From Cindy Shubin Re:12-String Guitar
Geoffrey M. Maingart
sensitivity regarding this as a true Byrd collectible. I must admit
that I was somewhat set back the suspicion coming from such a naieve
position in sharing a treasured memory about a possession that has
brought me much joy. I got past that and will now try to clarify a few
points for all of you that are trying to piece together the "pieces".
First of all, I have had a longterm(35 years) friendship with Hoyt
Axton, who had a very influential impact on my life both as a musician
and as a person. I met Hoyt when I was 11 1/2 years old at a radio
station broadcast hosted by folksinger Theodore Bikel. I became an
instant fan and have all of his early albums. My mom, being avid music
lover exposed both my brother(Paul Shubin) and I to many types of music
as we were growing up, for which I am most grateful.
We saw Hoyt at Troubadour in 1963 and again a small beach area club
called the Cosmos in 1964, which we humorously called the "center of the
universe". It was owned by a crazy Greek guy, name George Nikos, who
later went on to own the Golden Bear Club in Huntington Beach, CA. Hoyt
performed there frequentlly and I co-billed with him on numerous
occasions.
We met Hoyt at the Cosmos and as an aspiring folkie and guitarist my mom
just mentioned that I was interestd in playing a 12-string. He said
come back next week and he would give me one....a week later I showed up
and he held to his promise, thus marking the beginning of a deep
friendship.
I performed with Hoyt as an opening act and was a ""street singer" on
his 1977 album, "Hoyt Axton" as well as on the "Joy to the World"
album..where he thanked my family along with Three Dog Night and
Steppenwolf. Hoyt at the time had stayed with us during the recording
of that album and the creation of "Jeremiah was a Bullfrog....Joy to the
World fame. It was indeed a rich time musically for me.
Hoyt indeed was a generous man with his friends and those around him who
he felt had special talents. Originally, on his letter of authenticity
he omitted the actual reason for having this guitar and passing it
along. Roger Mc Guinn states in GP that he gave a 12-string to Hoyt,
perhaps the same one as the one I have,....but that was the last he saw
of it. Well, what I understood was that Jim Mc Guinn had stayed with
him and being tight for money during those days, did not have his rent
portion.... he left that 12 -string and that it was basically considered
as payment to Hoyt. Hoyt jokingly related that he had trouble just
playing six-strings that he didn't need an extra set of strings to
confuse him further! *L*...and so he felt he was helping a then young
(13 ys. old) talented guitarist that loved guitar and was a big fan of
his.
To be quite honest, Jim Mc Guinn at that time was relatively unknown and
was actually an opening act for Hoyt at the Troubadour...and so as time
went on and Byrd fame hit...I came to appreciate the guitar even more.
I did however had tremendous respect for Mc Guinn's guitar playing
having seen him perform with Hoyt. And I loved the Byrds like so many of
us.
Yes, he did peform on the Balladeer album, of which I have an
autographed copy from Hoyt and another treasured collectible from Hoyt,
which is pictured on the back of album. It was the actual guitar that
Hoyt composed "Green Back Dollar" on....and that guitar I still have.
It is pictured on another earlier album of Hoyts as well.
In some circles I have been know to be somewhat of a Axtonologist, being
both a fan of Hoyts and close friend. I have tons of tales of the
unusual upbringing of living in the folk circles and being exposed to
many great musicians through Hoyt. He was a big man with a big
heart...and he will always be missed.
As far as the Franklin glasses...no I never did say that I had his
prescription glasses...ther glasses that I have were, what I believe
some promo item that Mc Guinn wore possibly that evening. They were a
metal wire frame sprayed paint with gold and the lense part was
rectangular with plastic red/pink inserts. The night was magic as they
sang "Mr Tambourine Man"...everyone went wild....we all sensed this was
something special. He came off stage and I simply remarked that I like
his glasses...he looked at me and said, "here..they're yours".
Naturally, I was excited and although they did nothing for my eyesight
but to "see life through rose colored glasses"...and I hung onto them
throughout the years.
As far as the incident at the "77 club when he performed with
ThunderByrd...Hoyt's previous road manager took me down there and
encouraged me to let him know about the guitar. He was witness to the
whole event and would be more than happy to verify this. He owns a well
known rehearsal studio here in the Los Angeles area...and recalls both
guitar and incident well. I was happy at the time that Mc Guinn did not
want the guitar back....and he quite simply said that if it was being
taken care of..that was fine.
As far as the "J" at the top of the head....all Hoyt told me is that it
was put on there for "Jim". It seemed plausible at the
time....especially for the 60's when we were all being unsually creative
with our instruments.
Heck...My first guitar, which was an old 3/4 Stella..was eventually
spray-painted gold and autographed by many folk and classical musicians
(An article about this guitar appeared in GUITAR PLAYER Magazine).
For the time being...someone kind enough has helped me place the photos
of the guitar on a temporary website (something way above my computer
expertise) and the address is:
http: //208.12.100.143/~813/shubin12.html.
For now all that is posted is the front and back views of the guitar. I
hopefully will be able to post the letter from Hoyt, which also can be
verified by Hoyt's widow, Deborah Axton....and some early flyers from
the Troubadour and Golden Bear promoting our performances.
My musical career led me into studying classical guitar with Angel
Romero, of the Romeros from 1970-1974. Other life events intervened and
although I had a promising career as a classical guitarist, I did not
fullfill my dreams of a concert career...thus no albums, etc were
produced. However, I did perform with Hoyt on a tour to Alaska in 1978
and performed at a festival in Berekely...the Bread & Roses Festival.
Additionally I wrote for GUITAR PLAYER Magazine from 1969 -1979. I did
articles on the Romeros, Hoyt Axton and Liona Boyd and had a then,
"groovy" astrology column called the "Cosmic Course of..., in which I
charted John Mayall, Mason Williams and Christopher Parkening.
You ask why would I now come forward and relate this and consider
passing along this treasured collectible now that Hoyt is no longer
around to speak for himself. Well...I have collected and hung onto many
items throughout my lifetime and just before Hoyt passed away...I
considered selling this instrument and even prior in 1992 when he wrote
the Letter of Authenticity....but I was not ready to let go. When Hoyt
passed away this past October..it was difficult to let it go....but some
time has passed and I still have HIS guitar, being a Hoyt fan..that's
enough, and I just felt that there must be some real Byrd fan out there
who would really appreciate this guitar, being that it was more of a Mc
Guinn's guitar than Hoyt's.
There just comes a time when one has to move on and let go.
I hope this has helped in answering some of those questions reagrding
this guitar....as I said, I will try and post the Leter of Authenticity
from Hoyt and a letter from Hoyt's road manager who witnessed that
ThunderByrd confrontation with Mc Guinn and any other items that may be
of interest.
Best Regards,
Cindy
heidiw...@gmail.com
IT'S HEIDI, SKIPS DAUGHTER.
WTF ARE YOU???
I'VE BEEN SEARCHING GET FOR YOU FOR A DECADE!