Yeah, it's got a terrific flow from the opening two-beat drum on Artificial Energy until the droning fadeout of Space Odyssey. A real masterpiece. My favorite Byrds album in fact.
This album is the most peaceful, humane, inspired and inspiring I have been lucky enough to listen to. It's a hippie masterwork, a beacon for all those who look for a way out of materialism and vulgarity. Just as plain as deep it is and as such it's a miracle.
The tone is McGuinn, the sinuous modal scales are McGuinn, the countified break part is Clarence but the intertwining leads are McGuinn. Nothing White played ever sounded anything like this.
Great musicianship. Finely crafted example of soaring psychedelia. Should have been a monster hit. McGuinn at his his finest level of playing with superb harmonies and great country passages by Clarence White.
Whether White or McGuinn playing the solo here (and I'm fairly sure it's the latter), it still seems to anticipate the drone of Krautrock, to these ears anyway. Yep, the Byrds were way ahead of the pack......
this was my one and only Byrds album. I listened a lot to it in the hard times, when I had left home in my last high school year in Rotterdam, the Netherlands. This is one of the most beautiful songs ever written. My humble opinion.
First you think they're folkies, then they seem to be country boys, then they turn out to be serious stoners. Ladies and gentlemen, the American Byrds!
I first heard this song in '68 as the flip side of "Goin' Back" and I wondered how a band that was knocking themselves out making incredible music could be so forgotten by radio playlists? I still wonder.
Change is now, change is now Things that seemed to be solid are not All is now, all is now The time that we have to live Gather all that we can Keep in harmony with love's sweet plan Truth is real, truth is real That which is not real does not exist In and out roundabout Dance to the day when fear it is gone Gather all that we can Keep in harmony with love's sweet plan Change is now, change is now Things that seemed to be solid are not In and out roundabout Dance to the day when fear it is gone Fear it is gone Fear it is gone
You really hear the blueprint for Crosby stills and Nash in this song… In this record… David Crosby took a lot of this and carried it over for sure… Beautiful song… Amazing record
This song definitely should have been included in the Easy Rider film. Case in point, Wasn't Born To Follow (admittedly in my opinion a masterpiece) was featured twice in the film and only within a few minutes of each other. Change Is Now would have worked well as the second song.
100% correct! If you like this, I recommend checking out Flying Burrito Brothers which is a de facto spinoff of the Byrd's since Hillman and Clarke are in it.
Loads of interesting comments here which offer, hopefully, a 'definitive' list of players on this incredible piece of music : McGuinn - guitar, vocal White -guitar Hillman -guitar, vocal Red Rhodes - steel Crosby - bass, vocal Blaine - drums Took a while, but thanks to all who've contributed to the thread :-)
Crosby's doing octave drones on bass, similar to McCartney's on Tomorrow Never Knows. Mike drummed on the early [july 31-aug 3] versions- tihs is bigshot Hal Blaine doing his best Clarke imitation. The genius guitar breaks are about the last we ever hear from McGuinn
@@carlweaver3243 As were the Byrds a year before that, Hillman's A Satisfied Mind cover, McGuinn's Mr Spaceman, their I Know My Rider version; the year before that Crosby and McGuinn's exquisite [once past the pathetic "picking"] Oh Susannah. Whatever else Gene was doing on If You're Gone, ''proto-countryrock'' is a way in. And just for argument's sake, there's a discernable bluegrass basis in the early run-throughs of McGuinn's 5D
@maxmerry8470 At least 7 guitar tracks to sort through. When you compare this with the 12-string leads on Universal Mind Decoder, it's McGuinn [starting on the Right channel] doing the lead breaks [on 6-string say the experts], with maybe Hillman doubling him in the Center and/or doing the tickytack rhythm licks. Crosby invoking McCartney somehow, throbbing from the basement, L [ th-cam.com/video/qXUm4lAA4ac/w-d-xo.html&start_radio=1 ] Then Rhodes's steel in the L and Clarence's pull-string Fender on the R , both laying out til "Gather all around..." to transform everything. McGuinn's leads [L to R] are double-tracked and/or edited or run backwards [L]. So strange, so genius this wailing goodbye: one last, late flourish of an incredible, innovative chiming style, did he suspect this was 'it'? That the banjo-to-moog History of Music he'd embarked upon would be set away after wrapping this lp when he hires Gram? That he was about to revert to acoustic strumming in deference to "better" pickers and steel players, apart from some "heavy jammin' " w/ Clarence and the oldies , post-Hillman Crosby Clarke Clark and any further dreams of innovation. His enigmatic sacrifice to... some spiritual recognition of faded talent, lost publicacclaim at his PEAK. Ending up on Gene's path after all
I think so, though others reckon it's Clarence. McGuinn did play 6-string lead on a few Byrds tracks. I was always impressed with the high, lonesome bluesy licks he performed on some of the songs on Dr Byrds and Mr Hyde.
@@maxmerry8470 Comparing with the 12string leads on Universal Mind Decoder, it's McGuinn [starting on the Right] doing the lead breaks, with maybe Hillman doubling him on the Center channel or doing the tickytack rhythm licks. Then Rhodes's steel in the L and Clarence's pull-string Fender on the R , both laying out til "Gather all around..." McGuinn's solos are double-tracked and/or edited or run backwards [L]. So strange, so genius a farewell: one last, late flourish of an incredeible, innovative chiming style, put away after this multidimensional homage to the "evolution of folk music'' project that will die when he hires Gram. Humbly, he will accept acoustic strumming in deference to "better" pickers and steel players, apart from some "heavy jammin' " w/ Clarence and the oldies. His enigmatic sacrifice to... some spiritual recognition of faded talent, at his PEAK?
Mandolin player? Don't think Chris ever played banjo. I believe Gene had no involvement with this but is rumoured to have co-written (and sung on) Get To You.
@@maxmerry8470 My bad, yeah mandolin. Gene is listed on the players sheet for Space Odyssey - which is beyond bizarre! Personal top Chris bass tunes: Why - single version - that ending! Change is Now Draft Morning Such a unique way to approach the bass, he's hugely underrated.
@@tishpish4939that's Crosby doing the floating octaves on bass [Lchannel], like Tomorrow Never Knows: his brief best-of-bass list. Hillman's on that staccato 3d gtr [L] ?
@@georgefelton669 You can find all of NOTORIOUS personnel details on WIKIPEDIA.. Jim Gordon is on several traks, Off the top of my head, Jim is in GOING BACK and WASN'T BORN TO FOLLOW.
No, it's Michael Clarke. If you check out Ric Menck's book about the album (Continuum 33 1/3 series) it makes fairly clear who drums on which tracks. What is surprising is that Clarke is on the final version of Dolphins Smile, despite the studio falling-out when Clarke himself sarcastically says, "Why don't you get Hal Blaine?"
this album is very underrated. nearly every track on it is a banger.
My favorite Byrds album AD, without question.
U right. This album slaps
I played Byrds albums in my dorm in college. This one got the most positive comments. People came by to see who it was.
Yeah, it's got a terrific flow from the opening two-beat drum on Artificial Energy until the droning fadeout of Space Odyssey. A real masterpiece. My favorite Byrds album in fact.
Always the over used underrated comment, where would we be without it....
One of the ten greatest albums of the 1960s era. An electronic folk rock masterpiece.
The greatest.
Totally agree
I could never disagree with that. I'd probably put it in my top five of all time.
This album is the most peaceful, humane, inspired and inspiring I have been lucky enough to listen to. It's a hippie masterwork, a beacon for all those who look for a way out of materialism and vulgarity. Just as plain as deep it is and as such it's a miracle.
Great guitar duet with McGuinn playing both parts on a Gretsch White Falcon. This SHOULD have been a huge hit in 1967!
Scott Campbell I told McGuinn many years ago that I loved his guitar solo on this song. He said "That was Clarence!"
Amazing! Would have totally thought that the backwards and the fuzzed out solos together were McGuinn
The tone is McGuinn, the sinuous modal scales are McGuinn, the countified break part is Clarence but the intertwining leads are McGuinn. Nothing White played ever sounded anything like this.
Great musicianship. Finely crafted example of soaring psychedelia. Should have been a monster hit. McGuinn at his his finest level of playing with superb harmonies and great country passages by Clarence White.
Always loved this guitar solo .
Spellbinding
Mystical .
Change is now .
The Byrds' Sgt. Pepper moment. No wonder they were a Beatles favorite!
'truth is real, truth is real, that which is not real does not exist'...goes pretty deep.
what a guitar solo
I count the part where the guitars harmonize near the end as one of my all time favorite recorded musical moments.
Whether White or McGuinn playing the solo here (and I'm fairly sure it's the latter), it still seems to anticipate the drone of Krautrock, to these ears anyway. Yep, the Byrds were way ahead of the pack......
yes, sounds like Faust
It was Clarence
If you read Ric Menck's book on the album, it would appear to be McGuinn. The country licks in the chorus are definitely Clarence though.
McGuinn loved his Moog, so it's interesting that you hear Krautrock. Cool post.
Both played. The interplay between between the guitars is amazing.
this was my one and only Byrds album. I listened a lot to it in the hard times, when I had left home in my last high school year in Rotterdam, the Netherlands. This is one of the most beautiful songs ever written. My humble opinion.
First you think they're folkies, then they seem to be country boys, then they turn out to be serious stoners. Ladies and gentlemen, the American Byrds!
They were always one in a million! My favorite album of all time..
@@elizabethlinsay9193 Mine too
Stoners first.... "Eight Miles High" predates SWEETHEARTS by 3 yrs, but yeah. Especially Gene Clark
Best guitar solo in music history
A great album. The Byrds best.
Dance to the day when fear is gone
All time favourite little-known Byrds track
50 years old! Insane! 20,000 hits. A travesty.
10,000 of those were mine :)
Bought this album in 68.....Loved then. Love now.
The same. Couldn’t wait to get my first wage packet.
A seamless blend of psychedelia and country. How did they do it? I always loved this song and this album.
Astonishingly great song. It doesn't try to fit into any cut and dried form. It just soars!
this wisdom encapsulated here extends way beyond the era in which it was made
The Byrds were like medieval spacemen minstrels at a country fair.
I first heard this song in '68 as the flip side of "Goin' Back" and I wondered how a band that was knocking themselves out making incredible music could be so forgotten by radio playlists? I still wonder.
same answer why Van Gogh was not appreciated. The world is filled with eejits
I really wish they would’ve expanded on the choruses around :40 and 2:20. The pedal steel is so mesmerizing.
Change is now, change is now
Things that seemed to be solid are not
All is now, all is now
The time that we have to live
Gather all that we can
Keep in harmony with love's sweet plan
Truth is real, truth is real
That which is not real does not exist
In and out roundabout
Dance to the day when fear it is gone
Gather all that we can
Keep in harmony with love's sweet plan
Change is now, change is now
Things that seemed to be solid are not
In and out roundabout
Dance to the day when fear it is gone
Fear it is gone
Fear it is gone
Beautiful simply beautiful love the byrds peace everyone .
Georgous song from a brilliant album. Only thing better than the original vinyl is the expanded cd reissue.
This Is my first time hearing this- it's fantastic!
Deserved to be an A-side in its own right.
incredible tune with that guitar taking away !!
incredible tune with that guitar taking away !!
incredible tune with that guitar taking away !!
So, melllllllllooooowwww...can't help swaying and head bobbing...
Wonderful music that informed my life. I was 17-18. It blew my mind!
You really hear the blueprint for Crosby stills and Nash in this song… In this record… David Crosby took a lot of this and carried it over for sure… Beautiful song… Amazing record
Even Beatles had to learn from them....
Check out the newly published Gary Usher / Byrds specials on TH-cam for the whole story on this fantastic album and track.
Gorgeous song and beautiful harmonies 🤩👌🏻❤️🔥
This song definitely should have been included in the Easy Rider film. Case in point, Wasn't Born To Follow (admittedly in my opinion a masterpiece) was featured twice in the film and only within a few minutes of each other. Change Is Now would have worked well as the second song.
Nunca más tendremos estos talentos musicales? ☘️🍀🌼🌻
We can only hope .
But I don't think so .
Nunca
Once again that steady bass of Chris Hillman. The rest is that harmony. Who's playing that steel guitar?
Red Rhodes
Hillman was the secret treasure of the Byrds.
It's Crosby on bass on this track
WOW!!!!!
@@jamestweedie57 No, it's Chris on bass, though Crosby did play bass on Old John Robertson.
Half country half psychedelic.
100% correct! If you like this, I recommend checking out Flying Burrito Brothers which is a de facto spinoff of the Byrd's since Hillman and Clarke are in it.
only Byrds track with both David Crosby and Clarence White. gorgeous.
What about Time between and Girl with no name
fuck crosby
McGuinn played lead on
I think the day has come when feeling is gone. At least in America.
Is it just me but don't you just love that chord at the end?
Gary Usher's production notes buried in one of McParland's multi-volume-bio of Gary Usher-indicate it was Clarence White
Loads of interesting comments here which offer, hopefully, a 'definitive' list of players on this incredible piece of music :
McGuinn - guitar, vocal
White -guitar
Hillman -guitar, vocal
Red Rhodes - steel
Crosby - bass, vocal
Blaine - drums
Took a while, but thanks to all who've contributed to the thread :-)
This album is to the Byrds as Sgt. Peppers is to the Beatles
L'APICE DEI BYRDS! PROVATE SOLO AD IMMAGINARE SE AVREBBERO CONTINUATO DA QUA: DOVE SAREBBERO ARRIVATI?! DANiELE :)
Sublime track, I’ m sure Neu must have been inspired by this on “Hallogallo”
Genau das isses......psychedelic folk raga rock!
the Beatles did Sgt Pepper the Byrds did this. I listen to this album way more than the Beatles. How about you??
+ Hillman's bass is sublime & Clarke's drumng ...but that instrumental break- ah
Crosby's doing octave drones on bass, similar to McCartney's on Tomorrow Never Knows. Mike drummed on the early [july 31-aug 3] versions- tihs is bigshot Hal Blaine doing his best Clarke imitation. The genius guitar breaks are about the last we ever hear from McGuinn
❤
Quite reminiscent of “See My Friends” by the Kinks
Country rock long before Sweetheart and the Burritos...
Nesmith/Monkees were doing Country Rock at least a year before this album.
@@carlweaver3243 As were the Byrds a year before that, Hillman's A Satisfied Mind cover, McGuinn's Mr Spaceman, their I Know My Rider version; the year before that Crosby and McGuinn's exquisite [once past the pathetic "picking"] Oh Susannah. Whatever else Gene was doing on If You're Gone, ''proto-countryrock'' is a way in. And just for argument's sake, there's a discernable bluegrass basis in the early run-throughs of McGuinn's 5D
From 0:58 just sit back and enjoy the trip......
Great.Sounds like 80s electro pop.
Just your average psychedelic country rock song.👽
Some people are not going to be happy until they see two horses at those windows.
@maxmerry8470 At least 7 guitar tracks to sort through. When you compare this with the 12-string leads on Universal Mind Decoder, it's McGuinn [starting on the Right channel] doing the lead breaks [on 6-string say the experts], with maybe Hillman doubling him in the Center and/or doing the tickytack rhythm licks. Crosby invoking McCartney somehow, throbbing from the basement, L
[ th-cam.com/video/qXUm4lAA4ac/w-d-xo.html&start_radio=1 ]
Then Rhodes's steel in the L and Clarence's pull-string Fender on the R , both laying out til "Gather all around..." to transform everything. McGuinn's leads [L to R] are double-tracked and/or edited or run backwards [L].
So strange, so genius this wailing goodbye: one last, late flourish of an incredible, innovative chiming style, did he suspect this was 'it'? That the banjo-to-moog History of Music he'd embarked upon would be set away after wrapping this lp when he hires Gram? That he was about to revert to acoustic strumming in deference to "better" pickers and steel players, apart from some "heavy jammin' " w/ Clarence and the oldies , post-Hillman Crosby Clarke Clark and any further dreams of innovation. His enigmatic sacrifice to... some spiritual recognition of faded talent, lost publicacclaim at his PEAK. Ending up on Gene's path after all
is that mcguinn playing that solo?
I think so, though others reckon it's Clarence. McGuinn did play 6-string lead on a few Byrds tracks. I was always impressed with the high, lonesome bluesy licks he performed on some of the songs on Dr Byrds and Mr Hyde.
@@maxmerry8470 Comparing with the 12string leads on Universal Mind Decoder, it's McGuinn [starting on the Right] doing the lead breaks, with maybe Hillman doubling him on the Center channel or doing the tickytack rhythm licks. Then Rhodes's steel in the L and Clarence's pull-string Fender on the R , both laying out til "Gather all around..." McGuinn's solos are double-tracked and/or edited or run backwards [L].
So strange, so genius a farewell: one last, late flourish of an incredeible, innovative chiming style, put away after this multidimensional homage to the "evolution of folk music'' project that will die when he hires Gram. Humbly, he will accept acoustic strumming in deference to "better" pickers and steel players, apart from some "heavy jammin' " w/ Clarence and the oldies. His enigmatic sacrifice to... some spiritual recognition of faded talent, at his PEAK?
A GREAT song to listen to about 45 minutes after eating some mushrooms.
Bass playing, by a banjo player who couldn't play bass = fucking astonishing. Is this one of the one's Gene chipped in with?
Mandolin player? Don't think Chris ever played banjo. I believe Gene had no involvement with this but is rumoured to have co-written (and sung on) Get To You.
@@maxmerry8470 My bad, yeah mandolin. Gene is listed on the players sheet for Space Odyssey - which is beyond bizarre!
Personal top Chris bass tunes:
Why - single version - that ending!
Change is Now
Draft Morning
Such a unique way to approach the bass, he's hugely underrated.
@@tishpish4939that's Crosby doing the floating octaves on bass [Lchannel], like Tomorrow Never Knows: his brief best-of-bass list. Hillman's on that staccato 3d gtr [L] ?
Hal Blaine on DRUMS: "Get To You" and "Change Is Now."
My understanding is that it is Michael playing drums here. Hal was indeed the drummer on GetTo You and Tribal Gathering.
I have read that Jim Gordon played drums on a number of Notorious cuts.
That's true, but not on the songs referred to here.
@@georgefelton669 You can find all of NOTORIOUS personnel details on WIKIPEDIA.. Jim Gordon is on several traks, Off the top of my head, Jim is in GOING BACK and WASN'T BORN TO FOLLOW.
David Gilmour i think must have been influenced by this album, along with quite a few others 😊lol
Hal Blaine on drums?
Yes
No, it's Michael Clarke. If you check out Ric Menck's book about the album (Continuum 33 1/3 series) it makes fairly clear who drums on which tracks. What is surprising is that Clarke is on the final version of Dolphins Smile, despite the studio falling-out when Clarke himself sarcastically says, "Why don't you get Hal Blaine?"
Why oh why doesn’t Michael get any credit. On any website