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Hillman's background was more oriented towards country music than folk or rock, having been a member of the bluegrass groups the Scottsville Squirrel Barkers, the Hillmen (also known as the Golden State Boys), and, concurrently with his recruitment into the Jet Set, the Green Grass Group.
Through connections that Dickson had with impresario Benny Shapiro, and with a helpful recommendation from jazz trumpeter Miles Davis, the group signed a recording contract with Columbia Records on November 10, 1964.
Two weeks later, during a Thanksgiving dinner at Eddie Tickner's house, the Jet Set decided to rename themselves as "The Byrds", a moniker that retained the theme of flight and also echoed the deliberate misspelling of the Beatles.
Producer Terry Melcher (left) in the recording studio with Gene Clark (center) and David Crosby (right).
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. The single, which coupled the band originals "Please Let Me Love You" and "Don't Be Long", featured Mc Guinn, Clark, and Crosby, augmented by session musicians Ray Pohlman on bass and Earl Palmer on drums.
In an attempt to cash in on the British Invasion craze that was dominating the American charts at the time, the band's name was changed for the single release to the suitably British-sounding the Beefeaters.
We went into the lobby and started picking on the stairway where the echo was good and David came walking up and just started singing away with us doing the harmony part ...
A further distinctive aspect of the Byrds' image was their unsmiling air of detachment, both on stage and in front of the camera. (to Everything There Is a Season)", which provided the band with their second U. number 1 single and served to cement folk rock as a chart trend. album 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.
While performing at The Troubadour folk club in Los Angeles, Mc Guinn was approached by fellow Beatles fan Gene Clark, and the pair soon formed a Peter and Gordon-style duo, playing Beatles' covers, Beatlesque renditions of traditional folk songs, and some self-penned material.
It was during the rehearsals at World Pacific that the band's folk rock sound—an amalgam of their own Beatles-influenced material, their folk music roots and their Beatlesque covers of contemporary folk songs—began to coalesce.
Impressed by the group's rendition, Dylan enthusiastically commented "Wow, man! ", and his ringing endorsement erased any lingering doubts that the band had over the song's suitability.
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 Mc Guinn, 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).
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The excitement generated by the Byrds at Ciro's quickly made them a must-see fixture on L.