The Byrds took Bob Dylan's songwriting and Beatles-inspired amplification and welded them to Roger McGuinn's chiming twelve-string Rickenbacker, more or less inventing folk rock with 1965's "Mr. Tambourine Man." They kept moving fast from there, pioneering raga rock, psychedelia, and eventually country rock before the decade was out. Almost every jangly guitar band of the following sixty years owes them a debt, whether they know it or not.
The Byrds' breakthrough single was, quite literally, Bob Dylan's own "Mr. Tambourine Man" — a folk song from Bringing It All Back Home turned electric, harmonized, and sped into the record that effectively created folk rock as a genre.
listen forPlay Dylan's spare, harmonica-led original of "Mr. Tambourine Man" back to back with the Byrds' jangling, harmony-stacked electric version — same words, same melody, a completely different genre by the time the Byrds were through with it.
"Turn! Turn! Turn!" is Pete Seeger's own adaptation of the Book of Ecclesiastes, written years before the Byrds turned it electric and rode it to a number-one hit — one of the clearest possible lines from folk-revival songwriting straight into 1960s rock radio.
listen forListen to Pete Seeger's hushed, acoustic "Turn! Turn! Turn! (To Everything There Is a Season)" next to the Byrds' chiming, drum-driven version — identical words and melody, transformed entirely by amplification and harmony.
Roger McGuinn has said watching George Harrison play a Rickenbacker twelve-string in A Hard Day's Night was what sent him out to buy his own — the single guitar decision that defined the Byrds' entire sound.
listen forHear the Beatles' "A Hard Day's Night" next to the Byrds' "I'll Feel a Whole Lot Better" — that same ringing, unmistakable twelve-string chime opens both songs before the band even properly starts.