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Chestnut Mare

"Chestnut Mare" is a written by and and recorded by the American rock band . Released on September 14, 1970, as part of the band's (Untitled), the track features a blend of and elements, with spoken-word verses narrating a metaphorical tale of attempting to tame a wild horse. The song originated in 1969 during McGuinn's collaboration with Broadway director on an unproduced country-rock musical titled Gene Tryp, loosely adapted from Henrik Ibsen's 1867 play , where the protagonist's pursuit of a was reimagined as a chasing a chestnut mare across . McGuinn has described the track as his most satisfying , highlighting its narrative structure and thematic depth, which some listeners interpret as an for futile romantic or even psychedelic pursuits. Issued as a on , 1970, backed with "Just a ," "Chestnut Mare" achieved modest commercial success, peaking at number 121 on the Billboard Bubbling Under the Hot 100 chart and reaching number 19 on the . Despite its limited chart performance, the song became a staple of ' live repertoire, including performances during Bob Dylan's 1975 tour, and remains a fan favorite for its evocative and McGuinn's distinctive 12-string guitar work.

Background

Origins in Gene Tryp

The song "Chestnut Mare" was written in 1969 by and as part of the planned musical Gene Tryp, a project they conceived together during that year. , the leader of , envisioned Gene Tryp as a theatrical blend of and dramatic narrative, drawing from his roots in the scene of the to create an ambitious stage production. The musical was loosely inspired by Henrik Ibsen's 1867 play , reimagining its protagonist's journey in a 19th-century setting, particularly the Southwest, where themes of ambition, illusion, and personal struggle played out against a backdrop of and . In this adaptation, the title character Gene Tryp embodied a restless seeker whose exploits mirrored Peer Gynt's fantastical odyssey, but transposed to tales of Western expansion and self-deception. Within the , the chestnut served as a central : a wild, untamable representing the protagonist's futile quest to dominate and his own destiny, highlighting the narrative's exploration of and inevitable failure. McGuinn and composed a total of 23 songs for the project by mid-1969, incorporating elements that reflected ' evolving interest in country rock during this period. However, the original Broadway production of Gene Tryp was abandoned by 1970 due to lack of interest from producers and challenges in securing funding. A revised version was later staged by drama students at in the late 1990s. Despite the cancellation of the initial plans, several songs from the musical, including "Chestnut Mare," were repurposed for ' recordings, preserving fragments of McGuinn's theatrical vision. In recent years, McGuinn has been working on recording the songs from Gene Tryp, a project he began in 2020.

Songwriting collaboration

The songwriting collaboration between and began in 1967, when Levy, a director and former clinical psychologist, sent an emissary backstage after a concert to invite McGuinn to compose music for a . Their was rooted in a shared interest in theatrical , leading to the creation of 23 songs for the unproduced musical Gene Tryp, a adaptation of Henrik Ibsen's set in the . McGuinn handled the music and 12-string guitar riffs, often drawing melodic ideas from tales, while Levy provided narrative-driven that infused psychological depth into the material. The collaborative process for "Chestnut Mare" took place during informal sessions at McGuinn's home and other personal spaces, where they used simple tools like legal pads to develop ideas. contributed lyrics adapting the pursuit from —originally a chase—into a tale of a attempting to tame a wild chestnut mare, symbolizing and personal conquest to fit the musical's themes, while McGuinn shaped the melody for performance with a catchy, folk-inflected hook. 's experience, including directing the revue Oh! Calcutta!, influenced the song's dramatic structure, turning the horse metaphor into a layered of and breakthrough. McGuinn later credited with elevating the ' emotional and psychological resonance, enhancing the track's introspective quality beyond a simple narrative. When the Broadway plans for Gene Tryp stalled due to production challenges in 1969, McGuinn decided to repurpose "Chestnut Mare" as a standalone piece for ' next album, citing its memorable riff and compatibility with the band's country-rock sound. This choice preserved the song's essence outside the full musical context, allowing it to stand on its collaborative strengths.

Composition and recording

Musical elements

"Chestnut Mare" showcases the distinctive instrumentation of ' 1970 lineup, with Roger McGuinn's electric 12-string guitar providing the song's driving, jangly riff and rhythmic foundation. This signature sound, a hallmark of McGuinn's style, interlocks with Clarence White's innovative work on a Telecaster equipped with a Parsons-White StringBender, delivering smooth B-string bends that evoke effects central to the track's country-inflected texture. Supporting this interplay, contributes a solid bass line that anchors , while delivers a steady, folk-oriented with subtle dynamics to maintain the song's narrative momentum. The recording took place in early June 1970 at Columbia Studios in , produced by , who captured the band's evolving sound during their transition to a more country rock-oriented ensemble. Production techniques emphasized a layered guitar approach through multi-tracking, creating a rich, immersive sonic canvas without excessive effects, which highlighted the organic chemistry between McGuinn and . Minimal overdubs were employed to preserve a live-band feel, reflecting the quartet's tight-knit performance style and the album's blend of studio precision with improvisational energy. Musically, "Chestnut Mare" fuses with elements, structured around verses and choruses punctuated by an extended narrative bridge that builds tension through escalating guitar dynamics. The album version runs 5:08, while some international single releases, such as the version, featured a severely edited rendition shortened to 2:58 by removing the second verse and instrumental bridge for radio play. Originating from material developed for the unproduced Gene Tryp musical, the track's arrangement underscores ' late-period experimentation with storytelling through instrumentation.

Lyrics and themes

The lyrics of "Chestnut Mare," written by and , tell the story of a man's persistent but ultimately futile attempt to capture and tame a wild . The begins with the narrator spotting the solitary on , admiring her and as she grazes or stands facing the horizon, evoking a sense of untamed allure. He pursues her relentlessly, throwing a to catch her as she stands in the , only for her to rear up, whinny, and kick him off before escaping. Undeterred, he constructs a stall by a canyon stream, luring her with hay and water, but she resists his efforts to ride her, bucking and fighting until, in a moment of frustration, he whips her, prompting her final break for freedom across the valley. Key verses build this tension progressively: the opening establishes the mare's wild spirit ("Always alone, never with a / Prettiest mare I've ever seen"), the middle sections detail the failed taming attempts ("She reared up and whinnied, kicked me in the teeth" and "She'd buck and snort and fight"), and the ending conveys the narrator's regretful realization ("Now I sit here alone, thinking of what might have been / If I'd let her run free, maybe she'd come back again"). This structure creates a folkloric arc, drawing from the American tradition of tales where wild horses represent the pioneer spirit and the untamed . The song's themes center on human in attempting to dominate nature's , as the symbolizes an indomitable that defies . It serves as a for unattainable love or elusive desires, with the narrator's obsession mirroring the pursuit of a partner who cannot be "branded" or confined, likened to making the mare "just like a ." This interpretation aligns with broader of wild horses in as emblems of liberty and resistance against subjugation. Poetic devices enhance the storytelling, including the repetitive chorus ("Hey, lady, run, run, run") that underscores the mare's evasion and adds a hypnotic, chant-like quality for memorability. Levy's rhythmic phrasing in the verses, with short, punchy lines describing the chase, evokes the gallop of hooves and builds urgency without overt musical notation.

Release

Formats and promotion

"Chestnut Mare" appeared on The Byrds' double album (Untitled), issued by Columbia Records on September 14, 1970, serving as the opening track on side three of the studio portion. The song was subsequently released as a in the United States on October 23, 1970, backed with "Just a Season" on the B-side, in a standard 7-inch format under catalog number 4-45259. The edition followed on January 1, 1971, via Records (catalog number 5322), also in 7-inch , with picture sleeves issued in select markets. for the aligned with ' extensive 1970 touring schedule, which included over 50 performances across and , where the band debuted "Chestnut Mare" live, such as during their August 22 show at in . Efforts focused on radio airplay to highlight the track's role in the band's evolving sound, building on their pivot established with the 1968 album . marketed the song by underscoring its theatrical origins from the unproduced Gene Tryp musical in promotional materials, while a live performance video clip was produced to support the release.

Commercial performance

In the United States, the single "Chestnut Mare" peaked at number 121 on the Bubbling Under the Hot 100 in December 1970, reflecting its limited impact on the main Top 40 amid the growing popularity of on radio. Despite this, the track garnered strong airplay on stations throughout the , becoming a staple in programming. In the United Kingdom, "Chestnut Mare" fared better, entering the UK Singles Chart on February 13, 1971, and reaching a peak position of number 19, where it spent one week in the Top 20 and a total of eight weeks on the chart. This marked The Byrds' first appearance on the UK Singles Chart in three years, following "You Ain't Goin' Nowhere," which had peaked at number 45 in 1968. The parent album (Untitled) achieved moderate commercial success, peaking at number 40 on the Billboard 200 chart in November 1970 and spending 21 weeks on the listing overall. The "Chestnut Mare" single itself saw moderate sales without any certifications, aligning with the band's transitional phase in the early 1970s rock market. The song has maintained enduring availability through reissues and compilations, including the UK release The Byrds' Greatest Hits Volume II in 1971 and the US compilation The Best of The Byrds: Greatest Hits, Volume II in 1972, both of which feature it as a key track. Since the 2010s, "Chestnut Mare" has been widely accessible on digital streaming platforms such as and .

Reception and legacy

Critical response

Upon its release in 1970, "(Untitled)" received positive contemporary reviews that highlighted the album's blend of ' folk-rock heritage with emerging and psychedelic elements, positioning "Chestnut Mare" as a standout track. , writing for , offered a mixed assessment of the album, describing it as "probably the worst thing that's happened to up to now" but also their best work in four years, amid a period of lineup changes and experimental detours. Similarly, critics praised the song's narrative drive and McGuinn's signature 12-string guitar riff, which evoked ' early folk-rock sound while incorporating influences. While generally well-received, some critiques pointed to inconsistencies in the album's studio portions, with "Chestnut Mare" occasionally described as whimsical but uneven in pacing compared to the live material's intensity. The single release of the track, edited for radio, failed to chart significantly, peaking at number 121 on the Billboard Bubbling Under the Hot 100 Singles chart, which limited its immediate commercial visibility despite its artistic merits. Overall, reviewers viewed the song as a key highlight of "(Untitled)," effectively merging psychedelic storytelling with country-rock textures. In retrospective analyses, "Chestnut Mare" has been lauded for its innovative narrative structure within rock music. AllMusic's overview of the album emphasizes its role in bridging the Byrds' psychedelic phase with country explorations, rating "(Untitled)" highly for its cohesive vision and enduring appeal. Pitchfork, in a 2003 review of the band's compilation "The Essential Byrds," described the track as "fun" and representative of the group's late-period creativity, underscoring its place in their shift toward country-rock that influenced subsequent genres. Jacques Levy's contributions to the lyrics have been frequently praised for their depth, drawing from the unproduced musical "Gene Tryp" and weaving a metaphorical tale of pursuit and freedom that transcends a simple horse-chasing narrative. In 2020s scholarship, such as a 2022 analysis in environmental folk-rock studies, the song's themes are interpreted as emblematic of humanity's fraught relationship with untamed , portraying the mare as a of wild beauty and the protagonist's quest as a cautionary reflection on domination versus . This links it to broader modern folk traditions addressing ecological tensions.

Live performances and covers

"Chestnut Mare" debuted in ' live repertoire during their early 1970 tours, with performances documented as early as February 6, 1970, at in . The song quickly became a regular setlist staple, appearing alongside tracks like "Lover of the Bayou" and throughout their 1970-1973 touring period. During their 1971 tour, it was performed at venues including on May 7 and the Royal Albert Hall on May 13, where a live recording captured the band's energetic delivery. In concert, often extended sections of their performances with improvisational elements, though "Chestnut Mare" typically retained its structured narrative form while allowing for guitar interplay between and . The song's final performance with the band occurred on February 24, 1973, at the Capitol Theatre in , marking the end of their touring era before disbandment. Following , McGuinn incorporated "Chestnut Mare" into his solo shows and occasional reunions, delivering acoustic renditions that highlighted its folk-rock roots, as heard in and later performances, including on his 2025 "Songs & Stories" tour. Notable covers of "Chestnut Mare" include The Icicle Works' medley with "Triad" on the 1989 tribute album Time Between – A Tribute to The Byrds, blending the tracks into a post-punk arrangement. Other artists have interpreted the song, such as Carter Brothers in a country-inflected style and BWD Production in a production-oriented version, underscoring its adaptability across genres. The song's storytelling approach influenced the narrative-driven songs in 1970s , contributing to the genre's evolution through ' pioneering blend of , and elements.

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