Miller Anderson

Miller Anderson

April 12, 1945

Miller Anderson Band, “Just To Cry” 2008

              The Woodstock Music and Art Fair is famous for it's amazing line up.  Of course, some of that line up was famous before they got to Woodstock. Janis Joplin, Joan Baez, Jimi Hendrix, and Jefferson Airplane fall into that category.
              Some became famous because of the event. Santana, Sly and the Family Stone, and Ten Years After are a few.
              Some were not known and got no Woodstock bump because they weren't on the record or in the movie. And if the band wasn't in either, then the chances of a band member getting any push out of the event are even less.

Anderson has a wonderful retelling of his Woodstock experience:


Miller Anderson

              Miller Anderson unfortunately falls into both latter troughs. Miller was the guitarist for the Keef Hartley Band. Quite a guitarist. And Miller continues to play quite a guitar.
              He and Ian Hunter worked together before even a whiff of Fame wafted their way.
              As Craig Harris writes at the All Music site: Since cutting his musical teeth in bands with Ian Hunter (pre-Mott the Hoople) and Bill Bruford (pre-King Crimson and Yes), Anderson has been a member of such bands as the Keef Hartley Band, Savoy Brown, T. Rex, Mountain, the Spencer Davis Group, and in groups led by Deep Purple's Jon Lord and folk-rock balladeer Donovan.  (>>> All Music bio)
              In 1968, Miller Anderson joined the Keef Hartley Band. Miller was with the band when they played Woodstock and was with them for five albums before going solo.
              In addition to his solo work (which he continue to do with his Miller Anderson Band), since Hartley he has played with David Cousins, Savoy Brown, T Rex, The Strawbs, Mountain, and the Spencer Davis Group.

             When asked which of his recordings he likes the most, Anderson replied, "I usually do not listen to anything I have recorded. When I play my songs live, I like to make them a little bit different each gig. I helps to keep me and the band, and I hope the audience, interested each night . You have to take chances with music!"

Thank you Miller Anderson and happy birthday

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Byrds Mr Tambourine Man

Byrds Mr Tambourine Man

It was 1965. Bob Dylan had gone electric, had just brought it all back home, and he weren’t gonna’ work on Maggie’s farm no more.

The Beatles were ready for new horizons, too, and by the end of 1965 would release the Dylan-influenced Rubber Soul. That album would inspire more musical changes that blossomed in 1966 such as Brian Wilson’s Pet Sounds.

But on April 12, 1965 the Byrds released the single, Mr Tambourine Man. The song had appeared on Dylan’s Bringing It… album. The first cut on side two.

Byrds Mr Tambourine Man
45 of record

The Bringing It… album cover is the one with Dylan sitting in what appeared to be a someone’s living room surrounded by lots of items for fans to stare at and discuss. It also had a long-legged woman lounging red-dressed. Cigarette in hand. Sally Grossman, the wife of Dylan’s manager Albert Grossman.

Byrds Mr Tambourine Man

The living room was the second home of Albert and Sally. The place in a little artsy town in Ulster County, NY called Woodstock. In four years a couple of hippies would hatch the idea for a recording studio there. That’s another story for another time.

Byrds Mr Tambourine Man

The Byrds had recorded Mr Tambourine Man on January 20, 1965 at Columbia Studios in Hollywood. Like many LA bands, the musicianship was not as strong as the session men available and Roger McGuinn was the only Byrd to actually play on that recording.  The players had the nickname of the Wrecking Crew and included including Hal Blaine (drums), Larry Knechtel (bass), Jerry Cole (guitar), and Leon Russell (electric piano). Roger McGuinn, David Crosby and Gene Clark sang. 

Columbia Records released the “Mr. Tambourine Man” single on April 12, 1965 and on June 26 it became Billboard’s #1 song. McGuinn’s jangly electric 12-string Rickenbacker guitar was part of the song’s hook and formed the Byrds’ trademark sound.

Folk-rock had been born thanks to Bob Dylan and the Byrds.

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