It captures The Byrds between the seminal folk-rock glories of their better-known mid-1960s triumphs and the equally influential country-rock that would soon follow.
With one time Beach Boy associate Gary Usher producing and Roy Halee engineering, the band weaves its signature vocal harmonies and chiming guitars through a lusher, more impressionistic art-pop tapestry that stops just short of post Sgt Pepper's cliche, employing phased vocals, sound effects, Moog synthesiser, and horns. Thematically, the project pits utopian innocence (Tribal Gathering, Dolphins Smile) against a new wariness (Artificial Energy, a cautionary look at amphetamines, and the Vietnam vignette of Draft Morning). In a field of well-paced, inventive songs, the zenith is the silken, wistful Goin' Back, Carole King's poignant meditation on childhood and innocence.
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