Album: Gilded Palace of Sin
Whereas Dylan & The Band went to Big Pink to plug into roots music, Hillman & Parsons chose "Burrito Manor" in San Fernando Valley, LA to write the songs for Gilded Palace of Sin. Both opening songs deal with familiar country themes, the devilish & dangerous allure of certain women (Christine's Tune) or the pitfalls of city life (Sin City), though there's something irreverent in the lyrics and the way Parsons sings them that's completely original. On the next two songs, Do Right Woman and Dark End of the Street, the band does a "Ray Charles In Reverse", fusing soul with country to produce what Parsons called "cosmic American music". On side 2, Wheels is interesting for the use of psychedelic pedal steel guitar, creating a fuzz that sounds like a car roaring its engine, while closer Hippie Boy is a strange, condescending, tongue-in-cheek song about the countercultural movement. Side 2's highlight is Hot Burrito (parts 1 & 2), the first a sincere country lament that feature some of Parson's best singing on the album, followed by a more soulful, less melodramatic song, highlighting the deep similarity of soul and country.
Artist: Flying Burrito Brothers
Born: Los Angeles
Released: February 1969
Genre: Country Rock
Influenced: Elvis Costello, Beck, Wilco, Counting Crows
Trying to pin down who was responsible for the country rock explosion is no easy task. Bands like Buffalo Springfield (see Go & Say Goodbye on their brilliant first album in '66) were already moving in this direction, as were The Byrds. Chris Hillman, who was a background figure during the band's early years, came to the fore on Notorious Byrds Brothers, showcasing his love for country and bluegrass music. He was instrumental in getting Gram Parsons (a relative unknown at the time) to join the group and persuading McGuinn to record a country album, Sweetheart of the Rodeo. The first single off that album was You Ain't Goin' Nowhere (pointing to Dylan's seminal influence on the songbook of country rock, if not necessarily the sound). Such was the bond of friendship and musical kinship between Hillman & Parsons that they ditched The Byrds to release an album as The Flying Burrito Brothers in early '69. Though it sold poorly, Gilded Palace of Sin has had more influence on the country rock sound than any other, whether for good (Wilco) or for ill (late-stage MOR Eagles).
Trying to pin down who was responsible for the country rock explosion is no easy task. Bands like Buffalo Springfield (see Go & Say Goodbye on their brilliant first album in '66) were already moving in this direction, as were The Byrds. Chris Hillman, who was a background figure during the band's early years, came to the fore on Notorious Byrds Brothers, showcasing his love for country and bluegrass music. He was instrumental in getting Gram Parsons (a relative unknown at the time) to join the group and persuading McGuinn to record a country album, Sweetheart of the Rodeo. The first single off that album was You Ain't Goin' Nowhere (pointing to Dylan's seminal influence on the songbook of country rock, if not necessarily the sound). Such was the bond of friendship and musical kinship between Hillman & Parsons that they ditched The Byrds to release an album as The Flying Burrito Brothers in early '69. Though it sold poorly, Gilded Palace of Sin has had more influence on the country rock sound than any other, whether for good (Wilco) or for ill (late-stage MOR Eagles).
Whereas Dylan & The Band went to Big Pink to plug into roots music, Hillman & Parsons chose "Burrito Manor" in San Fernando Valley, LA to write the songs for Gilded Palace of Sin. Both opening songs deal with familiar country themes, the devilish & dangerous allure of certain women (Christine's Tune) or the pitfalls of city life (Sin City), though there's something irreverent in the lyrics and the way Parsons sings them that's completely original. On the next two songs, Do Right Woman and Dark End of the Street, the band does a "Ray Charles In Reverse", fusing soul with country to produce what Parsons called "cosmic American music". On side 2, Wheels is interesting for the use of psychedelic pedal steel guitar, creating a fuzz that sounds like a car roaring its engine, while closer Hippie Boy is a strange, condescending, tongue-in-cheek song about the countercultural movement. Side 2's highlight is Hot Burrito (parts 1 & 2), the first a sincere country lament that feature some of Parson's best singing on the album, followed by a more soulful, less melodramatic song, highlighting the deep similarity of soul and country.
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