Gram Parsons
The Complete Reprise Sessions
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Gram Parsons
The Complete Reprise Sessions
Reprise/Rhino, 2006
RiYL: cosmic american music |
When I hear people say that folks like Ryan Adams or Rhett Miller are “songwriting geniuses,” I cringe. Because not only is that not the case, but it just belittles the meaning of the word. Its not that either Adams or Miller are bums, but “legend” or “genius” are such lofty terms that they should not be handed out lightly.
[Mea culpa: I’m sure I’ve used those words quite liberally in my six or seven years reviewing albums for NATN. But consider that I started out as a bright-eyed 22-year old and now am a grizzled, seasoned veteran, I’m going to cut myself some slack].
When I read about the hype surrounding Rhino’s new Gram Parsons archive, my B.S. detector went straight up. After all, the label in mid-2001 released the Gram Parsons Anthology, a thorough two-disc set spanning his entire career, from the early days with the International Submarine Band, to his barnstorming days in the late ‘60s and early ‘70s with the Flying Burrito Brothers, all the way through his two solo albums.
That collection pretty much had it all--a few rarities and nice surprises, but largely drew from material that most Gram-o-philes already had. The best thing about Anthology was that it gave you everything at once, so new fans had everything at their fingertips, while the older ones finally got to hear these songs remixed and remastered.
So now, barely five years later, Rhino saw the need to re-release his solo albums? I didn’t get it. Not only are these albums well represented on Anthology, but they are both easily available—and have been for some time—on one disc.
Now, again, I should state that about seven years ago, I was a huge Gram fan. I mean HUGE. I discovered the man through various tribute records and interviews with bands I loved who all said he was their inspiration. I believed the hype—that Gram somehow invented “country rock” and all those who followed—The Eagles, namely—were just pathetic copycats who dumbed it all down for a mass audience.
For about three years, between 1999 and 2002, I was a nut.
But something happened as I got older and outlived Gram. Maybe it was the relative brief career and short catalog, but over time I lost my enthusiasm. I think it largely had to do with everyone coming out of the woodwork praising Gram to the end, as if he was Elvis or something.
The hype—to which I contributed on this site—just overwhelmed me. How could this guy be the savior so many people claim? I mean really, Gram was just a spoiled rich kid who had a huge trust fund and never actually had to work for a living. He was blessed with a beautiful voice and penchant for words, but he took it all for granted and ruined his career with dreams of being a rock star.
Thing is, just as I believed the hype only a few years before, now I was using it as an excuse to move on, as if once it reached a certain level, listening and enjoying Gram’s music became beneath me.
Well, let’s just say I’m very grateful for Rhino for setting me straight. Listening to The Complete Reprise Sessions was like making up with an old friend, someone you haven’t talked with in years and, even, began resenting that they becoming so popular while you stood in the back trying to hold true to your pride.
Don’t get me wrong, I still think Gram is overhyped. But while listening to these albums, I realized that lost in all the hub-bub and gratuitous patronizing is his music and, most importantly, his voice.
Gram did nothing all that revolutionary, especially on his solo records. His vision of Cosmic American Music—melding Southern music with black rhythm and blues—came and went on the Flying Burrito Brothers first album. His two solo records—1972’s GP and 1974’s posthumous Grievous Angel—are about as straightforward country as you’ll get.
Rhino gives these albums a much-needed facelift, but there’s nothing on the first two discs that you can’t find elsewhere, aside from some nifty radio tracks and interview snippets.
But it is the third disc of outtakes and rarities that make the collection worth its salt. Hell, in my opinion, Rhino could’ve just taken the live radio tracks and thrown ‘em on the third disc and released it separately and leave it at that.
The outtakes and alternative versions are so stunning in their simplicity and sparseness that, for the first time in years, I was able to listen to Gram without the hype. His voice is so pure and smooth throughout that it is almost depressing to think that, shortly after these songs were recorded, he overdosed in what many believe was going to be his one last foray in drugs before cleaning himself up for good.
Well, unfortunately, they were right about one thing.
The alternate takes on “She,” “Streets of Baltimore,” and, especially, “The New Soft Shoe” are almost heartbreaking. The listener begins wondering what could’ve been if he’d been able to keep himself straight.
For me, though, the collection is particularly meaningful because of the “Hickory Wind” outtake. Most critics consider this song, originally included on his only album with the Byrds—Sweetheart of the Rodeo—his pinnacle, but it always drove me crazy. Even in my Gram heyday I couldn’t stand this song. I never liked the way he sung it and the music—the whiny strings and steel guitar—always felt forced.
But here, starting with a simple acoustic guitar, Gram sings “Hickory Wind” the way I think it should’ve always been. The rich pureness of his voice comes through and because of the lack of instrumentation, the song actually picks up. The official versions of the song never took off; this one soars.
If nothing else, the Complete Reprise Sessions serves not only as a nice bookend for Gram’s career, it does the same for my own appreciation of his music. I can listen to the outtakes and hear his voice and songs as I always thought they should sound—stripped down, bare, and beautiful.
And I can appreciate his last few moments on record and wonder just what might have been.
RODEO ROB | An expert on all things "alt," Rob spends his days covering the energy industry and his nights covering the DC-area bars. Raise yer glass especially high to this man, for he has contributed to this site constantly since its creation four years ago.