[132] Crosby, who had closely overseen the recording of the song,[133][134] was bitterly disappointed by the single's lack of success and blamed Gary Usher's mixing of the song as a factor in its commercial failure. [16], The reunion album, titled simply Byrds, was released on March 7, 1973, to mixed reviews. [244] Three officially released Byrds recordings exist of the McGuinn-White-Battin-Guerin lineup: live versions of "Mr. Tambourine Man" and "Roll Over Beethoven" that were recorded for the soundtrack of the Earl Scruggs' film Banjoman, and a studio recording of "Bag Full of Money" that was included as a bonus track on the remastered reissue of Farther Along in 2000. Members Chris Hillman (1965 - 1968) Clarence White (1968 - 1973) David Crosby (1964 - 1967) Gene Clark Gene Parsons (1968 - 1972) Gram Parsons (1967 - 1968) John Guerin John York (1968 - 1969) Kevin Kelley (1968 - 1968) Michael Clarke (1964 - 1968) Roger McGuinn Skip Battin (1972 - 1973) Turn! Turn! [217] The live half of (Untitled) included both new material and new renditions of previous hit singles, including "Mr. Tambourine Man", "So You Want to Be a Rock 'n' Roll Star" and a 16-minute version of "Eight Miles High", which comprised the whole of one side of the original LP release. [265] Crosby and Hillman were booked to appear at the event separately, but McGuinn, who was not listed on the bill, made a surprise appearance and joined his two former partners on stage. "[110] However, it has become known in the years since the incident that there were other stress and anxiety-related factors at work, as well as resentment within the band that Gene's songwriting income had made him the wealthiest member of the group. Turn! [210][227][228] The British and European press were unanimous in their praise of the Byrds' live performances during the tour,[228] reinforcing their reputation as a formidable live act during this period. [107] The band and their management strenuously denied these allegations, stating that the song's lyrics actually described an airplane flight to London and the band's subsequent concert tour of England. [256] None of these three original members were interested in the venture and so Clark instead assembled a group of musicians and friends, including Rick Roberts, Blondie Chaplin, Rick Danko, Richard Manuel, and the ex-Byrds Michael Clarke and John York, under the banner of "The 20th Anniversary Tribute to the Byrds". [130], The poor sales suffered by "Lady Friend" were in stark contrast to the chart success of the band's first compilation album, The Byrds' Greatest Hits, which was released on August 7, 1967. [42], As the only original band member left, McGuinn elected to hire bassist John York as Hillman's replacement. [270], Since the band's 1960s heyday, the influence of the Byrds on successive generations of rock and pop musicians has grown steadily, with acts such as the Eagles, Big Star, Tom Petty & the Heartbreakers, R.E.M., the Bangles, the Smiths, and innumerable alternative rock bands of the post-punk era all exhibiting signs of their influence. [128] Although it received generally positive reviews upon its release, the album was, to a degree, overlooked by the record-buying public and consequently peaked at number 24 on the Billboard chart and number 37 on the UK Albums Chart. And though the two most talented latter-day band members Gram Parsons and Clarence White-met untimely deaths, the five original Byrds share a distinction rare among pan theon rock groups: they're all still alive. [162][190] As a result, the band dispensed with Johnston and re-enlisted Terry Melcher, who had produced the band's first two albums, to produce their next LP. David Crosby talking in 1980 about the day Roger McGuinn and Chris Hillman fired him from the Byrds[147], Tensions within the band finally erupted in August 1967, during recording sessions for The Notorious Byrd Brothers album, when Michael Clarke quit the sessions over disputes with his bandmates and his dissatisfaction with the material that the songwriting members of the band were providing. [3] Unfortunately, the tour was overhyped from the start, with the band being touted as "America's answer to the Beatles", a label that proved impossible for the Byrds to live up to. [198] Musically, the album represented a consolidation and streamlining the band's country rock sound, and mostly consisted of cover versions and traditional material, along with three self-penned originals. [208][219] Among the Gene Tryp songs included on (Untitled) was "Chestnut Mare", which had originally been written for a scene in which the musical's eponymous hero attempts to catch and tame a wild horse. Well, okay. [142] Crosby felt that the band should rely on self-penned material for their albums, rather than cover songs by other artists and writers. [22] McGuinn and Hillman remain active. the Yardbirds, 1960s British musical group best known for their inventive conversion of rhythm and blues into rock. [37][38] In an attempt to bolster the group's confidence in the song, Dickson invited Dylan himself to World Pacific to hear the band perform "Mr. Tambourine Man". [241] Following a shambolic, underrehearsed performance at the Capitol Theatre in Passaic, New Jersey, on February 24, 1973, McGuinn cancelled the band's remaining concert commitments and disbanded the touring version of the Byrds, in order to make way for a reunion of the original five-piece line-up of the band. [84] In addition, music critic William Ruhlmann has written that the song's lyrical message of peace and tolerance struck a nerve with the American record buying public as the Vietnam War continued to escalate. [215][216] Peaking at number 40 on the Billboard Top LPs chart and number 11 in the UK,[216] the album's success continued the upward trend in the band's commercial fortunes and popularity that had begun with the release of the Ballad of Easy Rider album. Clark played percussion and guitar and was an original member of the Byrds, the. With the able presence of session players like the brilliant drummer Jim Gordon, the Byrds maintained its persona as a band even as its personnel dwindled and, as a result, The Notorious Byrd Brothers is perhaps the most insinuating psychedelic work of its epoch, as graceful and gentle as any of the group's best previous efforts. [218] The song was issued as a single in the U.S. on October 23, 1970, but it only managed to climb to number 121 on the Billboard chart. ", "Byrds FAQ: How and When did they get together? [248] In keeping with the new spirit of reconciliation that the reunion fostered, McGuinn permanently disbanded the Columbia lineup of the group in February 1973. He credits many of these artists and more to his inspiration as he plays the guitar. [218], The studio recordings featured on (Untitled) mostly consisted of newly written, self-penned material, including a number of songs that had been composed by McGuinn and Broadway theatre impresario Jacques Levy for a planned country rock musical titled Gene Tryp that the pair were developing. [182] In a fit of rage, Hillman threw down his bass in disgust and walked out of the group. [256][258], In June 1988, McGuinn, Crosby and Hillman appeared at a concert celebrating the reopening of the Ash Grove folk club in Los Angeles. [221] "Chestnut Mare" did much better in the UK, however, when it was released as a single on January 1, 1971, reaching number 19 on the UK Singles Chart and giving the Byrds their first UK Top 20 hit since their cover of Bob Dylan's "All I Really Want to Do" had peaked at number 4 in September 1965. [13] This version of the band was relatively short-lived and by early 1966 Clark had left due to problems associated with anxiety and his increasing isolation within the group. [218] Band biographer Johnny Rogan has suggested that the inclusion of these newly recorded live versions of older songs served to forge a spiritual and musical link between the Byrds' current line-up and the original mid-1960s incarnation of the band. [77][78] A number of authors, including Ian MacDonald, Richie Unterberger, and Bud Scoppa, have commented on the Byrds influence on the Beatles' late 1965 album Rubber Soul,[79] most notably on the songs "Nowhere Man"[80] and "If I Needed Someone", the latter of which utilizes a guitar riff similar to that in the Byrds' cover of "The Bells of Rhymney". Turn! It comprised a mixture of country music standards and contemporary country material, along with a country reworking of William Bell's soul hit "You Don't Miss Your Water". album review", "The Notorious Byrd Brothers album review", "The Byrds The Notorious Byrd Brothers SACD review", "Clarence White: With the Byrds and After, 19681973", "Show 9 - Tennessee Firebird: American country music before and after Elvis. Turn! The original line-up consisted of lead guitarist and Moog synthesizer James Roger McGuinn (Roger McGuinn) and the following: rhythm guitarist, tambourine player, and backing vocalist Harold Eugene (Gene Clark) [186] The sessions saw the band juxtaposing their new country rock sound with more psychedelic-oriented material, giving the resulting album a stylistic split personality that was alluded to in its title. [28] By early 1964, McGuinn had become enamored with the music of the Beatles, and had begun to intersperse his solo folk repertoire with acoustic versions of Beatles' songs. [3], However, the tour did enable the band to meet and socialize with a number of top English groups, including the Rolling Stones and the Beatles. [160], The band also incurred the wrath of renowned country music DJ Ralph Emery, when they appeared on his Nashville-based WSM radio program. [32] Initially, this blend arose organically, but as rehearsals continued, the band began to actively attempt to bridge the gap between folk music and rock. [157][159] He found a kindred spirit in Hillman, who had played mandolin in a number of notable bluegrass bands before joining the Byrds. Crosby said The Byrds fired him because he 'was an a-hole' After hitting No. Turn! A cause of death was not given. [47][48] In addition, it was during their residency at the nightclub that the band first began to accrue a dedicated following among L.A.'s youth culture and hip Hollywood fraternity, with scenesters like Kim Fowley, Peter Fonda, Jack Nicholson, Arthur Lee, and Sonny & Cher regularly attending the band's performances. [70], Author John Einarson has written that during this period of their career, the Byrds enjoyed tremendous popularity among teenage pop fans, with their music receiving widespread airplay on Top 40 radio and their faces adorning countless teen magazines. [227] For his part, Melcher later stated that he felt that the band's performances in the studio during the making of Byrdmaniax were lackluster and he therefore employed the orchestration in order to cover up the album's musical shortcomings. [122][123] The song features the trumpet playing of South African musician Hugh Masekela and as such, marks the first appearance of brass on a Byrds' recording. [2] Although their time as one of the most popular groups in the world only lasted for a short period in the mid-1960s, the Byrds are today considered by critics to be among the most influential rock acts of their era. [1][24][29] Soon after, David Crosby introduced himself to the duo at The Troubadour and began harmonizing with them on some of their songs. [16][239] Gene Parsons was fired from the group in July 1972 for a number of reasons, including McGuinn's growing dissatisfaction with his drumming, disagreements that he and McGuinn were having over band members' pay, and his own discontent over the band's lack of morale during this period. [190] A number of tracks on Dr Byrds & Mr. Hyde, including the instrumental "Nashville West" and the traditional song "Old Blue",[191] featured the sound of the Parsons and White designed StringBender (also known as the B-Bender), an invention that allowed White to duplicate the sound of a pedal steel guitar on his Fender Telecaster. Score: 4.3/5 (31 votes) . [37], Soon after, inspired by the Beatles' film A Hard Day's Night, the band decided to equip themselves with similar instruments to the Fab Four: a Rickenbacker twelve-string guitar for McGuinn, a Ludwig drum kit for Clarke, and a Gretsch Tennessean guitar for Clark (although Crosby commandeered it soon after, resulting in Clark switching to tambourine). (Gene Clark and Michael Clarke, who completed the quintet, both died in the early 1990s; McGuinn steered the band through various . [258] Although they were billed as solo artists, the three musicians came together for an on-stage reunion during the show, performing a string of Byrds hits including "Mr. Tambourine Man" and "Eight Miles High". The Byrds Template:IPAc-en were an American rock band, formed in Los Angeles, California in 1964. [49][50][51] On March 26, 1965, the author of the band's forthcoming debut single, Bob Dylan, made an impromptu visit to the club and joined the Byrds on stage for a rendition of Jimmy Reed's "Baby What You Want Me to Do". [37] Impressed by the group's rendition, Dylan enthusiastically commented, "Wow, man! the original line up. [14] The single, which coupled the band originals "Please Let Me Love You" and "Don't Be Long", featured McGuinn, Clark, and Crosby, augmented by session musicians Ray Pohlman on bass and Earl Palmer on drums. [3][76], This 1965 English tour was largely orchestrated by the group's publicist Derek Taylor, in an attempt to capitalize on the number 1 chart success of the "Mr. Tambourine Man" single. Me and Jeff Foskett, and 3 other friends have put. Turn!, along with Mr. Tambourine Man, served to establish the Byrds as one of rock music's most important creative forces, on a par with the Beatles, the Beach Boys and the Rolling Stones. [230] The consensus among most reviewers was that Byrdmaniax was hampered by Melcher's inappropriate orchestration and by being an album almost totally bereft of the Byrds' signature sound. [260], The reunion concerts were a resounding success, but with Michael Clarke continuing to tour with his Byrds tribute, McGuinn, Crosby and Hillman filed a lawsuit against the drummer in the spring of 1989, suing him for allegedly false advertising, unfair competition and deceptive trade practices, as well as seeking a preliminary injunction against Clarke's use of the name. I just said, "it's a shameful waste goodbye". Turn!" Crosby left The Byrds in 1967 and in . [197], Between June and August 1969, the Byrds worked with Melcher to complete the Ballad of Easy Rider album. A sample of the country-influenced Chris Hillman composition "Time Between", which foreshadowed the Byrds' later exploration of the country rock genre. [181][215], The two-record (Untitled) album was released by the Byrds on September 14, 1970, to positive reviews and strong sales, with many critics and fans regarding the album as a return to form for the band. Gene grew up in Kansas City, Missouri, and learned how to play guitar and harmonica at a young age. [1], While the band waited for "Mr. Tambourine Man" to be released, they began a residency at Ciro's Le Disc nightclub on the Sunset Strip in Hollywood. [156][157] Although Parsons and Kelley were both considered full members of the Byrds, they actually received a salary from McGuinn and Hillman, and did not sign with Columbia Records when the Byrds' recording contract was renewed on February 29, 1968. [265] McGuinn introduced the hastily reformed trio with the words, "And now, ladies and gentlemen, the Byrds", as the group launched into renditions of "Mr. Tambourine Man" and "Turn! [156][160], On March 9, 1968, the band decamped to Columbia's recording studios in Nashville, Tennessee, with Clarence White in tow, to begin the recording sessions for the Sweetheart of the Rodeo album. The Byrds (/brdz/) were an American rock band formed in Los Angeles, California, in 1964. [132] The Byrds' biographer Johnny Rogan has described "Lady Friend" as "a work of great maturity" and "the loudest, fastest and rockiest Byrds' single to date". [47] The band's regular appearances at Ciro's during March and April 1965 allowed them to hone their ensemble playing, perfect their aloof stage persona, and expand their repertoire. [1][3][4] Their signature blend of clear harmony singing and McGuinn's jangly 12-string Rickenbacker guitar was "absorbed into the vocabulary of rock" and has continued to be influential. something was happening there! [163] Even Hillman, who had previously been Parsons' biggest supporter in the band, began to grow weary of his forceful demands. Now the surviving original ByrdsMcGuinn, Chris Hillman, and David Crosbyhave spun out their saga in a whopping, 396-page limited-edition photographic odyssey of an art book called The Byrds: 1964-1967, which includes their own, typically puckish, commentary. [264], McGuinn, Crosby and Hillman all returned to their individual solo careers following the Rock and Roll Hall of Fame ceremony. [160] While in Nashville, the Byrds also appeared at the Grand Ole Opry on March 15, 1968, where they performed the Merle Haggard song "Sing Me Back Home" and Parsons' own "Hickory Wind" (although they were actually scheduled to play a second Haggard song, "Life in Prison"). [262] Former members Gene Parsons and John York both remain active and continue to perform and record various musical projects.[262]. [213] To help with the editing of the live recordings, the band's ex-manager Jim Dickson, who had been fired by the group in June 1967, was invited back into the Byrds' camp. [86] Nonetheless, it was a commercial success, peaking at number 17 on the U.S. charts and number 11 in the UK. [47] A number of noted music historians and authors, including Richie Unterberger, Ric Menck, and Peter Buckley, have suggested that the crowds of young Bohemians and hipsters that gathered at Ciro's to see the Byrds perform represented the first stirrings of the West Coast hippie counterculture. [198][222][223] Unfortunately, the grueling pace of the band's touring schedule at the time meant that they were not fully prepared for the sessions and much of the material they recorded was under-developed. [184][185] In October 1968, the new line-up entered Columbia Studios in Hollywood to begin recording the Dr. Byrds & Mr. Hyde album with producer Bob Johnston. The Byrds released such hits as "Mr. Tambourine Man" and "Turn! [112], Between 1977 and 1980, McGuinn, Clark and Hillman worked on and off together as a trio, modeled after Crosby, Stills, Nash & Young and, to a lesser extent, the Eagles. [258] Although Clark and Clarke's Byrds tribute group was inactive at the time of this high-profile get-together of McGuinn, Crosby, and Hillman, Michael Clarke did mount another tribute tour shortly afterwards, this time featuring former Byrd Skip Battin and newcomers Terry Jones Rogers and Jerry Sorn, under the banner of "The Byrds featuring Michael Clarke". The principal members were Roger McGuinn (original name James Joseph McGuinn III; b. July 13, 1942, Chicago, Illinois, U.S.), Gene Clark (in full Harold Eugene Clark; b. November 17, 1941, Tipton, Missourid. Paul also addressed KISS's unwillingness to perform with the original lineup at the ceremony, saying: "[Rock Hall's] craving of nostalgia or for wanting to have us play by their rules in many ways . To date, the Fred Walecki tribute concert appearance in 2000 was the last performance by the Byrds. [161][162] Journalist David Fricke has described the reactions of Emery and the Grand Ole Opry audience as indicative of the resistance and hostility that the Byrds' venture into country music provoked from the Nashville old guard.[12]. Flashback: Original Byrds Lineup Reunites at the Rock and Roll Hall of Fame This 1991 performance of "Mr. Tambourine Man" is the last time the classic lineup of the Byrds performed together By. [187][188] In the wake of the recent changes in band personnel, McGuinn decided that it would be too confusing for fans of the group to hear the unfamiliar voices of White, Parsons and York coming forward at this stage, and so they were relegated to backing vocals on the album. [96] As a result, the band was forced to re-record the song at Columbia Studios in Los Angeles on January 24 and 25, 1966, and it was this re-recorded version that would be released as a single and included on the group's third album. [264] Since 2002, Rogers and Nienhaus have continued to tour as part of the band Younger Than Yesterday: A Tribute to the Byrds, along with bassist Michael Curtis and drummer Tim Politte. Turn!". [42] He remains active, releasing albums and touring, often with ex-Desert Rose Band member Herb Pedersen. The original members of the Byrds reunited in 1973 to give a Top 20 performance on the charts. [248] The reunion actually took place in early October 1972, beginning with a rehearsal at McGuinn's house, where the group began selecting suitable material for a new album. [45][55] The single also featured another major characteristic of the band's sound: their clear harmony singing, which usually featured McGuinn and Clark in unison, with Crosby providing the high harmony. A further distinctive aspect of the Byrds' image was their unsmiling air of detachment, both on stage and in front of the camera. Hi- Andrew Gold here. [130][147] In addition, during the Byrds' performance at the Monterey Pop Festival on June 17, 1967, Crosby gave lengthy in-between-song speeches on controversial subjects, including the JFK assassination and the benefits of giving LSD to "all the statesmen and politicians in the world", to the intense annoyance of the other band members. members of the Byrds, David Crosby, Roger McGuinn, and Chris Hillman, with. [117], The Fifth Dimension album received a mixed critical reception upon release[116] and was less commercially successful than its predecessors, peaking at number 24 in the U.S. and number 27 in the UK. [46] However, the use of outside musicians on the Byrds' debut single has given rise to the persistent misconception that all of the playing on their debut album was done by session musicians. The cover was done to help support Miraculous Love Kids. [160] Thus, McGuinn was persuaded to change direction and abandon his original concept for the group's next album, which had been to record a history of 20th century American popular music, and instead explore country rock. [36] The full, electric rock band treatment that the Byrds and producer Terry Melcher had given the song effectively created the template for the musical subgenre of folk rock. [98] The title track, "5D (Fifth Dimension)", was released as a single ahead of the album and was, like "Eight Miles High" before it, banned by a number of U.S. radio stations for supposedly featuring lyrics that advocated drug use. [265] According to contemporary press reports, the reunion was an unmitigated success, with the audience giving the band multiple standing ovations and shouting for more as they left the stage. [184] However, the album fared much better in the UK, where it attracted glowing reviews and reached number 15. [62][8] In particular, Clark's "I'll Feel a Whole Lot Better" has gone on to become a rock music standard, with many critics considering it one of the band's and Clark's best songs. [125][128] However, music expert Peter Buckley has pointed out that although the album may have passed the Byrds' rapidly shrinking teen audience by, it found favor with "a new underground following who disdained hit singles, but were coming to regard albums as major artistic statements". Gene Clark was one of the founding members of The Byrds and was one of the lead singers and songwriters for the band. Members have included Gene Clark (tambourine and vocals), Mike Clarke (drums), David Crosby (guitar and vocals), Chris Hillman (bass), Roger McGuinn (guitar and vocals), Gram Parsons, Skip Battin, Gene Parsons, Kevin Kelley, Clarence White. [258][260] Although he was no longer connected with Clarke's tribute act, Gene Clark was not invited to participate in these official Byrds reunion concerts due to residual ill-feeling stemming from his earlier "20th Anniversary Tribute to the Byrds". [200] Composed primarily by McGuinn, with some input from Bob Dylan (although not credited), "Ballad of Easy Rider" was written as the theme tune for the 1969 counterculture film Easy Rider. [260] As a result, Clarke gained full legal ownership of the name the Byrds. [240], Parsons was quickly replaced with L.A. session drummer John Guerin, who remained with the Byrds until January 1973, when he decided to return to studio work. Usher, who had a wealth of production experience and a love of innovative studio experimentation, would prove invaluable to the Byrds as they entered their most creatively adventurous phase. Elected to the Rock and Roll Hall of Fame in 1991. [7], The Byrds' second album, Turn! [42] David Crosby returned to the supergroup Crosby, Stills, Nash & Young for their 1974 tour and subsequently continued to produce albums with Graham Nash. [193], Following the release of Dr. Byrds & Mr. Hyde the band issued a version of Dylan's "Lay Lady Lay" as a single in May 1969, which failed to reverse the group's commercial fortunes in the U.S., reaching number 132. [94] Within a month of Turn! [275], In his book Riot on Sunset Strip: Rock 'n' Roll's Last Stand in 60s Hollywood, music historian Domenic Priore attempts to sum up the band's influence by stating: "Few of The Byrds' contemporaries can claim to have made such a subversive impact on popular culture. [126][127], Released on February 6, 1967, the Byrds' fourth album, Younger Than Yesterday, was more varied than its predecessor and saw the band successfully mixing psychedelia with folk rock and country and western influences. I don't think we need anymore from the Byrds. You can dance to that! [132] The relationship between Dickson and the band had soured over recent months, and he and Tickner's business arrangement with the Byrds was officially dissolved on June 30, 1967. Turn! [262] However, the Byrds did reunite for a third time on August 8, 2000, to give an impromptu, one-off performance at a tribute concert for Fred Walecki, the owner of a Los Angeles music equipment store who was suffering from throat cancer. . [241] The band underwent a further personnel change following a show on February 10, 1973, in Ithaca, New York, when Skip Battin was dismissed by McGuinn, who had capriciously decided that the bassist's playing abilities were no longer of a sufficient standard. [245] In the United States, the album became the band's highest charting LP of new material since 1965's Turn! [43][46] By the time the sessions for their debut album began in March 1965, Melcher was satisfied that the band was competent enough to record its own musical backing. [236][241], Following Guerin's departure, he was temporarily replaced for live performances by session drummers Dennis Dragon and Jim Moon. [23] Impressed by the blend of their voices, the three musicians formed a trio and named themselves the Jet Set, a moniker inspired by McGuinn's love of aeronautics.[23]. [36], In August 1964, Dickson managed to acquire an acetate disc of the then-unreleased Bob Dylan song "Mr. Tambourine Man", which he felt would make an effective cover for the Jet Set. 04 Mar 2023 00:41:10 [12], The original five-piece lineup of the band consisted of McGuinn (lead guitar, vocals), Gene Clark (tambourine, vocals), David Crosby (rhythm guitar, vocals), Chris Hillman (bass guitar, vocals), and Michael Clarke (drums). [223][225] Controversially, Melcher and Hinshaw elected to bring in arranger Paul Polena to assist in the overdubbing of strings, horns, and a gospel choir onto many of the songs, allegedly without the band's consent. Turn! [262], Following Clarke's death, Terry Jones Rogers resurrected the Byrds tribute act, with guitarist Scott Nienhaus and former Byrds Skip Battin and Gene Parsons on bass and drums respectively. [157] In addition, Hillman had also persuaded the Byrds to incorporate subtle country influences into their music in the past, beginning with the song "Satisfied Mind" on the Turn! Drummer Michael Clarke was added to the Jet Set in mid-1964. [277] In 2006, they were inducted into the Vocal Group Hall of Fame.[278]. [3] During concert performances, a combination of poor sound, group illness, ragged musicianship, and the band's notoriously lackluster stage presence, all combined to alienate audiences and served to provoke a merciless castigating of the band in the British press. [150][153], When tensions reached a breaking point during October 1967, McGuinn and Hillman drove to Crosby's home and fired him, stating that they would be better off without him. ", "Pack Up the Plantation: Live! [34] Clarke was recruited largely due to his good looks and Brian Jones-esque hairstyle, rather than for his musical experience, which was limited to having played congas in a semi-professional capacity in and around San Francisco and L.A.[35] Clarke did not even own his own drum kit and initially had to play on a makeshift setup consisting of cardboard boxes and a tambourine.
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