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The Byrds are a four,man musical group formed five years ago as a five,man group. Only one of the present Byrds, Roger McGuinn, was in the original group. The quartet now includes Skip Battin, bass, Gene Parsons, drums, and ClarenceWhite, guitar. With the exception of the Beatles, no other group has changed the course of popular music more than the Byrds. Formed in Los Angeles in the summer of 1964 by McGuinn, David Crosby, Gene Clark, Chris Hillman and Michael Clarke, they were the first electric group with a folk repertoire. For some reason, folk,rock becaq1e a fad, a trend, a phase, the bandwagon the music business jumped on. At the same time, there was a whole generation ready to explode, to become the Woodstock nation. America did not know about the underground when The Byrds played San Francisco, bringing along with them their incredible hairy band of dancers. Now we know what freakiness is. But then there was no connection we could make comfortably to the bunch of people who were the Byrdsfreaks. They followed the group to San Francisco, travelled with them to the midwest and eventually left them for who knows what? Some for Frank Zappa's Mothers, some for communes in Santa Fe and Maui, some for marriage and diffusion into the straight world. But that first record, "Mr. Tambourine Man," was some sort of signal, releasing inhibitions all over the place. Among the musicians, the
"'Our records-and, for that matter, all artact as a sort of balancing thing for the world.' "He (McGuinn) sees The Byrds' albums as
electronic magazines (cartoons, features and editorials). In this way, they are eclectic." " 'They are bi--annual, audio magazines, dating
from the time we first started recording. I think of myself as the editor of the magazine. Even 'Sweetheart of · the Rodeo' fit. You
don't think doing an all--country music is in itself an editorial? It was a feature on country music, a close.-up, a Special iSSUe.' "
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The best music business writer and press agent - press officer, to use this country's term - is Derek Taylor. He works for the Beades. For a time he was in Los Angeles and his first clients here were The Byrds. "When The Byrds opened in Ciro's, as nervously adventurous translators of folk~into--rock; few of us knew the extent to which their innovations would influence popular music. They were the first, the first, the first- though it doesn't really matter that they were the first, they were the first - hair~emancipated American group to make it with
integrity and international acceptance. "The Byrds won their status because they deserved to and retained it because despite appalling internal grief and strife, they were too strong even for the forces of self~estruction and The Byrds are still here because within us and without us they are invincible. "There are only a few groups with value, who relate to values beyond the sound of music. "There are only a handful of those with the power to reach to the edge of the world and touch, just touch a human spirit and leave the touch to work and activate what it may.
" The Byrds are one of these groups and one cannot say why because if it isn't felt, then it isn't to be explained in words."
But to the lover of rock music anywhere, he is a glowing coal in the ashes of the rock 'n' roll business - a business with a frantic, rat-race economy that transforms artists into hustlers, and hustlers into superstars. McGuinn lives with his wife, Ianthe, and their two sons in a rustic hilltop house, ten miles outside of Hollywood. Approaching it, up a long winding driveway, I notice an ordinary-looking closed-circuit TV camera protruding unobtrusively from the side of his garage. Nothing special. When I get to the front door, McGuinn greets me with a quick smile and a can of beer. We sit in his den, cramped with a half-dozen television sets, several guitars, a letter from Pete Seeger thanking the Byrds for their recording of "Turn, Turn, Turn," a photo of Albert Einstein, a crying baby, a dozing manager, a well-thumbed copy of Robert Heinlein's STRANGERS IN A STRANGE LAND, a sturdy mahogany table holding a Moog synthesizer manufactured by the R. A. Moog Co. , Trumansburg, N.Y., several tape recorders and assorted toys, gadgets and memorabilia. At first, we talk haphazardly about the faith, hope, and the compromises inherent in being in a rock group. Time passes, but not clock-time. Byrd-time maybe. I ask McGuinn what was. so special about the early Byrds.
He flashes a cocky, boyish smile, and says, "We were the first of the long-haired rock groups. That was very important then. The competition over here was low, and we approximated the style and the feeling of the Beatles. It was a sandwich between the Beatles and Dylan" - he pauses and smiles again - "both popular items at the time . I took the rock side of the Beatles and D ylan's folk thing. I calculated the voice, between D ylan and Lennon for 'Mr. T ambourine Man,' like a computer calculation." He takes a sip of beer. "In time , we got our own style." McGuinn is sort of tall, but has i his face a sort of puckish look. His somewhat quizzical expression could melt flint. It's a trial for him to talk to interviewers; he's been burned a great deal, but he's learned to accept it, just as he's learned to accept the agonyand-annuities of being the keeper of the Byrd's aviary. He has the endearing gift children have of curiosity and wonder, of making the moment seem an end in itself. He remembers going to the Museum of Science and Industry in Chicago at the age of three, pushing a lot of buttons, learning the physical functions of things, examining, always examining, and seeing his first airplane. "I've always been curious," he says. "Always making things. The first thing I ever made was a jeep, out of tinker-toys" - he has since graduated to radio electronics and kinetic sculpture- " I had the jeep worked out so that the leverage was just right and the ... " The rest of the sentence hangs in the air, stillborn, like any other inexpressibly wondrous memory. "I used tolook up and see Constellations going over. I remember the noise they made. When you 're young, a Super Connie makes a lot of noise. I used to go out to the airport and hang out, and watch the planes with my grandfather." "Did you want to be a pilot ?" "Still do. I guess I've always wanted to. " He laughs when he remembers how most people thought "8 Miles High" - a song about an airplane ride - was "about dope. " The expression briefly turns to gloom. But
only briefly . "That was a time that I over-estimated our audience. I know the pain of doing that. "Look at 'SD.' You write this real hip $Ong and this really" mock-grimace- "hip audience doesn't like it, doesn't understand it at all, thinks it must be 'about dope.' " "What was it about then ?" I ask. "It was an ethereal trip into metaphysics, into an almost Moslem submission to an Allah, an almighty spirit, free-floating, the fifth dimension being that 'mesh' Einstein theorized about. He proved theoretically - and I choose to believe it - that there's an ethereal mesh in the universe, and . probably the reason for the speed of light being what it is is because of the friction going through that mesh." McGuinn recites th e following lines from the song: " ' How is it that I can come out to here and be still floating, and never hit bottom and keep falling through, just relaxed and paying attention .. .' " He takes another sip of beer. "We were talking
about a way of life, sort of a submission to God or whatever you want to call that mesh, that life force. "I believe the universe is alive. And I'm into science fiction to the point that I'm long past doubting that there's a way of exceeding the speed of light. I believe this race will eventually get into teleportation.'' He pauses, rubs his face, smiles, and confesses little faith in homo
sapiens. "I think the human race will survive only if it's supposed to," he says. "I sometimes speculate that it will evolve , temporarily at least, into machines." He is talking freely now, relishing in abstractions. "Whatever we are, inside these robots, will move into bigger, stronger robots, and time will be less important." "Are you a religious person?" I asked McGuinn.
" That's a bad word. I believe in in the immortality of a spiritual essence of everyone. I wouldn't say that I was religious, because there's no religion that I fully subscribe to. But I do believe in the same things they all believe in, what they all coincide on. That, to me, is like scientific analysis, where you find enough factors to weigh and balance, and take those as truths." He recounts and revalues spirituallity with the devo tion of one who has been quoting some sort of personal chapter and verse for his whole life. I ask him what happened after the disappointment of "SD ," the failure of the song to "hit". "Of course, I was discouraged. At least, as to putting out spiritual data to a record-buying public for AM radio consumption. Now you have to understand," he says, "I was also spirituality involved in 'Tambourine Man' and 'Turn, Turn, Turn.' " He takes another sip of beer, this time
barely touching the can to his mouth. "Like in my interpretation of 'Tambourine Man,' whether D ylan meant it or not, the tambourine man was Allah, the eternal life force, and 'take me for a trip upon your magic swirling ship' was just like 'let my soul go where you want it to and I promise to go under it.' It was sort of an Islamic concept. "Perhaps I got too intellectual with 'SD,' because the other two had a heavy sugar coating over the spiritual message that was in there - by the vibrations in my voice, sort of telepathically conveying it. " 'So You Want To Be A Rock 'N' Roll Star' had sort of a sour grapes viewpoint. It was tongue-incheek, more of a parody, bringing out into the open what was funny to me. Here's a list of the ingredients; here's what you have to do. The Byrds got very intellectual for a time. I think David (Crosby) was the driving force behind that." " Bow ?" I wondered. "Well, if you look at his career after he joined Crosby, Stills, Nash & Young, he's done DEJA vu, which is an intellectual interpretation of the reincarnation phenomenon.'' McGuinn doesn't like to talk about Crosby. There is a blank, faraway look in his eyes when remembering ex-Byrds, almost like a long-haired Pan looking down from some media Never Land at all the lost children. "What was Crosby like ?" I ask. "He wasn't exactly resistant to the muse, just sort of passive" McGuinn grins, and adds devilishly - "sort of apathetic, at the time, as I recall. " When he left" - and McGuinn doesn't wish to discuss why - " there was an interim period when we were in a daze. We recorded THE NOTORIOUS BYRD BR OTHERS. That had the last traces of David. The rest we did ourselves just to kinda show David we could do without him , I guess. A lot of people like the album the best of the ten. I don't, particularly, because of what went on during the course of it" - and again the sarcasm towards the audience, I imagine"But if some kid was making it with a girl for the first time when he heard it, it becomes a great album .
"Anyway," he says, "we mellowed out into country music, and we're curving out of it now into something else. As long as it sounds good, it doesn't matter what." "Are you too close to your music to talk about it? For instance, what do you think of UNTITLED (the Byrds' tenth LP] ?" " 'Chestnut Mare' is the most impressive piece on it," he says, with more matter-of-factness than I would expect. "I only wish it would have been more perfect. Say the last note o n the end, where I just ran out of breath. It would take Ezio Pinza to sing that song. There's no stop to it. It's really up there. I like 'Truck Stop Girl.' It really has a groove to it. I like 'Take A Whiff' a lot, althou gh I think it has too many whiffs in it. 'Hungry Planet' falls short in a way, but I still like the synthesizer on it towards the end. I like 'Just A Season.' 'You All Look Alike,' I don't particularly like. Maybe I'm prejudiced against it, because I did a better vocal that wasn't used. " He's talking without resistance, smiling freely, relaxing. He's at the peak of his craft, this strange, charming, remarkably talented Byrd, all things are ecliptical for him, no sharp turns in sight, no hassles; there's a new Byrds album coming up, also a synthesizer one, perhaps even a Byrds-Burrito Bros. collaboration, and things seem like they are going to turn out all right after all.
·"I think (the human · race) will survive only if it's supposed to. I sometimes speculate that it will evolve, temporarily at least, into machines ... "
I get a crash-course of McGuinnisms: On Clairvoyance: "Clairvoyance is no more amazing than television. In clairvoyance, the human being is the receiver. Certain people, who have their receivers in good shape, can receive high frequency impulses, and translate them into words and activities. Though scientifically unproven, I choose to believe in it." On Acting: "I'd like to, but not in any folk-rock-doc." On Interviewers: "There's this English chick, named Penny Valentine, a ver~· personable, not-terribly-attractive, sort of homely-blond-girl, who asked me what I thought of selfd estructiveness as a tendency in people. I said, 'it exists.' She asked me if I h ad that tendency. I said, 'yes, everybody does.' I had a drink in my hand. She asked, 'is that why you're drinking?' I said, 'I guess this is self-destructive on some level, but as a rule I'm not an alcoholic.' And that was the gist of what we said. "And here's how it comes out in print, as a direct quote from me: 'And that's why I drink so much, I think I'm indestructible.' " On English Readers: "They read and relish trash. T hat's all they've got to do on that d reary little island.'' On Writing "The Ballad of 'Easy Rider' " with Bob Dylan: " H e wants me to lie and say he didn't but that was a long time ago. He wrote a couple of lines. I don't think he gives a shit
anymore. Just ask him.'; On Creation: "You don't have much part in what you're doing. You're like a trolley car - shooting down the tracks - and you get the electricity from the wire above you and the tracks below you. Creation is like being in a trance. It's . .. entrancing.'' And on ... and on ... And as we talk, I realize that Hollywood, the city where it all began for the Byrds, hasn't changed all that much. 1t remains a symbol of reality in this hip, enlightened, miserable twentieth century. Sometimes I think it's the emptiest, gaudiest, saddest place in the history of the world. McGuinn shows me an ad he's just received for cemetery plots. "I thought I'd get myself a plot to go out and cherish," he says. He flashes that cynical smile, and I remember how he once flashed it at Ciro's, and how much the Byrds mattered and still do, how very special they are to me personally, how they made my passing hours that much easier. "This is going to be my place. To everything there is a season.'' Innocence and experience mingle for one more instant. "A time to plan, a time to die, a time to buy a plot at Forest Lawn." The telephone rings, McGuinn answers and becomes engrossed. I let myself out - " ... Anyway .. . accident, onto the freeway - " ... An earphone? ... Oh, I see ... " back to Hollywood - " ... It's for use with triceivers ... " - and headlines about Manson and the Middle East, back to bombings, bummer air, hype, dead and dying people-" ... An application where you want to not have to hold the microphone .. .''a constant succession of sloe-eyed, goggle-faced super-star types pass through town - " . . . Like the astronauts use ... " -I can remember when nowhere in the whole Western Hemisphere had men, as men, musicians, and media manifestations, loomed as large and p romising as OUR Byrds - " ... right ... right .. .'' From a forthcoming book on Southern California rock 'n' roll. Copyright, Michael R oss, 1970.
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34
Ballad Of Easy Rider From Motion Picture "EASY RIDER"
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The riv-er __ flows_
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Words & Music by ROGER McGliNN
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.
•
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Take me from this
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@)Copyright 1969 by Blackwood Music Inc., Last Minute Music & Patian Music, New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
I
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Em
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38
The Bells Of Rhymney
Words by
IDRIS DAVIES Music by ll
PETE SEEGER
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who robbed the
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@Copyright 1959 & 1964 by Ludlow Music Inc., New York, N.Y. Assigned to Essex Music Limited, London, for the British Commonwealth (excluding Canada & Australasia).
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39 11
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They will
11
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what
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me?
give
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the
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c
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of
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Rhym - ney.
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the
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in court,
Say
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port.
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be
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if,
.y
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if,
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-
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you
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., ill .......__......
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Sang the
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41
Birmingham Jail New Words & New Music Adaptation by
HUDDlE LEDBETTER
Slowly '\.11. t!
.
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boys, ter,
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hear the wind Bir-ming-ham
-
......
2.Write me a
blow.
jail.
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win -
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Am
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Put your head out the Ad - dress it all
07 dow ver
I
Hear the wind blow, Send it by mail, I
~
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I
blow, let
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1.Hear the wind 2.(Write me a)
t
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3. Birmingham jail, boys, the Birmingham jail, Address it all over that Birmingham jail. 4. High sheriff will arrest you, bind you over in jail, Can't get nobody to go your bail. S. To go your bail boys, to go your bail, Can't get nobody to go your bail. 6. Send for your lawyer, come down to your cell, That's where he can clear you in spite of all hell. 7. In spite of all hell, boys, in spite of all hell, That's where he can clear you in spite of all hell. 8. Get a ticket for your money, come back for the rest, Tell you to plead guilty for he know that is best. 9. He know that is best, boys, he know that is best, Tell you to plead guilty he know that is best. 10. Down in the valley, the valley so low, Put your head out the window and hear the wind blow. 11. Hear the wind blow, hear the wind blow, Put your head out the window and hear the wind blow.
©Copyright 1963, 1965 & 1966 by Folkways Music Publishers, New York, N.Y. Assigned to Kensington Music Limited, London, for the British Commonwealth (excluding Canada).
~
42
Chestnut Mare t)
r
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fl
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a
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e
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Ebmaj7
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r
I
ways
-
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(Ad lib tempo)
fl
I
Words & Music by ROGER McGUINN & JACQUES LEVY
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Eb
Abmaj7 Ab6
Ab
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==
f..
herd.
fl
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L
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Pret- ti - est - - mare I've ev - er
r
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seen,
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r
Eb6
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f
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Bb7
Fm7
fl
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you have to- take
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my
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Abmaj7
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horse_ if
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to..
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l
r
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r
f
h
can.
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I
to
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catch that
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go - ing
I'm
.
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.
word.
<
,
Ebmaj7
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Bb7
Bb7 (sus4) Bb7
Eb
Ebmaj7
Eb6
Eb
@Copyright 1971 hy Blackwood Music Inc., Patian Music & Welcome Publishing Inc., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
43 ~
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And _ _ when ~
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L
4
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do
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h 1
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.
r I J l I
Bb7 (sus4) Bb7
Fm7
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Eb
Ebmaj7
Verses (Spoken)
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brand.
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my
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Ridge,
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l
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Stoney
Eb
r ,
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after this chestnut mare
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weeks now
.
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Eb
takin'
her meal, or bathing.
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Verse 2. Then we were falling, down this crevice, 'bout a mile down I'd say, I looked down and I see this red thing below us, comin' up real fast, And it's our reflections in a little pool of water about six feet wide and one foot deep, And we're falling down, right through it. We hit, splashed that pool dry. That's when I lost my hold, and she got away. But I'm gonna try to get her again some day. (To Chorus).
47
Drug Store Truck Drivin' Man
Words & Music by ROGER McGUINN & GRAM PARSONS
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48
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Verse 3. He's been like a father to me He's the only D. J. you can hear after three I'm an all-mght musician in a rock n' roll band and Why he don't like me I can't understand. (to Chorus)
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50
Eight Miles High
Words & Music by GENE CLARK, DAVID CROSBY & JIM McGUINN
Em
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known. own. ground.
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52
Feel A Whole Lot Better Words & Music by GENE CLARK
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Here Without You
Words & Music by GENE CLARK
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......
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If I Had A Hammer (The Hammer Song) Words & Music by LEE HAYS & PET~
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81
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Mr. Tambourine Man
Words & Music by BOB DYLAN
Moderato (in 2) "
If
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Refrain G
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play
TAM-BOU-RINE MAN
MIS-TER
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song for
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TAM-BOU-RINE MAN
play
a
song
for
me
. in
the
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•
I
©Copyright 1964 (Unp) by M. Witmark & Sons, U.S. A. ©Copyright 1965 by M. Witmark & Sons under Universal Copyright Convention. Warner Bros. Music Limited, London, for the British Commonwealth (excluding Canada, Australasia & S. Africa), Republic of Eire.
84 f\ .II
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Em
morn- in'
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jin - gle jan - gle
I'll
come
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Verse f'l .II
know that eve·nin's
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1't.ll ~
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em-pire
G
hand,
has
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Em
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Van-ished from my
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stand, but still not
blind - ly here to
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sleep- in'.
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Left me
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sand,
re-turned in - to
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meet
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*See followlllg page for Verses 2, :l, 4.
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feet.
r.;•
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have no one
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to
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street's too dead for
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85
The improvisational style for which Dylan the Poet is so justly famous often results in differences, both melodic and metric, between the first verse and those which follow. The present song is a prime example, and we have endeavored to show on this page the extent of those differences.
,.#
Verses 2, 3, 4
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Take me on a trip up - on your might hear laugh-in' spin·nin' swing - in' take me dis- ap - pear- in' through the
2. ( _ _ ) 3. Though you 4. Then_
For
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mag - ic swirl- in' mad - ly across the smoke. rings of my
t
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ship sun, mind
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(-) My It's not Down the
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IVerse r~J :i## ~• F J •3 I ~~' i 3' only . d
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. 1t , s JUSt es(-)And but
a1me at an- y - one, cap- in' on the run
My Wait
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Verses 2, 3, 4 D
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2. on - ly 3. for the 4. from the
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my for sky there twist - ed
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2. read - y to go 3. if you hear vague 4. dance be - neath the
D
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an - y - where, I'm trac - es. __ Of dia - mond sky With
read-y skip-pin' one hand
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wan-der -in'. fac -in'. sor-row.
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The Out Far
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boot heels to be are no fenc - es reach of craz - y
Far)
time, leaves, trees beach A
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I'm And to
Yes,
G
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for to reels of wav -in'
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fade rhyme free
In-
To your Sil - hou-
--
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only
to
G
j
my
own
pa
rade,
G
Cast your
dane- in' spell
my
way
t- - - - - - - - - 3 times - - - - - - - - - - - - - - -1 D
[
I
prom-ise to
go
G
V¥r~e~·~-#~·~w~r~J~~~~~G~J.~~i~~J~~~~~f1~s*r~~~~~~~ r I ~ J. J ~ I only
(tam- bou- rine in time, rag-ged clown be - hind, pay it an - y mind,
It's just a ) I would -n't It's just a
shad- ow_
You're
that he's
see -in'
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only
( et - ted by by the cir mem - o - ry 'deep be- neath I Verses 2, 3, 4
the cus and the
sea. (_) Cir-cled ) sands (_ ) With all fate ( _ ) Driv- en waves. Let me for- get
~~·~-~#~J~J~,-~--~~J----~~EI~e~~~:ll 2. un-der it, _ _ __ 3. chas- in'. - - - - - 4. mor - r o w . - - - - - -
Go back to Refrain
a -bout
to
day
~
un-til
to-
86
Lover Of The Bayou fJ
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Words & Music by ROGER McGUINN & JACQUES LEVY
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87
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90
The Midnight Special New Words & New Music Adaptation by HUDDlE LEDBETTER Edited with new additional material by John A. Lomax & Alan Lomax
With a steady beat ll
1. "Yon-der c~me Miss- a
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her
hand;
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in the world
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Shine
{ts
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light
on
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me;
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@;Copyright 1936 (Renewed 1964), 1959 & 1966 by Folkways Music Publishers, New York, N.Y. Assigned to Cromwell Music Limited, London, for the British Commonwealth (excluding Canada & Australasia).
,...., I
91
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Let the
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mid- night
spe
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tJ
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C7
D7
r
Shine
cia!
ev
its
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For repeat G C G
r er - lov - in'
1
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Last time G C G
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light on
me._
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:l. When you wake up
in
light on
the
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...___.,.
-,;...___.,.
2. (Verse) When you wake up in the mornin', When the ding-dong ring. Go marchin' to the table, Meet the same old thing. Knife and fork on the table, Nothin' in my pan; Ever say anything about it, Have trouble with the man. (Chorus) 3. (Verse) If you ever go to Houston, Boy, you better walk right, Well, you better not squabble, And you better not fight. Bason and Brock will arrest you, Payson and Boone will take you down; The judge will sentence you, And you Sugarland bound. (Chorus) 4. (Verse) Well, jumpin' liT Judy Was a mighty fine girl, Well, Judy brought jumpin' To this whole round world. Well, she brought it in the mornin' Just awhile before day, And she brought me the news ·That my wife was dead. (Chorus) 5. (Verse) That started me to grievin', Whoopin', hollerin', and a-cryin', Then I began to worry 'Bout my great long time.
(Chorus)
_....
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--....--
I
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92
Mr. SpaCeman
m G
Moderate~y
•
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morn - ing with strang - ers that morn - ing I was
1. Woke up this be those 3. Woke up this
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r
my
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down from the com -in' in the prints that glow my ten they'd writ dow ~
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sky. dark. name,
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don't know hope they so long
~-41
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get we'll
or all you a -
who home see
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still __ dark out - side. peo-ple up tight. tooth - paste was smeared.
put my
beer
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light foot win
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and whose had
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eyes night weird,
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in my ev - 'ry ing quite
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r light come feel
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2. Must
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Words & Music by JIM McGUINN
D7 0
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CS Copyright 1966 & 1967 by Tickson Music Co., Hollywood, California. Assigned to Essex Music Limited, London, for the British Commonwealth (excluding Canada & Australasia).
I
93
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an-y-thing wrong.
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won't you
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please take
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D. S. Lyric 3 to Fine~ I
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for the
ride. '
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94
Old Blue ~
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111
You Won't Have To Cry Words & Music by GENE CLARK & JIM McGUINN
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112
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116
TUCB\W GUITAR SECTION
The songs in this book give a fair cross-section of their early material to the things they are into by the time this book is published. The Byrds' later work has a very definite country feel, notably due to the addition of Clarence White, whois a fine player in this field. Although this style is in contrast to the folkier soundtheyproducedintheirearly days, McGuinn's "Mr. Tambourine Man" sound and style are still very much in evidence. The introductions to most of the songs establish the feel and rhythmic pattern and these are given in tablature form, together with words, standard chord changes and chord diagrams where necessary, Asregardsthetablature, thewrittenphrasingis conventional but the method of notation is not. The six lines represent each string of the guitar, i.e.
and the numbers given on the string denote where it is fretted. The standard chord of A major would be notated in this way:~
1)
s A tie - w i t h the letter's' means that the note must slur or slide to the following numbered fret.
2)
A tie t h u s : - means that the following note is not sounded but held for its time value.
3)
A t i e - means that the note is "pulled off" in a slurring fashion.
4)
The sign --over a fret number means that the note is bent higher to produce the desired effect.
p
Somechordsarewrittenthus: D/C~ G/F~ etc., and this means that aD chord is played with a C~ note in the base and likewise a G chord would be played with an F~ note in the base. In most cases these chords are diagrammed. It will be necessary from time to time, to refer to the piano arrangements for all the verses of the songs and you will notice in some cases that the keys of the songs differ from those given in the guitar section. For example, the written key of "Chestnut Mare" is Eb, but by placing the Capo at the first fret, you can play it in D to retain the open sound. Where this occurs, instructions are given as to where the Capo is placed, together with the actual key.
Also, as a final note, try putting your own guitar arrangements to these songs and experiment as much as you can.
117
All The Things Words & Music by ROGER McGUINN
&JACQUES LEVY
c
D
1)
See the sun, how bright it is G
D
It never was before
c
G
See the sun, it shines right thru 1 my door, But no-one 1 s there D7
D
I see warm smiles I never gave
G Gm Reflecting in the air - - -
c
D
Chorus:
All the things I want today D
C
D
All the things I wasted on the way.
c
D 2)
See the earth, how sweet it smells G
D
I don t know how it feels 1
c
G
See the earth, it slips beneath my heels as I pass thru 1 , D D7 G Gm 1 I see tears that I never shed in ev ry drop of dew. D
Em
Hear the skies singing songs I could have played, Am C G D Too busy taking to prove that I was not afraid. D 3)
c
G
D
See this dried up broken straw, it 1 s turning into rot
C
G
See this dried up broken straw, forgotten, left behind D D7 G Gm I see things that I never done- a - blowing in the wind. All the things etc. ®Copyright 1970 by Blackwood Music Inc., Patian Music & Welcome Publishing Inc., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
118
Bad Night At The Whiskey Words & Music by ROGER McGUINN & JOE RICHARDS
Introduction: ("Choppy" feel) G F
~~:~i~~~t~~J~6d~~~·
Repeat Ad Lib
II
II
II
G
X~
A
II
Dm
1m
II c
1m
•
Fjc
Emj8
II .II 'lc
Em
F
J
0
0
Bass
Am
Bm
07
Chorus F
G
Push me off the street today F EmDm F/C Em/B F/A G Look how it gets in the way _ _ _ _ __ F
G
In the darkness she pushed me in Em c You say that it's a sin D7 We're hangin' around-----Am
G F You told me not to sing today G
F Em Dm F/C Em/B F/A You say my music gets in the way ______ G F Em c 'Cos it walks on in, just as you begin
Am D7 Bringin' my soul brothers down. @)Copyright 1969 by Blackwood Music Inc. & McHiHby Music Publishing Co., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
119
Ballad Of Easy Rider From Motion Picture "Easy Rider"
Words & Music by ROGER McGUINN
Introduction: Capo to 5th fret 0/o Bass
D
0 /o Bass
D
I¢ r i 1 0 U li i i 0 0 11 i 1 0 U li i i 0 0 Capo to 5th fret for these positions
m
•
D
0132
II
Dmaj7
G
1
II
~
3·~
All
Em7
D Dmaj7 The river flows, it flows to the sea, All Em7 G Wherever that river goes, that's where I want to be D D G river flow, let your waters wash down, Flow----
•1>
G
D All Em7 Take me from this road to some---- other town. D
G
D Damj7 All he wanted was to be free Em7 All G And that's the way it turned out to b e - - - D
D
G
D
G
Flow---- river flow, let your waters wash down, All D G D Em7 Take me from this road to some---- other town. D
G
D
D
G
Go, river go, past a shady tree D Flo~,
G
D
river flow, flow to the sea
D G D Em7 All Flow, river flow, flow - - - - to the sea - - - @)Copyright 1969 by Blackwood Music Inc., Last Minute Music & Patlan Music, New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
II
120
The Bells Of Rhymney Music by
Words by IDRIS DAVIES
PETE SEEGER
Free '2 beat' feel
c
F
C
D
c
Oh, what will you give me, say the sad bells of Rhymney, Bb Dm G Is there hope for the future, cry the brown bells of Merthyr,
c
B# Dm G Who made the mine owner, say the black bells of Rhondda, Dm c G C And who robbed the miner? Cry the grim bells of Blaina.
F
C
F C D C c They will plunder willy-nilly, cry the bells of Caerphilly, Bb Dm G They have fangs, they have teeth, shout the loud bells of Neath.
c
Dm Bb G Even God is uneasy, say the moist bells of Swansea, Dm C G c And what will you give me, say the sad bells of Rhymney.
c
©Copyright 1959 & 1964 by Ludlow Music Inc., New York, N.Y. Assigned to Essex Music Limited, London, for the British Commonwealth (excluding Canada & Australasia).
121
Birmingham Jail New Words & New Music Adaptation by
HUDDlE LEDBETTER
. Slow Folky Waltz feel
II G
m
m
II D
Am7
Am
D
G
Hear the wind blow, boys, hear the wind blow, Am D Put your head out the window and hear the wind blow
G
D
Write me a letter, send it by mail, AmD G Am7 G Address it all over that Birmingham Jail - - - -
~
©Copyright 1963, 1965 & 1966~olkways Music Publishers, New York, N.Y. Assigned to Kensington Music Limited, London, for the British Commonwealth (excluding Canada).
122
Chestnut Mare
Capo to 1st fret (Actual key E b)
Introduction: (Ad lib tempo)
/c#
I= v· llj i i ~ G
i
I
D
L
~
~
II
II II %.
II
II
D/s /·
9{:#
G
Bass
D
Prettiest
G G/F# G/E never with a
D/A
D/C# D/B mare I've ever
D/A seen
f
1
3
A(sqs)
A
~
' II II ~
~
%~
o/E
A
Asus herd
A
G
You
have
G/E Asus A G/F# to take my word----
Chorus: G G/F# I'm going
to
G G/F# And when I G G/F# And we'll
Em7 catch
Em7 Asus do I'll give her
be
G G/F# She'll be just G I'm
G/F# going to
that
Asus horse
Em7 friends Em7 like a
for
A D D/C~ D/B D/A if I can A my
D D/C# D/B D/A brand
life
wife,
Em7 catch that
Asus horse
~II
II
A(sus)
Em7
DD/C# D/B Always alone
1
i It i i i
j
i
II
mm
j j
D,t't\ ,Bend c:
G/E
Capo to 1st fret 0
i IL i
j
t i
G/F#
·3
IE j
0/a
0
D
Words & Music by ROGER McGUINN &JACQUES LEVY
if
A D I can.
©Copyright 1971 by Blackwood Music Inc., Patian Music & Welcome Publishing Inc., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
123
Drug Store Truck Drivin' Man Introduction:
12 j
1
Words & Music by ROGER McGUINN & GRAM PARSONS
D
IIi
1
A7
Em
I
i
G
Ia I A
D
a
IT
I
D
II
Ir
1
Chorus: D
A7
He's a drug store truck drivin' man, D
He's the head of the Klu-Klux Klan
Em When summer rolls around A7
D
You'll be lucky if he's not in town.
D
A7
Well, he's got him a house on the hill, G D A D He plays country records till you've had your fill
Em He's a farmer's friend, he's an unhappy gent. A7
But he sure does think diff'rent from the records D
He plays.
(To Chorus)
@Copyright 1969 by Blackwood Music Inc. /McHillby Inc. , New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada & Australasia).
II
124
Feel a Whole Lot Better Words & Music by GENE CLARK
Introduction: A9
A
A
A(sus)
A
A9
A
~~~¢~i~~~Q~6S~Q~Ii~'~w~==~'~~~
II A
II
m
II
II
II
A9
D
E
Repeatrosonu.
A(sus)
87
II F#m
A
The reason why, oh, I cannot say E F#m I have to let you go, baby, and right away - - - A D B7 After what you did, I can't stay on - - - D E A E And I'll probably feel a whole lot better when you're gone----
A
®Copyright 1965 & 1966 by Tickson Music Co., Hollywood, California. Assigned to Lakeview Music Publishing Company Limited, London.
126
Hey Joe Words & Music by WILLIAM M. ROBERTS
Bb
c
F
G
Hey Joe, where ya goin' with that gun D
In your hand _ __
Bb
c
F
D
G
Hey Joe, where ya goin' with that gun in your hand
Bb
F
I'm goin' out and find my woman now
c
G
D
She's been runnin' 'round with some other man.
Bb
F
I said I'm goin' out and find my woman now
c
G
D
She's been runnin' 'round with some other man.
@Copyright 1962, 1965 & 1966 by Third Story Music (BMl). April Music Limited, London, for the United Kingdom only.
---
127
Hungry Planet Words & Music by ROGER McGliNN, SKIP BATTIN & KIM FOWLEY
Introduction: (with Flat Pick) Hard Funky Sound. Bend
~ ~~2¥-L~·~j~l~t~j~}~j~~~gj~~~ 'lC.132)(
T~~ G7
1
Repeat Till Voice
,g, 1
Jl. C7
B~7
G7
I'm a hungry planet, I had a youthful face C7
G7
But people kept try in 1 to take all outer space C7
G7
Poisoning my oxygen diggin 1 in my skin - - Bb7
C7
Takin 1 more out of my good earth - - G7
Than they 111 ever put back in - - -
CE' Copyright 1971 by Blackwood Music Inc., Patian Music & Kyo Music, New York, N.Y. Ap1·il Musi<- Limited, London. for the United Kingdom. Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
128
If I Had a Hammer Words & Music by LEE HAYS & PETE SEEGER
Capo to 1st fret (Actual key: Eb) Introduction: Bright & steady D
[ J
s
l
Capo to 1st fret
G
D
A
6
• •
II
II
[
i
i
D
II
A(sus)
A
Bm
A
D
If I had a hammer I'd hammer in the mornin', A
I'd hammer in the ev'nin', all over this land. D Bm I'd hammer out danger, I'd hammer out a warnin',
G
D
G
D
I'd hammer out love between my brothers and my sisters A(sus) A D All - - - - - over this land. G
@Copyright 1958 & 1962 by Ludlow Music Inc., New York, N.Y. Assigned to Essex Music Limited, London, for the British Commonwealth (excluding Canada & Australasia).
129
I Knew I'd Want You Words & Music by GENE CLARK
Em
D
D7
C
G
I'd like to love you - with all of my heart.
Em
F
A
G
You've had me on your trip - right from the s t a r t - - - -
c
Em
Em
And when you looked at me - with love in your eyes E
D7
D
I knew I'd want you. - Oh yeah.
Em
D D7
C
G
I'd like to hold you - if you want me to, F Em A c I've found somethin' new, girl, just by lookin' at y o u - - - -
Em
C
Em
And it's in your smile - and it's in the way - - - D7
D
F
I knew I'd want you - Oh yeah.
c
G
Em
F
I meet so many people - I feel I don't know,
c
G
But I felt so close to you
F
D Am7 D when you said hello - - - - -
@Copyright 1965 & 1966 by Tickson Music Co., Hollywood, California. Assigned to Lakeview Music Publishing Company Limited, London.
D7
130
I Trust
(Everything is gonna work out alright) Words & Music by ROGER McGUINN
Introduction:
c
T
A 8
il=
I 1;c
F
~
~
J
F
j Dm7
1m Am (maj7) 4th Fret_.~~
Am7 4th F r e t .
j 1 j
' C (sus)
J
'
,
F
~~~
Ad Lib.
I
I
I
Am 4th Fret-+.
09 3rdFret.
F c c In times of despair -I think about the good things that you've done---F Dm7 F/E c And though you're not there - - - I sometimes ask myself, "Is anyone?" - - - -
Dm F G It's hard being human- when the whole world's uptight---F F/E Dm7 c But somehow I know - - - - - that everything is gonna work out alright.
G
c
F
Stick by me baby in spite of my faults F
c
That's all I want you to do Am Am(maj7) Am7 D9 And try and help me when I'm down F Dm7 G And I'll take good care of you - - - @Copyright 1971 by Patian Music & Blackwood Music Inc., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
II
131
Just a Season
Words & Music by ROGER McGUINN
Chorus Introduction:
&JACQUES LEVY
C.#m7
87(sus)
A
G#m7
DO
II t j j J i 1 i l I cl j J t 1 i J 1, c#m7
E
I !I L j i i 87(sus}
A
i
j j It
j
l
j
ij
I
1 j
i~J
j I tj 1J t 6
E7
t:l
' '"F"'Ifffill I
I i lJ tJ 3
G'#·m7
C#.m7
C#m7 Chorus:
j
G#rn?
0
1
Q
m
t
tJ
j j j
m
X21300
020100
87(sus4)
E7
G#m7
A
I
B7(sus)
E
If all my days was hills to climb and circles without reason,
C#m G#m7 A B7(sus) E If all I was was passing time, my life was just a season.
E7
E A E F#m Dares and dreams and silly schemes and fillies running freely c#m A B7 I was young and no song was sung that didn't sound appealing, A B7 E F#m I'd have my fun with a shy girl and maybe hop a train A B7 E And I'd look back at her standing in the rain.
(To Chorus) A E F#m E Dirty hands and root beer stands and money like a river c~
A
m
Makin' deals to see how it feels to get more than you're givin'. A B7 E F#m I'd have my fun with a gamblin' man and bluff him with my face, A B7 E And it's drinks for ev'rybody in the place. To Chorus etc. @)Copyright 1971 by Blackwood Music Inc., Patian Music & Welcome Publishing Inc., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
II
132
King Apathy Ill Words & Music by ROGER McGUINN
2m
g
3rd·Fret I 34
0134
D7 (#9)
D (sus)
(Rock feel) G
c
F
Grease collecting, stained glass rubies G
c
F
Pillowed gently on a strand. G
c
F
Bearing looks of frenzied blankness,
c
F
G
D
D
D7(#9)
D7
Slowing down their freebie king.
G
c
F
Middle
cl~ss
suburban children
G
c
F
Wearing costumes that reveal, G
F
c
Blindly follow recent pipers G F C D'~sus} With their mystical appeal - Go now.
(Soft country 2-beat feel) D A So I'm leavin' for the country D
G
To try and rest my head, A
'Cos if I hang around this scene too long G
A
You know, babe, l'll be dead. @Copyright 1968 by Blackwood Music Inc. /McHillby Inc., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Mrica).
133
Lover Of The Bayou Words & Music by ROGER McGUINN
&JACQUES LEVY
II Am
m
II
II G
E (sus4)
F
Am G F E(sus4) Am Catfish pie in a gris-gris bag, I'm the lover of the Bayou. Am G F E(sus4) Am Mark your doorstep with a half wet rag, I'm the lover of the Bayou.
G Am Raised and swam with the crocodile
F
---
E(sus4) Am Snake Eye taught me the Mojo style G Am Sucking weed on chicken bile
F E(sus4) I'm the lover of the Bayou. (Etc.)
@Copyright 1971 by Blackwood Music Inc., Patian Music & Welcome Publishing Inc., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
134
The Midnight Special New Words & New Music Adaptation by HUDDlE LEDBETTER Edited with new additional material by John A. Lomax & Alan Lomax
Chorus:
c
G
C7
G
Let the Midnight Special shine its light on me, D
Let the Midnight Special shine its ever lovin' light G
On me.
G
c
G
Yonder comes Miss Rosie, how in the world do you know, D
G
Well, I know her by her apron and the dress she wore, G7 c G Umbrella on her shoulder, piece of paper in her hand, D G C Well, she's gonna tell the governor, please turn loose my man.
(To Chorus)
®Copyright 1936 (Renewed 1964), 1959 & 1966 by Folkways Music Publishers, New York, N.Y. Assigned to Cromwell Music Limited, London, for the British Commonwealth (excluding Canada & Australasia).
G7
135
Mr. Tambourine Man Words
Introduction: (Strum Style)
&
Music by
BOB DYLAN D
t j] t §
!I f D
I
A
I
L~ ( i
f
A
G
'
'
q A
f If
D
D
' p '
p
p
~ f
G
Hey, Mr. Tambourine Man, play a song for me, Ern A I'm not sleepy and there is no place I'm goin' to - - - D
G
A
G
D
G
Hey Mr. Tambourine Man, play a song for me, G Ern A D In the jingle, jangle rnornin' I'll come followin' you---D
G
A
D
G
Take me for a trip upon your magic swirlin' ship D
G
D
G
My senses have been stripped, my hands can't feel to grip, D
G
• My toes too numb to step, G
A
D G A Asus A wait only for my boot heels to be wanderin' - - - D
G
I'm ready to go anywhere, I'm ready for to fade, D
G
D
G
Into my own parade, cast your dancin' spell my way
A
Asus A I promise to go under it - - - @Copyright 1964 (Unp) by M. Witmark & Sons, U.S. A. @Copyright 1965 by M. Witmark & Sons under Universal Copyright Convention. Warner Bros. Music Limited, London, for the British Commonwealth (excluding Canada, Australasia & S. Africa), Republic of Eire.
II
136
Old Blue Traditional Arrangement by ROGER McGUINN
Capo to 6th fret Introduction: (Retain same feel throughout verses) E~
I1
p
!
j
.S
i 1
r
j
j
I
] l
t
B~
p
j
;
Ii
II
'
Capo to 6th fret
II Cm
Eb
Bb Eb
Well, I had an old dog and his name was Blue----
Bb
Eb
Bb Eb
Yes, I had an old dog and his name was Blue----
I had an old dog and his name was Blue,
Bb
Eb
Bb
Eb
Betcha five dollars he's a good dog t o o - - - -
Chorus:
Eb
em Ab
Bb
Eb
Bye, Bye, Blue -You good dog you. CmA# Bb Eb Bye, Bye, Blue- You good dog you.
©Copyright 1969 by Blackwood Music Inc./McHillby Inc., New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada & Australasia).·
137
Renaissance Fair Words & Music by DAVID CROSBY & JIM McGUINN
Em
• Bm
II A
II Am
Em Bm I think that maybe I'm dream in' - - - -
Em Bm Em Bm I smell cinnamon and spices, I hear music ev'rywhere Em Bm Em All around kaleidoscope of colour- I think that maybe Bm I'm dreamin' - - - -
Em A Some splash on a soda prism Em Bright jewels on the ladies flashin' A
Em Am Eyes catch on a shiny prism.
A
@Copyright 1967 by Tickson Music Co., Hollywood, California. Assigned to Essex Music Limited, London, for the British Commonwealth (excluding Canada & Australasia).
138
So You Want To Be a Rock' n Roll Star Words & Music by JIM McGUINN & CHRIS HILLMAN
Introduction:
c
D
I~ i ! 3 c
j
j
e-
l
c
D
j
Repeat TiII Song:
D
So you wanna be a rock 'n 'roll star
c
c
D
D
Then listen now to what I've got to say,
c
c
D
D
Just get an electric guitar
c
D
c
D
And take some time an' learn how to play A
G
And when your hair's combed right D
And your pants fit tjght G
It's gonna be all right.
@)Copyright 1966 & 1967 by Tickson Music Co., Hollywood, California. Assigned to Essex Music Limited, London, for the British Commonwealth (excluding Canada & Australasia).
139
Take a Whiff (On Me)
Words & Music by ROGER McGUINN & CLARENCE WHITE
Introduction:
¢
i i D7
u
It Ii j
j
j j j
tJ
..
I
tr=-i ll
-l
~j
E
,j
11 Ell
i
j
I: I
~
2
j
L
~
j t j j
A (Add Lib.)
i
9
I
Ij 00
I
I
I
,...L.
I•
I
I
I
1324
IlL A
Chorus:
j
i i
II Ell
D Take a whiff, take a whiff, take a whiff on me, B7 Oh, birdie take a whiff on me E
Ell
A
Hey, Hey, Baby take a whiff on me.
(Repeat)
A
Concave for horses and not for men, D
Doctor says it kills you, but he don't know when A
E
Hey, Hey, Baby take a whiff on me - - (To Chorus) A
Went down the corner, Fourth street and Main D7 Tcyin' to get some good cocaine, E
A
Oh, Oh, Baby take a whiff on me - - (To Chorus) ®Copyright 1971 by Blackwood Music Inc. & Patian Music, New York, N.Y. April Music Limited, London, for the United Kingdom, Eire & British Commonwealth (excluding Canada, Australasia & S. Africa).
II
140
This Land Is Your Land Introduction: G
~I«
l
Words & Music by WOODY GUTHRIE
-
Bend
D
i
~ i J
lie
1
f
c
lg J1 LJ D
¥
L
c
G
j
~
Er
G
; iJ
II
i
This
land
3
r
I
D G
This land is your land, this land is my land, Am7 D G From California to the New York Island, D
G7
c
G
From the red wood forest to the Gulf Stream waters D
G
This land was made for you and me.
@)Copyright 1956 & 1958 by Ludlow Music Inc., New York, N.Y. Assigned to Essex Music Limited, London, for the British Commonwealth (excluding Canada & Australasia).
is
j II
141
Turn! Turn! Turn! Words: Book of Ecclesiastes Adaptation & Music by PETE SEEGER
Introduction:- Soft Lilting feel.
c
!li
j t j
F6
j
t
i j
It
J
j j
j
• F6
Refrain:
c
c
F
F
To everything (turn, turn, turn),
c
F
c
F6
There is a season (turn, turn, turn).
c
c
G
A time to be born, a time to die;
c
G
A time to plant, a time to reap; G
c
A time to kill, a time to heal; G
c
A time to laugh, a time to weep.
(To refrain)
®Copyright 1962 by Melody Trails Inc., New York. Assigned to Essex Music Limited, London, for the British Commonwealth (excluding Canada & Australasia) & Republic of Eire.
142
You Won't Have To Cry Words & Music by GENE CLARK & JIM McGUINN
c
G
F
Em
G
Oh, you know it makes me sad to seeyou feel so bad, F Am D G But it's happened to you many times before----
C
F
Em
Dm7
But if you will come with me, then girl, you will see D
F
G
That you won't have to cry anymore - - - -
c
G
F
Em
G
There's no reason to feel blue because of what he says to you---F
Am D G And I wouldn't want to see you hurt no more - - - -
c
F
Em
Dm7
I could never do you wrong, 'cos my love for you's too strong F
c
D
Gm7
C7
And you won't have to cry anymore - - - -
Bb
C
C7
F
Oh, I saw you there with tears in your eyes
Bb
G
c
F
G
Because he told you so many, many lies.
@Copyright 1965 & 1966 by Tickson Music Co., Hollywood, California. Essex Music Limited, London.
WCoG~~UY Mr TambOurine Man CS 9172 CL 2372 Producer Terry Melcher Engineer Ray Gerhardt Released June 211965 Turn! Turn! Turn! CS 9254 CL 2454 Producer Terry Melcher Engineer Ray Gerhardt Released December 6 1965 Fifth Dimension CS 9349 CL 2549 Producer Allen Stanton Engineer Tom May Released July 181966 Younger Than Yesterday CS 9442 CL 2642 Producer Gary Usher Engineers Roy Halee, Don Thompson Released February 6 1967 The Byrds' Greatest Hits CS 9516 CL 2116 Released August 7 1967 Re-releasedJuly 211969
The Notorious Byrd Brothers CS 9575 CL 2775 Producer Gary Usher En¢.neers Roy Halee and Don Thompson Released January 151968 · Sweetheart of the Rodeo CS9670 Producer Gary Usher Engineers Roy Halee and Charlie Bragg Released August 30 1968
Dr Byrds and Mr Hyde CS9755 Producer Bob Johnston Engin, ers David Diller, Tom May and . Neil Wilburn Released March 5 1969 Preflyte (Together Records) ST-T-1001 Producer Jim Dickson Re-mix Engineer Keith Olsen Released July 291969 The Ballad Of Easy Rider CS 9942 Released November 10 1969 Producer Terry Melcher Associate Producer Jerry Hochman Engineer Jerry Hochman The Byrds (Untided) G30127 Producers Terry Melcher &. Jim Dickson Engineer Chris Hinshaw Released September 141970
Side one It's No Use, The Bells of Rhymney, I'll Feel A Whole Lot Better, You Won't Have to Cry, Spanish Harlem Incident, We'll Meet Again Side two Chimes of Freedom, Don't Doubt Yourself Baby, Here Without You, Mr Tambourine Man, I Knew I'd Want You, All I Really Want to Do Personnel Gene Clark tambourine, Mike Clarke drums, David Crosby rhythm guitar, Chris Hillman bass, Jim McGuinn 12-string guitar Side one Turn! Turn! Turn !,It Won't Be Wrong, I Set You Free This Time, Lay Down Your Weary Tune, He Was a Friend of Mine Side two The World Turns All Around Her, Satisfied Mind, If You're Gone, The Times They Are A-Changin, Wait and See, Oh! Susannah Personnel Gene Clark tambourine, Mike Clarke drums, David Crosby rhythm guitar, Chris Hillman bass, Jim McGuinn 12-string guitar Side one 5 D , Wild Mountain Thyme, Mr Spaceman, I See You, What's Happening?, I Come and Stand at Every Door Side two Eight Miles High, Hey Joe, Captain Soul, John Riley, 2-4-2 Fox Trot (The Lear Jet Song) Personnel Mike Clarke drums, David Crosby rhythm guitar, Chris Hillman bass, Jim McGuinn 12-string guitar, Van Dyke Parks piano on 5 D Side one So You Want to Be a Rock and Roll Star, Have You Seen Her Face, CTA 102, Renaissance Fair, Time Between, Everybody's Been Burned Side two Thoughts and Words, Mind Gardens, My Back Pages, The Girl With No Name, Why Personnel Mike Clarke drums, David Crosby rhythm guitar, Chris Hillman bass, Clarence White guitar, Jim McGuinn 12-string guitar . Side one Mr Tambourine Man, I'il Feel A Whole Lot Better, The Bells of Rhymney, Turn! Turn! Turn!, All I Really Want to Do, Chimes of Freedom Side two Eight Miles High, Mr Spaceman, Fifth Dimension, So You Want to Be a Rock and Roll Star, My Back Pages Personnel Gene Clark tambourine, Mike Clarke drums, David Crosby rhythm guitar, Chris Hillman bass, Jim McGuinn 12-string guitar Producers Terry Melcher (Side one), Gary Usher (My Back Pages and So You Want to Be a Rock and Roll Star), Allen Stanton Engineers Ray Gerhardt (Side one), Roy Halee and Don Thompson (My Back Pages and So You Want to Be a Rock and Roll Star), Tom May Side one Artificial Energy, Goin' Back, Natural Harmony, Draft Morning, Wasn't Born to Follow, Get To You Side two Change Is Now, Old John Robertson, Tribal Gathering, Dolphins Smile, Space Odyssey Personnel Mike Clarke drums, Chris Hillman bass, Jim McGuinn 12-string guitar Side one You Ain't Goin' Nowhere, I Am a Pilgrim, The Christian Life, You Don't Miss Your Water, You're Still On My Mind, Pretry Boy Floyd Side two Hickory Wind, One Hundred Years From Now, Blue Canadian Rockies, Life In Prison, Nothing Was Delivered Personnel Chris Hillman bass and mandolin, Kevin Kelley drums, Roger McGuinn 12-string guitar, Gram Parsons guitar Also Earl P Ball piano, Jon Corneal drums, Lloyd Green steel guitar, John Hartford banjo and guitar, Roy M Huskey bass,Jaydee Maness steel guitar, Clarence White guitar Side one This Wheel's on Fire, Old Blue, Your Gentle Way of Loving Me, Child of the Universe, Nashville West Side two Drug Store Truck Drivin' Man, King Apathy III, Candy, Bad Night at the Whiskey, Medley : My Back Pages, B.J. Blues, Baby What Do You Want Me To Do? Personnel Roger McGuinn 12-string guitar, Gene Parsons drums, Clarence ·White 6-string guitar, John York bass Side one You Showed Me, Here Without You, ·she Has a Way, The Reason Why, For Me Again, Boston Side two You Movin', The Airport Song, You Won't Have to Cry, I Knew I'd Want You, MrTambourine Man Personnel Gene Clark tambourine, Mike Clarke drums, David Crosby rhythm guitar, Chris Hillman bass, Jim McGuinn 12-string guitar Side one Ballad of Easy Rider, Fido, Oil In My Lamp, Tulsa Counry,JackTarrthe Sailor Side two Jesus is Just Alright, It's All Over Now, Baby Blue, There Must Be Someone, Gunga Din, Deportees, Armstrong, Aldrin and Collins Personnel Roger McGuinn 12-string guitar, Gene Parsons drums, Clarence White 6-string guitar, John York bass Side one (in concert) Lover o(the Bayou, Positively 4th Street, NashVille West, So You Want To Be a Rock and Roll Star, MrTambourine Man, MrSpaceman Side two (in concert) Eight Miles High Side three Chestnut Mare, Truck Stop Girl, All the Things, Yesterday's Train, Hungry Planet Side four Just a Season, Take a Whiff, You all Look Alike, Well Come Back Home Personnel Skip Battin bass, Roger McGuinn 12-string guitar, Gene Parsons drums, harmonica, guitar, Clarence White guitar, mandolin, Byron Berline fiddle, Terry Melcher piano, Sneaky Pete Kleinow steel guitar
