Customer Reviews

Ballad of Easy Rider (Exp)

5 star:		(13)
4 star:		(10)
3 star:		(4)
2 star:		(0)
1 star:		(0)

 

 

Originally released the same month as the Beatles' Abbey Road, both albums amounted to swan sangs for the respective bands. The Byrds would release spotty albums with occasionally excellent material, but Ballad of Easy Rider would be their last album of uniformly top notch songs.

The album opens with the stunning "Ballad of Easy Rider" and in two short minutes McGuinn captures the youth culture's optimistic search for freedom: "The river flows, it flows to the sea/wherever that river goes, that's where I want to be."

The album was very much a band effort. Of the four originals on the album, McGuinn contributed only the title track. John York wrote "Fido," (featuring the only drum solo on a Byrds' album). Gene Parsons (no relation to Gram) and Clarence White are given songwriting credit for "Oil in My Lamp," one of the few lead vocals for White who is better known for his guitar work. The other original is the gentle "Gunga Din" by Gene Parsons, who also provides the vocal.

The country take on "Tulsa County" features some terrific guitar playing by White. "Jack Tarr the Sailor" is the type of sea chantey McGuinn would return to on his solo album Cardiff Rose. Their rendition of "Jesus is Just Alright" was released as a single and though it was little different than the version put out four years later by the Doobie Brothers, the Byrds version spent only one week at No. 97 before falling off the charts. It would also be the last time a Byrds single would dent Billboard's Hot 100 singles chart.

As they had done throughout their career, the Byrds once again went to the Bob Dylan songbook. This time recording a moving version of "It's All over Now, Baby Blue." But the band's most stirring cover is their majestic take on Woody Guthrie's "Deporte (Plane Wreck at Los Gatos)," a sympathetic look at the plight of Mexican immigrants.

The bonus tracks are abundant--seven in all. Of the two tracks otherwise only available on The Byrds Boxed Set, "Way Beyond the Sun" is a traditional folk tune and "Mae Jean Goes to Hollywood" is a Jackson Browne song. "Fiddler A Dram" is an experimental song using the then-new Moog synthesizer, which is a curious but non-essential track. "Build It Up" is an instrumental allowing Clarence White to show off his guitar prowess. The other three tracks are alternate takes of the original album's songs, including the long version of "Ballad of Easy Rider." [Only in the sixties would a 2-minute and 26-second song be able to stake a claim as the "long" version!)

The album peaked at No. 36--their highest charting album since Greatest Hits went to No. 6 in 1967. Sales no doubt were helped along by the popularity of the movie "Easy Rider," which featured the album's title song in the soundtrack.

All told, this was the last great Byrds album and it belongs in any serious Byrds fan's collection. HIGHLY RECOMMENDED

When Columbia Records released "The Ballad of Easy Rider" in 1969, they advertised that "the movie gave you the facts, the 'Ballad' interprets them." How dead-on they were: while "Easy Rider" depicted a democratic America, "The Ballad of Easy Rider" IS everyman's America captured in music. Full of warm, harmonious vocals which rival (and surpass I'd say) the mellifluous sounds of CSN, simple themes, brilliant muscianship, and pure and genuine production thanks to Terry Melcher (a far cry from the orchestrated twang of "Byrdmaniax"), this album is the very best that the Byrds ever made. The aforementioned harmonies of McGuinn, White, Parsons, York, and even Melcher- I think- blow the original line up out of the water...just check out "It's All Over Now, Baby Blue." Creatively, likewise, each track differs from the previous yet the album coherently flows and, by the end, simply cries "Help me, I'm lonely!" Five stars for an absolutely brilliant album, one that changed my life.

Think for a minute of your favorite albums, and try to remember how you felt when you first heard them. Some you loved immediately, and had to play them overand over because you just couldn't get enough. You went around telling your friends how great they were, and wanted them to like 'em as much as you did (they didn't). Others you liked well enough, but not enough to ignite that immediate passion. But over the months and years you came to appreciate them more and more, until you realized that you played and enjoyed them a lot more now than the ones that set you on fire years ago. Why? because they are timeless. The music and words on them are truth, and a truth that you grow to appreciate as you grow older because you have experienced what you only had thought about when you were younger. The Ballad of Easy Rider is one of the finest collections of songs the Byrds ever put together. The themes of movement, world-weariness, and hope reverberate throughout the album, making it a wonderful companion piece to Sweetheart of the Rodeo. What makes this recording especially noteworthy is the fact that it was made with a Byrds lineup that was vastly different from the Sweetheart crew. This makes you wonder about how much Roger McGuinn influenced others. Grab this cd and listen to it for the rest of your life.

This album made a half-hearted stab at the charts in October of 1969, despite much publicity regarding the recently released Easy Rider film and some radio attention for its leadoff single, 'Jesus Is Just Alright'. And though it was recorded in the long, hot Woodstock summer 1969, its wistful, autumnal feel and understated bleakness effectively summed up the inertia of an America spiralling towards the end of the sixties and the beginning of the next decade's furious hedonism and gleeful indulgence.

'Ballad of Easy Rider' is not among the Byrds' best albums. However, although 'Untitled' sold more copies, time has judged this to be the finest record produced by the group's final, post-Sweetheart of the Rodeo period. It's eclectic, occasionally adventurous, and often surprisingly moving.

The best bits are wonderful, regardless of who's playing or singing them. The radiant, rustic title track and the hushed, dreamlike, and awe-inspiringly harmonized take on Dylan's 'It's All Over Now, Baby Blue' (a vast improvement over the punkish 1965-vintage first attempt by McGuinn & co.) are mesmerizing pure folk affairs. This disc includes an alternate version of the former with a subtle and haunting guitar solo by Clarence White, but is missing the final repetition of the first verse. White's playing also envelopes and caresses on two heaven-sent country numbers, Guthrie's 'Deportee' and Pam Polland's 'Tulsa County', both of which are graced, as well, with plaintive McGuinn lead vocals and lovely and understated harmony work (by Gene Parsons and John York, respectively). (The alternate version of 'Tulsa County', with a too-strident and unappealing York lead vocal and without Byron Berline's heart-stopping fiddle, is inessential). Parsons (no relation to Gram) also contributes the delightful folk-pop number 'Gunga Din' (marred somewhat by a strange double-tracked vocal effect) and brings the honest-to-God (wink) psychedelia of 'Jesus Is Just Alright' to vivid life.

Some of the numbers show the lingering influence of the erratic heavy rock direction pursued on the previous record ('Jesus...', 'Oil In My Lamp', `Fido') but the group sounds much tighter and more muscular here and the tracks are all pleasing. Even the weaker entries - a slightly limp `There Must Be Someone', and the poorly sung but interestingly arranged sea chantey `Jack Tarr the Sailor' - are compulsively listenable and do not detract from the record. The bonus tracks on this reissue are uniformly good, including a terrifically played traditional blues `Way Behind the Sun', a pleasant and jaunty Jackson Browne (!) number (`Mae Jean Goes to Hollywood'), an interesting Parsons/White instrumental, and a wacked-out drinking song (`Fiddler a Dram').

It's not the sort of record that reaches out and agitates, and it's not insistently catchy. It is, however, rustic (one can practically hear the leaves falling and the dust being kicked up on lonely roads) and consistently engaging. Perhaps the most compelling testimonial for this album's quality is the legions of people who were teens in 1969 who find themselves continuously lured to its graceful, delicate charms. It grabbed the hearts of a newly lost generation, and continues to speak to the spurned and the wistful more than thirty years later. One imagines that the Byrds probably only set out to make another of their eclectic, low-key later-period records here. They ended up with an accidental masterpiece.

1969's "Ballad of Easy Rider" was the commercial shot in the arm that The Byrds so desperately needed, reaching #36 on the charts when their previous albums had been languishing (unfairly, I might add) near the bottom. Its connection to the film "Easy Rider" is unfortunately in name only. You will not find classic, trippy 1960s rock in the style heard on that film's soundtrack. In fact, this album is a laid-back, sweetly-sung, gently-played experience, anticipating much of the country-flavoured LA rock music of the 1970s (Poco, The Eagles, Firefall, etc.). The album opens with a lushly-orchestrated version of "The Ballad of Easy Rider", a true Byrds classic, and frustratingly, the only Roger McGuinn original on this album! From here its momentum is slowed by a mediocre John York tune "Fido" and an unremarkable, though hard-rocking version of the traditional gospel "Oil in My Lamp". The album gets back into more familiar Byrds territory with "Tulsa County" (which would have fit nicely on "Sweetheart of the Rodeo") and a sea shanty called "Jack Tarr the Sailor" that Fairport Convention or Steeleye Span fans should enjoy. The second half of this CD blasts open with a transcendent cover of the gospel tune "Jesus Is Just Alright", inaugurating a brand new sound for The Byrds which would be developed further in concert and on their next, superior effort "Untitled". A moving cover of Dylan's "It's All Over Now, Baby Blue", an infectious single-that-should-have-been by drummer Gene Parsons "Gunga Din", and "Deportee", a deeply-felt elegy for migrant workers written by Woody Gutherie, end the original album on a strong note. The bonus material is fairly engaging and certainly fits the original album's mood well: "Way Behind the Sun" has to-die-for smooth, country/blues picking from master Clarence White; "Mae Jean Goes to Hollywood" is a catchy, inconsequential Jackson Browne donation to the group; "Fiddler A Dram" is one of those weird McGuinn folk song/Moog synthesizer amalgams; and "Build It Up" is an Allman Brothers-styled instrumental by Clarence White. Sony has done an exceptional job with the remastering here, though it is probably the best recorded album in the Byrds' canon. While this is not top-flight Byrds music, I dare say you will play this CD more often than more highly-regarded Byrds albums. Why? Because of its cohesion of mood and consistency of performance. Warmly recommended to Byrds fanatics, but with reservations for casual listeners or beginning Byrds fans.

By the time "Ballad of Easy Rider" was recorded, The Byrds were an exhausted band. Roger McGuinn had taken on the role of leader after drastic line-up changes, but even the three new members (Clarence White, John York, and Gene Parsons) were drained from finding their feet in such a short amount of time on the previous album, "Dr. Byrds & Mr. Hyde" (though White had made several guest appearances with the band prior to this). So it's no surprise that this album would reveal performances from four tired individuals, but it doesn't drag the album down a bit. In fact, it's what makes "Ballad of Easy Rider" so memorable. One can tell from the amount of cover material and the mellow performances that the group was not interested in trying to impress the music world again, as they had with the electric folk of their debut "Mr. Tambourine Man" or their role in the innovation of country-rock on the transitional "Sweetheart of the Rodeo" album. Instead they wanted a record that, as quoted in this remaster's liner notes, simply said "I'm lonely."
The words of the graceful title track were poignantly fitting to the state of things; "The river flows, it flows to the sea. Wherever that river goes, that's where I want to be." This song brought The Byrds back to chart success after "Dr. Byrds" had failed to reach the Top 100, and its association with the successful hippie/biker film "Easy Rider" may have been the reason. Bob Dylan had written the first few lines, but asked that his credit be removed due to his dislike for the film. A solo version by Roger McGuinn appeared in the movie, but this version is much better, complete with fitting strings and McGuinn's weary vocal. Of course, the record company used the "Easy Rider" connection to promote the album, albeit in a misleading way, for instance the biker image on the cover and the advertisements that touted the album as an "interpretation" of the film.
Nonetheless, the rest of the music on this album is just as moving and uniquely Byrds. Loneliness, gloomy characters, and injustices haunt tracks like the slow, pure country 'There Must Be Someone I Can Turn To,' a melancholy version of Dylan's `It's All Over Now Baby Blue,' the British sea standard 'Jack Tarr the Sailor,' and the Woody Guthrie signature 'Deportee (Plane Wreck At Los Gatos).' Even the more upbeat songs show a distinct fatigue; John York's `Fido' is a poignant rollick about loneliness, `Tulsa County' shows a need to get away, and `Oil in My Lamp' is a perfect Gospel ballad, revealing Clarence White and Gene Parson's influence with their taste for Jesus-oriented material, exemplified further by a slightly trippy reading of `Jesus is Just Alright' (a hit for the Doobie Brothers a few years later). But the song that defines the album best, next to the title track, is Parson's `Gunga Din,' a weary autobiography of touring hassles, arguably one of the best songs that he ever wrote during his tenure with The Byrds. Ending the album is a brief but touching tribute to the three American astronauts who landed on the moon the same the year.
Like all of the Byrds Remasters, this re-issue comes with several bonus tracks that will be of interest to long-time fans. "Ballad of Easy Rider" will always be overshadowed in the Byrds catalog, mostly because "Sweetheart of the Rodeo" had been such a musical transition from the classic sound of the original group, and the primary critical focus on "Dr. Byrds & Mr. Hyde" had been on the new line-up, rather than its musical value. "Ballad" was an honest collection that had no intentions of marking yet another new era of The Byrds' history, and the group is certainly rewarded for their honesty, delivering a sincere and unforgettable body of work.

I know this one didn't do very well in the charts, but this is a really great record. There is not one bad song in the bunch and the musicianship is fantastic. Put this album on after a long day at work, grab your drink, put your feet up, and enjoy.

Along with "Sweetheart of the Rodeo" this album is the most country-influenced album in the Byrds catalogue. But whereas "Sweetheart" tends to lean on classical country, "Ballad of Easy Rider" shows a much broader approach. This greater variety in styles, plus overall stronger material, makes this much more satisfying album than it's much-acclaimed predecessor, which I honestly speaking find somewhat over-rated.

There is a mature and releaxed feeling in these recordings, and though there is a mellow mood in many of the lyrics, it is somehow quite an uplifting experience to listen to the album.

The playing is great, with brilliant guitar work from McGuinn and in particular Clarence White. The vocals and especially the harmonies are of the same high standards that characterize all Byrds albums; great that Clarence White was finally given a lead vocal. His gritty nasal vocals on "Oil in My Lamp" help making the track one of many highlights on the album. In fact, this may be the first album where White really shines as an equal partner to McGuinn, who was now the only original member of the band.

McGuinn was never a very productive songwriter for the Byrds, and here he only contributes one new song, but on the other hand an outstanding one, "Ballad of Easy Rider".

All member have lead vocals, and though neither John York not Gene Parsons are great lead-singers, their contributions come out quite convincingly.

Highlights, though, are songs songs with McGuinn in front. "Tulsa County" is a fine song with great vocals and fine harmonies. Even more breath-taking is their new version slower version of Dylan's "It's All Over Now, Baby Blue", and McGuinn's treatment of Woody Guthrie's "Deportee" is just beautiful.

Among the seven bonus-tracks you'll find some real gems. Especially Jackson Browne's "Mae Jean Goes to Hollywood" and considering the short playing-time of the original album, it's a big mystery why this fine recording was left out. Along with the title track song is probably the closest they come to early Byrds-sound ( Younger than Yesterday ).

"Way Beyond the Sun" is a nice country-blues song, which may not be among the most memorable Byrds-recordings, but still as good as couple of the weaker original-tracks. The alternate versions are all fine; especially the longer version of "Ballad of Easy Rider".

what can i say about this disc. When i got the Sony remaster 3 years ago i haven't taken it out of my cd player. "Ballad Of Easy Rider" is classic Roger McGuinn. "Fido" about a wandering dog excellent tune with a Byrd drum solo. "Oil in my Lamp", "Tulsa County" and "There must be Someone" our classic country byrds. "Jesus is just alright" still shows the boys can rock. "Gunga Din" is a great Gene Parsons song. The Woody Guthrie clssic "Deportee (Plane Wreck At Los Gatos) is just plan awesome. The bonus tracks are excellent to. "Way beyond the sun", the Jackson Browne tune "Mae Jean Goes To Hollywood" is done with great professionalism by The Byrds. "Fiddler A Dram(Moog Experiment) a great song with banjo and Moog. "Build It Up" closes the disc with a great Clarence White guitar solo. If you like The Byrds and you don't have this one get it, it will put a smile on your face.

Did Columbia Records do a great job remastering the Byrds catalog or what. Great sound to appreciate beautiful vocal harmonizing and excellent musicianship. The bonus tracks add understanding to the the musical development of an American musical institution that needs to be rediscovered by all those who appreciate fine AMerican music. The Byrds where there at the beginning of the folk-rock-country combination that has led to today's alternative country and Americana genre's. Learn from and appreciate the past.

The Ballad of Easy Rider is a great lead off song to any album. Pure and classic Roger McGuinn. Fido is a cool, snappy, and groovin little diddy- 60's fun with a understated minor drum interlude that works! Oil in my Lamp has some great, crisp fretwork from Clarence White (he really came into his own on this album as a leader/crafter of the Byrds sound). Tulsa County is fine country tinged Byrds that continues in the Sweetheart of the Rodeo sound. Jack Tarr the Sailor is a nice Enmglish folk sea story. Jesus is Just Alright os peppy Byrds jangly gospel- it works! It's All Over Now, Baby Blue is probably one of the most beautiful Dylan cover songs ever!! Pure majestic beauty. There Must Be Someone (I CAn Turn To) features Clarence Whites wonderfully emotive voice that creates an added depth to a lovely and sad song. Gunga Din- great Gene Parsons song and story. Deportee is another Woody Guthrie song that would have fit nicely on Sweethearts also. Armstrong, Aldrin and Collins is the only throw away song on the original album. The bonus tracks feature a few alternative takes, instrumentals and other treasures that make this already great cd a must have.