Fifth Dimension is the third album by the American rock band the Byrds and was released in July 1966 on Columbia Records. Most of the album was recorded following the February 1966 departure of the band's principal songwriter Gene Clark. In an attempt to compensate for Clark's absence, guitarists Jim McGuinn and David Crosby stepped into the breach and increased their songwriting output. In spite of this, the loss of Clark resulted in an album with a total of four cover versions and an instrumental, which critics have described as "wildly uneven" and "awkward and scattered". However, the album is notable for being the first by the Byrds not to include any songs written by Bob Dylan, whose material had previously been a mainstay of the band's repertoire.The album peaked at number 24 on the Billboard Top LPs chart and reached number 27 on the UK Albums Chart. Two preceding singles, "Eight Miles High" and "5D (Fifth Dimension)", were included on the album, with the former just missing the Top 10 of the Billboard singles chart. Additionally, a third single taken from the album, "Mr. Spaceman", managed to reach the U.S. Top 40. Upon release, Fifth Dimension was widely regarded as the band's most experimental album to date and is today considered by critics to be influential in originating the musical genre of psychedelic rock.Wikipedia
Je croyais pourtant avoir été clair dans ma critique de la semaine dernière au sujet des Byrds et de leur incapable leader Gene Clark... Je vais donc devoir me répéter. Gene Clark et sa bande de joyeux singes n'apportent aucune plus-value à la musique. Ils reprennent un coup l'air de La Marseillaise (cf Eight Miles High), plagient ensuite le bon vieux Jimi (cf Hey Joe) même si ce dernier n'a sorti son tube que l'année suivante, et se permettent de clore leur album avec deux morceaux indisponibles dans votre zone géographique. En résumé, un immense foutage de gueule.
An OK psych folk album, but there is just no reason to have 5 (!) The Byrds albums on this lyst, considering the criminal number of omissions.
Exit pop stars The Byrds, enter psychedelic folk rock pioneers The Byrds. Very very good.
That was a fun slice of time. Way more varied and sonically interesting than I would have expected. Hey Joe was a pretty wild cover.
Fine, I guess.
This album was uninspiring enough that I can't even be bothered to write a proper set of listening notes.
Awesome - hadn't heard Mr Spaceman in ages! Love that guitar tone.
only tambourine man but this is betta
Ho lala this week album selection is refined to my psychedelic tastes. LSD and carpet ride is all I have been aspiring to my whole life. Loved this album very much. So very mystically 70s!
Du bon vieux rock qui s'écoute tout seul
Really good 4.7 stars
A fantastic album, just an absolute joy to listen to
FIVE STARS An all-time classic and a personal favorite of mine. Up to 1966, The Byrds had enough assets in their game to consider they had already established the perfect formula in their very first LP, *Hey Mr Tambourine Man*, and that there was no reason for them to veer off-course three albums in after the success they had. That formula is that cliché most listeners still associate The Byrds with today: use Dylan's shortest, catchiest tunes, cover them by adding melifluous vocal harmonies that are complete u-turns from Bob's rough, nasal timbre and inflexions, wait for those covers to hit the charts, and then cash in. Of course, you could still replace Dylan with Pete Seeger and The Bible (see "Turn, Turn, Turn"), traditional tunes or everything in between. But in its core, the formula didn't change a bit. Not that individual members of the band were frauds and impostors as they performed those skilled transformations. Coming themselves from the US folk scene, they had learned how to translate those folk staples into a more pop-oriented language, but thanks to their original background, they could also instill those rendition with a much-needed sense of authenticity. Both serious and commercial, folk and rock, The Byrds were at the crossroads of everything the sixties were all about. With Gene Clark, The Byrds also had a main songwriter in their ranks, admittedly, and the covers were interspersed with originals, too. But even if Clark seemed like a competent songwriter in his own right, this didn't fool audiences. As influential as The Byrds were on the overall sound of the mid-sixties, they were first and foremost seen as performers. And it was never a problem. The sixties going as fast as they did, it soon became one, however. Especially when Gene Clark left the boat at the exact moment when true authorship started to become a huge plus for pop audiences on both sides of the Atlantic. After Clark's departure, Jim McGuinn and David Crosby had no choice but to step in and increase their songwriting output. That some reviewers have considered that the two guitarists were still in the process of learning the ropes of that trade in 1966 is a little baffling given how the originals on this album could easily be deemed superior to most of Clark's endeavors. The original songs shine throughout the whole LP, leaving many earworms in their trail, from enticing opener "5D" to the John Coltrane and Ravi Shankar-inspired "Eight Miles High", a cryptic track (partly written by Clark before he left) about soft drugs--a tune logically banned on the radio--often quoted as the the first psychedelic rock song ever penned. *Psychedelic*. The word is like that magic carpet on which most of the band members sit Ali-Baba style on the album's front visual. It is a promise to fly to outer worlds of the mind, a promise that's also in keeping with the Sci-Fi themes in some of the songs. "Mr Spaceman" is for instance a tongue-in-cheek country-rock pastiche of sorts referring alien abductions. And the fifth dimension of "5D" is one inspired by Einstein's foray into theoretical physics, not lysergic drugs, contrary to audience's expectations at the time. But such misunderstanding is not necessarily a betrayal of what the song--and the album to which it inspired the name--is all about. Open your mind. Feel that awe (and possible terror, too) when the gates of perceptions are blown far wide. As hackneyed and cliché that philosophy may read today, what's impressive about the album is how fresh, effortless and spontaneous the results of that preliminary foray into a new world appear today. That pop freshness is partly explained by the fact that the Byrds were instigators of that psychedelic trend, and not mere followers of it (the rougher and more garage-oriented version of that trend exemplified by The 13th Floor Elevators came out in the exact same year, for instance). And like many other instigators they were not necessarily understood as they should have been. Short yet insistent bridges and breaks with reverse-tape-recorded guitars, raga-like flourishes and other sitar-inspired riffs abound during the record. The move was challenging for general audiences, yet The Byrds took their chances, catching some fans and even music critics off-guard. The covers were also more interesting and riskier than anything that the band had ever attempted (no Dylan anthem to be heard there). It's a risk that paid off, generally speaking, and nowhere did it pay off more brightly than on that mysterious musical rendition of a poem by Turkish poet Nâzim Hikmet, a quite obscure reference for western audiences. "I Come And Stand At Every Door" is indeed as hypnotic as it is slowly powerful, yet never does it come off as a pretention dirge, so beautiful its intricate harmonies are. At its core, it is a miniature lesson in patience and meditation, one that Crosby would use to great effects again in his own song "Everybody's Been Burned" on the next album. But it's mostly one of many tracks on the album that manages to transcend tts sixties psychedelic context to become something a little more timeless than that, and one can only regret Crosby didn't *really* explore this trend further later on. Obviously, opening your mind also encourages a spaghetti-at-the-wall approach. Even as recently as the last ten years or so, some critics have indeed complained of the topsy-turvy nature of this record marking the Byrds' transition from folk-pop translators of Dylan's repertoire into psychedelic adventurers. But complaining about any lack of cohesiveness here might be missing the point, since the twists and turns in the tracklisitng are part of the appeal here devised for receptive souls tired by standardized listening (and thinking). It's the sort of standard The Byrds had actually set upon themselves during the earliest part of their career, and one can guess they were tired, too. Fortunately, it didn't take them long to find a way out. After *Fifth Dimension*, The Byrds would even use what they had learned from the recording of this preliminary masterpiece to great effects on their two next records, often heralded as their very best. I sometimes wonder why those records, which are a bit of a mess themselves, are never judged as harshly as *Fifth Dimension*. Maybe it's because it takes *more* time for certain minds to open, and that contemporary critical reaction only caught up with The Byrds once Crosby was out of the picture, namely with *The Notorious Byrd Brothers*, leaving the two previous LPs with a more "difficult" critical reputation. But the magic carpet started flying here, with this very album. And to this mind also tired of standardized thinking, it has never flown more beautifully than when it soared like this to the lysergic skies, and beyond them. Number of albums left to review or just listen to: 971 Number of albums from the list I find relevant enough to be mandatory listens: 11 (including this one). Albums from the list I *might* include in mine later on: 7 Albums from the list I will *not* include in mine (as I think many others are more important): 9 Albums I might not be able to judge (some might end up on my final list but it's because I recognize how culturally important they are): 2]
The Byrds is another band I grew up with and loved. Memorable Bob Dylan covers included My Back Pages and Mr. Tambourine Man. Fifth Dimension is the first Byrds album that did not include a Dylan cover. However, it does include some traditional songs such as Wild Mountain Thyme and John Riley. The progression from the traditional songs to songs like Eight Miles High and Mr. Spaceman is what makes this album stand out. The Byrds' experimentation and innovation may have helped generate the Psychadelic Rock genre. However, they always kept their folk rock roots. The harmonies of McGuinn, Crosby, and Hillman are beautiful. It is no wonder that Crosby, Stills, and Nash followed with great harmonies. Finally, McGuinn's 12 string Rickenbacker adds to the signature sound of the Byrds and is in evidence on this album.
That was sweet! Such a trip!
There is such a thing as 1D chess, 2D chess, 3D and 4D most well known. But The Byrds were out here playing 5D chess, way back in 1966! From beyond far out, they proved themselves to be less interpreters of the increasingly mercurial Dylan but as the more consistent American rock band of their age (Beach Boys notwithstanding), giving us indelible gems that not only became emblematic of their era but also stood the test of time. Fifth Dimension is an important step forward.
Very good harmony and rhythm. Really liked this one!
Really solid folk rock album. I enjoyed this immensely. Rest in peace David Crosby.
PREFS : 5D (Fifth Dimension), Wild Mountain Thyme, Mr. Spaceman, I See You, What's Happening ?!?!, I Come and Stand at Every Door, Eight Miles High, John Riley MOINS PREF : Captain Soul
Top echelon stuff, this. A touch of absolute genius, when it comes to arrangement.
This album was pretty good but kind of samey to me. I couldn't really distinguish between most of the songs, but I liked the sound. I think this folky kind of rock is pretty cool and I would listen to more of it.
A nice album. Nothing of a surprise, given what I've heard of them, but this was pleasant to listen to.
funky as hell, video game music typa thing from a AAA trailer for fallout or something.
I enjoyed this and should listen again
Strong start with the title track, and I'd never heard their excellent version of "Wild Mountain Thyme" before. The rest of the album sounds like a Byrds album. Definitely worth listening to when you're in the right mood.
One of the best folk rock album of the sixties. Modern sound to it.
I really like the guitar tone and their use of vocal harmony. It's almost like a more rock-y Simon and Garfunckel.
Really enjoyed this one!
Pretty good. Not my favorite Byrds album. 7/10 1. Eight Miles High 2. Wild Mountain Thyme 3. 5D (Fifth Dimension)
Right from a Wes Anderson movie. Happy, folksy, druggy. David Crosby style harmonies. Fun, 60s listen. Lots of variety. Definitely enjoyed it.
Jai bien aime, plus experimental et pousse que l’autre album de byrds dans cette loste.3.5
Some decent tracks but probably not anything I’ll come back to. I think something that I’ll nitpick about several 60s albums on this list that are in the rock/folk/psychedelia area have production that sounds fuzzy (mostly on the guitars and vocals) and that decreases my overall enjoyment of them. 7
Nice 60s vibes. Beattles style in some parts, but less moving
Agradable y muy melódico. Un gran avance
"Eight Miles High" Released: March 14, 1966 "5D (Fifth Dimension)" Released: June 13, 1966 "Mr. Spaceman" Released: September 6, 1966
Los Beatles de California, muy crema
7/10. birb. Their version of Wild Mountain Thyme was a bit lame, actually
A classic psychedelic sound- guessing it's the inspiration for a lot of later work given the year. Somehow, it holds up today. A pleasant amount of variety in each song.
Now that's folk-rock. One of those bands that I often heard about but never listened too. I was surprised
Rather enjoyable album. 4/5
Reminded me of Crosby, Stills and Nash mixed with the Beatles a little bit. Good but I'd have to be in the mood for it.
I really enjoyed this one. Quirky and all over the place and very of it's time for sure, but what a time. Particularly like the wild guitar playing on this one.
some really wacky guitar parts (Eight Miles High) that sound like a small mammal running up and down the fretboard. love the trippy vibes, the 60s must have been fun
Good album. Nails the cool, chill, transcendental, raw, dirty energy of 60s LA. The lyrics, transitions and sound mix can get a bit clunky at times. Love the sitar/guitar sound, the harmonies abd there are some standout parts from the rhythm section. 3.5 but giving a 4.
The sound of psychedelia. Perhaps not quite as good as their earlier "classic pop" but still beautiful harmonies.
Great album! Lots of variety Favourite tracks: Hey Joe, Wild Mountain Thyme, Mr. Spaceman
Really easy listening, can't really fault it. Nothing jumps out as an absolute banger but equally nothing jumps out in the other direction either. Been listening for this for 4 hours on repeat I think.
60s album? Check. Psychedelic? Check. Has to be a 4/5 then doesn't it really? That it does, that it does.
Like so many albums from this time, you can feel the beginnings of psychedelic music
I love this. It's incredibly uneven, and feels as though there wasn't much consensus internally regarding direction. But that's the kind of album I love; a bit scattered, but intensely artistic throughout, with a real sense of building a new movement for pop music.
My late grandmother loved this band, so this album reminds me of her.
There are some original songs, some are average
Pretty good early psych rock. Didn't realize 5D was about the theory of relativity...
A solid offering, again highlighting their folky style of rock. Good guitars and harmonies against some strong songwriting.
I love Eight Miles High - a cracker of a song. And there are some other good tracks there. I'll go back to it.
Mom can we listen to The Beatles? We have The Beatles at home. The Beatles at home:
começando a chamar na psicodelia
This is my third Byrds album. It also happens to be the first Byrds album that doesn't rely on any of Bob Dylan's songs. He may not have his songs featured, but the influence is still heavily there, at least early on. Better than 'Sweetheart of the Rodeo,' not as good as 'Mr. Tambourine Man,' 'Fifth Dimension' was an interesting, sometimes psychedelic ride with the Byrds that ultimately didn't really wind up anywhere super noteworthy.
Fine record, has a few nice moments of harmony but nothing inherently outstanding.
Such an influential album. Guitars are spectacular
Var ekki að dansa neitt sérstaklega við fyrstu hlustun, en þessi vinnur verulega á við aðra. Oftast skemmtilegt létt sjöunda psychadelíurokk og ágætlega flutt. Ekkert meistarastykki, en vel áheyrilegt.
Really disjointed, but still a great listen. You've got to be in the mood for a little bit of everything. This is the one where they didn't need Gene Clark (or Bob Dylan). Best track: Hey Joe (Where You Gonna Go)
The Byrds continue their jangly folk rock sound but delve into psychedelia, who would popularize the genre. Early usages of psychedelic pop are employed here: cryptic surreal lyrics, beautiful yet ominous singing, raga-structured guitar, and cloudy repetitive instrumentals where everyone seems to do their own thing. Sounds like they're still trying to copy Bob Dylan with the vocals in "5D" and harmonica in "Captain Soul." Some early country rock with "Mr. Spaceman." As a fan of their jangly guitars and harmonious singing, there were only a few songs I didn't care for much. It's a fantastic effort as always. Favorites: Wild Mountain Thyme, I See You, What's Happening, Eight Miles High, Hey Joe, 2-4-2 Fox Trot, Why
Ahora sí, algo de The Byrds que realmente me gustó y que me hizo debatir entre 4 y 5 estrellas. Si bien todavía tienen sus momentos de voces en coro muy dulce y armonizado, el resto del disco tiene grandes momentos, en especial un sonido de la guitarra muy rasposa, como con algu de blues pero con psicodelia al mismo tiempo. Entiendo mejor como es que esta banda fue tan importante influencia.
The best Byrds album? I prefer having Gram Parsons in the mix, but this works.
Love it. Funnily enough a song from this album came on straight after finishing the Beach Boys. Again, a really nice album with summery vibes
I didn't know Spaceman was by the Byrds! Loved that song as a child. I really enjoyed this album in a number of ways, folky Beatles like.
bom album, fortemente inspirado pelos beatles
-Generally plain psychedelic rock. Nothing mind blowing. -"Captain Soul" is instrumental and they seemed to up the instruments for that -"2-4-2 Fox Troy (Lear Jet Song)" is pretty cool, lots going on in that one. There's the instruments in the left ear, pilot radio chatter/airline sounds in the right, and the vocals in the middle. That's pretty cool. -Overall just barely a 4
It all sounds so familiar – the chiming and jangly guitars, the countrified frills, the dreamy lyrics, the tension between mellowness and a druggy sort of edginess – that it’s hard to remember how new it must have sounded in the mid-60s. It sounds so much less dated than much else from this era. One likes their take on “Rider,” an often dull and flavorless ‘60s chestnut.
I liked this album, definite 60s sound - reminiscent of the Kinks for me.
Robert Pollard and Peter Buck both owe Roger McGuinn royalties.
Way ahead of their time. I still prefer This Mortal Coil's version of "I Come and Stand At Every Door" though. Not my favorite psychedelia, but still obviously a seminal record. David Crosby, man. David Crosby. Obviously McGuinn is an uttery genius too.
Surprisingly interesting album…
I love the psychedelic. Eight Miles High says it better than anything else. The rest of this albums is a bit all over the shop. Mr Spaceman delivers. The two extremely folkie tracks are folk classics : John Riley & Wild Mountain Thyme, which Dylan would perform at the Isle Of Wight Festival 3 years later. They both sound great here. The cover of Hey Joe is unnecessary, just like every other version apart from Jimi’s. Could have been a better slbum if Clark hadn’t left the band. But Eight Miles High was his departing gift. The Byrds never came to Australia, but I saw McGuinn, Hillman & Clark at the Regent in Sydney in 1978, & was not disappointed.
As always a enjoyable album, good runtime, easy listening, what's not to like
I will never complain about having the Byrds. Underrated band that pushed itself in every album. This album is slightly darker in sound than other works, but still a short and sweet 60s pop rock album.
This actually wouldn’t be my first choice of a must listen Byrds album, but it was still great
Very Beatles like. Digged a couple songs more than others.
I enjoyed this. Not perfect but a fern good listen.
Pleasing to listen to, sounds like a cross between Crosby, Stills, Nash & Young and Bob Dylan. Simple arrangements, but nice melodies.
Sci-fi themed, psychedelic Byrds? Love that, although the songs towards the end got a little dull.
Trying to trick reviewers into giving them five stars by having "fifth" in the title - but it won't work on me! Pretty good, certainly better than their other album I have heard, but no better than that.
A couple childhood nostalgia songs on here.
This album really shines when it leans into the more experimental songs such as 'I See You' and 'Eight Miles High.' The Byrds use eastern inspired melodic passages well and can play the more blues inspired pieces well. I enjoyed their cover of 'Wild Mountain Thyme' but was a bit perplexed by the inclusion of 'Mr. Spaceman,' a song which offers nothing lyrically or musically. Overall, it is a good album if a bit uneven.