Turn!, was released in December 1965[85] and while it received a mostly positive reception, critical consensus deemed it to be inferior to the band's debut. Well, okay. [129], By mid-1967, McGuinn had changed his first name from Jim to Roger as a result of his interest in the Indonesian religion Subud, into which he had been initiated in January 1965. [160] During this period, Parsons attempted to exert a controlling influence over the group by pressuring McGuinn to recruit either JayDee Maness or Sneaky Pete Kleinow as the band's permanent pedal steel guitar player. [1] McGuinn disbanded the then-current version of the band in early 1973 to make way for a reunion of the original quintet. [27] Michael Clarke also found success following the Byrds reunion as the drummer for soft rock group Firefall,[21] while Gene Clark returned to his solo career, producing the critically acclaimed but commercially unsuccessful albums No Other (1974) and Two Sides to Every Story (1977). Crosby said The Byrds fired him because he 'was an a-hole' After hitting No. Turn!" Crosby left The Byrds in 1967 and in . [3] Much was made at the time of the Byrds' unconventional dress sense, with their casual attire strikingly at odds with the prevailing trend for uniformity among contemporary beat groups. [42] David Crosby returned to the supergroup Crosby, Stills, Nash & Young for their 1974 tour and subsequently continued to produce albums with Graham Nash. [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. [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. [20][21] David Crosby died in 2023. [21][150][151] Session drummers Jim Gordon and Hal Blaine were brought in to replace Clarke temporarily in the studio, although he continued to honor his live concert commitments with the group. [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. Several former members of the Byrds went on to successful careers of their own, either as solo artists or as members of such groups as Crosby, Stills, Nash & Young, the Flying Burrito Brothers, McGuinn, Clark & Hillman, and the Desert Rose Band. Gene grew up in Kansas City, Missouri, and learned how to play guitar and harmonica at a young age. [42], As the only original band member left, McGuinn elected to hire bassist John York as Hillman's replacement. [14] 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. [155] There is some disagreement among biographers and band historians as to whether Clark actually participated in the recording sessions for The Notorious Byrd Brothers, but there is evidence to suggest that he sang backing vocals on the songs "Goin' Back" and "Space Odyssey". Nancy Brooks // Country Writer, Beasley Media Group March 1st. [141][142][143] The album featured contributions from a number of noted session musicians, including bluegrass guitarist and future Byrd, Clarence White. [17] Among the tracks included on the album were McGuinn's folk-flavored "Sweet Mary", the Joni Mitchell cover "For Free", a re-recording of Crosby's song "Laughing" (which had originally appeared on his 1971 solo album, If I Could Only Remember My Name), and a pair of Neil Young 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. Turn! [43] Two weeks later, during a Thanksgiving dinner at 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. Later that year, following the departure of Michael Clarke (the second Byrd to quit), the band clashed over the choice of material for their new album. This logic . [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. [23][33] Demo recordings made by the Jet Set at World Pacific Studios would later be collected on the compilation albums Preflyte, In the Beginning, The Preflyte Sessions, and Preflyte Plus. Even after the dismemberment, the former members did well with their lives and chose solo careers. [142] Crosby felt that the band should rely on self-penned material for their albums, rather than cover songs by other artists and writers. [60][63] The album mixed reworkings of folk songs, including Pete Seeger's musical adaptation of the Idris Davies' poem "The Bells of Rhymney", with a number of other Dylan covers and the band's own compositions, the majority of which were written by Clark. [264] Performing under the banner of The Byrds Celebration, the tribute group toured extensively throughout the remainder of the 1990s, although Parsons was replaced by session drummer Vince Barranco in 1995 and Battin was forced to retire due to ill-health in 1997. 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. Our instruments were buried. Their innovation still enthralls. [16][245], Five months later, guitarist Clarence White was killed by a drunk driver in the early hours of July 15, 1973,[246] while he loaded guitar equipment into the back of a van after a concert appearance in Palmdale, California. McGuinn, Crosby, and Hillman remain active. The comments reside on Facebook servers and are not stored on . [36][45] Since the band had not yet completely gelled musically, McGuinn was the only Byrd to play on "Mr. Tambourine Man" and its Clark-penned B-side, "I Knew I'd Want You". [2] The last time that all five members had worked together as the Byrds was in 1966, prior to Clark's departure from the band. [207] He was replaced, at the suggestion of Parsons and White, by Skip Battin, a freelance session musician and one-time member of the duo Skip & Flip. [157] The album also included the Parsons originals "Hickory Wind" and "One Hundred Years from Now", along with the Bob Dylan-penned songs "Nothing Was Delivered" and "You Ain't Goin' Nowhere",[157] the latter of which had been a moderately successful single. [195], Prior to the release of the Byrds' next studio album, however, the band's former producer Gary Usher managed to acquire a number of demo recordings from Dickson, dating from the group's 1964 rehearsal sessions at World Pacific Studios. [245] In the United States, the album became the band's highest charting LP of new material since 1965's Turn! [43] Rather than using band members, producer Terry Melcher hired a collection of top session musicians, retroactively known as the Wrecking Crew, including Hal Blaine (drums), Larry Knechtel (bass), Jerry Cole (guitar), and Leon Russell (electric piano), who (along with McGuinn on guitar) provided the instrumental backing track over which McGuinn, Crosby and Clark sang. This is officially sanctioned by the 3 remaining founding. [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. . [152][155] Michael Clarke also returned to the recording studio briefly, towards the end of the album sessions, before being informed by McGuinn and Hillman that they were dismissing him from the band. [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. [182] Following his exit, Hillman would have a successful career both as a solo artist and with bands such as the Flying Burrito Brothers, Manassas, the SoutherHillmanFuray Band, and the Desert Rose Band. [234], On November 17, 1971, less than five months after the release of Byrdmaniax, the Byrds issued their eleventh studio album, Farther Along. On this day in 1941, Harold Eugene Clark, better known as Gene, was born in Tipton, Mo. [120] Upon release, the album was almost universally praised by music critics but it was only moderately successful commercially, particularly in the United States where it peaked at number 47. [208][209], The latter-day, post-Sweetheart of the Rodeo version of the band, featuring McGuinn and White's dual lead guitar work, toured relentlessly between 1969 and 1972 and was regarded by critics and audiences as much more accomplished in concert than any previous configuration of the Byrds had been. [236][241], Following Guerin's departure, he was temporarily replaced for live performances by session drummers Dennis Dragon and Jim Moon. It was dragging the name in the dirt. Turn!, which had also been the last Byrds' album to feature Gene Clark as a full member. May 26, 1940, Elaine, Arkansas, U.S.d. The Byrds Template:IPAc-en were an American rock band, formed in Los Angeles, California in 1964. [89] His songs from this period, including "She Don't Care About Time", "The World Turns All Around Her", and "Set You Free This Time", are widely regarded by critics as among the best of the folk rock genre. [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. [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. [69] The reverse was true in the UK, however, where the Byrds' version reached number four, while Cher's peaked at number nine. [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. [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". He was born as Harold Eugene Clark on November 17, 1944, in Tipton, Missouri. [74], Although McGuinn was widely regarded as the Byrds' bandleader by this point, the band actually had multiple frontmen, with McGuinn, Clark, and later Crosby and Hillman all taking turns to sing lead vocals in roughly equal measures across the group's repertoire. [31][32] It was during the rehearsals at World Pacific that the band's folk rock soundan amalgam of their own Beatles-influenced material, their folk music roots and their Beatlesque covers of contemporary folk songsbegan to coalesce. American band that . [208] Battin's recruitment marked the last personnel change to the group for almost three years and as a result, the McGuinn-White-Parsons-Battin line-up became the most stable and longest-lived of any configuration of the Byrds. [227], In May 1971, just prior to the release of the Byrdmaniax album, the Byrds undertook a sell-out tour of England and Europe, which included a performance at the Royal Albert Hall in London that was released for the first time in 2008 as Live at Royal Albert Hall 1971. [156] It soon became apparent, however, that recreating the band's studio recordings with a three-piece line-up wasn't going to be possible and so, McGuinn and Hillman, in a fateful decision for their future career direction, hired Gram Parsons as a keyboard player, although he quickly moved to guitar. But when it gets to be Michael Clarke the drummer -- who never wrote anything or sang anything going out there with an even worse band, and claiming to be the Byrds and they can't play the stuff. [242] Crosby had long been vocal regarding his displeasure over McGuinn's decision to recruit new band members following his dismissal from the group in 1967, and had stated in a number of interviews that in his opinion "there were only ever five Byrds". something was happening there! The original fusion band, the Byrds wove their special blend of rock with not just folk, but with country, raga, psychedelia, bluegrass, and electronica. And frankly, I've been laughing ever since. [41][42], 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. [1] The band underwent multiple lineup changes throughout its existence, with frontman Roger McGuinn (known as Jim McGuinn until mid-1967) remaining the sole consistent member. [1] Roger McGuinn turned his attention to establishing his own career, releasing a series of solo albums between 1973 and 1977, and making a high-profile appearance with Bob Dylan's Rolling Thunder Revue. [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. [112] He died on May 24, 1991, at the age of 46, from heart failure brought on by a bleeding stomach ulcer, although years of alcohol abuse and a heavy cigarette habit were also contributing factors. [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. [130][135] Sanctioned by Columbia Records in the wake of the Top 10 success of Bob Dylan's Greatest Hits, the album was a critical and commercial triumph, peaking at number six on the Billboard Top LPs chart and giving the band their highest-charting album in America since their 1965 debut, Mr. Tambourine Man. [189][192] The distinctive sound of the StringBender became characteristic of the Byrds' music during White's tenure. [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. [13][48][52], Columbia Records eventually released the "Mr. Tambourine Man" single on April 12, 1965. [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. 2. members of the Byrds, David Crosby, Roger McGuinn, and Chris Hillman, with. [103][105], Upon release, "Eight Miles High" was banned by many U.S. radio stations, following allegations made by the broadcasting trade journal the Gavin Report, that its lyrics advocated recreational drug use. [47] The excitement generated by the Byrds at Ciro's quickly made them a must-see fixture on L.A.'s nightclub scene and resulted in hordes of teenagers filling the sidewalks outside the club, desperate to see the band perform. [112][113], The Byrds' third album, Fifth Dimension, was released in July 1966. I wouldn't have had any involvement at all if it had been up to Gram. [3] In particular, the band's relationship with the Beatles would prove important for both acts, with the two groups again meeting in Los Angeles some weeks later, upon the Byrds' return to America. [235] The album was met with slightly more enthusiastic reviews than its predecessor but nevertheless, only managed to climb to number 152 on the Billboard Top LPs chart, while failing to reach the charts in the United Kingdom altogether. 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. [57], Within three months "Mr. Tambourine Man" had become the first folk rock smash hit,[58] reaching number one on both the U.S. [176], However, the stylistic shift away from psychedelia towards country rock that Sweetheart of the Rodeo represented served to alienate much of the Byrds' counterculture following,[177] while at the same time, eliciting hostility from the ultra-conservative Nashville country music establishment. God, were they awful. [232][233] Unfortunately, the compilation album also failed to reach the UK charts, while contemporary reviews made note of its misleading and inaccurate title, since among its twelve tracks, only "Chestnut Mare" had been a genuine hit in the United Kingdom. [120] With Allen Stanton having recently departed Columbia Records to work for A&M, the band chose to bring in producer Gary Usher to help guide them through the album sessions. [267][268] Ownership of the Byrds' name had reverted to Clarke's estate upon his death in 1993 and Crosby's purchase served to effectively bring the convoluted battle for control of the group's name to an end. 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". First Gene went around with a very, very bad band, calling it the Byrds. [224] Following completion of the album recording sessions, the Byrds once again headed out on tour, leaving Melcher and engineer Chris Hinshaw to finish mixing the album in their absence. Later band members included Gram Parsons, Clarence White, and Gene Parsons . [145] However, the album's reputation has grown over the years and today it is widely regarded by critics and fans as one of the Byrds' best album releases. [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. [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. [100][101][102] It was also pivotal in transmuting folk rock into the new musical forms of psychedelia and raga rock. [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). like the Byrds' Fifth Dimension.some members of the band had audibly still barely learned to play but they were already feeling the heat from the Beatles and Dylan, moving past the sound of their 1st 2 highly successful albums the previous year. [94] Within a month of Turn! [14] "Please Let Me Love You" was issued by Elektra Records on October 7, 1964, but it failed to chart. McGuinn and I started picking together in The Troubadour bar which was called "The Folk Den" at the time 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 We hadn't even approached him. [114] Much of the album's material continued to build on the band's new psychedelic sound, with McGuinn extending his exploration of jazz and raga styles on tracks such as "I See You" and the Crosby-penned "What's Happening?!?!". The members were Jaime ("Robbie") Robertson (b. July 5, 1944, Toronto, Ontario, Canada), Levon Helm (b. [160], The band also incurred the wrath of renowned country music DJ Ralph Emery, when they appeared on his Nashville-based WSM radio program. [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. [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]. [7] The single represented the high-water mark of folk rock as a chart trend and has been described by music historian Richie Unterberger as "folk rock's highest possible grace note". [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. [195][203] A second single taken from the album, "Jesus Is Just Alright", was released in December 1969, but it only managed to reach number 97. [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"). Roger McGuinn on replacing some of Gram Parsons' vocals on the Sweetheart of the Rodeo album[163], Following their stay in Nashville, the band returned to Los Angeles and throughout April and May 1968, they worked on completing their new country-oriented album. [1] The band underwent multiple lineup changes throughout its existence, with frontman Roger McGuinn (known as Jim McGuinn until mid-1967) remaining the sole consistent member. [88] However, the album featured more of the band's own compositions than its predecessor, with Clark in particular coming to the fore as a songwriter. [172], After returning to California, the Byrds' released the Sweetheart of the Rodeo album on August 30, 1968,[36] almost eight weeks after Parsons had left the band. [227] Despite the band's dissatisfaction with the finished product and its poor critical reception, Byrdmaniax made a respectable showing on the U.S. charts, peaking at number 46. [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. [241] Hillman agreed to play both concerts for the sum of $2,000 and also brought in Manassas percussionist Joe Lala to fill the vacant spot behind the drum kit. [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. [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! [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. [6][7][8][9] As the 1960s progressed, the band was influential in originating psychedelic rock and raga rock, with their song "Eight Miles High" and the albums Fifth Dimension (1966), Younger Than Yesterday (1967), and The Notorious Byrd Brothers (1968). 1:11. Consequently, the album includes musical contributions from all of the key players in the Byrds' convoluted history, including Gene Clark, David Crosby, Chris Hillman, Gram Parsons, Clarence White, and the group's only consistent member, Roger McGuinn . [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. [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. [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. [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. [130] The adoption of a new name was common among followers of the religion[131] and served to signify a spiritual rebirth for the participant. Turn! The show will be at 7 p.m. Mackey's bandmates took to Instagram Thursday to share the news. [190] The Byrds' producer Bob Johnston took it upon himself to overdub a female choir onto the record,[190] something the group only became aware of after the single was issued, leaving them incensed by what they saw as an embarrassing and incongruous addition. [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. [107] The relatively modest chart success of "Eight Miles High" (number 14 in the U.S. and number 24 in the UK) has been largely attributed to the broadcasting ban, although the challenging and slightly uncommercial nature of the track is another possible reason for its failure to reach the Top 10. [42] He remains active, releasing albums and touring, often with ex-Desert Rose Band member Herb Pedersen. The Byrds (/brdz/) were an American rock band formed in Los Angeles, California, in 1964. [247], The five original members of the Byrds reunited briefly during late 1972, while McGuinn was still undertaking selected concerts with the touring version of the group. The negative critical reception that Byrds received in the music press resulted in the band losing faith in the idea of an ongoing series of reunions. ", "Byrds FAQ: How and When did they get together? [1] McGuinn elected to rebuild the band's membership; between 1968 and 1973, he helmed a new incarnation of the Byrds that featured guitarist Clarence White, among others. [249] The five original Byrds booked into Wally Heider's Studio 3 in Hollywood from October 16 until November 15, 1972, recording their first album together in seven years. [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]. [130] Regardless of its artistic merits, however, the single stalled at a disappointing number 82 on the Billboard chart, despite the band making a number of high-profile television appearances to promote the record. Adam Braunstein Adam has been playing guitar and seeing hard rock for 18 years. [184] York had previously been a member of the Sir Douglas Quintet and had also worked as a session musician with Johnny Rivers and the Mamas & the Papas. "Our . [7] The Byrds' cover of "Turn! [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. [103] It also exhibits the influence of the Indian classical music of Ravi Shankar in the droning quality of the song's vocal melody and in McGuinn's guitar playing. [34][37] Although the band was initially unimpressed with the song, they began rehearsing it with a rock band arrangement, changing the time signature from 24 to a rockier 44 configuration in the process. [262] Former members Gene Parsons and John York both remain active and continue to perform and record various musical projects.[262]. [265], During the 2000s, two more ex-members of the Byrds died when drummer Kevin Kelley succumbed of natural causes in 2002[266] and bassist Skip Battin, who was suffering from Alzheimer's disease, died at his home in 2003. [184] However, the album fared much better in the UK, where it attracted glowing reviews and reached number 15. 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. [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. [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.
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