Search - Gram Parsons :: Grievous Angel

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Kirk Brewster | Indiana! | 12/23/1999

(5 out of 5 stars)

"This cd comprises the music originally on Gram Parsons' 2 studio LPs. It is fabulous! The music ranges from the rollicking (Ooh Las Vegas, Cash on the Barrelhead and Big Mouth Blues) to the tender (Hickory Wind, How Much I've Lied and She). During the 1960s, Gram Parsons (& friends such as the International Submarine Band, the Byrds, and the Flying Burrito Brothers) established/elaborated a new style of music (Cosmic American Music)which fused folk, country, rock & roll and rhythm & blues. His composing and performing talents reach a peak on the GP/Grievous Angel set, and his capable band (including the wonderful voice of Emmylou Harris)contributes an effort that made these songs legendary. They've been covered by many artists (e.g., Steve Earle, Elvis Costello, Emmylou, Lucinda Williams, etc.) during the past 26 years since Parsons died. If you like those performers, you should buy this disc to hear the pioneer, the one who showed them how to do the things they're doing now... Peace."

A Great Voice Lost

Gary Popovich | Chesterfield, VA USA | 03/28/2002

(5 out of 5 stars)

"After his brief tour with The Byrds and his founding efforts with The Flying Burrito Brothers, Gram Parsons released two solo LPs in the early `70s, "GP" and "Grievous Angel" that in many people's minds defined him (for better or worse) as the central figure in the evolution of the musical genre that came to be known as "country-rock." Listening to these songs today (now available on one CD), I'm struck by the fact that by today's standards they are much more "country" than "rock" ("country-rockabilly" is probably a more apt description, with songs like "I Can't Dance," "Oooh Las Vegas", and the not-exactly-live version of the Louvin Brothers' "Cash on the Barrelhead" providing a lot of foot tappin'), and would probably have a hard time penetrating today's watered-down country music programming. Which is a shame - Parsons had few peers as a country singer, and his songwriting (often centered around the theme of sin and redemption) has endured since his mysterious death in 1973. The band assembled for these sessions would belong in anyone's Hall of Fame, led by the legendary guitarist James Burton, pedal steel maestro Al Perkins, and noted keyboardist Glen D. Hardin, and augmented by appearances from Country Gazette's Alan Munde and Byron Berline, along with then-ex-Burrito and future-Eagle Bernie Leadon. Most importantly, Gram introduced the music world to Emmylou Harris, who served as Parsons's vocal soul mate throughout the recording of these songs, be they heartbreaking ("Hearts on Fire", "Love Hurts"),... kicking ("Still Feelin' Blue", "Cash on the Barrelhead"), longing ("Hickory Wind"), or affirming ("Return of the Grievous Angel). Finally, Linda Ronstadt provides poigniant backup to what turned out to be Gram's epitath, "In My Hour of Darkness."Gram Parsons did not want to be categorized, and refered to his style as "Cosmic American Music" - but I dare anyone to listen to this magnificent collection and not say to themselves, "Now this is what country music should be all about.""

Country Music At Its Finest

Matt | 09/24/2005

(5 out of 5 stars)

"Oh boy, where to begin. Gram Parsons, as y'all probably well know, lived fast, lived hard, and died young. In the process, he captured every part of the joy and heartache this life holds.



G.P., the lesser of the two albums (but not by much), kicks off with "Still Feeling Blue", a rousing rocker and one of the best tunes on the album. For anyone who's heart's been stomped on, this is your tune to get your life back on track. "We'll Sweep Out the Ashes," features Emmylou and Gram interweaving their emotional voices to tell a tale of forbidden love. Notice FORBIDDEN love- Gram's love songs are never about plain ole' love; there's always a twist. "Ashes" is good, but is a little too forced: the "Live 1973" take is much more fluid.



Then comes the first masterpiece: "A Song For You." Picture tumbleweed. A Western sunset. Then put this song on. In the spirit of Hank Williams, Gram sings this song from a rambler's point of view and it tears me apart everytime. The lines about loving "you everyday and now I'm leaving, and I can see the sorrow in your eye" puts most every other country song to shame. Nowhere is there a more desperate, more helpless song.



"The Streets of Baltimore" is a fun cover, particularly appropriate for those who've seen Baltimore (I'd catch that same train that brought me there before, too...good move, Gram). "She" is the second masterpiece on G.P. Simply the theme is so different from most other love songs. The lady isn't the prettiest woman on Earth, and a simple working delta gal. But, as Gram passionately asserts, "she sure could sing." By the time Gram's voice cracks as he sings, "Hallelujiah," it's like the heavens are opening above him.



Unfortunately, the 2nd side of G.P. is more forgettable, except for "That's All It Took" and "The New Soft Shoe." The latter, especially, has a plain charm to it that, once ya get it, you get it.



"Grevious Angel," Gram's last album, outdoes its predecessor in nearly every respect. It's more even, more passionate, more desperate, and - like a painting- full of texture. Exhibit A, "The Return of the Grievous Angel." A Road Song? A Love Song? Who cares. It's lyrical imagery is perfectly suited with a dreamy yet robust melody and instrumental track. Of course, the "Grievous Angel" is Gram himself and, though none knew it at the time, he sure did unbuckle that Bible Belt good.



"Heart's On Fire" nails the thoughts of a helpless romantic who finds pieces of his broken heart scattered across the floor- pieces he thought he already picked up. The follow-up to "That's All It Took," this is much more passionate, warmer, and more breathtaking than the former. When Gram and Emmylou exclaim, "God please take this heart of mine, cause if you don't the devil will," you can't help but believe it.



"I Can't Dance," outdoes all rock songs on side two of G.P. Perfectly groovy and casual, it's proves that Gram could still take a step back from the hopelessness of love and just do a neat ditty. Just when you thought things were getting more light hearted, "Brass Buttons" comes and makes you want to cry again. Written in Gram's folkie days, the lyrics reflect on little pieces of a woman (his mother) that'll stay inside of him forever. How many times have "her words still danced inside [our] heads"? Or "the sun's come up without her, it just doesn't know she's gone." Desperation, but Gram stores his emotion, even if just for a little.



Then he lets it go. "$1000 Wedding" is, by far, the saddest tune I've ever heard, like a double edged knife through your soul. Losing the one you love. Taking your friends out drinking and "it's lucky they survived." When Gram and Emmy harmonize on "survived," you feel like you're gonna burst. What starts out as a wedding turns into a funeral of Gram's happiness as he pleads "why don't you do him in, some old way?" A deathwish? Perhaps. And the reference to Rev. Dr. William Brace, an Episcopal minister who wrote Gram's recommandation to Bolles school in the early '60s, is a nice autobiographical touch, too.



"Cash On The Barrelhead/Hickory Wind" should've been placed, I think, after the following track but, alas, retrospect. It's another foot tapper. Makes you wanna whip out yer confederate flag. "Love Hurts" is beyond beautiful, a rejection of love as being "just a lie made to make you blue." What a democratic thought. As good as this version is, the live version is again better, being nearly as tearful as "$1000 Wedding."



"Ooh Las Vegas," is the best of all Gram's rock songs. The poor, country boy gets trapped in the vice of Sin City itself and cries, "everytime I hit Crystal City, you know you're gonna make a wreck outta me!"



And then comes Gram's goodbye: "In My Hour of Darkness." The deaths of three good friends, one of whom being legendary guitar maestro Clarence White, inspired Gram to sculpt this hymn. I myself have chanted the chorus when times get rough or when I need some grace, as the simplicity is beyond words. Though the second verse eulogizes Clarence, Gram surely sees himself in the same light when he sings:



"Another young man safely strummed his silver stringed guitar

And he played to people everywhere- some say he was a star

But he was just a country boy, his simple songs confess

And the music he had in him, so very few possess."



Goodbye, Clarence. Goodbye, Gram. I owe ya one."