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Carla Olson

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Carla Olson | Interview | New Album, ‘Have Harmony, Will Travel 3’

The legendary singer/songwriter Carla Olson recently released the third in her series of “duet” albums ‘Have Harmony, Will Travel 3’ via BFD Records/The Orchard.

The latest album follows ‘Night Comes Falling,’ her 2022 collaboration with Stephen McCarthy of The Long Ryders and like the two previous volumes of ‘Have Harmony, Will Travel,’ features an impressive guest list of some of Carla’s talented friends. The new album includes appearances by Texas guitar heroes Eric Johnson, Jake Andrews and Gary Myrick along with guitarists Craig Ross (Broken Homes, Lenny Kravitz), Todd Wolfe (Sheryl Crow), Laurence Juber (Paul McCartney and Wings), Jonathan Lea (Tall Poppy Syndrome, Dave Davies) and legendary harmonica player Mickey Raphael (Willie Nelson). Guest vocalists include B.J. Thomas, Allan Clarke (The Hollies), Harvey Shield (The Mighty Echoes), Robert Rex Waller Jr. and Shawn Barton Vach. Closing the album are three (previously unreleased) live tracks recorded with Gene Clark (The Byrds).

“Always follow your heart in your music”

Thank you for taking your time. You have a brand new single out, it’s a version of the classic Rolling Stones number, ‘Street Fighting Man’. Was there any particular reason why you decided to cover this track? Do you remember the time when you originally heard it?

Carla Olson: ‘Street Fighting Man’ has always been my favorite Rolling Stones song, especially the live versions that included Mick Taylor. I probably heard it at one of my friend’s houses in 1968, where we would get together and listen to records when they would come out. I love the sound of the guitar intro, how big it sounded when in actuality it was an acoustic guitar through a small speaker. I love the wild card chord that comes after the second chorus then back into the solo. I also really loved all the different instruments that come in to keep your interest, like the sitar and the tamboura.

You have a fantastic lineup of musicians around you including Jake Andrews on lead guitar and Jonathan Lea (Tall Poppy Syndrome, Dave Davies) on electric sitar and guitar. Would love to hear how you first got in touch with them.

I met Jake Andrews in LA in 1995 when he came to perform at B.B. Kings Blues Club. He is what I would call “the real deal.” He learned to play guitar from his guitar playing father John “Toad” Andrews who was in Tracy Nelson’s band Mother Earth in the late sixties in Austin. I produced his second album in 2002, recorded at Willie Nelson’s studio in Pedernales, Texas. Jonathan Lea is from Los Angeles and part of the music scene where my band shared several bills with his band The Jigsaw Seen. He also recorded on my second ‘Have Harmony, Will Travel’ album in 2020, a song with Peter Noone called’ ‘Goodbye My Love’.

Your latest album is coming out as we speak. How much time and effort went into making ‘Have Harmony, Will Travel 3’ and where it was recorded?

Most of the album was recorded in Los Angeles at three different studios. Some of the solos such as Mickey Raphael’s harmonica and Eric Johnson’s guitar solos were recorded during the pandemic and then sent through the wires.

Can you share some further words about the writing, recording and production process for the album.

Some of the songs I chose were childhood favorites like The Who’s ‘I Can See For Miles’ (from 1967) and ‘Face To Face’ by a band from Texas called Zakary Thaks (also from 1967), others are more contemporary like L.A. band Broken Homes’ ‘In Another Land’ (from 1986) and Hazeldine’s ‘Stronger’ (from 1997.) Two songs were co-written and one sung with The Hollies founding member Allan Clarke.

And that’s not all, you had some truly remarkable guest vocalists on it including Gene Clark, B.J. Thomas, Allan Clarke, Harvey Shield (The Mighty Echoes,) Robert Rex Waller Jr. (I See Hawks In L.A.) and Shawn Barton Vach. Closing the album are three previously unreleased live tracks recorded with Gene Clark. Tell us how all that came together?

We had the album mastered and artwork completed when we received an email from Rob Bleetstein who said he had a recording of Gene Clark and I performing at the Nashville Summer Lights Festival in 1987 and offered to send it to us. We decided to include a trio of the songs on the album and thought it would be something Gene’s fans would enjoy.

How did you originally meet Gene Clark?

The first time I met Gene Clark was 1984 at a club in West Los Angeles where he was playing with his band The Firebyrds. The band was made up of former Byrds drummer Michael Clarke, Matt Andes, Michael Hardwick and Peter Oliva. At the end of the show the audience coaxed an encore out of them and they launched into ‘I’ll Feel A Whole Lot Better’.

Tom Slocum, one of Gene’s friends, was sitting in the next booth and asked if he could join us. The next thing I knew he was taking my hand and pulling me along towards the stage. He said, “You can sing with them on this one, you know it right?” Halfway through the guitar solo Gene says “Hi, I’m Gene Clark” to which I replied “Carla, Carla Olson, nice to meet you.”

Would you be able to draw any parallels to ‘Night Comes Falling,’ your 2022 collaboration album with Stephen McCarthy of The Long Ryders?

I have always been a huge Stephen McCarthy fan since the early Long Ryders. When Gene Clark and I started singing together in 1986, Rhino Records’ Gary Stewart offered to release an album of duets which became ‘So Rebellious A Lover’. I asked Stephen to play lap steel on ‘The Drifter’ and dobro on ‘Deportee (Plane Wreck At Los Gatos)’. He also was enlisted to play on the album that Saul Davis and George Callins (The Textones) produced called ‘True Voices’ in 1990 that included songs by iconic writers performed by singers who were equally iconic.

Tell us about the two previous volumes of ‘Have Harmony, Will Travel’.

When I was a teenager we had an AM radio station KNOW in Austin, Texas that played everything from Herb Alpert to The Zombies. I have great memories of songs on that station that I loved to sing harmony to. So I decided to find singers that I admired and match them up with some of my favorite songs and exchange verses or simply sing harmony with them. The idea was to suggest a song that the artist may not have ever sung or wouldn’t have thought to record themselves. Plans were made to cut each song with the same basic players then add the featured singers and I would sing harmony and backup guitar where needed. I mentioned to my friend Peter Case (Plimsouls) that I was recording a duets album and if he would like to sing a couple of songs that he’d always liked and he said, “I’d love to!” The other participants seemed equally excited about the project and things just fell in line. I was particularly thrilled that Richie Furay (Buffalo Springfield, Poco) wanted to record Gene Clark’s ‘She Don’t Care About Time’! ‘Have Harmony Will Travel 2’ started with the sessions I recorded with Timothy B. Schmidt, Peter Noone, and Brazilian singer Ana Gazzola. The same basic band members added Jonathan Lea on electric twelve-string guitar, and the late Pat Robinson on piano. Seven of the tracks were new recordings and four were recordings from my previous albums with Gene Clark, Percy Sledge and Mick Taylor, Mare Winningham, and I See Hawks In L.A.

You’re originally coming from Austin, Texas. What was it like to grow up? How would you describe your childhood there?

I was very lucky that my parents were both very supportive of my choice to be a musician. I had piano lessons at six and was always encouraged to play music. My father was a classical pianist who could see my desire to entertain rather than follow in his footsteps. My mother had her own interior design company, the only woman decorator in Austin in 1959. I was twelve when my father said I should watch this group on Ed Sullivan, he thought I would like, called The Beatles. I was glued to the black and white and when they were done I told my older brother “ I want to play guitar in a band!”

Did you and your friends have any special hangout places where you would listen to music and so on?

My two girlfriends and I would get together on the weekend and play records on the hi-fi. Mostly The Beatles, The Dave Clark Five, Herman’s Hermits, The Animals, then later discovered The Kinks were great to dance to. The Rolling Stones in 1965 with the single ‘Satisfaction’ got a lot of play at our weekend dance party. When I was asked if I wanted to redeem some S&H Green Stamps my mother let me pick out a black Kay acoustic guitar. I was surprised how quickly I could pick out the notes to ‘Walk Don’t Run’ by The Ventures. My father said if I took lessons he would upgrade the Kay to a nylon string Goya. As I learned to finger pick and got better it became harder to play the rock songs. I wanted to learn the British Invasion groups like The Yardbirds. So I made a deal with a friend John Staehely to sell the Goya for $125.00 and buy his 1956 Les Paul Junior which was much more fun to play. I found that I could play a 45 rpm on 16 speed and work out the notes of songs like ‘Jeff’s Boogie’ by The Yardbirds. I wasn’t able to buy an amplifier for another year but still managed to get a decent sound out of the borrowed Alamo amplifier from another friend.

“Every musician in Austin was a fan of The Elevators!”

How did you first get introduced to bands like The 13th Floor Elevators or The Zakary Thaks whose garage rock classic ‘Face To Face’ you recently did and it’s a killer!

I went to some shops that sold just 45s and 78s and found The 13th Floor Elevators first records ‘We Sell Soul’ and ‘You’re Gonna Miss Me’ and also met Roky Erickson’s little brother Donnie who played a mean Gibson 335 in his high school band. Every musician in Austin was a fan of The Elevators!

What about Eric Johnson? Are you familiar with his incredible guitar playing on Mariani, an early band he had when he was extremely young.

I was going to a Catholic school in Austin called Holy Cross and met Eric Johnson in Biology class. I overheard him telling someone that he’d blown up his speaker cabinet and was rehearsing for his first album recording. I offered to loan him my new Acoustic 6 x 10 cabinet and we’ve been close friends ever since! I co-wrote a song on his first major label album called ‘Trail Of Tears’.

On ‘Have Harmony, Will Travel 3,’ I recorded ‘Face To Face’ by Texas band Zakary Thaks because it was a local hit in Austin in 1967. I asked Eric if he would like to play guitar on it. He was very enthusiastic about playing the fuzz tone parts and solos.

What clubs did you go to? To experience the Vulcan Gas Company back in those days must have been amazing.

I was so lucky to live in Austin where we got to see touring acts like Lightnin’ Hopkins, T-Bone Walker, Muddy Waters, Big Joe Williams, Mance Lipscomb, Jimmy Reed, Big Mama Thornton, and other blues artists who performed at the Vulcan Gas Company. For a paltry $1.50 a night you could see these acts play at the Vulcan Gas Company every week. Other great shows were Poco, Moby Grape, Johnny Winter, Steve Miller, Freddie King, B.B. King, and Austin’s great local bands like Donnie Erickson’s New Atlantis, Jimmie Vaughn’s band Texas, and Shiva’s Headband were the opening acts.

When you relocated to Los Angeles, California, in 1978 to form The Textones, did you miss Austin?

Not at all, mostly I missed my family and my favorite restaurants, Tex-Mex food and barbecue.

Would love it if you could talk about how The Textones originally got together and what was the overall vision you had with the band.

I hooked up with guitarist Kathy Valentine in 1977 and started the band The Violators with her drummer friend Marilyn Dean and a friend Jesse Sublett on bass who was in another band but was helping us get songs together to start playing gigs. We were doing club shows in Austin, Dallas, San Antonio, little beer joints.

Then we decided to make a move to either New York or Los Angeles. We flipped a coin and tails brought us west to California. Marilyn didn’t stay, Jesse had his band The Skunks in Austin, Kathy and I got settled in West Hollywood, I had a job in the travel industry to put beans and tortillas on the table. Kathy and I found a bass player, Dave Provost, and Mark Cuff who was Emmylou Harris’ first drummer who had come to L.A. the year before we did. We wrote our own songs (‘Kathy’s ‘Vacation,’ my ‘Number One Is To Survive’) and chose some fun covers like ‘Evil Hearted You,’ ‘Lies,’ ‘I Second That Emotion,’ ‘Hanky Panky’ and started trying to get bookings. It was tough to get anything going until we met Saul Davis who thought we had something special and started getting us on some shows with his artist Phil Seymour.

We recorded a three song EP for British label Chiswick in 1980 that included an unreleased Tom Petty song and a single for Faulty Products/IRS. And then Kathy got offered a gig playing bass for the GoGo’s and The Textones became three piece and the rest is history … until we became a quartet and then a quintet. (The Textones recorded a reunion album in 2018 called ‘Old Stone Gang’).

It’s absolutely impossible to cover your discography. Would it be possible for you to choose a few collaborations that still warm your heart?

I would have to say the first Textones album ‘Midnight Mission’ would be dear to my heart. The band had changed rhythm sections to Joe Read, bassist who’d played with Bram Tchaikovsky and drummer Phil Seymour (one half of the Dwight Twilley Band) and added George Callins on guitar and Tom Jr. Morgan on saxophone and keyboards. Barry Goldberg from Electric Flag co-produced the album with Tom Petty and The Heartbreakers’ engineer Brad Gilderman. Ry Cooder played slide guitar on two songs, Don Henley sang harmony on the title track and Bob Dylan gave us an unreleased song ‘Clean Cut Kid,’ as a thank you for my pantomiming Mick Taylor’s guitar parts in his video for ‘A Sweetheart Like You’. Second choice is my 2001 collaboration with Mick Taylor called ‘Ring Of Truth’ that we cut live in the studio and included an eleven-minute cover of The Rolling Stones song ‘Winter’. The 1986 duet album with Gene Clark ‘So Rebellious A Lover’ is also a cherished experience.

What else currently occupies your life? What are some future projects?

I have produced three other albums this past year, a duet album with Stephen McCarthy, a rock instrumental album for Jake Andrews, and an album of great pop and country aka Americana with Robert Rex Waller Jr. I have also found time to write with the recently late Pete Brown, the lyricist for Cream e.g. ‘Sunshine Of Your Love,’ ‘White Room’. A co-written song will be on his posthumous album ‘The Shadow Club’ to be released in January.

Thank you for taking your time. Last word is yours.

Always follow your heart in your music. It won’t let you down. As Gene Clark once told me “Never waste the chance to be poetic!” 

Klemen Breznikar

Carla Olson Official Website / Facebook / Instagram / Twitter / Bandcamp / YouTube BFD  Official Website The Orchard  Official Website / Facebook / Instagram / Twitter  /  YouTube

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‘During Retrograde’ by Jeff Moller | “Royal Oakie – Summer 2024”

Rubble pile photo is labeled Textones, but it is Violators.

Another caption you could correct, the last pic just before the ad showing the Textones & Stranglers. That one is also The Violators and that’s me on the right, playing bass. If you want to ID the rubble photo, it is clockwise from top: Jesse Sublett, Carla Olson, Kathy Valentine, Marilyn Dean. Thanks for a fine article, great history on a great & prolific artist.

Thanks for the interview. I like The Textones and with Gene Clark.

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Americana Highways

on the road collecting the stories of Americana music

Interview: Carla Olson On “Whiskey Train” from “Americana Railroad”

Carla Olson photo by Marcus Cuff

Carla Olson On “Whiskey Train” from Americana Railroad

Carla Olson is a singer, guitarist, songwriter, producer and more, and she and her husband, producer Saul Davis, have been talking about putting together a collection of newly recorded classic songs dealing with railroad themes for decades. Their hard work, and that of many contributing artists, has finally paid off with Americana Railroad , due out June 17th from BMG. If you’re an eagle-eyed vinyl collector, you might have spotted a double vinyl exclusive version of the 19-song collection that managed to sneak into release in 2021 ahead of the CD, but this is the first time it’ll appear both digitally and on CD for fans.

The sounds and the ideas on the collection are as wide-ranging as the contributors you’ll find on the tracks, including John Fogerty, Dave Alvin, Rocky Burnette, Dom Flemons , Stephen McCarthy, and Carla Olson herself. You’ll find spare, haunting takes on the role of trains in our national consciousness going back generations, and rocking, high-energy tracks that channel some of the ideas socially aware artists were building into their songs. I spoke with Carla Olson about the song “Whiskey Train,” originally written by Keith Reid and Robin Trower, and released by Procol Harum, which Carla Olson and Brian Ray built out into a more multi-layered sound for Americana Railroad. Olson also shared stories from working on this collection and from the youthful memories that inspired it.

Americana Highways: To what extent have you been able to make music between 2020 and now?

Carla Olson: I’ve been in the studio since 2020 anyway, off and on when I could. When it was totally closed down, I was doing stuff myself, between my cellphone and laptop, recording stuff, sending it to people, and hoping for the best. But it turned out that I’ve been prolific, as crazy as it sounds, possibly more prolific than I have been my entire adult life, because of the need to create and do something that someone responds to. I read a stack of books for the first three months, then I cleaned, and then it was like, “Okay, now, what can I do?”

AH: Was some of that Have Harmony, Will Travel Part 2 or was that already done?

CO: Part 2 was done. I’m already onto Part 3 and am about half done with that. Tracks have been done, though not finished yet. One of the tracks, thankfully, was done with B.J. Thomas before he passed away. I just did a single for The Who’s Teen Cancer America charity. I did “I Can See For Miles,” which was a single that I loved when I was a kid. It was always my favorite Who song.

AH: I understand that Americana Railroad has a little bit of prehistory, because it originally appeared as an exclusive vinyl for Record Store Day, but now will get a wide CD release from BMG.

CO: We were actually done with it by June of 2020, but it couldn’t be released on CD yet because BMG is located in Germany, and Germany was floored with Covid at the time. Everything was closed. So what we did was sit on it even though it was all set to go. But the double vinyl release opportunity came up for Record Store Day and BMG suggested we do that, though even Record Store Day got pushed back.

Some of this stuff has actually been around a while, in some cases, decades, but the idea of the album was that my husband and I had always said, “We’ve got to do a train album. We’ve got all these great train songs.” I have an association with Gene Clark because in the 80s, he recorded on a Textones album. Three of these songs were intended for a railroad album even back then! We just never got around to it.

AH: It doesn’t seem that wild to me to have this idea, because I have a compilation vinyl record of Johnny Cash’s railroad songs.

CO: There was a Johnny Cash documentary about railroad songs. It’s very cool. Johnny Cash is the coolest. My mother loved Johnny Cash! She was a rancher and she thought he was so handsome in black with that bolo tie.

AH: I notice that you’re undaunted by the idea of projects that have a lot of people and a lot of moving parts involved, like this one, and like the Have Harmony, Will Travel series. Do you think that’s something you’ve gotten used to over time?

CO: As a producer, yes, I’ve done quite a few projects with multiple artists on hand. For myself, I’ve done duets albums that involved many people. For me, the best part about it is that my husband does the planning of a project I’m involved in, and I do the work with the musicians, the music, the songs, the keys, the instruments. He does the logistics, finding the people that we both want to have involved. It’s a good team and we’ve been together 41 years. We’re used to working together. He managed my band The Textones. I’ve always been a band member and a band leader. Somebody’s got to do it, and it may as well be me! [Laughs]

AH: It sounds like that has translated to the virtual sphere and to the phone as well as working in person for Americana Railroad , but probably also for other projects.

CO: What you do is start with one or two cornerstones, artists that you know that you can count on. When I did the first duets album, Have Harmony , in 2012, it started with me talking to Peter Case and asking if he’d do a duet with me. He said he’d love to. Then I asked Scott Kempner of The Del-Lords , and he said, “Count me in!” That’s how it starts.

AH: I want to ask you about “Whiskey Train,” which we’re debuting with this interview. When I saw that this was a Procol Harum song, I wondered if Gary Brooker was still with us when you recorded the song.

CO: He was. As a matter of fact, my husband is friends with Keith Reid, who wrote the song with Robin Trower. The song actually came about because when we started working on this project, Brian Ray is a local guy, a powerhouse guitar player and writer, and we were talking about doing a song together. I told him to pick a song, and I thought he was going to sing it.

Then we got down to the studio, and we both had lyric sheets, and I asked, “Which parts do you want me to sing?” And he said, “Oh no, you’re going to sing the whole thing.” I said, “What??” I’d never sung it before! I knew the song since I’m a big Procol Harum song, and had listened to it several times to do the arrangement, but I’d never sung it. I got in there, and all the mics were at my height! Brian said he’d coach me.

AH: I think you did a lovely job on the vocals, though I’m sure that was pretty alarming.

CO: The video for the song is a scream. It was done on green screen and there are all these trains going backwards and forwards around us. We have guitars in hand and I’m screaming ad-libs. It cracks me up and was a lot of fun to do. Brian is getting ready to go back on tour with Paul McCartney .

AH: Did Brian pick “Whiskey Train,” then?

CO: Brian picked three or four, and I thought, “Whiskey Train would be really good.” It’s a metaphor for alcoholism and whatever else you want to think about it. It’s also such a cool riff, especially if you like the British Invasion bands.

AH: It’s a very rocking, intense song, too!

CO: There are some very rocking songs on here. The second song, “The Conductor Wore Black,” was a song that the band Rank and File did, with Tony and Chip Kinman. Chip played guitar for us, but Tony has passed away, so Robert Rex Waller Jr. sings it with me. Then Rocky Burnette does “Mystery Train,” and that’s really rocking.

AH: This album also has a really broad sweep of sound traditions to it, too, doesn’t it?

CO: Yes, I wanted to appeal to a lot of ears on this. Some of these songs were chosen by BMG who chose some of their favorite railroad songs, and some are just Peter Case with a harmonica and guitar, like he does when he goes and plays live as a one-man band. John Fogerty and his kids and family sang and played “City of New Orleans.” They brought that track to me and I said I’d love to put it on the railroad album, but asked, “Could we put a harmonica on that?” Mickey Raphael was on lockdown and wasn’t touring, and he’s one of the best harmonica players in the world, so he played harmonica and I mixed it. Gary Myrick also does the rockingest version of “Train Kept A-Rollin.” A lot of people know The Yardbirds’ version of it, or Aerosmith’s version, but Gary’s version is pretty pure central-Texan.

AH: Just talking about this album is really bringing out the wealth of talent here and the really special people who you managed to involve in some way. There’s also the homage this does to the original people who wrote these songs or worked on the original versions.

CO: Don’t we owe it all to them? Look at Elvis, Johnny Cash, and certainly The Byrds. John York was in the Byrds for Ballad of Easy Rider. He does the John Stewart song on here, “Runaway Train,” which was a hit for Roseanne Cash. That song is about nuclear holocaust.

AH: I know that some of these choices highlight things that are important for us to think about and keep in mind, and maybe even when they were originally released, the artists intended that. “Whiskey Train,” obviously, is as relevant as ever, since it’s about trying to make good choices.

CO: Yes, sure. Also, you have a couple people here whose works I didn’t know of, like Alice Howe, doing classic songs like “500 Miles.” The first time I heard that song, it was Joan Baez and Peter, Paul, and Mary, and those were my heroes when I first started playing guitar. “Freight Train” was a big standard in the 60s if you were a Folkie.

AH: You had a tough choice here, because even at 19 tracks, I think you could have added more.

CO: We could have added more! If not for Covid, we probably would have had more. I keep thinking of them. Hopefully there will be room to do another volume of this if people are up for it.

AH: How do you think this idea resonates now? Obviously, there’s plenty of nostalgia for trains, but one of the big American themes in storytelling is the roadtrip. Maybe train songs are an early foundation for that.

CO: When we were kids growing up, some of the things that you did on the way home from school kind of colored your existence. We used to walk home in a group and have to cross railroad tracks for freight trains. We didn’t get passenger trains in Austin, Texas until later than that, and they only came through a couple of times of week. So you’d go put your ear down to the rail and listen to see if a train was coming. If one was coming, you’d wait for it and wave to the conductor. Or you’d put a penny on the track and get it smashed.

Austin wasn’t a small town when I was growing up, but it also wasn’t a big town. It was maybe a couple hundred thousand people at best when I was in high school. It’s a couple million now, but back then, the thought of getting out of Austin crossed your mind as you were getting older. You thought, “What am I going to do?” I used to think, “It would be really cool if I could get on a train and go somewhere, anywhere.”

I went to Europe when I was 17 and spent a lot of time on European trains because it was the way to get around. My sister and I got rail passes and visited our brother in Rome, who was there studying acting. The idea of getting away on a train was there, whether it was to get out of a bad situation, or whether it was just to look at the horizon and say, “Wow, I wonder what’s out there?” Growing up, some people planned to stay in Austin and get married, but my plan was not to stay in Austin, it was to go to LA or New York and seek my fame and fortune as a performer, writer, guitar player, and wild person with a Marshall Stack. [Laughs]

Thanks, Carla Olson, for talking to us! http://www.carlaolson.com

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Have Harmony, Will Travel 2

By carla olson.

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Carla Olson Maintains a Cool Consistency on ‘Have Harmony Will Travel 2’

by Lee Zimmerman March 13, 2020, 11:16 am

Carla Olson | Have Harmony Will Travel 2 | (Sunset Blvd)

Videos by American Songwriter

4 out of 5 stars

Carla Olson has always traveled in storied company. The former lead singer of the pioneering Americana combo The Textones, she’s since maintained an expansive solo career that’s found her partnering with such luminaries as Bob Dylan, Gene Clark, Don Henley, Barry Goldberg, and ex Rolling Stone Mick Taylor, a few of the many and extraordinary. It’s little wonder then that Olson flaunts her connections and compadres once again with Have Harmony Will Travel 2 , a follow-up to the initial Have Harmony effort released in 2013.

Naturally, it’s the array of great guest stars that attract initial notice. It’s a disparate bunch to be sure, one consisting of Timothy B. Schmit, Peter “Herman’s Hermits” Noone,” soul great Percy Sledge, Stephen McCarthy of the legendary Long Ryders, Brit rocker Terry Reid, one-time Bee Gees bassist Vince Melouney, and, in a posthumous appearance, her one time, ongoing performing partner and former Byrd Gene Clark. A reprise of “Del Gato,” a song the two recorded together on the album So Rebellious a Lover in 1987, seems somewhat unnecessary, owing to the fact that their admirers likely own the original album. It’s still a stirring selection regardless.

Nevertheless, all the other tracks are undeniably exceptional. A handful are even familiar. 

The duet with Schmit on “A Child’s Claim to Fame” offers a revisit to Schmit’s days as a seminal member of the band Poco, and also features the group’s Rusty Young contributing banjo, dobro and acoustic guitar to the proceedings. “Uno Mundo,” a relatively obscure song by the Buffalo Springfield, retains its initial exuberance. Sledge gets his due on “Honest as Daylight,” a recycled selection from Olson’s album Reap the Whirlwind , while the California combo I See Hawks in L.A. lends a track called “Bossier City,” reprised from their 2009 album Shoulda Been Gold .

Remarkably then, despite the disparate array of collaborators, Have Harmony Will Travel 2 maintains a cool consistency. The intersection of folk and classic country rock finds the material maintaining an even flow. If there’s any kind of signature style, it’s best exemplified by the aforementioned “Bossier City,” a song that retains a sense of the high desert sound the Flying Burrito Brothers were vested in when the ‘60s gave way to the ‘70s when they, the Byrds, Poco, the New Ryders of the Purple Sage, and various other California brethren forged the first furtive attempt at plying what is now known as Americana.

Both with the Textones and on her own, Olson had a significant role to play in that transition. Given that this collection serves as a compendium of sorts, it’s clear that she plays her part as effortlessly as ever.

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CARLA OLSON – Have Harmony Will Travel 3

Among her production credits, you’ll find Robert Rex Waller’s long overdue second album, ‘See The Big Man Cry’ – a solid affair that mixed country standards with a few unexpected cuts. On the same day in October 2023 that saw release, Olson’s own ‘Have Harmony Will Travel 3’ also hit record shop shelves, both physically and virtually.

Earlier releases in her series of duet recordings – issued in 2001 and 2020, respectively – found Carla collaborating with a wealth of country, pop and rock legends, including Eagles man Timothy B. Schmitt, Peter Noone, Buffalo Springfield’s Richie Furay, Percy Sledge, her friend Rob Waller and others. This eagerly awaited third volume welcomes an equally impressive array of guests, and with some familiar talents featured on some well curated material, the results should more than please fans of those earlier outings.

Two of the album’s strongest cuts were written with former Hollies vocalist Allan Clarke. A legend in his own right, Clarke – in his eighties at the time of release – is clearly still in possession of an interesting voice. On ‘It Makes Me Cry’, his distinctive tones are present intermittently, and although his advancing years mean his performance has a deepness and a rawness that wasn’t present even on his latter day Hollies recordings, there are occasionally hints of a higher register that’s hugely familiar, which comes into its own around the three minute mark. Olson, meanwhile, joins in a few places, and her rootsy twang is a perfect fit for the music, which slowly builds into something that sounds like a mid 70s Hollies ballad, complete with a ‘He Ain’t Heavy’ influenced harmonica to hammer its mood home. Clarke doesn’t sing on his other co-write, but ‘A Love That Never Blooms’ (presented as a duet with Shawn Barton Vach) is a very pleasing country ballad, driven by acoustic strums and aching vocals. Carla’s rich voice taps into a smooth and classic sounding country lilt, selling the lyric with ease, and a well placed harmony adds a great melody in the lead up to a simple chorus. For those very well versed in the Hollies catalogue, it wouldn’t be a huge leap to imagine this or something similar propping up their self titled disc from ’74. The melody is instantly familiar and hugely likeable, but the track’s greatest moments are actually supplied by a very retro sounding electric lead guitar, dropping in with a rather sad riff between Olson’s moments of narrative heartbreak. In terms of old school country with a slight pop edge, it’s almost perfect.

Carla and her assembled band go even deeper into a country sound on a cover of ‘Cool Water’ – a tune previously recorded by Frankie Laine, Hank Williams and others. The slow melody has been stripped right down to allow a sparse guitar and piano arrangement to throw a greater focus on a vocal during the number’s first half, and the guesting B.J. Thomas turns in a fabulous croon throughout. After bringing in a steady rhythm, the tune takes the mantle of a country cut from the 70s, and Olson’s added harmonies on the verses from herein really add a colour to the familiar melody with their near perfect tones. In a change of mood, but keeping the country vibes to the fore, a spirited run through of The Textones’ ‘Lead Me’ shares more of a ragged, rootsy country rocker, with Olson employing a heavily affected tone to suit. The vocal is distinctive, though not necessarily one of the album’s best, but the musicians play up a storm throughout. Bend your ear past the dominating voice and you’ll discover a rousing bassline driving a great rhythm, jangling guitars worthy of one of Mark Knopfler’s early country homages, a touch of banjo, and some great dirty electric leads that hint at a love of Steve Earle. Carla’s buddy Rob Waller returns as co-lead vocalist on ‘Stronger’, a slower, heartbreaking country number loaded with harmonies, warm bass lines and crying guitars. In terms of old style country – with or without a hat – it’s pretty much perfect, and could’ve just as easily found a home on Waller’s own ‘See The Big Man Cry’. In terms of harmonies, this tune shares some of the album’s finest. Even though Waller’s huge baritone is in danger of masking Carla in a couple of places, their voices compliment each other in a way that makes this recording feel almost timeless, and a crying lead guitar part filling out the number’s coda adds to the bar room tearjerking mood.

Those country based tunes are all entertaining in their own way – and to varying degrees – but this album is at its most fun when Carla and her various collaborators rock out a little more. A take on The Who’s classic ‘I Can See For Miles’ captures Carla curling her voice around an especially angry performance, and she does a brilliant job of stepping into Daltrey’s rather loud shoes. She shares a vocal that has a slightly different sneer beneath the surface, but the same time, a suitable amount of bite to challenge the crashy drum part. If anything else makes a lasting impression here, though, it’s guesting guitarist Gary Myrick. A man well known to AOR fans from his brilliant work on John Waite’s ‘No Brakes’, Myrick turns in some massive, overdriven chords from the outset, clearly intending to make his presence felt, but also hasn’t been shy in adding his own twist on the track’s angry soloing and subsequent noise-filled coda. In terms of covers, it is superb, and definitely one of the tracks that makes the varied ‘HHWT3’ a keeper. Also fun is a rather jaunty take on ‘Street Fighting Man’. Naturally, Carla’s voice doesn’t quite fit the drawling melody of the verses – and let’s face it, even in Jagger’s capable hands, those verses always were pretty ugly – but she warms up enough on the chorus to make the recording work. The real star here is guitarist Jake Andrews (whose ‘Time To Burn’ album from ’99 is well worth checking out, if you haven’t already) since he nails Keef’s thin jangle during the main riff, before supplying a couple of top notch solos that appear unafraid to give a slightly more bluesy feel to the classic track.

You’ll also discover an enjoyable cover of Broken Land’s ‘In Another Land’, a rocky number that takes the guts of mid 70s Stones – especially through a few of the rhythm guitar parts – and adds a rowdy Springsteen-ish flourish, and another lesser known tune ‘Face To Face’ (originally from ’66, and recorded by Zakary Thaks), which allows Olson a great opportunity to share the louder end of her varied vocal capabilities. This takes a place as one of the album’s best cuts since it features the legendary Eric Johnson on guitar. At first, Johnson’s contribution seems limited to various rhythm parts and an angry slide, but he really comes through at the tail end of the recording with a great solo, where his tones are easily recognisable, even if stylistically, the track is quite far removed from some of his own works.

In addition to sharing some great studio recordings, Carla has raided the archives to bring fans three previously unreleased live tracks featuring Gene Clark. Recorded in 1989 and featuring just their voices and two guitars, the recordings have a real purity. On ‘Gypsy Rider’ – a tune also covered on Robert Rex Waller’s ‘See The Big Man Cry’ – the combination of shimmering guitar and Clark’s wavering voice captures a humanity, whist Olson’s bigger harmony on the chorus adds a depth without drawing too much away from the fragility. ‘Del Gato’ shows off the acoustic strings in a slightly rougher way, but the music still sounds great underscoring Clark’s voice as he delivers a huge melody that never sounds a million miles away from a peak McGuinn, whilst the Byrds ‘See You Free This Time’ sounds just lovely in a stripped back arrangement. Again, this accentuates a real fragility to Clark’s performance style, and when Olson steps in with a bigger harmony, there’s something at play that doesn’t feel so far removed from the early Jayhawks. It’s fair to say that if you have even a passing interest in the Gene Clark legacy, these unearthed tracks make ‘Have Harmony… 3’ worth the price of admission.

With rockers, ballads, a huge wave of country and a touch of good old rock ‘n’ roll, ‘Have Harmony Will Travel 3’ feels like the kind of album with something to please a wide range of discerning music fans. Those who picked up the first volume all the way back in 2001 will undoubtedly welcome its arrival to the Olson catalogue, whilst the presence of Eric Johnson, Allan Clarke and a cracking Who cover should be enough to entice other ears from far and wide. Like a lot of collaborative collections, it sometimes has a scattershot feel, but even that gives the disc a pleasing and natural feel that suits the performer. It isn’t a perfect record, and probably wouldn’t pretend to be, but there’s some recommended listening hiding within.

October 2023

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Carla Olson Concert Setlists & Tour Dates

Carla olson at autism think tank and the children’s music fund 2016.

• Bluebirds Over the Mountain
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Carla Olson at McCabe's Guitar Shop, Santa Monica, CA, USA

• Look What You've Done
• Love's Made a Fool of You
• She Don't Care About Time
• All I Needed Was You

Carla Olson at Knitting Factory, Los Angeles, CA, USA

Carla olson at largo, los angeles, ca, usa, carla olson at morgan-wixson theatre, santa monica, ca, usa.

• Dance, Dance, Dance

Carla Olson at Club Lingerie, Los Angeles, CA, USA

Carla olson at bogart's, long beach, ca, usa, carla olson at trouble in paradise benefit.

• Standing in the Line
• Midnight Mission

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Carla Olson is a singer, songwriter, guitar player and producer. Her 1984 debut album, Midnight Mission, was as leader of the Textones and included Gene Clark, Ry Cooder and Don Henley as guests. A few years later Gene and Carla recorded what many view as the first Americana album, So Rebellious A Lover. Since then Carla has released solo albums and a live record with Mick Taylor.

She is one of the few currently active women record producers and includes among her credits Paul Jones, (Manfred Mann), Phil Upchurch, Jake Andrews, Joe Louis Walker, Chubby Tavares and Barry Goldberg (Electric Flag, The Rides).

Her recent duets album, Have Harmony, Will Travel, featured Richie Furay, Rob Waller, Juice Newton, John York and James Intveldt.

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STEPHEN McCARTHY & CARLA OLSON Today Roll Out Fast-Paced And Fun Video For “WE GOTTA SPLIT THIS TOWN”—New Album Out Friday 11/11

Article contributed by sro | published on monday, november 7, 2022.

STEPHEN McCARTHY (Long Ryders, Jayhawks, Dream Syndicate) and CARLA OLSON (Textones, solo artist, producer) have today (November 7) rolled out the fast-paced and fun video “We Gotta Split This Town.” It’s the second single from their first-ever duet album, NIGHT COMES FALLING , out this Friday, November 11. Watch the “We Gotta Split This Town” video HERE and listen to the single HERE . See quotes below from both artists.

Described as “a true Americana power duo” by Rock and Roll Globe, the two singers, songwriters and guitarists boast lengthy careers that have intersected a few times. NIGHT COMES FALLING brings them together again in exciting ways on this 11-song album of stirring and rocking Americana music (the track listing is below). It is being released via CARLA’s production company Have Harmony, Will Travel, with distribution and marketing by Bob Frank Entertainment via the Orchard. Pre-order the album HERE and read the bio for the album HERE .

The McCARTHY-penned “We Gotta Split This Town” is an urgent and infectious country-rocking duet about “a wayward couple,” he says, and the expertly edited video blends footage of STEPHEN (shot by Kevin Downs) and CARLA (by Ana Gazzola). It was directed by Tim Roth, who, explains CARLA, “utilized his magical green screen technique to put Stephen and I in the same space at the same time.”

“We Gotta Split This Town” follows the album’s first single, “Night Comes Falling,” a moving song that emerged after a conversation STEPHEN had with CARLA who was having dreams about her former singing partner, Gene Clark of the Byrds. It was on 1987’s classic So Rebellious A Lover, CARLA’s album with Gene, that STEPHEN and CARLA first recorded together when STEPHEN contributed lap steel to “The Drifter” and dobro on “Deportee.”

NIGHT COMES FALLING comes on the heels of McCARTHY and OLSON’s two songs on the 2022 BMG multi-artist album Americana Railroad where they offered a new version of STEPHEN’s “Here Comes That Train Again” as well as Gene Clark’s “I Remember The Railroad.” (CARLA produced seven additional tracks on the album including those by Dave Alvin, Rocky Burnette, Robert Rex Waller Jr. and John York.) NIGHT COMES FALLING is a testament to their individual and combined talents and was recorded at Robbie Krieger’s studio, Horse Latitudes, in Glendale, CA, It was produced by CARLA, STEPHEN and Mikal Reid.

The album’s musician credits are Stephen McCarthy (guitars, pedal steel guitar, mandolin, mellotron), Carla Olson (guitars), Paul Marshall (bass) and drummers Mitch Marine and Benjamin Lecourt. The album’s other players are Skip Edwards (keyboards, plus the string arrangement for “Long Way Back To Seventeen”), Jeff Lewis (flugelhorn on “Broken Lullaby”) and Jesse Owens Wells (fiddle on “I Remember The Railroad”).

QUOTES FROM STEPHEN McCARTHY AND CARLA OLSON ABOUT THE “WE GOTTA SPLIT THIS TOWN” SONG AND VIDEO   STEPHEN : I had an idea about a ne’er-do-well swindler whose luck was running out. A confidence man on the run with his gal who was trying to set him straight. She was in too deep to make a clean break. The story is a conversation between the two co-conspirators.

The song was definitely written as a duet. A couple trying to make sense of their downfall. I think it works well with the melodic dialogue riffing over a driving beat and distorted B3 organ.

I remember showing it to Carla and suggesting that she sing it in a way that showed she had some disgust with my character.

Carla and I were touching on many different genres with this album. Mostly finding the intersection where rock ‘n’ roll and country collide. We had a talented group of musicians that were able to help get these songs off of the page with passion and a great groove.

Writing and recording was very challenging during Covid. We were sending ideas back-and-forth long distance and then refining them the few times we were able to get together before cutting the album.

For the video, we both shot scenes remotely and they were edited by a great director named Tim Roth. He added all of the extra scenes which visually illustrate the story of this wayward couple.

CARLA : Stephen was in Los Angeles for the McCabe’s record release gig for my Have Harmony Will Travel 2 duets album in February 2020. We were performed several songs at the show.

When we got together to work on our songs for the gig, he showed me this idea for “We Gotta Split This Town” (the working title was “Not Tough Enough”). We were alternating singing to each other and thought it had a pretty cool attitude, so Stephen turned into the story about the couple on the run.

I’m always impressed by the talented director Tim Roth who created the video for the song (he also made the clip for “Night Comes Falling”). He utilized his magical green screen technique to put Stephen and I in the same space at the same time. Not sure how he does it.

The NIGHT COMES FALLING track listing is as follows:   01 We Gotta Split This Town (McCarthy) 02 Night Comes Falling (McCarthy, Olson) 03 Broken Lullaby (McCarthy, Olson) 04 The Bell Hotel Is Burning (George Green, Olson, McCarthy) 05 Brink Of The Blues (McCarthy, Olson) 06 One That Got Away (McCarthy, Olson) 07 Don't Talk To Strangers (Bob Durand, Ron Elliott) 08 Long Way Back To Seventeen (McCarthy, Olson) 09 Just To Get To You (McCarthy) 10 Timber (Kosta Lazarides) 11 I Remember The Railroad (Gene Clark)

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Artist: Paul Jones Song: 'Starting All Over Again' Album: Starting All Over Again

Original Manfred Mann singer's 2009 solo album (his first in 30 years!) showcases both his vocal and harmonica chops. Recorded in L.A. - additional recording with Eric Clapton at London's Olympic Studios. 24 Track Analog at 15 IPS Dolby SR -->

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Original Manfred Mann singer's 2009 solo album (his first in 30 years!) showcases both his vocal and harmonica chops. Recorded in L.A. 24 Track Analog at 15 IPS Dolby SR -->

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2008 Christmas album on Fuel 2000 features Herman's Hermit's Peter Noone (introduces Natalie Noone) on ye olde English carol. 24 Track Analog at 15 IPS Dolby SR -->

Artist: Various - The Ventures Song: 'Christmas Is Here (The Toy Soldier)' Album: Santa's Rock 'N' Roll Christmas Party

2008 Christmas album on Fuel 2000 featuring many artists - The Ventures supply a surfin' deconstruction of this holiday classic. 24 Track Analog at 15 IPS Dolby SR -->

Artist: Travis Childs Song: 'Monday Shoes' Album: Travis Childs

Writer of Paul Jones' 'Still True', Texan Travis Childs' voice evokes a young Steve Marriot or Rod Stewart.  Recorded in L.A. in 1998; B3: Barry Goldberg, guitar: Brian Brown. 24 Track Analog at 15 IPS

Artist: Travis Childs Song: 'I Could Never Love Another (After Loving You)' Album: Travis Childs

This Temptations classic was recorded in Los Angeles 1998; B3: Barry Goldberg, guitar: Brian Brown. 24 Track Analog at 15 IPS

Artist: Phil Upchurch Song: 'Jive Samba' Album: Tell The Truth

Chicago session heavyweight's most recent solo album. 24 Track Analog at 15 IPS Dolby SR

Artist: Phil Upchurch Song: 'Take Five' Album: Tell The Truth

Artist: Phil Upchurch Song: 'Long Gone Bird' Album: Tell The Truth

Artist: Joe Louis Walker Song: 'Sweet Thing' (trumpet: Wallace Roney) Album: Pasa Tiempo

With Leon Ndugu Chancler, Bob Hurst, Barry Goldberg, Dave Arnay, and Master Henry Gibson. Evidence Records release in 2002, Downbeat Magazine editor's pick. 24 Track Analog at 15 IPS Dolby SR -->

Artist: Joe Louis Walker Song: 'Barcelona' (tenor sax: Ernie Watts) Album: Pasa Tiempo

Artist: Joe Louis Walker Song: 'You Get What You Give' Album: Pasa Tiempo

Artist: Mare Winningham Song: 'Lonesomers' Album: Lonesomers

Academy Award winner shows off her singing and writing talents on this recording released in 1998 on Razor & Tie  Entertainment. 24 Track Analog at 15 IPS Dolby SR -->

Artist: Mare Winningham Song: 'Quietly Tonight' Album: Lonesomers

Artist: Various - guitar: Jake Andrews Song: 'I'll Be Home For Christmas' Album: Blue Xmas

2001 instrumental Christmas collection featuring a who's who of the blues world released on Evidence Records. 24 Track Analog at 15 IPS Dolby SR

Artist: Various - guitar: Tommy Castro Song: 'We Three Kings' Album: Blue Xmas

Album of Christmas instrumentals features blues greats: Otis Rush, Son Seals, Charlie Musselwhite, Kim Wilson, Sugar Blue, Walter Trout and Roy Gaines and more. 24 Track Analog at 15 IPS Dolby SR

Artist: Various Song: 'Little Drummer Boy' - harmonica: Paul Oscher Album: Blue Xmas

Featuring on guitar: Alvin Youngblood Hart and on harmonica: Paul Oscher. 24 Track Analog at 15 IPS Dolby SR

Artist: Carla Olson Song: 'Special' - duet with Mark Lindsay Album: Wave Of The Hand

First of a couple of songs that were favorites of my own recordings with some friends. 24 Track Analog at 15 IPS (sounds great for bass and drums!)

Artist: Carla Olson Song: 'Kinderwars' Album: Wave Of The Hand

Another personal favorite. Features Mick Taylor on guitar and Sweden's Mikael Rickfors on duet vocals. 24 Track Analog at 15 IPS (sounding great for bass and drums!)

Artist: Carla Olson Song: 'Loserville' Album: Ring Of Truth

Another personal favorite. Features Mick Taylor on guitar. 24 Track Analog at 15 IPS (great for bass and drums!)

Artist: Carla Olson Song: 'Ring Of Truth' Album: Ring of Truth

The title song - features Mick Taylor and Barry Goldberg. 24 Track Analog at 15 IPS (sounds great for bass and drums!)

Productions

• Ana Gazzola
• Chubby Tavares
• Jake Andrews
• Davis Gaines
• Barry Goldberg
• Peter Noone
• The Ventures
• Travis Childs
• Phil Upchurch
• Joe Louis Walker
• Mare Winningham
• Tommy Castro
• Paul Oscher
• Carla Olson

Carla Olson: Interview

Discography, contact '); // --> carla.