The Byrds' second album, Turn! Turn! Turn!, was only a disappointment in comparison with Mr. Tambourine Man. They couldn't maintain such a level of consistent magnificence, and the follow-up was not quite as powerful or impressive. It was still quite good, however, particularly the ringing number one title cut, a classic on par with the "Mr. Tambourine Man" single. Elsewhere, they concentrated more on original material, Gene Clark in particular offering some strong compositions with "Set You Free This Time," "The World Turns All Around Her," and "If You're Gone." A couple more Bob Dylan covers were included, as well, and "Satisfied Mind" was their first foray into country-rock, a direction they would explore in much greater depth throughout the rest of the '60s.

One of the greatest debuts in the history of rock, Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat. It was also the album that was most responsible for establishing folk-rock as a popular phenomenon, its most alluring traits being Roger McGuinn's immediately distinctive 12-string Rickenbacker jangle and the band's beautiful harmonies. The material was uniformly strong, whether they were interpreting Bob Dylan (on the title cut and three other songs, including the hit single "All I Really Want to Do"), Pete Seeger ("The Bells of Rhymney"), or Jackie DeShannon ("Don't Doubt Yourself, Babe")…

Younger Than Yesterday was somewhat overlooked at the time of its release during an intensely competitive era that found the Byrds on a commercial downslide. Time, however, has shown it to be the most durable of the Byrds' albums, with the exception of Mr. Tambourine Man. David Crosby, Roger McGuinn, and especially Chris Hillman come into their own as songwriters on an eclectic but focused set blending folk-rock, psychedelia, and early country-rock. The sardonic "So You Want to Be a Rock & Roll Star" was a terrific single; "My Back Pages," also a small hit, was the last of their classic Dylan covers; "Thoughts and Words," the flower-power anthem "Renaissance Fair," "Have You Seen Her Face," and the bluegrass-tinged "Time Between" are all among their best songs. The jazzy "Everybody's Been Burned" may be Crosby's best composition, although his "Mind Gardens" is one of his most excessive.

The fifty two tracks composing “Original A’s & B’s 1965-1971” are all included in their original mono single mixes, with the exceptions of “Citizen Kane” and “Farther Along” which were only recorded in stereo and were never folded down or prepared in any mono format. The two discs come in a slimline jewel case and the forty eight page booklet contains the full lyrics in both Japanese and English.
Although they only attained the huge success of the Beatles, Rolling Stones, and the Beach Boys for a brief period in the mid-'60s, time has judged the Byrds to be nearly as influential as those groups in the long run. They were not solely responsible for devising folk-rock, but they were certainly more responsible than any other single act (Dylan included) for melding the innovations and energy of the British Invasion with the best lyrical and musical elements of contemporary folk music…

Although the Byrds' Fifth Dimension was wildly uneven, its high points were as innovative as any rock music being recorded in 1966. Immaculate folk-rock was still present in their superb arrangements of the traditional songs "Wild Mountain Thyme" and "John Riley." For the originals, they devised some of the first and best psychedelic rock, often drawing from the influence of Indian raga in the guitar arrangements. "Eight Miles High," with its astral lyrics, pumping bassline, and fractured guitar solo, was a Top 20 hit, and one of the greatest singles of the '60s. The minor hit title track and the country-rock-tinged "Mr. Spaceman" are among their best songs; "I See You" has great 12-string psychedelic guitar solos; and "I Come and Stand at Every Door" is an unusual and moving update of a traditional rock tune, with new lyrics pleading for peace in the nuclear age…

A blip in the Byrds' discography that could easily be missed, as all of the songs from these pre-Mr. Tambourine Man sessions are also found on the much more widely available In the Beginning. Byrds fans really need to track this down, though, because six of the 11 cuts are actually entirely different versions than the ones that appear on In the Beginning, and in some cases the differences are substantial. "You Showed Me," in particular, appears here in a bare-bones, almost acoustic version with a heart-wrenching Gene Clark vocal; this is the sound of the Byrds at their very birth in the nest. It's a matter of taste, but the takes of "She Has a Way" and "Here Without You" on Preflyte are clearly superior to the ones used on In the Beginning, though the arrangements are very similar.

The recording sessions for the Byrds' fifth album, The Notorious Byrd Brothers, were conducted in the midst of internal turmoil that found them reduced to a duo by the time the record was completed. That wasn't evident from listening to the results, which showed the group continuing to expand the parameters of their eclecticism while retaining their hallmark guitar jangle and harmonies. With assistance from producer Gary Usher, they took more chances in the studio, enhancing the spacy quality of tracks like "Natural Harmony" and Goffin & King's "Wasn't Born to Follow" with electronic phasing. Washes of Moog synthesizer formed the eerie backdrop for "Space Odyssey," and the songs were craftily and unobtrusively linked with segues and fades…

If Dr. Byrds & Mr. Hyde found Roger McGuinn having to re-create the Byrds after massive personnel turnovers (and not having an easy time of it), Ballad of Easy Rider was the album where the new lineup really hit its stride. Gracefully moving back and forth between serene folk-rock (the title cut, still one of McGuinn's most beautiful melodies), sure-footed rock & roll ("Jesus Is Just All Right"), heartfelt country-rock ("Oil In My Lamp" and "Tulsa County"), and even a dash of R&B (the unexpectedly funky "Fido," which even features a percussion solo), Ballad of Easy Rider sounds confident and committed where Dr. Byrds & Mr. Hyde often seemed tentative. The band sounds tight, self-assured, and fully in touch with the music's emotional palette, and Clarence White's guitar work is truly a pleasure to hear…

The Byrds' second album, Turn! Turn! Turn!, was only a disappointment in comparison with Mr. Tambourine Man. They couldn't maintain such a level of consistent magnificence, and the follow-up was not quite as powerful or impressive. It was still quite good, however, particularly the ringing number one title cut, a classic on par with the "Mr. Tambourine Man" single. Elsewhere, they concentrated more on original material, Gene Clark in particular offering some strong compositions with "Set You Free This Time," "The World Turns All Around Her," and "If You're Gone." A couple more Bob Dylan covers were included, as well, and "Satisfied Mind" was their first foray into country-rock, a direction they would explore in much greater depth throughout the rest of the '60s.

One of the greatest debuts in the history of rock, Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat. It was also the album that was most responsible for establishing folk-rock as a popular phenomenon, its most alluring traits being Roger McGuinn's immediately distinctive 12-string Rickenbacker jangle and the band's beautiful harmonies. The material was uniformly strong, whether they were interpreting Bob Dylan (on the title cut and three other songs, including the hit single "All I Really Want to Do"), Pete Seeger ("The Bells of Rhymney"), or Jackie DeShannon ("Don't Doubt Yourself, Babe")…

While the all-killer no-filler single-disc The Byrds' Greatest Hits remains the best distillation of their classic songs, The Essential Byrds is a smartly assembled double dose, including all 14 of the 1965-1967 tracks on Greatest Hits, but expanding its reach into their entire Columbia output, going as far as the early '70s. Inevitably, that means that disc two – which goes, roughly, from mid-1967 to 1971 – isn't as good as the first half, and that the last four tracks in particular are by far the least impressive, tagged on mostly so that the release spans the Byrds' entire Columbia catalog. That's a small reservation considering that the two-fer adds many first-rate songs not on Greatest Hits, from non-hit singles like "Lady Friend" and "Goin' Back" to standout album cuts like "Renaissance Fair," "Natural Harmony," "Jesus Is Just Alright," and "Chestnut Mare." There are no surprises here; even the songs that eluded inclusion on albums for many years, like the early B-side "She Don't Care About Time" and "Lady Friend," have been commonly available in the CD era. And it's true that this misses some other fine album tracks that could have stood with pride alongside those selected, like "I Knew I'd Want You," "John Riley," and "Dolphin's Smile." Within the confines of the two-CD format, though, it's a very well-chosen career overview.

Time Life Music’s Singers & Songwriters: Troubadours offers up 34 rock, folk, and pop cuts from the '60s and '70s. The two-disc set, which is part of Time Life’s Singers & Songwriters series, hits mostly high notes, covering everything from soft rock (Dan Fogelberg's “Longer”) to hippie folk (Scott McKenzie's “San Francisco [Be Sure to Wear Flowers in Your Hair]”) to classic rock radio staples (Peter Frampton's "Baby, I Love Your Way").

Although they only attained the huge success of the Beatles, Rolling Stones, and the Beach Boys for a short time in the mid-'60s, time has judged the Byrds to be nearly as influential as those groups in the long run. They were not solely responsible for devising folk-rock, but they were certainly more responsible than any other single act (Dylan included) for melding the innovations and energy of the British Invasion with the best lyrical and musical elements of contemporary folk music. The jangling, 12-string guitar sound of leader Roger McGuinn's Rickenbacker was permanently absorbed into the vocabulary of rock. They also played a vital role in pioneering psychedelic rock and country-rock, the unifying element being their angelic harmonies and restless eclecticism…