The Byrds, a band that emerged from the vibrant 1960s music scene, remain one of the most pivotal and influential groups of their era. Pioneering folk-rock, dipping into psychedelia, and later laying the groundwork for country rock, their relatively short lifespan was packed with innovation and timeless music. While some of their best-known songs were original compositions, The Byrds also masterfully reinterpreted the works of others, most notably Bob Dylan, whose songs became a significant part of their repertoire. Compilations like The Byrds Play Dylan underscore this connection, featuring over 20 Dylan covers. Intriguingly, their influences ranged from contemporary songwriters to even the Bible itself. Here, we delve into ten of The Byrds’ most exceptional songs, ranking them to celebrate their enduring legacy.
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Mr. Spaceman
The Byrds performing Mr. Spaceman on a 1960s TV show, Roger McGuinn with his signature Rickenbacker guitar.
By 1966, The Byrds were already pushing musical boundaries. ‘Mr. Spaceman’, from the Fifth Dimension album, showcased their evolving sound, blending psychedelic elements with hints of country music. Written by Roger McGuinn, this track arrived after Gene Clark’s departure, proving the band’s continued creative force. The song’s narrative of reaching out to extraterrestrials was playfully amplified by their manager, Eddie Tickner, who reportedly took out an outlandish million-dollar alien abduction insurance policy to boost publicity. ‘Mr. Spaceman’ stands as a testament to The Byrds’ willingness to experiment and their ability to stay relevant amidst changing musical landscapes.
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Ballad of Easy Rider
The Byrds' Ballad of Easy Rider album cover, featuring a motorcycle against a desert backdrop, evoking the film's spirit.
Initially conceived as a solo recording by Roger McGuinn for the iconic Easy Rider film, ‘Ballad of Easy Rider’ soon evolved into a full band performance by The Byrds. The song carries a fascinating anecdote: Peter Fonda, the film’s star, sought Bob Dylan to pen the theme song. Dylan declined but famously scribbled a line on a napkin – “The river flows, it flows to the sea/Wherever that river goes, that’s where I want to be/Flow, river, flow” – and suggested McGuinn complete it. Dylan’s uncredited contribution became the song’s core, and McGuinn masterfully built upon it, creating a track that perfectly encapsulates the film’s themes of freedom and counter-culture spirit. The Byrds’ rendition cemented ‘Ballad of Easy Rider’ as a classic.
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I’ll Feel a Whole Lot Better
Gene Clark of The Byrds singing "I'll Feel a Whole Lot Better" in a black and white performance clip, highlighting his lead vocals.
‘I’ll Feel a Whole Lot Better’, originally relegated to the B-side of The Byrds’ second single (‘All I Really Want to Do’), quickly transcended its initial placement. This Gene Clark penned gem, also featuring his lead vocals, became a hit in its own right and secured a spot on their debut album. While the main guitar riff subtly echoes The Searchers’ ‘Needles and Pins’, the song is unmistakably Byrdsian. Clark’s songwriting prowess and the band’s signature jangle-pop sound combined to create a song that is both instantly catchy and deeply resonant, showcasing the early brilliance of The Byrds’ musical chemistry.
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So You Want to Be a Rock ‘n’ Roll Star
The Byrds in 1967 performing "So You Want To Be a Rock 'n' Roll Star", showcasing their stage presence and 60s fashion.
‘So You Want To Be a Rock ‘n’ Roll Star’, a collaboration between Roger McGuinn and Chris Hillman, serves as a witty, though perhaps not entirely gentle, commentary on manufactured pop stardom, seemingly aimed at groups like The Monkees. With lines like “And with your hair swung right / And your pants too tight, it’s gonna be alright,” the song playfully critiques the prefab nature of some musical acts. However, the song also displays a degree of empathy, acknowledging the pressures of fame with lyrics like “The price you paid for your riches and fame / Was it all a strange game? You’re a little insane.” The Byrds delivered this satirical yet catchy tune with their signature musical flair.
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You Ain’t Goin’ Nowhere
The Byrds performing "You Ain't Goin' Nowhere" in 1968, featuring their country-rock era lineup.
‘You Ain’t Goin’ Nowhere’ is often categorized as one of The Byrds’ Bob Dylan covers, but its history is more nuanced. Dylan wrote the song in 1967 during a period of relative seclusion in Woodstock after his motorcycle accident. However, his own version wasn’t officially released until 1971 on Greatest Hits Vol II. A 1967 recording with The Band later emerged on The Basement Tapes in 1975. The Byrds’ version, featuring Lloyd Green’s distinctive pedal steel guitar, predates both, released in 1968 on their seminal country-rock album Sweetheart of the Rodeo. They were introduced to the song through unreleased Dylan/Band demos from Woodstock, making their rendition an early and influential interpretation of this Dylan gem, pivotal in their country-rock evolution.
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My Back Pages
The Byrds' album "Younger Than Yesterday" cover art, featuring a psychedelic and youthful image of the band.
The Byrds bookended their run of hit singles by once again turning to Bob Dylan, this time with ‘My Back Pages’. This track marked their final US Top 40 entry. Interestingly, it also became a point of internal friction within the band. Roger McGuinn championed the song, while David Crosby reportedly preferred focusing on original material. The single release was edited down to a concise two and a half minutes, with the full version appearing on their album Younger Than Yesterday. ‘My Back Pages’ is significant not only as a successful Dylan cover but also as a song that reflected the growing creative tensions within The Byrds during a pivotal period in their career.
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Turn! Turn! Turn!
The Byrds performing "Turn! Turn! Turn!" on The Ed Sullivan Show, a classic TV performance showcasing their folk-rock sound.
‘Turn! Turn! Turn!’ has a history extending beyond The Byrds. Pete Seeger crafted the song in the 1950s, drawing heavily from the biblical Book of Ecclesiastes (chapter three, verses 1-8). The Limeliters first recorded it in 1962 on their Folk Matinee album. Jim McGuinn had arranged the song for Judy Collins in 1963. While on tour, The Byrds performed McGuinn’s arrangement on their bus, and it resonated so strongly, particularly with McGuinn’s future wife Dolores, that they decided to record it. Seeger approved of The Byrds’ adaptation, which subsequently topped the US charts. ‘Turn! Turn! Turn!’ became an anthem of peace and unity, showcasing The Byrds’ ability to transform a folk song into a chart-topping rock classic.
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Goin’ Back
The Byrds' album "The Notorious Byrd Brothers" cover, a surreal and iconic image of the band with a horse.
By 1966, internal discord was brewing within The Byrds. David Crosby increasingly voiced his dissatisfaction with the band’s reliance on cover songs, advocating for original material. He pushed for the group to record his controversial song ‘Triad’, dealing with the theme of threesomes. However, the rest of the band favored ‘Goin’ Back’, a Carole King and Gerry Goffin composition. Dusty Springfield had already released a version as a single. The Byrds gave ‘Goin’ Back’ a distinctive, somewhat melancholic country-rock treatment and included it on The Notorious Byrd Brothers album. The inclusion of ‘Goin’ Back’ and rejection of ‘Triad’ was a breaking point, ultimately leading to Crosby’s departure from the band in October, highlighting the band’s diverging creative paths.
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Eight Miles High
The Byrds performing "Eight Miles High", capturing their psychedelic rock era and experimental sound.
‘Eight Miles High’ is a landmark track that encapsulates The Byrds’ pioneering foray into psychedelic rock. Drawing inspiration from Indian music and jazz, blended with their folk-rock foundation, the song became a groundbreaking example of musical fusion. Written by Gene Clark, Roger McGuinn, and David Crosby, ‘Eight Miles High’ faced radio bans due to perceived drug references, a common occurrence for psychedelic music at the time. Despite the controversy, it still reached the US Top 20. The song was also influenced by the band’s 1965 London trip, although the title’s “eight miles high” is an exaggeration of commercial flight altitudes, chosen simply because it sounded more impactful. ‘Eight Miles High’ remains a quintessential psychedelic rock anthem.
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Mr. Tambourine Man
The Byrds performing "Mr. Tambourine Man" on The Ed Sullivan Show, their breakthrough hit that launched their career.
Bob Dylan first recorded ‘Mr. Tambourine Man’ in June 1964, but unsatisfied with early versions, re-recorded it for Bringing It All Back Home, released in March 1965. However, The Byrds, then known as The Jet Set, had already encountered the song. Manager Jim Dickinson secured an acetate of Dylan’s 1964 demo. Recognizing its potential, The Jet Set, consisting of Jim McGuinn, Gene Clark, and David Crosby, reimagined it with a poppier, Beatles-esque 4/4 time signature and electric guitars. Dylan himself reportedly enjoyed their rendition during a studio visit. Shortly after, Michael Clarke and Chris Hillman joined, solidifying The Byrds’ lineup. Producer Terry Melcher brought in session musicians The Wrecking Crew for instrumental tracks, but The Byrds provided vocals and McGuinn added his signature 12-string guitar. Released in January 1965, ‘Mr. Tambourine Man’ soared to number one in both the UK and US, becoming the first Dylan-penned song to top charts and catapulting The Byrds to stardom.
