The Byrds - Turn! Turn! Turn! (to Everything There Is a Season) (1965)

As mentioned a few days ago, The Jet Set had come up with their band name from band member Jim McGuinn’s love of aeronautics. When they signed with Columbia Records on November 10, 1964 and desired a new name, they kept with the aerial motif and chose The Birds. Almost instantaneously, however, the band started spelling it as The “Byrds,” fashioning the misspelling after The Beatles’ misspelling of their name. The band wasted no time recording and releasing material. They released their debut album, Mr. Tambourine Man on June 21, 1965 and quickly followed it up with Turn! Turn! Turn! on December 6th of the same year. These were the peak years for the band and consequently the pinnacle of the folk rock movement. Unfortunately, the original lineup of McGuinn, Clark, Crosby, Clarke, and Hillman was not to last. By early 1966, Gene Clark parted ways with the group due to conflicts with band members and, probably more importantly, his fear of flying. In late 1967, David Crosby and Michael Clarke also departed from the band. And then in 1968, original member Chris Hillman parted ways. Although replacement members would continuously fill the empty slots, the only original member left by 1969 was Jim McGuinn (who by then had changed his first name to “Roger,” citing a rebirth due to his involvement in the Subud religion). It wouldn’t be until 1973 that all five original members reunited to create one final album. That album, titled Byrds, failed to become a commercial success and was the last album put out by the band to date.

Featured on their aforementioned Turn! Turn! Turn! album from late 1965, this song is often strongly associated with the 1960s. Originally, the song was written and performed by Pete Seeger in the late 1950s, who had adapted the lyrics from the Book of Eccelesiastes from the King James Version of the Bible. Since King Solomon is said to have written that book, it’s often noted that King Solomon (born in 1011 BC) wrote the words to a top charting pop song, The Byrds’ version in 1965.

Jim McGuinn was initially inspired to learn Pete Seeger’s version of the song when he was working with Judy Collins on her 1963 album, Judy Collins 3. Then, in July 1965 while he and The Byrds were touring the American Midwest, Jim’s future wife Dolores requested that he play the song on the bus. Having lived and breathed folk rock for his band's new sound, McGuinn naturally began to play an adapted folk rock version of the song.

Upon The Byrds’ initial release of the song as a single on October 29, 1965, the song went straight to number one. Its message of peace and tolerance struck a chord with the American public, who was witnessing the increased involvement of their country in Vietnam. The song continued the band’s international stardom and solidified them as one of the greatest folk rock bands of all time.



The Byrds - Turn! Turn! Turn! (to Everything There Is a Season) (1965)

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Lyrics:

To everything- turn, turn, turn
There is a season- turn, turn, turn
And a time to every purpose under heaven

A time to be born, a time to die
A time to plant, a time to reap
A time to kill, a time to heal
A time to laugh, a time to weep

To everything- turn, turn, turn
There is a season- turn, turn, turn
And a time to every purpose under heaven

A time to build up, a time to break down
A time to dance, a time to mourn
A time to cast away stones
A time to gather stones together

To everything- turn, turn, turn
There is a season- turn, turn, turn
And a time to every purpose under heaven

A time of love, a time of hate
A time of war, a time of peace
A time you may embrace
A time to refrain from embracing

To everything- turn, turn, turn
There is a season- turn, turn, turn
And a time to every purpose under heaven

A time to gain, a time to lose
A time to rend, a time to sew
A time for love, a time for hate
A time for peace, I swear it's not too late

The Beefeaters - Please Let Me Love You (1964)

As mentioned in yesterday's post, the roots of the iconic folk rock band, The Byrds, can be traced back to the solo folk days of its original members playing around coffeehouses in Los Angeles, California during the early '60s. When they first came together, Jim McGuinn, Gene Clark, and David Crosby chose the name The Jet Set. It was mentioned that David Crosby brought The Jet Set in to record at World Pacific Studios in Los Angeles, California. As mentioned, the band recorded a lot of demo material, but only one single, released under the name The Beefeaters. That single, “Please Let Me Love You” / “Don’t Be Long” was put out under the name “The Beefeaters” because the group wanted to cash in on the British Invasion and use a name that “sounded British.” The single, which was released on Elektra Records in October 1964, featured session musicians Ray Pohlman and Earl Palmer, members of the “Wrecking Crew” session musicians.

The song was released in October 1964, but failed to chart. It was written by Gene Clark, Jim McGuinn, and Harvey Gerst (a friend of McGuinn's from his early solo folk years). The song’s flip-side, “Don’t Be Long,” was later rewritten, rerecorded, and renamed “It Won’t Be Wrong” by the band (then going by the moniker The Byrds) for their Turn! Turn! Turn! album in 1965.



The Beefeaters - Please Let Me Love You (1964)

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Lyrics:

Please let me love you a while
Let me live in the warmth of your smile
Let them see you with me
Let them wish they could be
As lucky as me
To have you here
To hold you oh-so near
Oh yeah, oh yeah

Please let me love you today
Let me give you my heart right away
And we’ll walk in the sun
And we’ll tell everyone
Our new love has begun
Just you and me
Always
Oh yeah, oh yeah

And when I hold you, I feel- feel so high
And when I kiss you I could fly

Please let me love you a while
Let me live in the warmth of your smile
Let them see you with me
Let them wish they could be
As lucky as me
To have you here
To hold you oh-so near
Oh yeah, oh yeah, oh yeah

The Jet Set - The Only Girl I Adore [Demo] (1964)

Jim McGuinn had been performing acoustic versions of The Beatles’ songs in coffeehouses around Los Angeles, California when he was approached by Gene Clark to form a duo in the style of Peter & Gordon. After performing together around town for a while, according to Clark, one night he and McGuinn went into a stairway at The Folk Den (later renamed The Troubadour) to find some good acoustics for playing their guitars. As they began picking away and harmonizing, David Crosby approached them out of nowhere, “singing away” uninvited. The duo had now become a trio and they named themselves The Jet Set after McGuinn’s love for aeronautics.

Crosby’s admittance into the group proved valuable, as he had been recording demos at World Pacific Studios with Jim Dickson. Dickson heard Crosby’s new trio and was impressed enough to allot The Jet Set with their own studio recording time. Although they recorded dozens of demo songs, they only ever released one single, using an entirely different name (The Beefeaters). To put it simply, the band never released any singles under The Jet Set name. The song heard below, written by Jim McGuinn and Gene Clark, was recorded by the band at World Pacific Studios sometime during their studio time in mid- through November 1964. As an unreleased demo, the song had no impact on the music world.

The Jet Set soon expanded their lineup with drummer Michael Clarke and bassist Chris Hillman. On November 10, 1964 the band stopped recording at World Pacific Studios, as they had signed a record deal with Columbia Records under their newly adopted name, The Byrds. As a result of their immense popularity in the years to come, this song as well as all of the other demos by The Jet Set were released by The Byrds on an album titled Preflyte.



The Jet Set - The Only Girl I Adore [Demo] (1964)

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Lyrics:

Don’t you know-
What you are-
What you are, darling, to me?
You’re the first evening star
And the only star I see

You’re my life through the day
And you’re so much- so much more
Don’t you know
You’re the only girl I adore?
Yeah, yeah

Don’t you know-
What I could mean-
What I could mean, darling, to you?
I could be your everything
And the only love for you

And I could be the only one
To hold you ever more
Don’t you know
You’re the only girl I adore?
Yeah, yeah

So won’t you hold me?
You know how I feel
We’re right for each other
Our love- our love can be real
Can be real

I think you know
What I mean
What I’m trying, dear, to say
You’re the finest girl I’ve seen
And I want you right away

I think you know you’re the love
That I’ve been looking for
Don’t you know
You’re the only girl I adore?
Yeah, yeah
I adore
Yeah, yeah
I adore
Yeah, yeah
Oh

The Byrds - Goin' Back (1967)

Originally known as The Jet Set, this band was eventually inspired to use an unconventional spelling for their finalized name by The Beatles. From their cover songs, such as Pete Seeger’s “Turn! Turn! Turn! (to Everything There is a Season)” and Bob Dylan’s “Mr. Tambourine Man,” to the tracks they penned themselves, they put together some of the most memorable songs to come out of the 1960s. Becoming one of the top selling acts for a brief period, they also saw their individual members go on to continue great things after the end of the band. David Crosby, for instance, went on to co-create Crosby, Stills & Nash, while nearly all of the other members had successful solo careers. An attempt to summarize the intricate history of this band, their music, and its members in this small space would more than likely not be possible. Their work has inspired countless other artists and their music continues to help define the 1960s.

This is the song that split The Byrds apart. Written by Gerry Goffin and Carole King in 1966, it was a bit slower and a slightly bit more country than what the band had normally been putting out. David Crosby didn’t like it at all. He disliked it even more after finding out that it was considered over “Triad,” a song he had written, for their upcoming album. With tensions getting high, Crosby was fired from the group and this song was released as a single (in 1967). It also later appeared on the band’s 1968 album The Notorious Byrd Brothers. The song has been recorded and released by man artists, including Dusty Springfield, Nils Lofgren, The Move, Diana Ross, Bon Jovi, Phil Collins, The Pretenders, and many others.



The Byrds - Goin' Back (1967)

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Lyrics:

I think I'm goin' back
To the things I learned so well in my youth
I think I'm returning to
Those days when I was young enough to know the truth
Now there are no games
To only pass the time
No more electric trains
No more trees to climb
But thinking young and growing older is no sin
And I can play the game of life to win

I can recall a time
When I wasn't ashamed to reach out to a friend
Now I think I've got
A lot more than just my toys to lend
Now there's more to do
Than watch my sailboat glide
But every day can be
A magic carpet ride
A little bit of courage is all we lack
So catch me if you can
I'm goin' back

Now there's more to do
Than watch my sailboat glide
But every day can be
A magic carpet ride
A little bit of courage is all we lack
So catch me if you can
I'm goin' back

The Byrds - My Back Pages (1967)

One of the most influential bands of the 1960s, they were able to merge folk rock with the sounds of the British Invasion. A combination of their incredible harmony singing and their unique jangly guitar made them one of the top bands from 1965 to 1966. They were also responsible for directly influencing The Beatles during their (arguably) best album, Rubber Soul. You can particularly hear the influence in the song “If I Needed Someone,” where the guitar riff is almost exactly the same as their “The Bells of Rhymney.”

This song, originally written and performed by Bob Dylan, tells of how Dylan was rejecting his earlier political idealism and was now going in a new direction. The Byrds version, released in 1967, would be the last Top 40 hit for them in the US.



The Byrds - My Back Pages (1967)

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Lyrics:

Crimson flames tied through my ears
Rollin' high and mighty trapped
Countless fire and flaming road
Using ideas as my maps
"We'll meet on edges, soon," said I
Proud 'neath heated brow
Ah, but I was so much older then
I'm younger than that now

Half-wracked prejudice leaped forth
"Rip down all hate," I screamed
Lies that life is black and white
Spoke from my skull, I dreamed
Romantic flanks of musketeers
Foundationed deep, somehow
Ah, but I was so much older then
I'm younger than that now

In a soldier's stance, I aimed my hand
At the mongrel dogs who teach
Fearing not I'd become my enemy
In the instant that I preached
Sisters led by confusion boats
Mutiny from stern to bow
Ah, but I was so much older then
I'm younger than that now

Ah, but I was so much older then
I'm younger than that now

My guard stood hard when abstract threats
Too noble to neglect
Deceived me into thinking
I had something to protect
Good and bad, I defined these terms
Quite clear, no doubt, somehow
Ah, but I was so much older then
I'm younger than that now