Since you are in Brasil, the country that introduced the most beautiful music ever written to the rest of the world, I would be interested to get your take on my previous post, #3294.
Doesn't quite sound like bossa nova to me, it's missing some of the syncopation and swing from Bossa/Samba, as it's played over a straight rock and roll beat. Bossa Nova inspired, maybe, but the rhythm isn't quite there yet
Completely agree, but the clave pattern is indeed the basic bossa pattern and not the mambo pattern, which would typically be played by the claves.
No, they absolutely (or rather, probably) could not have, for the reasons I laid out above, not without executive authorization. Columbia were evidently nervous enough about the band's ability to stay together and keep producing hits as of mid-'67 (they missed a summer album deadline that year -- hence the appearance of The Byrds' Greatest Hits in August) that I doubt special dispensation to have more copyrights than company policy on the album was forthcoming. And indeed, after the Columbia policy change in late '65, no Byrds album ever had more than 11 tracks (Untitled counted as 2 albums) until The Byrds' Greatest Hits Volume II had a twelfth track in 1971, long after the policy was rescinded. People get hung up about album length, but length did not matter (within reason). Columbia happily put out albums by Miles and Dylan that were almost twice as long as most Byrds albums. What mattered to the record company was number of copyrights for calculating publishing fees.
I meant in theory, and the 13-track album that I assembled flows better lyrically. In the digital era, we are no longer beholden to album lineups as released.
It's interesting that the Byrds, as they went along, wrote fewer and fewer bridges to songs. Early songs like "Here Without You," "It's No Use," and "You Won't Have to Cry" have bridges. They even wrote a bridge for "All I Really Wanna Do" using Dylan's lyrics. Then, their songs have fewer and fewer bridges. "Renaissance Fair" has a bridge. I don't think there are any bridges on Notorious. Those songs just contain brief guitar jams.
I have a question Byrds nerds. The earliest Byrds I still have on CD is the 1990 "Byrds" box. It credits Vic Anesini for remixing. Were the original mixes exclusively used in the subsequently issued expanded GH, or the second Byrds box, or any of the individual titles reissued with bonus cuts. To the best of my knowledge, Anesini is credited with mastering on all of these but not remixing.
The new mixes that appear on the 1990 box set are, to some extent, different from those used on all subsequent releases. The 1990 box does contain some mixes that are unique to it. The 1996-2000 album reissues standardised the domestic Byrds catalogue and all subsequent releases used those mixes. I don't know whether any of them originated with the 1990 box set, and it is possible that several did (e.g., "Lazy Days" and "Pretty Polly" and other such outtakes), but the source for all US-released Byrds material since 1997 on Sony/Columbia is that series of CDs. (There are a couple of things on the Sanctuary series of LPs that are not on those CDs, but for the most part those LPs are from the CDs too. The Sundazed Another Dimension set is all unique stuff.) The 1996-2000 series consisted mostly of new mixes for the non-album material, and some of the first four albums (and Dr Byrds) were remixed as well, freshly for that series. All Byrds album material from Notorious through Farther Along (except parts of Dr Byrds) are the original mixes on all releases.
They might have enough hair to make Rapunzel want to go for a crew cut (especially by 1972), but their personalities were not nearly as "sweaty hippy" as Croz.
I’ve just posted a new blog entry, would like to invite you to read it. The Clarkophile: Roadmaster: The Hinshaw Mix FAQ
Excellent, Tom. I didn't know that Hinshaw more or less disappeared shortly after this period. Fascinating, as always. Can't wait for part 2!
I just remember seeing them, just prior to Clarence being killed, and being shocked at McGuinn’s beer belly. In some subsequent interview, he mentioned they had just returned from Europe and has indulged in those heavier beers. It wasn’t a good look.
Skip Battin was already 31 when "Mr Tambourine Man" came out. For someone who played bass in a major rock band in 1970, he could hardly have been less of a hippie. I like Skip, but in objective terms he was actually rather lucky that someone as old and square as him was even considered for the Byrds. He was a decade older than the two previous bassists he replaced.
I posted it several pages back either in this thread, or in a Notorious thread. I can't find my CD-R right now, and the playlist was on my dead laptop.
I’m not going there. If you want to pointlessly proselytize (that’s the B side of “Helplessly Hoping”, by the way, a great song by a sweaty hippy), go start a religion. But I do find it hilarious that you somehow pegged your hopes on them not turning into “sweaty hippies” on Croz.
I was not raised with any religion, and I won't be starting any, but I do appreciate the free career advice. A gal can dream.
It was weird. During lockdown, I suddenly realized I had never seen a picture of Chris Hinshaw! Google it, there aren’t any. Nor is there an official bio anywhere. I had heard something about his having passed away, but didn’t know the circumstances. And then to find out he pretty much disappeared after ‘73 made it even more interesting. Mysterious, even.
They were friends with Peter Fonda prior to the movie - Peter apparently modeled those two after mcguinn and Crosby but I suspect it was mostly Crosby