The Byrds
Dr. Byrds and Mr. Hyde (Columbia/Legacy 65113)

This 1969 offering by The Byrds is one of the more interesting and enjoyable in their catalog, in part because it is otherwise so disregarded by critics and fans. The follow-up to Sweetheart of the Rodeo (the only Byrds album I'd label "great") benefits from a lack of self-consciousness and a turning away from the calculated cynicism and pretentiousness that made albums like The Notorious Byrd Brothers misfire.

The songs on Dr. Byrds and Mr. Hyde are not much more memorable than most of the group's output, which can at best be called inspired and at worst be called amateurish. But the album has a freshness to it that probably comes from the virtually new line-up that was introduced with this release: Roger McGuinn (by now the only original member, dragging things out as usual) is joined by Clarence White (veteran of three previous Byrds albums), Gene Parsons and newcomer John York, who would make his "presence" known only on this Byrds album.

The band doesn't play like they have "something to prove," but rather seem to find inspiration in the idea of redefining The Byrds. The songs range from rock (a cover of Siouxsie & the Banshees' "This Wheel's on Fire," "Bad Night at the Whiskey") to country ("Old Blue" is the biggest highlight, "Drug Store Truck Drivin' Man" is faux country meant to taunt country purists who dissed Sweethearts) to boogie ("King Apathy III") and the classic Byrds sound ("Your Gentle Way of Loving Me" and a bluesy medley which includes a remake of "My Back Pages"). In sum, an enjoyable if dismissable album.

I think I am drawn to this particular album because it is in the neglected period of their career, and I'm always interested in what no one else is looking at. That, and I'm desperate to find a Byrds reissue that is as cool as it looks.

I must say, Legacy may have done too good a job on these reissues, as they sort of tease you with an awesome package and don't prepare you for the lack of mind-blowing within. But this one retains my interest almost throughout, and in particular I always love when a band recuts one of its signature tunes ("My Back Pages" here), like Mike Nesmith doing "Listen to the Band" with the First National Band. But not, on the other hand, Jerry Lee Lewis doing "Great Balls of Fire '86."

On this album, the burden of proof is so much smaller than with the other highly-regarded Byrds albums, so it takes less effort to be satisfying.

The bonus tracks are fine, as bonus tracks: the forgettable country rock of "Stanley's Song," a middling cover of "Lay Lady Lay," plus alternate versions of "This Wheel's On Fire," "Nashville West," (a much better version, actually), and the "My Back Pages" blues medley. Nothing too revelatory, but enjoyable nonetheless.

This album walks the line between country rock and Fillmore rock (the "space rock" tag refers mainly to the cover art) and does a pretty solid job of both, resulting in a sleeper rock album you wouldn't be ashamed to be caught eating your own excrement to. Well, aside from the obvious embarrassment of being caught eating your own excrement.

Loud Bassoon rating scale

Review by La Fée