The byrds the best of the byrds - greatest hits volume iii


Initially, the band pioneered the musical genre of folk rock on their album Mr. Tambourine Man (1965), by melding the influence of the Beatles and other British Invasion bands with contemporary and traditional folk music. As the 1960s progressed, the band was influential in originating psychedelic rock and raga rock, with their song "Eight Miles High" and the albums Fifth Dimension (1966), Younger Than Yesterday (1967) and The Notorious Byrd Brothers (1968). They also played a pioneering role in the development of country rock, with the album Sweetheart of the Rodeo (1968) representing their fullest immersion into the genre.

For a band most casual music fans in the States know for approximately two songs — 1973’s “Radar Love” and 1982’s “Twilight Zone” — the Netherlands’ Golden Earring had the kind of career that seems almost unbelievable in its length and breadth. They released their first LP Just Earrings in 1965, their most recent one Tits ‘N Ass (yeesh) in 2012, and have been running with more or less the same core band members since 1970, which is absolutely preposterous. Just not as preposterous as this 19-minute version of “Eight Miles High” that they released as a side-length title track of an LP in 1969, one of the most ceaseless and exhausting attempts in recorded history to try and put forth the idea that, hey, maybe this song isn’t about flying in an airplane, y’know? It runs a pretty noodly course, starting with some solid zone-out psych jam potential — George Kooymans’s and Gerry Hay’s guitars aren’t exactly virtuoso, but there’s some good interplay for a bit, and there’s a nice bit of loud-quiet-loud dynamic going that keeps the uptempo momentum at a decent jogging pace for about eight minutes and change. Aaaaaaand then , whoops, here comes the drum solo. “Moby Dick” it ain’t — Sieb Warner, in his first and only album with Golden Earring, plays the drums like a button-mashing ’90s pre-teen trying to figure out how to play Street Fighter II for the first time — and when Rinus Gerritsen comes in on bass to sort of clumsily spar with him it sounds absolutely hapless. In this sense, the maniacal, full-throttle 16-minute marathon jam version the Byrds recorded live the following year for their (Untitled) album isn’t just a band finding spectacular new ways to explore their own work — it’s a necessary corrective.

This particular compilation should not be confused with the 2006 compilation The Very Best of The Byrds . Although the 2006 compilation has the same title, it contains a different track listing and different cover artwork.


The Byrds The Best Of The Byrds - Greatest Hits Volume IIIThe Byrds The Best Of The Byrds - Greatest Hits Volume IIIThe Byrds The Best Of The Byrds - Greatest Hits Volume IIIThe Byrds The Best Of The Byrds - Greatest Hits Volume III

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