![]() ![]() ![]() Songs like “ Pushin’ Too Hard ” by the Seeds, “ We Ain’t Got Nothin’ Yet ” by Blues Magoos, and “ I Had Too Much to Dream (Last Night) ” by the Electric Prunes really made an impression on me. These songs were followed closely by the glorious sounds of garage rock and psychedelic rock that were then in their infancy. Tambourine Man ” but in my usual contrarian way, I preferred Dylan’s original – it was a lot longer for one thing. Bob Dylan himself preferred the Byrds ’ cover to his own recording of “ Mr. Tambourine Man ” by the Byrds and the revamped “ The Sounds of Silence ” by Simon and Garfunkel. Other great folk-rock sounds of that period included the release of the cover of Dylan ’s “ Mr. First and foremost was “ Like a Rolling Stone ” by Bob Dylan that song – plus the flip side “ Gates of Eden ” that was nearly as long and every bit as good – captivated me in a way that I just couldn’t keep quiet about. By then, the Beatles and the Rolling Stones were old news and while I was still paying attention, what was really grabbing me at the time were American artists and bands. I was born a couple of years later than Greg Shaw, so I turned 14 in 1965. The cover appears to show Jesus speaking in a snowy cemetery. A whole barrel of musical influences are present: the Beatles, the Monkees, the Byrds, the Who, Indian music, etc. The album is entirely in French and is probably the first and certainly one of the best French Canadian concept albums ever released. The album has acquired legendary status among fans of Quebec ’s musical scene. I thought, “Yeah, I’m gonna butcher it, musically, because lyrically I believe in it so much.” When I was in Dinosaur Jr, J was always bad-mouthing The Byrds: “They’re the worst, they’re so wimpy.The next album by Les Sinners (though with the name shortened to just Sinners ) for Jupiter, Vox Populi ( Latin for “ Voice of the People ”) came out in 1968 and is among the crush of “concept albums” that followed in the wake of the Beatles ’ 1967 masterpiece, Sgt. They were just coming out of this period at the Beatlesque pop end of things and were incorporating this undercurrent of jazz into the music. It’s impossible to describe that loose sound the early Byrds had. The original is so incredible musically, you can’t imitate it. Every single word in the song meant something to me, so I thought it was ideal. Then, when we got back together again, I was working on a record and recorded it for that. It had a very calming effect for me, just playing it. There was this huge upheaval and I was writing all these songs on my own, and I started playing that song because it was so important to she and I. We split up for a while and she became engaged to somebody else. “Everybody’s Been Burned” is one of those songs that made my cry, which I can’t say about many songs. LOU BARLOW, Dinosaur Jr/Sebadoh: I’d always known about The Byrds, but when my wife and I met they became the soundtrack for our young love. US chart: 29Ĭrosby’s jazz-scented rumination on a failed love affair actually dated from his early days on the LA folk circuit, before finally making it onto The Byrds’ fourth album in electrified form. You can hear what their influences are – but at the same time it’s something completely new.įrom Younger Than Yesterday (February 1967)ī-side of “So You Want To Be A Rock’n’Roll Star”, January 1967. Listen to what Crosby and Clark are doing and it’s so beautiful. Earlier today I was listening to Preflyte, which is the album of demos, and even on there the harmonies are amazing. Yes, the 12-string is incredible, but the harmonies are out of this world. The whole sound of The Byrds is what made them special. I think it’s only about three chords, but it’s always been a favourite of mine. It’s a scorching solo, totally out there. That version is raga-rock at his best, with McGuinn’s guitar sounding like pure “White Light/White Heat”. I love the version that’s on the B-side of “Eight Miles High”. US chart: 14ĭriven by Crosby’s growing fascination with the music of Ravi Shankar, and propelled by McGuinn’s sitar-like drone, this is a landmark of psychedelic raga-rock.īOBBY GILLESPIE: There are three different versions of this song. B-side of “Eight Miles High”, March 1966. From Younger Than Yesterday (February 1967). ![]()
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