While Gene Clark is best known for his work with the Byrds, there is a wealth of incredible solo material. Everyone thought that Byrds frontman Roger McGuinn was poised to become the more successful solo artist, but I think the quality of Clark's songwriting eclipses his peers. The close harmonies and the 12-string guitar create that classic layered sound. And with the lyrics "And she'll always be there, my love don't care about time", this song is heartwarming.
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What Am I Going to Do? (1965), the Dovers
The Dovers are a garage rock band I discovered on a Nuggets compilation a few years back. The sentiment of this song is quite bubblegum, but I felt I had unearthed some vital part that made me want to cover it as soon as I heard it. I started singing it with my friend Jonathan Rice when he played with Death Cab for Cutie on our last tour, but it was his solo version that was recorded. I would love to have committed this cover to record, but Rice's version is pretty outstanding.
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Indoor Fireworks (1979), Elvis Costello
Costello is ubiquitous in certain circles that insist you must own Last Year's Model, but what impresses me about him is the sheer quantity of great records he put out. Year after year there was a new album, and then Blood and Chocolate and King of America both came out in 1984. From all that, I think what stands out about Indoor Fireworks is how heavy handed the metaphors are. There's one line that always makes me shiver: "Don't think for a moment dear that we'll ever be through. I'll build a bonfire of my dreams and burn a broken effigy of me and you."
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She Thinks I Still Care (1963), George Jones
I think it was Elliott Smith who said Jones's voice brought him to tears. I agree that there is something in the tone and simple quality of his voice that is powerful. This is a country song in which every verse finds him trying to make excuses for himself, claiming that just because he dials her number by mistake or "haunts the same old places" doesn't mean he still cares. Of course it does. The simplicity of the sentiment is something I instantly identified with.
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Folsom Prison Blues / That's All Right (Mama) (1968), International Submarine Band
This is Gram Parsons' first band, who were signed to Lee Hazlewood's LHI label. Actually, I was never a major fan; I preferred the work of fellow Byrds man Gene Clark. However, there are two things I love about this song: one is the propulsive rhythm with which the band chugs away, and the other is the way this song is a medley of sorts, going from one song right into the next, which is unusual. It strikes me as an interesting way to present songs by Johnny Cash and Elvis Presley.
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Did I Say (2003), Teenage Fanclub
The Fannies are the kind of band I loved way before I loved their influences, which included bands such as the Everly Brothers and the Small Faces. They really introduced me to all that 70s power pop. All that aggressive metal and grunge that dominated the 90s was never for me; the kind of angst-ridden, beautiful harmonies of Teenage Fanclub was what I was about. Did I Say has an unusual time signature that keeps me coming back after all these years. Still, it's hard to pick their best song because they have such amazing quality control; every album they release has at least two songs that rank among their best.
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Southbound Train (1972), Graham Nash and David Crosby
Because Crosby, Stills, Nash and Young are still ever present in American culture, I never felt they needed any special attention from me. Then a couple of years ago a friend made me a mix CD of early-70s singer-songwriter stuff that included Southbound Train. The harmonies in the third verse are so intricate, I've been studying it over and over to try and work out how they made it. It's insane how beautiful it is. Nash is a great lyricist. Again, while Neil Young is a legend and deserves every accolade he gets, Nash's songwriting abilities shouldn't be overlooked. He deserves some of the limelight too.
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