|
Promoting acoustic music in the Inland Valley |
|
Articles |
|
THE 60'S ARE ALIVE WELL IN LIVE SHOW WITH BARRY MCGUIRE AND TERRY TALBOT by Terry Roland FOLKWORKS Nov 2007
|
|
"It's time to celebrate life!" These were the words of folksinger and 60's legend, Barry McGuire last Saturday night at The Coffee Gallery in Altadena, California. His new live show with country-rock pioneer, Terry Talbot of Mason Proffit is called Trippin' The 60's. It is a celebration of life in the present that draws from folk-rock era of the '60's. McGuire and Talbot have capably assembled a review in story and song that reminds us of the significance that music has played in our history and how important it continues to be today. They should know. They experienced it first-hand. During this show, they took the audience through a chronological bullet train of a ride through the early to late 60's. Both musicians drew from personal experiences with Bob Dylan, The Byrds, The Mamas & The Papas, John Sebastian, Janis Joplin and John Denver among others. During the concert they told stories and performed the songs that changed the lives of a generation. Included in the show were McGuire's own Green, Green that he recorded while he was in The New Christy Minstrels and his hit, Eve of Destruction. Also included in the show were Talbot's hits with Mason Proffit, Better Find Jesus and Two Hangmen. The other songs performed by the duo were Monday, Monday, Creeque Alley, Suite Judy Blue Eyes, Here Comes The Sun and a host of others. What made this show successful was the choice to celebrate the present rather than reach back for some unattainable nostalgia. There was no need to re-create magic when the magic was already there in the evening with these two skilled, veteran performers. In fact, there was nothing nostalgic about the concert. The songs sounded as though they were written yesterday with a vibrancy and relevance that may even put some of the original artists to shame, who have tended to go through the motions performing their older tunes before a live audience. The performance was so entertaining, fresh, energetic and dynamic, it's hard to believe there were only two people on the stage. The instrumentation was rich with skillful lead guitar work by Terry Talbot along with steady, passionate rhythms by Barry McGuire on his 12-string guitar. He's also a mean foot stomper! The vocal harmonies were tight with a sound that only comes from many years of performing together. Their on-stage rapport was engaging and funny. At times they sang with lightheartedness and at other times with passion like when McGuire sang Eve of Destruction. His performance was intense as he sang with the conviction of an Old Testament prophet while the sweat streamed down his face. The quality of his voice carried the same lion-like growl; rich and deep with the character that made Green, Green and Eve of Destruction such great recordings. Terry Talbot brought a touching warmth to his stories about his encounters with Janis Joplin and John Denver. On lead vocal and harmony, his voice was as smooth as silk and carried a presence that was distinct and soulful. His performance was especially touching on the John Denver song, For Baby(Bobbie). By the show's end, the audience was on their feet smiling and dancing to a medley of Let The Sunshine In and Dancin' In The Street. The evening with Barry McGuire and Terry Talbot demonstrated the universal nature of the songs and stories from this era. They showed how these songs have become a part of our consciousness and perhaps, even touch a part of ourselves that we've lost so many years ago. But, ultimately, the music they presented last Saturday evening served to reawaken those missing pieces of spirit that we may have forgotten was there all along. Music and their messengers have a way of doing that As the evening closed with a standing ovation and encore, Barry McGuire stood on the stage alone, quietly strumming his guitar to a subtle, allegorical finish; a beautiful, intimate narrative that he dedicated to his "best friend." This gem of a song called Cosmic Cowboy gently and poignantly revealed the source of Barry McGuire and Terry Talbot's musical odyssey and celebration. Barry McGuire with Terry Talbot will be performing Trippin' The 60's this Saturday night November 10 at 7:00 PM at The Coffee Gallery Backstage in Altadena. For reservations call (626) 398-7917. To learn more about Barry McGuire and for future booking information contact www.barrymcguire.com. Terry Roland is an English teacher free-lance writer, occasional poet, songwriter and folk & country enthusiast. The music is in his blood since he was raised in Texas, but came to California where he was taught to say, 'dude' at an early age. |
|
John York is not a typical veteran of the 60s LA music scene. Number one, he's still alive. This may put him in a very small percentage of the veterans from those days. Number two, he's not holding on to the musical style and songs of the past. Rather, York has remained passionate about his musical growth and pilgrimage in world music, Native American styles and a diversity of international instruments. Along with the twelve and six-string guitars, fretted and fretless bass, the instruments he has studied include pipa (the Chinese lute), gu zheng (the Chinese table harp), violin, Native American flute, Chinese jade screen flute, dong xiao (Chinese bamboo flute), oud (Arabic lute), Mexican five-string guitar, and Irish harp. His musical path has taken him through Arabic, Native American, Chinese and Japanese influences. Probably most important of all these accomplishments is the spirituality energizing his music with a fresh and original integration of eastern and western influences. How did he find his way to such musical riches? His path began when York, a native New Yorker, listened to his mother and grandmother play organ and direct choir in the Lutheran church. This began a mentorship into the music of J.S. Bach. By the age of six he could sing the alto parts for the choir. York’s love for music then developed into a passion for vocal groups like Dion and The Belmonts and rock & roll guitar stylists like Duane Eddy. In his early teens, he began playing in local bands. He also wanted to be a Shakespearean actor. This led him to a choice between attending London's Royal Academy of Dramatic Arts or go into LA’s burgeoning rock scene. The year was 1965. He chose LA. York's musical associations on the West Coast reads like a Who's Who of 60s rock history. He was a member of The Sir Douglas Quintet, toured as bass player for The Mamas and the Papas and Johnny Rivers, and did studio work with Steppenwolf, Dorsy Burnette and Malvina Reynolds. While playing for Gene Clark at the Whisky A Go Go, he was asked to replace Chris Hillman in The Byrds in the summer of 1968. A new incarnation of the legendary band was evolving which included Roger McGuinn, Clarence White, and Gene Parsons with whom he recorded Dr. Byrds and Mr. Hyde and The Ballad of Easy Rider. The latter album included the title hit song and a second hit, I Wasn't Born To Follow,” was used in Peter Fonda's movie Easy Rider and appeared on the soundtrack album. During his fourteen months with the band he played over 300 gigs. In 1969, York left The Byrds and continued on a less famous, but infinitely richer journey adding to his musical abilities through the study of international instruments. Pete Frame's The Complete Rock Family Tree states that York “disappeared into thin air.” If disappearing means leaving the sometimes fruitless and frustrating world of rock fame to go on a journey of musical and spiritual growth then, indeed, York disappeared and for all the right reasons. Not many in rock history have had the integrity to walk away from the rock limelight in order to pursue maturity as a musician. Indeed, York has said leaving The Byrds was a matter of integrity. One would suspect his leaving was both about his values and nurturing his growing talent. Since that time, York has pursued studies in Middle Eastern music absorbing himself in the Arabic oud for two years. True to the uniqueness of his journey he became an apprentice for Odell Organ Company where he learned how to build pipe organs. And he even found time to remain true to his roots by appearing in various tribute tours with The Byrds which involved working with Gene Clark, Roger McGuin, Rick Danko and Richard Manuel of The Band.During the 90s, York grew weary of the road. He left in order to compose music and th pend more time with his family. He moved to Claremont, CA, where his ability with a variety of instruments put him in demand as a session musician for other artists. He has also released collaborative independent CDs like Sacred Path, Native American music which accompanies the bestselling book, Sacred Path Cards by Jamie Sands. Over the last ten years, York appeared at The Claremont Folk Festival with Patrick Brayer and Ben Harper. He also found distinctive ways to use his talents by playing in bands with unique blends of styles like Californios, a Middle Eastern Flamenco Blues group, with his friend Chris Darrow of Kaleidoscope and Nitty Gritty Dirt Band fame. In 2000, York released his first solo CD, Claremont Dragon. This was the first time he could focus on his own compositions and musical vision. This classic CD uses international/world music instrumentation as well as an original electric 12-string guitar style from his early Byrds days. He has continued to explore world music expressions as well as his roots in folk, country and rock styles. Most recently, York has been developing a performance art exhibit combining visual art and music with artist Sumi who has created her visual art form from a unique medium of old kimonos and other abandoned fabrics. Sumi Foley, York's wife, has a strong artistic vision calling to mind her own traditions from Japan and modern expressionistic-abstract art from the west. York has recently released a CD of roots music entitled, Arigatou Baby, after a recent tour in Japan. This CD concentrates on his beginnings in country rock and less on his love for world music. He has also been collaborating with LA rock legend, Kim Fowely, on songwriting and recording with a project of stories and song through Internet downloads called West Coast Revelations. Today, John York is a living treasury of story, song and instruments collected throughout his life. When talking with him, it’s hard not to miss the musical odyssey that shines through his eyes.He is an authentic example of how one musician can carry a legacy of spirit, truth, compassion and wisdom that continues to grow through his musical expressions. Not only has he survived the perilous rock & roll days of the 60s, he has thrived and transcended them. For more information on John York and Sumi Foley please go to: http://myspace.com/johnyorkwestcoastrevelation For more information call 909-596-1266. Terry Roland is an English teacher, freelance writer, occasional poet, songwriter and folk and country enthusiast. The music has been in his blood since being raised in Texas. He came to California where he was taught to say 'dude' at an early age. |
|
THIS BYRD HAS FLOWN: JOHN YORK TRANSCENDS HIS MUSICAL PAST WITH INNOVATIVE ROOTS AND INTERNATIONAL MUSIC By Terry Roland |
|
THE 60'S ARE ALIVE WELL IN LIVE SHOW WITH BARRY MCGUIRE AND TERRY TALBOT By Terry Roland |
