![]() It also brought me local renown as a studio player and helped me make ends meet. Yet playing on the date was a benchmark in my life. Terry asked me if I could play Hammond B3. Terry Melcher and the fellows knew I could play keyboard. That spoke to the author’s non-commercial intent, which was something I could admire. The 3/4 format was a squaresville retro-recall to the waltz, so out of place post-twist, or any other dance step of the era. It reveals a spiritual awakening unburdened by any religious dogma. When I first heard them, having been invited to the studio recording, I remember feeling fortunate to sit in on a session that would reveal that quest, and The Byrds’ sober social role in it. VAN DYKE PARKS: These illuminated and self-examined lyrics to “5D” codified, in a capsule, the spiritual quest of ‘The ’60s’. US chart: 44Īfter Gene Clark’s departure, McGuinn’s musing on the infinite beyond was augmented by a young Van Dyke Parks on organ, instructed to “think Bach”. You want great Dylan covers, remember this title: Lo and Behold!, by forgotten folk-rockers Coulson, Dean, McGuinness, Flint, from the less mythic '70s.From Fifth Dimension (July 1966). The Byrds Sing Dylan īack in the mythic '60s, the Byrds got rich off Bob Dylan and made him richer in the bargain: "Mr Tambourine Man" was their first hit and his second, after Peter, Paul & Mary's "Blowin' in the Wind." The Byrds's world-turning folk-rock chime added trippy texture to "All I Really Want to Do" and "My Back Pages," and on 1968's Sweetheart of the Rodeo they deadpanned a definitive "You Ain't Goin' Nowhere." But no one has any need for Roger McGuinn's dull interpretations of "Just Like a Woman" and "Lay Lady Lay." Not for nothing is this man now plying the folk circuit. The original space cowboy deserves a testament, not an olio. Then pick a few more cuts-"Deportee," "Old Blue," "Child of the Universe"-from Easy Rider and Dr. Let Notorious and Sweetheart stand on their own (though one song apiece is acceptable anyway), leave the anachronistic "He Was a Friend of Mine" in the dustbin of history, and tell Skip Battin to make his own album. Thing is, a good statement could have been constructed. If their first greatest hits was (in Paul Williams's deathless phrase) "an essay into rediscovery," this one's a product into recouping. The Best of the Byrds: Greatest Hits Volume II In sum, better than Farther Along, but if you can only tell arithmetically how much difference can it make? B. Two good white gospel (a fundamentalist and a modernist) plus one good Roger McGuinn song (out of four, and he needed a collaborator) plus one good Skip Battin song (he needed a collaborator too-Kim Fowley). On that downhill road-to Kim Fowley, to songs about Antique Sandy and Precious Kate, to the day when the agent man collects what you owe him. I was, lots of times, and I guess I will be again, but mostly to demonstrate my devotion. The new songs are unworthy except for the anomalous McGuinn showcase "Chestnut Mare," the harmonies are faint or totally absent, and the live performance that comprises half this two-record set. ![]() I love them-or do I mean him?-too, but it finally seems to be ending. ![]() All the rock dynamics are fading, and what replaces them is thoughtful but not compelling. It improves with listening, especially at high volume, but Roger McGuinn does seem to be returning to his roots, which unfortunately lie deep in commercial folk music. ![]() I'm sorry to report that this is the poorest Byrds album. Never before did concept-master Roger (né Jim) McGuinn efface himself so disastrously on a Byrds album-and never after, either. David Crosby's "Mind Garden" is a completely unlistenable acid meander, while four (three too many) innocuous folk-rock cum countryrock tunes by Chris Hillman are a familiar-sounding example of how an uninteresting self does its number. But this April '67 failure suffers from two related '67 maladies: pretentiousness and self-expression. The Byrds' Greatest Hits, a profit-taking retrospective from later in the year, sounds like a triumph of produced and programmed rock and roll, while The Notorious Byrd Brothers and Sweetheart of the Rodeo, which followed it in '68, are two of the most convincing arguments for artistic freedom ever to come out of American rock. The Best of the Byrds: Greatest Hits Volume II B.
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