Fields and Cindy Bullens; and former Byrd Chris Hillman. The plaintive country-folk sounds of White Light and Roadmaster were replaced by intricate vocal harmonies and heavily overdubbed, vertiginous arrangements in Kaye's "answer to Brian Wilson and Phil Spector as a producer". Additionally, there was a pronounced R&B/funk feel to the title track, which has often been attributed to the presence of Sly Stone at some of the sessions. According to John Einarson's Mr. Tambourine Man, all of the assembled musicians were impressed by Clark's perfectionism and genial, humble attitude. Initially, Carlie Clark and the children temporarily relocated with him to Los Angeles, in the hope that the family routine of Mendocino could be preserved. However, it was not long before Clark reacquainted himself with L.A.'s party circuit and the latest fashionable drug—cocaine. After his disgusted wife moved the family back to northern California, Clark roomed with old friend and bandmate Doug Dillard in the Hollywood Hills; "Lady of the North", the album's closer, was written by the twosome in a cocaine haze, their final collaboration on a song. For years, rumors circulated that only half of an intended double album had been recorded, with Geffen balking at the excessive cost that would entail. This was corroborated by Clark in a 1976 interview. According to Kaye in Mr. Tambourine Man, 13 or 14 songs had been demoed with acoustic guitar at early sessions but only nine were recorded with a full band. "Train Leaves Here This Morning", a rerecording of a song first released on The Fantastic Expedition of Dillard & Clark, was omitted from the final album. The rumor of a double album, however, was debunked when the album's sessions were reassessed for its 2019 reissue. Release No Other was delivered to Asylum Records in the summer of 1974. Recording costs had ballooned to over $100,000 (equivalent to ~$525,000 in 2018), a considerable investment in a performer who had seen his last Top 40 hit eight years earlier. Geffen was further dismayed by the dearth of potential hits and the uncommercial nature of the material. Kaye said, "I got flak from David Geffen about 'how come there are only eight songs on the record after they spent all this money?' They were eight great songs and that was it. We were trying to make a real piece of art and we thought that David Geffen, being a really artsy guy,