Flying Burrito Brothers, Gram Parsons - Archives Vol. 1: Live at the Avalon Ballroom 1969
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Music CD Cover
Artist: Flying Burrito Brothers, Gram ParsonsEdition: Music CD
Format: Live
CD Release Date: 2007-11-06
Music Label: Amoeba Records
Soundtracks:
Music CD 1
- Close Up the Honky Tonks
- Dark End of the Street
- Medley: Undo the Right/Somebody's Back in Town
- She Once Lived Here
- We've Got to Get Ourselves Together
- Lucille
- Hot Burrito #1
- Hot Burrito #2
- Long Black Limousine
- Mental Revenge
- Sin City
- Thousand Dollar Wedding [Demo Recording][#][*]
- When Will I Be Loved [#][*]
- Medley: Undo the Right/Somebody's Back in Town
- She Once Lived Here
- Mental Revenge
- We've Got to Get Ourselves Together
- Lucille
- Sin City
- You Win Again
- Hot Burrito #1
- Hot Burrito #2
- You're Still on My Mind
- Train Song
- Long Black Limousine
- Dream Baby (How Long Must I Dream)
- Do Right Woman
Free Music Notes for Archives Vol. 1: Live at the Avalon Ballroom 1969
Free Music Review: Essential Live Burritos, Awesome Gram
Hit: 5 Stars
I've been a huge Gram Parsons fan for years, and got this for Christmas. I have given it some time to let it sink in.
But this is an awesome addition to my collection of Parsons's material, and I am enjoying it immensely. Any Gram fan will want to have it and, unlike the confusing offerings of different collections of his studio material, you will know that only on this two disc collection will you be able to find the material included.
I've had the live album Gram did with Emmylou and the Fallen Angels tour for what is now a long time now, and that one is well recorded with a reasonable level of performance shown by the band. This is an earlier work by the Burritos, who by comparison were known for being more sloppy, even very sloppy, and several early studio efforts by Parsons were known for mediocre production, even the great Gilded Palace of Sin. As a result I was quite pleasantly surprised here by the production quality, which one perhaps shouldn't be given the Dead's people were involved in the recording. Equally if not more surprising is that the band's performance is reasonably tight, with some obvious mistakes still found here and there. I would have to guess the monitors were not the very best for the vocalists by contemporary standards, as some of the harmony work could have been tighter.
Despite that, Chris Hillman does a very good job here with the harmony work, as does Parsons who, after all, is the artist that really makes this collection so worth getting and listening to. While in Gram's short career he went on to do such great work with Emmylou, with the Burritos he had already found his voice and performed some of his better self written compositions, such as Sin City, the two Hot Burrito numbers, and others along with covers both included in the studio albums and some only found here.
I recently finished reading Twenty Thousand Roads, the biography on Parsons, and one thing that work makes clear is that Gram worked at actually playing gigs more than he did in preparing beforehand for them. He would frequently show up under the influence, maybe always being at least somewhat so. But he was comfortable in his skin up on stage, and he played live frequently in a great variety of venues. His performance is one here, as I think on the good nights it usually was, where you can hear a soulfullness rarely found in singers having much more well known and widespread reputations. I get the impression many who criticize his singing talent are comparing how he comes close or falls short compared to people like George Jones, who certainly set a standard. But Parsons sets his own, and his instantly recognizable voice is here evident in all it's effective and appealing glory.
Having said all that, it has always been true of Parsons that he is more appreciated by musicians and musically knowledgeable people than the more general music listening public, and I don't think there's anything in particular about this album that will change that reception. Even so this collection has some added historical significance in seeing how this LA based country rock band, which was a very new thing indeed at the time, opened a set for the Dead at the Avalon, in the heart of the San Francisco scene at the time. This was before the Dead made their own turn into a more country approach found on American Beauty, but you can hear that at least some of their fans seemed to get it and enjoy it from the crowd reaction. Maybe the casual listener will today, too.
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