» Listings for 2024

1. 2023/4 Albums Thing 269 - Pele “Fireworks”

   Posted on 8:19am Wednesday 7th Feb 2024

   I’ve only discovered Pele in relatively recent years. I first encountered Ian Prowse nearly 20 years ago when his then band, Amsterdam, opened for The Wonder Stuff at Wolverhampton Civic Hall and it’s been an unfolding story ever since. Considering Pele were signed to the same record label group as the band I was working for in the early 90’s and both bands were making music not a million miles different from each other I still can’t fathom out why our paths didn’t cross much earlier but here we are.

   I may have said this here before but…Ian Prowse has gotta be Liverpools best kept secret. A songwriter every bit as talented as Liverpools greats (I happily include him in a list featuring Elvis Costello, Ian’s McCulloch, McNabb and Broudie among many others) and a band leader of great skill, to see the full 10+ piece Celtic-Soul juggernaut that is Pele/Amsterdam (the lines between the two bands have become very blurred over the years) in full flow is something to behold. Pele were a big live draw in the early 90’s and with songs like these it’s no surprise. Pele had tunes as big as Liverpool (“Fair Blows The Wind For France”) and more social commentary/conscience than many a Punk Rocker (“Raid The Palace”). 

   It has always struck me since discovering these records over the last 15 years or so that their record company (yes that’s ultimately you Polydor) must have been working extra specially hard too ensure this album was as ignored as it was at the time. I was working for a band on the same label and knew nothing about them ! “Fireworks” was released in 1992 to almost universal apathy, except in South Africa where single “Megalomania” was a number one hit at the time of the cultural boycott. To hear Prowsey tell the story of how he wrestled with his conscience over whether or not to go promote his number one single (he didn’t of course) tells you a lot about the person Ian Prowse is. 

   Thankfully time has been kind to Pele and these songs. Ian Prowse is reaping some reward for these records that should have been his back in the 90’s. I’ll keep banging this drum but if you have not yet been seduced by the music of Ian Prowse you are really missing out on something. 

   Fair Blows The Wind For France - https://youtu.be/ARZJulLzVIQ

2. 2023/4 Albums Thing 268 - Gram Parsons & The Fallen Angels “Live 1973”

   Posted on 10:30am Tuesday 6th Feb 2024

   Following the release of “GP” Gram needed to tour his album. He assembled a band, The Fallen Angels, which included Emmylou Harris, pedal steel traditionalist Neil Flanz, drummer ND Smart II, bassist Kyle Tullis and guitarist Jock Bartley. Neil Flanz has said that the rehearsals, which were held at road manager Phil Kaufman's house were a disaster: "We weren't serious enough about the rehearsals. It was just wild. Everyone was playing music and having a good time but we weren't taking care of business". Kaufman said "We had a big party…We had a tour bus. Gram brought along Gretchen (his wife) and we left my house and went on our tour, and the tour was just disaster after disaster". It’s reported that it was only Emmylou Harris' determination that disciplined the band and ensured the shows even happened.

   “Live 1973” was recorded in Long Island, New York on March 13, 1973 during a live radio broadcast for WLIR-FM but wasn’t released on record until 1982. It’s 12 songs include 6 from “GP” along with “Drug Store Truck Drivin' Man” which he’d recorded with The Byrds on “Sweetheart Of the Rodeo”, Boudleaux Bryant’s gorgeous “Love Hurts” which would appear on Gram’s next album “Grievous Angel”, some Country classics in Jim Shumate’s country/gospel “Country Baptizing”, Merle Haggard’s “California Cotton Fields”, the truck drivers anthem “Six Days On The Road” and they round the set out with a rock ’n’ roll medley !

   As it is a radio broadcast it’s fairly well recorded and is a fantastic document of a period in Gram’s musical life that was thankfully captured. There are brief interactions between Gram, band, presenter and audience, band introductions etc. nothing earth shattering but an opportunity to briefly hear Gram speak. The show itself is a mostly gentle affair, although Gram is credited with being the first Country Rocker this show is far more country than rock. The duet between Gram and Emmylou on “The New Soft Shoe” is quite beautiful with great slide work by Neil Flanz. The unquestionable pearl on this album however is the take of “Love Hurts”, Gram and Emmylou at their duetting best with the band just leaning back and letting those two voices carry the load on a truly superb song.

   This isn’t by any means where you should start if you decide to investigate the world of Gram Parsons (if you decide to do that Elvis Costello complied a best of simply titled “Gram Parsons” in 1982, hunt that down). It’s another of those records for the smitten completist of which I am unashamedly one when it comes to Gram. But if, like me, you catch the bug this is somewhere you will inevitably arrive.

   Love Hurts - https://youtu.be/Tw-5dYVgUno?si=IcjyPiFW6yH_MQ_4

3. 2023/4 Albums Thing 267 - Gram Parsons “Grievous Angel”

   Posted on 9:20am Saturday 3rd Feb 2024

   Gram Parsons 2nd solo album was released in January 1974, exactly a year after his first. Even though Gram now had his own band, the Fallen Angels, who he had toured with in 1973 (we’ll get to that shortly) the only member of the Fallen Angels to appear on “Grievous Angel” is Emmylou Harris.

   Of his two solo albums this is my favourite. The first lyrics of opening song “Return Of The Grievous Angel” paint a vivid scene for me

   “Won't you scratch my itch, sweet Annie Rich, And welcome me back to town?

   Come out on your porch or step into your parlor, And I'll tell you how it all went down”

   Porches, parlours, possible tales of adventure…I’m in, let’s go. The song rolls on and as we approach a natural point for a solo or middle eight Gram laconically calls “Pick it for me James” and James Burton lays down a beauty of solo which is then picked up on by Byron Berline’s Fiddle and then Al Perkins on the Pedal Steel.

   The album is an almost equal split between uptempo thigh-slappers and gorgeous ballads. Both styles are exemplified by the “fake live” pair of “Cash On The Barrelhead/Hickory Wind”. The former a proper rollicking dance tune and tale of being arrested and offered either 40 days in the Jailhouse or “Cash on the barrelhead son”, the second part being a superb duet between Gram and Emmylou on a song that Gram wrote with Bob Buchanan for The Byrds album “Sweetheart Of the Rodeo”. I’m still not sure why it was felt it needed a fake, drunk Honky Tonk audience adding to it, but hey…

   That is followed by an utterly devastating version of Boudeleaux Bryant’s beautiful “Love Hurts”. It’s been covered so many times it almost counts as a standard these days. Roy Orbison, Jim Capaldi, Nazareth, Cher, Don McLean, Jennifer Warnes, Joan Jett, hell even The Who have had a go at it. However many versions there are you’ll find it hard to find a better one than Gram and Emmylou’s.

   The other killer ballad is “$1000 Wedding” the heartbreaking story of a groom left at the altar by his bride to be…or is it, it could easily be about a funeral and therein lies some of the wonder in Gram’s lyrics. The protagonist obviously doesn’t take either option well “I hate to tell you how he acted when the news arrived, He took some friends out drinking and it's lucky they survived” Gram and Emmylou tell us, their voices meshing perfectly, it gives me the shivers every time I hear it.

   We finish on two more Gram and Emmylou masterclasses. “Las Vegas” is a song we’ve talked about before here because Emmylou recorded a version on her album “Elite Hotel”. The story of a gamblers life on the Vegas strip takes on another dimension sung by Gram. Last song “In My Hour Of Darkness” was written by Gram and Emmylou and is a modern day hymn sung in chorus with added Linda Ronstadt.  

   “Grievous Angel” is a collection of fantastic songs performed wonderfully by some very skilled musicians. It was Grams’ last record, released posthumously in January 1974. Gram was declared dead at Yucca Valley Hospital, California at 15 minutes past midnight on 19th September 1973, aged 26. The official cause of death was an overdose of morphine and alcohol. Without Gram Parsons The Byrds don’t make “Sweetheart Of the Rodeo”, there is no Flying Buritto Brothers, the Rolling Stones likely don’t have their dalliances with Country Music or write “Wild Horses”. He shall always be another of those “what could have been” stories for me…sadly we’ll never know.

   Return Of The Grievous Angel - https://youtu.be/h_Iz0iVvhEc?si=k6SbMGq3teCVQFeN