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Twenty Thousand Roads: The Ballad of Gram Parsons and His Cosmic American Music
“A terrific biography of a rock innovator that hums with juicy detail and wincing truth. . . . Page after page groans with the folly of the ’60s drug culture, the tragedy of talent toasted before its time, the curse of wealth and the madness of wasted opportunity.”—The Atlanta Journal-ConstitutionNAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE LOS ANGELES TIMES • NAMED ONE OF THE FIVE BEST ROCK BOOKS OF THE YEAR BY ROLLING STONEAs a singer and songwriter, Gram Parsons stood at the nexus of countless musical crossroads, and he sold his soul to the devil at every one. His intimates and collaborators included Keith Richards, William Burroughs, Marianne Faithfull, Peter Fonda, Roger McGuinn, and Clarence White. Parsons led the Byrds to create the seminal country rock masterpiece Sweetheart of the Rodeo, helped to guide the Rolling Stones beyond the blues in their appreciation of American roots music, and found his musical soul mate in Emmylou Harris. Parsons’ solo albums, GP and Grievous Angel, are now recognized as visionary masterpieces of the transcendental jambalaya of rock, soul, country, gospel, and blues Parsons named “Cosmic American Music.” Parsons had everything—looks, charisma, money, style, the best drugs, the most heartbreaking voice—and threw it all away with both hands, dying of a drug and alcohol overdose at age twenty-six. In this beautifully written, raucous, meticulously researched biography, David N. Meyer gives Parsons’ mythic life its due. From interviews with hundreds of the famous and obscure who knew and worked closely with Parsons–many who have never spoken publicly about him before–Meyer conjures a dazzling panorama of the artist and his era. Praise for Twenty Thousand Roads “Far and away the most thorough biography of Parsons . . . skewers any number of myths surrounding this endlessly mythologized performer.”—Los Angeles Times “The definitive account of Gram Parsons’ life–and early death. From the country-rock pioneer’s wealthy, wildly dysfunctional family through his symbiotic friendship with Keith Richards, Meyer deftly illuminates one of rock’s most elusive figures.”—Rolling Stone “Meticulously researched . . . Though Meyer answers a lot of long-burning questions, he preserves Parsons’ legend as a man of mystery.”—Entertainment Weekly “Meyer gives Parsons a thorough, Peter Guralnick-like treatment.”—New York Post
594 pages, Kindle Edition
First published October 30, 2007
140 people are currently reading
1511 people want to read
About the author
David N. Meyer
8 books33 followersAuthor of TWENTY THOUSAND ROADS: THE BALLAD OF GRAM PARSONS AND HIS COSMIC AMERICAN MUSIC
(Random House)
THE BEEGEES THE BIOGRAPHY
(Da Capo Press)
A GIRL AND A GUN: THE COMPLETE GUIDE TO FILM NOIR
(Avon Books)
THE 100 BEST FILMS YOU'VE NEVER HEARD OF
(St. Martin's Press)
co-author of THE BOOK OF THE SUBGENIUS
under the pen name Lloyd St. Alcorn
HALBERD, DREAM WARRIOR
ON THE SHOULDERS OF GIANTS
THE SERPENT MOUND
(Random House)
THE BEEGEES THE BIOGRAPHY
(Da Capo Press)
A GIRL AND A GUN: THE COMPLETE GUIDE TO FILM NOIR
(Avon Books)
THE 100 BEST FILMS YOU'VE NEVER HEARD OF
(St. Martin's Press)
co-author of THE BOOK OF THE SUBGENIUS
under the pen name Lloyd St. Alcorn
HALBERD, DREAM WARRIOR
ON THE SHOULDERS OF GIANTS
THE SERPENT MOUND
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Displaying 1 - 30 of 109 reviews
November 21, 2012
As a huge Gram Parsons, and "cosmic American music" fan in general, I've read a few Gram Parsons biogs. This one is the most insightful and thorough. It fills in a lot of gaps that were left from readings of other GP books, such as the brilliant Hickory Wind by Ben Fong Torres (which is a brilliantly written book by a great rock journalist).
It doesn't hold back; yes, Gram was a little rich kid, yes, he wanted to be a superstar, yes, he came from a self-destructive family, yes, he killed his own talent. It doesn't shy away from these aspects of the man, so it paints a fuller portrait of the man who created what is regarded as the first country-rock (alt.country, alternative country, cosmic american music, americana...) record: Safe at Home by The International Submarine Band.
It should be on the bookshelf of any Gram Parsons or country fan, as well as any fan of the musician/rock band biography.
It doesn't hold back; yes, Gram was a little rich kid, yes, he wanted to be a superstar, yes, he came from a self-destructive family, yes, he killed his own talent. It doesn't shy away from these aspects of the man, so it paints a fuller portrait of the man who created what is regarded as the first country-rock (alt.country, alternative country, cosmic american music, americana...) record: Safe at Home by The International Submarine Band.
It should be on the bookshelf of any Gram Parsons or country fan, as well as any fan of the musician/rock band biography.
December 5, 2007
It took Gram Parsons just over six years to change the face of American music. Parsons brought fresh force to country tradition with the International Submarine Band, remade the Byrds in his own image on the classic Sweetheart Of The Rodeo, founded the Flying Burrito Brothers, and recorded two solo albums of aching beauty, all before his death in 1973.
Along the way, he taught the Rolling Stones about country music, discovered Emmylou Harris singing in a nightclub in Washington D. C., wrote a handful of songs — “Sin City”, “Hickory Wind”, “Brass Buttons” — that stand as classics of down-home American soul, and, by all accounts, ingested more alcohol, cocaine, and heroin than seems possible. It would be hard to overstate his influence on country, alt-country, Americana, roots music, and all their permutations.
Despite his towering legacy, the most complete biography Parsons has received until now is Ben Fong-Torres’s well-intentioned but slapdash Hickory Wind (1991). Fong-Torres has a keen sense of Parsons’s music, but he scrambles to keep track of the myriad musicians and scenesters who moved in Parsons’s orbit, and his narrative feels choppy and rushed.
With Twenty Thousand Roads, Parsons has finally received a book equal to his musical accomplishments and outsized personality. David N. Meyer’s biography is an exceptional piece of research and writing, lucid and penetrating about the music, fair-minded yet tough about Parsons’s shortcomings and wasted potential. Meyer has tracked down and interviewed hundreds of Parsons’s associates, some of whom have never spoken on the record before, and his synthesis of these sources is fluid and absorbing.
Meyer has gone farther than anyone else in understanding the roots of Parsons’s self-destructive tendencies, tracing them to his upbringing in a rich Southern family haunted by suicide and alcoholism. He also debunks many of the myths that have grown up around Parsons, and provides as objective an account of Parsons’s doomed last night at the Joshua Tree Inn and its notorious aftermath as we will ever have.
For the most part, Meyer’s analysis of Parsons’s music is articulate and perceptive, with the exception of his dismissal of the Fallen Angels, the pickup band that toured with Parsons in 1973 (Meyer faults drummer N. D. Smart for his inability “to play anything other than a 4/4 shuffle,” even though Smart’s drumming on the waltz-time “Drug Store Truck Drivin’ Man” is sprightly and swinging). Meyer’s book is otherwise especially illuminating about the technical aspects of the music Gram made his own, whether explaining the difference between Nashville and Bakersfield country or discussing the intricacies of pedal-steel guitar playing. As a bonus, the book includes a comprehensive and often droll (Keith Richards is identified as “the only man who can play a Chuck Berry song worse than Chuck Berry”) encyclopedia of Parsons’ contemporaries.
The true strength of Twenty Thousand Roads, however, is its insight into how Parsons’s demons and excesses were inextricably linked to the greatness of his music. Meyer is clear-eyed and occasionally brutal about Parsons’ drug use, wobbly work ethic, and callow self-absorption, but he refuses to romanticize his subject’s excesses or exploit them for prurient effect. In the end, Meyer’s book betrays a deep sense of sadness over what could have been. That sadness is part of what made Gram Parsons’s music so moving. It is also part of what killed him.
From NO DEPRESSION magazine, November 2007
Along the way, he taught the Rolling Stones about country music, discovered Emmylou Harris singing in a nightclub in Washington D. C., wrote a handful of songs — “Sin City”, “Hickory Wind”, “Brass Buttons” — that stand as classics of down-home American soul, and, by all accounts, ingested more alcohol, cocaine, and heroin than seems possible. It would be hard to overstate his influence on country, alt-country, Americana, roots music, and all their permutations.
Despite his towering legacy, the most complete biography Parsons has received until now is Ben Fong-Torres’s well-intentioned but slapdash Hickory Wind (1991). Fong-Torres has a keen sense of Parsons’s music, but he scrambles to keep track of the myriad musicians and scenesters who moved in Parsons’s orbit, and his narrative feels choppy and rushed.
With Twenty Thousand Roads, Parsons has finally received a book equal to his musical accomplishments and outsized personality. David N. Meyer’s biography is an exceptional piece of research and writing, lucid and penetrating about the music, fair-minded yet tough about Parsons’s shortcomings and wasted potential. Meyer has tracked down and interviewed hundreds of Parsons’s associates, some of whom have never spoken on the record before, and his synthesis of these sources is fluid and absorbing.
Meyer has gone farther than anyone else in understanding the roots of Parsons’s self-destructive tendencies, tracing them to his upbringing in a rich Southern family haunted by suicide and alcoholism. He also debunks many of the myths that have grown up around Parsons, and provides as objective an account of Parsons’s doomed last night at the Joshua Tree Inn and its notorious aftermath as we will ever have.
For the most part, Meyer’s analysis of Parsons’s music is articulate and perceptive, with the exception of his dismissal of the Fallen Angels, the pickup band that toured with Parsons in 1973 (Meyer faults drummer N. D. Smart for his inability “to play anything other than a 4/4 shuffle,” even though Smart’s drumming on the waltz-time “Drug Store Truck Drivin’ Man” is sprightly and swinging). Meyer’s book is otherwise especially illuminating about the technical aspects of the music Gram made his own, whether explaining the difference between Nashville and Bakersfield country or discussing the intricacies of pedal-steel guitar playing. As a bonus, the book includes a comprehensive and often droll (Keith Richards is identified as “the only man who can play a Chuck Berry song worse than Chuck Berry”) encyclopedia of Parsons’ contemporaries.
The true strength of Twenty Thousand Roads, however, is its insight into how Parsons’s demons and excesses were inextricably linked to the greatness of his music. Meyer is clear-eyed and occasionally brutal about Parsons’ drug use, wobbly work ethic, and callow self-absorption, but he refuses to romanticize his subject’s excesses or exploit them for prurient effect. In the end, Meyer’s book betrays a deep sense of sadness over what could have been. That sadness is part of what made Gram Parsons’s music so moving. It is also part of what killed him.
From NO DEPRESSION magazine, November 2007
January 24, 2019
Gram Parsons had the looks and the attitude more suited for Motley Crue than for a country artist, but he nevertheless was one of the first country rock pioneers. David Meyer's biography on Mr. Parsons is very entertaining so far. I'm on the chapter where he's joined The Byrds, and Meyer makes The Byrds sound like a pit full of rattlesnakes.
So, several reviews here have discussed what a spoiled brat Parsons was, but my review isn't on his over-indulgent behavior but rather on the biographer's well researched and thorough job on Parsons' life. My favorite part was where even Keith Richards found Parsons to be too strung out/unmanageable and had him bounced from his French villa. That's show biz. Tell it to Brian Jones.
So, several reviews here have discussed what a spoiled brat Parsons was, but my review isn't on his over-indulgent behavior but rather on the biographer's well researched and thorough job on Parsons' life. My favorite part was where even Keith Richards found Parsons to be too strung out/unmanageable and had him bounced from his French villa. That's show biz. Tell it to Brian Jones.
February 26, 2014
This book haunts me. The author exhaustively researched Parsons' tragic life, from birth to death. The story begins with his tragic family - a father's suicide when Gram was just 12 years old, an alcoholic mother, a very wealthy southern upbringing, etc. The book is also a chronicle of the music scene in the late 60s/early 70s. To me, it was a tragedy of a man with a vision who couldn't get out of his own way. He was self-destructive, but gifted. I have always believed that Parsons doesn't get the credit he deserves, but it may be that while his peers respected his talent, they also despised the fact that he was a liability to himself and everyone around him. The biggest shame is that he met the perfect partner in Emmylou Harris and had just begun to explore that partnership. I really believe that he would have become a legend if they had the opportunity for more collaboration. If you've never heard their take on "Love Hurts", get thee to youtube and check it out. It is hauntingly beautiful.
I suggest that you have Parsons music handy while you are reading this book. The author gives the most incredible information on almost a song-by-song basis. I find myself using the book as a reference when listening to the music. For that reason, this is one book I am going to keep for a while. It is an encyclopedia of Parsons work that is a perfect accompanimate to his music.
I suggest that you have Parsons music handy while you are reading this book. The author gives the most incredible information on almost a song-by-song basis. I find myself using the book as a reference when listening to the music. For that reason, this is one book I am going to keep for a while. It is an encyclopedia of Parsons work that is a perfect accompanimate to his music.
May 5, 2015
Holy shneiki, was this boy a mess. I did not quite appreciate what a selfish bastard he was, both professionally and personally. Positively makes Neil Young look solicitous by comparison.
Sadly, though, my favourite Harvard trustafarian made the fatal mistake of trying to keep up with Keef's olympian intake. Rather (in)famously, both John Philips and Keef were worried about his intake/habits?!, which pretty much says it all. There are still tales, whether apocryphal or not, of tapes somewhere containing Philips, Gram and Keef jammin, plus probably all of Delaney and Bonnies' "friends," ie the whole mad dog and englishmen crew. Do we really wanna hear these? apparently no one could stand.
Let's just say that I think the music industry's changed somewhat, since this time.
On the bright side, we've had Emmylou for the past 40 years.
Sadly, though, my favourite Harvard trustafarian made the fatal mistake of trying to keep up with Keef's olympian intake. Rather (in)famously, both John Philips and Keef were worried about his intake/habits?!, which pretty much says it all. There are still tales, whether apocryphal or not, of tapes somewhere containing Philips, Gram and Keef jammin, plus probably all of Delaney and Bonnies' "friends," ie the whole mad dog and englishmen crew. Do we really wanna hear these? apparently no one could stand.
Let's just say that I think the music industry's changed somewhat, since this time.
On the bright side, we've had Emmylou for the past 40 years.
December 1, 2016
"Whole family like Tennessee Williams play." - Khan Souphinousinphone, "King of the Hill"
Gram Parsons was a prodigy, a man in a hurry. In 26 years on this planet, he left behind a daughter, a widow, countless broken relationships and personal betrayals, and still managed to outlive both his parents. He suffered two artistically fallow periods in his career, consumed an ungodly amount of booze and pills and powders (he couldn't choose his medicine, evidently), and managed to turn a brilliant songwriting ability to virtually no commercial account: in his lifetime, he received exactly one royalty check. He also left behind four brilliant albums: The Byrds' Sweetheart of the Rodeo, The Flying Burrito Brothers' Gilded Palace of Sin, and two solo efforts. His influence is harder to peg, but no less valuable.
He is credited with pushing The Rolling Stones into their country inflected, '70's material; I think that by the time Gram swam into their ambit, Keith and Mick (having ditched Brian Jones) had realized that psychedelia had pretty much run into a dead end for them with Their Satanic Majesties Request, and were already moving towards American roots music, beyond the Chicago blues that shaped them. Gram is also credited with "discovering" Emmylou Harris, and nurturing her talent; with that voice, somebody surely would have noticed her, but absent Gram's love of country, perhaps she would have stayed at the level of a Judy Collins or a Joan Baez. And he's credited with inventing outlaw and "alt. Country", which he didn't; Willie, Waylon and the boys were already setting up shop in Austin. But still, he certainly had a major impact in all three of these developments, and for chrissakes, he was only 26 when he died.
This book is certainly exhaustive and well written, and might deserve a fifth star for this epic takedown of my co-least favorite (tied with Hall & Oates) band of all time:
'Eagles drummer Don Henley said of himself: "I have a high tolerance for repetition." Gram lacked this quality. Henley's abundance of it helped provide the Eagles' music with its soulless, overrehearsed, antiseptic, schematic, insincere, sentimental core. The Eagles managed to deny every roots-music source of their sound. Their country rock - with its self-satisfaction, misogyny, absence of pain, junior high emotions, pop hooks, and facile faux virtuosity - was more than dumb enough to please the broadest American audience. And still is. The Eagles were and remain arguably the most consistently contemptible stadium band in rock. Gram famously referred to their music as "a plastic dry-fuck." He bore the Eagles a special loathing, as any sane listener might.'
To which I can only add: Fuckin' a.
Gram Parsons was a prodigy, a man in a hurry. In 26 years on this planet, he left behind a daughter, a widow, countless broken relationships and personal betrayals, and still managed to outlive both his parents. He suffered two artistically fallow periods in his career, consumed an ungodly amount of booze and pills and powders (he couldn't choose his medicine, evidently), and managed to turn a brilliant songwriting ability to virtually no commercial account: in his lifetime, he received exactly one royalty check. He also left behind four brilliant albums: The Byrds' Sweetheart of the Rodeo, The Flying Burrito Brothers' Gilded Palace of Sin, and two solo efforts. His influence is harder to peg, but no less valuable.
He is credited with pushing The Rolling Stones into their country inflected, '70's material; I think that by the time Gram swam into their ambit, Keith and Mick (having ditched Brian Jones) had realized that psychedelia had pretty much run into a dead end for them with Their Satanic Majesties Request, and were already moving towards American roots music, beyond the Chicago blues that shaped them. Gram is also credited with "discovering" Emmylou Harris, and nurturing her talent; with that voice, somebody surely would have noticed her, but absent Gram's love of country, perhaps she would have stayed at the level of a Judy Collins or a Joan Baez. And he's credited with inventing outlaw and "alt. Country", which he didn't; Willie, Waylon and the boys were already setting up shop in Austin. But still, he certainly had a major impact in all three of these developments, and for chrissakes, he was only 26 when he died.
This book is certainly exhaustive and well written, and might deserve a fifth star for this epic takedown of my co-least favorite (tied with Hall & Oates) band of all time:
'Eagles drummer Don Henley said of himself: "I have a high tolerance for repetition." Gram lacked this quality. Henley's abundance of it helped provide the Eagles' music with its soulless, overrehearsed, antiseptic, schematic, insincere, sentimental core. The Eagles managed to deny every roots-music source of their sound. Their country rock - with its self-satisfaction, misogyny, absence of pain, junior high emotions, pop hooks, and facile faux virtuosity - was more than dumb enough to please the broadest American audience. And still is. The Eagles were and remain arguably the most consistently contemptible stadium band in rock. Gram famously referred to their music as "a plastic dry-fuck." He bore the Eagles a special loathing, as any sane listener might.'
To which I can only add: Fuckin' a.
July 18, 2008
This book is up around five hundred pages. It took me a long time to read, as it is very dense with facts. Most of the facts are salacious and fun, like details about Keith Richards unmatched drug use, or what band spawned what band because of what bitchy little argument. I found the whole thing fascinating, but I missed Gram in there somehow. I don't blame the author for this. He interviewed everyone who ever knew the guy, and both sides of his family. He is SO thorough. I just get the impression that no one ever really knew him. I don't even know if he had a real "self" to know. He's an admitted liar, and while charming, a seeming deadbeat dad and terrible mate (I would like to have known more about what has become of his only daughter.) Happily, I now know that he is at least not to blame for the bastardization of country into "southern rock" (and as a bonus, the author/Gram hate the Eagles as much as I do. Maybe more.)
If you look at this book as a musical history of the sixties and seventies, however (especially of the folk/country/rock intersection), you can't beat it. I learned a lot!
If you look at this book as a musical history of the sixties and seventies, however (especially of the folk/country/rock intersection), you can't beat it. I learned a lot!
February 8, 2019
Well worth the time.
Following a description of Parsons spontaneous singing of the hymn "Farther Along" at the graveside of former bandmate Clarence White, the author provides this key insight:
"The moment crystallized why Gram Parsons is a legendary figure and should be. Grief-stricken,
irritated by the priest, heartbroken over Clarence White’s death, and loaded on pills, liquor, and likely heroin, Gram remained the one person at the grave who knew how to illuminate that precious moment. When all around him were paralyzed—and when all were likely far more competent in day-to-day problem-solving than Gram—Gram alone understood what the soul of the moment required. He understood the poetry necessaryto deal with the pain. With his own profound connection to grief and loss, Gram understood how to grant the assembled throng catharsis, and Clarence White release."
I also appreciated the description of the musical/soulful bond between Emmylou Harris and Gram Parsons.
Even in the most dissipated, stoned life there is a soul that can still retain beauty.
Following a description of Parsons spontaneous singing of the hymn "Farther Along" at the graveside of former bandmate Clarence White, the author provides this key insight:
"The moment crystallized why Gram Parsons is a legendary figure and should be. Grief-stricken,
irritated by the priest, heartbroken over Clarence White’s death, and loaded on pills, liquor, and likely heroin, Gram remained the one person at the grave who knew how to illuminate that precious moment. When all around him were paralyzed—and when all were likely far more competent in day-to-day problem-solving than Gram—Gram alone understood what the soul of the moment required. He understood the poetry necessaryto deal with the pain. With his own profound connection to grief and loss, Gram understood how to grant the assembled throng catharsis, and Clarence White release."
I also appreciated the description of the musical/soulful bond between Emmylou Harris and Gram Parsons.
Even in the most dissipated, stoned life there is a soul that can still retain beauty.
October 20, 2018
This book had, in my opinion, a lot of unnecessary information. If you like your biographies to include the entire lineage of the subject you will definitely like this book. I did not expect this book to contain every tiny little bit of information about Gram Parsons and his family but it did. While it was also interesting to read about the types of music and the artists that Gram was involved with, there was just too much information. Some of the information was interesting but a lot of it was unnecessary. I can see where the author did a thorough research of Gram's life and for that he is to be commended. I'm a pretty fast reader and I had to force myself to finish the book. I gave it four stars because of the effort that the author put into it and because I did learn some things I did not know. However, I don't think I'll be re-reading it anytime soon.
February 19, 2013
Born into wealth. Died wealthy, all from his mother's citrus grove money of the Snivelys. Never developed, lived a louche lifestyle, even as a child/teen. Had lousy friends, to say the least. Both parents, including a stepfather, all alcoholics. Father a suicide. Why seek ambition when everything has been given to you? His life was one car wreck after another. And that burned at Joshua Tree story is highly disturbing. Friends opening his coffin to mock his penis size and flick his nose before pouring gasoline over him and running away? Shaking head. File it under: What a waste.
Currently reading
April 9, 2008I'll let you know. But, it is the third or fourth Gram Parsons' bio I have read/own. I will never get sick of hearing different people's perspective of him or hearing about the times he spent with people.
October 24, 2018
A bit too heavy on the mechanics of music for my taste. Lots of dissecting of lyrics, details of the process, and personal opinions and critiques.
It was entertaining, but I found myself skipping through the repetitive stuff
It was entertaining, but I found myself skipping through the repetitive stuff
November 3, 2022
hippie billy
April 8, 2024
Aside from being a comprehensive biography, this book was one of the most beautifully crafted pieces of non-fiction that I have read.
May 18, 2021
At over 450 pages, this book is a commitment. There was this one summer where it seemed as though all I ever listened to was the CD repackaging of Parsons's final two albums, but I had to ask myself if I really wanted to read another Parsons bio. I'm glad I did though - this is a fine biography. I can't say much about Parsons that hasn't already been said, but I think musicians will find themselves nodding with familiarity as Gram transitions from band to band, from musical partner to musical partner. One band doesn't do the music you want to do, the chemistry is terrible, you haven't found your voice yet, you sense a more happening scene, you miss an opportunity, you lose a key collaborator, you do massively self-destructive things. That money wasn't a problem for him is Gram Studies 101. Still, it's interesting to read about a musician struggling with abundant choice and a talented rich white man's self esteem ("Money was a problem for Gram. He had too much of it"). Like a lot of us he still had to deal with the artist's sensitivity and the inner demons bequeathed to him by his parents.
July 16, 2019
Great but,troubled artist.
November 24, 2013
He could break your heart with a song.
Gram Parsons was a brilliant musician with an encyclopedic knowledge of American roots music. He was easier on the eyes than most and, thanks to his trust fund, had the financial freedom to roam as he pleased. His time was short but his impact was monumental.
His charm came from his daddy, Ingram Cecil “Coon Dog” Connor, a former WWII flying ace. His wealth came from his mama, Avis Snively, whose own father had built Snively Groves, at the time the third largest citrus supplier in Florida.
Both of his parents eventually killed themselves. His daddy committed suicide the fast way, two days before Christmas, with a gun. His mother did herself in slowly, with booze, succumbing to cirrhosis of the liver just in time for his high school graduation.
David Meyer writes with a crisp, clean prose style that leaves the story of Gram Parsons lingering in your mind. It takes a phenomenal amount of research to put a book like this together.
He takes you deep inside the music and mayhem of the 1960s and early ‘70s. The juicy stories we all read rock ‘n roll bios for are in here: the seedy country bars where Gram sang in search of authenticity, The International Submarine Band, Sweetheart of the Rodeo, The Flying Burrito Brothers, flying away from Altamont Speedway in a helicopter after the disastrous Rolling Stones free concert (while attempting to make out with an unimpressed Michelle Phillips), hanging out at Nellcôte while the Stones recorded Exile on Main Street, discovering Emmylou Harris. All the glitter, booze, bright lights, and drugs of the time are swirling around all the while.
This is the world Gram got lost in while running, fast as he could, away from himself.
He could be big-hearted and generous, but he also lied constantly, drowned himself in drugs and drink, and could not get out of his own way. His story is one of flashes of brilliance between long stretches of self-sabotage.
Gram Parsons was a brilliant musician with an encyclopedic knowledge of American roots music. He was easier on the eyes than most and, thanks to his trust fund, had the financial freedom to roam as he pleased. His time was short but his impact was monumental.
His charm came from his daddy, Ingram Cecil “Coon Dog” Connor, a former WWII flying ace. His wealth came from his mama, Avis Snively, whose own father had built Snively Groves, at the time the third largest citrus supplier in Florida.
Both of his parents eventually killed themselves. His daddy committed suicide the fast way, two days before Christmas, with a gun. His mother did herself in slowly, with booze, succumbing to cirrhosis of the liver just in time for his high school graduation.
David Meyer writes with a crisp, clean prose style that leaves the story of Gram Parsons lingering in your mind. It takes a phenomenal amount of research to put a book like this together.
He takes you deep inside the music and mayhem of the 1960s and early ‘70s. The juicy stories we all read rock ‘n roll bios for are in here: the seedy country bars where Gram sang in search of authenticity, The International Submarine Band, Sweetheart of the Rodeo, The Flying Burrito Brothers, flying away from Altamont Speedway in a helicopter after the disastrous Rolling Stones free concert (while attempting to make out with an unimpressed Michelle Phillips), hanging out at Nellcôte while the Stones recorded Exile on Main Street, discovering Emmylou Harris. All the glitter, booze, bright lights, and drugs of the time are swirling around all the while.
This is the world Gram got lost in while running, fast as he could, away from himself.
He could be big-hearted and generous, but he also lied constantly, drowned himself in drugs and drink, and could not get out of his own way. His story is one of flashes of brilliance between long stretches of self-sabotage.
May 25, 2022
Gram Parsons is one of only a handful of artists that I feel a deeply personal, almost spiritual connection with. During the course of this year, I've had his discography on constant rotation. I find myself transfixed by the soulful pain Parsons exhudes in his voice, and his profound understanding as arguably the greatest interpreter and amalgamator of American music.
This book offers great insight, in tremendous detail, to not only the life of Parsons himself but also the generational trauma within his wealthy family, and the decadence of the 60's music scene that absorbed him. As a reader from England who has never stepped foot in the South I was fascinated by the descriptions of Southern high society in both its mannered restraint and its boundless hedonism, which would both be inherited by Parsons. Details of the activities of Gram's parents and his rich extended family, the Sniveleys, are often murky, and Meyer does an excellent job of presenting the conflicting gossip that exists, giving us all the available evidence while leaving room for speculation.
Meyer's painstaking attention to detail, as well as his strong musical opinions, can on occasion hinder the flow of the book, bombarding readers with facts and references that would overwhelm even the most knowledgeable of rock aficionados, and sometimes feel unnecessary, especially when repeated several times. On the whole though, the immense level of detail in this book is what makes it so outstanding. Not a page is left unturned in Gram's criminally short life, and outside of his music it is perhaps the best source we have to get to know a character that is so often mythologised and misunderstood.
This book offers great insight, in tremendous detail, to not only the life of Parsons himself but also the generational trauma within his wealthy family, and the decadence of the 60's music scene that absorbed him. As a reader from England who has never stepped foot in the South I was fascinated by the descriptions of Southern high society in both its mannered restraint and its boundless hedonism, which would both be inherited by Parsons. Details of the activities of Gram's parents and his rich extended family, the Sniveleys, are often murky, and Meyer does an excellent job of presenting the conflicting gossip that exists, giving us all the available evidence while leaving room for speculation.
Meyer's painstaking attention to detail, as well as his strong musical opinions, can on occasion hinder the flow of the book, bombarding readers with facts and references that would overwhelm even the most knowledgeable of rock aficionados, and sometimes feel unnecessary, especially when repeated several times. On the whole though, the immense level of detail in this book is what makes it so outstanding. Not a page is left unturned in Gram's criminally short life, and outside of his music it is perhaps the best source we have to get to know a character that is so often mythologised and misunderstood.
September 10, 2010
David Meyer writes about Gram Parsons, with an almost poetic cadence to his words. Meyer understands the interplay of types and shadows that helped to form a man who is at once accessible somehow an archetype of something greater. A man with a voice who once heard, suddenly reaches out and touches that lonesome place deep within all of our hearts. A man who was a wanderer--who never truly felt at home in this world. Moving on and leaving others behind was how Gram coped with the vicissitudes of life. He had all of the money a young man could ever want, but "only one rich man in ten has a satisfied mind." Parson's wealthy family could never claim satisfaction, endowing Gram with more than enough dysfunction for several lifetimes. Yet, Gram's music and voice transcended it all. While not achieving success in life, his "Cosmic American Music" influenced country, especially alt. country to this very day. All of these facts can be found in other biographies. However, David Meyer weaves them together in an intuitive and flowing narrative that make the characters come alive. Some say he connects some of the dots in Grams life incorrectly. However, given the fact that Gram was such a complex individual, this can be forgiven due to the details laid out which support these claims. Meyers book is a worthy addition to this talented artist's legacy, and will help ensure that Gram's legacy will never be forgotten.
November 18, 2018
This is a remarkably comprehensive biography of musician Gram Parsons. I will not say much about Parsons in these comments: there is not much to add to the illuminating and heartfelt words written by over a thousand fellow reviewers. I did find this volume to be remarkably judgmental at times, and while the judgments often seemed apt, they occasionally grated on my nerves. For example, praise is heaped on the Rolling Stones for how their albums were produced. This was a first for me since everyone I know singles out the classic Stones for some of the worst production in rock and roll. Their music sounded good in spite of the production. Other lapses in judgment have been mentioned various reviews on this site. Nevertheless, when looking at this book overall, it is a stunning achievement that offers new insight and detail about Parsons’ life and music. Whether I agree with all of the authors’ opinions is irrelevant; I have been enriched by the tirelessly researched and meticulously quilted timelines and conflicting accounts that are presented and, in some cases, debunked. This is a ”must read” for fans of country music, Gram Parsons, and all of the subgenres of related American music.
January 15, 2023
This book is a heartbreaking revelation. Parsons should be in the Pantheon of American popular music artists that include people like Hank Williams, Louis Armstrong, Willie Nelson, Sinatra, Muddy Waters and Elvis Presley. He changed the landscape through the force of his talent, his taste, and his personality and intellect the way few others would ever do. Especially considering the relatively small amount of recorded material he stands as an invisible titan straddling the country that gave us rock and roll, soul and country western music. This book tragically lays out his trajectory from his entitled southern upbringing to Harvard, honkytonks, the Opry, Laurel Canyon and his Joshua Tree finale. He inspired the Americana movement in rock and personified the cosmic cowboy of the 60's rock culture and beyond. Fascinating portrayal that should someday make a great film hopefully.
September 6, 2016
A substantial biography more than worthy of the man's contribution to our culture.
I often find biographies which dwell at length on their subjects family history a little tiresome. Not in this case though. It's a fine example of how some folks can have everything and nothing at the same time, and provides the necesary understanding to Parsons.
The author does a great job of trying to sort out the important stuff from the many interviews. As he points out, the purpose of many interviewees (especially rock stars) is to put themselves at the centre of events at all times.
My view of Parsons before reading this book was of a hugely talented but unreliable man who lived a self destructive life ultimately leading to his early death. My current opinion has expanded to recognise a degree of sympathy for him based on the wreck of a family from which he emerged.
I often find biographies which dwell at length on their subjects family history a little tiresome. Not in this case though. It's a fine example of how some folks can have everything and nothing at the same time, and provides the necesary understanding to Parsons.
The author does a great job of trying to sort out the important stuff from the many interviews. As he points out, the purpose of many interviewees (especially rock stars) is to put themselves at the centre of events at all times.
My view of Parsons before reading this book was of a hugely talented but unreliable man who lived a self destructive life ultimately leading to his early death. My current opinion has expanded to recognise a degree of sympathy for him based on the wreck of a family from which he emerged.
Want to read
October 28, 2009In case you're not familiar with Gram's body of work, drop what you're doing RIGHT NOW and listen to "Hickory Wind," maybe the most beautiful song I can think of, or "$1,000 Wedding," which has scintilating, inscrutable lyrics and a great duet part for Emmylou Harris.
Reviewers seem to think this is the best bio of Gram Parsons. He was painfully private and not entirely socially comfortable, so anyone writing a book about the guy really has their work cut out for them.
Gram Parsons's music is country plus a little rock minus Beatles minus Elvis-y Gospel. I'm really curious how he came to write such distinctive music with a rather different set of influences than a lot of the stuff going around back then.
Reviewers seem to think this is the best bio of Gram Parsons. He was painfully private and not entirely socially comfortable, so anyone writing a book about the guy really has their work cut out for them.
Gram Parsons's music is country plus a little rock minus Beatles minus Elvis-y Gospel. I'm really curious how he came to write such distinctive music with a rather different set of influences than a lot of the stuff going around back then.
August 4, 2011
A little too detailed, but a very good read. It made Gram feel like a really like-able guy, which was nice. You might not like the book so much with all the details if you are not familiar with Gram's music or his impact on the music world. I didn't know that much about him until I was reading some other things, which led me to then I become interested enough to buy an actual book about him. "Hickory Wind" was good too, and a little shorter.
January 8, 2017
Best book I've read on Gram so far. Really takes you into his world and you see the paradox: he was so talented and yet sabotaged his groups and his music. Thank God we got what we got out of him. I was especially intrigued by the chapter on Winter Haven, FL as I lived there while in high school and was clueless about Gram at that point. If you love The Byrds as I do, you have to read this....
November 3, 2008
This was not only the best Biography ever written about Gram, but one of the best Biographies I have ever read in my life. Written so eloquently. He was fair and honest. This book was amazing and full of talks with people who haven't talked about Gram until now. A great read for ANY music fan. Let alone someone who loves Mr. Parsons.
November 1, 2017
An encyclopedic story of the rise and demise of Gram Parsons. Like reading a Russian novel—so many people to try and keep straight. But the writer knows his stuff. Told me lots I didnt know. Sad story of a gifted person’s descent into drugs and alcohol.
June 25, 2008
gram parsons is kind of a dick.
September 19, 2008
This author has done his homework, on the complete friggin' lineage of Gram Parsons...sheesh...haven't gotten far enough to hear about Gram yet...
March 22, 2015
An awful lot of words to tell us not very much. I still prefer the music to the man.
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