The Byrds
Band members Related acts
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line
up 1 (1964-66) line
up 2 (1966-67) NEW
- Kevin Kelly -- drums, percussion (replaced Michael Clark)
line up 3 (1967-68)
- Chris Hillman -- vocals, bass
David Crosby) line
up 4 (1968-69) NEW - Clarence White (RIP) -- vocals, guitar (replaced Gram Parsons)
line up 5 (1970) - Skip Battin -- vocals, bass - Roger McGuinn -- vocals, guitar - Gene Parsons -- drums, percussion - Clarence White -- vocals, guitar
supporting musicians (1970-71) - Byron Berline -- fiddle - Jackson Browne -- keyboards - Merry Clayton -- backing vocals - Sneaky Pete Kleinkow -- pedal steel guitar - Larry Knechtel -- keyboards - Terry Melcher -- keyboards - Jimmi Seller -- percussion - Eric White Sr. -- harmonica
line up 6 (1971)
- Skip Battin (aka Skip Battyn) (RIP 2003) -- vocals, bass, keyboards
(replaced John York)
(1970-72 ) and 73) harmonica (1969-72) (replaced David Crosby) (1967- 72) Gram Parsons (1968-72) (1969-70)
line
up x (1973)
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- Skip Battin (solo efforts) - The Byrds Celebration
- The Byrds featuring Michael Clarke - Evergreen Blueshoes (Skip Battin)
- Family Tree
- Fusion (Kevin Kelly)
- Jesse, Wolff and Whings - Muleskinner
- Nashville West
- Rising Sons |
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Genre: rock Rating: ***** (5 stars) Title: The Notorious Byrd Brothers Company: Columbia Catalog: CS-9575 Year: 1968 Country/State: US Grade (cover/record): VG / VG Comments: initials 'RHEG" on front cover (top right corner) Available: 1 Catalog ID: 4702 Price: $15.00
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In hindsight it's amazing that this record ever came out, let alone stands as one of The Byrd's creative highlights.
The recording sessions for 1968's "The Notorious Byrd Brothers" were apparently quite trying with David Crosby's growing unhappiness with the rest of the band including his frustration with the band's refusal to record some of his new material (including the song 'Triad'), leading to his decision to call it quits early in the recording sessions (though the resulting album includes quite a bit of Crosby material). Gene Clark was brought in as a replacement though he quickly decided the return was a mistake and left before recording any material. Things turned ever uglier when drummer Mike Clarke quit half way through the album, forcing McGuinn and Hillman to bring in sessions drummer Jim Gordon to finish up.
Against this backdrop, producer Gary Usher and the band somehow managed to cobble together a set that encompasses the best of their patented jangle-rock attack ('Goin' Back') with nods to country-rock ('Old John Robertson''), jazz ('Tribal Gathering') and touches of psych and outright experimentation. Tracks such as Hillman's 'Natural Harmony', 'I Wasn't Born To Follow' and 'Change Is Now' actually combined all of these elements into one interesting aural stew. There were plenty of highlights, including the pair of Gerry Goffin and Carole King covers ('Goin' Back' and 'I Wasn't Born To Follow)', the anti-Vietnam themed 'Draft Morning' and the drug-themed 'Artificial Energy'. Full of cutting edge experimentation (courtesy of producer Usher), the set was full of intriguing horn arrangements, phasing effects, early Moog synthesizers and then-bizarre guitar effects (check out McGuinn's work on 'Dolphins Smile' or the goofy Arthur C. Clarke inspired sci-fi number 'Space Odyssey'). In fact, with one or two minor exceptions ('Old John Robertson' comes to mind), every one of the eleven tracks is worth hearing. Simply a classic 1960s rock album that lots of folks have overlooked !!!
"The Notorious Byrd Brothers" track listing:
1.) Artificial Energy (Mike Clarke - Chris Hillman - Roger McGuinn) - 2:18 2.) Goin' Back (Gerry Goffin - Carole King) - 3:26 3.) Natural Harmony (Chris Hillman) - 2:11 4.) Draft Morning (David Crosby - Chris Hillman - Roger McGuinn) - 2:42 5.) Wasn't Born To Follow (Gerry Goffin - Carole King) - 2:04
6.) Get To You (Chris Hillman -
Roger McGuinn) - 2:39 (side 2) 1.) Change Is Now (Chris Hillman - Roger McGuinn) - 3:21 2.) Old John Robertson (Chris Hillman - Roger McGuinn) - 1:49 3.) Tribal Gathering (David Crosby - Chris Hillman) - 2:03 4.) Dolphins Smile (David Crosby - Chris Hillman - Roger McGuinn) - 2:00 5.) Space Odyssey (Hippard - Roger McGuinn) - 3:52
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Genre: rock Rating: ***** (5 stars) Title: The Notorious Byrd Brothers Company: Columbia Catalog: CS-9575 Year: 1968 Country/State: US Grade (cover/record): VG/VG Comments: initials 'RHEG" on front cover (top right corner) Available: 1 Catalog ID: 4702 Price: $15.00
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!!
"Dr. Byrds & Mr, Hyde" track listing:
1.) (side 2) 1.)
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Genre: country-rock Rating: *** (3 stars) Title: Sweetheart of the Rodeo Company: Columbia Catalog: CS 9670 Year: 1969 Country/State: US Grade (cover/record): VG/VG Comments: -- Available: 1 GEMM catalog ID: Price: $8.00
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Gene Clark and Chris Hillman had long been country music enthusiasts and even the most casual fans would have to admit the genre always played an important role in the development of the band's unique sound. That said, up to 1969 the group had avoided a dedicated effort to explore their country roots/interests. That changed with the addition of former International Submarine Band singer/guitarist Gram Parsons to the line up.
Recorded in Nashville with Gary Usher again producing, release of
"Sweetheart of the Rodeo" was delayed several months when Lee Hazelwood's L.H.I. label threatened Columbia with a
lawsuit. Claiming Parsons was still under contract to L.H.I., the label demanded Parsons voice be deleted from any Byrds material (though he was allowed to furnish new material). Rather than fight the matter, The Byrds went back into the
studio with Hillman and McGuinn taking turns dubbing their voices over the Parsons-sung tracks. Musically material such as the traditional "I Am a Pilgrim", a cover of Bob Dylan's "You Ain't Going Nowhere" and Parson's "One Hundred Years from Now" featured a pure country sound. Perhaps not a major surprise, while Hillman sounded thrilled to be singing material dear to their heart, on tracks such as "The Christian Life" and "Pretty Boy Floyd" McGuinn sounded rather tentative and uncomfortable. Moreover, while there was no denying the band's enthusiasm and passion for the genre, the set left longtime rock fans confused. Still, backed by an American tour and positive critical reviews the collection hit #77. Not bad, but far below earlier sales. (Naturally, three decades later the set's an acknowledged groundbreaking classic.) The results ignited another round of personnel changes: Hillman, Kleinow and Parsons defecting to pursue their interests in country music and to start The Flying Burrito Brothers (see separate entry).
1.) You Ain't Going Nowhere (Bob Dylan) - (side 2) 1.) Pretty Boy Floyd
(Woody Guthrie) -
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Genre: rock Rating: *** (3 stars) Title: Untitled Company: Columbia Catalog: G 38127 Year: 1970 Country/State: US Grade (cover/record): VG / VG Comments: gatefold sleeve; double LP Available: 1 GEMM catalog ID: 3 Price: $9.00
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1970's Jim Dickinson (live sides) and Terry Melcher (studio material) produced "Untitled" is one of those albums I pull out and play every couple of months when I need a blast of classic folk-rock. Interestingly, my opinion continually changes as to whether I like the concert sides or the studio material better.
Following the release of "Easy Rider" Roger McGuinn had begun a collaboration with clinical psychologist/musical producer Jacques Levy on a country-rock concept set (tentatively entitled "Gene Tryp"). The project was eventually abandoned, though McGuinn salvaged several of the songs for "Untitled". In the meantime having finally settled down into a fairly stable line up consisting of bassist Skip Battin, Roger McGuinn, drummer/multi-instrumentalist Gene Parsons and singer/guitarist Clarence White, McGuinn and Columbia Records decided to release a double LP set featuring a mixture of live material and new studio numbers (including some of the "Gene Tryp" numbers.
Kicked along by White's country tinged guitar flourishes the band's country-rock influences were quite apparent on tracks like the instrumental 'Nashville West', the oldies 'Mr. Tambourine Man' and 'Mr. Spaceman', but the overall sound was muddy, but surprisingly muscular. Showcasing a positively ominous sound and McGuinn's instantly recognizable Rickenbacher, The Byrds seldom rocked out harder than on the opener 'Lover of the Bayou', 'So You Want To Be a Rock 'n Roll Star' may have been harmony starved, but had a nice taunt edge, while their side long 'Eight Miles High' jam showcased some excellent guitar work, though clocking in at 16 minutes it quickly generated into mindless excess (do you really need to hear five minutes of a Skip Battin bass solo?). Interestingly, with the exception of McGuinn's 'Chestnut Mare' the studio sides were largely slammed by critics. Personally I like their country-rock outings. Sure, 'Chestnut Mare' was the last classic Byrds tune, but their Little Feat over 'Truck Stop Girl' (with White handling the lead vocal), 'Just a Season' (one of McGuinn's prettiest songs) and 'All Things' (the latter another "Gene Tryp" recovery project) were all enjoyable. For a double album set the collection certainly sold well,. eventually going top-40 while the single 'Chestnut Mare' b/w 'Just a Season' (Columbia catalog number 4-45259) also did well.
"Untitled" track listing: 1.) Lover of the Bayou (Roger McGuinn - Jacques Levy) - 3:40 2.) Positively 4th Street (Bob Dylan) - 2:03 3.) Nashville West (instrumental) (Graham Parsons - Clarence White) - 2:00 4.) So You Want To Be a Rock 'n Roll Star (Chris Hillman - Roger McGuinn) - 2:37 5.) Mr. Tambourine Man (Bob Dylan) - 2:18 6.) Mr. Spaceman (Roger McGuinn) - 3:11
(side 2) 1.) Eight Miles High (Roger McGuinn - David Crosby - Gene Clark) - 16:15
(side 3) 1.) Chestnut Mare (Roger McGuinn - Jacques Levy) - 5:10 2.) Truck Stop Girl (Lowell George - Bill Payne) - 3:19 3.) All Things (Roger McGuinn - Jacques Levy) - 3:05 4.) Yesterday's Train (Gene Parsons - Skip Battin) - 3:32 5.) Hungry Planet (Skip Battin - Kim Foley - Roger McGuinn) - 5:00
(side 4) 1.) Just a Season (Roger McGuinn - Jacques Levy) - 3:54 2.) Take a Whiff (On Me) (arranged Clarence White - Roger McGuinn) - 3:28 3.) You All Look Alike (Skip Battin - Kim Foley) - 3:04 4.) Well Come Back Home (Skip Battin) - 7:45
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Genre: rock Rating: *** (3 stars) Title: Byrdmaniax Company: Columbia Catalog: KC 30640 Year: 1971 Country/State: US Grade (cover/record): VG+/VG+ Comments: minor ring, edge and corner wear; gatefold sleeve Available: 2 Catalog ID: 1083 Price: $10.00
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This is an album I've owned since I was sixteen - bought it at a Northern Virginia Penguin Feather pretty much based on the fact it sporting one of the most memorable covers I'd ever seen - the inner sleeve showed how they did it. That said, it is an album that has consistently frustrated me. Every couple of years I'll pull out a copy and give it a spin in the hopes I'll capture some of the allure others hear in it. That connection has happened yet.
left to right: Clarence White - Skip Battin - Gene Parsons - Roger McGuinn
Co-produced by Terry Melcher and Chris Hinshaw, 1971's
"Byrdmaniax" found the band
continuing to cast around for musical
cohesion and direction. With creative mainstay Roger McGuinn contributing four tracks, the remaining selections were divided between
what seemed to be a Gram Parsons leftover (the bluegrass instrumental
'Green Apple Quick Step'),
three tracks from Skip Battin and co-writer Kim Fowley, and three
outside covers. Musically diverse, the set included stabs at gospel
('Glory Glory'), country ballads ('Pale Blue'), Dylan (check out the uncanny resemblance on
'Tunnel of Love'), and even weird 30s-cabaret ('Citizen Kane'). While the entire set was listenable, it was seldom truly
exciting; almost sounding like a collection of miscellaneous odds and ends
that had been cobbled together as one of those dreaded contractual
obligation sets. Best of the lot were McGuinn's 'I Trust' and an early cover of Jackson Browne's
'Jamaica Say You Will"' Absent an American supporting tour (the band briefly toured England), or a hit single, the collection peaked at
# 64. 1.) Glory, Glory (Art Reynolds) - 4:03 rating: **** stars Say what you will about this early-'70s Byrds line-up, but the fact of the matter is their cover of Art Reynolds's gospel tune was simply amazing. Kudos to Larry Knechtel for the amazing keyboards and Skip Battin for the nifty bass lines. Because it was one of the album's few openly commercial tracks, Columbia tapped it as the leadoff single.
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1971's 'Glory Glory' b/w 'Citizen Kane' (Columbia catalog number 4-45440) Lots
of fans think this was one of the album's standout performances. I'll
respectfully disagree. Musically it was plodding and
unimaginative ballad sounding a bit like a stoned hobo waiting for something
more interesting to do. McGuinn's voice sounded even more
nasally than usual and the heavy orchestration didn't help at
all. McGuinn
trying to pull off a Gene Clark tune ? The result was a nice
country-rock tune that echoed the band's past glories, but really didn't do
anything to improve on that past. Still, it was one of the album's
better tunes. I
can remember hearing this the first time and wondering if an un-credited Bob
Dylan was guesting on the lead vocal. Strange tune. No
idea why this flapper tune was included on the album, other than maybe they
didn't have enough material for an album. My goodness, I'd almost
rather hear a Randy Newman tune.
rating: *** stars Normally anything with Jacques Levy's fingerprints on it would be a cause for concern, but 'I Wanna Grow Up To Be a Politician' was cynical and goofy that you had to smile. YouTube has a mid-'80s McGuinn solo, acoustic performance of the tune. I have no idea what the explanatory opening monologue has to do with the song ... https://www.youtube.com/watch?v=l_r-rc1k-cA
(side 2) 1.) Absolute Happiness (Skip Battin - Kim Fowley) - 2:36 rating: *** stars 'Absolute
Happiness' featured one of Battin's better vocals (he sounded a bit like
Arlo Guthrie on this one), and a pretty melody, but ultimately nothing
spectacular, or particularly memorable. I'm guessing this instrumental was left over from earlier sessions ... Byrds-styled bluegrass which did very little for me, but will doubtless send Gram Parsons fans into fits of frenzy. 3.) My Destiny (H. Carter) - 3:59 rating: ** stars Keyboard-powered
gospel tune that left me cold. Supposedly
written as par of an attempt to adapt Henrik Ibsen's play "Peer
Gynt" I'll readily admit 'Kathleen's Song'
was one of the prettiest things McGuinn ever wrote. Very
attractive folk feel with some of the album's best
orchestration. One of the highlights from the late Clarence White's brief Byrds career. Probably won't make you forget the Jackson Browne original, but undoubtedly stands as the best cover of the tune.
Curiously, a second single was released outside of the US:
- 1971's 'I Trust (Everything Is Gonna Work Out Right) b/w 'This Is My Destiny' (Columbia catalog number 7253)
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Genre: rock Rating: *** (3 stars) Title: Farther Along Company: Columbia Catalog: KC 30150 Year: 1971 Country/State: US Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 1083 Price: $10.00
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Over the years "Farther Away" has cultivate rather favorable commentary and while I'll readily admit it had its share of late-inning treasures, the collection doesn't even come close to classic status.
With 1970's "Byrdmaniax" having proved a modest seller, Columbia management wasted little time pressuring the band for new product. On tour in England, the band responded taking advantage of a break in their tour to go into a London studio and record new material. Working without a producer, the band reportedly completed eleven songs over a five day period. Unhappy with former producer Terry Melcher's heavy orchestration on the previous LP, the band went out of their way to ensure the new material included little in the way of elaborate arrangements. Other than the stripped down sound, the album sounded like a continuation of the previous release with Roger McGuinn and company struggling to come up with a sound to match changing public tastes. All four members contributed to the songwriting chores. and like "Byrdmaniax", the collection found the band taking stabs at a wide array of genres, including bluegrass (the instrumental 'Bristol Steam Convention Blues'), bar band boogie ('B.B. Class Road'), country ('Bugler'), and conventional jangle rock ('Tiffany Queen'). It was clearly better than the previous set, but sounded rushed and under-produced.
"Farther Along" track listing:
1.) Tiffany Queen (Roger McGuinn) - 2:40 rating: *** stars Far from a classic Byrds tune, but compared to the last couple of albums, 'Tiffany Queen' at least demonstrated that McGuinn and company hadn't completely lost the ability to write a rocker. Supposedly inspired by McGuinn's then-wife, the song had some nice Chuck Berry nods throughout. YouTube has a live mid-'80s clip of McGuinn performing the tune. Interesting to see the crowd trying to figure out how to dance to the tune. https://www.youtube.com/watch?v=f3pnq-FwR5s 2.) Get Down Your Line (Gene Parsons)- 3:25 rating: *** stars Surprisingly uplifting, Parsons' 'Get Down Your Line' was one of those songs that took awhile for me to warm up to. 3.) Farther Along (traditional arranged by Clarence White) - 2:56 rating: **** stars Even though I'm not a big bluegrass fan, I'll readily admit the title track was something special. Clarence White on lead vocals with Gene Parsons providing harmonies. Ironically, when White was struck and killed by a drunk driver, this was the tune The Byrds sang at his funeral. 4.) B.B. Class Road (Gene Parsons - Stuart Dawson) - 2:15 rating: ** stars Geez, who would have ever thought The Byrds would record a pro-forma slice of bar band boogie like this ... With Parsons handling the lead vocals (apparently trying his hardestt to sound like bar band singer), the result was third tiier Nighthawks and pretty much a waste of vinyl/ 5.) Bugler (Larry Murray) - 3:06 rating: **** stars Even
better than 'Farther Along', the stunningly sweet 'Bugler' was one of those
tunes that you simply couldn't shake out of your head. Country
for people that don't like country. Apparently written for a pet
dog, given White's death, the lyrics were prophetic and tragic: "One
day Ma she brought the news
(side 2) 1.) American's Great National Pastime (Skip Battin - Kim Fowley) - 2:56 rating: **** stars Surrounded by an old-school Vaudevillian melody, 'American's Great National Pastime" captured Battin and The Byrds at their most ironic and hysterical. Always wondered if anyone approached Coke about commercial possibilities in the jingle arena, though I suspect they probably would have had some issues with the song's comparison of coke to cocaine. Columbia released the song as a single.
- 1971's 'American's Great National Pastime' b/w 'Farther Along' (Columbia catalog number 4-45514) 2.) Antique Sandy (Roger McGuinn - Skip Battin - Gene Parsons - Clarence White, Jimmi Seiter) - 2:12 rating: *** stars As a true songwriting collaboration, 'Antique Sandy' was a rarity. Unfortunately, at least to my ears, McGuinn sounded tired on this one ... yeah, his sound remained instantly recognizable, but the song itself wasn't particularly memorable, or enjoyable. 3.) Precious Kate (Skip Battin - Kim Fowley) - 2:48 rating: *** stars I liked the petty melody, but for some reason McGuinn decided to trot out his worst Dylan-esque vocals. This was like listening to someone take sandpaper to your turntable. 4.) So Fine (Johnny Otis)- 2:36 rating: ** stars I'm usually a big bass fan, but for some reason Battin's performance on this cover of the old Fiestas hit cover bugged the crap out of me. 'Course I didn't particularly like the rest of the song. 5.) Lazy Waters (Bob Rafkin) - 3;31 rating: *** stars Well, it had a nice electric guitar solo and some nice harmony vocals. Can't say I thought much of Battin's lead vocals. 6.) Bristol Steam Convention Blues (instrumental) (Gene Parsons - Clarence White)- 2:38 rating: *** stars Parsons was apparently a major train buff and reportedly wrote the song in frustration after he was unable to attend a major train convention (aka the Bristol Steam Convention). Musically is was a straight-ahead bluegrass instrumental that was technically quite impressive with some nice banjo and mandolin, but way too country for my tastes
Commercially the album proved a major disappointment, peaking at # 152. The band continued touring for the next year, but by early 1973 McGuinn disbanded what was left of the line-up in order to record an album with the original Byrds line-up.
Depending on who you trust, Battin quit, or was fired. He reappeared as a member of The Purple Riders of the New Sage.
Parsons was fired in July 1972 and subsequently joined The Flying Burrito Brothers.
In July 1973 Clark was killed by a drunk driver.
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Genre: rock Rating: *** (3 stars) Title: Byrds Company: Asylum Catalog: SD 5058 Year: 1973 Country/State: US Grade (cover/record): VG+/VG+ Comments: gatefold sleeve; minor cover wear Available: 1 Catalog ID: 111 Price: $15.00
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Given the acrimonious circumstances surrounding the breakup of the original Byrds line-up, the fact the five principals agreed to reunite for this 1973 set is a minor miracle. While the results may not have come close to their prime mid-1960s catalog, I'll step away from most of the critics and tell you the results weren't bad. A bit too country-tinged for my tastes, but still generally enjoyable.
I'm no Byrds scholar, but as I understand the circumstances, following the release of 1972's "Farther Along" Roger McGuinn had grown frustrated with growing personnel issues within the band and decided to retire The Byrds nameplate. That decision was set aside when the original line up of McGuinn, Gene Clark, Michael Clarke, David Crosby and Chris Hillman decided to reunite. The reunion itself seems to have been based more on economical necessities than artistic desire. While all of the members had enjoyed post-Byrds careers, with the exception of Crosby, none had done particularly well financially. With that in mind, as early as 1971 the five original members had been talking about a reunion project. The reunion took off when Asylum president David Geffen offered to finance a Byrds reunion. With Crosby assigned production duties "The Byrds" was billed as a true Byrds reunion, but from a musical standpoint there was precious little collaboration between the five. Clark, Crosby, McGuinn and Hillman were each represented by two compositions, with the track listing rounded out with a cover of Joni Mitchell's 'For Free' and a pair of Neil Young covers ('Cowgirl In the Sand' and '(See the Sky) About To Rain'). The results sounded very much like a musical cooperative (a-la Beatles "White Album"), as opposed to a true band effort - note the cover lists each members name. It also meant the album was dependent on the caliber of material each of the songwriters brought to the recording sessions and with the exception of Clark, it sounded like the other participants kept their best tunes for planned future solo releases. With Hillman and McGuinn actively touring during the recording sessions with Manassas and a late inning version of The Byrds, what you got was a somewhat haphazard collection of previously written and recorded numbers (McGuinn's 'Born To Rock 'n Roll' and Crosby's 'Laughing'), passable new efforts (Hillman's 'Borrowed Time' and McGuinn's 'Sweet Mary'), and the three cover tunes.
And if you had to rate each member's contributions, how would they come out?
# 1 - Gene Clark; great voice; one nice original in 'Changing Heart' and an even better remake ('Full Circle'), plus credit for pushing the band to include the two Neil Young covers. # 2 - David Crosby; great vocals on all three of his leads; nice original in 'Long Live the King' and a decent remake of 'Laughing'. # 3 - Chris Hillman - turned in the most likeable performance on the album via 'Things Will Be Better', which was somewhat offset by the forgettable 'Borrowed Time' # 4 - Roger McGuinn - two of the album's duller songs, though he turned in a couple of nice moments on lead guitar, including some signature jangle rock on '(See the Sky) About To Rain'
"Byrds" track listing: 1.) Full Circle (Gene Clark) - 2:43 rating: **** stars I always felt Gene Clark was the band's secret weapon and he showed that again with the breezy opener 'Full Circle'. Normally a country track like this wouldn't have done a great deal for me but Clark's clear voice, coupled with the group's shimmering backing vocals and Hillman's mandolin made for one of those songs that's hard to shake out of your head, In spite of the apt title and lyrics, the song was actually written before The Byrds reunion and had previously appeared on Clark's 1972 "Roadmaster" album under the title 'Full Circle Song'. Asylum also tapped it as the lead-off single.
- 1973's 'Full Circle' b/w 'Long Live the King' (Asylum catalog number AS 11016) Billboard # 109 pop charts 2.) Sweet Mary Roger McGuinn - Jacques Levy) - 2:55 rating: ** stars Co-written by McGuinn and Jacques Levy, 'Sweet Mary' featured a folk-ish sound. While McGuinn's instantly recognizable voice was in good form, the song itself wasn't anything special. Hillman's mandolin again provided the major draw. 3.) Changing Heart (Gene Clark) - 2:42 rating: *** stars With Clark returning to the spotlight, 'Changing Heart' offered up another breezy country-rock number. Clark handled lead vocals and the harmonica solo, while the rest of the band contributed sterling harmony vocals. One of the album's most commercial offerings. 4.) For Free (Joni Mitchell) - 3:50 rating: *** stars Crosby's laconic cover of Joni Mitchell's 'For Free' was pretty, but hardly earth shattering. Kind of funny to head one of America's best known bands singing a tune about playing music for the fun of it ... 5.) Born To Rock 'n Roll (Roger McGuinn) - 3:12 rating: ** stars Side one ended with the album's first true rocker - McGuinn's 'Born To Rock 'n Roll'. Recorded with an earlier Byrds line-up and shelved, I've go to tell you this re-recorded version wasn't particularly impressive. McGuinn apparently felt the same way about the performance, subsequently re-recording the song a third time for his 1975 solo album "Roger McGuinn & Band". In case anyone cares, the third version wasn't much better.
(side 2) 1.) Thing Will Be Better (Chris Hillman - Dallas Taylor) - 2:13 rating: **** stars Co-written with Manassas alumnus Dallas Taylor, seven years after the original line up called it quits, Chris Hillman finally got a shot at the spotlight with 'Thing Will Be Better' and in doing so he came the closest to capturing the original line-up's magic. The lyric featured another life-is-tough-as-a-rock-star lyric, but the melody was a charming, up-tempo effort with McGuinn's best guitar work. This one should have been a major hit for the band. The track was released as a single in the UK and throughout Europe:
1973's 'Things Will Be Better' b/w 'For Free' (Asylum catalog number AYM 516) 2.) Cowgirl In the Sand (Neil Young) - 3:24 rating: *** stars Clark was reportedly the driving force in the decision to include a pair of Neil Young covers and he handled lead vocals on 'Cowgirl In the Sand'. The band's wonderful talent for harmony vocals was spotlighted on this one giving the song kind of a pseudo-CSN&Y feel. It was tapped as the second US single:
- 1973's 'Cowgirl In the Sand' b/w 'Long Live the King' (Asylum catalog number AS 11019) -3.) Long Live the King (David Crosby) - 2:17 rating: *** stars Another look at the star making system, Crosby seldom sounded as pissed off as on 'Long Live the King' though the presence of a third set of life-is-tough-as-a-rock-star lyrics did little to improve the song. In contrast, McGuinn turned in a tasty lead guitar on this one. It's a tune that's grown on me over the years. 4.) Borrowed Time (Chris Hillman - Joe Lala) - 2:00 rating: ** stars The second Hillman contribution (co-written with Joe Lala), 'Borrowed Time' was catchy enough, but didn't have much staying power. 5.) Laughing (David Crosby) - 5:38 rating: **** stars Crosby retook the spotlight with a remake of 'Laughing'. Crosby wrote the song in 1967 and it was originally planned as a Byrds release. The track subsequently made its debut on Crosby's 1971 "If I Could Only Remember My Name" album. This version got a slightly more conventional arrangement and included some cool raga-flavored McGuinn lead guitar. 6.) (See the Sky) About To Rain (Neil Young) - 3:49 rating: **** stars Thanks to Hilllman's mandolin and McGuinn's patented Rickenbacker, the band's cover of Young's '(See the Sky) About To Rain' ended the album on a high note. No matter how much you loved Young's original, you'll have to admit this version was much easier on the ears.
© Scott R. Blackerby June 2024
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Genre: rock Rating: **** (4 stars) Title: Sanctuary Company: Sundazed Catalog: LP-5061 Year: 2000 Country/State: US Grade (cover/record): VG/VG Comments: -- Available: 1 GEMM catalog ID: Price: $8.00
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I'm not going to even get into the details of this one. The first of a planned multi-set program, 2000's "Sancutary" is a must-own for anyone who calls themselves a Byrds fan. Full of original singles, alternate takes and a couple of previously unreleased efforts, this is classic Byrds from start to finish. Excellent liner notes to boot.
"Sanctuary" track listing: 1.) All I Really Want To Do (Bob Dylan) - 2:02 (single version) 2.) I'll Feel A Whole Lot Better (alternate version) (Gene Clark) - 2:28 3. You Won't Have To Cry (alternate version) (Gene Clark - Roger McGuinn) - 2:07 4.) It's No Use (alternate version) (Gene Clark - Roger McGuinn) - 2:24 5. She Don't Care About Time (version 1) (Gene Clark) - 2:36 6. It's All Over Now, Baby Blue (version 1) (Bob Dylan) - 3:04
7. The World Turns All Around Her (alternate
mix) (Gene Clark) - 2:12 (side 2) 1.) The Day Walk (Gene Clark) - 3:00 2.) Why (alternate version) Roger McGuinn - David Crosby) - 2:40 3.) John Riley (instrumental version) (instrumental) (traditional) - 3:10 4.) Psychodrama City (David Crosby) - 3:23 5.) Mind Gardens (alternate version) (David Crosby) - 3:14 6.) Lady Friend (David Crosby) - 2:31 7.). Old John Robertson (single version) (Roger McGuinn - Chris Hillman) - 1:05
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In spite of
lukewarm reviews from the critics (Rolling Stones' Jon
Landau described it
as "one of the dullest albums of the
year"), strong marketing by Asylum saw the album hit the
top-20 charts, though none of the singles made much of a sales impression.
The album certainly would have done better had the reunited
band followed through on a planned tour. McGuinn subsequently formally
disbanded The Byrds and within a matter of months each of the members had
returned to outside projects.
