![]() ![]() They would find wildly enthusiastic audiences nearly everywhere they played, especially in Europe where their popularity had never really waned. Both critics and fans universally agreed that this early-1970s lineup was far more accomplished in concert than any previous configuration of The Byrds. It is no wonder that this occurred, as Roger McGuinn, Clarence White, Gene Parsons, and Skip Battin had indeed become the most enduring lineup of The Byrds, performing and recording together from September of 1969 well into 1972, shortly before the ill-fated reunion project of the original five members commenced. Their extensive touring schedule during this era helped develop a new legion of fans and The Byrds would finally gain a deserved reputation as a compelling live band. Containing both live and studio recordings, all four members contributed material, displaying a solid group effort. Over the course of their decade-long career and numerous personnel changes, this would gradually reverse itself.īy 1970, when many of the band's contemporaries had split up or were nearing the end of their creativity, the double album Untitled had redefined The Byrds' sound. ![]() Unlike most American rock bands of the era that first established their reputations on stage, The Byrds initially established their reputation in the studio. The Byrds' striking vocal harmonies and the jangly timbre of Roger McGuinn's Rickenbacker guitar would fuel their early hits and become the building blocks of a sound that remains compelling to the present day. Right from the start, the group's music would have an impact on their own influences like The Beatles and Bob Dylan, as well as on subsequent generations of country and alternative rock bands. Medley: Turn turn turn/ Mr.Roger McGuinn - guitars, vocals Clarence White - guitars, mandolin, vocals Skip Battin - bass, vocals Gene Parsons - drums, banjo, harmonica, vocals Jim Seiter - congas, percussionĭespite being one of the most unstable American bands of the 1960s, The Byrds were also one of the most creative, innovative and influential. It appears, the complete set list looked like this: Concertvault claims this is the 10:30PM second show (there was also a 7PM early show, which can be found on their website). Source: Incomplete radio broadcast by Dutch station VPRO, as broadcast on a US radio station some time after the event: The Byrds at the tail end of their European tour, recorded here in Amsterdam at the Concertgebouw on. While an East Coast bootlegger made up the venue ‘Atlanta Whiskey Flat’ for a Beatles performance, here WCF invented ‘Buddy’s in England’ for this tape which most likely was passed to them without any identifying information. I believe this was the first ever Byrds bootleg. Side A: You Ain’t Going Nowhere 3:30 / Lover Of The Bayou 4:30 / Old Blue 4:15 / Well Come Back Home 4:15 / My Back Pages 3:10 Side B: Baby, what do you want me to do 4:00 / He Was A Friend Of Mine 3:28 / Willin’ 4:09 / Fiddle Song 3:02 / Take A Whiff On Me 3:45 The track list on side A is incorrect, as this owner corrected insert shows the first track is “You Ain’t Going Nowhere” and not “Eight Miles High”: THE BYRDS ‘LIVE AT BUDDY’S IN ENGLAND’ (a WCF original and first Byrds bootleg # 502) ![]()
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