Full Circle

Music Review: Gene Clark (of The Byrds) – ‘Two Sides to Every Story’ [2014 Deluxe Edition]

I’ve been a huge fan of the music of the late Gene Clark. In fact, when I purchased the 2006 Byrds 4-CD box, There Is a Season, the first thing I did was to find all of the songs written or co-written by Clark and place them on a single CD-R. So I anxiously looked forward to hearing Two Sides To Every Story, a record that, as noted by Clark’s biographer John Einarson, “was (less than) appreciated in 1977.” After listening to the 10 tracks on Two Sides To Every Story, I can understand why the album was not a commercial success.

Story has been re-issued by High Moon Records in a deluxe hardbound Eco-Book (actually, a booklet) with 26 color pages. An enclosed download card allows one to hear over 90 minutes of Clark songs performing live in 1975.

Here’s a look at the content of the album.

“Home Run King” sounds like a Michael Nesmith tune. The lyrics do not make much sense: “You are either the newspaper boy/Or you’re either Babe Ruth.” Interestingly, the song is structured a lot like “The Bug” from Dire Straits: “Sometimes you’re the Louisville Slugger/Sometimes you’re the ball.” It’s a whimsical track but Clark did not seem to enjoy singing it.

“Lonely Saturday” is a straight country – not country-rock – tune that might have fit well on a Jimmy Clanton (“Just a Dream”) or Jimmie Rodgers album. It’s a high quality song but Clark’s limited vocal range in ’77 does not do it justice.

“In the Pines” is a banjo and violin-laden track that’s 110% country and needlessly over the top. This song speaks of a “black girl” who causes the singer to leave his home, while “Home Run King” referenced “the black Madonna sleeping with a star.” Autobiographical?

“Kansas City Southern” is a rocker, fortunately. It’s kind of like Bob Seeger-meets-the Eagles. If only the entire album was like this! “Well, I’d sit and watch those trains go by/And wish that I was homeward bound.” It’s a track that requires some attitude to be done properly – Clark is not quite up to the task here. I’m sure that either Rosanne Cash or Bonnie Raitt could record a dynamite, knock-your-socks-off version.

“Give My Love to Marie” is Clark’s cover of a song written by James Talley about a black lung miner. It’s an emotional ballad about a poor dying man (“There’s millions in the ground/not a penny for me….”) that would have been a splendid B-side if “Kansas City Southern” had been released as a single. It’s definitely the best vocal performance by Clark on the album.

“Sister Moon” is a simple 12-line song in the vein of “Moonlight Mile” by the Rolling Stones. There’s too much orchestration because there’s not much content to the song: “Ah, Sister Moon, I am your son.”

“Marylou” is a gritty blues-rock cover of a song written by Sam Ling and Obie Jessie. It’s somewhat reminiscent of “Steamroller” by James Taylor. If John Cougar Mellencamp were to ever record a covers album, he might want to include this one.

Should Jackson Browne be countrified, he would sound like Clark does on “Hear the Wind”: “Life’s the house where we live/We cannot feel tomorrow/Only feel what we give.” It’s a three-minute track that’s pretty weak. “Past Addresses” is a wordy Clark composition – wordiness never being a problem with his earlier songs – that imparts a wistful Late for the Sky feel: “I can only make guesses/On some of my past addresses/And tell you what my broken memory recalls.”

The album concludes with “Silent Crusade,” a song about life as a journey on the ocean. It reads as a nice, admirable poem performed in the style of Gordon Lightfoot. But Clark’s voice cracks and fails him on this closer.

Story is a collection of songs with more losers than winners. It’s more country than country-rock, which limited its appeal back in 1977 and may well do so again. The remastered sound is fine. However, at an Amazon price of $33.47 it’s awfully expensive (even with the live tracks that can be downloaded), especially when you consider that the limited edition deluxe of Rosanne Cash’s The River and the Thread, also packaged in an Eco-Book with 36 color pages, goes for $16.19 on the same site.

I think Two Sides to Every Story will appeal to Gene Clark completists. It’s unlikely to hold much appeal for others.

Joseph Arellano

This article first appeared on the Blogcritics site and in the Seattle Post-Intelligencer:

http://www.seattlepi.com/lifestyle/blogcritics/article/Music-Review-Gene-Clark-The-Byrds-Two-Sides-5918222.php

Advertisement

You Can Close Your Eyes

Music review: The Essential James Taylor

Does a buyer get his or her money’s worth with this 2 CD, 30 song collection?

Sony’s Legacy Recordings gets some props for truth in labeling with this collection. They could have simply placed James Taylor’s 20 best-selling singles on one CD and it would have constituted a purchase-worthy collection. Instead, on The Essential James Taylor the listener/purchaser has those 20 songs plus an additional 10 more on two CDs.

For any greatest hits collection there will be some quibbles. I would have left off the overly short “Long Ago and Far Away” (which seemed to be an idea for a song rather than a finished item, on which Taylor was accompanied by Joni Mitchell). Instead, I would have included “Mockingbird,” on which Taylor sang with his then-spouse Carly Simon – assuming the rights were available for licensing from Elektra/Warner. And I would have preferred “Suite for 20G” instead of the live take on “Steamroller.” Nevertheless, all of Taylor’s hits – as documented by their Pop and Adult Contemporary peak chart positions – and several lesser-known songs are found here.

“Honey Don’t Leave L.A.,” written by Danny Kortchmar, is one of the fun and unexpected selections in this compilation. Fortunately, “Her Town Too,” co-written and performed by Taylor and the very talented J.D. Souther, is included. There’s an interesting track, “Hard Times Come No More,” recorded with Yo-Yo Ma and a jaunty live version of the classic “Country Road.” “Secret O’ Life” – recorded live, is a nice surprise for those not previously familiar with it.

The second of the two CDs concludes almost perfectly with two inspiring and life-affirming songs performed live, “My Traveling Star” with the Tanglewood Festival Chorus and “You Can Close Your Eyes.”

A word about the sound. This compilation was produced by Bill Inglot and mastered by Vic Anesini. Anesini has been involved in mastering several Legacy discs, including Over the Bridge of Time: A Paul Simon Retrospective (1964-2011). Here, the Inglot-Anesini team has delivered a set of discs with a nice, warm mid-range tone that’s generally pleasing to the ear. This collection is not a case where artificial “punch” and jarring loudness are added for dramatic effect. The sound is as soothing as Taylor’s voice. And Taylor’s and Kortchmar’s guitar work is easily heard in the mix. There are a couple of tracks that sound a bit flat, as if one were listening to the songs over a set of television speakers. But all in all, it’s a compilation that sounds consistently fine whether one is listening at home or in the car.

It’s a bit of a puzzle as to why Inglot placed the songs in almost, but not quite, chronological order. Perhaps it has to do with the segues, deciding which song would sound best followed by another particular song. I would not change a thing about the song order on either disc.

This fresh look at Taylor’s career that spans the years 1968 through 2007 reminds us that he is, like Paul Simon, a true American treasure. James Taylor’s music has not just helped to – in the words of the liner notes – “define a generation,” it helped a generation to grow, survive and prosper even when times seemed to be at their worst (“Sweet dreams and flying machines in pieces on the ground.”).

Thank goodness we’ve been able to experience his artistry in our times. How sweet it was and still is.

Highly recommended.

Joseph Arellano

A review copy was provided by Sony Legacy Recordings.

This review first appeared on the Blogcritics site as an Editor’s Choice article:

http://blogcritics.org/music-review-james-taylor-the-essential-james-taylor/