Austin-to-L.A. transplants the Textones were one of the few post-new wave "roots rock" bands of the mid-'80s to deserve the appellation. (Unfortunately, they're mostly remembered, if at all, only as the band Kathy Valentine left to join the Go-Go's.) Unlike the terribly overrated Lone Justice or the beer salesmen in the Long Ryders or the Del Fuegos, Carla Olson and company came off like a punkier version of the Gram Parsons-era Byrds, with a poppy edge on unexpected covers like the Searchers' "Silver" and Neil Sedaka's "Keep a Walkin'."
Gene Clark was one of the most gifted singers and songwriters of his generation, but bad luck and self-destructive habits followed him like a shadow, and it seemed sadly appropriate that he died in the spring of 1991 as he was working on a follow-up to the biggest success of his solo career, So Rebellious a Lover, his 1987 collaboration with Carla Olson of the Textones. Clark's poor health (aggravated by drinking) and fear of flying prevented a full-scale tour in support of So Rebellious a Lover, but he played scattered live dates after its release, and In Concert gathers recordings from shows Clark gave in late 1988 and early 1990.
The musical reconstructions industry keeps gathering pace, but few works have attracted as much attention as Mahler's 10th Symphony. Joe Wheeler (who died in 1977) was a brass-playing British civil servant with a passion for Mahler. This completion (itself in an edition by the conductor here, Robert Olson) uses the leaner orchestration of the composer's later years. But does it sound Mahlerian? Certainly more so than Remo Mazzetti's 1997 version, but neither caps Deryck Cooke's acute sense of authentic detail and color in his legendary edition.
Female spoken word artists have become the spokeswomen for a new generation. This demanding oral poetry of the early 21st century has defined a vanguard of lithely muscled voices; women who think and act decisively to create their distinctive and desperately earned realities. …