It was also a poignant evening because Bidin’ My Time was one of the last projects completed by Tom Petty. With his unexpected death, the homecoming show became a heartfelt tribute to him, as well. The bittersweet aspects of the show notwithstanding, the Los Angeles Times praised the magic of the performances on stage that night, saying “Hillman’s sweet tenor voice is as fluid and expressive as ever and it blends hauntingly with the piercing purity of Pedersen’s voice, making it no surprise that they’ve returned to one another’s company so often for more than half a century.”

Rounding out the memoir is Chris’ account of the 2018 tour celebrating the 50th Anniversary of the Byrds’ groundbreaking Sweetheart of the Rodeo album. When the album was originally released In 1968, Sweetheart of the Rodeo literally launched the country rock movement and is widely considered to be one of the most influential albums in this genre. In 2003, the album was ranked #120 on Rolling Stone’s list of “The 500 Greatest Albums.” The anniversary tour featured Hillman and fellow Byrds alum Roger McGuinn, joined by Marty Stuart and His Fabulous Superlatives (all huge Byrds fans). It more than lived up to its stature with Hillman and McGuinn delivering a rich narrative for the album by telling the stories that initially brought the project to life. As Hillman writes, “We remembered every little nuance and anecdote in the making of the album. It was so much fun revisiting the music and having a conversation with each other on stage… it was one of if not the best tour I had ever been a part of in my almost six decades of playing music.” Along with Marty Stuart and the Fabulous Superlatives, it was the perfect combination of stellar vocals and outstanding instrumentation that recreated the sounds of the Sweetheart album. The troupe (all having connections to Tom Petty) also paid tribute to the late rock star with performances of his “American Girl,” “Runnin’ Down a Dream,” and “Wildflowers,” the latter of which was also recorded by Hillman for Bidin’ My Time.

Throughout the book, Hillman opens up about career encounters and accomplishments. With engaging detail, he describes meetings and experiences with characters such as Lenny Bruce, Jimi Hendrix, Bob Dylan, The Beatles, The Rolling Stones, Bo Diddley, Otis Redding, Chuck Berry, and Buck Owens, as well as his musical collaborations with Clarence White, Bernie Leadon, Stephen Stills, Dan Fogelberg, Herb Pedersen, John Jorgensen, Al Perkins, Jay Dee Maness, Tom Brumley and more. And he recounts his numerous band affiliations including a memorable stint recording as a member of Stephen Stills’ Manassas. Other groups included Souther-Hillman-Furay (with JD Souther and Poco’s Richie Furay), McGuinn, Clark & Hillman (with fellow former Byrds Roger McGuinn and Gene Clark) and Rice, Rice, Hillman & Pedersen. He recorded as a solo artist, and as a duo, Chris and Herb Pedersen had success with a number of releases including Bakersfield Bound (1996), Way Out West, (2002) a 17-track collection of country, roots rock, and Americana, The Other Side (2005) and Live At Edwards Barn (2010).

While giving insight into the recording of such Byrds’ classics as “Mr. Tambourine Man,” “Turn, Turn, Turn,” and “Eight Miles High,” Chris also sheds new light on his complicated relationship with Gram Parsons and the real man behind the Parson’s myth. The historic moment when Chris quit The Byrds is followed by breaking new “outlaw country” ground with The Flying Burrito Brothers, including the release of their landmark album, The Gilded Palace of Sin in 1969.

The rich musical details in Time Between share space with many experiences and impressions from Hillman’s personal journey. He writes in an honest and unadorned style while taking the reader back to earlier, sometimes nostalgic eras. Hillman describes his youth and the quintessentially Southern California experience of the 50s where even within the bucolic atmosphere of Rancho Santa Fe there is a social conflict that made a lasting impression on him. He continues reflecting on his early love of TV cowboys and getting his first horse and goes on to describe another first when he is introduced to folk artists, bluegrass music, and eventually the Beatles. As a teen, he spent hours practicing acoustic guitar and mandolin. By 18, he was playing the mandolin in two bands, The Scottsville Squirrel Barkers and The Golden State Boys which included Vern and Rex Gosdin. Hillman goes on to share the story of borrowing a bass – an instrument he’d never played – to try out for the Byrds, offering up details on why Miles Davis was responsible for their success.

Hillman speaks honestly about the shocking tragedy that struck his family when he was a teenager, his subsequent struggles with anger, and how his spiritual journey led him to a place of deep faith that allowed him to extend forgiveness and experience wholeness. He writes of overcoming his overwhelming shyness, building a family with his beloved wife Connie, earning a second-degree blackbelt in karate, battling a life-threatening disease, and escaping three house fires.

Reflecting on the process of telling his multi-layered story, Hillman says, “It became almost cathartic as I got deeper in with the story – sometimes opening up old doors I thought I had locked down decades ago. But it wasn’t just the music that propelled me on; it was the gradual growth from who I was to who I became – through heartache and triumph, things we all have to deal with in life.”

Today, Chris Hillman is quick to point out that Time Between is his story “at least so far” with many chapters yet to be written. New chapters are already playing out as his success with Chris Hillman’s Burrito Stand continues, giving him the opportunity to interview guests he has worked with and known for the last sixty years. The Western Edge homage to California country rock places Hillman’s legacy front and center for current and future generations of music fans. Now, in addition to the exhibition, the history of the era is preserved in a Western Edge companion book, (University of Illinois Press and Country Music Hall of Fame and Museum) with a foreword by Linda Ronstadt and a main essay written by Randy Lewis, the former Los Angeles Times music reporter. In the impressive Americana-UK review of the book, Lewis is quoted, saying “If there’s a linchpin figure in the story of country rock it’s hard to think of anyone more critical than Chris Hillman.”

In December of 2022, in a video message to fans, Hillman reflected on his gratitude for the wonderful and rewarding events of the last year. He also announced his retirement from touring, “but never from making and playing music.” Says Hillman, “I’ve had a great year – one of the best I’ve ever had.” Here’s to the future; new chapters and more of the best to come.