The Byrds’ second album, Turn! Turn!, in many ways exceeds the expectations of their debut, Mr. Tambourine Man. While the formula had been established with their 12-string, harmony-laden version of the Dylan tune, the band still had plenty of variations to work over. This time, the title track is a Pete Seeger adaptation of Biblical verse given the Byrds’ trademarked electricity, while the traditional folk song, “He Was A Friend Of Mine,” is updated by Roger McGuinn to be a tribute to the late President Kennedy.
Astrology calendar. He says it has a lot to do with his kids.
As with Dylan (represented here with covers of “Lay Down You Weary Tune,” “The Times They Are A-Changin’”), the Byrds manage to effortlessly make it pop music without sacrificing the song’s artistic merit. But it’s the group’s original compositions that lead the charge. McGuinn’s “It Won’t Be Wrong,” Gene Clark’s “The World Turns All Around Her” and “If You’re Gone” are among the band’s most enduring tracks. A cover of the Porter Wagoner hit “Satisfied Mind” points towards bassist Chris Hillman’s interest in country music that would eventually take the group into a new direction.
The deluxe edition includes several different mixes and alternate versions of songs, including a cover of Dylan’s “It’s All Over Now, Baby Blue.”. The Byrds’ second album, Turn! Turn!, in many ways exceeds the expectations of their debut, Mr. Tambourine Man. While the formula had been established with their 12-string, harmony-laden version of the Dylan tune, the band still had plenty of variations to work over. This time, the title track is a Pete Seeger adaptation of Biblical verse given the Byrds’ trademarked electricity, while the traditional folk song, “He Was A Friend Of Mine,” is updated by Roger McGuinn to be a tribute to the late President Kennedy. As with Dylan (represented here with covers of “Lay Down You Weary Tune,” “The Times They Are A-Changin’”), the Byrds manage to effortlessly make it pop music without sacrificing the song’s artistic merit.
But it’s the group’s original compositions that lead the charge. McGuinn’s “It Won’t Be Wrong,” Gene Clark’s “The World Turns All Around Her” and “If You’re Gone” are among the band’s most enduring tracks. A cover of the Porter Wagoner hit “Satisfied Mind” points towards bassist Chris Hillman’s interest in country music that would eventually take the group into a new direction. The deluxe edition includes several different mixes and alternate versions of songs, including a cover of Dylan’s “It’s All Over Now, Baby Blue.”. Although they only attained the huge success of the Beatles, Rolling Stones, and the Beach Boys for a short time in the mid-'60s, time has judged the Byrds to be nearly as influential as those groups in the long run. They were not solely responsible for devising folk-rock, but they were certainly more responsible than any other single act (Dylan included) for melding the innovations and energy of the British Invasion with the best lyrical and musical elements of contemporary folk music.
The jangling, 12-string guitar sound of leader Roger McGuinn's Rickenbacker was permanently absorbed into the vocabulary of rock. They also played a vital role in pioneering psychedelic rock and country-rock, the unifying element being their angelic harmonies and restless eclecticism. Often described in their early days as a hybrid of Dylan and the Beatles, the Byrds in turn influenced Dylan and the Beatles almost as much as Bob and the Fab Four had influenced the Byrds. The Byrds' innovations have echoed nearly as strongly through subsequent generations, in the work of Tom Petty, R.E.M., and innumerable alternative bands of the post-punk era that feature those jangling guitars and dense harmonies. Although the Byrds had perfected their blend of folk and rock when their debut single, 'Mr. Tambourine Man,' topped the charts in mid-1965, it was something of a miracle that the group had managed to coalesce in the first place. Not a single member of the original quintet had extensive experience on electric instruments.
Jim McGuinn (he'd change his first name to Roger a few years later), David Crosby, and Gene Clark were all young veterans of both commercial folk-pop troupes and the acoustic coffeehouse scene. They were inspired by the success of the Beatles to mix folk and rock; McGuinn had already been playing Beatles songs acoustically in Los Angeles folk clubs when Clark approached him to form an act, according to subsequent recollections, in the Peter & Gordon style. David Crosby soon joined to make them a trio, and they made a primitive demo as the Jet Set that was nonetheless bursting with promise. With the help of session musicians, they released a single on Elektra as the Beefeaters that, while a flop, showed them getting quite close to the folk-rock sound that would electrify the pop scene in a few months.
The Beefeaters, soon renamed the Byrds, were fleshed out to a quintet with the addition of drummer Michael Clarke and bluegrass mandolinist Chris Hillman, who was enlisted to play electric bass, although he had never played the instrument before. The band was so lacking in equipment in their early stages that Clarke played on cardboard boxes during their first rehearsals, but they determined to master their instruments and become a full-fledged rock band (many demos from this period would later surface for official release). They managed to procure a demo of a new Dylan song, 'Mr. Tambourine Man'; by eliminating some verses and adding instantly memorable 12-string guitar leads and Beatlesque harmonies, they came up with the first big folk-rock smash (though the Beau Brummels and others had begun exploring similar territory as well). Tambourine Man' single, the band's vocals and McGuinn's inimitable Rickenbacker were backed by session musicians, although the band themselves (contrary to some widely circulated rumors) performed on their subsequent recordings. The first long-haired American group to compete with the British Invasion bands visually as well as musically, the Byrds were soon anointed as the American counterpart to the Beatles by the press, legions of fans, and George Harrison himself. Their 1965 debut LP, Mr.
Tambourine Man, was a fabulous album that mixed stellar interpretations of Dylan and Pete Seeger tunes with strong, more romantic and pop-based originals, usually written by Gene Clark in the band's early days. A few months later, their version of Seeger's 'Turn! Became another number-one hit and instant classic, featuring more great chiming guitar lines and ethereal, interweaving harmonies. While their second LP (Turn! Turn!) wasn't as strong as their debut full-length, the band continued to move forward at a dizzying pace.
In early 1966, the 'Eight Miles High' single heralded the birth of psychedelia, with its drug-like (intentionally or otherwise) lyrical imagery, rumbling bassline, and a frenzied McGuinn guitar solo that took its inspiration from John Coltrane and Indian music. The Byrds suffered a major loss right after 'Eight Miles High' with the departure of Gene Clark, their primary songwriter and, along with McGuinn, chief lead vocalist. The reason for his resignation, ironically, was fear of flying, although other pressures were at work as well. 'Eight Miles High,' amazingly, would be their last Top 20 single; many radio stations banned the record for its alleged drug references, halting its progress at number 14. This ended the Byrds' brief period as commercial challengers to the Beatles, but they regrouped impressively in the face of the setbacks. With the band continuing as a quartet, McGuinn, Crosby, and Hillman would assume a much larger (actually, the entire) chunk of the songwriting responsibilities.
The third album, Fifth Dimension, contained more groundbreaking folk-rock and psychedelia on tracks like 'Fifth Dimension,' 'I See You,' and 'John Riley,' although it (like several of their classic early albums) mixed sheer brilliance with tracks that were oddly half-baked or carelessly executed. Younger Than Yesterday, (1967) which included the small hits 'So You Want to Be a Rock 'n' Roll Star' and 'My Back Pages' (another Dylan cover), was another high point, Hillman and Crosby in particular taking their writing to a new level. In 1967, Crosby would assert a much more prominent role in the band, singing and writing some of his best material. He wasn't getting along so well with McGuinn and Hillman, though, and was jettisoned from the Byrds partway into the recording of The Notorious Byrd Brothers. Gene Clark, drafted back into the band as a replacement, left after only a few weeks, and by the end of 1967, Michael Clarke was also gone. Remarkably, in the midst of this chaos (not to mention diminishing record sales), they continued to sound as good as ever on Notorious. This was another effort that mixed electronic experimentation and folk-rock mastery with aplomb, with hints of a growing interest in country music.
As McGuinn and Hillman rebuilt the group one more time in early 1968, McGuinn mused upon the exciting possibility of a double album that would play as nothing less than a history of contemporary music, evolving from traditional folk and country to jazz and electronic music. Toward this end, he hired Gram Parsons, he has since said, to play keyboards. Under Parsons' influence, however, the Byrds were soon going full blast into country music, with Parsons taking a large share of the guitar and vocal chores. In 1968, McGuinn, Hillman, Parsons, and drummer Kevin Kelly recorded Sweetheart of the Rodeo, which was probably the first album to be widely labeled as country-rock. Opinions as to the merits of Rodeo remain sharply divided among Byrds fans. Some see it as a natural continuation of the group's innovations; other bewail the loss of the band's trademark crystalline guitar jangle, and the short-circuited potential of McGuinn's most ambitious experiments.
However one feels, there's no doubt that it marked the end, or at least a drastic revamping, of the 'classic' Byrds sound of the 1965-1968 period (bookended by the Tambourine Man and Notorious albums). Parsons, the main catalyst for the metamorphosis, left the band after about six months, partially in objection to a 1968 Byrds tour of South Africa. It couldn't have helped, though, that McGuinn replaced several of Parsons' lead vocals on Rodeo with his own at the last minute, ostensibly due to contractual obstacles that prevented Parsons from singing on Columbia releases. (Some tracks with Parsons' lead vocals snuck on anyway, and a few others surfaced in the 1990s on the Byrds box set).
Chris Hillman left the Byrds by the end of 1968 to form the Flying Burrito Brothers with Parsons. Although McGuinn kept the Byrds going for about another five years with other musicians (most notably former country picker Clarence White), essentially the Byrds name was a front for Roger McGuinn and backing band. Opinions, again, remain sharply divided about the merits of latter-day Byrds albums. McGuinn was (and is) such an idiosyncratic and pleasurable talent that fans and critics are inclined to give him some slack; no one else plays the 12-string as well, he's a fine arranger, and his Lennon-meets-Dylan vocals are immediately distinctive. Yet aside from some good echoes of vintage Byrds like 'Chestnut Mare,' 'Jesus Is Just Alright,' and 'Drug Store Truck Drivin' Man,' nothing from the post-1968 Byrds albums resonates with nearly the same effervescent quality and authority of their classic 1965-1968 period. This is partly because McGuinn is an erratic (though occasionally fine) songwriter; it's also because the Byrds at their peak were very much a unit of diverse and considerable talents, not just a front for their leader's ideas.
The Byrds' diminishing importance must have stung McGuinn doubly in light of the rising profiles of several Byrds alumni as the '60s turned into the '70s. David Crosby was a superstar with Crosby, Stills, Nash & Young; Hillman, Parsons, and (for a while) Michael Clarke were taking country-rock further with the Flying Burrito Brothers; even Gene Clark, though he'd dropped out of sight commercially, was recording some respected country-rock albums on his own.
The original quintet actually got back together for a one-off reunion album in 1973; though it made the Top 20, it was the first, and one of the most flagrant, examples of the futility of a great band reuniting in an attempt to recapture the lightning one last time. The original Byrds continued to pursue solo careers and outside projects throughout the 1970s and 1980s. McGuinn, Clark, and Hillman had some success at the end of the 1970s with an adult contemporary variation on the Byrds' sound; in the 1980s, Crosby battled drug problems while Hillman enjoyed mainstream country success with the Desert Rose Band. The Byrds' legend was tarnished by squabbles over which members of the original lineup had the rights to use the Byrds name; for quite a while, drummer Michael Clarke even toured with a 'Byrds' that featured no other original members. The Byrds were inducted into the Rock & Roll Hall of Fame in 1991; Gene Clark died several months later, and Michael Clarke died in 1993, permanently scotching prospects of a reunion involving the original quintet.
Richie Unterberger. ORIGIN Los Angeles, CA. GENRE. FORMED 1964.
Aretha Franklin Discography
Discography Studio albums 12 Live albums 3 Compilation albums 47 EPs 6 Singles 29 were an American that were formed in Los Angeles, California in 1964. Although the band only enjoyed the huge commercial success of contemporaries like or for a short period in the mid-60s, they were pivotal in originating the musical styles of, and.
The Byrds Discography Torrent
The band underwent several line-up changes throughout its existence, with frontman remaining the sole consistent member of the group until their disbandment in 1973. The Byrds' discography was originally released on the format, as full-length, shorter, and. Since the 1960s, the band's back catalogue has also been released on, and, most recently, as. Between 1965 and 1968, The Byrds' albums were released in both and variations, with being the first album to be released exclusively in stereo in the US ( Sweetheart of the Rodeo and its follow-up were both issued in mono and stereo configurations in the UK). The bulk of the band's releases were issued on or its subsidiaries, with a notable exception being their final studio album from 1973.
This final album, titled, and its accompanying singles (', 'Things Will Be Better', and ') were all released on. In addition, the band released a single under the pseudonym of The Beefeaters in October 1964 on ( in the UK), before they had signed a with Columbia.
The Byrds' albums began to appear on sporadically during the late 1980s and early 1990s, both on Columbia and on re-issue labels like and. Starting in 1996, all eleven of the band's Columbia studio albums were reissued on in editions with. This article lists all of the Byrds' official US and UK, EPs, and singles. Releases originating from or exclusive to other international territories, along with quasi-legal, 'grey market' releases, are not included. Notes. A Released under the pseudonym The Beefeaters.
B UK only re-release of The Byrds' fourth Columbia single with its inverted. C 'Have You Seen Her Face' was not released as a single in the UK. D UK release of 'Lady Friend' with alternate B-side.
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E UK only release. F 'Ballad of Easy Rider' was not released as a single in the UK. G 'I Trust (Everything Is Gonna Work Out Alright)' was not released as a single in the US. H 'Things Will Be Better' was not released as a single in the US.
I US only release. J UK only re-release.
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K Bubbling under, did not actually appear on singles chart References General. (1998).
The Byrds: Timeless Flight Revisited. Rogan House. So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965-1973). Jawbone Press. Top Pop Albums 1955-2001. Hal Leonard Corp. Top Pop Singles 1955-2006.
Record Research Inc. Brown, Tony (2000).
The Complete Book of the British Charts. Omnibus Press. Byrds Flyght. Retrieved 2010-01-13. Ultimate Music Database. Retrieved 2016-04-08.
(Soundboard FLAC) The Untitled Collectiom Source: 2CD-R Bootleg Disc 1: LOYOLA COLLEGE, BALTIMORE, APRIL 15, 1970 Disc 2: PACIFIC MEMORIAL STADIUM, STOCKTON, CA, SEPTEMBER 20, 1970 Label: ZOOEY Title: UNTITLED COLLECTION Lineage: CD-R EAC(Secure Offset Corrected) WAV FLAC Level 8 Disc 01: -LOYOLA COLLEGE, BALTIMORE, APRIL 15, 1970- 01. Lover Of The Bayou (fade in) 2:54 02. You Ain't Going Nowhere 3:07 03.
Well Come Back Home 7:55 04. My Back Pages 2:22 05. Blues / Baby What You Want Me To Do 5:03 06. Truck Stop Girl 4:38 07. Instrumental 1:26 08.
Tambourine Man 2:43 09. Take A Whiff On Me 3:33 10.
This Wheel's On Fire 6:10 11. It's Alright Ma 2:40 12.
Ballad Of Easy Rider 2:26 13. Jesus Is Just Alright 2:59 14. Eight Miles High 16:42 15. So You Want To Be A Rock'n'Roll Star 2:47 16.
Spaceman 2:54 17. Outro 1:19 Total: 1:12:46 Disc 02: -PACIFIC MEMORIAL STADIUM, STOCKTON, CA, SEPTEMBER 20, 1970- 01. I Trust (fade in) 1:05 02. Well Come Back Home 7:28 03. My Back Pages 2:13 04. Blues / Baby What You Want Me To Do 4:17 05.
Truck Stop Girl 5:08 06. Instrumental 1:58 07. Take A Whiff On Me 3:16 08. This Wheel's On Fire 6:06 09. It's Alright Ma 2:52 10.
Ballad Of Easy Rider 2:10 11. Jesus Is Just Alright 3:12 12. Tambourine Man 2:04 14.
Eight Miles High 9:48 15. Outro 2:23 16. So You Want To Be A Rock'n'Roll Star 2:49 17. Spaceman 3:15 18. Christian Life 1:57 19. Lover Of The Bayou / Outro 4:37 Total: 1:09:51.
The Byrds
The Byrds/1965 Mr Tambourine Man (20-bit remastered) (320)/!play.m3u - 1.51 KB The Byrds/1965 Mr Tambourine Man (20-bit remastered) (320)/01 - mr.
Genre: Folk Rock Genre: Folk Rock Years: 1965-2008 Format: 320 TT: 25: Mr Tambourine Man (20-bit remastered) 01 Mr. Tambourine Man 02 I'll Feel A Whole Lot Better 03 Spanish Harlem Incident 04 You Won't Have To Cry 05 Here Without You 06 The Bells Of Rhymney 07 All I Really Want To Do 08 I Knew I'd Want You 09 It's No Use 10 Don't Doubt Yourself, Babe 11 Chimes Of Freedom 12 We'll Meet Again 13 She Has A Way 14 I'll Feel A Whole Lot Better (Alternate Version) 15 It's No Use (Alternate Version) 16 You Won't Have To Cry (Alternate Version) 17 All I Really Want To Do (Single Version) 18 You And Me (Instrumental) 1965 Turn! (20-Bit Remastered) 01 Turn!
02 It Won't Be Wrong 03 Set You Free This Time 04 Lay Down Your Weary Tune 05 He Was A Friend Of Mine 06 World Turns All Around Her 07 Satisfied Mind 08 If You're Gone 09 The Times They Are A-Changin' 10 Wait And See 11 Oh! Susannah 12 The Day Walk (Never Before) 13 She Don't Care About Time (Single Version) 14 The Times They Are A-Changin' (First Version) 15 It's All Over Now Baby Blue (Version 1) 16 She Don't Care About Time (Version 1) 17 World Turns All Around Her (Alternate Mix) 18 Stranger In A Strange Land (Instrumental) 1966 5th Dimension (20-Bit Remastered) 01 5D (Fifth Dimension) 02 Wild Mountain Thyme 03 Mr. Spaceman 04 I See You 05 What's Happening!!
06 I Come And Stand At Every Door 07 Eight Miles High 08 Hey Joe (Where You Gonna Go) 09 Captain Soul 10 John Riley 11 2-4-2 Fox Trot (The Lear Jet Song) 12 Why Bonus Single Version 13 I Know My Rider (I Know You Rider) Bonus 14 Psychodrama City Bonus 15 Eight Miles High Bonus Alternate-RCA Studios Version 16 Why Bonus Alternate-RCA Studios Version 17 John Riley Bonus Instrumental Version 1 1967 Younger Than Yesterday (20-Bit Remastered) 01 So You Want To Be A Rock'n'Roll Star 02 Have You Seen Her Face 03 C.T.A.
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