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Free scores by William Byrd at the International Music Score Library Project (IMSLP) Free scores by William Byrd in the Choral Public Domain Library (ChoralWiki) A complete list of works by William Byrd from Stainer & Bell
The Byrds comprises 90 tracks and covers the band's career from 1965 to 1971 (a period when they were signed to Columbia Records) in roughly chronological order, but excludes material from their 1973 reunion album Byrds, which was released on Asylum Records.
Byrdmaniax is the tenth album by the American rock band the Byrds.It was released in June 1971 on Columbia Records [1] at a time of renewed commercial and critical success for the band, due to the positive reception that their two previous albums, Ballad of Easy Rider and , had received.
The Byrds' Greatest Hits is the first greatest hits album by the American rock band the Byrds and was released in August 1967 on Columbia Records. [1] It is the top-selling album in the Byrds' catalogue and reached number 6 on the Billboard Top LPs chart, but failed to chart in the UK.
The Byrds Play Dylan is the name of two different compilation albums by the American rock band the Byrds, one released in 1979 and the other issued in 2002. [1] [2] As their titles suggest, each compilation consists of interpretations of Bob Dylan penned songs, which the Byrds recorded at different stages of their career.
The American Metaphysical Circus is a 1969 album by Joseph "Joe" Byrd.It was recorded after his departure from the band The United States of America, and featured some of the earliest recorded work in rock music extensively utilizing synthesizers and vocoder, along with an extended group of West Coast studio musicians Byrd named "The Field Hippies".
The album cover artwork was designed by Eve Babitz and featured photographs taken by Nancy Chester of the Byrds upon the steps of Griffith Observatory in Los Angeles, with the view of L.A. that originally made up the background being replaced by a desert scene.
The inclusion of Laudate pueri (a6) which proves to be an instrumental fantasia with words added after composition, [30] is one sign that Byrd had some difficulty in assembling enough material for the collection. Diliges Dominum (a8), which may also originally have been untexted, is an eight-in-four retrograde canon of little musical interest.
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