We'll Sweep out the Ashes in the Morning - Gram Parsons, Allsup, Joyce Ann [
A Song for You - Gram Parsons, Parsons, Gram
Streets of Baltimore - Gram Parsons, Glaser, Tompall
She - Gram Parsons, Ethridge, Chris
That's All It Took - Gram Parsons, Edwards, Darrell
The New Soft Shoe - Gram Parsons, Parsons, Gram
Kiss the Children - Gram Parsons, Grech, Rik
Cry One More Time - Gram Parsons, Justman, Seth
How Much I've Lied - Gram Parsons, Parsons, Gram
Big Mouth Blues - Gram Parsons, Parsons, Gram
Return of the Grievous Angel - Gram Parsons, Brown, Thomas  S
Hearts on Fire - Gram Parsons, Egan, Walter
I Can't Dance - Gram Parsons, Hall, Tom T.
Brass Buttons - Gram Parsons, Parsons, Gram
$1000 Wedding - Gram Parsons, Parsons, Gram
Cash on the Barrelhead/Hickory Wind [Live] - Gram Parsons, Buchanon, Bob
Love Hurts - Gram Parsons, Bryant, Boudleaux
Ooh Las Vegas - Gram Parsons, Grech, Rik
In My Hour of Darkness - Gram Parsons, Harris, Emmylou
Songs Include : 1. Still Feeling Blue / 2. We'll Sweep Out The Ashes In The Morning / 3. Song For You / 4. Streets Of Baltimore / 5. She / 6. That's All It Took / 7. New Soft Shoe / 8. Kiss The Children / 9. Cry One More T... more »ime / 10. How Much I've Lied / 11. Big Mouth Blues / 12. Return Of The Grievous Angel / 13. Hearts On Fire / 14. I Can't Dance / 15. Brass Buttons / 16. $1000 Wedding / 17. Medley Live From Northern Quebec : Cash On The Barrelhead / Hickory Wind / 18. Love Hurts / 19. Ooh Las Vegas / 20. In My Hour Of Darkness« less
Songs Include : 1. Still Feeling Blue / 2. We'll Sweep Out The Ashes In The Morning / 3. Song For You / 4. Streets Of Baltimore / 5. She / 6. That's All It Took / 7. New Soft Shoe / 8. Kiss The Children / 9. Cry One More Time / 10. How Much I've Lied / 11. Big Mouth Blues / 12. Return Of The Grievous Angel / 13. Hearts On Fire / 14. I Can't Dance / 15. Brass Buttons / 16. $1000 Wedding / 17. Medley Live From Northern Quebec : Cash On The Barrelhead / Hickory Wind / 18. Love Hurts / 19. Ooh Las Vegas / 20. In My Hour Of Darkness
Richard M. from ELMIRA, NY Reviewed on 11/23/2006...
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Classic albums stand test of time
Peter Durward Harris | Leicester England | 03/07/2004
(5 out of 5 stars)
"At the time these two albums were released, there was little interest in them. Neither country fans nor rock fans appreciated Gram's attempts to create a hybrid country-rock music back then. Yet, within a few short years, Gram became a revered figure - a status he still retains. The extent of his influence is hard to assess, but he made an important contribution via one album with the Byrds (Sweethearts of the rodeo), two albums with the Flying Burrito brothers (Gilded palace of sin, Burrito deluxe) and the two solo albums that make up this set. All five albums are better appreciated now than they were when first released. It helps that these albums provided the breakthrough for Emmylou Harris, who lends vocal support on several songs. Emmylou helped the legacy of Gram by covering several of his songs including Ooh Las Vegas, Hickory wind and She (all featured here) as well as some of his earlier songs from his time with the Flying Burrito brothers.The other thing that strikes me, listening to these albums now, is that they sound much nearer to traditional country than rock music. This may in part be due to the changes in country music over the thirty years since. Several instruments used on these albums would find a hard time getting on a contemporary country album - in particular, steel guitars are a rarity these days where once they were standard. Of course, if you compare this to a truly traditional country album, you'll hear the difference easily enough - but then listen to a rock album or a contemporary country album and you'll hear a much bigger difference.The songs here are a mix of originals and covers. Hickory wind is both - it was written by Gram but first recorded for the Byrds album, Sweethearts of the rodeo, so the version here is a cover. Cash on the barrelhead is a cover of a Louvin Brothers song. This very song was later covered by Dolly Parton and appeared on her classic album, Grass is blue, while Emmylou was clearly impressed - she later covered several Louvin songs. Other covers include I can't dance (Tom T Hall), Streets of Baltimore (Tompall and the Glaser brothers), That's all it took (George Jones), Love hurts (originally recorded by the Everly brothers, it provided Jim Capaldi with a British top five hit in 1975) and Cry one more time (J Geils band). The final track, In my hour of darkness, features Linda Ronstadt as well as Emmylou, so this is the first time they recorded together.So, what is Gram's legacy, apart from his own recordings? He helped Emmylou into the big time and also introduced her to Linda. He introduced Emmylou to the music of the Louvin Brothers. He was an influence on the Eagles, Dwight Yoakam and what is now known as the alt-country movement. All of these are important, but some might have happened anyway. Some accord Gram a God-like status, while others dismiss him as a no-hit irrelevance. The truth lies somewhere in between. In any case, the two albums paired on this CD are worth listening to in their own right, regardless of their historical significance."
Music Has Never Sounded Better Than This
Matt Coker | Davis, CA, USA | 06/30/2000
(5 out of 5 stars)
"Both GP and GRIEVOUS ANGEL redefined what music meant. GP/GRIEVOUS ANGEL define the true meaning of "Cosmic American Music"; what Parsons called his genre creation. On this CD you get twenty of the most extraordinary songs ever recorded. Music has never sounded better than "A Song For You", "Return Of The Grievous Angel", "That's All It Took", "Hickory Wind", or "Love Hurts". The presence of the ultra-talented Emmylou Harris enhances each track she performs on. The sound of Gram Parsons and Emmylou Harris together is divine; there's no predecessor and there hasn't been anything as perfect since. Gram Parsons' exceptional talent as a composer is the biggest highlight of these two classic albums. The album opens with his "Still Feeling Blue", a successful attempt to write a traditional country song. "A Song For You" is a gorgeous ballad about Parsons' views on life and his beliefs. Parsons' extraordinary genius is present on the powerful songs "She", "The New Soft Shoe", "Brass Buttens", and "$1,000 Wedding". "Return Of The Grievous Angel" is classic, my favorite song on the album. "Hickory Wind", Gram Parsons signature song, is more poignant here than on SWEETHEART OF THE RODEO. (Though I prefer that version). "How Much I Lied", "Big Mouth Blues" and "Ooh Las Vegas" are Country/Rock at its' best. The marvelous duo of Parsons & Harris write and perform "In My Hour Of Darkness" together, the inspiration finale to the album. Gram Parsons and Emmylou Harris recorded outstanding interpretive duets. "We'll Sweep Out The Ashes In The Morning", "That's All It Took", "Hearts On Fire", and "Love Hurts" are superior moments, enjoyable beyond belief. Gram Parsons was an incredible singer, and his versions of "Streets Of Baltimore", "Kiss The Children", "Cry One More Time", "I Can't Dance", and "Cash On The Barrelhead" are extraordinary. If you love great music this CD is essential. GP/GRIEVOUS ANGEL is superior to any of the music made by his other bands, even though the albums by the Flying Burrito Brothers, the Byrds, and the International Submarine Band was lightyears ahead of the rest of the music world. Few visions are as bold, and little music is as good as what Gram Parsons recorded during his too brief career. It is a tragedy that Gram Parsons died at 26, and was never able to see how he changed the world. He did, and his vision carried by Emmylou Harris lives on."
Do you like good music?
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."