He’d give you a picking assignment every day. "There would be about twelve people in a class, and it was really fast learning. “They started around 1957,” McGuinn recalled, “and that’s when I enrolled. (Image credit: Jeff Hochberg/Getty Images) What McGuinn brought to electric 12-string rock guitar was a solid grounding in folk picking - something that Harrison and other Rick-playing Brits, such as Pete Townshend, didn’t have.Īs a teenager in Chicago, McGuinn had studied guitar and five-string banjo at the Old Town School of Folk Music, a pioneering institution at a time when formal instruction in vernacular musical styles like folk was unheard of. While McGuinn and his bandmates had the same gear as the Beatles, they used it to produce a distinctly different sound and overall aesthetic. I liked his sound better, so I went out and got a Rickenbacker 360 12-string.” “We saw A Hard Day’s Night and realized the Beatles were playing a Gretsch electric six-string, Ludwig drums and a Hofner bass.Īnd George Harrison switched between the Gretsch and this Rickenbacker 12-string that didn’t look like a 12-string at first, because the peghead concealed six of the tuners.īut when he turned sideways, I went, ‘Oh that’s a 12-string!’ I was playing a Gibson acoustic 12 with a pickup in it, but it didn’t have the kind of sound George was getting. “We were already a band and we were rehearsing and working with acoustic instruments,” McGuinn told me. George Harrison proclaimed the Byrds “The American Beatles.” Like Bob Dylan himself, the Byrds were, for the most part, seasoned folk musicians who’d become fascinated by the new style of electric guitar rock and roll that the Beatles, Rolling Stones, Kinks, Yardbirds, Animals and other British groups had brought to the fore. They’re the pied pipers who transported us from “yeah yeah yeah” to Purple Haze, basically.
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Yeah, I’ve been trying this for way too long Yeah, you’ve been on a different wavelength
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