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Customer Reviews of Roger Mcguinn

The Byrds Reunion that should have been
Released and recorded around the same time as the original Byrds reunion album, this is a far better record. Had McGuinn chosen to be less democratic on the latter release, it might have sounded like this. Some of the compositions here are very good, capturing the best of McGuinn's experimental inclinations. "New Woman" echoes the jazziness of "Get to you", and "Time Cube" recalls "Space Oddysey", both of the latter and superior cuts from the NOTORIOUS BYRD BROS. "I'm so restless" and "New Woman" both demonstrate that Roger had heard a lot of John Lennon's autobiographical compositions - the first a very interesting critique of the Stones, The Beatles and Dylan; the second song is about his then current love who turned out to be a rather unworthy subject. "Bag Full of Money" ranks right up there with any of Roger's folk/country/rock compositions, possibly the best song on the album. "Stone", "The Water is wide" are both terrific cover treatments although David Crosby's harmony is too loud and doesn't blend but nags at you like "HI GUYS! I'M SINGING HARMONY!" "Drivin Wheel" doesn't compare to the Clarence Byrds version and McGuinn's vocal on "Jamaica" only makes one realize what an underrated vocalist White was. As for Roger's superstar inclinations of that period, "Heave Away" would have been an excellent title for the Byrds reunion album.

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McGuinn soars on self titled solo album with Byrds reunion
Flying solo after the disasterous Byrds reunion album for Asylum Records, Roger McGuinn made one of his best solo albums. At first McGuinn was working with producer Terry Melcher but, after some honest criticism by David Crosby ("Too plastic" was his assessment), McGuinn opted to produce the effort himself and the more "organic sound" (again Crosby via McGuinn)compliments the material. One of the best Byrds solo records along with Gene Clark's "White Light" (aka "Gene Clark"), "Roger McGuinn" focuses on what McGuinn does best; create interesting, layered melodies that are highlighted by his sharp guitar playing and nuanced vocals.

The opening track (featuring Bob Dylan on harmonica)nods to McGuinn's folk roots while the second track is a Byrds reunion in all but name; every member of the original line up plays or sings on the song. It's one of McGuinn's most perfect melodies and the harmony vocals by David Crosby and Gene Clark (which recall, of all things, Brasil 66)along with the jazz inflectecd tenor sax of Charles Lloyd bring the song to life. Another winning composition "Draggin'" nods in the direction of The Beach Boys with its layered harmony vocals and California sun melody. "Lost My Drivin' Wheel" rocks along at a good pace. "Time Cube" is a throw back to 1967 Byrds with its science fiction theme and the contrasting instruments of moog sythesizer and banjo all with a thematic tip of the hat to Arthur C. Clarke. "Bag Full of Money" imagines a past for the enigmatic D. B. Cooper (for those unfamiliar with him, he robbed a plane in mid-flight and then parachuted away never to be heard of or seen again). "Hanoi Hannah" supposedly has nothing to do with Jane Fonda (Jane paid a visit to McGuinn trying to rally him to her cause and visit North Vietnam)but one can imagine McGuinn thinking of her as he penned the song with frequent collaborator Levy. The album closes on a trio of strong songs "Heave Away" (a remake of an Irish sea shanty featuring "Spanky" McFarlane on vocals; "M'Linda" and "The Water is Wide" feature the legendary percussionist Hal Blaine and the latter has Bruce Johnson (of The Beach Boys)and David Crosby on harmony vocals.

The two bonus tracks are nice additions to the album. "John, John" is spare featuring only McGuinn on vocals and guitar while the outtake remake of Jackson Browne's "Jamaica, Say You Will" pulls out all the stops with a full band (again featuring Blaine).

The booklet has a nice summary that discusses what prompted the album and commentary by McGuinn himself. The remastered sound is very good although the album sounds a bit "flat" (probably due to the year it was released 1973--it could have benefited from a remix but, then, that would be disturbing history). Thank God that Sundazed reissued this original Columbia Release. Now if we could only get The Byrds reunion album reissued by Rhino (write them! I did), I'd be a happy fan.

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One of McGuinn's best efforts
Having survived David Crosby's manipulation of the Byrds reunion, McGuinn wisely decided to retire the franchise and set about sticking to his guns. This self-produced project is a true gem. While duly credited for all that the Byrds accomplished, it was with this unassuming, unpretentious, finely honed and simply crafted release that Roger McGuinn set the record staright as to what he stood for. His subsequent releases were quite good as well, especially JOLLY ROGER, but this one is really a sublime success in every respect.
Stripped of all overproduction tendencies, it virtually pre-dated the punk reaction to the bloated business of rock. It is simple, organic, direct and honest. The opening "I'm so Restless" is as to the point today as it was 30 years ago. The rest of the package is certainly a mix of good natured satire of prevalent rock styles that endure through the present, a few commentaries on the social idiosyncrasies of the day ( "Hanoi Hannah" - particularly amusing when you consider what a money grubbing snob Fonda turned into- and "Bag Full of Money" - a D B Cooper tribute), and some positively extraordinary harmonizing with David Crosby. Crosby never sounded this good and spot on with Nash. You are left wondering what might have been had egos been checked at the door.
Throughout, McGuinn's exquisite guitar playing rings so absolutely true that it is as much today as it was then a refreshing sound altogether. Drummer John Guerin (at the time sharing duties with the L A Express, and more so with Joni Mitchell) lays down a spartan time signature. Spooner Oldham graces several of the tunes with his remarkable skills. But in reality, it is the wonderfully natural and uncomplicated singing of McGuinn and Crsoby that totally sets this apart.
The two supplemental tracks are nice but unnecessary. Although it is a short album, it was in fact complete as is. The reason for its brevity in 73 was to maintain the sonic quality on vinyl. Going back to that after this CD. I feel that vinyl warmth was truly exceptional, and has remained so. Is the CD better? Not really. Just more permanent, and this is a record that should never be lost.
McGuinn toured with this band for quite a while. I remember seeing them in a movie theatre in Devon, PA, with about 60 other people. He was brilliant and the band was fantastic and energetic. I hope there are some tapes of those tours that McGuinn would consider revisting, remastering and releasing. He was a Wilbury before the concept was hatched elsewhere. Pity he had not been called in when Orbison passed. In any case, purchase this. It is wonderful!