Posts Tagged ‘Sneaky Pete” Kleinow’

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Country music’s influence on rock ’n’ roll is nearly as old as rock itself, a dominant gene in rockabilly and vocal touchstone for seminal artists from Elvis to Buddy Holly and the Everly Brothers. in 1968 the rise of a school of artists consciously bridging those genres, accelerating the pace that two of the sub-genre’s defining albums would overlap in conception even as the bands creating them buckled under internal strain.

The Byrds had enjoyed first mover advantage in recording “Sweetheart of the Rodeo”, spurred on by Gram Parsons, a 21-year-old singer-songwriter whose deep love for Southern country and R&B found a kindred spirit in bassist Chris Hillman and pragmatic support from lead guitarist Roger McGuinn. Country influences were already in the air, not only in originals and covers from the Beatles, the Lovin’ Spoonful, Buffalo Springfield and the Byrds themselves, but also in up and coming artists like Bobbie Gentry and Linda Ronstadt.

Before “Sweetheart of the Rodeo” hit stores in late August, Parsons had bolted from the band on the eve of South African dates and veered into a bromance with Keith Richards that injected the Rolling Stones with country influences while fanning Parsons’ own dreams of rock glory. After hanging out in London with Richards, Parsons returned to Los Angeles in early August weighing his next move.

The Flying Burrito Brothers’ original line up: Sneaky Pete Kleinow, Gram Parsons, Chris Ethridge and Chris Hillman. The recording line up had yet to add a drummer

Meanwhile, Chris Hillman had left the Byrds’ coop after increasing tensions with management. Despite an earlier falling out with Parsons, Hillman reconciled with the Florida-born, Georgia-raised musician. The erstwhile combatants once more bonded over music and even became roommates, writing the bulk of what would become the original material on the debut for the Flying Burrito Brothers. Chris Ethridge was recruited as bassist, freeing Hillman to play guitar and mandolin, and the duo tapped Sneaky Pete Kleinow on pedal steel guitar.

The chance to snag a new band with two Byrds quickly drew competing bids from Warner Bros. and A&M Records, with A&M winning the battle. In contrast to the sessions for Sweetheart, shepherded by a seasoned producer and crack session players, the Burritos entered the studio with a big advance, a lot of ideas, a fledgling co-producer who was no match for the strong-willed Parsons and Hillman, and no drummer. The Burritos would share producer credits with A&M’s Larry Marks and engineer Henry Lewy, reflecting a more chaotic studio environment that would find them going through a collection of drummers.

Gram Parsons had envisioned the Burritos as “his” band, but The Gilded Palace of Sin, released in early February of ’69, underscores the partnership between Parsons and Hillman, who co-wrote six of the album’s eight originals. The opening track, “Christine’s Tune,” finds them sharing lead vocals and driving acoustic rhythm guitars, with harmonies built on classic thirds that harken back to the Louvin Brothers, the Everlys and other high, lonesome harmony singers. An overly ripe bassline evidently designed to emphasize rock power loses its edge to muddiness, but Sneaky Pete’s pedal steel commands centre stage with an aggressive, fuzz-toned attack and his own unorthodox tunings.

A stop-motion animator and special effects craftsman, Kleinow provides a potent departure from the more traditional steel parts heard on Sweetheart, leaning here into the rock side of the sub-genre’s equation. Kleinow unleashes that power elsewhere on Gilded Palace while proving his skill with more traditional accents on the ballads, starting with “Sin City,” a country waltz that trades in the sin and salvation polarity central to Parsons’ vision for an amalgam of country, rhythm ’n’ blues and rock.

Its synthesis of country soundscape with urban modernism strikes an apocalyptic tone. “On the thirty-first floor, a gold-plated door won’t keep out the Lord’s burning rain,” the duo sings in a prophesy that warns “this old earthquake’s gonna leave me in the poor house.” They could be singing about L.A. or Las Vegas; heard today, it’s hard not to envision the gilded escalators in Trump Tower.

The R&B component in Parsons’ “cosmic” Southern synthesis leads him back to Memphis, source for Sweetheart’s countrified R&B cover (“You Don’t Miss Your Water”). this time yielding two superb ballads sharing lyrics from Dan Penn. “Do Right Woman,” written with Chips Moman, was a sensuous Aretha Franklin cut demanding equal sexual satisfaction from her man, a contract that survives its gender flip as another gliding country waltz. Instead of changing the mood or their compass bearings, the Burritos follow with the darker sexual torment of “Dark End of the Street,” a Penn collaboration with Spooner Oldham. Parsons dominates the vocals with an audible anguish over a locked battle between passion and guilt for two lovers “hiding in shadows where we don’t belong,” resigned to the inevitability of discovery and shame in a tableau of illicit love familiar in both country and soul tropes.

For two self-referential album tracks, Parsons wrote with Chris Ethridge. “Hot Burrito #1” is another soulful ballad that dispenses with any hint of sexual guilt to remind an ex-lover that “I’m the one who showed you how/To do the things you’re doing now” in frank sexual metaphors. With “Hot Burrito #2,” Ethridge grounds the track in a strutting bassline as Parsons rants about a lover’s quarrel with an eyebrow-raising opening “Yes, you loved me and you sold all my clothes.” If the lyrics verge on incoherence, the track itself is a lively standout.

Elsewhere, Parsons and Hillman nod to the tension between their music’s Southern roots and their countercultural instincts. On “My Uncle,” Hillman takes the lead on vocals and mandolin as a young American pondering the draft who’s “heading for the nearest northern border” against a fleet bluegrass backdrop. And on the closing “Hippie Boy,” Hillman reverses roles for a poker-faced, spoken word sermon as a redneck whose encounter with a hippie brings something like peace, love, understanding and the sage advice to “never carry more than you can eat.”

With the album completed, the Burritos recruited a third Byrd, drummer Michael Clarke, but chaotic behavior sabotaged supporting tour dates as they burned through the label’s advance, missing a crucial New York date. The Gilded Palace of Sin stalled on the Billboard chart, considerably worse than Sweetheart’s disappointing tally months earlier. The addition of Bernie Leadon would strengthen them musically, but Gram Parsons was already restless. He would leave “his” band after the Burritos completed a scattershot follow-up, Burrito Deluxe.

Thanks Sam Sutherland

Co-founded by former Byrds members Chris Hillman and Gram Parsons, the Flying Burrito Brothers formed their own massive country-rock family tree: Rick Roberts, the band’s guitarist in the early ’70s, later fronted Firefall; guitarist Bernie Leadon left for the Eagles; and pedal-steel guitarist “Sneaky” Pete Kleinow recorded with just about any pop or rock artist who craved a little twang. The Burritos only released one album in the ’60s, but it’s enough to warrant their inclusion: 1969’s ‘The Gilded Palace of Sin’ is a high watermark of the genre, adding elements of psychedelia and gospel to their country core.

On the heels of recent releases including the first-ever reissue of Gene Clark’s classic A&M album White Light, Intervention Records has turned its attention once more to a group of California legends with ties to The Byrds: The Flying Burrito Brothers.  Following its previous release of the Burritos’ debut “The Gilded Palace of Sin” on both hybrid SACD and deluxe vinyl, Intervention will reissue the band’s sophomore LP, “Burrito Deluxe”, in those formats.  The 180-gram vinyl LP will arrive by October, .

Burrito Deluxe marked the second and final album by the country-rock pioneers to feature founding member Gram Parsons.  Drummer Michael Clarke, late of Gene Clark’s duo with Doug Dillard, came on board along with another Dillard and Clark alumnus, guitarist Bernie Leadon.  Chris Hillman, who played guitar on Gilded Palace, moved over to bass to replace Chris Ethridge.  Pedal steel guitarist “Sneaky” Pete Kleinow continued to round out the roster.

The sad story of the Flying Burrito Brothers is that they were always far, far ahead of their time. Hillman “We had always hoped the band would become as successful as the Byrds were, but it never happened. We never had a hit single . . . just a lot of ups and downs. It was a magical, very productive period in my life. But nobody was really ready for us. Now, even the new Flying Burrito Brothers are doing all right. I do really suspect their motive, though. It’s like me hiring four other guys and calling myself the Byrds. My point, though, is what we were doing is real popular now. For God’s sake, I watch these groups with their rhinestone suits on, singing out of tune, playing shitty, and they’re being accepted. It breaks my heart. “We all worked so hard with that band. Goddamn it, we deserved success.”

Like most bands in their position, the Flying Burrio Brothers splintered out of desperation. Chris Hillman was helping Stephen Stills with his third solo album at the time of the final breakup. When Stills promptly offered him a partnership in Manassas, it seemed a comfortable solution to post-Burrito depression. “We were always more of a band than people thought,” Hillman recalls fondly. “Stills wouldn’t have been the same without us, that’s for sure. Stills was playing a concert in Cleveland with the Memphis Horns. I was sitting in the audience, going, ‘Jesus Christ. They’re making 25,000 bucks and they’re shitty. The Burritos are better than this.’( Rolling Stone ’72)

Like the first album, Burrito Deluxe blended both band originals and cover versions – this time including Bob Dylan’s “If You Gotta Go (Go Now),” Harlan Howard and Wayne Kemp’s “Image of Me” (most closely associated with Conway Twitty), the southern gospel standard “Farther Along,” and most notably, Mick Jagger and Keith Richard’s “Wild Horses” – a year before The Rolling Stones released it themselves.  The opening track, Parsons’ “Lazy Days,” also had history as it was previously recorded by both The International Submarine Band and The Byrds, though neither version had been released at the time.  Just two months after the release of the album in April 1970, Parsons was fired from the group he founded.  He would be replaced by Rick Roberts for the band’s next LP.

Intervention’s 180-gram vinyl LP reissue has been remastered by Kevin Gray from original analog tapes (a 1/2-inch safety copy of the original stereo master), and has been pressed at RTI in an old-school Stoughton-printed “tip-on” jacket.  The artwork has been restored by Tom Vadakan and features red foil accents on the front cover.  Look for this country-rock classic on vinyl in October.

The Flying Burrito BrothersBurrito Deluxe (A&M SP-4258, 1970 – reissued Intervention Records IR-022, 2018)

Intervention Records is thrilled to announce The Flying Burrito Bros. classic 1970 sophomore effort Burrito Deluxe on 180-gram vinyl.

Burrito Deluxe is the second and final hot Burrito made while the band was still led by former Byrds member Gram Parsons. The Flying Burrito Bros. are widely viewed as the inventors of country rock and are one of the most influential bands of all time. “Burrito Deluxe” is another classic full of great tunes written and sung by Parsons and Chris Hillman.

The original LP art is restored by IR’s Tom Vadakan and the old-style, “tip-on, brown-in” LP jacket is printed by Stoughton and features super deluxe red foil accents on the front cover. For years now, we’ve touted Intervention Records’ superlative work in the vinyl reissue front.  The team’s attention to detail, impeccable artwork, and stellar sonics across genres have given them a reputation in the reissue world as one of the best.  Their established quality in the LP world happily extends to the digital realm, as well.

Is this the album that made country cool? Former Byrds Gram Parsons and Chris Hillman picked up where they left off with Sweetheart of the Rodeo with this stunning masterpiece of a debut album by The Flying Burrito Bros. While Parsons had already pushed rock in a country direction during his brief stint with The Byrds and The International Submarine Band, The Gilded Palace of Sin is why the Burritos are widely viewed as the inventors of country rock. Indeed with this album, Hillman and Parsons carved a substantial place in music history as one of the most influential albums and bands of all time.

The Gilded Palace of Sin was 100% Analog Mastered by Kevin Gray at CoHEARent Audio from the best source available- a phenomenal sounding 1/2″ safety copy of the original stereo master tapes. All of the top-end energy and “snap” of the original A&M LP is preserved, while the bass foundation is fully restored to make this new Intervention reissue the definitive listening experience for this classic LP! , For their sophomore album, the band’s original songs were joined by a country classic (“Image of Me,” popularized by Conway Twitty), a gospel standard (“Farther Along”), and tunes by Dylan (“If You Gotta Go”) and the Stones (the first recording of “Wild Horses”). “Burrito Deluxe” featured Gram Parsons, Chris Hillman, “Sneaky” Pete Kleinow, Bernie Leadon, and Michael Clarke plus guests including Leon Russell (tickling the ivories on Leadon and Parsons’ “Man in the Fog” and the Glimmer Twins’ “Wild Horses”).  It would prove Parsons’ final album with the group.

The Flying Burrito Brothers The Gilded Palace Of Sin album cover web optimised 820

When The Gilded Palace Of Sin was released, on 6th February 1969, sales were initially not good but their debut album by The Flying Burrito Brothers has since earned its status as one of the defining albums of country-rock and Americana music. named it as one of the 500 essential albums all music lovers should own.

Gram Parsons and Chris Hillman formed the The Flying Burrito Brothers after both leaving The Byrds. They brought in bassist Chris Ethridge and pedal steel guitarist Pete Kleinow to complete the line-up, appropriating the band’s name from a group of Los Angeles musicians who gathered for jam sessions.

“We’re a rock’n’roll band that sounds like a country band,” said Gram Parsons, a Harvard theology student drop-out who was 22 when the album was made. The singer-songwriter, guitarist and keyboardist is acclaimed as one of the most innovative forces in country music, becoming a huge influence on musicians as diverse as Emmylou Harris, Ryan Adams and Lucinda Williams.

There are 11 songs on The Gilded Palace Of Sin, including the haunting classic ‘Sin City’, which was co-written by Hillman and Parsons, and which included allusions to contemporary figures such as Robert Kennedy (“A friend came around/Tried to clean up this town”), who had been assassinated in June 1968.

Hillman said he woke up one morning with the lines “This old town’s filled with sin/It’ll swallow you in” swimming in his head. He roused his flatmate Parsons and they completed the song in about 30 minutes. “It was just before Christmas and it was about to rain; and we were living in the San Fernando Valley in a tract type home,” Hillman recalled. ‘Sin City’ has been covered by scores of musicians .

There was a spontaneity to the album’s production that helps make The Gilded Palace Of Sin sound fresh half a century later. Chris Ethridge said, “I told Gram I had a couple of old melodies from back when I was growing up. I played them for him and we wrote the two songs that day, ‘Hot Burrito #1’ and ‘Hot Burrito #2’, and then that night went into the studio and cut ’em.”

As well as being full of modern Americana classics – including the achingly beautiful two-part harmonies on songs such as ‘Juanita’ and ‘Wheels’ – there were also innovative cover songs. Hillman said that Parsons opened him up to new musical experiences by setting the challenge of taking great soul songs – such as ‘The Dark End Of The Street’ – and reinventing them.

Hillman said, “We also took the interesting song ‘Do Right Woman, Do Right Man’, which was Aretha Franklin’s big soul song at the time, but we did it country. That was the genius of Parsons. He got me into looking beyond the country parameters.” They brought in David Crosby to sing backing vocals on that track.

Drummer Jon Corneal, who had worked with a teenage Parsons in The International Submarine Band, and went on to work with Loretta Lynn, played on five tracks and was one of four drummers used on the album.

One of the qualities that underscores the whole album, right from the energetic opening track, ‘Christine’s Song’, is the brilliant playing of “Sneaky” Pete Kleinow’s pedal steel guitar. In 1969, the Burritos didn’t really have a lead guitarist so a lot of the solos fell to Kleinow. Parsons used to call him “The Maharishi Of Country Music”, and Kleinow became one of the most sought-after session musicians in the business.

‘My Uncle’ (the only track to feature Hillman on mandolin) and ‘Hippie Boy’ are counterculture songs of the time about the Vietnam draft and the 1968 Democratic National Convention riots in Chicago, which Parsons described as “the toughest challenge on the album”.

The album’s artwork is also special. It was overseen by Tom Wilkes, who had joined A&M after being the art director of the 1967 Monterey Pop Festival. Parsons had arranged for custom-made Nudie suits to be created by the acclaimed designer Nudie Cohn. Parson’s one, which featured red poppies and marijuana leaves, hangs in the Country Music Hall Of Fame. Wilkes said: “We decided to take them out to the desert and do something kind of surreal with the Nudie suits, shot by Barry Feinstein. And they looked great anyway. They looked funky and kind of country western and kind of rock.”

Gram Parsons, who was aged 26 when he died, in 1973, left a marvellous legacy, including The Gilded Palace Of Sin, which helped draw the blueprint for both 70s country-rock, Americana and the alt.country sound. On November. 6th in 1973: road manager Phil Kaufman & friend Michael Martin were charged & fined $300 each for the theft of a coffin containing the body of country rock singer-songwriter Gram Parsons; the court heard that the two men were merely carrying out Gram’s wishes to be cremated in the desert; the pair had stolen the body & driven it to Joshua Tree in a borrowed hearse, where they attempted to cremate it by pouring five gallons of gasoline into the open coffin & throwing a lit match inside, resulting in an enormous fireball…

In 1969, The Flying Burrito Brothers welcomed listeners into their “Gilded Palace Of Sin”.  The album, released on Herb Alpert and Jerry Moss’ A&M label, heralded a new style of music – one which co-founder Gram Parsons would famously dub “Cosmic American Music.”  Indeed, the sounds emanating from this Palace were, at the same time, surprisingly traditional and completely radical.  For the Burritos melded the harmonies of the Everlys or the Louvins with the gutbucket soul of the deep south, the instrumentation of classic Nashville, and the experimentation of psychedelia.  The sound created on The Gilded Palace of Sin would come to be known as country-rock, and influence a generation of performers, perhaps most notably the Eagles but also bands from Poco to Wilco.  Intervention Records has recently given the deluxe audiophile treatment to this landmark cult-classic album, with a new 180-gram vinyl pressing.  (A hybrid stereo SACD edition will follow later this year, as well.)  Intervention’s reissue is both faithful to the sound of the original LP while actually improving on it.

That this was no ordinary country record, or rock record, was evident from the very first track.  “Christine’s Tune” was written and sung by Gram Parsons and Chris Hillman, both late of The Byrds. (Parsons had also been a member of The International Submarine Band, itself a progenitor of the country rock genre.)  The band was rounded out by Chris Ethridge on bass and “Sneaky Pete” Kleinow on steel guitar, while the drum seat was occupied by a number of musicians including “Fast” Eddie Hoh“Christine’s Tune” has a classic country-and-western storyline about a woman who’s a “devil in disguise,” but underneath the harmonies and Parsons’ acoustic style was Hillman’s psychedelic electric guitar on the verge of a freakout, and Kleinow’s offbeat steel playing – both captivating and disconcerting.  (Bernie Leadon, who served in the group as of its second album and went on to join the Eagles, noted that Kleinow usually played an eight-string Fender cable pull steel tuned to B6 instead of the expected C6.  He played in a jazz style that others might typically have used an E9 tuning for, and utilized a fuzzbox and played his instrument through a rotating Leslie speaker, to add unusual effects.)  Kleinow’s presence was a reprieve for the steel guitar, an instrument that had been largely eschewed by Nashville in the wake of the lush, pop-oriented Nashville Sound.

Parsons and Hillman’s cautionary tale of “Sin City” was another classic country lament (“This old earthquake’s gonna leave me in the poorhouse/It seems like this whole town’s insane…”) but with striking religious imagery, as well.  Parsons and Hillman weren’t pulling any punches in bringing the rootsy country sound they loved – one which had been largely pushed to the side in the countrypolitan era – and fusing it to a youthful rock-and-roll sensibility.

A number of the Parsons/Hillman originals were very much of their time.  “My Uncle” juxtaposed a jaunty bluegrass melody with the narrator’s story of “heading for the nearest foreign border” to evade the draft, very much a specter lingering over young men in 1969.  “Wheels,” too, was transporting – a typical country song in its longing and plea to “come on wheels, take this boy away,” but also with a spiritual streak and likely drug references, as well.  Chris Etheridge’s barroom piano lends another happily unexpected grace note to the track.  Hillman recites the spoken-word “Hippie Boy” which ends the album on a note of sadness and tragedy.  (It was a direct reflection on the 1968 Democratic National Convention riots.)

Ethridge teamed with Parsons to write two of the album’s standout tracks, “Hot Burrito No. 1” and “Hot Burrito No. 2.”  Elvis Costello retitled the former “I’m Your Toy,” reasoning that the original title was dignified enough for this beautiful ballad which underscores the influence of southern soul writers like Dan Penn on the Burritos.  Both “No. 1” and the more driving “No. 2” feature quavering, tender leads from Parsons, joined on “No. 2” by Hillman and Ethridge on background vocals.  Barry Goldberg stepped in to co-write “Do You Know How It Feels” with Parsons, grafting a melancholy, classic country lyric to catchy melody ripe for a saloon sing-along.

The Gilded Palace of Sin‘s two covers were significant reminders of the R&B and soul underpinning, too.  Both were written by Dan Penn and Chips Moman: “Do Right Woman” and “Dark End of the Street.”  Though the songs undoubtedly belong to Aretha Franklin and James Carr, respectively, Hillman, Parsons and the Burritos traced a direct line from Memphis to Nashville – via Los Angeles, where the album was recorded.  (Note that “Dark End” is credited on the album to Penn’s most frequent writing partner, Spooner Oldham. This is not an error on Intervention’s part, but rather is just faithful to the original LP sleeve.)

Parsons only lasted for one more album with the Burritos, while Gilded Palace turned out to be Chris Ethridge’s debut and swansong with the band.  By the time of the band’s fourth album, released in 1972, Chris Hillman was The Last of the Red Hot Burritos.  Since then, various iterations of the band have formed and re-formed, and one such splinter group called The Burrito Brothers still tours today.  Gram Parsons died in 1973, having furthered his musical mission with a pair of solo records featuring Emmylou Harris – the second of which was released after his untimely death.  The Gilded Palace of Sin is still the most cohesive record of Parsons’ career, on which he crystallized his ambitions and talents into a singular piece of art.  Though few originally bought the record, its reputation quickly grew among artists and collectors alike, and its influence from pop to alt-country can hardly be understated.

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Intervention’s splendidly detailed remaster of The Gilded Palace of Sin maintains the almost woozy, psychedelic ambiance of the album produced by the band, Larry Marks, and Henry Lewy, while bringing vivid detail and clarity to the stinging guitars, tight harmonies, and especially Chris Ethridge’s bass which anchors the LP with resonance.  Kevin Gray at Cohearant Audio has remastered (100% AAA analog, notes the label) from a 1/2″ safety copy of the original stereo master tapes as housed in the Universal vaults.  This RTI pressing, on heavyweight vinyl, lives up to its promise of being “dead quiet” and makes a powerful case for the warmth of its analog sound.  The LP, boasting period A&M labels, is housed in a protective sleeve within a sturdy Stoughton-printed “tip-on” jacket, replicating the original artwork.

thanks To The Second Disc

So where would that leave the legacy of a cult artist like Gram Parsons, who died in 1973 at the age of 26 with but a small, yet influential body of work, as the 21st-century marches ever onward? If you are of a certain age, and presuming that you are a pretty big music fan, you no doubt have heard and hopefully appreciate the “cosmic American music” of this golden-voiced country rock progenitor/genius. To be sure, I think that there’s still a pretty strong cult following of Gram Parsons fans , but in 2017 its members tend to be know-it-all aging boomers with graying ponytails who want to give you their opinions of whatever album you happen to be looking at in a record store.

Only in Southern California, always a stronghold of Flying Burrito Bros. fandom, does there seem to be an organic all ages awareness of the great Gram Parsons. This has much to do with the desert and how inextricably intertwined the desert trip is with the mythos of Parsons’ death by OD in room 8 of the Joshua Tree Inn and how his body was subsequently stolen and given a drunken cremation near Cap Rock by his manager, Phil Kaufman.

It’s a SoCal rite of passage to do magic mushrooms in Joshua Tree and trip out under the desert stars listening to “The Gilded Palace of Sin” by the Flying Burrito Bros. as there is simply no greater soundtrack for this sort of activity in that particular place . Its a specifically a desert thing. .

Which is why the word needs to get out about this release by Intervention Records who recently released vinyl and also SACD re-issue of “The Gilded Palace Of Sin”. Mastered by Kevin Gray at Cohearent Audio, this is one of the best-sounding slabs of wax that I’ve heard , which is exactly what you would want someone to say if you’re a new boutique record label catering to the jaded (and easily disappointed) audiophiles. Think you’ve heard it all? Wait until you’ve heard this! That beautiful young man’s quivering, vulnerable, plaintive voice, those harmonies with Chris Hillman and the exquisite chime of Sneaky Pete Kleinow’s buzzing, warmly-distorted almost psychedelic steel guitar, it’s all there in the grooves as never before, like they coaxed some extra music particles off the low generation analog tapes it was mastered from. Since I first heard The Gilded Palace Of Sin in the early 70’s .

I’ve listened to it hundreds of times, but this is something else entirely. Always an exhilarating—and well-recorded—album to begin with, this absolutely sparkling pressing by Intervention represents the apex of the state of the art analog “triple A” production (no digital anywhere in the workflow) going today. They even make a new vinyl stamper after every 5000 uses . If you’re looking for some primo vinyl to throw at your turntable, this is as good as it gets, a record you will find yourself flipping over and playing again and again and again. (And although I’d bet this is their showpiece, Intervention Records have also released exquisite editions of classic albums by Joe Jackson, Big Audio Dynamite, Stealers Wheel and they’ve announced some upcoming Judee Sill releases. Everything I’ve heard from them is crazy-ly good, 10/10 stuff. Every audiophile should keep an eye on what they’re releasing.)

Although there are several books, bootlegs, live albums and compilations, plus a great feature length documentary , there are precious few examples of Gram Parsons on film or video. Less than a handful for sure. This performance, provenance unknown to me, is the Flying Burrito Bros. doing one of their very best numbers—and perhaps Parsons’ greatest ever vocal performance—the oddly named heartbreaker “Hot Burrito #1” (It and “Hot Burrito #2” were both written on the same day and both recorded that very same evening.) If there can only be a few clips of Gram Parsons in action, this is the best.