Customer Reviews

Hot Burritos: The True Story of The Flying Burrito Brothers

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Let me first admit something- the Gram Parsons myth has grown far too big for its britches and continues to grow at rapid rates. When I first gravitated to the genre known as "country-rock" a few years ago, I was hard-pressed to find any albums by Parsons or the Burrito Brothers. But a little later, not only did I begin to notice previously unavailable CDs at my local music stores, but vinyl re-releases, myriad books, and even a full-length movie about the self-destructive southern boy (the mildly amusing "Grand Theft Parsons"). And they were all popping up within months of each other! Somehow, Parsons finally found favor with the rock and roll gatekeepers and, boy, were the floodgates opened!

It goes without saying that fellow travelers on these country-rock backroads were gradually reduced to footnotes. Case in point: the ever-meticulous, self proclaimed "professional" musician Chris Hillman, a man whose odometer has logged more miles as a country-rock "pioneer" than any other. So with the help of veteran country-rock writer John Einarson, Hillman has set out to inject truth into the bloated "Parsons myths," at least during his stint with the Flying Burrito Brothers from 1968-1970. The duo even go as far as to call the work "the true story" of the Burrito Brothers- and since five former members offer their sentiments, my response is "fair enough."

So how is the book? Quite good, actually. Unlike Einarson's "Desperados," "Hot Burritos!" is well organized (chronologically), flows easily, and beautifully printed on high quality paper. Where "Desperados" read like a dry honors thesis, "Hot Burritos!" is an inspired and lovely account of a mediocre live band that put out one very good studio album and a handful of clunkers. The Burrito Brothers are nothing if not interesting, though, and "Hot Burritos!" succeeds in engaging the reader's curiosity.

BUT...

Einarson and Hillman may have gone a little too far in the opposite direction. Beyond illuminating the story of the Burrito Brothers with factual empiricism to contain the Parsons myth, one gets the sense that Hillman at times seems to create his own myth. Not only was Parsons a self-destructive songbird who couldn't stay out of his own way, as Parsons biographer David Meyer openly admits in his spectacular "Twenty Thousand Roads", Hillman seems to suggest that, beyond his vocals on "Hot Burrito #1" and "Hot Burrito #2", Gram did not contribute a single musical work of merit. In other words, besides those two tracks, Gram Parsons was useless, according to Hillman.

He never explicitly states this, of course- it's more of a subtle, gradual build-up. But it's there. Hillman dismisses both the International Submarine Band and Parsons' solo albums "GP" and "Grievous Angel" as if they were the work of some out of tune, high school garage band. I guess this is a matter of taste, but the enthusiasm with which Hillman rejects these works (which are often dubbed classics in their own right) is surprising. Personally, I couldn't help but laugh when reading his take on the Parsons original "$1000 Wedding," which read something like this:

"I hated $1000 Wedding. That's when I stood up and said 'This is not a good song.' [...] We all hated that song." (page 215, by the way)

Strong stuff, Chris. And Einarson CONCURS- "the song later appeared on Parsons's second solo album [...] it's not one of his finest hours" and the demo on the 2007 release "Avalon Ballroom" album "confirms Hillman's view of the song." Now, I beg the reader to read the spotlights of these tracks on [...] reviews of their respective albums and at least realize how diametrically-opposed these statements sound. This tune (and the Parsons solo albums as wholes, of which Hillman thinks little) is far from an agreed-upon throwaway.

Don't get me wrong- this is a great book! But Chris Hillman, take note- be sure to caution your sense of realism without showing the "sore lieutenant" syndrome that Meyer points out in his book!

First, this is a beautiful book, in terms of its binding, layout and photography.

The narrative itself...well...

The book chugs, with overlong quotes, particulary from "co-author" Chris Hillman ("co-author" is in quotes because Hillman appears to be an interview subject in the book, not its author), often repeating the same points over and over again.

There are lots of errors throughout the text -- names and places misspelled. (One example: DJ Ralph Emery is called "Emory" in the text and "Emor" in the index.) Both of these faults could have been fixed by a good copy editor, but it makes you wonder about how reliable the facts offered by the book are.

Even more importantly, there's the paradox that Hillman appears to be completely dismissive of the Burritos in general and Parsons in particular. Parsons and the Burritos are repeatedly characterized as undisciplined, untalented, unprofessional, junkies and posers. If all that's true, why should or do we care about the band 40 years after its first album? Why write a book whose main audience is the fanbase of the band you contend was completely overrated?

This is not to say a book about the Burritos -- or any band -- should whitewash its problems. But, somewhere in here, authors Einarson and Hillman (if he is truly a co-author...again, that's a little unclear) forget that, indeed, the Flying Burrito Brothers made some great, groundbreaking music, particularly when Gram Parsons was associated with the group.

Although informative at points, this book ultimately feels like a hatchet job. One can imagine Hillman stewing over the past decades while Gram Parsons's legend grew ever larger. But, in setting the record straight, Hillman goes too far. In Hillman's narrative, Parsons is never around (if the story is to believed -- and maybe it should be, no one else was there -- Parsons didn't even have much to do with the writing of Sin City or Wheels, even though those songs seem to bear the mark of his personality and writing style). He's never sober, doesn't like rehearsing and lacks a real connection to the Burrito's music. By contrast, the talented Hillman's only fault appears not being assertive enough.

Was it Hillman's intent to take Parsons down a notch or two (or 200)? That's the ultimate message of this book: Think you like the Burrito Brothers and Gram Parsons, bucko? Well, you're wrong. But in marginalizing Parsons, Hillman ultimately does the same to himself: If the Burritos were nothing special, what does that say about Hillman, whose reputation over the years has relied so much on his Burrito work?

I first become a fan of the Flying Burrito Brothers in 1972. Prior to that, like most rock music listeners, I wouldn't have been caught dead with a Merle Haggard or bluegrass record. But Chris Hillman, Gram Parsons, and company opened up my mind to the beauty and joy of country music.

I've witnessed the gradual elevation of former-Burrito, Gram Parsons, to immortal status over the last thirty-five years. In `Hot Burritos,' John Einarson with FBB co-founder, Chris Hillman, debunk the Parsons legend with a hard-hitting history of the pioneering country-rock band that puts the contribution of each member in proper perspective.

Is Chris Hillman's criticism of Parsons motivated by jealousy? Parsons's flamboyant personality and self-inflicted early demise gave birth to a legend that continues to grow with each passing year while Hillman's unparalleled contributions to country-rock go largely unrecognized in comparison. There's no doubt that Gram Parsons had flashes of brilliance throughout his short career with the International Submarine Band, the Byrds, the Flying Burrito Brothers, and as a solo artist. Yet, he never had the discipline to realize the full extent of the gifts he was given. I agree with Hillman in that, although I tried and tried, I found nothing in Parsons's two solo albums to compare with his `Gilded Palace of Sin' songs except for `She.'

To serious Burrito fans, the slights to Hillman and the rest of the band members in the race to exploit the Parsons legend are glaring:

- Several books have been written about Parsons, but none about the Flying Burrito Brothers until now.

- The A&M 1976 release of "Sleepless Nights" is billed as Gram Parsons - The Flying Burrito Brothers with Gram solo on the cover.

- The A&M 1988 release of "The Best of the Flying Burrito Brothers: Farther Along" includes not one song from the post-Parsons Burritos. The 'blue' album and the live "Last of the Red Hot Burritos" had a lot of great stuff, most of it better than the songs from `Burrito Deluxe.'

- The A&M 2001 "20th Century Masters - The Millennium Collection: The Best of the Flying Burrito Brothers" includes no songs from the post-Parsons Burritos.

The Amoeba Record's 2007 "Gram Parsons With The Flying Burrito Brothers: Live At The Avalon Ballroom, 1969" gives Parsons headline billing and features a solo Gram on the cover.

`Hot Burritos' does much more than just put Parsons's contributions in their rightful perspective. The origins of the band and its ultimate ending are dealt with nicely. Each of the four albums is critiqued and there's a wealth of interesting information coming from first-hand interviews with former Burritos and associates. Similar to his other books I've bought, "Desperados: The Roots Of Country Rock," "Mr. Tambourine Man: The Life and Legacy of the Byrds' Gene Clark," and "There's Something Happening Here: The Story Of Buffalo Springfield," Einarson uses a plethora of primary sources to give a factual account of the Burritos. Chris Hillman gives the reader information about the band that simply could not be found elsewhere.

Sadly, the Flying Burrito Brothers never found their niche while the band existed. However, to their everlasting credit, they've been turning on countless people to the beauty of country music through their recordings for the last forty years. Thanks for the music, Chris, from the Byrds, Burritos, Manassas, Souther, Hillman, and Furay, Desert Rose Band, and the solo albums. Thanks especially for turning me on to bluegrass. And thanks for the great Gospel tunes in your later albums.

I've waited a long time for a book on the Burrito Brothers, and as a whole, I'm pleased. This book is highly readable, and certainly fascinating. About anyone associated with the Burrito Brothers story is allowed to share their memories and opinions to give the reader a wider perspective. But, with Chris Hillman as a coauthor, the book is bit lopsided. Let me state I have nothing but respect for Mr. Hillman's musical accomplishments. I can also see how he is upset that he often barely rates a mention in discussions of this band and their music. He was a cofounder and cowrote some of their best songs.

I will state right now I am a massive fan of the late Gram Parsons. That being said, I think Mr. Parsons, as talented as he was, often was a self centered spoiled brat, and often pissed away golden opportunities in order to indulge in hard drugs and liquor. I don't mind people having the chance at last to vent, and I'll agree that contributions from the other members of this band have unjustly been ignored. Okay, with all that out of the way, this book seems to take a lot of pot shots at Gram who isn't here to defend himself.

This is still a great read, and Gram fans should be mature enough and honest enough to read some criticisms without getting their knickers in a knot. I learned some things and overall enjoyed this. Very glad I bought it, and will be reading it again. Just remember a lot of what's here is opinion. Chris Hillman obviously doesn't have a high opinion of Gram's other work, or for that matter, the Byrd's output after his departure. That's all fine in and of itself, as it's opinion. But, Hillman makes ludicrous statements to the effect that Roger McGuinn hates country music. I find that hard to believe as every Byrds album after Sweetheart was filled with country and country flavored material. I don't think Chris has yet to get the chip off his shoulder he's carried since his youth.

With all that out of the way, this is a good read, and I highly recommend this to Burritos fans, and think there's more than enough to interest any fan of Gram Parsons and the Byrds as well. All of the above descriptions cover me, and I can say as someone who loves music biography, even if you know little or nothing about the people involved, you should find this an interesting book. Don't let a few opinionated statements get in the way of the absorbing story of this innovative band.

I am almost done reading this book and while it is well-written and entertaining, (and yes, the paper quality is exceptional) I'm finding it an almost unbearable read. As the slams on Gram Parsons pile up page after page, I find myself almost dreading the next one. Today I got to one on page 224, comparing Parsons to a cancerous tumor. Isn't this rather harsh (to put it mildly)? These were, after all, guys in their early 20s, in a band, at a time when recreational drug use was almost part of the culture (you were more suspect if you didn't indulge than if you did) and the associated dangers of even the hard stuff were barely understood . . . add to that Parsons' family history which predisposes him to addiction and it's just a disaster. In my experience people in the throes of addiction are not at their best in how they treat other people. I'm sure Gram deeply hurt and disappointed a lot of the people who worked with him and were close to him, but the bottom line is he died from his addictions, an ugly, undignified death. Isn't that the ultimate punishment? Is it really necessary to do a literary hatchet job on him now, too? Most of us who live any length of time have the sad experience of having someone we were close to and thought we could trust let us down, betray us, alter our life plan - whatever. Even though the reasons almost always have more to do with that person's personal demons than with us, it hurts. It hurts. It hurts a lot. But you move on.

My grandmother always said it was a sin to speak ill of the dead, and while that is somewhat simplistic, this book reminds me of the wisdom of that saying. It's creepy. Hillman may be trying to set the record straight, in the face of all of the "Gramfest" and "Grampires" adulation . . . but I wish he could see that he doesn't have to - it only demeans him. He has "Slippin' Away" - an album that's as great to listen to today as the day I bought it at my local hippie record store in Appleton, Wisconsin in 1976. He has his work with Manassas, his records with Herb Pedersen and Souther Hillman Furay and the Desert Rose Band - all great albums. What did Gram have at the end? - "friends" like Keith Richards and Phil Kaufman. Isn't that in itself punishment enough for whatever his failings as a human being?

Hot Burritos fills a huge void in the literature of country rock, and I was enthralled to read it and put all the pieces together about how a band that was obscure in its day but has become, in retrospect, admired by two different generations of country and rock fans.

Before this book was written, we had a great round up of the country rock movement that Einarson previously wrote entitled Desperados. We also had the definitive biography of Gram Parsons written by Ben Fong-Torres. I would recommend both book to fans, but there is plenty written about Parsons that perpetuates myths and sheer gossip, making this book even more anticipated.

It's the story about a band that mystified even their peers at their debut, which you might think would have fallen apart before they got going, but by the end in the early 70s became a tight and professional outfit of gifted musicians. Past band members, A&M record company executives and associates, and others from "back in the day" fill in all the missing pieces, and Einarson's level-headed objectivity all explain why success was elusive for this band. Along the way, in addition to the now much respected and successful Chris Hillman, you'll meet eccentric steel guitarist Sneaky Pete Kleinow, joker and drummer Michael Clarke, the "house hippies" at A&M Records, a lonely and self-destructive Gram Parsons who you wish had enough sense to see the light and develop his art, and a cast of characters that puts the cover of Sgt. Pepper's Lonely Heart's Club Band to shame! Though it's over thirty-five years since their breakup, the majority of their music still endures, even if the Nudie suits did not.

Hot Burritos: Chris Hillman, Gram Parsons, and the Flying Burrito
> Brothers is a recent book by Canadian writer John Einarson, who has
> written widely on the L.A. folkrock scene. I would recommend this to
> any reader interested in the legend of Gram Parsons. For those who
> need reminding, Parsons was a tragic figure who briefly came to fame
> as a member of the Byrds' classic Sweetheart of the Rodeo LP and later
> as co-founder with Byrds' Chris Hillman of The Flying Burrito
> Brothers. Parsons and Hillman collaborated on the aforementioned
> Sweetheart as well as on the Burritos first and most important album,
> Guilded Palace of Sin. Both records are credited for sparking interest in classic country music among the hipper cognescenti.
> Parsons flamed out quickly, dying of an overdose at Joshua Tree, and
> was famously burned in his casket by his former roadie, a jailbird of
> some notoriety. What makes Einarson's book essential is his
> collaboration with Chris Hillman, who finally gets to tell his side of
> the story. Hillman is one of those Rock & Country journeymen who have
> great ability but little charisma. He worked alongside some of the
> biggest egos in Rock & Roll showbiz. Among that number are David
> Crosby, Gram Parsons, Roger McGuinn, and Stephen Stills, a veritable
> Mount Rushmore of ego freaks. What bugs Hillman is the tragedy of
> Parsons' legend superceding the qualities and lack thereof of the
> Burritos brief body of work. Hillman does have grievances that deserve
> airing. And despite his harsh criticism of Parson's duplicitous nature
> (GP was like a character from a Tennessee Williams' melodrama),
> nothing can be subtracted from Gram Parsons' poignant renditions of
> country classics, as well as the few original classics he composed
> with the help of others, most notably the aggrieved Chris Hillman. A
> must for fans of Country Rock.

John Einarson and Chris Hillman FINALLY set the record straight about the ins and outs of the Flying Burrito Brothers. While the importance and influence of Gram Parsons can't be minimized, the book goes into great detail as to what really happened to this seminal band. It's about time that Chris Hillman was given his due as one of the most influential performers of our time. The book goes into meticulous detail about the later-era Burritos and how Rick Roberts was integrated into the line-up. This part of country-rock has never been explored with such vivid detail and it fits well with John Einarson's previous books on the Buffalo Springfield and Gene Clark. Well done, gentlemen! This is a book that I will want reread over and over again.

I have been a Gram Parsons fan for more than 30 years and have read all of the books about Gram. My opinion of Gram before reading this book was that he was an inspiring singer/songwriter with a little lack of self discipline. In this book, Chris Hillman really trashes Gram's music and person to put it very bluntly. It is difficult to get through the first chapter without either wanting to throw away the book or start hating Gram. Chris goes into a lot of detail explaining Gram's bad behavior. Clearly, Chris feels that he was the leader of the FBBs and should have been given more credit in his role. Chris' attitude reminds me of Noel Redding in his book about the Jimi Hendrix Experience. Noel felt that he should have been given more credit and thought of himself as being on similar footing with Jimi (can you imagine that?). Chris' attitude is very similar about his role in the Flying Burrito Brothers.

I'll push the pause button for a moment regarding Chris' negative feelings about Gram and say that it is easy for the reader to empathize with Chris and during parts of the book, you feel like you never want to hear another Gram Parson song...this is the 'reader beware' part of this review. I don't doubt the validity of Chris' numerous stories about how bad Gram behaved and it is easy to get upset with Gram's shenanigans presented throughout the book. The "true" reference in the subtitle of this book refers to Chris' opinion about this side of Gram that hasn't been told in this level of detail. My opinion about Gram as a person has definitely gone down after reading this book, so once again, 'reader beware'. I try to separate Gram the person from Gram the inspiring musician. His music still inspires me but his person is certainly no role model for anyone.

On the brighter side, it is clear that Chris worked very hard on holding the band together, in spite of all of the difficult personalities. Chris does a good job about informing the reader on all of the other persons associated with the FBBs, including Sneaky Pete, Chris Etheridge, Michael Clarke, Gene Clark, Bernie Leadon, Byron Berline, Al Perkins, Rick Roberts, and the rest of the extended Burrito family. Chris' co-author, John Einarson, however, is the weak link in the book. His writing style is difficult to follow in places and it is not always clear to whom his quotations are referring. I had to re-read several sections of the book to figure out what Einarson was trying to communicate.

After reading the book, I still love Gram's music.

John Einarson has made another valuable contribution to the history of rock music with his new book "Hot Burritos." The Burritos were a band of sufficient significance to merit their own book many years ago. Of particular value to this project is the fact that both Chris Hillman and Chris Ethridge cooperated with the author and their first person perspective adds a lot. Also, the book does not simply stop when Gram Parsons left the band, as if everything important in the band's work stopped then. Like all Einarson efforts, the book appears to have been meticulously researched. The writing is workmanlike and doesn't get in the way of the story.

The real surprise in this book is Chris Hillman's take on Gram Parsons. Hillman has apparently been waiting to slag Parsons for more than three decades, and lets him have it in this book with both barrels. The facts that Parsons was heavily involved in drugs and was a pain as a bandmate will not come as a surprise to anyone who paid attention to the Burritos' career (or has been in a band where someone was a serious drug user). And there is some justice to Hillman's complaint that his musical contributions to the Burritos are not fully appreciated. In 2007, for instance, when the Avalon Ballroom live CD was released, many reviewers and fans took umbrage at the packaging, which made it appear that the Burritos were sidemen and it was the Gram Parsons show.

Hillman is a wonderful musician who has had a fascinating career and is by all accounts a fine person. But he has clearly lost perspective on Parsons. In the end, what matters is the music. Hillman contributed far more than Parsons to the Burritos over the long term. But to assert, as Hillman does, that the height of Parsons' musical achievement was Gilded Palace and to dismiss GP and Grievous Angel is, simply, wrong. Sadly, it isn't Parsons who is diminished by Hillman lamenting page after page the Burrito equivalent of "I was the walrus".

Bottom line: a great read, well written, and substantial first person participation from the survivors. I highly recommend this.