ザ・バーズの創設メンバー、ジーン・クラーク74年ソロ作『No Other』が未発表音源や新たにリマスターを施し〈4AD〉より再発!!
ザ・バーズの創立メンバーでもある、ジーン・クラークが1974年にリリースしたソロ作『No Other』が〈4AD〉より再発。
ジェシ・エド・デイヴィスやバッチ・トラックス(オールマン・ブラザーズ・バンド)、そしてクリス・ヒルマン(ザ・バーズ、フライング・ブリトー・ブラザーズ)などの豪華ミュージシャンも参加した本作は、サイケデリック・ロック、フォーク、カントリー、そしてソウルまでの要素を取り入れたサウンドで、当時評論家には温かく受け入れられたものの商業的なセールスは残すことができなかった。
しかし、リリースから40年経った2014年にNewYorkTimesで「後から考えると『No Other』は輝きを増してくる。このアルバムのおかげで ビッグ・スターの『Third/Sister Lovers』や、ルー・リードの『Berlin』などがロックのレパートリーとして再構築された」と賞賛され、更にビーチ・ハウスやフリート・フォクシーズといった現行アーティストによって再評価され注目を浴びたことで当時の最高傑作という認識が広まっている。
ファンが何十年も待ち望んたボックスセットにはオリジナルアルバムのシルバー・ヴァイナル、3枚組スーパーオーディオCD(オリジナルアルバムは日本の一九堂による特別なヴァイナルスリーヴのレプリカに同封。残りの2枚にはセッションからのミックスを収録)、7インチ、全曲のHDオーディオ・リマスターが収録されたブルーレイ・ディスク、5.1サラウンドサウンドでミキシングされたアルバム、1974年のオリジナル・ヴァイナルマスター、ポール・ケンダル(映画「 The Byrd Who Flew Alone: The Triumphs and Tragedy of Gene Clark 」の監督)によるドキュメンタリー、そして、エッセイ、長編ライナーノーツ、未公開写真などが収録された80ページのハードカバー本の豪華仕様で数量限定でのリリースとなる。
発売・販売元 提供資料（2019/09/17）
Uncut - 5 stars out of 5 - "...Clark's lyricism was lashed to his finest vocal performance....It's the best album any Byrd ever made..."
Entertainment Weekly - "...A missing link between '60s folkie Fred Neil and Beck's SEA CHANGE..." - Rating: A-
Mojo - 5 out of 5 stars - "...It's Clark's writing and the rough beauty of his voice that make NO OTHER so compelling..."
Q - 4 stars out of 5 - "...A long-lost gem, this 1974 affair mixes loping rhythms with gospel and funk tinges, innovative studio effects and tastefully extended playing..."
Rovi
Upon its 1974 release, Gene Clark's No Other was rejected by most critics as an exercise in bloated studio excess. It was also ignored by Asylum, that had invested $100,000 in recording it. A considerable sum at the time, it was intended as a double album, but the label refused to release it as such. Ultimately, it proved a commercial failure that literally devastated Clark; he never recovered.
Though Clark didn't live to see it, No Other has attained cult status as a visionary recording that employs every available studio means to illustrate the power in Clark's mercurial songwriting. He and producer Thomas Jefferson Kaye entered Village Recorders in L.A. with an elite cast that included Michael Utley and Jesse Ed Davis, the Allman Brothers Band's Butch Trucks, Lee Sklar, Russ Kunkel, Joe Lala, Chris Hillman, Danny "Kooch" Kortchmar, Howard Buzzy Feiten, and Stephen Bruton. Clark's vocalists were the cream of the crop too: Clydie King, Venetta Fields, Shirley Matthews, the Eagles' Timothy B. Schmidt, and Claudia Lennear among them. All of these musicians brought their best to Clark's sophisticated material. All told, it makes for a sprawling, ambitious work that seamlessly melds country, folk, jazz-inflected-gospel, urban blues, and breezy L.A. rock in a song cycle that reflects the mid-'70s better than anything from the time, yet continues to haunt the present with its relevance.
There are no edges on No Other, even in the labyrinthine, multi-tracked title track that juxtaposes guitar-driven psychedelia and out jazz saxophones and flutes with lush vocal harmonies. Even its tougher tracks, such as "Strength of Strings," that echoes Neil Young's "Cowgirl in the Sand," melodically, delivers an alluring, modal, Eastern-tinged bridge adorned by slide guitar wizardry. In the textured darkness of "Silver Raven," Clark's falsetto vocal is framed by an alluring synth, and muted bassline and is embraced by a chorus that rivals CSNY's, making for a heartbreaking, yet blissed-out country-folk song. "From a Silver Phial," as haunting and beautiful as it is, is one of the strangest songs Clark ever penned. Its anti-drug references are especially odd as this is one of the more coked-out recordings to come from L.A. during the era. The final two cuts, "The True One" and "Lady of the North" (the latter co-written with Doug Dillard), are the only two pieces on the disc that mirror where Clark had come from musically, but as they wind around the listener, even these are far bigger than mere country-rock tunes, offering glissando passages of pedal steel and piano ostinatos that actually create narrative movement for the lyrics to turn on. No Other's songs lend themselves to open-ended performances in the studio. Because of his spacious, yet always beautifully centered compositional style, they are well-suited to Kaye's use of the multi-tracked instruments and vocals, ambient sonic echoes, and textures that surround them. Arguably Clark's classic, No Other remains ripe for continued (re)discovery by succeeding generations of music fans. ~ Thom Jurek|
Rovi
Upon its 1974 release, Gene Clarks No Other was rejected by most critics as an exercise in bloated studio excess. It was also ignored by Asylum, that had invested $100,000 in recording it. A considerable sum at the time, it was intended as a double album, but the label refused to release it as such. Ultimately, it proved a commercial failure that literally devastated Clark; he never recovered.
Though Clark didnt live to see it, No Other has attained cult status as a visionary recording that employs every available studio means to illustrate the power in Clarks mercurial songwriting. He and producer Thomas Jefferson Kaye entered Village Recorders in L.A. with an elite cast that included Michael Utley and Jesse Ed Davis, Butch Trucks, Lee Sklar, Russ Kunkel, Joe Lala, Chris Hillman, Danny Kooch Kortchmar, Howard Buzzy Feiten, and Stephen Bruton. Clarks vocalists included: Clydie King, Venetta Fields, Shirley Matthews, the Eagles Timothy B. Schmidt, and Claudia Lennear among them. These musicians all brought their best to the material. As a whole, No Other is a sprawling, ambitious work that seamlessly melds country, folk, jazz-inflected-gospel, urban blues, and breezy L.A. rock in a song cycle that reflects the mid-70s better than anything from the time, yet continues to haunt the present with its relevance.
There are no edges on the set, even in the labyrinthine, multi-tracked title track that juxtaposes guitar-driven psychedelia and out jazz saxophones and flutes with lush vocal harmonies. Even its tougher tracks, such as Strength of Strings, that echoes Neil Youngs Cowgirl in the Sand, melodically, delivers an alluring, modal, Eastern-tinged bridge adorned by slide guitar wizardry. In the textured darkness of Silver Raven, Clarks falsetto vocal is framed by an alluring synth, and muted bassline and is embraced by a chorus that rivals CSNYs, making for a heartbreaking, yet blissed-out country-folk song. From a Silver Phial, as haunting and beautiful as it is, is one of the strangest songs Clark ever penned. Its anti-drug references are especially odd as this is one of the more coked-out recordings to come from L.A. during the era. The final two cuts, The True One and Lady of the North (the latter co-written with Doug Dillard), are the only two pieces on the disc that mirror where Clark had come from musically, but as they wind around the listener, even these are far bigger than mere country-rock tunes, offering glissando passages of pedal steel and piano ostinatos that actually create narrative movement for the lyrics to turn on. No Others songs lend themselves to open-ended performances in the studio. Because of his spacious, yet always beautifully centered compositional style, they are well-suited to Kayes use of the multi-tracked instruments and vocals, ambient sonic echoes, and textures that surround them. Clarks unlikely classic, No Other is continually continued rediscovered by succeeding generations. ~ Thom Jurek
Rovi
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