The Byrds ‎– Mr. Tambourine Man

Columbia ‎– CS 9172
Vinyl, LP, Album, Stereo



1st U.S. Pressing.

The following is printed on the inner label of the LP record:

(in black lettering, located at the left center of the inner label on the record)

<-"360 SOUND" STEREO "360 SOUND"->
(in black lettering, located at the bottom of the inner label on the record)

Codice a barre e altri identificatori

  • Matrix / Runout (Side A, stamped (variant 1)): XSM110181-1A (orig first press)
  • Matrix / Runout (Side B, stamped (variant 1)): XSM110181-1B (orig first press)
  • Matrix / Runout (Side A, stamped (variant 2)): XSM110181-1D
  • Matrix / Runout (Side B, stamped (variant 2)): XSM110182-1C
  • Label Code (Side A): XSM 110181
  • Label Code (Side B): XSM 110182
  • Matrix / Runout (Side A, stamped (variant 2)): XSM110181-1D
  • Matrix / Runout (Side B, stamped (variant 3)): XSM110182-1D

Altre versioni (5 di 100) Visualizza tutto

N. cat Artista Titolo (Formato) Etichetta N. cat Paese Anno
CK 9172 The Byrds Mr. Tambourine Man(CD, Album, RE) Columbia CK 9172 US 1989 Vendi questa versione
CS 9172 The Byrds Mr. Tambourine Man(LP, Album, RE) Columbia CS 9172 Canada 1971 Vendi questa versione
62571 The Byrds Mr. Tambourine Man(LP, Album) CBS 62571 Netherlands 1965 Vendi questa versione
EMB 31057 The Byrds Mr. Tambourine Man(LP, Album, RE) Embassy EMB 31057 UK 1974 Vendi questa versione
465566 2, 468338 2 The Byrds Mr. Tambourine Man(CD, Album, RE) CBS, Columbia 465566 2, 468338 2 Europe 1989 Vendi questa versione


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08 luglio 2017
the indie rock sound before indie rock existed..great record..Pretty sure Johnny Marr was influenced by the byrds to create the smiths guitar tones.


02 maggio 2013

I was 14 during the summer of 1965, it was hot ... I remember falling asleep in the car on the way to an accelerated reading program every morning; five kids breathing the same warmed over stale air, where if not for the radio, I’m not sure I would not have survived. The Rolling Stones couldn’t get no satisfaction that year, The Yardbirds were singing about doing anything for my love, The Beatles were screaming for “Help,” and I was learning how my body moved to “I Can’t Help Myself” by The Four Tops in the full length mirror that hung on my closet door. But what really laid my ears back was The Byrds’ rendition of “Mr. Tambourine Man,” and the enigmatic black & white image of my personal god-de-jour, Bob Dylan, seeming to be singing with them on the album jacket. Bob Dylan could do no wrong in my book, therefore by virtue of being associated with him, The Byrds could do no wrong. What I didn’t know was that The Byrds were opening a new chapter in rock n’ roll that was significantly different than most anything I’d heard, with the memory of hearing Gene Clark’s “l’ll Feel A Whole Lot Better” for the first time, still echoing in my ears today.

And it wasn’t just me with my ear to the radio waiting to hear “Mr. Tambourine Man” come up in rotation, the whole world was. All and all the album is enormously pretty, filled with delicious harmonies, and jangling twelve string guitars, inspiring both The Beach Boys and The Beatles to make significant changes to their sound. This was a personal record, The Byrds had managed to take Dylan’s visions and breathe a new life into them, fueling the songs with radio friendly music ... that in many was a bit subversive for the times and the old guard values that were falling all around me.

I grew up that summer, I hid records in brown paper A&P bags [the ones that had those little carrying handles] hooked to the hangers under the clothes in my closet. I had my first kiss that summer, but he didn’t like The Byrds, and I suspect that he knew I would soon be flying eight miles high. This is one of those albums I’ve kept with me for all time, a touchstone to a distant past, a past I’d give almost anything for, just to breathe that same stale summer air again, and hear “Mr. Tambourine Man” on a crackly car radio.