More by coincidence than any notion of continuity, after writing a review of the recent Bob Dylan JFK assassination opus ‘Murder Most Foul,’ my thoughts should ‘turn’ (temptation to write that three times resisted) to The Byrds.
Correctly acclaimed in their own right for creating some of the most innovative and pioneering rock music of the 60s, their name is inextricably linked with Dylan due to several outstanding cover versions of his songs – the connection further strengthened as The Byrds had their say on the killing of President Kennedy with ‘He Was A Friend Of Mine.’
By the time their moving evocation of the day Kennedy was killed appeared on The Byrds second album (‘Turn! Turn! Turn!’ December 1965), they were already being hailed as the ‘American Beatles’ – this by virtue of achieving two number one singles and recording a pair of LP’s resounding with the most affecting power-pop so far recorded on that side of the Atlantic, albums whose influence would be felt, eternally, thereafter.
Michael Clarke, Chris Hillman, Jim McGuinn;
After first crossing paths in Los Angeles during the summer of 1964, Jim McGuinn, Gene Clark and David Crosby decided to extend their folk-trio into a ‘beat group’ – this reflecting a change of direction precipitated by the popularity of bands spearheading what became known as the ‘British Invasion,’ a title reflecting their UK origins.
Recruiting Chris Hillman to play bass (although in fact a mandolin player of some repute) and Michael Clarke as drummer – a resemblance to Rolling Stone Brian Jones accounting for more than his percussive skills, which at that time amounted to playing congas in a beach band – the quartet cut a single as The Beefeaters which failed to chart.
At this point they decided to take ‘Beatle’ connotations eight and a half if not the full nine yards, incorporating a name change with an altered letter, publicity shots that mirrored the ‘Beatles For Sale‘ album cover and Clarke seated behind a Ringo-like Ludwig drum kit. But most decisive of all was taking an unreleased folk song by word wizard Bob Dylan and giving it a ‘Ticket to Ride‘ make over.
The resulting cover of ‘Mr Tambourine Man‘ was a sonic marvel of its time and in June 1965 became a worldwide hit – but any suspicion of them being a one-off wonder were dispelled by an audacious debut album of the same name. It proved beyond doubt the single was no fluke as songs from their folk background and more Dylan covers were recrafted into sublime pop songs.
With the chiming 12-string electric guitar of McGuinn to the fore, The Byrds quickly established a distinguishable sound. Strident harmony vocals supported the lead singer (usually McGuinn) and not only that, in Gene Clark they were blessed with a songwriter of stunning originality – one of his debut album contributions, ‘I’ll Feel A Whole Lot Better‘ soared to such an extent it showed they could ‘out-Beatle’ anyone, including the Fabs themselves.
Rightly regarded not only as an outstanding album but landmark recording of the era, it is not overstating the case to say through the twelve tracks of ‘Mr Tambourine Man‘ can be found the essence of folk-rock and also the origins of country-pop, a seam which would be mined ceaselessly before the decade was out – and not for the last time had The Byrds signposted a road countless others would travel.
On ‘Turn! Turn! Turn!‘ a similar mixture of adapted folk standards and Dylan songs yield equally agreeable results, from its folk-den roots the title track is overhauled with a breathtaking arrangement to make another sublime 45. Yet excellence is also found in the Clark originals, each furthering his growing reputation as a song-smith.
Alas they were virtually his last contributions as a full-time member of the group, his tenure as a Byrd ending in early 1966, but not before writing a lions share of the extraordinarily ambitious single ‘Eight Miles High.’
Containing elements of Indian raga music and jazz overtones, it foreshadowed the emergence of psychedelic rock, such audacity noted by everyone from The Beatles downward. Having quit ostensibly due to a fear of flying (a contrary claim being he was sick of it after a gruelling twelve month schedule), as principal songwriter his departure was keenly felt on ‘Fifth Dimension‘ (July 1966).
Imaginative and hesitant in almost equal measure, the title song is a notable McGuinn composition and the jazz and raga explorations continue apace, but for an album often cited as a significant influence on the developing San Francisco music scene, there is no real sense of cohesion.
With the exit of Clark went the folk/country strand to their work, but reappeared when Hillman suddenly emerged as a smart writer on ‘Younger Than Yesterday‘ (February 1967).
Another varied collection, the returning country-rock element gives the record a solid base, ‘My Back Pages‘ is another exemplary Dylan cover and elsewhere McGuinn and Crosby provide lyrical and melodic eclecticism.
It is a mature, sometimes extravagant record, that shows The Byrds had absorbed the loss of Clark and remained a vital and pioneering band, the only downside being the decision not to include ‘Lady Friend,’ an outstanding Crosby track, whose omission sparked another round of conflict within the group.
The rancour reached hits its peak when Crosby, rapidly becoming a mouthpiece for a growing counter-culture, used their appearance at the June 1967 Monterey Pop Festival to advocate his theory on the Kennedy killing. His appearance as guest member of fellow LA folk-rockers Buffalo Springfield when they performed their set was the final straw for McGuinn and Hillman who fired Crosby shortly afterward – The Byrds in no time reduced to a duo when drummer Clarke walked out, tired of the ongoing tensions.
Both Clarke and Crosby participated in early sessions for the ensuing ‘The Notorious Byrd Brothers‘ album (January 1968) – Clarke sportingly returned to fulfill his recording obligations which resulted in him being on the cover – but out of such instability McGuinn (now calling himself Roger rather than Jim) and Hillman, created a record of captivating finesse, its place in the pantheon of great albums long since assured.
The wide ranging themes explored by the songs, innocence, spirituality, confusion, drugs, Vietnam, ecology and consumerism, are matched by a dizzying array of musical styles – horns, pedal steel guitar, synthesisers, strings, angry electric and lush 12-string guitars are all brought into play, creating a work of remarkable innovation, yet seamless and coherent at the same time.
The Notorious Byrd Brothers;
That The Byrds have reached such a startling level of accomplishment less than three years after taking the name is testament to an extraordinary appetite for invention, ‘The Notorious Byrd Brothers‘ as important to 1968 as ‘Mr Tambourine Man‘ had been in 1965.
The refusal by McGuinn and Hillman to consider the Crosby song ‘Triad‘ for the album had added to the rift, Crosby in turn angered by the decision to record the Goffin-King songs ‘Goin’ Back‘ and ‘Wasn’t Born to Follow‘ (both of which are perfect for the piece). Given the brevity of the LP ‘Triad‘ could also have been included, from which can be deduced Crosby had simply outstayed his welcome.
Needing new members, Kevin Kelley was recruited to play drums with country music devotee Gram Parsons hired as a keyboard player. As soon as the charismatic Parsons had been sworn in, he presented a full-blown agenda of merging rock and country.
Finding a willing ally in Hillman, The Byrds decamped to Nashville in the spring of 1968 where they cut the ground-breaking ‘Sweetheart of the Rodeo.’ With its component parts of standards and Dylan songs it was similar in structure to their first two albums – but with the singular theme of country music being performed by a rock band.
The only material proferred by the group are two Parsons songs (both of which are outstanding), yet to all intents and purposes The Byrds appeared to have over-reached in their urge to pioneer. Ahead of its time, the record sank without trace, although the few who noticed are widely thought to have formed country-rock bands on the strength of it. In that respect ‘Sweetheart of the Rodeo,’ is as influential as The Ramones debut album was to punk eight years later.
Never a full convert to the country-rock cause, by the time The Byrds recorded again McGuinn was the only original member remaining, Hillman following Parsons to the exit before 1968 was over – (the two would subsequently form The Flying Burrito Brothers and cut a debut album of astonishing resonance).
With guitarist extraordinaire Clarence White, drummer Gene Parsons (no relation of Gram) and bass player John York now in the ranks, ‘Dr. Byrds & Mr Hyde‘ (March 1969) sounds like the debut album from a band influenced by The Byrds.
While the country inflections have not entirely gone away, the sound is closer to rock (when it can be heard at all through some muddy production), McGuinn offering up a number of decent songs for an album that contains less new ideas than of yore, but at least shows promise for the future.
By dominating lead vocal and songwriting duties it appeared McGuinn was now in sole charge of their destiny, only to step back noticeably on the ‘Ballad of the Easy Rider‘ (November 1969), a record consisting largely of cover versions. His lone composition (the title track) was a good one, although a solo rendition had already appeared on the ‘Easy Rider‘ film soundtrack a few months before.
On the back of an album with not a great deal to recommend it, York was fired with Skip Battin taking over on bass. Thus emerged the most stable Byrds line-up, a new found compatibility earning them widespread praise as a live act.
Riding a wave of rediscovered popularity after a period of dwindling album sales, they came up with the September 1970 double set ‘Untitled‘ – split into a live and studio disc. While the in-concert fare was pleasant enough, from the studio emerges a largely agreeable set of recordings, McGuinn salvaging three notable songs (‘Chestnut Mare,’ ‘All the Things‘ and ‘Just a Season‘) from a proposed concept album project entitled ‘Gene Tryp‘ based on the Henrik Ibsen play ‘Peer Gynt’ (a fourth ‘Lover of the Bayou,’ was included on the live LP).
These tracks gave ‘Untitled‘ (and the group) a renewed sense of gravitas, although the issue is somewhat confused by a song-writing partnership of Battin and LA music scene perennial Kim Fowley, who write novelty rather than ‘Byrd’ songs.
More numbers intended for inclusion on ‘Gene Tryp‘ trickle out on ‘Byrdmaniax‘ (June 1971), but not enough to save it from being the worst album on their roster – so far. Female backing vocalists, strings and horns cannot hide the fact this is a lacklustre outing as producer Terry Melcher, who served them well on the studio half of ‘Untitled,’ tries everything to improve things only for the album to fall in around him.
Melcher, however, is blameless with regard to ‘Farther Along‘ (November 1971), a dismal self-produced effort hastily recorded to offset the bad taste left by its predecessor. If anything it is an even more banal set and with McGuinn hoarding his best material for an imminent solo album, their good name was once again tarnished.
Clarence White, Gene Parsons,
Roger McGuinn, Skip Battin
After another round of firing and hiring, McGuinn and White continued into 1972, but attracted by the proposition of a lucrative team-up with the four original members, McGuinn brought the last incarnation of The Byrds to an end in order to rejoin the first.
Sadly an atrocious reunion album (Byrds) was by no means the biggest tragedy of their 1973 annus horribilis – the year claiming the lives of White at the hands of a drunk driver and Gram Parsons who succumbed to a drug overdose.
At their most inspired The Byrds were one of a handful of groups who genuinely shaped the course of popular music. Setting aside the offshoots and solo work for a moment, their music echoes through the work of artists such as the Eagles, Elvis Costello, Tom Petty, The Pretenders, REM, Beck and Wilco, each of whom have spent time during their careers seeking out the magic invested in such Byrd-brilliance as ‘I’ll Feel a Whole lot Better‘ or ‘So You Want To Be A Rock ‘n’ Roll Star‘ and when they could not, settled for the closest approximations they could manage – or in the case of Petty, simply covered the songs.
The one constant in their fascinating but often scattered history is of course McGuinn. Correctly lauded for his role in their triumphs, his laissez faire approach in the later years often suggested the group meant more to their devoted following than its focal figure.
Towards the end, The Byrds drifted along, in the studio at least, as an undistinguished country-rock outfit and worse still, others in that already crowded marketplace were prepared to stand and fall by their own material – the last two Byrds albums (three if including the reunion set), are littered with uninspired covers that should never have been allowed anywhere near a Byrds record.
It is, therefore, impossible to escape the conclusion that every configuration of The Byrds, no matter what their level of creativity, was battling a strong tendency to self-destruct, which if anything makes what they did achieve even more striking.
On the advent of albums appearing on CD, with inclusion of ‘bonus tracks’ it became clear just how many superb Gene Clark songs were left off the first two albums (the other members vetoing their selection through jealousy of the royalties Clark was starting to earn, those telling the story from his side all attesting to this theory).
Applying the same criteria, Crosby was hard done to with a series of excellent efforts that failed to make the final cut of ‘Fifth Dimension,’ ‘Younger Than Yesterday‘ and ‘The Notorious Byrd Brothers‘ – and had someone argued the case for assembling all McGuinn’s ‘Gene Tryp‘ songs on one LP, its place as the last great Byrds album would have been assured long ago.
But in the final analysis, there is no shortage of rich pickings in the story as it stands. The first two albums still bring unfettered joy, ‘Younger Than Yesterday‘ fares well when judged against other great albums of the era, ‘Sweetheart of the Rodeo‘ is the mother ship of country-rock and their crowning achievement ‘The Notorious Byrd Brothers,’ like The Kinks ‘Village Green Preservation Society,’ is a period piece that just keeps growing in contemporary stature.
Beyond their time in the group, many former members went forth to create an illustrious musical force field whose power source could be traced back to their days as a Byrd. Crosby gravitated to the superstar aggregation of Stills, Nash and sometimes Young; with The Flying Burrito Brothers, Hillman and (Gram) Parsons fused rock not just with country, but R&B, bluegrass and soul, succeeding to such an extent the Rolling Stones no less, became smitten. Hillman then took his talents to the ‘Manassas’ outfit of Stephen Stills, where a double album of astounding dexterity ensued.
McGuinn came up with a steady run of generally well-received solo albums, but it was in the work of Gene Clark and Gram Parsons – neither of whom could loom any larger in the development of country-rock – where the Byrds legacy is best represented.
With the two records (‘GP‘/’Grevious Angel‘) he cut in the year of his death, both in conjunction with vocalist supreme Emmylou Harris, Parsons once again showed he was an affecting singer and first rate writer, attributes he took to the grave at the age of just 26 – while Clark, ever-insightful, ever-melodic, produced a series of critically acclaimed, commercially doomed records, best summed up by his ignored 1974 masterpiece ‘No Other.’
Through a life and career festooned with lost gems, plans gone awry and latent indiscipline Clark often fell prey to addictions, dying at the age of 46 in May 1991.
In the most enduring filmed image of The Byrds, Clark is front and centre, the tambourine man himself adding harmonies with Crosby as McGuinn sings of taking a trip on ‘your magic swirlin’ ship.’
The black and white footage shows Hillman concentrating hard on bass while at the back Michael Clarke looks every inch a 1965 pop star, the drums at this stage just an adornment to his profile.
The 12-string guitars chime and ring as The Byrds cast a dancin’ spell we cannot help but go under – following them into a new, jingle-jangle morning for popular music.
THE BYRDS album discography & ratings:
MR. TAMBOURINE MAN A; TURN! TURN! TURN! A-; FIFTH DIMENSION B+; YOUNGER THAN YESTERDAY A; THE NOTORIOUS BYRD BROTHERS A+; SWEETHEART OF THE RODEO A; DR. BYRDS & MR. HYDE B; BALLAD OF THE EASY RIDER B–; UNTITLED B+; BYRDMANIAX C; FARTHER ALONG C-; BYRDS D;
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NEIL SAMBROOK is the author of ‘MONTY’S DOUBLE‘ – an acclaimed thriller now available as an Amazon Kindle book.
I can recall David Crosby in an interview saying that they went to see A Hard Day’s Night and they all came out of it with a very clear vision that they wanted to be a successful band and within a year they had become one
McGuinn also spoke of the Beatles inviting them to Abbey Road and playing Pepper tracks to them so the fusion of their influences from folk and country to the various pop/rock/psycholdelic Beatle songs was clearly impacting their music.
I have an absolute stack of Byrds songs and really there are not many are bad ones, so they have a pretty high standard.
Clearly Gene Clarke leaving – supposedly they wanted him out, they would say his fear of flying was the reason, whereas as you say there was some jealousy about his writing that might have pushed him, but either way a loss arguably for the band and for him, although he did seem to have a serious drink problem even then. Then again David Crosby probably by then was heading down his own self destructive course, he survived, Gene sadly didn’t
But with changes in line up they managed to find other songwriters and some different directions, I always tend to think they should have been as big as the Eagles came to be and arguably laid a fair amount of the groundwork for the Eagles success, but for those that survived I guess they were glad to be a part of it
Hello Barry – apologies for the delay in replying, was travelling for most of yesterday.
Interesting your references to the Eagles in relation to The Byrds, as to an extent I discovered the two groups in reverse order – that and coming under the wing (no pun intended) of a West Coast music aficionado, some years my senior, who introduced me to bands such as Buffalo Springfield, The Flying Burrito Brothers, Manassas, CSN&Y of course, all of whom had strong connections to The Byrds entity. (At this time I was already aware of the Eagles).
He was also a huge Dylan devotee (again where my own fascination began), the link with The Byrds unmissable here as well.
So taken all together with a swathe of incredible music, it was a story I became enraptured by – explorations into their divergent paths, ‘Echoes,’ ‘No Other,’ ‘The Gilded Palace of Sin,’ ‘Manasass,’ ‘GP,’ Grievous Angel’ leading to discovery of some quite sublime rock (for an all-encompassing term) music.
On several occasions I have been fortunate enough to see Roger McGuinn play live – always enthralled by his brilliant musicianship – each time hoping for the opportunity to ask him (it never occurred) why oh why were the mostly excellent songs he wrote for the ‘Gene Tryp’ project (‘Chestnut Mare’/’Lover of the Bayou’/’All The Things’/’Just A Season’/’Pale Blue’/Kathleen’s Song’), not put together on one album rather than spread across some lacklustre efforts at the end of their career.
Had this occurred it would have been a fitting finale for The Byrds in their later incarnation – the Clarence White-era line up by all accounts a superb ‘live’ proposition – far more so than poor showings such as ‘Byrdmaniax’ and ‘Farther Along.’
Nevertheless, the sheer vitality and imagination found in their finest work – and that of individual members as their careers unfolded – make The Byrds a source of ongoing enthralment and joy.
Stay safe and well.
Regards
Neil
I was a fan of the Beatles and most of the British groups and sound . But when I heard the Byrds something just spoke to me and I became a devoted fan . I remain a fan of all of their music to this day even though they have moved on and are working in different groups or solo .
Hello – hope you are well;
The Beatles and The Byrds have both had a huge impact in shaping my musical tastes.
With The Byrds in particular, I have engaged with their solo careers to a huge degree – to the extent you will find articles on Gene Clark, the Flying Burrito Brothers, CSN and Manassas all through my blog.
Hope you seek them out and enjoy.
Best wishes
Neil
The first five Byrds studio albums are essential. You can’t say that of many Nineteen-Sixties acts. Their albums of unreleased material are just as good! If you can’t afford all five albums, purchase ‘The Original Singles 1965-1967 Volume 1.’
They went from Beatle imitators to innovators in their own right. I remember when Tom Petty and the Heartbreakers started releasing albums, people said they were the “new Byrds.”
Hello Steven – hope you are well and thanks for getting in touch, much appreciated.
Find myself agreeing with everything you say and the point about their unreleased material I make in my article. Their is also the huge amount of Byrds-related music to marvel at; Gene Clarke/Dillard & Clark, Gram Parsons/FBB, Chris Hillman/FBB/Manassas, David Crosby/CSN/Y, some excellent McGuinn solo albums, all of which creates a legacy that is deep and profound.
Point taken also with regard to Tom Petty – something I touch on in this piece. Hope you enjoy it:
https://www.samtimonious.com/whoa-tom-petty-damn-the-torpedoes/
Be safe and well.
Regards
Neil