Carla Olson's HAVE HARMONY, WILL TRAVEL was released in the U.S. and Canada… Read Full Bio ↴Carla Olson's HAVE HARMONY, WILL TRAVEL was released in the U.S. and Canada on 30 April 2013 (Busted Flat Records). The CD is a set of twelve compositions from the enduring catalogs of Del Shannon, Buddy Holly, Gene Clark, Steven Van Zandt, P.F. Sloan, Chris Jagger, James Intveld, Moby Grape, Paul Kennerley, and opening with the very-American, Sons of the Desert classic, “You Can Come Cryin’ to Me,” a duet that beautifully melds the authentic vocals of Olson and the CD’s sole female, singing partner, Juice Newton. Backed by in-the-pocket performances from the track’s guest band, James Intveld (electric guitar), Cindy Cashdollar (lap steel), Tony Marsico (bass) and Tom Fillman (drums), Carla introduces the CD’s production integrity. It is no accident that the singer-producer (who also handles acoustic guitar throughout the recording) openly acknowledges such inspirations as the Everly Brothers, Ian and Sylvia, Richard and Mimi Farina -- all of whom share a reputation as “cutting edge” in their respective fields of country-flavored rock, folk, folk rock and, especially, original harmonies. Carla Olson belongs in this league.
“Look What You’ve Done” actually enjoyed Top 40 status, as recorded by the Pozo Seco Singers (a discovery of Columbia Records in its mid-sixties heyday), and co-written by fascinating producer Bob Johnston (Bob Dylan, Leonard Cohen, etc.). Carla’s choice of Rob Waller (I See Hawks In LA) to lead this duet is perhaps one of the recording’s true strokes of genius. They are that terrific merge of earnest, cerebral dedication and pure, emotional country. Musicians are: Rob and Carla on vocals; Mike Clinco and Carla on guitars; Pat Robinson on bass; Rick Hemmert on drums. The other song for which Rob carries the melody, with Carla, is a bright rendition of “Til the Rivers All Run Dry,” which closes the CD with a fitting cowboy reprise. This is a bonafide, country music production, with Skip Edwards an endearing stand-out on piano (Clinco, Olson, Robinson and Hemmert again rounding out the band).
Buddy Holly’s music comes on like an explosion, belying the traditional understanding of Texas roots; the native wasn’t satisfied with country and blues purity. Carla Olson says “Buddy knew what Elvis proved -- that a scene stealer begins with a singular style.” Like one of her Texas peers, the late Bobby Fuller, Carla delivers the power of a Holly-like explosion, in her stellar production of “Love’s Made a Fool of You.” She says, “For any of Buddy’s songs, I knew James Intveld would be the ideal duet partner.” This is clearly a vocal and production “moment” of the entire set, with Carla’s acoustic guitar, Intveld’s redoubtable electric guitar skills, while Marsico and Fillman again drive the rhythm on melodic bass and serious drums.
Olson delivers a signature performance as lead vocalist, in her rendition of Intveld’s “Stringin’ Me On,” a groove that spotlights her fierce and sultry confidence. The song is further graced by Juice Newton’s backing-vocal prowess, Intveld’s swampy guitar -- trading with Carla’s own electric work. Joining the controlled rhythm of Marsico and Fillman is Pat Robinson on piano, all of it delivering a fearless (Stones-like) production from Ms. Olson.
With harmonies travelin,’ the late Del Shannon shows up in kindred spirit, offering one of his edgier, Top 10 hits, “Keep Searchin’ (We’ll Follow the Sun),” to this powerful recording. Enter Peter Case, beloved L.A. icon, direct from Carla’s era and sensibility; he led the Plimsouls, and she, the Textones. They sing in exceptional harmony, and play their dazzling guitars, as plaintive sister and brother. She pays homage, without fail, to Del Shannon, in a soaring rock ‘n roll production: It’s the blessing of genuine soul, wrapped in relentless rock ‘n roll, and released as a divine hit. In a band that means business, Barry Goldberg handles Hammond B3 organ, as it “sings along” with those blazing guitars -- highlighted by Case’s baritone solo -- and Marsico’s empathetic bass lines; but this time it’s Hemmert at the vital drummer’s chair, power-steering a hammering pulse.
Peter Case now makes San Francisco his home, so it’s fair that he picks up that City’s fine, psychedelic representation in HARMONY – an enchanting incarnation of Moby Grape’s “8:05.” Carla decided to use the cut, toward the end of HAVE HARMONY, WILL TRAVEL, because “it’s a song where you feel like you can take a breather. The energy is real, but it’s put to a specific use -- to fade down. It’s bewitching and soothing, all at the same time.” A sixties-punctuated tambourine helps set the stage for the ever-creative Richard Podolor, as he imparts tender, nylon-Spanish guitar picking and solos, joining Carla’s classically rhythmic acoustic, and melodic electric; the vocals are led by Peter, with Carla’s harmonizing throughout, while Marsico on bass and Hemmert on drums faithfully drive the groove, and fill in the bottom of this tasty production.
HAVE HARMONY, WILL TRAVEL is a “gathering of songs” on Carla’s enchanted journey with allied musicians. Just as she honors Del Shannon, so does Carla celebrate the music of Gene Clark -- her fellow recording artist on their own duet-foray, the critically acclaimed SO REBELLIOUS A LOVER (1987) -- whose early identity as co-founding member, and most prolific writer of the Byrds, has been surpassed by the overall body of his irreplaceable work, solo and otherwise. “She Don’t Care About Time” is quintessential Gene Clark (harkening to “Set You Free This Time,” often performed live by Carla and Gene). Easily, this is a song about his ability to "channel" (evidenced by the title), especially in the context of Gene’s early death. Carla's harmony steps back a bit from the lead, a male story-teller, on this cut; and there would be no better choice for lead vocalist than Richie Furay, pioneer of country rock (Buffalo Springfield, Poco, Souther-Hillman-Furay), to bring this track its classic, good feeling. A superb pairing of 12-string guitar -- handled, in sixties-glory, by one-time Byrds’ bassist, John York -- and the mandolin of Souther-Hillman-Furay producer, Richard Podolor. Olson’s production winds those exquisite instruments through the vocal performances, and among a dynamite rhythm section, with Carla on acoustic guitar, Hemmert at the drum set and Robinson on bass.
The CD’s hardest rockin’ tune is probably Steven Van Zandt's “All I Needed Was You,” a great selection to include within the overall Americana presentation. The roots are strong, including an amazing choice for the lead vocals –- Scott “Top Ten” Kempner, founding member of the Del-Lords (previously with the Dictators), a band that successfully merges a garage rock sound with the feel of folk, country and blues. Carla says, “When I was a founding member of the Textones, Little Steven’s publisher suggested we record it." The band smokes, starting with saxophone, handled by the ferociously talented Tom Junior Morgan, the blues player who recorded “Midnight Mission” with the Textones. He is augmented by Chicago-blues export, Barry Goldberg (once produced by Bob Dylan) whose keyboards enable the groove. Olson and Kempner are victorious vocalists, and share both electric and acoustic guitars. Drummer Clem Burke and bassist Greg Sutton are fierce.
John York shows up again on the 12-string, also handling nostalgic, lead vocals on Paul Kennerley’s elegant country song, “The First in Line” and P.F. Sloan’s “Upon a Painted Ocean.” Kennerley (of British roots) wrote the former, for The Everly Brothers’ comeback studio-CD (1984). It would seem that P.F. Sloan (iconic, in-your-face, L.A songwriter who penned “Eve of Destruction,” “Secret Agent Man,” etc.) might require a more raucous-style coupling, but York is brilliant at segueing the two. York and Olson carry the Everly tune’s plea in royal, country tones. Once again, Carla unveils her talent and skill, as a country music producer. Her selection of frequent, Bruce Springsteen-accompanist, Marty Rifkin, to exude sorrow and beauty via the pedal steel, is a testament to Carla’s production prowess. She joins the rhythm section on acoustic guitar; selecting songwriter Pat Robinson (Percy Sledge, Joe Cocker, etc.) for double duty on piano and bass guitar; while the gifted drummer’s identity remains a secret (for contractual reasons). All compose a flawless country band. Well done. John York switches to a splendorous folk-rock vocal delivery, with Carla contributing a seamless, onomatopoeic harmony, for “Upon a Painted Ocean." Like Gene Clark, Sloan achieves high poetry in structured lyric, leaning on syllabic correctness, and steady meter, here led by the duo’s worthy vocals and jangling guitars, and supported by stalwarts Hemmert on drums and Robinson on bass.
Much like his honky tonk-variegated brother, Chris Jagger (producer of the BBC documentary on Alexis Korner) has traveled the global music landscape with keen inspiration from the American roots. His singing, songwriting and guitar work reflect elements of blues, country, folk, rock, even cajun/zydeco. Carla reports that “recording Chris's ‘Still Waters’ was an easy decision to make. With its mystical charm, it’s always been one of my pet songs.” Straightaway on this cut, the Delta-soaked, electric guitar riffs (and lap steel), from virtuoso Gary Myrick, imply caution, as the shores of a clandestine bayou loom. Carla’s poised vocals are enough to carry the story and its simile, but also vividly enhanced, when she trades the mike with Myrick (Big Audio Dynamite, Stevie Wonder, Jackson Browne, etc.), who excels at a talking-blues-folk style. Here, as producer, Olson attains a creative zenith, transmuting a cult-folk milieu into an apt, pop-rock classic. The 4-piece unit is tight and atmospheric, also including Carla’s electric and acoustic guitars, Robinson’s bass and Hemmert’s drums.
The world got to know Carla Olson with the major-label debut, MIDNIGHT MISSION, from the rootsy group she co-founded, the Textones. In All Music Guide, Thom Owens praises the album as “an excellent, low-key collection of roots-rock distinguished by terrific support from the likes of Gene Clark and Ry Cooder, as well as Olson’s remarkable vocals.” “In 1985, there was a real Midnight Mission in Los Angeles, and we used authentic footage of its potential, homeless clients, in an empathetic vision of hope, for our music video of the title song,” Carla reports. Serendipitous events have led to this year’s booking of Carla Olson and band at The (“real”) Midnight Mission’s annual “Golden Heart Awards” event, Monday May 6, at the Beverly Wilshire Hotel. For Carla, this event (open to the public) is “very special, and a real full circle.” The week before, on Sunday, April 28, Carla and "HAVE HARMONY guests" performed in a long-awaited concert at McCabe’s in Santa Monica, for the CD release party, including a wildly enthusiastic audience.
Carla Olson is a mainstay in the history of American roots music. She has been intimately involved with recording artists who have changed the course of history. An obvious example is P.F. Sloan’s catalog -- His lament, “you’re old enough to kill, but not for votin’,” all but ensured enactment of the 26th Amendment. On another powerful level, Carla’s “era” and sensibility gave her the opportunity to align, famously, with the likes of an original Byrd, Gene Clark, at a time when her “duets” made all the difference in his resurgence. But she is more than a cult figure or iconic partner. As exemplified on HAVE HARMONY, WILL TRAVEL, Carla’s music, whether she is performing or producing, all on its own, is music that matters.
-- Karen Johnson 2013
WWW.CARLAOLSON.COM
WWW.AIRPLAYDIRECT.COM/CARLAOLSON
“Look What You’ve Done” actually enjoyed Top 40 status, as recorded by the Pozo Seco Singers (a discovery of Columbia Records in its mid-sixties heyday), and co-written by fascinating producer Bob Johnston (Bob Dylan, Leonard Cohen, etc.). Carla’s choice of Rob Waller (I See Hawks In LA) to lead this duet is perhaps one of the recording’s true strokes of genius. They are that terrific merge of earnest, cerebral dedication and pure, emotional country. Musicians are: Rob and Carla on vocals; Mike Clinco and Carla on guitars; Pat Robinson on bass; Rick Hemmert on drums. The other song for which Rob carries the melody, with Carla, is a bright rendition of “Til the Rivers All Run Dry,” which closes the CD with a fitting cowboy reprise. This is a bonafide, country music production, with Skip Edwards an endearing stand-out on piano (Clinco, Olson, Robinson and Hemmert again rounding out the band).
Buddy Holly’s music comes on like an explosion, belying the traditional understanding of Texas roots; the native wasn’t satisfied with country and blues purity. Carla Olson says “Buddy knew what Elvis proved -- that a scene stealer begins with a singular style.” Like one of her Texas peers, the late Bobby Fuller, Carla delivers the power of a Holly-like explosion, in her stellar production of “Love’s Made a Fool of You.” She says, “For any of Buddy’s songs, I knew James Intveld would be the ideal duet partner.” This is clearly a vocal and production “moment” of the entire set, with Carla’s acoustic guitar, Intveld’s redoubtable electric guitar skills, while Marsico and Fillman again drive the rhythm on melodic bass and serious drums.
Olson delivers a signature performance as lead vocalist, in her rendition of Intveld’s “Stringin’ Me On,” a groove that spotlights her fierce and sultry confidence. The song is further graced by Juice Newton’s backing-vocal prowess, Intveld’s swampy guitar -- trading with Carla’s own electric work. Joining the controlled rhythm of Marsico and Fillman is Pat Robinson on piano, all of it delivering a fearless (Stones-like) production from Ms. Olson.
With harmonies travelin,’ the late Del Shannon shows up in kindred spirit, offering one of his edgier, Top 10 hits, “Keep Searchin’ (We’ll Follow the Sun),” to this powerful recording. Enter Peter Case, beloved L.A. icon, direct from Carla’s era and sensibility; he led the Plimsouls, and she, the Textones. They sing in exceptional harmony, and play their dazzling guitars, as plaintive sister and brother. She pays homage, without fail, to Del Shannon, in a soaring rock ‘n roll production: It’s the blessing of genuine soul, wrapped in relentless rock ‘n roll, and released as a divine hit. In a band that means business, Barry Goldberg handles Hammond B3 organ, as it “sings along” with those blazing guitars -- highlighted by Case’s baritone solo -- and Marsico’s empathetic bass lines; but this time it’s Hemmert at the vital drummer’s chair, power-steering a hammering pulse.
Peter Case now makes San Francisco his home, so it’s fair that he picks up that City’s fine, psychedelic representation in HARMONY – an enchanting incarnation of Moby Grape’s “8:05.” Carla decided to use the cut, toward the end of HAVE HARMONY, WILL TRAVEL, because “it’s a song where you feel like you can take a breather. The energy is real, but it’s put to a specific use -- to fade down. It’s bewitching and soothing, all at the same time.” A sixties-punctuated tambourine helps set the stage for the ever-creative Richard Podolor, as he imparts tender, nylon-Spanish guitar picking and solos, joining Carla’s classically rhythmic acoustic, and melodic electric; the vocals are led by Peter, with Carla’s harmonizing throughout, while Marsico on bass and Hemmert on drums faithfully drive the groove, and fill in the bottom of this tasty production.
HAVE HARMONY, WILL TRAVEL is a “gathering of songs” on Carla’s enchanted journey with allied musicians. Just as she honors Del Shannon, so does Carla celebrate the music of Gene Clark -- her fellow recording artist on their own duet-foray, the critically acclaimed SO REBELLIOUS A LOVER (1987) -- whose early identity as co-founding member, and most prolific writer of the Byrds, has been surpassed by the overall body of his irreplaceable work, solo and otherwise. “She Don’t Care About Time” is quintessential Gene Clark (harkening to “Set You Free This Time,” often performed live by Carla and Gene). Easily, this is a song about his ability to "channel" (evidenced by the title), especially in the context of Gene’s early death. Carla's harmony steps back a bit from the lead, a male story-teller, on this cut; and there would be no better choice for lead vocalist than Richie Furay, pioneer of country rock (Buffalo Springfield, Poco, Souther-Hillman-Furay), to bring this track its classic, good feeling. A superb pairing of 12-string guitar -- handled, in sixties-glory, by one-time Byrds’ bassist, John York -- and the mandolin of Souther-Hillman-Furay producer, Richard Podolor. Olson’s production winds those exquisite instruments through the vocal performances, and among a dynamite rhythm section, with Carla on acoustic guitar, Hemmert at the drum set and Robinson on bass.
The CD’s hardest rockin’ tune is probably Steven Van Zandt's “All I Needed Was You,” a great selection to include within the overall Americana presentation. The roots are strong, including an amazing choice for the lead vocals –- Scott “Top Ten” Kempner, founding member of the Del-Lords (previously with the Dictators), a band that successfully merges a garage rock sound with the feel of folk, country and blues. Carla says, “When I was a founding member of the Textones, Little Steven’s publisher suggested we record it." The band smokes, starting with saxophone, handled by the ferociously talented Tom Junior Morgan, the blues player who recorded “Midnight Mission” with the Textones. He is augmented by Chicago-blues export, Barry Goldberg (once produced by Bob Dylan) whose keyboards enable the groove. Olson and Kempner are victorious vocalists, and share both electric and acoustic guitars. Drummer Clem Burke and bassist Greg Sutton are fierce.
John York shows up again on the 12-string, also handling nostalgic, lead vocals on Paul Kennerley’s elegant country song, “The First in Line” and P.F. Sloan’s “Upon a Painted Ocean.” Kennerley (of British roots) wrote the former, for The Everly Brothers’ comeback studio-CD (1984). It would seem that P.F. Sloan (iconic, in-your-face, L.A songwriter who penned “Eve of Destruction,” “Secret Agent Man,” etc.) might require a more raucous-style coupling, but York is brilliant at segueing the two. York and Olson carry the Everly tune’s plea in royal, country tones. Once again, Carla unveils her talent and skill, as a country music producer. Her selection of frequent, Bruce Springsteen-accompanist, Marty Rifkin, to exude sorrow and beauty via the pedal steel, is a testament to Carla’s production prowess. She joins the rhythm section on acoustic guitar; selecting songwriter Pat Robinson (Percy Sledge, Joe Cocker, etc.) for double duty on piano and bass guitar; while the gifted drummer’s identity remains a secret (for contractual reasons). All compose a flawless country band. Well done. John York switches to a splendorous folk-rock vocal delivery, with Carla contributing a seamless, onomatopoeic harmony, for “Upon a Painted Ocean." Like Gene Clark, Sloan achieves high poetry in structured lyric, leaning on syllabic correctness, and steady meter, here led by the duo’s worthy vocals and jangling guitars, and supported by stalwarts Hemmert on drums and Robinson on bass.
Much like his honky tonk-variegated brother, Chris Jagger (producer of the BBC documentary on Alexis Korner) has traveled the global music landscape with keen inspiration from the American roots. His singing, songwriting and guitar work reflect elements of blues, country, folk, rock, even cajun/zydeco. Carla reports that “recording Chris's ‘Still Waters’ was an easy decision to make. With its mystical charm, it’s always been one of my pet songs.” Straightaway on this cut, the Delta-soaked, electric guitar riffs (and lap steel), from virtuoso Gary Myrick, imply caution, as the shores of a clandestine bayou loom. Carla’s poised vocals are enough to carry the story and its simile, but also vividly enhanced, when she trades the mike with Myrick (Big Audio Dynamite, Stevie Wonder, Jackson Browne, etc.), who excels at a talking-blues-folk style. Here, as producer, Olson attains a creative zenith, transmuting a cult-folk milieu into an apt, pop-rock classic. The 4-piece unit is tight and atmospheric, also including Carla’s electric and acoustic guitars, Robinson’s bass and Hemmert’s drums.
The world got to know Carla Olson with the major-label debut, MIDNIGHT MISSION, from the rootsy group she co-founded, the Textones. In All Music Guide, Thom Owens praises the album as “an excellent, low-key collection of roots-rock distinguished by terrific support from the likes of Gene Clark and Ry Cooder, as well as Olson’s remarkable vocals.” “In 1985, there was a real Midnight Mission in Los Angeles, and we used authentic footage of its potential, homeless clients, in an empathetic vision of hope, for our music video of the title song,” Carla reports. Serendipitous events have led to this year’s booking of Carla Olson and band at The (“real”) Midnight Mission’s annual “Golden Heart Awards” event, Monday May 6, at the Beverly Wilshire Hotel. For Carla, this event (open to the public) is “very special, and a real full circle.” The week before, on Sunday, April 28, Carla and "HAVE HARMONY guests" performed in a long-awaited concert at McCabe’s in Santa Monica, for the CD release party, including a wildly enthusiastic audience.
Carla Olson is a mainstay in the history of American roots music. She has been intimately involved with recording artists who have changed the course of history. An obvious example is P.F. Sloan’s catalog -- His lament, “you’re old enough to kill, but not for votin’,” all but ensured enactment of the 26th Amendment. On another powerful level, Carla’s “era” and sensibility gave her the opportunity to align, famously, with the likes of an original Byrd, Gene Clark, at a time when her “duets” made all the difference in his resurgence. But she is more than a cult figure or iconic partner. As exemplified on HAVE HARMONY, WILL TRAVEL, Carla’s music, whether she is performing or producing, all on its own, is music that matters.
-- Karen Johnson 2013
WWW.CARLAOLSON.COM
WWW.AIRPLAYDIRECT.COM/CARLAOLSON
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Have Harmony, Will Travel Volume 1
Carla Olson Lyrics
She Don't Care About Time Hallways and staircases everyday to climb To go up to…