I am not including compilations in this Guide. The Byrds released a ton of different compilations both during their tenure and after. They are worth exploring on their full records, but if you do want the best conventional compilation, 2003’s The Essential Byrds **** probably does the best job. To get a real picture of their greatness and influence, the box set There Is a Season (2006) ***** is outstanding.
Mr. Tambourine Man (1965) *****
Folk, meet rock. Rock, meet folk. Now go change the music world with that jingle jangle sound.
Turn! Turn! Turn! (1965) ****
Doesn’t move the ball forward from Mr. Tambourine Man, but when you start a musical revolution, I guess you can be forgiven for consolidating your position for another record or so. Especially if the material is this great, even though there is some filler in the latter half. It has the heaviest Gene Clark presence of all of their records, and that is never a bad thing.
Fifth Dimension (1966) ****
Classic folk rock/psychedelic work sit amongst some filler, but the greatness outweighs the mediocre, justifying the rating. At the risk of reigniting this debate, I’ll say it again: “Eight Miles High” is the greatest single of the 1960’s.
Younger Than Yesterday (1967) ***
The last record from the first groundbreaking phase. With the departure of Gene Clark the year before, David Crosby and Chris Hillman are given more room to stretch their wings here alongside leader Roger McGuinn. Generally speaking, that is a good thing, although when you give Crosby too much rope you get “Mind Gardens.”
The Notorious Byrd Brothers (1968) *****
How such a gorgeous, mysterious, folk-psychedelic masterpiece of a record came out of such turmoil and transition is pretty amazing. If only all divorces could sound so tranquil. (You want to hear how acrimonious it gets? The newer version has some great bonus tracks, including a 24 minute take of a song that mostly consists of arguing and studio acrimony, it is a fascinating window into the studio process, centering on a heated exchange about Michael Clarke’s drumbeat for some song). Listening to individual tracks of this one does not work very well, it is really a case of the whole being much greater than the parts. But as a listening experience from start to finish, it is hard to beat for creating a mood. Crosby and Clarke would both be gone before the next record.
Sweetheart of the Rodeo (1968) ***
Let me explain. I had real trouble rating this one. It is unquestionably one of the most important records ever released, it is viewed with awe by most musicians who stride the line between country and rock, and it is the only Byrds record recorded during mythic figure Gram Parsons’ tenure as a Byrd. I just don’t really like it all that much and I have never understood the Parsons worship. The music here is good, but it “just” sounds like a good country record to me, nothing more. If this record guide is really from the Dez point of view, I can’t go above three stars, just note that most record guides and critics and music history books would have this firmly in five star territory for its massive influence.
Preflyte (unreleased material recorded pre-Mr. Tambourine Man) (1969/1964) ***
Gram Parsons and Hillman left The Byrds after Sweetheart (to form The Flying Burrito Brothers so they could further explore their country/rock fusion), and the Byrds were once again in flux as McGuinn tried to assemble a new line-up. In the meantime, they released this interesting stopgap collection of early recordings from the original group. Mainly of interest to Gene Clark enthusiasts.
Note: The Byrds line-up is pretty stable from here on out, and this latterday Byrds has many admirers, including myself. The records themselves are less consistent than during their most celebrated period, but there is much to love. As important as McGuinn during this time is the jawdropping, fluid guitar playing of Clarence White. I think these later records settle on a more authentic and intriguing country/rock fusion than the more celebrated Sweetheart of the Rodeo, which to me sounds like just a country record without much rock.
Dr. Byrds and Mr. Hyde (1969) ***
Dark and strange, you can hear them still trying to find their sound with the new line-up.
Live at the Fillmore 1969 (live) (2000/1969) ***
Ragged live outing from the newly formed latterday Byrds line-up. Of interest mainly for Clarence White’s guitar flights.
Ballad of Easy Rider (1969) ****
Breezy country/rock/folk gem featuring a gorgeous cover of Dylan’s “It’s All Over Now, Baby Blue.”
Untitled (part live, part studio) (1970) ***
Many critics view this as the peak of the latterday Byrds, although I prefer Easy Rider. It is a bit bloated, as most double albums are, but there are some fantastic individual tracks to be found.
Live At Royal Albert Hall (live) (2008/1971) ***
Read the Fillmore review above and repeat.
Byrdmaniax (1971) **
Buried under the horrid overproduction provided by producer Terry Melcher, there are actually some very good songs here. The production ruins it. Fans have been asking McGuinn for years to get his hands on these tapes and to remix and remaster it so we can hear what they actually intended.
Farther Along (1971) ***
The Byrds were so displeased by the hatchet job Melcher did on Byrdmaniax, they rushed this self-produced follow-up out within six months. It has some great songs (“Bugler” is gorgeous), but overall it is an unremarkable finale to this Byrds line-up.
Byrds (1973) *
Much ballyhooed reunion of the original Byrds line-up (McGuinn, Clark, Crosby, Hillman and Clarke) turns out to be a bust; only Gene Clark delivers the goods, the rest seem to have been there to collect the paycheck.
Never Before (rarities and outtakes compilation) (1987) Not Rated.
Bottom Line: The Byrds were one of the most important and influential bands in the world from 1965-68. All of that material is essential stuff, even if some of it hasn't aged as well as it should. But don’t overlook the later material, it has substantial charms of its own.
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