Climbed to #33 on the Billboard Charts in 1979. This song is from their 1979 album release McGuinn, Clark, & Hillman. McGuinn, Clark & Hillman (later McGuinn-Hillman) came about in 1977, when three former members of the original Byrds -- Roger McGuinn, Gene Clark, and Chris Hillman -- decided to try and update their sound in a new context. The impetus for the reunion took shape in stages over the course of that year. McGuinn and Hillman had played together longer than any of the other original members, with six albums (and innumerable concerts) across four years during the 1960s, and as late as 1967 theyd tried without success to reintegrate Gene Clark -- the best songwriter among them and a superb singer, but also the first to leave -- back into the band. Then, in early 1977, with each fronting his own band, they planned a joint tour of Europe promoting their own respective new releases. The Byrds were still idolized across Europe, even more so than in the United States, and ticket sales were brisk and press coverage enthusiastic. The actual tour didnt go off exactly as planned, owing to Clarks ever-present personal (and psychological) demons on one end and Hillmans business disputes with the promoter on the other. But the experience of singing together on-stage for the first time in more than ten years, as they did at two successive shows at Londons Hammersmith Odeon, was so satisfying to all three that McGuinn and Clark ended up touring the United States together as a duo; they were joined at some performances by Hillman (and even fellow original Byrd David Crosby occasionally showed up at their performances, most notably at the Boarding House in San Francisco, the latter becoming an unofficial Byrds reunion, captured in a radio broadcast and later released as the bootleg Doin All Right for Old People). Those mostly West Coast reunion shows happened to be witnessed by representatives of various record labels, including Rupert Perry, then the president of Capitol Records. The latter company signed McGuinn and Clark up as a duo in late 1977, with Hillman -- newly released from his contract with Asylum Records -- coming aboard soon after. On its face, the idea seemed brilliant, getting three of the original groups four principal singer/songwriters together. But there were also serious flaws in the plan from the start -- in announcing the existence of the trio to the world, McGuinn and company stated that they were not planning to rehash the Byrds sound, but to make records that were contemporary and forward-looking -- this reunion was about the here-and-now and the future, not the past. But putting those three musicians together inevitably raised expectations among the most likely record-buyers and concertgoers, of something akin to a Byrds reprise. As though to dash those hopes and establish themselves as a new performing unit, the resulting debut album, McGuinn, Clark & Hillman, made heavy use of additional singers and musicians, and McGuinns trademark 12-string Rickenbacker guitar was nowhere in evidence. The music was pleasant, reminiscent at times of the Eagles and Firefall (the latter, ironically, the home of ex-Byrds drummer Michael Clarke), but also a bit stiff. ( answers)https://youtube/watch?v=Mys_CetRapo
Posted on: Mon, 04 Aug 2014 20:46:03 +0000
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