Showing posts with label Robbie Robertson. Show all posts
Showing posts with label Robbie Robertson. 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.

Wednesday, August 8, 2018

50 years ago: The Band released “The Weight”

The Weight

The Band

Writer(s): Robbie Robertson (see lyrics here)


Released: August 8, 1968


First Charted: August 18, 1968


Peak: 63 US, 59 CB, 46 HR, 2 CL, 21 UK, 36 CN, 2 DF (Click for codes to charts.)


Sales (in millions): -- US, -- UK, -- world (includes US + UK)


Airplay/Streaming (in millions): -- radio, 74.62 video, -- streaming

Awards:

Click on award for more details.

About the Song:

The Band started out as the backing band for Ronnie Hawkins before forming as their own entity in 1967. Comprised of four Canadians and the Arkansas-born Levon Helm, they came to exemplify the form of folk-rock which became known as Americana. Their debut album, Music from Big Pink, included the single “The Weight.” While the song peaked at a meager #63 on the Billboard Hot 100, it gained considerable airplay over the years on album-rock stations and has become their “best-known and most enduring recording.” AMG

“The Weight” is a true showcase for The Band’s collective talents. As the band’s chief songwriter, Robbie Robertson weighs in with his “acutely studied Dylanisms.” DM The song opens “with stately guitar and drum beats that lock in with the dead certainty of a firing squad, adding elegiac honky-tonk paino chords from [Richard] Manuel, crowned by Helm’s singing on the verse, [Rick] Danko’s vocal on the bridge, and harmonies tossed around like a live grenade.” DM The song “is as fine an example of rock and roll record-making as existed in the year of its birth and it has dated not a whit.” DM

The “winding, impressionistic story song [is] cut from the rural traditions of roots music – folk, country, and gospel – but re-imagined from a distinctly postmodern vantage point.” AMG It “significantly influenced American popular music,” WK something apparent as early as 1969 thanks to three covers by Aretha Franklin, Jackie DeShannon, and the Supremes with the Temptations which charted higher than the original. The song has since been covered by numerous artists including the Allman Brothers Band, the Black Crowes, Garth Brooks, the Zac Brown Band, Eric Church, Joe Cocker, John Denver, Grateful Dead, Hanson, Waylon Jennings, Mumford & Sons, Panic! At the Disco, Bruce Springsteen, Chris Stapleton, Dionne Warwick, and Weezer.

Robbie Robertson wrote “the laid back country-gospel parable” SS from the first-person perspective of a Bible Belt American Southerner visiting the town of Nazareth, Pennyslvania, and checking in with some of his friend Fanny’s strange friends there. SF Levon Helm, who sang lead on the song, said, “The song was full of our favorite characters.” DT Robertson said the song was inspired by Luis Buñuel, a Spanish filmmaker, known for surreal imagery and criticism of organized religion. WK

PBS described it as “a masterpiece of Biblical allusions, enigmatic lines and iconic characters” and called it “an essential part of the American songbook.” WK “The literal meaning of the song is elusive, however.” TC The song’s title “appears to concern the mounting burdens and demands of society which no one individual can reasonably shoulder.” AMG


Resources:


Related Links:


First posted 2/5/2021; last updated 4/1/2023.

Friday, May 17, 2013

Bob Dylan goes electric: May 17, 1966

image from musicqwest.com

“The most famous bootleg in rock history, with the possible exception of Dylan’s own Basement Tapes.” AMG This “is a great performance from one of the most important performers of our time.” NO The album didn’t receive an official release until 32 years later when it was released in 1998 as part of Dylan’s Bootleg Series. However, “Dylan's performance at Manchester’s Free Trade Hall on May 17, 1966 (and the bootlegs that followed) set the music world on its ear.” NO

The show is often misidentified as being at the Royal Albert Hall – hence the title in quotes on the official release. That show, on May 26, was one of the final shows from the same tour. “The one thing you can't argue is the significance of this tour; and more importantly, this particular show.” NO

The first half featured Dylan in a solo acoustic performance. “He was in fine form and turned in a gripping solo performance. The audience was ultra quiet during the seven songs. They had heard most of them several times before. It was familiar territory. They were comfortable.” NO

The second half, however, is electric set in which he is accompanied by The Hawks, who later became The Band. “The crowd had no idea that what they were about to experience would change the face of rock music as they knew it.” NO Dylan fans were dismayed by what they viewed as a betrayal of traditional folk music as evidenced by the legendary moment when a heckler yells “Judas!” Another man shouts, “I’m never listening to you again, ever!” to which Dylan responds, “I don’t believe you” and “You’re a liar.” Then either Dylan or guitarist Robbie Robertson can be heard instructing the band to “play it fucking loud.” WK “Drummer Mickey Jones slams his snare like his life depended on it, and they kick into the best version of Like a Rolling Stone you’ve ever heard.” NO Film footage of the incident was found and used in Martin Scorsese’s 2005 documentary No Direction Home.

The Famous Heckling Incident

Sometime in late 1970 or early 1971, the electric portion of the show started surfacing on bootleg LPs. Dave Marsh reviewed it in Creem magazine, calling it “the most supremely elegant piece of rock ‘n’ roll music I’ve ever heard.” WK All Music Guide’s Richie Unterberger called it “an important document of rock history. It captures…Dylan…at his most controversial and hard rocking.” AMG Critic Jon Landau notes “the booing, the names, the insults he endured just to be standing there with an electric band…The audience claps at the wrong time, claps rhythmically as if to deliberately throw his timing off.” WK

While the bootlegs focused on the electric set, the official package is a two-CD set which “not only includes the eight electric rock songs from the original bootleg, but also the seven solo acoustic performances that comprised the first half of the show.” AMG “The acoustic disc is not as epochal, but on par with the electric half in the quality of material and performance.” AMG “It’s all in very good fidelity, about as good as any copies you could find through unofficial sources.” AMG This isn’t “just an interesting adjunct to Dylan’s ‘60s discography; it’s as worthy of attention as anything else he recorded during that decade.” AMG “Even if you’re not a Dylan fan, this CD is an essential part of any collection.” NO


Awards:


Resources and Related Links:

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.