Title: HOT BURRITOS
(THE TRUE STORY OF THE FLYING BURRITO BROTHERS)

Author: JOHN EINARSON WITH CHRIS HILLMAN

Publisher:  AWBONE PRESS

Release Date: NOVEMBER 2008

By Dennis Reoger Reed

A few years back, author John Einarson gave us Mr. Tambourine Man, a full length book about singer-songwriter and fallen Byrd Gene Clark. That was a well written book that went below the surface, with copious amounts of interviews with friends, peers and family. It was also a good read.

This time out Einarson takes a long look at the Flying Burrito Brothers and works on debunking the "Gram Parsons created country-rock" myth. Einarson shares his writing credit with Chris Hillman, and Hillman provides the vast majority of quotes in the book. And again, the book provides a good read, though a working knowledge of the FFB and that area of pop music is probably a prerequisite.

In a nutshell: the folk rock band the Byrds found themselves down to three members after completing their Notorious Byrd Brothers record. Gram Parsons introduced himself to the Byrds' Chris Hillman in a bank, and ended up winning an audition to be a keyboard player with the band. He ultimately helped lead the band into recording a country record called Sweetheart of the Rodeo. Although the record sold less than any prior Byrds recording, it helped create a new band formed by Parsons and Hillman called the Flying Burrito Brothers. Hillman ended up firing Parsons following the second FBB record, based on Parsons drug and alcohol induced problems. The band recorded two more records with Hillman as the only original member. Parsons went on to record two solo albums, the second released posthumously following Parsons substance related death in 1973. Hillman introduced Parsons to a Washington, DC, based folk singer named Emmy Lou Harris in 1972, and she not only became Parsons' harmony singer, but went on to a stellar career as a solo artist, always keeping Parsons influence as a cornerstone.

Hot Burritos takes a fairly different view from the several books written centered on Parsons, and makes it abundantly clear with the subtitle, The True Story of the Flying Burrito Brothers. Probably one of the main differences in tone stems from the remarkable amount of interviews with various FBB members, A&M Records staff from the time FBB recorded for the label, and a myriad of Los Angeles based country rock musicians. These are anecdotes in the speaker's own words, based on their personal memory. When there are differences of memory/opinion, this tends to make for more enjoyable reading anyway.

Some of the tales are priceless, one told by A&M publicist Michael Vosse, who accompanied the band on their ill-fated train trip to Chicago. FFB convince the label to send them to the Windy City via the train, but when they arrived, they found that the record release had been postponed, so that they had no product to promote. Other than landing some time on Studs Terkel's radio show, the trip had little value. With some free time, Vosse takes bass player Chris Ethridge out to his Southern parent's home in the suburbs for some home cooking. Ethridge's southern charm captivates the staffer's usually strict grandmother, and culminates with Ethridge passing a joint around the living room, with the staffer's parents feeling obliged to indulge.

Parsons does not fare too well in the collective memory. Tales of his drug and alcohol abuse have always been related. But where Hot Burritos is different than many accounts is the amount of doubt about Parsons actual talents. Hillman once boils Parsons' triumph to be just two songs on the first FFB record, Gilded Palace of Sin. There is no doubt that Hillman has received fewer accolades for his participation in the band than deserved. His writing and his singing were, arguably, equally important in FBB. Hillman states that he is not bitter, and for the most part his comments don't lean that way. But Hillman is very blunt about Parsons inability to remain professional, perform acceptably and follow through on obligations.

Parsons youthful death adds a "James Dean-ism" to his myth, but it is somewhat refreshing to see Hillman's opinions not only on FBB era Parsons, but his spin on Parsons' solo efforts following his firing from FBB. Although Parsons has been deified by a contingent of music fans, Hillman is quite adept at documenting Parsons' creative and physical decline.

IF you are not a fan of the FFB or country rock in general, this book will probably be a little long to hold your interest. Also, this is a book that will anger some of its readers if they are Parsons' worshippers, but for the most part, if you are a fan of the FFB or country rock bands in the 1969-1973 era, you'll enjoy this. Einarson is a fine writer, and the book moves well.

Dnnis Roger Reed is a singer-songwriter, musician and writer based in San Clemente, CA. He's released two solo CDs, and appeared on two CDs with the newgrassy Andy Rau Band and two CDs with the roots rockers Blue Mama. His prose has appeared in a variety of publications such as the OC Weekly and MOJO magazine. Writing about his music has appeared in an eclectic group of publications such as Bass Player, Acoustic Musician, Dirty Linen, Blue Suede News and Sing Out! His oddest folk resume entry would be the period of several months in 2002 when he danced onstage as part of both Little Richard's and Paul Simon's revues. He was actually asked to do the former and condoned by the latter. He apparently knows no shame.