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Barely understood when it was released in 1974, No Other is Gene Clark’s most polarizing record but generally considered essential today.
Almost every song an epic, Clark’s songwriting was never up for debate, nor his genuinely poetic verses, but it’s Thomas Jefferson Kaye’s production that would weed out hordes of would-be fans. I contend the producer made only one mistake: the use of “power gospel” backing vocals on every track is probably what turns most people off to No Other. Strike the voices and this record would be hailed as a mid-70s masterpiece for Clark’s efforts as much as its lush, candied orchestration.
The record starts off without skipping a beat from the Clark oeuvre; “Life’s Greatest Fool” sounds like a natural step forward from his earlier country rock. The supporting musicians are perfectly in tune with the vision; I want to dig in deeper with the sound every listen, so I hardly consider it overcooked. One tune does embody Gene’s new super-glam image in sound, where you can “hear the cocaine” churning the record: the sinister title track, “No Other,” is slathered with sleazy synth lines and electric guitars. Whether for camp or pure songcraft it’s an irresistable jam and centerpiece of the record.
All of the numbers possess the signature Gene Clark sound. Say when he waits for “Strength Of Strings” to reach full crescendo before sinking into his minor-tinged verse with that untouchable heartworn vocal. Clark is one of the world’s greatest songwriters, his skill in transforming traditional progressions to his unique brand of song unmatched.
Give this record the right chance and you’ll reach the point where you appreciate every overdone detail, down to the gorgeous sleeve and awesomely hideous poster of Gene decked in flowing garments, beads, and makeup in front of an airbrushed Gene Clark monument. I only have the record, but the CD resissue is reportedly worth it for the alternative versions and “Train Leaves Here This Morning,” a retake from the Expedition.
BrendanThe Rising Storm
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