Eight Miles High

Last updated

"Eight Miles High"
TheByrdsEightMilesHigh.jpg
U.S. picture sleeve
Single by the Byrds
from the album Fifth Dimension
B-side "Why"
ReleasedMarch 14, 1966
RecordedJanuary 24–25, 1966
Studio Columbia, Hollywood
Genre
Length3:33
Label Columbia
Songwriter(s)
Producer(s) Allen Stanton
The Byrds singles chronology
"Set You Free This Time" / "It Won't Be Wrong"
(1966)		"Eight Miles High"
(1966)		"5D (Fifth Dimension)"
(1966)
Music video
"Eight Miles High" (audio) on YouTube

"Eight Miles High" is a song by the American rock band the Byrds, written by Gene Clark, Jim McGuinn (later known as Roger McGuinn), and David Crosby. It was first released as a single on March 14, 1966. Musically influenced by sitar player Ravi Shankar and jazz saxophonist John Coltrane, the song was influential in developing the musical styles of psychedelia and raga rock. Accordingly, critics often cite "Eight Miles High" as being the first bona fide psychedelic rock song, as well as a classic of the counterculture era.

Contents

The song was subject to a U.S. radio ban shortly after its release, following allegations published in the broadcasting trade journal the Gavin Report regarding perceived drug connotations in its lyrics. The band strenuously denied these allegations at the time, but in later years both Clark and Crosby admitted that the song was at least partly inspired by their drug use. The failure of "Eight Miles High" to reach the Billboard Top 10 is usually attributed to the broadcasting ban, but some commentators have suggested the song's complexity and uncommercial nature were greater factors.

"Eight Miles High" reached number 14 on the Billboard Hot 100 chart and number 24 on the UK Singles Chart. The song was also included on the band's third album, Fifth Dimension , which was released on July 18, 1966. "Eight Miles High" became the Byrds' third and final U.S. Top 20 hit, and was their last release before the departure of Clark, who was the band's principal songwriter at the time.

History

Composition

The song's lyrics are, for the most part, about the group's flight to London in August 1965 and their accompanying English tour, as hinted at by the opening couplet: "Eight miles high and when you touch down, you'll find that it's stranger than known." [1] Although commercial airliners fly at an altitude of six to seven miles, it was felt that "eight miles high" sounded more poetic than six and also alluded to the title of the Beatles' song "Eight Days a Week". [1]

According to Clark, the lyrics were primarily his creation, with a minor contribution being Crosby's line, "Rain grey town, known for its sound"—a reference to London as home to the British Invasion, which was then dominating the U.S. music charts. [1] [2] [3] Other lyrics in the song that explicitly refer to the Byrds' stay in England include the couplet: "Nowhere is there warmth to be found/Among those afraid of losing their ground", which is a reference to the hostile reaction of the UK music press and to the English group the Birds serving the band with a writ of copyright infringement because of the similarities in their names. [3] [4] [5] In addition, "Round the squares, huddled in storms/Some laughing, some just shapeless forms" describes fans waiting for the band outside hotels, while the line "Sidewalk scenes and black limousines" refers to the excited crowds that jostled the band as they exited their chauffeur-driven cars. [3]

Although the basic idea for the song had been discussed during the band's flight to England, it did not begin to take shape until the Byrds' November 1965 tour of the U.S. [2] To alleviate the boredom of traveling from show to show during the tour, Crosby had brought along cassette recordings of Ravi Shankar's music and the John Coltrane albums Impressions and Africa/Brass , which were on constant rotation on the tour bus. [6] [7] The impact of these recordings on the band would manifest itself in the music of "Eight Miles High" and its B-side "Why"—both of which were influential in the development of the musical styles of psychedelic rock, raga rock, and psychedelic pop. [1] [6] [8] [9] [10]

Clark began writing the song's lyrics on November 24, 1965, when he scribbled down some rough ideas for later development, after a discussion with guitarist Brian Jones, before the Byrds made a concert appearance supporting the Rolling Stones. [2] [11] Over the following days, Clark expanded this fragment into a full poem, eventually setting the words to music and giving them a melody. [2] Clark then showed the song to McGuinn and Crosby. McGuinn suggested that the song be arranged to incorporate Coltrane's influence. [2] Since Clark's death, however, McGuinn has contended it was he who conceived the initial idea of writing a song about an airplane ride and that he and Crosby both contributed lyrics to Clark's unfinished draft. [2] In his book, Mr. Tambourine Man: The Life and Legacy of the Byrds' Gene Clark, author John Einarson disputes this claim and ponders whether McGuinn's story would be the same if Clark was still alive. [2]

Recording

Gnome-mime-sound-openclipart.svg
Eight Miles High
An excerpt from the intro of "Eight Miles High", demonstrating the John Coltrane-influenced, free form guitar playing of Roger McGuinn and the droning quality of the song's vocals.
Problems playing this file? See media help.

The master recording of "Eight Miles High" was recorded on January 24 and 25, 1966, at Columbia Studios in Hollywood. [12] Record producer Allen Stanton guided the band through the recording process. [12] John Einarson has commented that the influence of Coltrane's saxophone playing and, in particular his song "India" from the Impressions album, can be heard clearly in "Eight Miles High"—most noticeably in McGuinn's recurring twelve-string guitar solo. [2] In addition to this striking guitar motif, the song is also highlighted by Chris Hillman's driving and hypnotic bass line, Crosby's chunky rhythm guitar playing and the band's ethereal harmonies. [2] [9] [13] [14]

"Eight Miles High" also exhibits the influence of sitarist Ravi Shankar, particularly in the droning quality of the song's vocal melody and in McGuinn's guitar playing. [15] [16] However, the song does not actually feature the sound of the sitar, despite the Byrds having appeared brandishing the instrument at a contemporary press conference held to promote the single. [9] In a 1966 promotional interview, which was added to the expanded CD reissue of the Fifth Dimension album, Crosby said that the song's ending made him "feel like a plane landing."

An earlier version of "Eight Miles High" was recorded with Al Schmitt at RCA Studios in Los Angeles on December 22, 1965, but Columbia Records refused to release that recording because it had not been produced at a Columbia-owned studio. [9] [12] [17] McGuinn has since said he believes this original version of the song to be more spontaneous sounding than the better known Columbia release. [9] That opinion was echoed by Crosby, who commented, "It was a stunner, it was better, it was stronger. It had more flow to it. It was the way we wanted it to be." [9] This original version of "Eight Miles High" was eventually released on the 1987 archival album Never Before and was also included as a bonus track on the 1996 Columbia/Legacy CD reissue of Fifth Dimension. [18] [19]

Release and legacy

U.S. radio ban

"Eight Miles High" was released on March 14, 1966, in the U.S. [20] and May 29, 1966, in the UK, reaching number 14 on the Billboard Hot 100, and number 24 on the UK Singles Chart. [20] [21] [22] [23] The song was also included on the band's third album, Fifth Dimension , which was released on July 18, 1966. [24]

Following its release, the band faced allegations of advocating the use of recreational drugs in Bill Gavin's Record Report , a weekly newsletter circulated to U.S. radio stations. [2] [1] This resulted in "Eight Miles High" being banned in a number of states within a week of the report being published, a factor which contributed to the single's failure to break into the Billboard Top 10. [1] The Byrds and their publicist, Derek Taylor, countered by strenuously denying that the song was drug-related. Taylor issued an indignant press release stating unequivocally that the song was about the band's trip to England and not drug use. [9] However, by the early 1980s, both Crosby and Clark admitted that the song was not entirely as innocent as they had originally declared. Crosby said: "Of course it was a drug song! We were stoned when we wrote it." [9] Clark was less blunt, explaining in an interview that "it was about a lot of things. It was about the airplane trip to England, it was about drugs, it was about all that. A piece of poetry of that nature is not limited to having it have to be just about airplanes or having it have to be just about drugs. It was inclusive because during those days the new experimenting with all the drugs was a very vogue thing to do." [2] [9]

Research analyst Mark Teehan, writing for Popular Musicology Online, has challenged the widely held view among critics, music historians and the Byrds themselves that the U.S. radio ban hurt sales of "Eight Miles High". [25] [26] He points out that although the Gavin Report recommended that radio stations withdraw the single from airplay, many stations did not comply with this suggestion. [26] In addition, he notes that the radio ban was not suggested by the Gavin Report until April 29, 1966, almost seven weeks after the single had been released—ample time for it to have made its mark on the charts. [26] Teehan has uncovered evidence showing "Eight Miles High" was already decelerating on the national charts before the end of April 1966. [26] Having examined the local music surveys and the Billboard regional retail sales charts as they relate to the national charting of "Eight Miles High", Teehan found that the progressive, complex and uncommercial nature of the song was a much bigger factor in its failure to reach the Billboard Top 10. [2] [26] Commercial radio stations were reluctant to play songs that were over two-and-a-half minutes long during the mid-1960s, and the song suffered from uncoordinated and inefficient promotion by Columbia Records. [26] Teehan's research revealed that "Eight Miles High" failed to reach the Top Five in any of his 23 sample regional markets, and most telling, among the thirty radio stations included within this sample, it reached the Top 10 on only seven of them (23%). [26]

Influence and reception

The Byrds at the "Eight Miles High" press conference in March 1966, posing with a sitar in order to illustrate the Indian influences present in the song. The Byrds Raga Rock.png
The Byrds at the "Eight Miles High" press conference in March 1966, posing with a sitar in order to illustrate the Indian influences present in the song.

The song's use of Indian and free-form jazz influences, along with its impressionistic lyrics, were immediately influential on the emerging genre of psychedelic rock. [23] [27] Accordingly, some authors and music historians, including Eric V. D. Luft, Domenic Priore, and Dwight Rounds, have described "Eight Miles High" as being the first bona fide psychedelic rock song. [28] [29] [30] In his book Riot On Sunset Strip: Rock 'n' Roll's Last Stand in Hollywood, Priore cites the song as the one that kicked off the psychedelic craze, explaining "prior to 'Eight Miles High,' there were no pop records with incessant, hypnotic basslines juxtaposed by droning, trance-induced improvisational guitar." [13]

The song was responsible for the naming of the musical subgenre raga rock, when journalist Sally Kempton, in her review of the single for The Village Voice , used the term to describe the record's experimental fusion of eastern and western music. [31] However, although Kempton was the first person to use the term raga rock in print, she actually borrowed the phrase from the promotional material the Byrds' press office had supplied to accompany the "Eight Miles High" single release. [10] In a 1968 interview for the Pop Chronicles radio documentary, McGuinn denied that the song was an example of raga rock, [8] while Crosby, speaking in 1998, dismissed the term entirely, saying "they kept trying to label us; every time we turned around, they came up with a new one ... it's a bunch of bullshit." [32] Nonetheless, the experimental nature of the song placed the Byrds firmly at the forefront of the burgeoning psychedelic movement, along with the Yardbirds, the Beatles, Donovan and the Rolling Stones, who were all exploring similar musical territory concurrently. [27]

Contemporary reviews for the single were mostly positive, with Billboard magazine describing the song as a "Big beat rhythm rocker with soft lyric ballad vocal and off-beat instrumental backing." [23] [33] Cash Box described the single as a "rhythmic, shufflin’ blues-soaked affair with some real inventive riffs." [34] Record World magazine also praised the song, commenting "It's an eerie tune with lyrics bound to hypnotize. Will climb heights." [23] In the UK, Music Echo described the song as "wild and oriental but still beaty". The publication also suggested that with the release of "Eight Miles High" the Byrds had jumped ahead of the Beatles in terms of creativity, saying "[By] getting their single out now they've beaten the Beatles to the punch, for Paul [McCartney] admitted recently that the Liverpool foursome are working on a similar sound for their new album and single." [25] In recent years, Richie Unterberger, writing for the Allmusic website, has described "Eight Miles High" as "one of the greatest singles of the '60s." [24] Critics often cite "Eight Miles High" as being the first bona fide psychedelic rock song, as well as a classic of the counterculture era. [35]

In 1999, the song was inducted into the Grammy Hall of Fame, an honor reserved for "recordings of lasting qualitative or historical significance that are at least 25 years old." [36] In 2004, Rolling Stone magazine ranked "Eight Miles High" at number 151 on their list of The 500 Greatest Songs of All Time [37] and in March 2005, Q magazine placed the song at number 50 on their list of the 100 Greatest Guitar Tracks. [38]

Post-release

During the same month that "Eight Miles High" was released as a single, the Byrds' primary songwriter, Gene Clark, left the band. [23] His fear of flying was given as the official reason for his departure, but other factors, including his tendency toward anxiety and paranoia, as well as his increasing isolation within the group, were also at work. [23] [39] Following the release of "Eight Miles High" and Clark's departure, the Byrds never again managed to place a single in the Billboard Top 20. [21]

The Byrds performed "Eight Miles High" on a number of television programs during the 1960s and 1970s, including Popside, Drop In, Midweek, and Beat-Club . [40] The song became a staple of the band's live concert repertoire until their final disbandment in 1973. [40] A sixteen-minute live version of "Eight Miles High" was included on the Byrds' (Untitled) album in 1970, [41] and another live version was released as part of the 2008 album, Live at Royal Albert Hall 1971 . [42] The song was performed by a reformed lineup of the Byrds featuring Roger McGuinn, David Crosby, and Chris Hillman in January 1989. [40]

The song remained a favorite of Clark's during his post-Byrds solo career and he often performed it at his concert appearances until his death, in 1991. [2] McGuinn also continues to perform an intricate acoustic guitar rendition of the song at his concerts. [43] Crosby has revisited "Eight Miles High" infrequently during his post-Byrds career, but it was performed during Crosby, Stills, Nash & Young's reunion tour of 2000, with Neil Young handling McGuinn's guitar solo, while the other three members sang the song's three-part harmonies. [15] The Byrds' bass player, Chris Hillman, also recorded an acoustic version of "Eight Miles High" as part of his 2005 album, The Other Side . [44]

In addition to its appearance on the Fifth Dimension album, "Eight Miles High" also appears on several Byrds' compilations, including: The Byrds' Greatest Hits , History of The Byrds , The Original Singles: 1965–1967, Volume 1 , The Byrds , The Very Best of The Byrds , The Essential Byrds and There Is a Season . [45]

Cover versions and media references

"Eight Miles High" has been covered by many different bands and artists including: the Ventures, Leathercoated Minds, East of Eden, Lighthouse, Leo Kottke, Roxy Music, Ride, Stewart/Gaskin, Robyn Hitchcock, Rockfour, Les Fradkin, The Kennedys, the Postmarks [46] and Steve Hunter. Hüsker Dü released the song as a single prior to the release of their Zen Arcade LP in 1984. [47] The song was covered in 1969 by Golden Earring, who included a nineteen-minute version on their Eight Miles High album. [48] The Emerson, Lake & Palmer spinoff group 3 recorded the song with revised lyrics on their 1988 album, To the Power of Three . [49] Crowded House with Roger McGuinn covered the song on their I Feel Possessed EP. [50]

Don McLean's song "American Pie" makes reference to "Eight Miles High" with the lines "The Birds [ sic ] flew off with a fall-out shelter / Eight miles high and falling fast." [51] [52] The First Edition's 1968 hit, "Just Dropped In (To See What Condition My Condition Was In)", contains a reference to the song with the line "I tripped on a cloud and fell a-eight miles high." The independent rock band Okkervil River references "Eight Miles High" in its song "Plus Ones", on the 2007 album The Stage Names . [53] Bruce Springsteen's song "Life Itself", from his 2009 album Working on a Dream , features guitar playing and production techniques reminiscent of "Eight Miles High" by the Byrds. [54] [55]

The Byrds' version of "Eight Miles High" is featured in the 1983 film Purple Haze . [56] It appears in both the "Le Voyage dans la Lune" and "The Original Wives Club" episodes of the television miniseries From the Earth to the Moon . [57] [58]

Personnel

Related Research Articles

<span class="mw-page-title-main">The Byrds</span> American rock band

The Byrds were an American rock band formed in Los Angeles, California, in 1964. The band underwent multiple lineup changes throughout its existence, with frontman Roger McGuinn being the sole consistent member. 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 considered by critics to be among the most influential rock acts of their era. Their signature blend of clear harmony singing and McGuinn's jangly 12-string Rickenbacker guitar sound was "absorbed into the vocabulary of rock" and has continued to be influential.

<i>Younger Than Yesterday</i> 1967 studio album by the Byrds

Younger Than Yesterday is the fourth studio album by the American rock band the Byrds, released on February 6, 1967, by Columbia Records. It saw the band continuing to integrate elements of psychedelia and jazz into their music, a process they had begun on their previous album, Fifth Dimension. In addition, the album captured the band and record producer Gary Usher experimenting with new musical textures, including brass instruments, reverse tape effects and an electronic oscillator.

<i>Mr. Tambourine Man</i> (album) 1965 studio album by the Byrds

Mr. Tambourine Man is the debut studio album by the American rock band the Byrds, released on June 21, 1965, by Columbia Records. The album is characterized by the Byrds' signature sound of Jim McGuinn's 12-string Rickenbacker guitar and the band's complex harmony singing. The material on the album mostly consists of cover versions of folk songs, primarily composed by Bob Dylan, and originals written or co-written by singer Gene Clark. Along with the Dylan-penned single of the same name, Mr. Tambourine Man established the band as an internationally successful act and is widely regarded by critics as representing the first effective American challenge to the chart dominance of the Beatles and other British Invasion bands during the mid-1960s.

<i>The Notorious Byrd Brothers</i> 1968 studio album by the Byrds

The Notorious Byrd Brothers is the fifth studio album by the American rock band the Byrds, released on January 15, 1968, by Columbia Records. The album represents the pinnacle of the Byrds' late-'60s musical experimentation, with the band blending together elements of psychedelia, folk rock, country, electronic music, baroque pop, and jazz. With producer Gary Usher, they made extensive use of a number of studio effects and production techniques, including phasing, flanging, and spatial panning. The Byrds also introduced the sound of the pedal steel guitar and the Moog modular synthesizer into their music, making it one of the first LP releases on which the Moog appears.

<i>Turn! Turn! Turn!</i> (album) 1965 studio album by the Byrds

Turn! Turn! Turn! is the second studio album by the American rock band the Byrds, released on December 6, 1965, by Columbia Records. Like its predecessor, Mr. Tambourine Man, the album epitomized the folk rock genre and continued the band's successful mix of vocal harmony and jangly twelve-string Rickenbacker guitar. The album's lead single and title track, "Turn! Turn! Turn!", which was adapted by Pete Seeger from text in the Book of Ecclesiastes, had previously been arranged in a chamber-folk style by the Byrd's lead guitarist Jim McGuinn for folk singer Judy Collins' third album, but the arrangement he used for the Byrds' recording of the song utilizes the same folk-rock style as the band's previous hit singles.

<i>Fifth Dimension</i> (album) 1966 studio album by the Byrds

Fifth Dimension is the third studio album by the American rock band the Byrds, released on July 18, 1966, by Columbia Records. Most of the album was recorded following the February 1966 departure of the band's principal songwriter Gene Clark. In an attempt to compensate for Clark's absence, guitarists Jim McGuinn and David Crosby increased their songwriting output. In spite of this, the loss of Clark resulted in an album with four cover versions and an instrumental, which critics have described as "wildly uneven" and "awkward and scattered". However, it was the first Byrds album not to include any songs written by Bob Dylan, whose material had previously been a mainstay of the band's repertoire.

<i>The Byrds Greatest Hits</i> 1967 greatest hits album by the Byrds

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. 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.

<i>Dr. Byrds & Mr. Hyde</i> 1969 studio album by the Byrds

Dr. Byrds & Mr. Hyde is the seventh studio album by the American rock band the Byrds and was released in March 1969 on Columbia Records. The album was produced by Bob Johnston and saw the band juxtaposing country rock material with psychedelic rock, giving the album a stylistic split-personality that was alluded to in its title. It was the first album to feature the new band line-up of Clarence White (guitar), Gene Parsons (drums), John York (bass), and founding member Roger McGuinn (guitar). Dr. Byrds & Mr. Hyde is unique within the band's discography for being the only album on which McGuinn sings the lead vocal on every track.

<i>Farther Along</i> (The Byrds album) 1971 studio album by the Byrds

Farther Along is the eleventh album by the American rock band the Byrds and was released in November 1971 on Columbia Records. For the most part, the album was recorded and produced by the Byrds themselves in London, England, over the course of five work-intensive days in July 1971. It was quickly released as a reaction to the commercial failure of the Byrds' previous album, Byrdmaniax, and as an attempt to stem the criticism that album was receiving in the music press.

<i>Byrds</i> (album) 1973 studio album by the Byrds

Byrds is the twelfth and final studio album by the American rock band the Byrds and was released in March 1973 on Asylum Records. It was recorded as the centerpiece of a reunion among the five original band members: Roger McGuinn, Gene Clark, David Crosby, Chris Hillman, and Michael Clarke. The last time that all five members had worked together as the Byrds was in 1966, prior to Clark's departure from the band. During the reunion, the current, latter-day lineup of the band continued to make live appearances until February 1973, with McGuinn being the only member common to both versions of the group.

<span class="mw-page-title-main">5D (Fifth Dimension)</span> 1966 single by the Byrds

"5D (Fifth Dimension)" is a song by the American rock band the Byrds, written by band member Jim McGuinn. It was released as a single in June 1966, and also included as the title track on the Byrds' third album, Fifth Dimension.

"Triad" is a song written by American singer-songwriter David Crosby in 1967 about a ménage à trois. It was recorded by the Byrds that year, while Crosby was a member of the band, but their version went unreleased at the time and was not issued until twenty years later. Jefferson Airplane released a version of the song in 1968 on their Crown of Creation album and a live version performed by Crosby was included on Crosby, Stills, Nash & Young's 4 Way Street in 1971.

<span class="mw-page-title-main">Have You Seen Her Face</span> 1967 single by the Byrds

"Have You Seen Her Face" is a song by the American rock band the Byrds, written by the group's bass player Chris Hillman and included on their 1967 album Younger Than Yesterday.

<i>Preflyte</i> 1969 compilation album by the Byrds

Preflyte is a compilation album by the American folk rock band the Byrds and was released in July 1969 on Together Records. The album is a collection of demos recorded by the Byrds at World Pacific Studios in Los Angeles during late 1964, before the band had signed to Columbia Records and become famous. It includes early demo versions of the songs "Here Without You", "You Won't Have to Cry", "I Knew I'd Want You", and "Mr. Tambourine Man", all of which appeared in re-recorded form on the band's 1965 debut album.

<span class="mw-page-title-main">Why (The Byrds song)</span> 1966 song by the Byrds

"Why" is a song by the American rock band the Byrds, written by David Crosby and Jim McGuinn and first released as the B-side of the band's "Eight Miles High" single in March 1966. The song was re-recorded in December 1966 and released for a second time as part of the band's Younger Than Yesterday album.

<i>History of The Byrds</i> 1973 greatest hits album by the Byrds

History of The Byrds is a double album compilation by the American rock band the Byrds and was released on May 18, 1973 by CBS Records. The compilation was released exclusively in Europe and the UK, peaking at number 47 on the UK Albums Chart, but it was also available in the United States as an import.

<i>Never Before</i> (The Byrds album) 1987 compilation album by the Byrds

Never Before is a compilation album by the American rock band the Byrds, consisting of previously unreleased outtakes, alternate versions, and rarities. It was initially released by Re-Flyte Records in December 1987 and was subsequently reissued on CD in 1989, with an additional seven bonus tracks.

Kevin Daniel Kelley was an American drummer, best known for his work with the rock bands the Byrds and the Rising Sons. Kelley also played drums for Fever Tree, although it is unknown whether he was an official member of the group or not. Kelley is the cousin of country rock pioneer and ex-member of the Byrds and the Flying Burrito Brothers, Chris Hillman.

<i>In the Beginning</i> (The Byrds album) 1988 compilation album by the Byrds

In the Beginning is a compilation album by the American folk rock band the Byrds and was released in August 1988 by Rhino Records. It features demo recordings made during 1964, before the band became famous.

<span class="mw-page-title-main">McGuinn, Clark & Hillman</span> American rock group (1977–1981)

McGuinn, Clark & Hillman were an American rock group consisting of Roger McGuinn, Gene Clark, and Chris Hillman, who were all former members of the band the Byrds. The group formed in 1977 and was partly modeled after Crosby, Stills, Nash & Young and, to a lesser extent, the Eagles. They were reasonably successful commercially in the United States, with their debut album reaching number 39 on the Billboard Top LPs & Tapes chart and the single "Don't You Write Her Off" reaching number 33 on the Billboard Hot 100.

References

  1. 1 2 3 4 5 6 Rogan, Johnny. (1998). The Byrds: Timeless Flight Revisited (2nd ed.). Rogan House. pp. 158–163. ISBN   0-9529540-1-X.
  2. 1 2 3 4 5 6 7 8 9 10 11 12 13 Einarson, John. (2005). Mr. Tambourine Man: The Life and Legacy of the Byrds' Gene Clark. Backbeat Books. pp. 82–86. ISBN   0-87930-793-5.
  3. 1 2 3 McGuinn, Camilla (February 14, 2009). "Eight Miles High". Roger McGuinn's Official Blog. Archived from the original on July 8, 2011. Retrieved November 8, 2009.
  4. ↑ Fitzsimmons, Mick. "Sold on Song: Eight Miles High". BBC. Archived from the original on May 13, 2011. Retrieved November 12, 2009.
  5. ↑ Rogan, Johnny. (1998). The Byrds: Timeless Flight Revisited (2nd ed.). Rogan House. p. 95. ISBN   0-9529540-1-X.
  6. 1 2 Rogan, Johnny. (1998). The Byrds: Timeless Flight Revisited (2nd ed.). Rogan House. p. 141. ISBN   0-9529540-1-X.
  7. ↑ Hjort, Christopher. (2008). So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973). Jawbone Press. p. 75. ISBN   978-1-906002-15-2.
  8. 1 2 "Pop Chronicles: Show 35 – The Rubberization of Soul: The Great Pop Renaissance". University of North Texas. Archived from the original on April 3, 2012. Retrieved March 25, 2011.
  9. 1 2 3 4 5 6 7 8 9 Rogan, Johnny. (1998). The Byrds: Timeless Flight Revisited (2nd ed.). Rogan House. pp. 152–157. ISBN   0-9529540-1-X.
  10. 1 2 Bellman, Jonathan. (1997). The Exotic In Western Music. Northeastern Publishing. p. 351. ISBN   1-55553-319-1.
  11. ↑ Hjort, Christopher. (2008). So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973). Jawbone Press. p. 72. ISBN   978-1-906002-15-2.
  12. 1 2 3 Rogan, Johnny. (1998). The Byrds: Timeless Flight Revisited (2nd ed.). Rogan House. p. 620. ISBN   978-0-9529540-1-9.
  13. 1 2 Priore, Domenic. (2007). Riot On Sunset Strip: Rock 'n' Roll's Last Stand in Hollywood. Jawbone Press. p. 81. ISBN   978-1-906002-04-6.
  14. ↑ Eder, Bruce. "Eight Miles High". Allmusic . Rovi Corporation. Archived from the original on October 24, 2016. Retrieved November 10, 2009.
  15. 1 2 Lavezzoli, Peter. (2007). The Dawn of Indian music in the West. Continuum International Publishing Group. pp. 155–157. ISBN   978-0-8264-2819-6.
  16. ↑ Crosby, David. (1990). Long Time Gone: The Autobiography of David Crosby. Mandarin Paperbacks. p. 99. ISBN   0-7493-0283-6.
  17. ↑ The Byrds: how we made Eight Miles High Archived November 14, 2017, at the Wayback Machine The Guardian, September 16, 2014
  18. ↑ Connors, Tim. "Fifth Dimension". Byrdwatcher: A Field Guide to the Byrds of Los Angeles. Euclid Business Network. Archived from the original on May 4, 2009. Retrieved November 10, 2009.
  19. ↑ Rogan, Johnny. (1996). Fifth Dimension (1996 CD liner notes).
  20. 1 2 Rogan, Johnny. (1998). The Byrds: Timeless Flight Revisited (2nd ed.). Rogan House. pp. 541–544. ISBN   0-9529540-1-X.
  21. 1 2 Whitburn, Joel. (2008). Top Pop Singles 1955–2006. Record Research Inc. p. 130. ISBN   978-0-89820-172-7.
  22. ↑ Brown, Tony. (2000). The Complete Book of the British Charts. Omnibus Press. p. 130. ISBN   0-7119-7670-8.
  23. 1 2 3 4 5 6 Hjort, Christopher. (2008). So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973). Jawbone Press. pp. 84–87. ISBN   978-1-906002-15-2.
  24. 1 2 Unterberger, Richie. "Fifth Dimension album review". Allmusic . Rovi Corporation. Retrieved November 9, 2009.
  25. 1 2 Hjort, Christopher. (2008). So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973). Jawbone Press. pp. 91–92. ISBN   978-1-906002-15-2.
  26. 1 2 3 4 5 6 7 Teehan, Mark. "The Byrds, "Eight Miles High", the Gavin Report, and Media Censorship of Alleged 'Drug Songs' in 1966: An Assessment". Popular Musicology Online. Archived from the original on April 11, 2012. Retrieved March 28, 2012.
  27. 1 2 "Psychedelic/Garage Overview". Allmusic . Rovi Corporation. Archived from the original on May 31, 2012. Retrieved May 30, 2012.
  28. ↑ Luft, Eric V. D. (2009). Die at the Right Time!: A Subjective Cultural History of the American Sixties. Gegenstaz Press. p. 155. ISBN   978-0-9655179-2-8.
  29. ↑ Priore, Domenic (200). SMiLE: The Story of Brian Wilson's Lost Masterpiece. Sanctuary. p. 38. ISBN   978-1-86074-627-7.
  30. ↑ Rounds, Dwight (2007). The Year the Music Died: 1964-1972: A Commentary on the Best Era of Pop. Bridgeway Books. p. 59. ISBN   978-1-933538-69-3.
  31. ↑ Hjort, Christopher. (2008). So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973). Jawbone Press. p. 88. ISBN   978-1-906002-15-2.
  32. ↑ Connors, Tim. "The Byrdwatcher Interview with David Crosby: Part Five". Euclid Business Network Incorporated. Archived from the original on July 30, 2013. Retrieved June 21, 2012.
  33. ↑ "Spotlight Singles" (PDF). Billboard. April 2, 1966. p. 18. Retrieved March 4, 2021.
  34. ↑ "CashBox Record Reviews" (PDF). Cash Box. March 26, 1966. p. 18. Retrieved January 12, 2022.
  35. ↑ Perrone, James E. (2004). Music of the Counterculture Era. Greenwood Publishing Group. pp. 113–114. ISBN   0-313326-89-4.
  36. ↑ "GRAMMY Hall of Fame: Past Recipients". GRAMMY.org. The Recording Academy. Archived from the original on January 22, 2011. Retrieved June 22, 2012.
  37. ↑ "The 500 Greatest Songs Of All Time". Rolling Stone . Wenner Media. Archived from the original on May 29, 2012. Retrieved May 30, 2012.
  38. ↑ "100 Greatest Guitar Tracks". Rockandrollreport.com. Archived from the original on September 16, 2009. Retrieved November 8, 2009.
  39. ↑ Einarson, John. (2005). Mr. Tambourine Man: The Life and Legacy of the Byrds' Gene Clark. Backbeat Books. pp. 87–88. ISBN   0-87930-793-5.
  40. 1 2 3 Rogan, Johnny. (1998). The Byrds: Timeless Flight Revisited (2nd ed.). Rogan House. pp. 591–617. ISBN   0-9529540-1-X.
  41. ↑ Eder, Bruce. "(Untitled) album review". Allmusic . Rovi Corporation. Retrieved November 10, 2009.
  42. ↑ Leggett, Steve. "Live at Royal Albert Hall 1971 album review". Allmusic . Rovi Corporation. Retrieved November 10, 2009.
  43. ↑ Landers, Rick. "Roger McGuinn Interview". Modern Guitars Magazine. Rick Landers. Archived from the original on October 16, 2009. Retrieved November 24, 2009.
  44. ↑ Deming, Mark. "The Other Side album review". Allmusic . Rovi Corporation. Retrieved May 18, 2010.
  45. ↑ "Eight Miles High album appearances". Allmusic . Rovi Corporation. Archived from the original on October 24, 2016. Retrieved November 27, 2009.
  46. ↑ "Eight Miles High cover versions". Allmusic . Rovi Corporation. Archived from the original on March 31, 2017. Retrieved May 30, 2012.
  47. ↑ "Hüsker Dü – Commercial Releases". Hüsker Dü Annotated Discography. Archived from the original on September 22, 2017. Retrieved May 18, 2010.
  48. ↑ "Golden Earring – Eight Miles High album review". Allmusic . Rovi Corporation. Retrieved May 18, 2010.
  49. ↑ Ankeny, Jason. "To the Power of Three album review". Allmusic . Rovi Corporation. Retrieved May 18, 2010.
  50. ↑ All Music Guide. "I Feel Possessed EP review". Allmusic . Rovi Corporation. Retrieved May 18, 2010.
  51. ↑ "Don McLean's American Pie – Official Lyrics". Don McLean Online. Archived from the original on November 29, 2014. Retrieved July 23, 2009.
  52. ↑ Fontenot, Robert. "American Pie: What's the meaning of Verse 4". About.com. Archived from the original on January 5, 2010. Retrieved May 18, 2010.
  53. ↑ Monger, James Christopher. "The Stage Names album review". Allmusic . Rovi Corporation. Retrieved May 18, 2010.
  54. ↑ Stephen, M. Deusner. "Working on a Dream album review". Pitchfork Media. Archived from the original on May 22, 2010. Retrieved May 18, 2010.
  55. ↑ "Working on a Dream album review". Uncut . IPC Media. Archived from the original on November 29, 2014. Retrieved May 30, 2012.
  56. ↑ "Purple Haze: Soundtrack". Internet Movie Database . Amazon.com . Retrieved November 10, 2009.
  57. ↑ "From the Earth to the Moon – Le Voyage dans la Lune soundtrack". Internet Movie Database . Amazon.com. Archived from the original on September 12, 2011. Retrieved May 18, 2010.
  58. ↑ "From the Earth to the Moon – The Original Wives Club soundtrack". Internet Movie Database . Amazon.com. Archived from the original on March 10, 2016. Retrieved May 18, 2010.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.