![]() Tambourine Man’ and ‘Turn! Turn! Turn!’, both of which saw McGuinn explore new territories with his 12-string Rickenbacker. The results would be instantly iconic, spread across hits like ‘Mr. “By combining a flat pick with metal finger picks on my middle and ring fingers, I discovered I could instantly switch from fast single-note runs to banjo rolls and get the best of both worlds.” “I also translated some of my banjo-picking techniques to the 12-string,” McGuinn concluded. A potent amount of bluegrass also helped define The Byrds’ sound. There was more than just jazz and blues involved in McGuinn’s style. But the Rick’s slim neck and low action let me explore jazz and blues scales up and down the fretboard and incorporate more hammer-ons and pull-offs into my solos. In those days, acoustic 12s had wide necks and thick strings that were spaced pretty far apart, so they were hard to play. “I practised eight hours a day on that ‘Ric,'” McGuinn adds. Without compression, I couldn’t have sustained the riff’s first note.”īesides utilising technology, there was another secret to McGuinn’s mastery of the instrument: seemingly endless practice. Eight miles high and when you touch down You'll find that it's stranger than known Signs in the street that say where you're going Are somewhere just being their own Nowhere is there warmth to be found Among those afraid of losing their ground Rain gray town known for its sound In places small faces unbound Round the squares huddled in storms. 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,” McGuinn said. “But if you add a compressor, you get that long sustain. But with some studio trickery, McGuinn stumbled onto his signature sound. The failure of "Eight Miles High" to reach the Billboard Top 10 is usually attributed to the broadcasting ban, but some commentators have suggested the song's complexity and uncommercial nature were greater factors.But McGuinn had some difficulty getting the guitar to sound good, at least at first. Group guitarist Jim (Roger) McGuinn, gobsmacked by Coltrane’s forceful, rebellious attitude,imitated the saxophone visionary’s solos via a compressed and. Roger McGuinn), and David Crosby and first released as a single on Ma. The Byrds - 8 Miles high - YouTube 0:00 / 3:33 The Byrds - 8 Miles high 423,156 views 3.4K Dislike Share Save Gilles BERTACCO 369 subscribers The Byrds. The Byrds made much of Eight Miles High' primary inspiration, the song India from Coltrane’s Impressions album (listen for the lick about two minutes in). The band strenuously denied these allegations at the time, but in later years both Clark and Crosby admitted that the song was at least partly inspired by their own drug use. Eight Miles High is a song by the American rock band The Byrds, written by Gene Clark, Jim McGuinn (a.k.a. radio ban shortly after its release, following allegations published in the broadcasting trade journal the Gavin Report regarding perceived drug connotations in its lyrics. ![]() Accordingly, critics often cite "Eight Miles High" as being the first bona fide psychedelic rock song, as well as a classic of the counterculture era. Musically influenced by Ravi Shankar and John Coltrane, the song was influential in developing the musical styles of psychedelic rock, raga rock, and psychedelic pop. It was first released as a single on March 14, 1966. "Eight Miles High" is a song by the American rock band the Byrds, written by Gene Clark, Jim McGuinn (a.k.a. ![]()
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