Gene Clark & Carla Olson: So Rebellious A Lover

At first glance, it may be hard to tell the difference between the two Sunset Blvd. CD packages of Gene Clark & Carla Olson's So Rebellious A Lover. Close inspection reveals the 2025 edition is issued in the digi-pak format and contains an ever-so-slightly different set of bonus tracks than its predecessor (the colored vinyl set including a 45-single is something else again.)

Such cosmetic niceties aside, the re-release is a worthy reminder of the highly impressive level of quality within both artists' extensive discographies. In the wake of his departure from The Byrds in 1966, Gene Clark made some groundbreaking records, while Olson began a string of comparably worthwhile titles with the Textones, the band she led prior to going solo, then collaborating with Clark.

Released for the first time in 1987, So Rebellious A Lover is the pinnacle of their creative partnership. Indeed, it should be regarded as a high point of the marriage of country and rock dating back some two decades prior (the most overt mix of which appears on the Byrds' Younger than Yesterday (Columbia, 1967). And in its expanded form(s), the collection stands as a virtual primer on the eclectic movement that is now called Americana.

The natural chemistry of the Clark/Olson duo is evident right from the start, and is nowhere more apparent than in the very sound of their voices. The latter's throaty singing is a moving contrast to the vulnerable quality of the former's on "The Drifter," while their vocal tones complement each other in close harmony on (the first of two versions of) "Gypsy Rider."

Such subtleties mirror the broad range of material, most but not all of which is original. Apart from solo compositions such as "Why Did You Leave Me Today," Clark co-authored "Del Gato" with his brother Rick, while Olson collaborated with Textone band mate George Callins for "Every Angel in Heaven."

Yet the outside selections serve to simultaneously outline the principals' long-term influences and depict the evolution of this melding of musical roots. For instance, folk hero and social activist Woody Guthrie co-wrote "Deportee (Plane Wreck at Los Gatos)" (a standout on the Byrds' Ballad of Easy Rider (Columbia, 1969). And John Fogerty's "Almost Saturday Night," a high point on the Creedence Clearwater Revival leader's second solo album, becomes a country reel not far removed from his bluegrass-based alter ego The Blue Ridge Rangers.

Meanwhile, this doleful take on "I'm Your Toy (Hot Burrito #1)"" provides due credit to the groundbreaking country- rock fusion efforts of the The Flying Burrito Brothers: it appears on their debut Gilded Palace of Sin (A&M, 1969). Further indicative of the continuity So Rebellious A Lover represents, the latter collaboration of the late Gram Parsons with Burritos bassist Chris Ethridge is of a piece with Joe South's "Don't It Make You Want to Go Home."

The latter not only had a number of hits under his own name (besides 1970's with "Games People Play)," but he was also a guitarist of some renown in Nashville: he played on Bob Dylan's Blonde On Blonde (Columbia, 1966). South's economical approach to playing echoes within the tasteful arrangements, here as varied as the choices of songs.

Ex-Byrd Chris Hillman plays mandolin on the latter number, recalling his pedigree in the bluegrass field prior to his joining the Byrds (on bass!). In addition, Steven McCarthy, member of the Eighties 'alternative country band' called the The Long Ryders, contributes the tart sonic textures of lap steel and dobro.

Not surprisingly, his earthy parts are far more readily apparent than Hans Christian's cello or Tom Jr Morgan's flute, this despite the marked improvement in audio quality derived from the most recent remastering. Still, the slight wisps of those instruments that do prevail in the mix add a baroque feel to the music that further distinguishes the work of Gene Clark and Carla Olson from their more literal-minded contemporaries.

Along those same lines, while it might be fair (facile?) to compare this duo's work to the collaborative artistry of Gram Parsons and Emmylou Harris, the fact is both pairs belong to the great tradition of vintage country and western teams including Dolly Parton and Porter Wagoner as well as George Jones and Tammy Wynette.

On seventy-five minute-plus compact disc, Carla Olson's "Are We Still Making Love" hearkens most directly to the earlier era. Still, in the context of these nineteen cuts, the track sequence represents exploration(s) of folk, rock and country style in a way that re-emphasizes Gene Clark's early post-Byrds collaborations with the Gosdin Brothers as well as Doug Dillard.

As such, the bonus tracks thus complete what might well be termed a statement of artistic purpose. This cover of the late contemporary folkster Phil Ochs' "Changes" sounds like vintage Byrds, its chiming guitars even more softly understated than those on "Day For Night." "Jokers Are Wild" emphasizes lush vocal harmonies further reminding how substantial were Clark's contributions to the initial works of the iconic American band of which he was a co-founder and in its original incarnation, a linchpin of its collective artistry.

But Carla Olson's duet with the man on her "Number One Is To Survive" also reminds that, as haunting and moving as each of these two artists alone, the work they do together is even more memorable: it posits them as truly kindred, creative spirits.

Appearing on CD for the first time—like the ghostly alternate version of "Gypsy Rider"—the aforementioned track suggests that a subsequent and fully comprehensive compendium of recordings from this period might well garner Gene Clark and Carla Olsen the reverence they so righteously deserve.

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