![]() I took it to the Village and played it for the people in the coffee houses. So that attracted my attention and gave me the idea of doing some kind of folk music with rock-and-roll and combining the two. They had all these passing chords, instead of just going with three chords and an attitude like rock-and-roll normally was. They had been a skiffle group called The Quarrymen, and skiffle is kind of a folkmusic style. They were using folk-music chords in their rockand-roll. ![]() He said, “Rock-and-roll, rockand-roll.” This is when I was still into folk music, so he was an inspiration to get into folk and rock. I used to follow him around and ask him questions about the music business and how to make it. I enjoyed working with him and he was kind of a mentor to me. ![]() He played piano, guitar and drums and he could tap dance like Sammy Davis Jr. He could do rock-androll and folk music and the Frank Sinatra kind of stuff. I also hung out in the Village, and I worked for Bobby Darin’s publishing company in the Brill Building, where I wrote some songs. I became a studio musician and played with Paul Simon on the “Sound of Silence” demo, for instance. Then, I toured with some bands before I ended up in New York after a couple of years. I was raised in Chicago and went to the Old Town School of Folk Music. What led you out to Los Angeles where you formed The Byrds? You grew up in Chicago, then moved to Manhattan and established yourself in folk circles. As McGuinn reveals, “When we first came out, they labeled us as folk-rock but we said, ‘We don’t want to get stuck in a label.’ So we experimented with country, jazz, electronic music and whatever else. However, the band’s aspirations were always much deeper. Tambourine Man” and continued to connect with their vocal harmonies and McGuinn’s innovative expressions on his 12-string Rickenbacker guitar. The future Rock and Rock Hall of Famers first gained notoriety for their 1965 cover of Bob Dylan’s “Mr. The Byrds: 1964-1967 also incorporates new interviews with surviving members McGuinn, Crosby and Hillman, whose signatures appear in a Super Deluxe Limited Edition. This work presents over 500 images, many of them previously unreleased, that track the development of the band’s original lineup: McGuinn, David Crosby, Chris Hillman, Gene Clark and Michael Clarke. “It felt like we were experiencing an artistic renaissance,” Roger McGuinn says of the period explored in the new art book, The Byrds: 1964-1967. (photo credit: Jim Dickson Archive/Henry Diltz Photography)
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