Subject: I have found a CD that I think you would enjoy
|Flying Burrito Brothers|
Gilded Palace of Sin
Genres: Country, Rock
Japanese only SHM paper sleeve pressing. Includes one bonus track. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by... more »
Japanese only SHM paper sleeve pressing. Includes one bonus track. The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic. Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing SHM-CDs feature improved transparency on the data side of the disc allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players. 2009.
What A Classic
Edd S. Hurt | Boulder, CO USA | 01/05/2000
(5 out of 5 stars)
"Lots of people pay lip service these days to Gram Parsons. He was the father of all the middle-class folkies who believe that playing "country" music will get them closer to their "roots," whatever they might be. I have nothing against Gram's progeny, but the sad fact is that I can't think of any who are as good as he was. Gram Parsons was a rich kid with a typical Southern musical upbringing: country music and soul. He was just about the first person who loved country music for what it truly was while at the same time intellectualizing it--no small feat. So while some people might complain about the built-in catch in his voice, or the indifferent production values found on "The Gilded Palace Of Sin," I just say that this 1969 album, completely neglected on its release and still pretty much unknown to the majority of America's benighted music fans (try to find a record store that carries the CD), is quite possibly the only country-rock album one need own--beside Parsons' two solo albums, conveniently collected on one CD. As a songwriter Gram Parsons had no peer; he was colloquial, exact, suggestive, and supremely indifferent to the formulas that Nashville hacks have been exploiting these many years since Parsons' untimely death. As with all masterpieces, the success of "Gilded Palace" lies in its perfection of tone--a little stoned, kind of grim, and pretty light on its feet. Maybe Rodney Crowell in his early days matches Gram's work; Dwight Yoakam is a colder, more calculated and nasty version of Parsons, and Gram dated women just as gorgeous as Sharon Stone. There's way too much talk in this musical era about "seminal" artists and whom they influenced, as if the original works of art are just starting points. But I would claim that country music, or whatever you wish to call it nowadays, has never advanced past what Parsons did on three albums made three decades ago."
Sean M. Kelly | Portland, Oregon United States | 04/23/2001
(5 out of 5 stars)
"I had heard of Gram Parsons well before I listened to the Burritos' amazing debut lp- but I was an avid anti-country kind of person. I just did not want to know. Yet compilation tape after compilation tape I got from friends managed to include Parsons, the Burritos, "Sweetheart of the Rodeo" era Byrds, or a combination thereof. So, finally, in 1988 (I was 18), I found an old lp copy of "Guilded Palace of Sin" at the Salvation Army and bought it for 75 cents. My life has never been the same.From the opening strumming of "Christine's Tune (Devil in Disguise)", there was this odd blend of country, folk, and fuzzed out psychedelia (Sneaky Pete's steel guitar) that immediately grabbed me and has never let go. Then there were the vocals. Along with the wonderful sense of harmony that Chris Hillman possessed, Gram Parsons was able to blend blues, folk, country, gospel, and rock in one voice- and do them all convincingly. His charisma was obvious. His love for the music undoubted. He was the focal point for much of what would become the LA country sound- Linda Ronstadt, Eagles, Emmylou Harris. They all emulated him, but could never reach his level of talent.The songs on the lp are all top rate, in my view. The melancholy of "Sin City," the rockabilly of "Christine's Tune," the tongue in cheek anti-war bluegrass/folk tune "My Uncle," "Wheels," their tribute to motorcycles, the up-tempo "Hot Burrito #2," the satire of "Hippie Boy," complete with gospel ending. All genres of music from folk to country/rock are well represented here, with the Burritos more than able to handle of them competenetly.The results are glorious! To find this lp at a record store will be difficult, except among indie shops who know the score. Whether as part of the great "Hot Burritos!" anthology or here, this lp should be purhcased and added to your collection with no delay. It is THAT good and THAT pivotal in that it influenced the last 30 years of music. No Burritos- no Eagles, no Emmylou, no Dwight Yoakam, none of the cross-over success that country has today. It's that cut and dry. Get this lp. Get it now."
The GOLDEN CASTLE of TRUTH
J. Gunning | Midst the Oaks of SRH | 06/07/2006
(5 out of 5 stars)
"Though the ironic album cover art is somehow perfect for this complete reassessment of Country music as a popular form, its low-rent look of a shack as the "PALACE" of the title, and the apparently clichéd embroidered Nudie suited band members, perhaps turned off more listeners who were used to eye catching artistry by 1969. Whatever the reason, The Flying Burrito Brothers GILDED PALACE OF SIN, released early in 1969, sold very few albums (under 60,000) and is perhaps the most overlooked, yet influential record album, of all American popular music since its release.
From the compellingly catchy opener "Christine's Tune" any listener who dared to put on this bargain bin record album the year it was released, or for many years after, was hooked and stunned by the richness, gentle thoughtfulness, and amazing tunes within. The epic "Sin City" momentarily stunning for its incredibly authentic Nashville sound, is the most startling song ever written about Los Angeles, its promise and materialism.
"Do Right Woman" by Dan Penn and Chips Moman illustrates the tender romantic in Gram Parsons, providing one of the most tuneful tracks and a classic. "Dark End Of The Street" by Spooner Oldham and Dan Penn, is straightforwardly presented, yet results in universal and heartbreaking exposure and one of this albums most powerful tracks. "My Uncle" apparently the weakest track being dated to the Viet Nam War era, ironically may now be more relevant today with the war in Iraq; nonetheless it is superbly tuneful. "Wheels" is a moderately paced Rocker, a stirring anthem of the road, echoing American individuality, but also reminding the listener of the price one pays for freedom. The interplay of guitar, bass and mandolin here is awe inspiring. "Juanita" brings all of the urban blight of then and now to fruition as an epic romance of a young loser drug addict salvaged by his good woman. Though Parsons uses the word "dirty" twice in his lyric, he's making a point in telling his true American love story.
Gram Parsons and Chris Hillman, who wrote most of these wonderful songs, then provide gorgeous unexpected melodies like "Hot Burrito #1" (don't let the song's title fool you; apparently these guys threw songs out and cockily the same with song titles.) "Hot Burrito #1" is the most wrenching, melodic song I've ever heard. "Hot Burrito #2" (despite its turn-off throwaway-song-title-of-the-century) presages Todd Rundgren, Elton John, and Billy Joel. "Burrito #2" will open your ears to the soul baring and ballsy lyric that I'm surprised A&M allowed. In one song postured reverent, in another, just shy of blasphemous. In vulgar vernacular: Hot S**t! Especially for a Country boy. At first listen, I was hooked on this album, but if one were not paying attention and happened to only catch tracks like "My Uncle" and "Hippie Boy" (which closes the album) these might be perceived in their tuneful, spiritual inspired Country Rock, as simply fun. There is much more truth going on here than that. THE FLYING BURRITO BROTHERS have fun, but never let their Rock sensibility, Country credentials, or musicianship, slip below anything less than superb. "Hippie Boy" in fact brings it all back home, as Dylan might have appreciated, bringing it back to the people, those all who disagree about how to live, and how to pray, and how to make love, and still have so much more in common, becoming a Country song expanded into a late 20th century super bowl venue including Gram Parsons preaching tongue in cheek, concluding with a spiritual, a cheering audience, and a transcendent steel guitar courtesy of Sneaky Pete.
Guitar, Keyboards: Gram Parsons; Guitar, Mandolin: Chris Hillman; Piano, Bass: Chris Ethridge; Steel Guitar: "Sneaky" Pete Kleinow. This perfect album is a miracle for predicting the emergence of the "California" sound, which dominated AM radio for much of the 1970s, right beside R&B classics. Owed much to The Byrds (a band which Chris Hillman was a founding member and Gram Parsons a late member of briefly during recording of THE BYRDS beloved yet also low-selling album, SWEETHEART OF THE RODEO) and also owes much to Rick Nelson. I have to point out that Rick's now less well known albums of the early 1960s (particularly ALBUM SEVEN BY RICK and RICK NELSON SINGS FOR YOU - the Decca album, not the Imperial back stab) are echoed on PALACE, as well as Rick Nelson's Pop sensibility, and influence in L.A., at the time of this release, and for quite a few years prior. Yet, like the greatest of artists rising above all of their influences, THE FLYING BURRITO BROTHERS bring an amazingly fresh take on pure Country and Rock, or "Cosmic American Music" as Gram (Ingram) Parsons liked to call the treasures contained within THE GILDED PALACE OF SIN.