The Byrds
The Byrds |
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Formed 1964, in Los Angeles, CA. Disbanded 1973.
In terms of guitar sound, the Byrds--along with Neil Young and, perhaps, the Allman Brothers Band--was the most important American rock 'n' roll entity of the 1960s. Inspired by the Beatles' film "A Hard Day's Night"--particularly the Rickenbacker 12-string George Harrison occasionally shouldered--McGuinn and company jump-started a hazy, Bob Dylan tune called "Mr. Tambourine Man," initiating a challenge that would ring back and forth across the Atlantic. Someone else might have stumbled onto playing folk songs on an electric guitar, but it was McGuinn and his cohorts who defined an entirely new direction for rock. And while any number of other Byrds made significant contributions to the Byrds sound, it was McGuinn--whose eclectic tastes ranged from Pete Seeger to bluegrass and whose proficiency on the Rickenbacker 12-string was far beyond most pop practitioners of the time--who established the flight pattern. The Byrds became a jumping-off place for Clark, Hillman, Crosby and Clarke, but McGuinn and whoever was with him added jazz, Moog synthesizers and psychedelia before stripping it all away back to country music with Sweetheart of the Rodeo. It's not hard to hear echoes of their music almost everywhere today. (Note: In 1996, Columbia reissued the first four Byrds albums with appropriate bonus tracks added to each title.)
Source: MusicHound Rock: The Essential Album Guide
When the Byrds signed up Gram Parsons as a pianist in 1967, the group had already helped changed the course of popular music on the strength of five studio albums dominated by Roger McGuinn's 12-string guitar and the band's choir-boy harmonies and folk/rock instrumentation. Country-boy trust funder Parsons turned the band inside out; with the release of Sweetheart of the Rodeo the next year, for better or worse, the Byrds kick-started the country/rock movement. Though there are hints in the Byrds' previous albums (see Chris Hillman's "Time Between" on Younger Than Yesterday or "Wasn't Born to Follow" on Notorious Byrd Brothers), nobody was ready for Sweetheart's stone country pretensions, wide enough to encompass Parsons' "Hickory Wind" and "One Hundred Years from Now," the Louvin Brothers' "The Christian Life," Woody Guthrie's "Pretty Boy Floyd" and Bob Dylan's "Nothing Was Delivered" and "You Ain't Going Nowhere." Parsons would leave with Hillman to form the even more countrified Flying Burrito Brothers soon after Sweetheart's release, and all subsequent Byrds releases, many with former bluegrass picker Clarence White on guitar, include country elements.
Source: MusicHound Country: The Essential Album Guide
Personnel
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MR. TAMBOURINE MANOrder from: |
1. Mr. Tambourine Man |
The 1996 reissue of MR. TAMBOURINE MAN includes six bonus tracks: "She Has A Way," an instrumental version of "You And Me," the single version of "All I Really Want To Do," and alternate takes of "I'll Feel A Whole Lot Better," "It's No Use" and "You Won't Have To Cry." All songs have been digitally remastered using a 20-Bit Super Mapping system. This is a process where an analog recording is transferred onto a digital tape, expanding the sound of the original performance--thus making a clearer, fuller sounding recording. The Byrds: David Crosby (guitar, vocals); Jim McGuinn (12-string guitar, vocals); Chris Hillman (bass, vocals); Gene Clark (tambourine, vocals); Michael Clarke (drums). Reissue producer: Bob Irwin. Recorded between January 20, 1965 and April 22, 1965. Includes original liner notes by Billy James, and new liner notes by David Fricke and Johnny Rogan. Few debut singles in the history of rock and roll have had the immediate and overwhelming impact of The Byrds' version of Bob Dylan's "Mr. Tambourine Man." Marrying a Beatles-like electric jangle to Dylan's insight and folky melody (in many ways, breaking Dylan to the pop market), it not only forecast the band's influence on the future of pop music but reestablished an American rock and roll presence in the face of the British Invasion. The album of the same name, released in June of '65, was a shotgun blast before the cannon roar that Dylan's HIGHWAY 61 REVISITED (released just two months later) would become. Much as Bob Dylan was an overwhelming influence on the young Byrds--four of the twelve tracks on MR. TAMBOURINE MAN were Dylan songs--his contributions were only a part of what made the band special. All by its lonesome, the chiming sound of McGuinn's 12-string guitar was the group's backbone, characterizing The Byrds' presence in a way few rock instrumentalists had done until then. Gene Clark proved to be a mighty songwriter in his own right--"I'll Feel A Whole Lot Better" has stood the test of time better than any other track here. Yet, what distinguished The Byrds and MR. TAMBOURINE MAN most was that they couldn't be easily pigeonholed. Combining disparate musical backgrounds (three folkies, a bassist raised on bluegrass, and a jazzbo drummer) and openly reconstructing everything from a British war-time standard ("We'll Meet Again") to a Jackie DeShannon pop tune ("Don't Doubt Yourself, Babe") in their own open-minded image, The Byrds kicked down the door to a new rock and roll. Many would soon follow. |
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FIFTH DIMENSIONOrder from: |
1. 5D (Fifth Dimension) |
The 1996 reissue of FIFTH DIMENSION includes six bonus tracks: "Why" (the B-side of the "Eight Miles High" single), "I Know My Rider (I Know You Rider)," "Psychodrama City," and alternate takes of "Eight Miles High," "Why" and "John Riley." All songs have been digitally remastered using a 20-Bit Super Mapping system. This is a process where an analog recording is transfered onto a digital tape, expanding the sound of the original performance--thus making a clearer, fuller sounding recording. The Byrds: David Crosby (guitar, vocals); Jim McGuinn (12-string guitar, vocals); Chris Hillman (bass, vocals); Michael Clarke (drums). Additional personnel: Van Dyke Parks (keyboards); Gene Clark (tambourine, harmonica, vocals). Producers: Allen Stanton (tracks 1-14, 17); Jim Dickson (tracks 15-16). Reissue producer: Bob Irwin. Recorded between December 22, 1965 and July 28, 1966. Includes liner notes by David Fricke and Johnny Rogan. This is the album on which The Byrds truly exploded. They had already acquainted the mainstream to a young folk singer named Bob Dylan by taking an electrified "Mr. Tambourine Man" to #1. They introduced California folk-rock to the masses, breaking ground for the likes of the Mamas & Papas and the Turtles. With FIFTH DIMENSION, The Byrds planted the seeds of psychedelia--and not just the San Francisco kind--in pop culture. The grey, dark trip of the Velvet Underground and the fuzzed-out minimalist boogie of such garage heroes as Count Five and the 13th Floor Elevators can also be found within these grooves. Unlike The Beatles' REVOLVER, which appeared in stores only a week before it, FIFTH DIMENSION recognized that musical higher consciousness had to be manifested in a dark side as well. Gene Clark's departure from the band prior to these recording sessions, and the decision not to cover any Bob Dylan songs streamlined the Byrds' sound and made the group's vision clear. The narrator of the honky-tonkish "Mr. Spaceman" wakes up with "light in [his] eyes" but realizes "it was still dark outside." This metaphor of inner serenity competing with the gloom of the physical world explodes in the coda of "Eight Miles High," a highly-charged sonic release that evokes both VU's "Heroin" and John Coltrane's jazz explosions (apparently, among the song's inspirations). The higher consciousness of "Eight Miles High," the harmony-driven stomp of "2-4-2 Fox Trot" and the CCR-meets-Stax boogie of "Captain Soul," all drenched in heavy guitar distortion, were unlike anything the pop world had heard. For the next three years, sounds inspired by FIFTH DIMENSION would make up the soundtrack of a cultural revolution. |
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TURN! TURN! TURN!Order from: |
1. Turn! Turn! Turn! (To Everything There Is A Season) -
(mono) |
The 1996 reissue of TURN! TURN! TURN! includes seven bonus tracks: "The Day Walk (Never Before)," the single version of "She Don't Care About Time," an alternate mix of "The World Turns All Around Her," an instrumental version of "Stranger In A Strange Land," and alternate takes of "The Times They Are A-Changin'," "It's All Over Now, Baby Blue" and "She Don't Care About Time." All songs have been digitally remastered using a 20-Bit Super Mapping system. This is a process where an analog recording is transferred onto a digital tape, expanding the sound of the original performance--thus making a clearer, fuller sounding recording. The Byrds: David Crosby (guitar, vocals); Jim McGuinn (12-string guitar, vocals); Chris Hillman (bass, vocals); Michael Clarke (drums); Gene Clark (tambourine, vocals). Reissue producer: Bob Irwin. Recorded between June 28, 1965 and November 1, 1965. Includes original release notes by Derek Taylor and new liner notes by David Fricke and Johnny Rogan. More of a companion piece than a follow-up to their debut, TURN! TURN! TURN! established The Byrds' place in the puzzle that was American rock and roll in the mid-'60s, but not for reasons commonly attributed to it. On the one hand, this was another batch of songs furthering the California folk-rock boom. "Turn! Turn! Turn!," the band's second (and final) #1 single, was Pete Seeger's musical interpretation of proverbs from the Book Of Ecclesiastes; "Oh Susannah" was a 19th century minstrels' tune; "He Was A Friend Of Mine" was a folk standard; and, as was a norm for the early Byrds, there were a couple of Bob Dylan songs. Yet the application of The Byrds' sound to these long-known songs gave each of them a new, wholly different existence. "He Was A Friend Of Mine" included additional Roger McGuinn lyrics that allude to John F. Kennedy's assassination, turning a mournful standard into a personalized declaration. "Oh! Susannah" was updated at a break-neck rock and roll tempo. "Turn! Turn! Turn!" became a snapshot, evoking the turbulent '60s as much as it did the Bible. In short, TURN! TURN! TURN! depicted The Byrds as an early work in progress, already capable of defying the public's perception of their artistry, and stretching further with every note. |
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YOUNGER THAN YESTERDAYOrder from: |
1. So You Want To Be A Rock "N" Roll Star |
The 1996 reissue of YOUNGER THAN YESTERDAY includes six bonus tracks: "It Happens Each Day," "Don't Make Waves," "Lady Friend," "Old John Robertson" (the B-side of the "Lady Friend" single), and alternate versions of "My Back Pages" and "Mind Gardens." All songs have been digitally remastered using a 20-Bit Super Mapping system. This is a process where an analog recording is transferred onto a digital tape, expanding the sound of the original performance--thus making a clearer, fuller sounding recording. The Byrds: David Crosby (guitar, vocals); Jim McGuinn (12-string guitar, vocals); Chris Hillman (bass, vocals); Michael Clarke (drums). Additional personnel: Vern Gosdin (acoustic guitar); Clarence White (electric guitar); Hugh Masekela (horns). Reissue producer: Bob Irwin. Recorded in 1966-67. Includes liner notes by David Fricke and Johnny Rogan. All tracks have been digitally remastered. Released in April 1967, months before the Summer Of Love, YOUNGER THAN YESTERDAY was proof that The Byrds had already graduated from their fascination with the psychedelic "scene." "Eight Miles High" may have introduced the general public to the counter culture's interests and fascinations, but this song cycle found The Byrds reluctant to rest their faith in either the growing movement they helped bring together, or the art form that was the movement's voice. The sonic lessons they'd learned still infused many of the tracks. Tape-loops created the splendorous backdrop of "Mind Gardens," the Eastern modes used on "Eight Miles High" reappeared on the re-recorded "Why," and "C.T.A.-102" seemed less a song than an excuse to use the studio as a laboratory for new sounds. But a new direction was emerging. "So You Want To Be A Rock 'N' Roll Star," a tongue-in-cheek treatise on fame, and Bob Dylan's "My Back Pages," the best known tracks here, both hinted at a reevaluation of previously settled matters. David Crosby's folky, Eastern-tinged "Everybody's Been Burned" may have been written well before he joined the group, but it is a dark declaration on moderation, trust and responsibility, that comfortably fits within the context of the era. And Chris Hillman's country-minded contributions not only grounded The Byrds with a salt-of-the-earth feel missing from the rest of the album, but hinted at the Nashville sound where they and many of their psychedelic brethren would soon end up. Now, as then, YOUNGER THAN YESTERDAY seems like the precursor to a generation's truer awakening. |
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THE NOTORIOUS BYRD BROTHERSOrder from: |
1. Artificial Energy |
The 1997 Legacy Records reissue of THE NOTORIOUS BYRD BROTHERS features six tracks that did not appear on the original LP: "Moog Raga," "Bound To Fall," "Triad," "Universal Mind Decoder" and alternate versions of "Goin' Back" and "Draft Morning." The Byrds: Roger McGuinn, Chris Hillman, David Crosby, Michael Clarke. Reissue producer: Bob Irwin. Includes liner notes by David Fricke and Johnny Rogan. Building on the maturity of their previous effort Younger Than Yesterday, the Byrds delivered a suite of songs that naturally flow into one another with uncanny ease. It is one of the few vinyl releases where both sides would always be played, and 30 years later it begs to be heard uninterrupted, as played individually, the songs lose their power. This was an artistic triumph and a commercial disappointment, as the memory of Crosby faded only to be replaced (allegedly) by a horse on the album sleeve. The Byrds moved on to their country phase and numerous line-ups but they were never to sound so perfect again. The expanded CD reissue is magnificent. |
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SWEETHEART OF THE RODEOOrder from: |
1. You Ain't Going Nowhere |
This is a remastered version of SWEETHEART OF THE RODEO, featuring eight extra tracks: "You Got A Reputation," "Lazy Days," "Pretty Polly, "All I Have Is Memories" and early versions of "The Christian Life," "Life In Prison," "You're Still On My Mind" and "One Hundred Years From Now." The Byrds: Roger McGuinn (vocals, guitar, banjo); Gram Parsons (vocals, guitar); Chris Hillman (vocals, bass, mandolin); Kevin Kelley (drums). Additional personnel: Clarence J. White (guitar); Lloyd Green, Jaydee Maness (steel guitar); John Hartford (banjo, guitar); Earl P. Ball (piano); Roy M. Huskey (bass); Jon Corneal (drums). Reissue producer: Bob Irwin. Includes liner notes by David Fricke and Johnny Rogan. In the same year that Bob Dylan stepped back from his electric pilgrimages by releasing an album of roots-oriented morality tales, the Byrds took a symbolic flight to Nashville. Gone was Roger McGuinn's singular twelve-string guitar sound and the grubby psychedelia that had an effect on everyone from the Monkees to the Velvet Underground. McGuinn now played banjo, and bassist Chris Hillman doubled on the mandolin, both seemingly reconsidering their musical approaches. And while Dylan remained the songwriter of choice, his tunes now sat alongside a rearranged hymn ("I Am A Pilgrim"), a bluegrass version of a famous outlaw tale (Woody Guthrie's "Pretty Boy Floyd"), and a cover of the Louvin Brothers ("The Christian Life"). This was a musical turn, turn, turn, indeed. The obvious catalyst for all this reconstruction was the arrival of young Gram Parsons, and SWEETHEART OF THE RODEO played as if it was his coming-out party. He introduced Hillman and McGuinn to a musical world that seemed totally foreign to these predecessors of the Summer of Love, but one which lay a scant hundred miles outside their L.A. windows, in Bakersfield. Parsons' most important act was to help shape the overall sound of the album, but he contributed two original songs as well--"One Hundred Years From Now" and "Hickory Wind," a signature composition he'd record again. Rather than look out into the rapidly changing world, these songs gazed inward, questioning man's faith and commitment not on the basis of society's ever-fluctuating tides, but upon the traditions that had existed long before. In fact, SWEETHEART OF THE RODEO caused an entire musical community to reconsider those traditions, and the music that had helped keep 'em alive. |
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BALLAD OF EASY RIDEROrder from: |
1. Ballad Of Easy Rider |
The 1997 reissue of THE BALLAD OF EASY RIDER includes seven tracks that did not appear on the original LP; "Way Behind The Sun," "Mae Jean Goes To Hollywood," "Fiddler A Dram," "Build It Up," "The Ballad Of Easy Rider" and alternate versions of "Oil In My Lamp" and "Tulsa County." The Byrds: Clarence White (guitar, vocals); Roger McGuinn (synthesizer, guitar, vocals); John York (bass, vocals); Gene Parsons (drums, guitar, vocals, 5-string banjo). Reissue producer: Bob Irwin. Recorded between June 17, 1969 and August 26, 1969. Includes liner notes by David Fricke and Johnny Rogan. By 1969, the Byrds had already been through the Gram Parsons-fired country rock innovations of SWEETHEART OF THE RODEO, and had just lost Chris Hillman, the last original member except for Roger McGuinn. McGuinn was involved in so many extracurricular activities that he found little time to compose new material for EASY RIDER. His sole writing credit is the stellar title tune, co-written with Dylan for the famous biker film that gives this album its name (disliking the film, Dylan removed his name from the song). Fortuitously, McGuinn's taste in cover material and the compositional abilities of his bandmates more than made up for his lack of new material. McGuinn continued his experiments with combining old and new on an imaginative version of the traditional "Jack Tarr The Sailor," laced with synthesizer at a time when that instrument was barely being utilized in rock. Gene Parsons kicks in with one of the finest tunes of his career, "Gunga Din," a self-referential country-rocker that recalls the band's recent musical past. The balance of the album is a mixture of gentle folk-rock (Dylan and Woody Guthrie covers) and unabashed weirdness (the interstellar experimentalism of "Armstrong, Aldrin and Collins." All of it is eminently listenable. |
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DR. BYRDS & MR. HYDEOrder from: |
| 1. This Wheel's On Fire 2. Old Blue 3. Your Gentle Way Of Loving Me 4. Child Of The Universe 5. Nashville West 6. Drug Store Truck Drivin' Man 7. King Apathy III 8. Candy 9. Bad Night At The Whiskey 10. My Back Pages / B.J. Blues / Baby, What You Want Me To Do 11. Stanley's Song 12. Lay Lady Lay - (alternate version) 13. This Wheel's On Fire - (previously unreleased, version one) 14. Medley - (alternate version, take 1, previously unreleased): My Back Pages / B.J. Blues / Baby, What You Want Me To Do 15. Nashville West - (alternate version, Nashville recording, previously unreleased) |
This is a remastered version of DR. BYRDS & MR. HYDE featuring five extra tracks. The additional tracks include "Stanley's Song," "Lay Lady Lay" and alternate versions of "This Wheel's On Fire," "Nashville West" and "My Back Pages/B.J. Blues/Baby What You Want Me To Do." The Byrds: Roger McGuinn, Gene Parsons, Clarence White, John York. Reissue producer: Bob Irwin. Engineers: David Diller, Tom May, Neil Wilburn. Includes liner notes by David Fricke and Johnny Rogan. Possibly the most downcast of the Byrds' albums, DR. BYRDS reflects the mutation of the hippie dream that was taking place in 1968. The brutal slab of electric folk-rock that is Dylan/Rick Danko's "This Wheel's on Fire" opens things up, mirroring the sociopolitical upheavals of the time. On this and other tunes, guitarist Clarence White trades his sweet country licks in for some burning, semi-psychedelic licks. Though the pastoral side of the band is represented by gently jangling versions of "Old Blue" and "Your Gentle Way of Loving Me," the setting soon returns to disillusion and unrest. "King Apathy III," (which, along with "Candy," boasts some progressive time changes) is full of contempt and sadness for those deluded by the Age of Aquarius. The countrified "Drug Store Truck Drivin' Man" pound a nail into the coffin of right wing hypocrisy. After all is said and done, the Byrds get back to the business of being a great bunch of musicians, amiably rocking their way through a medley that pairs a revamped "My Back Pages" with Jimmy Reed's blues classic "Baby What You Want Me to Do." |
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UNTITLEDOrder from: |
1. Lover Of The Bayou |
The Byrds: Clarence White (vocals, guitar, mandolin); Gene Parsons, Skip Battin (vocals); Roger McGuinn (guitar); Graham Parsons (background vocals). Additional personnel: Byron Berline (violin); Terry Melcher (piano). By the time their tenth album rolled around, the Byrds were nearing the end of their aesthetic tether, having pushed their brand of folk/country/rock just about as far as it could go, from their Dylan-worshipping days to the Gram Parsons "cosmic cowboy" period to McGuinn's precocious synthesizer experiments. This album, originally a double LP with one record recorded live and one in the studio, is more of a look back at where the Byrds had been and a celebration of their innovations than a step forward, but it's still full of worthy tunes and the effortless musical interaction of McGuinn, Clarence White, Skip Battin and Gene Parsons. The live half features a searing, (then) side-long version of "Eight Miles High" that presents the free-form jamming side of the band. There are also spirited runs through Byrds classics like the jokey "Mr. Spaceman" and the jaded "So You Want to Be a Rock 'N' Roll Star." The highlight of the studio half, which finds the band successfully mining the rootsy vein they'd been exploring on the last several albums, is the breathlessly exciting "Chestnut Mare," featuring a spoken section, some David Crosbyish weirdo chord progressions, and a trademark McGuinn chorus. |
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THE BEST OF THE BYRDS
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1. Mr. Tambourine Man |
This 1999 reissue contains three bonus tracks not on the original release. The Byrds: Gene Clarke (vocals); Roger (Jim) McGuinn (12-string guitar, vocals); David Crosby (guitar, vocals); Chris Hillman (bass, vocals); Michael Clarke (drums). Producers: Terry Melcher, Allen Stanton, Gary Usher. All tracks have been digitally remastered. Formed in Los Angeles in 1964, the Byrds hit with their first single, a vibrant take on Bob Dylan's "Mr.Tambourine Man," in 1965, introducing the term "folk-rock" into the rock vocabulary. With a sound marked by soaring, multi-part harmonies and 12-string Rickenbacker guitar, the Byrds racked up several more hits over the next two years, including a chart-topping interpretation of Pete Seeger's "Turn, Turn, Turn." Personnel changes and internal disputes, combined with changing musical fashions, caused their popularity to dwindle in the late '60s. The greatest achievement of their later years was SWEETHEART OF THE RODEO (1968). That hybrid of country and rock (influenced by new guitarist/singer Gram Parsons) was largely responsible for the Eagles and their kin. In 1972, Roger McGuinn, the only remaining original member, disbanded the Byrds. The original lineup reunited in 1973 for one ill-received album. The members remained musically active, with David Crosby the most visible. Although ex-Byrds occasionally worked with one another, the deaths of Gene Clark (1991) and Michael Clarke (1993) ended the possibility of another full-scale reunion. The Byrds' sound and spirit lives on in McGuinn's solo work and in the music of the countless artists whom they inspired, including the Beatles, Tom Petty and R.E.M. |
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THE BEST OF THE BYRDS
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1. Ballad Of Easy Rider |
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IN THE BEGINNINGOrder from: |
1. Tomorrow Is A Long Ways Away - (prev. unrel.) |
The Byrds: Jim McGuinn, Gene Clark, David Crosby (vocals, guitar), Chris Hillman (bass), Michael Clarke (drums). Additional personnel: Ray Pohlman (bass), Earl Palmer (drums). Compilation producer: Bill Inglot. Recorded in 1964. Includes liner notes by Billy James. IN THE BEGINNING is a collection of rare early recordings, demos and alternate takes. Recorded in 1964 and produced by the Byrds' manager, Jim Dickson, the charming and often fascinating demos and rarities on IN THE BEGINNING provide a valuable overview of how the Byrds developed their trademark sound. They may not have been the first to combine folk and rock (Trini Lopez was doing it in 1963), but it was their striking combination of ringing guitars and soaring harmonies that defined the genre. That combination is present throughout IN THE BEGINNING, but the relatively sparse live-in-the-studio arrangements strip their sound down to the basics, making it easy to see what tricks this band of erstwhile folkies picked up from the Everly Brothers and the Beatles. Dedicated Byrds watchers will recognize most of this album's tracks from PREFLYTE, a collection of early demos, which was first released in 1969. However, the presence of several previously unreleased tracks makes this an essential purchase for collectors and anyone who is more than a casual fan. Special kudos to Rhino for not giving it the obvious title ("Early Byrds"). |
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THE ORIGINAL SINGLES 1965-1967Order from: |
1. Mr. Tambourine Man |
The Byrds: Roger (Jim) McGuinn (vocals, 12-string guitar); David Crosby (vocals, guitar); Chris Hillman (vocals, bass); Gene Clark (vocals, tambourine); Michael Clarke (drums). Producers: Terry Melcher, Allen Stanton, Gary Usher. Includes liner notes by John Rogan. Formed in Los Angeles in 1964, the Byrds hit with their first single, a vibrant take on Bob Dylan's "Mr.Tambourine Man," in 1965, introducing the term "folk-rock" into the rock vocabulary. With a sound marked by soaring, multi-part harmonies and 12-string Rickenbacker guitar, the Byrds racked up several more hits over the next two years, including a chart-topping interpretation of Pete Seeger's "Turn, Turn, Turn." Personnel changes and internal disputes, combined with changing musical fashions, caused their popularity to dwindle in the late '60s. The greatest achievement of their later years was SWEETHEART OF THE RODEO (1968). That hybrid of country and rock (influenced by new guitarist/singer Gram Parsons) was largely responsible for the Eagles and their kin. In 1972, Roger McGuinn, the only remaining original member, disbanded the Byrds. The original lineup reunited in 1973 for one ill-received album. The members remained musically active, with David Crosby the most visible. Although ex-Byrds occasionally worked with one another, the deaths of Gene Clark (1991) and Michael Clarke (1993) ended the possibility of another full-scale reunion. The Byrds' sound and spirit lives on in McGuinn's solo work and in the music of the countless artists whom they inspired, including the Beatles, Tom Petty and R.E.M. |
THE BYRDSOrder from: Disc: 1
Disc: 2
Disc: 3
Disc: 4
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20 ESSENTIAL TRACKS FROM THE BOXED SET: 1965-1990Order from: |
1. Mr. Tambourine Man |
The Byrds: Jim McGuinn [a.k.a. Roger McGuinn], (vocals, guitars), David Crosby, Gram Parsons, Clarence White, John York (guitar, vocals), John Jorgenson (guitar, mandolin, bass), Al Kooper (keyboards), Chris Hillman, Skip Battin (bass, vocals), Gene Parsons (drums, guitar, banjo, vocals), Michael Clarke, Kevin Kelley, Stan Lynch (drums), Gene Clark (tambourine, vocals). Additional personnel: Lloyd Green, Jaydee Maness, "Sneaky" Pete Kleinow, Red Rhodes (guitar), John Hartford (guitar, banjo), Byron Berline (fiddle), Earl P. Ball, Terry Melcher (piano), Larry Knechtal, Van Dyke Parks (keyboards), Roy M. Huskey (bass), Jon Corneal, Jim Gordon (drums). Tracks 17-20 recorded in Nashville, Tennessee on August 2-6, 1990. Includes a revised version of box set liner notes by David Fricke. Formed in Los Angeles in 1964, the Byrds hit with their first single, a vibrant take on Bob Dylan's "Mr.Tambourine Man," in 1965, introducing the term "folk-rock" into the rock vocabulary. With a sound marked by soaring, multi-part harmonies and 12-string Rickenbacker guitar, the Byrds racked up several more hits over the next two years, including a chart-topping interpretation of Pete Seeger's "Turn, Turn, Turn." Personnel changes and internal disputes, combined with changing musical fashions, caused their popularity to dwindle in the late '60s. The greatest achievement of their later years was SWEETHEART OF THE RODEO (1968). That hybrid of country and rock (influenced by new guitarist/singer Gram Parsons) was largely responsible for the Eagles and their kin. In 1972, Roger McGuinn, the only remaining original member, disbanded the Byrds. The original lineup reunited in 1973 for one ill-received album. The members remained musically active, with David Crosby the most visible. Although ex-Byrds occasionally worked with one another, the deaths of Gene Clark (1991) and Michael Clarke (1993) ended the possibility of another full-scale reunion. The Byrds' sound and spirit lives on in McGuinn's solo work and in the music of the countless artists whom they inspired, including the Beatles, Tom Petty and R.E.M. |
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NASHVILLE WESTOrder from: |
1. Hickory Wind |
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SUPER HITSOrder from: |
1. Mr. Tambourine Man |
This is part of Legacy's Super Hits series. Formed in Los Angeles in 1964, the Byrds hit with their first single, a vibrant take on Bob Dylan's "Mr.Tambourine Man," in 1965, introducing the term "folk-rock" into the rock vocabulary. With a sound marked by soaring, multi-part harmonies and 12-string Rickenbacker guitar, the Byrds racked up several more hits over the next two years, including a chart-topping interpretation of Pete Seeger's "Turn, Turn, Turn." Personnel changes and internal disputes, combined with changing musical fashions, caused their popularity to dwindle in the late '60s. The greatest achievement of their later years was SWEETHEART OF THE RODEO (1968). That hybrid of country and rock (influenced by new guitarist/singer Gram Parsons) was largely responsible for the Eagles and their kin. In 1972, Roger McGuinn, the only remaining original member, disbanded the Byrds. The original lineup reunited in 1973 for one ill-received album. The members remained musically active, with David Crosby the most visible. Although ex-Byrds occasionally worked with one another, the deaths of Gene Clark (1991) and Michael Clarke (1993) ended the possibility of another full-scale reunion. The Byrds' sound and spirit lives on in McGuinn's solo work and in the music of the countless artists whom they inspired, including the Beatles, Tom Petty and R.E.M. |
