"I Knew I'd Want You" is a song by the folk rock band the Byrds, written by band member Gene Clark, first released as the B-side to their 1965 debut single, "Mr. Tambourine Man", it was later included on their debut album, Mr. Tambourine Man. "I Knew I'd Want You" is one of the earliest original songs written by one of the Byrds, dating back to 1964 when the band was known as the Jet Set. The song, which features a lead vocal by Clark, has been described by Allmusic critic Matthew Greenwald as a folk rock song taken at mid-tempo, while author Christopher Hjort called it, "a minor-tinged 68 shuffle."Author James Perone finds the overall sound of the song similar to that of the Beatles' "You've Got to Hide Your Love Away" through its use of a triple meter and acoustic instruments, noting that the Byrds song was released first and even recorded first. Perone feels that certain features, such as its minor key and the general melodic shape, anticipated the Moody Blues' "Nights in White Satin." Band biographer Johnny Rogan notes a nod to the Beatles in the use of the phrase "oh yeah" at the end of the refrain.
Rogan described the lyrics as being "romantic" and incorporating "hip parlance", such as the line, "You'd have me on your trip..." "I Knew I'd Want You" was recorded on January 20, 1965, at the same session that produced "Mr. Tambourine Man." As with that song, 12-string guitarist Roger McGuinn was the only member of the Byrds to play his instrument on the song. The other musicians credited are members of the Wrecking Crew, including Larry Knechtel, Leon Russell, Hal Blaine, Jerry Cole. However, author James Perone believes that the bass guitar and rhythm guitar on "I Knew I'd Want You" sound like Byrd members Chris Hillman and David Crosby, respectively. Hillman has stated in interview that neither he nor Crosby played on the song, noting that the contrast between the slicker, more polished sound of the session musicians on "I Knew I'd Want You" and "Mr. Tambourine Man" is quite noticeable compared to the rawer sound of the Byrds' own playing on the rest of the Mr. Tambourine Man album. According to Byrds' manager Jim Dickson, the executives at Columbia Records felt it was too risky to release a poetic song like "Mr. Tambourine Man" as the A-side of the Byrds' first single and wanted "I Knew I'd Want You" to be the A-side instead, but at the insistence of producer Terry Melcher, "Mr. Tambourine Man" was released as the A-side.
The "Mr. Tambourine Man" single reached number 1 on the Billboard Hot 100. Matthew Greenwald calls "I Knew I'd Want You" a "highlight" of Mr. Tambourine Man and compares the song's ability "to convey feelings of both love and alienation" to songs of Burt Bacharach and Hal David. In the 4th edition of The Rolling Stone Album Guide Rob Sheffield calls it one of "the most vital songs" on Mr. Tambourine Man. Rogan considers the song to be impressive enough "to stand along some of the best Lennon/McCartney material of the period. Rogan finds Clark's vocal to be "moving" although "a little mannered." Allmusic critic Richie Unterberger considers it to be "lyrically less challenging, but powerful musically" compared to the Bob Dylan, Pete Seeger, Jackie DeShannon penned songs on Mr. Tambourine Man. "I Knew I'd Want You" was included on several Byrds' compilation albums. A new stereo remix was included on the 1987 archival album Never Before; the song was included in the 2006 box set There Is a Season.
An early, alternate version was included on the 1969 album Preflyte and the 1988 album In the Beginning. A version of "I Knew I'd Want You" recorded by songwriter Gene Clark was included on Echoes, the 1991 repackaging of his 1967 solo debut album Gene Clark with the Gosdin Brothers. Thin White Rope covered the song for the CD version of the 1989 tribute album Time Between – A Tribute to The Byrds. Allmusic critic Jason Ankeny describes the Thin White Rope version as a "high-wattage, heavy metal rendition." Thin White Rope released the song on their 1991 EP Squatter's Rights. Lyrics of this song at MetroLyrics
Teri Yakimoto is the third album by the Huntington Beach, California punk rock band Guttermouth, released in 1996 by Nitro Records. It was their first album with bass player Steve Rapp and continued the band's style of fast, abrasive punk rock with tongue-in-cheek humor and sarcastic lyrics; this time, the band experimented with more melody and pop influence. By all accounts the recording process was plagued with problems, at one point most of the recordings were scrapped and re-recorded with a new producer. A music video was filmed for the song “Whiskey” and the album became the band's only to reach the Billboard Heatseakers chart, reaching #33. All songs written by Guttermouth except "Casserole of Life" by Dan Root and Guttermouth, "Under the Sea" "Use Your Mind" 1:51 "Trinket Trading, Tick Toting, Tired Tramps...or the 7 T's" 2:17 "Generous Portions" 1:43 "A Day at the Office" 2:25 "Teri Yakimoto" 3:27 "Whiskey" 2:21 "Lock Down" 3:52 "God's Kingdom" 2:29 "Mark's Ark" 1:42 "Room for Improvement" 2:19 "Casserole of Life" 2:53 "Thought Provoking Sonic Device" 2:09 "I Saw the Light" 2:58 "1-2-3-4"* 6:30 "Under the Sea" 1:10*"1-2-3-4" is a medley of 4 short songs: "Give Me a Gun," "Food for Thought," "Gar-bage, a Perfect Example of Uninteresting Poetry," and "Up Your Bum."
Mark Adkins - vocals Scott Sheldon - guitar Eric "Derek" Davis - guitar Steve "Stever" Rapp - bass James Nunn - drums Record label: Nitro Records Recorded at Fat Planet Studios by Ryan Greene Additional recording at Westbeach Recorders by Steve Kravac Produced by Ryan Greene and Guttermouth Additional production by Steve Kravac with assistance by Adam Kramer Mastered by Eddie Schrayer at Futuredisc Design and layout by Daredevil Studios and C. Martin Band photo by Paul Cobb Album - Billboard
István Beöthy was a Hungarian sculptor and architect who lived and worked in France. After the First World War, in which he served, Beöthy began to study architecture in Budapest. There he was in contact with the avant-garde poet and painter Lajos Kassák, who familiarized him with the tenets of constructivism and suprematism, his earliest work as an architectural draftsman, from 1919, displayed constructivist tendencies. In that same year he would write the manifesto "Section d'Or", which did not appear in Paris until 1939. From 1920 to 1924 Beöthy studied under János Vaszary at the Hungarian University of Fine Arts, he travelled on a grant to Vienna, from where he undertook other travels to western Europe, until in 1925 he settled in Paris. Beöthy found a place in the Parisian art scene and took part in the exhibit of the Salon des Indépendants. In 1927 he married Anna Steiner, in 1928 he had his first one-man show in the Galerie Sacre-Printemps. In 1931 Beöthy co-founded the group Abstraction-Creation with sculptor Georges Vantongerloo and painter Auguste Herbin, was its vice-president for a time.
From 1931 to 1939 he had an exclusive contract with Leonce Rosenberg's Galerie de l'Effort Moderne, in 1938 he organized an exhibit in Budapest, the first exposure of his nonfigurative art to the public in Hungary. Like Herbin, he explored parallels to other forms of self-expression music, his sculptures after this point develop along the lines of harmonies, which interact with each other like musical notes. During World War II Beöthy designed fliers for the French Resistance. In 1946 he became a founding member of the Salon des Réalités Nouvelles, the Galerie Maeght in Paris showed a retrospective of his work. In 1951 he became a founding member of another group, "Espace", founded the journal "Formes et Vie", with Fernand Léger and Le Corbusier. For a short time between 1952 and 1953 he gave lectures on color and proportion to architecture classes at the École des Beaux-Arts, in his subsequent years he worked together with architects and was otherwise part of the planning for the expansion of Le Havre.
Beöthy died in Paris on 27 November 1961. 1928: Galerie Sacre du Printemps, Paris 1929: Galerie Zak, Paris 1930: Galerie Bonaparte, Paris 1931: Salon Kovács Á. Budapest 1934: Abstraction-Création, Paris 1942: Centre d'Etudes Hongroises, Paris 1946: Galerie Denise René, Paris 1948: Galerie Maeght, Paris 1952: La Librairie des Archers, Lyon 1953: Galerie Ex-Libris, Brussels 1958: Berri-Lardy, Paris 1974: Galerie Gmurzynska-Bagera, Köln 1979: Skulpturen-Museum, Marl 1983: Janus Pannonius Múzeum, Pécs 1985: Beothy et l'avant-garde hongroise, Galerie Franka Berndt, Paris 1990: Musée d'Art Moderne, Grenoble 1991: Galerie Franka Berndt, Paris Read, Sir Herbert Edward. A Concise History of Modern Sculpture. Holt Rhinehart and Winston. ISBN 0-275-41540-6. Official Site Another site, with many photos