By Jeremy Hallock
By James Khubiar
By Observer Staff
By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
That the Byrds wouldn't last for long was no surprise: Crosby and McGuinn were best friends and bitter enemies, always fighting for control of the band. When Crosby was kicked out by McGuinn and Chris Hillman in 1967, the band began spinning the revolving door. Seven years later, they would bid a shrug of a farewell with a self-titled toss-off on Asylum.
But despite the band's efforts to sully its reputation, Sony Legacy has done a remarkable job in recent years of restoring a little shine. A few weeks ago, the label released the Byrds' final albums for Columbia -- 1970's (Untitled) and 1971's Byrdmaniax and Farther Along -- in addition to a never-before-heard concert disc, Live at the Fillmore -- February 1969. All of them contain bonus tracks: (Untitled), in fact, contains so many lost-in-the-vault live, studio, and alternate-take discoveries, it has been retitled (Untitled)/(Unissued) and spread out over two CDs. Though reviled by critics and ignored by the public, each disc contains its share of epiphanies. The live album is especially significant for the opportunity to hear guitarist Clarence White and McGuinn render the intro to "Eight Miles High" a nearly indecipherable mishmash of notes and catharsis.
That McGuinn is even willing to support the Legacy reissues is almost astonishing: In interviews in the 1980s and '90s, he could often be found lamenting that he did not break up the Byrds in 1969, after so many tumultuous personnel changes left him the only remaining charter member in the band. "The whole thing was a mistake," he told Edward Kiersh in 1986. "I should have gone solo right then," McGuinn said, referring to the moment when Hillman and Parsons went off to form the Flying Burrito Brothers.
That he's out there touting them is more a testament to White's contributions to the band than it is to his own. White, a Maine-born bluegrass picker who invented his own string-bending device, lasted six years in the Byrds, and he would nearly reinvent the band in his own image. That he has faded from memory is no surprise: He was killed in 1973, struck down by a drunk driver. If nothing else, McGuinn would like history to remember White more fondly; perhaps these reissues, each full of White's lightning, will help.
"Putting these together, it was very heartwarming to hear Clarence White that close when you could isolate him and it was just Clarence playing, you know?" he says, smiling. "It was just like he was alive again, and that was a good thing. My feeling about these reissues is it's a great way to get Clarence White's name more recognized, because he's kind of an unsung hero as guitar players go. You see these lists of top 100 guitar players -- he oughta be in the top 10, man. And he isn't, and I think this stuff will help him out. Not that he physically benefits" -- McGuinn again emits a small, gentle laugh -- "but I see Gram Parsons elevated to a level like Jim Morrison, and I think, 'What about Clarence White?'
"And I look at all of these reissues, and I look at the overview of the whole thing, and I'm happy with the whole texture of what the Byrds did. Any place you enter it will lead to somewhere else, and in a way, it's kinda neat that people can start somewhere a little more advanced down on the line and then go back to the early thing, which was more pop. I mean, it wasn't bubblegum, because of the content of the lyrics, but the approach was very Top 40 when we were trying to get a hit with 'Mr. Tambourine Man.'"
If nothing else, these reissues allow McGuinn the opportunity to close the door on the Byrds; he promises there will be no reunions, no matter how hard Crosby pushes for one. Instead, he spends his time recording for his Folk Den Web site (http://metalab.unc.edu/jimmy/folkden/songs.html), where, each month, McGuinn posts a brand-new recording of a long-forgotten folk song and often includes its detailed history. (This month's tune, "Dink's Song," is accompanied by a story from John Lomax.) McGuinn began the project in November 1995 (first song: "Old Paint") and has amassed such a collection, they're available on three CDs from MP3.com for only eight bucks each. McGuinn likes to think of it as "community service," his way of preserving a crumbling bit of the past. Including, maybe, himself.
"About seven years ago, I started to worry about the longevity of these traditional songs, because of the nature of the music business," he says. "Not much was being played, and it wasn't really rewarding for artists to go into traditional music, so I thought I'd do it for free and keep the songs going. Folk music had its commercial run in the late '50s and early '60s, and then kind of got ground up by the Beatles. There was nothing after the British Invasion.
"I don't know if it's ever going to be as big as it was in the late '50s or the '60s, but I just love this stuff, and I feel very comfortable doing it. I feel at this stage of my life that it's more...it has more artistic integrity to be doing that on stage than to be trying to be a rock star. I just feel more comfortable in that image, so that's where I'm going with my life. I want to model myself after Segovia, who was in his 90s when he was booked into Carnegie Hall -- only he died, and he didn't make it."