The Byrds

3CD set proviging an excellent showcase of The Byrds live work during the latr 60s/early 70s. Featuring three full length FM Radio Broadcasts of performances by different incarnations of The Byrds, in 1968, 1973 and 1978 (albeit by then billed as McGuinn, Clark and Hillman) this boxed set provides an excellent showcase of this ever-changing groups live work during the decade that immediately followed their pop career in the earlier part of the 1960s.

Although the Byrds' Fifth Dimension was wildly uneven, its high points were as innovative as any rock music being recorded in 1966. Immaculate folk-rock was still present in their superb arrangements of the traditional songs "Wild Mountain Thyme" and "John Riley." For the originals, they devised some of the first and best psychedelic rock, often drawing from the influence of Indian raga in the guitar arrangements. "Eight Miles High," with its astral lyrics, pumping bassline, and fractured guitar solo, was a Top 20 hit, and one of the greatest singles of the '60s. The minor hit title track and the country-rock-tinged "Mr. Spaceman" are among their best songs; "I See You" has great 12-string psychedelic guitar solos; and "I Come and Stand at Every Door" is an unusual and moving update of a traditional rock tune, with new lyrics pleading for peace in the nuclear age…

'Sweethearts' is a tribute to the 1968's classic 'Sweetheart of The Rodeo' album. Christian Parker & Earl Poole Ball, one of the original sessions, co-produced and contributed piano to this modern interpretation. Jaydee Maness, one of the original pedal steel players making a special appearance, joined the sessions. In 1968 the album managed to disappoint and, in many cases, alienate almost everyone who heard it. It would be much later before it was recognized as the iconic piece of work that it is. 'Sweetheart of The Rodeo' is widely regarded as the album defining country rock, but the rock part is almost silent. The whole thing is almost out and out of the country, with huge dollops of pedal steel, banjo, fiddle, and almost everything other kinds of instrument you would expect to hear in the mainstream twangy country that existed at that time."

One of the greatest debuts in the history of rock, Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat. It was also the album that was most responsible for establishing folk-rock as a popular phenomenon, its most alluring traits being Roger McGuinn's immediately distinctive 12-string Rickenbacker jangle and the band's beautiful harmonies. The material was uniformly strong, whether they were interpreting Bob Dylan (on the title cut and three other songs, including the hit single "All I Really Want to Do"), Pete Seeger ("The Bells of Rhymney"), or Jackie DeShannon ("Don't Doubt Yourself, Babe")…

The Byrds' second album, Turn! Turn! Turn!, was only a disappointment in comparison with Mr. Tambourine Man. They couldn't maintain such a level of consistent magnificence, and the follow-up was not quite as powerful or impressive. It was still quite good, however…

One of the greatest debuts in the history of rock, Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat. It was also the album that was most responsible for establishing folk-rock as a popular phenomenon, its most alluring traits being Roger McGuinn's immediately distinctive 12-string Rickenbacker jangle and the band's beautiful harmonies. The material was uniformly strong, whether they were interpreting Bob Dylan (on the title cut and three other songs, including the hit single "All I Really Want to Do"), Pete Seeger ("The Bells of Rhymney"), or Jackie DeShannon ("Don't Doubt Yourself, Babe")…