"It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar." - Gram Parsons
Over 19 tracks, Wayfaring Strangers: Cosmic American Music mines gold from dollar bin country-rock detritus to reconstruct events as seen from the genre's wild west - Americana's vast private press substructure.
 
As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. “He hated country-rock,” Parsons collaborator Emmylou Harris would later reflect. “He thought that bands like the Eagles were pretty much missing the point.”

Parsons had been orbiting the idea of Cosmic American Music for some time. In ‘68, he’d parted ways with the Byrds and was looking to take air with a new project. “It’s basically a Southern soul group playing country and gospel-oriented music with a steel guitar” he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M’s Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons’ Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before day one of the 1970s. Parsons himself might’ve disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music’s most distinguishing stringed signifier.

Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum’s raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became “the dominant American rock style of the 1970s,” as Peter Doggett’s comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre’s real Wild West—America’s one-off private press label substructure.
 
A1 Jimmy Carter and Dallas County Green – Travelin’
A2 Mistress Mary – And I Didn’t Want You
A3 Plain Jane – You Can’t Make It Alone
A4 Dan Pavlides – Lily Of The Valley
A5 Angel Oak – I Saw Her Cry

B1 Kathy Heideman – Sleep A Million Years
B2 Deerfield – Me Lovin’ You
B3 Arrogance – To See Her Smile
B4 Jeff Cowell – Not Down This Low
B5 Kenny Knight – Baby’s Back

C1 The Black Canyon Gang – Lonesome City
C2 Allan Wachs – Mountain Roads
C3 Mike And Pam Martin – Lonely Entertainer
C4 Bill Madison – Buffalo Skinners

D1 White Cloud – All Cried Out
D2 Ethel Ann Powell – Gentle One
D3 Sandy Harless – I Knew Her Well
D4 F. J. McMahon – The Spirit Of The Golden Juice
D5 Doug Firebaugh – Alabama Railroad Town