Archive for the ‘ Country Rock ’ Category

John Drendall, B.A. Thrower and Friends “Papa Never Let Me Sing The Blues”

| Americana,Country Rock,Psych

Papa

There are enough good vanity pressings from the late 60s – mid 70s that make record collecting a rewarding interest.  The really good ones (the Bachs, the Rising Storm, Wilson McKinley, Relatively Clean Rivers et al) are far and few between.  Most of these records, while musically very good, are overpriced because so few quantities were initially pressed.  Please be warned though, most private press albums are average at best – I’ve been disappointed many, many times.  So naturally, when I bought the Riverman Music version (a Singpore cd reissue) of John Drendall, B.A. Thrower and Friends’ Papa Never Let Me Sing The Blues I was somewhat unsure of its quality, in other words, a skeptic.

Deacon Productions released 100 copies of Papa in 1971/1972.  Both John Drendall (vocals/guitar) and B.A. Thrower (bass guitar/electric guitar/organ) lived on the campus of Michigan University in Lansing.  The two eventually moved into a suburban house with a spacious garage.  This garage was turned into a studio where the group practiced hours on end.  Eventually Drendall and Thrower found a studio in Kalamazoo that would record their experiments.  Friends Tommy “Stiff Finger Eddie” Caruso (slide guitar), Mike “Elmo” Skory (keyboards), Vern “The Bopper” Albaugh (flute), Nelson Wood (harp), Jimmie Spillane (backgrounds), and Ross Maxwell (bells and anything else) add many valuable contributions to the album.  The music is very fine Americana, a true undiscovered gem that needs to be heard by more music fans.

The performances on Papa sparkle with a true level of professionalism.  Drendall, Thrower and their “Friends” are all excellent musicians, the songwriting is stellar, and the production sounds top notch – on par with a major label rock group.   Those of you who enjoyed Euphoria (the Texas country-rock group), Crazy Horse, and Everybody Knows This Is Nowhere era Neil Young will fall for this record in a big way.  One of the songs on Papa, “Old Man Gibbs,” sounds like an early Neil Young number in that it’s a great rootsy rocker with stoned electric guitar work and burnt out lyrics.  The album opener, “Cold Nite in August,” stands out as the album’s most blues oriented cut,  6+ minutes of laid back country-blues that’s well worth hearing.  Other highlights are the title track and “Get Too Heavy,” both acoustic gems that feature solid guitar picking and in the case of the latter, good, close harmonies.  Even the psychedelic numbers, “Black River Lady” and “I Feel” are fabulous mood music that conjures up a spacey atmosphere more in line with the late 60s.  My favorite tracks are the nifty country-rocker “Bye Bye Mr. Jones,” with its amusing group dialogue and the great “Throw Off Your Troubled Past.”  This last number features frantic guitar work (the guitarist really shreds up the fretboard on this one) and busy percussion; it’s really a treat to hear these last two numbers.  The album as a whole is uniformly strong and a must hear; not a bad cut on this LP.

So once again, Papa is a very accomplished work that should have been reissued years ago.  There’s been plenty of great reissues in 2009 but Papa is one of the best I’ve heard so far.

“Get Too Heavy”

:D CD Reissue | 2009 | Riverman | amazon ]
:) Vinyl | 1972 | Deacon | ebay? ]

Manassas “Pieces”

, , | Americana,Classic Rock,Country Rock
Pieces is just what the title says, but shouldn’t be discounted. The original Manassas album was a disconnected smattering of “pieces” itself. Nobody had combined country, rock, salsa, blues, and bluegrass like Stephen Stills’ powerhouse 7-piece that formed out from the wake of CSNY and the Burrito Brothers.
Pieces collects some leftovers from the Miami sessions that led to the first album (“Witching Hour” “Like A Fox”), warmups and ideas intended for the lost 2nd Manassas album, Down The Road (“Lies” “Love and Satisfy”), and what Stills refers to as “Chris Hillman and Byron Berline teaching me bluegrass” (“Panhandle Rag” “Uncle Pen”). Other tracks are electrified covers from Stills 1 & 2, the largely successful solo albums that gave Stephen the freedom to form a band like Manassas.
I can’t imagine Stills had heard the original Fox On The Run by Manfred Mann, which the Country Gentlemen would turn into a bluegrass standard, before writing Like A Fox. Even with Bonnie Raitt lending her voice, the chorus is still hard to listen to under the circumstances. The bluegrass numbers have no knockout picking, but a treat to hear Stills and Hillman harmonize on “Uncle Pen.” “Do You Remember The Americans” is bluegrass cooler than I’ve ever heard, a song that I wish had spawned an entire record’s worth.
“I Am My Brother” is a sick solo blues proves Stills true worth.
Al Perkins on steel

Pieces

Pieces is the perfect name for this new Manassas outtakes collection from Rhino.  Nobody had combined country, rock, salsa, blues, and bluegrass like Stephen Stills’ powerhouse 7-piece that formed out from the wake of CSNY and the Burrito Brothers, and their eponymous album was a disconnected smattering of “pieces” itself. This new hodgepodge of unheard treats may be scattered, but it’s right in line with tradition and kicks ass like any Manassas fan would expect.

Pieces collects some leftovers from the Miami sessions that led to the first album (“Witching Hour” “Like A Fox”), warmups and ideas intended for the 2nd Manassas album, Down The Road (“Lies” “Love and Satisfy”), as well as what Stills refers to as “Chris Hillman and Byron Berline teaching me bluegrass” (“Panhandle Rag” “Uncle Pen”). Other tracks are electrified covers from Stephen Stills 1 & 2, the hugely successful solo albums that gave Stephen the freedom to form a band with Doug Sahm level schizophrenia.

There are a number of gems here; “Witching Hour” and “Sugar Babe” are easy classics. Stills throws together the chorus of “Like a Fox” last minute and presages  Manfred Mann’s “Fox On The Run” (which the Country Gentlemen would turn into a bluegrass standard) word for word. Only problem, even with Bonnie Raitt lending her voice, I can’t hear past the Manfred version to this one. On Side B, the bluegrass numbers have no knockout picking, but it’s a treat to hear Stills and Hillman harmonize on “Uncle Pen.” “Do You Remember The Americans,” however, is cooler grass than I’ve ever heard. I wish Stills had recorded an entire album in this vein. “I Am My Brother” is a sick solo blues to prove Stills’ immense talent and soul.

This is a no-brainer for Stills, CSNY, Byrds, Burrito, or rock music fans.

“Do You Remember the Americans?”

:D CD Compilation | 2009 | Rhino | buy at amazon ]
8-) Spotify link | listen ]

Rick Nelson “In Concert”

| Country Rock,Pop

Rick Nelson In Concert

From an unlikely source comes this burst of pure, live country rock and roll. Born into stardom, the younger son of Ozzie & Harriett was a teen idol with big hit singles by the age of 17. More than ten years later, the grown-up and rechristened “Rick” Nelson had developed into a Californian country rocker as fine as any, but his child-star status would forever bar him the proper recognition.

Other artists of this time, like the Byrds on Sweetheart, are accused of being a rock band that merely played country – there wasn’t a strong sense of synergy. Whatever the true definition of “country rock,” listening to Rick Nelson on stage at the Troubadour, debuting his new sound in 1969, adds a significant layer of depth to my understanding of the country rock cross section. There’s no doubt this is a piece of the puzzle.

While it’s hard to ignore some of Rick Nelson’s nerdier lyrics, especially on the album opener, “Come On In,” (“we’re gonna sing our songs for you, hope we make you feel good too”), the Stone Canyon Band captures you straight off the kicker. Tom Brumley (ex Buckaroo) on steel, Randy Meisner (Eagles) on bass, Allen Kemp and Pat Shanahan (both future New Riders) on lead guitar and drums. This was a mean assortment and they deliver an authoritative rock sound with deep seated country leanings.

Nelson manages some hipper originals with “Who Cares About Tomorrow” into “Promises,” a medley, vaguely recalling Del Shannon’s Charles Westover sound. The Stone Canyons manicure Bob Dylan’s “She Belongs To Me” a la Beau Brummels‘ tightly knit Nashville rock, and reveal one of the concert’s sweetest spots.  The whole record builds like a sweet crescendo and suddenly you remember why you came to see the show tonight. Another Dylan gem, “If You Got To Go, Go Now” shifts things to high gear. Even Ricky’s monster hit, Fats Domino’s “I’m Walkin” gets it cool with an irresistible honky-funk treatment. Tim Hardin’s “Red Balloon” is another highlight – what guitarist wouldn’t want to play this lead 100 times on this stage? “Louisiana Man” has that tongue-in-cheek hillbilly groove but it’s nice enough.

Another Nelson original, “Easy to be Free,” written “a couple of weeks” before this was recorded is another piece of songwriting fluff (“did you ever want to fly, over rainbow skies so high”) but the dreamy mood is what counts this late in the night. The record closes with one final Dylan masterpiece, “I Shall Be Released.” Class act. I wouldn’t use my “timeless” stamp here, but this is no doubt a classic, and as bona fide a country-rock performance as any I’ve heard. Good show, Ricky.

“Red Balloon”

:) Original Vinyl | 1970 | MCA | search ebay ]
;) MP3 Album | download ]
8-) Spotify link | listen ]

The Flying Burrito Brothers “Burrito Deluxe”

| Americana,Country Rock

Burrito Deluxe

Taken as a whole, The Flying Burrito Brothers second album, Burrito Deluxe, is a mild disappointment when measured up against their legendary debut LP, The Gilded Palace of Sin. That record defined the country-rock genre and is still the yardstick by which all alternative country records are measured.

Burrito Deluxe was oringally released by A&M records in 1969.  There are some good songs onboard, most notably mellow country-rockers “Cody, Cody” and “God’s Own Singer.”  These are clearly the LP’s best numbers.  Parsons and company even cover “Wild Horses” a few years before the Rolling Stones included it on their Sticky Fingers LP.  On the surface Burrito Deluxe seems like a good enough follow-up to The Gilded Palace of Sin but further listening reveals some major flaws.  For one, the songwriting is inconsistent: Burrito Deluxe yields no true classics on par with “Christine’s Tune,”  “Hot Burrito #1,” or “Hot Burrito #2.”  Parsons at this point was losing interest in the band he and Chris Hillman co-founded.  Was Parsons spending too much time with Keith Richards or perhaps writing songs and preparing for his brief solo career?  Aspects that made the Burrito’s debut so great, the fuzz guitars, those strong soul and country influences (what Parsons referred to as Cosmic American Music) and the unity in performance are missing.  Instead the Burritos go for a harder rocking bar band sound as heard on tracks like Bob Dylan’s “If You Gotta Go” and the Sweetheart era outtake “Lazy Days.”  “Lazy Days” is professional songcraft, a decent enough number but the Dylan cover along with “Man In The Fog” is rather sloppy – this is not the Flying Burrito Brothers I know.  Other tracks like “Image of Me”, “Farther Along” and “Older Guys” are respectable, gutsy country-rock efforts but again, nothing groundbreaking or classic.

So on a whole, this is a solid album for the country-rock genre, definitely better than what the average band was releasing back in the late 60s/early 70s.  I’d go out on a limb and say that the Burrito’s self titled 3rd album and Last of the Red Hot Burritos (live) may be more consistent records – these records are without Gram Parsons too!  Listening to Burrito Deluxe reminds us that Parsons’ head was elsewhere at the time.  It feels as though the band is rushing through each number without any heart or true committment and because of this, Burrito Deluxe suffers from an unfocused sound.  All complaints aside, Burrito Deluxe is still well worth a spin and an essential albeit baffling country-rock/Americana LP.

“Cody, Cody”

:D 2CD Flying Burrito Anthology | 2000 | Interscope | get at amazon ]
:) Original Vinyl | 1970 | A&M | search ebay ]

Goose Creek Symphony “est. 1970”

| Americana,Country Rock,Psych

Est 1970

In the intersection of country and rock, sometimes  a band comes along who clearly bit the country bug enough to get the right chops, but for some reason not enough to take it entirely serious. To my ears, Goose Creek Symphony’s debut, Established 1970, has a an overly slack-jawed approach – perhaps a cool nod that this hillbilly thing is just for kicks.  But much like Ween’s brilliant Nashville foray, 12 Golden Country Greats, the music is too damn good to write off.

Charlie’s Tune exemplifies my issue: they sing a little like phony bumpkins with a jaw harp, though the guitar is choogling and it grooves just right, you’re still embarrassed to play it in public. Luckily their cover of Satisfied Mind reads perfect and may be the one of the best I’ve heard. Talk About Goose Creek takes the irony even further, however, the jaw harp louder, ‘home on the range’ lyrics cheezier, but the groove is even more infectious with some bad ass drum work taking things for a psyched out ride.

Mostly, only a few tracks are this polarizing. Beautiful Bertha and Confusion are solid stoned rockers, Raid on Brush Creek and Big Time Saturday Night both nail The Band’s americana strike zone, and closing ballad Symphony Music rounds out the record with breezy rural rock.

I have been totally split on Est. 1970 but finally given in, and hard. There is no way to disqualify Goose Creek’s authenticity, their Arizona/Kentucky roots are for real and they’ve stayed true to their boldly unique style for many years now. I guess I have had the same problem with the Dillards in that the singing can, sometimes, just sound too faux-billy (or maybe it’s records that open with I’ll Fly Away). All I’ll say now is I love the record regardless, and you be the judge.

“Talk About Goose Creek And Other Important Places”

:D CD Reissue | 2000 | Goose Creek | buy from Goose Creek | amazon ]
:)  Original Vinyl | 1970 | Capitol | search ebay ]
8-) Spotify link | listen ]

The Nitty Gritty Dirt Band “Symphonion Dream”

| Country Rock,Folk,Psych

Symphonion Dream

Symphonion Dream was the last album recorded by the Nitty Gritty Dirt Band before Jim Ibbotson left and the band began to move away from its traditional jug band/bluegrass roots. The big question is why in 1975, when the rest of the First Division of country-rock practitioners “ the Eagles, Poco, Souther-Hillman-Furay et al “ had been travelling for some time in the direction of simplified, stadium-friendly AOR, the NGDB went the other way and produced what I think is the best, and surely the quirkiest, psychedelic country album ever. The tunes are the band’s usual mix of originals and highly personalised covers; however this time the tunes are wrapped up in a sonic kaleidoscope of sound effects, seaside amusement park soundtracks, studio backchat, disconcerting segues, fade-in/fade-out interludes and odd instrumentation. So many familiar tunes, so many unfamiliar and occasionally unsettling treatments.

The album is bookended front-and-back by the eerie screech of an Aeolian harp, with a lonely tolling bell as prologue, finally fading out to the silvery chiming of the Symphonion “ a large Victorian musical automaton sounding like an orchestra of musical boxes. The original songs feature some truly offbeat ideas, with John McEuen picking Flamenco on solo banjo “ perhaps influenced by Bernie Leadon’s banjo opus Journey Of The Sorcerer on the Eagles’ One Of These Nights – and hammering the same banjo to produce steel band-like tones on the calypsoish Joshua Come Home. The more conventional tracks move smoothly from Hey Good Lookin’, played Bob Wills-style with Linda Ronstadt duetting Ibbotson on vocal, via a roistering Texas honky-tonk rendering of JD Souther’s The Moon Just Turned Blue, to the straight-ahead country-rock, all Telecasters blazing, of Bayou Jubilee. However, perhaps more memorable are the swampy, drone-laden treatment of that hoary old standard, The Battle Of New Orleans, replete with coda of marching drums and bagpipes, and the thumping bluegrass version of the Everlys’ maudlin (All I Have To Do Is) Dream, which revisits the Dirts’ version of Mike Nesmith‘s Some Of Shelley’s Blues. Musicianship and harmonies throughout are as accomplished as we’ve come to expect from these guys, with McEuen’s fiery five-string banjo usually well to the fore, and production by Bill McEuen (any relation?) is faultless.

Exactly what the Dirts were trying to achieve with this album escapes me “ perhaps a belated country-rock Sergeant Pepper? There is no conceptual theme as such, though the first four tracks on what was the second side seem to purposefully convey an atmosphere of the southern California coastline. Whatever: I enjoy eclectic albums that display a multiplicity of styles within, or even across, genres. This one never escapes being country-rock, but boy, does it stretch the boundaries.

“The Battle of New Orleans”

:D CD Reissue |2003 | Capitol | buy ]
:) Original Vinyl | 1975 | United Artists | ebay ]
8-) Spotify link | listen ]

Mickey Newbury “Heaven Help The Child”

| Americana,Country Rock,Folk

Heaven Help the Child

In 1969 Mickey Newbury’s Looks Like Rain began a string of incredible albums that lasted well into the 1970s. Heaven Help The Child, released in 1973, was one of his very best records. It was also the last of his classic Cinderella Sound Studio Recordings (a garage studio). Produced by Dennis Linde, Russ Miller and Marlin Greene, Heaven Help The Child featured a whole cast of contemporary Nashville musicians: Wayne Moss (guitar) Chet Atkins (guitar), Vassar Clements (violin), David Briggs (keyboards), Buddy Spicher (drums) to name but a few. Many of these talented musicians had performed on Newbury’s prior albums’ Looks Like Rain and Frisco Mabel Joy. Once again Mickey Newbury was up to the task, releasing another hard-to-categorize classic.

“Heaven Help The Child,” the title track, is a soaring American masterpiece that was beautifully produced and featured poignant lyrics about Park Avenue, New York in 1912, 1920’s Paris, and of course freight trains. The lyrics, as always have lots of depth and the overall feel of the song becomes captivating when Newbury sings in his ghostly voice, “We’re all building walls instead of bridges.” “Heaven Help The Child” ended with an air of uncertainty but it goes without saying that this was one of Newbury’s finest creations. Another highlight, “Why You Been Gone So Long,” swings with a confident country-rock swagger and features excellent dobro guitar and Newbury’s smokey vocals which simmer throughout the song.

Four of the songs from Heaven Help The Child had been released on earlier LPs.  Here, “Sunshine,” “Sweet Memories,” “Good Morning Dear,” and “San Francisco Mabel Joy” all enjoy definitive reworkings.  Great songs from Newbury’s prior discs had become even better renditions for Heaven Help The Child.  From my perspective, “Sweet Memories” and “Sunshine” stand out for their dark tone.  Here, Newbury shares his pain with the listener and by the end each song you begin to feel it – the vocal performances on all these tracks are flawless.    You will never hear any country music like this, it’s experimental but more importantly, the honesty and personal nature of Newbury’s songwriting talents shine through.  It’s what makes him such a special, enduring artist.  By all means, if you find this album on vinyl, cd or mp3 pick it up, it’s absolutely brilliant.

Mickey Newbury’s music isn’t glamorous or pretentious, he never tried to be someone else nor did he follow any sort of fad (just like country-folk contemporary Townes Van Zandt). Newbury’s appeal was in the song, he brought you back to a familiar place and time. His music, while very complex, is easy to relate to; he was just a regular guy with extraordinary vocals and a unique songwriting talent. As mentioned in a previous post, the Mickey Newbury Collection (Mountain Retreat box set) has been out of print for quite some time. You can purchase a digital download of this album and many other Mickey Newbury classics at the official Mickey Newbury website.

“Why You Been Gone So Long”

;) MP3 Album | mickeynewbury.com ]
:) Original Vinyl | 1973 | Elektra | search ebay ]

The Byrds “Ballad Of Easy Rider”

| Country Rock,Folk

Ballad of Easy Rider

Ballad of Easy Rider was one of two great Byrds’ albums to be released after the groups’ acknowledged heyday (Mr. Tambourine Man to Sweetheart of the Rodeo).  Released in 1969, before the excellent double set Untitled, Ballad of Easy Rider was a quiet, tranquil record with good songs and fine, professional performances.  By this time Clarence White was a full-time member and the group was looking to rebound from their prior release, the uneven Dr. Byrds and Mr. Hyde.

Ballad of Easy Rider kicked off with the title track, two minutes of beautiful countrified folk-rock that was notable for its stately orchestration.  This was definitely one of the latter group’s finest performances and legend has it that Dylan wrote half the lyrics down on a napkin (McGuinn naturally finished up the song).  Perhaps the album’s most popular track was the gospel influenced “Jesus Is Just Alright,” a fine pop number in it’s own right that reached the lower regions of the charts.  There were great covers of “Tulsa Country” (country-rock with excellent guitar work from Clarence White), “There Must Be Someone I Can Turn To” (a classic Gosdin Brothers‘ track), “Jack Tarr The Sailor” (a sea shanty folk-rocker with stinging electric guitar and banjo) and Woody Guthrie’s “Deportee.”    The story behind “There Must Be Someone I Can Turn To” is rather interesting. One night Vern Gosdin came home after playing a gig to find his house completely empty.  His wife and kids were gone along with the furniture and there was a goodbye note from his wife.  With this in mind, Vern sat down and wrote “There Must Be Someone I Can Turn To.”  The Byrds decided to include this number into their set because of its meaning and emotional power.

The originals on Ballad of Easy Rider are also impressive.  “Fido,” written by John York is a funky number about a stray dog.  There’s a brief drum solo and some strong guitar riffs, it’s unlike anything the Byrds would ever record.  “Oil In My Lamp” showcases a Clarence White vocal and is an excellent country rocker with a very laid back, rustic feel (with more great guitar riffs).  The best of the bunch is “Gunga Din,” a minor Byrds’ classic with Gene Parsons taking lead vocals and really great finger picking via Clarence White.  It almost seems as if Roger McGuinn relinquished his leadership role in the Byrds to let Clarence White take the spotlight on Ballad of Easy Rider. 

I think it’s wrong to assume the Byrds were dead after Sweetheart of the Rodeo.   Many fans suggest this version of the Byrds was less innovative and lacked a strong songwriter.  While the Byrds did write fine original material they were also known as great interpreters of folk and country material.  I must point out that these latter day Byrds were known to be a great live band (probably the best in the group’s history), featured one of the era’s finest guitarists in Clarence White, and released two classic country-rock records.  This is one of them.

“Jack Tarr The Sailor”

:D CD Reissue | 2008 | Sbme | amazon ]
:) Original Vinyl | 1969 | Columbia | ebay ]
;) MP3 Album | download ]

Jim Ford “Harlan County”

| Americana,Country Rock,RnB

Harlan County

In the liner notes to recent cd reissue Sounds of Our Time Nick Lowe describes Jim Ford: “Jim Ford’s reputation was not the best. He told a lot of terrible stories and he used to bend the truth a bit. I think deep down he was no rock star, but he noticed people provided him with money when he pretended to be one. Many people who financed his career probably got disappointed when Ford didn’t care to live up to their expectations. He took a lot of people for a ride….I’d never seen anyone use cocaine before I met Ford. Wherever he went there were also illegal substances around. Ford was unreliable and from time to time he disappeared. We were surprised to find what kind of people he seemed to know in England. One time when he got back he had stayed with the blonde bombshell Diana Dors and her gangster-type husband Alan Lake!”

Nick also added this, “When Jim walked off the plane he wore a big Stetson, rose-tinted shades and jeans with creases and round-toe cowboy boots. I’d never met anyone like him before. Ford was the real thing, he was other-worldly and very charismatic. He turned up with a $3,000 guitar, an astronomical sum for 1970, but it seemed he could barely play it, and yet it was so mean, the way he hit that thing. He was totally unimpressed by us (Brinsley Schwarz), but he was making the best out of a bad job.”

Jim Ford meant a lot of things to a lot of different people. Sly Stone claimed Ford was his best friend, Nick Lowe name checks him as a major inspiration, and British mod band the Koobas recorded an entire album of Harlan County songs (The Koobas even went as far as to change their name to Harlan County). His unique brand of country-rock-soul-funk has proven to be original and very influential.

The Harlan County LP was released by White Whale in 1969 and is evenly divided between covers and Jim Ford originals. Most people single out the title track and “I’m Gonna Make Her Love Me” as highlights, and they are great slices of hard country funk. “Harlan County,” the title track, has a nice horn arrangement, crisp, driving acoustic guitars, female backup vocalists and a great beat – it’s another lost gem. But for me Ford’s fuzz guitar arrangement of “Spoonful” is really stellar and the superb country soul ballads “Changing Colors” and “Love On My Brain” make the album what it is today – a unique record in the country-rock canon. Ford’s main strength was his songwriting ability but he’s also an underrated vocalist with real southern grit and soul. There is nothing like Harlan County, the LP is mandatory listening for fans of 60s American rock n roll and country-rock.

You wanna hear his music? The best reissue to get a hold of is Sounds of Our Time by Bear Family Records (2007). This disc has the Harlan County LP in its entirety, rare pre-lp singles, and excellent outtakes that are in more of a country-rock vein. For an example of this, check out the slow version of “Big Mouth USA” and the title track. Both tracks are outstanding pieces of Americana that sound very similar to the Band’s best songs on Music From Big Pink.

“Spoonful”

:D CD Reissue | 2007 | Bear Family | buy from bear | amazon ]
:) Original Vinyl | 1969 | White Whale | search ebay ]

Gene Clark “No Other”

| Country Rock,Folk,Pop

No Other

Barely understood when it was released in 1974, No Other is Gene Clark’s most polarizing record but generally considered essential today.

Almost every song an epic, Clark’s songwriting was never up for debate, nor his genuinely poetic verses, but it’s Thomas Jefferson Kaye’s production that would weed out hordes of would-be fans. I contend the producer made only one mistake: the use of “power gospel” backing vocals on every track is probably what turns most people off to No Other. Strike the voices and this record would be hailed as a mid-70s masterpiece for Clark’s efforts as much as its lush, candied orchestration.

The record starts off without skipping a beat from the Clark oeuvre; “Life’s Greatest Fool” sounds like a natural step forward from his earlier country rock. The supporting musicians are perfectly in tune with the vision; I want to dig in deeper with the sound every listen, so I hardly consider it overcooked. One tune does embody Gene’s new super-glam image in sound, where you can “hear the cocaine” churning the record: the sinister title track, “No Other,” is slathered with sleazy synth lines and electric guitars. Whether for camp or pure songcraft it’s an irresistable jam and centerpiece of the record.

All of the numbers possess the signature Gene Clark sound. Say when he waits for “Strength Of Strings” to reach full crescendo before sinking into his minor-tinged verse with that untouchable heartworn vocal. Clark is one of the world’s greatest songwriters, his skill in transforming traditional progressions to his unique brand of song unmatched.

Give this record the right chance and you’ll reach the point where you appreciate every overdone detail, down to the gorgeous sleeve and awesomely hideous poster of Gene decked in flowing garments, beads, and makeup in front of an airbrushed Gene Clark monument. I only have the record, but the CD resissue is reportedly worth it for the alternative versions and “Train Leaves Here This Morning,” a retake from the Expedition.

“No Other”

:D CD Reissue | 2003 | WEA/Rhino | amazon ]
:) Orig Vinyl | 1974 | Asylum | search ebay ]
8-) Spotify link | listen ]