Byron Berline: fiddle Twenty thousand roads I went down, down, down, Records. Emmylou Harris: vocals Herb Pedersen: acoustic rhythm guitar Despite rave reviews in Rolling Stone, and the L.A. Times and placing at #15 on the Village Voice‘s list of top 20 albums of 1974, Grievous Angel did not sell very well (Gram’s albums both sold an average of 40,000 copies at the time of their original release). While not recording, he frequently hung out and jammed with country rockers Quacky Duck and His Barnyard Friends. As good as Brown’s lyrics are, Parsons’ melody makes them all the more memorable, especially the gentle but determined chorus that gives the heartstrings a firm and determined yank. There’s also an idea here that you see in some of the best American literature, the idea of a young man having to head west  to grow up, to mature (in this case, “to grow up with the country”) and in this song’s lyrics, his Kerouac-ian adventures westward have led him to places unknown, places from which he hasn’t returned, psychically, even if he has physically returned. [1] For the recording of "Return of the Grievous Angel", Eagles lead guitarist Bernie Leadon joined in, while Al Perkins played steel guitar and Byron Berline the fiddle. Parsons sang with the participation of Emmylou Harris backed with the main core of the TCB Band. Perhaps now he’ll read this new post, and come back again, and offer up more comments. Invoking Gram Parsons’ name today will bring forth a variety of substantially differing points-of-view, about what the man and his music means to his fans, from the mythic and messianic, to perspectives that are probably a little more rational and realistic. The title was inspired by a photo he’d seen of a sad-looking Gram; the king with the head full of speed was Gram.” Fong-Torres describes the song in this way: “‘Return Of The Grievous Angel’ sounded like pure Parsons with its conversational tone, its crisp descriptions evoking the South and ‘the truckers and the kickers and the cowboy angels,’ its Dylanesque reference to a meeting with ‘the King’ ‘on his head an amphetamine crown,’ and it’s swooping chorus tailor-fit for Gram and Emmylou’s hand-held harmonies.”. BROWN: Yes, I gave Gram the lyrics at a club called Oliver’s, near Fenway Park in Boston. And I thought about a calico bonnet, [1], In the summer of 1973, Gram Parsons' Topanga Canyon home burned to the ground, the result of a stray cigarette. Parsons hired Harris and the core of Elvis Presley's TCB Band with James Burton (guitar), Ronnie Tutt (drums) and Glenn Hardin (piano) for the recording of his solo debut album, GP. Brown said he wrote the lyrics in about twenty minutes and then gave them to Michael Martin to give to Parsons, in a bar called Oliver’s in Boston, Massachusetts, where Gram and Emmylou Harris were performing during the summer of 1973. Copyright © 1984-2019 Night Flight Inc. | Night Flight is a registered trademark of Digital Download Inc. Barbara Rubin And The Exploding NY Underground: a compelling documentary …, We just added our first ever Guest List to the …, Jill Zurborg’s straight-to-video feature Beauty Queen Butcher (1991) reveals what …, “The Return Of The Grievous Angel”: The story behind Gram Parsons’s signature song, L.A.’s Possum Dixon remember Ric Ocasek, who produced their “New Sheets” album in 1998, Becoming Peter Ivers: A new collection from the “New Wave Theatre” host arrives later this year, Birdie in the hand for life’s rich demand: Robert Dean Lurie’s “Begin the Begin” covers R.E.M.’s early formative years in Athens, Georgia, “Other Side with Zabrecky”: A new séance series puts celebrities in contact with the spirit world, Jane Wiedlin felt weird in Japan in this exclusive excerpt from Drew Fortune’s book “No Encore!”, A Night Flight Exclusive: “How to Be a New Wave Video Slut,” starring Ann Magnuson as “Fallopia”, Night Flight’s Stuart S. Shapiro’s inspiring book “Identifi Yourself: A Journey in Fuck You Creative Courage” is a humorous and poetic journey, Night Flight partners up with Severin Films for more cult, horror, mondo & exploitation films. View by: Highest Rated; Most Recent; Oldest First; No Comments Add your thoughts . Then, there are those among his fans and followers who love the music he made but dislike, somewhat intensely, what amounts to his following, or his followers, which one of his better biographers David Meyers has referred to as “a mix of Bitter Lieutenants (ex-bandmates and contemporaries)” and “possessive necrophiliacs… Grampires.” These fans probably fall somewhere in the middle ground between simply being fans of the music and what comes after, a recognition that — while Parsons can certainly be seen as an early 70s rock starrish poster-boy, it’s true — they would prefer instead to highlight his musical accomplishments rather than sit around in rooms filled with candles, waiting for his resurrection.