Byrds CD

The Byrds: David Crosby (vocals, acoustic guitar, acoustic 12-string guitar, electric guitar, electric 12-string guitar); Chris Hillman (bass guitar); Gene Clark, Michael Clarke, Roger McGuinn.
Personnel: Chris Hillman, Crosby, David & Graham Nash, Roger McGuinn (vocals, acoustic guitar, acoustic 12-string guitar, electric guitar, electric 12-string guitar, mandolin); Gene Clark (vocals, acoustic guitar, harmonica, tambourine); Michael Clarke (drums, congas, percussion).
Recording information: Wally Reider Recording Studio #4.
Photographer: Henry Diltz.
The Byrds emerged in 1965 with one of the most identifiable sounds of the 1960s, and proceeded to evolve from folk-rock to psychedelia to country-rock. The Byrds were defunct by 1972, but re-grouped briefly in 1973, with all of its original members, to record one last album. BYRDS is in the country-steeped vein of the 1968 classic SWEETHEARTS OF THE RODEO, shimmering with chiming 12-string guitars and lush, multi-part harmonies. But while the signature sound is there, the album isn't on par with the band's classic material, namely because the songwriting is inconsistent (save Gene Clark's winning originals). Even so, the album belongs in any Byrds fanatic's collection, and is a suitable swan song from one of the era's most important bands.
The funny thing about this low-budget ten-song compilation is that 15 years ago, before the renaissance of interest in the band's music, this CD, featuring good B-side B-sides ("The World Turns All Around Her"), one secondary hit ("All I Really Want to Do"), and interesting album tracks, would have been consider a real find. Today, it's just another low-priced disc, but for casual listeners, it'll add to their knowledge of the group's sound -- "Renaissance Fair," "I'll Feel a Whole Lot Better," "Here Without You," and "Wasn't Born to Follow" should be better known. Veteran fans will at least find it more interesting than another assembly of chart singles, and it does use the current high-quality digital masters of each song. ~ Bruce Eder
In 1972, Roger McGuinn's final version of the Byrds unceremoniously broke up, but the following year the group briefly reunited -- surprisingly enough, with the classic original lineup of McGuinn, Gene Clark, Michael Clarke, David Crosby, and Chris Hillman. However, if most of the participants meant for this to be anything more than a one-shot get-together, you couldn't tell from listening to the resulting album; Byrds never sounds much like a Byrds album, absent McGuinn's chiming 12-string guitar and the group's striking harmonies (the Byrds' twin aural calling cards). Much of the original material, especially David Crosby's, sounds like cast-offs from their other projects. And what sort of a Byrds album features two Neil Young covers and not a single Bob Dylan tune? In all fairness, Byrds has its moments: Gene Clark's "Full Circle" and "Changing Heart" are great songs from the group's least-appreciated member, and McGuinn's "Born to Rock 'n' Roll" is a top-notch rock anthem. But for the most part, Byrds sounds like a competent but unexciting country-rock band going through their paces, rather than the work of one of the best and most innovative American bands of the 1960s. ~ Mark Deming
In retrospect, the album the Byrds delivered in 1973 after reuniting the original members wasn't as bad as critics of the day thought it was, it just didn't have much jangle, sounding instead like a fairly typical California country rock outing. In truth, The Byrds was more like a sampler for the individual members, with Gene Clark, David Crosby, Roger McGuinn, and Chris Hillman each getting their two songs, with covers of songs by Joni Mitchell and Neil Young tossed in to balance things. It's all fairly pleasant, if hardly inspired, and at no point do the Byrds actually sound like a band. The highlight has to be the lead track, "Full Circle," which is one of Clark's finest songs. ~ Steve Leggett

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