![]() ![]() The rule is, though, that you can’t throw the baby out with the bathwater. It comes as no surprise, then, that punk would break and make music edgy and challenging again. The experimentation of the first half of the 70s was gone and safe MOR adult country rock and singer songwriter were the norm. McGuinn is taking chances though here they seem to based on commercial considerations. To take chances and to fail is always preferable to smug safeness. But these are aberrations, and ultimately, I’m not sure if you can achieve greatness without putting out crap, as long as the crap is a result of risk taking. That’s not to say everything is good because some of his solo stuff I have heard is patchy as is a lot of the later Byrds stuff. In another comment I had this to say: McGuinn in a way had more vision that his contemporaries and always seemed to be pushing the envelope. If my comments above sound a little pithy all I can say is … it’s late. Having said that I can say that anything by McGuinn is interesting. It never quite flies like a thunderbird or Thunderbyrd (sic). The problem lies more with the fact that the album is neither here nor there. There are only four original songs on this LP but McGuinn, in the folk tradition, has no problems about doing covers as long as they fit in with the concept. That was really a very magical moment in the history of the Rockpalast series which has lost nothing of its power, intensity and passion even after nearly 42 years.A weird album for Roger McGuinn to put out. A well-coordinated band, stimulating their boss Roger McGuinn ("Pick it up McGuinn!!!!") to some top performances. The line-up of the band next to McGuinn was excellent: Rick Vito (lead-guitar, back- and lead vocals) came from John Mayall and was exactly one decade later a member of Fleetwood Mac for four years, Charlie Harrison (bass and background-vocals) was previously a member of the progressive rockers of Judas Jump and Tundra and later joined the West Coast legend Poco and Greg Thomas was playing drums for Loudon Wainwright III, Seals & Crofts and Leon Russell prior to the Thunderbyrds. The Thunderbyrds had their first and only album (simply titled "Thunderbyrd") released. Before Roger McGuinn entered the stage with his Thunderbyrds as the top act of the night, Rory Gallagher and Little Feat had already rocked the Grugahalle. The legendary first Rockpalast night from the Grugahalle in Essen on 23 July 1977 made rock history. This song, which - depending on the point of view - describes either a flight of the Byrds across the Atlantic to England or drug experiences (David Crosby later conceded that this was meant either), also reflected our mood." - Peter Rüchel (Rock Palace) Not surprisingly "Eight Miles High" was the last song of that special night. Reminiscences of the Byrds (which he had co-founded) were living up, reminiscences of the three voices harmonies of this band, which were considered as "the American answer to the Beatles". With ROGER McGUINN, a music legend, entered the Rockpalast stage. ![]() With his twelve-string Rickenbacker-guitar - the guitar-bund notched by many Dylan-plays in D (as director Christian Wagner remarked) - he brought the "Jingle, Jangle" - sound of the Byrds back on the stage of the Grugahalle in Essen (Germany). The brilliant concert of ROGER McGUINN'S THUNDERBYRD. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |