The Flying Burrito Brothers - The Gilded Palace of Sin
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Music CD Cover
Artist: The Flying Burrito BrothersEdition: Music CD
Audio: English (Unknown)
Format: Import
CD Release Date: 1994-06-16
Music Label: Edsel Records UK
Soundtracks:
- Christine's Tune
- Sin City
- Do Right Woman
- Dark End Of The Street
- My Uncle
- Wheels
- Juanita
- Hot Burrito No. 1
- Hot Burrito No. 2
- Do You Know How It Feels
- Hippie
Free Music Notes for The Gilded Palace of Sin
Free Music Review: The GOLDEN CASTLE of TRUTH
Hit: 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.
The Gilded Palace of Sin Poster
Originally released in 1969, The Gilded Palace of Sin is the debut release from one of the most influential country-rock outfits of all time. Helmed by the legendary Gram Parsons with help from ex-Byrd Chris Hillman and LA pedal steel maverick 'Sneaky' Pete Kleinow, The Burritos' debut features Sin City (later covered by Parsons compatriot Emmylou Harris), Wheels, Christine's Tune and other classics. Forget your Eagles and your Poco, this is the real LA country-rock, or as Gram himself called it, 'Cosmic American Music.' Deluxe 180 gram vinyl reissue.After exiting the Byrds, Gram Parsons and Chris Hillman formed the Burrito Brothers and recorded The Gilded Palace of Sin, an alternative country record before there even was such a thing. It's all thrilling: the country-ish covers of soul classics such as "Dark End of the Street," the distorted pedal-steel fills of Sneaky Pete Kleinow, and the classic country-rock compositions like the bluegrassy draft-dodger's anthem "My Uncle" and the amazingly twangy critique of capitalism, "Sin City." Along with the Byrds' Sweetheart of the Rodeo, this is the premier example of Parsons and Hillman's prescient hippie-from-Muskogee aesthetic. Nine of Palace's 11 songs are available on the 21-track Farther Along anthology, an option bargain hunters may want to explore. But there's no replacing the full original. --David Cantwell
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