Most Helpful Customer Reviews
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10 of 10 people found the following review helpful:
Full Circle, 2 April 2007
A lot has happened to the Byrds' body of work since 1990's Byrds Boxset, a collection which has long been unavailable and which There Is A Season sets out to replace. Starting in 1996, as befits a band of such stature, the entire Byrds Columbia/CBS catalogue has been digitally remastered and each album re-issued complete and expanded with a feast of bonus tracks - singles, outtakes, alternate takes and mixes, live performances - and a new album, Live At The Fillmore - February 1969, was dusted off from the archives and released in 2000.
These extra tracks and the copious booklet notes gave a fresh extra insight into the history of the band, which had probably more changes of line-up and musical direction than any other major band, and gave the compilers of this 4CD spin-off vast scope to draw from in telling the musical story of the band. This it does from its pre-Columbia inception in 1964 to its disbandment nearly a decade later, and, as a coda, one of four pieces the band reformed to record for the 1990 box set. As a fulsome introduction to the band it would be hard to better in value for the clarity of the recordings and the illustrative overview it provides. If a particular year or album should particularly chime, rest assured there is plenty more left to discover to warrant a separate purchase covering that section of the band's life.
Disc 1 includes the earliest known recordings by the fledgling band in 1964, from when they were known as the Jet Set and the Beefeaters onwards, and 18 of their ground-breaking 1965 folk-rock tracks, their most prolific and arguably most successful year. Disc 2 covers their psychedelic explosion in 1966 and the subsequent come-down in 1967, the last contemporary recordings of the original classic line-up.
Disc 3 launches the re-invented band featuring Gram Parsons on the seminal Sweethearts Of The Rodeo album in 1968, including some with Gram's lead vocals that weren't used after he left the band; and the following period up to 1970 with master guitarist Clarence White. These include Dr Byrds And Mr Hyde, Ballad Of Easy Rider and (Untitled). Disc 4 continues the same period with a dozen live 1970 New York performances, then fragments with various recordings from the Byrdmaniax/Farther Along era (1971), all with the same line-up of McGuinn, White, Skip Battin and Gene Parsons. Two live recordings from January 1973 (with John Guerin on drums) for the film Banjomen; a reunion of the original line-up a month later featuring two Gene Clark songs; and finally, a 1990 reunion recording by McGuinn, Crosby and Hillman complete the 99-track smorgasbord.
If you should already own the expanded re-issues there is far less to tempt you to part with your money. The first disc does include a rare Jet Set recording, both sides of the Beefeaters' Elektra single and some of the readily available so-called Pre-Flyte sessions. The rest are from the 1996 re-issues (Turn! Turn! Turn! turns up in mono again, peculiarly, as it was on the expanded album). The second disc includes the authentic mono mixes of Why? (single version), Lady Friend and Old John Robertson, and a mono Swedish radio session version of He Was A Friend Of Mine.
On disc three Candy is the remixed soundtrack version, but Lay Lady Lay is again not the official version as released as a single. Contrary to the booklet information, Kathleen's Song is the standard Byrdmaniax version. Disc four fares better with 4 1970 live recordings previously unreleased and 2 only from the 1990 box set. It also has their instrumental contribution to a 1971 Earl Scruggs album; the two Banjomen soundtrack live recordings; and the 1990 box set recording. Fittingly, since their career kick-started with Mr Tambourine Man, this final track is Dylan's Paths Of Victory.
Perhaps the juiciest carrot is the fifth disc: a truly evocative DVD with 10 1960s TV appearances showing the band miming to their hit singles as go-go dancers in cages gyrate the way only sixties dancers could.
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15 of 16 people found the following review helpful:
Proper tribute to songwriting genius - plus jingle-jangle guitar!, 24 Nov 2006
At last, the songwriting genius of Gene Clark is properly recognised by a Byrds boxed set. This redresses the inaccuracy of the previous box released in 1990, which omitted most of Clark's contributions to the classic 1960s catalogue.
The accompanying booklet also pays tribute to just how important Clark was: He was, after all, a co-founder of the group; not simply the handsome, tambourine bashing singer at centre stage.
The songs, vocal harmonies and instrumentation are still ravishing to hear. All in all, worth the wait. If only Gene were here to enjoy the recognition and the royalties.
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1 of 1 people found the following review helpful:
The Real Byrds, 7 Nov 2007
Now don't get me wrong - I love the Byrds, the players and their spine tingling music. But I'm writing about the Byrds e.g. Crosby, Clark, Clarke, McGuinn and Hillman.The original Byrds tracks on this boxed set are fantastic and well worth the price. I've also bought and love their solo material and post Byrds band manisfestations. I also have the original Byrds Boxed set that served Gene Clark so poorly and I have all of the re-issue C.D's with the extra tracks. The original Byrds,but Crosby and Hillman especially, were irritated by McGuinn carrying on after 'Sweetheart of the Rodeo' with a pick up band called the Byrds. Yes, the late lamented Clarence White was a superb guitarist and the other varying members of the band had their moments too, but they were not THE Byrds. They were McGuinn and a backing band who latterly were given a large degree of freedom to try to construct their sound and they never really did.The Byrd's hits were poorly played and in fact bore little if any resemblance to the originals.I've tried but just can't enjoy much of the latter material!As a live band they were great and probably better than the original quintet, and if they'd played as McGuinn and friends or whatever, that would have been fine. Even McGuinn admits he carried on with 'THE Byrds'for too long! Granted they did do some nice stuff: 'Jesus is Just Allright', 'Gunga Din' 'Chestnut Mare' etc come to mind - you'll have your own favourites , but even these highspots pale into insignificance compared with their original body of work.
Great band, great players -wonderful live - but certainly not the Byrds post 'Sweetheart.'.
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