Later, this led me to emulate John Coltrane's saxophone on " Eight Miles High". With compression, I found I could hold a note for three or four seconds, and sound more like a wind instrument. It's really squashed down, but it jumps out from the radio. That's how I got my 'jingle-jangle' tone. He compressed the heck out of my 12-string, and it sounded so great we decided to use two tube compressors (likely Teletronix LA-2As) in series, and then go directly into the board. The engineer, Ray Gerhardt, would run compressors on everything to protect his precious equipment from loud rock and roll. But if you add a compressor, you get that long sustain. "The 'Ric' by itself is kind of thuddy," he notes. Tambourine Man", at Columbia studios, McGuinn discovered an important component of his style. While "tracking" the Byrds' first single, " Mr. McGuinn with the Byrds at a concert held at Washington University in St. The second style was a merging of saxophonist John Coltrane's free-jazz atonalities, which hinted at the droning of the sitar – a style of playing, first heard on the Byrds' 1966 single " Eight Miles High", which was influential in psychedelic rock. The first was " jingle-jangle" – generating ringing arpeggios based on banjo finger picking styles he learned while at the Old Town School of Folk – which was influential in the folk rock genre. The Byrds ĭuring his time with the Byrds, McGuinn developed two innovative and very influential styles of electric guitar playing. Together they formed the beginning of what was to become the Byrds. He gave rock style treatments to traditional folk tunes and thereby caught the attention of another folkie Beatle fan, Gene Clark, who joined forces with McGuinn in July 1964. īy the time Doug Weston gave McGuinn a job at the Troubadour nightclub in Los Angeles, he had begun to include Beatles' songs in his act. When he saw George Harrison play a 12-string Rickenbacker in the film A Hard Days Night, it inspired McGuinn to buy the same instrument. At the same time, he was hearing about the Beatles (whose first American appearances would come in February 1964) and wondering how Beatlemania might affect folk music. Music in New York City's Brill Building, hiring McGuinn as a songwriter for $35 a week.ĭuring 1963, just one year before he co-founded the Byrds, McGuinn worked as a studio musician in New York, recording with Judy Collins and Simon & Garfunkel. About a year and a half after McGuinn began to play guitar and sing with Darin, Darin became ill and retired from singing. In 1962, after he ended his association with the Chad Mitchell Trio, McGuinn was hired by Darin to be a backup guitarist and harmony singer at that approximate time, Darin wanted to add some folk roots to his repertoire because it was a burgeoning musical field. Soon after, he relocated to the West Coast, eventually Los Angeles, where he eventually met the future members of the Byrds. He also played guitar and sang backup harmonies for Bobby Darin. After graduation, McGuinn performed solo at various coffeehouses on the folk music circuit where he was hired as a sideman by the Limeliters, the Chad Mitchell Trio, and Judy Collins and other folk music artists in the same vein.
In 1957, he enrolled as a student at Chicago's Old Town School of Folk Music, where he learned the five-string banjo and 12-string guitar. Around the same time, he was also influenced by country artists and/or groups such as Johnny Cash, Carl Perkins, Gene Vincent, and the Everly Brothers. (During the early 1980s, he paid tribute to the song that encouraged him to play guitar by including "Heartbreak Hotel" in his autobiographical show). He became interested in music after hearing Elvis Presley's " Heartbreak Hotel", and asked his parents to buy a guitar for him. His parents worked in journalism and public relations, and during his childhood, they had written a bestseller titled Parents Can't Win. McGuinn was born and raised in Chicago, Illinois, United States, son of James Joseph McGuinn Jr (b.
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