That looks to be a Renaissance lute (or a modern copy, more likely). In other words, from the 15th or 16th Century, not ancient Rome.
Many thanks for this. I suspected as much. It seems that these CDs (or CD-Rs) are no longer available, which is a shame. There might be a few of these old recordings on the Folk Den website. I'll jump in there and have a look.
One of the highlights from McGuinn's Folk Den box set... Follow the Drinking Gourd... odd video since it recounts the tune's origins but it is indeed Roger
I've got the Twentieth Anniverary edition. Not sure how different, if at all, it is to the original set beyond the songs being re-recorded, maybe.
Here is the great Molly Tuttle on a unique 12-string - which seems perfectly suited to songs of Sea Shanty’s and Irish Folk Music. (Can also think of some Byrds songs that it would sound beautiful on. ) Roger - you gotta get one!
From The Astrology Album (1967) I’m sure many know this, but in case you haven’t, it’s worth a listen. Gary Usher made some strange records, and this is one of them. The Astrology Album features spoken-word pieces about the signs of the zodiac. I’m posting the track for Leo, which features a brief snippet of David Crosby’s thoughts about his own...er, Leo-nidity (?) at 2:30.
Love this. Roger’s been dealing with faux Nyrds on Twitter trying to one-up him on facts surrounding “Mr Tambourine Man”/“I Knew I’d Want You.” He knows his Byrdfacts, and brought receipts. Today somebody tried to suggest Carol Kaye played bass on the single and he immediately shut that down by linking to this.
In fact, it was. He alluded to that in his tweet. To be fair, the guy was probably just relating what he thought was credible info.
That’s hilarious. I was making a joke, i had no idea she’d added MTM to her list. Paperwork won’t silence her. She played on all those Motown hits, dammit!
She played on everything recorded in the 60s. Just ask her. Think that was Ravi Shankar on the sitar on Sounds of India? Nope... you guessed it... Carol Kaye.
Reminds me of the running Norm MacDonald and Frank Stallone SNL bit. At least thats how I said it in my head.
Well-traveled ground, I know, but McGuinn, Clark & Hillman definitely sounded best --- in their element --- on the live stage. Forget the sterility nonsense that sometimes invaded their studio recordings, production-wise. I had the pleasure of seeing them open for America at Blossom Music Center back in the day. With more energy & a captivating stage presence, I liked 'em better than the headlining act! Of special note, there's a version of "So You Want to Be a Rock 'n' Roll Star" --- taped in New Jersey for "The King Biscuit Flower Hour" --- that positively pummels, like a laser-focused jet fighter, honing in on a totally exposed, hapless target. Some hyperbole necessary for me to sing the praises of this live rocker, but it truly is an amazing rendition. I think it's my favorite take of the classic track, with only the original studio recording by The Byrds even coming close.
The 2018 Sweetheart tour version of Rock and Roll Star was fantastic, Chris back on bass. Roger and Chris asked the audience to scream during the solo.
I know she’s up there in age, but she’s been floating these stories for 25 years. It’s so weird, because there are so many classics she *did* play on. It’s like Paul McCartney claiming he played on all the Rolling Stones hits too.
That makes too much sense. It could be some artists are restrained too much by their own record companies, or egos, or whatever. Buy, yeah, if the ground rules are everyone gets two or three songs, and they agree on a producer, and commit to a few weeks of rehearsal or whatever they feel is necessary to be functioning as a band, maybe one cover, the it seems practical framework would be in place. Wilbury's spontaneity aside, I think most artists can't walk into situations cold. I leave Neil out because no one can really count on him (or his 'muse', wherever she's been...) Maybe Crosby too if he just pisses everyone off and then tweets about it. Stills, Hillman, McGuinn, Furay: 1+1+1+1 might equal 5 or at least 4.5
It is to some degree understandable that a person who played on as many sessions as she did might get confused, or conflate things in her memory (she probably did play bass on somebody's version of Mr. Tambourine Man at some point in her career). But what's much less excusable is that when she's confronted with evidence that disproves her claims (be it paperwork or testimony of people who were at the sessions in question) she gets angry and doubles down on her errors, and has even threatened litigation. This takes it beyond the realm of innocent error. Session musicians generally don't receive the credit they deserve for their great work, but taking credit away from other great session musicians is hardly the solution.
I'm working on a youtube vid and am looking for some historical info on Byrds members regarding where they lived in the 60's. I have info for Gene Clarke, Hillman and Crosby but am really looking for some insight on where McGuinn might have lived, whether it is still standing or not. Any insights would be appreciated.