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BARRY McGUIRE – PERCHE'? PERCHE' SI! rca victor SIV 11 LP 33 giri rpm 1967 IT

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PREMESSA: LA SUPERIORITA’ DELLA MUSICA SU VINILE E’ ANCOR OGGI SANCITA, NOTORIA ED EVIDENTE. NON TANTO DA UN PUNTO DI VISTA DI RESA, QUALITA’ E PULIZIA DEL SUONO, TANTOMENO DA QUELLO DEL RIMPIANTO RETROSPETTIVO E NOSTALGICO , MA SOPRATTUTTO DA QUELLO PIU’ PALPABILE ED INOPPUGNABILE DELL’ ESSENZA, DELL’ ANIMA E DELLA SUBLIMAZIONE CREATIVA. IL DISCO IN VINILE HA PULSAZIONE ARTISTICA, PASSIONE ARMONICA E SPLENDORE GRAFICO , E’ PIACEVOLE DA OSSERVARE E DA TENERE IN MANO, RISPLENDE, PROFUMA E VIBRA DI VITA, DI EMOZIONE E  DI SENSIBILITA’. E’ TUTTO QUELLO CHE NON E’ E NON POTRA’ MAI ESSERE IL CD, CHE AL CONTRARIO E’ SOLO UN OGGETTO MERAMENTE COMMERCIALE, POVERO, ARIDO, CINICO, STERILE ED ORWELLIANO,  UNA DEGENERAZIONE INDUSTRIALE SCHIZOFRENICA E NECROFILA, LA DESOLANTE SOLUZIONE FINALE DELL’ AVIDITA’ DEL MERCATO E DELL’ ARROGANZA DEI DISCOGRAFICI .

BARRY McGUIRE
BRMcGR perché ? perchè si !

Disco LP 33 giri , 1967, rca victor, SIV 11 , italia

ECCELLENTI CONDIZIONI, vinyl ex++/NM , cover ex++

Barry
McGuire
, cantante americano di un certo successo alla fine degli anni ’60 e
protagonista di una storia curiosa, membro da ragazzo e da giovanotto di un
gruppo vocale conuntry-folk-gospel di tendenze più che edificanti, i “New
Christy Minstrels
“, divenuti famosi anche in Italia
semplicemente come “Minstrels”, avendo partecipato ad un paio di
festival di San Remo in coppia con Wilma Goich, Bobby Solo e altri (nel 1965
vinsero anche la competizione canora, assieme appunto a Bobby Solo). Barry nei
Minstrels era uno dei front-man, uno dei belli del gruppo, quello dalla voce
profonda e soprattutto il co-autore con il fondatore Sparks, nonché cantante
solista, del loro primo grande successo “Green,
Green
“, numero 3 nella classifica USA nei primi anni ’60.

Poi crescendo (e cambiando il mondo attorno, si
preparava il ’68) la ribellione: il biondo ragazzo per bene si fece crescere i
capelli, indossò stivali e pantaloni attillati, giacconi di pelle e cominciò a
cantare le canzoni di Bob Dylan, e canzoni di “protesta” come
Eve Of Destruction

o ” Ain’t No Way I’m Gonna Change My
Mind”, tutte composizioni di un autore allora di spicco nel panorama
folk-rock, P.F. Sloan,
con un vocione arrabbiato, arrivando anche ad un grande successo internazionale
anche con You Were In My Mind, tradotta e portata al successo in Italia
dall’Equipe 84 con il titolo Io ho
in mente te
. Ebbe anche lui un certo successo in Italia dove venne pubblicata
una specie di antologia con molti brani dal suo album di maggiore successo,
Eve
of Destruction
, (ma senza questo brano), dal curioso titolo
BRMCGR. Perché? Perché Sì!
.

Dopo questa stagione felice ha continuato una carriera più appartata di
cantante folk e al momento è molto impegnato nella assistenza alla infanzia nel
terzo mondo.

Barry Eugene McGuire (Oklahoma City15 ottobre 1935) è un cantante e cantautore statunitense.

Dopo aver pubblicato un singolo nel 1961 The Tree, Barry McGuire forma un duo con Barry Kane, che diventeranno i New Christy Minstrels nel 1962. Barry McGuirre con i New Christy Minstrels si esibì al festival di San
Remo in coppia con Bobby Solo nel ’65 cantando Se piangi se ridi che
vinse l’edizione dell’anno.Tuttavia nello stesso anno dopo aver registrato l’album Chim Chim Cher-ee, McGuire lascia il gruppo e prosegue la propria carriera come solista.

Come solista di rockfolk degli anni sessanta, McGuire diventa popolare principalmente per i brani Eve of Destruction e Sins of the Family, entrambi scritti da P.F. Sloan. Altri suoi successi sono stati Child of Our Times, scritto insieme a Steve Barri e Cloudy Afternoon (Raindrops), composto da Travis Edmonson. Eve of Destruction il 25 settembre 1965 arrivò alla prima posizione della Billboard Hot 100, la prima e l’unica volta che McGuire entrò nella top 40 pop statunitense.

McGuire è apparso nei film del 1967 The President’s Analyst con James Coburn, Old Wrangle, ed in Werewolves on Wheels nel 1971. McGuire ha anche preso parte per un anno al musical di Broadway Hair (musical).

Dagli anni settanta ha abbracciato la religione cristiana, aderendo al movimento musicale del christian rock e pubblicando alcuni album per la Myrrh Records, che lascerà nel 1976. Gli album successivi della carriera di McGuire saranno pubblicati dalla Sparrow Records, anche se nel 1980 deciderà di ritirarsi dall’industria discografica e ritirarsi a vita privata in Nuova Zelanda.

Negli anni novanta Barry McGuire tornerà negli Stati Uniti, e si unirà con Terry Talbot per registrare con il nome collettivo Talbot McGuire. Il duo ha rilasciato quattro album dal 1996 al 2000. Nel 2008 McGuire girerà l’America in tour, insieme al collega John York.

  • Interprete: Barry Mc Guire
  • Etichetta:  Rca Victor
  • Catalogo: SIV 11
  • Data di pubblicazione: 1967
  • Matrici: SKAP 13460 1 S – 1 A / SKAP 13460 1 S – 2 A
  • Supporto:vinile 33 giri
  • Tipo audio: mono
  • Dimensioni: 30 cm.
  • Facciate: 2
  • Laminated front cover / copertina frontale laminata,  black label , original company inner sleeve

Track listing

Side one

  1. Baby Blue” (Dylan)
  2. The Sins of a Family” (Sloan)
  3. “There’s Nothing Else on My Mind” (Pistilli-Cashman)
  4. Just Like Tom Thumb’s Blues” (Dylan)
  5. “Don’t You Wonder Where It’s at” (Sloan-McGuire)
  6. “Ain’t No Way I’m Gonna Change My Mind” (Sloan-Barri)

Side two

  1. “Walking My Cat Named Doc” (Tenega)
  2. “She Belongs to Me” (Dylan)
  3. “You Never Had It So Good” (Sloan-Barri)
  4. Sloop John B.” (Sloan-Barri-McGuire-Howe)
  5. What Exactly’s The Matter With Me” (Sloan)
  6. “Why Not Stop & Dig It While You Can” (McGuire)

Eve of Destruction

     After
Barry left the Christys, work was hard to find. He spent the Winter and
part of Spring, 1965 contacting producers, to no avail. But in April,
Barry went to Ciro’s in L. A. to see his old friends Roger McGuinn and
Gene Clark, whose band, the Byrds, was celebrating the release of their
single, “Mr. Tambourine Man.”
Bob Dylan was there, and so was
producer Lou Adler. During the show, Barry saw a guy on the dance floor
just bopping up and down while looking up at the ceiling. So he decided
to try it out himself, and was bouncing around on the dance floor. Lou
Adler spotted him and said, “Aren’t you McGuire?”
“Yeah.”
“Well, are you doing any singing?”
“Well, not recently.”
“Would you like to?”
“Well, yeah.”
Then Lou said, “Come over to my office next week. I’ve got some tunes I
think you might like.”

     Lou Adler was a man who knew the music business inside and out. He
had written songs for people like Sam Cooke, had been one of Jan and
Dean’s managers, had worked in music publishing and for various record
companies. By 1965, Adler, along with Jay Lasker and Bobby Roberts, had
started a publishing company called Trousdale
and a production company called Dunhill. P. F. (Phil) Sloan and Steve
Barri, who had written some surf songs that became hits and had a band
called the Fantastic Baggys, worked for Adler as songwriters and
musicians. Lou introduced Barry to Phil Sloan, who was now writing
songs that contained serious social messages born from an overwhelming
sense of frustration, disgust, and outrage at the system and the way
things were going in the world. Barry was ready to start singing songs
that reflected these ideas and feelings. “When I left the Christys,”
Barry says, “ I left looking for answers. I was in a kind of a
spiritual, philosophical search at that time. We were going through the
whole social question, turmoil of the day within ourselves. Why not do
this? Why shouldn’t we do that? How come we have to do this? Who says
we gotta do that? And then we started to get down to, well, what is the
basic ultimate truth, and what is life? What is the universe? Where did
it come from? Where is it going? What’s on the other side of death?
What was on the backside of birth? ‘Eve Of Destruction’ was just a
continuation down that road. At least I felt I could compile all the
problems, and I thought that’s what Phil did in the song. All the
problems, but no answers.” Unlike the cheery tunes of the Christys,
“Eve of Destruction” was a grave, prophetic warning of imminent
apocalypse. It was a song that expressed the frustrations and fears of
young people in the age of the Cold War, Vietnam, and the arms race.

     Barry signed with Dunhill in May, 1965, and started recording with
Phil Sloan (guitar, harmonica and co-production with Adler), Larry
Knetchel (bass), Tommy Tedesco (guitar). Barry played guitar and
percussion. Sometime between July 12th and the 15th, they recorded “Eve
of Destruction.” Barry recalls that the song was recorded in one take.
There were only thirty minutes left in the recording session. Barry
remembers, “I got my lyrics that I’d had in my pocket for about a week.
I smoothed all the wrinkles out of them, and we wrote the chords down
on a piece of brown paper that somebody got some chicken in or
something, and we folded little creases and hung them on the music
stands and went through it twice. They were playing and I’m reading the
words off this wrinkly paper. I’m singing, ‘Well, my blood’s so mad
feels like coagulatin’, that part that goes, ‘Ahhhhhh, you can’t twist
the truth,’ and the reason I’m singing ‘Ahhhhhh’ is because I lost my
place on the page. People said, ‘Man, you really sounded frustrated
when you were singing.’ Well, I was. I couldn’t see the words. I wanted
to re-record the vocal track, and Lou said, ‘We’re out of time. We’ll
come back next week and do the vocal track.’ Well, by the next weekend,
the tune was released. The following Monday, it was being played on the
#1 rock music station in Los Angeles, and it was incredible what
happened. It all just exploded.”

     It turns out that a photographer and record promoter by the name
of Ernie Farrell visited Lou Adler’s office on July 16th to see if Lou
had any records to promote, and he picked up a couple of 45s off of
Adler’s desk without Lou’s knowledge. That afternoon, Farrell was
scheduled to take photos at a birthday party at the home of the program
director at KFWB. Farrell was taking pictures, went to get some
flashbulbs out of the trunk of his car, and he saw the 45s there. He
played the 45s for the kids at the party, and they really didn’t
respond to any of them until Farrell played “Eve of Destruction.” They
demanded that he play it repeatedly. The kids took it into their father
and asked him to listen to it. He phoned KFWB and said, “I’ve got next
week’s pick to hit.” The folks at Dunhill rushed the one take of “Eve”
back into the studio to get it ready for immediate release, but Barry
wasn’t around that weekend, so they mixed it, pressed it and shipped it
out by that following Monday, July 19th (although the official release
date is July 21st). So Barry never got a chance to re-record the vocals.

     In the first week of its release, “Eve” was at #30 in the Cash Box
charts, and #103 in the Billboard charts. By August 12th, Dunhill
released the LP, Barry McGuire Featuring Eve of Destruction. The LP
reached it’s high of #37 on Billboard the week ending September 25th,
the same day that the single “Eve of Destruction” soared to #1 in both
the Cash Box and Billboard charts. One would think that any musician
whose single had such quick and huge success would be propelled into
ever-increasing stardom and opportunities in the music industry. But
“Eve of Destruction” actually had the opposite effect, because its
success came in sales before success in airplay. It was a song that
captured the ear of the public before it caught the attention of most
radio stations. A lot of radio station managers, DJs, and playlist
controllers were upset that “Eve” made it big without going through
them. Barry says, “I don’t know if it’s true or not, but I heard that
the word was that no matter what I came out with next, nobody was gonna
play it because I was a loose cannon in the music business. They didn’t
have control of the last one, and they weren’t gonna let the next one
get away from them.”

     Then
there was the reaction of the media. Phil Sloan remembers, “The media
frenzy over the song tore me up and seemed to tear the country apart. I
was an enemy of the people to some and a hero to others, but I was
still only 20 years old and nobody really was looking. I have felt it
was a love song and written as a prayer because, to cure an ill you
need to know what is sick. In my youthful zeal I hadn’t realized that
this would be taken as an attack on The System!

     The media headlined the song as everything that is wrong with the
youth culture. First, show the song is just a hack song to make money
and therefore no reason to deal with its questions. Prove the 19-year
old writer is a communist dupe. The media claimed that the song would
frighten little children. The United States felt under threat. So any
positive press on me or Barry was considered un-patriotic. A great deal
of madness, as I remember it! I told the press it was a love song. A
love song to and for humanity, that’s all. It ruined Barry’s career as
an artist and in a year I would be driven out of the music business
too.”

     On top of all this, there was flack from both conservatives and
liberals. On the right wing, a group called The Spokesmen released an
“answer” record called “The Dawn of Correction,” and a few months
later, Barry Sadler released “Ballad of the Green Berets.” On the left,
musicians who had been writing and singing protest songs for years were
not happy that a kid who wrote surf songs and a former member of the
Christys had found success with a protest song of their own. Phil Ochs,
for example, said that the quality of “Eve of Destruction” was
terrible, and called its philosophy “juvenile.” He cautioned that
protest songs by their very nature could never maintain a popular
status, adding, “The Top Forty revenge is one of the fastest revenges
in the country. When people get turned off, that’s it: instant death. I
think the protest thing will die out pretty fast.”

     There were some exceptions to the ill treatment “Eve” received.
For example, on September 20th, 1965, Barry sang “Eve of Destruction”
on NBC’s Hullabaloo. But Barry looks back now and thanks God that the
reaction to “Eve of Destruction” kept him from further fame and
fortune. He believes it would have killed him. “It’s just as well I
didn’t get another hit tune,” he says. “I would have gone the way of
Jim Morrison, Hendrix, or Joplin. I say ‘Thank God,’ and I do thank God
for that, too, because I wouldn’t have survived. I think God did ‘Eve
of Destruction.’ It was supernatural. I was just dumbing my way through
the day, and it all happened. I came up with some great tunes after
‘Eve of Destruction,’ and none of them happened, and I couldn’t figure
out what was going on. But I’m sure glad nothing did, because I would
have been history by now.”

THE MINSTRELS 

Nelle
due presenze al Festival ne vincono uno con: Se piangi se ridi, nel
1965.
Quindi una percentuale di vittorie del 50%.
Formazione del gruppo che conquistò la città dei fiori: Karen Gunderson, Ann White, Larry Ramos, Art Podel,
Clarence Treat, Paul Totash, Barry Kane, Nick Woods e Barry McGuire. Nel
corso degli anni subisce poi oltre quindici cambiamenti d’organico.
Gruppo folk,
erede del Christy Minstrels fondato nel 1942 da Edwin Pop
Christy. Fino all’arrivo al Festival di Sanremo del 1965 il nome ufficiale
del gruppo era New Christy Minstrels al modo che lo ribattezzò Randy
Sparks che lo aveva rifondato nel 1962. Sui dischi che riportano le canzoni
cantate al Festival di Sanremo appare solo il nome Minstrels. Il
repertorio è ispirato soprattutto alle folk-songs tradizionali americane
e si dice che fosse questo il gruppo preferito dal Presidente degli Stati
Uniti Lyndon Johnson. Uno dei componenti, Barry McGuire, nelI’estate del
1965 incide Eve of distruction che arriva al primo posto delle classifiche
americane.
Repertorio musicale: Se piangi se ridi, Le colline sono in fiore, Green
green, Saturday nights, Miss Katy cruel
.

McGuire was born in Oklahoma City, Oklahoma, and moved to California in early childhood. At age 16 he joined the United States Navy, but was discharged ten months later for being ‘under age’.

After working as a commercial fisherman, and then going onto become
a journeyman pipe fitter, at age 25 McGuire got a job singing in a bar.
In 1961, he released his first single called “The Tree”, which was not a hit, and formed a duo with Barry Kane. They both joined the New Christy Minstrels
in Spring 1962. In 1963, McGuire along with Randy Sparks (the founder
of the New Christy Minstrels) co-wrote the Christys’ first and biggest
hit single: “Green, Green.” He left the Christys in January, 1965,
after recording the album, Cowboys and Indians; however, on the 1965 album Chim Chim Cher-ee, he sang only on the title cut.

Solo career

As a folk rock solo singer in the 1960s, he was best known for his hits “Eve of Destruction” and “Sins of the Family”, both written by P.F. Sloan. His other chart successes, “Child of Our Times” was co-written by Steve Barri, and “Cloudy Summer Afternoon (Raindrops)” was penned by Travis Edmonson of 1960’s folk-duo, Bud & Travis.

McGuire’s LP, The Eve of Destruction, reached its peak of #37 on the Billboard Hot 200 chart
during the week ending 25 September 1965. That same day the single of
that name went to #1 on both charts. McGuire was never again to break
into the Top 40 of the Billboard Hot 100.
According to McGuire, “Eve of Destruction” was recorded in one take on
a Thursday morning (from words scrawled on a crumpled piece of paper)
and then he got a call from the record company at 7:00 the next Monday
morning, telling him to turn on the radio – his song was playing. The
recording includes an “ahhh” where McGuire couldn’t read the words. The Temptations referenced McGuire’s song “Eve of Destruction” in their song “Ball of Confusion (That’s What the World Is Today)“. For other references and covers of “Eve of Destruction” see the article: “Eve of Destruction“.

The album This Precious Time was released in 1966, his second with Dunhill Records. It includes a version of “California Dreamin’” with The Mamas and the Papas singing backing vocals. McGuire is mentioned several times in The Mamas & the Papas hit, “Creeque Alley“. Frank Zappa wrote McGuire’s name in the sleeve of his Freak Out album (1966) as one of his musical influences.

McGuire appeared in the 1967 movie, The President’s Analyst with James Coburn as the character, “Old Wrangler,” and in Werewolves on Wheels in 1971. He also starred for a year in the Broadway musical Hair.

McGuire became a born-again Christian in 1971 after a brief encounter with evangelist Arthur Blessitt in October 1970. In 1973, he joined the Myrrh label and released the album Seeds. This album is also notable for the backing vocals provided by the family trio that would become known as the 2nd Chapter of Acts. In 1974, McGuire released his second Jesus Music album Lighten Up, which included a remake of “Eve of Destruction”. He toured with 2nd Chapter of Acts and “a band called David” and in 1975 this collaborative effort resulted in the double live album, To the Bride.

In 1976, he left Myrrh, joining former Myrrh executive Billy Ray Hearn’s new label, Sparrow Records. He recorded seven albums on Sparrow, the best known of which is Cosmic Cowboy, released in 1978. That year he also released a top-selling children’s album Bullfrogs and Butterflies (part of the Agapeland series) for Sparrow’s subsidiary label, Birdwing.

In 1978, he also toured England, Scotland, and Wales with the Jimmy
Owens’ musical “The Witness”, in which he played the part of the
apostle Peter. His acting and singing in the musical was considered
very inspiring. Also, the voice of Peter on the “Witness” album is his.

Later life

In the 1980s, McGuire left the music industry, and settled for a time in New Zealand with his New Zealander wife, Mari (former secretary of McGuire’s Agape Force associate, Winkie Pratney). He returned to the United States in the 1990s, teaming up with Terry Talbot and recording as Talbot McGuire. The duo released four albums between 1996 and 2000.

As of 2006, he takes engagements which include a few songs and talks
on a mixture of topics, by both McGuire and his wife. The McGuires
resided in Fresno, California on their return to the United states but have since moved back to New Zealand.

On March 12, 2008, McGuire appeared on the Australian music comedy/game show Spicks and Specks, performing an updated version of Eve of Destruction,
with new lines such as, “You’re old enough to kill/ you just started
voting” and “… can live for ten years in space”. The reference to
“Red China” was also removed.

In 2008, McGuire teamed up with former member of The Byrds
John York for a live tour called “Trippin’ the ’60s”, which McGuire
describes as “…taking the songs and the truth that was in those songs
from the 60’s and bringing them into the present moment…It’s not a
cover pack, it’s us singing songs that we sung with a lot of our
friends that aren’t around anymore to sing them.”

Informazioni aggiuntive

Genere Rock internazionale

Nuovo/Usato

Sottogenere

Genere

Velocità

Dimensione

Condizioni

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