White Bicycles (The Legacy Of Record Producer Joe Boyd)

Joe Boyd has had the uncanny ability of being in the right places at the right times, unwittingly witnessing, and subsequently altering the course of pop culture and its history. Not that his legacy has been purely happenstance. Boyd has the well developed instincts of a man who is both highly educated and fully aware. A savvy man who is driven by his passions, steering them not only with the intuition of his heart and soul, but with the clarity of a keen mind as well. While some may not be entirely familiar with the breadth of his contributions, 'White Bicycles' is one of many places to develop an understanding. And what a wonderful place it is, for it's rich in imagery and anecdote, insight and wisdom, humor and sadness. And for those already familiar with his place in history, the book provides us with a deeper look into the man who discovered, supported, nurtured, and developed the talents of so many unique and outstanding musicians over the last 40 years. Subtitled, 'Making Music In The 1960's,' his memoir is among the most well written and entertaining glimpses into the oftentimes nefarious business of music, presenting his story with insight, intelligence and candor. Not intended as an expose, 'White Bicycles' is more an insiders remembrance of those extremely heady times and it's colorful participants.

As a protagonist, Boyd served as a conduit in his role as a record producer, mediating in the creation of some of the most original and timeless music in the latter half of the 20th century; from the intense but simultaneously playful Pink Floyd, to the mysterious and magical alchemy of Fairport Convention. Additional highlights in his list of productions include Sandy Denny, The Incredible String Band and thankfully, the remarkably exquisite and ethereal poetry of Nick Drake. Before becoming a producer however, Boyd was instrumental in masterminding the creation of one of the most successful combos of the Greenwich Village folk scene, bringing together four simpatico musicians to form the folk/rock/jug band magic that was to become The Lovin' Spoonful. He was also responsible for introducing the masterful guitar styling of Mike Bloomfield to the Butterfield Blues Band, placing them among the more exciting and dynamic purveyors of Chicago blues in their time. Both of these are remarkable achievements in and of themselves, accomplishments that might satisfy others as having marked their place in the annals of time, but it was only a starting point for Boyd. Shortly thereafter, he launched the infamous UFO club in London, the British counterpart to Bill Graham's early Fillmore dance concerts. There, he gave Pink Floyd a residency and a nurturing forum in which to hone their mythical musical trajectory, sharing the stage with highly adventurous acts such as Soft Machine, Tomorrow, The Move, Arthur Brown, Bonzo Dog Band, Procol Harem, and Pretty Things, just to name but a few. All were virtually unknown at the time, but they managed to catch the ear of Boyd, who gave them a chance and a home. Though most of these names are now considered cult favorites from the era, it almost goes without saying that Pink Floyd went on to super-stardom here on Earth as we know it, and very likely beyond. But of course, you were no doubt already aware of that fact.

In the midst of this intoxicating stew, Boyd galvanized the marriage of rock and British folk music by discovering and developing the likes of The Incredible String Band, Fairport Convention and Sandy Denny, the crème de la crème of the English electric folk scene. And the of course, there was his symbiotic relationship with the fragile, Nick Drake, whose sensitive and hauntingly beautiful music is like the delicate gossamer of angel's wings. When put together, it becomes dizzying array of artists, styles and personalities whose success can be traced directly to their involvement with Boyd.

Beginning his professional career in 1964 as road manager for the European leg of the 'Blues and Gospel Caravan,' Boyd was then hired by promoter, George Wein to shepherd additional tours of the continent featuring the likes of Coleman Hawkins, Miles Davis, Charlie Parker, Roland Kirk and others, resulting in frustrating but humorous results when viewed 40 years later in hindsight. Upon returning home, he was given the post of production manager for the Newport Jazz Festival, also produced by Wein. With a line-up that reads like the entire mid-60's Encyclopedia of Jazz, Boyd could have easily written a book solely on this event alone, the on-hand talent so staggering in its greatness and magnitude. However, excelling in his role that summer, he was subsequently promoted to stage manager for the now historic 1965 Newport Folk Festival which followed later that year, allowing him today to authoritatively set the record straight on the events surrounding the infamous 'plugged-in' Dylan set that has been so mythologized over time.

Moving to England shortly thereafter as a talent scout for Elektra Records brought Boyd a fortuitous confluence of personalities and circumstance that served to provide him with the needed ingredients to find his niche, setting in motion the string of events that create of centerpiece of the book, and of his professional career. Several chapters here are devoted to the tragic Nick Drake, reflections that are heartbreaking in their frankness, and revealing in their insight. And who, other than a family member could be better qualified to reflect on Drake than his mentor and biggest champion, Joe Boyd?

Several years later after establishing his reputation, Boyd received a generous offer from Warner Brothers to produce soundtrack recordings for their film department in Los Angeles. Feeling the need for a new canvas with which to work, Boyd accepted and returned to the States where in a curious twist of fate, he produced his one and only mega-hit; a recording he thought so innocuous and laughable, he didn't bother to even give himself a production credit. The song? Duelling Banjos from the film, Deliverance. Later in the 1980's, Boyd founded Hannibal Records, a tasteful imprint that further exemplified his ear for talent and his burgeoning interest in World music, a term he helped coin to house the plethora of ethnic folk musics that where gaining a larger audience. It's quite an impressive resume, wouldn't you say?

Throughout the pages of his memoir, Boyd makes salient observations on the state of contemporary music and the industry that today discourages, rather than encourages creativity within its participants, yet he never passes judgment, despite the trend essentially pushing producers of his approach and taste out of the game, lest they play by the new rules. In the end however, it's Boyd's wry and lucid remembrance of the years he's detailed within it's pages that make 'White Bicycles' one of the most engaging and thoroughly readable books, not only on the subject of music, but social history as well.

Although the book has been in stores for the better part of two years now, 'White Bicycles, Making Music In The 1960's' remains an essential read for those who appreciate articulate, well written books on the subject of popular music, as Boyd's tome reads as clear and natural sounding as the many records he's produced.

A Few Words About The Music

Although there is an official companion CD to 'White Bicycles,' comprised of Joe Boyd productions exclusively, the selections featured in 'My White Bicycle' were compiled by myself and reflect not only material that Boyd produced, but also selections from artists that are mentioned within his book and with which he had a strong connection. The recordings with Boyd's unique stamp are marked with an asterisk(*), and all others have played prominent roles in his career and lifetime. The sole exception is the inclusion of the Reverend Robert Wilkins. In Boyd's first professional gig with the Blues and Gospel Caravan, he worked, among others, with the Reverend Gary Davis. I had mistakenly thought I had one of Davis' recordings within my collection, only to be reminded that it was the Reverend Robert Wilkins that I possessed. I have taken license in substituting Wilkins for Davis as a representation of the Blues and Gospel Caravan where Boyd got his start. From there, the featured artists remain true to the source and subject, the focal point of the set being the music of Nick Drake, for whom I have the greatest of reverence and is without a doubt, Boyd's greatest discovery and crowning achievement as as record producer and talent scout.

My White Bicycle

1) Jesus Said, If You Go/Reverend Robert Wilkens
2) Shake It, Baby/John Lee Hooker
3) Tam Lin/Fairport Convention*
4) Spirit Beautiful/Mike Heron*
5) My White Bicycle/Tomorrow
6) Arnold Layne/Pink Floyd*
7) Some Other Time/June Tabor*
8) The Man In The Station/John Martyn
9) R.E.M./Old Man Kensey*
10) Shoot Out The Lights/Richard & Linda Thompson*
11) Three Hours*
12) Black-Eyed Dog*
13) At The Chime Of A City Clock/Nick Drake*
14) Next Time Around/Sandy Denny
15) She's Gone/The Soft Machine*
16) Granny Takes A Trip/The Purple Gang*
17) Candy And A Currant Bun/Pink Floyd*
18) East-West/The Paul Butterfield Blues Band
19) The Lord Is In This Place/Fairport Convention*
20) Flowers In The Rain/The Move
21) Chinese White/The Incredible String Band*
22) Darling, Be Home Soon/The Lovin' Spoonful
23) Any Old Time/Maria Muldaur*
24) Horn/Nick Drake*

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For more information on Joe Boyd, please visit his extensive website.

My sincere thanks to the supportive individuals who further encouraged my interest and reflections on Joe Boyd. You know who you are. Thank you for giving this one wings.