Mar 7, 2023
Pop Country vs Alt-Country: Know the Differences
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Labels: Alt-country, Charts, Gram Parsons, Jay Farrar, Pop country, Post Malone, Sam Hunt, Satire, Son Volt, Steve Earle, Uncle Tupelo
Oct 10, 2022
Country Singers by Their Pants
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Oct 8, 2022
Mar 27, 2020
Everyone’s got their own story to tell: A conversation with Jesse Daniel
By Kevin Broughton
I work this room on Tuesday nights
It isn’t much, but it pays alright
From 9 p.m. until last call
Sometimes I’m playing to the wall.
Jesse Daniel, “Old At Heart.”
On a rainy Tuesday night in Atlanta, Jesse Daniel isn’t “playing to the wall,” but the room at Terminal West has plenty of space, even with Jason Boland and The Stragglers for a headlining act. The Wuhan Virus isn’t really on the radar yet; a week’s worth of monsoon rains are the likely culprit. But as the Stragglers’ diehards continue to filter in during the 27-year-old’s half-hour set, there’s minimal chatter. He’s gotten their attention, and makes the most of this exposure to a new audience.
“I try my best to live with humility and thankfulness,” says Daniel as he posts up at his own merchandise table after his set. “I want to make the most of the opportunities I have.” He engages with every customer he can as the Boland crew and band set up. The lanky, square-jawed Californian is making the most of this chance. His album release date is six weeks out, and one can sense momentum building for this troubadour of the Bakersfield sound.
Halfway through the Stragglers’ set, Daniel will pack up and drive, hoping to make it to “someplace right outside Mobile, I forget the name” in time for a few hours’ sleep before doing it all over.
Rollin’ On, out today wherever you purchase music, is the culmination of Daniel’s remarkable life turnaround and one of the finest country albums of the young, crazy year. (This will be true in December – mark it down.) Poignant lyrics and a first-rate studio band and producer make it a must-have for the serious, intelligent country music fan.
About four years ago he was dope-sick with track marks up and down his arms. Today, he’s on the cusp of greatness, and too grounded to let anything go to his head. No one knows what the next few months will hold in the Age of Quarantine and Social Distancing. Daniel, no doubt, will emulate the title of this magnificent album.
It was a real treat to chat with him about his punk-rock roots, writing songs by candlelight with his best friend and partner, and an unlikely part-time rehab worker who helped him “put down the spoon and pick up the pen.”
You were a punk rocker growing up. It’s fascinating to me that some of the best roots/country acts today were heavily influenced by punk. It seems counterintuitive; what do you think the common thread is, if there is one?
You know, Kevin, I think it’s individual and varies from person to person. But I definitely know a lot of people who were in punk rock bands and in that scene, who later got into country music. I think when you’re talking about a lot of the older country music, there’s a kind of punk ethos to it, a do-it-yourself mentality. It’s hard to put my finger on it, but growing up there was always such a parallel between punk rock and country for me. Just listening to it, it kind of soothes the same part of my soul.
Sticking with influences for a moment: Rollin’ On just oozes that Bakersfield sound. But you’ve mentioned that you found your way to your producer (and steel player,) Tommy Detamore, by listening to the likes of Doug Sahm and Jim Lauderdale. What is it about those two artists that resonate with you?
Yeah, the way I found Tommy was listening to that last album [The Return of Wayne Douglas] he did with Doug before he passed. That album has so many good songs, and the production is so great, and so is the steel. I was already a huge fan of that record, and also This Changes Everything by Jim Lauderdale, which was also produced by Tommy. He also played steel on it.
So I had been listening to those, and had my eye out for a producer. Tommy’s name kept coming up. There were so many times I’d hear a great song and think, “I wonder who’s playing steel?” And it would turn out to be Tommy on steel, and a lot of times he was the producer, too. So I basically just reached out; cold-emailed him. That’s what set everything in motion, but it started with my being a big fan of those two albums. It couldn’t have ended up any better, and we ended up being great friends.
There are times on this album when your voice reminds me of Gram Parsons. Have you ever heard that comparison? Are you at all influenced by his music?
Man, I don’t know that I’ve ever heard that one before, but I really appreciate it. But I love Gram Parsons, and he certainly was a big influence on me, especially early on. I loved his work with the Burrito Brothers, and I listened to that GP album over and over. Just wore it out. So I don’t doubt that some Gram influence got in there somehow.
Did Tommy put the band together for the recording sessions?
Yeah. You know, Tommy is very linked in with all the Austin players, and some of the ones in San Antonio, too. I reached out to him and told him I wanted to have some professional players on the record. Without saying too much – he was very nonchalant about it – he said, “Yeah, I’ll put together a good band for you.” He got Kevin Smith on bass, who plays with Willie Nelson; Tom Lewis from Heybale – he also played on a lot of Jim Lauderdale’s records; Michael Guerra on accordion, who plays with the Mavericks. John Carroll on guitar – he plays with a lot of people, like Corey Morrow. Tommy played steel of course. On fiddle we had Bobby Florres and Hank Singer.
That’s quite a lineup.
Yeah, he sent me that list and said, “These are the guys I have who will be on the record,” and it blew my mind. I was even more excited to get into the studio. They’re all Texas players, but at the same time realized that my sound is steeped in the Bakersfield stuff; that was the sound I was going for. They really met me in the middle. We got that “sheen” production I wanted without losing the Bakersfield grit.
Do you have a touring band?
Yeah, I do. The band I’m touring with is kind of evolving, but I have the same core group of guys (rhythm section and what not) that I stick with. They’re great. They really bring it, and we’re about to hit the road with Jason Boland after the record comes out for some full-band stuff.
Are you on a label?
Yeah, it’s called Die True Records. Jodi Lyford – she’s my manager and partner – she started it. We put the last album out on it, too.
You’re touring with Jason Boland & The Stragglers, giants of the Red Dirt scene. What’s that been like, and what kind of exposure have you gained, being exposed to new audiences?
I joined up with them in Virginia Beach, then we did New York City, Sellersville, Pennsylvania, Richmond, and now Atlanta. I was joking around with them and said I’m calling this the “Chasin’ Jason” tour, because I’m following their tour bus in my car.
But yeah, their fans are really dedicated and devoted, and I’ve gotten to share that following with them. When bands like Jason’s tell their fans something is good, the fans tend to listen. So I’ve been very fortunate. Red Dirt is really not my sound or a demographic I’ve played for, but ultimately they’re country music fans. Any doubt I had that they would be picking up what I was putting down went away pretty quickly. It’s been a blast so far.
You won an Ameripolitan Award a couple years back, for “Best Honky Tonk Male Performer.” They have four sub-genres, I guess, honky tonk, western swing, rockabilly and outlaw. I guess you could put them all together, and you’d have something like, I dunno, “Country Music.”
[Laughs] Yeah, exactly!
If you had to slap a label on what you do, what would it be?
Ah, I really just tell people “country music.” I really respect what Dale [Watson] is trying to do with the Ameripolitan Awards, by bringing a new term and trying to generate new interest; you know, bringing some new eyes to a lot of music that might be overlooked by radio. So that’s really great. But I tell people “country music” because that’s what I play and that’s what I love. Music fans are intelligent. They’re able to tell the difference between pop country and more authentic stuff.
The album exudes resiliency and hope, yet makes references to some of the darker times in your life. You’ve been sober for three years and have made no secret of your past troubles with addiction, and you even did some time. If you don’t mind, can you point to one event or set of circumstances that led to your getting clean?
Yeah, man, absolutely. The last record was really more about some of those things, and this one has a more “forward” feel to it, a little more hopeful.
One of the biggest events that really sticks out in my mind…there was a gentleman who was working at a rehabilitation facility that I went to. He worked there part time and he would come in and play guitar as part of the group exercises we’d do. I was a heroin addict, de-toxing off of it, and I was very sick. Finally after about a week when I was able to get out of bed and start functioning again, I went into the room where he was playing old Hank Williams songs. He also played some Billy Joe Shaver and Emmylou Harris – a lot of great country covers, and even some artists I wasn’t familiar with. So I would ask him and he would tell me all about them.
He was a really good guy. After a while I started playing some songs, and we’d go back and forth. At some point I said, “I really wish I could play country music and do what you do.” And he looked at me like I was stupid or something and said, “Why don’t you?” That shook me to my core. And I thought, “Yeah. That’s true.”
And this is the craziest story, man, that happened just the other day. The rehab facility was in Oakland, California. And I was sitting down with Jodi for some lunch in Austin, Texas, and I see this guy walking down the street who looks just like him. So I chased him down to see if he was the guy, and he was!
And I almost broke down right there. I said, “You changed my life. You’re the reason I’m doing this today. You were that pivotal moment for me.” We’ve been in contact since, and he’s actually a rippin’ harmonica player, and so I hope we’re gonna play some together.
Wow. What a blessing.
Exactly, a tremendous blessing, and it was one of those moments that was so confirming for me. It’s certainly one of the biggest events that sticks out in my memory.
This is not a slight to your songwriting or vocals – because they’re stellar – but one of my favorite cuts, and one I’ve been playing over and over, is the instrumental “Chickadee.” How did that one come about?
You know, I love the tradition of instrumentals in country music. One of the guys I really love, Marty Stuart, does a lot of them. Buck Owens had a whole lot of instrumentals – The Buckaroos had at least one on every record, I think. Instrumentals are very cinematic, I think; they tell a story without words.
But I had this one riff that was kind of a Don Rich/Bakersfield sound-type of thing that I was messing around with. And one day in the studio we just worked it out with the band, and it just came to life within 20-30 minutes.
It’s amazing you say “cinematic,” because I kept thinking to myself, “That sounds like it belongs on a movie soundtrack.”
Ha. Thanks man, that was really what I was going for. I wanted to capture that Bakersfield sound, and incorporate all those instruments. It also gets to showcase all the other players who are on the record. They all get a moment to shine.
A question about your partner/manager, Jodi. Do y’all write songs together? Give us some detail about that relationship, if you don’t mind.
We sure do. We wrote a good portion, probably half the songs on the new record, together. It’s great. Our relationship started out – about four years ago – as a friendship. She was a tattoo artist and I would go to her shop and we’d just play music. She had a lot of songs that she’d written and she’d play them for me, and vice-versa. Then we started writing together just for fun.
And when I got more serious about music, we kind of got together. We lived way up in the mountains, and sometimes the power would go out for a week at a time. At night there was nothing to do; we just had candles. A lot of the songs on this record were written in the dark. It’s a huge part of our relationship, and I’m really glad she has a bigger role on this album: probably half the songwriting and all the backup vocals that she sang.
Who’s “Sam,” besides a guy who might have acquired illicit substances for you in your youth?
Sam is a real person and he’s still around. I was friends with his younger brother, and grew up down the street from him. We hit it off, and got into trouble together. My dad called us “The Gruesome Twosome.” Sam was a mythical figure to me because he was a little bit older; I looked up to him.
He was always getting into trouble with drugs or alcohol, and he would just leave for a while, just get on a Greyhound bus and go. He’d just disappear, and I always thought that was pretty crazy. And I figured I’d write a song about it.
“Sam, where did you go?”
Exactly. And now whenever I talk to him it’s interesting to find out where he is. For a while he was in Florida living on a boat. I texted him recently, and he was in Connecticut. He’s been acting in some commercials…he’s a character, man.
Do you have a goal for where Rollin’ On might take your career, in terms of exposure or critical acclaim?
Yes, I do. The goal for me with playing is to be able to put positive music into the world. And by “positive” I don’t mean that every song has to be happy. I feel right now there’s a lot of emphasis on using recreational drugs. People are gonna do that, but I think there’s enough of that in music right now.
I just want to keep it about the music. I want to make good country music that people love. I want to take it as far as I can. Jodi and I have a motto that the sky’s the limit. We’re not putting limitations on anything.
* * *
“Good country music that people love,” indeed.
We’ve been smitten with Daniel’s work for the last couple months, and this will be one of the best – if not the best – country albums of the year. FTM was honored to premiere a song from it, “If You Ain’t Happy Now (You Never Will Be,)” and we gave you a taste of his live chops from his Atlanta gig last month. The best, most gripping song on the record is “Old At Heart.” (It happens to be Daniel’s favorite, too.) But to hear that one, you have to buy the record.
Now, it’s time to step up. That Feb. 18 show at Terminal West seems like a lifetime ago; nobody had a clue how crazily things would change, or how quickly. Musicians in every genre have taken a pounding in canceled gigs, and nobody knows if or when things will get back to something approaching normal.
Buy this album. In fact, go to Daniel’s store and get some more cool stuff. I got one of these awesome tee shirts.
It’s cool. And it’s true.
Now more than ever, support independent musicians. This one in particular.
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Labels: Doug Sahm, Gram Parsons, Interviews, Jesse Daniel, Kevin Broughton
Aug 1, 2019
Country Singers With Questionable Drinking Habits
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Labels: Fireball, George Strait, Gram Parsons, Photocrap, Satire, Tyler Childers, Waylon Jennings, White Claw
Sep 19, 2018
7 New Alt-Country Parody Album Covers
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Feb 14, 2018
WWE Country Reaction Gifs 27: Braun Strowman Edition
When the country concert has a DJ
♬ Love hurts, love scars, love wounds and marks ♬
Trying to figure out how
Sam Hunt is country
When you tell her you got Isbell tickets
Instead of saving mainstream country,
maybe we should just...
Probably symbolic of country radio... somehow
You should never heckle the band,
but especially not tonight...
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Labels: Americana, Braun Strowman, Country Reaction Gifs, Gram Parsons, Jason Isbell, Sam Hunt, Satire, WWE
Jun 9, 2017
Way Down in His Soul: An Interview With Zephaniah OHora
By Kevin Broughton
Zephanaiah OHora has made a remarkable album, one that recalls a golden era in country music. This Highway – released today – oozes authenticity with its silky smooth vocal phrasing and warm instrumentation, and captures a time when the Bakersfield sound intersected with the “country-politan” vibe of late-60s Nashville. But OHora poured himself into a decade-long study of the classics before putting this record together.
Ray Price, Hank Snow and Gram Parsons were just a few of the icons who informed his immersion. A hair stylist by day and band-booker by night, OHora eased into being a recording artist by first playing with a group that did classic trucking songs – his backing band is The 18 Wheelers – and a Haggard cover band as well. It was Merle’s records that “taught me how to sing.”
And a quick study he was. His vocals are the genuine article, and take you seamlessly back to a simpler time. There’s not a weak cut on the album: ten originals – any of which could’ve been recorded by the aforementioned icons of traditional country – and a lovely cover of the duet “Somethin’ Stupid” from Frank and Nancy Sinatra. Fans of the golden era of classic country will put this one in heavy rotation for a while.
You’re apparently at ground zero of a roots-country scene in Brooklyn, New York. It’s not a place associated with country music, nor is your native New Hampshire. What kind of music did you listen to growing up, and how old a fellow are you?
I grew up listening to a lot of old stuff because of my dad. He and my older brother listened to a lot of sixties jazz, and of course the Allman Brothers. At the same time, I also grew up in a very religious household and wasn’t allowed to listen to “modern music” per se. I’m 34.
You have a distinctive name. Were you named for the Old Testament prophet?
That is correct.
Did you know he’s the only prophet of royal lineage? Great grandson of King Hezekiah.
I actually did not know that. When I was a the kid when I had nightmares, my mom would say, “Go read the Bible. Read Zephaniah.” Not an uplifting book.
Yeah, well Zephaniah was bringing the heat. Didn’t like the pagans, and he meant business.
This Highway evokes a blend of country styles and eras. There’s a strong Bakersfield element, and some of that late 60s/early 70s “country-politan” Nashville feel. Your band is called the 18 Wheelers, & you started out doing the old trucking songs for fun. Walk me through the process of how this all got synthesized into an album.
I got introduced to this guy Roy Williams, who was playing in this band called Honey Fingers, that did a lot of old stuff like Ernest Tubbs, the The Texas Troubadours…the band is named after the song. And I was booking bands at this place in Brooklyn called Skinny Dennis, which has gotten to be pretty successful now. Bands from around the country that play the old Texas sound play there when they’re on the East Coast.
I had been a DJ and had been collecting records for years, and wanted to put together a band and have something like old Midnight Jamboree show that Ernest Tubb did, except kind of in reverse. I would be a DJ and the band would be a guest. So that was going on, and I mentioned that I could sing a little bit. And I sang a few George Jones songs, then guested with them, and it became a regular thing.
I was writing some, and over time we’d drop a few of those into a set, and before long we weren’t doing truck driving covers anymore.
Your phrasing brings a lot of the classic artists to mind: George Jones, Merle, a hint of Glen Campbell. Heck, I could imagine Gram Parsons singing the title cut had he stuck around a little longer.
Who are some of your stronger vocal influences? I mean, I think I’ve named a couple of them…
Yeah. I got really big into Marty Robbins. I didn’t know as much about Merle at that point. But Marty had such a range: country to pop-jazz vocals. The album Marty After Midnight is still one of my favorite records; it’s just ridiculous. And yeah, Merle…I’ve had this Merle Haggard cover band that’s made me a much better singer.
And I was really into George Jones, too. And of course, the Flying Burrito Brothers. But Merle really put it all together in the right way.
Any truth to the rumor that “Way Down in My Soul” is a love note to blotter acid?
Ha ha. Yeah, maybe a little bit. I did a lot of psychedelic drugs in my twenties. And I always like the whole “Lucy in the Sky with Diamonds” thing, like there was a female energy to it. It’s sort of a goddess who guides you through the whole experience; not necessarily a love song, but a deep spiritual thing.
When’s the last time you dosed?
Um. It’s been…well, I don’t know. Several years. Been a while. I guess things get complicated as you get older. But I’m a huge Dead Head and there’s a new documentary coming out about them. Makes me wish I could just drop some acid & walk around the park.
Pedal steel is a pretty trippy instrument, when you think about it, huh?
Was this album crowd-funded at all? How did that go?
I crowd funded a little of it; probably a third of the cost. It cost a good bit, because I don’t think it’s possible to make an authentic-sounding sounding country record without a really good band.
I’ve been to see “vintage” bands like the Derailers before, and the whole show is a scene: people with rockabilly pompadour hair do’s, dudes with gas-station shirts with their names stitched on the front. I see your picture on the album cover, with your jet black, swept back hair; are you playing a part? Is this to blend in to a scene, and do you walk around like that all the time?
Well, I don’t necessarily wear the suit every day, but it was when I first moved to New York about 10 years ago that I started getting into it. That was when I heard the Byrds’ Sweetheart of the Rodeo…
Really? And you just kept drilling, digging down into it?
Yeah, and then I got some Hank Snow albums, some Jimmy Rogers stuff. But it was Neil Young where I first heard steel (guitar), and the Dylan Hard Rain album. I was obsessed with that album when I was 20 or 21. But I was hanging out with a girl and we had been out all night and around 5 in the morning she put on Sweetheart of the Rodeo and I was like, “What the hell is this?” It literally changed my life
What are your plans and goals after the release of this album? Do you have any sort of distribution deal?
Yeah, I’ve got a distribution deal with an imprint of Sony records. It’ll be physical in Canada and the U.S., digital in Europe. But I don’t have like a fancy booking agent to push me to the next level, so it will be up to me to schedule dates and stuff like that. Hopefully people will like it and that will open some doors along the way, and I can afford to make another one.
I truly think this album speaks for itself. But tell me one thing everyone should know about Zephania OHora.
Basically, that I love this music, that I’ve studied it, and I don’t go for this bullshit idea that you have to be from a certain region of the country to be a part of it. This is American music and we all have at least a little bit of it inside of us.
Has there been some skepticism based on geography?
Well, yeah, and it’s bullshit. If you decide to be in a rock and roll band, are people gonna ask you where you’re from? Where is rock and roll from? Should we base the answer on where the Rock and Roll Hall of Fame is right now? I guess you can trace it to a couple of different regions; are people gonna say you have to be from that certain region to be authentic?
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Mar 4, 2017
Oct 10, 2016
More Country Duets with Trump and Hillary
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Aug 14, 2013
If Dallas Davidson Had Written These Americana Classics
If Dallas Davidson Had Written________
Steve Earle - Copperhead Road
Well my name's Brantley Gallimore
Standin' in the line at the grocery store
The only fake ID we've got is mine
So I'm buying' five jars of Kroger Moonshine
Lyle Lovett - If I Had a Boat
If I had a boat
I'd fill it up with hotties
And if I had a jet ski
I'd ride around my boat
And we could party all night
Shake it for me, hotties
Me upon my jet ski round my boat
Ryan Adams - Come Pick Me Up
I wish I could
Come pick you up
In my truck
Buzz you up
See all my friends
They're all full of beer
There's no lines in your tan
I wish you would
Lucinda Williams - Car Wheels on a Gravel Road
Chillin' in a pasture outside of Macon
Jay-Z is rappin' on the radio
Smell of bonfire, dip and Jager
Truck wheels on a gravel road
Gram Parsons - Return of the Grievous Angel
Won't you rock my world little country girl
And ride with me out of town
Check out these sweet deer tracks I got at the tattoo parlor
And then pull your cut-off jeans on down
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May 21, 2012
Lost Classics: Gram Parsons and the Fallen Angels - Live 1973
Lost Classics: Gram Parsons & The Fallen Angels - Live 1973
by Kelcy Salisbury
Retro is cool these days. Punks are wearing "Cash" tee shirts, as a shout out to the man who's frequently considered the ultimate symbol of rock-n-roll cool. Hipsters are wearing them for irony. The comic books of my childhood are blockbuster movies. They even re-made Dukes of Hazzard (shudder).
In the rush to embrace "retro-cool" the true pioneers, the ones who influenced the folks who get the credit, very rarely are recognized. I don't see anybody (punks, hipsters or otherwise) wearing "Rodgers" or "Cooke" tee shirts. I'm pretty sure if I started a business making these shirts, I'd be even broker than I am in record time. Personally, I've always embraced retro, always been interested in digging deeper and finding the roots of the music I loved. When I heard Mama Tried on vinyl as a kid, it led me to Buck Owens. When I heard Waylon Jennings sing that Bob Wills was still the king, I dug into Wills, Ernest Tubb, and so on. I'm ashamed to say I didn't discover one of the most interesting, influential and tragic figures in American music until about 1998 or so. Dwight Yoakam had released Under The Covers, an album of songs that had influenced him, and I heard an incredible duet titled Sin City. I had to know who originally recorded it, which of course led me straight to The Flying Burrito Brothers and their seminal album, The Gilded Palace of Sin. The album might have been around 30 years old at the time but the music jumped out of the speakers and grabbed ahold of me. I had to find out more about the band and the man behind the songs, Gram Parsons, who up to that point I knew of only as the writer of the Rolling Stones hit Dead Flowers and a tragically (if not surprising) deceased friend of Keith Richards.
What I found was fascinating. Here was a true country music "outlaw", the father of a movement that gave America The Eagles, a breathtakingly talented songwriter, a man whose (albeit brief) commercial success of the early 1970s helped pave the way for the outlaw movement that was soon to follow, and a tragically flawed human being who left behind one of the all time great stories of a young rock-n-roller's death. A man who did all this, didn't even live to 30, and was largely responsible for Emmylou Harris' career.
Of course even a casual Parsons fan is familiar with his work with The Byrds, The Flying Burrito Brothers and his two solo albums, GP & Grievous Angel. Eventually I discovered a recording of an in-studio concert, recorded as part of a 1974 radio tour on Hempstead, Long Island, NY.
The recording is a slice of Americana of the time, as banter between Parsons, Emmylou Harris and the disc jockey is all captured on the recording, right down to Parsons' tongue in cheek takes at live reads of a bread commercial, a brief discussion of the band's new tour bus, a stop in Blytheville,AR is mentioned, and Parsons personality and sense of humor shine through as he seems quite lucid and healthy in spite of his prodigous drug and alcohol abuse at the time. Looking back it's a bittersweet thing to hear a man who would soon be dead, his ashes scattered in the California desert (look up the story, it's well worth the read), sounding so alive, and happy to be so.
The songs are superb. Emmylou Harris never sounded better in her illustrious career than when she was backing Parsons as a member of the Fallen Angels. Parsons himself sounds like the living embodiment of a fallen angel as the songs run the gamut from the regretful "We'll Sweep Out The Ashes In The Morning", the straight ahead gospel of "Country Baptizing", an extremely strong cover of Merle Haggard's "California Cotton Fields", Tompball Glaser's "Streets Of Baltimore", and on a version of "Love Hurts" that puts all others to shame. These songs are primarily covers, but the versions of "Six Days On The Road" & "Cry One More Time" stand up favorably with the originals. Parsons puts his own stamp on the album by playing "Big Mouth Blues" (a song Keith Richards of the Rolling Stones has long covered in concert), "The New Soft Shoe" and my personal favorite, the slightly subversive, definitely wierd, "Drug Store Truck Driving Man".
In summary this is not an album to cherry pick songs from, or to skip songs while listening to. It's meant to be heard as it is, because it was never really supposed to be an album anyway. It's just a group of musicians who loved true country music playing it and having a good time at it, all while having no idea what they were doing that day on Long Island would still be heard and appreciated nearly 40 years later. This might not be the best introduction to Gram Parsons music, although as brief as his catalog is almost any album is as good a place to start as another, but it's a solid addition to the collection of any fan of country, rock-n-roll, or just radio the way it ought to be. Who knows, maybe soon Hot Topic will start carrying "Parsons" tee shirts (oh how I hope not!)
Until next time, enjoy some timeless music and throw on a Gram Parsons record.
Gram Parsons and the Fallen Angels Live 1973
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Labels: Gram Parsons, Kelcy Salisbury, Lost Classics, Reviews
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