Various Artists - Playboy After Dark (CBS Television City, Los Angeles, CA), Volume 2: September 1968

Here is the second volume out of eleven, in which I collected songs from episodes of the "Playboy After Dark" T.V. show.

In the write-up to the first volume, I explained a lot about the music on this unusual show. Here, I want to discuss some more about the show in general, to give some context and understanding about the music that was performed on it.

First off, the show has not aged well. AT ALL! In the 1960s and 70s, "Playboy Magazine" was seen as cool by many. The owner, Hugh Hefner, promoted an entire hedonistic lifestyle, and made himself the central character, turning himself into a household name. He died in 2017 at the age of 91. He was lucky he died when he did, because he missed the cultural reckoning of the "Me Too" movement that began after he died, starting with the public exposure of Harvey Weinstein only about a month later. It turns out that Hefner was a pretty horrible person. He had sex with countless thousands of women. In most cases, it was a blatantly transactional thing: women slept with him hoping that would give them a leg up to fame and fortune. Many hundreds of women in his media empire have signed onto letters defending him. But it has gradually emerged that in some cases, at least, things got ugly. He used grooming techniques to manipulate women in all kinds of awful ways. If you want to know more, check out a documentary series called "The Secrets of Playboy," released in 2020.

The reason I mention all that is because knowing what we know now sheds new light on how the "Playboy After Dark" T.V. show is perceived. I tried to skip past all the non-musical parts. Even so, I couldn't help but catch many cringey moments as I went looking for the songs. Although there was no nudity on the show, since it was on a major T.V. channel, there were scantily-clad beautiful women as scenery almost non-stop in every episode. Luckily, if you just listen to the music, you can avoid nearly all of the cringe. I made sure to only include the songs, even though there often were brief interviews with the musical stars, because the talking was usually, well, cringey too.

The T.V. show had a concept, which was that it tried to present the show as a party held in Hefner's Playboy mansion. You, the viewer, were supposedly an invited guest who got to have a fly on the wall perspective of the good times. The very start of each episode showed a limousine pulling up to a building, the door opening for you, and you got taken to the party where Hefner personally greeted you, and so on, all through each episode. The show wasn't actually filmed at the Playboy mansion, which was located in Chicago at the time. (In the early 1970s, shortly after this show finished, a new mansion was bought in Los Angeles and the Chicago one was slowly phased out.) Instead, to make this believable, exact duplicates of many rooms of the mansion were recreated in a Los Angeles recording studio. Every episode stuck to the party format, with dozens of people mingling about. (I noticed that most of them were the same people from episode to episode.) 

A lot of this obviously was contrived, especially many corny lines scripted in advance spoken for the T.V. cameras. But it seems that, to some extent, there was a real party going on. If you're going to have dozens of people lingering around together for the hours and hours it takes to film each episode, it's only natural that they would socialize. Normally, for shows like this, each star would appear when it's time for their performance, do their performance, and immediately leave. But interestingly, as I watched, I noticed that the various musical guests that appeared for each episode, and other performing guests, like comedians or famous actors, were in background scenes of the crowd too, just hanging out and talking to other people all throughout the episode. So you can see strange situations like Jerry Garcia of the Grateful Dead watching comedian Sid Ceasar make jokes, or actress Patty Duke dancing to the music of Ike and Tina Turner. The number of famous people from different entertainment fields crossing paths on this show is truly strange to see.

As part of this party conceit, supposedly, every now and then, some famous musical act would break into song to entertain those other party-goers. Often, Hefner would have a brief conversation with the lead singer and then ask them to play a song. Then the audience would be the fifty or so party-goers, usually completely surrounding wherever the musicians were playing. So you get bizarre situations like soul singer James Brown singing in the middle of a living room, with people (mostly beautiful women) sitting all around him, so much so that he could hardly move around like he normally did on stage.

The reason I mention all this is because it is relevant to how these songs were performed and recorded. At first glance, it seems like everything must have been lip-synced, given chaotic conditions like that. But on closer inspection, I believe the vast majority of it was live. Perhaps there were hidden microphones when there were no obvious ones in sight, and the crowd members were told to stay totally quiet. I say that because time and time again, I watched the lips of singers and I was convinced the performances had to be live. I've seen tons of lip-synced performances putting albums together for this musical blog, and I believe I can notice the slight timing discrepancies of lip-syncing. Furthermore, I double checked with the album versions of songs whenever I could find them. Also, even for the talking scenes between the songs, one can hear discussions taking place quite clearly, despite there often being no microphones in sight. Maybe some of that was rerecorded for clarity later, but if so, the way the lips matched the mouth movements is very impressive.

As I mentioned in my write-up to Volume 1, sometimes there were live vocals sung to partial or compete instrumental backing tracks. But I've included those, since I consider the different vocal performances worthy enough. Often though, there were backing musicians, but they would be hidden elsewhere in the room, with only brief glimpses of them. Other times, perhaps the entire thing WAS lip-synced, but it was done for a song that was completely unreleased. That happened a surprising amount, especially for the lesser known musical acts. 

One example of that last case on this album is Marvin Gaye. He sang two songs for the show, "Chained" and "By the Time I Get to Phoenix." "Chained" was a recent hit for him. I double checked with the album version, and that one was lip-synced. But there is no released version of him ever doing "By the Time I Get to Phoenix." So even if it was lip-synced (which it probably was), I still included that. That actually is a major find, in my opinion, given how rarely any "new" songs are discovered to have been sung by him this many years after he passed away in 1984. 

One great thing about this T.V. series, in my opinion, is that it often had live performances by musical acts with virtually no live performances available anywhere else. For instance, consider some of the performers on this album. O. C. Smith was a soul music star who had a couple of big hits in the late 1960s. But the only live album he ever released occurred early in his career, his 1966 debut album, before he had those hits. And I haven't found any bootlegs of him either. It's exactly the same with Checkmates, Ltd. Their 1967 debut album was live, before they had any hits. There are no other live albums or bootlegs from them. Rod Piazza and Gloria Loring would both go on to have long music careers, with most of their success coming much later. There's no other live performances from them that I could find until many years after this one. As for Angeline Butler, she only ever released one album, in 1970, which is an obscurity. This probably was her one time in a nationwide spotlight. 

And so it goes for many other musical acts all through this series. Time and time again, their appearances on this T.V. show was the only time they have a live performance recorded well, or at all, at least this early in their career. (Keep in mind that the number of bootlegs, truly live recorded TV shows, and official live albums skyrocketed in the 1970s and beyond, but were very rare in the 1960s.)

I want to add one detail about the Byrds, for serious Byrds fans. Founding member Chris Hillman left the band only two weeks prior to the taping of their appearance on this show, leaving Roger McGuinn as the only remaining founding member. The others in the band at this time were Clarence White, John York, and Gene Parsons.

This album is an hour and one minute long.

01 She's the One (Rod Piazza)
02 My Babe (Rod Piazza)
03 Little Green Apples (O. C. Smith)
04 The Son of Hickory Holler's Tramp (O. C. Smith)
05 It's Too Late [To Say You're Sorry] (Gloria Loring)
06 Did I Ever Really Live (Gloria Loring)
07 One of the Nicer Things (Jimmy Webb)
08 She's Lookin' Good (Checkmates, Ltd.)
09 Sunny (Checkmates, Ltd.)
10 Baby I Need Your Loving (Checkmates, Ltd.)
11 You Ain't Goin' Nowhere (Byrds)
12 This Wheel's on Fire (Byrds)
13 By the Time I Get to Phoenix (Marvin Gaye)
14 Turn Around Look at Me (Angeline Butler)
15 Goodbye Charlie (Angeline Butler)
16 Train (Buddy Miles)
17 Wrap It Up (Buddy Miles)
18 Lincoln's Train (John Stewart & Buffy Ford)
19 Signals to Ludi (John Stewart & Buffy Ford)

https://pixeldrain.com/u/g6vL9ys4

alternate: 

https://bestfile.io/en/c0ZRRf50OW3aw1o/file

The cover image is a screenshot I took from one of the episodes featured here. It shows Roger McGuinn, the lead singer of the Byrds. For some strange reason, he was wearing a military jacket. 

The Flying Burrito Bros & the Byrds - The Flying Byrds Brothers, Whisky-A-Go-Go, Los Angeles, CA, 9-19-1970

If you're a fan of country rock, this is a very special concert. The Byrds helped invent country rock in 1968. But a couple of key members left and started a new band, the Flying Burrito Bros, that kept developing the country rock sound. The various band members remained friends, however. So when they happened to be on the same bill together, they decided to merge their bands together for most of one concert. So that makes this concert very unique and special. But, even better, it was recorded with soundboard quality, despite still being unreleased.

By 1969, the main leader of the Byrds was Roger McGuinn. The Flying Burrito Bros were jointly led by ex-Byrds members Gram Parsons and Chris Hillman, but by the end of 1969, Parsons had left, making Hillman the temporary leader. (He in turn would leave in early 1972, passing the leadership to others.) McGuinn and Hillman went way back, both being founding members of the Byrds in 1964, and they remained on good terms. So when their bands were on the same bill one night at the Boston Tea Party club in Boston in February 1969, they merged bands together for about an hour and a half. Unfortunately, there are no known recordings of that show. 

But then, in September 1970, they shared the same bill at the Whisky-a-Go-Go club for three nights in a row, playing two shows a night. For the first two nights, and the first show of the third night, they just did their sets separately. I have included the Byrds set from the first show. (If there's a Flying Burrito Bros set, I don't have have it.) Then, for this performance, the late show on the third and final night, they had something special planned. The Flying Burrito Bros did their second set as usual. Then, when the headlining act, the Byrds, came on, the two bands merged. And they didn't just perform together for a couple of songs. No, they were together for a full hour! They mostly played Byrds songs, since Hillman was in the Byrds from 1964 until late 1968, so he no doubt remembered many of them well.

At one point between songs, McGuinn jokingly suggested the name "Flying Byrds Brothers" for the merging of the two bands. That sounded pretty good to me, so I added it to the title and the cover art. 

It could be there were more Flying Burrito Bros songs at the start that didn't make the recording. The version I found started with the last minute of "The Train Song." I cut that because there wasn't much left of that song at that point, just one line repeated over and over. So it's possible there were other songs prior to that one before someone started recording. I'm not aware of any complete set list so we could check.

Also, it's possible that the Byrds set from the early show is incomplete. There isn't a clear start to the first song, with an introduction of the band, so there could have been more there. And the last song, "This Wheel's on Fire," was cut off about 30 seconds before the song ended. I patched that up by adding in the end from a concert in Ames, Iowa, a month later. That's why that song has "[Edit]" in its title. But it also suggests there could have been more songs after that cut off.

This album is two hours and six minutes long.

UPDATE: On February 26, 2026, a few days after I first posted this, I was told about all the Byrds songs from the first set, so I added those in. This addition works out very nicely, because the Byrds clearly tried to play all different songs in the first set than in the second set. There's only one song played in both, "You Ain't Goin' There." It's telling that the leader of the Byrds, Roger McGuinn expressed surprise at the start of the song that the other band members wanted to play it again.

01 Lover of the Bayou (Byrds)
02 You Ain't Goin' Nowhere (Byrds)
03 talk (Byrds)
04 I Trust (Byrds)
05 My Back Pages (Byrds)
06 B.J. Blues - Baby What You Want Me to Do (Byrds)
07 Well Come Back Home (Byrds)
08 Truck Stop Girl (Byrds)
09 Take a Whiff [On Me] (Byrds)
10 It's All Right Ma [I'm Only Bleeding] (Byrds)
11 The Ballad of Easy Rider (Byrds)
12 Jesus Is Just Alright (Byrds)
13 This Wheel's on Fire [Edit] (Byrds)
14 Payday (Flying Burrito Bros)
15 talk (Flying Burrito Bros)
16 Wake Up Little Suzie (Flying Burrito Bros)
17 talk (Flying Burrito Bros)
18 Colorado (Flying Burrito Bros)
19 talk (Flying Burrito Bros)
20 Break My Mind (Flying Burrito Bros)
21 talk (Flying Burrito Bros)
22 Trying to Reach My Goal (Flying Burrito Bros)
23 talk (Flying Burrito Bros & the Byrds)
24 Roll Over Beethoven (Flying Burrito Bros & the Byrds)
25 You Don't Miss Your Water (Flying Burrito Bros & the Byrds)
26 I'll Feel a Whole Lot Better (Flying Burrito Bros & the Byrds)
27 Hickory Wind (Flying Burrito Bros & the Byrds)
28 So You Want to Be a Rock 'n' Roll Star (Flying Burrito Bros & the Byrds)
29 The Bells of Rhymney (Flying Burrito Bros & the Byrds)
30 Close Up the Honky Tonks (Flying Burrito Bros & the Byrds)
31 Time Between (Flying Burrito Bros & the Byrds)
32 Mr. Spaceman (Flying Burrito Bros & the Byrds)
33 Turn, Turn, Turn [To Everything There Is a Season] (Flying Burrito Bros & the Byrds)
34 Mr. Tambourine Man (Flying Burrito Bros & the Byrds)
35 Eight Miles High (Flying Burrito Bros & the Byrds)
36 Wasn't Born to Follow (Flying Burrito Bros & the Byrds)
37 Chimes of Freedom (Flying Burrito Bros & the Byrds)
38 talk (Flying Burrito Bros & the Byrds)
39 You Ain't Goin' Nowhere (Flying Burrito Bros & the Byrds)
40 Hold It (Flying Burrito Bros & the Byrds)

https://pixeldrain.com/u/eoQ4idQm

alternate:

https://bestfile.io/en/AIqu9SRH7L4DmF5/file

There is a photo of the Flying Burrito Bros and the Byrds playing in concert together in 1969. But to call it "low quality" is putting it mildly. It's about as bad a photo as you can imagine, with the people looking little more than black blobs. So I didn't want to use that. Instead, I kind of created a fake picture. This is a real picture of McGuinn (left) and Hillman (right) on stage together when they were both members of the Byrds. It was taken at the Grand Old Opry in 1968. But at that time, McGuinn kept his hair very short, and he grew it out by 1970. So I found a photo of him in concert in early 1970 and pasted that over his head in the original photo. I hope this comes close to what they might have actually looked like at this concert.

Also, the original photo was quite low-res and in black and white. I colorized it with the use of the Kolorize program. And I used Krea AI to help with the detail.

Various Artists - The Big TNT Show, Moulin Rouge, Los Angeles, CA, 11-30-1965

A few days ago (writing this in February 2026), I posted the audio to the "TAMI Show" concert. As I mentioned in my write-up, that's one of the all time great 1960s concerts, which was made into a movie in 1964. The people who made that movie basically repeated the formula in 1965 with this one, "The Big T.N.T. Show." Although this concert isn't as famous as the TAMI Show, I'd argue the star power and performances here are even better.

Just like the TAMI Show, what sets this apart from other musical shows on TV and the like is that there was no lip-syncing. Everything was done live in front of an audience. Actually, each act performed their set three times, and then the film footage from the best versions were used for the movie. 

By the way, technically "T.N.T." was an acronym for "Tune n' Talent," but clearly they just wanted to call it "T.N.T." for the "explosive" connotation, and then made up an acronym for it.

The idea was to use the most popular music acts popular with kids at the time. Musical trends had changed a lot in the year since the TAMI Show. One big change was that folk-rock was suddenly all the rage. So this concert had some folk music acts that had been lacking in the TAMI Show. In addition to folk rock like the Lovin' Spoonful and the Byrds, Joan Baez and Donovan performed in solo acoustic mode. One curiosity is that Baez sang "You Lost that Lovin' Feeling," which didn't seem like her type of song at all. But the music in the show was directed by legendary producer Phil Spector, and that's a song he actually co-wrote, so my guess is he got her to sing it.

Additional, some classic soul acts were included, like Ray Charles, Bo Diddley, Ike and Tina Turner. Country was represented by Roger Miller, and pop by Petula Clark. It was a very diverse line-up, with no repeats from the TAMI Show. 

It seems like this movie was commercially successful, as was the TAMI Show. So it's a shame no similar film was made in 1966 or after. However, I read one mention that the movie wasn't as successful as the TAMI Show. This was blamed on the fact that it was edited and released so quickly that there wasn't time for proper production. Remarkably, the movie was in the theaters by the end of 1965, less than a month after the concert!

Also, perhaps, with musical trends changing so fast, it grew too difficult to bring these many big stars together for one concert. These sorts of variety concerts with lots of acts performing short sets were rapidly fading away at the time, replaced by having just a couple of acts performing much longer sets.

Just as I did with the TAMI Show, I converted the video to audio format, then chopped it into mp3s. The sound quality was a little bit better with this one, so I didn't have to make any adjustments. 

Here's the Wikipedia article:

The Big T.N.T. Show - Wikipedia 

Here's an interesting article that discusses both this movie and the TAMI Show:

https://cavehollywood.com/the-t-a-m-i-show-and-the-big-t-n-t-show-out-on-blu-ray-dvd/

This album is an hour and 30 minutes long. 

01 [I Can't Get No] Satisfaction [Instrumental Version] (David McCallum)
02 What'd I Say (Ray Charles)
03 Downtown (Petula Clark)
04 Do You Believe in Magic (Lovin' Spoonful)
05 You Didn't Have to Be So Nice (Lovin' Spoonful)
06 Hey Bo Diddley (Bo Diddley)
07 Bo Diddley (Bo Diddley)
08 500 Miles (Joan Baez)
09 There but for Fortune (Joan Baez)
10 Georgia on My Mind (Ray Charles)
11 Let the Good Times Roll (Ray Charles)
12 talk (Donovan)
13 You've Lost that Lovin' Feeling (Joan Baez)
14 Be My Baby (Ronettes)
15 Shout (Ronettes)
16 Dang Me (Roger Miller)
17 talk (Roger Miller)
18 Engine Engine No. 9 (Roger Miller)
19 King of the Road (Roger Miller)
20 talk (Roger Miller)
21 England Swings (Roger Miller)
22 talk (David McCallum)
23 Turn, Turn, Turn [To Everything There Is a Season] (Byrds)
24 The Bells of Rhymney (Byrds)
25 Mr. Tambourine Man (Byrds)
26 You're the One (Petula Clark)
27 My Love (Petula Clark)
28 talk (David McCallum)
29 Universal Soldier (Donovan)
30 Summer Day Reflection Song (Donovan)
31 Bert's Blues (Donovan)
32 Sweet Joy (Donovan)
33 Shake (Ike & Tina Turner)
34 A Fool in Love (Ike & Tina Turner)
35 It's Gonna Work Out Fine (Ike & Tina Turner)
36 Please, Please, Please (Ike & Tina Turner)
37 Goodbye, So Long (Ike & Tina Turner)
38 Tell the Truth (Ike & Tina Turner)
39 1-2-3 [Instrumental Version] (David McCallum)

https://pixeldrain.com/u/dTkPhgcn

alternate:

https://bestfile.io/en/Kjs0z43hqpeffYb/file

The main picture in the cover art shows Tina Turner in this exact concert. The original was in black and white, but I colorized it with the help of the Kolorize program. The text and design at the top and sides are taken from a concert poster. I did some repositioning and cleaning up for those areas.

Various Artists - Monterey International Pop Festival, Monterey County Fairgrounds, Monterey, CA, 6-17-1967, Evening Show

Here's the third part of the 1967 Monterey International Pop Festival. As I mentioned previously, the festival was broken into five parts, and one had to buy separate tickets for each part. This one took place on the evening of the second day of the festival.

I've previously discussed where this material comes from. Basically, this collection was put together by someone named Simon in 2022. There's a PDF included in the download that shows the source material Simon used for each song here. For this part, I've only added in a version of the set by the Byrds, which was released as a "record store day" album in 2024.

In my write-ups to the previous parts of the festival, I've mentioned there's a Wikipedia page listing all the known songs performed at the festival. Here's that link again:

Monterey Pop Festival set list - Wikipedia 

Let's look at what's here compared to what's still missing. The first band up was Moby Grape. I have five of their songs here. They also played at least "Fall on You" and "Lazy Me." The Simon-made version actually had about seven seconds of "Lazy Me," but since it was so damn short, I didn't bother to include that. 

Here's an interesting quote about the festival from Peter Lewis of Moby Grape: "I'm not sure I thought about the night we played as a chance to prove anything. But our old manager did and had an argument with [producer] Lou Adler about it. Adler decided not to put us in the film. The band didn't know about this until after the fact. When we did find out what our manager had done, we fired him. But the real damage was undoable, and in retaliation, instead of playing in a prime Saturday night slot, Adler had us open the show on Friday night. ... As I recall, we had a good set anyway and it went by real fast. The vibe at Monterey just got better all weekend, and by the time it was over I really felt like I was part of something bigger than the sum of its parts. This all had to get worked out. But to me it really seemed like when it was over, all the bands left with a sense of renewal. It was as if the days of trying to out play each other were over and in its place was a common cause." 

There's just one song here performed by Hugh Masekela. The Wikipedia page lists two more, but says that other unknown songs were played as well.

The Byrds set is finally complete, I'm happy to say. The 2024 record store day release mentioned above included "I Know My Rider" (usually known as "I Know You Rider"), which previously was unreleased and even unbootlegged. So that's exciting, and it gives me hope that even after all these years (writing this in 2025), there's more in the vaults that can be released someday.

Next up was a set by Laura Nyro. At the time, she was an up and coming singer-songwriter, with her debut album "More than a New Discovery" released earlier in 1967. Unfortunately, the set was not well received. Music critic Michael Lydon wrote a review of the whole festival that appeared in Newsweek just a couple of days after the festival ended, and wrote that "the evening hit bottom with Laura Nyro," adding that her set was a disaster. In actual fact, if you listen to the performance, there's nothing wrong with it, and it doesn't sound like she was booed. But she probably didn't come off well mostly due to poor visuals. She wore a black evening gown dress and was backed by two female dancers, which would have fit in with a New York City supper club audience, but it didn't fit with the hippie vibe of the festival. 

Michelle Phillips of the Mamas and the Papas helped console Nyro after her performance. "After she came off the stage, I could see that she was really, really upset and in tears. I just grabbed her by the hand, I put her in one of the limousines in the back, and said to the driver 'let's go for a ride' so I could calm her down. And I think we were smoking a joint and I was telling her that 'she was great,' and she said, 'No, they hated me and I looked like an idiot up there.' I was just trying to do the sisterly thing."  

In any case, Nyro played at least four songs, but only one and a half are publicly available. By half, what I mean is only the second half of "Wedding Bell Blues" could be found. I didn't want just half of that song hanging there, so I found another version from that era. Unfortunately, there aren't many live recordings by her from then, and it seems she didn't play that song very often. The best thing I could find was a version from an audience bootleg of a concert in Berkeley in 1970, three years later. I used that to patch in the missing first half. But the sound quality difference is pretty great; it's easy to tell when the switch to the better sounding second half happens. Still, I figure that's better than only having part of the song.

Here's the link to the Newsweek review. Despite being too harsh about Nyro, in my opinion, there's a lot of interesting information and perspective in it.

Monterey Pop: The First Rock Festival | Current | The Criterion Collection 

After Nyro was Jefferson Airplane. This is their full set. That was followed by a set that started out with a few instrumentals from Booker T. & the MG's. Then Booker T. & the MG's backed Otis Redding. This is the full set for that as well. By the way, three songs into his five-song set, representatives from a musician's union demanded the show be stopped due to a curfew time limit, but the producers of the festival managed to fend that off until Redding's set was finished. (Thank God!)

At the time, Redding was a big soul star for the Black community in the U.S., but was little known to the larger white public. His Monterey Pop set changed that, drastically. Steve Cropper, who played lead guitar in Booker T. & the MG's at the festival, said, "Otis had found his audience. Monterey helped him cross over to a wider white pop market."

Redding's performance got a ton of good press at the time. For instance, that Newsweek review mentioned above summed up his set with these words: "ecstasy, madness, loss, total, screaming, fantastic." In 1968, two songs from his performance would be one of the highlights of the hit "Monterey Pop" movie documentary. Still later, in 1970, the whole performance would be released on a hit album (split with some songs by Jimi Hendrix from the festival). Unfortunately though, Redding didn't get to live long enough to enjoy this popularity breakthrough, since he died in a plane crash at the end of 1967.

By the way, here's a fun quote from Bob Weir of the Grateful Dead about Redding's performance: "I was pretty sure that I'd seen God onstage. Otis looked to be 12 or 14 feet tall, stalking the lip of the stage like a caged tiger, just shooting lightning and sparks. He was amazing!" And here's a quote from Lou Adler, who was the producer of the Mamas and the Papas, Johnny Rivers, and many more: "Otis just transported the entire audience to church. They became the congregation, and he was the preacher." 

And here's another fun quote from Roger McGuinn of the Byrds: "I remember watching Otis Redding and he really blew my mind. I had never seen anything like him before. I remember I was backstage listening to Otis and Paul Simon and I were talking. I said, 'Man, this guy is scary!' And Paul replied, 'He's not scary. He's great!' 'That was what I meant, Paul.'" 

That brings up an interesting aspect of the festival. The Wikipedia article on the festival explains it well: "Monterey was also the first high-profile event to mix acts from major regional music centers in the U.S. – San Francisco, Los Angeles, Chicago, Memphis, Tennessee, and New York City – and it was the first time many of these bands had met each other in person." That also was true for British bands meeting American ones for the first time, and vice versa.

So that's part of the reason why Redding was such a revelation, because most people in the largely white audience, even the other musicians, had never seen any soul music performance like his before. By the time the Woodstock Festival happened in 1969 it was very different, with many of these musical acts crossing the paths of the other acts many times over, and often becoming friends. 

The other performances here were all excellent too, even the Nyro one (now that the "hippie" vs. "square" dynamic no longer matters). For instance, here's what that Newsweek review had to say about Jefferson Airplane. "[They] were fantastically good. Backed with the light show put on by Headlights, who do the lights at the Fillmore, they created a special magic. Before they came on, the question hung: is the Airplane as good as its reputation? They thoroughly proved themselves."

As I mentioned in the write-ups for the previous two parts, the sound quality is excellent throughout, especially for a 1967 live recording. That said, the lead vocals were often low in the mix. I managed to fix that when it was needed, using the UVR5 audio editing program. I did that for about half the songs. For instance, Redding's booming voice didn't need any boosting, but the Moby Grape and Byrds sets benefited a lot from louder vocals relative to the instruments. 

This album is an hour and 55 minutes long. 

01 talk (Tommy Smothers)
02 Indifference (Moby Grape)
03 talk (Moby Grape)
04 Mr. Blues (Moby Grape)
05 Sitting by the Window (Moby Grape)
06 Omaha (Moby Grape)
07 Hey Grandma (Moby Grape)
08 Bajabula Bonke [Healing Song] (Hugh Masekela)
09 talk (Mike Bloomfield)
10 Renaissance Fair (Byrds)
11 talk (Byrds)
12 Have You Seen Her Face (Byrds)
13 talk (Byrds)
14 Hey Joe (Byrds)
15 talk (Byrds)
16 He Was a Friend of Mine (Byrds)
17 talk (Byrds)
18 Lady Friend (Byrds)
19 talk (Byrds)
20 Chimes of Freedom (Byrds)
21 I Know My Rider [I Know You Rider] (Byrds)
22 talk (Byrds)
23 So You Want to Be a Rock 'n' Roll Star (Byrds with Hugh Masekela)
24 Wedding Bell Blues [Edit] (Laura Nyro)
25 Poverty Train (Laura Nyro)
26 talk (Jerry Garcia)
27 Somebody to Love (Jefferson Airplane)
28 talk (Jefferson Airplane)
29 The Other Side of This Life (Jefferson Airplane)
30 White Rabbit (Jefferson Airplane)
31 High Flying Bird (Jefferson Airplane)
32 Today (Jefferson Airplane)
33 She Has Funny Cars (Jefferson Airplane)
34 Young Girl Sunday Blues (Jefferson Airplane)
35 talk (Jefferson Airplane)
36 The Ballad of You and Me and Pooneil (Jefferson Airplane)
37 Booker-Loo [Instrumental] (Booker T. & the MG's)
38 Hip Hug-Her [Instrumental] (Booker T. & the MG's)
39 Philly Dog [Instrumental] (Booker T. & the MG's & the Mar Keys)
40 Shake (Otis Redding)
41 talk (Otis Redding)
42 Respect (Otis Redding)
43 I've Been Loving You Too Long (Otis Redding)
44 [I Can't Get No] Satisfaction (Otis Redding)
45 talk (Otis Redding)
46 Try a Little Tenderness (Otis Redding)

https://pixeldrain.com/u/Q28eTp32

alternate:

https://bestfile.io/en/0b13fTWg6oxVOK2/file

Like most of the cover art I've made for this festival, I had too many good options to choose from, so I broke the image into four smaller ones. From top left clockwise: Moby Grape, David Crosby and Roger McGuinn of the Byrds, Otis Redding, and Grace Slick and Marty Balin of Jefferson Airplane.

Gene Clark with John York: Folk City, New York City, 6-22-1984, Late Show

Back in March 2023, I posted a 1985 acoustic concert by Gene Clark. This is a 1984 acoustic concert by Gene Clark, and it's not terribly different. However, that 1985 one is an audience bootleg, whereas this is an excellent soundboard bootleg. The 1985 concert is significantly longer, but if you were to only listen to one, I'd recommend this one.

Clark is best known for being the main lead singer of the Byrds in the early years of that band (1964 to 1966). He released a lot of great music as a solo artist, but his solo career never took off commercially. It sounds like this concert was performed in front of a small audience at a club. That is exaggerated by the fact that the soundboard clearly recorded everything on stage but almost nothing from the audience, which happens with soundboards sometimes, so it sounds almost like there was no audience at all. I tried to boost the volume of the applause, but I could only do so much.

By 1984, Clark's music, while excellent, was out of step with current trends, dominated by New Wave and synths. So the main way he got people to come to his concerts was by playing up nostalgia for the Byrds. Thus, in this concert he was supported by John York, another former member of the Byrds. Clark and York were never members of the Byrds at the same time (York was a Byrd in 1968 and 1969), so it was an odd pairing. But York did a really nice job singing harmonies on most of the songs. He also sang a couple of songs he wrote, such as "You Only Love Cocaine." I thought they were pretty good, considering that he never even managed to put out a solo album until the 1990s, way after this concert.

Clark had a habit of repeatedly sabotaging his music career, starting with leaving the Byrds way too early in 1966. His solo careers remains severely underappreciated. If you haven't checked out his solo stuff yet, this is a good place to start, due to the sound quality and solid performance.

This album is an hour and three minutes long.

01 talk (Gene Clark with John York)
02 It's All Over Now, Baby Blue (Gene Clark with John York)
03 Long Black Veil (Gene Clark with John York)
04 talk (Gene Clark with John York)
05 You Only Love Cocaine (Gene Clark with John York)
06 talk (Gene Clark with John York)
07 She Don't Care about Time (Gene Clark with John York)
08 talk (Gene Clark with John York)
09 Why Did You Leave (Gene Clark with John York)
10 talk (Gene Clark with John York)
11 Me and J.D. (Gene Clark with John York)
12 talk (Gene Clark with John York)
13 Chimes of Freedom (Gene Clark with John York)
14 Mr. Tambourine Man (Gene Clark with John York)
15 talk (Gene Clark with John York)
16 So You Want to Be a Rock 'n' Roll Star (Gene Clark with John York)
17 Full Circle Song (Gene Clark with John York)
18 talk (Gene Clark with John York)
19 Turn, Turn, Turn [To Everything There Is a Season] (Gene Clark with John York)
20 Will the Circle Be Unbroken (Gene Clark with John York)
21 Eight Miles High (Gene Clark with John York)
22 talk (Gene Clark with John York)
23 Knockin' on Heaven's Door (Gene Clark with John York)

https://pixeldrain.com/u/xwZVgivT

alternate:

https://bestfile.io/en/J3r361Vp3eyiiX9/file

The cover photo is a screenshot from a 1984 TV show. In February 2025, I updated the image somewhat with the Krea AI program.

Gene Clark - Dingwall's, London, Britain, 4-4-1985

Gene Clark was one of the founding members of the Byrds. For the band's first couple of years, he was their most prolific singer and songwriter, writing or co-writing great songs like "I'll Feel a Whole Lot Better" and "Eight Miles High." Unfortunately though, he quit in 1966. Then he had a long solo career before dying young in 1991. However, he never had any solo hits and his solo career tends to get ignored, even by many Byrds fans. I really need to post some of his solo material to try to bring it more attention. Here's a start.

Because Clark wasn't a big name as a solo artist, he didn't get bootlegged that often, and there are very few bootlegs with excellent sound quality. This is one of the best, but it's only an audience bootleg, not a soundboard. However, it's unusually good as far as audience boots go. I rather bother with those at all, but there are plenty of soundboards that actually sound worse than this. It's a long concert done in solo acoustic format, with lots of interesting song choices. Clark had ups and downs in his career, due to drug use, medical issues, and so on. But this was from a time when he was sounding very good.

Although this recording sounded very good, it had many, many problems. But I spent a lot of work fixing them, and I think I got most of them. One problem is that whoever was recording this often turned off their recording device between songs in order to save tape. Thankfully it didn't happen between every song, but many of them. As a result, the applause was sometimes cut off, or there was no time for any applause at all. A couple of songs had their beginnings cut off too, as the person probably was a bit slow hitting the record button again. I'm sure there is a lot of between song banter that was lost due to this.

Happily, there were enough instances of applause that did survive that allowed me to fix this. I was able to patch in cheering after one song to another song. I had to do tricks like that probably for a majority of the songs. But when you listen, hopefully the applause will sound totally normal and complete. I also boosted the lead vocals for some songs. I made so many changes like that that I only reserved adding "[Edit]" to the songs where I made even more significant edits on top of those.

One example of a more significant edit is "Satisfied Mind." Clark started the song, got through part of the first verse, but then realized one of the guitar strings was way off. So he stopped, fixed the string, then started again. Unfortunately when he started again, the taper was slow to resume recording. But as luck would have it, the aborted beginning and the missed part covered about the same amount. So I was able to merge the two takes into one that sounds complete. I got very lucky there. :)

A similar problem happened with "Knockin' on Heaven's Door" - the beginning is missing. In that case, I got lucky again, because the first verse was repeated near the end of the song. So I was able to patch in the first two lines, making it complete.

For "Eight Miles High," the first five seconds or so sounded out of key, no doubt due to tape distortion. Luckily, that was an instrumental part that was repeated later, so I was able to patch that up too. 

In the case of "One in a Hundred," there was a section in the middle where Clark forgot the chords, stopped the song, remembered, then started the song again. That annoyed me, so I was able to fix that section so it sounded like he never made the mistake. Unfortunately though, he forgot the lyrics later in the song and stopped it early. There was nothing I could do about that. There also were a couple other songs where he had notable trouble forgetting the lyrics or the chords. I kept those mistakes in. He was stretching out, taking requests and thus trying some songs he didn't remember that well.

Most of the songs are originals, but there are some exceptions, like "It's All Over Now, Baby Blue," "Gates of Eden," "The Bells of Rhymney," "Mr. Tambourine Man," and "Knockin' on Heaven's Door," all of them written by Bob Dylan, or in the case of "The Bells of Rhymney," closely associated with him. Other covers were: "Satisfied Mind," "In the Pines," "Fair and Tender Ladies," and "Long Black Veil."

This album is an hour and 52 minutes long.

01 Kansas City Southern (Gene Clark)
02 It's All Over Now, Baby Blue (Gene Clark)
03 talk (Gene Clark)
04 No Other (Gene Clark)
05 She Darked the Sun (Gene Clark)
06 talk (Gene Clark)
07 Here without You (Gene Clark)
08 Gates of Eden (Gene Clark)
09 The World Turns All Around Her (Gene Clark)
10 Silver Raven (Gene Clark)
11 talk (Gene Clark)
12 Spanish Guitar (Gene Clark)
13 talk (Gene Clark)
14 The Bells of Rhymney (Gene Clark)
15 Satisfied Mind [Edit] (Gene Clark)
16 Full Circle (Gene Clark)
17 American Dreamer (Gene Clark)
18 Why Did You Leave (Gene Clark)
19 Crazy Ladies (Gene Clark)
20 talk (Gene Clark)
21 Hear the Wind (Gene Clark)
22 In the Pines (Gene Clark)
23 talk (Gene Clark)
24 One in a Hundred [Edit] (Gene Clark)
25 talk (Gene Clark)
26 Gypsy Rider (Gene Clark)
27 talk (Gene Clark)
28 Rodeo Rider (Gene Clark)
29 I Don't Have You (Gene Clark)
30 talk (Gene Clark)
31 Fair and Tender Ladies (Gene Clark)
32 Mr. Tambourine Man (Gene Clark)
33 Eight Miles High [Edit] (Gene Clark)
34 Knockin' on Heaven's Door [Edit] (Gene Clark)
35 Long Black Veil (Gene Clark)

https://pixeldrain.com/u/mM66x7A5

alternate:

https://bestfile.io/en/nSWc83RTrjfFpGq/file

Because Clark's solo career wasn't very commercially successful, there are very few good photos of him from the 1980s. I wanted to use a photo of him in concert from 1985 or thereabouts, but couldn't find one. However, I found a good close up of his head from 1986, which is pretty close, so I used that. The original had some issues, such as the colors being too strong, but I made some adjustments in Photoshop. Then, in February 2025, I upgraded the image quality some with the Krea AI program.

The Byrds - Love that Never Dies - Non-Album Tracks (1989-1998)

The Byrds disbanded in 1973. There were some reunions and collaborations between various key members in the late 1970s and early 1980s, but those faded out. Then, in 1989, the Byrds had a brief renaissance, culminating in all five original members appearing on stage to accept being inducted into the Rock and Roll Hall of Fame in 1991, and even playing a few songs together. 

But things faded out again soon after that. One factor was that, only a few months after the Hall of Fame induction, key member Gene Clark died of cancer, exacerbated by various addictions, But also, Roger McGuinn was always central to the Byrds sound, with both his distinctive voice and guitar playing. He put out his first solo album in many years in 1991 with "Back to Rio," and even had a minor hit, "King of the Hill." However, shortly thereafter it seems he decided he wasn't interested in a conventional rock music career, and switched to mostly performing solo acoustic versions of traditional folk songs. Since 1991, he's only put out one conventional rock album of new songs, "Limited Edition," in 2004, with none of the other former Byrds on it. He rebuffed many requests by David Crosby for a Byrds reunion, saying he didn't need the money and preferred to keep the Byrds as a fond memory from long ago. Now, as I write this in 2023, Crosby has died as well, so no further Byrds reunions are possible.

This collects the best of what I could find from that early 1990s reunion time period. I've included songs actually done by the Byrds, which is defined here as original members McGuinn, Crosby, and Chris Hillman. Those three were on the outs with the other original members, Clark and Michael Clarke, due to legal battles over the use of the band name (other than their reunion for the Hall of Fame). Additionally, I've included a couple of songs with at least two members, McGuinn and Hillman or Hillman and Crosby. Finally, I've included songs just by McGuinn that had that Byrdsy sound to it. Putting all that together is just enough material for what I think is a very solid album.

McGuinn, Crosby, and Hillman played a few concerts as a threesome in 1989, as part of their legal battle to argue that they were the real Byrds, and different bands led by either Clark or Clarke were not. I'm not including any songs from those concerts since the sound quality is rougher than everything else here. But if people are interested, I could post the best sounding bootleg from those shows. However, those concerts led to McGuinn, Crosby, and Hillman recording four songs together in the studio, which came out on the 1990 box set simply titled "The Byrds." Three of those were covers, but the fourth, "Love that Never Dies," is a very nice McGuinn original. 

Tracks six through ten are what I consider the best songs from McGuinn's 1991 album "Back from Rio." However, one of those, "Without Your Love," is labelled as a Byrds song, because Crosby and Hillman also played and song on it. In 1996, McGuinn released a live acoustic album called "Live from Mars." But it had two new, original extra studio songs on it, "Fireworks" and "May the Road Rise," that were done with a full band. So I've included those here. The final song come from a Hillman solo album.

I didn't include any songs from the 1991 Hall of Fame induction. The performance was pretty rough, obviously with no practice, and Clarke totally drunk. (He would die of liver failure due to years of heavy alcohol consumption in 1993.) You can find videos of a couple of songs from that on YouTube. Far better were two songs done for a Roy Orbison tribute concert in 1990. I've posted that full concert here recently. But I'm including the two Byrds songs from that as bonus tracks, for those who don't want the whole show.

This album is 48 minutes long, not including the bonus tracks.

01 You Ain't Goin' Nowhere (Nitty Gritty Dirt Band with Roger McGuinn & Chris Hillman)
02 He Was a Friend of Mine (Byrds)
03 Paths of Victory (Byrds)
04 From a Distance (Byrds)
05 Love that Never Dies (Byrds)
06 Someone to Love (Roger McGuinn)
07 Suddenly Blue (Roger McGuinn)
08 King of the Hill (Roger McGuinn with Tom Petty)
09 Without Your Love (Byrds)
10 If We Never Meet Again (Roger McGuinn)
11 Fireworks (Roger McGuinn)
12 May the Road Rise (Roger McGuinn)
13 I'm Still Alive (Chris Hillman with David Crosby)

Mr. Tambourine Man (Byrds with Bob Dylan)
Turn, Turn, Turn [To Everything There Is a Season] (Byrds)

https://www.upload.ee/files/16700743/TBYRDZ1989-1998_LvethatNverDies_atse.zip.html

The cover photo was taken backstage at the Roy Orbison tribute concert in 1990. From right to left, that's Hillman, Crosby, and McGuinn. I used Photoshop to darken the background, because there were some distracting balloons and other things there.

Various Artists - Roy Orbison Tribute Concert to Benefit the Homeless, Universal Amphitheater, Los Angeles, CA, 2-24-1990

I recently stumbled across this Roy Orbison concert. As far as I can tell, it's never really appeared as a bootleg, other than as a single file with no song titles or artists given. So I had to some research just to figure out what this was exactly. But I think it was worth it because it's a very interesting show, with lots of big names. Despite it being ostensibly about Roy Orbison, probably the biggest musical event of the concert was the reunion of three key members of the Byrds - Roger McGuinn, David Crosby, and Chris Hillman - who were then joined by Bob Dylan for the song "Mr. Tambourine Man." Dylan wrote it in 1964, and the Byrds had a Number One hit with it in 1965, but they'd never done the song on stage together.

Roy Orbison died of a heart attack at the end of 1988, when he was only 52 years old. The timing of his death was especially unfortunate because he hadn't had much commercial success in the 1970s and 1980s, but that drastically changed right as he died, with him being a member of the Traveling Wilburys supergroup. He even had his first Top Ten hit in over 25 years with "You Got It." 

Regardless, Orbison was a much admired musical legend. So when he died, his wife Barbara Orbison put together a tribute concert that also doubled as a benefit concert to help the homeless. It's an odd concert as these things go, because most of the acts paid tribute to Orbison by covering his songs, but some other acts went in a different direction and played songs that seemed to have no link to Orbison whatsoever. For instance Iggy Pop played "Home," a song from his then-current album. Speaking of Iggy Pop, another odd aspect to the concert was the musical acts involved. Some made lots of sense, because they'd been heavily influenced by Orbison, such as John Fogerty or Chris Isaak. 

Others were more mystifying musically. For instance, you may well wonder what Patrick Swayze is doing here, dueting on the Everly Brothers song "Love Hurts" with Larry Gatlin. Yes, that Patrick Swayze, the famous actor. He released a few songs here and there, but never put out an album. Apparently, some acts mainly got involved because they liked the charitable cause.

Aside from Iggy Pop, the Patrick Swayze and Larry Gatlin duet, and the Byrds songs, plus a duet version of "I'm in the Mood" by John Lee Hooker & Bonnie Raitt, and "The Thrill Is Gone" by B. B. King, I believe all the rest of the songs have some Orbison connection. For instance, "In the Real World," "Rock House," "Chicken Hearted," and "That Lovin' You Feelin' Again" are fairly obscure songs, but they were all written and/or sung by Orbison. (He also did "Love Hurts," although the Everly Brothers did it first.)

Anyway, this contains all of the music performed at the concert that I could find. However, I cut out some of the talking between songs. There were some pitches for people to donate to the charitable cause, which is no longer relevant since the phone number mentioned has long gone dead, I'd assume. But I suspect there was more banter between songs, and maybe even more songs, that didn't get bootlegged. The show was broadcast on TV, but I think it's a safe bet a lot of edits were made to get it to fit within the allowed screen time. There were some acts involved that didn't get any songs featured at all, such as Michelle Shocked and the duet of Wendy and Lisa. They did help out along with some others on the all-female version of "Oh, Pretty Woman," but I wouldn't be surprised if they did songs that got cut from the TV show, and thus this bootleg, because they weren't so famous.

Also, near the end of this concert, the Byrds did four songs: "Turn, Turn, Turn," "Mr. Tambourine Man," "Eight Miles High," and "He Was a Friend of Mine." Dylan took part with "Mr. Tambourine Man," as I previously mentioned. " He also took part in "He Was a Friend of Mine," but just barely, because he merely strummed along on guitar and didn't sing at all, so I didn't add his name to the credits for that song. I know this because I found a video of it on YouTube.

The Byrds performances of "Turn, Turn, Turn" and "Mr. Tambourine Man" have been officially released on a Byrds box set. But the other two remain unreleased, as far as I know.

This album is an hour and 39 minutes long. If anyone knows the correct order of the songs, please let me know.

UPDATE: On February 12, 2023, I updated the mp3 download file. Musical associate Lilpanda had a different source for this concert, with the same high quality sound. Most of it was the same, but there were five songs I didn't have. So I added those. I don't know the correct song order, so I put three of the newly discovered ones at the start (the ones by NRBO, Joe Ely, and Syd Straw). That also included two songs by the Byrds, "Eight Miles High" and "He Was a Friend of Mine," so I put those with the rest of the Byrds' set. That added about 20 minutes of music to the album.

01 Chicken Hearted (NRBQ)
02 Working for the Man (Joe Ely)
03 She's a Mystery to Me (Syd Straw)
04 talk (John Fogerty)
05 Ooby Dooby (John Fogerty)
06 Mean Woman Blues (Levon Helm)
07 I'm in the Mood (John Lee Hooker & Bonnie Raitt)
08 talk (Chris Isaak)
09 Leah (Chris Isaak)
10 Dream Baby [How Long Must I Dream] (Shrunken Heads [Tom Tom Club & Jerry Harrison])
11 Crying (k. d. lang)
12 The Thrill Is Gone (B. B. King with Al Kooper & Don Was)
13 You Got It (John Hiatt with Don Was)
14 It's Over (Was [Not Was])
15 In the Real World (Booker T. Jones)
16 Home (Iggy Pop)
17 Oh, Pretty Woman (k.d. lang, Bonnie Raitt & Emmylou Harris)
18 That Lovin' You Feelin' Again (Emmylou Harris & Michael McDonald)
19 Claudette (Dwight Yoakam)
20 talk (Bernie Taupin)
21 Running Scared (Benny Mardones)
22 Love Hurts (Larry Gatlin & Patrick Swayze)
23 talk (Stray Cats)
24 Rock House (Stray Cats)
25 talk (Barbara Orbison)
26 talk (Bonnie Raitt)
27 Candy Man (Bonnie Raitt with Chris Isaak)
28 Turn, Turn, Turn [To Everything There Is a Season] (Byrds)
29 Eight Miles High (Byrds)
30 talk (Roger McGuinn)
31 Mr. Tambourine Man (Byrds & Bob Dylan)
32 He Was a Friend of Mine (Byrds)
33 Only the Lonely (Everyone)

https://pixeldrain.com/u/3by8k2RW

alternate:

https://bestfile.io/en/FNC3nsZwXP8dae0/file

alternate:

https://www.imagenetz.de/m7zft

For the cover, I used a photo of Dylan with the three former Byrds from this exact concert. The section at the top with the title comes from some promotional artwork for this concert, but I cropped and stretched it to fit.

The Byrds - The Boarding House, San Francisco, CA, 2-9-1978

David Crosby reunited with other key members of the Byrds for three acoustic concerts in the late 1970s. I've posted one of those concerts already, which took place at the Boarding House in San Francisco in December 1977. There's another one that took place at the Roxy in Los Angeles in early 1978. I don't know much about that, since it hasn't been bootlegged, but all four of the band's original singer-songwriters united there: Crosby, Roger McGuinn, Chris Hillman, and Gene Clark.

Finally, there's this concert, which also took place at the Boarding House in San Francisco, but in February 1978. Again, Crosby, McGuinn, Hillman, and Clark reunited on stage. We're lucky, because this concert was broadcast live on the local radio station KSAN, so this bootleg recording exists with professional sounding quality.

There are pluses and minuses of this concert compared to the December 1977 one at the Boatding House. In that one, Hillman wasn't there. So this is a fuller reunion. In fact, I could be wrong, but I think the only time after this that these four appeared on stage together was for their Rock and Roll Hall of Fame induction ceremony in 1991. The earlier show was longer by about twenty minutes, and they did some great, lesser known songs that they didn't do here, such as "She Don't Care about Time," "Wild Mountain Thyme," and "Chimes of Freedom." So that one is definitely worth hearing. But the sound quality is better for this one, and the performance was more assured.

Just like the December 1977 show, the concert began with solo spots for most of the members. Crosby didn't do a solo spot, but Clark, McGuinn, and Hillman did two songs each. Hillman was assisted on vocals by a female singer, Kim O'Kelley, who had been singing with him in his solo concerts at the time.

There was a major sound quality issue with one of Clark's songs, however: "Release Me Girl." The acoustic guitar sounded great, but the vocals were all messed up. For nearly all of the song, the vocals were quiet and distant. I tried using the audio editing program X-Minus to boost them, but when I did they still sounded muffled and bad. Only near the very end of the song was an apparent problem with the microphone fixed, and Clark came through loud and clear. So instead, I used X-Minus to strip the vocals entirely from the song. Then I took the vocals from another concert around this time and patched that it, carefully matching the pitch and tempo and so forth. That one happened to have McGuinn joining in on backing vocals, so there's that bonus now, even though he didn't actually do that for this show. 

The vast majority of this concert had all four of the Byrds on stage singing and playing together. Clark and McGuinn had been doing an acoustic tour together in late 1977, so they knew these songs and arrangements well. Hillman had joined that tour by this time, so he had gotten up to speed with them. However, like the previous Boarding House show, Crosby was flying by the seat of his pants, often singing harmonies on songs that the Byrds did only after he'd left the band in 1967, such as "Chestnut Mare," "You Ain't Goin' Nowhere," and "Knockin' on Heaven's Door," not to mention relatively new songs like "Crazy Ladies" and "Bye Bye Baby." Still, a fun time was had by all.

These reunion concerts led to three of the ex-Byrds forming the band "McGuinn, Clark and Hillman." They wrote some good new songs. Unfortunately, when they put out two albums, one called "McGuinn, Clark and Hillman" in 1979 and the other called "City" in 1980, they opted for a slick, contemporary sound that didn't suit them, even touching on disco at times. They deliberately stayed away from their 1960s Byrds sound, such as the distinctive use of the Richenbacher guitar by McGuinn. This was a big mistake. They sounded much better in concert.

As part of wanting a contemporary sound and moving away from the Byrds sound, they didn't want to get too involved with Crosby. When they recorded their first album "McGuinn, Clark and Hillman" in Miami, Crosby actually flew there from the West Coast with the idea of adding harmonies to one or more of the songs, only to have that rejected by the others. That led to more bad feelings, so there were no more reunions for a long time. The next time Crosby appeared on stage with McGuinn and Hillman would be in 1989, when the three of them did a few concerts as the Byrds as part of a legal battle to win the rights to the band's name from the band's original drummer, Michael Clarke. They did some other things together around that time, including some studio recordings, before petering out again around 1991.

It so happens that there aren't any really good bootleg recordings of those 1989 reunion shows. As a result, this show and the 1977 Boarding House show stand out as the best documents of Byrds reunion shows. They're all the more important because not many recordings has survived of the original Byrds on stage back in the 1960s when Crosby was still in the band.

This concert has been bootlegged many times, often with the name "Doin' Alright for Old People," based on a comment Clark made between songs. In recent years, due to European copyright law, different "grey market" versions of this have gone on sale. However, don't be fooled. Those are basically bootlegs, with none of the profits going to the actual artists. I imagine there are legal complications to getting the rights of all four band members, so this probably will never be officially released. Ditto with the 1977 reunion show. But at least we have the bootlegs.

This album is an hour and seven minutes long. By the way, for the 1977 show, I merged an early and late show together. This time, I don't know if there was just one show, or if only one was recorded. Either way, this is just one complete show this time.

01 Silver Raven (Gene Clark)
02 Release Me Girl [Edit] (Gene Clark & Roger McGuinn)
03 talk (Gene Clark & Roger McGuinn)
04 Bound to Fall (Chris Hillman & Kim O'Kelly)
05 It Doesn't Matter (Chris Hillman & Kim O'Kelly)
06 The Ballad of Easy Rider (Roger McGuinn)
07 Jolly Roger (Roger McGuinn)
08 talk (Byrds)
09 Chestnut Mare (Byrds)
10 Crazy Ladies (Byrds)
11 talk (Byrds)
12 Train Leaves Here This Morning (Byrds)
13 talk (Byrds)
14 Mr. Tambourine Man (Byrds)
15 talk (Byrds)
16 You Ain't Goin' Nowhere (Byrds)
17 talk (Byrds)
18 Turn, Turn, Turn [To Everything There Is a Season] (Byrds)
19 Knockin' on Heaven's Door (Byrds)
20 talk (Byrds)
21 Bye Bye Baby (Byrds)
22 So You Want to Be a Rock 'n' Roll Star (Byrds)
23 talk (Byrds)
24 Eight Miles High (Byrds)
25 talk (Byrds)
26 I'll Feel a Whole Lot Better (Byrds)

https://pixeldrain.com/u/qdyP1RJV

alternate:

https://bestfile.io/en/DruVk426eazcwY5/file

alternate:

https://www.upload.ee/files/15278258/TByrd_1978_TheBoardngHouseSanFrnciscoCA__2-9-1978_atse.zip.html

What I did to try to get an accurate, color photo is a bit complicated. I found one photo that showed all four Byrds here on stage at the Boarding House in the late 1970s. It had to be this exact show, because it had Hillman in it, and he wasn't there for the 1977 show. However, that photo was only in black and white, and the band members were spread out on stage, making it not a good one to use for the cover. I found another one in color with them wearing exact same clothes, so that one must also have been from this exact concert. However, by chance, that one didn't have Hillman in it. So I took another photo of Hillman from a different late 1970s concert and used Photoshop to add him in.

For the band name at the top, like I did with the 1977 show, I used the lettering from the band's 1973 reunion album "Byrds."

The Byrds - The Boarding House, San Francisco, CA, 12-8-1977

Here's a concert I'm particularly psyched to present, as part of commemorating the recent death of David Crosby (as I write this in January 2023). As far as I can tell, Crosby reunited on stage with other key members of the Byrds for only three concerts in the late 1970s. One of them, at the Roxy in Los Angeles, apparently hasn't been bootlegged at all. But very luckily, the other two have been bootlegged with excellent soundboard quality. I plan on posting both of them. Here's the first one that took place chronologically.

By 1977, the solo career of former Byrds member Roger McGuinn was losing steam. He resorted to going on an acoustic tour as a duo with former Byrds member Gene Clark. In early 1978, another former Byrds member, Chris Hillman, would join them and they would release a couple of albums as "McGuinn, Clark, and Hillman." At the time this concert took place, Hillman wasn't in the picture yet. 

But former Byrds member David Crosby was living in the San Francisco Bay Area at the time, so when the McGuinn and Clark tour came to town, McGuinn called Crosby and asked them to join them on stage. Crosby was a big star at that point, with the Crosby, Stills and Nash album "CSN" released earlier in the year and selling millions. So it's surprising that not only did Crosby join his former Byrds band mates on stage, he played most of both the early and late shows with them. All five original members of the Byrds had reunited for a studio album in 1973, simply called "Byrds." But Crosby, Clark, and McGuinn hadn't played on stage together since 1966 (when Clark quit the band).

Both the early and late shows were recorded with soundboard quality. However, there are pluses and minuses of both shows, and some different songs were played. So what I've done is combined the best parts of both shows, creating one ideal show that contains all of the songs from both. If you want to know which song is from which show, that info is in the comments field of the mp3 tags.

Generally speaking, I tried to use the late show song versions. The format of the show was that each band member played two or three of their songs in a solo acoustic format, then all three played together for the rest of the show. For the songs played together, Clark and McGuinn had been doing this tour together for some time, so they knew the songs well. But Crosby hadn't sung with the others on stage in a decade, and many of the songs they did were from AFTER the time he'd been fired from the Byrds in 1967! So he was flying by the seat of his pants much of the time, trying to come up with harmony vocals on the spot. I figure he did a better job of that in the late show, because he at least got a whack at the songs in the early show.

For the solo spots in the first portion of the show, I carefully combined songs from the early and late shows. For instance, Clark's "Release Me Girl" and "Train Leaves Here This Morning" are from the early show, and "Silver Raven" is from the late show. I didn't include his performance of "Denver or Wherever" because it was the one song in the whole bootleg where the sound was really messed up. (That's probably because it was the first song of the late show and some technical problems had to get worked out.) It seems that Crosby only did a solo spot for the late show. That's why he only has two solo songs, while Clark has three and McGuinn has four, since Clark and McGuinn played some different songs in each of their solo spots. 

For the main part of the show, with all three playing together, they generally did the same songs in roughly the same order. There were a few exceptions. For instance, "Wild Mountain Thyme" was only done in the early show, and "Little Mama" was only done in the late show. As I mentioned above, I generally used the late show versions. But a few of those were marred by a kind of crackling noise. So in those cases I used the early versions instead. Also, the first part of "Mr. Tambourine Man" had really bad sound quality on the vocals. But since that was just the chorus, I patched in the chorus from later in the song.

There's a lot of banter between songs. One can tell all three of them were having a great time. I used as much banter as possible, taking bits from the early show and adding them in to the late show banter. Hopefully, the end result sounds like one seamless whole.

I consider this a "must have" for any Byrds fan. It was a special and even historic evening. The three of them did songs they never did together before, like "Chestnut Mare," "You Ain't Goin' Nowhere," "Wild Mountain Thyme," and "Knockin' on Heaven's Door," as well as rare songs from their early Byrds days like "She Don't Care about Time" and "Chimes of Freedom" that they didn't even do in other reunion shows.

This album is an an hour and 33 minutes long. I plan on posting their 1978 Boarding House reunion show soon.

01 talk (Gene Clark)
02 Release Me Girl (Gene Clark)
03 Train Leaves Here This Morning (Gene Clark)
04 Silver Raven (Gene Clark)
05 talk (Gene Clark)
06 The Lee Shore (David Crosby)
07 talk (David Crosby)
08 Drive My Car (David Crosby)
09 talk (David Crosby)
10 Dreamland (Roger McGuinn)
11 talk (Roger McGuinn)
12 The Ballad of Easy Rider (Roger McGuinn)
13 Wasn't Born to Follow (Roger McGuinn)
14 talk (Roger McGuinn)
15 Jolly Roger (Roger McGuinn)
16 talk (Roger McGuinn)
17 Mr. Tambourine Man (Byrds)
18 Chestnut Mare (Byrds)
19 Crazy Ladies (Byrds)
20 talk (Byrds)
21 Turn, Turn, Turn [To Everything There Is a Season] (Byrds)
22 talk (Byrds)
23 I'll Feel a Whole Lot Better (Byrds)
24 She Don't Care about Time (Byrds)
25 talk (Byrds)
26 You Ain't Goin' Nowhere (Byrds)
27 talk (Byrds)
28 Wild Mountain Thyme (Byrds)
29 talk (Byrds)
30 Chimes of Freedom (Byrds)
31 talk (Byrds)
32 He Was a Friend of Mine (Byrds)
33 talk (Byrds)
34 My Back Pages (Byrds)
35 talk (Byrds)
36 Little Mama (Byrds)
37 Knockin' on Heaven's Door (Byrds)
38 talk (Byrds)
39 So You Want to Be a Rock 'n' Roll Star (Byrds)
40 talk (Byrds)
41 Eight Miles High (Byrds)

https://pixeldrain.com/u/kbhNKpPc

alternate:

https://bestfile.io/v92ahZo9fXqa8VY/file 

The cover photo comes from one of the late 1970s reunion shows with Crosby, but which one? This shows Clark (left), Crosby (center), and McGuinn (right). It actually had Hillman in it too, but I cropped him out. I have another photo with all four of them on stage at the Boarding House. So that must be from a later reunion concert they did in that venue in 1978, since Hillman wasn't there on this night. Thus, by process of elimination, I'm pretty sure this photo comes from the other reunion show with all four of them, at the Roxy in Los Angeles. 

For the band name at the top, I used the same unusual lettering as what was on the cover of their 1973 reunion album.

I later used the Krea AI program to improve the image quality.

The Byrds - Born to Rock and Roll - Non-Album Tracks (1972-1973)

In the wake of David Crosby's death (as I write this in 2023), I want to post some more music by Crosby with the Byrds, but first I'm moving through the Byrds' career chronologically, and the next one doesn't have Crosby in it (except for a very little bit). This stray tracks album marks the end of the era of the Byrds from their origin to their first break up in 1973. But there would be intermittent reunions after that, including one of all the original members later in 1973!

The Byrds slowly petered out in 1972 and 1973, with Roger McGuinn as the only original member. The band last studio albums were released in 1971, "Byrdmaniax" and "Father Along." They did a little more studio recording in 1972 (tracks 2, 3, and 5 here), but none of it was released at the time. They continued to tour extensively until February 1973, however. Meanwhile, a reunion with all five original members - McGuinn, David Crosby, Chris Hillman, Gene Clark, and Michael Clarke - was brewing. These five recorded a new album in late 1972, while the other version of the band was still performing concerts. The reunion version put out the studio album "Byrds" in March 1973. McGuinn broke up the touring version of the band at that time due to anticipation that the original members would go on tour. But their new studio album was a critical and commercial disappointment, and no tour materialized. But McGuinn retired the Byrds name at that point, and started a solo career instead.

There are some songs here attributed to the Byrds. In addition to the three studio tracks mentioned above (eventually released as bonus tracks), there are unreleased versions of "Kansas City" and "The Water Is Wide." The rest of the songs though are generally solo works. However, there's the odd case of the song "My New Woman." This was included on McGuinn's first solo album, simply called "Roger McGuinn," and also released in 1973. All of the original Byrds either played or sang on it, including David Crosby, which is why I said above there was a little bit of Crosby in this album. I'm guessing that song was an outtake from the 1972 sessions for the reunion album by the original members.

Towards the end of the Byrds' career, lead guitarist Clarence White had become a key member. Unfortunately, he was killed in July 1973 due to being struck by a drunk driver when he was loading musical instrument into a parked car. Five of the remaining songs here feature White. Another is from a solo album by Byrds member Skip Battin.

01 Kansas City (Byrds)
02 Lost My Drivin' Wheel (Byrds)
03 Born to Rock and Roll (Byrds)
04 Alabama Jubilee [Instrumental] (Clarence White)
05 Bag Full of Money (Byrds)
06 My New Woman (Roger McGuinn & the Byrds)
07 Why You Been Gone So Long (Clarence White with Ry Cooder)
08 The Last Thing on My Mind (Clarence White)
09 The Water Is Wide (Byrds)
10 I Am a Pilgrim [Instrumental Version] (Clarence White & Bob Baxter)
11 China Moon (Skip Battin)
12 Draggin' (Roger McGuinn)
13 Lost Highway (Clarence White & Muleskinner)

https://www.upload.ee/files/17362736/TBYRDZ1972-1973BrntoRckndRll_atse.zip.html

alternate:

https://pixeldrain.com/u/T3REugta

The cover photo was taken in Connecticut in June 1972.

The Byrds - Nothin' to It - Non-Album Tracks (1970-1971)

I got a request the other day to post more from the Byrds, so here's the next in my series of stray tracks albums for them. (I've got tons of albums all ready to go, I just need to make the album covers and write the blurbs. So if you want something posted sooner rather than later, please let me know.)

1970 was a big year for the Byrds, with the successful double album "(Untitled)" and lots of touring. For my purposes, nearly all of the new music for that year wound up on the expanded versions of both parts of that double album. As a result, only the first three songs are from 1970.

The fact that there's enough material here for an album is rather surprising, because 1971 was another busy year for the band, with two studio albums, "Byrdmaniax" and "Farther Along." Three of the songs here are officially released "Byrdmaniax" bonus tracks: "Think I'm Gonna Feel Better," "Nothin' to It," and "Just like a Woman." "Roll Over Beethoven" is from the archival live album "Live at Royal Albert Hall 1971." The last two songs will be discussed separately.

The other seven songs are unreleased. The Byrds toured heavily during this time period, and there are many soundboard bootlegs of their shows. I believe all of these are from soundboards, and they all sound excellent. We're especially lucky to have this version of the Bob Dylan song "She Belongs to Me," because it may have only been played in concert once (or at least a very small number of times). 

Most of the songs are sung by Roger McGuinn, the undisputed head of the Byrds at the time. But a couple were sung by Skip Battin. The song "Central Park" would later appear on a solo album he released in 1973. 

The song "Hanoi Hannah" had a drop out in it that lasted for a couple of seconds. Luckily, it was during a chorus, so I was able to patch it up with a different section of the song. That's why it has "[Edit]" in the title. By the way, a studio version of that song would later appear on McGuinn's 1973 solo album.

The last two songs, "One in a Hundred" and "She's the Kind of Girl," are a different kettle of fish. They were both written and sung by Gene Clark. Clark was the original leader of the Byrds, but he left in 1966 for a less commerically successful solo career. I don't know the story of how these songs came to be recorded, but they were performed in 1971 by all five of the original members of the Byrds: Clark, McGuinn, David Crosby, Chris Hillman, and Michael Clarke. They were released on Clark's 1973 album "Roadmaster." 

One could argue these two songs don't belong on this album, because the personnel is very different, with only McGuinn on all the songs. But I figure these songs are part of the Byrds legacy and fit here chronologically. The five original Byrds would briefly unite for a studio album in 1973, simply called "Byrds."

This album is 37 minutes long.

01 She Belongs to Me (Byrds)
02 Last Time I Was Home [Home Sweet Home] (Byrds)
03 Think I'm Gonna Feel Better (Byrds)
04 I'm So Restless (Byrds)
05 Hanoi Hannah [Edit] (Byrds)
06 Central Park (Byrds)
07 Rolling in My Sweet Baby's Arms (Byrds)
08 O Mary Don't You Weep (Byrds)
09 Nothin' to It [Instrumental] (Byrds)
10 Just like a Woman (Byrds)
11 Roll Over Beethoven (Byrds)
12 One in a Hundred (Gene Clark & the Byrds)
13 She's the Kind of Girl (Gene Clark & the Byrds)

https://www.upload.ee/files/16067826/TByrd_1970-1971_NthintoIt_atse.zip.html

The cover photo was taken in Amsterdam in 1970 or 1971.

The Byrds - (Untitled) Studio (1970)

In 1970, the Byrds released the well-received double album "(Untitled)." Half of it was live material and the other half was studio material. I my opinion, even though it's a very good album, it could be improved upon. My last post consists of the live material, expanded into a double album of its own. This is what I've done with the studio material.

The original studio album was about 37 minutes long. I removed "Take a Whiff on Me" because the revised live album contains a version of that song that I prefer. I also edited down the song "Welcome Back Home," because the original version is nearly eight minutes long, and far too repetitive for my tastes. This edited version is only four minutes long. I also used an alternate version of "Yesterday's Train" that I liked better.

After those removals and changes, the album was only 27 minutes long. But I made up for that and some by adding five songs: "Kathleen's Song," "Willin'," "Just like a Woman," "Lover of the Bayou," and "Amazing Grace." All of thesee, plus the alternate of "Yesterday's Train," come from the 2000 expanded edition of the album, given the new name "(Untitled)/(Unreleased)."

After those additions, the studio portion is now 48 minutes long. That's pretty long for a single album of that era, but still doable. I think it's a stronger version than the original. Note that there are concert versions of "Lover of the Bayou" and "Willin'" on the live portion of "(Untitled)" that I've posted separately. But they're both good songs, and I like both versions, so I've included both.

01 Chestnut Mare (Byrds)
02 Truck Stop Girl (Byrds)
03 All the Things (Byrds)
04 Hungry Planet (Byrds)
05 Just a Season (Byrds)
06 You All Look Alike (Byrds)
07 Kathleen's Song [Early Version] (Byrds)
08 Willin' (Byrds)
09 Just like a Woman (Byrds)
10 Yesterday's Train [Alternate Version] (Byrds)
11 Lover of the Bayou (Byrds)
12 Welcome Back Home [Edit] (Byrds)
13 Amazing Grace (Byrds)

https://www.upload.ee/files/15126899/TByrd_1970_UntitldStudio_atse.zip.html

The cover here is mostly the same as the official cover, but I made one very significant edit. The original photo was of the band standing on some stairs with sky in the background. This was edited back in 1970 to have a desert in the background instead. I went with the original look, with the sky background. If nothing else, this difference should make it clear that this is an alternate version instead of the original.

The original was also edited to include a warped version of another photo of the band on the side of the stairs, and I've kept that the same.

The Byrds - (Untitled) Live (1970)

Ever so slowly, I've been making my way through improving the discography of the Byrds. The last album I'd posted was a 1969 stray tracks one. That takes me to 1970, and the Byrds album known as "(Untitled)." It's probably the most acclaimed Byrds album from their later era, after David Crosby and Chris Hillman left. It was a double album, with one of the albums all live material and the other all studio material.

I don't want to simply post a popular album here unless I made significant changes to it. In this case, even though "(Untitled)" it s a very good album, I felt it could use a lot of improvement. The main reason for the change is that a deluxe version of the album was released, with the name "(Untitled)/(Unissued)." As you can guess, that had a lot of previously unreleased songs. But, in my opinion, they were added to the end as bonus tracks instead of being integrated into the other songs in an intelligent way.

There was so much material that I was able to turn the single live album into a double album, which is presented here. The single studio album remains a single album, but with a significantly different song list. I'll post that shortly as a separate album.

All the live tracks here were recorded in New York City either on February 28, 1970, or March 1, 1970, with the exception of two ("Take a Whiff on Me" and "Jesus Is Just Alright"), which were recorded also in New York City, but in September 1970. That was the same month the album was actually released, but I'm including them here since they were chosen as bonus tracks.

The first six songs here are the songs that made up Side One of the original release. Side Two consisted entirely of a long version of "Eight Miles High." I've put that at the end, since it was the last song in their concerts at the time (not counting the short "Hold It" instrumental, which is also here). I made an edit to "Eight Miles High," which is why it has "[Edit]" in its title. This version had a fade in at the start. That's a shame, in my opinion, because I love the iconic bass notes that open the song. So I found the missing intro bit from a different bootleg version around that same time, and patched it in.

Most of the rest of the songs come from bonus tracks on the 2000 deluxe edition. But three more songs, "You All Look Alike," "Willin'," and "Black Mountain Rag (Soldier's Joy)" dribbled out on the band's two official box sets, so I included those too.

I think this works much better as a double album than the original single album, since it closely resembles a full concert. Admittedly, it's a bit short as concerts go, at only an hour and nine minutes. I could have added more songs from bootlegs dating that same year, but I wanted to keep this a collection of all officially released material, recorded with great sound quality.

01 Lover of the Bayou (Byrds)
02 Positively 4th Street (Byrds)
03 Nashville West [Instrumental] (Byrds)
04 So You Want to Be a Rock 'n' Roll Star (Byrds)
05 Mr. Tambourine Man (Byrds)
06 Mr. Spaceman (Byrds)
07 You All Look Alike (Byrds)
08 Willin' (Byrds)
09 Black Mountain Rag [Soldier's Joy] (Byrds)
10 My Back Pages (Byrds)
11 Old Blue (Byrds)
12 You Ain't Goin' Nowhere (Byrds)
13 It's Alright Ma [I'm Only Bleeding] (Byrds)
14 The Ballad of Easy Rider (Byrds)
15 This Wheel's on Fire (Byrds)
16 Take a Whiff on Me (Byrds)
17 Jesus Is Just Alright (Byrds)
18 Eight Miles High [Edit] (Byrds)
19 Hold It [Instrumental] (Byrds)

https://www.upload.ee/files/15126912/TByrd_1970_UntitldLive_atse.zip.html

The cover photo features the Byrds in concert in London in 1971. For the text, I imitated the look of the text on the original "(Untitled)" album.

The Byrds - Avalon Ballroom, San Francisco, CA, 11-2-1968

I just posted a live Byrds concert from 1968 yesterday. But what the heck, I have another one with everything ready for posting, so here it is too.

When it comes to 1968 Byrds concerts, this one and the one I just posted (The Piper Club in May 1968) tower above everything else in terms of sound quality. In fact, this one sounds the best of all, good enough to be an official release. The performance is excellent too, making me wonder why this remains merely a bootleg.

A disappointment for many Byrds fans would be the band line-up. In August 1968, the band released their classic "Sweetheart of the Rodeo" country rock album. But just a few months later, two key members of that version of the band had already left: Chris Hillman and Gram Parsons. The line-up now consisted of Roger McGuinn, Gene Parson, Clarence White, and John York. This might have been York's first concert with the band. At the very least, it was from his first week or so.

While I would have rather had a concert like this with Hillman and Parsons still in the band, this line-up had its merits as well. White in particular was an excellent addition, with his stellar guitar playing skills.

This concert consists of an early set and late set. If you listen to be banter between songs, you can hear that "This Wheel's on Fire" is the last song from the early set, and "Pretty Boy Floyd" is the first song from the late set. On the popular bootleg I took this from, there's a song in between, "Stanley's Song." I've removed this song entirely for two reasons. One, it's from the soundcheck before the show (or something else), not from the show itself. But more importantly, it gets abruptly cut off halfway through. I also removed the one song repeated in the second set, "So You Want to Be a Rock 'n' Roll Star." I would have kept it if it was a good version with a nice guitar solo or something like that, but the version from the early set was clearly performed better.

The first set is about 10 minutes longer. It could be there were more songs not included. But I suspect the band simply played a shorter late set, because at the end of the early set there already was an issue with time running out. Apparently, the management told the band that the venue had to close by 2 A.M. So this was probably as much as could be squeezed in before then. 

The songs played come from all phases of the band's career up until that point. But there's a fair number of songs played from the band's next album, "Dr. Byrds and Mr. Hyde," which wouldn't be released until early in 1969. Those songs are: "Old Blue," "My Back Pages - Baby, What Do You Want Me to Do," "Drug Store Truck Drivin' Man," "This Wheel's on Fire," King Apathy III," "Bad Night at the Whiskey," and "Nashville West." That album isn't considered a particularly strong one by the band's standards. However, I think the versions played her are generally better than those on the album.

Oh, a nice rare treat is the band's version of the classic Carl Perkins song "Blue Suede Shoes." According to setlist.fm, the band only ever played it one time. Admittedly, that database is probably very incomplete for this time period, so I'll bet they played it more. But it seems likely it was only done in late 1968, and it doesn't appear on any record.

This concert is an hour and four minutes long.

01 Old Blue (Byrds)
02 My Back Pages - Baby, What Do You Want Me to Do (Byrds)
03 talk (Byrds)
04 Mr. Spaceman (Byrds)
05 talk (Byrds)
06 Time Between (Byrds)
07 talk (Byrds)
08 Goin' Back (Byrds)
09 Blue Suede Shoes (Byrds)
10 He Was a Friend of Mine (Byrds)
11 talk (Byrds)
12 So You Want to Be a Rock 'n' Roll Star (Byrds)
13 talk (Byrds)
14 Drug Store Truck Drivin' Man (Byrds)
15 talk (Byrds)
16 This Wheel's on Fire (Byrds)
17 talk (Byrds)
18 Pretty Boy Floyd (Byrds)
19 Eight Miles High (Byrds)
20 talk (Byrds)
21 You Don't Miss Your Water (Byrds)
22 Hickory Wind (Byrds)
23 talk (Byrds)
24 King Apathy III (Byrds)
25 Bad Night at the Whiskey (Byrds)
26 talk (Byrds)
27 Nashville West (Byrds)

https://www.upload.ee/files/17362754/TBYRDZ1968AvlnBallromSanFrnciscoCA__11-2-1968_atse.zip.html

alternate:

https://pixeldrain.com/u/CxaAJoZf

One again, I'm hindered by a lack of good color photos of a band from a certain time. Since I couldn't find a suitable photo of the band in concert, I searched for concert posters. I came across a nice one from the general era. 

I had to make a number of changes to it though. The biggest one was that not only was the poster rectangular, it was longer vertically than most. So I cropped a lot out, and also vertically squished the bottom portion. Also, the orange box contained photos of the band members, but it was the wrong line-up. So I replaced that with a photo of the correct one, and then colored it orange to give it the same general look at the area it had replaced.

I updated the image with Krea AI, so there are some slight differences from the original poster.