Gram Parsons had envisioned the Burritos as “his” band, but ‘The Gilded Palace of Sin’ underscores the partnership between Parsons and Chris Hillman
Author: Sam Sutherland
Sam Sutherland
Sam Sutherland has worked both sides of the music biz street as music industry journalist at Billboard and Record World (as well as freelancing for Phonograph Record, Musician Magazine, High Fidelity and Rolling Stone), and in the label trenches with Elektra/Asylum, Windham Hill Productions and Discovery Records. In the ‘90s, he was beamed up to the digital rapture via software and early online projects for Microsoft and Amazon’s original music and video storefronts. He’s since produced entertainment content for Windows Media and, most recently, MSN Music. Nevertheless, he still prefers vinyl to digital. A New York ex-pat, Sutherland lives near Seattle.
Browne achieved a poetic force with the eight songs comprising the album, their lyrics demanding a closer listen.
Their most consequential stylistic stroke since their pioneering folk-rock debut three years earlier, it ushered in country-rock and Americana
The 1987 album signaled more than a bid for a career reset. Now sober and focused, and with help from R.E.M., he was clearly back on track.
Born from the ashes of an abandoned project Pete Townshend called ‘Lifehouse,’ the band’s 1971 masterwork triumphed through songcraft and performance.
The album that would become Simon’s grandest statement came into view when he was gifted with a tape of South African music.
Begun as a Steve Winwood solo project, the album morphed into a Traffic reunion with the addition of Jim Capaldi and Chris Wood to the fold.
The Welsh rocker’s fifth solo album, made with the great Rockpile, captures him at the pinnacle of his influence as an architect of late ’70s new wave.
If the songcraft displayed on the first album reflected their Brill Building apprenticeship, the new material proved more open-ended—and more sophisticated
The Souther Hillman Furay Band accomplished its commercial mission and displayed the stylistic DNA of the Byrds, Poco and, yes, the Eagles.