The Byrds
| The Byrds | |
|---|---|
.jpg) The Byrds (1970) |
|
| General information | |
| Genre (s) | Rock , folk rock , country rock , psychedelic rock |
| founding | 1964 |
| resolution | 1973 |
| Founding members | |
| Roger McGuinn | |
Vocals, guitar |
Gene Clark (until 1966) † 1991 |
Vocals, guitar |
David Crosby (until 1967) |
| Chris Hillman (until 1968) | |
| Michael Clarke (until 1967) † 1993 | |
| Last occupation | |
Vocals, guitar |
Roger McGuinn |
Vocals, guitar |
Gene Clark (again since 1973) † 1991 |
Vocals, guitar |
David Crosby (again since 1973) |
Vocals, bass |
Chris Hillman (again since 1973) |
Drums |
Michael Clarke (again since 1973) † 1993 |
| former members | |
Drums |
Kevin Kelley (1968) |
Vocals, guitar |
Clarence White (1968–1973) † 1973 |
Vocals, bass |
John York (1968-1969) |
Vocals, bass |
Skip Battin (1969–1972) † 2003 |
Vocals, guitar, keyboards |
Gram Parsons (1967–1968) † 1973 |
Vocals, drums, guitar, banjo, mandolin, harmonica |
Gene Parsons (1968–1972) |
The Byrds were an American rock band . As pioneers of folk and country rock , their band members founded one of the most influential music groups of the 1960s and early 1970s in Los Angeles, California.
Band history
Beginnings
In the early 1960s, some young folk and bluegrass musicians got together in Los Angeles . The from Chicago native Roger McGuinn (born July 13, 1942 as James Joseph McGuinn III, in short: Jim McGuinn) had already worked with numerous bands and musicians and spoke several instruments. Originally emerging from the folk movement, it was mainly influenced by the Beatles . He changed his first name to Roger in 1967 after an Indian guru advised him to do so.
Gene Clark (born November 17, 1944 as Harold Eugene Clark, † 1991) was born in rural Tipton / Missouri and was enthusiastic about country and bluegrass in his childhood , but then switched to folk music. He was a seasoned songwriter who first sold a track at the age of fourteen. In 1963 he joined the New Christy Minstrels , who were at the height of their popularity in those years. In early 1964 he moved to Los Angeles, where he met McGuinn at a club. The two discovered their common love for the Beatles and decided to perform as a duo from then on.
In the same club, the Los Angeles native David Crosby (born August 14, 1941 as David van Cortlandt Crosby) occasionally appeared . Crosby was a spoiled, rebellious son of wealthy parents. He was expelled from several schools and came into conflict with the law early on. Folk music finally gave him the opportunity to realize himself. Crosby, Clark, and McGuinn hit it off right away. The producer and manager Jim Dickson , who had recently founded Tickson Music with his partner Eddie Tickner and $ 200 , offered to help the trio. Dickson had the advantage of having night access to the Hollywood or World Pacific recording studio that a friend owned. So his protégés, who called themselves “Jet Set”, were able to rehearse undisturbed and record demo tapes.
The drummer Michael Clarke (born June 3, 1946 as Michael James Dick, † 1993) was hired. Jim Dickson finally persuaded Chris Hillman (born December 4, 1944), a young mandolin player, to join "Jet Set" as a bassist. The bluegrass musician Hillman had already made a name for himself as a member of the Golden State Boys (later renamed "The Hillmen"), where he had played country music with the brothers Rex and Vern Gosdin .
In October 1964 was released by the independent Elektra - Label the single Please Let Me Love You , which remained however largely unnoticed. To give the band a British touch, the label changed the group name to "Beefeaters" .
1964–1966 First successes with folk rock
In lengthy studio sessions, the band gradually developed a characteristic sound, which was shaped by the electric twelve-string Rickenbacker- 360 guitar Jim McGuinn (who later changed his first name to Roger) with its bell-like rattling, McGuinn's monotonous-nasal chanting and three-part harmony singing . The musicians formed the first rock group with an "electrified" folk repertoire. Gene Clark wrote most of the songs, some together with McGuinn. One day, Jim Dickson proposed to play the Bob Dylan title of Mr. Tambourine Man . The three spokesmen McGuinn, Clark and Crosby were firmly against it. It wasn't until Bob Dylan showed up in person in the studio and expressed his interest in the new band that the musicians changed their minds.
The band had their first appearances in the clubs in the vicinity. The record label Columbia Records became aware of the young musicians and took them under contract in November 1964, initially only including McGuinn, Clark and Crosby. Hillman and Clarke followed six months later. First a new name was sought. They decided on birds (English birds or young girls ). To avoid ambiguity, the “i” was replaced by a “y” (based on the y in Bob Dylan).
Under the guidance of the young producer Terry Melcher , a son of the actress and singer Doris Day , Mr. Tambourine Man was recorded on January 20, 1965 . Chris Hillman and Michael Clarke were represented by studio musicians from the Wrecking Crew . The Gene Clark composition I Knew I'd Want You was selected as the B-side. The conservative CBS management shied away from the release of the single; it wasn't until Bob Dylan intervened again that they changed their minds. Then on April 12th, Mr. Tambourine Man was released. After a few weeks, the song reached number one on the Billboard charts. An engagement as the opening act for the Rolling Stones added to their popularity.
On June 21, 1965, the debut album Mr. Tambourine Man and the next single, the Dylan composition All I Really Want to Do , were released. The song made it to number 40 on the Billboard Top 100. In August, the Byrds traveled to England immediately after a grueling US tour, where they were heralded as "America's answer to the Beatles". Her press secretary at the time was Derek Taylor , who had previously worked for the Beatles. Concerts, club appearances, press conferences and TV shows followed one another with practically no breaks. The musicians, who struggled with health problems and inadequate equipment, encountered an often negative audience. The press also reported mostly negative.
The Byrds' third single, the Pete Seeger song Turn! Turn! Turn! , which had previously been interpreted by Judy Collins , appeared after long and arduous recording sessions in early October 1965 and reached number one on the Billboard charts. Under considerable time pressure from the record company, which did not want to miss the Christmas business, an album of the same name was then completed. There were often arguments in the band, some of which degenerated into fights. The trigger was usually the self-centered David Crosby, who felt relegated to the musical leaders Roger McGuinn and Gene Clark. Power struggles within the group ultimately led to the replacement of the successful producer Terry Melcher, who had never managed to build a real relationship with the individual musicians (with the exception of McGuinn).
The Byrds increasingly broke away from their folk roots and mentor Bob Dylan. The Beatles, John Coltrane and especially the Indian Ravi Shankar became new musical models. The sitar was adapted by the twelve-string Rickenbacker McGuinns. On March 14, 1966, the single Eight Miles High written by Gene Clark was released. The title was about a flight from Los Angeles to London ("eight miles high"), but was understood by many to enclose an LSD high ("trip") (LSD is one of the most powerful hallucinogens known ). The psychedelic sounding did the rest: numerous radio stations boycotted the song. The single made it to number 14.
1966–1967 The Byrds without Gene Clark
In March 1966, Gene Clark left the Byrds. The main reasons were fear of flying and touring stress. However, he often felt insufficiently recognized by the other group members, who envied him because of his success as a songwriter (and the royalties that came with it). Crosby's aggression, which often targeted the unstable Clark, may also have played a role.
Meanwhile, with groups like The Lovin 'Spoonful , Simon & Garfunkel or The Mamas and the Papas, competitors had emerged who penetrated the musical terrain of folk rock that the Byrds had developed. Her next single, the McGuinn song Fifth Dimension , only reached a middle spot on the Billboard Hot 100 . With great effort, an album of the same name was then completed, which musically differed significantly from its two predecessors. There was a threat of relegation or even a final breakup of the quartet.
In this situation, musicians and management got together again and concentrated on the production of the next album, Younger Than Yesterday , which was recorded in just eleven days at the end of 1966. It contained the song So You Want to Be a Rock 'n' Roll Star , released shortly before as a single , with which the Byrds commented on the genesis of the Monkees in a bitingly ironic way . Other tracks were contributed by Chris Hillman, who first appeared as a songwriter. Guitarist Clarence White , who played two songs, also made his debut with the Byrds here. After Clark left, Crosby had more and more to the fore and competed with McGuinn for musical supremacy in the group. He announced several times that well-known musicians (such as Stephen Stills ) were interested in working with him.
Despite all internal problems, the band managed a triumphant appearance at the Monterey Pop Festival in June 1967 . However, the rebellious Crosby stood on stage with Buffalo Springfield without consulting the others and thus initiated his exit from the band. The following weeks were marked by arguments and jealousies. At Crosby's instigation, manager Jim Dickson was replaced by Larry Spector. In October, McGuinn and Hillman Crosby announced that he was no longer wanted by the Byrds.
For a short time, the Byrds continued their career as a trio. Gene Clark's return failed because of his mental health problems. At the end of 1967 they separated from the drummer Michael Clarke. The Byrds consisted only of Roger McGuinn and Chris Hillman.
1968 Gram Parsons and country music
In January 1968, Kevin Kelley, a new drummer, was hired. Kelley was Hillman's cousin and had worked with Ry Cooder . A little later, the album The Notorious Byrd Brothers was released, which had previously been recorded by McGuinn, Hillman, Clarke (and Crosby for some songs) and studio musicians.
Another musician was wanted, a jazz pianist at McGuinn's request. At the mediation of Hillman, the highly talented multi-instrumentalist Gram Parsons (born November 5, 1946 in Winter Haven, Florida , † 1973), who had previously played with the International Submarine Band , was engaged in early 1968 . McGuinn was poorly informed about Parson's past as a country musician. He soon succeeded in winning the bluegrass enthusiast Hillman over to his side. Together they convinced McGuinn to try the fusion of country music and rock. McGuinn was basically ready to break new musical territory and postponed his jazz plans to a later date. Gram Parsons, who musically dominated the Byrds within a very short time, pushed through a change of location to Nashville , the ultra-conservative center of country music. With noticeably shortened hair you even had an appearance in the Grand Ole Opry . The album Sweetheart of the Rodeo was recorded in the local CBS studio with the support of well-known session musicians from the country scene . Never before had an established band made such a radical change in style. The album featured classic country instruments such as fiddle and steel guitar . Some songs had religious content. The Byrds were once again one step ahead of everyone else. Dylan's Nashville skyline wasn't to come until later. But despite mostly good reviews, the album didn't sell too well.
To the public, McGuinn continued to be the unrestricted front man, but musically Gram Parsons had gained the upper hand. He continued to do his best to keep the Byrds on country course. An attempt to establish steel guitarist Jay Dee Maness (and a little later Sneaky Pete Kleinow ) as an official member of the Byrds failed because of McGuinn's resistance.
In July 1968 a tour through South Africa was due. The night before the flight to Johannesburg, Gram Parsons jumped off. The remark of his idol Keith Richards , "You don't go to South Africa", had triggered this step. Chris Hillman went into a tantrum, but Roger McGuinn was relieved to get rid of the dominant Parsons. The tour turned into a disaster. The known poor live performance of the Byrds deteriorated dramatically due to the loss of their musical genius. Fortunately, there was a grateful and undemanding audience, so that the negative consequences were limited.
1968–1969 The Byrds without Chris Hillman
In August 1968, a worthy successor to Gram Parsons was found in the bluegrass musician Clarence White (1944–1973, * in Lewiston, Maine ). White had previously been a member of the Kentucky Colonels and founded the Nashville West group in 1966 . Here was also the drummer Gene Parsons (born September 4, 1944 in Los Angeles, not related to Gram Parsons ) member, who replaced Kevin Kelley.
Chris Hillman gave up almost at the same time as Gene Parson's engagement. Dissatisfied with the chaotic conditions within the band for a long time, a dispute with manager Larry Spector was the last trigger. The founding member of the Byrds withdrew bitterly to then resurrect the Flying Burrito Brothers together with Gram Parsons and Sneaky Pete Kleinow . As a replacement John York (born August 3, 1946 in White Plains New York (state) ) was hired, who had previously worked with Clarence White.
The constant staff and style changes inevitably had a negative effect on the band's public image. After the disappointing sales of the last album, they even got into financial difficulties. Nevertheless, it was possible to work with Dr. Byrds & Mr. Hyde to record an acceptable album that was again oriented towards country rock and contained a piece called Drugstore Truck Drivin 'Man that McGuinn had written with Gram Parsons. It was also the only Byrds album on which McGuinn sang all of the lead vocals.
1969–1973 successes as a live band
While the Byrds struggled to survive, David Crosby and his new companions Stephen Stills , Graham Nash and Neil Young made a triumphant debut at the Woodstock Festival . McGuinn, on the other hand, was still dissatisfied with his band. In September he replaced bassist John York with Skip Battin . In November the album Ballad of Easy Rider was released , which tried to follow the trend triggered by the film Easy Rider , but was in fact a mix of different styles. Only three songs were from band members themselves.
After a successful European tour in the summer of 1970, the Byrds began work on their next album, Untitled , which consisted of a studio and a live LP. It was almost able to match the level of the first albums. The success of the now superstar Crosby had once again aroused the group's ambitions. The new work was very successful commercially (including the single Chestnut Mare ). The idea of producing a mixed double album had brought the Byrds back into the public eye. In 1971 the Byrds were finally able to shed their once miserable reputation as a live band during their successful England tour. In the middle of the year the album Byrdmaniax was released , which caused controversy because of its dubious quality. The Byrds accused producer Terry Melcher of having spoiled the songs by adding background vocals and strings. He justified his actions with the claim that he had thereby upgraded a musically second-rate album.
In response to Byrdmaniax , the album Farther Along was recorded just a few months later . To avoid interference by the record company, it was produced in a London studio. The disputes within the group continued to grow. In July, McGuinn fired drummer Gene Parsons. He had often complained about the unjust distribution of the funds, but at the same time revealed clear musical weaknesses. John Guerin was used in recording sessions and concerts for a few months . Bassist Skip Battin was fired in May 1972. The band consisted only of Roger McGuinn and Clarence White. At the beginning of 1973 they both decided to go their separate ways. The Byrds had ceased to exist.
1973 Short-term reunification in the original line-up
In parallel to the activities of the Byrds, Roger McGuinn had been working on the preparations for the production of a reunion album with the original members for a long time. His dream was to come together every year in the future to record a joint album and give some concerts. The record companies were cooperative. Financial success was almost guaranteed. The first joint album, Byrds , was released in April 1973 on the Asylum label, to which David Crosby was under contract. Almost every member of the band contributed songs. The public response has not been overly positive. One had expected more from the stars. The Byrds themselves were also critical of their own work. They admitted that they did not spend enough time playing the songs and that they only achieved a mediocre result. The disappointment was so great that plans for a major US and North American tour were dropped.
McGuinn, the holder of the naming rights, was no longer interested in reviving the Byrds. Instead, he produced an ambitious solo album, which, despite the participation of Bob Dylan, only sold extremely poorly. In July 1973 there was a tragic accident. Clarence White, who has been the most important musical performer alongside McGuinn in recent years, was run over by a drunk driver and fatally injured after a concert appearance. Just months later, Gram Parsons died of a drug and alcohol overdose.
1977 Second Reunion (as McGuinn, Clark & Hillman)
In September 1977 Roger McGuinn and Gene Clark decided to work together as a duo. Chris Hillman joined at the end of the year. They no longer wanted to use the name Byrds because McGuinn only considered it appropriate for the entire original line-up and McGuinn, Clark and Hillman believed that their new music would appeal to both old and new fans. After several international tours, their first album together, McGuinn, Clark & Hillman , was released in February 1979 . It had little in common with the Byrds' sound and was received quite positively by the audience. It even contained a smaller hit with Don't You Write Her Off . After producing the second album, City , Clark dropped out and McGuinn and Hillman worked as a duo for a short time. They released the largely unnoticed McGuinn-Hillman album . In 1977 McGuinn had also founded the group Thunderbyrd . With the group The Peacemakers he also tried to build on the old successes of the "Byrds".
1990 Third Reunion (McGuinn, Crosby, Hillman)
In 1990 Roger McGuinn, David Crosby and Chris Hillman formed a short-lived Byrds reunion that resulted in four new studio recordings and a spectacular and documented concert as part of the Roy Orbison Tribute. As in 1965, Bob Dylan took part in the concert. With this project should be achieved that the two remaining founding members, Gene Clark and Michael Clarke, no longer toured as "The Byrds". A corresponding, subsequent process was lost for McGuinn, Crosby and Hillman. Gene Clark renounced the name until his death in 1991, but Michael Clarke performed under the same name, together with Skip Battin and others, until his death in 1992. In 1991, on the occasion of their induction into the Rock and Roll Hall of Fame , all five original Byrds met for the last time on stage.
meaning
In 1964, the year the band was founded, the musical experiences of the Byrds reflected the musical world of the whites in the USA. Roger McGuinn had worked with folk trios, Judy Collins and also Bobby Darin, who was one of the prominent rock 'n' roll stars in the 1950s and later turned to jazz. Gene Clark had been a member of the New Christy Minstrels, a quintessentially American youth choir that made it more popular with modern arrangements of folk songs. David Crosby had been convinced of jazz by his brother Ethan and combined his early solo repertoire with folk and blues. Chris Hillman had been a mandolinist in bluegrass formations.
These styles did not correspond to the general taste in music, but they did meet the need of many young people to break away from popular music, which had become shallow. In connection with social and political processes in society, a kind of “bohème” with centers such as Greenwich Village, in which artists of all stripes exchanged ideas, was founded. "Beatlemania" was initially rejected by these circles as being commercial and undemanding, but it ultimately had a highly attractive effect on young musicians, which led to elements of beat music (Merseybeat) being adapted to folk, blues, jazz and country. In the case of the Byrds, this mainly happened with American folk, especially in the form of the popular folk musicians Bob Dylan, Pete Seeger and others
The Byrds were also inspired by the tendency of the Beatles from 1965 to not serve the audience with familiar things, but to break new ground. Gene Clark's song Eight Miles High was connected to the jazz of John Coltrane, the poem Kız Çocuğu by the Turkish poet Nazım Hikmet was set to music as I Come and Stand at Every Door by McGuinn, David Crosby took courageous steps towards jazz and psychedelic, while Chris Hillman broke new ground in country music with his compositions.
The circle was closed in 1968 when the band was convinced, thanks to the "Mission" of Gram Parsons, to record an almost pure country album with Sweetheart of the Rodeo . The Byrds have since been considered the founders of the folk rock and country rock music styles. The elements of their music (folk, country, jazz and rock adaptations with sophisticated choir arrangements and the typical Rickenbacker guitar) are still the inspiration for many artists today. But especially their courage to break new ground musically and not to submit to the program of record companies, explains the great importance of this formation.
The Rolling Stone listed the Byrds ranked 45 of the 100 greatest players of all time .
Discography
|
Chart positions Explanation of the data |
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Albums | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Singles | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Albums
- 1965: Mr. Tambourine Man
- 1965: Turn! Turn! Turn!
- 1966: Fifth Dimension
- 1967: Younger Than Yesterday
- 1968: The Notorious Byrd Brothers
- 1968: Sweetheart of the Rodeo
- 1969: Dr. Byrds & Mr. Hyde
- 1969: Ballad of Easy Rider
- 1970: (Untitled)
- 1971: Byrdmaniax
- 1971: Farther Along
- 1973: Byrds
- 2000: Live at the Fillmore - February 1969
- 2008: Live at Royal Albert Hall 1971
- 2012: Preflyte
Compilations
- 1966: Mr. Tambourine Man / Turn! Turn! Turn!
- 1967: The Byrds Greatest Hits (US:
platinum) - 1968: New Sound
- 1969: Preflyte (test recordings from 1964)
- 1970: The Byrds
- 1971: Greatest Hits Vol. 2
- 1971: 1964-1971
- 1971: The Byrds (2 LPs)
- 1972: The Best of the Byrds - Greatest Hits, Volume II
- 1972: The Golden Era of Pop Music
- 1973: History of the Byrds
- 1973: The Golden Era of Pop Music - The Byrds II (2 LPs)
- 1974: The Byrds Sing Dylan
- 1975: GOVI Presents: Legendary Byrds
- 1976: Greatest Hits
- 1976: The Best Of
- 1976: Sweetheart of the Rodeo / The Notorious Byrd Brothers (2 LPs)
- 1976: The Return of the Byrds (2 LPs)
- 1978: The Byrds (2 LPs)
- 1979: The Byrds Play Dylan
- 1979: 20 golden hits
- 1980: The Original Singles 1965-1967
- 1981: Top Groups of Pop Music
- 1982: The Original Singles 1967–1969
- 1982: Rock Giants
- 1983: The Byrds
- 1983: The Very Best of the Byrds (2 LPs)
- 1985: Golden Highlights
- 1986: The Byrds Collection (UK:
silver) - 1987: Never Before
- 1988: The Best Of
- 1988: ... In the Beginning (The First Sessions - 1964)
- 1988: The Byrds
- 1988: The Very Best of the Byrds
- 1989: The Notorious Byrd Brothers + Turn! Turn! Turn! (Two Originals)
- 1989: The Byrds
- 1989: Two Originals (including Sweetheart of the Rodeo and Mr. Tambourine Man )
- 1990: Draft Morning - Best
- 1990: The Byrds Boxed Set (4 CDs)
- 1990: The Byrds (4 CDs)
- 1990: Full Flyte 1965-1970
- 1991: Free Flyte
- 1992: 20 Essential Tracks from the Boxed Set: 1965–1990
- 1995: Definitive Collection
- 1996: The Byrds
- 1996: Return
- 1996: Advanced Music
- 1997: The Very Best of the Byrds (UK:
gold) - 1997: Expanded Edition Album Sampler II (Promo)
- 1998: Byrd Parts
- 1998: great hits
- 1999: Birdy
- 2000: 12 Dimensions - The Columbia Recordings 1965–1972 (4 CDs)
- 2000: The Complete Sampler (Promo)
- 2000: Sanctuary
- 2000: Sanctuary II
- 2000: Sanctuary III
- 2001: The Preflyte Sessions
- 2001: Play the Songs of Bob Dylan
- 2002: Hits4Ever - The Best of the Byrds
- 2002: Columbia Singles '65 -'67
- 2002: Sanctuary IV
- 2003: Byrd Parts 2
- 2003: The Essential Byrds
- 2004: Chestnut Mare
- 2006: There Is a Season (4-CD box, all tracks digitally remastered, including alternative versions and previously unreleased tracks)
- 2006: The Very Best of the Byrds (UK:silver)
- 2008: Original Album Classics (5-CD box, including Mr. Tambourine Man , Turn! Turn! Turn ! , Fifth Dimension , Younger Than Yesterday and The Notorious Byrd Brothers )
- 2009: Eight Miles High - The Best of the Byrds
- 2011: Original Album Classics II (5-CD box, including Sweetheart of the Rodeo , Dr. Byrds & Mr. Hyde , Ballad of Easy Rider , Byrdmaniax and Farther Along )
- 2011: The Complete Columbia Albums Collection (13 CDs)
- 2014: Straight for the Sun (1971 College Radio Broadcast) (2 LPs)
Singles and EPs
- 1965: Mr. Tambourine Man
- 1965: All I Really Want to Do
- 1965: Turn! Turn! Turn!
- 1965: I'll Feel a Whole Lot Better (Promo)
- 1966: Mr. Tambourine Man EP (incl. 4 tracks)
- 1966: Turn! Turn! Turn! EP (incl. 4 tracks)
- 1966: Eight Miles High EP (incl. 4 tracks)
- 1966: Fifth Dimension EP (incl. 4 tracks)
- 1966: The Times They Are A'Changin ' (incl. 4 tracks)
- 1966: Set You Free This Time
- 1966: It Won't Be Wrong
- 1966: Eight Miles High
- 1966: 5 D (Fifth Dimension)
- 1966: Mr. Spaceman
- 1967: So You Want to Be a Rock 'n' Roll Star
- 1967: The World Turns All Around Her (incl. 4 tracks)
- 1967: My Back Pages
- 1967: Have You Seen Her Face
- 1967: Lady Friend
- 1967: Goin 'Back
- 1968: I Am a Pilgrim
- 1968: You Ain't Goin 'Nowhere
- 1969: Ballad of Easy Rider
- 1969: I Wasn't Born to Follow
- 1969: Lay Lady Lay
- 1969: Bad Night at the Whiskey
- 1970: Jesus Is Just Alright
- 1970: Child of the Universe
- 1970: Chestnut Mare
- 1971: Glory, Glory
- 1971: I Trust (Everything Is Gonna Work Out Alright)
- 1971: Just a Season
- 1971: Lover of the Bayou (EP, incl. 4 tracks)
- 1972: America's Greatest National Pastime
- 1973: Things Will Be Better
- 1973: Full Circle
- 1973: Cowgirl in the Sand (Promo)
- 1975: Full Circle (Promo)
- 1990: Four Dimensions EP (incl. 4 tracks)
- 1990: Two Dimensions Single
- 1990: Love That Never Dies
- 2002: You Movin '
- 2004: Canceled Flytes (5 vinyl singles, box set)
- 2005: Another Dimension (EP, 2 × vinyl)
- 2006: Mr. Tambourine Man (EP)
- 2007: Lazy Days
- 2008: Live in Holland 1971
- 2011: The Times They Are A-Changin '
- 2012: I'll Feel a Whole Lot Better
literature
- Irwin Stambler: The Encyclopedia of Pop, Rock and Soul. 3rd, revised edition. St. Martin's Press, New York 1989, ISBN 0-312-02573-4 , pp. 92-95.
- Craig Morrison: American Popular Music. Rock and roll. With a foreword by Kevin J. Holm-Hudson. Checkmark Books, New York 2006, pp. 35-38.
- Wieland Harms: The Unplugged Guitar Book. 20 of the most beautiful songs for acoustic guitar. Gerig Music, ISBN 3-87252-249-3 , p. 17.
Individual evidence
- ↑ Band bio on Allmusic
- ^ Wieland Harms: The Unplugged Guitar Book. 20 of the most beautiful songs for acoustic guitar. Gerig Music, ISBN 3-87252-249-3 , (quoted) p. 17.
- ^ Wieland Harms: The Unplugged Guitar Book. 20 of the most beautiful songs for acoustic guitar. Gerig Music, ISBN 3-87252-249-3 , p. 17.
- ↑ Rock and Roll Hall of Fame The Byrds in the Rock and Roll Hall of Fame
- ↑ 100 Greatest Artists of All Time. Rolling Stone , December 2, 2010, accessed August 8, 2017 .
- ↑ Chart discography albums
- ↑ Chart discography Singles
- ↑ Music Sales Awards: UK US
Web links
- The Byrds website
- The Byrds at Discogs (English)
- Byrd's lyrics