This is Bob's humorous period. He's actually trying not to laugh while singing this. When he performed it live, he was laughing out loud during the yodelling bits.
Dylan was like straight up moonshine from the still. Gave you the grain alcohol kick. The Byrds delivered the same song as a fine, deep and complex Cabernet. A long lingering finish and smooth.
I've always loved The Byrds versions of Dylan songs... until I listened to Dylan original version... I mean, I still love them...but...when I listen to Bob original songs I appreciate every single line, every single word... because the difference stays in his way to convey the lyrics... The Byrds versions are always so 'pretty', Bob's are beautiful and meaningful! If I have managed to explain my thoughts.😅
You expressed those thoughts very well. To me, Dylan always feels very "real" and complex. His singing involves conflicted emotions, nuanced thoughts, abstracted meanings, often all swirling together within a single sentence. The Birds performances were often more "beautiful" with skilled instrumentation and harmonized vocals. But great Art is not just about beauty, and Dylan's more raw vocal performances usually feel more emotional, immediate, and give a punch to each and every word.
The Byrds did well, but their worst Dylan is their original version of “It’s All Over Now, Baby Blue.” It’s an emotionally charged song, but their cover is much too bouncy & upbeat. Their later version is much more effective.
Hearing the 60's music will help you see the foundation established for 70's , 80's and beyond in the music culture..... It becomes a fascinating evolution to follow if one is interested .....
The car AM radio was where we heard these songs a lot. Sonny and Cher did a nice cover of "All I Really Want To Do" with the same studio musicians The Wrecking Crew!
Sonny and Cher listened to The Byrds version , at Ciros , and basically went out and beat them to the punch , and it was a more radio friendly version , and beat out the Byrds single . Dylan said to The Byrds , " You let me down , man ! "
@@worthington5687 I like both and although Pete wrote turn turn turn I like the byrds rendition, I am a bit confused by the reference to Hoagy Carmichael, Hoagy was a prolific writer and his tunes are classic, he was also an ok actor and I liked him in " to have and have not", his scenes with Lauren Bacall were timeless, plus her classic line with Bogart...."you know how to whistle don't you, just put your lips together and blow"...but I digress..
McGuinn’s 12-string is run through a treble booster and a compressor to make it jump out. Someone made/makes a combo unit called a “Jangle Box” to get a similar effect.
Your channel is on fire lately, dude. The Sixties was the most explosive decade musically. Those years were a frothing ferment of energy and talent. Without such a strong foundation we wouldn't have Seventies music which was built on it. But I love the Sixties best. Maybe because all of this was the background of my early childhood. Anyway. You're doing great.
My Back Pages Anniversary concert with Roger, Bob, George Harrison, Eric Clapton, Steve Cropper, Neil Young, Tom Petty, G. E. Smith. Must request this soon... * takes notes * Mc-gwin pronounciation. :)
This version by The Byrds is the album version. The single version is an alternate version where Mcguinn sings the opening lyric, "I don't want to compete with you". The Mono and Stereo album versions say, "I ain't lookin' to compete with you".
in early '64 the usual stimulant for the Beatles was scotch and coke a cola...UNTIL they met with Dylan in a Hotel room in New York. Dylan turned them on to Pot. Ringo said ,"I laughed and laughed and laughed. It was fabulous". SO, I guess we have Dylan to blame for the Sixties. And Dylan and The Beatles were the inspiration for The Byrds. But when Pepper came out, The Byrds disbanded. David Crosby said, "We can't equal that. With the final chord on Day in the Life, your brains flowed out your ears and onto the floor."
Just adding to the chorus of people mentioning that Cher's version is also really good, with backing from The Wrecking Crew. Dylan was actually mad at The Byrds because their version didn't chart as high as Cher's - obviously he preferred The Byrds' version.
My favorite cover of this was Sonny & Cher's. Dylan's best break-up songs are Don't Think Twice-It's Alright and It Ain't Me Babe. So sharp & merciless, (official studio versions).
I don't think Dylan really gave a crap about his vocals as much as his songwriting abilities. My favorite Dylan song is Lay Lady Lay. His vocals sound perfect on that track. It's dreamy. ❤😊
It was the Byrds' 'electric' versions of Dylan's songs that influenced his change to an electric format which is ironic given that he was very much into rock 'n' roll, particularly Little Richard when he was a teenager...
I researched a bit on “Another Side of Bob Dylan” album. Written during 1963/64 and travels around the states and Europe, in the context of the JFK assassination, first experiences with psychedelics, reading Rimbaud, hearing the Beatles on the radio. According to biographer Clinton Heylin, the album was recorded in one evening with the assistance of “a couple of bottles of Beaujolais.” The Byrds were my favorite group when I was younger, I am very familiar with their recordings. As to “All I Really Want to Do”, the Byrds cover is listenable, but of little importance. Dylan’s version is unique and much more alive. Sonny and Cher released a single at the same time as the Byrds’; the Sonny and Cher version became the hit. To my ears, there are probably three pairs of important originals/covers from Dylan and the Byrds. Mr.Tambourine Man: Dylan’ studio recording on Bringing It All Back Home is the version for repeat listening, despite the charm of the Newport Folk Festival recording. The focus of the studio recording is more conducive to a trance-state. The Byrds’ recording, at the insistence of the record company, was made with studio musicians except for McGuinn’s guitar and all the voices. It is drastically simplified from Dylan’s version, having only one verse. But despite being cut, it’s the joy-trance state that is the essence of the recording. I was just a kid, I remember thinking - how does someone come up with such an extraordinarily transfixed joyful mental state? Chimes of Freedom: Dylan’s version is a long paean to the trials and tribulations of the downtrodden. The Byrds’ version is top notch, featuring a stunning lead vocal by McGuinn, and harmonies to die for including Crosby’s high voice. It’s a lesson in how to structure music to convey intense emotion. My Back Pages: Dylan was one of several artists who provided music for the “March on Washington”, the event where MLK gave his “I Have a Dream” speech. He composed many songs of political nature, some very well known, and some perhaps deserving of being more well-known (“With God on Our Side” for example.) But at a point, Dylan felt confined by folk music conventions, and by the political correctness of the time (I don’t think that phrase was in common parlance yet). This song is Dylan wrestling with these strictures. The recording is almost the opposite of “pretty” or “listenable” for the average pop music listener, and yet for me it holds up as a highly expressive vocal feat. The Byrds’ recording is tightly arranged instrumentally. McGuinn’s lead vocal is different than Dylan but very emotionally expressive in its own manner. It’s like the vocal representation of rechecking, of being careful with one’s steps in living. The guitar break is short but packs a lot into a few moments, reemphasizing the powerful melody. A note about versions: everyone seems to go to the “30th Anniversary Concert” featuring Dylan, McGuinn, and about every other pop star they could coax to join in. I HATE that version. It’s a mess, McGuinn included (many of his later live vocal efforts I just don’t care for). The original, while not perfect, excelled because of specific musical structure, as well as details in the performance. The anniversary version has all the “umph” of people singing “Happy Birthday” at a birthday party. Stick with the original version (such as on YT TheByrdsVEVO) at least till you know the song.
Thanks, helpful information. I was at the "30th Anniversary Concert" in NY's MSG. The highlights for me, seeing it live, was Neal Young "All Along the Watch Tower", and Clapton's "Don't Think Twice, It's Alright". Additionally, John Mellencamp's "Like A Rolling Stone" was very good. I was not as familiar with The Bird's original,, and I can appreciate what your saying about McGuinn's version being a bit flat.
Now, talking about this song, in particular, well I just adore both versions...but If you pay great attention...The Byrds' lacks the sarcasm I feel listening to Bob 's😉
A young Paul Simon once complained that when singing Simon & Garfunkel songs, he could never pull-off being sarcastic. He envied the way Dylan could shift from sincerity to irony, or to sarcasm. Simon said something like, "No matter how sarcastically I sing, people always think I am being sincere!"
"Another Side Of..." is such an under-appreciated album. Great songwriting (of course) but also great, loose, fun and quite-likely entirely stoned performances. Just great.
I thing Roger McGuinn still plays gigs! CATCH HIM!! His “jangly” guitar (in part inspired by the Beatles during this era)in turn, influenced Peter Buck n the REM sound! Knectel Russell n Blaine were part of the WRECKING CREW!! See that documentary!!!!
McGuinn influenced just about everyone who ever heard him play. I have a compilation of solo acoustic guitar where he played a track - his style was already formed before he started playing electric 12.
Bob always loved the Byrd's covers but Manfred Mann was his favorite artist to cover him. Both the pop band "Manfred Mann" and his band of over 50 years "Manfred Mann's earth Band".
The laughing: he was very much expected by that point to tbe this dead serious, poker faced "freedom fighter" & he said "piss off"....theres a great quote from this time about it, about how he wrote for himself, & if people didnt like it he was unapologetic. Anyway, on this album (recoreded in one night during a drunken session in nyc) ...At the thomas payne award ceromony that precious winter (where he was the recipient) he got drunk & basically told them to go to hell....that booing at newport in 1965 (when he went electric) had a year & a half long history by that point.
I recall a story (not sure if it's true) about Bob Dylan going for an audition in a New York club and being told to go away because he sounded like a hillbilly "we want folk singers here".
When Bob "went electric" c.'65 the folkie purists accused him of selling out. What to do? Let the Byrds do electric "folk-rock" covers and get more exposure. The Byrds were almost a subsidiary for the Dylan myth/brand. But it was all good and they established their own very unique musical niche. Yeah, they were the first to halt the British Invasion. Other "Murican bands like the Rascals provided reinforcements and the West Coast Psych bands (including "second wavers" like CCR) finished the job, pushing the Limeys back to their own patch. Except for the Beatles, an unstoppable force of nature
@@tedsmith4385 And we responded with..The Monkees! Take that! Cream didn't last long, did they. Our counterpart was Mountain, everything Cream should have been. Felix, former Creamite, saw to that. Queen..send 'em back. I'll take Mott The Hoople any day. Just for fun. Or Spooky Tooth. The list goes on. Uriah Heep had their moments. When it came to Heavy I have to hand it to you Colonizers. Floyd hung around the edges until their Dark Side breakthrough, like your weird schizophrenic cousin who refused to take his meds but was surprisingly talented. Zep..pfft. Page is a Satan-worshiper and Plant is actually a shrill woman. Bonham is a beast however. American West Coast music was atonal, if you weren't into it it only gave you a migraine. Take the Grateful Dead. Please. PLEASE. "Jerry's gone, man." I DON"T CARE. There you have it friend, the history of Anglo/American rock music in a nutshell
Dylan created a persona, but the reality underneath was a bit different. If it’s accurate there’s a little story about Robert Zimmerman earning a scholarship to some classical program for piano. He was more musically educated than he let on.
The album where bob said "f politics" & broke free...all love songs or humorous songs....& the love songs are all gorgeous, he played them for decades "it aint me , babe" & "to ramona"....and all tne funny songs funny, and surrealistically absurd...this album was bob being himself & saying "f what people want from me, or expect from me".... mr tambourine man was also written in this period but bob left it off the album because he said "he felt too close to it", he didnt want to let that one go yet. He did do it at newport of this year (1964, the year the beatles landed), but it didnt appear on an album until the next album in the spring of 1965
As a major fan of Dylan, this Album (# four) feels the least significant. The most interesting aspect is Dylan's hints of his thinking with a "Pop/Rock" sensibility. Many of these songs depart from Folk-Dylan's profound protest and social questions, and his deep poetic yearnings. A song like "All I Really Want To Do" is really just playful pop. It reminds us that Dylan was only 24, carrying the weight of the Civil Rights/Anti-War/Social Change movements on his shoulders. The biggest impact of this song was how The Birds transformed it into electric, and opened a "Folk-Rock" path for Dylan to explore in 1965.
@@thescrewfly Hi "Screwfly", thanks for policing the L33 Comments. Personally I like to know if an "opinion" is coming from a life-long "fan", or a first-time listener. Both opinions are valid, but they are also different. By the way, I'm wondering if you have any thoughts about the Dylan song? Maybe you should try putting yourself out there with a real opinion, rather than a random criticism?
@@jraben1065 It's just that it came across as arrogant: listen to me, newbies, my opinion is the most valid one. You want to hear my opinions? Look around. You'll find the occasional comment from me on this channel,
@@thescrewfly Thanks, Screwfly. I'm sorry if you took it as "arrogant". I always considered the term "FAN" as kind of goofy, not particularly prestigious. I might have said "life-long fan" if I thought about it more, but L33 is a friendly and casual space. People here share about music, and life. I don't really understand people that BUZZ around chat forums, SCREWING with other peoples comments. So, I was inviting you to invest yourself in the musical topic, and its still not too late,,,,
Very good responses to "All I Really Want to Do" by Dylan + the Byrds. As you noticed the Byrds covered a lot of Dylan's songs and also charted w multiple hits. Remember Dylan's voice wasn't deemed 'Radio Friendly '@ this time. So Bob got $ from royalties. I don't think AM radio played Dylan until "Like a Rolling Stone" came out. I also enjoy both renditions and the Byrds kinda originated "Jangle Rock" w McGuinn's Stratocaster. Check out the Byrds "Chestnut Mare" from '70.
"My Back Pages" was a great take on the Dylan song. Lit my fire back when. Roger McGuinn pretty much invented folk rock with his 12-string, did he not? Of course he caught that sound from George Harrison, yet one more major influence of the Beatles on music in general. Yes the Byrds were less emotional than Dylan but they brought their own legit style to the scene.
I am old enough to have heard both versions introduced, but after hearing the Byrds version, I can’t listen to the Dillon version. Same with Hendrix’ cover of All Along The Watchtower, same with the Animals’ cover of House Of The Rising Sun. And I’m a Dillon fan.
the Byrds made Dylan more palatable to the mainstream. Dylan's singing is an acquired taste but once you get used to his singing and phrasing its fine.
Almost all covers of Dylan songs were better than HIS versions! Cher's cover in spring of '65 (which was the same time Byrds released theirs & Dylan released the album with this song in it) of this song was better than all others. "IT AIN'T ME" was another cover of a Dylan song that summer done by The Turtles, a personal favorite that summer! But, there were so many "break out" artists that summer! Don't get me wrong! Bob Dylan does have albums in which he excelled in but his voice didn't do justice to the lyrics, henceforth, other artists did! An album he excelled in, in EVERY phase, is BLOOD ON THE TRACKS! Every cut is beautifully done and his voice compliments each song beautifully! U like harmonica...it's featured very well in every song!
RIP David Crosby, gone but never forgotten.
This is Bob's humorous period. He's actually trying not to laugh while singing this. When he performed it live, he was laughing out loud during the yodelling bits.
Dylan was like straight up moonshine from the still. Gave you the grain alcohol kick. The Byrds delivered the same song as a fine, deep and complex Cabernet. A long lingering finish and smooth.
My Back Pages could be another just such episode. Dylan and the Byrds cover of him. Maybe my fave Byrds song.
I've always loved The Byrds versions of Dylan songs... until I listened to Dylan original version... I mean, I still love them...but...when I listen to Bob original songs I appreciate every single line, every single word... because the difference stays in his way to convey the lyrics... The Byrds versions are always so 'pretty', Bob's are beautiful and meaningful! If I have managed to explain my thoughts.😅
You expressed those thoughts very well. To me, Dylan always feels very "real" and complex. His singing involves conflicted emotions, nuanced thoughts, abstracted meanings, often all swirling together within a single sentence. The Birds performances were often more "beautiful" with skilled instrumentation and harmonized vocals. But great Art is not just about beauty, and Dylan's more raw vocal performances usually feel more emotional, immediate, and give a punch to each and every word.
Good stuff, nicely put.
Totally on point!
Nailed it!
The Byrds did well, but their worst Dylan is their original version of “It’s All Over Now, Baby Blue.” It’s an emotionally charged song, but their cover is much too bouncy & upbeat.
Their later version is much more effective.
I always found it humorous how he squeezed in the line, 'I don't want to knock you up.' That was unheard of for a song in 1964.
Hearing the 60's music will help you see the foundation established for 70's , 80's and beyond in the music culture..... It becomes a fascinating evolution to follow if one is interested .....
And some people realize those 'turn turn turn' lyrics were lifted from the bible, Ecclesiastes 3:1-8 .🙂
… yes and many more 🙏🏽
The car AM radio was where we heard these songs a lot. Sonny and Cher did a nice cover of "All I Really Want To Do" with the same studio musicians The Wrecking Crew!
They did everything.
I knew it! I had another version of this tune playing on my internal jukebox and I couldn't quite place it. It was Sonny and Cher! Thank you!
@@will-x9c You're Welcome, I get those "Ear Worms" too, LOL
Sonny and Cher listened to The Byrds version , at Ciros , and basically went out and beat them to the punch , and it was a more radio friendly version , and beat out the Byrds single . Dylan said to The Byrds , " You let me down , man ! "
@@unstrung65 That's Funny! I lived not far from Sunset Blvd in the '60s. Thanks for the info!
I am an old fashioned listener, I prefer Dylans, but I loved the Byrds "Turn, Turn Turn" to each their own
I'm really old-fashioned and prefer Pete Seeger and/or Hoagy Carmichael.
@@worthington5687 I like both and although Pete wrote turn turn turn I like the byrds rendition, I am a bit confused by the reference to Hoagy Carmichael, Hoagy was a prolific writer and his tunes are classic, he was also an ok actor and I liked him in " to have and have not", his scenes with Lauren Bacall were timeless, plus her classic line with Bogart...."you know how to whistle don't you, just put your lips together and blow"...but I digress..
I love the Byrds, but Dylan doing Dylan shines.
If you haven’t do Subterranean Homesick Blues yet, you should definitely do it with the short film done for promotion. It’s a trip.
Love both versions for different reasons.
Great answer !
"Chestnut Mare" from the Byrds untitled ninth album, released in September 1970, is an often overlooked gem!!!
“Just A Season” and “All The Things” are similarly excellent.
McGuinn’s 12-string is run through a treble booster and a compressor to make it jump out. Someone made/makes a combo unit called a “Jangle Box” to get a similar effect.
The "Jangle Box" was made by Steve Lasko !
Yessir..YOU ROCK!!
Keep BOB coming..
I like .
Hurricane
Lily, Rosemary,....
Hollis Brown
Hard Rain..
etc..
Your channel is on fire lately, dude. The Sixties was the most explosive decade musically. Those years were a frothing ferment of energy and talent. Without such a strong foundation we wouldn't have Seventies music which was built on it. But I love the Sixties best. Maybe because all of this was the background of my early childhood. Anyway. You're doing great.
In my opinion the best decade for rock was from 1965 to 1975 !
My Back Pages Anniversary concert with Roger, Bob, George Harrison, Eric Clapton, Steve Cropper, Neil Young, Tom Petty, G. E. Smith. Must request this soon... * takes notes *
Mc-gwin pronounciation. :)
This version by The Byrds is the album version. The single version is an alternate version where Mcguinn sings the opening lyric, "I don't want to compete with you". The Mono and Stereo album versions say, "I ain't lookin' to compete with you".
Great reaction again..!!
Yessir..
Bob is the G.O.A.T..(not those sports guys)
SHAKESPEARE WITH A GUITAR..
YO,react to HURRICANE ( my fav)
in early '64 the usual stimulant for the Beatles was scotch and coke a cola...UNTIL they met with Dylan in a Hotel room in New York. Dylan turned them on to Pot. Ringo said ,"I laughed and laughed and laughed. It was fabulous". SO, I guess we have Dylan to blame for the Sixties. And Dylan and The Beatles were the inspiration for The Byrds. But when Pepper came out, The Byrds disbanded. David Crosby said, "We can't equal that. With the final chord on Day in the Life, your brains flowed out your ears and onto the floor."
I agree with crosby.... it happened to me and it's on the internet forever lol
They took a LOT of uppers in Germany before that, though.
Damn, Lee… you have had yourself a day! I’m just trying to catch up here. You are a hard working DJ for sure. As usual a stellar lineup of reactions.
I had to catch up because I took the weekend off kinda🙃 I have so many requests it's crazy lol. I was calling it "marathon monday" haha
Just adding to the chorus of people mentioning that Cher's version is also really good, with backing from The Wrecking Crew. Dylan was actually mad at The Byrds because their version didn't chart as high as Cher's - obviously he preferred The Byrds' version.
My favorite cover of this was Sonny & Cher's. Dylan's best break-up songs are Don't Think Twice-It's Alright and It Ain't Me Babe. So sharp & merciless, (official studio versions).
I don't think Dylan really gave a crap about his vocals as much as his songwriting abilities. My favorite Dylan song is Lay Lady Lay. His vocals sound perfect on that track. It's dreamy. ❤😊
It was the Byrds' 'electric' versions of Dylan's songs that influenced his change to an electric format which is ironic given that he was very much into rock 'n' roll, particularly Little Richard when he was a teenager...
I researched a bit on “Another Side of Bob Dylan” album. Written during 1963/64 and travels around the states and Europe, in the context of the JFK assassination, first experiences with psychedelics, reading Rimbaud, hearing the Beatles on the radio. According to biographer Clinton Heylin, the album was recorded in one evening with the assistance of “a couple of bottles of Beaujolais.”
The Byrds were my favorite group when I was younger, I am very familiar with their recordings. As to “All I Really Want to Do”, the Byrds cover is listenable, but of little importance. Dylan’s version is unique and much more alive. Sonny and Cher released a single at the same time as the Byrds’; the Sonny and Cher version became the hit.
To my ears, there are probably three pairs of important originals/covers from Dylan and the Byrds.
Mr.Tambourine Man: Dylan’ studio recording on Bringing It All Back Home is the version for repeat listening, despite the charm of the Newport Folk Festival recording. The focus of the studio recording is more conducive to a trance-state. The Byrds’ recording, at the insistence of the record company, was made with studio musicians except for McGuinn’s guitar and all the voices. It is drastically simplified from Dylan’s version, having only one verse. But despite being cut, it’s the joy-trance state that is the essence of the recording. I was just a kid, I remember thinking - how does someone come up with such an extraordinarily transfixed joyful mental state?
Chimes of Freedom: Dylan’s version is a long paean to the trials and tribulations of the downtrodden. The Byrds’ version is top notch, featuring a stunning lead vocal by McGuinn, and harmonies to die for including Crosby’s high voice. It’s a lesson in how to structure music to convey intense emotion.
My Back Pages: Dylan was one of several artists who provided music for the “March on Washington”, the event where MLK gave his “I Have a Dream” speech. He composed many songs of political nature, some very well known, and some perhaps deserving of being more well-known (“With God on Our Side” for example.) But at a point, Dylan felt confined by folk music conventions, and by the political correctness of the time (I don’t think that phrase was in common parlance yet). This song is Dylan wrestling with these strictures. The recording is almost the opposite of “pretty” or “listenable” for the average pop music listener, and yet for me it holds up as a highly expressive vocal feat. The Byrds’ recording is tightly arranged instrumentally. McGuinn’s lead vocal is different than Dylan but very emotionally expressive in its own manner. It’s like the vocal representation of rechecking, of being careful with one’s steps in living. The guitar break is short but packs a lot into a few moments, reemphasizing the powerful melody.
A note about versions: everyone seems to go to the “30th Anniversary Concert” featuring Dylan, McGuinn, and about every other pop star they could coax to join in. I HATE that version. It’s a mess, McGuinn included (many of his later live vocal efforts I just don’t care for). The original, while not perfect, excelled because of specific musical structure, as well as details in the performance. The anniversary version has all the “umph” of people singing “Happy Birthday” at a birthday party. Stick with the original version (such as on YT TheByrdsVEVO) at least till you know the song.
Thanks, helpful information. I was at the "30th Anniversary Concert" in NY's MSG. The highlights for me, seeing it live, was Neal Young "All Along the Watch Tower", and Clapton's "Don't Think Twice, It's Alright". Additionally, John Mellencamp's "Like A Rolling Stone" was very good. I was not as familiar with The Bird's original,, and I can appreciate what your saying about McGuinn's version being a bit flat.
Love bob versions of his songs
Loved your reaction to both versions. I'm a fan of both, also. Cheers.
Now, talking about this song, in particular, well I just adore both versions...but If you pay great attention...The Byrds' lacks the sarcasm I feel listening to Bob 's😉
A young Paul Simon once complained that when singing Simon & Garfunkel songs, he could never pull-off being sarcastic. He envied the way Dylan could shift from sincerity to irony, or to sarcasm. Simon said something like, "No matter how sarcastically I sing, people always think I am being sincere!"
They did manage some sarcasm later on with So You Want to Be a Rock'n'Roll Star.
@@thescrewfly sure, but not here😉
"Another Side Of..." is such an under-appreciated album. Great songwriting (of course) but also great, loose, fun and quite-likely entirely stoned performances. Just great.
I love doing this song at open mics. Really fun. I mean, he was just trying to make it rhyme.
I thing Roger McGuinn still plays gigs! CATCH HIM!!
His “jangly” guitar (in part inspired by the Beatles during this era)in turn, influenced Peter Buck n the REM sound!
Knectel Russell n Blaine were part of the WRECKING CREW!!
See that documentary!!!!
McGuinn influenced just about everyone who ever heard him play. I have a compilation of solo acoustic guitar where he played a track - his style was already formed before he started playing electric 12.
Bob always loved the Byrd's covers but Manfred Mann was his favorite artist to cover him. Both the pop band "Manfred Mann" and his band of over 50 years "Manfred Mann's earth Band".
Do wah Diddy??
Mighty Quinn aka Quinn the Eskimo
The laughing: he was very much expected by that point to tbe this dead serious, poker faced "freedom fighter" & he said "piss off"....theres a great quote from this time about it, about how he wrote for himself, & if people didnt like it he was unapologetic. Anyway, on this album (recoreded in one night during a drunken session in nyc) ...At the thomas payne award ceromony that precious winter (where he was the recipient) he got drunk & basically told them to go to hell....that booing at newport in 1965 (when he went electric) had a year & a half long history by that point.
I recall a story (not sure if it's true) about Bob Dylan going for an audition in a New York club and being told to go away because he sounded like a hillbilly "we want folk singers here".
That’s in his song “Talkin’ New York.”
Sonny & Cher also covered all I really want to do… it might have even been the first one I heard back in the day.
They basically stole it from the Byrds version , which The Byrds played live ! !
Drums, strings,in "Hurricane" is a phenomenon...if you like electric, Lee, go there-. Byrd's version👍
MR. TAMBOURINE MAN, CHIMES OF FREEDOM, IT'S ALRIGHT MA (I'M ONLY BLEEDING) - All great Dylan songs that were covered by The Byrds, basically.
When Bob "went electric" c.'65 the folkie purists accused him of selling out. What to do? Let the Byrds do electric "folk-rock" covers and get more exposure. The Byrds were almost a subsidiary for the Dylan myth/brand. But it was all good and they established their own very unique musical niche. Yeah, they were the first to halt the British Invasion. Other "Murican bands like the Rascals provided reinforcements and the West Coast Psych bands (including "second wavers" like CCR) finished the job, pushing the Limeys back to their own patch. Except for the Beatles, an unstoppable force of nature
That is such a cool bit of info, my friend. Thank you. That makes SO much sense. What a 4-d chess move. Smart dude 😆😆
Then we sent you Zeppelin,the Floyd, Queen , Cream for fun
@@tedsmith4385 And we responded with..The Monkees! Take that! Cream didn't last long, did they. Our counterpart was Mountain, everything Cream should have been. Felix, former Creamite, saw to that. Queen..send 'em back. I'll take Mott The Hoople any day. Just for fun. Or Spooky Tooth. The list goes on. Uriah Heep had their moments. When it came to Heavy I have to hand it to you Colonizers. Floyd hung around the edges until their Dark Side breakthrough, like your weird schizophrenic cousin who refused to take his meds but was surprisingly talented. Zep..pfft. Page is a Satan-worshiper and Plant is actually a shrill woman. Bonham is a beast however. American West Coast music was atonal, if you weren't into it it only gave you a migraine. Take the Grateful Dead. Please. PLEASE. "Jerry's gone, man." I DON"T CARE. There you have it friend, the history of Anglo/American rock music in a nutshell
Dylan created a persona, but the reality underneath was a bit different. If it’s accurate there’s a little story about Robert Zimmerman earning a scholarship to some classical program for piano. He was more musically educated than he let on.
The album where bob said "f politics" & broke free...all love songs or humorous songs....& the love songs are all gorgeous, he played them for decades "it aint me , babe" & "to ramona"....and all tne funny songs funny, and surrealistically absurd...this album was bob being himself & saying "f what people want from me, or expect from me".... mr tambourine man was also written in this period but bob left it off the album because he said "he felt too close to it", he didnt want to let that one go yet. He did do it at newport of this year (1964, the year the beatles landed), but it didnt appear on an album until the next album in the spring of 1965
As a major fan of Dylan, this Album (# four) feels the least significant. The most interesting aspect is Dylan's hints of his thinking with a "Pop/Rock" sensibility. Many of these songs depart from Folk-Dylan's profound protest and social questions, and his deep poetic yearnings. A song like "All I Really Want To Do" is really just playful pop. It reminds us that Dylan was only 24, carrying the weight of the Civil Rights/Anti-War/Social Change movements on his shoulders. The biggest impact of this song was how The Birds transformed it into electric, and opened a "Folk-Rock" path for Dylan to explore in 1965.
Here's a tip: if you really just want to express an opinion, don't start with "as a major fan of..."
@@thescrewfly Hi "Screwfly", thanks for policing the L33 Comments. Personally I like to know if an "opinion" is coming from a life-long "fan", or a first-time listener. Both opinions are valid, but they are also different. By the way, I'm wondering if you have any thoughts about the Dylan song? Maybe you should try putting yourself out there with a real opinion, rather than a random criticism?
@@jraben1065 It's just that it came across as arrogant: listen to me, newbies, my opinion is the most valid one. You want to hear my opinions? Look around. You'll find the occasional comment from me on this channel,
@@thescrewfly Thanks, Screwfly. I'm sorry if you took it as "arrogant". I always considered the term "FAN" as kind of goofy, not particularly prestigious. I might have said "life-long fan" if I thought about it more, but L33 is a friendly and casual space. People here share about music, and life. I don't really understand people that BUZZ around chat forums, SCREWING with other peoples comments. So, I was inviting you to invest yourself in the musical topic, and its still not too late,,,,
Very good responses to "All I Really Want to Do" by Dylan + the Byrds. As you noticed the Byrds covered a lot of Dylan's songs and also charted w multiple hits. Remember Dylan's voice
wasn't deemed 'Radio Friendly '@ this time. So Bob got $ from royalties. I don't think AM radio played Dylan until
"Like a Rolling Stone" came out. I also enjoy both renditions and the Byrds kinda originated "Jangle Rock" w McGuinn's Stratocaster. Check out the Byrds "Chestnut Mare" from '70.
It was a twelve string , electric Rickenbacker put through two compressors that gave it sustain .
My bad. Right, Rickenbacker.
I lke bobs version best
React to blowing in the wind by Peter Paul and Mary another great Dylan song
Imagine - The Byrds versions of Dylan's songs are the more popular. Pretty, but no emotions. Love them both, but they're not comparable.
I've always called The Byrds 'Dylan-lite'.
no they're not. Dylan was the man. His stuff is his own.
"My Back Pages" was a great take on the Dylan song. Lit my fire back when. Roger McGuinn pretty much invented folk rock with his 12-string, did he not? Of course he caught that sound from George Harrison, yet one more major influence of the Beatles on music in general. Yes the Byrds were less emotional than Dylan but they brought their own legit style to the scene.
Funny that I never heard the Dylan version of this one But I’ve Always preferred the Byrds in their other covers of him
@@vortexpilot5096 I agree - love The Byrds "My Back Pages" as well as the multi-artist 50-Year Anniversary, led by Roger McGuinn.
React to Father of Day by Bob Dylan and Manfred Man versions Please
Yeah, gotta laugh off past troubles,I kinda know I’m 73, lol
I am old enough to have heard both versions introduced, but after hearing the Byrds version, I can’t listen to the Dillon version. Same with Hendrix’ cover of All Along The Watchtower, same with the Animals’ cover of House Of The Rising Sun. And I’m a Dillon fan.
Dylan !
You missed one. Sonny and Cher had a huge hit with it.
Bob really thought a tambourine player can play a song??
Cher did a pretty good version IMHO.
Didn't Cher have a sixties hit with this song? 😉
Yes, it came out about the same time as the Byrds
@@ArpiChatvideos Stolen from the Byrds version -- and they got it out quicker !
the Byrds made Dylan more palatable to the mainstream. Dylan's singing is an acquired taste but once you get used to his singing and phrasing its fine.
Everyone can do Dylan songs better than Dylan
Never
You're joking?
@tomasbaker1912 no I am not
Dylan does his songs like they should be done! After all he is the creator.
@tomasbaker1912 I agree with thats they sound great
Not the best song by Dylan or the Byrds. A good Dylan song from this era would be Don't Think Twice It's Alright.
It's a fun song love it
Good cover version by The Byrds but nothing comes close to Dylan’s
Almost all covers of Dylan songs were better than HIS versions! Cher's cover in spring of '65 (which was the same time Byrds released theirs & Dylan released the album with this song in it) of this song was better than all others. "IT AIN'T ME" was another cover of a Dylan song that summer done by The Turtles, a personal favorite that summer! But, there were so many "break out" artists that summer! Don't get me wrong! Bob Dylan does have albums in which he excelled in but his voice didn't do justice to the lyrics, henceforth, other artists did! An album he excelled in, in EVERY phase, is BLOOD ON THE TRACKS! Every cut is beautifully done and his voice compliments each song beautifully! U like harmonica...it's featured very well in every song!
shoulda shut the Byrds off after the first line. Not even close.
BS -- The Byrds were my favorite band and still are to this day , I'm 76 and went through that whole period , did you ?