Customer Reviews

With the Gosdin Brothers

5 star:		(4)
4 star:		(4)
3 star:		(0)
2 star:		(2)
1 star:		(1)

 

 

It wasn't immediately apparent to me that it is a big sonic upgrade over the "Echoes" CD, but no matter. This is an excellent album from the ex-Byrd and is essential for fans of the group or of Gene's later solo masterpieces such as "White Light," "Roadmaster," and "No Other." The liner notes and booklet layout are also better and more informative than was "Echoes."

When in 1972 I paid 40 pence for a second hand copy of the original (and even then long deleted) album, I remember being a little disappointed. The music seemed dated by the standards of Gene's earlier work with The Byrds and certainly did not appear to bear any comparison with their contemporaneous masterpiece 'Younger Than Yesterday'. Since then it has been re-released in different guises, six times! During the early 70's it appeared in a re-recorded form as 'Early LA' - this version had one of the best songs 'Elevator Operator', inexplicably removed. Edsel/Demon gave the original album a UK release in 1988 and then followed this up some years later with an edition that was superior for its extensive information - including a rather touching letter from a female fan to a British pop music magazine. Whilst all this was going on Sony released 'Echoes' probably to compensate for the fact that (the by now late)Gene Clark had been under represented on The Byrds Box Set of 1990. Finally, just in case anyone thought that this music was still being neglected , Sony then released the original version of the album with a single bonus track. And now we have with this latest release on Sundazed, the best of all possible worlds. Bob Irwin's work on the original tapes yields stunning results. The packaging is certainly well up to the standards of the second Edsel release although Gene's poem which had featured so prominently on the back of the original cover has not been included. And as for the music - well to my ears now it sounds much fresher and more exciting than it did when I was an angst ridden student all those years ago - but then that's in the nature of musical appreciation.....isn't it?

This disc is so full of open references to Beatle guitar licks that it may
be appreciated as a kind of homage (check out "I Found You," which
is a sort of "Taxman Pt 2."), but Clark's voice, lyrical style, and nascent country rock
distinguish this. The character of the performances is a bit dry, efficient and understated,
in the manner of a band of 60s studio musicians, and the actual Beatles could give these guys a lesson in guitar tone.
But occasionally they do swing, somewhat like the Lovin' Spoonful.
The string-assisted tracks, "Echoes," and "So You Say You Lost Your Baby" are actually highlights.
My affection for this record probably isn't rational, as I find that some of its
goofy, 1966 production values magnify its charm. Tougher to argue with:
Clark has one of the best rock voices of this period, soulful and
country without cant or melodrama. It's hard for someone with such a "pretty" timbre and
perfect pitch to still sound like a rock'n'roll singer--he does: a unique one.
And several of Clark's songs are simply Dylan or Lennon quality, esp.:
"Think I'm Gonna Feel Better" (which does have beautiful guitar sounds)
and "So You Say you Lost Your Baby." Highly recommended for
fans of "Beatles for Sale," the Byrds or the Spoonful.

Gene Clark left the Byrds in 1966, and this album appeared nearly a year later. He lost the momentum and push he could have received had this or a single appeared earlier, but that's neither here nor there. The album, as it stands, is a mix of folk-rock, nascent country-rock, and Beatles type pop. Several good songs are on the disc including the pop masterpiece "Echoes," the proto country-rock of "Tried So Hard" and the Beatles style "Couldn't Believe Her".

It's a strong record and certainly one of Clark's best. His best material came a little later with the Dillard and Clark project, along with the no other like it album No Other, but this is as a good an introduction to Clark the solo artist as any. It's the closest in the style of his former band, members of which he would work on and off through the rest of his professional life.

Also included are several alternate takes and versions along with mono versions of The French Girl backed by Only Colombe, a failed single that stayed in the Columbia vaults until 1991 when it was released on Echoes. The extras didn't wow me, but the original album sounds great and does contain many gems.

After Gene Clark flew the nest from The Byrds, he took 10 months to return to the studio. In the 1960's that was a lifetime (most bands and solo artists released an average of two albums a year)but he returned with a brilliant first solo album that helped to define the infant country-rock movement. Ironically, Clark's album helped create a genre that other bands got credit for. Most of these tracks were available on the CD anthology "Echoes" which featured this album plus previously unreleased singles and five tracks from "Preflyte" and the first two Byrds albums on Columbia but many of them were remixed.

Featuring the rhythm section from The Byrds (Chris Hillman on bass and Michael Clarke on a number of tracks playing drums)and orchestral arrangements by Leon Russell, Clark's album is an eclectic mix of pop songs/country-rock style music. Showing a heavy influence of Clark's roots in folk, country and rock (and his main obsession Dylan & The Beatles), the country duo of the Gosdin brothers add their distinctive harmonies to every track. In fact, if you wonder what The Byrds had been like if McGuinn and Crosby had left the band and Clark had remained, this is a pretty good indication. Future Byrd Clarence White appears on guitar here as well (and was briefly a member of Gene Clark and The Group along with "Chip" Douglas and others)and while "Echoes" is probably the most unusual track here (hinting at his solo album "No Other").

The liner notes provide us with an insightful critique by Byrds and Clark biographer John Einarson (who recently also wrote the definitive book on the Flying Burrito Brothers HOT BURRITO)with comments by the participants. The mastering by Bob Irwin (who ironically produced the "Echoes" anthology)is terrific--it's not too loud or compressed.

We get the original album here plus an unreleased demo (the other demo was previously availble on "Echoes" with a interrupted first take as part of the track)in addition to the full album plus the solo singles and some alternate takes/mono mixes for some of the album tracks. I'd highly recommend this album along with "White Light".

I begin to appreciate how difficult it must have been for Gene Clark to emerge from beneath the megalithic structure of an outstandingly successful and popular group. Of course he's a skilled songwriter, and the "country rock" on such numbers as "Tried So Hard," "Keep on Pushin'," "Couldn't Believe Her" represents the genuine article, from someone immersed and fully acquainted with the elements of an old tradition. At the same time, "Gene Clark and the Gosdins" contains a song like "Echoes," with elaborate orchestral arrangements, atop and behind, Dylanesque singing and thoughtful lyrical reflections on "Regina's dance."

It would be a mistake to characterize this poignant and revealing album of a major 60's artist as simply a country rocker. With the help of the Byrds rhythm section, Chris Hillman and Michael Clarke, "I Found You" has that cool 60's dance floor feel reminiscent of "Captain Soul." "Elevator Operator" benefits as well from the support of Hillman and Clarke. They up the tempo and push the groove along with a pulsating flourish, as though driven astride luminiscent strobes. Woven into the musical tapestry of the song can be heard the lead guitar work of ex-Leaves guitarist Bill Rinehart. His playing there reflects the sounds of the LA scene, burgeoning then with the talent of such famous West coast bands as the Seeds, the Doors, Love, Buffalo Springfield, the Association, the Byrds, as well as those lesser known groups, some of whom may be found in the "Nuggets" boxed set series.

A note of thanks to Sundazed. The CD not only looks great, rich with photos and extensive liner notes and track listings, it sounds great. The CD itself, with the Columbia insignia, recalls the appearance of the original record. As I opened the jewel case, put the disc into the player, I started to reacquaint myself with the album, one that I owned in vinyl when originally released in 1967. It has certainly been "a long time coming." If you're new to this significant piece of rock history, or just trying to give it another chance like me, this is the CD to get. You are treated to the album in its entirety, with a number of Bonus Tracks. Clark's acoustic demos for "Is Yours is Mine," and particularly "So you say you lost your baby" are certainly worthwhile additions to the collection.

The guy who bought this and gave it 2 stars got "White Light" first and that's why he doesn't care for this? Gimme a break! He should love this 'cos that lp is lame for the most part and this one builds on the pretty great first Byrds lp (not Turn, Turn, Turn though which was mostly a re-tread of the the first lp and not very good 'cept for the Pete Seeger lift of the title track) to create a GREAT piece of work. Go figure!?

After being the principle tunesmith for the groundbreaking folk rock Byrds, Clark left the high flying group, bowing to the pressures of rock and roll success. Now out on his own, he would prove he was one of the best writers and performers of his day. The collection of work on this album was a blend of Clark's patented pop craftsmanship with a look towards country rock which would become the new, musical trend over the next several years, ironically including his former Byrd colleagues.

Unfortunately, Jim Dickson, who had nurtured the original Byrds, paired Clark with the Gosdin Brothers on this project. Dickson was handling both artists at the time and saw an opportunity to promote both. After experiencing the wonderful harmonies Clark had demonstrated with the Byrds, this collaboration was more than disappointing. This outing would have been much better as a Gene Clark solo project.

This would be the beginning of a string of excellent, although under-appreciated, work from Clark over the next decade. He would never achieve the success his talents warranted, although he has legions of fans who still admire his songs and performances to this day.

This CD shows why Gene Clark shouldn't have jumped ship from the Byrds. This CD is very bland. The bonus tracks(6), added to the original save this CD from being a zero. They're actually quite good, with the stripped down sound to only guitar and tambourine on a couple tunes. Less would've been better here; but it seems Clark wanted in on the pop sound to become an rock idol.

I have listened to Gene Clark since he emerged in the Byrds - he is a great musician. However, this album sounds more like a combination of the Beatles & the Monkees.
I was very disappointed given the musicians who participated. Go to Dillard & Clark for his best stuff!