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27 of 27 people found the following review helpful:
5.0 out of 5 stars
Don't Ever Call It Country Rock, November 7, 2001
The decade-long recording career of Gram Parsons was a period of growth and development. Though he traveled paths that had been beaten by the likes of Bob Wills and Buck Owens, Parsons followed them entirely in his own manner. Therefore he sometimes had to feel his way along. Then, just as he was hitting his stride, hard living and a lifelong heart problem cut his career short. One can only speculate how events might have unfolded differently if he had lived to see the culmination of his vision.This collection provides an overview of that arc of development. From his early days as a folkie with the Shilohs, through the experimental country music sound of the International Submarine Band and the Byrds, to his visionary work with the Flying Burrito Brothers and as a solo act, this album hits all the high points and creative statements of a ten-year career. This is not to say that the effort is flawless. For example, printed right on the disc itself is a claim that Parsons lived "a life in Country Rock." Parsons abjectly hated the term "Country Rock," and espoused the title "Cosmic American Music." He believed, and rightly, that this title better exemplified his artistic vision of a music based on the common themes that underly American musical experience. "Country Rock" was, to him and his fans, just a slumgullion of stylistic titles, not a statement in and of itself. The selection on this disc is stinting toward Parsons' early work, when he was still finding his vision. The Shilohs are represented in only a single track. This is partly because their sound was derivative of Chad Mitchell and the Kingston Trio, but still, they recorded enough material to fill at least two discs currently in circulation. Likewise, only three tracks represent his time with the ISB. There are four tracks of his work with the Byrds, including his timeless classic "Hickory Wind." However, these songs are all off the "Sweetheart of the Rodeo" album, which is not only still widely available, but also strongly recommended. By popularizing country, this album changed the face of popular American music for a generation. Heavy emphasis begins with Parsons' membership in the Flying Burrito Brothers. Classic tracks like "Hot Burrito #1," "Sin City," and "Dark End of the Street" exemplify how Parsons' vision and the skillful instrumentals of some of the most gifted musicians of his time invented a whole new form of music. Call it Cosmic American Music, if you like, or Alt-Country, or just call it the Flying Burrito Brothers. As long as you don't call it Country Rock. The inclusion of "Wild Horses" is a statement on Parsons' influence. This song was written by Parsons' friends Mick Jagger and Keith Richards, and cut for the Rolling Stones' "Sticky Fingers" album, but rush-released to album by the Flying Burrito Brothers. Though the Burritos never released it as a single (one of the conditions of permission to record), their distinctive and powerful sound wraps well around the lyrics. Parsons also influenced the Stones in other ways, incidentally - for a good example of how, listen to the "Country Honk" track on "Let It Bleed." It was in his solo work that Parsons came into his own. Though he cut only two solo albums before his sudden death, his choice of classic country tunes to cover, his songwriting prowess, and his haunting vocal harmonies with Emmylou Harris are here represented by no less than eight tracks on this disc. "The New Soft Shoe" and "Return of the Grievous Angel" point out well that Parsons was an intelligent and thoughtful man, while "She" exemplifies Parsons' Christian faith, and "Brass Buttons," written in memory of his late mother, demonstrates his commitment to his family. One song is distinctly absent: his memorial to several slain friends, including guitarist Clarence White, "In My Hour of Darkness." Though this isn't an essential track, it so well encapsulates Parsons' modes of thought and depth of faith that it should be included. Well, it's on the single-CD release of his albums "GP" and "Grievous Angel," if anybody wants it. Covers of classic tracks, like Beaudloux Bryant's "Love Hurts," also established Parsons as part of the country music fold, even if, with his long hair and nudie suits, he was outside the mainstream. "We'll Sweep Out the Ashes in the Morning," an unabashedly country song, probably astounded no small number of rock fans who had initially been attracted to Parsons' music because of his affiliation with the Byrds. Well, to Parsons, that was the core of Cosmic American Music: the belief that there is no country, no rock, no blues, no jazz. There were no types of music to Parsons, there was only good music. The liner notes in this disc have very sloppy grammar, but they give a good biography and C.V. of the artist. The author doesn't cut Parsons any slack, either; he comes right out and accuses Parsons' indolence for the Burritos' lackluster second album, and describes his personality conflicts with Roger McGuinn of the Byrds. However, sometimes honesty is more flattering than flattery. The piece offers no new information of any kind, though it does provide a good thumbnail sketch for new fans. This collection is primarily of interest to people who are new to the music of Gram Parsons. It hits on the high points of his artistic career and sums up his creative vision. Longtime fans already have most, or all, of these songs in their collection. However, if you're new to the GP fold, this is a better-than-fair introduction. Get to know the art and vision of Gram Parsons. And don't ever call it Country Rock.
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~ The Flying Burrito Brothers
~ Gram Parsons
~ The Flying Burrito Brothers
~ The Flying Burrito Brothers
~ Lucinda Williams
See all 21 tracks on this disc
by Gram Parsons 
