This album, the final Motown recording project for Chris Clark, was the most unusual one of all.
Deke Richards was a young producer just commencing his incredible run as a member of "The Corporation"; the production team principally behind the Jackson 5 and the two earlier Diana Ross and The Supremes' 45's; "Love Child" and "I'm Living In Shame". Perhaps on account of his contribution to their successes, Berry Gordy Jr. asked Richards to produce something new on Chris Clark.
He duly complied and composed "Can I See You In The Morning,” which got Gordy excited enough to offer Richards a chance to produce an entire LP on Clark. He agreed and came up with a radical concept for the project: a new subsidiary, to be called Weed Records, (a name appropriate for the "flower power, love-in" period of the late ‘60s), along with the re-branding of the singer. For the project she'd be known as CC.
Berry, who was becoming increasingly involved in preparing the groundwork for Motown's first film venture "Lady Sings The Blues", a project that Chris Clark would also work on, was in a rush to have the album completed, so Richards recruited David Van de Pitte to assist him in arranging the tracks. Mickey Crofford and John Stronach are credited on the back cover as the engineers.
Apart from the Richards compositions, “Can I See You In the Morning” and “How About You,” "CC Rides Again" was for the most part composed of contemporary pop and rock covers - “Spinning Wheel,” “With A Little Help From My Friends,” “Get Back,” “In The Ghetto,” “One,” “Good Morning Starshine and the original Motown in-house song ”You've Made Me So Very Happy", a recent huge success for the group Blood Sweat and Tears.
The photo shoot for the album cover was just as much of a departure from what was the norm for Motown as was the music. The gate-fold front cover depicts the singer clutching a pistol and sitting astride a donkey, while on the back cover her head appears peeking above the rear of a fully grown elephant. Rather oddly there is no mention anywhere that this is a Motown related product. Perhaps even before its release, the company sensed an impending disaster, and were keeping their distance!
The concept didn’t work, in fact it was a total failure, apparently selling only a few hundred copies. As a consequence, Weed Records was gone in a puff. This was the only album released on the label. No tracks were lifted from it to act as a promotional 45.