Customer Reviews

Dr Byrds & Mr Hyde (Exp)

5 star:		(13)
4 star:		(7)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

After the disintegration of the original Byrds line-up, and a transitional country-rock album that was hated at least by the hardcore country-western music population, Roger McGuinn could hardly be blamed if he was found in a bad mood. But somehow he found the will to keep the group alive and continue to make Byrds music. In interviews years later, McGuinn would later express unsatisfaction over certain aspects of the latter-day Byrds era (despite positive interviews in the 60s), but musical history is extremely fortunate that he carried on, and "Dr. Byrds & Mr. Hyde" is the first souvenir from this productive era, despite the fact it failed to even break into the Top 150 on Billboard's album chart.
Ironically, this album contained more original material than its much more successful follow-up "Ballad of Easy Rider," and McGuinn decided to take lead vocals on all of the numbers here, at least for the time being until the audience was used to the change, but their playing here proves that vocals would be no challenge. Guitarist Clarence White had participated in numerous sessions with the group over the years, and his musical contributions to the latter-day Byrds are rivaled in importance only by friend and drummer Gene Parsons who, much like White, had become a veteran of the road. John York was brought in as the new bassist and though his stay in the group was short, it was nonetheless important, as here he proves to be a flexible and talented bass player (this is evident on the in-concert release "Live at the Fillmore," and his creative input was more apparent on "Ballad of Easy Rider").
The product of this new beginning certainly deserved its title; it showed two sides of the Byrds, a progressing experimental spirit and one that showed a great appreciation for country and southern roots. On any other album, the sequencing of two different styles would be uneven, but given Dr. Byrds' admission of the theme, it works surprisingly well. McGuinn's bitterness over the country music scene's negative reaction to the "Sweetheart of the Rodeo" album, and a general disillusionment with the hippie-era "age of aquarius" is apparent as the album opens up with a haunting, driven cover of Bob Dylan & The Band's `This Wheel's On Fire,' signalling doomsday and disdain. The Byrds' version of this much-covered song is the best ever recorded (next to Dylan & The Band's "Basement Tapes" version, and The Band's solo version). `King Apathy III' can be seen as McGuinn's accusations of hypocrisy towards the flower-power hippie movement as he sings of naive "Middleclass suburban children, wearing costumes that reveal / Blindly follow recent pipers, with their mystical appeal." `Candy' (meant for the soundtrack of a film of the same name) could have cynicism under its unassuming nature, while `Child of the Universe' (for the same film) boasts stirring, dark music (highlighted by an effective kick-drum) that contradicts the lyrical content addressing the film's main character, proving that perhaps McGuinn was not persuaded by the movie's ideas. Throughout the album, the title's reference to the split personality of Dr. Jekyll and Mr. Hyde is more and more fitting; the laid back country of `Old Blue' and `Your Gentle Way of Loving Me' contradicts the cosmic rock of `Wheel's On Fire' and `Child of the Universe,' which surprisingly is followed by White and Parsons' rowdy but organic country instrumental `Nashville West.' McGuinn and former member Gram Parson's `Drug Store Truck Drivin' Man' may be country, but it is actually a cynical reaction to the Nashville world's resentment of "Sweetheart of the Rodeo" (aimed at one disc jockey in particular). Some songs actually blend the different personalities; `King Apathy III' and `Bad Night at the Whiskey' have both slightly psychedelic/progressive tinges and country touches. The closing medley is a joy as well, containing a verse of Dylan's `My Back Pages' mixed with `B.J. Blues' and `Baby What You Want Me To Do,' McGuinn's vocals on the alternate version in this re-issue being a real treat.
Unfortunately, the public reactions to "Dr. Byrds & Mr. Hyde" were as mixed as the country and rock influences it contained. But time has aged the album well, as it is a glimpse at the Beginning of the End for the illusions of the flower-power age, and it is a refreshing example of a band starting from scratch while keeping their feet in two musical pools at once.

1969's "Dr. Byrds and Mr. Hyde" is the lowest-charting Byrds album, having come off of an audience-alienating change of sound and direction ("Sweetheart of the Rodeo") and the loss of two key members from The Byrds' more innovative, commercial period. Free-loving, acid-dropping hippies were just not ready for country and western music. Roger McGuinn, the only original Byrd left, rebuilt The Byrds with bluegrass guitarist extraordinaire Clarence White in an attempt to infuse their newly-acquired Nashville sound with a more contemporary direction (relevant lyrics, fuzz-stoked electric guitar, etc.). The schizophrenia suggested by this album's title carries onto the album itself. You will encounter equal parts of straight, though electrified country music ("Old Blue", "Drug Store Truck Drivin' Man", "Your Gentle Ways of Loving Me") balanced by (Clarence) White-hot blistering guitar workouts (the metallic apocalypse of Dylan's "This Wheel's On Fire", the heavy newgrass of "Nashville West", the smouldering "Bad Night at the Whiskey", and McGuinn's hard-rocking but paranoid "King Apathy III). Although lesser tracks ("Candy", "Child of the Universe", "Your Gentle Ways...") slow the album's momentum, some of the best recordings of the "new" Byrds are to be found here. "This Wheel's On Fire", "King Apathy III", "Old Blue" and the hilarious "Drug Store Truck Drivin' Man" (written by McGuinn and Gram Parsons about a less-than-well-received Grand Ol' Opry performance) are amongst the finest recordings by ANY Byrds line-up. In fact, this is the hardest-rocking Byrds album since the acid-drenched "Fifth Dimension" in 1966. Sony has cleaned up the sound of the original murky production, the worst in Byrds history, so that there is a noticeable clarity of image. The bonus material, primarily alternate takes, is nice but not essential. Byrds fanatics and rock music critics should get hold of this immediately and give it a reappraisal.

This CD is Roger McGuinn saying see ya Chris and Gram! He had the idea on this CD greater than Gram's forging two musics (although I'm sure Gram got him started)for the most part.And what came out was PROTO COUNTRY-METAL! To hear McGuinn's beautiful spacey Rickenbacker behind the late GREAT Clarence White's country electric picking is a joy to behold. The clean verses the dirty guitar sound of a holocaust one moment and just sitting on the back stoop the next. The drumming is solid and John York's backround vocal is also. There isn't a bad track on the album. This Wheel's On Fire eventually sucks you in and down to a high pitched grave only to quickly having you come back to life for some country clapping to Old Blue. Ralph ("I'm such a country icon")Emery gets his due on Drug Store Truck Driving Man. There are songs in between that take you to places in space, (once again) to the country and everywhere in between. And what a beautiful ending. Roger and the guys leave us at some hillbilly bar sipping that last Bud, singing along and standing up (if not too drunk) to applaud for more. The very last guitar bit cuts through your chest like a steak knife. All in all, sorry folks who only like the original Byrds, this album is an acid trip to the country, up to the stars and a complete masterpiece!

This album begins with a cover of This wheel's on fire, written by Bob Dylan but a huge UK hit for Julie Driscoll, Brian Auger and the Trinity (to give them their full title). Next comes Old blue, a traditional folk song adapted to their own style. After that is the country-sounding Your gentle ways of loving me. Anybody listening to this album and wondering who its target market was, would be further confused by the next track, Child of the universe, which was used in the soundtrack of Candy (the title track comes later on this CD). Then comes an instrumental track, Nashville west.

Drug store truck driving man is straight-ahead traditional country, complete with steel guitar played by guest musician. Lloyd Green. Apparently this was a reaction against Nashville attitudes to rock musicians in general and the Byrds in particular.

Next comes King Apathy III - a fine blend of rock, blues and country - followed by Candy, the movie title track, followed by Bad night at the whiskey, which leans towards heavy rock. After that comes the strange but wonderful medley of My back pages, B J blues and Baby what you want me to do - the end of the original album. The five bonus tracks include Stanley's song, Lay lady lay and alternate versions of tracks featured on the main album.

This is not the place to begin a collection of Byrds music - or even a collection of their albums - but is a fascinating album that you will appreciate if you enjoy the diversity of material and styles.

After the pseudo-country of the Byrds Sweetheart of the Rodeo this album marked a new and more sincere beginning to what became the best performing Byrds group by far.
The album kicks off with the definive cover of Dylan's "The Wheel's on Fire" where the fuzztone and psychedelic guitar work by Clarence White are other-worldly.
If you are looking for more of the same Byrds formula that was used on the first few albums, you may be disappointed. Purists should stay away.

However, if you would like to hear the Byrds pick up where Notorious Byrds Bros. left off, get this CD. These Byrds, also headed by McGuinn, score a few more touchdowns with Psychedelic/Country Byrds mixes. Great interplay between two of the finest guitar players in the history of rock - McGuinn (McGuinn.com)and Clarence White, and great drumming by Clarence White's long-time friend Gene Parsons (stingbender.com).
If you like this, then get Ballad of Easy Rider, Filmore 1969, and Untitled/Unissued - the rest of the best from McGuinn/White and Gene Parsons, the longest lasting and to those rabid Byrds fans from the late sixties, the best Byrds lineup ever.

If by 1969 the Byrds were no longer three steps in front of the competition, they were still teaching both Dylan & the L.A. scenesters a thing or two. Dr. Byrds & Mr. Hyde starts out by knocking Uncle Bob on the ole noggin with a heavy Wheels On Fire the way Hendrix did with his spry All Along the Watchtower. That song sirens into a nuclear blast & segues directly into Old Blue, arguably the truest love song of all time that just happens to be about a deceased doggie. Among the other delights: the hilariously classic Drugstore Truck Driving Man; Nashville West, a dandy instrumental; a song from the movie Candy; Bad Night at the Whiskey, a belated companion song to For What It's Worth. So forgive the live break song version of My Back Pages & enjoy the bonus cuts & superb playing of Clarence White. The Byrds were never this good again, but The Eagles were never this good, period.

Bob Rixon, WFMU

This is the best CD the Byrds did.
Has everything you can ask for, Country and Western plus a bit of Rock thrown in.
A must get.

The Byrds 7th studio release "Dr. Byrd & Mr.Hyde" is a great piece of Progressive rock, Country and blues all rolled into one. This record only got up to #153 on the billboard chart in 1969, But these songs are great. "This Wheels On Fire" the Bob Dylan song which the Byrds put into a major rave-up, Clarence White's guitar at the end is something, I know my wife could'nt stand the reverb GREAT stuff. "Old Blue" a folky tune and those hand claps. "Your Gentle Way Of Loving Me" a pleasant country number. "Child Of the Universe" kind of a spacey song reminiscent of their 5D work. Parson/White with the classic "Nashville West". "Drugstore Truck Driving Man" about the Nashville D.J. Ralph Emery who would'nt play The Bryds because they were a rock band. "King Apathy III" is a McGuinn rocker about the apathy in the world in 1968. "Candy" is a pretty nice pop tune. "Bad Night At The Whiskey" is classic heavy rock at it's best. The CD closes with "Medley: My Back Pages B.J. Blues/ Baby What You Want Me To Do" turned into a blues number. The Bonus Tracks Feature the Dylan classic "Lay Lady Lay" McGuinn does a fine job on this song. And the very countrish "Stanley's Song". If your worried that you won't like this disc, BE NOT AFRAID!

How fortunate of me to discover this album. I liked the early work the Byrds produced but lost touch over time. "Wheel's on fire,(both versions),Old Blue,Stanley's song,King Apathy" are the best songs.Clarence White's prowess on the guitar is stunning and Roger McGuinn's singing and 12-string are wonderfully satisfying. After listening to this I purchased "Ballad" and "Untitled" which are similar in quality but this one is best.

This was the very first Byrds album I purchased in the year that it came out so I guess this sort of set the tone for me in judging other Byrds releases. I was just becoming interested in what was "country rock" at the time (Poco, New Riders of the Purple Sage, Bob Dylan's Nashvile Skyline) and I remember I played this album daily. I feel this is an overlooked gem that still holds up today alongside other country rock offerings of that time. If one has any interest in the Byrds after they lost David Crosby, this CD must be experienced, especially since it has been remastered and has extra songs on it that were not on the original release.