Showing posts with label Rick Danko. Show all posts
Showing posts with label Rick Danko. Show all posts

Sunday, September 22, 2019

Today in Music (1969): The Band released their self-titled sophomore album

The Band

The Band


Released: September 22, 1969


Peak: 9 US, 25 UK, 2 CN, 18 AU


Sales (in millions): 1.0 US


Genre: folk rock/Americana/roots music


Tracks:

Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to charts.

  1. Across the Great Divide (Robertson) [2:53]
  2. Rag Mama Rag (Robertson) [3:04] (2/14/70, 57 BB, 50 CB, 44 HR, 14 CL, 16 UK, 46 CN, 23 DF)
  3. The Night They Drove Old Dixie Down (Robertson) [3:33] (10/18/69: B-side of “Up on Cripple Creek,” 7 CL, 10 CN, 3 DF)
  4. When You Awake (Robertson, Manuel) [3:13]
  5. Up on Cripple Creek (Robertson) [4:34] (10/18/69, 25 BB, 26 CB, 20 GR, 27 HR, 4 CL, 10 CN, 5 DF)
  6. Whispering Pines (Robertson, Manuel) [3:58]
  7. Jemima Surrender (Robertson, Helm) [3:31]
  8. Rockin’ Chair (Robertson) [3:43]
  9. Look Out Cleveland (Robertson) [3:09]
  10. Jawbone (Robertson, Manuel) [4:20]
  11. The Unfaithful Servant (Robertson) [4:17]
  12. King Harvest Has Surely Come (Robertson) [3:39] (39 CL)


Total Running Time: 43:50


The Players:

  • Rick Danko (bass, vocals)
  • Levon Helm (drums, vocals)
  • Garth Hudson (organ)
  • Richard Manuel (piano, vocals)
  • Robbie Robertson (guitar)

Rating:

4.455 out of 5.00 (average of 22 ratings)


Awards:

(Click on award to learn more).

The Ultimate Americana Group

“Think of roots music, and you think of The Band – four Canadians and a small-town guy from Arkansas who delivered deeper meditations on rural America than any scholar’s research could.” EW’93 In fact, their blend of quintessential American music forms such as blues, country, gospel, rock, and soul made this primarily Canadian group the most celebrated champions of what has come to be known as Americana music. By creating a sound which was “deliberately against the grain,” NRR

The Band offered “an image of America largely absent in the popular music of its time.” NRR This was ‘a glimpse into a mythic rural America that may or may not have existed.” TM Critic Greil Marcus said The Band’s self-titled album “felt like a passport back to America for people who had become so estranged from their own country that they felt like foreigners even when they were in it.” CM

The Group’s History

Rick Danko, Garth Hudson, Richard Manuel, Robbie Robertson, and American Levon Helm came together in Ontario in 1967 after first working for eight years as bar band The Hawks backing rockabilly singer Ronnie Hawkins. In 1966, they backed Bob Dylan on his infamous gone-electric trou and then rechristened themselves as The Band.

They also recorded with Dylan, resulting in a bootleg series known as The Basement Tapes which eventually saw official release in the mid-1970s. In 1968, The Band released its first album, Music from Big Pink. It was a “ramshackle musical blend and songs of rural tragedy” AM which “defined the back-porch rootsiness that remains a central inspiration for the ‘alternative country’ movement.” TL In fact, at the time of the album’s release, Time magazine declared The Band “the new sound of country rock.” RV

The Second Album

That second outing “was a more deliberate and even more accomplished effort” AM featuring “even better songwriting and ensemble playing.” NRR It was “a one-two punch the likes of which rock and roll hasn’t seen since.” TM

Part of the success in the album is that the group “never forgot to have the sometimes-wistful fun you’ll find on every cut of their most satisfying album.” EW’93 Part of this was attributed to The Band’s laid-back style of “passing their instruments around like it was a hootenanny.” TL All five members were, after all, multi-instrumentalists. “The arrangements were simultaneously loose and assured, giving the songs a timeless appeal.” AM The studio “looked like a moonshiner’s hideout.” CM

Some have even called this a concept album because of “the songs focusing on people, places, and traditions associated with an older version of Americana.” WK “It’s as if an itinerant old-time medicine show somehow skipped a few generations, pulled off a two-lane Arkansas highway in 1910, and woke up in 1968.” TM It’s a place where accordions wheeze soft and low and honest voices gather into a ragged choir of the devoted, singing just for the communal joy of it.” TM

The Players

The performances are marked by Levon “Helm’s (and occasionally Manuel’s) propulsive drumming to Robertson’s distinctive guitar fills and the endlessly inventive keyboard textures of Garth Hudson,” AM who “manipulates his Lowrey organ in ways that continue to boggle the ear.” RV It was “all topped by the rough, expressive singing of Manuel, Helm, and Rick Danko that mixed leads with harmonies.” AM

As Bruce Springsteen stated in the documentary Once Were Brothers, any of the three were capable of leading a group. OB Interestingly, though, it isn’t really any of the vocalists who were “the leader of the Band,” but Robbie Robertson, who took the reins here as the writer or co-writer on all 12 songs. He proved to be a “superb storyteller.” RV Though Canadian, he “tackled the astonishing scope of this American life” TL with lyrics painting “portraits of 19th century rural life (especially Southern life, as references to Tennessee and Virginia made clear), its sometimes less savory aspects treated with warmth and humor.” AM

The Songs

Songs keyed in on “a series of American archetypes from the union worker in King Harvest Has Surely Come and the retired sailor in Rockin' Chair to, most famously, the Confederate Civil War observer Virgil Cane in The Night They Drove Old Dixie Down.” AM The latter song, which became a hit for Joan Baez, attempts “to convey why and how the notion that the South will rise again has survived for more than 100 years.” CM

Regarding “King Harvest,” Robertson said, “That’s when life begins, not in spring, but in the autumn. In the fall that’s when the harvest is in and the carnival is in town.” CM The song’s “steady loping rhythms…have the sense of the weather rolling across the Great Plains and the hope and fear in the voice of the farmer who has be the farm on the promise of rain.” CM

“The album effectively mixed the kind of mournful songs that had dominated Music from Big PinkAM with “the achingly wistful Whispering PinesTL and When You Awake with “rollicking uptempo numbers” AM like “the joyful hoedown Rag Mama RagTL “and Up on Cripple Creek.” AM

Helm takes the lead on the most notable songs – “The Night They Drove Old Dixie Down,” “Up on Cripple Creek,” and “Rag Mama Rag,” as well as Jemimah Surrender. Richard Manuel takes the lead for “King Harvest Has Surely Come,” “Whispering Pines,” “Rockin’ Chair,” Across the Great Divide, and Jawbone.

Meanwhile, Rick Danko is the lead vocalist for “When You Awake,” Look Out Cleveland, and The Unfaithful Servant. Helm said in the Classic Albums documentary that they’d each try out the vocals on the songs and the group would decide which worked best. CA


Notes:

A 2000 reissue added six alternate takes and an outtake of the song “Get Up Jake,” which had been released as a B-side.

Reviews:


Related DMDB Links:

First posted 9/22/2012; updated 11/6/2024.

Sunday, July 1, 2018

Today in Music (1968): The Band released Music from Big Pink

Music from Big Pink

The Band


Released: July 1, 1968


Peak: 30 US, -- UK, 18 CN, -- AU


Sales (in millions): 0.5 US


Genre: folk rock/Americana


Tracks:

Song Title (date of single release, chart peaks) Click for codes to charts.

  1. Tears of Rage (37 CL)
  2. To Kingdom Come
  3. In a Station
  4. Caledonia Mission
  5. The Weight (8/8/68, 63 BB, 59 CB, 28 GR, 46 HR, 2 CL, 21 UK, 36 CN, 2 DF)
  6. We Can Talk
  7. Long Black Veil (39 CL)
  8. Chest Fever (13 CL)
  9. Lonesome Suzie
  10. This Wheel’s on Fire (25 CL)
  11. I Shall Be Released (32 CL, 20 DF)


Total Running Time: 42:22


The Players:

  • Rick Danko (bass, vocals)
  • Levon Helm (drums, vocals)
  • Garth Hudson (organ)
  • Richard Manuel (piano, vocals)
  • Robbie Robertson (guitar)

Rating:

4.450 out of 5.00 (average of 26 ratings)


Awards:

(Click on award to learn more).

Before Their Debut

The musicians who comprised The Band originally came together in 1958 as the Hawks, the backing band for Canadian rockabilly singer Ronnie Hawkins. By the mid-‘60s, they gained an even higher profile image supporting Bob Dylan in the mid-‘60s when he went electric. “Their collaborations with the folk king made the Hawks more adaptable during their live sets and gave them something of a jam-band feel.” CS

When Dylan was laid up after a motorcycle accident, the Band joined him at his retreat in Woodstock, New York – what became known as “Big Pink.” They recorded what became known as The Basement Tapes in 1967, although they weren’t publicly released until after The Band became a known entity. Their efforts also resulted in The Band’s debut album, Music from Big Pink.

The Sound of the First Album

They were rumoured to have recorded Big Pink live in the studio in just a couple of weeks. The music “certainly sounds as organic as that.” PM The music sounded like “a loose jam session, the arrangements giving alternating emphases to different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot.” AM “There are no stage hogs; everyone stands out.” PM

They “delved deeply into he American soil for their sound and themes, using organ, fiddles, and mandolins in place of effects-laden electric guitars.” RD Their sound was a merging of “their varying interests in folk, R&B, jazz, country and soul.” PM They didn’t “fit in with the ‘60s and ‘70s rock scenes…The Band remained firmly rooted in tradition” CQ singing about “family, faith, and rural life” AM “through a lens of mountainous, archaic Americana, spinning yarns about courageous settlers and the Civil War.” CQ

It “detonated in the middle of the psychedelic era,” RD coming off “as a shockingly divergent musical statement only a year after Sgt. Pepper's Lonely Hearts Club Band, when rock had moved toward ornate productions.” AM The album “still sounds bacingly fresh more than three decades after it was recorded.” RD

The Members

“With their passionate, free-flowing delivery and vocal harmonies that were as powerful and ragged as Crosby, Stills and Nash’s…the Band redfined how a rock group worked together – neither as a single, melodious unit nor as a backup band supporting a single frontman, but as five talented individuals bouncing musical ideas off each other like a heavily amplified porch quintet.” CS

Richard Manuel's “aching pipes drench the entire album in earnest, alcoholic tears, especially on closer ‘I Shall Be Released.’” CQ His “haunting, lonely voice” AM infuses the album with “much of its frightening aspect, even when he wasn't singing lead (especially his moans in ‘The Weight’).” AM

“Rick Danko’s and Levon Helm’s rough-hewn styles reinforced the songs’ rustic fervor. The dominant instrument was Garth Hudson's organ, which could be icy and majestic, his other keyboards introducing novel sounds.” AM “Robbie Robertson's unusual guitar work further destabilized the sound” AM and got him “recognized as one of the most soulful guitarists of his day.” CS

The Influence

The Band spearheaded “a movement more toward roots styles and country elements in rock. Over time, Music from Big Pink came to be regarded as a watershed work in the history of rock, one that introduced new tones and approaches to the constantly evolving genre.” AM There’s a certain irony that the form of music now referred to as Americana owes a debt to a “four Canadians and a an Arkansas farm boy.” RD It has been suggested, though, that “as outsiders, the group’s members were in a unique position to appreciate American folklore and mythology.” CS

“Following their lead were folks like George Harrison and Eric Clapton, envious that this Canadian-American group were as authentic as it gets and trying desperately to ride their collective coattails toward a rootsier sound. But as Big Pink lays out, these boys had this sound in their bloodstream, in their bones, in their muscle memory. It all came natural and sounded as perfect and lived-in as could be.” PM


The Songs

Here are thoughts on some of the individual songs from the album.

The album’s best-known song was The Weight, a song which “considered various acts of kindness that went wrong” AM and featured “the stacked harmonies and traded leads of Levon Helm and Rick Danko.” PM

“Dylan features prominently, penning the classic plea I Shall Be Released, a song which “expressed the hopeless hope of a prisoner who determined his salvation by viewing the world in reverse (‘I see my light coming shining from the west unto the east,’ he sang, as if the earth were spinning in the opposite direction from its usual course).” AM

Dylan also collaborated with Manuel on “the wrenching opening track, Tears of Rage,” RD “a lament by parents about a rebellious child.” AM Bassist Rick Danko and Dylan worked together on “the vengeful This Wheel’s on Fire.” RD

Chest Fever featured “Garth Hudson’s Captain Nemo organ solo.” PM “Robertson’s genius [is] already fully evident on Caledonia Mission.” RD


Notes:

The 2000 CD reissue “included nine bonus tracks…Among the new material, there were alternate takes of ‘Tears of Rage’ and ‘Lonesome Suzie’ (the former only marginally different, the latter a completely different approach to the song); versions of four songs previously released on the 1975 album The Basement Tapes (‘Yazoo Street Scandal,’ ‘Katie’s Been Gone,’ ‘Long Distance Operator,’ and ‘Orange Juice Blues [Blues for Breakfast]’); covers of country and blues material (‘If I Lose,’ ‘Key to the Highway’); and one original song probably from the group's initial demo session (‘Ferdinand the Imposter’).” AM

Reviews:


Related DMDB Links:


First posted 3/28/2010; last updated 7/17/2025.

Wednesday, April 26, 1978

The Band’s concert film, The Last Waltz, premiered

The Last Waltz

The Band


Recorded: November 25, 1976


Released: April 7, 1978 (soundtrack)


Released: April 26, 1978 (movie)


Peak: 16 US, 39 UK, 13 CN, 11 AU


Sales (in millions): --


Genre: Americana/classic rock


Tracks, Disc 1:

Song Title (date of single release for original studio versions, chart peaks of studio versions) Click for codes to charts.

  1. Theme from The Last Waltz
  2. Up on Cripple Creek (10/18/69, 25 BB, 26 CB, 4 CL, 10 CN, 7 DF)
  3. Who Do You Love? (with Ronnie Hawkins)
  4. Helpless (with Neil Young & Joni Mitchell)
  5. Stage Fright (9/5/70, 12 CL)
  6. Coyote (with Joni Mitchell)
  7. Dry Your Eyes (with Neil Diamond)
  8. It Makes No Difference (12/13/75, 19 CL)
  9. Such a Sight (with Dr. John)
  10. The Night They Drove Old Dixie Down (9/22/69, 7 CL, 10 CN, 3 DF)
  11. Mystery Train (with Paul Butterfield)
  12. Mannish Boy (with Muddy Waters)
  13. Further on Up the Road (with Eric Clapton)

Tracks, Disc 2:

  1. Shape I’m In (1/2/71, 9 CL)
  2. Down South in New Orleans (with Bobby Charles)
  3. Ophelia (3/20/76, 62 BB, 66 CB, 23 CL)
  4. Tura-Lura-Lural (That’s an Irish Lullaby) (with Van Morrison)
  5. Caravan (with Van Morrison)
  6. Life Is a Carnival (10/16/71, 72 BB, 80 CB, 11 CL)
  7. Baby, Let Me Follow You Down (with Bob Dylan)
  8. I Don’t Believe You (She Acts Like We Never Have Met) (with Bob Dylan)
  9. Forever Young (with Bob Dylan) (1/17/74, 12 CL, 1 DF)
  10. Baby, Let Me Follow You Down (Reprise) (with Bob Dylan)
  11. I Shall Be Released (with ensemble) (8/10/68, 32 CL)

    The Last Waltz Suite (studio recordings):

  12. The Well
  13. Evangeline (with Emmylou Harris)
  14. Out of the Blue
  15. The Weight (with The Staple Singers) (8/16/68, 63 BB, 52 CB, 2 CL, 21 UK, 36 CN, 2 DF)
  16. The Last Waltz Refrain
  17. Theme from the Last Waltz (with orchestra)


Total Running Time: 129:06


The Players:

  • Rick Danko (bass, fiddle, vocals)
  • Levon Helm (drums, mandolin, vocals)
  • Garth Hudson (keyboards, accordion, clavinet, saxophone)
  • Richard Manuel (piano, drums, organ, clavinet, Dobro, vocals)
  • Robbie Robertson (guitar, piano, vocals)
  • Guests: Paul Butterfield, Bobby Charles, Eric Clapton, Neil Diamond, Dr. John, Bob Dylan, Emmylou Harris, Ronnie Hawkins, Joni Mitchell, Van Morrison, Pinetop Perkins, the Staple Singers, Ringo Starr, Muddy Waters, Ronnie Wood, Neil Young, et al

Rating:

3.814 out of 5.00 (average of 12 ratings)


Quotable:

“The greatest rock concert movie ever made – and maybe the best rock movie, period.” – Michael Wilmington, Chicago Tribune

Awards:

(Click on award to learn more).

About the Album:

Sparked by a boating accident which left Richard Manuel seriously injured and Robbie Robertson’s desires to stop touring, WK The Band decided in 1976 to call it quits with a farewell concert appearance. It was held on Thanksgiving Day on November 25, 1976 at San Francisco’s Winterland Ballroom. “Everything about the event was over the top” TB for “this marketing-man’s dream” TB with “a 38-piece orchestra, three teams of ballroom dancers” TB and “more than a baker’s dozen guest stars.” AMG

Director Martin Scorsese filmed the concert and made it into a documentary which also featured studio segments and interviews with the band. Released in 1978, it was “one of the first (and still one of the few) rock concert documentaries that was directed by a filmmaker who understood both the look and the sound of rock & roll, and executed with enough technical craft to capture all the nooks and crannies of a great live show.” AMG

The film is “listed among the greatest concert films. Chicago Tribune film critic Michael Wilmington calls it ‘the greatest rock concert movie ever made – and maybe the best rock movie, period.’” WKTotal Film concurs, calling it “the greatest concert film ever shot.” WK It received 36 out of 37 positive reviews on Rotten Tomatoes for a 97% rating. WK

“But as an album, The Last Waltz soundtrack had to compete with the Band’s earlier live album, Rock of Ages, with which it bears a certain superficial resemblance – both found the group trying to create something grander than the standard-issue live double, and both featured the group beefed up by additional musicians.” AMG Also, “Rock of Ages found the Band swinging along with the help of a horn section arranged by Allen Toussaint [and] The Last Waltz boasts a horn section (using Toussaint’s earlier arrangements on a few cuts).” AMG

“The Band are in fine if not exceptional form here; on most cuts, they don’t sound quite as fiery as they did on Rock of Ages, though their performances are never less than expert, and the high points are dazzling, especially an impassioned version of It Makes No Difference and blazing readings of Up on Cripple Creek and The Night They Drove Old Dixie Down (Levon Helm has made no secret that he felt breaking up the Band was a bad idea, and here it sounds if he was determined to prove how much they still had to offer).” AMG

In the original concert, The Band performed a set and then were joined by a series of guest artists, starting with Ronnie Hawkins, whom The Band used to back. “Ultimately, it’s the Band’s ‘special guests’ who really make this set stand out.” AMG After Hawkins, “Dr. John took a seat at the piano for his signature song, Such a Night. He then switched to guitar and joined Bobby Charles on Down South in New Orleans.” WK “A blues set was next with harmonica player Paul Butterfield, Muddy Waters, pianist Pinetop Perkins and Eric Clapton.” WK “Waters’ ferocious version of Mannish Boy would have been a wonder from a man half his age.” AMG

“Neil Young followed, singing Helpless with backing vocals by Joni Mitchell…Mitchell came on after Young and sang three songs, two with the backing of Dr. John on congas.” WK Neil Diamond followed with Dry Your Eyes, which was from his Robbie Robertson-produced Beautiful Noise album. “Van Morrison then performed two songs, a special arrangement of Tura Lura Lural (That's an Irish Lullaby) as a duet with Richard Manuel and his own show-stopper, CaravanWK on which he “sounds positively joyous.” WK

“Canadians Young and Mitchell were then invited back out to help The Band perform Acadian Driftwood, an ode to the Acadians of Canadian history. The Band then performed a short set of some more of its songs before Bob Dylan came on stage to lead his former backing band through four songs” WK which find “him in admirably loose and rollicking form.” AMG “The Band and all its guests, with the addition of Ringo Starr on drums and Ronnie Wood on guitar, then sang I Shall Be Released as a closing number.” WK

In the original concert, two jam sessions followed and then The Band came out for a final encore of Marvin Gaye’s Don’t Do It at around 2:15 a.m. It was the last time the group’s classic lineup performed together. WK

Some songs didn’t make the film, but were on the soundtrack, such as “Down South in New Orleans,” “Tura Lura Lural (That's an Irish Lullaby)”, “Life is a Carnival” by The Band, and “I Don't Believe You (She Acts Like We Never Have Met)” by Bob Dylan. WK

For the album, “the closing studio-recorded Last Waltz Suite sounds like padding, [but] the contributions from Emmylou Harris and the Staple Singers are beautiful indeed. It could be argued that you’re better off watching The Last Waltz on video than listening to it on CD, but either way it's a show well worth checking out.” AMG It “remains a landmark not just for its consistently superb music but for…brilliantly manipulative marketing. Sold on the back of one event, we got the triple album, the movie, the home video, the double-CD reissue, the DVD, and the boxset-set four-CD reissue.” TB


Notes:

“For the concert’s 25th anniversary in 2002, the film was remastered and a new theatrical print was made for a limited release to promote the release of the DVD and four-CD box set of the film soundtrack.” WK In addition, a four-CD box set, produced by Robbie Robertson, remastered all the songs and included “16 previously unreleased songs from the concert, as well as takes from rehearsals. Among the additions are Louis Jordan’s ‘Caldonia’ by Muddy Waters, the concert version of ‘The Weight’, ‘Jam #1’ and ‘Jam #2’ in their entirety, and extended sets with Joni Mitchell and Bob Dylan.” WK

Resources and Related Links:

  • Dave’s Music Database: “The Top 50 Music Movies of All Time
  • AMG All Music Guide review by Mark Deming
  • PR Paul Roland (2001). CD Guide to Pop & Rock. B.T. Batsford LTD: London.
  • TB Thunder Bay (2005). Albums: The Stories Behind 50 Years of Great Recordings. Thunder Bay Press; San Diego, CA. Page 197.
  • WK Wikipedia


Other Related DMDB Pages:


First posted 4/26/2012; last updated 11/24/2023.