"Untitled" is by far my favorite Byrds lp, regardless of what era of the band it was. There are many reasons for this- mainly being that the countrified Byrds of McGuinn/White/Battin/Parsons was the most stable lineup of the band, and with it produced numbers that ROCKED harder than anything they had ever done.
Disc one opens with live material, with obligitory Dylan numbers, the country/rocked out glory of "Nashville West," showcasing the late Clarence White's amazing guitar work, and the blissful 16 minute workout of "Eight Miles High"- proving that when they were inspired, the Byrds could flex their solo muscles and go with it. The studio material offer many wonderful nuggets, such as the McGuinn classic "Chestnut Mare," the Parsons/Battin's religiously based "Yesterday's Train," Leadbelly's "Take a Whiff on Me," sung by White, and White's wonderful take on Lowell George's beautiful "Truck Stop Girl."
The beauty of a whole cd worth of unissued material is more than enough reason to get this gem of a re-release. It showcases the wonderful democracy (or as close as McGuinn would allow it to be) of the band at this point, and with it, the immense talents of all 4 members. Highlights include the studio version of McGuinn's "Lover of the Bayou," Parson's cover of Lowell George's "Willin," and White's "White's Lightning Pt.2," part of a studio jam. Also included are more live tracks including "Jesus Is Just Alright," soon to be the Doobie Brothers' breakout hit.
Many people regard this lp as the last great Byrds lp. This is debatable, of course (I feel "Last Time Around" is a brilliant, if tired, effort), but what is clear is the absolute brillaince of this lineup. Their chops are in top form, and it shows throughout the 2 cds. they never sounded tighter and more at ease with themselves.
This re-issue is absolutly indispensible listening and a gem of the highest calibre.
The original "Untitled" was a landmark album, showcasing the latter-era Byrds at their best; although some of the studio tracks were less than stunning, the live tracks reaffirmed McGuinn's assertion that the Clarence White-era Byrds were the best live Byrds lineup. With the addition of a disc full of previously unreleased material, a great album has become even better. The studio version of "Lover of the Bayou" is superb, although it is vastly different from the live version, as is the excellent studio rendition of "Willin'", a staple in the band's live repertoire. The added live tracks are also great, with the legendary Clarence White in fine form throughout. The hidden track is a stunning a cappella version of "Amazing Grace", which confirms that this lineup was capable of stunning vocal harmonies. In all, this set is a bargain, and will please old and new fans alike.
This album holds a special place in my collection that's not entirely related to the sometimes excellent music it contains. Untitled was originally released by Columbia on Sept. 16, 1970. At the time I was a freshman at the University of Nebraska-Lincoln and on Sept. 24, I attended my first concert--a double bill featuring the Byrds and the Flying Burrito Brothers. [I still have the ticket stub taped inside my vinyl copy of the album--tickets were three bucks! ]
Of course, the Byrds performed much of the material on Untitled. I have to admit, however, that my feelings about their live interpretations of their old material with the new band hasn't changed much. Songs like "So You Want To Be a Rock 'n' Roll Star" and even their signature song "Mr. Tambourine Man" have a much tougher edge than the studio versions. The Byrds were trying to sound too much like a rock 'n' roll band and that's something they never were. Their country, folk and bluegrass influences were completely absent this time out. The hard-edged sound worked on songs like "Lover of the Bayou," but I prefer the studio version included here with its haunting harmonica work. The 16-minute version of "Eight Miles High" features some amazing guitar work from Roger McGuinn (the only surviving member from the band's hit-making days).
Of course the standout track from among the original studio tracks was McGuinn's "Chestnut Mare." This track alone made the album indispensible. Equally charming is another McGuinn-Levy song, "Just a Season." These two songs stand tall among any songs in the Byrds' canon.
By this time in the Byrds' career, the group was becoming less a vehicle for McGuinn and more of a group project. Skip Battin and Gene Parsons contributed several worthy songs, including "Yesterday's Train," "You All Look Alike" and the album-closing "Welcome Back Home." Another terrific song is Clarence White's cover of Leadbelly's "Take a Whiff on Me."
Sony/Legacy did themselves proud with this re-issue. The original release was a double vinyl album. Now we get a two-disc set with one disc devoted to previously unissued tracks. Highlights among the studio tracks are the alternate take of "Yesterday's Train," the gentle "Kathleen's Song" (which would later appear in a different take on Byrdmaniax), the aforementioned "Lover of the Bayou" and Parsons' wonderful take on the Lowell George chestnut "Willin'."
The live tracks on the unissued disc show the Byrds' country roots with heartfelt renditions of "You Ain't Goin' Nowhere," "Old Blue" and "Ballad of Easy Rider." They also serve up stirring versions of "It's Alright Ma (I'm Only Bleeding)," "Jesus Is Just Alright" and "This Wheel's on Fire." Overall, the live tracks on the "Unissued" disc outshine the "Untitled" ones simply because the band isn't so self-consciously trying to be a hard rock band, but instead being one of the great country/folk-rock bands of the Sixties. There is much here for the avid Byrds fan to enjoy. HIGHLY RECOMMENDED
The Byrds broke their fall from popularity with 1969's Ballad of Easy Rider, a weak recording which managed to successfully capitalize on the band's presence on the Easy Rider soundtrack. Bassist John York was fired shortly after Ballad was recorded and replaced by journeyman, Skip Battin.
The McGuinn-White Byrds had developed a reputation as a solid live act, honing their sound with numerous gigs at colleges and small auditoriums. It was decided their next release would be a double-album, the first disc comprised of live recordings and the second comprised of studio material.
Producer Terry Melcher and the Byrds (Roger McGuinn, Clarence White, Gene Parsons, Skip Battin) entered Columbia's studio May 26, 1970 to begin work on the band's ninth album with sessions completed on June 11. The live material had been recorded at Queens College on February 28, 1970 and the Felt Forum at Madison Square Garden on March 1. The Byrds' original manager and producer, Jim Dickson, was enlisted to produce the live tracks. Untitled was released on September 14 and reached #40 on the album charts. The single, Chestnut Mare/Just a Season was released on October 23 and peaked at #121.
Untitled is widely recognized as the finest of the five albums from the McGuinn-White Byrds. Whereas Ballad was largely covers, seven of the nine Untitled studio tracks were written by band members. In June 1968 McGuinn began collaborating with theater impresario Jacques Levy on songs for a new musical, Gene Tryp. The play never reached the stage but McGuinn brought four of the compositions to Untitled.
I like Untitled but despite some fine moments it's not on the same level with the first six albums from the founding members. The live disc is somewhat enjoyable and the McGuinn/Levy songs are pretty good. In contrast to uncritical Byrds fans who give every post-Sweetheart album four or five stars, the best I can say about Untitled is it's okay. Clarence overdoes the B-Bender as usual. Parson's drumming is noticeably awkward. Battin's odd songs portend the disastrous Battin/Fowley novelty tunes to come. However, McGuinn's Rickenbacker is thankfully much more pronounced here than on the previous two albums. The Eve Babitz-designed album cover ranks as the Byrds' best.
Side One (Live):
Lover of the Bayou (McGuinn, Levy) - The first of the Gene Tryp songs. The Byrds imitate CCR. One of the best songs on the album. McGuinn later attributed his rough vocals on the live cuts to heavy cocaine use.
Positively 4th Street (Dylan) - A forgettable number with the distinction of being the last Dylan tune to appear on a Byrds album.
Nashville West (Parsons, White) - Nothing special in the studio or live.
So You Want To Be A Rock `N' Roll Star (McGuinn, Hillman) - Nice to hear McGuinn crank up the Rick for a change. Clarence and Roger do a nice job on this Byrds classic.
Mr. Tambourine Man (Dylan) - It's interesting to hear the Mcguinn-White Byrds play this classic.
Mr. Spaceman (McGuinn) - Never cared for this novelty song.
Side Two (Live):
Eight Miles High (McGuinn, Crosby, Clark) - The band turns this classic into a sixteen minute jam. Clarence's B-bender is annoying. Parsons' drumming is weak as usual and I don't care to listen to Battin's unremarkable bass lines for five minutes but I do enjoy the closing crescendo.
Side Three (Studio):
Chestnut Mare (McGuinn, Levy) - Could be McGuinn's best Byrds song next to 5D. The only post-Sweetheart Byrds tune that compares with the best of the material from the first six albums.
Truck Stop Girl (George, Payne) - It's almost painful to listen to Clarence cover this Little Feat number.
All The Things (McGuinn, Levy) - Not a bad tune. That's ex-Byrd Gram Parsons helping out on backup vocals.
Yesterday's Train (Parsons, Battin) - Parsons sings this enjoyable, slow number. Sneeky Pete helps out with some steel guitar. McGuinn wasn't present for the session.
Hungry Planet (Battin, Fowley, McGuinn) - McGuinn rearranged this Battin-Fowley tune and got a writing credit. Yech. McGuinn sings lead and adds some Moog.
Side Four (Studio):
Just A Season (McGuinn, Levy) - One of the better songs on the album.
Take A Whiff On Me (Ledbetter, Lomax, Lomax) - Clarence and the Byrds do a nice job on this Leadbelly classic.
You All Look Alike (Battin, Fowley) - McGuinn sings lead on another Battin-Fowley number, a tribute to long hairs everywhere. Byron Berline makes a guest appearance on the fiddle.
Welcome Back Home (Battin) - Otherwise known as Well Come Back Home. Skip finally gets to sing lead on one of his songs. An anti-war number written at the height of Vietnam and student unrest. The longest Byrds song at 7:40. Skip ends the song with the Buddhist mantra chant, "Nam Myoho Renge Kyo" (I devote myself to the Lotus Sutra of the Wonderful Law). McGuinn should have had his antennae up. Battin-Fowley will contribute songs on the following two albums that will be completely at odds with the Byrds oeuvre.
2000 CD reissue bonus tracks:
Studio
All the Things (McGuinn, Levy) - Alternate version
Yesterday's Train (Parsons, Battin) - Alternate version
Lover of the Bayou (McGuinn, Levy) - I like the live version better.
Kathleen's Song (McGuinn, Levy) - Nice tune. Will be held over for the next album, Byrdmaniax.
White's Lightning Pt.2 (McGuinn, White) - Jam.
Willin' (George) - Parsons sings this Little Feat country rock favorite.
Live
You Ain't Goin' Nowhere (Dylan)
Old Blue (traditional arranged by McGuinn)
It's Alright, Ma (I'm Only Bleeding) (Dylan)
Ballad of Easy Rider (McGuinn)
My Back Pages (Dylan)
Take a Whiff on Me (Ledbetter, Lomax, Lomax)
Jesus Is Just Alright (Reynolds)
This Wheel's on Fire (Dylan, Danko)
Amazing Grace (traditional arranged by McGuinn, White, Parsons, Battin)
![The Byrds Album: “Untitled [Remaster]”](http://www.poprockbands.com/covers_prB/the-byrds/2000_170_170_Untitled%2520%255BRemaster%255D.jpg "The Byrds Album: “Untitled [Remaster]”")
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