Gene Clark
Band members Related acts
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line up 1 (1967) - Gene Clark (aka Harold Eugene Clark) (RIP 1991) - vocals, guitar - Mike Clarke -
drums - Jerry Kole - guitar - Bill Rinehart - guitar - Leon Russell - keyboards - Clarence White
- guitar line up (1972) - Gene Clark (aka Harold Eugene Clark) (RIP 1991) - vocals, guitar - Jesse Ed Davis - guitar - Bobbye Hall - percussion - Chris Ethridge - bass - Gary Mallaber - drums - John Selk - guitar - Ben Sidran - keyboards - Mike Utley - keyboards
line up (1984) - David Ossie Ahlers -- keyboards - Bret Bloomfield -- bass - Gene Clark (aka Harold Eugene Clark) (RIP 1991) - vocals, guitar - Greg Douglas -- lead guitar, slide guitar - Chris Hillman - bass - Andy Kandanes -- drums, percussion - Thomas Jefferson Kaye -- backing vocals - Herb Pederson -- vocals
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- Firebyrd - Manassas - Joe Meyers and the Sharks
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Genre: country rock Rating: **** (4 stars) Title: Gene Clark with the Godsin Brothers Company: Columbia Catalog: CL-2618 Year: 1967 Country/State: Tipton, Missouri Grade (cover/record): VG+/VG+ Comments: mono pressing; some ringwear; cut out hole punched through top left corner Available: SOLD Catalog ID: SOLD 4688 Price: SOLD $50.00 Cost: $6.00
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I'll readily admit I didn't buy the line of reasoning that argued the late Gene Clark was the heart of The Byrds. Now that I've had the opportunity to hear this album, I'm starting to think there's quite a bit of credence to that claim.
Having just started recording sessions for what was to become The Byrds' "Younger Than Yesterday", legend has it that Clark quit after the third day of sessions. He was instantly signed to a solo recording contract by Columbia (which was coincidently The Byrds' label) and made his debut with 1967's "Gene Clark with the Godsin Brothers". Working separately with producers Larry Marks and Gary Usher, this album is simply a must own for anyone interested in country-rock. Musically the set easily rivals The Byrds' first three studio album. You thought Roger McGuinn held the keys to that magic sound? Bullsh*t. It's all here - gorgeous songs, sparkling group harmonies, sly humor; even jangle guitar. Just check out Clark originals such as the ornate and sophisticated Dylan-influenced title track, 'So You Say You Lost Your Baby' and 'Elevator Operator' (the latter giving The Beatles a run for their money). Backed by the Godsins and various past, current and future Byrds alumnist, this is simply Clark's creative zenith and a 'must own' LP. Columbia pulled two singles from the album, but left them to flounder with minimal promotion or support.
In a case of poor timing and inept marketing, Columbia also largely ignored the parent album in favor of pushing The Byrds' "Younger Than Today". (Good luck finding another mono pressing !!!)
"Gene Clark with the Godsin Brothers" track listing: (side
1) - 1966's 'Echoes' b/w 'I Found You' (Columbia catalog number 4-43903) 2.) Think I'm Gonna Feel Better (Gene Clark) - 1:32 3.) Tried So Hard (Gene Clark) - 2:20 4.) Is Yours Mine (Gene Clark) - 2:26 5.) Keep On Pushin' (Gene Clark - Bill Rinehart) - 1:44 6.) I Found You (Gene Clark) - 2:58
(side
2) - 1967's 'So You Say You Lost Your Baby' b/w 'Is Yours Is Mine' (Columbia catalog number ???) 2.) Elevator Operator (Gene Clark - Bill Rinehart) - 2:28 3.) The Same One (Gene Clark) - 3:27 4.) Couldn't Believe Her (Gene Clark) - 1:52 5.) Needing Someone (Gene Clark) - 2:02
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Genre: country rock Rating: **** (4 stars) Title: White Light Company: A&M Catalog: SP-4292 Year: 1972 Country/State: Tipton, Missouri Grade (cover/record): VG+/+VG Comments: -- Available: SOLD Catalog ID: SOLD Price: SOLD $40.00 Cost: $6.00
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With Manassas on hiatus after an excellent debut album, 1972 saw Gene Clark returning to a solo career with the release of "White Light". (Interesting piece of needless trivia - due to a printer error you won't actually see the title anywhere on the cover, which explains why many folks refer to title as 'Gene Clark'.) Produced by guitarist Jesse Ed Davis, musically the set was somewhat of a change in direction; Clark abandoning Manassas-styled rock in favor of a largely acoustic singer/songwriter set. Interestingly, this is the one Clark LP that seems to divide folks into one of two camps. Fans (including us) find its very introspective approach only enhances its considerable charm. In contrast, detractors find it under produced and frequently dull. As in most cases, the truth is probably somewhere in the middle. Okay, since we're in the former category, here are the reasons to love this LP. 1.) Clark's instantly recognizable voice has seldom sounded as good - if you want to get a quick Byrds flashback, check out the opener "The Virgin". 2.) Clark's "stripped down" approach makes for a wonderful set of bittersweet and reflective music. This is a perfect Sunday morning album. 3.) Clark originals such as the title track and "With Tomorrow" are arguably better than anything on Neil Young's "Harvest". A commercial bust, it remains our favorite Clark solo effort; an LP that we play on a regular basis.
"White Light" track listing: (side
1) 2.) With Tomorrow (Gene Clark - Jesse Davis) - 2:25 3.) White Light (Gene Clark) - 3:38 4.) Because of You (Gene Clark) - 4:03 5.) One In a Hundred (Gene Clark) - 3:30
(side
2) 2.) Where My Love Lies Asleep (Gene Clark) - 4:20 3.) Tears of Rage (Bob Dylan - Richard Manuel) - 4:11 4.) 1975 (Gene Clark) - 4:28
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Genre: country rock Rating: **** (4 stars) Title: Two Sides To Every Story Company: RSO Catalog: RS-1-3011 Year: 1977 Country/State: Tipton, Missouri Grade (cover/record): VG+/ +VG Comments: -- Available: 1 Catalog ID: -- Price: $40.00
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is.
"Two Sides To Every Story" track listing: (side
1)
(side
2)
wo Sides to Every Story is the fifth studio album by American singer-songwriter Gene Clark, released in February 1977. The album was Clark's first release since his 1974 album No Other. Notable tracks include "In the Pines" (traditional), "Kansas City Southern" and "Hear the Wind", both written by Clark, and "Give My Love to Marie", a song written by James Talley that tells the story of a dying coal miner. The album was produced by Thomas Jefferson Kaye. Guest musicians are Jeff Baxter, Emmylou Harris, Byron Berline, Al Perkins and John Hartford. Reception Professional ratings Review scores Source Rating AllMusic [1] American Songwriter [2] Glide Magazine 10/10[3] MusicHound [4] Popdose favorable[5] Record Collector [6] Uncut [7] Music critic Matthew Greenwald, writing for AllMusic, said "the material is uneven, especially when Clark and the band try to rock out... But Clark's muse invariably guided him well even under awkward circumstances, and Two Sides has a number of superb moments... but if this is well short of a masterpiece, it's still clearly the work of a masterful singer and songwriter, and the best moments here are honestly magical."[1] Hal Horowitz of American Songwriter wrote, "It's a low key yet delightfully straightforward set that even rocks out occasionally and showcases Clark's lovely understated vocals."[2] Reissue In 2011 High Moon Records announced that the label would be reissuing the album. In early 2013 the label reissued a vinyl version of the album remastered by Dan Hersch and Doug Sax. The vinyl included a download card for bonus tracks. High Moon reissued the album on CD (soft independent release to fans) with extra photos and a pdf booklet with a new essay written by Tom Sandford, along with bonus tracks in the Spring of 2014. In November 2014, the release was expanded to major markets and distributed worldwide.[8] Track listing All songs written by Gene Clark, except where noted. Side one No. Title Writer(s) Length 1. "Home Run King" 2:57 2. "Lonely Saturday" 4:04 3. "In the Pines" Traditional; arranged by Gene Clark 4:22 4. "Kansas City Southern" 4:38 5. "Give My Love to Marie" James Talley 6:05 Gene Clark's 1974 album No Other has come to be seen as a masterpiece in the decades after its release, but that was hardly the consensus at the time, and the album's considerable production cost and negligible sales quickly made Clark persona non grata in the music business. It would be three years before Clark made another album, and Two Sides to Every Story was a very different affair; Clark and producer Thomas Jefferson Kaye (who was also behind the console for No Other) cut the album on their own dime without a record deal in place, and they opted for a simpler, more direct musical approach, with a handful of session pros going through their paces as Clark and Kaye aimed for an organic sound. Two Sides was made at a time when drink and drugs were starting to take their toll on Clark, and the material is uneven, especially when Clark and the band try to rock out (Clark's half-hearted stumble through Ronnie Hawkins' "Marylou" is easily the album's low point) and on a curiously upbeat run through the classic murder ballad "In the Pines." But Clark's muse invariably guided him well even under awkward circumstances, and Two Sides has a number of superb moments, including the heartfelt coal miner's tale "Give My Love to Marie," the literate heartache of "Past Addresses," and the nautical philosophizing of "Silent Crusade." While one can hear moments of wear in Clark's vocals, his instrument is usually strong and so is his spirit, with his phrasing smart and effective, while the musicians (including Doug Dillard, Byron Berline, John Hartford, Al Perkins, and Jeff Baxter, with Emmylou Harris adding harmonies) deliver the goods for the legendary Byrds vocalist. RSO Records eventually signed on to release Two Sides to Every Story, but in typical fashion they had no idea how to promote it and it soon fell out of print (don't feel bad for them -- RSO released the Saturday Night Fever soundtrack a few months later); it turned out to be Clark's last solo album for a major label, but if this is well short of a masterpiece, it's still clearly the work of a masterful singer and songwriter, and the best moments here are honestly magical. When original Byrds Roger McGuinn and Chris Hillman oversaw the 2006 box set There Is A Season, they made a concerted effort to highlight the contributions of their band-mate Gene Clark and, in so doing, may well have begun the groundswell of well-deserved recognition the late musician and songwriter is now receiving. This deluxe edition of Two Sides To Every Story is expanded in unusual ways as the ten tracks on the disc proper are accompanied with complete song lyrics, an array of eye catching photos, an informative essay plus a downloaded card for access to rare footage of Clark’s live performances and an interview with the artist himself In keeping with the rustic landscape of the cover portraits on the hardcover package as well as the flannel and denim attire in which Gene Clark’s attired, Two Sides is largely a return to roots reminiscent of the man’s first post Byrds projects with Doug Dillard and the Gosdin Brothers. In contrast to the lush likes of No Other, this fifth solo album (on his third label) is comprised of songs with readily discernible country folk and bluegrass influences beginning with the very first notes of banjo plucked on “Home Run King” and subsequently rippling through the track up and around the dulcet harmonies of one Emmy Lou Harris. “Hear the Wind” is likewise introduced via bittersweet lines of pedal steel from Al Perkins. “Lonely Saturday” begs favorable comparison with Harris’ (by this time former deceased) partner Gram Parsons through the doleful wail of pedal steel but more so by the weathered tenor of Clark’s vocal. A far cry from the boyish vulnerability of the master of cosmic American music, the breaks in Clark’s voice bespeak his pain as much as the quietly held notes reflect his resolute approach to his music . The sparse arrangement of “Give My Love to Marie,” featuring violin, grand piano and the far off echoes of drums, accentuates the vivid imagery of its lyrics, but even more so the naked emotion of Clark’s own performance. “Past Addresses” is deeply affecting because its acoustic guitar allows the author’s oblique lyrics to take hold. This lone cover of “Marylou” is awash with strains of rhythm and blues, the likes of which did not appear often in Gene Clark’s oeuvre, but offer continuity with the previous sessions at which Sly Stone appeared. Oddly enough produced by Thomas Jefferson Kaye, as was its more ornate predecessor, Two Sides boasts some of the same tasteful players as solo efforts prior as well as musicians who were beginning to make their mark at the time of this recording (beside the aforementioned Perkins a multi-instrumentalist lynch-pin of Stephen Stills’ Manassas). Steely Dan man and Doobie Brother Jeff “Skunk” Baxter puts body English into his rhythm guitar playing on “Kansas City Southern” which is fully in keeping with the understated wail of Clark’s singing. Jerry McGee, a John Mayall sideman, deepens the earthy air further with his lead solos Even in its baroque moments, there’s a simplicity maintained in this production the likes of which earmarked the other high water marks of Gene Clark’s solo career White Light and the compilation Roadmaster. In fact, the crisp and bright electric piano on “Sister Moon” recalls the textured likes of those records even as the orchestral swell rises, with a background chorale, to carry the track forward. And, haunting as it is, “Silent Crusade” is not just an ideal close to this record, but perhaps even the pinnacle that of Gene Clark’s career. By the time Gene Clark arrived at RSO Records, Robert Stigwood’s disco house supreme, in 1977, the decade had beaten him up pretty badly. Three superb solo albums – 1971’s stark White Light, 1972’s Roadmaster, and the most dazzlingly ambitious singer/songwriter album of all time, 1974’s No Other – had elicited barely a nod from critics or the general public. His family had disintegrated, and drink and drugs were constant demons. His fall from grace would soon accelerate, when he embarked on a star-crossed reunion with his Byrds mates in McGuinn, Clark & Hillman. The record Clark cooked up for RSO, Two Sides To Every Story, reflected the stress. Unfocused and misshapen, in places slick and staid, it offered up cover tunes, an old Dillard & Clark remake, and, in a take on Ronnie Hawkins’ ’50s-era smash “Marylou”, the single most awful cut in Clark’s oeuvre. This partly explains why it has been out of print since a CD reissue on PolyGram in the early ’90s. But there’s a reason why mint copies have been selling for up to £200 on eBay. Even with the chaos and missteps, this is a record that overcomes its flaws, offering moments of hard-won beauty and open-hearted grandeur from an artist fighting for his career. ADVERTISING Though producer/sidekick Thomas Jefferson Kaye was held over from the No Other sessions, Clark ditched his best touring band ever –the raw, lonesome Silverados – as recording got underway. Instead, pros like singers Emmylou Harris and John Hartford, pedal-steel ace Al Perkins, Dixie Flyers’ guitarist Jerry McGee, and fiddler deluxe Byron Berline were drafted in. Doobie Brother Jeff “Skunk” Baxter stretched the classic Clark sound into Toto territory with flashy guitar. Advertisement Yet despite all efforts to gussie up Clark’s sound into something tolerable for the FM-Top-40 crowd, Two Sides… was a record supremely out of time. With punk raging and disco poised for chart domination, “Home Run King” – a bluegrass homage to the innocence of youth and baseball great Babe Ruth – felt, for all its sly social commentary, hopelessly archaic, Norman Rockwell set to music. In the fullness of time, though, “Home Run King” and a fine cover of Leadbelly’s lonely “In The Pines,” both featuring Doug Dillard on banjo, provide a striking echo of the duo’s halcyon country-rock innovations circa 1968-70. “Lonely Saturday”, a straight honky-tonk weeper likewise mines arcane Americana for inspiration, auguring a mythical Nashville record that could’ve really been something. Ironically enough, when Clark does overtly recall his Dillard & Clark days, on a remake of the group’s railroad thumper “Kansas City Southern”, it’s a souped-up, hard-rock rendition, replete with syncopated rhythms and spiky guitar leads. While infectious, its R’n’B-style arrangement feels forced, the D&C version’s rustic country-soul evaporating into mere bar-band bluster. “Give My Love To Marie”, perhaps the only death-bed, black-lung ballad released on a major in 1977, cuts deeper. Amid Kaye’s dramatic strings, Clark leans into the teary emotion of this song – a traditional-style folk piece written by Woody Guthrie heir James Talley – with one of the best vocals of his career. Still, moralism was hardly Clark’s forte. It’s a song of concretes and absolutes – “There’s millions in the ground/Not a penny for me,” he croons in his vulnerable tenor – and Clark’s muse was far more effective hanging in the shadows, subtly confronting the mysteries of nature, time, love, and existence. Which is exactly where Clark takes the album proper on its staggering final three tracks. With its haunting melody and mournful chorus, “Hear The Wind” is Two Sides’ pivotal cut, and perhaps Clark’s most graceful ballad ever. Similar to “The True One” and White Light’s title track, this is Clark at the height of his poetic powers, wading deep into the psyche of desire, enlightenment and redemption. “Past Addresses” is grimmer still, a prayer for inner peace amid personal disintegration (“My words can’t slight the truth to you/Tomorrow every trial of life is going to fall,” warns its protagonist) that gives way to a wistful dénouement. “Silent Crusade,” which completes this trilogy, represents a catharsis of sorts, though it would be seven years until Clark’s next solo album. Less song than simple elegy for transcendence, it points to a lifting of burdens: “Please take me drifting far away,” he sing-speaks in almost ghostly fashion, “From the wordy and worldly explanation/Of the space we call today.”
You could argue that the best way to produce Gene Clark is - not to produce him at all, and just give him an acoustic guitar, switch on the tape machine and capture the magic. "White Light" proves that point, and those looking for further arguments, can check out the alternate version of "Blue Raven", one of the bonus tracks on the reissue of "No Other" - or the breathtakingly beautiful demo-version of maybe the best of his late songs, "Gypsy Rider". This record often gets overlooked when reviewers and Clark-ophiles discuss, which solo-record is his best - most often it is a tie between "White Light" and "No Other" with "Roadmaster" as an outsider. But this is in my opinion a masterpiece in its own right, and it may be the finest produced Gene Clark-album of them all - by his musical partner for many years in the 70's and 80's Thomas Jefferson Kaye. Gene Clark wrote songs with a natural talent, that almost sounds as it was as simple for him to write them as it is for most people to just breathe. For me songs like "Hear the wind" and "Silent Crusade" shows just that and are among his best songs ever - with "Past Adresses" and "Lonely Saturday" (that would have been a huge countryhit, had it been put out in the 80's during the New Country-era) not far behind. This is supplemented by one of the most fantastic moments of the album, Gene Clarks hauntingly beautiful version of a folksong about a miner, James Talley's "Give My Love to Marie". (People often forget, that Gene was also a great interpreter of other peoples songs - check out for instance one of his last ever recordings (with Carla Olson), "Changes" by Phil Ochs, the Byrds version of Neil Youngs "See the sky about to rain", his performance on another late recording, "Jokers are wild" - and many more). As most of Gene Clarks other records it may have been a commercial failure when released. But as most of Gene Clarks other records, it is great in its own way, an overlooked masterpiece in my opinion. 5 people found this helpful Helpful Report B.Salim 5.0 out of 5 stars A Slightly flawed gem with a clever pun. Reviewed in the United States ???? on November 3, 2017 Verified Purchase Perhaps his first and only attempt at a slickly produced and commercial release...choc full of guest musicians. Material a bit uneven and may suffer from over production but there are still winners amongst the selections. Overall it's worth grabbing while the superb High Moon release is still available. Released later in his career and Gene's glorious voice comes across as a bit wearied on some selections, but one listen to his wondrous effort on "Give My Love To Marie" redeems 100% and makes this cd a must have addition to your Gene collection. And now for the punchline...the title refers to the "two sides" of the original LP release. Side one may have been a concession to the record label with it's polished production and studio stacked with friends and top musicians. The material seems to be a nod to the developing country rock scene and nor at all what had been released by Gene since the Byrd days. The last cut on the first side, "Give My Love To Marie" redeems the side and pivots into newer and more traditional material, including the terrific "Past Addresses". Gene's photograph and wry smile on the back of the album seems to be a wink to fans to let them know that he's going to soldier on in his own way and not compromise his art for the sake of fashion or record company demands. 4 people found this helpful Helpful Report mikeythereader 5.0 out of 5 stars the most underated member of the Byrds Reviewed in the United States ???? on June 6, 2013 Verified Purchase Gene Clark was the only original Byrd that could really write songs. I'll Feel a whole lot Better was one of the best songs on the first album and McGuinn put a killer 12 string Rickenbacker lead on it but it was Gene's song. This album was more than I really wanted to pay but on a recent trip I put on cd player and it was worth every penny. On the Flyinf Burrito Brothers same title album is a tune called Tried So Hard and it is nothing short of great. Gene was on that tune with them. Gene Clark left us much too soon due to drugs and mainly alcohol. At the end he and Jessie Ed Davis a fabulous guitar player who like Gene would drink himself to death a few years later. I read a review of an album Gene did with Carla Ollson that said Gene's voice sounded like an imprisoned angel probably guilty of his sins. Rest In Peace angel. 2 people found this helpful Helpful Report Amazon Customer 5.0 out of 5 stars I love it. I refer to this album as the ... Reviewed in the United States ???? on June 16, 2018 Verified Purchase I love it. I refer to this album as the "divorce album" (Dan Fogelberg had one, also). Anyway, I love it. Gene's voice is amazing--so many ranges. "Give My Love to Marie" is delivered in such a way that I break into a crying jag every time I hear it. "Lonely Saturday" shows off his perfect staccato/vibrato/whatever you want to call it. I can't tell you which song is my favorite. I guess it depends on my mood. I'm not a country music fan but because Gene Clark did some on here I was willing to listen and I'm glad I did. Helpful Report Paul M. Crepeau 5.0 out of 5 stars Great music???? Reviewed in the United States ???? on August 31, 2021 Verified Purchase Loved everything about it?? Helpful Report Thomas Juvik 5.0 out of 5 stars T-rific Gene Clark Album Reviewed in the United States ???? on October 16, 2015 Verified Purchase Congratulations to High Moon Records for resurrecting this masterpiece by Gene Clark of The Byrds. This deluxe collectible digipak includes a wonderful booklet that will please and inform his many devoted fans. This package also includes a code to download some interesting live- performance cuts. Although these are rough around the edges compared to the excellent production quality of the CD itself, they are still a wonderful and revealing part of this great performer's history. Well done! Shipping was fast, packaging was impeccable. Very pleased. 7 people found this helpful Helpful Report R. Buehler 5.0 out of 5 stars Great album by Geno Reviewed in the United States ???? on April 25, 2015 Verified Purchase Great album by Geno! Some very beautiful songs, great execution, what a voice, what a fine songwriter! I wish he was still around. I loved his shows, his friendly personality. We are left with his music, which is a treasure in itself. I am glad this album release was released with great care. The price was a little steep, but I must say, it's worth every penny. Great, beautiful music! 2 people found this helpful Helpful Report goffer4u 5.0 out of 5 stars Finally, There Really Are Two Sides To Every Story!! Reviewed in the United States ???? on January 1, 2015 Verified Purchase Gene Clark's Two Sides to Every Story is a long lost gem. I had a copy and got rid of it because the sound was not great. For years I waited for the disc to be remastered. There were always rumors......but not remaster. Finally, we have been rewarded with the 2013 High Moon version. Brilliant sound and great tunes. Two thumbs up for this 1977 record. 2 people found this helpful Helpful Report Tim Goodacre 5.0 out of 5 stars Great packaging and remastering Reviewed in the United States ???? on April 29, 2015 Verified Purchase Much underrated album with several standout tracks such as Past Addresses and Home Run Kid. Great packaging and remastering. A whole new listening experience compared to the original CD release. The extensive notes are sombre and disturbing reading. Gene Clark was indeed a troubled genius and it makes for sad memories. Play with a glass of red and soft lights! One person found this helpful Helpful Report EMSE 5.0 out of 5 stars Please give this a listen. Reviewed in the United States ???? on January 15, 2017 Verified Purchase Highly underrated album by a one of the most prolific songwriters ever! Why Gene is not in the Songwriters Hall of Fame brings into question the viability of that institutions credentials. Shame on them. With full approval of the Gene Clark estate, this album was scheduled for re-release on CD by High Moon Records in early June. There was even a launch party in late April in which the Kai Clark Band performed the album in its entirety. The original Gene Clark Band (Chip Douglas, Bill Rhinehart, & Joel Larson) also performed. Unexpected delays have pushed back the release date to August 30. The album is a collection of songs which are intended to represent a cross-section of the various musical styles (bluegrass, country, country-rock, folk, folk-rock, rock and roll, pop, etc.) that Clark had mastered through his career. The superb sessions band consists of Jerry McGee (the Ventures) and Skunk Baxter (Steely Dan & The Doobie Brothers) on guitars, Jim Fielder (Blood, Sweat & Tears) on bass, Sammy Creeson (Tony Joe White) on drums, and Michael Utley (Jimmy Buffet) on keyboards. Superb backing vocals are provided by Emmylou Harris, John Hartford, Daniel and Mathew Moore, Pepper Watkins, and others. In addition, there are terrific cameos by former Clark collaborators, banjo virtuoso Douglas Dillard (the Dillards, Dillard & Clark) and fiddle virtuoso Byron Berline (the Dillards, Dillard & Clark, the Flying Burrito Brothers, Country Gazette, etc.), as well as steel guitarist Al Perkins (the Flying Burrito Brothers, Manassas). Produced by Thomas Jefferson Kaye. "Home Run King" is an excellent fusion of bluegrass-rock which allows Dillard a chance to show off his banjo picking. "Lonely Saturday" is a honky-tonk weeper featuring Al Perkins on steel guitar. "In the Pines" is pure traditional bluegrass perfection with Dillard burning on banjo and Berline sizzling on fiddle - absolutely terrific. "Kansas City Southern" was originally recorded by Dillard & Clark as a bluegrass rock number. It is rearranged here as an effective CCR style rocker. "Give My Love to Marie" is a slow, somber folk tear-jerker. "Sister Moon" is a slow, melancholy, ethereal pop ballad. "Marylou" is a roots rocker which, for some reason, doesn't really work - not bad, just fairly dull. The last three songs on the album all appeared on the Flying High compilation and represent the best of the original songs. "Hear the Wind" is a sensitive country ballad. "Past Addresses" and "Silent Crusade" are melancholy slices of biography. Overall, this album is among Clark's least coherent and least consistent albums. But otherwise, it's a great listen. 8 people found this helpful Helpful Report Statman 4.0 out of 5 stars A five-star package Reviewed in the United States ???? on May 3, 2014 Although not among Gene Clark's best albums, Two Sides to Every Story is a very good album with several outstanding songs. "Hear the Wind" is a beautiful country ballad, "Past Addresses" and "Silent Crusade" are melancholy singer/songwriter poetry, "In the Pines" is classic bluegrass performed to perfection with the help of virtuosos Douglas Dillard (banjo) and Byron Berline (fiddle), "Kansas City Southern" is performed as a fine John Fogerty style rocker, and "Home Run King" is fine country-rock. Backing musicians also include Al Perkins, Jerry McGee, and Jeff Baxter. High Moon Records has done an excellent job re-producing the album with a very clear, but robust, sound. The hard-bound booklet/cd slip is extremely well conceived with nice pics, essays, lyrics, and credits. The album purchase also includes a digital download of 20 live tracks and a 1974 interview. Nineteen of the live tracks were recorded by Gene Clark and the Silverados in 1975 and very nicely complement the Silverado '75 live album released in 2008. Overall, an excellent package and an excellent value. 26 people found this helpful Helpful Report Scott Simpson 5.0 out of 5 stars Everything you need to know about this album Reviewed in the United States ???? on June 15, 2010 As a whole, the sound of this album isn't terrific. It's not entirely the production; the cheesy backup singers and choices of instrumentation don't always help either. Still, it isn't difficult to look past this negative attribute and discover the wonderful songs underneath. I was turned off the first time I heard this album. Later on, I suddenly found myself humming "Homerun King" and returned to listen to this record a second time to find out how great the writing really is. Here's a track-by-track analysis: Homerun King is simply a delightful song. Certainly not one of Gene's most beautiful compositions, it's just very fun. It features bluegrass style banjo picking. Lonely Saturday is a low key country crooner, written excellently. In the Pines is a rather upbeat and updated rendition of the traditional (or Leadbelly, depending on who you ask) folk song. Folk purists might dismiss it as cheesy fluff but I find it to be an excellent cover. Gene approached it in the same way he did Fair and Tender Ladies, essentially making it a little more pop oriented and modernized, really doing something new and wonderful. Gene's vocals are outstanding. It took me a while to get used to this version of Kansas City Southern. At first I missed the riff found in the version by Dillard and Clark, but this rendition, for which Gene puts on much more of a swagger, really grew on me. It actually helped me enjoy the older version even more. I can't say I'm familiar with the original version of Give My Love to Marie (according to Wikipedia, it was written by one James Talley), but it's another beautiful song. The gentle guitar and piano and string arrangements help make this one of the most tender moments on this record. Sister Moon is a pleasant song that, while really rather slow (in fact it's already almost too slow), suffers from an over-dramatization. It would probably fair better as bare-bones voice and guitar. Mary Lou is probably my least favorite track. I'm not sure why Gene chose to record this song, especially since he doesn't really bring much of anything new to it. Sure, it's different from the more well-known versions such as the one by Ronnie Hawkins, but the difference is in the presentation. It's very much an old-style rock n roll song, but Gene treats it in an absurd, country-tinged way that just doesn't work. The backup singers kill it. Hear the Wind is a decent ballad with a low key treatment. It's dominated by the weepy steel guitar and damaged by the backup vocals. Personally, I'm a little jaded when I reach Past Addresses after the last few songs, but this song is probably a highlight of the album. It earns it's place as a wonderfully unique Gene Clark love song. Silent Crusade makes for a great closer. With quintessential Gene Clark writing, it is at once soaring and brooding. Overall, Two Sides to Every Story is a very well written album marred by a sometimes corny sound. Not all of the songs are exactly some of Gene's best, in fact some aren't terribly good at all. Still, it is at times great enough to warrant a 9/10, and it is a must for fans willing to look past the negatives and find great music. (I just want to point out that while allmusic apparently gave it 2 out of five stars, the written review is actually very positive). 10 people found this helpful Helpful Report Scott Simpson 5.0 out of 5 stars Everything you need to know about this album Reviewed in the United States ???? on June 15, 2010 As a whole, the sound of this album isn't terrific. It's not entirely the production; the cheesy backup singers and choices of instrumentation don't always help either. Still, it isn't difficult to look past this negative attribute and discover the wonderful songs underneath. I was turned off the first time I heard this album. Later on, I suddenly found myself humming "Homerun King" and returned to listen to this record a second time to find out how great the writing really is. Here's a track-by-track analysis: Homerun King is simply a delightful song. Certainly not one of Gene's most beautiful compositions, it's just very fun. It features bluegrass style banjo picking. Lonely Saturday is a low key country crooner, written excellently. In the Pines is a rather upbeat and updated rendition of the traditional (or Leadbelly, depending on who you ask) folk song. Folk purists might dismiss it as cheesy fluff but I find it to be an excellent cover. Gene approached it in the same way he did Fair and Tender Ladies, essentially making it a little more pop oriented and modernized, really doing something new and wonderful. Gene's vocals are outstanding. It took me a while to get used to this version of Kansas City Southern. At first I missed the riff found in the version by Dillard and Clark, but this rendition, for which Gene puts on much more of a swagger, really grew on me. It actually helped me enjoy the older version even more. I can't say I'm familiar with the original version of Give My Love to Marie (according to Wikipedia, it was written by one James Talley), but it's another beautiful song. The gentle guitar and piano and string arrangements help make this one of the most tender moments on this record. Sister Moon is a pleasant song that, while really rather slow (in fact it's already almost too slow), suffers from an over-dramatization. It would probably fair better as bare-bones voice and guitar. Mary Lou is probably my least favorite track. I'm not sure why Gene chose to record this song, especially since he doesn't really bring much of anything new to it. Sure, it's different from the more well-known versions such as the one by Ronnie Hawkins, but the difference is in the presentation. It's very much an old-style rock n roll song, but Gene treats it in an absurd, country-tinged way that just doesn't work. The backup singers kill it. Hear the Wind is a decent ballad with a low key treatment. It's dominated by the weepy steel guitar and damaged by the backup vocals. Personally, I'm a little jaded when I reach Past Addresses after the last few songs, but this song is probably a highlight of the album. It earns it's place as a wonderfully unique Gene Clark love song. Silent Crusade makes for a great closer. With quintessential Gene Clark writing, it is at once soaring and brooding. Overall, Two Sides to Every Story is a very well written album marred by a sometimes corny sound. Not all of the songs are exactly some of Gene's best, in fact some aren't terribly good at all. Still, it is at times great enough to warrant a 9/10, and it is a must for fans willing to look past the negatives and find great music. (I just want to point out that while allmusic apparently gave it 2 out of five stars, the written review is actually very positive). his album was originally released in 1977 under an unlucky star, like the notorious jinx which was almost routine for Gene Clark. First, it was overshadowed by his own seminal "No Other" album: how in the world could he surpass such an achievement? Moreover, the reunion with the Byrds was imminent, the concert at London's Hammersmith Odeon in April 1977, the prelude. Most of the material on "Two Sides To Every Story" highlights the most important stages of Gene Clark's musical career and revisits the sounds of Dillard & Clark, "White Light", "Roadmaster" and "No Other". The style of "Marylou" and "Kansas City Southern", on the other hand, represents the hard rocking Club Band sound, a reference to the Silverados, with whom he previously toured in the American provinces. Ultimately, it is the excellent song material itself, which makes all questions of style can seem minor. Instead of the Silverados, guest studio musicians are employed here, as they were in all his solo albums: a measure that is committed to serving the optimization of every single track. So it is not surprising that almost every song sounds different with a completely unique character, held together only by Gene's incomparable vocal style. In addition to his own compositions, we get to hear for the first time on a Gene Clark album a song by Texas troubadour James Talley, "Give My Love to Marie", a choice suited for the wistful, melancholy mood of "Two Sides To Every Story". The remastered sound on the CD reissue by High Noon Records is excellent, and the packaging is tasteful and generous. What I am missing as a bonus on this edition are some studio outtakes from the album sessions: instead we are hearing more live material by Gene Clark & The Silverados from their 1975 American tour, which has already been richly documented on other official releases, bootlegs and fan mixes. Do we have to wait for the announced 2-CD release to become witness of the creative process, and buy the whole package again?? German review originally published on 16 February 2008 by Christoph Deschner German-English translation by Rita X. Wolf 12 people found this helpful Helpful Report Stuart M. Johnson 4.0 out of 5 stars Home Run King: Babe Ruth vs Henry Aaron Reviewed in the United States ???? on March 11, 2013 I love Gene Clark and this is a good album, Hear the Wind and Past Addresses are classics. I have to say that the first time I heard Home Run King, I was shocked. First at Gene's clumsy grammar ("either" implies a choice between two things; you're either the paper boy or Babe Ruth, not either the paper boy or either Babe Ruth) and then at Gene seemingly supporting the hateful, racist point of view concerning Henry "Hank" Aaron breaking Babe Ruth's career home run record in 1974. There was a huge controversy in 1973 and 1974 about this, to the point that Aaron feared he would be killed before he could play in the 1974 season and hit the 2 homers needed to break the record. Gene reduces Aaron to a "boy" ("you're either just the newspaper boy or you're either Babe Ruth, the home run king") and puts a blotted rather than fine point on it with "While the rockin rolling home run king keeps the black madonna sleepin with a star", the star being the asterisk next to Aaron's home run total in the record books, demanded by Ruth fans in order to preserve his legacy. I'm guessing the word madonna fit well and disguised the intent with some gender confusion. At best, it's a sloppy mean-spirited song. Out of respect for Gene, I'll try to think of it that way. Helpful Report Frankenformer 5.0 out of 5 stars EXCELLENT album by Gene Clark, but POORLY manufactured on 180g vinyl - be careful! Reviewed in the United States ???? on September 29, 2017 I was looking so forward to getting this album on vinyl - out of print for 35 years! - and when I finally got it, I was amazed by the super quality of the old-fashioned cardboard jacket, the glossy heavy-weight photo/lyric sleeve and the high-quality full-size book of photos and essay on Gene Clark. What a package! But you can imagine my horror when, as I listened to it on my expensive audiophile equipment, I heard two skips on side one and three skips on side two! I'm able to rework vinyl in most cases to get rid of these defects (not everyone is, so such buyers will have to go through the hassle of RMAs or just get the CD), but it was very difficult to get the last skip out - all of them due to very poor manufacturing process controls during the pressing stage. This left lots of "stitching" (looks like silver solder balls/flakes under a microscope) some of which got stuck in the grooves of the record. What a hassle, and so easily avoidable. The records are pressed at Universal Music Enterprises/High Noon out of Santa Monica, CA, and their pressing controls and final inspections are terrible, a real crying shame for such a great album as this one. The good news is that you also get an MP3 download code for the songs, but the quality of the MP3's are poor quality compared to the vinyl. Great album, but poorly manufactured (sigh). Helpful Report stan menshic 2.0 out of 5 stars Gene is a God to me but this is washed out and depressed or mostly lame covers & from such a truly talented musical genius. Reviewed in the United States ???? on December 10, 2016 Absolutely love Gene Clark his song craft, his singing, his ability to be at the forefront of musical innovation (including folk rock, psy rock with the Byrds, baroque rock on 'Echoes', country rock on 'Fantastic Expedition' and collaborating with the Flying B.B. & the cosmic country & progressive music of the totally breathtaking 'No Other'. I want to love this album because its Gene's next album after 'No Other' & is even produced by T.J. Kaye & has wonderful guest musicians like Byron Berline, Doug Dillard etc. Ticks all the right boxes, it has to be good right but alas it is a sad washed out depressed Gene mostly bereft of any innovative ideas & decimated by the fact that his masterpiece 'No Other' has been critically panned & is a commercial failure. The nearest he gets to his previous album is Silent Crusade which has the philosophy & even ocean fx (although I still found I had to add further ocean themed fx & even subtle cymbal work to further develop the texture and theme of the song). The song Sister Moon although depressive has some interesting phased string work 1/2 way through that finally sounds innovative but the start of song is flat & without depth so I added some vibraphone to add a bit of a mysterious effect & it has picked up the song no end. The only other goodish song's is Past Addresses which although a maudlin mess has some interesting melody and harmonies and a reasonably good cover of 'Give my Love to Marie' which has nice violin work and flows quite nicely without ever going anywhere. The rest of the songs are washed out country rock which include 3 covers e.g. Mary Lou indicative of a lack innovation and song writing and even worse country bar room rockers like Kansas C.S. Obviously considering his illustrious past with the Byrds, his brilliant early career & 'No Other' I prayed it would be a wonderful album, at least he reunited with Mcguinn & Hillman of the Byrds in 1979 & 80 writing several folk rockfish songs backed by strings and at least I can look forward to his Lost Studio Outtakes album. Yes the production is great by Half Moon and its good to have some extra live tracks (no where near as good as the studio album) but its a great disappointment never the less when Gene is nothing less than a musical genius, who had lyrics which are at least as good if not better than Dylan & had vocals that were the most wonderfully emotive and evocative and truly another instrument of unparalleled beauty :( 3 people found this helpful Helpful Report feastoffools 5.0 out of 5 stars Beautiful presentation of a great album Reviewed in the United States ???? on May 12, 2014 If you know Gene Clark's work, you know what he is capable of. This is a beautiful presentation of his great TWO SIDES OF EVERY STORY album, a country-rock affair featuring his wonderful voice, superb song-writing & song-selection and the superb musicianship of his backing players. This limited edition High Moon release is a gorgeous thing...if you love Gene Clark, get this! 8 people found this helpful Helpful Report Dee Zee 5.0 out of 5 stars FANTASTIC REISSUE OF A GREAT ALBUM Reviewed in the United States ???? on June 6, 2014 Finally, Two Sides To Every Story, Gene Clark's great 1977 album now presented in a pristine state. It sounds like you are IN the studio. Thank you High Moon Records!!! If you're a fan of Gene Clark, you have to get this. 6 people found this helpful Helpful Report Chazman 5.0 out of 5 stars Gene Clark lives on Reviewed in the United States ???? on June 21, 2014 This is a great album that sounds superb. The songs take the listener on a journey thru the tail end of Gene's life / career. Highly recommended. 3 people found this helpful Helpful Report Mr. Geoffrey Harrold 5.0 out of 5 stars The Missing Piece of the Jigsaw Reviewed in the United States ???? on September 17, 2008 Made after the commercial failure of the critically acclaimed No Other album, Two Sides To Every Story was a return to more conventional music making and contains some of the most beautiful songs recorded by Gene Clark; Sister Moon especially stands out. This album was released on RSO in 1977 and was drowned in the UK punk expectoration. It has long been unavailable on CD and although individual tracks have been included on various compilations it is a serious omission from the Clark canon. Real Clark devotees should not miss this. At the moment it is out of issue - again! Anybody with any influence should demand its re-issue - my vinyl edition of this, one of Clark's most satisfying albums, is now virtually unplayable so act now! 16 people found this helpful Helpful Report 7821325 5.0 out of 5 stars Hard To Find Gem Reviewed in the United States ???? on October 5, 2011 This album is a bit of a climb-down after the ahead-of-its-time "No Other," and is more in the vein of "White Light," though without achieving quite the same musical heights. Even so, there is not a weak track here, and many -- esp. In the Pines and Give My Love To Marie -- are amazing. It is a real shame that this album has not been remastered to CD, so pretty much your only way to hear it is by getting the vinyl. Definitely worth it.
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Genre: country rock Rating: *** (3 stars) Title: Firebyrd Company: Takoma Catalog: TAK-7112 / ST-72812 Year: 1984 Country/State: Tipton, Missouri Grade (cover/record): VG+ / VG+ Comments: still in shrink wrap Available: 2 Catalog ID: 5382 Price: $15.00 Cost: $6.00
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In the wake of his commercially successful, but critically panned late-1970s pseudo-Byrds reunions with Chris Hillman and Roger McGuinn, Gene Clark's solo career should have exploded. Unfortunately, in spite of trying, it simply didn't happen. After spending a couple of inactive years in Hawaii trying to overcome addiction issues Clark returned to music with the band Flyte. Apparently envisioned as sort of Byrds survivor super group, the line up included Michael Clarke, Jim Ed Dickson, Chris Hillman, Al Perkins, and Herb Pedersen. The band managed to play some live dates and record some demos, but rapidly ran out of steam at which time Clark moved on to form Firebyrd. Showcasing keyboardist David Ossie Ahlers, bassist Bret Bloomfield, guitarist Greg Douglas, and drummer Andy Kandanes the group recorded an album, eventually finding a distribution deal with the small Takoma label. Though irecorded as a group effort, Takoma decided to release the album as a Clark solo effort.
Produced by Andy Kandanes and Thomas Jefferson Kaye, "Firebyrd" certainly had its moments but wasn't an overwhelming creative blockbuster one would have hoped for. Sticking with a country-rock feel, Clark sounded more comfortable than he had on the earlier McGuinn-Clark-Hillman efforts. Clark's decision to cover a pair of classic Byrds tunes was a mixed success. He played on the originals and wrote 'Feel a Whole Lot Better' so had every right to re-record them and while the results weren't bad, the updates did nothing to make you forget the originals. A cover of Gordon Lightfoot's 'If You Could Read My Mind' was similarly professional, but pedestrian. Elsewhere the new originals 'Rain Song' and 'Blue Raven' were major returns to form, though the album's stand out tune took the form of the moody ballad 'Vanessa' - shame Douglas' great slide guitar solo was cut off so soon. Hard to say this was one of Clark better solo ventures, though the album tends to grow on you the more you play it. Unfortunately as seemed to be the case throughout his career, the album generated strong reviews among critics, but small label Takoma simply couldn't handle national distribution.
"Firebyrd" track listing: (side
1) Revisiting a classic Byrds tune (yes, I know Dylan wrote it), was a questionable proposition, but the decision to slow down 'Tambourine Man' to what was almost a dirge wasn't the smartest thing Clark could have done. While the revamped arrangement didn't stray too far from the original, the slow pace simply sapped away most of the original's energy. 'Course you could always focus your attention on the lyrics (provided you could stay awake). 2.) Something About You Baby (Gene Clark - Andy Kandanes) - 2:48 rating: **** stars 'Something About You Baby' served to showcase Clark's knack for penning catchy melodies. Yeah, his vocal was a bit ragged, but with a keyboard-propelled killer hook and some nice group harmonies this one would have sounded great on mid-1980s college radio. 3.) Rodeo Rider (Gene Clark - Andy Kandanes) - 3:56 rating: **** stars Opening with some tasty Greg Douglas slide guitar 'Rodeo Rider' may have been a touch too country for some folks, but I'll readily admit that I've grown to love the tune. Employing a deeper than normal singing voice, Clark seldom sounded as good. If you liked early Eagles this one should strike a chord with you. 4.) Rain Song (Gene Clark - Andy Kandanes) - 2:56 rating: ***** stars Easily side one's standout performance, 'Rain Song' found Clark returning to prime form. A dark, haunting ballad, the song was built on a wonderful mix of jangle rock, sterling harmony vocals, and one of Clark's starkest lead vocals. Wonderful tune ... \
(side
2) It wasn't a Clark original, but the dark, moody, and bluesy 'Vanessa' was nevertheless one of the album's highlights. Another showcase for Clark's instantly recognizable voice and I've always loved the fuzz guitar solo and the falsetto backing vocals. 2.) If You Could Read My Mind (Gordon Lightfoot) - 3:48 rating: ** stars Clark's cover of Gordon Lightfoot's 'If You Could Read My Mind' was okay, but nothing here was going to make you forget the original. 3.) Feel a Whole Lot Better (Gene Clark) - 2:42 rating: ** stars He wrote it so there wasn't anything to stop him from re-recording it ... Unfortunately this updated version of 'Feel a Whole Lot Better' didn't even come close to the Byrds' original version. Bland and forgettable country-rock ... one of the album's biggest disappointments. For anyone interested, YouTube has a clip of a solo and somewhat guant Clark playing "Feel a Whole Lot Better" http://www.youtube.com/watch?v=Oz-CCypOoYE&feature=related 4.) Made for Love (Gene Clark) - 3:15 rating: **** stars 'Made for Love; was easily the album's most Byrds-styled folk-rocker ... Another album highlight with a greta lead vocal and some fantastic backing vocals. 5.) Blue Raven (Gene Clark) - 3:14 rating: **** stars Another radio friendly slice of jangle rock, 'Blue Raven' started out sounding like a Rick Roberts and Firefall outtake (blame the comparison on the prominent flute), but 'ended the album on a commercial highlight. Shame if faded out so early ...
I've never had the time to track them down, but there appear to be at least five versions of the "Firebyrd" album. Anyone know the story behind them?:
Sadly this served as Clark's final solo studio album. Only 46, he died in 1991 of complications related to a bleeding ulcer, which was reportedly brought on by excessive drinking.
In 1995 the British Edsel label released "This Byrd Had Flown" (Edsel catalog number EDCD 436). Essentially an expanded version of "Firebyrd" the compilation resequenced the original collection, adding three new tracks ('C'est la Bonne Rue', 'Dixie Flyer' and 'All I Want') and included interesting liner notes from producer/keyboardist Andy Kandanes.
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