You Ain't Goin' Nowhere
"You Ain't Goin' Nowhere" is a song written by Bob Dylan in 1967 in Woodstock, New York, during the self-imposed exile from public appearances that followed his July 29, 1966 motorcycle accident. A recording of Dylan performing the song in September 1971 was released on the Bob Dylan's Greatest Hits Vol. II album in November of that year, marking the first official release of the song by its author. An earlier 1967 recording of the song, performed by Dylan and the Band, was issued in 1975 on the album The Basement Tapes; the Byrds recorded a version of the song in 1968 and issued it as a single. The Byrds' version is notable for being the first commercial release of the song, predating Dylan's first release by three years. A cover by Byrds members Roger McGuinn and Chris Hillman reached the top 10 of the Hot Country Songs charts in 1989; the song has been covered by many other artists, including Joan Baez, Unit 4 + 2, Earl Scruggs, Old Crow Medicine Show, Counting Crows, the Dandy Warhols, Tedeschi Trucks Band, Loudon Wainwright III, Glen Hansard with Markéta Irglová.
Starting in June 1967 and ending in October 1967, Bob Dylan's writing and recording sessions with the Band in Woodstock, New York, were the source of many new songs that were circulated as demos by Dylan's publisher for fellow artists to record. "You Ain't Goin' Nowhere" was written and recorded during this period and features lyrics that allude to the singer waiting for his bride to arrive and a final premarital fling. The original version found on 1975's The Basement Tapes album was recorded with the Band in the basement of their house in West Saugerties, New York, called "Big Pink". A first take recorded during the Basement Tapes sessions includes improvised nonsense lyrics such as "Just pick up that oil cloth, cram it in the corn / I don't care if your name is Michael / You're gonna need some boards / Get your lunch, you foreign bib"; this alternate take was released in 2014 on The Bootleg Series Vol. 11: The Basement Tapes Complete. On September 24, 1971, Dylan re-recorded three songs from the Basement Tapes sessions for inclusion on his Greatest Hits Vol. II album—"You Ain't Goin' Nowhere", "I Shall Be Released", "Down in the Flood"—with Happy Traum playing bass and electric guitar, as well as providing vocal harmony.
Traum notes that "they were popular songs... that wanted to put his own stamp on." The lyrics of this performance of "You Ain't Goin' Nowhere" differed from both the Basement Tapes versions, played upon a mistaken lyric in the Byrds' cover version of three years earlier. The 1971 version was released on the compilations The Essential Bob Dylan and Dylan, although the latter album's liner notes erroneously state that it is the 1967 version; the Byrds' recording of "You Ain't Goin' Nowhere" was released as a single on April 2, 1968, some three years prior to any commercial release of the song by Dylan. It was the lead single from the Byrds' 1968 country rock album, Sweetheart of the Rodeo, reached number 74 on the Bllboard Hot 100 chart and number 45 on the UK Singles Chart; the Byrds' version of the song features musical contributions from session musician Lloyd Green on pedal steel guitar. Although it is not as famous as their cover version of Dylan's "Mr. Tambourine Man", the Byrds' recording of "You Ain't Goin' Nowhere" is considered by critics to be the band's best Dylan cover.
The song was selected as a suitable cover by the Byrds after their record label, Columbia Records, sent them some demos from Dylan's Woodstock sessions. Included among these demos were the songs "You Ain't Goin' Nowhere" and "Nothing Was Delivered", both of which were recorded by the Byrds in March 1968, during the Nashville recording sessions for Sweetheart of the Rodeo. Author Johnny Rogan has commented that despite the change in musical style that the country-influenced Sweetheart of the Rodeo album represented for the band, the inclusion of two Dylan covers on the album forged a link with their previous folk rock incarnation, when Dylan's material had been a mainstay of their repertoire; the Byrds' recording of the song caused a minor controversy between its author. Dylan's original demo of "You Ain't Goin' Nowhere" contained the lyric "Pick up your money, pack up your tent", mistakenly altered in the Byrds' version, by guitarist and singer Roger McGuinn, to "Pack up your money, pick up your tent".
Dylan expressed mock-annoyance at this lyric change in his 1971 recording of the song, singing "Pack up your money, put up your tent McGuinn/You ain't goin' nowhere." McGuinn replied in 1989 on a new recording of the song included on the Nitty Gritty Dirt Band's Will the Circle Be Unbroken: Volume Two album, adding the word "Dylan" after the same "Pack up your money, pick up your tent" lyric. McGuinn and the Nitty Gritty Dirt Band's 1989 recording of the song, which featured the Byrds' former bass player Chris Hillman, was released as a single and peaked at number six on the Billboard Hot Country Singles chart in 1989, as well as number eleven on the Canadian country music charts published by RPM. In spite of the involvement of the Nitty Gritty Dirt Band, the single release was credited to McGuinn and Hillman alone. After its appearance on Sweetheart of the Rodeo, "You Ain't Goin' Nowhere" would go on to become a staple of the Byrds' live concert repertoire, until their final disbandment in 1973.
The Byrds re-recorded "You Ain't Goin' Nowhere" in 1971 with Earl Scruggs, as part of the Earl Scruggs, His Family and Friends television special, this version was included on the program's accompanying soundtrack album. The song was perfor
Rock and roll
Rock and roll is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s from musical styles such as gospel, jump blues, boogie woogie, rhythm and blues, along with country music. While elements of what was to become rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954. According to Greg Kot, "rock and roll" refers to a style of popular music originating in the U. S. in the 1950s prior to its development by the mid-1960s into "the more encompassing international style known as rock music, though the latter continued to be known as rock and roll." For the purpose of differentiation, this article deals with the first definition. In the earliest rock and roll styles, either the piano or saxophone was the lead instrument, but these instruments were replaced or supplemented by guitar in the middle to late 1950s; the beat is a dance rhythm with an accentuated backbeat, always provided by a snare drum.
Classic rock and roll is played with one or two electric guitars, a double bass or string bass or an electric bass guitar, a drum kit. Beyond a musical style and roll, as seen in movies, in fan magazines, on television, influenced lifestyles, fashion and language. In addition and roll may have contributed to the civil rights movement because both African-American and white American teenagers enjoyed the music, it went on to spawn various genres without the characteristic backbeat, that are now more called "rock music" or "rock". The term "rock and roll" now has at least two different meanings, both in common usage; the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the other hand, regards it as the music that originated in the mid-1950s and developed "into the more encompassing international style known as rock music"; the phrase "rocking and rolling" described the movement of a ship on the ocean, but was used by the early twentieth century, both to describe the spiritual fervor of black church rituals and as a sexual analogy.
Various gospel and swing recordings used the phrase before it became used more – but still intermittently – in the 1940s, on recordings and in reviews of what became known as "rhythm and blues" music aimed at a black audience. In 1934, the song "Rock and Roll" by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round. In 1942, Billboard magazine columnist Maurie Orodenker started to use the term "rock-and-roll" to describe upbeat recordings such as "Rock Me" by Sister Rosetta Tharpe. By 1943, the "Rock and Roll Inn" in South Merchantville, New Jersey, was established as a music venue. In 1951, Ohio, disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it; the origins of rock and roll have been fiercely debated by historians of music. There is general agreement that it arose in the Southern United States – a region that would produce most of the major early rock and roll acts – through the meeting of various influences that embodied a merging of the African musical tradition with European instrumentation.
The migration of many former slaves and their descendants to major urban centers such as St. Louis, New York City, Chicago and Buffalo meant that black and white residents were living in close proximity in larger numbers than before, as a result heard each other's music and began to emulate each other's fashions. Radio stations that made white and black forms of music available to both groups, the development and spread of the gramophone record, African-American musical styles such as jazz and swing which were taken up by white musicians, aided this process of "cultural collision"; the immediate roots of rock and roll lay in the rhythm and blues called "race music", country music of the 1940s and 1950s. Significant influences were jazz, gospel and folk. Commentators differ in their views of which of these forms were most important and the degree to which the new music was a re-branding of African-American rhythm and blues for a white market, or a new hybrid of black and white forms. In the 1930s, swing, both in urban-based dance bands and blues-influenced country swing, were among the first music to present African-American sounds for a predominantly white audience.
One noteworthy example of a jazz song with recognizably rock and roll elements is Big Joe Turner with pianist Pete Johnson's 1939 single Roll'Em Pete, regarded as an important precursor of rock and roll. The 1940s saw the increased use of blaring horns, shouted lyrics and boogie woogie beats in jazz-based music. During and after World War II, with shortages of fuel and limitations on audiences and available personnel, large jazz bands were less economical and tended to be replaced by smaller combos, using guitars and drums. In the same period on the West Coast and in the Midwest, the development of jump blues, with its guitar riffs, prominent beats and shouted lyrics, prefigured many developments. In the documentary film Hail! Hail! Rock'n' Roll, Keith Richards proposes that Chuck Berry developed his brand of rock and roll by transposing the familiar two-note lead line of jump blues piano directly to the electric guitar, creatin
Untitled (The Byrds album)
Is the ninth album by the American rock band the Byrds and was released in September 1970 on Columbia Records. It is a double album, with the first LP featuring live concert recordings from early 1970, with the second disc consisting of new studio recordings; the album represented the first official release of any live recordings by the band, as well as the first appearance on a Byrds' record of new recruit Skip Battin, who had replaced the band's previous bass player, John York, in late 1969. The studio album consisted of newly written, self-penned material, including a number of songs, composed by band leader Roger McGuinn and Broadway theatre director Jacques Levy for a planned country rock musical that the pair were developing; the production was to have been based on Henrik Ibsen's Peer Gynt and staged under the title of Gene Tryp, but plans for the musical fell through. Five of the songs, intended for Gene Tryp were instead recorded by the Byrds for —although only four appeared in the album's final running order.
The album peaked at number 40 on the Billboard Top LPs chart and reached number 11 on the UK Albums Chart. A single taken from the album, "Chestnut Mare" b/w "Just a Season", was released in the U. S. in October 1970, but missed the Billboard Hot 100 chart, bubbling under at number 121. The single was released in the UK in January 1971, where it did better, reaching number 19 on the UK Singles Chart. Upon release, was met with positive reviews and strong sales, with many critics and fans regarding the album as a return to form for the band; the album is today regarded by critics as being the best that the latter-day line-up of the Byrds produced. Following the dismissal of the Byrds' bass player, John York, in September 1969, Skip Battin was recruited as a replacement at the suggestion of drummer Gene Parsons and guitarist Clarence White. Battin was, at 35, the one with the longest musical history. Battin's professional career in music had begun in 1959, as one half of the pop music duo Skip & Flip.
The duo had notched up a string of hits between 1959 and 1961, including "It Was I", "Fancy Nancy", "Cherry Pie". After the break-up of Skip & Flip, Battin moved to Los Angeles, where he worked as a freelance session musician and formed the band Evergreen Blueshoes. Following the disbandment of that group, Battin returned to session work in the late 1960s and it was during this period that he met Gene Parsons and became reacquainted with Clarence White, whom he had known from a few years earlier. York's dismissal and Battin's recruitment marked the last line-up change to the Byrds for three years, until Parsons was fired by McGuinn in July 1972. Thus, the McGuinn, White and Battin line-up of the band was the most stable and longest lived of any configuration of the Byrds. For most of 1969, the Byrds' leader and guitarist, Roger McGuinn, had been developing a country rock stage production of Henrik Ibsen's Peer Gynt with former psychologist and Broadway impresario Jacques Levy; the musical was to be titled Gene Tryp, an anagram of the title of Ibsen's play, would loosely follow the storyline of Peer Gynt, with some modifications to transpose the action from Norway to south-west America during the mid-19th century.
The musical was intended as a prelude to loftier plans of McGuinn's to produce a science-fiction film, tentatively titled Ecology 70 and starring former Byrd Gram Parsons and ex-member of the Mamas & the Papas, Michelle Phillips, as a pair of intergalactic flower children. Gene Tryp was abandoned and a handful of the songs that McGuinn and Levy had written for the project would instead see release on and its follow-up, Byrdmaniax. Of the twenty-six songs that were written for the musical, "Chestnut Mare", "Lover of the Bayou", "All the Things", "Just a Season" were included on, while "Kathleen's Song" and "I Wanna Grow Up to Be a Politician" were held over for the Byrds' next album. "Lover of the Bayou" would be re-recorded by McGuinn in 1975 and appear on his Roger McGuinn & Band album. Despite not being staged at the time, Gene Tryp was performed in a revised configuration by the drama students of Colgate University, between November 18 and November 21, 1992, under the new title of Just a Season: A Romance of the Old West.
Having toured extensively throughout 1969 and early 1970, the Byrds decided that the time was right to issue a live album. At the same time, it was felt that the band had a sufficient backlog of new compositions to warrant the recording of a new studio album; the dilemma was resolved when it was suggested by producer Terry Melcher that the band should release a double album, featuring an LP of concert recordings and an LP of new studio recordings, which would retail for the same price as a regular single album. At around this same time, the band's original manager Jim Dickson, fired by the group in June 1967, returned to the Byrds' camp to help Melcher with the editing of the live recordings, affording him a co-producers credit on; the album's innominate title came about by accident. According to Jim Bickhart's liner notes on the original double album sleeve, the group's intention was to name the release something more grandiose, such as Phoenix or The Byrds' First Album; these working titles were intended to signify the artistic rebirth that the band felt the album represented.
Another proposed title for the album was McGuinn, White and Battin, but McGuinn felt that this title might be misinterpreted by the public. The band still had not made up their minds regarding a title when Melcher, while filling out record c
Fifth Dimension (album)
Fifth Dimension is the third album by the American folk rock band the Byrds and was released in July 1966 on Columbia Records. Most of the album was recorded following the February 1966 departure of the band's principal songwriter Gene Clark. In an attempt to compensate for Clark's absence, guitarists Jim McGuinn and David Crosby stepped into the breach and increased their songwriting output. In spite of this, the loss of Clark resulted in an uneven album that included a total of four cover versions and an instrumental. However, the album is notable for being the first by the Byrds not to include any songs written by Bob Dylan, whose material had been a mainstay of the band's repertoire; the album peaked at number 24 on the Billboard Top LPs chart and reached number 27 on the UK Albums Chart. Two preceding singles, "Eight Miles High" and "5D", were included on the album, with the former just missing the Top 10 of the Billboard singles chart. Additionally, a third single taken from the album, "Mr. Spaceman", managed to reach the U.
S. Top 40. Upon release, Fifth Dimension was regarded as the band's most experimental album to date and is today considered by critics to be influential in originating the musical genre of psychedelic rock. On December 22, 1965, shortly after the release of their second album Turn! Turn! Turn!, the Byrds entered RCA Studios in Los Angeles to record "Eight Miles High" and "Why", two new songs that they had composed. Both songs represented a creative leap forward for the band and were instrumental in developing the musical styles of psychedelic rock and raga rock. However, the band ran into trouble with their record company, Columbia Records, who refused to release either song because they had not been recorded at a Columbia owned studio; as a result, the band were forced to re-record both songs in their entirety at Columbia Studios, it was these re-recordings that would see release on the "Eight Miles High" single and the Fifth Dimension album. The re-recordings of "Eight Miles High" and "Why" were produced by Allen Stanton, Columbia's West Coast Vice President, assigned to the band following the Byrds' decision to dispense with their previous producer, Terry Melcher.
Melcher had guided the Byrds through the recording of their first two folk rock albums, which had included the international hit singles "Mr. Tambourine Man" and "Turn! Turn! Turn!", both of which had reached number 1 in the U. S. charts. However, during sessions for the Turn! Turn! Turn! album, Melcher had found himself in conflict with the band's manager, Jim Dickson, who had aspirations to produce the Byrds himself. Within a month of the band's second album being released, Dickson—with the full support of the Byrds—approached Columbia and insisted that Melcher be replaced. However, any hopes that Dickson had of being allowed to produce the band himself were dashed when the record label chose Allen Stanton as the Byrds new producer; this decision was the result of Columbia studio regulations specifying that only an in-house Columbia employee could produce records by the label's acts. Stanton would work as the Byrds' producer for the duration of the Fifth Dimension recording sessions, but would leave Columbia for A&M Records shortly after the release of the album.
Following the re-recording of "Eight Miles High" in January 1966, just prior to its release as a single in March of that year, the band's principal songwriter, Gene Clark, left the band. At the time, the official story regarding Clark's departure was that his fear of flying was preventing him from fulfilling his obligations with the group. However, it has become known in the years since that there were other stress related factors at work, as well as resentment within the band that his songwriting income had made him the wealthiest member of the Byrds. While the song "Eight Miles High" still featured the full participation of Clark, the remaining ten tracks on the Fifth Dimension album were recorded after he had left the band. Arguably the most famous song on the album is the hit single "Eight Miles High", an early excursion into psychedelic rock. Musically, the song was a fusion of John Coltrane-influenced guitar playing—courtesy of lead guitarist Jim McGuinn—and raga-based musical structure and vocals, inspired by the Indian classical music of Ravi Shankar.
Written by Clark in November 1965, while the Byrds were on tour in the U. S. the song was pivotal in transmuting folk rock into the new musical forms of psychedelia and raga rock. Regardless of its innovative qualities, many radio stations in the U. S. banned the record. Although the song's lyrics pertained to the approximate cruising altitude of commercial airliners, the group's first visit to London during their 1965 English tour, both Clark and rhythm guitarist David Crosby admitted that the song was at least inspired by their own drug use; the album included the McGuinn-penned songs "5D" and "Mr. Spaceman", with the latter being an early foray into country rock and a semi-serious meditation on the existence of alien life. In spite of its tongue-in-cheek lyrics, both McGuinn and Crosby were serious about the possibility of communicating with extraterrestrial lifeforms via the medium of radio broadcast. McGuinn in particular felt that if the song was played on radio there was a possibility that extraterrestrials might intercept the broadcasts and make contact.
However, in years McGuinn realized that this would've been impossible since AM radio waves disperse too in space."5D", on the other hand, was an abstract attempt to explain Einstein's theory of relativity, misconstrued by many as being a song about an LSD
Donald William'Bob' Johnston was an American record producer, best known for his work with Bob Dylan, Johnny Cash, Leonard Cohen, Simon & Garfunkel. Johnston was born into a professional musical family, his grandmother Mamie Jo Adams was a songwriter. Diane had written songs for Gene Autry in the'50s and scored a hit in 1976 when Asleep at the Wheel covered her 1950 demo "Miles and Miles of Texas". After a stint in the Navy, Bob returned to Fort Worth he and Diane Johnston collaborated on songwriting for rockabilly artist Mac Curtis, others. From 1956 to 1961 Bob recorded a few rockabilly singles under the name Don Johnston. By 1964 he had moved into production work at Kapp Records in New York, freelance arranging for Dot Records and signed as a songwriter to music publisher Hill and Range, he married songwriter Joy Byers with whom he began to collaborate. In years Bob Johnston claimed that songs still credited to his wife Joy Byers were co-written, or written by himself, he has cited old "contractual reasons" for this situation.
The songs in question include Timi Yuro's 1962 hit "What's A Matter Baby", plus at least 16 songs for Elvis Presley's films between 1964 and 1968, including "It Hurts Me", "Let Yourself Go" and "Stop and Listen". Two songs credited to Byers, the aforementioned "Stop and Listen" and "Yeah, She's Evil!" were recorded by Bill Haley & His Comets. Presley recorded "The Meanest Girl in Town" on June 10, 1964, while Bill Haley recorded his version a week on June 16, 1964. Johnston worked as a staff producer for Kapp Records for Columbia Records in New York, where he began producing a string of notable and influential albums, he was producing Patti Page when in 1965 he was successful in gaining the assignment to produce Bob Dylan, followed by Simon & Garfunkel, the Pozo-Seco Singers, Johnny Cash, Flatt & Scruggs, Leonard Cohen. His style of production varied from a'documentary' approach capturing a fleeting moment to providing subtle arrangements with strings, background vocals and seasoned session musicians.
After a couple of years in New York, Johnston became head of Columbia in Nashville, where he had known many of the session musicians, such as Charlie Daniels, for years. He produced three of Cohen's albums, toured with him and composed music to the Cohen lyric "Come Spend the Morning", recorded by both Lee Hazlewood and Engelbert Humperdinck. Bob Johnston was sophisticated, his hospitality was refined. It wasn't just a matter of turning on the machines, he created an atmosphere in the studio that invited you to do your best, stretch out, do another take, an atmosphere, free from judgment, free from criticism, full of invitation, full of affirmation. Just the way he'd move while you were singing: He'd dance for you. So, it wasn't all just as laissezfaire as that. Just as art is the concealment of art, laissezfaire is the concealment of tremendous generosity that he was sponsoring in the studio. At the beginning of "To Be Alone with You" on Nashville Skyline, Bob Dylan asks Johnston "Is it rolling, Bob?"
Dissatisfied with his salary earnings as a Columbia staff producer after several hit albums which earned him no royalties, Johnston became an independent producer, most with Lindisfarne on Fog on the Tyne, which topped the British album chart in 1972. In 1972 he toured with Leonard Cohen as a keyboard player, produced the resulting live album Live Songs. In 1978 he produced Jimmy Cliff's Give Thankx album, featuring "Bongo Man". In 1979, Johnston produced an album with the San Francisco band Reggae Jackson, titled Smash Hits that featured Jimmy Foot, Cheryl Lynn, Kenneth Nash, Wayne Bidgell. In 1985, Johnston produced an album Walking In The Shadow by the San Francisco band The Rhyth-O-Matics, for engineer Fred Catero's newly formed Catero label. Billboard magazine's "Pop Pick of The Week", the album's release was plagued with distribution difficulties. During a period of financial difficulty, when he was under scrutiny from the IRS, Johnston moved to Austin and did no record production for some time.
He returned with work on Willie Nelson's 1992 album The IRS Tapes: Who'll Buy My Memories?. In the mid 1990s, Johnston produced Carl Perkins' album Go Cat Go! which featured numerous guest stars including Paul Simon, George Harrison and Ringo Starr, as well as unreleased recordings of Perkins' "Blue Suede Shoes" by John Lennon and Jimi Hendrix. This album's release was delayed until 1996. Towards the end of his life Johnston returned to working with fresh talent including singer-songwriters Natalie Pinkis, Eron Falbo and indie rock band Friday's Child. Falbo's album 73 was released in 2013. Johnston was in a memory facility and a hospice in Nashville for the last week of his life before dying on August 14, 2015, his wife Joyce Johnston died in May 2017. Patti Page: "Hush, Hush Sweet Charlotte" US #8, Patti Page Sings America's Favorite Hymns Bob Dylan: Highway 61 Revisited, Blonde on Blonde, John Wesley Harding, Nashville Skyline, Self Portrait, New Morning Simon & Garfunkel: Sounds of Silence, Sage and Thyme Marty Robbins: Tonight Carmen, Christmas with Marty Robbins, By the time I get to Phoenix, I Walk Alone, I
Have You Seen Her Face
"Have You Seen Her Face" is a song by the American rock band the Byrds, written by the group's bass player Chris Hillman and included on their 1967 album Younger Than Yesterday. "Have You Seen Her Face" was written following a recording session for trumpet player Hugh Masekela, which Hillman attended in 1966. Byrds biographer Johnny Rogan has commented that the bassist blossomed as a songwriter during that year. On the Byrds' previous album, Fifth Dimension, Hillman's only songwriting contribution had been a shared writing credit for the instrumental "Captain Soul", but on Younger Than Yesterday he is credited as the sole songwriter of four tracks, as well as the co-writer of "So You Want to Be a Rock'n' Roll Star" with Jim McGuinn. Critics have made mention of the song's strident structure and melody, influenced by the British Invasion groups of the mid-1960s and complemented by Hillman's melodic, Paul McCartney-esque bass playing; the song features a faux country and western lead guitar solo played by McGuinn on rhythm guitarist David Crosby's Gretsch Country Gentleman guitar.
"Have You Seen Her Face" was released as the third single to be taken from the Byrds' Younger Than Yesterday album on May 22, 1967. It reached number 74 on the Billboard Hot 100; the song was issued as a single in most international markets, but not in the United Kingdom. Despite its poor showing on the U. S. charts, critical reaction to the song was positive, with Record World describing it as a "pretty contemporary love song" and Billboard magazine commenting that "the quartet has a strong commercial entry in this easy-beat folk-rocker with a compelling lyric." In recent years, Thomas Ward of the Allmusic website has described the song as "magnificent" and "one of the Byrds' great songs." Ward commented that "the song distills the groups' many influences, from Indian music to folk to rock and roll." Ward concluded his review by stating that "Have You Seen Her Face" was "one of the most outstanding songs of the period, by anyone."The Byrds performed "Have You Seen Her Face" on the television programs The Tonight Show Starring Johnny Carson and American Bandstand, as well as featuring it in their performance at the Monterey Pop Festival.
The Byrds' performance of the song at Monterey is included on the 1992 The Monterey International Pop Festival CD box set. A remixed and extended version of the song, lasting 2:40 and featuring a longer fade-out than the original album and single version, was released on The Byrds box set in 1990; this extended version was incorporated into the 1996 Columbia/Legacy reissue of the Younger Than Yesterday album, replacing the original 2:25 version as the second track on the album. "Have You Seen Her Face" was covered by Southern Culture on the Skids on their 2007 album Countrypolitan Favorites and Marshall Crenshaw included a version of the song on his Live... My Truck Is My Home album. Additionally, a version of the song by the underground indie rock band Sex Clark Five was included as a bonus track on the 1996 reissue of their Strum and Drum! album. Lyrics of this song at MetroLyrics
Younger Than Yesterday
Younger Than Yesterday is the fourth album by the American rock band the Byrds and was released on February 6, 1967 on Columbia Records. It saw the band continuing to integrate elements of psychedelia and jazz into their music, a process they had begun on their previous album, Fifth Dimension. In addition, the album captured the band and record producer Gary Usher experimenting with new musical textures, including brass instruments, reverse tape effects and an electronic oscillator; the album marked the emergence of the band's bass player Chris Hillman as a talented songwriter and vocalist. Prior to Younger Than Yesterday, Hillman had only received one shared writing credit with the Byrds, but this album saw him credited as the sole composer of four songs and a co-writer of "So You Want to Be a Rock'n' Roll Star". Byrds expert Tim Connors has commented that two of Hillman's compositions on Younger Than Yesterday exhibited country and western influences and thus can be seen as early indicators of the country rock experimentation that would feature—to a greater or lesser degree—on all of the Byrds' subsequent albums.
Upon release, the album peaked at number 24 on the Billboard Top LPs chart and reached number 37 on the UK Albums Chart. It was preceded by the "So You Want to Be a Rock'n' Roll Star" single in January 1967, which reached the Top 30 of the Billboard Hot 100. Two additional singles taken from the album, "My Back Pages" and "Have You Seen Her Face", were moderately successful on the Billboard singles chart. However, none of the singles taken from the album charted in the United Kingdom. Music critics Richie Unterberger and David Fricke have both remarked that although it was overlooked by the public at the time of its release, the album's critical standing has improved over the years and today Younger Than Yesterday is considered one of the Byrds' best albums; the title of Younger Than Yesterday is derived from the lyrics of "My Back Pages", a song written by Bob Dylan, covered on the album. The Byrds had come to international prominence in mid-1965, when their folk rock interpretation of Bob Dylan's "Mr. Tambourine Man" reached number 1 on both the U.
S. Billboard Hot 100 chart and the UK Singles Chart. Further commercial successes followed, with the band releasing two hit albums and reaching number 1 for a second time in the U. S. with a cover version of Pete Seeger's "Turn! Turn! Turn!". Throughout the latter half of 1965, the band enjoyed tremendous popularity among teenage pop fans and their music received widespread airplay on Top 40 radio. In early 1966, the Byrds' principal songwriter, Gene Clark, departed the band, leaving Jim McGuinn, David Crosby, Chris Hillman, Michael Clarke to complete the band's third album, Fifth Dimension, without him. Upon release, Fifth Dimension received a mixed critical reception and was less commercially successful than the band's earlier albums; as a result, the Byrds' popularity began to wane and by late 1966, they had been all but forgotten by mainstream pop audiences. Shortly after the release of Fifth Dimension, the Byrds found themselves without a record producer, when Allen Stanton, who had worked with them on that album, left Columbia Records to work for A&M.
The band chose to replace Stanton with Gary Usher, a former songwriting partner of Brian Wilson of the Beach Boys, who had co-produced Clark's debut solo album, Gene Clark with the Gosdin Brothers. In addition to producing the recording sessions for Younger Than Yesterday, Usher would produce the band's next two albums as well; the Byrds' biographer Johnny Rogan states that Usher's wealth of production experience and love of innovative studio experimentation would prove invaluable as the group entered their most creatively adventurous phase. Author David N. Howard has remarked that despite the hodgepodge of styles and genres present on Younger Than Yesterday, Usher's studio expertise gives the album an impressively uniform consistency. Following an intensive period of rehearsal at their Sunset Boulevard headquarters, the Byrds completed the entire Younger Than Yesterday album at Columbia Studios, during a work-intensive, eleven-day period, starting on November 28 and finishing on December 8, 1966.
The original working title for the LP was Sanctuary, but this was dropped in favor of a title inspired by the chorus lyrics of the album's Bob Dylan cover, "My Back Pages": Ah, but I was so much older I'm younger than that now. Although Clark had left the Byrds prior to completion of the Fifth Dimension album, he did participate in the recording of the songs "Eight Miles High" and "Captain Soul" from that record; as a result, Younger Than Yesterday was the first album to be recorded by the Byrds without Clark's participation. As on Fifth Dimension, guitarists McGuinn and Crosby continued to hone their songwriting skills in an attempt to fill the void left by Clark's departure. However, the most surprising development within the Byrds at this time was the emergence of bass player Chris Hillman as both a lead vocalist and the band's third songwriter. Prior to the recording of Younger Than Yesterday, Hillman had never sung lead vocals on a Byrds' recording and his only writing contribution with the band had been a shared credit for the instrumental track "Captain Soul".
On this album, however, he is credited as the sole songwriter of "Have You Seen Her Face", "Time Between", "Thoughts and Words", "The Girl with No Name", with all four tracks featuring him as the lead vocalist. Hillman is credited as the co-writer of "So You Want to Be a Rock'n' Roll Star", which he sings with McGuinn and Crosby. Younger Than Yesterday found the Byrds expanding their musical style in several different directions. Music critic John Ha