark song, “I’ll Feel a Whole Lot Better” sent word that the Byrds weren’t just a covers band.

2) Sweetheart of the Rodeo (1968): Although it didn’t sell well initially, Sweetheart is one of the most influential albums ever. There are only two tracks written by a Byrd, both by Gram Parsons, “One Hundred Years from Now” and “Hickory Wind” (co-written by Bob Buchanan). There are two Dylan covers here, including the opening cut, “You Ain’t Going Nowhere.” Some of the cuts are obscure, such as Cindy Walker’s “Blue Canadian Rockies.” Every song is fantastic.

And now, number 1) The Notorious Byrd Brothers (1967): One of only two early Byrds albums without a Dylan cover, the songwriting brilliance of the McGuinn, Hillman, and Crosby is on full display on The Notorious Byrds Brothers with such songs such as “Old John Robertson” and “Draft Morning.” However, the Byrds weren’t afraid to look elsewhere for great songs. “Goin’ Back” and “Wasn’t Born to Follow” are Carole King and Gerry Goffin compositions. The latter tune figured prominently in Easy Rider.

Time has not been kind to most of the members of the Byrds. Of the many performers who played with the Byrds, only McGuinn, Hillman, Gene Parsons, and John York survive. Some, such as Gene Clark, Michael Clarke, Gram Parsons, succumbed to the rock and roll lifestyle. Crosby, a notorious substance abuser, lived until he was 81. COVID claimed him in 2023.

Albums by the Byrds can be found on Amazon.com and can be downloaded on iTunes.

John Ruberry regularly blogs at Marathon Pundit.

Review of the revival of The Who’s Tommy at Chicago’s Goodman Theatre

Posted: July 19, 2023 by John Ruberry in culture, entertainment, media
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By John Ruberry

Three days ago, the Marathon Pundit family saw the revival of The Who’s Tommy at Chicago’s Goodman Theatre. 

The original The Who’s Tommy was directed by Des McAnuff, who collaborated with Pete Townshend for the musical. Townshend, the Who’s lead guitarist wrote most of the songs for the Tommy rock opera. The original theatrical production was first performed in 1993, and that was directed, as is the Goodman Theatre production, by McAnuff. 

While not the first rock opera, most rock scholars give that honor to Pretty Things’ S.F. Sorrow, Tommy was a commercial and critical success for the Who; they had struggled to gain attention in America, as did some of the other bands who emerged at the tail end of the British Invasion, such as Small Faces and the Move. 

The plot of Tommy, the rock opera, is quite clunky. The atmosphere of Tommy is of the late 1960s, and it is a reaction to the guru culture of that strange time, which was filled with charlatans such as Timothy Leary, the Maharishi Mahesh Yogi, and much more darkly, Charles Manson. A better guru was Meher Baba–Pete Townshend remains a follower of his teachings. 

However, inexplicably, Townshend set the story of Tommy to begin shortly after the end of World War I. 

Tommy Walker becomes deaf and blind at around age four after he witnesses his father, who his mother believed was killed in the Great War, shooting her lover to death. Tommy’s parents look for a cure for their son, those attempts include bringing him to a “gypsy,” the Acid Queen, who fails to cure Tommy with LSD. Two relatives abuse him, Uncle Ernie, sexually, and Cousin Kevin, who tortures him. Tommy, despite his deafness and blindness, becomes a pinball champion and a celebrity. Tommy’s mother notices that her son often stares intently at mirrors. She smashes a mirror during one such gaze, which cures Tommy. He then becomes a cult leader, but eventually his followers reject him. Finally, Tommy realizes that he isn’t special, but everyone else is, as he sings in “We’re Not Gonna Take It.”

Listening to you I get the music
Gazing at you, I get the heat
Following you I climb the mountains
I get excitement at your feet.

But it was the songs, despite some dull filler such as “Underature,” that made the Tommy rock opera a smash. And the Goodman Theatre makes the most of the best-known numbers–along with some stupendous dancing–including “I’m Free” and of course “Pinball Wizard,” but also lesser-known tunes, such as “Amazing Journey” and “Sensation.” With a church backdrop, “Christmas” shines.

For those Who purists out there, beware, some of the lyrics of the songs have been altered to fit the adapted narrative of the musical.

There are many stand-out performances, foremost by Ali Louis Bourzgui as an adult Tommy, Alison Luff as Mrs. Walker, and Adam Jacobs as Captain Walker. The supporting cast is also superb, particularly Christina Sajous as the Acid Queen and Bobby Conte as Cousin Kevin. There are no casting mistakes here, unlike Ken Russell’s over-the-top Tommy film from 1975, which, like The Who’s Tommy, begins the story right after World War II. While Russell got it right with Who lead singer Roger Daltrey as Tommy, Tina Turner as the Acid Queen, Elton John as the Pinball Wizard, and Ann-Margaret as Mrs. Walker, there were some serious casting disasters in that move, including Eric Clapton (not an actor), Jack Nicholson (not a singer), and Oliver Reed, a drunk who played a drunk, but on the flipside, Reed couldn’t sing either.

Back to The Who’s Tommy at the Goodman: Not to be overlooked, the lighting, the costumes, the sparse but effective scenery, and the computer graphics are dazzling.

The play ends in an undefined, presumably fascist, future, with Cousin Kevin looking a bit like Joseph Goebbels. And with an attack, somewhat understated, on today’s celebrity and social media influencer culture. 

Last week, Bourzgui explained to the New York Times his interpretation of his Tommy portrayal, “He gets filled up by his followers,” adding “He keeps feeding off that, getting more gluttonous with power, until he realizes they’re following him because they want to feed off his trauma.”

The key word, in the 21st century context, is “followers.”

On the downside, a couple of songs, both penned by Who bassist John Entwistle and performed in succession, fall flat, “Cousin Kevin” and “Fiddle About.” In the latter, Uncle Ernie [John Ambrosino], sings about, well, I said what it is earlier. Both tunes are perfect times for a bathroom break, assuming you will be let back in before the end of first act. Mrs. Marathon Pundit dozed off during these tunes.

Townshend, since the release of the Tommy LP, said he was molested as a child. He was not charged after logging in a few times to a for-pay website that was advertising child pornography, stating at the time his motive to visit the site was “purely to see what was there” and that he was researching sexual abuse. In 2003, Townshend was placed on a sexual offenders registry for five years and he received a caution from the London Police. Townshend strongly denies every possessing child pornography. Citing those two sadistic Entwistle songs, Townshend said that he is too traumatized to ever perform Tommy again.

None of the other reviews of The Who’s Tommy I’ve read mentioned Townshend’s legal issues, but on the other hand, I paid for our tickets to this show.

Although not seen, the nine-piece band, led by Rick Fox, has some big shoes to fill by performing these songs–particularly those of Who drummer Keith Moon–is spectacular. I saw The Who in concert twice, in 1979 and 1980, with Kenney Jones on drums, Moon passed away in 1978. Entwistle died in 2002. Both of concerts were fantastic–and loud. My ears were ringing for days afterwards both times. 

Yes, it was a Sunday matinee performance, but it was a geriatric audience, reminiscent of the crowd on the Lawrence Welk Show, in attendance for the Goodman of The Who’s Tommy that day. Earplugs were available for the “loud” music at the Goodman–which wasn’t that loud. Oh, have times ever changed. 

The Who’s Tommy has been extended twice at the Goodman, some upcoming shows are sold out, the final Chicago performance is scheduled to be on August 6. The production is believed to be a dry-run for a return to Broadway, and presumably, a whole bunch of well-deserved Tony Award nominations.

John Ruberry regularly blogs at Marathon Pundit.

Welcome to the Age of Criminals

Posted: November 24, 2019 by John Ruberry in crime, culture, elections, News/opinion, politics
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By John Ruberry

“Just as every cop is a criminal and all the sinners saints,” Mick Jagger first sang in 1968. The late 1960s were a period when many people believed that society, not individuals, was responsbible for crimes. There was a predictable backlash which led to the “Get Tough on Crime” movement that benefitted the political careers of Richard Nixon, Ronald Reagan, and countless other politicians. In 2016, Donald Trump once referred to himself as “the law and order candidate.” He should have stayed with that meme, in my opinion.

Clearly, at least in America’s big cities, the law enforcement philosophic pendulum is swinging back to the liberals. A big part of the reason is the left-wing political monoculture in cities like Chicago, Philadelphia, Boston, and San Francisco. The Democrats are the only effective political force in these places, and the two-party structure, such as it is, consists of the left and the far-left. It was the far-left, aided by the uninformed who only vote for candidates with “D” next to their names, who elected Kim Foxx the state’s attorney in Cook County, Illinois, where I live, as well as Larry Krasner as district attorney of Philadelphia, Rachael Rollins as district attorney in Suffolk County, Massachusetts, which is dominated by Boston, and earlier this month, Chesa Boudin as San Francisco’s district attorney.

Boudin takes us back to the 1960s. You probably haven’t heard of his parents, David Gilbert and Kathy Boudin. Both were members of the terrorist group the Weather Underground, which was founded in 1969. Dad is serving what is effectively a life sentence for murder for his role in a deadly 1981 suburban New York Brinks truck robbery, done in conjunction with the Black Liberation Army, one that saw a security guard and two Nyack police officers shot to death. One of those slain cops was the only African-American on the Nyack force. Mom was released from prison in 2003, she is now an adjunct professor at Columbia University. Getaway cars for the heist were rented using personal information taken from customers who shopped at a New York boutique, Broadway Baby. The manager of that store, using a phony name, was Bernardine Dorhn. She was also a member of the Weather Underground but was never charged in Brinks case.

Since Gilbert and Kathy Boudin were unable to raise Chesa, who was a toddler at the time of the heist, they chose their radical pals, Dohrn and her partner, Bill Ayers, who of course was another Weather Underground member, as his guardians. Dohrn and Ayers’ home in Chicago is where Barack Obama began his political career in 1995. Ayers and Dorhn, now retired professors, are rarely mentioned in the generally sympathetic mainstream media reports about Chesa. As for that younger Boudin, he did well by attending an elite private school, then Yale, then Oxford. Prior to becoming a public defender in San Francisco, Boudin worked as a translator for the Venezuelan government at the time Hugo Chavez was running that once-prosperous nation into the ground.

Next year voters in California will vote on an initiative to eliminate cash bail there. Boudin doesn’t want to wait that long. The district attorney-elect told NPR last week that his first act in office will be to tell his prosecutors never to ask for cash bail, “Because we shouldn’t be putting a price tag on freedom, because we shouldn’t be determining incarceration based on wealth, and it’s what I intend to implement as policy on day one.” In place of prison time, Boudin, with victims’ consent, supports something called “restorative justice,” even in cases involving murder, kidnapping, and rape.

Not surprisingly, the local police union opposed Boudin in the election, spending $700,000 and calling him “the No. 1 choice of criminals and gang members.” Boudin has called for the prosecution of cops and ICE officials for, wait for it, doing their jobs. 

Bernie Sanders endorsed Boudin in the DA race.

Back in Cook County, Illinois, where Boudin was raised, Kim Foxx is the top law enforcement official. She endorsed Chesa, as did those leftist district attorneys in Philadelphia and Boston. Nationally Foxx is best known for her bizarre–unless you are a leftist–decision to drop all of Jussie Smollett’s charges involving staging the phony “racist” attack on him in Chicago earlier this year. But there is more to dislike. The Illinois threshold for charging shoplifters with a felony is stealing items worth $300. Foxx, with the snap of her fingers, raised it to $1,000. Not surprisingly, retail theft is on the rise in Chicago. Who pays? The store owners? Not exactly. To recoup their losses, prices for their unstolen merchandise goes up. So honest people suffer. Now there are reports of roving bands of shoplifters in Chicago. Retail theft can be a career choice, it seems. Presumably the swiped goods are resold by these bandits on the black market, at a cheap price, undercutting the sales of legitimate merchants. And Chicago doesn’t collect its whopping 10 percent sales tax on these transactions. Crime is indeed expensive. Yet for some people it pays.

When Foxx took office three years ago, shoplifting was the second-most prosecuted crime in Cook County. Now it’s the eighth-most prosecuted one. The long term implications for society are dire as shoplifting is viewed by some as a gateway crime to more serious offenses.

In her video regarding announcing her run for reelection in 2020, Foxx admitted she botched the Smollett case, but she also attacked Chicago’s police union, the Fraternal Order of Police, which in a spring protest outside of her office called on her to resign. In a July letter to Foxx, the FOP cited that a “deep mistrust now exists between your office and ours. We no longer believe that your office will treat our members fairly either in the arrests they make or when they are victims of crimes.”

It appears that the Age of Criminals, at least in some big cities and their inner suburbs, is upon us. Supporting law abiding folks are the cops. Leftist prosecutors are on the other side.

The crime gateway is open.

John Ruberry regularly blogs at Marathon Pundit.