I’m sure that it was a conscious decision at the time not to use the 12-string. I’m speculating, but I think it would have made the album more…accessible to their fans at the time…Ī: Yeah, I see what you’re saying. It’s great having these on this set, but-and this is kind of a ‘what if’ situation- but it would have at least been interesting had the band elected to place a couple of these cuts with the electric 12-string on the original album. Q: Well, a couple of the songs that you just mentioned, “Reputation,” “Pretty Polly” and “Lazy Day” are the only songs from the sessions that McGuinn used his 12-string Rickenbacker on.
“Lazy Day” was completely in Nashville, as well as “I Am A Pilgrim,” “Pretty Boy Floyd,” “Reputation,” “Nothing Was Delivered” and “Pretty Polly,” You can hear the raw, earlier version on disc two of the new set. “Hickory Wind” was a Nashville recording that they cut and then dragged the master tapes back to Hollywood and went crazy adding layers and layers of vocals on.
The sessions started with “You Ain’t Goin’ Nowhere,” that was the first one and that was a total Nashville recording. Almost everything, with the exception of “Blue Canadian Rockies,” “One Hundred Years From Now,” and the Parsons vocal demos of “You Don’t Miss Your Water,” “You’re Still On My Mind” -those were all done in Hollywood. Nashville?Ī: They started in Nashville, and it’s a bit peculiar because basically what happened was that nearly all of the original sessions were done in Nashville. Q: From your tape research, can you tell how much of the album was cut in L.A. The Byrds: Sweetheart Of The Rodeo (2003 reissue) You know, you get to know an artist intimately through working on their music, and then when you factor in the human side of things…it sucks. You know, it’s kind of a ‘double whammy,’ because I worked on his music, but also communicated with him directly. On those, we went right back to the original multi-tracks and put the shows in their complete, original sequence. You did work on several projects with him, right?Ī: Yes, Ring Of Fire, Blood, Sweat & Tears, the upgraded version of the Johnny Cash box set, and also the really cool, expanded editions of San Quentin and Folsom Prison. Q: Johnny Cash’s passing…I hope he’s remembered as a man whose contribution to American music may be as important as Bob Dylan’s.
We were both saddened by the death of this American musical icon, and at the outset of the conversation, Bob commented on some of the work he’d personally done with Johnny… I spoke with Bob recently-the day after Johnny Cash’s passing- about two just completed projects: the two-disc Sweetheart Of The Rodeo set and the BMG/Heritage reissues of the first four Jefferson Airplane albums.
THE BYRDS NOTHING WAS DELIVERED SERIES
Sundazed, one of the most caring reissue labels, has also been a leading player in the amazing vinyl resurgence, reissuing superb-sounding, bargain-priced 180-gram vinyl LPs, including Van Dyke Parks’ Song Cycle, The Byrds Sanctuary series and The International Submarine Band’s Safe At Home. Producing and overseeing well-received reissues by Johnny Cash, The Byrds, Simon & Garfunkel and many others for Sony, and issuing The Beau Brummels’ Autumn Years box set, Sit Down, It’s The Mojo Men, Skip Spence’s Oar The Byrds’ Preflyte Sessions and many others for Sundazed has given Bob an impressive resume and unrivaled credibility with both within the industry and among music fans around the world. When I first interviewed humble reissue genius Bob Irwin back in 1997, he told me that working as a freelance producer for Sony/Columbia/Legacy and other major labels, and having his own label, the much-respected Coxsackie, New York based Sundazed Records, has given him “the best of both worlds.” The Musicangle Interview: Sundazed’s Bob Irwin
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