8 timeless songs by The Byrds that shaped American folk rock

The Byrds were an American rock band formed in Los Angeles, California, in 1964. The Byrds first got big as the best interpreters of Bob Dylan's songs, making them known by changing his songs to fit their own style. As the 1960s went on, they grew past just doing covers. They led the way in creating new mixes of jazz-rock and country-rock that changed music a lot.

Even though the first group didn't last long, the band's look changed, bringing in new and skilled players, like the big name Gram Parsons, who helped make the alt-country type of music. Roger McGuinn, the main man and only consistent member of the band, led The Byrds through a long run of twelve albums.

They moved from the folk-rock hits of the mid-60s like Mr. Tambourine Man to the new-style country sound with Sweetheart of the Rodeo, and ended with lesser-known works like their 1973 self-titled album. Their path shows a bold love for change, turning The Byrds into more than just a cover band. They were builders of new music types and helped craft many styles over time.

The Byrds were around for just a few years, yet they left a big mark on the 1960s music scene. They moved through many styles, from folk rock with its deep songs and ringing guitars to the wild, new sounds of psychedelia. As their group changed, they took up country rock's earthy sounds, starting a mix of styles that was new and thrilling back then.

Each step in their change wasn't just a new sound, it set key patterns that later musicians would pick up and make their own. Their ability to innovate across genres, often ahead of their time, ensured their influence would echo well beyond their relatively short career, making The Byrds a cornerstone in the foundation of modern rock music.

Here are the top 8 The Byrds songs that shaped American folk rock

Here are the top 8 songs by The Byrds that made a mark on American folk rock. Each tune shows a key time in the band’s growth and the growth of the style. From the well-known guitar sounds and tunes of Mr. Tambourine Man, which set the style, to the deep words and new mix in songs like Turn! Turn! Turn!, The Byrds made new ways to write songs and mix music.

They mixed old folk ideas with new rock sounds, making a cool sound that hit it off big with the people in the 1960s and after. These songs not only showed how they could change music, but also set off many artists to dig into the mix of folk and rock. This put The Byrds at the front as true leaders in the music history of America.

1) Mr Tambourine Man

The Byrds' Mr. Tambourine Man is a big change from Bob Dylan's first take. They cut down his long four verses to just one strong, short verse that hits hard from the start. Their version begins with a really well-known guitar intro, making it clear this is a hit pop song.

It shot up to the top spot fast. Jim McGuinn's way of singing brings new clearness and charm, some say it even beats Dylan’s style. While The Byrds did a lot of Dylan covers later their first big hit showed they could be on top and unique.

Oddly, Dylan first sang the song in June 1964, but he did not like the backup singers. So, he worked on it again seven months after for his album Bringing It All Back Home, out in March 1965. At that time, the band that would be The Byrds, known as The Jet Set, with Jim McGuinn, Gene Clark, and David Crosby, had made their own take.

They used a copy of Dylan's 1964 demo from their boss Jim Dickinson, which allowed them to change the song early. This tale shows how The Byrds did more than just copy a song; they changed it in a way that stays in folk rock history.

2) Turn! Turn! Turn!

Turn! Turn! Turn! comes from Pete Seeger's mind. He made the song in the 1950s, using words from the Book of Ecclesiastes, mainly chapter three, verses one to eight. Seeger wrote it long ago, but it first came out with The Limeliters on their 1962 album Folk Matinee. The song’s path did not end there.

In 1963, Jim McGuinn changed the song for Judy Collins, and his band would play it on their tour bus for McGuinn's soon-to-be wife, Dolores. This close play made them feel a strong tie to the song, leading them to take it up and later put it on record.

Their rendition not only earned Pete Seeger's blessing but also soared to the top of the American charts, securing its place as an enduring classic that blends timeless lyrics with the spirit of the 1960s folk revival.

3) So You Want to Be a Rock 'n' Roll Star

Penned by Jim McGuinn and Chris Hillman, So You Want To Be a Rock 'n' Roll Star takes sharp look at the boom of made-for-pop acts in the late '60s, with The Monkees often seen as the top case. The lyrics reflected on the look these groups had, from well-done hair to slim pants, showing how looks often beat real worth in the chase for fame.

Yet, the tune isn't just mocking; it has a hint of care, as if asking about the cost that comes with fast fame and big wins. Words like "The price you paid for your riches and fame" show that there is a hard, often sad truth behind all the shine. It is said that McGuinn and Hillman wrote this song after seeing how fast The Monkees got famous.

Photo of Clarence WHITE and Gene PARSONS and Skip BATTIN and Roger McGUINN and BYRDS - Source: Getty

They made a song full of irony but also some sadness. At the same time, The Byrds were not doing well, just a year before, Gene Clark had left, and not long after, David Crosby and Michael Clarke would leave too. This song, with its smart humor and sharp words, comes at a time when the band itself was falling apart.

At the time, they may not have seen it, but So You Want To Be a Rock 'n' Roll Star acts as a harsh look at how the music world makes fake stars. It also hints at how The Byrds' itself was falling apart. It was the time when rock's shiny front began to show cracks.

4) My Back Pages

The Byrds' take on My Back Pages was a big deal as it was their last song to hit the top 40 in the US. More than just a hit, the song sparked a fight over what they should do next. Roger McGuinn liked the idea of putting the song out as a single and felt it could do well.

On the other hand, David Crosby wanted to work on new stuff, not covers or songs from other people. This fight showed a larger split in the band's ideas and thoughts. The radio edit of the song, cut down to about two and a half minutes to meet the normal single song length, got airplay and climbed the charts. The long, full version was put on their album Younger Than Yesterday.

This cut changed how people heard the song and showed the different ways the band members thought. In the end, My Back Pages was more than just a hit, it marked the start of a split in The Byrds' group tie. It showed strains that would soon cause big shifts in who was in the band and the kind of music they played.

5) I'll Feel a Whole Lot Better

I'll Feel a Whole Lot Better started off as the other side to The Byrds' second song, which was their take on Bob Dylan's All I Really Want to Do. Yet, it soon broke free to stand on its own as a loved and memorable tune. It caught on by itself, making the band want to put it on their first big record, where it hit a high mark.

Gene Clark wrote it, and his deep words and soft singing gave it a strong, close feel. In the music, the main guitar part is much like Needles and Pins by The Searchers, giving it a known and catchy base.

But the real power of the song is in the way The Byrds made it their own. They mixed clear, bright guitar sounds with pure, deep heart feelings that became their mark. This mix of new and old styles made I'll Feel a Whole Lot Better more than a B-side. It became a classic, holding the feel of 1960s folk rock, yet shining on its own, too.

6) Mr. Spaceman

When 1966 came around, The Byrds had left most of their first folk-rock style, diving deep into the rich and fresh world of psychedelic music. Their song Mr. Spaceman, made by Jim McGuinn, who would soon be known as Roger McGuinn, gave a cool peek into the band's changing tune.

Even though it was deep in the psychedelic feel that marked a lot of their music at that time, the song also quietly mixed in bits of country. This showed the band's new openness to mix music types and try out new sound paths. On the Fifth Dimension album, the song Mr. Spaceman showed that The Byrds were doing okay even after Gene Clark left.

They were also going in new ways in their music. The album was a strong move. It showed that the band was still changing and growing. Their manager, Eddie Tickner, added to the buzz. He said he got a big insurance plan to keep the band safe from being taken by aliens. This idea linked well with the stars and space theme of their work.

This funny act fit well with the odd feel of the album, showing the band's fun side as they changed artistically. This time was key and bold for The Byrds, as they mixed wild new ideas with fresh influences, all while keeping it fun and interesting for their big fan base.

7) Ballad of Easy Rider

The Ballad of Easy Rider is big in music history. It's not just a song, it's a sign of its time, tied to the famous Easy Rider movie. At first, Roger McGuinn did it alone to match the movie's wild and free feel. This first play set the tone. Yet, soon after, The Byrds came in with all hands.

They put in new bits and fullness, making the song hit home harder with people. What grabs you is that this song started from a short, key time with Peter Fonda, who pushed the movie ahead off the screen. Fonda wished for Bob Dylan to write the song, but Dylan said no to the full job, giving only a few words on a napkin, a short, easy verse about rivers and wanting to go where they go.

"The river flows, it flows to the sea / Wherever that river goes, that’s where I want to be / Flow, river, flow," Dylan penned, showing a lasting sense of drift and free will in a few words.

He advised Fonda to give that piece to McGuinn with soft sureness, sure that the singer could grow that spark into something strong.

McGuinn did just that, mixing those words into a deep tune that fit the movie's push to look and break out from what holds us back. The result was more than a song; it became an anthem for an era hungry for exploration and meaning beyond the ordinary.

8) Eight Miles High

Mixing the deep sounds of Indian songs and the free style of jazz with their own folk-rock tune, The Byrds made a new piece that stood out in psychedelic rock. The song, made by Gene Clark, Jim McGuinn, and David Crosby, caused a stir with its bold words, getting banned on many radio stations.

Yet, it still went up the top 20 in the United States charts, showing its strong charm. In a fun turn, the idea for the song came from the band's trip to London in the summer of 1965. Big planes fly at heights near six or seven miles up, but saying "eight miles high" gives a feel that hits harder than just plain facts.

The Byrds' song list shows how they were first in making new rock music that mixed folk, rock, country, and cool mind-bending sounds. This not only made the '60s sound interesting and wild but also set a path for many musicians who came next. With deep lyrics, new sound mixes, and a bold way to try new things, they made a mark that lasts even now.