The Byrds – Untitled

More of The Byrds

WOW! The best pressing to ever hit the site, and it’s Triple Plus (A+++) on ALL FOUR SIDES. The overall sound is really rich, full-bodied, and open with impressive transparency and presence. Features a 16 minute Eight Miles High on the live disc that just kills — especially on a lively copy like this.

On the better copies songs like Chestnut Mare reveal a huge soundstage with delicate guitars, sweet vocals, and lively drums. Most of the pressings we’ve played over the years were nothing to get worked up about, but the sound here is wonderful. It’s exceptionally musical and natural with a nice, fat, tubey quality to the guitars and real strength and definition down low.

One issue with this record is that the first two sides are recorded live. As a general rule it has been our experience that they do not sound as good as sides three and four. That said, if they have a good solid bass foundation, plenty of energy and a minimal amount of clarity these live sides can still sound quite respectable relative to most concert recordings from the era.

TRACK LISTING

Side One

Lover of the Bayou 
Positively 4th Street 
Nashville West 
So You Want to Be a Rock ‘N’ Roll Star 
Mr. Tambourine Man 
Mr. Spaceman

Side Two

Eight Miles High

Side Three

Chestnut Mare 
Truck Stop Girl 
All Things 
Yesterday’s Train 
Hungry Planet

Side Four

Just a Season 
Take a Whiff on Me 
You All Look Alike 
Well Come Back Home

AMG Review

Among the later Byrds albums, Untitled was always the one to own, even if you weren’t a huge fan.

‘Eight Miles High’ is the high point, a 15-minute jam that showcases this band’s prowess. The studio sides aren’t to be overlooked, however — the group by this time was modifying its established sound into more of a ’70s mode, and the influence of new members Gene Parsons and Skip Battin was showing up, pushing aside the familiar timbre of Roger McGuinn’s 12-string Rickenbacker in favor of a leaner country-rock orientation.

The only song on the album to get heard by people other than serious Byrds fanatics was McGuinn’s ‘Chestnut Mare,’ but ‘Truck Stop Girl,’ ‘All the Things,’ the group’s version of Leadbelly’s ‘Take a Whiff on Me,’ and, especially, ‘Just a Season’ (maybe the prettiest song McGuinn has ever written) also hold up very well.