Chapter 21: Folk Revival and Folk Rock
In 1965, a new California-based group called the Byrds rose to prominence by fusing the lyrical depth of folk music with the electric sound of rock. Formed in Los Angeles in 1964, the Byrds brought together musicians with roots in folk, bluegrass, and rock. McGuinn, a former accompanist for folk singers like the Chad Mitchell Trio, teamed up with Gene Clark, who had been writing songs in the Dylan mold, and David Crosby, a gifted harmony singer with an ear for jazz-inflected chord progressions. Chris Hillman, originally a bluegrass mandolin player, took up the electric bass, and Michael Clarke rounded out the band on drums.
Their breakout hit was a radically reimagined version of Bob Dylan’s “Mr. Tambourine Man.” Whereas Dylan’s original featured just voice and acoustic guitar, with winding, poetic verses that stretched past five minutes, the Byrds’ version condensed the song to a tight, radio-friendly two-and-a-half minutes. It retained only the first verse but transformed the arrangement with electric instrumentation, layered vocal harmonies, and a steady backbeat. Released in April 1965, the single reached number one on the Billboard Hot 100 and is often credited as the song that launched folk-rock into the mainstream.
The Byrds' combination of Dylan's lyrics and melody with a musical accompaniment that included tambourine, crisp rock-styled drumming, and their trademark Rickenbacker twelve-string electric guitar created a distinctive and compelling sound. The twelve-string electric, played by Roger McGuinn, featured six pairs of strings—each pair tuned in octaves or unison—which gave it a uniquely resonant, shimmering tone. When amplified, the doubled strings produced a bright, bell-like chime that filled out the sonic space and created a rich, layered texture. This “jangle” became a defining feature not only of the Byrds but of folk-rock more broadly, and it influenced later bands from Tom Petty and the Heartbreakers to R.E.M.
Musically, their version of “Mr. Tambourine Man” combined the melodic clarity of pop with the poetic imagery of folk. The Byrds retained the melodic contours of Dylan’s original, but set them within a concise, structured verse-chorus format that was more palatable to radio audiences. Their tight vocal harmonies echoed the influence of the Beatles and the Beach Boys, while the instrumental groove drew from rock and roll’s rhythmic drive. The band’s approach transformed the song from a contemplative, meandering folk piece into a vibrant, accessible pop-rock single. By filtering Dylan’s introspective lyricism through the sonic palette of electrified rock production, the Byrds created a new hybrid style that resonated with both folk purists and mainstream listeners.
It is important to note that the Byrds' version of "Mr. Tambourine Man" actually charted before Dylan performed his now-famous electric set at the Newport Folk Festival. However, the song had already appeared on Dylan's Bringing It All Back Home, which was released on March 22, 1965. The Byrds released their cover just a few weeks later, on April 12. Dylan’s controversial electric performance at Newport came on July 25, 1965. The closeness of these events reveals how quickly folk rock was gaining popularity with American audiences and dispels any notion that the Byrds had somehow stolen Dylan’s thunder or vice versa. Instead, both artists contributed to a broader shift in musical taste, helping redefine the boundaries of folk and rock.
In addition to their sound, the Byrds’ image helped establish them as “America’s answer to the Beatles.” They wore matching suits and had mop-top haircuts, a clear visual nod to the Fab Four. But unlike other American bands that simply copied the Beatles’ style, the Byrds brought a uniquely American sensibility rooted in folk music and West Coast counterculture. Their fashion gradually shifted from tailored suits to fringed jackets, denim, and sunglasses—projecting a cool, bohemian image that resonated with emerging youth movements in California and beyond.
Their debut album, Mr. Tambourine Man (1965), featured four Dylan compositions such as "Chimes of Freedom," helping to cement Dylan’s reputation as a songwriter even among audiences who hadn’t embraced his gravelly voice or acoustic aesthetic. Their second album, Turn! Turn! Turn! (1965), featured more original compositions along with the Pete Seeger–adapted title track, which also became a number one hit. Folk singer Pete Seeger had created the song by adapting the words from the book of Ecclesiastes in the Bible and setting them to music. “Turn! Turn! Turn!” reached number one by December 1965.
Though their commercial success declined after 1966 and the band faced many lineup changes, the Byrds continued to push musical boundaries. With songs like “Eight Miles High,” they explored modal improvisation and Indian-influenced drone textures, becoming one of the earliest psychedelic rock acts. Later albums like Younger Than Yesterday (1967) and The Notorious Byrd Brothers (1968) reflected increasingly experimental approaches, incorporating jazz harmonies, country stylings, and innovative studio techniques.
We will return to the Byrds in later chapters as we explore both psychedelic rock and the emergence of country rock. Their ongoing evolution not only reflected the shifting tides of 1960s popular music but also helped shape its course.