Gram Parsons PDF Print E-mail
Wednesday, 15 October 2008 08:24

Ingram Cecil Connor III

AKA: Gram Parsons

Born: November 5, 1946(1946-11-05)   Winter Haven, Florida

Died: September 19, 1973  Yucca Valley, California, Joshua Tree Inn, room 8.

Age: 26

Cause of death: Drug OD. Lethal combination of heroin, morphine and tequila.

Notable because: Most unusual events following his death in room 8 of the Joshua Tree Inn.

Gram Parsons was born Ingram Cecil Connor III in Winter Haven, Florida, the grandson of citrus fruit magnate John A. Snively, with extensive properties both there and in Waycross, Georgia, where Parsons was raised. A sister, "Little" Avis, soon followed. His father, "Coon Dog" Connor, suffered mood swings and abruptly committed suicide two days before Christmas Day, 1958. Parsons' mother, Avis, subsequently married Bob Parsons, whose surname was adopted by young Ingram, the elder Parsons going as far to have new birth certificates drawn up for his stepson and stepdaughter. Henceforth he would be known as Gram Parsons. Parsons attended the prestigious Bolles School in Jacksonville, Florida. For a time, the family found a stability of sorts until Avis rapidly descended into alcoholism, leading to her death from cirrhosis.

As his family disintegrated around him, Parsons developed strong musical interests, particularly after seeing Elvis Presley perform in concert in 1957. Five years later, while barely in his teens, he played in rock and roll cover bands such as the Pacers and the Legends, headlining in clubs owned by his stepfather in the Winter Haven/Polk County area. By the age of 16 he graduated to folk music, and in 1963 he teamed with his first professional outfit, the Shilos. Heavily influenced by the Kingston Trio and the Journeymen,[1] the band played hootenannies, coffee houses and high school auditoriums. Forays into New York City's Greenwich Village included appearances at The Bitter End.

After the band folded he attended Harvard University, studying theology but departing after a semester. Despite being from the South, he did not become serious about country music until his time in Boston, Massachusetts after hearing Merle Haggard for the first time. In 1966, he and others from the Boston folk scene formed the International Submarine Band. The band relocated to Los Angeles the following year, and in 1968 released the album Safe at Home, which contains one of his best-known songs, "Luxury Liner", as well as an early version of "Do You Know How It Feels", which he would reprise on the first Flying Burrito Brothers album. But Parsons had already moved on to bigger things by the time of the album's release.

By 1968 Parsons had come to the attention of Chris Hillman of The Byrds, who, depleted by the firing of David Crosby and the departure of Gene Clark, were seeking new members. Originally conceived by band leader Roger McGuinn as a history of twentieth-century music, beginning with traditional country, taking in jazz, R&B, and rock, and ending with the most advanced (for the time) form of electronic wizardry, Sweetheart of the Rodeo was their only album with Parsons. Contrary to what is often claimed, Parsons was never an official member of The Byrds. As Chris Hillman recalls, "Gram was hired. He was not a member of The Byrds, ever — he was on salary" . Nonetheless, as recording plans were made, Parsons (originally hired as a jazz pianist) began to exert a tremendous influence over the group, persuading the other members to leave Los Angeles and record the album in Nashville. Along the way McGuinn's original album concept was jettisoned in favor of a fully fledged country and western project, and included Parsons' songs such as "One Hundred Years from Now" and "Hickory Wind", along with compositions by Bob Dylan and Merle Haggard. However, owing to contractual issues, most of Parsons' vocals were removed from the final product. While touring with The Byrds in the summer of 1968, Parsons dropped out of a planned concert in South Africa, citing opposition to that country's apartheid policies. McGuinn and Hillman subsequently fired him from the tour.

During this period Parsons became friendly with Mick Jagger and Keith Richards of The Rolling Stones. It has been suggested that Parsons was mostly apolitical and merely took advantage of an opportunity to hang out with his idols, although he did refer to one of the younger African-American butlers in the Connor household as being "like a brother" to him in an interview and did not seem to exhibit racist behavior. While in England, Parsons developed a close kinship with Richards and reintroduced him to country music. Sitting around for hours, the twosome would play obscure records and trade off on various songs with their guitars. They even traveled together on a few occasions to Stonehenge (with Chris Hillman and Roger McGuinn) in the English countryside of Wiltshire, where Richards had a house quite near to the ancient site.

Parsons was widely rumored to have been the author of "Honky Tonk Women" and added credence to this in interviews and in discussions with friends by claiming to have developed the acoustic guitar and fiddle dominated arrangement of the song included on Let It Bleed as "Country Honk". Nevertheless, Mick Jagger and Keith Richards have always claimed that they conceived the traditional country arrangement while on holiday in Brazil in late 1968. As this vacation came on the heels of Parsons' initial visits with the Stones, it could be assumed that he was at least an indirect influence upon this new musical direction. Incidentally, partial authorship for the song has also been attributed to the likes of Ry Cooder (who introduced Richards to the trademark open five string tunings that would become nearly synonymous with his style) and the disintegrating Brian Jones.

Returning to Los Angeles, Parsons was soon joined by Hillman (both as rhythm guitarists), and the two formed the Flying Burrito Brothers with bassist Chris Ethridge and pedal steel player Sneaky Pete Kleinow. Their 1969 album The Gilded Palace Of Sin was a modernized version of the Bakersfield style of country music made popular by Buck Owens, and the band appeared on the album cover wearing Nudie suits emblazoned with all sorts of hippie accoutrements. Along with the Parsons-Hillman originals "Christine's Tune" and "Hot Burrito #2" were versions of the soul music classics "The Dark End of the Street" and "Do Right Woman", the latter featuring David Crosby on high harmony. Most of the songs on the album were composed by Hillman and Parsons in a creatively fertile period when the latter's drug intake noticeably decreased; the atypically pronounced (for Parsons) gospel soul influence likely comes from his frequent jamming with Delaney and Bonnie and Richards.

Though not a commercial success, Gilded was acclaimed by rock critic Robert Christgau as "an ominous, obsessive, tongue-in-cheek country-rock synthesis, absorbing rural and urban, traditional and contemporary, at point of impact." The album was recorded without a permanent drummer, but the group soon added original Byrd Michael Clarke on drums. Embarking on a cross-country tour via train, as Parsons suffered from periodic bouts of fear of flying, the group squandered most of their money in a perpetual poker game and received bewildered reactions in most cities. Parsons was frequently indulging in massive quantities of psilocybin and cocaine, so his performances were erratic at best, while much of the band's repertoire consisted of vintage honky tonk and soul standards with few originals. Perhaps the most successful appearance occurred in Philadelphia, where the group opened for the reconstituted Byrds. Midway through their set, Parsons joined the headline act and fronted his former group on renditions "Hickory Wind" and "You Don't Miss Your Water". The other Burritos surfaced with the exception of Clarke, and the joint aggregation played several songs. including "Long Black Veil" and "Goin' Back".

After returning to Los Angeles the group recorded "The Train Song", written during an increasingly infrequent songwriting session on the train and produced by 1950s R&B legends Larry Williams and Johnny "Guitar" Watson. Despite a request from the Burritos that the remnants of their publicity budget be diverted to promotion of the single, it also flopped. Ethridge, who lacked total commitment to Parsons' musical vision and often indulged in drugs and drink on a level surpassing the guitarist, departed shortly thereafter. He was replaced by lead guitarist Bernie Leadon, while Hillman reverted to bass.

By this time, Parsons's own use of drugs had increased to the extent that new songs were rare and much of his time was diverted to partying with the Stones, who briefly relocated to America in the summer of 1969 to finish their forthcoming Let It Bleed and prepare for an autumn cross country tour, their first series of regular live engagements since 1967. As they prepared to play the nation's largest sports arenas, the Burritos played to dwindling nightclub audiences; one night Jagger had to literally order Parsons to fulfill an obligation with his group.

The singer's dedication to the Rolling Stones was rewarded when the Burrito Brothers were booked as the opening act of the infamous Altamont Music Festival. Playing a short set including "Six Days on the Road" and "Bony Moronie", Parsons left on one of the final helicopters and attempted to pick up Michelle Phillips. "Six Days..." was included in Gimme Shelter, a documentary of the event.

With mounting debt incurred, A&M hoped to recoup some of their losses by marketing the Burritos as a straight country group. To this end, manager Jim Dickinson instigated a loose session where the band recorded several honky tonk staples from their live act, contemporary pop covers in a countrified vein ("To Love Somebody", "Lodi", "I Shall Be Released", "Honky Tonk Women"), and Larry William's "Bony Moronie". This was soon scrapped in favor of a second album of originals on an extremely reduced budget. Faced with a dearth of new material, most of the material was hastily written in the studio by Leadon, Hillman, and Parsons, with two Gilded Palace of Sin outtakes thrown into the mix. The resulting album, entitled Burrito Deluxe, was released in April 1970.

The album is considered less inspired than its predecessor, but it is notable for the Parsons-Hillman-Leadon song "Older Guys" and for its take on Jagger and Richards' "Wild Horses"—the first recording released of this famous song. Parsons was inspired to cover the song after hearing an advance tape of the Sticky Fingers sent to Kleinow, who was scheduled to overdub a part on the song. Jagger consented to the cover version, so long as the Flying Burrito Brothers did not issue it as a single.

Burrito Deluxe, like its predecessor, underperformed commercially but faced the double whammy of being lambasted by critics. Disenchanted with the band, he left the Burritos in mutual agreement with Hillman, at his wits' end after two years of babysitting Parsons. Under his direction, the group recorded two more LPs. immediately signed a solo deal with A&M Records and partnered with producer/scenester Terry Melcher, who had produced The Byrds' Mr. Tambourine Man and worked with The Beach Boys. With a mutual penchant for alcohol, cocaine, and (by this juncture) heroin, the sessions were unproductive and found the singer in a holding pattern of covering country hits and himself ("Hot Burrito #1"). Eventually losing interest altogether, he checked the master tapes out in 1971. He accompanied the Stones on their 1971 tour in the hope of being signed to the newly formed Rolling Stones Records, intending to record a duo album with Richards. Moving into Villa Nellcôte with the guitarist during the sessions for Exile on Main Street, Parsons remained in a consistently incapacitated state and frequently quarreled with his much younger girlfriend, aspiring actress Gretchen Burrell. Eventually, Parsons was asked to leave by Anita Pallenberg, Richards' longtime domestic partner. Rumors have persisted that he appears somewhere on the legendary album, and while Richards concedes that it is very likely he is among the chorus of singers on "Sweet Virginia", nothing has been substantiated to this day. Parsons attempted to rekindle his relationship with the band on their 1972 tour to no avail.

After leaving the Stones' camp, Parsons married in 1971, for the first and only time, to Burrell at his stepfather's New Orleans estate. Allegedly, the relationship was far from stable, with Burrell cutting a needy and jealous figure while Parsons quashed her burgeoning film career. Many of the singer's closest associates and friends claim that Parsons was preparing to commence divorce proceedings at the time of his death; the couple had already separated by this point.

Parsons and Burrell enjoyed the most idyllic time of their relationship, visiting old cohorts like Ian Dunlop and Family/Blind Faith/Traffic member Ric Grech in England. With the assistance of Grech and one of the bassist's friends, Hank Wangford a doctor friend who dabbled in country music, Parsons managed to kick his heroin habit once and for all (a treatment suggested by William Burroughs proved unsuccessful).

He returned to the US for a one-off concert with the Burritos, and at Hillman's instigation went to hear Emmylou Harris sing in a small club in Washington, D.C. They became friends and, within a year, he asked her to join him in Los Angeles for another attempt to record his first solo album.

Having gained thirty pounds since his Burrito days from Southern food and excessive alcohol consumption, it came as a surprise to many when Parsons was enthusiastically signed to Reprise Records by Mo Ostin in mid-1972. GP, released in 1973, utilized the guitar-playing of James Burton (sideman to Elvis Presley and Ricky Nelson), and featured new songs from a creatively revitalized Parsons such as "Big Mouth Blues" and "Kiss the Children," as well as a superb cover of Tompall Glaser's "Streets of Baltimore."

Parsons, by now featuring Harris as his duet partner, played dates across the United States as Gram Parsons and the Fallen Angels. Unable to afford the services of the Elvis band for a month, the band featured the talents of obscure Colorado-based rock guitarist Jock Bartley (soon to skyrocket to fame with Firefall), veteran Nashville sideman Neil Flanz on pedal steel, Kyle Tullis on bass and former Mountain drummer N.D. Smart (once described by Canadian folksinger Ian Tyson as "a psychotic redneck"). The touring party also included Gretchen Parsons—by this point extremely envious of Harris—and Harris' young daughter. Coordinating the spectacle as road manager was Phil Kaufman, who had served time with Charles Manson on Terminal Island in the mid-sixties and first met Parsons while working for the Stones in 1968. Kaufman ensured that the performer stayed away from substance abuse, limiting his alcohol intake during shows and throwing out any drugs smuggled into hotel rooms. At first, the band was under-rehearsed and played poorly, but improved markedly with steady gigging and received rapturous responses at the Armadillo World Headquarters in Austin, Texas and at a filmed concert at Liberty Hall in Houston (with Neil Young and Linda Ronstadt sitting in) and Max's Kansas City in New York City. According to a number of sources, it was Emmylou who forced the band to practice and work up an actual set list. Nevertheless, the tour did absolutely nothing for record sales. While he had been in the vanguard with The Byrds and the Burrito Brothers, Parsons was now perceived as being too authentic and traditional in an era dominated by the stylings of The Eagles, whose sound Parsons disdained (although he did maintain cordial relations with Leadon, now an Eagle).

For his next and final album, 1974's Grievous Angel, he again used Harris and Burton. The record, which was released after his death, received even more enthusiastic reviews than had GP, and has since attained classic status. Among its most celebrated songs is "$1000 Wedding", a holdover from the Burrito Brothers era which was covered by one of the many groups influenced by Parsons, the Mekons, and "Brass Buttons", a 1965 opus which addresses his mother's alcoholism. Also included was a new version of "Hickory Wind" and "Ooh Las Vegas", co-written with Grech and dating from the G.P. sessions. Despite the fact that Parsons only contributed two new songs to the album ("In My Hour of Darkness", "Return of the Grievous Angel"), Parsons was highly enthused with his new sound and seemed to have finally adopted a serious, diligent mindset to his musical career, eschewing most drugs and alcohol during the sessions.

Before recording, Parsons and Harris played a preliminary three show mini tour as the headline act in a Warner Brothers country-rock package. The backing band included Clarence White, Pete Kleinow, and Chris Etheridge. On July 14, 1973, the legendary White was killed by a drunk driver while loading equipment in his car for a concert with the New Kentucky Colonels. At White's funeral, Parsons and Bernie Leadon launched into an impromptu touching rendition of "Farther Along"; that night, the distraught and drunken musician reportedly informed Phil Kaufman of his final wish: to be cremated in Joshua Tree. Despite the almost insurmountable setback, Parsons, Harris, and the other musicians decided to continue with plans for a fall tour.

In the summer of 1973 Parsons' Topanga Canyon home burned to the ground, the result of a stray cigarette. Nearly all of his possessions were destroyed with the exception of a guitar and a prized Jaguar automobile. The fire proved to be the last straw in the relationship between Burrell and Parsons, who moved into a spare room in Kaufman's house. While not recording, he frequently hung out and jammed with members of New Jersey-based country rockers Quacky Duck and His Barnyard Friends (whose members included Tony Bennett's sons, Danny and Dae Bennett as well as future Dylan sideman and member of the Alpha Band, multi-instrumentalist David Mansfield) and the proto-punk Jonathan Richman & the Modern Lovers, who were being managed by Kaufman. Richman credits Parsons with introducing him to acoustic-based music Parsons is credited as producer on Quacky Duck's only album, Media Push, released by Warner Bros. in 1974. According to the road manager of Quacky Duck, Parsons was, despite being frequently drunk, a kind soul who provided business and musical guidance to the younger band.

Before formally breaking up with Burrell, Parsons already had a woman waiting in the wings. While recording, he saw a photo of a beautiful woman at a friend's home and was instantly smitten. The woman turned out to be Margaret Fisher, a high school sweetheart of the singer from his Waycross, Georgia days. Like Parsons, Fisher had drifted west and became established in the Bay Area rock scene. A meeting was arranged and the two instantly rekindled their relationship, with Fisher dividing her weeks between Los Angeles and San Francisco at Parsons' expense.

In the late 1960s, Parsons became enamored of Joshua Tree National Monument. Alone or with friends, he would disappear in the desert for days, searching for UFOs while under the influence of psilocybin or LSD. After splitting from Burrell, Parsons would frequently spend his weekends in the area with Margaret Fisher and Phil Kaufman. Before his tour was scheduled to commence in October 1973, Parsons decided to go on one more excursion. Accompanying him were Fisher, personal assistant Michael Martin, and Dale McElory, Martin's girlfriend. Less than two days after arriving, Parsons died September 19, 1973 in Joshua Tree, California at the age of 26 from a lethal combination, purportedly of morphine and alcohol. According to Fisher in the 2005 biography Grievous Angel: An Intimate Biography of Gram Parsons, the amount of morphine consumed by Parsons would not be lethal to an addict and thus he had likely overestimated his tolerance considering his past experience with opiates. Fisher and McElroy were returned to Los Angeles by Kaufman, who dispersed the remnants of Parsons' stash in the desert.

In a story that has taken on legendary stature, Parsons' body disappeared from the Los Angeles International Airport, where it was being readied to be shipped to Louisiana for burial. Prior to his death, Parsons stated that he wanted his body cremated at Joshua Tree and his ashes spread over Cap Rock, a prominent natural feature there. However, Parson's stepfather arranged for a private ceremony back in New Orleans and neglected to invite any of his friends from the music industry.

Maintaining his alleged promise, Kaufman and a friend managed to steal Parsons' body from the airport and, in a borrowed hearse, drove Parsons' body to Joshua Tree where they attempted to cremate it, by pouring five gallons of gasoline into the open coffin, and throwing a lit match inside. What resulted was an enormous fireball. Police chased them, but, according to one account, "were encumbered by sobriety". The two were arrested several days later, but since there was no law against stealing a dead body, were only fined $750 (or $700) for stealing the coffin.The burned remains were eventually returned to Parsons' stepfather and interred in New Orleans. In the 2004 documentary film Gram Parsons: Fallen Angel, Parsons' family alleged that Kaufman's cremation attempt was little more than a drunken hatchet job, which succeeded only in mutilating roughly 60 percent of the corpse. Parsons' friends and family were upset to find out that Kaufman left 35 pounds of his charred body in the desert.

The site of the cremation was marked by a small concrete slab and is presided over by a large rock flake known to rock climbers as 'The Gram Parsons memorial hand traverse'. The slab has since been removed by the U.S. National Park Service and was relocated to the Joshua Tree Inn which was where he was staying at the time of his death. At the site of the original memorial now are simple rock structures and writings on the rock which the park service sand blasts to remove from time to time.

The song "My Man" which appeared on the Eagles album "On The Border" was written by fellow Flying Burrito band member Bernie Leadon as a posthumous tribute to Gram Parsons.

The 2003 film Grand Theft Parsons stars Johnny Knoxville as Phil Kaufman and chronicles a fictionalized version of the theft of Parsons' corpse.

The Gram Parsons Petition Project was begun in 2007 in an attempt to induct Gram Parsons into the Country Music Hall of Fame, based on his contribution to the evolution of country music. Backed by many friends and admirers who have signed and left comments from around the world, it is targeting the Country Music Association (CMA) and the Country Music Hall of Fame. Within four months to the day, it had hit its target of 1,000 signers; with more signing every day, the total is now over 2,200. On the 35th anniversary of Parsons' death on September 19, 2008, it was presented to the CMA and Hall as a "List of Supporters" together with the official Nomination Proposal based on the criteria set forth by the CMA for Candidate Criteria for Induction Into the Country Music Hall of Fame. A concert with nine bands inspired by Mr. Parsons was also held that day in Nashville in honor of the Nomination Proposal and the 35th anniversary of Gram's death. The petition will continue to be available to signers until his actual induction into the Hall occurs. In February 2008, Gram's protégée, Emmylou Harris, was inducted into the Country Music Hall of Fame.


The events of that fatal trip have been recounted by Dale McElroy, who told her story to Ben Fong-Torres when he was writing Hickory Wind, then retold it in her own words in Phil Kaufman's 1993 bio. Other accounts differ, but hers seems the most reliable.

The foursome arrived Monday, September 17, 1973. That day they indulged sufficiently that Martin returned to Los Angeles the next morning to score more marijuana -- even though Martin theoretically went along on the trip so he could look after Parsons. Parsons dragged the women out to the airport for lunch, throughout which he drank Jack Daniels non-stop.
When they returned from lunch, McElroy excused herself -- she couldn't drink because she was recovering from hepatitis, and she wasn't having any fun watching Parsons drink.
Meanwhile, Parsons scored some heroin in town and then topped it off with morphine he acquired from a drug connection, who was staying at the Inn. Several hours later, a wasted Fisher showed up at McElroy's door in a frantic state. Parsons had overdosed, she said. They grabbed some ice and went to Room 1, where he was passed out on the floor, blue. There Fisher revived him with an ice cube suppository -- an old street remedy for overdoses. When McElroy left the two alone again, he was walking around the room, seemingly recovered.
After another hour or so, at about 10:00, Fisher returned to McElroy's room and asked her to sit with the sleeping Parsons while she went out to get some dinner. McElroy grabbed a book and went to Parsons's room -- Room 8. After a few minutes, she realized that his breathing had gone from normal to labored. McElroy had no experience with drug overdoses and no training in CPR. Believing (incorrectly) that there were no other people in the hotel, she never called out for help. Instead she tried to get him breathing again by pumping his back and his chest and giving him mouth-to-mouth. "I tried to figure out whether to stay and keep him breathing or leave and get some help.... I figured if I left, he might die."*
After about a half hour of futile pumping and pushing, McElroy realized that Parsons was probably beyond help. At this point Margaret Fisher returned, then left to call an ambulance. The rescue crew arrived quickly, but concluded that CPR would not be successful. They got Parsons to the nearby Hi-Desert Memorial Hospital in Yucca Valley by 12:15 AM. The doctors there found no pulse and, after trying unsuccessfully to restart his heart, declared him dead at 12:30 AM, Wednesday, September 19, 1973.
The press were told that Parsons had died of natural causes, but after performing an autopsy, the coroner listed the cause of death as "drug toxicity, days, due to multiple drug use, weeks."* A blood test showed a blood alcohol level of 0.21% -- high, but nowhere near fatal standing alone. No morphine showed in the blood test, though it did turn up in more than trace amounts in urine and liver tests. The urinalysis also revealed traces of cocaine and barbiturates. Since substances may accumulate in the body over a long time, it's unclear from the urine and liver tests whether Parsons used morphine, cocaine or barbiturates that day.
Fisher and McElroy were questioned by the police at the hospital. McElroy called Phil Kaufman in Los Angeles, who persuaded the sheriff that he could answer all their questions as soon as he arrived. The sheriff then permitted Fisher and McElroy to stay at the motel until Kaufman arrived. When Kaufman got to the hotel, the women gave him Parsons's drugs, which they had gathered up before the ambulance and police arrived.* Kaufman took the drugs and hid them in the desert, then called the police station. He promised the police he would bring McElroy and Fisher in for further questioning, then piled them in his car and drove them straight back to LA, where he hid them out for a few days. The Joshua Tree police never sought out the two women.
Both Margaret Fisher and Alan Barbary, the son of the hotel owners, told conflicting versions of that night's events, which added to the confusion and exaggeration that soon surrounded the death of Gram Parsons.

When the news of his stepson's death reached Bob Parsons, he immediately realized that his own interests would be best served by having the body buried in Louisiana, where the senior Parsons lived. Parsons knew that under Louisiana's Napoleonic code, his adopted son's estate would pass in its entirety to the nearest living male -- Bob Parsons -- notwithstanding any will provisions to the contrary. But the code would only apply if Bob Parsons could prove that Gram Parsons had been a resident of Louisiana. Burying the younger Parsons in New Orleans would bolster the tenuous arguments for Louisiana residency. Bob Parsons booked a flight to LA to claim the body. At stake was his stepson's share of the dwindling but still substantial Snively fortune.
When Phil Kaufman learned of the plan to bury his friend in New Orleans, he became distraught. He knew that Parsons had no connection whatsoever to that city. He knew that Parsons had little use for his stepfather, and would not have wanted any of his estate to pass to him. He knew that Parsons had not wanted a long, depressing, religious service with family and friends. Most of all he knew he had made a pact with Parsons, at the funeral of Clarence White: whoever died first, "the survivor would take the other guy's body out to Joshua Tree, have a few drinks and burn it."*
After a day of vodka-enhanced self-recriminations, Kaufman decided he had to try to make good on his promise. Thus began one of the most unforgettable episodes of what hackers call "social engineering." For the full story, check out Kaufman's biography, Road Mangler Deluxe, which describes the whole episode in Kaufman's own inimitable fashion. What follows is only a taste of Kaufman's tale.
Kaufman called the funeral parlor in the town of Joshua Tree and managed to learn that the body would be driven to LAX and then flown on Continental to New Orleans. He called the airline's mortuary service and found out that the body would arrive that evening. Kaufman recruited Michael Martin, who knew about the pact, and commandeered a hearse of Dale McElroy's, which she and Martin used for camping trips. It had no license plates and several broken windows, but it would do. They tried on suits, but decided they looked so ridiculous that they changed into their tour clothes -- Levi's, cowboy boots, cowboy hats, and jackets with the legend "Sin City" stitched on the back. They loaded the hearse up with beer and Jack Daniels and headed for LAX.
Kaufman and Martin arrived at the loading dock just as a flatbed truck rolled up with the Parsons casket. A drunken Kaufman somehow persuaded an airline employee that the Parsons family had changed its plans and wanted to ship the body privately on a chartered flight.
While Kaufman was in the hangar office, signing the paperwork with a phony name, a policeman pulled up, blocking the hangar door. Kaufman was sure his operation would be shut down, but the officer didn't do anything -- he just sat there. So Kaufman walked out to him, waved his copies of the paperwork, and said, "Hey, can you move that car?" The officer apologized, moved the car, and then, remarkably, helped Kaufman load the casket onto a gurney and into the back of the unlicensed, liquor-filled hearse.
Martin, also liquor-filled, got in the hearse and headed out of the hangar, only to run into the wall on his way out. The officer observed all this, and commented ruefully, "I wouldn't want to be in your shoes now." Then he left, and the two drunk bodysnatchers departed the airport with the body of their friend. They stopped at a gas station and filled a gas can with high test ("I didn't want him to ping," Kaufman says.) Then they headed back for Joshua Tree.
They reached the Monument and drove until they were too drunk to drive any farther. There, near the Cap Rock, a landmark geological formation, they unloaded their friend's coffin. Then Kaufman saw car lights in the distance and concluded the police were coming. He quickly doused his friend with fuel and lit him. The two watched as a giant fireball rose from the coffin, sucking his ashes into the desert night. Then they abandoned the charred remains and headed for LA.
After a trip home filled with close calls, Kaufman and Martin laid low. The morning after their return, the papers were full of the story of the rock star's hijacked and burnt corpse, playing up baseless speculation by local police that the amateur cremation may have been "ritualistic."*
Kaufman knew the police were looking for him, so after a few weeks, he and Martin just turned themselves in. They appeared in West L.A. Municipal Court on Parsons's 27th birthday -- November 5, 1973. Since a corpse has no intrinsic value, the two were charged with misdemeanor theft for stealing the coffin and given a slap on the wrist: $708 in damages for the coffin, and a $300 fine for each of the bodysnatchers. Kaufman has surely made that amount back just dining out on the story -- his misadventures have been legendary in rock and country music circles ever since.
The aftermath of the court's sentence was as unlikely as the events leading up to it. Kaufman threw himself a party to raise the fine money -- Kaufman's Koffin Kaper Koncert. They pasted beer bottles with some homemade labels featuring a bad likeness of Parsons and the legend, "Gram Pilsner: A stiff drink for what ales you." Dr. Demento served as deejay, and live music was provided by Bobby "Boris" Pickett and the Crypt Kickers of "Monster Mash" fame and a young band being managed by Tickner and Kaufman at the time, Jonathan Richman and the Modern Lovers. Despite the gruesome streak running through the party, it was a memorable wake for their friend.*
On the other side of the country, some other friends mourned Parsons in a somewhat quieter fashion. Emmylou Harris met with John Nuese, Bill Keith, and Holly and Barry Tashian for a quiet weekend at the Tashians' cottage in Connecticut, where they listened for the first time to finished versions of the sessions from Grievous Angel (Reprise, 1974).

Gram Parsons left more than his share of loose ends.
Bob Parsons had the charred remains of his stepson shipped to New Orleans, where, after a small service with family only, he was buried in The Garden of Memories, an unimpressive cemetery on a highway near the airport. A bronze plaque marks the gravesite; it reads "God's Own Singer." Although Bob Parsons succeeded in getting the body to Louisiana, his scheme to seize control of the Snively fortune was nevertheless thwarted by a Florida court. About a year later, Bob Parsons died of an alcohol-related illness. He never made a dime off of Gram Parsons.
When Parsons left for Joshua Tree, he believed he had initiated divorce proceedings against Gretchen. As it turned out, this was not the case. Kaufman had the papers to serve on her but hadn't yet done so by the time Parsons died. Along with Gretchen Parsons, his daughter Polly, his sister Avis, and his half-sister Diane all received some money from his estate as well.
Reprise finally released Grievous Angel (Reprise, 1974) in January of 1974 to rave reviews. Yet, despite the notoriety resulting from the death of Parsons, the LP peaked at a disappointing #195 on the album chart.
Despite his lack of commercial success, Gram Parsons acquired a small but fervent following. These fans paid for a plaque that was placed near the Cap Rock, with the words "Safe At Home."

Last Updated on Wednesday, 25 March 2009 13:54

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