Disco de The Byrds: “Ballad Of Easy Rider”

When Columbia Records released "The Ballad of Easy Rider" in 1969, they advertised that "the movie gave you the facts, the 'Ballad' interprets them." How dead-on they were: while "Easy Rider" depicted a democratic America, "The Ballad of Easy Rider" IS everyman's America captured in music. Full of warm, harmonious vocals which rival (and surpass I'd say) the mellifluous sounds of CSN, simple themes, brilliant muscianship, and pure and genuine production thanks to Terry Melcher (a far cry from the orchestrated twang of "Byrdmaniax"), this album is the very best that the Byrds ever made. The aforementioned harmonies of McGuinn, White, Parsons, York, and even Melcher- I think- blow the original line up out of the water...just check out "It's All Over Now, Baby Blue." Creatively, likewise, each track differs from the previous yet the album coherently flows and, by the end, simply cries "Help me, I'm lonely!" Five stars for an absolutely brilliant album, one that changed my life.

1969's "Ballad of Easy Rider" was the commercial shot in the arm that The Byrds so desperately needed, reaching #36 on the charts when their previous albums had been languishing (unfairly, I might add) near the bottom. Its connection to the film "Easy Rider" is unfortunately in name only. You will not find classic, trippy 1960s rock in the style heard on that film's soundtrack. In fact, this album is a laid-back, sweetly-sung, gently-played experience, anticipating much of the country-flavoured LA rock music of the 1970s (Poco, The Eagles, Firefall, etc.). The album opens with a lushly-orchestrated version of "The Ballad of Easy Rider", a true Byrds classic, and frustratingly, the only Roger McGuinn original on this album! From here its momentum is slowed by a mediocre John York tune "Fido" and an unremarkable, though hard-rocking version of the traditional gospel "Oil in My Lamp". The album gets back into more familiar Byrds territory with "Tulsa County" (which would have fit nicely on "Sweetheart of the Rodeo") and a sea shanty called "Jack Tarr the Sailor" that Fairport Convention or Steeleye Span fans should enjoy. The second half of this CD blasts open with a transcendent cover of the gospel tune "Jesus Is Just Alright", inaugurating a brand new sound for The Byrds which would be developed further in concert and on their next, superior effort "Untitled". A moving cover of Dylan's "It's All Over Now, Baby Blue", an infectious single-that-should-have-been by drummer Gene Parsons "Gunga Din", and "Deportee", a deeply-felt elegy for migrant workers written by Woody Gutherie, end the original album on a strong note. The bonus material is fairly engaging and certainly fits the original album's mood well: "Way Behind the Sun" has to-die-for smooth, country/blues picking from master Clarence White; "Mae Jean Goes to Hollywood" is a catchy, inconsequential Jackson Browne donation to the group; "Fiddler A Dram" is one of those weird McGuinn folk song/Moog synthesizer amalgams; and "Build It Up" is an Allman Brothers-styled instrumental by Clarence White. Sony has done an exceptional job with the remastering here, though it is probably the best recorded album in the Byrds' canon. While this is not top-flight Byrds music, I dare say you will play this CD more often than more highly-regarded Byrds albums. Why? Because of its cohesion of mood and consistency of performance. Warmly recommended to Byrds fanatics, but with reservations for casual listeners or beginning Byrds fans.

By the time "Ballad of Easy Rider" was recorded, The Byrds were an exhausted band. Roger McGuinn had taken on the role of leader after drastic line-up changes, but even the three new members (Clarence White, John York, and Gene Parsons) were drained from finding their feet in such a short amount of time on the previous album, "Dr. Byrds & Mr. Hyde" (though White had made several guest appearances with the band prior to this). So it's no surprise that this album would reveal performances from four tired individuals, but it doesn't drag the album down a bit. In fact, it's what makes "Ballad of Easy Rider" so memorable. One can tell from the amount of cover material and the mellow performances that the group was not interested in trying to impress the music world again, as they had with the electric folk of their debut "Mr. Tambourine Man" or their role in the innovation of country-rock on the transitional "Sweetheart of the Rodeo" album. Instead they wanted a record that, as quoted in this remaster's liner notes, simply said "I'm lonely."

The words of the graceful title track were poignantly fitting to the state of things; "The river flows, it flows to the sea. Wherever that river goes, that's where I want to be." This song brought The Byrds back to chart success after "Dr. Byrds" had failed to reach the Top 100, and its association with the successful hippie/biker film "Easy Rider" may have been the reason. Bob Dylan had written the first few lines, but asked that his credit be removed due to his dislike for the film. A solo version by Roger McGuinn appeared in the movie, but this version is much better, complete with fitting strings and McGuinn's weary vocal. Of course, the record company used the "Easy Rider" connection to promote the album, albeit in a misleading way, for instance the biker image on the cover and the advertisements that touted the album as an "interpretation" of the film.

Nonetheless, the rest of the music on this album is just as moving and uniquely Byrds. Loneliness, gloomy characters, and injustices haunt tracks like the slow, pure country 'There Must Be Someone I Can Turn To,' a melancholy version of Dylan's `It's All Over Now Baby Blue,' the British sea standard 'Jack Tarr the Sailor,' and the Woody Guthrie signature 'Deportee (Plane Wreck At Los Gatos).' Even the more upbeat songs show a distinct fatigue; John York's `Fido' is a poignant rollick about loneliness, `Tulsa County' shows a need to get away, and `Oil in My Lamp' is a perfect Gospel ballad, revealing Clarence White and Gene Parson's influence with their taste for Jesus-oriented material, exemplified further by a slightly trippy reading of `Jesus is Just Alright' (a hit for the Doobie Brothers a few years later). But the song that defines the album best, next to the title track, is Parson's `Gunga Din,' a weary autobiography of touring hassles, arguably one of the best songs that he ever wrote during his tenure with The Byrds. Ending the album is a brief but touching tribute to the three American astronauts who landed on the moon the same the year.

Like all of the Byrds Remasters, this re-issue comes with several bonus tracks that will be of interest to long-time fans. "Ballad of Easy Rider" will always be overshadowed in the Byrds catalog, mostly because "Sweetheart of the Rodeo" had been such a musical transition from the classic sound of the original group, and the primary critical focus on "Dr. Byrds & Mr. Hyde" had been on the new line-up, rather than its musical value. "Ballad" was an honest collection that had no intentions of marking yet another new era of The Byrds' history, and the group is certainly rewarded for their honesty, delivering a sincere and unforgettable body of work.

Along with "Sweetheart of the Rodeo" this album is the most country-influenced album in the Byrds catalogue. But whereas "Sweetheart" tends to lean on classical country, "Ballad of Easy Rider" shows a much broader approach. This greater variety in styles, plus overall stronger material, makes this much more satisfying album than it's much-acclaimed predecessor, which I honestly speaking find somewhat over-rated.

There is a mature and releaxed feeling in these recordings, and though there is a mellow mood in many of the lyrics, it is somehow quite an uplifting experience to listen to the album.

The playing is great, with brilliant guitar work from McGuinn and in particular Clarence White. The vocals and especially the harmonies are of the same high standards that characterize all Byrds albums; great that Clarence White was finally given a lead vocal. His gritty nasal vocals on "Oil in My Lamp" help making the track one of many highlights on the album. In fact, this may be the first album where White really shines as an equal partner to McGuinn, who was now the only original member of the band.

McGuinn was never a very productive songwriter for the Byrds, and here he only contributes one new song, but on the other hand an outstanding one, "Ballad of Easy Rider".

All member have lead vocals, and though neither John York not Gene Parsons are great lead-singers, their contributions come out quite convincingly.

Highlights, though, are songs songs with McGuinn in front. "Tulsa County" is a fine song with great vocals and fine harmonies. Even more breath-taking is their new version slower version of Dylan's "It's All Over Now, Baby Blue", and McGuinn's treatment of Woody Guthrie's "Deportee" is just beautiful.

Among the seven bonus-tracks you'll find some real gems. Especially Jackson Browne's "Mae Jean Goes to Hollywood" and considering the short playing-time of the original album, it's a big mystery why this fine recording was left out. Along with the title track song is probably the closest they come to early Byrds-sound ( Younger than Yesterday ).

"Way Beyond the Sun" is a nice country-blues song, which may not be among the most memorable Byrds-recordings, but still as good as couple of the weaker original-tracks. The alternate versions are all fine; especially the longer version of "Ballad of Easy Rider".

Did Columbia Records do a great job remastering the Byrds catalog or what. Great sound to appreciate beautiful vocal harmonizing and excellent musicianship. The bonus tracks add understanding to the the musical development of an American musical institution that needs to be rediscovered by all those who appreciate fine AMerican music. The Byrds where there at the beginning of the folk-rock-country combination that has led to today's alternative country and Americana genre's. Learn from and appreciate the past.

The Ballad of Easy Rider is a great lead off song to any album. Pure and classic Roger McGuinn. Fido is a cool, snappy, and groovin little diddy- 60's fun with a understated minor drum interlude that works! Oil in my Lamp has some great, crisp fretwork from Clarence White (he really came into his own on this album as a leader/crafter of the Byrds sound). Tulsa County is fine country tinged Byrds that continues in the Sweetheart of the Rodeo sound. Jack Tarr the Sailor is a nice Enmglish folk sea story. Jesus is Just Alright os peppy Byrds jangly gospel- it works! It's All Over Now, Baby Blue is probably one of the most beautiful Dylan cover songs ever!! Pure majestic beauty. There Must Be Someone (I CAn Turn To) features Clarence Whites wonderfully emotive voice that creates an added depth to a lovely and sad song. Gunga Din- great Gene Parsons song and story. Deportee is another Woody Guthrie song that would have fit nicely on Sweethearts also. Armstrong, Aldrin and Collins is the only throw away song on the original album. The bonus tracks feature a few alternative takes, instrumentals and other treasures that make this already great cd a must have.