Dylan makes a surprise appearance at a tribute to Roy Orbison at the Universal Amphitheater, Universal City, Los Angeles, joining three of the original Byrds (David Crosby, Roger McGuinn, and Chris Hillman) on a version of “Mr. Tambourine Man.” He remains onstage, playing guitar on “He Was a Friend of Mine,” and joining in on an ensemble encore of “Only the Lonely.” The version of “Mr. Tambourine Man,” on which Dylan competes with McGuinn for the “lead” vocal, subsequently appears in a cable TV special of the benefit, as well as on CBS’s four-CD Byrds retrospective, simply titled The Byrds.
~Clinton Heylin (Bob Dylan: A Life in Stolen Moments Day by Day 1941-1995)
Universal Amphitheater Los Angeles, California 24 February 1990 Roy Orbison Tribute.
Up To Me was released on the album Cardiff Rose, a solo studio album by ex-The Byrds frontman Roger McGuinn, released in 1976. The album, produced by Mick Ronson, was recorded on the heels of Bob Dylan’s Rolling Thunder Revue 1975 tour, in which both McGuinn and Ronson had participated. The album includes a pirate tale “Jolly Roger”, a song about King Arthur’s “Round Table”, and a classic version of Joni Mitchell’s “Dreamland”.
Stylistically, the album varies from traditional sounding folk and sea chanty music (such as the aforementioned “Jolly Roger”) to hard, gritty rock tunes strongly influenced by the burgeoning punk rock movement (such as “Rock and Roll Time”).
“Roger McGuinn’s inspired participation with Bob Dylan’s epic 1975 Rolling Thunder Revue tour led the bard to offer McGuinn this exquisite outtake from Blood on the Tracks for his inclusion on Cardiff Rose, perhaps his finest solo album. Easily on a par with all of the excellent songs on that album, McGuinn did here what he does best with outside material: he synthesized it to make it sound like his own. A multi-layered and first-person confessional ballad, it’s a love song that is akin to a painting or a film, complete with flashbacks, allegories, and foreshadowing. The powerful sense of dignity and responsibility here is, as always, engaging, and stands up to repeated listening as much as any Dylan material from this period. McGuinn does it extreme justice, with a rocked-up, energetic arrangement that is quite different (but equally as effective) as Dylan’s original, which has been often bootlegged.”
– Matthew Greenwald / Allmusic