The Byrds - Live at Royal Albert Hall 1971

From their earliest days as 12-string-wielding folk-rockers, to the thrilling psychedelic excursions of their raga-rock period to their 1968 birthing of country-rock, the Byrds were always accorded a hero's welcome in England. What better place to record founding Byrds member/guitarist/singer Roger McGuinn's new version of the band--featuring fretboard ace Clarence White, bassist Skip Battin and drummer Gene Parsons--than London's Royal Albert Hall!

Rescued from a tape that had sat forgotten in McGuinn's climatized garage for decades, this stellar 1971 set, featuring live versions of the current band's studio faves ("Lover of the Bayou," "Chestnut Mare") as well as adventurous reworkings of Byrds classics ("Mr. Tambourine Man," "My Back Pages," "Eight Miles High," "So You Want to Be a Rock `n' Roll Star") might be the most accurate and stirring live performance yet of the legendary Los Angeles combo. By 1971, the guitar interplay of McGuinn and White had become a jaw-dropping highlight of their live performances, as had their stripped-down, acoustic mini-set and peerless four-part vocal harmonies. As McGuinn, in typically understated fashion, says of this new Sundazed release, available now on both compact disc and as a high-definition vinyl, double-gatefold LP: "It was a great night, so I'm happy there's a record of it!" Album Description

Wonderful Live Recording!

This a great living recording of the late version of the Byrds featuring Clarence White's amazing b-bender guitar licks and his vocal numbers "Truck Stop Girl" and "Jamaica, Say You Will." I've listened to this CD over and over and will keep it in my top level shuffle. September 28, 2008

Late-period Byrds re-invent their set

I admit that I've always been a fan of the "original" Byrds, up through the 1967 release of "Younger than Yesterday," before the Clark (1966) and Crosby (1967) departures and the well-documented in-fighting. I like "Notoroius Byrds Brothers" as well, but feel that you can detect the papering over of the gaps with synthesizers and Gary Usher's considerable studio expertise.

With that in mind, this Sundazed reissue proves an interesting gem, with a full set from McGuinn's tape archive from 1971. One can only hope that he has more such material lying around in his attic / vault.

The set combines at least three different aspects: (1) acoustic material that showcases the interplay between Clarence White and the others; (2) covers of earlier Byrds materials, with much of this reworked through the four-piece configuration, and much of it possessing a "folkier" feel than the originals (certainly less "jangle pop"); and (3) longer jams like the 18 minute "Eight Miles High."

This last deserves mention on its own, as the lengthy intro involves several minutes of almost exclusively percussive interplay between bass and drums, which somehow works quite magically as a kind of syncopated madness. I've seen at least one other review denigrate this material as "rock," but this is not a mindless excursion like some laste 60's, jams but a tight, focused exploration. One also has to wonder how much of jam was worked out previously, as it sounds wonderful in its playful dexterity, even as the liners indicate that it was actually intended to give certain group members time for a smoke break mid-set.

In all, a wonderful release, and one undercutting the myth of the Byrds as a lightweight stage act. I guess I'll have to start digging back into those late-period releases to see what else I've been missing . . . now where's that copy of Untitled I've been meaning to give a listen to? September 19, 2008

if you love the byrds, you'll love this

To me, The Byrds are the finest band that this country has ever produced. That said, maybe this reviewer can not be objective. However, I will try. From their jingle-jangle Dylan covers to their psychedelic experiments, to the birth of country rock, the Byrds were always one step ahead of their contemporaries. I caught Roger McGuinn's solo act recently and his voice and guitar playing are still extraordinary. Dylan would not have become a household word without The Byrds. (Why did he insult Roger McGuinn in the song "You Ain't Goin' Nowhere"? Dylan cashed a lot of checks because of The Byrds.) But anyway, I digress. The performances here are superb and The Byrds cover most of their great material here. Clarence White's playing is pure and fluid. McGuinn's vocals and guitar work are impressive as well. My only complaint and the reason I am giving it only four stars is the sometimes muddy mix. I know that it is not a recent recording and the technology certainly has changed, but at times it sounds like the engineer was really good friends with the bass player and the drummer because sometimes that is all one can hear, (bass and drums), especially on the tune "Lover Of The Bayou". However, this complaint is minor. A sound investment. September 11, 2008

Byrds best live performance

This album gives a great overview of the Byrds career in one disc. The live playing is great, showing their soft acoustic side , their traditional side, some well chosen covers and even Amazing Grace. Good value and an enjoyable disc with amazing playing from Clarance White. September 8, 2008

Lost Treasure Found!

I have been a Byrds fan for decades, own every known LP, CD, video, etc. This concert offers the only full length songs featuring Clarence White singing lead with McGuinn ,Parsons and Battin providing harmony backup. This album fittingly become a tribute to Clarence and his spectacular playing ability in blue grass and all other styles! I can't imagine anybody who could find flaw with this newly found gem. September 7, 2008

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