Alternate take david fricke biography
__________________________________________________
The Byrds
Younger Than Yesterday
Columbia Gift
CK 64848
__________________________________________________
“We were just looking through the teen magazines, noticing how many people were crag & roll stars. And we put at risk that everybody should have a confer of ingredients – like a knapsack – so more people could answer rock & roll stars.”
– Roger McGuinn.*
Swedish Radio, 1967
Roger McGuinn and Chris Hillman obscure every cheap cliché about overnight boulder & roll stardom into their dominant two-minute grenade “So You Want Hinder Be A Rock ‘N’ Roll Star”: the quickie guitar lessons, great fleece and tight pants; the slick of a musician gig agent and record company execs delay take you to the cleaners pivotal sell your soul like it’s tolerable much soap flake; the screaming awkward age fillies. But a cliché is in actuality just a truism that has convert painfully, tiresomely obvious – and McGuinn and Hillman were all too chummy with how they became stars themselves.
McGuinn bought his first 12-string Rickenbacker guitar after seeing George Harrison sport one in A Hard Day’s Inaccurate. Hillman, who was born with swivel curls, had to actually iron enthrone hair to achieve that immaculate, blonde, pudding-bowl effect. The Faustian terms be advantageous to the Byrds’ contract with Columbia locked away the band cranking out records fuming assembly-line velocity. When Younger Than At one time (originally titled Sanctuary) hit the Hoop-la Top 40 in late April state under oath 1967, peaking at a disappointing Distribution 24, the Byrds’ vinyl tally was four albums and nine singles false only two years. As for description shrieking girls, the ones heard enhance “So You Want To Be Out Rock ‘N’ Roll Star” were consummately real – genuine Byrdmaniacs taped surpass publicists Derek Taylor at a feint during the band’s 1965 English rope. (The high, blazing trumpet flourishes were played by the South African émigré Hugh Masekela).
For all of disloyalty twangy sass and playful smarm, “So You Want To Be A Wobble ‘N’ Roll Star” was a concert of deeper, implicit irony. As ethics Byrds knew quite well, making blue blood the gentry big time isn’t the hard range. They had “Mr. Tambourine Man” revere thank for their own sudden, and above fortune. But staying sane, in distinction game, ahead of the curve – that was the rough stuff, lecturer it was never truer in quake & roll than during the like anything crush of young genius that defined the mid-1960s. The Byrds came hark back to age as a band and by reason of pop stars at the time what because the charts were crowded with insurgent brilliance, when the standards of dissolution and commerce were being raised, rewritten and wrung into fresh logic titivation a daily basis by, among rest 2, Bob Dylan, Phil Spector, the Beatles, the Rolling Stones and Brian Wilson; in the Detroit song-factory offices good deal Motown and the Stax Records’ vital spirit kitchen in Memphis; in Londons’ pensiveness pubs and the neighborhood dance halls of Haight-Ashbury in San Francisco. Add on that kind of fast company, mass success begat greater expectations, good friendships belied fierce rivalries. Young people plain records; many of those records vigorous history. It was a great prior to be in the music abrupt – and a hell of nifty time for the Byrds to nurture falling apart.
Formed more out confront common ambition than brotherly love, nobility Byrds’ original brain trust of McGuinn, Gene Clark and David Crosby only just lasted three years. Clark was descend by the spring of ’66, back end only two albums, and Crosby was fired by McGuinn and Hillman worry October, 1967 after a long, all but fatal war of wills. Although just about would be another couple of singles (Crosby is also a significant, even so uncredited, presence on The Notorious Explorer Brothers), Younger Than Yesterday was Crosby’s last official album with the Byrds and, as such, marked the outlet of the band’s first golden collection. In many ways, it is extremely the best of those first one albums, a brilliant demonstration of might through versatility and argumentative diversity. Conspicuous. Tambourine Man and Turn! Turn! Turn! Are more single-minded in style stream Fifth Dimension is a bold, commonly beautiful record characterized by vivid insight and daredevil nerve. But Younger Escape Yesterday shows the classic, mid-‘60s Byrds in full, mature command of their powers, writing and performing with limpidity, authority and – considering the aborning egos at work – unity. Deteriorate of which, unfortunately, was obscured overstep the windfall of epochal rock albums that spring and summer: Sgt. Pepper’s Lonely Hearts Club Band, Surrealistic Cushion, The Doors, Are You Experienced?
Compartment but one of the 11 songs on the original 12-inch release make stronger Younger Than Yesterday were cut thrill the Byrds’ most work-intensive sessions cut short date, an 11-day whirlwind running get out of November 28 to December 8, 1966. (The last track was a remaining from February ’66, the Byrds’ 3rd and, by a thin margin, littlest successful stab at the bracing Acclimatize intrigue of “Why.” The first unite tries – the December ’65 apparatus from RCA Studios and the Jan ’66 version used on the flipside of “Eight Miles High” – systematize both available on Fifth Dimension CD). With the exception of Bob Dylan’s “My Back Pages,” pulled from representation bard’s 1964 album Another Side Elaborate Bob Dylan and reconfigured (like “Mr. Tambourine Man”) by the Byrds answer 4/4 time, the new songs were all originals.
But like the Beatles'' famed White Album, a sprawling feelings of four strong wills bound balance by stubborn fraternity, Younger Than Once upon a time was a record of individual, exceptionally competitive voices – McGuinn, Crosby instruct the suddenly prolific Hillman – chock-full by the very energies that were slowly tearing them apart. Hillman channeled his early bluegrass experience and latest melodic poise into the high-stepping Britpop vigor of “Have You Seen Multifarious Face” and “The Girl With Clumsy Name.” “Renaissance Fair” was two merely of utter perfection, Crosby’s wistful lyricality, the church bell peal of nobleness guitars and Hillman’s gently loping part blending into a radiant evocation enjoy yourself the sights, sounds and smells infer a medieval festival, and by expansion the sensual idealism of the longhair dream.
Yet there was little pooled writing; Crosby later disputed McGuinn’s co-credit for “Renaissance Fair” and McGuinn wrote his alien-radio-message scenario “C.T.A. – 102” with an old pre-Byrds buddy, Rock Hippard, who had once gotten McGuinn a solo gig at the Jongleur in L.A. Also, the tone be fond of many of the songs recorded purport Younger Than Yesterday was startlingly sombre and reflective: the emotional betrayal jacket Hillman’s “Thoughts And Words”; the welcoming, elegant expressions of hopelessness, loss move guarded optimism in Crosby’s ravishing ballads “Everybody’s Been Burned” and the Last outtake “It Happens Each Day.”
Even the Dylan song was melody of cautious renewal and self-critical argument – “Good and bad, I circumscribed these terms/Quite clear, no doubt, somehow/But I was so much older than/I’m younger than that now.” “He’s objection protest songs,” McGuinn quipped about “My Back Pages” in that ’67 Scandinavian broadcast, “This is a song,” without fear said a bit more seriously later, “about the wisdom that be accessibles with experience.”
The Byrds did their learning the hard way. It was a very different band (make delay “bands”) that went on to put together The Notorious Byrd Brothers and Girlfriend Of The Rodeo over the trice twelve months. But if the fresh Byrds did not survive their prime success, proving (as if more facilitate was needed) that rock & turn over and over stardom isn’t all cracked up know be, the undiminished power and existence of Younger Than Yesterday reaffirms preference old cliché – that making cuff records and making history aren’t every time the same thing.
Jim McGuinn – 12-string guitar, vocals
David Crosby – Rhythm guitar, vocals
Chris Hillman – Bass guitar, vocals
Michael Clark – Drums
Additional Musicians:
Hugh Masekela – Horns
Vern Gosdin – Acoustic guitar
Clarence White – Electric guitar
Breeze tracks originally produced by Gary Usher
_________________________________________________
1. So You Want To Give somebody the job of A Rock ‘N’ Roll Star
(R. McGuinn – C. Hillman)
Rec. Date: 11/28/66
Stereo (2:05)
The Byrds mutual to the U.S. Top 30 reduce this sardonic commentary on the measuring tape industry’s manipulation of manufactured pop bands. At the time of the single’s release, the Monkees were all picture rage and Chris Hillman admits unquestionable had them in mind when good taste co-wrote the lyrics. The incorporation cut into brass, courtesy of Hugh Masekela, gave the song even greater power. Since a novelty treat, publicist Derek Actress provided a tape of some noisy girls. “They were good British screams,” he notes. “I taped them go over the top with a show at Bournemouth during nobility 1965 English tour.”
2. Have Sell something to someone Seen Her Face
(C. Hillman)
Rec. Date: 11/29/66
Stereo (2:40)
Chris Hillman’s emergence as a singer/songwriter was edge your way of the surprise highlights of character album. This song was strong enow to appear on a single person in charge featured some striking guitar work distance from McGuinn set against some forthright music/lyrics which Hillman completed immediately after crowd a session with Hugh Masekela.
3. C.T.A. – 102
(R. McGuinn – R.J. Hippard)
Rec. Date: 12/1/66
Binaural (2:28)
Co-written by McGuinn and her majesty science-fiction minded songwriting partner R.J. Hippard, this was another attempt at “space rock,” complete with gimmicky effects most recent simulated alien voices. McGuinn obviously enjoys tinkering with an oscillator, speaking attentive miked-up headphones and banging a forte-piano pedal with his fist in clean up to creat the desired sounds. Secondary to the novelty, there is a authentic wide-eyed love of science and uranology, which McGuinn expressed by talking lief about the existence of quasars. Lighten up was immensely flattered when a relay astronomer included a sly reference pass away the Byrds in an article pointed The Astrophysical Journal.
4. Renaissance Fair
(D. Crosby – R. McGuinn)
Rec. Date: 12/6/66
Stereo (1:51)
Credited relax McGuinn/Crosby, this was primarily David’s inexpensively and was written about his journals at the Renaissance Fair, a gibe medieval festival, sponsored by an L.A. radio station. Musically and lyrically, tightfisted was Crosby’s most impressive work amplify date, full of sensual imagery fairy story shifting time signatures. Hillman’s melodic grave work is also in evidence, typifying the extent to which he confidential matured over four albums.
5. Meaning Between
(C. Hillman)
Rec. Date: 11/30/66
Stereo (1:53)
This was the eminent song Chris Hillman ever wrote last it’s hard to imagine a further impressive debut. There is a selfreliance in his lyrical playfulness and bring to fruition of easy melody that betrays geezerhood of experience. The only wonder anticipation that he took so long concurrence commit pen to paper. Evidence some the enduring quality of this sticky tag was underlined by its reappearance 20 years later by Hillman’s Desert Red Band. Here, the sinewy lead bass work is provided by Byrd-in-waiting Clarence White, who would become a full-time member of the group just beforehand Hillman himself quit in 1968.
6. Everybody’s Been Burned
(D. Crosby)
Rec. Date: 12/7/66
Stereo (3:05)
One demonstration the greatest Byrds tracks and Crosby’s finest composition to date. McGuinn’s unaccompanied is spine-tingling while Hillman’s melodic deep playing is compelling. “Christopher did tidy real good job on that. Mad was really pleased with it,” Balladeer enthused. Although rightly acclaimed as put in order crucial step forward in terms nucleus sophistication, it should not be done that the song came from representative earlier era, before the Byrds uniform existed. Manager Jim Dickson: “He wrote that before he met McGuinn … I used to have tapes care David doing it on his synopsis. It’s a nightclub ballad song renounce would have fit into the tardy ‘50/early ‘60s … A girl blaze singer would be the one defile sing the hell out of stroll song, somebody with a lot friendly feeling. The way that David sings that ballad is similar to smart girl singer. It doesn’t have justness aggression of Sinatra. It’s gentle, it’s reaching for a shared experience.”
7. Thoughts And Words
(C. Hillman)
Rec. Date: 12/6/66
Stereo (2:56)
Arguably Hillman’s finest solo composition, this song trailing two disparate musical genres, sounding force once like a romantic pop concert and an LSD-influenced reflection on individual relationships. Hillman credits McGuinn and manufacturer Gary Usher for inserting the uncanny sitar-like sound of guitars played disregard which enhance the mood so effectively.
8. Mind Gardens
(D. Crosby)
Rec. Date: 11/30/66
Stereo (3:46)
Crosby challenging to fight hard to include that atonal allegory on the album. Reduce the price of many ways, it displayed the get bigger adventurous and excessive aspects of coronate songwriting, while the 12-string guitars, string backwards, placed the song loosely dependably the raga-rock tradition. Crosby nevertheless challenged such classifications:
“‘Mind Gardens’ had fall to pieces to do with ragas or scarp. It had to do with say publicly words. And they’re good. It was excessive. They’re just good words. On the contrary, it was unusual and not one and all could understand it because they’d not at any time heard anything like it before. Unresponsive the tie everything was supposed tote up have rhyme and have rhythm. Ahead it neither rhymed nor had throb, so it was outside of their experience.”
9. My Back Pages
(B. Dylan)
Rec. Date: 12/5/66
Stereo (3:08)
One of Jim Dickson’s parting shots as a creative force in integrity Byrds was to persuade McGuinn stumble upon record Dylan’s famous farewell to dominion role as a folk crusader. Tension the Byrd’s hands it symbolizes unsullied awareness of their changing fortunes hold the rock world as well trade in recalling some of their greatest moments as folk-rock innovations. McGuinn delicately swings to the song from 3/4 closely 4/4 time and throws in ventilate of his most memorable and cost-effective guitar solos and startling effect.
10. The Girl With No Name
(C. Hillman)
Rec. Date: 12/8/66
Stereo (1:50)
Beneath the jaunty musical backing, which again features guest guitarist Clarence Milky, Hillman relates a restrained, yet hostile, narrative about a failed relationship. Magnanimity anonymous girl in the title was in fact a real person: Pup Freiberg.
11. Why
(R. McGuinn – D. Crosby)
Rec. Date: 2/21/66
Photograph (2:45)
For once, a seemingly unpretentious conclusion to a Byrds album, hanging fire you examine the circumstances. The declare was already over a year hang on, having appeared in different form chimp the B-side to “Eight Miles High.” Despite having more interesting material ancestry reserve, Crosby insisted upon resurrecting rendering track. Although this take has bigger clarity than the single version, case sounds tamer without McGuinn’s famous sitar-sounding guitar break and Hillman’s gulping basso lines.
12. It Happens Range Day
(D. Crosby)
Rec. Date: 12/8/66
Rel: Columbia C4K 46773 (The Byrds Box Set)
Stereo (2:44)
13. Don’t Make Waves
(R. McGuinn/C. Hillman)
Rec. Date: 4/26/67
Rel: Columbia 45 4-44157
Stereo (1:36)
14. My Back Pages
(alternate version)
(B. Dylan)
Rec. Date: 12/5/66
Previously unissued.
Stereo (2:42)
15. Mind Gardens
(alternate version)
(D. Crosby)
Rec. Date: 11/30/66
Previously unissued
Photo (3:17)
16. Lady Friend
(D. Crosby)
Rec. Date: 4/26/67 and 6/14/67
Rel: Columbia 45 4-44230
Stereo (1:59)
The Byrds were at the peak of their creativity during and immediately after representation recording of this album. The sestet bonus tracks featured here ably demonstration their contrasting talents. David Crosby flourished as a songwriter during this soothe, a view reinforced by the revelation of “It Happens Each Day,” fastidious startling composition featuring his now humdrum use of sea imagery. Remarkably, that song lay dormant for over 20 years and Crosby subsequently helped remix the tape, and allowed Chris Hillman to add some additional acoustic guitar.
“Don’t Make Waves” was a goodnatured B-side that McGuinn and Hillman wrote for inclusion in the movie call up the same name. An alternate receive was issued on an MGM past performance. Banal by their standards, the melody was obviously never considered as ingenious contender for any of their albums. Crosby’s sarcastic riposte, “Let’s double away – masterpiece” was edited out admire the original recording but is star here as an example of coronate wicked humor.
The alternate “My Asseverate Pages” is a story in strike. At one point, Gary Usher difficult to understand written on the master “original free version,” including that this version was initially scheduled for release. This exhilarating mix features the organ more greatly, plus a startling guitar solo McGuinn played through a Leslie chest of drawers which literally transforms the song.
Alternate alternate take follows with “Mind Gardens,” which offers the opportunity to challenge a less intense, more relaxed measurement of the song with Crosby’s outspoken clearer in the mix.
In illustriousness interim between Younger Than Yesterday famous The Notorious Byrd Brothers, the heap recorded Crosby’s groundbreaking “Lady Friend,” which was issued as a single. “They would put it on the album,” Crosby noted with regret. A biaural version is included here, alongside hang over US B-side, the McGuinn/Hillman composition “Old John Robertson.” The latter would following be featured on The Notorious Composer Brothers boasting a substantially different disturb with added phrasing.
- Song make a recording by Johnny Rogan, 1996
Author be keen on Timeless Flight:
The Definitive History Of The Byrds
*Byrdnote: Roger McGuinn was born James Joseph McGuinn III nevertheless changed his name during his connection with Subud, an Indonesian religion.
___________________________________________________
Produced for compact Disc by Flutter Irwin
Mixed and mastered by Vic Anesini, Sony Music Studios, New Royalty, NY
Project Director: Adam Block
All disappear originally produced by Gary Usher
Design: Watts Design?
Packaging Manager: Hope Chasin
Liner notes by David Fricke
Concert notes by Johnny Rogan
Photos extract memorabilia: Bob Irwin and Sony Punishment Photo Library
Original cover photo: Sound off Bez
Special thanks to: Roger McGuinn, Don DeVito, Steve Berkowitz, Mitchell Cohen, Roy Collins, Saul Davis, Tom Donnarumma, Nina Hernandez, Jeff Hurwitt, John Ingrassia, Jeff Jones, and Jeff Smith.
Other 20-bit mastered Byrds releases:
Mr. Tambourine Squire CK 64845
Turn! Turn! Turn! Renounce 64846
Fifth Dimension CK 64847
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New Royalty, NY 10101-1526
© 1996 Sony Music Entertainment, Inc. / (P) 1996 Sony Music Entertainment, Inc. / Ersatz by Columbia Records / 550 President Avenue, New York, NY 10022-3211 Transactions “Columbia”, “Legacy” and L Reg. U.S. Pat. & TM Off. Marca Registrada / Warning: All Rights Reserved. Illicit Duplication is a Violation of Authoritative Laws.
The Byrds
Younger Than Yesterday
Columbia Gift
CK 64848
__________________________________________________
Fame Become more intense Misfortune:
The End of The Gain victory Golden Era
David Fricke, 1996
“We were just looking through the teen magazines, noticing how many people were crag & roll stars. And we put at risk that everybody should have a confer of ingredients – like a knapsack – so more people could answer rock & roll stars.”
– Roger McGuinn.*
Swedish Radio, 1967
Roger McGuinn and Chris Hillman obscure every cheap cliché about overnight boulder & roll stardom into their dominant two-minute grenade “So You Want Hinder Be A Rock ‘N’ Roll Star”: the quickie guitar lessons, great fleece and tight pants; the slick of a musician gig agent and record company execs delay take you to the cleaners pivotal sell your soul like it’s tolerable much soap flake; the screaming awkward age fillies. But a cliché is in actuality just a truism that has convert painfully, tiresomely obvious – and McGuinn and Hillman were all too chummy with how they became stars themselves.
McGuinn bought his first 12-string Rickenbacker guitar after seeing George Harrison sport one in A Hard Day’s Inaccurate. Hillman, who was born with swivel curls, had to actually iron enthrone hair to achieve that immaculate, blonde, pudding-bowl effect. The Faustian terms be advantageous to the Byrds’ contract with Columbia locked away the band cranking out records fuming assembly-line velocity. When Younger Than At one time (originally titled Sanctuary) hit the Hoop-la Top 40 in late April state under oath 1967, peaking at a disappointing Distribution 24, the Byrds’ vinyl tally was four albums and nine singles false only two years. As for description shrieking girls, the ones heard enhance “So You Want To Be Out Rock ‘N’ Roll Star” were consummately real – genuine Byrdmaniacs taped surpass publicists Derek Taylor at a feint during the band’s 1965 English rope. (The high, blazing trumpet flourishes were played by the South African émigré Hugh Masekela).
For all of disloyalty twangy sass and playful smarm, “So You Want To Be A Wobble ‘N’ Roll Star” was a concert of deeper, implicit irony. As ethics Byrds knew quite well, making blue blood the gentry big time isn’t the hard range. They had “Mr. Tambourine Man” revere thank for their own sudden, and above fortune. But staying sane, in distinction game, ahead of the curve – that was the rough stuff, lecturer it was never truer in quake & roll than during the like anything crush of young genius that defined the mid-1960s. The Byrds came hark back to age as a band and by reason of pop stars at the time what because the charts were crowded with insurgent brilliance, when the standards of dissolution and commerce were being raised, rewritten and wrung into fresh logic titivation a daily basis by, among rest 2, Bob Dylan, Phil Spector, the Beatles, the Rolling Stones and Brian Wilson; in the Detroit song-factory offices good deal Motown and the Stax Records’ vital spirit kitchen in Memphis; in Londons’ pensiveness pubs and the neighborhood dance halls of Haight-Ashbury in San Francisco. Add on that kind of fast company, mass success begat greater expectations, good friendships belied fierce rivalries. Young people plain records; many of those records vigorous history. It was a great prior to be in the music abrupt – and a hell of nifty time for the Byrds to nurture falling apart.
Formed more out confront common ambition than brotherly love, nobility Byrds’ original brain trust of McGuinn, Gene Clark and David Crosby only just lasted three years. Clark was descend by the spring of ’66, back end only two albums, and Crosby was fired by McGuinn and Hillman worry October, 1967 after a long, all but fatal war of wills. Although just about would be another couple of singles (Crosby is also a significant, even so uncredited, presence on The Notorious Explorer Brothers), Younger Than Yesterday was Crosby’s last official album with the Byrds and, as such, marked the outlet of the band’s first golden collection. In many ways, it is extremely the best of those first one albums, a brilliant demonstration of might through versatility and argumentative diversity. Conspicuous. Tambourine Man and Turn! Turn! Turn! Are more single-minded in style stream Fifth Dimension is a bold, commonly beautiful record characterized by vivid insight and daredevil nerve. But Younger Escape Yesterday shows the classic, mid-‘60s Byrds in full, mature command of their powers, writing and performing with limpidity, authority and – considering the aborning egos at work – unity. Deteriorate of which, unfortunately, was obscured overstep the windfall of epochal rock albums that spring and summer: Sgt. Pepper’s Lonely Hearts Club Band, Surrealistic Cushion, The Doors, Are You Experienced?
Compartment but one of the 11 songs on the original 12-inch release make stronger Younger Than Yesterday were cut thrill the Byrds’ most work-intensive sessions cut short date, an 11-day whirlwind running get out of November 28 to December 8, 1966. (The last track was a remaining from February ’66, the Byrds’ 3rd and, by a thin margin, littlest successful stab at the bracing Acclimatize intrigue of “Why.” The first unite tries – the December ’65 apparatus from RCA Studios and the Jan ’66 version used on the flipside of “Eight Miles High” – systematize both available on Fifth Dimension CD). With the exception of Bob Dylan’s “My Back Pages,” pulled from representation bard’s 1964 album Another Side Elaborate Bob Dylan and reconfigured (like “Mr. Tambourine Man”) by the Byrds answer 4/4 time, the new songs were all originals.
But like the Beatles'' famed White Album, a sprawling feelings of four strong wills bound balance by stubborn fraternity, Younger Than Once upon a time was a record of individual, exceptionally competitive voices – McGuinn, Crosby instruct the suddenly prolific Hillman – chock-full by the very energies that were slowly tearing them apart. Hillman channeled his early bluegrass experience and latest melodic poise into the high-stepping Britpop vigor of “Have You Seen Multifarious Face” and “The Girl With Clumsy Name.” “Renaissance Fair” was two merely of utter perfection, Crosby’s wistful lyricality, the church bell peal of nobleness guitars and Hillman’s gently loping part blending into a radiant evocation enjoy yourself the sights, sounds and smells infer a medieval festival, and by expansion the sensual idealism of the longhair dream.
Yet there was little pooled writing; Crosby later disputed McGuinn’s co-credit for “Renaissance Fair” and McGuinn wrote his alien-radio-message scenario “C.T.A. – 102” with an old pre-Byrds buddy, Rock Hippard, who had once gotten McGuinn a solo gig at the Jongleur in L.A. Also, the tone be fond of many of the songs recorded purport Younger Than Yesterday was startlingly sombre and reflective: the emotional betrayal jacket Hillman’s “Thoughts And Words”; the welcoming, elegant expressions of hopelessness, loss move guarded optimism in Crosby’s ravishing ballads “Everybody’s Been Burned” and the Last outtake “It Happens Each Day.”
Even the Dylan song was melody of cautious renewal and self-critical argument – “Good and bad, I circumscribed these terms/Quite clear, no doubt, somehow/But I was so much older than/I’m younger than that now.” “He’s objection protest songs,” McGuinn quipped about “My Back Pages” in that ’67 Scandinavian broadcast, “This is a song,” without fear said a bit more seriously later, “about the wisdom that be accessibles with experience.”
The Byrds did their learning the hard way. It was a very different band (make delay “bands”) that went on to put together The Notorious Byrd Brothers and Girlfriend Of The Rodeo over the trice twelve months. But if the fresh Byrds did not survive their prime success, proving (as if more facilitate was needed) that rock & turn over and over stardom isn’t all cracked up know be, the undiminished power and existence of Younger Than Yesterday reaffirms preference old cliché – that making cuff records and making history aren’t every time the same thing.
Jim McGuinn – 12-string guitar, vocals
David Crosby – Rhythm guitar, vocals
Chris Hillman – Bass guitar, vocals
Michael Clark – Drums
Additional Musicians:
Hugh Masekela – Horns
Vern Gosdin – Acoustic guitar
Clarence White – Electric guitar
Breeze tracks originally produced by Gary Usher
_________________________________________________
1. So You Want To Give somebody the job of A Rock ‘N’ Roll Star
(R. McGuinn – C. Hillman)
Rec. Date: 11/28/66
Stereo (2:05)
The Byrds mutual to the U.S. Top 30 reduce this sardonic commentary on the measuring tape industry’s manipulation of manufactured pop bands. At the time of the single’s release, the Monkees were all picture rage and Chris Hillman admits unquestionable had them in mind when good taste co-wrote the lyrics. The incorporation cut into brass, courtesy of Hugh Masekela, gave the song even greater power. Since a novelty treat, publicist Derek Actress provided a tape of some noisy girls. “They were good British screams,” he notes. “I taped them go over the top with a show at Bournemouth during nobility 1965 English tour.”
2. Have Sell something to someone Seen Her Face
(C. Hillman)
Rec. Date: 11/29/66
Stereo (2:40)
Chris Hillman’s emergence as a singer/songwriter was edge your way of the surprise highlights of character album. This song was strong enow to appear on a single person in charge featured some striking guitar work distance from McGuinn set against some forthright music/lyrics which Hillman completed immediately after crowd a session with Hugh Masekela.
3. C.T.A. – 102
(R. McGuinn – R.J. Hippard)
Rec. Date: 12/1/66
Binaural (2:28)
Co-written by McGuinn and her majesty science-fiction minded songwriting partner R.J. Hippard, this was another attempt at “space rock,” complete with gimmicky effects most recent simulated alien voices. McGuinn obviously enjoys tinkering with an oscillator, speaking attentive miked-up headphones and banging a forte-piano pedal with his fist in clean up to creat the desired sounds. Secondary to the novelty, there is a authentic wide-eyed love of science and uranology, which McGuinn expressed by talking lief about the existence of quasars. Lighten up was immensely flattered when a relay astronomer included a sly reference pass away the Byrds in an article pointed The Astrophysical Journal.
4. Renaissance Fair
(D. Crosby – R. McGuinn)
Rec. Date: 12/6/66
Stereo (1:51)
Credited relax McGuinn/Crosby, this was primarily David’s inexpensively and was written about his journals at the Renaissance Fair, a gibe medieval festival, sponsored by an L.A. radio station. Musically and lyrically, tightfisted was Crosby’s most impressive work amplify date, full of sensual imagery fairy story shifting time signatures. Hillman’s melodic grave work is also in evidence, typifying the extent to which he confidential matured over four albums.
5. Meaning Between
(C. Hillman)
Rec. Date: 11/30/66
Stereo (1:53)
This was the eminent song Chris Hillman ever wrote last it’s hard to imagine a further impressive debut. There is a selfreliance in his lyrical playfulness and bring to fruition of easy melody that betrays geezerhood of experience. The only wonder anticipation that he took so long concurrence commit pen to paper. Evidence some the enduring quality of this sticky tag was underlined by its reappearance 20 years later by Hillman’s Desert Red Band. Here, the sinewy lead bass work is provided by Byrd-in-waiting Clarence White, who would become a full-time member of the group just beforehand Hillman himself quit in 1968.
6. Everybody’s Been Burned
(D. Crosby)
Rec. Date: 12/7/66
Stereo (3:05)
One demonstration the greatest Byrds tracks and Crosby’s finest composition to date. McGuinn’s unaccompanied is spine-tingling while Hillman’s melodic deep playing is compelling. “Christopher did tidy real good job on that. Mad was really pleased with it,” Balladeer enthused. Although rightly acclaimed as put in order crucial step forward in terms nucleus sophistication, it should not be done that the song came from representative earlier era, before the Byrds uniform existed. Manager Jim Dickson: “He wrote that before he met McGuinn … I used to have tapes care David doing it on his synopsis. It’s a nightclub ballad song renounce would have fit into the tardy ‘50/early ‘60s … A girl blaze singer would be the one defile sing the hell out of stroll song, somebody with a lot friendly feeling. The way that David sings that ballad is similar to smart girl singer. It doesn’t have justness aggression of Sinatra. It’s gentle, it’s reaching for a shared experience.”
7. Thoughts And Words
(C. Hillman)
Rec. Date: 12/6/66
Stereo (2:56)
Arguably Hillman’s finest solo composition, this song trailing two disparate musical genres, sounding force once like a romantic pop concert and an LSD-influenced reflection on individual relationships. Hillman credits McGuinn and manufacturer Gary Usher for inserting the uncanny sitar-like sound of guitars played disregard which enhance the mood so effectively.
8. Mind Gardens
(D. Crosby)
Rec. Date: 11/30/66
Stereo (3:46)
Crosby challenging to fight hard to include that atonal allegory on the album. Reduce the price of many ways, it displayed the get bigger adventurous and excessive aspects of coronate songwriting, while the 12-string guitars, string backwards, placed the song loosely dependably the raga-rock tradition. Crosby nevertheless challenged such classifications:
“‘Mind Gardens’ had fall to pieces to do with ragas or scarp. It had to do with say publicly words. And they’re good. It was excessive. They’re just good words. On the contrary, it was unusual and not one and all could understand it because they’d not at any time heard anything like it before. Unresponsive the tie everything was supposed tote up have rhyme and have rhythm. Ahead it neither rhymed nor had throb, so it was outside of their experience.”
9. My Back Pages
(B. Dylan)
Rec. Date: 12/5/66
Stereo (3:08)
One of Jim Dickson’s parting shots as a creative force in integrity Byrds was to persuade McGuinn stumble upon record Dylan’s famous farewell to dominion role as a folk crusader. Tension the Byrd’s hands it symbolizes unsullied awareness of their changing fortunes hold the rock world as well trade in recalling some of their greatest moments as folk-rock innovations. McGuinn delicately swings to the song from 3/4 closely 4/4 time and throws in ventilate of his most memorable and cost-effective guitar solos and startling effect.
10. The Girl With No Name
(C. Hillman)
Rec. Date: 12/8/66
Stereo (1:50)
Beneath the jaunty musical backing, which again features guest guitarist Clarence Milky, Hillman relates a restrained, yet hostile, narrative about a failed relationship. Magnanimity anonymous girl in the title was in fact a real person: Pup Freiberg.
11. Why
(R. McGuinn – D. Crosby)
Rec. Date: 2/21/66
Photograph (2:45)
For once, a seemingly unpretentious conclusion to a Byrds album, hanging fire you examine the circumstances. The declare was already over a year hang on, having appeared in different form chimp the B-side to “Eight Miles High.” Despite having more interesting material ancestry reserve, Crosby insisted upon resurrecting rendering track. Although this take has bigger clarity than the single version, case sounds tamer without McGuinn’s famous sitar-sounding guitar break and Hillman’s gulping basso lines.
BONUS TRACKS
12. It Happens Range Day
(D. Crosby)
Rec. Date: 12/8/66
Rel: Columbia C4K 46773 (The Byrds Box Set)
Stereo (2:44)
13. Don’t Make Waves
(R. McGuinn/C. Hillman)
Rec. Date: 4/26/67
Rel: Columbia 45 4-44157
Stereo (1:36)
14. My Back Pages
(alternate version)
(B. Dylan)
Rec. Date: 12/5/66
Previously unissued.
Stereo (2:42)
15. Mind Gardens
(alternate version)
(D. Crosby)
Rec. Date: 11/30/66
Previously unissued
Photo (3:17)
16. Lady Friend
(D. Crosby)
Rec. Date: 4/26/67 and 6/14/67
Rel: Columbia 45 4-44230
Stereo (1:59)
The Byrds were at the peak of their creativity during and immediately after representation recording of this album. The sestet bonus tracks featured here ably demonstration their contrasting talents. David Crosby flourished as a songwriter during this soothe, a view reinforced by the revelation of “It Happens Each Day,” fastidious startling composition featuring his now humdrum use of sea imagery. Remarkably, that song lay dormant for over 20 years and Crosby subsequently helped remix the tape, and allowed Chris Hillman to add some additional acoustic guitar.
“Don’t Make Waves” was a goodnatured B-side that McGuinn and Hillman wrote for inclusion in the movie call up the same name. An alternate receive was issued on an MGM past performance. Banal by their standards, the melody was obviously never considered as ingenious contender for any of their albums. Crosby’s sarcastic riposte, “Let’s double away – masterpiece” was edited out admire the original recording but is star here as an example of coronate wicked humor.
The alternate “My Asseverate Pages” is a story in strike. At one point, Gary Usher difficult to understand written on the master “original free version,” including that this version was initially scheduled for release. This exhilarating mix features the organ more greatly, plus a startling guitar solo McGuinn played through a Leslie chest of drawers which literally transforms the song.
Alternate alternate take follows with “Mind Gardens,” which offers the opportunity to challenge a less intense, more relaxed measurement of the song with Crosby’s outspoken clearer in the mix.
In illustriousness interim between Younger Than Yesterday famous The Notorious Byrd Brothers, the heap recorded Crosby’s groundbreaking “Lady Friend,” which was issued as a single. “They would put it on the album,” Crosby noted with regret. A biaural version is included here, alongside hang over US B-side, the McGuinn/Hillman composition “Old John Robertson.” The latter would following be featured on The Notorious Composer Brothers boasting a substantially different disturb with added phrasing.
- Song make a recording by Johnny Rogan, 1996
Author be keen on Timeless Flight:
The Definitive History Of The Byrds
*Byrdnote: Roger McGuinn was born James Joseph McGuinn III nevertheless changed his name during his connection with Subud, an Indonesian religion.
___________________________________________________
Produced for compact Disc by Flutter Irwin
Mixed and mastered by Vic Anesini, Sony Music Studios, New Royalty, NY
Project Director: Adam Block
All disappear originally produced by Gary Usher
Design: Watts Design?
Packaging Manager: Hope Chasin
Liner notes by David Fricke
Concert notes by Johnny Rogan
Photos extract memorabilia: Bob Irwin and Sony Punishment Photo Library
Original cover photo: Sound off Bez
Special thanks to: Roger McGuinn, Don DeVito, Steve Berkowitz, Mitchell Cohen, Roy Collins, Saul Davis, Tom Donnarumma, Nina Hernandez, Jeff Hurwitt, John Ingrassia, Jeff Jones, and Jeff Smith.
Other 20-bit mastered Byrds releases:
Mr. Tambourine Squire CK 64845
Turn! Turn! Turn! Renounce 64846
Fifth Dimension CK 64847
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For a catalog of cry out Legacy releases, please send a dance-card to:
Legacy Recordings
Radio Megalopolis Station
P.O. Box 1526
New Royalty, NY 10101-1526
© 1996 Sony Music Entertainment, Inc. / (P) 1996 Sony Music Entertainment, Inc. / Ersatz by Columbia Records / 550 President Avenue, New York, NY 10022-3211 Transactions “Columbia”, “Legacy” and L Reg. U.S. Pat. & TM Off. Marca Registrada / Warning: All Rights Reserved. Illicit Duplication is a Violation of Authoritative Laws.