Photo of the month:

Gene Clark in the A&M studios circa 1969. (Photo courtesy of Virginia Howard.)

NEWS

First up Echoes asked JOHNNY ROGAN some questions about his thoughts on what makes The Fantastic Expedition of Dillard & Clark unique.

In your recent book Requiem for the Timeless - Volume 2, you describe The Fantastic Expedition of Dillard and Clark as a "groundbreaking album partly because of the lack of self-consciousness in its experimentation." Can you expand on this? What specifically do you find that's ground-breaking about the album? You also mention in your book Gene's "willingness to allow the players to express themselves". How do you think that this trait allowed the Fantastic Expedition to be unique and important?

What I meant was that the entire Fantastic Expedition experiment was a very natural, organic way of working. It wasn’t as if they sat down and conceived and constructed an album. Most of the songs emerged from musical get-togethers at Beachwood Canyon where the musicians congregated and, for want of a better word, jammed together until something emerged. It wasn’t a studio construct, but more of a musical gathering of friends. I’m sure Gene Clark had various songs and ideas ready but the players remember many of Clark’s lyrics being written in reaction to the music he heard on any specific night. What’s also important is that this was very much a group project, rather than an established singer-songwriter dictating what should be played and how. Clark seemed very open to the other players and encouraged their input. There’s a lack of ego there and a generosity of spirit that shines through the music.

Fantastic Expedition came out in-between The Byrds Sweetheart of the Rodeo (August, 1968) and The Flying Burrito Brothers The Gilded Palace of Sin (February, 1969). What in your opinion makes The Fantastic Expedition standout in comparison to these two albums?

Well, all three of those albums are important and are all classics in their own way. Sweetheart has been discussed frequently and often pushed forward as some great precursor to country rock. Of course, there’s really not much rock on it at all and it’s greater achievement is that it’s not like the later Poco or the Eagles or the more familiar generic rock of the 70s. It stands very much alone.  The Gilded Palace Of Sin is a great record too, not just because of the high quality of the songs but the sonic experimentation. Sneaky Pete’s steel is almost otherworldly and the fuzz guitar sounds so strange in a country-influenced record. The Fantastic Expedition Of Dillard & Clark is somewhere in the middle.  It’s like new bluegrass, way ahead of its time, and unafraid to mix musical genres. It’s bluegrass, baroque and there’s even a harpsichord in there.

Your question also prompts me to re-consider something, which many modern listeners may feel is petty. At the time of the record’s release I recall some fans in the UK complaining about the album. Nothing to do with the musical quality whatsoever. I’m confident it was widely loved among discerning fans even then. The problem was the album’s seemingly short running time. There were only nine songs, none of them especially long and some people felt a little short-changed. You have to put this in context. In the UK, many of us felt that US record companies were rather parsimonious with the number of songs they placed on albums. The Beatles, of course, offered 14 songs per album during the early stage of their career and Capitol in America eviscerated those works, purely, many of us felt, for economic rather than aesthetic concerns.

With The Fantastic Expedition, it seemed like a great album was slightly undermined by the running time. Not that US reviewers or later commentators ever mentioned this. Then again, most reviewers get their records for nothing. Back then, LP records weren’t mere casual purchases for teenagers but something closer to luxury goods. The economics were important, a view less pertinent to purchasers in later years. Indeed, for many listeners who first learned of the album in the CD age, they were experiencing a doctored version of the record on which three extra tracks were featured: ‘Lyin’ Down The Middle’, ‘Why Not Your Baby’ and ‘Don’t Be Cruel’. It’s a shame one or two of those weren’t featured on the original album, although they came from earlier sessions of course, with different players, not the Expedition. That said,  I’m still a little surprised nobody at the time said, ‘Hey, guys, this album is great, but we need another song or two just to flesh it out in terms of running time’.

I'm not a big fan of "what-ifs", however hearing Gene with Flying Burritos doing an alternate version of "She Darked The Sun" (The Lost Studio Sessions 1964-1982) has me wondering about how things might have turned out if Gene remained with the Byrds or was recruited to the Flying Burritos. Do you think either scenario could have worked (or even should have happened)? 

Ah, a hypothetical. I imagine Gene’s songs would have fitted the Byrds or the Flying Burrito Brothers at the time. Musically, it would have been fascinating to hear. That said, I don’t imagine Clark joining either of those groups for very long, even if it had happened.

Why are there are no existing outtakes or alternate takes of the album? Are the rumors of the original masters being "lost" true?

[N.B. 'The Clarkophile' ,Tom Sandford notes: "Pee Wee King's version of "Bonaparte's Retreat" (1950), which was doubtless the version on which the D&C cover would've been based. After a couple of lines you can tell how perfect it was for Gene's voice." You can listen for yourself here.]

On the surface, comparing The Fantastic Expedition to No Other seems an unlikely comparison musically, but it makes sense to me. What do you feel these two albums have in common?

Much has been made of the 50th Anniversary of Sweetheart of the Rodeo. In your opinion, how does The Fantastic Expedition compare and what is its importance to the history of the country-rock and Americana genres?

A big question. Perhaps let’s just add that with all the media fuss over the 50th anniversary of Sweetheart Of The Rodeo, wouldn’t it be great to hear some commentators in the press mentioning the importance of The Fantastic Expedition Of Dillard & Clark in the history? It certainly deserves some new coverage.

JOHNNY ROGAN is a music author, historian and critic who has written several tomes on musical giants such as Van Morrison, Neil Young, Ray Davies, Morrissey, The Smiths, John Lennon and The Byrds as well as contributing to numerous magazines, album liner notes and anthologies. He also has done several television and radio appearances including the Gene Clark documentary The Byrd Who Flew Alone: The Triumphs and Tragedy of Gene Clark expressing his expertise and insight on Gene's musical career. His most recent book, Byrds Requiem For The Timeless Volume 2: The Lives of Gene Clark, Michael Clarke, Kevin Kelley, Gram Parsons, Clarence White and Skip Battin, focuses on the lives of each of these individuals who at one time, were members of The Byrds as the band evolved and changed personnel. 

VIRGINIA HOWARD, Gene's personal assistant who was present for both Dillard & Clark albums shares her recollections and photos with Echoes.

"I was there while recording that album at A&M and the vibe around the old Charlie Chaplin studios was warm if not nurturing (now it would be called a campus) Larry Marks was an unusually nice person in that industry. I loved that album and have fond memories of the songs, rehearsing at Gene's house. Especially Gene and Bernie (Leadon) working on "Train Leaves Here This Morning", I love the phrasing. And yes, "Don't be Cruel" did not make the cut, didn't expect it would, but then the memory of Gene singing it brings a smile to me. It was so good, I knew he must have sung it when he was young. A lot. At the studio, It was not unusual to see Herb Alpert checking in (and) Derek Taylor - loved having conversations with him too."  

New in the Archives

The Byrds and the Dillard Connection by KEN CLAYBAUGH (reprinted from Byrds Flyte Chronicles, 1986)

Many banjo pickers, including John McEuen of the Nitty Gritty Dirt Band, cite Doug Dillard as their main inspiration. Born in 1937 in Salem, Missouri, Doug learned the banjo at 15. Throughout the 1950's Doug played in a succession of bluegrass bands, some in company with his brothers and at times with people such as John Hartford, who would later play on the Byrds' Sweetheart of the Rodeo LP.

By the early 1960s Doug had settled into the group bearing his family name. The Dillards included Doug on banjo, his brother Rodney on guitar, bassist Mitch Jayne and Dean Webb on mandolin. By late 1962 the Dillards had relocated to Los Angeles, almost immediately landing a recording contract with Elektra Records and guest spots on The Andy Griffith Show. By 1964 the Dillards began experimenting with electrified bluegrass, unheard of at the time.

A song from the upcoming Sweetheart LP, "You Ain't Going Nowhere" was released as a single just prior to the European tour, and Doug's banjo was just what the band needed for the country songs now in their repertoire. In accompanying the Byrds to Europe, Doug cut his ties to the Dillards. His vacancy was filled by Herb Pedersen, who would later become a member of Chris Hillman's Desert Rose Band. Upon returning from Europe, Doug ran into his old friend from the early 1960s, Gene Clark. Forming a partnership, the two went into the studio to record an album of "urban bluegrass" under the moniker The Fantastic Expedition of Dillard and Clark. Doug connected with another Byrd when Michael Clarke drummed for the Dillard and Clark Expedition on a road tour.

In 1969 Doug and Gene recorded the country LP Through The Morning Through The Night. In 1970 Dillard and Clark parted. Doug has continued recording session and move work with a growing list of people that includes Byron Berline, Rodney Dillard, John Hartford, Glen Campbell, the Beach Boys, Harry Nilsson, Herb Pedersen, Gene Clark, and Clarence White's former bandmates, Billy Ray Latham and Roger Bush.. 

After over 29 years headquarted in Los Angeles, Doug has moved to Nashville and is now fronting the Doug Dillard Band. 

[N.B.: Doug Dillard passed away on May 16, 2012. Another interesting article on Doug and Gene called "Remembering Doug Dillard: The Joys Of Singing And A Very Special 4th of July" by Terry Kirkman can be found here.]

Out on the Side

Last month KAI CLARK performed at the Gene Clark Tribute Show at the City Folk Fest in Ottawa, ON, Canada on September 22nd. The show was a great success and included special guests the Skydiggers, Whitney Rose, Anders Drerup and Kelly Prescott. We asked Kai for some details on the show:

Some of the songs performed were:

Mr. Tambourine Man (Kai Clark)

Train leaves Here This Morning (Kai Clark)

Here Without You (Kelly Prescott)

Through The Morning Through The Night (Kelly Prescott)

Kansas City Southern (Kai Clark)

Polly (Kai Clark)

So You Say You Lost Your Baby, plus one more (Skydiggers)

Feel a Whole Lot Better (Kai Clark)

Gypsy Rider (Kai Clark)

Whitney Rose did two songs

Then we finished our set with Elevator Operator, Eight Miles High, and the finale Turn! Turn! Turn! with me and the band, Andy Maize of the Skydiggers, Whitney Rose, Kelly Prescott.

Sounds like it was a great time! Photo of the finale below courtesy of Richard Altavista.

Something's Wrong

• In Ken Claybaugh's 1980s article "Gene Clark and The Group" reprinted in Echoes, Issue No. 9, Vol. 2, Gene Clark was erroneously listed as playing harmonica on The Byrds "Captain Soul". It was in fact Michael Clarke.

• In the photo of The Byrds in the studio with The Beach Boys, also in Echoes, Issue No. 9, Vol. 2, John Einarson identified the musician with his back to the camera as Larry Knechtel. From John: "Larry played bass on "Mr. Tambourine Man" and "I Knew I'd Want You" as a member of the Wrecking Crew. I recognize his hairdo."

We hear...

KAI CLARK will be performing at some more Gene Clark Tributes during the months of November and December. Be sure to subscribe to his mailing list on his website for more information at KaiClarkMusic.com.

​​​​​In The Plan

• "Who's Who" List of people associated with Gene Clark to be added to the website.

All I Want

• "Backstage Pass" - Did you see Gene perform in concert with the Byrds or solo? Echoes is always looking for recollections from fans who met Gene at a show and maybe even snapped a photo or two. Email: GeneClarkWebsite@gmail.com if you have anything you'd like to share.

• Guest Blog Spot - Do you have a talent for writing? Have you always wanted to write about your favorite Gene Clark album, or share your interpretions of his songs? If you would like to submit an interesting blog piece about Gene Clark for our website, please contact Echoes at GeneClarkWebsite@gmail.com with your pitch, Echoes would love to hear from you!

Next month...

Echoes takes a look at Gene's 1971 solo album White Light. November is also Gene Clark month! We'll be celebrating Gene's birth month with some special giveaways. Be sure to follow us on Twitter, Facebook and Instagram for details!

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