The Byrds - Fifth Dimension

Having already pioneered folk-rock via their electrified versions of Bob Dylan and Pete Seeger songs such as "Mr. Tambourine Man" and "Turn Turn Turn," the Byrds helped midwife yet another new musical form in 1966 on this, their third album. Influenced by Indian sitar player Ravi Shankar and jazz saxophonist John Coltrane, Jim McGuinn's atonal 12-string guitar on the suitably titled "Eight Miles High" was a psychedelic omen of things to come. Pointing in other new directions, too, are the prescient country-rock tune, "Mr. Spaceman," string-aided updates of folk evergreens "Wild Mountain Thyme" and "John Riley," and David Crosby's fusion-y "I See You" and "What's Happening?!?!" On this album, plenty. --Billy Altman Amazon.com

Ahead of Their Tyme

In 1966, The Byrds certainly were ahead of their time. After their folk-rock masterpiece "Mr. Tambourine Man", and the almost religious acceptance of "Turn, Turn, Turn", what could they do but EXPERIMENT? And this they did. "Eight Miles High", a classic among rock classics, was too good to ignore and practically beyond criticism, but the other tracks on "Fifth Dimension" were viewed with skepticism even by me, an avid Byrd-watcher. It's not that I disliked the other tracks, but they didn't continue the Byrds' traditional sound. I realize now, of course, that this was the whole point.

The album includes a variety of styles. The title song "5D", is hard to classify musically. The best I can come up with is to call it a cross between a swaying old pub drinking song and a Dylanesque ballad, like "Lay Down Your Weary Tune". The lyrics are more definable: abstract, spiritual, very mid-60's. "Wild Mountain Thyme" and "John Riley" are string-laden ballads from the old school of folk. "Mr. Spaceman", with its country leanings, sounded odd at the time, but 6 months later The Lovin' Spoonful had a big hit with "Nashville Cats" and nobody thought a thing of it. The prevailing sound on the album, McGuinn and Crosby harmonies with heavily punctuated, erratic psychedelic guitar, is evident on "Eight Miles High", "Hey Joe", "I See You", "What's Happening", "I Know My Rider", "Psychodrama City" and "Why". "Hey Joe" may not be as impressive as the Jimi Hendrix version which appeared a year later, but it does rock, and David Crosby's vocal is a major turn-on. (I think he was underrated as a Byrd member.) "I See You" describes a mysterious, elusive woman. This theme was revisited in 1967 in "My Eyes Have Seen You" from The Doors' "Strange Days" album. Shift gears again to "I Come and Stand at Every Door"' a lament sung by a victim of Hiroshima who can't get any older than 7, but can't rest either. And the chant-like "Lear Jet Song" is for me a commercial for the arrival of the modern age. Goodbye, apple pie; hello, mind expansion.

Two of the bonus tracks strike me as especially interesting. "Eight Miles High" has a lot of the sharp edges smoothed down. Thank goodness The Byrds decided to push the boundaries and go with the "spikier" version. "Psychodrama City", once you get to the vocal, reminds me to some extent of a "talkin' blues" number. The only track that seems irrelevant is the instrumental version of "John Riley", but don't pass over it, because following it is an interview with Jim McGuinn and David Crosby that is definitely worth listening to.

I always felt that The Byrds were exceptional. For a while, just a little while, I liked them better than The Beatles. But they didn't last. They imploded. I'm just glad that I discovered this CD. The improved, remastered sound and my own more open mind have combined to let me love it, finally. July 5, 2008

Not the Best of the Byrds...but

I personally feel that the Byrds represent the best of the 60's and certainly are the most important American band from that era. I am a huge fan of the early Byrds, so I cannot give any pre "Rodeo" Byrds work less than a four star. I do agree with an earlier review that stated that this is not their best. I personally feel that "Younger Than Yesterday", "Tamborine Man", and "Notorious" are their supreame creations. However, any CD with "Eight Miles High" on it is worth having. If you are a novice Byrds fan, go for the boxed set but you could not possibly be disappointed in this one.
January 31, 2008

3.5 Stars- The Byrds get psych-ey

The Byrds' third album sees the group expanding their sound, augmenting the chiming folk-rock of their first two records with dreamier textures, poetic lyrics, and elements of everything from American jazz to Indian raga. As a result, Fifth Dimension is one of the early forerunners to the psychedelic movement, a collection of artful, experimental pop songs. To be sure, it's a bold musical statement, and it makes for some great songs: "Eight Miles High," with its Coltrane-esque guitar solos and hypnotic vocals, is one of the greatest singles of the 60s. The dreamy, ethereal title track is also a highlight, as well as the two-chord rush of "I See You." "Wild Mountain Thyme" and "John Riley" are beautiful reinterpretations of old folk ballads, while the group's version of "Hey Joe" is suitably rockin'.

Unfortunately, there's a bit too much filler here: "Captain Soul" is an ultra-generic R&B instrumental with an incredibly annoying lead guitar, while "Mr. Spaceman" is a cheesy tale of alien abduction set to a rockabilly beat that's only catchy for the first thirty seconds or so. "What's Happening?!?!" and "I Come And Stand At Every Door" are offbeat tunes that haven't aged very well (although the latter song has a pretty soulful vocal). "2-4-2 Fox Trot (The Lear Jet Song)" (which consists of an audio recording from the cockpit of an airplane playing in one stereo channel while the band cranks out a faceless jam in the other) is simply worthless.

So, it's a pretty good early album from the early days of psychedelia, with a few too many uninspiring tracks. September 27, 2007

3 1/2 stars.

of the byrds albums released in their great 1965-1968 period, this one i consider the least essential. "wild mountain thyme," and "john riley" are excellent pieces of orchestrated folk/pop, "mr spaceman" is wonderful, a great melody played with that byrds jangling guitar sound, and, of course, there is "eight miles high." all fine. but, "i come and stand at every door" sounds badly dated, aged poorly like cheap wine. "2-4-2 fox trot" is an unsuccessful piece of psychedelia. and the rest is on the mediocre side. this is a must for byrds fanatics (who will simply want the entire discography of the band), but not the place to start for the novice. this was a great group, and they did better work elsewhere. check out "mr tambourine man," "younger than yesterday," or "the notorious byrd brothers" first. after hearing those three great albums you may very well end up at "fifth dimension" sooner or later. a confirmed byrd nut.
April 6, 2007

Raga Rock, McGuinn's Fascinations, Crosby's Voice

Other reviewers have covered the ground here, but I wanted to add a few points. First, the opening track, "5D" is one of their best, a Dylan-inspired but utterly original composition that holds up remarkably well and sounds fresh every time I hear it. Of course any Byrds album with "Mr. Spaceman" and "Eight Miles High" is a winner, despite the internal strife afflicting the band at that time. Crosby's paranoia is starting to emerge, sweetly wrapped as it is in his lilting, beautiful tenor. While the Byrds never really recovered from Gene's departure, they both still managed to make a ton of great music afterward.

"Lear Jet" is a trip, highlighting McGuinn's fascination with gadgets, the future, technology and such. Interestingly, the Byrds' versions of "Hey Joe" and "I Know You Rider" sound ok but a bit pale and limp compared to the workouts Hendrix and the Dead turn in on these classics later. In all, satisfying and top-of-their-game Byrds, creativity and personality flowering in every direction. April 1, 2006

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