Gram Parsons & The Flying Burrito Brothers
A&M Records CD 393 190-2
|01 – Brand New Heartache (Felice Bryant, Boudleaux Bryant) – 2:28|
|02 – Tonight The Bottle Let Me Down (Merle Haggard) – 2:55|
|03 – Sing Me Back Home (Merle Haggard) – 3:53||Link||Link|
|04 – Your Angel Steps Out Of Heaven (J. Ripley) – 3:12|
|05 – Crazy Arms (Ralph Mooney, Charles Seals) – 2:48|
|06 – Close Up The Honky Tonks (R. Simpson) – 2:20|
|07 – Sleepless Nights (Felice Bryant, Boudleaux Bryant) – 3:23||Link||Link|
|08 – Together Again (Buck Owens) – 3:13|
|09 – Honky Tonk Woman (Mick Jagger, Keith Richards) – 4:19|
|10 – Green, Green Grass Of Home (Curly Putman) – 4:05|
|11 – Dim Lights (and Loud, Loud Music)” (Joe Maphis) – 2:56|
|12 – The Angels Rejoiced Last Night (Charlie Louvin, Ira Louvin) – 2:23|
Vocals: Gram Parsons, Chris Hillman, “Sneeky” Pete, Chris Ethridge
Rhythm Guitar: Gram Parsons, Chris Hillman
Lead Guitar: Bernie Leadon
Drums: Michael Clarke
Piano: Gram Parsons
Steel: “Sneeky” Pete
Bass: Chris Ethridge
Recorded December, 1967 at United Recording, Hollywood, CA.
Engineered by Mike Lietz and Eddie Bracket.
Remixed from the original 4 track master for stereo by Buddy Bruno, Conway Recorders, Hollywood, CA. Sept. 1987
A Lee Hazlewood Production
Produced by Suzi Jane Hokum
� 1967 LHI p 1979 Shiloh Records
Reissue Producer: Dale Davis
Sleepless Nights Sleeve Bio:
Nine of the 12 tracks included on this album were recorded by the Flying Burrito Bros. In early 1970, shortly before Gram Parsons Left the group. These tracks were recorded at the Sound Factory in Los Angeles with Jim Dickson Producing. The Burritos then consisted of Parsons (Lead vocals on all tracks), Chris Hillman (bass, mandolin, vocals), Sneeky Pete Kleinow (pedal steel), and Michael Clarke (drums). When recording this material (mostly classic honly-tonk songs), the Burritos and Dickson were attempting to make a pure, honest country album.
The remaining three tracks were recorded during the sessions for Gram Parsons’ 1973 Warner Bros album, Grievous Angel. These were recorded at Wally Heider’s in L.A. with Parsons producing and Hugh Davis the engineer. Musicians on these tracks are Parsons and Emmylou Harris (vocals), James Burton, Bernie Leadon (guitars), Herb Pederson (acousitc guitar and vocals), Al Perkins (pedal steel), Emory Gordy (bass), Ronnie Tutt (drums), Byron Berline (mandolin, fiddle), and Glen D. Hardin (piano). All three tracks remained unmixed 16-track masters until February, 1976, when Davies and Emmylou Harris put them into their present mixed form.
I stumbled into Gram Parsons’ life long after most of these recordings had been made, and two short years before that life would end at the age of 26. But you don’t wind up in Gram’s corner without going through some radical changes if you own life has been relatively uneventful. In my case, I was put on a converted Greyhound bus with “Gram Parsons” emblazoned across the side and the initials “GP” glittering the front, driven by an ex-marine affectionately called Leadfoot Lance, and surrounded by various musicians and fugitives from love and law and order. Then calling ourselves the Fallen Angels (Gram’s first choice was “The Turkeys”), we set out to play country music and some rock & roll in the better hippie honky tonks till Gram brought it to their attention). That was my apprenticeship into the music of Gram Parsons, The Louvin Brothers, Buck Owens, Webb Pierce, Charlie Pride, and Merle H. not to mention Chuck Berry – swam through my ears like one of those learn-while-you-sleep recordings.
And the crowds were there. The rooms were small, but the energy was of a special intensity. It may not have been as audible in Chicago as it was in Austin, but it was always there. And they came to see this young man and to hear the voice that would break and crack but rise pure and beautiful and full with sweetness and pain. That tour didn’t exactly break any box-office records, but there are people who will remember…
…Driving through the prairies on the way to Amarillo, Kyle the bass player expressed his dislike for those flatlands because there was no place to hide. I agreed with him at the time. But sometimes I feel like I swallowed a piece of Oklahoma – and a big ol’ moon comes rising up out of my throat and right on out the top of my head and floats away like some half-remembered melody …and that’s the way it goes.
(exclusively records for Reprise Records)