Customer Reviews

Live at Filmore: February 1969

5 star:		(13)
4 star:		(16)
3 star:		(4)
2 star:		(0)
1 star:		(1)

 

 

When Chris Hillman left the Byrds in October 1968 to join Gram Parsons in forming the Flying Burrito Brothers, Byrd leader Roger McGuinn was the only original Byrd left. McGuinn did consider disbanding the Byrds - but after a rich folk, rock and even jazz legacy McGuinn opted to continue with a formula one-half country and one-half rock and roll.

With the brilliant guitarist Clarence White and his cohort, steady drummer Gene Parsons already on board, McGuinn hired the young John York to replace Hillman on bass and vocals. This was an inspired choice for York's harmonies were adaptable to those of David Crosby, Gene Clark and McGuinn himself. And remember, as brilliant as White was on guitar - he was certainly no Gram Parsons or Hillman in the vocal department.

But the Country guitarist White wanted to play more rocking guitar, just as the Folk-Rocking McGuinn wanted to sing more country vocals - definitely a Dr.Byrds meets Mr. Hyde mix!

After several months of recording and live shows, the new Byrds ventured north to 'Frisco to play Bill Graham's venerable Fillmore in February 1969. The result is this album - a nice, great, yet not grand blend of psychedelic rock and down home country riffs n' tunes.

The hard right towards country which began with "Sweetheart of the Rodeo" continued with White and even after the departures of Hillman and Parsons - and the country tunes featured on "Fillmore" are the best of the live album. There are several neat treats - a kicking version of "You're Still On My Mind" with a nice harmony by York and stellar stringbender by the ace himself - White; the hilarious "Drugstore Truck Driving Man" - replete with sardonic McGuinn vocals - a fine country solo by White (though his solo on the "boston tea party" recording is much finer) and high harmony by York - where this New York boy definitely sounds like a cowboy.

McGuinn also shines on Hillman's "Time Between" and the Louvin Brothers' "The Christian Life" proving he could hold his own with that down home boy Gram.

But a major highlight of this Byrds country set didn't even feature a McGuinn vocal - nor was it even written by the Byrds - it is Clarence White's hats off tribute to his Bakersfield friend Buck Owens in the clanging instrumental "Buckaroo" ( ironically enough John Beland of the current Flying Burrito Bros. also did homage to Owens (who played rhythm guitar) on a recent version of "Buckaroo" similar to White in style and on the FBB "California Jukebox" album - but that's another story...)

Some, though not all of the favorites are here as well - a medley featuring "Mr. Tambourine Man" and "Eight Miles High", "He Was A Friend of Mine" and "So You Want To Be A Rock and Roll Star" and well as the psycho-rock of Dylan's "This Wheel's On Fire" - the versatility of White comes through loud and clear here - straightforward blistering fuzzbox guitar that would even make White's contemporary Jimi Hendrix sit up and take notice - no twangy country stuff here.

One mustn't neglect the steady drumming contributions of Gene Parsons here, either - though Parsons - one of Country Rock's greatest drummers does sound missing in the mix.

Which leads me to the glaring weaknesses department.

Much of John York's high harmonies were erased from this recording - why, I don't - or do know. He can be heard on "You're Still On My Mind", "Drugstore", and on a couple of the familiar ones, but just barely. The album was basically a showcase for Roger McGuinn and the late Clarence White.

There are also no non-McGuinn lead vocals - and no surprises unless one considers "Buckaroo" and "You're Still On My Mind" as pleasant surprises.York did do a strongly emotive vocal on his version of Odetta's "Long Black Veil" (a song that he still occasionally sings in concert) at about this time - which featured a mournful, though on-point solo by White - which still hasn't seen the light of day on this or on any other Byrds "legit" recordings. And White - Gram Parson's replacement - is vocally non-existant here.

Still this is a gem from arguably the best live, if not studio Byrds around, and quite essential in any Byrds' fans collection, especially in casting light and sound on a little-known episode of the legendary history of the Byrds.

Without Clarence White, the latter period Byrds would have been a much duller beast. One can only wonder what would have happened if he'd prized daring over guaranteed cash and taken up the offer to form a Parsons-Hillman-White-Parsons lineup of The Flying Burrito Bros!

But he didn't, he stayed with The Byrds. Here he comes now, all sinewy stringbending stood-stock-still showmanship - listen to the way he plays the instrumentals "Nashville West" and "Buckaroo" here, and weep with joy and envy.

I disagree with the Amazon staff reviewer. It may not be the best ever Byrds mk II concert, but it's noticeably better than the live sections of the new expanded (UNTITLED)/(UNISSUED). And nor do I feel that they're missing Gram Parsons here - he certainly wasn't known for his way with a pitch-perfect lead or harmony vocal! I actually miss Chris Hillman's bass and singing more, especially on "Time Between".

But, hey, they do an energetic banjo-fuelled "Pretty Boy Floyd" and the Medley, far from being a typical let's-get-the-hits-over-with exercise is truly exciting - McGuinn's on fine form (but where's John York when you need him doing the David Crosby harmony parts! ). Similarly upbeat is the version of "Rock 'n' Roll Star".

Also present is a cool live take of "Bad Night at the Whiskey" (the single released from the contemporary DR BYRDS AND MR HYDE LP) which outclasses the muddy studio original. In fact the DR BYRDS album gets my vote for the worst ever Byrds LP - it's not helped by its ill-judged production sound, and must have lead many (I'd have been amongst them) to write the group off as a dead dodo. This concert would have helped restore the balance had it been released in '69 and Byrds fans and/or Clarence White fans shouldn't have too much hesitation about snapping up a copy.

In fact, there's a neat box available here in the UK (I don't know whether you guys have it too) which includes this CD along with the upgraded (UNTITLED), BYRDMANIAX and FARTHER ALONG with room for the previous 8 albums, plus a Pete Frame family tree poster and a set of 4 color cards.

Remember, this is a live recording of a newly formed band. Roger Mcguinn (guitar, vocals) remained the only original member, and the recent recruitment of Clarence White (guitar), Gene Parsons (drums) and John York (bass), meant this band was just starting out, attempting to encompass their newly written material with the legacy of the earlier, popular, trend-setting, group. I forgive these musicians the rawness on some of the tracks. For BYRDS fans, this is a MUST HAVE recording. It is an historic snapshot of the Byrds lineup that became the hard-working band that earned the reputation of great live performers, as witnessed on the UNTITLED album. The sound is not bad, considering the year (Feb '69). Mcguinn's vocals emanate cool energy, and the song selection is eclectic. Every prior album is represented (except NOTORIOUS). Their performance peaked in the middle (cuts #10, 11, and 12) with a series of their newly-recorded songs: King Apathy III, Bad Night at the Whiskey, and This Wheels on Fire; songs that were identified with this lineup. Also included were a mix of old country and folk songs, by writers such as Merle Haggard, Buck Owens, the Louvin brothers, Bob Dylan, and Woody Guthrie. As a card carrying BYRDS fan, I endorse this disc as ESSENTIAL for all BYRDS followers. For country rock fans, this is a live recording of the first band that popularized the genre.( To enjoy the BYRDS country rock studio masterpiece, buy SWEETHEARTS OF THE RODEO.) This disc is also a fine showcase for Clarence White's underrated lead guitar playing; few examples exist. At times, the guitar interplay between Mcguinn and White is just ear candy.

I've been a Byrds fan since I heard "Mr. Tambourine Man" on the radio late one night in early 1965...and this release by the 1969 incarnation of the band provides a wonderful glimpse into the history of the band...at last there is a Byrds album that puts the absolute guitar magic of Clarence White in the forground..this ablum is a must buy for any Telecaster player.....and provides material that was previously availble only on bootleg. McGuinn and company were clearly in the country vein, and do a wonderful job on the covers of Merle Haggard (Sing Me Back Home) and Buck Owens (Buckaroo, and Close Up the Honky Tonks) along with the Sweetheart of the Rodeo tunes, Youre Still on My mind and Pretty Boy Floyd. Yeah..there are moments when the harmonies were off, where things were a bit loose, but these are live recordings, and not the digitally remastered and fixed synthpop we get today...this is the real deal...this album is a must buy for any Byrds fan, Clarence White fan, or lover of the best of late 60s rock

The release of this album is one of the best things to happen to Byrds fans in quite some time. Recorded less than a week after the release of "Dr. Byrds and Mr. Hyde," this set sparklingly demonstrates the emergence of the "new" Byrds as a solid live band, and proves incontrovertibly that the McGuinn-White-(Gene) Parsons-York lineup has been vastly underrated for many years. By the time of this recording, Rober McGuinn was the last original Byrd, so the lineup here is essentially a new band. Proving that he had a keen ear for talent, McGuinn had recruited guitar genius Clarence White, drummer Gene Parsons, and bassist (and superb vocalist) John York, thus producing a band which could handle Byrds standards and new material with equal skill. The song selection is interesting, demonstrating the amazing versatility and range of the '68-'69 Byrds. Several country standards are included, reaffirming the Byrds' commitment to country music, despite the departures of Chris Hillman and Gram Parsons. The selections from "Dr. Byrds and Mr. Hyde" are quite well performed, and the medley of "Turn,Turn,Turn," Mr. Tambourine Man," and "Eight Miles High" shows that the new lineup could handle Byrds standards quite skillfully; in particular, the rendition of "Eight Miles High" turns into a mini-jam (a preview of the extended jam on "Untitled"). There is not a bad cut on the entire album and, while all four members play brilliantly, Clarence White steals the show with his innovative, imaginative guitar work, switching from straight country to psychedelia at a moment's notice. McGuinn is typically brilliant, and the Parsons-York rhythm section turns in a solid performance. As witnessed by the spontaneous ovations heard throughout the set, it would appear that Mr. White won himself quite a few new fans (which he would continue to do for the remainder of his tragically short life). Although some of the backing vocals seem to have been mixed out, this is nonetheless an excellent album, and I highly recommend it.

I don't know why the gods smiled on us and somehow these recordings were made, but they were. One listen to Clarence White work out on "Buckaroo" and you know (knew, if you were there) you are (were) in the presence of something really unusual and very, very cool - total mastery of the instrument and an intense, creative and soulful musical and rhythmic spirit. (Compare with the Buck Owens original and you'll know what I'm saying). White, who had been playing electric guitar only a couple years at that point, has simply never been equalled in the genre. And actually only equalled at all by very few other guitar players. OK - the other guys are good too, esp. Parsons, the drummer, who understood what Clarence was trying to do. This band was just beginning to feel its power, and you can hear it. McGuinn actually seems to be having a good time, and he sings and plays the country stuff OK and the folk and rock material very well indeed. Ahead of their time and underrated - classic Byrds.

This amazing audio chronicle of the Byrds fully realized foray into country rock is long overdue.Even without Gram Parsons and Chris Hillman, who left the Byrds for Burritodom, this band is confident and red hot. Clarence White's guitar playing is simply stunning.Why then the tepid response from the Fillmore audience?Well according to the reproduced poster on the CD the Byrds were sanwhiched in between the ersatz funk of Pacific Gas and Electric and one of the interminable blues jams revolving around Mike Bloomfield and friends.Bloomfield was a guitar master but these jams never brought out the best in anybody. Hippies loved them however.San Francisco audiences were pretty open minded, but country music was not in their lexicon in those days, and to them The Byrds meant Hollywood sell-out. Hence the low key response. Despite the lack of audible harmony vocals, and a dead fish audience, McGuinn and company rise to the occasion tearing through Buck Owens instrumentals and Byrds medleys with equal aplomb.And you can bet that Mike Bloomfield who knew a hot shot guitarist when he heard one was checkin' Clarence White out from the wings.A real treasure and one of the first and fimest steps on the path of country rock.That fifth star is missing only because of some minor audio glitches. Forget the Fillmore fans on this night, you'll be doing the cheering when you hear this one.

And you thought the Flying Burrito Brothers embodied country-rock! One listen to this disc and you'll think otherwise. McGuinn/White/Parsons/York crank out some of the grittiest, roughest, rockin' sounding country music ever. And some of these cuts are the definitive versions of the songs..."Drug Store Truck Driving Man" is exponentially better than its studio counterpart. Same goes for "Pretty Boy Floyd" "Bad Night At The Whiskey" and, to a lesser extent "He Was a Friend of Mine." But McGuinn's vocals, man they really get inside of you, making you wonder "Gram who?"

But the real star of the show is Clarence White. I've never heard a guitar growl the way his Telecaster does. "Buckaroo" is all him, and his solo on "Close Up The Honky Tonks" is mindbending, literally.

If anyone knows where I could find some more official <cough cough> live recordings of the late Byrds, please E-Mail me!

COLUMBIA LEGACY DID EVERY ONE A FAVOR WHEN THEY RELEASED THIS 52 MINUTE CD OF LATE BYRDS MUSIC RECORDED LIVE IN 1969. I'M PROBABLY THE ONLY BYRD FAN AROUND THIS AREA.(SO IT SEEMS). THIS IS MY FAVORITE BYRD LINEUP, CLARENCE WHITE'S GUITAR WORK IS SUPERB ON THIS DISC. "PRETTY BOY FLOYD" KICKS! SOUND IS GREAT, AS IS ALL THE BYRD RE-ISSUES. GET THIS AND EVERTHING ELSE THAT COLUMBIA RE-ISSUED, YOU WON'T BE DISAPOINTED.

Right from the beginning a lot of people thought this version of the Byrds was bogus, having only Rodger McGuinn from the original lineup. While their studio recordings, still very good but a notch below their classic albums weren't big sellers, an amazing thing happened. They became an awsome live band, which no other version ever was. Just listen to the ragged performance on the Montery Pop Festival box set or any of the dozens of bootlegs around and you can see what I mean. What the Live At The Fillmore West CD lacks in sound quality it certainly makes up for in the intensity of the performance. There are a few off vocals here & there that can be attributed to the dismal state of on stage monitors at the time, but if you like the Byrds give this one a try. I don't think you'll be diasppointed.