Who wrote the song Mr Tambourine Man which reached Number One for The Byrds in 1965?
"the band's discography for being the only album on which McGuinn sings the lead vocal on every track. The album peaked at number 153 on the ""Billboard"" Top LPs album chart and reached number 15 on the UK Albums Chart. A preceding single, ""Bad Night at the Whiskey"" (b/w ""Drug Store Truck Drivin' Man""), was released on January 7, 1969, but it failed to chart in the United States or in the United Kingdom. In addition, a non-album single featuring a cover of Bob Dylan's ""Lay Lady Lay"", which was recorded shortly after the release of ""Dr. Byrds & Mr."
"Mr. Tambourine Man (album) Mr. Tambourine Man is the debut album by the American folk rock band the Byrds and was released in June 1965 on Columbia Records (""see"" 1965 in music). The album, along with the single of the same name, established the band as an internationally successful rock act and was also influential in originating the musical style known as folk rock. The term ""folk rock"" was, in fact, first coined by the U.S. music press to describe the band's sound in mid-1965, at around the same time that the ""Mr. Tambourine Man"" single reached the top of"
"the Byrds perform represented the first stirrings of the West Coast hippie counterculture. Columbia Records eventually released the ""Mr. Tambourine Man"" single on April 12, 1965. The full, electric rock band treatment that the Byrds and producer Terry Melcher had given the song effectively created the template for the musical subgenre of folk rock. McGuinn's melodic, jangling twelve-string Rickenbacker guitar playing—which was heavily compressed to produce an extremely bright and sustained tone—was immediately influential and has remained so to the present day. The single also featured another major characteristic of the band's sound: their clear harmony singing, which usually featured"
"1966 were released in the boxed set ""The 1966 Live Recordings"", with the May 26, 1966 performance released separately on the album ""The Real Royal Albert Hall 1966 Concert"". ""Mr. Tambourine Man"", recorded in January 1965, was released on April 12, 1965 by Columbia Records as the debut single of the Byrds, and in June 1965 as the title track of the band's debut album, ""Mr. Tambourine Man"". The Byrds' version is abridged and in a different key from Dylan's original. The single's success initiated the folk rock boom of 1965 and 1966, many acts imitating the band's hybrid of"
"a demo acetate disc of Dylan's ""Mr. Tambourine Man"" and recorded a version of the song, featuring McGuinn's 12-string guitar as well as McGuinn, Crosby, and Clark's vocal harmonizing. The song turned into a massive hit, reaching number one in the charts in the United States and the United Kingdom during 1965. While McGuinn originated the Byrds' trademark 12-string guitar sound, Crosby was responsible for the soaring harmonies and often unusual phrasing of their songs, but whilst he didn't sing lead vocals on either of the first two albums, he sang lead on the bridge in their second single ""All"
"number 1 on the UK Singles Chart, making it the first recording of a Dylan song to reach number 1 on any pop music chart. Critic William Ruhlmann has argued that in the wake of ""Mr. Tambourine Man"", the influence of The Byrds could be heard in recordings by a number of other Los Angeles-based acts, including the Turtles, the Leaves, Barry McGuire, and Sonny & Cher. In addition, author and music historian Richie Unterberger sees the influence of the Byrds in recordings by the Lovin' Spoonful, the Mamas & the Papas, Simon & Garfunkel, and Love, while author John"
"The ensuing recording contract resulted in their first two singles, ""You Don't Love Me"" and ""Leaving Here"". The Birds seemed destined for stardom with their loud rhythm-and-blues based music, receiving equal billing with The Who at some concerts. However, in the spring of 1965, the Los Angeles-based band, The Byrds, was dominating the UK Singles Chart with their folk-rock version of Bob Dylan's ""Mr. Tambourine Man"", released by the newly formed British CBS Records. When The Byrds arrived in England for their first British tour that summer, The Birds' manager, Leo de Clerck, took legal action to prevent them from"
"decided to rename themselves as ""The Byrds"", a moniker that retained the theme of flight and also echoed the deliberate misspelling of the Beatles. On January 20, 1965, the Byrds entered Columbia Studios in Hollywood to record ""Mr. Tambourine Man"" for release as their debut single on Columbia. Since the band had not yet completely gelled musically, McGuinn was the only Byrd to play on ""Mr. Tambourine Man"" and its Clark-penned B-side, ""I Knew I'd Want You"". Rather than using band members, producer Terry Melcher hired a collection of top session musicians, retroactively known as the Wrecking Crew, including Hal"
"Hillmen. He recorded and produced their only album, ""The Hillmen"", in a three-month period at the end of 1963 and beginning of 1964. It was not officially released by Elektra Records until 1969. Chris Hillman would later go on to help form The Byrds, with whom Dickson worked closely as a manager. Dickson persuaded them to record Bob Dylan's ""Mr. Tambourine Man"" which reached number 1 on both the ""Billboard"" Hot 100 chart and the UK Singles Chart, as well as becoming the title track of their first album, ""Mr. Tambourine Man."" Jim Dickson would also go on to co-produce"
"McGuinn and Clark in unison, with Crosby providing the high harmony. Additionally, Richie Unterberger has stated that the song's abstract lyrics took rock and pop songwriting to new heights; never before had such intellectual and literary wordplay been combined with rock instrumentation by a popular music group. Within three months ""Mr. Tambourine Man"" had become the first folk rock smash hit, reaching number 1 on both the U.S. ""Billboard"" Hot 100 chart and the UK Singles Chart. The single's success initiated the folk rock boom of 1965 and 1966, during which a number of Byrds-influenced acts had hits on the"
"front of the camera. This natural aloofness was compounded by the large amounts of marijuana that the band smoked and often resulted in moody and erratic live performances. Indeed, the contemporary music press was extremely critical of the Byrds' abilities as a live act during the mid-1960s, with the reaction from the British media during the band's August 1965 tour of England being particularly scathing. This 1965 English tour was largely orchestrated by the group's publicist Derek Taylor, in an attempt to capitalize on the number 1 chart success of the ""Mr. Tambourine Man"" single. Unfortunately, the tour was overhyped"
"Times They Are a-Changin',"" ""It Ain't Me Babe,"" and ""Mr. Tambourine Man,"" all tracks on this album were released as 45 RPM singles in the United States during that decade. It is worth noting that in 1963 ""Blowin' in the Wind"" became a #2 hit single for Peter, Paul and Mary, and that in 1965 ""Times"" made it to #9 as a single release in the United Kingdom. That same year of 1965 a truncated rock and roll version of ""Mr. Tambourine Man"" had been a number one hit for The Byrds in the summer, and the Turtles took a"
"b. The 1974 Embassy Records reissue erroneously misspells Gene Clark's name as ""H.Clark"", on self penned compositions co-written with McGuinn; ""You Won't Have to Cry"" and ""It's No Use"". The H could possibly allude to Harold, which was Clark's first name (he was born Harold Eugene Clark). Bibliography Mr. Tambourine Man (album) Mr. Tambourine Man is the debut album by the American folk rock band the Byrds and was released in June 1965 on Columbia Records (""see"" 1965 in music). The album, along with the single of the same name, established the band as an internationally successful rock act and"
"""Mr. Tambourine Man"", along with the Animals' rock interpretation of ""The House of the Rising Sun"" (itself based on Dylan's earlier cover), helped to give Dylan the impetus to start recording with an electric backing band. As the 1970s dawned, folk rock evolved away from the jangly template pioneered by the Byrds, but their influence could still be heard in the music of bands like Fairport Convention and Pentangle. The Byrds themselves continued to enjoy commercial success with their brand of folk rock throughout 1965, most notably with their number 1 single ""Turn! Turn! Turn!"". By the start of 1966,"
"talents accompanied musical artists from the Beach Boys to Frank Sinatra. When Columbia Records decided to take a gamble on a new band called The Byrds, they insisted on seasoned musicians being brought in to record the instrumental tracks for the first single, because the band had not yet musically gelled yet. Consequently, the men who joined Roger McGuinn in CBS Columbia Square on January 20, 1965 were not members of The Byrds, but session players Larry Knechtel, Hal Blaine, Jerry Cole, Leon Russell, and Bill Pitman. In three hours they recorded two songs, one of which, ""Mr. Tambourine Man""."
"increasingly artistic interpretations of pop music form helped transform the California Sound into a more musically ambitious and mature worldview. Melcher soon worked with the Byrds, producing their 1965 folk rock single ""Mr. Tambourine Man"". Its recording was based on Wilson's production approach to ""Don't Worry Baby"". Melcher's ""commercially golden formula"" with the Byrds was immediately co-opted by many Los Angeles-based recording artists such as the Turtles, the Leaves, Sonny & Cher, and Barry McGuire. The lyricism behind the California Sound gradually became less to do with surfing and cars and more about social consciousness and political awareness. In Bill"
"effects, including the drug-inspired drone on ""Ticket to Ride"" (1965). In Unterberger's opinion, the Byrds, emerging from the Los Angeles folk rock scene, and the Yardbirds, from England's blues scene, were more responsible than the Beatles for ""sounding the psychedelic siren"". Drug use and attempts at psychedelic music moved out of acoustic folk-based music towards rock soon after the Byrds ""plugged in"" to electric guitars to produce a chart topping version of Dylan's ""Mr. Tambourine Man"" in the summer of 1965, which became a folk rock standard. On the Yardbirds, Unterberger identifies lead guitarist Jeff Beck as having ""laid the"
"erased any lingering doubts the band had about the song. During this period, drummer Michael Clarke and bass player Chris Hillman joined, and the band changed their name to the Byrds. The two surviving demos of ""Mr. Tambourine Man"" dating from this period feature an incongruous marching band drum part from Clarke but overall the arrangement, which utilized a 4/4 time signature instead of Dylan's 2/4 configuration, is very close to the later single version. The master take of ""Mr. Tambourine Man"" was recorded on January 20, 1965, at Columbia Studios in Hollywood, prior to the release of Dylan's own"
"doubled G-string (with the second string tuned an octave higher). The C. F. Martin guitar company has even released a special edition called the ""HD7 Roger McGuinn Signature Edition"", that claims to capture McGuinn's ""jingle-jangle"" tone which he created with 12 string guitars, while maintaining the ease of playing a 6-string guitar. The Byrds recorded several albums after ""Mr. Tambourine Man"" in 1965. The single, ""Turn! Turn! Turn!"", written by Pete Seeger with the lyrics drawn from Ecclesiastes in the Old Testament, was The Byrds' second Number One success in late 1965. In 1969, McGuinn's solo version of the ""Ballad"
"the 300 most important American records of the 20th century. In the UK, music critic Colin Larkin listed the Byrds' version as the number 1 single of all time. Other UK publishers that have listed this song as one of the top songs or singles include ""Mojo"", ""New Musical Express"", and ""Sounds"". Australian music critic Toby Creswell included the song in his book ""1001 Songs: The Great Songs of All Time and the Artists, Stories and Secrets Behind Them"". In a 2005 reader's poll reported in ""Mojo"", Dylan's version of ""Mr. Tambourine Man"" was listed as the number 4 all-time"
"The Original Singles: 1965–1967, Volume 1 The Original Singles: 1965–1967, Volume 1 is a compilation album by American rock 'n' roll band The Byrds. Originally released in 1980, it offered, for the first time, all of the mono single versions of the Byrds' singles released between 1965 and early 1967. The tracks on the album are laid out chronologically by release date of the single, and features the A-side first, then the B-side. For example, the Byrds' first single was ""Mr. Tambourine Man"" with ""I Knew I'd Want You"" on the B-side. The next single was ""All I Really Want"
"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 ultimately 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"
"compelling electric guitar riffs and a solid backbeat."" The ""Mr. Tambourine Man"" single and album instantly established the band on both sides of the Atlantic, challenging the dominance of the Beatles and the rest of the British Invasion. The releases also introduced the new genre of folk rock, with the U.S. music press first using the term to describe the Byrds' blend of beat music and folk at roughly the same time as the band's debut single peaked at number 1. A number of critics have opined that, although the roots of folk rock were to be found in the"
"Dylan had come to the fore in this movement as singer-songwriters. Dylan had begun to reach a mainstream audience with hits including ""Blowin' in the Wind"" (1963) and ""Masters of War"" (1963), which brought ""protest songs"" to a wider public, but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences. The folk rock movement is usually thought to have taken off with The Byrds' recording of Dylan's ""Mr. Tambourine Man"" which topped the charts in 1965. With members who had been part of the cafe-based folk scene in Los"
"Lovin' Spoonful, Barry McGuire, the Mamas & the Papas, Jefferson Airplane, We Five, Love, and Sonny & Cher. This jangly, folk rock sound that was pioneered by the Byrds on ""Mr. Tambourine Man"" has also been influential on successive generations of rock and pop musicians, including such acts as Big Star, Tom Petty and the Heartbreakers, R.E.M., the Church, Hüsker Dü, the Long Ryders, the Smiths, the Bangles, the Stone Roses, The La's, Teenage Fanclub, the Bluetones, Wilco, and Delays among others. ""Mr. Tambourine Man"" was remastered at 20-bit resolution and partially remixed as part of the Columbia/Legacy Byrds series."
"the Byrds' cover version of Dylan's ""Mr. Tambourine Man"", along with Dylan's own contributions to the genre on the albums ""Bringing It All Back Home"", ""Highway 61 Revisited"", and ""Blonde on Blonde"", initiated an explosion of emulators and imitators. Their success led record producer Tom Wilson to add electric guitar, bass, and drums overdubs to ""The Sounds of Silence"", a song which had been recorded by the folk duo Simon & Garfunkel in 1964 and first released on their album ""Wednesday Morning, 3 A.M."". The reissued single rose to number 1 on the ""Billboard"" pop chart in late 1965, became"
"verse and two repeats of the chorus, followed by a variation on the song's introduction, which then fades out. The Byrds' arrangement of the song had been shortened during the band's rehearsals at World Pacific Studios in 1964, at the suggestion of Jim Dickson, in order to accommodate commercial radio stations, which were reluctant to play songs that were over two-and-a-half minutes long. Thus, while Dylan's version is five-and-a-half minutes long, The Byrds' runs just short of two-and-a-half minutes. The lead vocal on The Byrds' version of ""Mr. Tambourine Man"" was sung by McGuinn, who attempted to modify his singing"
"album, ""Pete Seeger's Greatest Hits"". Arguably the most famous rendition of the song is the version recorded by the American folk rock band the Byrds. The Byrds' recording of ""The Bells of Rhymney"" was committed to tape on April 14, 1965, and released as part of the band's debut album, ""Mr. Tambourine Man"". At the time of recording, the song was a relative newcomer to the Byrds' repertoire, having first been performed during the band's March 1965, pre-fame residency at Ciro's nightclub on the Sunset Strip in Los Angeles. Lead guitarist Roger McGuinn (at that time known as Jim McGuinn)"
"Tambourine Man"", and culminates with their final single release for the label, ""America's Great National Pastime"". The album features the first appearance on an LP of the non-album single ""Lady Friend"" and the 1965 B-side ""She Don't Care About Time"". It was issued to coincide with the reunion of the original members of the Byrds and the release of a reunion album, titled ""Byrds"", in March 1973. However, none of the tracks from the 1973 reunion album were included on ""History of The Byrds"", due to that album having appeared on Asylum Records rather than on Columbia. At the time"
"Tambourine Man"" was released in April 1965 and reached #1 on the U.S. and UK singles charts, setting off the mid-1960s folk rock movement. The Beatles' late 1965 album, ""Rubber Soul"", contained a number of songs influenced by the American folk rock boom, such as ""Nowhere Man"" and ""If I Needed Someone"". During this period, a number of electric bands began to play rock versions of folk songs and folk musicians used electric musical instruments to play their own songs, including Dylan at the Newport Folk Festival in the summer of 1965. Folk rock became an important genre among emerging"
"Blaine (drums), Larry Knechtel (bass), Jerry Cole (guitar), and Leon Russell (electric piano), who (along with McGuinn on guitar) provided the instrumental backing track over which McGuinn, Crosby and Clark sang. By the time the sessions for their debut album began in March 1965, Melcher was satisfied that the band was competent enough to record its own musical backing. However, the use of outside musicians on the Byrds' debut single has given rise to the persistent misconception that all of the playing on their debut album was done by session musicians. While the band waited for ""Mr. Tambourine Man"" to"
"American and British charts. The term ""folk rock"" was itself coined by the American music press to describe the band's sound in June 1965, at roughly the same time as ""Mr. Tambourine Man"" peaked at number 1 in the U.S. The ""Mr. Tambourine Man"" album followed on June 21, 1965, peaking at number 6 on the ""Billboard"" Top LPs chart and number 7 on the UK Albums Chart. The album mixed reworkings of folk songs, including Pete Seeger's musical adaptation of the Idris Davies' poem ""The Bells of Rhymney"", with a number of other Dylan covers and the band's own"
"by the Marine Colliery disaster of 1 March 1927. In addition to Rhymney, the poem also refers to the bells of Merthyr, Rhondda, Blaina, Caerphilly, Neath, Brecon, Swansea, Newport, Cardiff and the Wye Valley. The song has been covered by a number of acts over the years, including Judy Collins, Cher, the Alarm, the Ian Campbell Folk Group, John Denver, Robyn Hitchcock, Oysterband and Ralph McTell. Arguably the most widely known rendition of the song, however, was that recorded by the American band the Byrds for their 1965 album ""Mr. Tambourine Man"". Rhymney Rhymney (; ) is a town and"