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The Byrds

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). For the "Mr. 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! Turn! 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! 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, Rovi
full bio

Selected Discography

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Track List: There Is A Season

Disc 1
Disc 2
Disc 3
Disc 4
Disc 5

Comments

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alabastervil l i s 0
no good lousy long haired pot smoking losers. you all ruined the world with your infected filth. fade
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I've been a passionate Byrds fan since MTM. But IMHO Roger who is a hero of mine gets far more than his fair share of the credit of what made Byrds fans Byrds fans. Every member of the original Byrds brought something to the table. The original Byrds are an example of the sum being far more then the individual parts.
No way even with the amazing talent of Clarence White could any other group named The Byrds match up
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What about Hey Mr. Spaceman?
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The Byrds, more than anyone else, have left a HUGE impact and changed everything we know about music
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This is a very informing bit of history. I grew up in that era so its nice to see that the "old" standards are validated by the new bies. Thanks.
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An excellent bio noting the mixed critical appraisals of the band. I think it's a little harsh on the late 60s early 70s period. I remember laughing to I Wanna Grow Up to be a Politician-- u n f o r t u n a t e l y , the song is just as relevant today. And Chestnut Mare may be a piece of nonsense, but everyone I know loves it--it must touch some very deep chord. And a shoutout to the earlier Wasn't Born to Follow--a perfect rendition of the originally banal King/Goffin original.
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John too soon you were taken from us.

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Thank you Pandora. You keep my memory going. Its12:59am i got happy then hungry now getting sleepy. Going to my dream world. If there people out who loves Pandora let me know. PEASE AND LIVE LIFE LIKE THERE NO TOMORROW. Zzzzzzzzzz
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brightnessfa l l s 0 5
I traveled the coffee house folk music circuit in the 60's with Lewis and Dolgoff who attained modest success and they cut a mean harmony and 12 string. We were young hippies, beats or freaks (countercult u r e hits it) and Dylan and The Byrds were a huge influence. Your bio reflects their true worth historically . The real freaks never gave up or coped out, we are still here pushin alarms and dialing wake up calls even to the deaf an dumb. Handing on and handing in and yellin our asses off.

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Turn,turn,tu r n , bring it on .way to go tribute to the Byrds.
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Classic folk at its best
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Great 60s sound love The Byrd's Eight Miles High
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One of the great American rock bands. Underrated now but extremely influential with a songbook that has stood the test of time. Not to mention that jingly jangly sound.
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to every toilet turd, turd, turd, there is a flushing turd, turd, turd, turd and a time for every stench to be airing a time for standing a time to sit a time to be slow a time for quick a time to make everyone wait a time to reframe from waiting
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I know a church that sings this song here:
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That was a fair write-up. A Beatles/Dyla n hybrid was exactly what they were doing and that idea moved on. I missed Roger's 12-String being on Sweethearts of the Rodeo. What a shock to hear a Byrds album without any 12-String.
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That was a fair write-up. A Beatles/Dyla n hybrid was exactly what they were doing and that idea moved on. The country-folk direction was good. I miss Roger's 12-String being on Sweethearts of the Rodeo. It's a shock to hear a Byrds album without a 12-String.
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Gram took the Byrds flying off in another direction. And that was good, too.
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Hey Mr tambourine man play a song for me
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Positively great music can always be found at 4th & B streets in San Diego!!!!!!!
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Don't read this because it actually works... You will be kissed on the nearest Friday by the love of your life. Tomorrow will be the best day of your life. Now you've started reading this, don't stop. This is so scary! Post this note on 5 songs in next 143 minutes. When done, press F6, and your lovers name will appear on the screen in big letters. This is so scary because it actually works!
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This song just makes sense in this decade as well..hear it and get relaxed...a time for peace I swear it's not too late just makes sense..
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Turn turn turn <3
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----chiming for the ones that have the strength not to fight
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Oh yeeaahh!!!
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Oh those harmonies!!! ! !
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wow, haven't heard this song in ages! What a treat.
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Iconic sounds from that time !
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williamcaubl e
It's the harmonies I like and the Jim McGuinn guitar leads that catch my ear. and now that I'm listening closer... the percussion is pretty righteous also! These guys and the Hollies were both early favorites of mine.
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The Byrds were in my head during the University of Wisconsin War Protests in 1967 along with Jefferson Airplane. They did influence a whole generation and that influence remains the background of our lives today. Then Crosby, Stills, Nash and Young came along with Joni Mitchell, both still blow me away when I hear them.
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richardjones 5 2
For me, in the beginning, it was the Beatles, Beach Boys & Byrds. Not in that order but equally. Time moves forward, as does music, but these groups were and are special to me and others also.
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Can anyone not recognize the names mentioned here?? Often I learn so much about the most outstanding artists now, (how about Peter Gabriel?), who I so love and revere, and yet until I learned had no clue of their backgrounds, who they played with (seen the Eagles list?). So yes we respect this band, wore the album out in the early days, great song, even remember recording it onto a track tape for our VW bug from the album, and I know the exact spot and words that we cut off by mistake. Peace.
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Good to find someone who thinks The Byrds were as influential, in all their manifestatio n s , as I think. Fie on those who fail to recognize the import of this flowing collection of musicians. The only fault I find with the 30 paragraphs is the failure to mention a couple of others in the flow, notably Battin and Gene Parsons.
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Mediocre huh? Wish I was this 'mediocre'.
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Mediocre yet an occasional brilliant creation of listenable pop music, Crosby took their well developing talents and discovered viable places to grow and indeed become elite in their tasks, Hillman just found a niche where he found vehicles in type of music and supporting band mates who also were great- yet the music while traditional perhaps also was ahead of its time for the level of mass popularity like Crosby experienced. . .
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I was so much older then I'm younger than that now
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Ha, the Byrds & Easy Rider....... . . where has the time gone!!
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THIS WHEEL'S ON FIRE gets Clarence White's Fender's lead licks in motion for Rogar's backup mode Rickenbacker ; great compromise to both abilities.
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You know Pandora " Clarence could use a few gear links for old times" you know what I mean ??
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I'm rolling on the floor "easyaban" you're actually spot on I don't know what this guy was smoking when he was writing it the bio ROFL - and why write like 30 paragraphs this group although I like all 3 of their hits, the Byrds were no where as influential not!
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eastabdan
The Byrds are cool, but saying that they attained the huge success of the Beatles or Rolling Stones is a bit laughable. Let's try to keep it more real in the Bios.
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rf2nd
Always liked this tune but then no so much when I found out that the lyrics were based on a Biblical religious rant.
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Fan of THE BYRDS but I think this is MERLE HAGGARD'S signature song which I like more.
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Sweetheart of thee Rodeo, "come on get It on".
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Deportee
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Please play "Gene Clark", "High Flying Byrd", "Echoes", Carla Olson/Gene Clark to update this Pandora Radio choose.
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One of my many favorites... . . . . .
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I love this song........ . . t a k e s me back.
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Byrd's turn turn turn 60s classic
follow for follow.
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Best song ever
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