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Dr. Byrds Mr. Hyde entrepreneurs gain new skills and access to new markets where they can turn their dreams and ideas into business success. Free & Fast Shipping For ZTSHBK Dot Matrix Module 8X8 Control Display Module Cascade for Buy Cheapest After the disintegration of the original Byrds line-up, and a transitional country-rock album that was hated at least by the hardcore country-western music population, Roger McGuinn could hardly be blamed if he was found in a bad mood. But somehow he found the will to keep the group alive and continue to make Byrds music. In interviews years later, McGuinn would later express unsatisfaction over certain aspects of the latter-day Byrds era (despite positive interviews in the 60s), but musical history is extremely fortunate that he carried on, and "Dr. Byrds amp; Mr. Hyde" is the first souvenir from this productive era, despite the fact it failed to even break into the Top 150 on Billboard's album chart.Ironically, this album contained more original material than its much more successful follow-up "Ballad of Easy Rider," and McGuinn decided to take lead vocals on all of the numbers here, at least for the time being until the audience was used to the change, but their playing here proves that vocals would be no challenge. Guitarist Clarence White had participated in numerous sessions with the group over the years, and his musical contributions to the latter-day Byrds are rivaled in importance only by friend and drummer Gene Parsons who, much like White, had become a veteran of the road. John York was brought in as the new bassist and though his stay in the group was short, it was nonetheless important, as here he proves to be a flexible and talented bass player (this is evident on the in-concert release "Live at the Fillmore," and his creative input was more apparent on "Ballad of Easy Rider").The product of this new beginning certainly deserved its title; it showed two sides of the Byrds, a progressing experimental spirit and one that showed a great appreciation for country and southern roots. On any other album, the sequencing of two different styles would be uneven, but given Dr. Byrds' admission of the theme, it works surprisingly well. McGuinn's bitterness over the country music scene's negative reaction to the "Sweetheart of the Rodeo" album, and a general disillusionment with the hippie-era "age of aquarius" is apparent as the album opens up with a haunting, driven cover of Bob Dylan amp; The Band's `This Wheel's On Fire,' signalling doomsday and disdain. The Byrds' version of this much-covered song is the best ever recorded (next to Dylan amp; The Band's "Basement Tapes" version, and The Band's solo version). `King Apathy III' can be seen as McGuinn's accusations of hypocrisy towards the flower-power hippie movement as he sings of naive "Middleclass suburban children, wearing costumes that reveal / Blindly follow recent pipers, with their mystical appeal." `Candy' (meant for the soundtrack of a film of the same name) could have cynicism under its unassuming nature, while `Child of the Universe' (for the same film) boasts stirring, dark music (highlighted by an effective kick-drum) that contradicts the lyrical content addressing the film's main character, proving that perhaps McGuinn was not persuaded by the movie's ideas. Throughout the album, the title's reference to the split personality of Dr. Jekyll and Mr. Hyde is more and more fitting; the laid back country of `Old Blue' and `Your Gentle Way of Loving Me' contradicts the cosmic rock of `Wheel's On Fire' and `Child of the Universe,' which surprisingly is followed by White and Parsons' rowdy but organic country instrumental `Nashville West.' McGuinn and former member Gram Parson's `Drug Store Truck Drivin' Man' may be country, but it is actually a cynical reaction to the Nashville world's resentment of "Sweetheart of the Rodeo" (aimed at one disc jockey in particular). Some songs actually blend the different personalities; `King Apathy III' and `Bad Night at the Whiskey' have both slightly psychedelic/progressive tinges and country touches. The closing medley is a joy as well, containing a verse of Dylan's `My Back Pages' mixed with `B.J. Blues' and `Baby What You Want Me To Do,' McGuinn's vocals on the alternate version in this re-issue being a real treat.Unfortunately, the public reactions to "Dr. Byrds amp; Mr. Hyde" were as mixed as the country and rock influences it contained. But time has aged the album well, as it is a glimpse at the Beginning of the End for the illusions of the flower-power age, and it is a refreshing example of a band starting from scratch while keeping their feet in two musical pools at once.Not par with the classic line up, but very good effort, and an important change of direction towards country rock, which they pioneered with Poco, and The Flying Burrito Bros.A lot of the time spent discussing these Byrds versus the original Byrds is just wasted air / wasted space. This is one of my favorite albums by the Byrds, along with Notorious Byrd Brothers. Greatest Hits and 5D. Its doggone easy to listen to and has great songs and great licks by Clarence White.Since I saw the band touring behind this album in Moline, Illinois I have to report that they were one magical assemblage. I was indeed glad I had gone 200 miles out of my way without a ride home to see them.So back to the music: This Wheels on Fire is here in a version I prefer to both Julie Driscoll and to the Band. Child of the Universe and Candy are interesting cinematic tie-ins and good tunes, while Bad Night and King Apathy III are terrific, as is Nashville West and Drugstore Truck Driving Man. Its hard to fault anything here, all of which I have listened to many, many times over. In fact, its hard to aurally picture my life without this disc. I prefer it to the simulataneous release, The Gilded Palace of Sin by the Flying Burrito Brothers, which is pretty good in and of itself. (This is the band and album that three Byrds left to found and record).I saw The Byrds when this was the contemporary album, so my opinion is a bit skewed. That's my disclaimer. But, the music on this album ranges from acoustic songs about mourning a lost favorite dog, to psychedelic fuzz guitar, always with those great Byrds harmonies. Clarence White settles in at lead guitar, after sitting in on the previous two albums, and it's a fine fit. Oh yeah, the obligatory Bob Dylan song ("Wheel's On Fire") is here, too, and it's a great rendition.Only really like one song but maybe the rest will grow on me....but's it's got some killer tracks. I've been in a Byrds mood lately, and the bonus tracks offer a different perspective on some of the music McGuinn and Co were involved in at the time. Looking back from 40 years ago, this sounds more country than alot of country tunes on that format today. Follow the Byrds from Sweetheats of the Rodeo onward and you will discover the pioneering effort and the various intrests that helped shape the jingle jangle sound of the band and it's metamorphosis into a bona fide country band, that's not afraid to rock and roll! Hear that Ralph?A must for the consumate Byrds collector!nice purchase CDs Vinyl => Pop => Oldies Editorial Reviews US only LP pressing. THIS 1969 LP FROM THE BYRDS WAS THE NEXT STOP IN THEIR COUNTRY/ROCK TRAJECTORY AND THE FIRST ALBUM POST GRAM PARSONS. MASTERED FROM THE ORIGINAL COLUMBIA RECORDS ANALOG REELS! SUNDAZED ZTSHBK Dot Matrix Module 8X8 Control Display Module Cascade for Discount Offers UK For

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Dot MatriX Module 8X8 Control Display Module Cascade for Arduino Raspberry