so many stories surround G.P., for example I can't say I've read much about the reality of the early Flying Burrito Brothers, tha they actually did gigs with a borrowed drummer through 1968, or that Sneaky Pete was also working with Rick Nelson's band in 1969, basically he went with the FBBs, but while he was recording their debut he was still working with Nelson.

Someone suggested the notion of Gram a poser?

What an interesting though, a tragi-gothic southerner from a fallen wealthy family full of tradgedy, death, betrayal, and self-destruction, his father killed himself, his mother all but drank herself to death, he naturally shifted from rock to folk, folk to rock and then to a rock and country hybrid truly befitting his southern roots and hollywood hedonism.

I don't see the difference that GP had in bankrolling the Elvis crew (which he didn't by the way... the label paid for the sessions, Gram didn't take them on the road), and Emmylou successfully getting Warner to finance the Hot Band, which consisted of many of the same guys from the Parsons sessions.

Hey, if you're not moved by Gram's songs, fine. But a lot of people find his songs sublime - me included. There are tons of great ones he had a hand in, to my tastes - Luxury Liner, She, Devil in Disguise, Wheels, Sin City, Hickory Wind, Return of the Grievous Angel, In My Hour of Darkness, Las Vegas, and others. He also was a first-class interpreter of others tunes. He sang with heart - to me, much more interesting than so many technically virtuosic singers that have no soul at all, to my ears. But, as usual, this is a matter of taste.

As far as his lifestyle, I don't see him as a poser as much as someone who embraced the gonzo lifestyle of the '60s like so many others. His changing accents don't surprise me, since I've seen many southerners, including myself, go through the same thing. I had a thick North Mississippi accent. The first time I left the South, to work one summer in Bar Harbor, Maine, I was ashamed of my accent and virtually lost every trace of it (when I stopped over in NYC on the way home, a bartender guessed I was from Connecticut). When I went back South, it all came back. Later, when I left the South again to go to grad school in California, I learned to turn it on or off depending on the listener. Many people in academia are totally prejudiced and think anyone with a Southern accent is an ignorant yokel. As I've gotten older and more secure with my identity, I don't try to lose the whole thing, but just keep it toned down so it's there, but doesn't attrack undue attention.

This has been a great thread on Gram, and I've learned some interesting stuff.

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Student of the Steel: Zum uni, Fender tube amps, squareneck and roundneck resos, tenor sax, keyboards

[This message was edited by David Doggett on 15 June 2006 at 08:20 AM.]

When I read now, and even before, of his inheritance, at first I didn't quite know what to make of it.

But still - the guy was a catalyst. Now that I think about it, if he didn't have that financial support, probably none of this would have gone down. Hey - for a change, money was well spent (or wasted).

A few folks here have stated they don't care for his voice. That's OK. Many too, have said that about Dylan. But my take on this, is that these characters sang with heart, and I don't think they fussed or mussed over how they sounded. They had to get the message out, and, to me, did an excellent job of it.

With soul & spirit & honesty.

Sneaky Pete and the FBB were a huge influence
in my going for the steel guitar.

quote:

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. . . in the circles I hung around in the 60s . . .

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Any of you Boston boys ever see a group called the LuvLace Lads at the Rathskellar, circa Fall, 1965?

[This message was edited by James Cann on 19 June 2006 at 08:13 PM.]

quote:

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(let's see if I can spell it correctly)
Chagogagogmanchagogagogmanchabunagungamog.

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As I've mentioned before, I became a JLW groupie/nuthead when I first encountered them on the Cape.

John Macy told me, at one point, that they wouldn't be playing "this weekend" at the LIGHTSHIP, but at a place called the Rathskeller in Beantown - and told me how to get there.

I went. Unbelievable. I wanted to hear how they would sound in a different environ from Ole Cape Cod. Boston, at this time, was not exactly an open arms, howdie, cows are a'grazin' kind of place for, never mind country, but SWING. TEXAS SWING.

Anyway, gotta give those Boston folks a big applause. They went wild over JLW. I just had a complete ball.

Then - I had to hump it back to the Cape, around 2:00 AM. To Chatham - at the elbow.

And yup, I was bombed.

But I made it. Would never attempt this today.

What a great era I lived in. I sure do miss it.

Chipper

[This message was edited by CHIP FOSSA on 19 June 2006 at 09:12 PM.]

I hadn't heard Sin City in quite sometime, great tune.

We got our recruitsand a green mohair suits
So please show your ID at thew door.

On the 31st floor
a gold plated door,
won't keep out
the Lords burning rays

Brilliant lines!!

I remember Cabin fever and Wheatstraw too.
Them's was der days!

Chip, by the way it's David...
What I meant was I must a met John some time back then,
not just since I met him here on the forum.
I'm surprised he hasn't chimed in on this thread.

I come fron Sudbury Mass. originally,
and my Dad had the old Natural Sound Studios in Maynard,
so all sorts of local music passed my ears,
plus my own sound and picking gigs in the region.

I was listening to "Sweet Heart" in the truck the other day,
and "The Christian Life" came on.

Cha Cha had never heard it, but she perked right up
and said how much she like that song.
If she hears it more than 3 time's she'll
start singing it around the house, I suspect.

She then started listening to the album more intently.
She like both versions too.

She also really liked Workingman's Dead,
which she heard all of this week too.

I started hearing a close connection
between the guitars of
Clarence White on Sweet heart
and Jerry Garcia on Workingman's.

Like kindred spirits of that time.
And maybe a bit of Jimmy Bryant
filtering through them both.

[This message was edited by David L. Donald on 20 June 2006 at 09:09 AM.]

Didn't know what you meant for a minute, but went back and checked my posts, and I did mis-call you Donald. I'm sorry. I can't explain the screw up. You have one of those rare names where your last name could also be a first name. That's probably what happened in the speed typing of the moment. Or, just not thinking.

Regards,

quote:

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And yup, I was bombed.

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quote:

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But I made it. Would never attempt this today.

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quote:

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What a great era I lived in. I sure do miss it.

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James (Lynn, Danvers, Winchester)

[This message was edited by James Cann on 20 June 2006 at 06:29 PM.]

As for the accent, where did Bruce Springstein get his Southern accent from?, and most British people sing with no trace of an English accent.
And where did my brother get his Texas accent from after only two days of being in Lubbock after he drove with me down to my first semester at college?
I love the song 'She', and if it was sung in key, it would not be as effective, reminds me of great guitar plyers who bend a note out of key that just hits the spot making it so memorable.
The other song I really love is the Burritos' 'Dark End of the Street', I heard to original recently and thought that Gram's version was better, always seems that the first version you hear is best, but it is really a great arrangement.
The weird thing is that Gram was buried in new orleans in one of those above ground graves, I wonder where he is after Katrina, his life is still full of mistery even 'After the Flood'.
BTW, a new CD is being released this week of Gram's solo work as is a DVD about Gram which comes out today that has many clips of him and interviews with friends and musicians, I'm going out tomorrow and picking them both up, I just wish he lived longer.

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Regards, Craig

[This message was edited by Craig Stock on 20 June 2006 at 06:49 PM.]

Anyone who loves Gram Parsons should get this. OK you probably already have GP and ROTGA, but the third disc with all the alternative tracks is stunning. As far as I can make out the backing tracks are the same takes (or very near) but in a pre final mixdown state. The steel is right up front and in the case of 'She' there's a lovely steel part at the beginning (Emmons?) that is totally missing from the final mix. There's loads of stuff you can't hear in the final mixes. Ooh Las Vegas is a different take I think (or they punched in the bass later with a differnt timing) James Burton and Al Perkins are right in your face in this mix. Hickory Wind is presented without all the faked barroom blabber and it is nothing less than a revelation.

"I started out younger
Had most everything
All the riches and pleasures
What else could life bring?"

Gram turned his trust-fund background into killer irony and a great song, one of many. You can't deny his songwriting touch.

What really makes it though is these are completely different vocal takes and while they are rougher in most cases the sound of Gram and Emmy's voices on these recordings is just beautiful. Much more intimate and 'live' sounding, almost as if it's a very modern production in that sense.

I will get this new CD. Wasn't aware till your post that this is out.

As far as I'm concerned, you don't have to explain or compare or defend this new GP release.

I can't wait to here this stuff.

Chipper