Gene Clark - White Light
Release Date: September 3, 2002 (Originally released 1971)
Label: A&M Records / Universal
Gene Clark's 1971 platter, with its stark black cover featuring his silhouette illuminated by the sun, was dubbed White Light — though the words never appear on the cover — and if ever a title fit a record, it's this one. Over its nine original tracks, it has established itself as one of the greatest singer/songwriter albums ever made. After leaving the Byrds in 1966, recording with the Gosdin Brothers, and breaking up the Dillard and Clark group that was a pioneering country-rock outfit, Clark took time to hone his songwriting to its barest essentials. The focus on these tracks is intense, they are taut and reflect his growing obsession with country music. Produced by the late guitarist Jesse Ed Davis (who also worked with Taj Mahal, Leon Russell, Link Wray, and poet John Trudell, among others), Clark took his songs to his new label with confidence and they supported him. The band was comprised of Flying Burrito Brothers' bassist Chris Ethridge, the then-Steve Miller Band-pianist (and future jazz great) Ben Sidran, organist Michael Utley, and drummer Gary Mallaber. Clark's writing, as evidenced on "The Virgin," the title cut, "For a Spanish Guitar," "One in a Hundred," and "With Tomorrow," reveals a stark kind of simplicity in his lines. Using melodies mutated out of country, and revealing that he was the original poet and architect of the Byrds' sound on White Light, Clark created a wide open set of tracks that are at once full of space, a rugged gentility, and are harrowingly intimate in places. His reading of Bob Dylan's "Tears of Rage" rivals, if not eclipses, the Band's. Less wrecked and ravaged, Clark's song is more a bewildered tome of resignation to a present and future in the abyss. [The five bonus tracks on the import CD version should have been included on the original. Certainly they reveal different nuances in the recording process used for the album, but these songs, especially "Winter In," and "Because of You," are as strong as anything on the officially released version. In addition, Clark's radical, folksy cover of Ben E. King's "Stand by Me," with hand percussion and Jesse Ed's stunning acoustic guitar fills, feels like a modern day cowboy love song. Its texture and tenderness offers an entirely different kind of empathy. This CD issue of White Light, with its dramatic, even breathtaking sound, is a record of depth, grace, and an intimacy that is singular in its elegance and aplomb. Now this is classic rock.] --Thom Jurek, All Music Guide
Track Listing:
1. The Virgin
2. With Tomorrow
3. White Light
4. Because of You
5. One in a Hundred
6. For a Spanish Guitar
7. Where My Love Lies Asleep
8. Tears of Rage
9. 1975
Bonus Tracks:
10. Because of You
11. Stand by Me
12. Ship of the Lord
13. Opening Day
14. Winter In
Here it is, the Gene Clark masterpiece from 1971, his first solo recording after the two made with Doug Dillard. Always called White Light, those words never appeared on the LP or the sleeve when it came out. I know, I looked everywhere. I got my vinyl version in 1972 and played it to death for 30 years before this CD appeared. It's hard to imagine a superior disc by any singer/songwriter, from the first rolling bass lines and wailing harmonica and guitar of The Virgin to the extended fade out on 1975, this is an absolute cracker. Peerless production and musicianship; indiosyncratic, mysterious and suggestive songs. It could be an apocryphal story, but Bob Dylan is supposed to have said he wished he'd written Spanish Guitar. Can't remember where I read that. My own favourite is the slow and soaring Because of You, an alternative version of which is included here. Gene Clark fans will have to have this, and anyone with a serious interest in the country-rock or folk-rock genres can't pass it by.
Review by Thom Jurek on AMG:
Gene Clark's 1971 platter, with its stark black cover featuring his silhouette illuminated by the sun, was dubbed White Light -- though the words never appear on the cover -- and if ever a title fit a record, it's this one. Over its nine original tracks, it has established itself as one of the greatest singer/songwriter albums ever made. After leaving the Byrds in 1966, recording with the Gosdin Brothers, and breaking up the Dillard & Clark group that was a pioneering country-rock outfit, Clark took time to hone his songwriting to its barest essentials. The focus on these tracks is intense, they are taut and reflect his growing obsession with country music. Produced by the late guitarist Jesse Ed Davis (who also worked with Taj Mahal, Leon Russell, Link Wray, and poet John Trudell, among others), Clark took his songs to his new label with confidence and they supported him. The band is comprised of Flying Burrito Brothers' bassist Chris Ethridge, the then-Steve Miller Band-pianist (and future jazz great) Ben Sidran, organist Michael Utley, and drummer Gary Mallaber. Clark's writing, as evidenced on "The Virgin," the title cut, "For a Spanish Guitar," "One in a Hundred," and "With Tomorrow," reveals a stark kind of simplicity in his lines. Using melodies mutated out of country, and revealing that he was the original poet and architect of the Byrds' sound on White Light, Clark created a wide open set of tracks that are at once full of space, a rugged gentility, and are harrowingly intimate in places. His reading of Bob Dylan's "Tears of Rage," towards the end of the record rivals, if not eclipses, the Band's. Less wrecked and ravaged, Clark's song is more a bewildered tome of resignation to a present and future in the abyss. Now this is classic rock.
Frank van den Elzen at www.forcedexposure.com:
2002 European reissue release of the first solo album from the Byrds' Gene Clark, first released in 1971 (Clark intended it to be titled White Light, but the actual title was left off the artwork). With five bonus tracks not found on the previous Japanese edition & new liner notes by Sid Griffin. "When the Byrds launched 'Eight Miles High,' Gene Clark -- the main composer of the song that defined the psychedelic era -- had already left the band. Fed up with being confined to tambourine, the least-accomplished musician but songwriting heart of the Byrds, craved a solo career. Ironically, the official reason given for the departure was fear of flying. After the stunning Gene Clark with the Gosdin Brothers LP and two albums with Doug Dillard, as Dillard and Clark, Clark released White Light, his first 'real' solo LP. Clark's most singer/songwriterly release is one of those albums that needs a few spins to crack its code. Its appeal lies in the lyrics and songcraft genius. No Rickenbacker salvos or dazzling vocal harmonies be found here -- the understated instrumentation is simply there to carry Clark's velvet voice, and resembles prime electric Dylan and the first two Band albums. Of course it's no coincidence that 'Tears of Rage,' the only non-Clark composition, is a song from The Basement Tapes sessions that Dylan handed to Clark. It's a pleasure to have this long out-of-print nugget from the Byrds universe available again.
Tracks:
1. The Virgin Clark 3:38
2. With Tomorrow Clark, Davis 2:27
3. White Light Clark 3:39
4. Because of You Clark 4:04
5. One in a Hundred Clark 3:35
6. For a Spanish Guitar Clark 5:00
7. Where My Love Lies Asleep Clark 4:22
8. Tears of Rage Dylan, Manuel 4:14
9. 1975 Clark 3:55
Bonus tracks:
10. Because of You (alternative - bonus track) 4:04
11. Stand By Me (previously unreleased) 2:43
12. Ship of the Lord (previously unreleased) 2:32
13. Opening Day (previously unreleased) 4:00
14. Winter In (rare track) 3:17
Credits
Gene Clark Guitar, Vocals
Jesse Ed Davis Producer
Chris Ethridge Bass
Sid Griffin Liner Notes, Compilation, Research
Bobbye Hall Percussion
Gary Mallaber Drums
John Selk Guitar
Ben Sidran Keyboards
Andy Street Project Coordinator
Mike Utley Keyboards
Joe Zagarino Engineer
Easily one of Gene Clark's finest outings ever. This, his first solo album for A&M (after the wonderfully ahead of its time Dillard & Clark), was an album that should have put Gene Clark in the same league as Neil Young. Aside from Clark's incredible eight originals (as well as a great cover of "Tears of Rage"), one reason this record succeeds is the pairing of Clark and producer/guitarist Jesse Ed Davis. Davis' guitar accompaniment has all of the subtlety of Robbie Robertson, and he framed the songs perfectly, especially the expansive set closer, "1975." As for the songs themselves, Clark rarely bettered himself. "Spanish Guitar" is easily one of Clark's most intense and arresting compositions, with lines like "from deep in my soul to my brain to a Spanish guitar..."; it's no wonder Bob Dylan claims that he wished he'd written the song. The whole album, frankly, is that good, and is a must for anyone interested in the most criminally underrated singer/songwriter of his era.
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