By Bob Proehl
In 1968, the Flying Burrito Brothers published The Gilded Palace of Sin on A&M Records,selling a disappointing 400,000 copies. virtually 40 years later, entrance guy Gram Parsons, remains to be spoken of with nearly messianic reverence. purchaser saint of alt-country, emblazoned with a shining move, useless at 26. Overshadowed by way of Parsons, this album continues to be an anomaly within the state rock style, a map in miniature of a second in track, and warrants dialogue as greater than a part of the Gram Parsons legacy.
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Additional resources for Flying Burrito Brothers' The Gilded Palace of Sin (33 1/3 Series)
Near enough to the beach for surfing, 42 near enough to downtown LA for hitting the clubs, the Manor served as the shared residence of the reunited Hillman and Parsons through the end of 1968. Since Parsons was already renting out an apartment for his estranged girlfriend Nancy Ross and their daughter, Polly, it was Hillman’s name on the lease, but both men called it home. In addition to the split with the Byrds, Hillman was in the process of getting divorced and Parsons had recently split with his girlfriend.
While the songs were taking shape, Parsons was already sniffing around LA for a record deal. Columbia Records wanted nothing to do with the duo that’d effectively destroyed the Byrds as a commercial entity, but Reprise, a 44 division of Warner Brothers Records, took interest when they heard Keith Richards was all set to produce the album. The rumor came, of course, from Parsons. ” Nevertheless, Parsons was spreading the rumor about Richards around town. ” Reprise, whose stable of artists included bands like Captain Beefheart and Jethro Tull, would have been a perfect fit for a somewhat out-there band like the Flying Burrito Brothers, but the boys ended up signing to A&M Records, a largely adult contemporary label, wooed by the promise of a bunch of new equipment.
At the same time, the rockers who were starting to dabble in country were looking even further back for fashion tips. Dylan’s 53 amicable hobo get-up on the cover of Nashville Skyline and the gentleman gambler togs sported by the post-Hillman era Byrds, the Charlatans, and the Band drew from turn-of-the-century ideas of authentic cowboys, before Tom Mix and the movies, and certainly predating the gaudy excess of Autry and Rogers, Nudie and Turk. Of course, gaudy excess was just what Gram Parsons was in the market for.