Gene Clark Net Worth 2021

actors
January 1, 2020

Gene Clark Net Worth

How much is Gene Clark worth? For this question we spent 14 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.

The main source of income: Actors
Total Net Worth at the moment 2021 year – is about $135,8 Million.

Youtube

Biography

Gene Clark information Birth date: November 17, 1944, Tipton, Missouri, United States Death date: May 24, 1991, Sherman Oaks, Los Angeles, California, United States Profession:Actor, Soundtrack Education:Bonner Springs High School Music groups:The Byrds, Dillard & Clark (1968 – 1970), The New Christy Minstrels (1963 – 1964)

Height, Weight

:How tall is Gene Clark – 1,79m.
How much weight is Gene Clark – 76kg

Photos

Gene Clark Net Worth
Gene Clark Net Worth
Gene Clark Net Worth
Gene Clark Net Worth

Wiki

Harold Eugene &quot, Gene&quot, Clark (November 17, 1944 – May 24, 1991) was an American singer-songwriter and founding member of the folk rock band The Byrds. Clark was The Byrds&#39, dominant songwriter between 1964 and early 1966, penning most of the band&#39, s best-known originals from this period, including &quot, I&#39, ll Feel a Whole Lot Better&quot, , &quot, She Don&#39, t Care About Time&quot, , &quot, Set You Free This Time&quot, , and &quot, Eight Miles High&quot, . He created a large catalogue of music in several genres, but failed to achieve solo commercial success. Clark was one of the earliest exponents of psychedelic rock, baroque pop, newgrass, country rock and alternative country.
Biography,Early lifeClark was born in Tipton, Missouri, the third of 13 children in a family of Irish, German, and American Indian heritage. His family moved to Kansas City, Missouri, where as a boy he began learning to play the guitar and harmonica from his father. He was soon playing Hank Williams tunes as well as material by early rockers such as Elvis Presley and the Everly Brothers. He began writing songs at the age of 11. By the time he was 15, he had developed a rich tenor voice, and he formed a local rock and roll combo, Joe Meyers and the Sharks. Like many of his generation, Clark developed an interest in folk music because of the popularity of the Kingston Trio. When he graduated from Bonner Springs High School, in Bonner Springs, Kansas, in 1962, he formed a folk group, the Rum Runners.Formation of the ByrdsClark was invited to join an established regional folk group, the Surf Riders, working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum. On August 12, 1963, he was performing with them when he was discovered by the New Christy Minstrels. They hired him, and he recorded two albums with the ensemble before leaving in early 1964. After hearing the Beatles, Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club. In early 1964 they began to assemble a band that would become the Byrds.[11]Clark wrote or co-wrote many of the Byrds best-known originals from their first three albums, including Ill Feel a Whole Lot Better, Set You Free This Time, Here Without You, You Wont Have to Cry, If Youre Gone, The World Turns All Around Her, She Dont Care About Time and Eight Miles High. He initially played rhythm guitar in the band, but relinquished that position to David Crosby and became the tambourine and harmonica player.[12] Bassist Chris Hillman noted years later in an interview remembering Clark, At one time, he was the power in the Byrds, not McGuinn, not Crosby—it was Gene who would burst through the stage curtain banging on a tambourine, coming on like a young Prince Valiant. A hero, our savior. Few in the audience could take their eyes off this presence. He was the songwriter. He had the gift that none of the rest of us had developed yet…. What deep inner part of his soul conjured up songs like Set You Free This Time, Ill Feel A Whole Lot Better, Im Feelin Higher, Eight Miles High? So many great songs! We learned a lot of songwriting from him and in the process learned a little bit about ourselves.[13]A management decision gave McGuinn the lead vocals for their major singles and Bob Dylan songs. This disappointment, combined with Clarks dislike of traveling (including a chronic fear of flying) and resentment by other band members about the extra income he derived from his songwriting, led to internal squabbling, and he left the group in early 1966.[14] He briefly returned to Kansas City before moving back to Los Angeles to form Gene Clark & the Group with Chip Douglas, Joel Larson, and Bill Rhinehart.[15]Solo career, brief return to the Byrds and Dillard & ClarkColumbia Records (the Byrds record label) signed Clark as a solo artist, and in 1967 he released his first solo album, Gene Clark with the Gosdin Brothers. The Gosdin Brothers were selected to back him because they shared the same manager, Jim Dickson, and because Chris Hillman, who played bass on the album, had worked with the Gosdin Brothers in the mid-1960s when he and they were members of the Southern California bluegrass band the Hillmen.[16] The album was a unique mixture of pop, country rock and baroque psychedelic tracks. It received favorable reviews, but unfortunately for Clark it was released almost simultaneously with the Byrds Younger Than Yesterday, also on Columbia, and (partly because of his 18-month absence from public attention) was a commercial failure.[17]With the future of his solo career in doubt, Clark briefly rejoined the Byrds in October 1967, as a replacement for the recently departed David Crosby, but left after only three weeks, following an anxiety attack in Minneapolis.[18] During this brief period with the Byrds, he appeared with the band on the television program Smothers Brothers Comedy Hour, lip-synching the groups current single, Goin Back, he also performed Mr. Spaceman with the band.[19] Although there is some disagreement among the bands biographers, Clark is generally viewed as having contributed background vocals to the songs Goin Back and Space Odyssey for the forthcoming Byrds album The Notorious Byrd Brothers and was an uncredited co-author, with McGuinn, of Get to You, from that album.[18]In 1968, Clark signed with A&M Records and began a collaboration with the banjo player Doug Dillard.[20] Guitarist Bernie Leadon (later with the The Flying Burrito Brothers and the The Eagles), bassist Dave Jackson and mandolinist Don Beck joined them to form the nucleus of Dillard & Clark.[21] They produced two albums, The Fantastic Expedition of Dillard & Clark (1968) and Through the Morning, Through the Night (1969).The Fantastic Expedition of Dillard & Clark was an adventure in acoustic country rock, it included the songs Train Leaves Here This Morning (a collaboration between Clark and Leadon prominently covered by the latter in 1972 on The Eagles debut album) and She Darked the Sun (covered by Linda Ronstadt on her 1970 album Silk Purse. In contrast, Through the Morning, Through the Night was more indebted to traditional bluegrass but employed electric instrumentation. By this juncture, Dillards girlfriend Donna Washburn had joined the group as a backing vocalist, a factor that precipitated the departure of Leadon.[22] The shift to traditional bluegrass also caused Clark to lose interest.[23] Written by Clark, the title song was used by Quincy Jones in the soundtrack of the 1972 Sam Peckinpah film The Getaway, it was also covered by Robert Plant and Alison Krauss (along with Polly, another Clark-penned track from the album) on their 2007 album Raising Sand. Both albums by Dillard & Clark fared poorly on the charts, but they are now regarded as seminal exemplars of the country rock and newgrass genres.[24]The collaboration with Dillard rejuvenated Clarks creativity but greatly contributed to his growing drinking problem.[25] Dillard & Clark disintegrated in late 1969 after the departures of Clark and Leadon. Clark, along with Leadon, Jackson and Beck provided backup on the debut album of Steve Young, Rock Salt & Nails, released in November 1969.[26]In 1970, Clark began work on a new single, recording two tracks with the original members of the Byrds (each recording his part separately). The resulting songs, Shes the Kind of Girl and One in a Hundred, were not released at the time, because of legal problems, they were included later on the album Roadmaster.[27] In 1970 and 1971, Clark contributed vocals and two compositions (Tried So Hard and Here Tonight) to albums by the Flying Burrito Brothers.[28]Frustrated with the music industry, Clark bought a house in Albion, California (near Mendocino), married former go-go dancer and Bell Records production assistant Carlie Lynn McCummings in June 1970, and fathered two sons (Kelly and Kai) while subsisting in semiretirement on his still-substantial Byrds royalties throughout the early 1970s, augmented by income from The Turtles 1969 American Top Ten hit You Showed Me, a previously unreleased composition by McGuinn and Clark from 1964 rearranged for the band by Chip Douglas.[29][30] A graduate of Indiana State University, McCummings corrected Clarks grammatical errors and assisted the singer-songwriter (who, belying his literary elan, seldom read) in improving his diction and elocution.[31]White Light and RoadmasterIn 1971, Clark released his second solo album, White Light. (The title was not on the cover sleeve, and thus some later reviewers mistakenly assued that the title was Gene Clark.)[32] The album was produced by the American Indian guitarist Jesse Ed Davis, with whom Clark developed great rapport, partly due to their common ancestry.[33] An intimate, poetic and mostly acoustic work supplemented by Daviss slide guitar, the album contained many introspective tracks, such as With Tomorrow, Because of You, Where My Love Lies Asleep and For a Spanish Guitar (which Bob Dylan supposedly hailed as one of the greatest songs ever written).[34] All of the material was written by Clark, with the exception of Tears of Rage, by Dylan and Richard Manuel. Launched to considerable critical acclaim, the album failed to gain commercial success, except in the Netherlands, where it was voted album of the year by rock music critics.[35] Once more, modest promotion and Clarks refusal to undertake promotional touring adversely affected sales.[36]In the spring of 1971, Clark was commissioned by Dennis Hopper to contribute the tracks American Dreamer and Outlaw Song to Hoppers film project American Dreamer.[32] A rerecorded, longer version of the song American Dreamer was later used in the 1977 film The Farmer, along with an instrumental version of the same song plus Outside the Law (The Outlaw), a rerecording of Outlaw Song.[32]In 1972, Clark attempted to record a follow-up album. Progress was slow and expensive, and A&M terminated the project before completion.[37] The resulting eight tracks, including Full Circle Song and In a Misty Morning, along with those recorded with the Byrds in 1970 and 1971 (Shes the Kind of Girl and One in a Hundred) and with the Flying Burrito Brothers (Here Tonight), were released in 1973 as Roadmaster in the Netherlands only.[38]ByrdsClark then left A&M to join a reunion of the original five Byrds and cut the album Byrds (released in 1973 by Asylum Records). The album charted well (U.S. number 20), but its placement did not live up to the labels initial expectations in the wake of the recent success of other artists, including Crosby (Crosby, Stills, Nash & Young) and Hillman (Stephen Stillss band, Manassas). Clarks compositions Full Circle and Changing Heart and the Neil Young covers on which he sang the lead vocal (See the Sky About to Rain and Cowgirl in the Sand) were widely regarded as the standout tracks on a record which received a critically divisive response.[39] Disheartened by the bad reviews and unhappy with Crosbys performance as the records producer, the group members chose to dissolve the Byrds.[40] Clark briefly joined McGuinns solo group, with which he premiered Silver Raven, arguably his most celebrated post-Byrds song.[39]No OtherOn the basis of the quality of Clarks contributions to Byrds, David Geffen signed him to Asylum Records in early 1974.[41] The label was the home of the most prominent exponents of the singer-songwriter movement of the era and carried the kind of hip cachet that Clark hadnt experienced since his days with the Byrds.[42] He retired to Mendocino and spent long periods at the picture window of a friends cliff-top home with a notebook and an acoustic guitar, staring at the Pacific Ocean. Deeply affected by his visions, he composed the songs that became his masterpiece, No Other. Produced by Thomas Jefferson Kaye with a vast array of session musicians (including members of the Section and the Allman Brothers Band) and backing singers, the album was an unprecedented amalgam of country rock, folk, gospel, soul and choral music with poetic, mystical lyrics.[43] Included in No Other are some of Clarks most enduring compositions, including the title track, Silver Raven, Some Misunderstanding and Lady of the North. Although the album was praised by critics, its unconventional arrangements limited public appeal. Furthermore, its high production costs (exceeding $100,000) prompted Geffen to berate Clark and Kaye.[44] The album was minimally promoted and stalled in the Billboard album chart at #144.[45] Ultimately, No Other became a favorite of rock critics, growing in popularity with each passing year.[46] In 2013, popularity of No Other grew when it was revealed that members of such au courant groups as Beach House, the Walkmen, Grizzly Bear, and Fleet Foxes would be performing the album in its entirety in a series of concerts.[47]Clarks return to Los Angeles to record the album resulted in his reversion to a hedonistic lifestyle and accelerated the disintegration of his marriage.[48] Disillusioned by professional and marital failure, he mounted his first solo tour by road, playing colleges and clubs with Roger White (lead guitar and backing vocals) and Duke Bardwell (electric bass, backing vocals and acoustic guitar), the trio was billed as Gene Clark and the Silverados.[49]Two Sides to Every StoryAfter the commercial failure of No Other, Clark was confused about his artistic direction. Throughout 1975 and 1976, he had hinted to the press that he was assembling a set of cosmic songs fusing country rock with R&B and funk, elaborating on the soundscapes of his most recent album. In 1976, he recorded a set of ten demos that combined country and folk music with a light touch of cosmic consciousness. These were submitted to RSO Records, which promptly bought out Clarks Asylum contract and issued the long-gestating Two Sides to Every Story in 1977. The album—a melange of bluegrass, traditional honky tonk, echoes of No Other (Sister Moon) and strident country rock (a new arrangement of Kansas City Southern)—was produced by Thomas Jefferson Kaye with an understated touch.[46]The emotional fallout from his divorce is reflected in the album title and several of Clarks compositions: Sister Moon, Lonely Saturday, Past Addresses, Silent Crusade and Hear the Wind. The album also contains impressive covers of the traditional In the Pines (a key component of Clarks live repertoire with the Silverados) and Give My Love to Marie by James Talley. Once again, his style of sensitive country-rock balladry failed to achieve success on the U.S. charts. In a belated attempt to find an appreciative public, he reluctantly overcame his travel anxiety and launched an international promotional tour with the KC Southern Band.[50] Some six weeks before his death, Clark told interviewer Bill Wasserzieher that he considered Two Sides to Every Story his best album, rivaled only by No Other.[51]McGuinn, Clark & HillmanFor his British tour dates, Clark found himself on the same bill as ex-Byrds Roger McGuinn and Chris Hillman, each fronting their own bands.[52] After returning to the United States, Clark and McGuinn began touring as an acoustic duo. After Hillman joined his former bandmates, the trio signed with Capitol Records.[53] The ensuing McGuinn, Clark & Hillman (1979) was a rebirth in both performing and songwriting for Clark, who ensconced himself as the groups dominant creative force. He wrote four songs for the album, including Backstage Pass (a rumination on the ennui of touring and his fear of flying), Release Me Girl (a disco-inflected collaboration with Thomas Jefferson Kaye), the UFO-inspired Feelin Higher and Little Mama.[54]Many critics felt that the albums slick production and disco-influenced soft rock rhythms didnt flatter the group, but the album reached #39 on the Billboard 200 (underpinned by the McGuinn-penned Dont You Write Her Off, which peaked at #33 in May 1979), was certified gold by RIAA, and sold well enough to generate a follow-up.[55] McGuinn, Clark and Hillmans second release was to have been a full group effort entitled City, although it was ultimately released in 1980, a combination of Clarks unreliability (including experimentation with heroin) and his dissatisfaction with their musical direction (mostly regarding Ron and Howard Alberts production) resulted in the album being credited to Roger McGuinn & Chris Hillman featuring Gene Clark. Despite the turmoil, Clark penned a classic love song, Wont Let You Down. By 1981, Clark had left, and the group recorded one more album as McGuinn/Hillman.[56]Rehabilitation, Firebyrd and So Rebellious a LoverClark moved to Hawaii with Jesse Ed Davis to try to overcome his drug dependency, remaining there until the end of 1981.[57] Upon his return to Los Angeles, he assembled a new band, the Firebyrds, and in 1982 proceeded to record what would eventually become the album Firebyrd. While waiting for the album to be released, Clark joined up with Chris Hillman and others in an abortive venture called Flyte, which failed to secure a recording contract and was quickly dissolved.[58] The eventual release of Firebyrd in 1984 coincided with the emergence of jangle rockers like R.E.M. and Tom Petty, who had sparked a new interest in the Byrds. Clark began developing new fans among L.A.s roots-conscious paisley underground scene.[59] Later in the decade, he embraced his new status by appearing as a guest with the Long Ryders, in a session arranged by album producer Henry Lewy at band member Sid Griffins suggestion, and he cut an acclaimed duo album with Carla Olson of the Textones titled So Rebellious a Lover (including the notable Gypsy Rider and Del Gato) in 1986. The album included contributions from Chris Hillman and was produced and arranged by session drummer Michael Huey.[60]Later career, illness and deathIn 1985, Clark approached McGuinn, Crosby and Hillman regarding a reformation of the Byrds in time for the 20th anniversary of the release of Mr. Tambourine Man.[61] The three of them showed no interest. Clark decided to assemble a superstar collection of musicians, including ex-Flying Burrito Brothers and Firefall member Rick Roberts, ex-Beach Boys singer and guitarist Blondie Chaplin, ex-Band members Rick Danko and Richard Manuel, and ex-Byrds Michael Clarke and John York. Clark initially called his band The 20th Anniversary Tribute to the Byrds and began performing on the lucrative nostalgia circuit in early 1985.[62] A number of concert promoters began to shorten the bands name to the Byrds in advertisements and promotional material.[61] As the band continued to tour throughout 1985, their agent decided to shorten the name to the Byrds permanently, to the displeasure of McGuinn, Crosby and Hillman. Clark eventually discontinued performing with his own Byrds band, but drummer Clarke continued on with Skip Battin (occasionally with ex-Byrds York and Gene Parsons), forming another Byrds group, prompting McGuinn, Hillman, and Crosby to go on the road as the Byrds in an attempt to establish a claim to the rights to the name. Their effort failed this time, Clark was not included in the reunion, primarily because of his involvement with the act that didnt include them. Crosby finally secured rights to the name in 2002.[63][64]So Rebellious a Lover, a duet album with the roots rock singer Carla Olson, released in 1987, was a modest critical success, but Clark was increasingly afflicted with serious health problems, including ulcers and alcohol dependence. In 1988, he underwent surgery for the removal of much of his stomach and intestines.[citation needed]A period of abstinence and recovery followed until Tom Pettys cover of Ill Feel a Whole Lot Better, on his album Full Moon Fever (1989), yielded huge royalties to Clark, who quickly resumed using crack cocaine and alcohol. The Byrds set aside their differences long enough to appear together at their induction into the Rock & Roll Hall of Fame in January 1991, at which the original lineup performed several songs together, including Clarks Ill Feel a Whole Lot Better.[citation needed]Clarks health continued to decline as his drinking accelerated. He died of natural causes on May 24, 1991, at the age of 46. The coroner declared he succumbed to natural causes brought on by a bleeding ulcer. He was buried at Saint Andrews Cemetery in his birthplace of Tipton, Missouri, under a simple headstone inscribed Harold Eugene Clark – No Other.[65]

Summary

Wikipedia Source: Gene Clark

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