Amazon.co.uk Review
It's not overstating the case to contend that the Byrds' debut is the font from which all folk-rock spouts. The Bob Dylan-penned title track hit No. 1 two months before the album arrived, in the process heralding a new sound that braided involved lyrics with a driving beat, chiming guitars, and vaguely trippy harmonies. The album (and, indeed, it is an album, rather than a haphazard collection of songs, as was the standard of the day) followed through on the promise of the single. Four of the dozen songs on the original pressing were Dylan compositions, but the originals from Gene Clark and Roger McGuinn nearly matched their appeal, particularly "I Feel a Whole Lot Better", perhaps the quintessential Byrds tune. This 1996 reissue includes a half-dozen previously unreleased tracks.
--Steven Stolder
CD Description
Few debut singles in the history of rock & roll have had the immediate and overwhelming impact of The Byrds' version ofBob Dylan's "Mr. Tambourine Man". Marrying a Beatles-like electric jangle to Dylan's insight and folky melody (in many ways, breaking Dylan into the pop market), it not only forecast the band's influence on the future of pop music but reestablished an American rock & roll presence in the face of the British Invasion. The album of the same name, released in June of 1965, was a shotgun blast before the canon roar thatDylan's HIGHWAY 61 REVISITED (released just two months later) would become.
As much as Bob Dylan was an overwhelminginfluence on the young Byrds--four of the twelve tracks on MR. TAMBOURINE MAN were Dylan songs--his contributions were only a part of what made the band special. The chiming soundof McGuinn's 12-string guitar was the group's backbone, characterising The Byrds' presence in a way few rock instrumentalists had done until then. Gene Clark proved to be a mightysongwriter in his own right--"I'll Feel A Whole Lot Better"has stood the test of time better than any other track here. Yet, what distinguished The Byrds and MR. TAMBOURINE MAN most was that they couldn't be easily pigeonholed. Combining disparate musical backgrounds and openly reconstructing everything from a British wartime standard ("We'll Meet Again") to a Jackie DeShannon pop tune ("Don't Doubt Yourself, Babe") in their own open-minded image, the Byrds kicked down the door to a new sound called folk-rock. Many would soon follow.