One of the greatest debuts in the history of rock, Mr. Tambourine Man was nothing less than a significant step in the evolution of rock & roll itself, demonstrating that intelligent lyrical content could be wedded to compelling electric guitar riffs and a solid backbeat. It was also the album that was most responsible for establishing folk-rock as a popular phenomenon, its most alluring traits being Roger McGuinn's immediately distinctive 12-string Rickenbacker jangle and the band's beautiful harmonies. The material was uniformly strong, whether they were interpreting Bob Dylan (on the title cut and three other songs, including the hit single "All I Really Want to Do"), Pete Seeger ("The Bells of Rhymney"), or Jackie DeShannon ("Don't Doubt Yourself, Babe"). The originals were lyrically less challenging, but equally powerful musically, especially Gene Clark's "I Knew I'd Want You," "I'll Feel a Whole Lot Better," and "Here Without You"; "It's No Use" showed a tougher, harder-rocking side and a guitar solo with hints of psychedelia.

"Here Without You" should have been, although it is perhaps a bit too dark to climb up on that mantle.

This was the first time I've actually heard this record. I've got quite a few Byrds albums but I think because of the title track I've just never really wanted to. Which is a shame because it's as good, or nearly as good as the blurb, suggests. It's hard to even comprehend what this sounded like to virgin ears in 1965. I've had a bit of a personal challenge this week and honestly I felt myself cottoning to some of this music, more so than I normally would. That being said, the 'Times They Are A Changin' is sounds horribly dated when the Byrds sing it. With Dylan, the prematurely old voice makes it sound prophetic and serious. With the Byrds, it sounds like some cheerful and happy young people who are singing in front of a Christian youth group. Blech.

Later on, as McGuinn began to grow as a songwriter, he grabbed the reins from Clark straight-out, and all but forced him from the band.

I've seen you say this several times and have never seen anyone else claim that. I even did a quick google search today looking for anyone claiming Clark was fired or unfairly pushed out of the band and couldn't find any other claims (granted I gave up quickly)....
I like the Clark fronted lineup the most and like Clark's solo material as well. I'm curious where you get the idea that Clark was a victim here though because it's news to me if true.

The Byrds' second album, Turn! Turn! Turn!, was only a disappointment in comparison with Mr. Tambourine Man. They couldn't maintain such a level of consistent magnificence, and the follow-up was not quite as powerful or impressive. It was still quite good, however, particularly the ringing number one title cut, a classic on par with the "Mr. Tambourine Man" single. Elsewhere, they concentrated more on original material, Gene Clark in particular offering some strong compositions with "Set You Free This Time," "The World Turns All Around Her," and "If You're Gone." A couple more Bob Dylan covers were included, as well, and "Satisfied Mind" was their first foray into country-rock, a direction they would explore in much greater depth throughout the rest of the '60s.

Super Bowl X: Pitt def. Dallas (halftime show: Up with People)

How did you not know this, Bob?

Turn, Turn, Turn is pretty fucking good. Nothing earth shattering or that different from what I expected, but part of this project's original thoughtline was "Why are The Byrds (outside of the oft name-checked Sweetheart) not a bigger fave of more Obs." They seem to do what a lot of people profess to love (handclaps, harmonies, Rickenbocker) better than the other purveyors of the same sound.

Although the Byrds' Fifth Dimension was wildly uneven, its high points were as innovative as any rock music being recorded in 1966. Immaculate folk-rock was still present in their superb arrangements of the traditional songs "Wild Mountain Thyme" and "John Riley." For the originals, they devised some of the first and best psychedelic rock, often drawing from the influence of Indian raga in the guitar arrangements. "Eight Miles High," with its astral lyrics, pumping bassline, and fractured guitar solo, was a Top 20 hit, and one of the greatest singles of the '60s. The minor hit title track and the country-rock-tinged "Mr. Spaceman" are among their best songs; "I See You" has great 12-string psychedelic guitar solos; and "I Come and Stand at Every Door" is an unusual and moving update of a traditional rock tune, with new lyrics pleading for peace in the nuclear age. At the same time, the R&B instrumental "Captain Soul" was a throwaway, "Hey Joe" not nearly as good as the versions by the Leaves or Jimi Hendrix, and "What's Happening?!?!" the earliest example of David Crosby's disagreeably vapid hippie ethos. These weak spots keep Fifth Dimension from attaining truly classic status. [The CD reissue has six notable bonus tracks, including the single version of the early psychedelic cut "Why" (the B-side to "Eight Miles High"), a significantly different alternate take of "Eight Miles High," "I Know My Rider" (with some fine Roger McGuinn 12-string workouts), and a much jazzier, faster instrumental version of "John Riley."]

So uh, I know no one else is checking this, but you just posted the same album...

Younger Than Yesterday was somewhat overlooked at the time of its release during an intensely competitive era that found the Byrds on a commercial downslide. However, time has shown it to be the most durable of the Byrds' albums, with the exception of Mr. Tambourine Man. David Crosby, Roger McGuinn, and especially Chris Hillman come into their own as songwriters on an eclectic but focused set blending folk-rock, psychedelia, and early country-rock. The sardonic "So You Want to Be a Rock & Roll Star" was a terrific single; "My Back Pages," also a small hit, was the last of their classic Dylan covers; "Thoughts and Words," the flower-power anthem "Renaissance Fair," "Have You Seen Her Face," and the bluegrass-tinged "Time Between" are all among their best songs. The jazzy "Everybody's Been Burned" may be Crosby's best composition, although his "Mind Gardens" is one of his most excessive. [The CD reissue has six bonus tracks, including the fine Crosby-penned single "Lady Friend," and notably different alternate versions of "Mind Gardens" and "My Back Pages."]

For whatever reason 'Time Between' is one of my all time favorite songs.