Welcome to this week’s Bill’s Bologna.
From now on, when I post about my records, before I get into the specific one I’ve chosen, I’ll give you an update on which LPs I’m looking for, which one’s I’ve purchased & which ones I’m expecting. Here we go:
I’m still waiting on Stephen Kellogg’s new solo release, Blunderstone Rookery, which I ordered just after Christmas. He sells his music & merch through District Lines & I’m guessing they press the vinyl in batches. As of this morning, the order is still processing. It’s been almost two weeks now, so my guess is that they press in batches. They’re probably waiting unil the orders reach a certain number to get them done. This is just a guess, though, so if anyone knows anything about this, please let me know. I would also like to buy Kellogg’s last album he recorded with his former band on vinyl & this will definitley have an impact on whether I do or not.
My copy of With the Beatles has been facing some delays because of the nasty weather we’ve seen recently, but as of yesterday, the tracking information said it was out for delivery. When I double-checked the progress this morning, something weird happened. There was a giant red exclamation mark next to the tracking number. Next to that, it read, “EXCEPTION.” After looking into it, I found that it means something went wrong in transit. I dug deeper because, well, I wanted my record, & I found out that for some reason, the next event (delivery) was never triggered. Fingers crossed.* At any rate, you can bet I’ll be talking about that one next.
There’s only one brand new thing to report to you this week. I decided Hanson’s 2013 release, Anthem. I was on the fence about about buying it, but on Friday night, I finally decided to bite the bullet & go for it. As of now, I don’t have any of the tracking information, so I guess it’ll get here when it gets here.
Okay, now that the housekeeping is out of the way, it’s time to talk about The Byrds.
A few weeks ago, I bought a 1967 copy of The Byrds’ Greatest Hits from an eBay store called TreasuredTracs. I bought it for $8 & I definitely recommend working with them. The man I dealt with was named George. He was attentive & without having to ask, he constantly kept me updated on the whereabouts of my package via personal message. Despite the fact that the weather last week was snowy & terrible, George made every effort to get my record to me as quickly as possible. Even with the delays, it only took about a week.
I had the record shipped to my office & it came in yesterday. There were plenty of things to do, but I just couldn’t resist opening it to take a look. They say that the sense of smell is the sense that is most connected to memory & if it’s true, it couldn’t be any more apparent here. When I opened the box & pulled the LP out, the slightly musty smell & dry feel of the cardboard jacket brought me right back to being 10 & rifling through boxes my grandparents’ records in their basement.
The cover art is typical mid 60’s psychedelia. On the bottom half of the jacket, photos of bright flowers are superimposed over photos of the four-Byrd lineup of 1967.** They’re standing in a garden, surrounded by more flowers. On the top half, are individual photos of Roger (previously Jim) McGuinn, David Crosby, Michael Clarke & Chris Hillman. It’s definitely a cover that dates itself, but that’s okay. It’s a product of the times & it’s endearing.
Before I immerse you in my thoughts on the sound quality of this record, I need to preface a little bit. I’d be lying to you if I were to tell you I was a massive Byrds fan. They’re alright, but they can sound pretty amateurish at times (“Turn! Turn! Turn!” took 78 takes for the band to get right). I listen to them mainly because I’m a fan of their instrumentation… to an extent.
In 1964, after taking his band to see the Beatles film, A Hard Day’s Night, founding member Jim McGuinn decided he would go out & buy a Rickenbacker 360-12 twelve-string guitar. In the movie, George Harrison plays a Rick 12 & McGuinn wanted to emulate this. Along with the Beatles, The Byrds made the instrument become one of the most iconic sounds in the history of rock music. Where Harrison introduced the world to the electric 12 string, The Byrds put it on the map, & though I love the sound of an electric 12 string, it starts to get a little much. See, they made the chiming sound the guitars produce famous by using it (You’ll know it when you hear it; the band makes is very prominent) so much, it became their schtick. They went all out with with it. For real. It appeared on every single song during their most influential period & the vast majority of their songs later in their career. Like I said, I love the sound (I own a Rickenbacker 12, myself & I give it a lot of love & use), but as a band, you need to vary your sound or it gets a little boring. That being said, this record has my ideal Byrds track order. It’s almost like it was tailored for me… twenty years before I was born. Eleven tracks is about as much of the Byrds as I can take in one sitting & guess what. This compilation has every single track I want to hear… Okay, so I prefaced a lot.
Now that that’s out of my system, I can start talking about the actual sound.
When I placed the needle in the grooves, the hiss was a little more prominent than with Please Please Me. That’s to be expected. I had the first play on Please Please Me. The Byrds’ Greatest Hits is almost 50 years old. I wasn’t listening for the pristine cleanliness you can get from a new LP. In all honestly, I was looking forward to the pops, because this is my first old record & they’re crucial to the experience of listening to old LPs.
The Byrds’ production quality was never very high (Sorry Terry Melcher). Aside from The Beatles & Brian Wilson of the The Beach Boys, who were the first people to view albums as works of art, instead of just collections of marketable songs, this was pretty much par for the course for the mid 1960s. This was the standard & The Byrds were no exception. Production on their records is very sparse. When I say this, I don’t mean bare bones & grass roots. The band would get to that later in their career, but for the mid 1960s, the sound was always very thinly mixed. In addition, Roger McGuinn skipped an amplifier & played straight into the recording console, all while running his guitar through two compressors. He’s quoted as saying their engineer compressed everything. All of this saved the recording equipment from the new & relatively loud rock volumes, but destroyed the low end. The effect of the studio compression, plus the extra compression when mastering for CD format completely killed the sound. I was well aware of this, so I listened to the vinyl very carefully. “Mr. Tambourine Man,” was the one I paid the most attention to because on CD & .mp3, the bass is at its thinest. You could even go as far as to say it has a twang to it. On vinyl, the song was still pretty lacking in bass (though not nearly as much), but there was definitely something different about it. It’s hard to put a finger on, but one thing is for sure. While the bass & depth definitely were still missing, there was a whole spectrum of sound which filled everything else in. The life the tracks had was something I never would have expected from the Byrds. I’d listened to these songs for years & missed so much: coughs, vocal imperfections, foot-taps- you name it & it was there. When I listened to the rest of the record, I discovered the same thing.
I don’t have too much else to say because most of the songs have the same instrumental lineup & production quality to them: bass, drums, tambourine, rhythm guitar & electric 12 string, & since I’ve started writing this, I’ve listened to it a few more times. My opinion hasn’t changed. I thoroughly enjoyed listening to the songs. They’re songs I’ve been listening to since I was a child, & now I can hear them in a completely different light. I think it goes without saying, that this record reconfirmed my stance on vinyl. It’s full life & detail, while other formats are not, plain & simple. No wonder my dad likes to take care of his old records.
* With the Beatles finally arrived. I’ve listened & will report soon.
** Singer, Gene Clark, left the band in 1966 because despite the fact that he was the band’s most prolific songwriter, he didn’t gain the respect he felt he deserved. He also had an intense fear of flying, leading McGuinn to tell him, “If you can’t fly, you can’t be a Byrd.” Ultimatum puns.