Sweetheart Of The Rodeo

Yeeeeeehaw this blows!! Twang and the same old country BS. I listened to the entire thing; felt the need knock out my teeth and marry my sister.

fuuuuucking hell MORE crud from the tail end of the 60s. It's crazy that the editors of this book consciously excluded classical music (and rationalised that), but included 600 albums from this one 3-year period from 67-69, as if it's some fucking golden age of creativity. TBF this album is listenable, it's just more middling American folk/country that's too inoffensive to feel strongly about in any way, but as with pretty much everything from the late 60s, it falls into "not that bad, but why the FUCK is it on this list?" territory. Plus, this is the third album by these guys so far (and I'm not even 300 albums in). Are these the giants whose shoulders everyone else stands upon? fucking lol. 2/5 - I gave their earlier albums higher ratings, but I'm sick of them now. From now on, no album made between 67-69 will get more than a 2 unless it REALLY impresses me.

Can’t wait until the last of the boomers are gone and we can stop pretending every wet fart from the 60s was groundbreaking.

Reading this album’s reviews and I’m baffled this has a 2.85 rating. I’m even MORE baffled by all the 1 and 2 star reviews simply titled “Country sucks!” or something like that. I understand why country is i totally off putting - I myself used to despise everything it stood for. At some point, I started listening to Cash, and that softened me, but SotR is really what blew the whole thing open for me. It’s just so fucking brilliant. For all of his yuppie Harvard money, Gram Parsons was a musical genius. This record perfectly personifies the word “twang” while borrowing equally from psychedelic and rock music. From the opening punch of “You Ain’t Goin Nowhere” to the satirical gospel of “The Christian Life”, this is all killer no filler. If you write this one off because it’s “country”, you are doing yourself a HUGE disservice. Don’t be so cynical!

The Byrds' Sweetheart of the Rodeo was not the first important country-rock album (Gram Parsons managed that feat with the International Submarine Band's debut Safe at Home), and the Byrds were hardly strangers to country music, dipping their toes in the twangy stuff as early as their second album. But no major band had gone so deep into the sound and feeling of classic country (without parody or condescension) as the Byrds did on Sweetheart; at a time when most rock fans viewed country as a musical "L'il Abner" routine, the Byrds dared to declare that C&W could be hip, cool, and heartfelt. Though Gram Parsons had joined the band as a pianist and lead guitarist, his deep love of C&W soon took hold, and Roger McGuinn and Chris Hillman followed his lead; significantly, the only two original songs on the album were both written by Parsons (the achingly beautiful "Hickory Wind" and "One Hundred Years from Now"), while on the rest of the set classic tunes by Merle Haggard, the Louvin Brothers, and Woody Guthrie were sandwiched between a pair of twanged-up Bob Dylan compositions. While many cite this as more of a Gram Parsons album than a Byrds set, given the strong country influence of McGuinn's and Hillman's later work, it's obvious Parsons didn't impose a style upon this band so much as he tapped into a sound that was already there, waiting to be released. If the Byrds didn't do country-rock first, they did it brilliantly, and few albums in the style are as beautiful and emotionally affecting as this.

The other day I had a discussion about gatekeeping in Nashville and how that basically lead to Americana as shorthand for Country music that doesn’t get airplay on the radio. How important forward thinking artists like Margo Price and Jason Isbell are basically exiled from the Country charts because they are too liberal. The Byrds debuted this new sound (spearheaded very much by Gram Parsons) at the Grand Ole Opry and neither Country or Rock wanted anything to do with it. The Rolling Stone review is conflicted saying it’s too pretty to be country and too country to be rock. The charts weren’t kind to the album either. No one knew what to make of it. It would build over the years and become considered a masterpiece. It was the opening salvo of Parson’s Cosmic American music. It was a sign of things to come and the last great Byrds album. They had come a long way from the Dylan disciples bringing his message to the masses. In a way it marked the end of the folk revival. The Parsons songs are the highlights. A bright shining star that flamed out all too soon. He would take Hillman and start the Flying Burrito Brothers. This left McGuinn to carry the band (an all new band) forward. The Grateful Dead would see some success with a more Country Rock sound in the seventies. Lynard Skynard would distill the sound into Southern Rock and really make some waves with it. Artists like Uncle Tupelo would expound on the idea many years later. And then there are all them “Americana” folks from earlier (Isbell and Carlile and company) who can find a niche outside of Nashville because of a failed album by the Folk Rock titans.

When I saw it was the Byrds, I was not expecting this at all! I'm somewhat aware of this group, but I know them for psychedelic '60s rock. This was apparently a big departure for them, but they totally nail the classic country sound. Even knowing this isn't their natural style, and despite their blend of rock elements, it still sounds very authentic. This makes me want some more classic country music on the list, like Marty Robbins. Very cool album! Favorite tracks: I Am a Pilgrim, You're Still On My Mind, Pretty Polly, Lazy Days. Album art: Very intricate, I would love to see this on vinyl if only to read all the little cartoon dialogue boxes. I love the art style, it reminds me of a tarot deck. In that way, I think the Byrds manage to combine a bit of their psychedelia into this country album. 4/5

When I first saw that I got another Byrds album I was honestly pretty upset because they are wayyy overrepresented on this list even if their albums were influential or whatever. I was ready to rip this album apart but unfortunately this album rocked. I'm a sucker for country rock like this and this is about as good as it gets unless you're mainlining marty robbins. It's one of those albums where I don't really have a favorite song it was just a really fun 40 minutes of music.

An utterly charming, beautifully made recording. A country album that rescues the genre from trite sentiment, facile lyrics and insipid twanging guitars, showing a return to basics - great musicianship, melodies and skilful playing. That The Byrds changed direction is alright with me.

Can't say enough about this record, so just this: I love it, and everything it led to and influenced decades down the line. It would be hard to imagine Uncle Tupelo, Son Volt, Wilco, Alt Country in general… without this happening first.

Very soothing country rock, with particularly beautiful vocals. The decievingly simple songs obscure how well realised it is as a whole. This is the album you would show someone who doesn't like country.

You’re not making country music any better, you’re just making the Byrds worse

A quick scan of Wikipedia, along with this album, reconfirms my suspicion that I should be spending more time with the Byrds. It's amazing to me how they've managed to apply their chameleon spirit, boosting off their folk rock and psychedelic successes, to fully immerse in country. This album incorporates everything I love about the genre - the relatable storytelling, the hopeful longing, the simple and solid acoustic instrumentation - while retaining that sunny California Byrds sound. I don't know whether this album is considered by purists as part of the country canon but it will certainly be one that I return to again and again.

These guys really like The Byrds eh?! I'd rank this one higher yesterday's Byrds album, but I still feel like I could have died a happy man without hearing this one. The rockabilly style on Lazy Days was probably my favourite on this album. I'm sure there's one absolute die-hard Byrds fan who squealed with joy at the inclusion of 4 bonus rehearsal takes on this album

I love this album and only today did I realize that an childhood friend of my late dad's plays fiddle on I am a Pilgrim and the beautiful "Hickory Wind." I owe a big debt to my baby brother for introducing me to Gram Parsons!

No skipper. Every track is a hit, and you can really hear how this album influenced basically an entire genre

Listened Before? No Album Art: 3 / 5 (calls to a simpler time; really makes me wonder what I'm getting into) Looks like this album is later into the Byrds career than those that produced hits that I've heard before (Turn! Turn! Turn!, Mr. Tambourine Man, etc.). Opens with You Ain't Goin' Nowhere, which is a country-rock twang with pretty harmonization on top. This could easily be mistaken for some Workingman's Dead era Dead. So I've always understood The Flying Burrito Brothers "The Gilded Palace of Sin" to be one of the earliest Folk Country albums; however, this one predates it by a full year. And looking into its history, it appears this is album pulled Gram Parsons (also from The Flying Burrito Brothers) into its fold. Makes sense there is such a clear continuity of the sound here. Beautiful writing and pretty arrangements throughout. I have a weakness for Folk Country and this is well done. You Don't Miss Your Water is an early highlight. Slow, but earnest progression with bluesy lyrics, beautiful harmonization, and fantastic mixing that layers the plunky piano, trudging bassline, and acoustic guitar to perfection. Yeah, this is the kind of album I can fully sink myself into and just vibe with. Song after song, I am pulled deeper into its orbit. I'm halfway through at Hickory Wind and loving it. While I could see how this might not be someone's cup of tea, I think the songwriting is immaculate (lyrics and arrangement), the production quality is superb for the era, and there is a range to the songs that Parsons goes on to refine in his follow on work with Flying Burrito Brothers. One Hundred Years from Now features a more upbeat jam with some clean Garcia-esq guitar work. I'm completely consumed by this album. The Gilded Palace of Sin is one of my favorite albums for a long drive, and this feels like a natural continuation (in the form of precursor) from Gram Parsons. While this album does not contain as many natural high points as Gilded Palace, it is extremely solid through and through. On a relative scale, Gilded scores higher in my mind, but this is a very high 4 (like 4.8). I'm going to give it the nudge to a 5 and plan on ripping through it all summer. Added to Library? Yes Songs Added to Playlists: - You're Still On My Mind (Sunny-vibes)

I've always enjoyed the Byrds for the cryptic jangly guitar work, vocal harmonies, and keen pop sense. I've never heard his but seen the album float around in various places for a long time. I loved this. The inclusion of Gram Parsons, Jay Dee Maness, and Lloyd Green was a perfect, and logical, fit. Mostly covers, and a traditional tune, this 60s psychedelic pop group made a really solid and genuine country (or country rock/Americana) album. You would think it would get old after a while, but Sweetheart of the Rodeo does a great job of keeping the listener interested with each song introducing some other element or variation with the best of it blending the bands older style with the western twinge. This brought to mind Grateful Dead's American Beauty and, ironically, David Crosby's work on Deja vu.

I loved this! Not what I expected from The Byrds. But then again I expected that.

Admittedly, I am extremely biased about this album, as it already is one of my favorites of all time. I love the Byrds as a whole, but this album holds such a special place in history and in my musical journey. I think what is lost about this album on most people is the context of this album, a rock band (who had dabbled in country before) going full country, with one of early country rock's seminal figures, Gram Parsons, joining in and putting forward his most iconic song, Hickory Wind. Ultimately, is this the most mind blowing album now? Most likely not. In fact, I think at this point, I prefer Parsons' output with the Flying Burrito Brothers more. But it was very groundbreaking at the time, and is one of the most important albums of the genre. I mean, Gram Parsons, Roger McGuinn, and Chris Hillman? It doesn't get much better than that.

Ohhh helll fucking yeah!! Kinda crazy this was the next album. Yeah love this album either you get it or your don't. The fact it was released in the same year as the Notorious Byrd Brothers is wild.

Once upon a time, I would have hated this. Ugh; country music! But Gram Parsons was my entry point to understanding country, and I fell in love with his solo albums. I have never gone back to listen to this album, even though it is highly critically rated. And now I'm wondering why I denied my self the pleasure of this absolute classic? I love the songs, I love the performances. I don't even mind the songs that McGuinn re-recorded the lead vocals on (I actually think their voices are pretty similar). The chutzpah of Parsons to come in as a 22 year old piano player (that didn't last long) and essentially take over an established and highly successful band, change their musical direction, help write and record a genre-establishing classic, and then light out to do his own thing. Amazing! Quite a talent, if an unreliable human being.

I had never listed to this album and I'm so glad I have

I love this record.

The Byrds started their career with 'Mr. Tambourine Man' and became over the next few years one of the most important bands to come out of the first major Folk Rock scene. They, over the time, combined their Folk sytle with many genres including Psychedelic Rock or even bits of Jangle Pop. But after they pretty much did all that was possible with that genre they had to move on somehow. And they did by inventing a new genre: Country Rock. It seems pretty weird that it took more than three years for Country Rock to fully emerge from of Folk Rock but The Byrds gave it life with this album. And multiple songs on the album are hardly even considered Country Rock but just plain Country. And although this album was very influential, it isn't The Byrds best or even most influential work. It is an alright standout in their catalogue but they have made better albums before. The album starts with the Bob Dylan song 'You Ain't Going Nowhere' that already includes the classic Country guitar sound as well as typical stacked vocal harmonies in the chorus. It's a nice song but nothing too crazy but they do make the lyrics justice with the chorus. 'I Am a Pilgrim' sounds even more country with the addition of a very present banjo. Because the song is a traditional folk song, they added Mandolin and general style do make it feel like pilgrim song. Again, it's quite but doesn't knock your socks off. The next song 'The Christian Life' is a song the Louvin Brothers made me hate with their album 'Satan is Real' but this version is much better and is listenable but I have some personal problems with the lyrical content but the instrumentation does make up for that. 'You Don't Miss Your Water' is great in both vocal and instrumental regard. I love the chorus and the harmonies as well as the piano in there. Easily one my favourite songs on the album. In comparison 'You're Still on My Mind' feels like just another standard country song that doesn't really get me excited although that definitely was the intent with this one. I just don't really think that it's a very interesting song. The closing track of Side 1 'Pretty Boy Floyd' has much more Bluegrass influence than other songs and it does honestly work with their style but overall a kind of forgettable piece. 'Hickory Wind' opens the second half as one of the two songs on which a member of the band as written (or co-written in this instance) the lyrics for the song. It is an alright song that does loose itself very fast and feels kind of messy. They return to a much more rock sounding approach on 'One Hundred Years From Now' that does greatly benefit from that and is one of the better songs on Side 2. This is the other song written by one of the band members. The momentum that was build isn't really build on as 'Blue Canadian Rockies' is again very basic. Not enough rock for the song to work with them behind the instruments. Similar with 'Life in Prison' although this comes off way more genuine than the song before. Still it isn't the kind of country song that really strikes with great songwriting. The closing track 'Nothing Was Delivered' does safe the album a little bit as this is a really nice addition to the album and closes it off with another well made piece with great harmonies and instrumentals. favourites: One Hundred Years From Now, You Don't Miss Your Water, You Ain't Going Nowhere, Nothing Was Delivered least favourites: Hickory Wind, Blue Canadian Rockies, Life in Prison, You're Still on My Mind Rating: strong 5 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

One of those "classics" I've never spent any time with. A few songs are decent but it mainly sounds like parody and gets quite irritating. Gram Parson's solo records are a bit better, probably due to Emmylou Harris. Generous 3

Sounded more like a parody of a country album than the pioneering country rock album it was (according Wikipedia) but it sounds like they took a huge career risk to make it so I respect that.

Everybody’s favourite cover band, ey? Thoroughly ruined by auteur theory, I struggle to get over the Byrds’ paucity of originals, though I love “Eight Miles High”; you may not think me an idiot for that. This album baits my prejudice out: while I appreciate what their transformation “Bells of Rhymney”, this sounds like standard plink plonk country rock to my untutored lugs, albeit with hippy vocals. I’ve decided to be a jerk and just listen to this once, and let this mean opinion ossify. Simon, waiting for your refutation. Before listening to this I bought “The Gilded Palace of Sin” in anticipation of wanting to hear more Gram Parsons. Now I’m all ha ha the Byrds hired a slide guitarist and a plink plonk pianist to go country, and then had the piss kicked out of them at the Grand Ok Opry for being poseurs.

Et revoici Gene Clark et sa bande d'attardés. Cela fait déjà trois albums générés pour ce groupe et cinq pour Clark. Le moins que l'on puisse dire, c'est qu'on commence à en avoir ras le cul. J'ai d'ailleurs écouté cet album pendant un moment d'énervement. Je vous explique le contexte. Alors que je devais me rendre à Paris pour y passer mes annuelles vacances de la Toussaint, mon train partant de Kassel-Wilhelmshöhe en direction de Mannheim eut un retard d'une trentaine de minutes. De ce fait, je dus descendre une station plus loin et prendre un autre train depuis la gare de Karlsruhe. Comprenant rapidement que j'allais devoir patienter une bonne heure, je décidai de lancer l'album des Byrds. Au retard intellectuel de ces pitres vint s'ajouter des retards ferroviaires successifs : d'abord cinq minutes, puis dix minutes, puis quinze, vingt, vingt-cinq... J'étais à bout de nerfs. À mi-album, alors que l'impatience et le dégoût provoqués par les sons qui parvenaient à mes oreilles commençaient à se lire sur mon visage, certaines personnes vinrent me manifester leur soutien : "Les Byrds, hein ? Courage..." pouvais-je lire sur leurs lèvres formant ensuite un sourire compatissant. La seule bonne nouvelle résidait dans ma non-obligation d'écouter les derniers morceaux puisque il s'agissait de répétitions de chansons déjà jouées.

Straight up country music. I’m baffled.

This ain't for me, chief

"The Byrds' move away from rock and pop towards country music elicited a great deal of resistance and hostility from the ultra-conservative Nashville country music establishment" and from me

I feel like this was made as a peace treaty between racist Southern grandmas and hippie rockers. /s

I have history with this one. I’m a Gram Parsons guy, hook line and sinker. Stayed at the Joshua Tree Inn, followed the albums, devotee through and through. This is the one that busted it all wide open for me. By happenstance, not plan, the Byrds brought musical styles tighter and caught some lightning in a bottle. The psychedelia of ‘68 LA, trust fund hipster culture of Parsons, and an unbelievable lineup of country/bluegrass pickers in Nashville. For all the firsts and mythology of Opry scorn and genre big bangs this one really does give something clean. It’s a listen for the headphones. Musicianship is second to none, lyrics and themes are pure Americans and the vocals are accessible. Young men pining for what is real (or at least what they want real to be for someone, somewhere if not for them). This one does it for me!

Really surprising how much I liked that one. Just a solid album from front to back. I'm surprised that this is one of the first examples of this sound, so I can excuse the lack of original songs since they are doing something different with them anyways. Rating: 4.7

Peak Gram Parsons and a second peak for the Byrds

my favorite country record i've ever heard. it immediately made me think of my favorite band pinegrove & i can hear they drink so much of their influences from this... just a joy to listen to. will be returning to it no doubt!

2nd Byrds album in three days. Definitely in the minority here. Loved this. Solid country gold. Much better than 5th Dimension.

Was excited to get this and I loved revisiting it.

Man, I do not understand the lack of love for this album on here. Right at the heart, and near the start, of the alt country.

i was confused bc this is not the sound that i thought The Byrds had, but wikipedia explained it for me. interesting to think that the “long-haired hippies attempting to subvert country music” might have launched the genre of alt-country/americana

Surprise hit. Yeehaw

Reverent without being derivative. Pretty neat.

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This is the Byrds’ 6th album, and it’s the furthest I’ve gone into their discography so far. Honestly, this album feels like a completely different band. The Byrds are usually known for blending psychedelic rock and folk, but this album is straight-up traditional country. Back then, it might have been called country rock, but by today’s standards, it sounds more like classic country than most modern country music. I’ve listened to a lot of their solo work, so I knew they had this in them, but this one still felt like a big leap. That being said, it’s a really good album, and I enjoyed it a lot. Just don’t go into it expecting it to sound like their earlier albums.

BEST ALBUM EVER. Eeek! >.<

The Byrds with the addition of Gram Parsons was the perfect alchemy for this country rock classic. Parsons was one of the pioneers of country rock and sadly, through mis-adventure, left us way too soon. I love everything about this album and though Parsons had parted ways with the Byrds by the time this album was released I'm so thankful to have discovered him through this recording so I could explore his music even further. This is more a Gram Parsons album than it is the Byrds but nonetheless it's an important album and well deserves to be on this list.

Wantlist

I have never really paid much mind to The Byrds. I am not sure if I even realized that Gram Parsons was in the band for a minute. But this is a great album, and just feels like a bonafide classic. Just country-rock bliss.

Gram Parsons > David Crosby ...and it ain't even close

This is an all time great. The start of country rock. This album is always a great listen.

Just pure Americana goodness. Nothing bad to say about it.

great lp

Never knew all the history of folk, country, and rock & roll that was wrapped up in the making of this band and record. Loved it.

Cool, but I'd rather just listen to Guthrie, Dylan, and Parsons.

The Byrds really should have been called the Chameleons given how many times they changed their sound. Between the Gene Clark folk pop era, the David Crosby psychedelic era, and this the Gram Parsons country rock era (and then whatever miscellaneous came after that), they really did not fear change. Gram Parsons was the kind of lightening-in-a-bottle talent that lived a short life but made anything he touched into gold. This album, along with his solo albums and time with the Flying Burrito Brothers, are all nearly flawless. He ushered in the country rock genre, making a beautiful marriage between tragic country storytelling and the sweetness of steel guitar. The album sounds so cohesive, you wouldn’t know that it’s such a mix of borrowed songs and covers with only two Parsons-penned originals. Excellent.

The music of the The Byrds gets a big boost from the addition of Gram Parsons to the band. Great country rock!

Five easy stars.

Great album. Maybe I should listen to more country music because this was so fun to listen to, every song was enjoyable

It's interesting to me what time does to an album, how something that was audacious in how it bucked convention when it was made, can be viewed by some now as utterly conventional. If this album doesn't quite land with everyone here, no matter. Where it did land was substantial, and these songs can be heard in the bones of a lot of music that came after it, both in mainstream country and in roots/alt/outlaw/Americana country genres. That's quite a feat considering that the Byrds were considered longhaired hipster interlopers when they attempted to bring this sound to Nashville. It really is a thing of loveliness though. Every song here is a gem, no filler. The songs are warm and engaging, with gorgeous guitar work, earnestly expressive vocals, and an off-kilter sweetness and charm that's hard not to enjoy. I love this more every time I listen to it. Fave Songs (All songs, from most to least favorite): You Ain't Goin' Nowhere, You're Still on My Mind, Nothing Was Delivered, You Don't Miss Your Water, Life in Prison, One Hundred Years from Now, The Christian Life, Hickory Wind, I Am a Pilgrim, Pretty Boy Floyd, Blue Canadian Rockies

Gram parsons. Massive country fan. Would have made it to Nashville as royalty had he lived despite his difficult qualities as a human being and the poor reception at the Ryman. Elvis didn’t go down well either and now the Nashville country music museum has one of his limos We forget sometimes just how good the byrds could be. Usher produces this album well and while most of the original byrds have moved on (David Crosby being famously replaced by a horses bottom on one cover) this is a pretty fine lineup. The great John Hartford on fiddle banjo and mandolin is a highlight. This is a great album. Perhaps the best the Byrds did. 4.5 stars.

Once upon a time, I would have hated this. Ugh; country music! But Gram Parsons was my entry point to understanding country, and I fell in love with his solo albums. I had never gone back to listen to this album, even though it is highly critically rated. And now I'm wondering why did I deny myself the pleasure of this absolute classic? I love the songs, I love the performances. I don't even mind the songs that McGuinn re-recorded the lead vocals on (I actually think their voices are pretty similar). The chutzpah of Parsons to come in as a 22-year-old piano player (that didn't last long) and essentially take over an established and highly successful band, change their musical direction, help write and record a genre-establishing classic, and then light out to do his own thing. Amazing! Quite a talent, if an unreliable human being.

Excellent honky tonk album from a band I thought was 60's Brit pop. Need to revisit often!

Absolute classic and best countryrock album ever, a notch above earlier 1001 albums from Flying Burrito Brothers / Gram Parsons: more variety in the songs / song-writing, better vocal harmonies, Roger McGuinn has the better voice etc.

love the byrds...the harmonies ..Roger McGuin's Rickenbacker 12? hell yeah

Gram Parsons really pushed the Byrds fully into country resulting in the first notable country rock album. The dominance of Parsons vision, to the detriment of Roger McGuinn's vision of a double album exploring the musical heritage of America, caused a rift between him and the band which led to his departure before the album was released. The finished album is stunning from the fantastic covers, to the songwriting, and to the brilliance of the session musicians. This album accomplished what Parsons set out to and remains and essential country record.

Glorious. 5 stars.

Great album. Love the mix of country, bluegrass, folk and rock.

this album was more than i expected. i listened three times. i really enjoyed the dark themes without the dark instrumentals. HONKY TONK!!!!!

Outstanding. Very enjoyable.

Always a good listen

Cowboy country. Fun.

I LOVED this.

Loved it

Right as I was pining for the old feel of Austin & San Antonio country, this album pops up. I'm impressed with this Californian band, and it seems Gram Parsons had a lot to do with the sound on this album. When I think of country rock, I usually think of The Rolling Stones, but I'm stunned at how good this is. I love classic country & country-rock, so I'm adding this to my favorites. 4.5 stars

Ahh I remember my first rodeo sweetheart. Debra was a 33 stone monster, who ate 13 portions of fish finger sandwiches every day. She was airlifted into the rodeo by a team of highly skilled drones and four contestants from World's Stongest Man on stilts. I couldn't take my eyes off her breathtaking beauty. Literally breathtaking for her, as she struggled to breathe, poor love. She was plonked down on the row in front of me and I could smell her body odour as she panted and wheezed, wondering where the fuck she was. It was love at first sight. I climbed on her back and yelled with delight. She barely noticed, as she was suffering a gigantic heart attack at the time. She died and I was left devastated.

Släpigt och suveränt.

Really good. This album ushered in the country rock genre.

One of my favorite albums of all time!!

I mean. Historical significance aside, every song is a banger. The Dylan songs are the best. Cosmic American music.

Maybe not the first country-rock album, but the one that inspired countless bands and artists. Just a gorgeous album.

Clouds so swift, rain won't lift Gate won't close, railing's froze Get your mind off wintertime You ain't goin' nowhere - Bob Dylan

Standouts - The Christian Life, You Don't Miss Your Water I liked this album a lot, the folky/country sound was really nice and the vocals were pretty classic

Was great back then and still great

A real delight! Great country music.

This was a surprise. Had no idea they had an album like this. Wasn’t sure at first but I did enjoy.

This might be the best Byrds, and and the one that misleads a person into thinking the early Byrds must be alright too. Lots of things about this rock. Lloyd Green's steel parts are rad. "Pack up your money and pick up your tent" rocks. This particular country rock sound rocks. The most Byrds thing about this is that there are two Dylan covers, and the one that it opens with is the best song on the album. Would be 5 stars if they were the ones who wrote You Ain't Goin' Nowhere. music: appreciated. (⌐□_□)

Yesterday, my group got Black Sabbath's debut album, widely considered "the first metal album." Now, metal is a pretty mythologized genre, so it was pretty easy for me to get caught up in the legend and reverence towards it. I mean, goodness, it inspired me enough to devote 2/5ths of a 1,500 word review to a narrative adaptation of the album's title track, as if most people would find it at all relevant. Then you have this album, meanwhile. It holds a similar-ish place in music history, being where the subgenre of country rock kicked off. In fact, it seems the band was rejected for being innovators; Nashville viewed them as a bunch of hippies trying to invade their space, and I doubt a lot of rock people knew what to do with all of this country music. So you think that'd get something similar from me — well, not a whole-ass narrative, but at least a similar level of reverence. But whereas I'm very aware of the mythology of metal and do kind of buy into it... Don't get me wrong, I'm also aware how important country music has been, and of its place in American music. It's just... I've never heard country music as anything but just country music. Y'know? I don't wanna call country music all "the same" and act like there's no difference from artist to artist, but, like... Honestly, country strikes me as maybe the hardest genre for me to talk about. Like, rap can be difficult for me to talk about 'cuz that's a culture I'll never have a full and/or proper understanding of. Jazz, meanwhile, feels like it requires a golden ear to hear the subtle intricacies in playing and, like, modes. With both of those, though, I can at least appreciate flow, beats and lyricism in the former, and in the latter I can get lost in some good melodies and soundscapes. Country, though? Unless there's some super notable context about it, like Johnny Cash's prison albums, I often don't know how many unique things I can say about one album without repeating myself from others. So, like, this album specifically. I mean, yeah, it's country rock. I do like myself some country music, so I do rather like myself this. The fiddle, the slide guitar, the melodies... It's all there. Unless being melody-first is making me stupid and miss some particularly excellent story-telling — and most of these are covers, anyway, so I'unno how much I could praise **this album** for any of that — I just don't know what else I'm supposed to say about it. What makes this all even wilder to me is the fact that this is the **third** Gram Parsons country album my group has gotten now, and it hasn't even been a month since the last one. I know he's pretty well respected, not just for helping found country rock, but also for something he called "Cosmic American Music"; I've read as much. However, between a posthumous solo album, the first Burrito Brothers album, and now this — and of course I mean no disrespect towards the man, but I just can't figure what all the hype is really about. He makes good country music, sure. What else am I supposed to get from him? (And I hafta consider this album as a Gram Parsons album, by the way. This is also my group's third Byrds album, but besides some Bob Dylan covers, it's so far-removed sonically from what I remember, say, FIFTH DIMENSION sounding like that I can't really consider them together.) This might read like a pretty frustrated review. I mean, I spent less time talking about the album than I did complaining about my struggles writing about country music. But I will reiterate: I **do** like this album. Again, it's country music. I dig that sound, and this album is really good at making it. My biggest issue with it is just that I don't hear much special about it, and that's more a gripe with country albums in general (or at least the ones this Randomizer has been giving me so far). That's not enough for me to push this any lower than a 4. It's just, I'unno. 366 albums into this Randomizer, I wish I had more specifics about this kinda stuff. Well, hey, there's still 635 left on this list, and tomorrow's a new year, so I guess I'll just hafta wait and see if I get some or not.

I’m at a 4.5 that I’ll bump down to a 4, but it’s a pretty recommended 4. I’ve really liked Gram Parsons. I’ve been sort of ambivalent towards The Byrds. This is a collaboration album, and my expectations were decent, but not super strong. I do think this album exceeded them, but not to the point of a 5. This is good country music, but there are two things that sort of pull this album down to a 4 for me. The first is that this album (and I cannot believe I’m saying this as a bit of a knock) is that the soundscapes on these tracks lean too much towards country, and don’t find a great balance between the rock sensibilities of The Byrds, and Gram Parsons’ general style. I know it’s weird to say “the country album has too much country”, but Gram Parsons himself clearly learned from this experience, and really refined the blend I think he was searching for on both the Flying Burrito Brothers album we got (1969), and his last album, Grievous Angel (1974). In theory, this combination should work remarkably well (and it does, for the most part) but the blending of genres isn’t as effective here as it could be, and that’s slowly noticeable throughout the album. However, when it works, it works – the best execution of it is on “One Hundred Years from Now” with that steel guitar solo, & “Nothing Was Delivered”, with a more rock-heavy percussion style. Past that though, this is mostly just country, which left me a little disappointed. My other knock is simply in the vocals, and I’m realizing, with this album, how much a distinctive vocal twang can really make or break the general feel of a country soundscape. When Gram Parsons takes lead vocals here, everything simply feels right – his vocals anchor everything perfectly, and he’s got the best tracks on the album. Whenever McGuinn or Hillman take lead, the tracks are still good, but there’s just something that feels a little off (save for You Don’t Miss Your Water & Blue Canadian Rockies) – I can’t really place what it is, and maybe it’s just a bit of bias involved, but they don’t fully anchor themselves as in sync as they could be with the instrumentation. The vocals across this album are still good, but they’re not as consistently strong as they could be, and they lean more towards the rock side of the instrumentation that simply isn’t quite there. Hence, the 4, but make no mistake – it’s a pretty good 4. Those other albums I mentioned would not be as good or as strong without this one leading the way, and what’s here is still a really enjoyable listen, and a pretty breezy 32 minutes. It’s just not as good as it could be, and it falls a little short for even my country-biased ears, just because it doesn’t fully commit to a true blend of the genres. I still liked it, though, and I do recommend it. It could even go up to a 5 if a few tracks just hit better at a later point.

I found this one hard to rate. I did enjoy it, but, I don't think I will revisit. It was fine country but not anything where I was blown away

I love David Crosby, but the Byrds first (I think) album without him is probably my favorite that I’ve listened to. Gram Parsons has one of his too few great moments here. It’s an important album for much of the music I love in the alt-country and psych-country genres.

Gram Parsons joined the band at this point in their history, and they completely embraced the country rock sound with this album. Definately a change from their prior albums, which were heavier to psychadelic rock. I mean, they always had a few country rock songs on each of their older albums, but this album is fully committed to the country sound. It is fantastic! Favourite songs: Pretty Boy Floyd, Lazy Days, I Am a Pilgrim, Pretty Polly, Life in Prison, You Ain't Goin' Nowhere, Blue Canadian Rockies Least favourite songs: The Christian Life 4/5

Rich, warm, 100%-authentic, and just about note perfect. Nearly flawless in terms of what it’s trying to accomplish, but narrower than earlier Byrds records. Parsons focused the sound, sure, but might have also curbed some of the ambition. More bands should blend cuts by Haggard and Dylan. Best cuts are the Dylan covers, "The Christian Life," "Prison Life," "You'll Miss Your Water" and "Hickory Wind" though it's safe to say that we've more less reached peak-GP to the point he's trending toward the overrated. Still he really soared during his three-month tenure as a Byrd. And it shows just how good were McGuinn and Hillman – the heart and soul of the band for sure.

I'm not really a fan of country music but I certainly recognize a good song when I hear one and this album has a lot of good songs. Do the Byrds add something to the origanal version, well I can't answer that because I don't know the original versions but I do know that they take the material here and render it with class and beauty. The harmonies are beautiful, the arrangements are well conceived and the recording and playing are first class. Can't give it a full endorsement because, you know, it's country music and for whatever reason I just dont like the sound of a lap steel guitar which dominates the songs but I still managed to enjoy the hell out of it. 4 stars.

I feel like I’m in a covered wagon but in 1968 and I like it. 4/5.

## In-Depth Review of *Sweetheart of the Rodeo* by The Byrds *Sweetheart of the Rodeo*, released in August 1968, marks a significant turning point in American music, particularly as one of the first albums to be widely recognized as a country-rock record. This sixth studio album by The Byrds, featuring the influential Gram Parsons, showcases a blend of traditional country music with elements of rock and folk, creating a sound that would resonate through subsequent decades. ### **Lyrics** The lyrical content of *Sweetheart of the Rodeo* reflects themes of heartache, longing, and the complexities of American life. The album includes a mix of original songs and covers, with notable tracks such as: - **"You Ain't Goin' Nowhere"**: A song originally written by Bob Dylan, it captures a sense of existential wandering and resignation. - **"Hickory Wind"**: An original by Parsons, this track is rich with nostalgia and yearning for home, emphasizing emotional depth through its storytelling. - **"I Am a Pilgrim"**: A traditional song that speaks to the journey of life and faith, showcasing the album's roots in Americana. The lyrics often evoke imagery associated with rural America and personal struggles, resonating deeply with listeners who appreciate storytelling in music. The combination of Parsons' and McGuinn's vocals adds a haunting quality to these narratives, enhancing their emotional impact. ### **Music** Musically, *Sweetheart of the Rodeo* is characterized by its use of traditional country instruments such as pedal steel guitar, banjo, and fiddle. The production incorporates these elements seamlessly into The Byrds' established sound, which had previously leaned towards folk-rock and psychedelic influences. Key musical features include: - **Instrumentation**: The album features prominent pedal steel guitar played by Jay Dee Maness and Lloyd Green, which adds authenticity to the country sound. Fiddle and banjo are also utilized effectively to enhance the traditional feel. - **Vocal Harmonies**: The Byrds are known for their distinctive vocal harmonies, which are on full display throughout the album. Tracks like "You Ain't Goin' Nowhere" showcase their ability to blend voices in a way that feels both fresh and timeless. - **Production Quality**: Produced by Gary Usher, the album maintains a polished yet organic sound. Usher's approach allows the instrumentation to shine while keeping the vocals front and center. ### **Themes** The themes explored in *Sweetheart of the Rodeo* are emblematic of a broader cultural shift occurring in America during the late 1960s. Some key themes include: - **Cultural Identity**: The album represents an intersection between rock and country music, challenging genre boundaries and reflecting a changing musical landscape. - **Nostalgia and Longing**: Many songs express a yearning for simpler times or lost connections, resonating with listeners who feel similarly displaced in a rapidly changing world. - **Rebellion Against Norms**: By embracing country music—a genre often viewed as conservative—the Byrds were pushing back against the expectations placed upon them as rock musicians. This act of rebellion laid groundwork for future artists exploring similar themes. ### **Influence** Upon its release, *Sweetheart of the Rodeo* received mixed reviews and was not commercially successful; however, its influence has grown significantly over time. It is now regarded as a seminal work that paved the way for several music movements: - **Country-Rock Movement**: The album is credited with establishing the genre known as country-rock. Its blend of styles influenced bands like The Flying Burrito Brothers and later artists within the alt-country movement. - **Legacy for Future Generations**: Artists such as Ryan Adams, Wilco, and even mainstream acts like The Eagles have cited *Sweetheart of the Rodeo* as an inspiration for their own work. Its impact can be seen in how country music has evolved to incorporate rock elements. - **Cultural Significance**: The Byrds’ willingness to experiment with their sound has encouraged a more inclusive understanding of what constitutes American music. It has opened doors for artists across genres to explore hybrid musical forms. ### **Pros and Cons** #### **Pros** - **Innovative Sound**: The album successfully merges rock with traditional country elements, creating a unique sound that was groundbreaking at its time. - **Emotional Depth**: Lyrically rich with themes that resonate universally—such as love, loss, and identity—making it relatable across generations. - **Musical Cohesion**: Each track contributes to an overall narrative that feels cohesive despite its varied influences. #### **Cons** - **Commercial Reception**: Initially failed to achieve commercial success or widespread acclaim upon release; many fans were resistant to its departure from psychedelic rock. - **Limited Original Material**: While it includes some standout originals by Parsons, much of the album consists of covers or traditional songs that may not appeal to all listeners seeking innovation. - **Polarizing Genre Shift**: Some critics argue that The Byrds’ embrace of country music alienated their original fan base who preferred their earlier folk-rock style. ### Conclusion In retrospect, *Sweetheart of the Rodeo* stands as a landmark achievement in music history. Its fusion of rock and country not only defined a new genre but also paved the way for future explorations within American music. While it faced initial criticism and commercial challenges, its enduring legacy continues to influence artists today. Through its heartfelt lyrics, innovative instrumentation, and thematic depth, *Sweetheart of the Rodeo* remains an essential listen for anyone interested in understanding the evolution of modern music.

Kanskje jeg har blitt gærn, men dette var jo veldig kos

Easy listening at its finest right here. Didn’t give the whole extended version of the album a try, but the original is worth the listen

Welp, back to the late 1960's with music that may or may not deserve to be in this book. This is a definite change of direction for the Byrds due to Gram Parsons essentially taking over the band. I can't decide if this one deserves to be in the book or not. It's a change of direction for the Byrds but is it a change that deserves placement as one of the albums we must hear? If you like the Byrds, then yes, you have to hear this album. This list isn't intended (I would not think) to include albums a person has to hear if he/she likes a certain band. I think what the Byrds do here is much more notable on Gram Parsons' solo records. I lean toward leaving this one out and covering early country-rock with Grievous Angel. There are too many Byrds albums in this book anyway. On to the music...it's pretty damn good. Hickory Wind, You Ain't Going Nowhere, The Christian Life, You Don't Miss Your Water and Nothing was Delivered are all great songs. One Hundred Years From Now is an old school Byrds song with just enough jangle to remind you this is the band that wrote the book on jangle pop as well. While I don't think this album should be in the book and isn't a must-listen, as there are more important representations of country-rock in this book, this is still a pretty good album.

i like this one. amazing vibes. 8/10