Mr. Tambourine Man (1965)
Mr. Tambourine Man/I'll Feel A Whole Lot Better/Spanish Harlem Incident/You Won't Have To Cry/Here Without You/The Bells Of Rhymney/All I Really Want To Do/I Knew I'd Want You/It's No Use/Don't Doubt Yourself, Babe/Chimes Of Freedom/We'll Meet Again
The Byrds introduced the world to their now iconic brand of jangly guitar, melodic rock and Bob Dylan covers with this excellent debut, from 1965. Four Dylan songs appeared here and it cemented the long-held popular opinion that no-one covered Dylan like they did. It is accepted by many as being one of music's finest debut albums. There were some dissenting voices at the time who found the group's sound formulaic and boring - what were they listening to, I wonder? Most of the critics were correct - for 1965 it is a ground-breaking creation that simply overflows with energy and enthusiasm.
The opener, Mr. Tambourine Man, needs no introduction. Turn it up, open the window and it's summer. Gene Clark's I'll Feel A Whole Lot Better is just as good - a rousing, catchy piece of proof that they weren't just a Dylan and traditional folk song covers band. It oozes verve, vigour and sheer quality.
Dylan's Spanish Harlem Incident sounds better given the electric treatment as indeed do All I Really Want To Do and Chimes Of Freedom, to be honest. All of these were great songs, of course, but they are given a different life here, one that showed that intelligent lyrics could be backed by a strong, rocking sound. Chimes Of Freedom is simply superb.
You Won't Have To Cry is very Beatles-inspired but The Byrds' sound was so unique that it doesn't sound like a rip-off. It is full of youthful energy and simple joie de vivre. Clark's Here Without You highlights that harmonious but slightly sombre country rock sound that The Byrds patented. Many would follow.
The Bells Of Rhymney sees a folk standard go electric, something that no doubt infuriated folkies. I Knew I'd Want You again looks to The Beatles for inspiration in that sort of rock-powered love song fashion, while the upbeat and riffy It's No Use is probably the album's most obvious proto-psychedelic number. Don't Doubt Yourself, Babe is a country thumper with a really catchy Bo Diddley rhythm to it although the cover of Vera Lynn's We'll Meet Again was probably left behind in the vaults, despite its winsome jangly guitar.
Turn! Turn! Turn! (1965)
Turn! Turn! Turn! (To Everything There Is A Season)/It Won't Be Wrong/Set You Free This Time/Lay Down Your Weary Tune/He Was A Friend Of Mine/The World Turns All Around Her/Satisfied Mind/If You're Gone/The Times They A-Changin'/Wait And See/Oh Susannah
This was The Byrds' second album and contains more of the same sort of material that was contained on their impressive debut.
Pete Seeger's Biblically-inspired (the book of Ecclesiastes) Turn! Turn! Turn! (To Everything There Is A Season) Is just a delight - uplifting, melodic and full of the most perfect, jangly Byrds guitar. Great quality of stereo sound too. I love the "a time for peace, I swear it's not too late" line at the end. Top, top song.
It Won't Be Wrong is a solid piece of Byrds rock while the tempo dips a bit on the harmonious country-ish vibe of Gene Clark's Set You Free This Time. There is a sad, dark feeling to the song, however, something not unusual for The Byrds. It features a nice harmonica bit near the end.
Lay Down Your Weary Tune is the first of two Bob Dylan songs given the Byrds treatment. In their hands, as always, it is excellent. He Was A Friend Of Mine is a traditional folk song sung in sombre tones over an appealing, acoustic backing. Gene Clark returns with another fine upbeat rocker in The World Turns All Around Her.
Satisfied Mind is not a Dylan song but sounds like one. The third Clark song is the slower, broodier If You're Gone. Next up is their simply wonderful cover of Dylan's The Times They A-Changin' - jangly guitar Heaven. Love it. Its great rocking melody detracts a little from the song's lyrical power but the sound is so good it sort of doesn't matter. Wait And See is very, very Beatles-esque and Oh! Susannah ends this great mid-sixties album on an almost punky take on the nineteenth-century folk song.
** A fine non-album track is the bassy, grind of The Day Walk (Never Before), and, of course, their cover of Dylan's It's All Over Now, Baby Blue.
Artificial Energy/Goin' Back/Natural Harmony/Draft Morning/Wasn't Born To Follow/Get To You/Change Is Now/Old John Robertson/Tribal Gathering/Dolphin's Smile/Space Odyssey
The opener, Artificial Energy, is an upbeat hippy jazz/rock number with some typically late sixties lyrics and vocals and some bright, punchy brass parts.
Natural Harmony has hints of Marrakesh Express in its livelier parts and other parts have airs of The Beatles’ and The Rolling Stones’ experiments with psychedelia the year before. The slow parts sound as if they come from Satanic Majesties. The percussion bits on the instrumental “bridges” are thoroughly hypnotic.
Wasn't Born To Follow is an energising piece of psychedelic/country/folky rock, if that is such a thing. Steel guitar, captivating percussion, weird guitar and hippy lyrics. It is one of my favourite tracks on the album.
Dolphin's Smile is also harmonious and beautifully sung, before once again going rock, with some powerful drums. Again, this is classic 1967-68 Byrds. So nostalgic and atmospheric. It is a bit too short, though.
This was definitely an album of its era, but it was not totally psychedelic. There were several other influences at work in it too.
You Ain't Goin' Nowhere/I Am A Pilgrim/The Christian Life/You Don't Miss Your Water/You're Still On My Mind/Pretty Boy Floyd/Hickory Wind/One Hundred Years From Now/Blue Canadian Rockies/Life In Prison/Nothing Was Delivered/All I Have Are Memories/Reputation
1968’s Sweetheart Of The Rodeo was unique in that it was the first “country rock” album, (although Gram Parsons had done one before, The Byrds were a mainstream group). The Byrds’ previous album, The Notorious Byrd Brothers, had been a psychedelic album, typical of its era. This one completely broke the mould and threw it away. So, Bob Dylan’s 1969 Nashville Skyline was one that followed on in this album’s wake, as opposed to being a trail blazer itself. Gram Parsons had joined the band just before this was recorded and his influence is all over it. The album was a pure, essential country record and it resulted in tensions within the rest of the band and it was also rejected by the ultra-conservative country music establishment who, predictably, viewed The Byrds as long haired hippies who had no place in their beloved country music. The band infuriated fans at a concert at Nashville’s “Grand Ole Opry” due to their long hair and just a general resistance on the audience’s part to accept the band at all.
Back to the album, track by track, it is pretty difficult to analyse, as most of the tracks follow the lively, upbeat country formula, often with self-pitying lyrics about drinking, like the morose You're Still On My Mind.
Steel guitar is everywhere, and a track like Hickory Wind is pretty representative of the album’s material - harmonious, lyrically nostalgic and mid-paced. However, Parsons’ One Hundred Years From Now is probably the most punchy, rock-influenced of the tracks, brilliantly merging country styles with rock.
Blue Canadian Rockies is a more traditional country ballad, full of heartbreak for the singer’s girl. The way The Byrds approached this often cloying material was free of any condescension or taking the mickey. They were genuinely trying to make country music “cool, hip” and accessible to all. In retrospect they probably did a good job, as did Dylan, although he got far more criticism for it than they did. Just because he was Dylan, I guess.
Life In Prison was a typical maudlin self-pitying song as the title would suggest. The Christian Life is pretty awful, although it probably means a lot to many people, so I will not disrespect it. It is just not my thing.
The sound quality is impressive on the latest remaster, nice and clear with well-highlighted rich bass sound. However, regarding the album, while I applaud The Byrds in their wish to diversify and popularise a long-standing American music form, it really just doesn’t quite do it for me as a whole album. Give me a few tracks at a time and that’s it. If I am going to listen to country rock from the era, I prefer Dylan’s efforts or Crosby, Stills and Nash’s more hippy-oriented efforts.
** Funnily enough, though, two of the “bonus” tracks on the extended edition, All I Have Are Memories and the powerful Reputation are far more rocky in feeling than the tracks on the album.
Pretty Polly is very like Dylan from his Good As I Been To You period. Lazy Days is good too, with a Chuck Berry riff to the fore. Again, I would have preferred this on the actual album. Proper country rock.
I am not a hard-core Byrds fan, therefore I do not feel the disappointment of many of those fans who wished to have more previously unreleased material on here. What I wanted was a career-spanning box set that covered the history of of this seminal band through their jangly pop, Dylan-Covering days, via psychedelia, to folk-rock and country-rock. That is what I have got in this excellent remaster box set.
All the great Dylan covers are here - Mr Tambourine Man (in many ways the definitive version of the song), All I Really Want To Do, the wonderful Chimes Of Freedom, It’s All Over Now Baby Blue, The Times They Are A-Changin’, My Back Pages, Lay Lady Lay, Positively 4th Street and It’s Alright Ma (I’m Only Bleeding). Although it may have seemed a bit odd that a band would send so much time covering another artist’s songs, you simply cannot argue that their versions of Dylan’s material often out-do the great man’s versions. That jangly guitar sound and those harmonious vocals just seemed to fit the songs perfectly. Just check out their effervescent version of The Times….
There are, of course, other highlights. My personal favourite is the evocative and melodious Turn! Turn! Turn!. Tracks like this just sum up much that was just so vibrant and life-affirming about music in the mid to late sixties. The Beatles-ish I’ll Feel A Whole Lot Better is excellent too. The psychedelic David Crosby instrumental Stranger In A Strange Land is atmospheric and reproduced here in superb stereo. Then there is the haunting, swirling, mysterious Eight Miles High with its iconic guitar riff and the other spacey stuff from the late sixties - the Dylanesque, but not Dylan, of 5D (Fifth Dimension) and upbeat, harmonious Mr Spaceman.
So You Want To Be A Rock ’n’ Roll Star is just a superb, brooding rock song from the early seventies and the folk rock that merged into country rock material has some gems too - the melodious but fast-paced I See You, with more of that Eight Miles High guitar, He Was A Friend Of Mine, the hippy/trippy Renaissance Fair and Have You Seen Her Face. The folky joy of the traditional Wild Mountain Thyme. The psychedelic rock of Was'nt Born To Follow. The mesmeric percussion on Dolphin's Smile. All good stuff.
There is probably no escaping the fact that, as the box progresses, however, the sheer vibrant, vital exhilaration of those sixties songs dilutes somewhat. I do like the laid-back pleasures of the folk/country period, but you can’t beat the sheer energy of the mid sixties material.
|Bob Dylan||David Crosby||Tom Petty|