Customer Reviews

Notorious Byrd Brothers (Exp)

5 star:		(54)
4 star:		(11)
3 star:		(3)
2 star:		(2)
1 star:		(0)

 

 

What an astonishingly perfect album.

I first discovered "The Notorious Byrd Brothers" back in 1991. I was in my early 20's, and had no idea what I was buying back then. I knew I loved "Fifth Dimension" and "Younger Than Yesterday". I probably just bought it to fill out my Byrds collection while hoping that it had a good tune or two, like "The Ballad of Easy Rider" or "Dr. Byrds and Mr. Hyde" has. I got much more than I bargained for, because it is one of the greatest efforts I've heard in all of rock-n-roll. It has become more and more special and significant with time. This would be one of my "Desert Island Discs", even if I was only allowed 10 albums, this would make that list, simply because it sounds so timeless and it never gets old.

From a marketing standpoint, it is not that well positioned in the pantheon of Byrds albums and singles. There is no hit single, and the album's cover doesn't really hint at the treasures that lie within. Combined with the album's title, someone who doesn't know any better might think it would sound more like "Sweetheart of the Rodeo", or not know what to think at all. This book cannot be judged by its cover, my friends. The only faults with this album may only be the packaging. However, as a fan, I would not change a thing. I only wish David Crosby had been allowed to finish this record before he was fired by Chris and Roger. Dave makes great contributions to this record, and the last track on the new expanded CD has a shocking glimpse into their studio world, exposing much unrest and friction in the group. Michael Clarke sounds like a royal pain-in-the-butt, and only in the Byrds for the money, and he refuses to play properly like a spoiled brat. Poor Gary Usher, the producer, probably had a hard time babysitting this guy and keeping everyone from killing each other.

Out of all the confusion and animosity, the end result is just pure magic. Was it accidental? Or was it very deliberate? It was everything the Beach Boys' "Smile" was supposed to be. It was America's best response to "Sgt. Peppers", and it more than met the challenge, albeit after several years. (At the time of its original release, the record was a commercial failure and was overlooked and underappreciated.) I wish teenagers and young adults who love rock-n-roll would listen to this record. There is nothing "oldie but goody" about it. I feel it has stood the test of time even better than "Sgt Pepper".

It also may be an accidental concept album. The sessions for this record obviously started on the heels of the psychedelia craze, but was completed and packaged right as the Byrds were leaning towards country music. It also makes for a nice history lesson by being a fine example of how fast things were moving and changing back in '67-'68. To imagine that the Byrds would be playing the Grand Ole Opry a few months later is astonishing! This record really captures the Byrds doing a 180, and reinventing themselves. You hear these changes unfold right in front of you.

This album is so technically beautiful and full of wonderful harmonies, instrumentation, orchestrations, sound effects, and that wonderful chang-a-langing 12-string Rickenbacker. I think of this album as one long song, because each track blends in with the next so smoothly, and dreamlike. It feels like a very intelligent psychedelic journey with occasional hints of country and bluegrass music. It's hard for me to listen to one or two tracks alone, I normally just play the whole thing. The only track I sometimes skip is the first one, "Artificial Energy". It's a good tune, but if any track fits in the least, it's that one. The transition from "Natural Harmony" into "Draft Morning" is wonderful, and the latter is a beautiful tune with many things happening, like a mandolin, thumping bass, classic Byrds harmonies, a smooth political message, and great sound effects of guns in war.

This album also features two amazing Goffin/King tunes done to perfection. The version of "Goin' Back" is lyrically powerful and "Born To Follow" has wonderful phasing effects. "Change is Now" is another song with wonderful harmonies and a hypnotic bass line and beat. It's psychedelic, but not in an "Iron Butterfly" way. There is nothing hokey or dated about this album. It all sounds so fresh and modern to this day, and the last two tracks really close it out on a peaceful note. The whole record is like a journey. It will take you to different places. It clearly is the Byrds at their Best. The Byrds gave it their best effort and were successful. Their early potential is fully realized with this effort. They did it.

I would encourage everyone who loves rock music to buy this CD. Hey, send me an e-mail and we can talk about it! I love talking about this record and recommending it to friends. This is not only the best of the Byrds, but also the best of the Sixties.

"The Notorious Byrd Brothers" is--aside perhaps from the mighty "Revolver"--the greatest pop album of all time. Inspired by The Beatles' recent achievements, embroiled in bandmember controversies (David Crosby was fired and Mike Clarke quit during the sessions), fuelled by drugs and yet reaching a creative peak that kept refining and expanding on the experimental direction of "Fifth Dimension" and "Younger Than Yesterday", the splintered Byrds somehow managed to come up

with a collection of songs which stand more like polished jewels than mere tunes. "Notorious" was to represent the final evolution of the group's sound before the backpedalling to country music that followed on "Sweetheart Of The Rodeo"; it fared well in the UK (peaking at #12) but stiffed in the US (#48) where the group were suddenly considered passe. It is a stunning work, a diverse collection of sounds and lyrical subject matter which is nonetheless unified by the group's

Taoist sense of ebb and flow; the sonic delights are smooth, tasteful and subtle, with not a single note or arrangement out of place and some of the most ingenious song fade-outs/fade-ins in the history of vinyl. The end result is a song cycle which takes one on a sonic trip that begins with an amphetamine rush and ends on the moon, with each sound--no matter how diverse, ranging from string quartets, raga-ish guitar solos, moog synthesizers, celeste, phasing, horns and those heavenly vocal harmonies--coalescing into one hypnotic rush, like a series of linked watercolors. This is pure art, a producer's wet dream, aiding some of the strongest lyrics and melodies ever written. Crosby's presence is essential, although the album might have been even greater had he stayed (he claims to have written "Guinevere", "Wooden Ships" and "Laughing" all on the day he was fired, and it is highly possible that the exquisite "Guinevere" and "Laughing" would've placed on the album). What we are left with instead is the still-eyebrow raising CD bonus cut "Triad", which should've also been on the album and is now restored to its rightful place. McGuinn and Hillman also reach artistic heights here, and Hillman's bass playing is a wonder to behold. What is so great about "Notorious" is that it is an epic that manages to fly naturally and harmoniously; it is neither too grandiose or too mild, but hits that perfect middle where social comment (the vivid anti-war sentiment of "Draft Morning"), wonder (the underwater mysticism in "Dolphin's Smile"), bittersweet reminiscing ("Goin' Back") and surrealist pop storytelling ("Old John Robinson") reflect and reinforce each other to create a tapestry that casually insinuates its philosophical brilliance without ever outstaying its welcome. This is most certainly an album that requires the listener's full attention (preferably through headphones), as all of the little production nuances must be heard to be believed (remember, this was recorded in 1967). It only boggles the mind that the album could've been even greater had Crosby stayed, as it is already one of the top two or three greatest recorded statements of all time, and a perfect recreation of the changing attitudes of America in the mid to late 60s.

"The Notorious Byrd Brothers" is not the Byrds best album. That title would surely go to "Mr. Tambourine Man" or "Younger Than Yesterday." It is, however, their most interesting album, and therefore the one I pop into the CD player the most.

With David Crosby (who is replaced with a horse's backside on the cover photo) leaving during the sessions after battling over the song Triad, which did not make the final cut, and Michael Clarke also making his exit, "TNBB" is the work of a band in trouble. The final album doesn't show this so much as the high points are among the best in the Byrds catalog. Despite leaving the band, Crosby gets to shine with the sweetly trippy "Dolphin's Smile." McGuinn has some of his best and most poignant vocals on the anti-war "Draft Morning" and "Wasn't Born to Follow." While most of this album is on the experimental side, the classic Byrds sound makes its final appearance on the folk rocking "Goin' Back" and "Old John Robertson." Of course, the band really wasn't unified enough to create another true masterpiece, and "Natural Harmony," "Get to You" and "Space Odyssey" serve as little more than filler. None of these are particularly offensive (well maybe "Space Odyssey," but it's the final cut on the album and easily skipped), so they do not detract to0 much from the listening experience.

Of the bonus tracks, "Triad" is by far the keeper, as Crosby did have a point and the song should have been on the album (it would have been one of the highlights). The Byrds' version really is superior to the Jefferson Airplane's better known, and still fine version. There's an interesting alternate mix of "Draft Morning" which has some noticible changes in the war sound effects, and if you leave the disc running after "Universal Mind Decoder," you'll hear hidden studio chatter of the Byrds battling in the studio. It's rather fierce and a bit painful to hear, but illuminating in regards to the Byrds serious internal problems.

This is a fine disc (and the remastering remains very fine), and although I cannot give this but a four star rating, I would recommend it higher than some five-star ratings.

For me, this album will always represent the last of the great, classic 'Byrds' albums, even if 'Sweetheart Of The Rodeo' might have some claim for thuis title. But I am just in love with psychedelia, and even though the album cover here indicates a country album, that style first entered the Byrd repetoire on their next outing. This is just simply one of the most brilliant recordings of the psychedelic era.

'Goin' Back' and 'Natural Harmony' are pleasant, soft, psychedelic songs, well-crafted, well-played and well-sung. But with 'Draft Morning' and 'Wasn't Born To Follow' the real classics kick in, before the surprisingly powerful 'Get To You' ends side 1.

'Change Is Now' is a true gem, even if the beginning sounds somewhat dull. The chorus revives all this and brings a wonderful Byrd song, easily a contender for the same status as earlier songs like 'Turn, Turn, Turn'. 'Old John Robertson' is arguably even better, though quality then drops a little bit for 'Tribal Gathering', though it is, nonetheless, a good song.

But then comes 'Dolphin's Smile' and 'Space Odyssey', two of their most marvellous psychedelic gems, as just the titles indicate.

All these songs are, however, nothing, compared to the first track. 'Artificial Energy' is simply one of the best psychedelic songs ever. It may be outshined by Steppenwolf's 'Magic Carpet Ride', but put it up against 'Magical Mystery Tour' or 'Pinball Wizard', and it, and I hope I don't offend anyone here, for all these titles have been chosen, because they are great monuments of psychedelia, but I think 'Artificial Energy' would beat them both!

This album is not better than 'Younger Than Yesterday', but it is neither worse, and both are very very valuable creations, and it is unbelievable, how underrated they have become...

This album is the most far-reaching effort by the Byrds and packs a powerful punch. The group seems to be struggling with the excesses of the times and perhaps of the "artificial" energy spoken of in the title cut, but to a sublimely creative peak. I love all of the Byrds albums, but this one really astounds with one great track after another. I can't see how there could be much of an argument that this collection of songs is some of the best of the era. And by the way, the remastering job is very good with a great selection of additional tracks (Moog Raga, Bound to fall, Triad & Universal Mind Decoder are welcome additions and alternate versions of Goin' Back & Draft Morning are fine since I love both of those songs). There is even a secret extended track of the band arguing through rehearsals which is quite funny. If you don't know this album and are just nosing around, trust me that this is one of the most classic psychedelic albums and worth twice the price. This is a desert Island pick for me. My vote for the greatest hippie song - the free love "Triad" by Crosby that got cut from the original album and was lent out to Jefferson Airplane on Crown of Creation and later on the first CSN album. The song itself, and this version particularly just soars as a melodic and harmonic masterpiece with the great guitar and winking lilt of Crosby's voice, and the subject matter........someday maybe others! Draft Morning could bring a tear to any caring vet's eye, what a powerful song (sad for me too, a family member just went off to the army...strong reminder of the Vietnam fiasco)! The Byrds are hitting on all cylinders here and the emotional impact is heavy. An essential, get it if you don't have it in this remaster, it is well worth it. (Dolphins do SMILE, and you will too!) Funny it appears to be the cheapest price of the Byrds albums??? Peace!!

The Byrds' "Notorious Byrd Brothers" album, released in 1968, is usually cited by critics and Byrds fanatics as the finest recording of their nine-year career. It is their most creative work: clever arrangements, stellar musicianship, strong songs, tight production and a dazzling array of musical textures. Songs such as the anti-amphetamine "Artificial Energy", the childhood nostalgia "Old John Robertson" and "Tribal Gathering" mix genres as diverse as big band swing, Asian music motifs, bluegrass, John Coltrane saxophone quotes, and baroque string quartets,--sometimes all in the same song! Due to the force of McGuinn's and producer Gary Usher's unwavering musical vision, it all succeeds. This album actually sounds less dated and contrived than more highly-regarded works of the time such as "Sgt. Pepper's Lonely Hearts Club Band" (Beatles), "Smiley Smile" (Beach Boys) "After Bathing At Baxter's" (Jefferson Airplane) or "Their Satanic Majesties Request" (Rolling Stones). The continuity of the album, regardless of mood or tempo, is seamless as the songs segue into one another, never giving the listener time to fully absorb. It compels one to replay the album over and over to uncover all of the complexities. As most of the songs are just over two minutes duration, one never gets tired of individual tracks. There are no ego-tripping guitar solos or blues jams here. Each track is deliberately constructed and highly arranged. Only the interminable "Space Odyssey" drags. The bonus material here is very interesting: Crosby's "Triad" is almost as good as the version recorded by Jefferson Airplane on their "Crown of Creation" album that same year; "Bound to Fall" is an exciting backing track never completed; and "Moog Raga" is an early example of what could be called "Trainspotting" music. This is the last real album by the original Byrds line-up, as David Crosby and drummer Mike Clark are both present on many of the tracks. Never would The Byrds be this innovative again. The burgeoning "back-to-roots" movement that was sweeping rock music in the late 1960s would soon engulf The Byrds as well. Their next album, "Sweetheart of the Rodeo", would cost them their commercial audience and, from here on, The Byrds would be a hip country-rock group.

There's some amazing stuff on this album. Nothing can match the glory of the first time I heard "Mr. Tambourine Man" but "Notorious Byrd Brothers" gives us a glimpse of what might have been, if they'd been able to stay together. Except for a few near-misses, this was probably the last consistently good Byrds studio album.
"Artificial Energy" captures the drug-fueled craziness of the times in a way that few other songs did -- fun and scary at the same time -- and then "Goin' Back" offsers a sort of way to cool down again.
The smooth surface of "Draft Morning," broken by distant dreamlike gunfire, still gives me chills, long past the time when I needed to worry about the draft.
"Change Is Now," which I expected would sound terribly dated, has held up fairly well, especially if you're willing to forgive such lyrics as "that which is not real does not exist." The break from the hypnotic drone of Hillman's bass to the steel guitar, and then back again, is sublime even in an un-altered state of consciousness.
The only clinker in the whole set (speaking now of the original album) was "Space Odyssey." A friend at the time described the blub-blub rhythm as an "electric water cooler" and I've yet to get someone to contradict him.
The whole album was too short, but then that was true of a lot of albums at the time.
I wouldn't recommend buying the CD just for the bonus tracks. Unlike on some of the other Byrds re-issues, there's not much there. They're of historical interest, but sometimes outtakes are outtakes for a reason.

It is worth it, just for the sound. Some re-issues don't sound better than the original LPs. More than a few sound worse. All of the Byrds re-issues that I've acquired so far have been more clear than the originals. A fine job. Speaking as the last person on my block to trade his turntable for a CD player, I can't praise the people involved enough. If you loved the Byrds 40 years ago (ouch!) or have just recently heard of them, this CD, and the others, represent money well spent.

One more thing to mention; why are so many reviewers saying that David Crosby's picture was replaced by a horse's rear end? I'm not unsympathetic to the notion -- in spite of his huge contributions he could undoubtedly be one at times -- but if you look at the cover carefully it is beyond doubt a horse's head in the window, not the other end! Look carefully, people!

The Notorious Byrd Brothers came in January 1968, only 11 months after the release of The Byrds' pop masterpiece, Younger Than Yesterday. However, the difference between the two albums is staggering. Whereas Younger Than Yesterday consisted of concise, tightly-arranged, catchy rock songs, Notorious is a whirlwind of sonic experimentation. The opener, Artificial Energy, with its phased brass and vocals, sets the tone for the album. There are hardly any sounds on the album that haven't been tinkered with or filtered in some way. The result is an album that is a feast for the ears. It's a psychedelic album, no doubt, but contains traces of jazz, country and folk as well. This is truly The Byrds' Sgt. Pepper.

It's too bad that David Crosby was fired before the album's completion. His contributions to Younger Than Yesterday were so great, and Notorious Byrd Brothers would be even stronger if his Triad were included. Goin' Back is a great song, a beautiful song, but there's no reason that the Byrds couldn't have put both Triad and Goin' Back on the album. The album is too short as it is. That's my only complaint with this great album. It's over far too soon. You won't want it to end. It's really amazing that in the midst of such internal turmoil, The Byrds were able to create such a masterpiece.

Notorious was a major turn for The Byrds, and it really sounds like never they ever did before. With their next album, Sweetheart of the Rodeo, they would make another major turn as well. The Notorious Byrd Brothers is an essential purchase for anyone who likes The Byrds, psychedelia, or just great music.

The Byrds, as a working unit, were beginning to disintegrate at the time this album was released; with their main songwriter Gene Clark quitting the band because of the fact that he was terrified of plane-travel, and David Crosby feeling increasingly neglected. And yet they managed to piece together some of their finest pop music to date, but this time with a little more edge than on their previous albums.

Their main inspiration, it seems, was a healthy competitive streak with their old Liverpudlian sparring partners, and Roger Mcguinn's occasional acid-buddies, The Beatles. Sgt Peppers fever was everywhere at the time- with everyone from psychedelic jazz artists (David Axelrod) to folkies like The Incredible String Band trying to ride the wave. And the Byrds were no exeption; they hardly even tried to hide the influence. I can think of three Sgt Pepperisms off-hand: the Lovely Rita-style heavy breathing in Get to You, the horns that come in near the end of Draft Morning, and then there's the fact that each song segues into the next. However, the Byrds were always more than mere Beatles wannabes, they were wonderful melody makers too.

The opening track, Artificial Energy, sounds like Beck thirty years before the fact- the driving horns and Mguinn's laid-back vocals make for what is probably the best opener on a Byrds' album. The rest of the album doesn't disappoint; from Carole King's Goin' Back (try and check out Nils Lofgren's brilliant piano-driven version if you can too) to Space Oddyssey, which continued the Byrds' obsession with alien contact. It could be said that the latter is some, dipsy, love-child era claptrap, but, writing this review in the year when Neil Young has released a State of the Union address/album called Living With War, I could do with a little more of this kind of music. What is arguably the best song on the album didn't even make the cut on the original release, which is a very Byrdsian trend (see axed songs like Psychodrama City and She Don't Care About Time). Triad's basically Crosby asking two lovers to go take part in a menage a trois, and I wouldn't be surprised if they went with it considering he delivered the idea so beautifully. However, I also think the song is about adopting a free-living, hippie aesthetic, and in that way I think of it as a sort of sister-song to his simliar sounding Almost Cut My Hair, which he released with Crosby, Stills and Nash.

Whether or not this is their best album depends on your tastes. Personally I'd give that award to Sweetheart of the Rodeo or maybe even Fifth Dimension, but I do know it's a wonderful album of catchy, sometimes inspiring, songs.

"The Notorious Byrd Brothers" is usually regarded as the last album by the original band. Gene Clark had actually left after the second album, but it's obvious that this is the last album where the original Byrd-sound is still predominant. Still, as with every new Byrds album, it's by no means just a repetion of previous efforts.

New sounds, rhythms and instruments and are explored on the album, which must be their most psychedelic. But as always it's the songs that make this another great Byrds album - of course along with the brilliant guitar-playing and the delicate vocal harmonies.

No Bob Dylan songs were recorded for the album; instead two fine Goffin/King songs stand out among the most memorable on the album. Both "Goin' Back" and "Wasn't Born to Follow" have the classic Byrds-sound and both songs are lyrically and musically very strong.

Among the new original Byrds songs "Draft Morning" is a highlight. The song was originally written by David Crosby, but he was asked to leave the band midways through the recording of the album, so the song was finished by Hillman and McGuinn. Another David Crosby song "Triad" may be have the reason for his ousting. Crosby wanted the song included on the album instead of "Goin' Back", but the other band members may have found Crosby's lyrics too controversal. The song was given to Jefferson Airplane and Crosby was out of the Byrds. Iin retrospect this seem a pretty stupid solution, considering that both tracks could easily have been included - Byrds albums usually had a very short playing time - and TNBB is no exception with its app. 30 minutes. Now the song is to find among the bonus-tracks.

Crosby was not involved with the final recordings which include the opener "Artificial Energy", "Natural Harmony", "Get to You" and the terrific "Wasn't Born to Follow" which feature the great Clarence White on guitar. White is actually playing on several on these recordings, and he was later to join the Byrds as a permanent member. His contribution to "Change is Now" make this average tune another stand-out; almost like a new "Eight Miles High".

Hillman's "Old John Robertson" is catchy Byrds-country and another favourite.

Weakest track is the closing tune ( sea-shanty style ) "Space Odyssey" feature odd space sounds, but somehow seems to go nowhere; a paradox that It is the longest track on the album.

Among the bonus-tracks the instrumental "Bound to Fall" is quite good, but sounds unfinsihed. Though all bonus tracks are interesting "Triad" is really the only track that ought have been included on the original album. "Moon Raga" is the weakest and it's wonder why it was not placed as the last track.

A hidden track feature studio talk that reveal there was a lot of tension within the band during these recordings.