Twenty Thousand Roads

[Mike Winter]

Has anyone read this biography of Gram Parsons? If so, what did you think?


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www.twentythousandroads.com/RoadsReviews.htm


"After a leisurely telling of Parsons's rich white trash family drama in Florida and Georgia, including his father's suicide and the barely contained contempt of his mother's family, the biography plunges into his musical career, careening from one band to the next just as Parsons himself did. Meyer is appreciative but never adulatory of Parsons, who he believes threw his talent away; while citing the influence of the Flying Burrito Brothers' debut album, for example, he repeatedly mentions the band's unbelievably sloppy sound. This isn't the first biography of Parsons, but Meyer's semidetached stance as a critical fan makes it a valuable one, in the vein of Peter Guralnick or Greil Marcus.” - From Publishers Weekly Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. Normal retail $29.95"

[Pete Finney]

I've read it (my girlfriend bought it and it was laying around).

So, my opinions only; subjective as hell and NOT meant as any final word on anything:


It's pretty well written, and while there are some pretty blatant factual errors it's pretty well researched I'd say. But I think it's way too long and there's way more info on his high school days and such than I think any but his most rabid fans would want. Once it gets to the meat of things though, L.A. and the early days of that era of "country rock", it's pretty interesting. I've think I've read most of what's out there on that subject and it still adds a lot of new stuff. It also makes a well intentioned and not TOO inaccurate stab at explaining and describing the pedal steel, and has some quotes from Lloyd Green and Jay Dee Maness, as well as interesting stuff about "Sneaky" Pete Kleinow. If I had it here I'd quote some...

But I've to got say that while I respect Gram's talent and potential (he was clearly a brilliant dude in his way), and he did have a big influence bringing some of my generation into country music (I'm one of many that count "Sweetheart of the Rodeo" as one of a handful of albums that got me hooked on pedal steel) I find the idea that the L.A. country-rock of the late 60's/early 70's would not have happened without him (as the book more or less says) ludicrous. There were a lot of other stirrings in that direction, he may have been a big part of it but he wasn't alone. And to me he was a pretty weak singer and though he left a catalog of good songs and some good tracks I don't think he lived up either to his potential or his current exalted reputation in some circles (though wasted potential may be a theme of the book the author clearly idolizes him).

So... as much as I was into him at one time I find the incredible amount of attention he still receives kind of puzzling (I think this is the 3rd biography to come out, and certainly the longest). Where's the 600 page serious biography of Merle Haggard for instance? Certainly a much more interesting and important figure in the big picture? Or Emmylou Harris for that matter, whose own career has certainly equaled if not surpassed her one time mentor in terms of her influence (not to mention the incredible amount of great music)? I even bet that Gram might agree about those two if he were around to comment.

Just my humble opinions... flame away if ya wanna! I'd sure be curious to hear Lloyd or Jay Dee's thoughts on the accuracy of the book if they've read the whole thing (some of their thoughts on Gram are IN the book of course).

[Pete Finney]

I thought of some things I want to add to what I wrote above...

If I remember correctly the book doesn't really have much good to say about the "Fallen Angels" band from the one full fledged "solo" tour that Gram did with Emmylou which I think is too bad. I went back to listen to some of the live stuff that was released and I think Neil Flanz's steel playing sounds really, amazingly good on that stuff, and that Gram sings well too; to me better for the most part than he often did on his records.

Again just my opinion...

The late Kyle Tullis who played bass on that tour became a good friend years later after he moved to Nashville. We had some days off in L.A. one time on a Patty Loveless tour and he gave me a late night guided tour around Laurel Canyon and some other parts of L.A. that figured prominently in the music scene of that era. I wish I'd taken notes of some of the great stories he told me...

[scott murray]

I haven't read the book, but I have seen some excerpts in which the author is very critical of certain musicians, clearly letting his own opinion get in the way of objectivity. Not cool.

He is very kind to Neil Flanz however, and for good reason. His playing on the Fallen Angels tour was fantastic. I heard from Neil that another show from that tour (Bijou Theater in Philadelphia) will be released by Amoeba soon.

I'm a huge Gram fan. I don't think country-rock wouldn't have happened without him, but he was a huge piece of the puzzle. The way he was able to steer bands like the Byrds and the Stones into country says a lot about his charisma and influence. And what a great songwriter.

It's a shame that Gram never got the big break or the attention he deserved while he was alive. I think if he had held on for a couple more years he would have really gotten somewhere as far as fame and recognition.

[Jason Odd]

.. This would be Gram Parsons biography no. 5.

I'd be interested in hearing more on the "blatant factual errors"..

Country-rock was already happening, Gram's career is a parallel to Chris Hillman, the Gosdins, the Beau Brummels, Ian & Sylvia, Jerry Jeff Walker, John Stewart, Steve Young, Linda Ronstadt, Richie Furay, etc.

Of course he gave it a voice and style that resounds through the years, people who regard Poco, the New Riders, and the Eagles as unlistenable pap, will have a GP album in their collection.

Whatever his limitations, he speaks to many, far beyond the grave and commercial success.

How do you measure that?.. well, with five biographies for a start.

[Pete Finney]

I'd be interested in hearing more on the "blatant factual errors"

Well... if I'd known I was going to be writing such an (overly long) book review I might have written 'em down as I was reading!

I know that they were about other music stuff in general that maybe the author wasn't that knowledgeable about; NOT about Parson's life in particular where he definitely knows a lot more than I do. And Jason, if you read the book I imagine with your encylopedic knowledge you'll probably notice a lot more little errors than I did! I don't think it takes away from the fact that it's a reasonably well done biography, but the authors background is clearly not in music.

One thing I do remember: In comparing Sneaky Pete's steel playing with the Burritos to Lloyd Green's with the Byrds, he says something to the effect of Lloyd's playing being reminiscent of the "Bob Wills era" of country music. Maybe not exactly a "factual error" but it certainly raises the question of how knowledgeable the author is about country music styles and history.

But if you're into Gram, or just that era in music it's an entertaining and informative read.

[Jason Odd]

Yeah, I know what you mean, I noticed one little blurb in a book tonight, about Mike Nesmith's Countryside Band, it mentioned that he formed the First National Band with Red Rhodes and Nashville sidemen.
Uh.. no, it was a Okie and a Texan who completed the group, both of whom had lived in CA for years...

Or another one was in a recent book on the west coast scene, listed Dillard & Clark's debut as '67 (it was '68), John York joining the Byrds in '69 (joined '68, fired in '69) and Delaney & Bonnie as part of the David Geffen fueled artist purge at Elektra (impossible, they left the label in '69, the purge was in 1973..) ... however, mistakes will happen, made more than a few in my time.

I'd call the Bob Wills stylistic comparison as quite a gaff.. just how many others would notice... well any vintage country or pedal steel fans will note.

I had heard from Jimmie Seiter (Byrds roadie, later road manager and live/studio percussionist.. and Burritos road manager in '69) that this was the best GP bio he'd read, for a start the writer found him..

J.

[Pete Finney]

I've brought this up before, but since we're on the subject, maybe somebody reading this thread will have something to add...

The Gram and Emmylou Harris duet on the Everly Brothers song "Sleepless Nights" has been reissued countless times, and I've only seen it listed as an outtake from "Grievous Angel", with Al Perkins credited on steel. Am I the only one who thinks it sounds like classic Buddy Emmons from that era? Which would more likely make it an outtake from "GP" for whatever that's worth...

Not a big deal of course, but this track is one of my favorite country recordings ever (so yes; I AM a fan. And he's written many classic songs for sure, even if he didn't write this one!).

[Greg Simmons]

great discussion...I'm really enjoying this thread; count me in as a fan too...besides, as an ex-railroader, anybody who wrote and sang a line like "The switchman waved his lantern goodbye and good day as we went rolling through" is tops in my book plus Gram had obvious good taste in steel players

on a side (but sorta related) note, I stopped in at the True World Gallery in Joshua Tree that has the Gram assemblage pictured in this thread:

http://bb.steelguitarforum.com/viewtopi ... rsons+fans

and it's very cool...will post some more pics later.

[scott murray]

"Sleepless Nights" was supposed to be the title of Gram's second solo album, so it seems like it would have been recorded after 'GP'... but it could be a leftover.

"Return of the Grievous Angel" was actually not written by Gram. I think the guy's name was Thomas Brown, and Gram was the subject of the song. Gram was given sole writing credit on the album (posthumously) because he was the only one that knew who the actual composer was.

[Eric Jaeger]

Actually, of all the Gram Parsons biographies I've read this one is the best. He seems to have interviewed almost everyone, and while there are a few clangers even I recognized most if it seems quite accurate.

It also is the only one of the bios that seems to have any real interest in the music as *music*. He has an understanding of the music itself, and comments on musical occurrences and changes as much as the more sensational personal events. Since it's the music that really makes Parsons interesting, it's good to see this. Yes, he has opinions, but all music commentators do, and even though I disagree with some of his opinions at least he states the reasons for them.

And his sections on Sneakey Pete are about the only music writing I've seen that come close to understanding what he did. After a quote from Bernie Leadon that Pete had "absolutely unique-to-Pete licks," and saying "no one else thinks like him anyway," the author goes on to say "Sneakey Pete played a classically country instrument in an entirely new way... there was a logical method to his madness. Musicians heard his tuning and recognized its power. As Bernie Leadon's description suggests, musicians were at a loss to describe that power to a non-musician... Sneakey took country roots and and -- utilizing his tuning and rococo playing style -- made the pedal steel cosmic. Cosmic as in the free modal jazz of John Coltrane and others, cosmic in the sense of psychedelic, and cosmic in the Gram Parsons mode: basing a new sound on a scholar's knowledge of roots."

This is not commentary you'll find in your average musician biography, and it's stronger for it.

There are some priceless descriptions of how weird steel guitarists are scattered through it as well

-eric

[Pete Finney]

I'm glad someone else here read it; I was afraid my rambling, half-assed opinions were going to be left hanging! And you're absolutely right, it is nice to see a writer at least trying to be perceptive and intelligent about the music itself...

And I'm glad you got some of those Sneaky Pete quotes in... How about sharing one of the quotes about how "weird" steel players are? For some reason my girlfriend's copy had the corner of that page turned turned down when she lent it to me (I can't imagine why!).

[Duncan Hodge]

Hey Pete, I read it too. Loved it pretty much all the way through. I thought it filled in a few missing parts in the Gram legend. All personalitied aside I have not gone a week without listening to some part of either GP, Grievous Angel, or SOTR for the past 30+ years.
Duncan

[Pete Finney]

Jason, I'm guessing you'll read it at some point; I'd be curious to hear your take on it.

[Mike Winter]

Thanks for all the responses...I haven't got it yet, but will soon.

There are a bunch of Gram Links on this page:

http://www.gramparsons.com/links/

[Eric Jaeger]

How about sharing one of the quotes about how "weird" steel players are? For some reason my girlfriend's copy had the corner of that page turned turned down when she lent it to me (I can't imagine why!).

I will if I can *find* them again!

-eric

[Jason Odd]

I'll be getting this one, I skipped the one that Polly Parsons helped write. The review was brutal, but most effective, they let a tiny portion of the book be the review.. the description of GPs death scene, Mills and Boon meets an overdose..

But yeah, I'll have to get this latest one.

[Donny Hinson]

If it weren't for the steel work in their songs, I don't think I would have ever listened to even one complete FBB song.

[Mike Winter]

Your loss...they had some good stuff...

[Eric Jaeger]

Your loss...they had some good stuff...

They could be a bit "unfocused" in their playing (except for Sneaky). Read what Bernie Leadon has to say about how flaky they could be. But what they were trying to do wasn't just warmed over rock and trad country. There was a big Memphis/Muscle Shoals component plugged in as well. "Dark End of the Street", "Do Right Woman", "Ain't that a Lotta Love". They took ideas from all over and pulled them together in a way that worked. Even if the execution suffered at times.

-eric

[b0b]

I always enjoyed Gram's records but, truth be known, it was probably because of the steel parts. Not just Sneaky Pete, but also Al Perkins and Neil Flanz.

I'm getting tired of the cult of personality surrounding Gram Parsons. I quit a Gram Parsons tribute band when I realized that I wasn't as much of a GP fanatic as my bandmates. I also had a hard time relating to the audience.

FWIW, I saw The Byrds when at Fillmore West when Gram was with them, and I didn't enjoy the concert. It seemed way too big and loud for the country music they were playing. There was no steel, of course, but it was before I really knew what a steel guitar was. It just sounded noisy to me.

I think I'll pass on this book. I've OD'ed on Gram Parsons.

[Pete Burak]

Does anybody remember what the name of the book that outlines the history of County Rock music is?

Also, didn't Richie Furray recently write a book?... anyone read that?

~pb

[P Gleespen]

I think I'll pass on this book. I've OD'ed on Gram Parsons.

I'm reading it right now. I'd say that you're making the right decision. So far, I'm thinking this book is not for the casual Gram-fan. If you're not REALLY interested in the subject matter, I'd say this book is WAY WAY over the top in details and back-story. (which of course is good if you're obsessively interested in GP)

[Eric Jaeger]

I think I'll pass on this book. I've OD'ed on Gram Parsons.

I'm reading it right now. I'd say that you're making the right decision. So far, I'm thinking this book is not for the casual Gram-fan. If you're not REALLY interested in the subject matter, I'd say this book is WAY WAY over the top in details and back-story. (which of course is good if you're obsessively interested in GP)

Actually, I'd rather this book *replaced* a slew of the previous books on GP. It's not even close to being as overly-reverent and sycophantic as most of the others. In fact, you go away with the idea that GP was a pretty screwed up individual and that he had a lot of others who were key to what he was doing, and whom he mostly just used and discarded.

I don't much care for the Gram cult either (and there are people who go out to Joshua Tree every year to memorialize his death). If it were not for the fact that his life story is straight out a Tennessee Williams play, and that he died young and dramatically, he'd be forgotten.

And if people like Emmylou Harris and Chris Hillman hadn't kept going, I doubt he'd be remembered either.

But if you have to read only one GP book, read this one. It's far better on calling shots and it's the only one that really talks about the music.

-eric

p.s. I think Chris Hillman is on record as refusing interviews now as "Gram'd out". Funny, this whole GP thing seems to have exploded in the last couple of years. Wonder why...

post.p.s. there are several books on the history of "country rock" (whatever that is). Peter Doggett's "Are You Ready for the Country" and Einarson's "Desperados" come to mind. Unterberger has a book on "folk-rock", which shades into country rock.

[Mike Winter]

Pete -- I think the boook you're referring to about Country Rock is. Desperados," by John Einarson. You can borrow my copy after Harley is done with it , if you like.

My personal opinion about the "legend" of Gram is similar to that of James Dean. Who knows what "might" have happened later. Fact is they died young and when that happens there is always legend and mystique that follows. I think Gram had a great catalyst effect as far as bring people and elements together, but in all honesty, I think Chris Hillman deserves a lot of credit for keeping things moving.