Gram Parsons (1982) liner notes: Difference between revisions
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There are those better qualified than I to tell Gram | There are those better qualified than I to tell Gram | ||
Parson`s story. But as a fan of the man , I think you | Parson`s story. But as a fan of the man, I think you | ||
should own this record | should own this record . . . this is why. | ||
In the Byrds and the Flying Burrito Brothers , Gram | In the Byrds and the Flying Burrito Brothers, Gram | ||
Parsons had helped create a Frankenstein`s Monster - | Parsons had helped create a Frankenstein`s Monster - | ||
country rock. But his first Warner Brothers album | country rock. But his first Warner Brothers album | ||
"G.P." paid no allegiance to this style. With an | "G.P." paid no allegiance to this style. With an | ||
impressive back-up band it was a traditional sounding | impressive back-up band it was a traditional sounding | ||
album , mercifully free of gimmicks like fuzz-tone | album, mercifully free of gimmicks like fuzz-tone | ||
steel guitar. The songs are of lost or stolen love , | steel guitar. The songs are of lost or stolen love, | ||
crossed only occasionally with an R | crossed only occasionally with an R'n'B beat. But | ||
most importantly it featured some of the finest duet | most importantly it featured some of the finest duet | ||
singing ever put on record. There is something about | singing ever put on record. There is something about | ||
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voice. It it should fail to move you - then you have a | voice. It it should fail to move you - then you have a | ||
big problem. I would say that Emmylou Harris`s solo | big problem. I would say that Emmylou Harris`s solo | ||
verse on " We | verse on "We'll Sweep Out The ashes In The Morning" | ||
matches anything in her excellent solo catalogue. | matches anything in her excellent solo catalogue. | ||
Of course for the followers of | Of course for the followers of Frankie's Monster | ||
in California and the Formula Kings of Nashville , | in California and the Formula Kings of Nashville, | ||
this was much too close to real emotion and sales did | this was much too close to real emotion and sales did | ||
not fare well. | not fare well. | ||
On " Return Of The Grevious Angel " | On "Return Of The Grevious Angel," Parsons, | ||
the co-billed Harris and the soon-to-be Hot Band | the co-billed Harris and the soon-to-be Hot Band | ||
continued their devastating duets - most notably | continued their devastating duets - most notably | ||
"Hearts On Fire " and the much crucified "Love Hurts". | "Hearts On Fire" and the much crucified "Love Hurts". | ||
But Parsons also returned to the mysterious , almost | But Parsons also returned to the mysterious, almost | ||
philosophical tones of his " Sin City" days. The title | philosophical tones of his "Sin City" days. The title | ||
track "$1000 Wedding" and " In My Hour Of Darkness" | track "$1000 Wedding" and "In My Hour Of Darkness" | ||
have a dense and ominous sound. Gram Parsons died soon | have a dense and ominous sound. Gram Parsons died soon | ||
after making these tracks. | after making these tracks. | ||
I`d be the last to romanticise his death , and I | I`d be the last to romanticise his death, and I | ||
wish he had avoided his apparent self-destruction and | wish he had avoided his apparent self-destruction and | ||
continued to make music as great as this. | continued to make music as great as this. | ||
But it`s hard to deny the irony of hearing the | But it`s hard to deny the irony of hearing the | ||
beautiful " Hickory Wind " accompanied by the | beautiful "Hickory Wind " accompanied by the | ||
mock-adulation of a phony audience track - a bitter | mock-adulation of a phony audience track - a bitter | ||
little comment on scant commercial success. It will be | little comment on scant commercial success. It will be | ||
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disappinted. | disappinted. | ||
Elvis Costello , February 1982 | Elvis Costello, February 1982 | ||
Revision as of 00:54, 16 June 2006
Sleevenote to a Gram Parsons compilation
There are those better qualified than I to tell Gram Parson`s story. But as a fan of the man, I think you should own this record . . . this is why.
In the Byrds and the Flying Burrito Brothers, Gram Parsons had helped create a Frankenstein`s Monster - country rock. But his first Warner Brothers album "G.P." paid no allegiance to this style. With an impressive back-up band it was a traditional sounding album, mercifully free of gimmicks like fuzz-tone steel guitar. The songs are of lost or stolen love, crossed only occasionally with an R'n'B beat. But most importantly it featured some of the finest duet singing ever put on record. There is something about the combination of Parson`s frail and not always perfect pitching and Emmylou Harris`s pure and true voice. It it should fail to move you - then you have a big problem. I would say that Emmylou Harris`s solo verse on "We'll Sweep Out The ashes In The Morning" matches anything in her excellent solo catalogue.
Of course for the followers of Frankie's Monster in California and the Formula Kings of Nashville, this was much too close to real emotion and sales did not fare well.
On "Return Of The Grevious Angel," Parsons, the co-billed Harris and the soon-to-be Hot Band continued their devastating duets - most notably "Hearts On Fire" and the much crucified "Love Hurts". But Parsons also returned to the mysterious, almost philosophical tones of his "Sin City" days. The title track "$1000 Wedding" and "In My Hour Of Darkness" have a dense and ominous sound. Gram Parsons died soon after making these tracks.
I`d be the last to romanticise his death, and I wish he had avoided his apparent self-destruction and continued to make music as great as this.
But it`s hard to deny the irony of hearing the beautiful "Hickory Wind " accompanied by the mock-adulation of a phony audience track - a bitter little comment on scant commercial success. It will be doubly ironic if you stop reading this sleeve note and actually buy the record. I promise you will not be disappinted.
Elvis Costello, February 1982
