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The Band Guestbook, November 1998

Below are the entries in the Band guestbook from November 1998.

Mon Nov 30 23:17:14 MET 1998

Peter Viney

I've seen the song 'Ode to Billie Joe' mentioned three times in one day. Phil mentions it here. Then I bought the GREAT Booker T. box set, 'Time is Tight' which includes their version of 'Ode', then I browsed through the blues section (looking For Lazy Lester, Donald, unfortunately without success) and found a live Howling Wolf CD from 1973 which opens with the Wolf on 'Ode to Billie Joe.' I was stunned to see this, and in an unusual mood of caution, didn't buy it. But I'm intrigued. The Wolf & 'Ode to Billie Joe'? Anyone know if this is worth getting!

Mon Nov 30 22:05:24 MET 1998


From: Madison, Wisconsin
Home page:

IIKKA, you know what? You are so right, I never really thought about it that way! Its like the bass playing by DANKO in "CHEST FEVER", if you listen to it carefully, it does have the sound of a tuba, even though its a fretless bass that you hear, kinda like "The Weight", Danko almost plays it the same, only kinda backwards!!!! Peace, Tim(SUNDOG)Corcoran. P.S. No, I'm not HIGH!

Mon Nov 30 20:35:53 MET 1998

Brian Martyn Raine

From: MArket Harborough, Leicestershire, England

Excellent and informative Web site which has rekindled my interest in The Band. I saw them at Wembley Stadium in 1974. Sadly the sound system was atrocious and I heard little but Rick and feedback! I Have not been able to see them since, but if they ever come to England again I will be there.

Mon Nov 30 18:02:05 MET 1998

David Powell

Dim lights, thick smoke & loud, loud music.

This past Sunday National Public Radio aired a short interview with producer George Martin. During the course of the interview, Sir George, who has now retired, sadly revealed that he is losing his hearing. He attributed this to all his years of listening to music played at high volume levels.

I wonder if the reason why so many veteran rock performers no longer sound the same when they play is not because of diminished playing skills, but because they too have suffered significant hearing loss. This may not be readily apparent in a lot of rock music performances, where the performers are still able to duplicate the over-all ambiance of the music. However, it may show up when the performers can no longer achieve the subtle nuances that distinguished their earlier playing skills.

As the old story goes---A guy walks up to a rock star immediately after a performance and, in a very loud voice, announces that he just had sex with the performer's wife. The rock star responds saying "You know mate, we used to play that song in a higher key."

Mon Nov 30 17:46:34 MET 1998


Ragtime: right on

Mon Nov 30 16:52:26 MET 1998


From: the Dutch mountains

Pat: glad to hear it was not J.R. himself but one Fred Sokolov who gave us his explanation of wat The UfS was all about. "Old-timer from the woods" Illka & "Frogman" Ned: what about Old Dixie's bass line?

Mon Nov 30 16:26:15 MET 1998

David Powell

From: Georgia on my mind

The December issue of _the absolute sound_, a critical magazine devoted to outstanding audio components & sound recordings, contains a glowing review of _Bob Dylan Live 1966_ written by Dan Schwartz. Mr. Schwartz, in discussing the sound restoration of the concert tapes, mentions that mixing engineer Michael Brauer "used old Sixties solid-state equalizers that were built for Motown's Detroit studio on the band tracks." What's goin' on meets Mr. Jones!

Mon Nov 30 16:18:01 MET 1998


Ilkka, Your post reminds me of Rag Mama Rag. On that song the bass line is carried by John Simon on Tuba, a part of the song I love.

Mon Nov 30 12:56:46 MET 1998


From: The deep forests in Northern Europe

Hi! I'm new in this guestbook. - Actually I'm an 'old-timer' from God knows when. As a young bass player in the sixties I tried to copy all the players, which I could hear in my home made stereo: left channel - my amplifier, right channel - an old Philips radio. (Some of you 'old-timers' know what I mean.) Danko was really a problem. An average electric bass player didn't sound that way, right? (Don't get me wrong; I loved his playing!) I have heard that kind of playing only few times. - I heard a local Voluntary Firemen's Brass Band playing some firemen's favourites. I stood near the bass tuba player and then: THERE IT WAS. A great big bass tuba playing Danko-style. - I have listened how they play in funerals in New Orleans. That comes close too. For me the music of The Band is RIGHT music played with "WRONG" instruments. (Maybe that's because I love it.) Have I figured it out completely, or...?

Mon Nov 30 08:25:38 MET 1998

Ben Pike

From: Cleveland Tx.

Allright ya'll, I think we covered "The Unfaithful Servent". Now, without straying to far afeild from an exceptable Post Fruadian dialectic, what can it be said, in general terms; compels a not overwhelmingly anti-socail indivdual(again, speaking broadly) such as Jawbone to commint these after all post adolesent acts of petty larcany?

Mon Nov 30 08:10:03 MET 1998

George Gawartin

From: Los Angeles

Donald: I appreciate the correction. I don’t like to shirk responsibility but I feel that I may be a victim of the notoriously poor California public school system. Actually, my wife got a kick out of your critique of my grammar since she has recently completed an ESL course which had a section covering the proper use of apostrophes. After all the tutoring I gave her it’s no wonder she didn’t receive an A.

Peter: Thanks for the defense. Any thoughts on What’s Goin On connection?

Mon Nov 30 06:52:24 MET 1998

Donald Joseph

From: World Famous in Cincinnati

Hey Lord Beatle, Jr. (Viney): My 11/29 note complimented Geo. Gawartin for a passionate post, but suggested he learn how to use an apostrophe. Then you take me to task for being a schoolmarm over what you call "the aberrant apostrophe." Your point's solid; we all, myself clearly included, make mistakes -- we shouldn't nitpick here. What seems to have eluded you, though, is that Geo.'s single 11/26 post contained no less than 5 "greengrocers' apostrophes": "show's" (2 times), "interview's," "description's," and "boy's." I was diagnosing an epidemic in an otherwise healthy writer. I'd expect no less from you geniuses (& Beatlemanics) were it I.

Mon Nov 30 02:48:17 MET 1998

Don Pugatch

From: Roswell, Ga

First, to John Donabie, just returned from a fantastic weekend in your great city of Toronto. Number one question, Where were most of the clubs on Young Street located in the 50-60's? Next topic, sorry I was away, Unfaithful Servant, anybody ever listen , Kris Kristoffason, Silver Tounge Devil and I, see any similarities?

Mon Nov 30 01:31:36 MET 1998



Tyler.. have you ordered your Fleming "Band" portraits for Christmas? Paul's waiting to hear from you.

Nice to see that you are always ready to prescribe extra chores for Jan. MISTER HOIBERG to you. As if he hasn't enough to do already. The Clapton thing has nothing to do with the the title page.. looks to me like it's a preamble to it. The majority of the habituals have made their preferences known. Post your Email so I can have a chat with you. Don't cower in the dark.

Mon Nov 30 00:42:59 MET 1998

Garcia H. Dawson

From: Reno Nevada

The Unfaithful Servant has given two weeks notice, let's move on. I heard a tumultuous rumor at Tramp's that the very same truck from Kentucky Downpour took the boys to Cleveland, Texas. That's my story and I'm stickin to it! Maybe old Ben Pike can confirm this apocryphal tail.

Sun Nov 29 22:33:58 MET 1998

Pat Brennan

From: USA

Thought this might be of some interest: I just finished reading a book about NC Cavalry that fought in the Civil War, and a photo towards the end of the book shows a NC Highway Historcial Marker in Wilkesboro that reads "Stoneman's Raid-On a raid through western North Carolina Gen. Stoneman's US Cavalry occupied Wilkesboro, March 29 1865." Tearing up the tracks again, no doubt.

Sun Nov 29 22:15:08 MET 1998


From: Ca

The first impression I got when hearing TUFS was the obvious- Oh the servant got caught having an affair with the lady. Or is the servant a female and got caught by the lady with the ladies man. Then again could the unfaithful act have nothing to do with sex? I think it is possible. I picture the narrator as another servant. The unfaitful sevant has done something to the lady which makes the atmosphere in the house cold for all the servants. The unfaithful servant being the most trusted one (The lady really cared/the time she spared/the home they shared) has done something to cause a suspious eye to be cast on all the servants. The narrator hears the unfaithful one leaving in the morning and tries to find out exactly what old unfaithful did to ruin what was once a fairly good situation for all concerned. I assume he did not find out what was done to the Lady but decided if unfaithful is leaving I'm out of here too. Perhaps unfaithful stole something or used something for his or hers own gain that he/she was intrusted with. To this day servants,housekeepers,janitors and even contractors are bonded because masters don't trust servants. Mr. Youngs theory is also an image i've considered. Of course RR knew what he was doing when he left these unanswered questions in this song. It is a great effect that is similar to one used in a giant hit song from 1967(though not in the same league) Ode to Billie Joe.

Sun Nov 29 20:28:35 MET 1998

Charlie Young

From: Down in Old Virginny

Thanks to all involved here for the discussion about "Unfaithful Servant." What a great song that is, one that still sounds fresh and mysterious almost thirty years after it was recorded! I always thought the obvious take on the song--especially in the context of an album with 19th century subjects such as "The Night They Drove Old Dixie Down"--that "Servant" was another American Civil War story about a slave leaving the Southern plantation for a free life in the North. The reference to the train leaving (which could be the Underground Railroad) as well as the lines "goodbye to the country home...the good old days, they're all'll learn to find your place" all support that theory, but I admit there are other lines that make it more ambiguous. Thanks for making me think about one of the many gems on that materpiece of an album.

Sun Nov 29 19:57:15 MET 1998

Jonathan Katz

From: Columbia, MD

There's been a lot of castgating Cahoots in the past and recently. Some deserved. I started this day slowly, easing into some work with the Bobby Charles album, follwed by Cahoots which brings me to the point of this posting. For my money, Volcano is a fantastic song. As passionate as It Makes No Difference but clearly at the other end of a relationship. Singing that song to myself got me through a brutal marathon some 15 years ago, and the revelation of the lyric "come tread softly through the night" was one of the first of many "discoveries" that I have made surfing through this site.

Sun Nov 29 19:40:53 MET 1998

Pat Brennan

From: USA

So that this one doesn't go too far afield, Peter Viney and I have been emailing concerning the Unfaithful Servant discussion. I have a RR guitar transcription book that has US in it, complete with both recorded guitar solos. In the explication of the lyrics, the author/transcriber of the book, one Fred Sokolow, makes the point that UF is about the master saying goodbye to the servant with whom he's had an affair. From the looks of the book, RR had a good ammount of input. However, it is not a RR quote. It was my imprecision in describing this to Peter that gave the impression that RR said the song had to do with sex. As per my earlier post, I don't think the song is about sex.

Sun Nov 29 19:10:50 MET 1998

Little John Tyler

From: The House Next Door

Jan H.:

You asked for some feedback on your new idea for an opening to this homepage, and don't seem to have gotten much so far. At the risk of incurring the wrath of the Ontario Contrario, here's my opinion: Given the fact the site is currently, I would imagine and hope, drawing many new visitors due to the publicity it's received by its inclusion on the Jubilation liner notes, I think it's a nice idea to include the Clapton "testimonial." It provides some context and credibility about The Band, that newcomers are not likely to be aware of. As one of the many old-time Band followers though, I have mixed feelings. It would be nice to say that "no introduction is necessary', but we must realize -- as has been noted here many times in recent days, by many of our most frequent and thoughful contributors -- the peak is in the past. References to "dinosaurs," and to "old timers' day at the ballpark," and even to conversations --real and humorously imagined -- that include the inevitable question "which band?" are all signs that this is the case. So I endorse your idea, Jan, of keeping the Clapton intro.

I'd still prefer to see the intro lead us to one of the historic photos by Landy of the original lineup, or perhaps a collage of album covers from Big Pink thru to Jubilation, to further enforce the many real accomplishments of this most accomplished group of artists. Whatever you decide, Jan, will be more than fine with most of us, and we remain most appreciative of your efforts.

Sun Nov 29 19:02:13 MET 1998


Donald: I liked your story about The unfaithful servant. I hope your wife fully recovered and welcomes all nannies carefully but heartily. I agree that it is not compulsary for textual analysts to seek sexual motives behind a story. Poetry (this IS poetry) works when it triggers your emotions beyond any analysis. BTW: the poet himself should not interfere with whatever other people read in his lyrics. So J.R. Robertson (via Pat Brennan): please stay out of this. You have done your (wonderful) job and should leave the enigma intact. PS Donald: I must admit I enjoy your postings. They always make me laugh. But please don't boast about university degrees. We all are fully aware that you're one of the United States' leading intellectuals. World famous in Cincinnati anyway.

Sun Nov 29 18:18:29 MET 1998

Peter Viney

Donald: my apology was due. You got it. On other matters, e-mail is developing its own rulebook, and one of the joys is writing at speed. As a result, we all make typos, slips in grammar and so on. Let us therefore not take someone to task for the aberrant apostrophe (show's), otherwise known in the UK as 'the greengrocer's apostrophe' due to the extraordinary prevalence of signs saying "Apple's 85 pence, pear's 99 pence" in establishments selling fruit. You yourself talk about the nanny 'who she lived with us' where the second subject is clearly a slip, rather than a sign of ignorance. The Guestbook, my entries included, is full of such slops, sorry, slips.

I thought your story was very relevant. My own thoughts should appear soon. The greatness of the song is that the servant's infidelity is a universal rather than just a sexual thing.Robertson intended to portray a sexual affair, and I had thought it more enigmatic than that till I read Pat's quote from RR yesterday. As with much great writing, RR produced something that resonates beyond his original intent, as you indicate in discussing the song's effect on you.

Sun Nov 29 17:57:24 MET 1998


From: Madison, Wisconsin.
Home page:

I totally agree with HANS "999 AND 1/2%! Peace, love and light, Tim(SUNDOG)Corcoran.

Sun Nov 29 16:54:30 MET 1998

Pat Brennan

From: USA

Donald Joseph, any English grad from a top 10 US institution of higher learning could read my initial post on Unfaithful Servant and recognize that I argue against a sexual liason for the same reasons you posit at the end of your entry. And thanks for recognizing the huge influence I had on the evolving styles of Hammond and Thorogood.

Sun Nov 29 09:11:52 MET 1998

Keith Ames

From: London, England

As a songwriter, The Band remain a great source of inspiration. Keep up the good work with the site.

Sun Nov 29 08:57:10 MET 1998

Donald Joseph

From: The Greater Chicago Area

Viney: I "savoured" your delicious 11/26 mea culpa.

Jens Magnus:Re your cryptic 11/26 post re "chamber rock": A guest on my old college radio show was Corky Siegel, ex-leader of the Siegel/Schwall Band, a Butterfield white-blues Chicago contemporary. Corky of late has been recording "chamber blues" with a real chamber orchestra. Check out his last 2 l.p.'s.

Pat Brennan: You win; I confess I must've lifted your NL/SC point. Sorry about the subliminal plagiarism, & sorry you don't like my tone. But unlike Geo. Thorogood & John Hammond, I WON'T change my style for you.

Geo. Gawartin: Your 11/26 passionate post leads me to beg for more from you, a TLW/BTF-tour vet. But for credibility, pls. learn to distinguish a plural from a possessive.

S.Landau, re your 11/26 post on commercialism & Richard: You are a genius.I love you, Man.

Phil, Ben Pike, et al., re my oft-requested take on "Unfaithful Servant": Cf. my original post: I promised a "personal" take on the song -- not an explication of the lyrics! As a a graduate with an English degree from one of the US's 10 best universities (US News rankings), it's tough for me to admit this, but: the explications of "Unfaithful" that've already appeared in the guestbook are SUBSTANTIALLY deeper than my own abilities will allow!

But I do second Ben Pike's point that the "Unfaithful Servant" lyrics are vague enough to allow for us each to do our own readings. Here's my promised "PERSONAL" interpretation -- NOT, by any stretch, a stab at Robbie's (Robbie & Levon's?) original intent:

When my wife ("Levon Helm fan" during courtship, as you may remember) was pregnant with my 1st kid (now almost 8), she & I went to Buenos Aires & met, through friends, a woman who became our nanny for over 2 yrs. My wife invested LOTS of emotional capital in this nanny, who she lived with us, became part of the family, & co-raised our boy till he was almost 2. Then one day (after a small tiff which I had a lot to do with), the Argentine nanny up & left the home we shared (admittedly secretly -- while my wife & I were at work -- so we never had the "soon in the morning" advance word).

My wife & I went to a Dr. John concert that night (tickets bought in advance), but it was ruined because of the infidelity of the servant.

My wife, in fact, was for a long period thereafter broken up about it, & she to this day holds back from building as close an emotional relationship with our nannies.

You all speak of a sexual affair in the song between the narrator & the servant -- I never had one with this nanny, who (BTW) was grossly overweight. But the song lyrics do not compel & in fact barely imply y'all's Lewinskyesque reading -- I don't care if Robbie has signed off on it.

My wife (the lady) saw our Argentine nanny's betrayal as unfaithful, even if my wife didn't technically "send" the Argentine "away." My wife couldn't take it in stride, & yes, she cried.

While a small number of the lines in the tune don't fit our situation ("much too cold for me to stay"; "still one & the same just you & me") -- like good poetry, this tune gave me solace in a tough period.

The memories still linger on, but the good old days with that nanny, boy, they're all gone. Her reason for leaving was unjustifiable -- she was unfaithful. The song helped us see, at the time, that it wasn't our fault -- a servant herself can be the unfaithful one, and can be responsibile for the lady's disaffection -- yet still the lady (and I, the narrator of this post) bear pain, even if the servant is ultimately to blame.

Again, I originally told you I'd give you a personal insight if you asked for it, & I defer to the prior posts as textual analyses.My larger point is that the reason we are all so into the Band is that these guys are geniuses, & the song lyrics are poetry which touch all our lives in personal ways.

One criticism of your brilliant posts: If the narrator & the servant did the nasty, why is the narrator laying the blame on the servant & not owning up to culpability himself? And why does the lady send the servant away & not castrate the narrator?

Sun Nov 29 08:54:06 MET 1998

Ragtime Willie

Scott Stephens: I like it a lot. ... Unfaithful Servant, you'll learn to find your place ...

Sun Nov 29 06:02:26 MET 1998

Blind Willie McTell

From: Toronto

I agree 100% with Hans.

Sun Nov 29 05:26:40 MET 1998

Hans Rheinschild

From: Santa Barbara, Calif.

The Band is the greatest thing to ever happen to music. period.

Sun Nov 29 05:16:03 MET 1998


From: Clifton Park NY
Home page:

Hey Y'all! Just saw an inspiring set of music by Rick Danko (guitar) & Aaron Hurwitz (piano & accordian) at the Van Dyke Restaurant in Schenectady. They were into it-and that's very, very good to see. Let's see: Book Faded Brown (second time they played it live-Rick claims), an inspired When You Awake, a funny jokey Java Blues, a nice version of Twighlight with accordian, and some of the more obligatory stuff (Stage Fright, The Weight, It Makes No Difference...) delivered with lots of heart. Rick tries to crack jokes, some of 'em just plain, uh, well out there, but funny. I've got to say, at this stage in the game, I think it's just as satisfying, if not more, to hear the songs paired down & intimate like this. The Band can play "fire-breathing" R&B, but from what I've seen of them live, a LOT of the subtleties get lost-and that's their strong suit, why they were noticed in the first place (and the great songs too.) Hats off to Aaron can tell he appreciates subtlety because of the way he helped the Band record and make Jubilation (and some of the other past individual tracks. You can see it in his live playing too: digging in when he needs too, but also knowing when to lay out. Excellent. Go see 'em!!!

Sun Nov 29 04:45:18 MET 1998

Jeannette Haas

From: Gilbert, Arizona USA

Love the music.

Sun Nov 29 03:28:27 MET 1998

Scott Stephens

From: Cleveland, OH

I always read the lyrics of Unfaithful Servant as exploring the irony of American draft resisters coming to Canada while young Canadians (ie. The Band) were coming to the U.S. The "lady" is the Statue of Liberty, and the Canadian narrator concludes at the end the reason he was unfaithful to his country was simply because "it's much too cold for me to stay." Whadya think? By the way, caught Rick at Wetlands Preserve in NYC last weekend and he never sounded better. The solo version of "Book Faded Brown" was a great highlight.

Sun Nov 29 00:20:29 MET 1998

Kenneth Hansson

From: Ostersund, Sweden

Just want to say how happy I am to have find such nice web pages about Levon and the boys!

Sat Nov 28 20:29:09 MET 1998

[guest photo]


From: USA
Home page:

Blackthorn has just released a Great new CD! It's Irish Flavoured Rock!

Sat Nov 28 20:06:04 MET 1998


Peter Viney: I'm looking forward to your article too. Sorry about my impatient and incorrect comment in my last post.

Sat Nov 28 18:34:58 MET 1998


Peter Viney: I look forward to your comments on The unfaithful servant, but why don't you wait for Donald Joseph's earthquaking definite words? Pat Brennan: had Wolfie really lived in Breme_r_haven, he would have known how to spell it. Postman Thomas from Horsens: Jeg elsker Dig.

Sat Nov 28 17:37:07 MET 1998

Pat Brennan

From: Chicago, USA

Horsens and Bremenhaven are on the same continent, right? Hard to believe.

Sat Nov 28 17:18:47 MET 1998

The Postman Thomas la Cour Christensen

From: Horsens in Denmark, Europe

Hello, I've just bought the new album, "Jubilation". I heard it for the first time in my car. And while I was driving and listening to the lovely tunes and lyrics, I remembered how big a role, The Band and their music has played in my "musical enlightenment". It was back in '89 or '90 I watched "The Last Waltz" on german television. I had never heard of the host band, but was drawn by names like Van Morrison and Bob Dylan - and by the greatness of it all (a band with friends like these must be worth something...) I was completely hooked on The Band and saw the movie over and over again. I began to buy a lot of records, which was connected to the movie. Albums like Neil Diamond's "Beautiful Noise", Eric Clapton's "No reason to Cry" and - of course - all the Band albums I could find. Then I bought the Danko/Andersen/Fjell cd - and soon my record collection was growing with Eric Andersen albums. (I think the Blue River album is one of the most relaxing and breathtaking albums I have ever heard). But there are a lot more albums in my collection, which can be linked directly to The Band. Buying Robbie Robertson albums, I started listening to The Neville Brothers and Peter Gabriel. And I couldn't live without Eric Clapton's tribute to Richard Manuel, "Holy Mother", so I had to buy "August" etc. etc. etc. I have just bought the two albums by Buddy Miller, "Your Love and Other Lies" and "Poison Love" after witnessing him as a part of Steve Earles "The Dukes" in Copenhagen. He might not be directly linked to The Band, but the albums of The Band has played a very important part in my education. And "Jubilation" reminded me of all the joy, that music has brought me through the years. "Jubilation" is truly a great album. Hope to see The Band soon in Denmark. They did a great gig back in 1994. I was there. Pardon my poor english, Kind regards, Thomas la Cour Christensen (26-year-old postman from Denmark) P.S: Great website!

Sat Nov 28 15:15:43 MET 1998


From: Bremenhaven

I know how all of us Band "fans" can help out Mr. Dan Griffin with his project.. Let's all send him $200 each. At 25,000 hits a day he could potentially end up with 5 million bucks. More than enough to get his movie rolling, since the CD kinda bombed....I assume that Levon and the boys would get a piece of the action..Right, Dan??

I also hear that NBA players run short of cash in the off season. Pledges to help them support their lifestyle can be sent to

Sat Nov 28 12:35:30 MET 1998

Peter Viney

Phil et al: I had a three-quarters completed piece on 'The Unfaithful Servant' which I've been polishing up in response to your query. I hope to send it to Jan later today, but like all my stuff on Band songs it's too verbose to post straight into the Guestbook!

Sat Nov 28 10:06:16 MET 1998

Dan Griffin

Hello, Band fans,

I am looking in every direction for suggestions. I am manager/producer for Scotty Moore & D.J. Fontana, Elvis Presley's guitarist and drummer from 54-68. We recorded a three day session at Levon Helm's house with Keith Richards and The Band, produced by Stan Lynch of Tom Petty's Heartbreakers and with guests around including Paul Burlison of the Rock & Roll Trio, Marshall Crenshaw and Graham Parker.

The recording came out as "All the King's Men" on the indie label, Sweetfish, in the US and Polydor in Europe. I filmed all the sessions and have some absolutely incredible footage of the Band jamming with all of the above and an amazing version of Hand Jive by Keith Richards & Levon both on drums!

I am trying to find ways of funding the project to completion. If anyone has ideas or suggestions about where to look (in the US or abroad) to presell the film or if there are any entreprenurial Band fans who would like to get involved I would be grateul, as would Scotty and D.J.

Please email me if you want more info. Thanks.

Sat Nov 28 08:24:45 MET 1998


From: Ca

I went back in this web sites very own archives and saw the bit about "flowers in the snow" being a part of the works project. So FA may have been started then and latter addapted to the released version we're all familiar with. As for DONALD JOSEPH's read on The UFS, he asked me to mention him by name and he would lay it on me". I did and he has'nt yet. Give him some time. As for Peter, I quess he just ain't interested, although I'd like to hear his take on this. As for Pat I think your thoughts on this mysterious lyric are as close as anyone could get. The holes in the story are probably what makes it so interesting. Right Rag Time?

Sat Nov 28 01:38:19 MET 1998


From: The Brokerage

To Paul from NY

I just called Tramps, opening for Hot Tuna is Jim Weider & the Honky Tonk Gurus. Close but not exactly The Band. Weider & Co are excellent and will likely perform Remedy, White Cadillac and their jazzy instrumental version of The Weight. Enjoy.

Pickedup Skeletons from the Closet today at Tower for $8.99. First heard "Friend of the Devil" as covered by Ed Kaercher at the venue where I got my name, near spring 97. Call me crazy, but I prefer Jimmy Buffett's cover of Uncle John's Band to the original.

Sat Nov 28 01:15:12 MET 1998

bj krockov

From: denver colorado

Happy Thanksgiving to Rick Danko and The Band.

Sat Nov 28 00:52:08 MET 1998


PAT & FRANKO: you may be right, you may be wrong. And so am I. What I like about poetry (and some Band lyrics ARE poetry) is that you'll never solve the mystery. The text doesn't say whether the servant is male or female. I like your interpretation, and I like mine as an alternative. BTW Actually it was our lawful friend Donald Joseph who always (claimes that he) brings up so many fresh ideas, who challenged us to start this discussion. I'm waiting anxiously for his definite verdict. MIKE FROM NJ: I have no idea what you mean by your question. It is even more mysterious than RR's lyrics. But possibly I don't want to know what you mean.

Sat Nov 28 00:43:50 MET 1998

Pat Brennan

From: USA

Re: Fallen Angel. Some of RR's lyrics to this song date back to the Works project from 1973-74. "Lay a flower in the snow" is one of the lines RR has pointed to as part of that earlier project.

Fri Nov 27 23:59:08 MET 1998

Pat Brennan

From: USA

Ragtime, check out that whole first line: "Unfaithful servant, I hear you leavin' soon in the morning, what did you do to the lady that she's gonna have to send you away?" BTW, the question mark is in the published music. To me, those lines set up a triangle of sorts. I believe they all lived together but something the servant did to the lady has destroyed the relationships. I think the singer definitely lived in the house: "a lady I had known", "too cold for me to stay." It's just hard to figure out why. A RR songbook published with a ton of his imput claims the song is written in the voice off a "master bidding goodbye to the servant with whom he's had an affair?" In that context, the initial question would be a lamentation if the singer said, "What have WE done to the lady..." However, it still seems to me that the singer is unsure of the reasons for the blow-up but is resigned to the fate.

Fri Nov 27 23:52:03 MET 1998


From: boston

There was a robbie quote (or a link to a Robbie quote)in the Guestbook a few months ago (near the anniversary of Richard's death?)in which Robbie said Fallen Angel was written before Richard's death. My guess is that modified the song by adding "all the tears... " and the heartbeats after Richard's death and then dedicated it Richard.

My interpretation of Unfaithful Servant has always been a love triangle: The Lady; the Servant, who worked for the Lady; and the narrator, who had a relationship with both of them (What kind, I don't know. Husband, Suitor, a Servant himself?). In the first line the Narrator is aking the servant what she did to the Lady. I think she tells him, and then in the second line the narrator tells the servant "you don't have to say your sorry. If you done it just for the spite (to hurt the Lady by telling her of the affair) or did you do it just for the glory (she too, a lowly servant, also had a relationship with the Lady's man)"

Not only is the Servant going, but so is the narrator (much too cold for me to stay). He has to say goodbye to both his lovers (so long to the Lady I have known) and (farewell to my other side)but, as a fairly shallow two-timer he'll just take it in stride.

I look forward to being corrected by DJ, esq.

Thanks to Rick (saw him twice this year), Jubilation (no one croaks 'em better than Levon on Don't Wait, my favorite cut), and to Jan.

Fri Nov 27 22:31:51 MET 1998

Stanley Landau

From: Toronto

I agree that Fallen Angel must have been written with Richard in mind and not just dedicated to him after the fact. That's why the stupid video pisses me off.

Fri Nov 27 22:00:28 MET 1998


From: N.J.

Does anyone know when and why Robbie switched from a Tele to a Strat?

Fri Nov 27 20:39:58 MET 1998

Ragtime Willie

Pat Brennan, I feel I must be a bit obstinate: "What did you do to the lady" could be a lamentation, not a question. The singer/servant asks himself: oh, what did I come to? "Life has been good to us all" doesn't have to be limited to just the persons living in the "home you shared". IF the singer IS a third person, he obviously doesn't share that home. But then your view is not conflicting to mine: in both cases has life been good to all who lived in that time & neighbourhood. I'm curious about your opinion on this.

Fri Nov 27 19:21:44 MET 1998


From: The deep forests in Northern Europe
Home page

-Bought a bass, bought a record, tried to play like he did, couldn't do it, still can't, 30 years went, didn't bother too much, just found this site, picked up the bass, tried again-

Fri Nov 27 18:47:40 MET 1998


From: Ca

The singer and the servant the same? Interesting but I don't think so. As for Fallen Angel not being about Richard in the first place but an after thought deditcation, then what about the verse "all the tears-all the rage-all the blues in the night. Did'nt Richard co- write a song called Tears Of Rage? FA is about and for Richard in my opinion.

Fri Nov 27 18:35:47 MET 1998


From: NY

Take this for what it's worth.....

Heard that several members of The Band were going to be opening for Hot Tuna this weekend at Tramps in NYC. Called Tramps up, Was told that "The Band" is opening for Hot Tuna tonight and tomorrow. (Fri and Sat)

Fri Nov 27 18:22:22 MET 1998

Pat Brennan

From: USA

Ragtime, "Life has been good to us all..." would also infer the presence of more than two people. And, again, why would the singer ask himself what he/she had done "to the lady"? Wouldn't he/she already know?

Fri Nov 27 18:15:03 MET 1998


From: philadelphia

Just wanted to drop a line. The Band is my 3rd favorite group behind Beatles(1st) and Dylan(2nd). The Night They Drove Old Dixie Down is an excellent song. Levon Rocks!

Fri Nov 27 18:01:24 MET 1998


From: the home you shared

Pat Brennan: "I can see it in your smile, / and, yes, I can see it in your face": how about a mirror? I think considering the alter ego or Doppelgänger motive makes the song more interesting. You're right about It Makes No Difference: not much ambiguity there. But I was struck by the lines "Makes no diff'rence if we fade away / It's just as it was, it's much to cold for me to stay". Maybe there IS a link as it is the same songwriter and the same Rick who sings both songs the same 'tearsome' way.

Fri Nov 27 16:19:04 MET 1998

Pat Brennan

From: USA

Ragtime, there seems to be too much evidence that the singer and the servant are two different people: "I can see it in your smile", "What did you do to the lady"?, "Or did you do it just for the glory?", etc. No such ambiguity in It Makes No Difference.

Fri Nov 27 15:29:55 MET 1998

Just Wonderin'

From: Texas

Potsy: Hammond's "I Can Tell" was recorded in 1967 according to my copy. HAPPY THANKSGIVIN EVERYONE.

Fri Nov 27 14:24:25 MET 1998

Diamond Lil

From: The Web

Pretty cool Jan. Took me right back to the home page. Guess that's good when you can't find your way home after drinking that $60 bottle of Jack Daniels :-)

Fri Nov 27 14:04:56 MET 1998

Jan H.

From: The land of $60 a bottle for Jack Daniels

Is this a good idea? Comments?

Fri Nov 27 09:25:51 MET 1998

Peter Viney

George's point about 'What's Going On?' struck me particularly forcibly. Over the last 30 years, the three albums I've played most of all are Stage Fright, The Band and What's Going On? So I can feel some kind of connection though I can't put my finger on it exactly. I also think 'Broken Arrow' and 'Sonny' would have been perfect Richard songs too.I also find this Robbie remark that 'Fallen Angel' is a tribute, but wasn't written about Richard, hard to follow. I find it very moving, and sincere. It may have been an existing idea that got adapted, but I'd bet it wasn't finished. Otherwise the synchronicity level is off the scale!

Fri Nov 27 08:46:50 MET 1998


Struck by lightning, I suddenly realized that these lines could be linked to the Kermit line in Book Faded Brown.

Fri Nov 27 08:42:53 MET 1998


From: Mulcahy

Could anyone point me towards the music and chords to "The Legend Of Jesse James" written by Paul Kennerly and recorded 1980. Levon appeared on it as well as various artists such as Emmylou Harris, Johnny Cash and Albert Lee. If anyone can steer me right I'd be eternally grateful.

Fri Nov 27 08:38:07 MET 1998

Ragtime Willie

From: The Flying Dutchman on the reef

GERARD: dear fellow Dutchman, I just listened to "Arrow" & "Sonny" and I think you could be right. I HEARD Richard' voice! ... "Struck by lightning, the fire is dying / And she called out your name / Sudden thunder, the sky is crying / Can't tell the tears from the rain"...

Fri Nov 27 07:27:00 MET 1998

Ben Pike

From: Cleveland Tx

Pat, the Credibility Gap version was done by Harry Sheror and the small guy from Leverine and Shirley. The Band where not mentioned but "Yes" was used as the confusing word. I have always liked the unexplaned quality to Unfaithful Servent, that the nature of the betrayal was not the point anyway. Like all Great Art, the Great Band tunes compell with feeling, not explanation. Hey, I'm starting to sound like Vinney!!! Anyhow, thanks for your dope on record city, I bought my first promo of Northern Lights there, and relized I was in the sweet grip of obsession. I hope everyone had a wonderful Thanksgiving, and gets ready for the best Christmas ever!!

Fri Nov 27 07:20:44 MET 1998

Ragtime Willie

"Farewell to my other Side" & "Lonesome servant, can't you see / That we're still one and the same, just you and me": I think there are only two persons involved. The singer talks to his alter ego. Maybe we should link It Makes No Difference to this one too. EUREKA: not only a waste of time for you, but also a waste of space. Thank heavens the guestbook is peristaltic.

Fri Nov 27 05:42:09 MET 1998

Pat Brennan

From: USA

Here's a stab at Unfaithful Servant. There's three people involved: the servant, the lady, and the singer. What seems obvious is that the servant and the singer have broken their trust with the lady. An affair? Perhaps. The use of the biblical "know(n)" and the oblique reference to "my other side" would place the singer and the lady in an intimate relationship. However, the singer claims not to know why the servant is leaving: "What did you do to the lady..." It's clear that the servant did something out of either spite or self-gratification. However, whatever the servant did irreparably damaged all the relationships in the household, for the singer now finds the the home "much to cold to stay." The singer, despite professing ignorance of the servant's reasons for leaving, feels enough kinship to the servant to claim a type of brotherhood ("one in the same"). I've read that this is a song about an affair between the singer and the servant, but that question about the reasons for leaving cast doubt. A song with enough imagery to be incredibly affecting but not enough info to tie all the loose strings together.

Fri Nov 27 04:07:46 MET 1998

Michael Plunkett

From: New Jersey

Friends- It is Thankgiving. Let's remember that it is the music that moves us.Gossip and rumor is so much less than the music.God bless us all and God bless The Band.

Fri Nov 27 03:14:39 MET 1998


From: Ca

Go for it Donald, I'm all ear's. Or should I say eye's ? Honestly, any thoughts by anyone would be interesting.

Fri Nov 27 01:14:18 MET 1998

Rick Danko

From: The Kitchen

Happy Thanksgiving

Fri Nov 27 01:06:10 MET 1998

Diamond Lil

From: The Web


Keyboard sticking? Eyesight failing? What the hell is that about anyway? Kind of a waste of time, dont ya think?

On a more important note here, it's Thanksgiving night, and after eating and drinking way too much champagne, I'm about to turn on The Last Waltz and remember when. Wonder how many of you are doing the same tonight?

Fri Nov 27 00:48:40 MET 1998


Ashjhj hghjkgg ghjg yg yl. Pjijiji jinj nbb hj Danny Lopez. Jjkjkdhjhj yuyugeghb hghjgehjg nmbshgh hjkg Levon Helm. Kjkjksjkl Libby Titus jkjkd jkjkd Happy Traum. Kjkjksajkjk as John Simon hjhgsahghg hghgashghg sad Van the Man, uiouioewuiouio uiouiowequiouio Garth. hjhjdhjhj hjkhjkdjkh "Donald Joseph". Phjhjw hjkhjk lawschool. Ldhj hhdjh Jesse Winchester. Snnkkkk je wiunch. Pweooii wuryuio yuiowehjghjkg ghjhjgsdhjg hjgsdahgj hjgasd Dr. Viney llkskk oi p uieu uiuid Lord Beatle. Kldkk lkdklkl sklkl. Uuuituiu Cahoots prrrrrr Van Gogh. Krutui uiuieui uiepo jkdhj hjgshgj Rags & Bones llk kklsklkl oiiosioio eyyt hghgagygy ghjsd snnekk op. Ssjhjshj hjuieruiui tppoeio uiyue hgbhbvahjg hgfehggh hjghgegh hgghehj hjryu hjwhgqwhgfzgvca eiio owpo ioeuy jnjbashjghjg nmbnmbdhghg bnmnbmahghg nbmshghjg eruio hjkrnjb fyu hjkjeui jkhxnmbnmb shghjg bnmxnm shj nmbdn usdhjknbm nmbdf hue nmbenr huehu enmbnmb en jhkeu ehui jenm enmb eh ue nmbfnmb fnmbf hjkbfu hjkfjkb nmbfnm fjj. Clapton kkslklk hjhjehggh hgeyu hgahjg shjg hgjshgj bnmwyuiwyuienbm ap eruhihjg. Snokkesnokkesnokkesnokkesnokke. Mocking jkjkshjg hgjhgjshjghjg euiouie yuiyuiw ak jhs jdh hh. Eureka! Eureka! Eureka!

Fri Nov 27 00:25:13 MET 1998


From: Leiden NL

It is my firm belief that two songs Robbie wrote for his first album were intended for a voice like Richard's. If he had lived, he would have turned them into something very powerful. So I think these two songs ("Broken Arrow" and "Sonny Got Caught In The Moonlight") are more suitable reminders of Richard than "Fallen Angel".

Thu Nov 26 23:19:08 MET 1998

Stanley Landau

From: Toronto

Reading George Gawartin’s post referring to Fallen Angel reminds me of how disappointed and pissed off I was the first time I saw the video for that song. Having purchased Robbie’s eagerly anticipated first solo album the day it came out in Toronto, I was gratified to read in the liner notes that this song was dedicated to Richard. Despite the limitations on Robbie’s singing ability I was touched by the falsetto vocals eerily reminiscent of Richard, and I thought it was a great song both musically and lyrically. When I heard there was going to be a video, I naïvely imagined that it would feature film footage of Richard and The Band. When I actually saw the video, I was shocked that Robbie would use a song written for and dedicated to Richard’s memory as a backdrop to some silly story that had nothing whatsoever to do with Richard. I later read that while Robbie dedicated the song to Richard, he did not write it for Richard, which I guess explains the video. Since I feel very uneasy whenever I think about Eric Clapton deriving tremendous commercial success from the tragic death of his young son, perhaps it’s for the best that the video did not feature Richard after all.

Thu Nov 26 22:08:12 MET 1998

George Gawartin

From: Los Angeles

Since I discovered this site a few weeks ago I look forward to reading the guestbook every day. I’ve become an addict. Particularly kudos to Jan, Peter Viney, David Powell, Jonathan Katz, and Donald Joseph. This site has really rekindled my passion for the Band. I’ve been a fan since 1974 with BTF. I was 16 at the time and unfortunately none of my peers were into the Band. I attended 2 of the L.A. Greek theater show’s in August of ’76 and was glad to read in Wheel’s on Fire that those were some of the best show’s from that tour. Also was fortunate enough to have attended the Last Waltz. In response to DJ’s comments about the “evil” Robbie using a cold as an excuse to keep from attending Richard’s funeral. At the time, when I heard about RR’s absence due to illness I figured that it was the same kind of problem he had at Winterland in ’69. It seems he hasn’t handled some emotional stress very well. It’s hard to imagine that Robbie didn’t care enough about Richard to want to attend the funeral. I think that Fallen Angel was a deeply sincere and beautiful tribute. I recently saw Eat the Document at the Museum of TV and Radio in LA and was particularly struck by how different Richard appears compared to the interview’s in TLW, where he was apparently drunk, and some of the description’s in Hoskyn’s book. In the well known scene where Richard and Dylan try to “buy” a young Swedish girl from her boyfriend it’s Richard who does the talking, and he comes off displaying a strong presence, very sharp and funny, even though it’s a bit cruel (maybe Dylan’s influence). In regards to Jens comment that the Band’s music has a “classical” and chamber-like sound I would like to add the opinion that early Band also has some of the spirituality, soul and slow funky rhythm of reggae. I’m sure it’s been mentioned before but I’ve felt that the Band’s influence on the sound of Derek and the Dominos is much underrated. One last comparison is with Marvin Gaye’s What’s Goin On, though I doubt it was influenced by the Band , it shows the boy’s deep feeling for R&B. Thanks again to Jan and all the contributors for making this a great site.

Thu Nov 26 21:20:52 MET 1998

Searchin' ...

... by myself, singin' old songs, see if they help. I love "Jubilation"!

Thu Nov 26 18:14:00 MET 1998


From: Weedstock

Was Hammond's, " I Can Tell" recorded before or after the 66 tour with Bob? I believe it was released in 67 but I don't know when it was recorded. The new Mojo is of interest to Band fans.

Thu Nov 26 17:20:45 MET 1998

Pat Brennan

From: USA

Donald Joseph, despite your lawerly shortcomings, I'd like to hear your take on Unfaithful Servant, especially the setting in time.

Thu Nov 26 17:13:26 MET 1998

Pat Brennan

From: USA

Donald Joseph, if you were to read my post, my exact words were that the poor sales of NLSC had to make Robbie "see the writing on the wall." Elsewhere in this guestbook I've made the same point, that the decline of the Band from a commercial point of view fueled Robbie's desire to leave the Band. Plain and simple. I think it's great that you agree. Saying that I expect reams of Band minutiae from you every time you take up the keyboard is silly. I've never come near saying that. I only pointed out that I had made the same point you claimed for yourself. I always like your posts and find your style offputting, but that hardly prevents me from reading them. And, sorry, I threw out Sunday's Trib but the noted article may be online.

Thu Nov 26 14:04:15 MET 1998

Jens Magnus

From: Norway

Personally I'm a fan of The Band's live recordings, especially Rock of Ages. Several tracks on this beautiful album has inspired me to create a brand new concept: Chamber rock. Just listen to Unfaithful Servant for instance, and you'll see what I mean. This is definetily rock, but with a sublime, airy character. It does not rush. The backing is present, rolling, laidback and "classical". And my type of rock. Occasionally i find traces of it elsewhere, for instance in some of Ry Cooder's older records. Agree!?

Thu Nov 26 13:58:43 MET 1998


From: Aberdeen, Scotland

Thanks to Viney and Patrick for their responses to my last visit to the guestbook. On a related note, does anyone know if 'even if it's a pig parts 1 and 2' from the basement tapes are circulating on any bootlegs?. They don't appear to be present on the genuine basement CDs and I would love to hear them. Greil Marcus describes part 2 in his book 'invisible republic' so presumably he must've blagged a copy from somewhere. I've only got vol.s 4 and 5 of the basements so far though, so I suppose it's possible that it's on one of the others, although it's not listed on the review of the CD set. Any help on this one would be appreciated, cheers.

Thu Nov 26 12:27:55 MET 1998

Al Vacado

From: Coral Reefers

The New York Times ace cub reporter Jon Pareles covered Moby Grape's show at the Wetlands on 11/20. This review appears in 11/25 issue. No where in the review is there any mention of Rick's opening set. I say we go over to east 42nd street and bust up the joint. The NY Times sucks. They haven't covered The Band's last two Carnegie Hall shows either. Anybody with me? Maybe if some of the boys would come out of the closet, then some mention might be had. :-)

Thu Nov 26 12:15:17 MET 1998

Spider John

From: LAD3/4

Among they many things I'm thankful for today are this group, The Band. They have given me much joy with their many albums including the Jubilation that has come from their latest. I wish good health and peace to all. Thanks to Jan for maintaining this site and for providing me the means to meet the Lady I Can Explain.

Thu Nov 26 11:20:01 MET 1998

Patric Mulcahy

From: Rutherford.N.S.W. Australia

Near on twenty-two years since the Band last played with their original line-up intact !!. As Bob once said "time is a jet plane ".

Thu Nov 26 10:43:09 MET 1998



Isnt Garth's beard cool!!!

Thu Nov 26 10:24:32 MET 1998

Peter Viney

OK, hands up, unreserved apologies for miscrediting 'I'm A Lover Not a Fighter'. Funny, right after I posted, I looked and thought, 'Was that really Slim Harpo?' I knew a singer way back who used to do King Bee & I'm A Lover together and credit them jointly to Slim Harpo. The guy was always a bullshitter, and it made me wonder enough to go and look up Slim Harpo to confirm he'd written King Bee. I couldn't trace 'I'm A Lover Not a Fighter' on 'Rockbase' or on 'Tracks'. I just checked Lazy Lester in the Guinness Encylopaedia of Rock and he even has a Cd with the title. This miscrediting won't be the first Lazy Lester will have suffered, but I am very sorry indeed to have added yet another. This isn't trivia, it's a guy's work! In spite of your occasionally obnoxious personal style Donald, you are 100% right on this one. Is that enough? It's a terrific song, and as I set you the enjoyable penance of watching 'The Band' classic albums for bullshitting last week, I'll set myself the task of seeking out both the 'I'm A Lover Not a Fighter' CD and the new one you mention for bullshitting this week. On blues credits, OK, who wrote 'It Hurts Me Too'? That's a conundrum.

As for Tom Thumb, my reference to McCartney's shirt was supposed to be a send-up.Like, a joke? :-) May you get stuck in an elevator with 'Wonderful Christmastime' on replay on the muzak system.

Thu Nov 26 07:59:58 MET 1998


From: Madison, Wisconsin.
Home page:


Thu Nov 26 07:56:27 MET 1998


From: NZ

Sorry to dredge up The Beatles again, but I always wondered what a George Martin producecd Band album would have sounded like. Maybe a bit like Seatrain? Not necessarily a bad thing (listen to Prodestant Preacher). It may have given their mid career a bit of a boost. Also, I quite like Right As Rain.

Thu Nov 26 07:23:13 MET 1998

Donald Joseph

From: Far, far, far from the U.K.

Viney, Viney, Viney. Oh, Viney. You make your stock-in-trade boring us with your purported mastery of arcane 60's trivia, and now you get it wrong -- while stepping all over MY turf! Damn!

I refer to your recent mis-attribution of "I'm a Lover Not a Fighter" to Slim Harpo. The song (writing credited to Jay Miller, Excello head honcho) was 1st done by & is always credited to Harpo's label mate, friend, & former sometime sideman Lazy Lester. In fact, as recently as last Sunday no less august a source as the Chicago Tribune referred to that song as Lester's -- in a review of some new blues l.p. that covers the tune. (Brennan or other Chi-towners who haven't yet thrown out your Sunday Tribs, help me out here with an exact quote -- I think it was a review of the new Larry Cray [?] l.p.)

Am I playing "gotcha" on an irrelevant factoid? Oh no, Viney, not irrelevant to me. Lester is my friend, he is my client, he played my wedding, and he has introduced me publicly from the stage of the New Orleans Jazz & Heritage Festival. As his lawyer I am his advocate, & I will not tolerate lightly mis-attributions of his oeuvre. I demand a retraction!

BTW, Lester has a forthcoming l.p. on Antone's records, distributed by WB (was that a plug?) for which I did some legal work.

Incidentally, Lester will tell you stories about Jay Miller stealing songwriting credits that'll make Levon's beefs look like crybaby whining. I can ask him, Viney, if you like, about "Lover"; Lester will probably tell us he wrote it & Jay stole it. Sound familiar?

Phil: If you want an "Unfaithful Servant" analysis, I can give you a personal insight that'll beat any dry Viney by-the-book analysis. Why single out only Lord Beatle Jr. for explication? Are the rest of us chopped liver? Ask for me by name & I'll lay it on ya.

"Ned": I admit even "I" wondered, "in retrospect," why the hell I punctuated your "name" so. "Sorry."

Guitarskip: Okaey, Eye will Pass you're Massage on two The band, BUTT ONLEE if ewe Learn too Spell.

Pat Brennan: Ok, ok, your 11/21 post makes the point that NL/SC didn't outsell "Frampton Comes Alive." But I raised this point in a totally different context. Although maybe you (& certainly Ragtime) thought I was citing NL/SC sales figures as if they were news to you all, OBVIOUSLY sales figures are common knowledge. I was raising the point to justify RR's decision singlehandedly to declare the Band over at TLW; this POINT was new, and not anywhere near the topic of your 11/21 post.

Give me a break, you guys! It's hard to carry on a conversation when you (Ragtime/Brennan) expect every word out of my keyboard to unearth previously-concealed Band trivia! It's my LARGER POINTS that are original thought. If you want useless trivia (sometimes inaccurate, esp. re blues legend Lazy Lester), read Viney!

Thu Nov 26 05:01:04 MET 1998

Don Pugatch

From: Roswell, Ga

Finally, after years, tears and cries, the local radio station, Z93, is playing tomorrow, The Complete Last Waltz. I guess persistance and good taste finally won out. According to the station, the 4 CD set is going to be played in it's entirety. I am pyshced, and any Atlanta area Bandaddies, will also be in their glory. PS Want to mention that Johm Donabie, we will be visiting you fair city this weekend, and suggestions for dinner and music in the downtown area?

Thu Nov 26 04:06:00 MET 1998


Shecky from Boston; Jan's got a page on Guillory. Welcome to the Guestbook, don't let the wrestlers scare you, it's all fake anyway.

Thu Nov 26 02:57:08 MET 1998

Pat Brennan

From: USA

Ben, or somebody stole it fron somebody (heavens, a comic stealing material)! A friend has the SCTV show-- in fact he has all of the SCTV shows from NBC-- on tape. They did an entire Rock Concert. One bit had the two farmers who "blowed things up real good" explode Barry Manilow. Re: Isaac Guillory (and this is pretty weird). When I was young (1966) one of the better Chicago bands was The Revelles. I saw them a lot. Isaac was the lead guitarist. One day the leader of the Cryan Shames (Sugar and Spice, Could Be Were In Love, Yound Birds, First Train To California; well, they were big here) calls Isaac asking for bassist Bruce Gordon's number. It seems Daved Purple, the Shames' bassist, was drafted and would Bruce be interested. Isaac instead talked himself into the gig and became the Shames' bassist. After they broke up, Isaac moved to England. Last I heard (1970), he was doing a folk-rock thing and had an album out. A very talented person. I assume he's the same as noted earlier. Ben, BTW Record City is now a bank.

Thu Nov 26 01:54:49 MET 1998


tonight on SHOWCASE @ 10pm EST:

Movie***CARNY (1980, drama) Jodie Foster, Gary Busey, Robbie Robertson (a/k/a Redboy).A bored teen-ager gets involved with a carnival barker.

Thu Nov 26 01:32:40 MET 1998

Ben Pike

From: Cleveland Tx

Pat, I challege. The bit was done by the Credibility Gap and is on one of their albums. Of course, it's possible different comics had the same idea.....

Wed Nov 25 23:58:18 MET 1998

John Lennon

The only thing you done was yesterday and since you've gone your just another day.

Wed Nov 25 23:48:32 MET 1998

Joel Richards

Somebody mentioned Brian Wilson, well there is an excellent version of God Only Knows on Endless Harmony. I better stick to the Band though. Levon rocks on Hang Up the Shoes from ROA. Great drummer. Great Band.

Wed Nov 25 23:48:13 MET 1998

Diamond Lil

From: The Web

Just want to wish everyone a happy, healthy, and safe Thanksgiving.

And on a personal note to Spider John: With all the things I have to be thankful for this year, you're right up there at the top of the list :-)

Wed Nov 25 23:43:02 MET 1998

Ol' Dexy

From: South of the Line

RE: the hotly debated Eugene Levy / Levon Helm connection: A cousin of Levy's was at one time Levon's manager or something. That's why Levon guested on SCTV. Levy (as Earl Camembert) was supposed to interview him at the studio. There was considerable interplay b/Levy and Levon. Many of you are also aware, I am sure, that SCTV's Joe Flaherty filled in for George Harrison at a 1965 concert in Toronto, when the sullen lead guitarist suffered a nosebleed.

Wed Nov 25 23:42:56 MET 1998


From: Ca

To Peter Viney: I read this questbook often and enjoy your postings (along with many others). Also like the essays you've done on Band songs The Weight, Shootout In China Town ect. So how about taking on one of the most mysterious lyrics for a song in The Bands catalog, The Unfaithful Servant? What did he do to the lady to make her have to send him away-anyway??

Wed Nov 25 23:39:03 MET 1998

Tom Thumb

Well done Donald Joseph. Your posts have been on the money as usual. Always remember, if you make just one person laugh you've done you job. Please continue. I suggest you give the Sir Paul thing a well deserved rest Viney. You're upsetting to many stomachs.

Wed Nov 25 23:34:40 MET 1998


From: Boston

Radio station WUMB in Boston played a wonderful acoustic version of "The Weight" by a Scottish singer named Isaac Gillery. They said he used to be a guitarist for Donovan. Anyone know anything about Isaac Gillery?

Wed Nov 25 23:00:30 MET 1998

Pete Rivard

From: Hastings, MN

A few holiday thoughts before clocking out early from work--

Chris Osgood, of the seminal late 70's new wave band The Suicide Commandos and the Godfather of Twin Cities rock scene gave me a real good tip on songwriting royalties that proved useful to me on solving these vexing writer's credits. He said the writer of the song is the person (or persons) who wrote the song, came up with the original idea, composed the initial lyrics and melody. That person is entitled to the copyright and the writers revenues. He said the bandmates, those folks who sweeten, influence, massage and perform the song should be bundled together, with the songwriter, as the publishing company, and split the publishing rights related revenues. They are thereby recognized for their contributions financially and are incented to push original material over covers in the recording studio, as well as onstage.

As a songwriter myself, I have cocredited others on the odd song for uttering a phrase which becomes the lyrical hook or the main idea of a song, even if that's all they did. I have a friend, and musician, who years ago attended Ringling Bros. Clown College, and was suspended for "being a disruption in class." Now, you've got to admire a person who can disrupt a class of students practicing the art of disruption. He claims he had to "turn in his nose." Well, that became the song "Kicked Out of Clown School", entirely composed by myself, but cocredited to my bud in gratitude for the song's inspiration.

Happy Thanksgiving everyone!

Wed Nov 25 22:49:11 MET 1998

Peter Viney

Q: Guess who's next.

A: Them.

Q: Who?

A: No, Them

etc. I'm glad to see the Band were top of the bill.

Wed Nov 25 22:30:05 MET 1998

Pat Brennan

From: USA

The biy was from Second City TV. I believe it was Eugene Levy and Tony Rosato as Abbott and Costello hosting Rock Concert. Levon and the Cates appeared on the show some years later. Happy Thanksgiving.

Wed Nov 25 19:47:59 MET 1998


Happy 22nd Anniversary of TLW!!

On this special occasion, how about some of you who were there sharing some details of the night with us. Stuff we might not have seen on the video. Thanks.

Wed Nov 25 19:43:18 MET 1998

[guest photo]


From: Canton, MA

I don't remember the routine, but you could have Yes, The Who, Guess Who, and The Band: A: "Who plays first?" B: "No, Yes. Who's up second; Guess Who's next, the Band is last." ...etc. >Answer: "The Band." >Question: "What band?" I remember when "Robbie Robertson" came out in '87, I went looking for the CD, and a conversation like this ensued: Teenage clerk: Can I help you. Me: I'm just looking for the Robbie Robertson album. Teenage clerk: Who? Me: Robbie Robertson, from The Band. Teenage clerk: What band. Me: Never mind.

Wed Nov 25 18:27:10 MET 1998

David Powell

Does anyone else remember the comedy routine take-off on the old Abbott & Costello "Who's on first?" skirt, in which the two characters discuss a rock concert, as opposed to a baseball, line-up? The concert bill consists of The Guess Who, The Who, and The Band. As I recall, the banter goes something like this:

Question: "Who plays first?"

Answer: "No, Who's on second; Guess Who's on first."

Question: "That's what I'm asking. Who plays first?"

Answer: "I told you. Guess Who's first, Who's on second."

Question: "That's what I'm trying to find out. Well, can tell me who plays next?"

Answer: "The Band."

Question: "What band?"

And so forth. Just a little holiday humor to lighten things up a bit. Happy Thanksgiving. Let's all give thanks for The Band. Jubilation!

Wed Nov 25 17:28:02 MET 1998

Danny Lopez

From: Iowa

With regard to nasty epithets from the land of Osterreich, I don't dignify that stuff, so peace brother. Nuff said. Now, on to more important stuff: David Powell posted in October on the comparatively good sound of the Japanese Toshiba/EMI release of Big Pink. I wonder if anyone has the Cahoots release? An improved sound quality on this one would definitely be worth the limited edition price.

Wed Nov 25 17:18:20 MET 1998


While Peter is discussing the Dylan influence on mid 60s British R&B I can't resist a plug for Van "Ned-can't-get-enough-of-his-music" Morrison. From an April 1998 interview in the Irish Times: "I had heard Dylan's first or second record and I saw it was possible to write any kind of words. They could be about anything and Dylan made that possible. It meant that you wouldn't have to suppress an idea - if it came and if it was completely off-the-wall it didn't matter. So Dylan is the key."

Wed Nov 25 16:32:36 MET 1998

David Powell

From: Georgia on my mind

Regarding Dr. Joseph's thesis on the use of the name "The Band"---As I recall, at the time of the release of _Music From Big Pink_, there was a certain mystique about the group due to their association with Dylan. I believe that Grossman probably realized this strategy would be advantageous from a marketing standpoint. (Remember Grossman is credited with arrangements on the album, meaning business rather than musical.) The use of the Dylan painting on its front cover, along with an absence of any name or title, only added to this air of mystery. However, group or artist names, titles, and catalog numbers were always listed on the LP's spine for retail identification purposes. Inside the LP's gatefold cover, as Dr. Joseph pointed out, the names of the group members are listed under the heading "The Band." Note that the word "Band" is capitalized, connoting its use as a proper name. All said & done, I think the boys were playfully "toying" with the use of the name "The Band." As they mentioned in the interview segment of _The Last Waltz_, they intended to go against the then current practice of adopting ridiculous & pretentious group monikers.

Wed Nov 25 16:27:34 MET 1998

Peter Viney

Prince Wolfie: I replied to two points, 1) that I thought The Beatles (or indeed The Band) was a very suitable subject for a thesis 2) I didn't like the references to salsa etc. A Guestbook is an open forum rather than a letter to an individual. To your specific queries J

Band vehicles: fortunately Levon covers this at length in 'This Wheel's On Fire' but he does not tell us whether the Corvette had disc brakes, which I believe is of great importance to Corvette enthusiasts. Any ideas on this? Is the drum brake model worthy of a Band member? And how does it compare to the British Austin-Healey 3000?

Band wardrobe: The jacket Levon is wearing on the brown album in 1968 is very similar to a Marlboro Classics number I bought in 1997, which shows great taste on his part and was way ahead of its time. Of course this is offset by the colour photo on the bootleg 'This Wheel's On Fire: Live in Jersey City". Robbie's leather jacket looks more expensive than Levon's which has no creases. I'm not sure that Richard's choice of an orange jacket with flares that are 2 inches too short for him and white shoes was wise. Don't like the collar of Rick's jacket much, but I remember having one with similarly curvaceous collar. Garth's four button job? What do YOU think? Any ideas out there? I remember seeing Paul McCartney in a particularly striking denim shirt, but this was a long time ago.

Wed Nov 25 15:50:45 MET 1998

Peter Viney

From: way south of Liverpool

More from way back in the 1960s: The Animals influence is under-rated. They popularized early Dylan before the Byrds did, and Dylan said that hearing The Animals versions of 'Baby Let Me Follow You Down" (as Baby Let Me Take You Home in April 1964) and "House of the Rising Sun" (in June 1964) had helped push him toward the electric direction (or remind him of the electric direction) which …etc. Nowadays, their anglicizations sound silly (Gonna Send You Back To Georgia became Gonna Send You Back To Walker, which is a district of Newcastle, and they also had to reverse the south / north theme). I can remember Eric Burdon interviews where he kept raving about Bob Dylan at a point when Dylan was only known in definitely snooty folk circles. In the UK, Burdon never pretended that the songs had come to him from Eric Von Schmidt or Josh White (which most R&B bands would have done), he always said that they'd got them both from the first Dylan album. And Chas Chandler was Hendrix's manager. And Alan Price had a solo hit with a Randy Newman song before anyone had heard of him here.

PLEASE don't tell me that Dylan / Hawks (66) then Dylan /Band (TLW) versions of 'Baby Let Me Follow You Down' are way superior - I do know that already. I'm talking about influence, not chops. And it's interesting that the song was one of many possibilities which Dylan decided to do in the electric set in 65/66. Dylan had also been keen on using organ before he met The Hawks, and The Animals had always had prominent organ (add an "s" and that sounds somewhat rude). They covered some good stuff, 'Dimples'. 'The Right Time', 'Talking About You' which lots of bands did, but the Dylan link was unusual for a basic R&B band at the time, and picked up by Manfred Mann who did 'With God On Our Side' on an EP long before they did 'If You Gotta Go, Go Now' and then 'The Mighty Quinn'.

60s R&B groups had to be measured in terms of credibility. It went like this. The Stones did 'King Bee'. Credibility rating 10. No one had ever heard of Slim Harpo, and if they had, would have imagined it was a toilet cleaner in a thin bottle. The Kinks did 'I'm A Lover Not A Fighter' - rating 8. We'd heard of Slim Harpo from King Bee, but we'd never heard this song. The Animals did 'Gonna Send You Back To Walker.' The Timmy Shaw version probably had not been released in Britain BUT it was recent. So rating 6. Then minus one for changing the words. 5. Them did 'Baby Please Don't Go', but by then everyone into R&B already knew the song and many other bands were doing it. Credibility: 4. The Searchers did 'Money'. But only after The Beatles did it. So it was a cover of a cover: 1. And they did it badly. Minus one. Credibility zero.

The last few days odd notes of ill-will have been creeping back into the Guestbook, some of which I've fuelled by replying in kind. Though we're just facing another dull November weekend here in the UK, most of you are in the USA, so may I wish you ALL a sincere 'happy holidays.' Our arguments here may not be dignified, but they must be SOME kind of fun otherwise we wouldn't bother.

Wed Nov 25 15:50:13 MET 1998


From: Virginia

Cool. Donald Joseph lets it fly and my name gets put in quotes! Alright!

It is true that I thanked Donald for his info regarding the identification of the group on Big Pink. It was news to me. Let me thank everyone who provides RATIONAL and POLITE statements regardless of there timeliness or direct Band connection.

Wed Nov 25 14:19:25 MET 1998


From: Wrong Island, N.Y.

Been reading the guestbook . I missed so many. Lol. Happy Thanksgiving to all here on earth and elsewhere. "Jubilation" is great. Jan , happy to read your entry , glad all went well. At least the music always helps with the holidaze blues. njoy all. Stay well and always stay on the sunny side of the street. Hi, Rick.

Wed Nov 25 13:17:06 MET 1998

Ragtime Willie

From: Down South In Nieuw Vennep

Thanks Jan. I was just curious about your first steps walking that Endless Highway "on the road". Glad it all went well. Suppose the free brew helped you to get over your Stage Fright. Like to hear your heavy metal impersonation of Crazy Chester. Best wishes, Ragtime.

Wed Nov 25 13:10:22 MET 1998

Prince Wolfie

From: Heidelberg

Mr. Viney I notice that you always find it necessary to answer posts aimed at other individuals. Why this need? Want to be the centrepiece of the site?? Let the the other poor sap answer, if he/she can.. Or are you everyone else's mouthpiece??

How did the Beetles get into this website anyway? Are ideas of "Band" subjects to discuss here all dried up? Starting to scratch the bottom of the barrel methinks. How about the Band members personal modes of transportation? The motor vehicles they own etc..You could all get into horsepower, comfort, road handling.. discuss the latest Motor Trend reviews. The Band members' wardrobe is also a good subject. Keep trying.

Wed Nov 25 12:13:30 MET 1998

Jan Høiberg

From: Halden, Norway
Home page:

Ragtime, there's not much to tell. We sat backstage for two hours, drinking the free backstage-brew etc, then went on and played our three songs, including a version of "The Weight" where our frontman's dark past as guitarist and lead singer in a heavy-metal band became quite evident. It was all taped and photographed, maybe some of it'll end up on this site.

Wed Nov 25 11:01:57 MET 1998


From: Nashville Tn

First I would like to wish all that visit this page, a wonderous and happy holliday season. Then I would like to thank the band for they're latest release. My friend Pete Mitchell turned me on to a pre-rease copy of the stuff. It kicked my butt as always. I really loved the squeeze box you guys added.(kuto's Garth) as always you are the man. Levon what can I say that hasn't already been said? (other than when you guys coming back to Nashville TN?)Now Rick for you the Main reason I'm writting, We need you back here in Nashville. More importantly is Your FRIEND JOSIE KUHN needs a friend these days to bring her back around and help her see her worth. You of all people know what I mean.If you can give her a call out of the blue, and cheer her up and kind of give her a pep talk, I would be forever thankfull to you as would she and you would be saving one of the greatest writters and singers of our time as you well know. Just a call out of the Blue to ask her what she's up too and what she's doing these days.You have her phone # here in Nashville so please give her a shout and say High. Also my friend and your's Pete Mitchell said to say hello to you and Levon. Keep rolling my friend and thanks.


If anyone on this guest list can foreward this note or the main message of this letter to Rick I thank you before hand. Again sincerly your friend, SKIP

Wed Nov 25 07:46:47 MET 1998


Donald "Pavlov" Joseph: It's allright, man. You wanted "bitter personal attacks". I thought I'll give you a mild one, just to please you. But lately most "debates" in the Guestbook tire me. So I'll rest for a while. But there's one more thing I must ask: JAN! You never told us how your show went. You kept carefully silent about it. Please enlighten us.

Wed Nov 25 06:31:26 MET 1998

Ben Pike

From: Cleveland Tx

OK, frist, Moondog was the oringinal line up, but it is a great, great album. Now Pat and Donald, I thank you are both given the short shift to the cute one. Calling the Beatles Bubblegum is like calling "As You Like It" a sitcom. Let's give those limeys there due. Now, Pat, you should be sure you are not judging McCartney by "With A little Luck" his Beatles era accomplishments, player, songwriter, singer, they stand with Lennon in my book. Even if we are getting to that time of year when we are likely to be assaulted with "Simply Having a Wonderful Christmas Time..."

Wed Nov 25 05:48:11 MET 1998

Pat Brennan

From: USA

Now Donald Joseph, we go back a long way. But I'd like you to go back in the Guestbook archive to Sat Nov 21 and see what I posted. Right before you posted. It has been mentioned here.

Wed Nov 25 05:28:45 MET 1998

Donald Joseph

From: ex-Cincinnati

Stanley Landau: Your analysis of the '80's genesis of the Levon beef with Robbie is the best post I've ever read on this guestbook. I hope you post more often.

It was a yr. ago on this guestbook when I first made this point (that Levon's work with Robbie on RCO's/Roxy show contradicts his own arguments in his books), & you're the 1st to come up with a plausible answer.

Ragtime, re your 11/22 post claiming I posit known Band trivia as revealed wisdom: Umm, sorry -- but the guestbook archives prove I was the one 1st to make the Levon/RCO point regarding the inconsistency in Levon's book; my point occupied the last two weeks of this guestbook. And the archives show I was the one who introduced Robbie's "eatin' ain't cheatin'" analysis of Clinton -- which occupied another 2 weeks of this guestbook, last month. And the archives show I was the one who reintroduced all of you to the '78 L.A. (Roxy) show, which even Viney admits he had "forgotten" (?) about -- and which occupied the guestbook for a week. I assume your slam of me alludes to my "thesis" that the Band weren't called the Band till AFTER Big Pink: Maybe this point is made on the Brown l.p. video, but the point had not been common knowledge in this guestbook till I made it. Remember, Lord Viney was babbling about historical innacuracy in calling the Hawks the Band -- yet even he had, conspicuously, referred to the 5 men who made Big Pink as "The Band" -- which by Viney's own analysis is historically inaccurate, & that was my point. And Ragtime, go back read "Ned's" 11/24 post: Ned actually thanks the guestbook (me) for making this point about Big Pink" not being by "The Band." Yet, Raggie, my contributions are worthless repititions of common knowledge? Why aren't you sharing with us your big secrects -- I assume you know how often Garth changes his underwear.

Lord Beatle, sorry to break it to you, but you wasted years writing a dissertation on a teenybopper fave band. Close readers may note I've never entered this "Beatles-vs.-Band" drivel. Why? Because its not like comparing apples to oranges -- it's like comparing steak to bubblegum. (I tolerate it from Viney because he's a Brit., and with the breakup of the Empire those guys feel pride even in their Tiger Beat-level tunesmiths.)

Wolfgang: Your post is hilarious! And Viney, accusing Mr. Mozart of racism was a little much -- although Wolfie, I back Viney as to the "salsa" crack. Knock it off.

As to the thesis that Manuel's death is what ignited Levon's Robbie rage: Supporting this is that Robbie didn't even show for Richard's funeral -- he claimed he had a cold. Remember? (Sorry, Ragtime, since it's my point I know it was on the tip of your brain, but there, I said it as if some of you didn't know it or forgot it.) However, what hasn't been said is that TLW did not come at the height of the Band's commercial success. NL/SC did rather poorly, & it didn't take a David Geffen to see that the Band's Time-mag.-cover period was behind them by 11/76. RR called it quits because he saw that continuing as the Band was a downhill process. I'd think Levon, on some level, must recognize that this was so. As such, it wouldn't be rational for Levon to blame RR for Richard's end. But again, rationality may not enter into a question of pure emotion.

Wed Nov 25 05:26:19 MET 1998

Pat Brennan

From: USA

Shoot, one more thing. John from penna, the link between Lee Michaels and The Band? Organists who played bass pedals with their feet.

Wed Nov 25 05:22:25 MET 1998

Pat Brennan

From: USA

I do want to reiterate that I meant my last post with all due respect for Lord Beatle and his academic pursuits. As Viney mentioned, such analysis is not only proper, it's necessary. Also, we intellectual snobs from the heartland must stick together, if only to anger John from PA. John, I'm kidding.

Wed Nov 25 05:18:32 MET 1998

Pat Brennan

From: USA

Luis, I don't think I'm going way out on a limb by guessing that not one single consumer has decided to forego purchasing a Band album because of what goes on in this Guestbook. Lord Beatle, a noble enterprise indeed. However, your elevation of Paul might seriously undermine your work. He was a great pop musician at one time in his life and benefitted enormously from his relationship with Lennon and George Martin. His pop melodies are of the first order. Still, if you were to name your five fave Beatle songs, I'd bet Lennon's contributions outnumber Paul's. As to his chops, you can't really prove your point, can you? Paul's playing is what it is. His bass work was excellent. His guitar playing was servicable. If you listen to contemporary radio these days, you would notice that neither the Beatles nor the Band has much influence. But you still hear echoes of Dylan everywhere.

Wed Nov 25 04:38:20 MET 1998

Jonathan Katz

From: Columbia, MD

To Lord Beatle: "Possibly Dylan?" You've lost all credibility with that one! I don't know about McCartney as a musician [bass on "Rain" is pretty good as I recall - but not much else of his does anything for me], but as a lyricist he's pretty lame [exception: "Maybe I'm Amazed"].

Wed Nov 25 04:07:50 MET 1998

Patric Mulcahy

From: Rutherford. N.S.W.Australia

On the question of the Band's weakest album, that would be the one I have played the least ,Cahoots,followed by Stage Fright which despite all the acclaim it has recieved on here is really a bits and pieces effort. Moondog Matinee still sounds wonderful and is my pick from the post "Band "line-up.

Wed Nov 25 02:26:11 MET 1998

Ben Pike

From: Cleveland Tx

Luis, stick to the decaf buddy. Now, John, much as I enjoy "Islands" clearly it is the weakest Band album. "Cahoots", however flawed, is a real effort. "Let The Night Fall" is an even more lackluster songwriting effort than "Thinking Out Loud." And sorry, you can't count the post Band Band albums as the real thing. Not if your going up against Them Liverpool sharpies......

Wed Nov 25 01:51:42 MET 1998

Church Lady

Serge and Lois communicating, isn't that special! Lois from earth? I don't think so. More likely from a very hot and fiery place. As Leadbelly sang "Get Thee Behind Me Satan"

Wed Nov 25 01:23:26 MET 1998

Lord Beatle

From: The Great Midwest

Well, since Danny Lopez was kind enough to get me involved in this whole thing: Thanks for the kind words, Mr. Viney. The only point I was making about McCartney's musical prowess was that it is a fairly common jibe that the Beatles were not great musicians. This is demonstrably untrue: check out some of the old Rolling Stone magazines -- Harrison is consistently held out as a musician of the first order. I stand by my belief that McCartney was the single most talented musician of the period. Whether he would have played with the Stones, Yardbirds, etc. -- well, a silly comment on my part in attempting to comment upon his abilities. He certainly had the "chops," but never the interest to become a great bluesmen, or a Rolling Stone. The Band are a great American treasure, but comparisons to the Beatles are wrong-headed. The Beatles were an artistic force -- we're talking about Art, with a big "A." They alone had the standing, popularity, and talent to force the "establishment" and established art critics to take R&R seriously as an art form. Unfortunately, little has risen to the level of "Pepper" for pure impact upon the artistic community (though numerous bands tried at the time). This is the quality which sets the Beatles apart: the ability to drive culture, rather than to be led. Anyway, don't get me wrong, I love the Band. But you are talking apples and oranges when comparing the the Beatles and the Band, or the Beatles and virtually any other rock and roll entity (with the possible exception of Dylan). Happy Thanksgiving, All.

Mike Carrico

Not to cast aspersions upon Beggars Banquet or the White Album (especially Beggars, which might be the 2nd best album of 1968); but Big Pink is the best album of any year with the possible exception of 1969. Did somebody say "Brown Album"?

John, I agree with you that Islands has only one bad tune, but for me that would be "Streetwalker". Except for that and the surprisingly lackluster version of "Ain't That a Lot of Love", Islands is pretty good for a" let us outta our contract" collection of songs.

Wed Nov 25 01:03:37 MET 1998


From: Earth

Hey Serge! How you doin' buddy? Nice to hear from you after so long. Hope you're doin' well. Say hi To Levon and Rick for me next time they come to your house for dinner OK? See ya...

Wed Nov 25 01:01:31 MET 1998

The Sanity Police

Louis from Mexico..Nice to see that after your crawl out of your hole, you managed to keep your incoherent verbal diarrhea free of your usual profanities and your feeble attempts at propping up your delivery with the uses of Je**s and Ch***t. Good for you. Problem is, you still have not contributed a single worthwhile thing to this site.

Wed Nov 25 00:31:40 MET 1998

John Donabie

Not Band related......however it appears that The C.R.T.C. (Canadian version of the F.C.C. in the U.S.)is going to try to regulate the internet in Canada with Canadian content, just like they did with Canadian music content in 1970. Don't know how they are going to do it. God help save us from the safety police.

Tue Nov 24 22:49:49 MET 1998


From: penna

Best album of 68? Without question-Big Pink. Ben Pike: The best of the worst? IMHP its a tie between Cahoots+the Hog for worst Band album. From that comparison Let it Be is better. But I give Islands the nod over Let it Be. For me Islands only had 1 really bad tune-Right as Rain. It gives me the shivers, can't even discuss it!

Tue Nov 24 20:22:18 MET 1998


From: Earth [Near Mexico]

I've floated in and out to read notes in the guestbook since I stopped posting several months ago. It's nice to know that I'M NOT crazy. I was in the site fairly regularly around the time Jubilation was first released. I felt I had a lot I wanted to share and discuss with you, fellow THE BAND fans. Thoughts, reviews, instrumentation, guest artists...

For some reason I decided to come in here today and see what's cooking... It AIN'T ME!!! Hooray! I'm not crazy! Suffice it to say, there are some nutballs who are regulars in this guestbook who have created a mean spirited and dysfunctional atmosphere in here. It's a DISSERVICE to THE BAND. I've seen folks come in here and post with thoughts, questions, requests for information and get hammered by at least one old, bitter, angry wanna-be/never-was "authority" and "friend" of THE BAND from Canada. The point is, I've watched the Internet become a marketing tool, a very very succesful marketing tool. I've seen entire bands go from nothing to stardom via the Internet. I've also seen Artists with little or no visibility become more succesful in getting music out thru the 'net, Helm and Danko being just 2 examples.

One final thought to you "authoritiies". Ask yourself how many past present or future fans, CONSUMERS of MUSIC products have been turned off to THE BAND due to the pathetic and truly, TRULY sad one-upmanship, insults and abuses that go on in here... If you truly ARE fans of THE BAND and would like to see them return to at least a semblence of their former glory, realize one thing... YOU ARE NOT THE STAR, YOU ARE NOT THE ROCK STAR (neither are they anymore), YOU ARE NOT THE CELEBRITY...

Tue Nov 24 20:07:51 MET 1998

David Powell

Albums released in 1968:

The Band---_Music From Big Pink_

The Beatles---_The Beatles_ "White Album"

The Rolling Stones---_Beggars Banquet_

Take your pick.

Tue Nov 24 19:23:59 MET 1998

Ben Pike

From: Cleveland Tx

I would say the worst Beatles album is "Let It Be" and the worst Band album "Islands". Now, which is better? By the way, I have always dismissed those who said Libby Tittus broke up the Band.....

Tue Nov 24 18:22:25 MET 1998

Peter Viney

The quote Ned gives from Bill Wyman in ‘The Bang Masters’ tallies accurately with my memories. In 62/63 The Beatles were very cool in the Uk, then just as they hit it big in the USA they were regarded as teenybop here, and you could tell how good a party was going to be by the choice of Beatles or Stones etc. Asking people whether they preferred The Beatles or the Stones circa 64/65 was a question that decided your whole attitude towards them (cf. Elvis or Cliff; Lennon or McCartney). We were into The Stones, Animals, Pretty Things, Manfred Mann (then all R & B), early Spencer Davis. If we’d heard The Hawks we’d’ve been blown away, because the R&B basis was there, but judging from the surviving records they were way better. I suspect Van’s impact with Them is somewhat exaggerated in these notes. I now love those Them albums, but they never had the status of the aforementioned at the time. But through it all, The Beatles had a nagging way of getting songs under your skin, even if you’d only admit it among close friends. Then ‘Rubber Soul’ was undeniably good, ‘Revolver’ a step up and they became generally cool again. Then you get the great late 60s albums. Like a lot of stuff that seemed “twee” at the time, the mid-period Beatles songs have resonated well down the ages. But when I was playing the game of Beatles v Stones I was 17, with John v Paul I was 15, with Elvis v Cliff I was 13. So come on, guys. Is this Beatles / Band comparison actually dignified beyond a certain point?

Tue Nov 24 17:48:45 MET 1998

David Powell

From: Georgia, U.S.A

Was that Amadeus or Adolf that just went waltzing by?

Tue Nov 24 17:19:41 MET 1998

Martin Allan

From: Scotland

Great Web Site. I'm planning a book concentrating on Dylan/the Hawks/Band with particular emphasis on the 66 tour and the basement tapes. The web pages have been invaluable for snippets of info which have helped me with my research. How about a page(s) with a complete gig/set list of shows, both with Dylan 65/66 and with the Band, from 69-TLW. Ambitious I know, but one could probably be pieced together from what is floating about on bootlegs etc.Keep up the good work

Tue Nov 24 17:06:51 MET 1998


Thank you Floorbird for your info.

The essay included in The Bang Masters, the CD release of Van Morrison's 1967 recording sessions, contains the following quote from Bill Wyman of the Stones: "There was a complete division between the Beatles and their followers--the Hollies, the Searchers, Gerry and the Pacemakers, Freddie and the Dreamers, the Merseybeats, Billy J. Kramer, Dave Clark, and Herman's hermits--and the Stones' lot. That was us, the Animals, Them with Van Morrison, the Pretty Things, and all the bands that followed us. It was a very strong division. The other side was playing eights--eight to a bar, like "She Loves You." We were doing Chuck Berry stuff, shuffles, everything based on a more jazzy influence."

The essay continues with a quote from a Van interview with Musician magazine in 1984: "The R&B movmenet over here [Britain] was actually an anti-establishment stance against the was against that silly image. It was in no shape or form mean to be a commercial entity at all. Well, this was later picked up by record companies and regurgitated into something that was called 'rock.' But when it started it had nothing to do with rock. it was actually against the rock/pop movement."

The essay adds: 'But by 1967 the battle was lost. The Beatles had brought to respect and art and accomplishments and mountians and mountains of money. The R&B bands just sounded old-fashined. The Stones traded in Slim harpo for "Lady Jane" and "as Tears Go By: and Satanic Majesties. The Animals started singing of San Francisco and flower power. Van Morriosn quit Them and looked for a way to fit in. [During the 1967 sessions he recorded Brown Eyed Girl, a stylistic departure fo him]

How does this relate to the Band? The whole apples and oranges issue of comoparing the Band and the Beatles. 1967 saw the release of St. Pepper's and Big Pink, two very different products. Still, in terms of sales, sociological impact, etc. the Beatles dominate. In terms of powerful, powerful music....[to paraphrase Bill Graham] ladies and gentlemen, I give you the Band!

Tue Nov 24 16:46:52 MET 1998


From: penna

Birthdays Today: Happy 57 to the best drummer the Beatles ever had Pete Best. Also 57 is Bassist Donald{duck}Dunn, memeber of Booker T & the MGs and founding member of the Blues Brothers. Singer Lee Micheals is 53. How many of you remember Lee?

Comparing the Beatles with the Band is like Led Zepplin with John lee Hooker or Muddy or the Wolf or B.B. or Jimmy Reed or Willie Dixon. The former played some of the same songs, the latter "knew how" to play and did so with more feelin' and authenticity. So stuff that in your pipes all you neo-intellectual dorks.

Tue Nov 24 16:00:41 MET 1998

Kicking Horse

From: Corbets Couloir

To WOLFGANG: Truer words have probably been spoken but not in this forum!

Tue Nov 24 15:35:39 MET 1998

John Donabie

From: Toronto

Beatles vs. The Hawks? Apples and Oranges. Two very different groups on two very different trips. First of all is you have to make a comparison it should be The Hawks vs. The Quarrymen. Your almost on level ground here. The next comparison would be The Band vs. The Beatles. Once again on a more level playing field; with the exception that The Beatles got to be The Beatles for roughly 6 years; before The Band became The Band.

Gee, I guess I just got caught up in this whole thing, so I'll end the way I started. Comparisons of the two groups is apples and oranges. For those who like comparisons I would look at The Band vs. Little Feat and The Beatles vs. .....vs. Sorry I can't come up with anyone at the moment; because although The Band will always be #1 to me, you can't take a way the fact that historically The Beatles will be the #1 pop group of the century socially and statistically. Can't argue with world recognition and record sales.

Tue Nov 24 13:37:37 MET 1998

Peter Viney

Wolfgang: your post contains a series of ethnic slurs. You equate corn picking with Iowa, insult someone because their surname is Hispanic (dance to salsa) and also manage to insult the north-west of England for its accents, and the whole of the United States for its government and education system. That's going some. What I don't understand is how a Ph.D on the Beatles can be ridiculed compared to a Ph D on an unknown puritan poet or the spectra of inert gases. It would seem to be a much more worthy subject!

Tue Nov 24 13:23:31 MET 1998

Peter Viney

Mr Jim Moron: I only post using my own name, and my e-mail address is real. This word "ego" having just three letters must be appealing to someone like you, but is more complex than it appears. There seem to be a little bunch out there who like throwing it around. Maybe they're all you. I feel highly privileged to join the group it's thrown at, though they tend to get 'inflated' I get 'insecure.'

Danny Lopez was making a perfectly reasoned and valid comment in quoting his friend, Lord Beatle. The R&R v R&B distinction holds water. As his friend has just spent three years (minimum) researching The Beatles, you would expect him to think they were worthy of study. I don't agree with all the conclusions - I for one can listen to the early Stones, but cannot stand the Stones in 1998. The Beatles were genuine rowdy working-class heroes. The Stones were nice middle-class boys acting rough. I don't share the British obession with class, but Lord Beatle is correct in assuming that it would have been interpreted like this by The Beatles. Lord Beatle's comments on 'Matchbox' are right - it was just Ringo's little number to shake his head to, in honour of all the little girls with Ringo pillow cases.

The bit that's going to rile people is the Danko / McCartney comparison. I think they have similarities in being melodic rather than riffing bassists, as well as singing. I think they are both great bass players. I find I have to be VERY selective with recent McCartney, much of which I find bland, but Lord Beatle can hardly be criticized for saying that McCartney has been more influential in the history and development of rock music than Danko. Whether you love or loathe Sir Paul, you can hardly deny that he has been the more major figure. McCartney was the most accomplished musician in The Beatles, and I think George H and Sir George M would admit that. McCartney is a more than competent keyboard player and guitarist. I think the point about lead guitar is wrong, in that playing lead guitar in The Stones, Yardbirds or Hawks is not a job he would have sought or even rated. I think McCartney, like Robertson and Brian Wilson, had a great quality of seeing the song as a whole, and working towards presenting the song rather than in showing instrumental virtuosity. I'd never realized until the Pet Sounds box set that all that great bass was NOT Wilson at all, but Motown bassist Carole Kaye. This is what makes all three of them great, they see way beyond their own instruments. I don't think it ever particularly mattered to McCartney, and RR got past that "I can play faster" crap when he was still in his teens. You notice that Danko does not feel he has to play bass all the time either, and will happily hand it over to less accomplished bassists while he strums. This is probably coming from the same place as McCartney. All the "I can play anything you can play" nonsense should be left to Alvin Lee. What anyone can reproduce on an instrument is of passing interest. Who thought of doing it in the first place is what counts.

Sir Paul has a melodic ability that puts him among the top few popular music composers of the century. In many ways he can be equated with the pre-rock greats more easily than with his contemporaries. This is equally true of Brian Wilson. Now whether that makes him a great ROCK composer, or whether his present output appeals to the taste of most of us is a different question. Myself, I listen to Danko a lot and Sir Paul a little. But Danko didn't write 'Penny Lane' or … well, the list is too long.

Tue Nov 24 13:05:48 MET 1998


From: Salzburg

I thought I had read every comedic, idiotic post in this forum, where a merry-go-round of about 6 habitual contributors seem to rack their brains in a daily game of one-upmanship, with the odd stray genuine Band fan who says his piece and fades away. But the post from the corn picker from Iowa beats them all. "A Phd dissertation on the Beatles" ??!! LOL. Of course in the land of "E pluribus unum" anything is possible and permissible, even doctorates in basket weaving and paper tolling are allowed, and buffoons are elected to run the whole circus.

Comparing Beatles with the Band ?? Four marketed mop tops who could hardly get their thick tongues to function properly to verbalize an understandable English, go from mediocre renditions of Chuck Berry tunes then almost overnight are credited with compositions of things like "Yesterday"...Yeah right! Thank you Mr.Martin.

Go somewhere, and dance away to salsa Lopez.

Tue Nov 24 09:48:33 MET 1998


From: Phila.

This short review is from the 11/22/98 Philadelphia Inquirer. It got three out of five stars, not great, but a step up from the paper's last comment on The Band. It was from a review of the Ridin' the Blinds album, which was extremely favorable but mentioned that (parapharse),'Danko has done impressive work with DFA and should continue rather than with the Band which has become a "glorified bar band"'. I remember the last quote explicitly.


Country The Band Jubilation River North Ever since songwriter Robbie Robertson left after The Last Waltz, The Band has been a decidedly lower-case outfit, an echo of the group that brought a unique vision of Americana to rock. Jubilation, however, gives cause to rejoice, as the group, featuring three original members, comes closer than ever to recapturing past glories. To be sure, nothing here approaches ``The Night They Drove Old Dixie Down,'' but the mostly original material is strong in its own modest way. The songs are enhanced by rich and rootsy arrangements that unfold in unhurried fashion, from the countrified ``High Cotton'' to the funky, horn-fired ``A Blind Fool's Love.'' Rick Danko is as sweetly plaintive as ever singing ``Book Faded Brown'' and trading verses with John Hiatt on ``Bound by Love,'' while Levon Helm's voice has lost much of its robustness but little of its character, as he shows on the easy-rolling ``Last Train to Memphis,'' which features Eric Clapton on guitar. - Nick Cristiano - Philadelphia Inquirer 11/22/98

Tue Nov 24 04:37:41 MET 1998

Pat Brennan

From: USA

First of all, Jim from NY, you shouldn't call yourself a Moron at the end of your post. Viney might be Serge too. And this Beatles thing. Lennon said many times that the Beatles lost it as a live act before Beatlemania hit, and I for one believe him. Since Lord Beatle prefaced his remark re: John's singing with the warning that it was his/her opinion, I can accept his/her judgement. But Paul the best musician of the '60's? Guitarist in the Yardbirds? Hawks? Good Luck with your empirical proof there. As for the qualitative excellence of R&R over R&B, and the Beatles evident pursuit of the R&R muse for that reason, I can only recall Ringo trying desperately to play that fill during I Shall Be Released in TLW. And that's an easy one.

Tue Nov 24 04:33:49 MET 1998


From: Albany

Hey Viney, Ben Pike or ANYBODY-I'm going to see Danko on Nov 28 in Schenectady NY. Can anybody let me in on what songs hes's playing (Jubilation tunes?)& whose playing with him. I can't download previous monthly guestbooks-ain't got enough memory. Maybe others here would like to see as well?

Tue Nov 24 02:10:40 MET 1998


From: NY

Hey Viney, could you have possibly made it any easier to figure out that Danny Lopez is really just you and your insecure ego. Moron.

Tue Nov 24 01:32:29 MET 1998

Danny Lopez

From: Iowa

Regarding all that commentary that compared the Beatles and the Hawks awhile back, I copied a good deal of it and sent it to my buddy who just completed his Ph.D. dissertation on the Beatles. I won't reveal his real name, let's just call him "Lord Beatle" (that's what I call him anyway). Here is what he sent me recently: Lopez: What did you think about the Band-Beatles comparisons?  Hopefully it was readable. Lord Beatle:  Well, seems to me there are a lot of anal revisionists out there. The only one that made any sense was Viney -- the notion that the Beatles were washed up as performers in 1964 is true only to the extent that the mania attending their shows made anything more than a thirty minute set senseless.  With regard to relative talents of the two bands, Richard Manuel has a good voice, but Lennon's, for me, has always been the definitive rock and roll voice [early Lennon, that is].  I think it is an unfair comparison, in a lot of ways -- the Beatles were simply the greatest rock and roll band in the world in 1962-64.  Notice I said "rock and roll" - the Beatles were not an r&b combo; in spite of Lennon's later iconoclasm, the Beatles and Lennon did not want to be an r&b band.  Musically, this would have been impossible -- not that the Beatles couldn't have handled it, but r&b provides a rather limited musical pallette, and the Beatles were way too musically aware to have stuck to the r&b form.  The Stones did, but you tell me how much you can listen to that early stuff.  In fact, if one were to see the Beatles before they hit you would have seen a band that truly was what the Stones aspired to be -- a rowdy, drunken, "ass-kicking," working-class, rock and roll machine. More on comparisons:  Danko is great, but to compare him to Macca is foolish at all levels -- they do not play the same type of Bass, and Macca is a force unto himself.  In fact, he was the best musician of the lot - in my opinion the best musician of the Sixties:  he would have been comfortable playing lead guitar in any band, as far as abilities go -- be it the Stones, Yardbirds, or Hawks.  As far as "Matchbox" goes -- Perkins does the best version; Ringo got the song for one reason:  he was the most popular Beatle (in the US, Macca and Ringo were favorites throughout the days of Beatlemania), and therefore required a showcase in concert.  At any rate, "Matchbox" hardly rates as a great tune, no matter who is singing it.  Spoken like a true Beatle fan . . . .

Tue Nov 24 01:16:04 MET 1998


From: Toronto.

Just remebered the other blues artist that passed away recently "Johnny Adams" vocalist from New Orlean's.

Tue Nov 24 01:07:51 MET 1998


From: Toronto.

To Ned; one of the blues artists from Mississippi who passed away recently is one Lonnie Pritchford tragically from aid's, only in his early 40's He was an amazing delta blues artist; you can see him in the movie "Deep Blues" (directed by the late, great blues historian & author Robert Palmer).

Tue Nov 24 01:07:26 MET 1998

Ben Pike

From: Cleveland Tx

I would like to see the whole Band join in and help Garth with a new arragement of "Feed The Birds."

Tue Nov 24 00:33:10 MET 1998

Ragtime Willie

Mentioning "Free as a bird" brings Richard's "Country Boy" to mind. I think the studio arrangement was made years after he did the singing. They added Garth's synthesizer and-so-on to his voice. Am I right? It sounds like it. I asked this before, but nobody picked it up. So, Peter, here is a way to materialize your maginary (or rather virtual-reality) album. Rather spooky, don't ya think?

Tue Nov 24 00:27:29 MET 1998


From: Ontario

Note to Ned: Checked wires all the way to fri but nil on yr 2 bluesmen dying. Sorry.

Mon Nov 23 23:51:28 MET 1998

Peter Viney

Postscript: the extra point always comes just after you press 'submit.' Are there any other thoughts on what might be negative and positive in this imaginary reunion concert?

Mon Nov 23 23:48:02 MET 1998

Peter Viney

Ben Pike: I find 'Free As A bird' touching for the same reason, though it'd fit best on a 'Travelin' Wilburys' record because of the way they treated it. But I rushed out to get one. The Travelin' Wilbury connection gave me an irreverent thought of the negative and positive sides of a reunion! The positive would see Rick and Levon on 'Soap Box Preacher', Levon adding brilliant drumming to 'Crazy River' (and smiling encouragingly as Robbie sang it), Robbie's guitar on … well, everything. The negative side would be Levon trying to work out what to play in 'Twisted Hair', Robbie trying to soldier manfully through 'Crazy Mama'while staying awake, Rick trying to do all the female chorus lines to the Native Americans material. The thing is, I think Garth would manage to fit something imaginative and interesting to anything they threw at him!

Mon Nov 23 22:28:46 MET 1998


From: Mulcahy

With all the recent postings on Levon Vs Robbie, Richard's death and various other conflicts I have taken to entering the guestbook armed with a box of tissues and a whip and chair!! I think it may have been Garth who said long ago that the music should make you feel good ! .Richard is obviously greatly missed by many on here, which brings to mind the question of how good a vocalist was he?. In my view I rate him in the five best ever [personal favourites] along with Jack Bruce[very underated], J.C.Fogerty,Jim Morrison and Paul Jones. I'd be interested in seeing some other "Top 5s" from the discerning readers of the guestbook.

Mon Nov 23 22:16:51 MET 1998

Ben Pike

From: Cleveland Tx.

Peter, I am with you, except on "Free As A Bird." To me, that record is kinda touching, BECAUSE it sounds like the three survivors singing along with an old work tape. It doesn't carry the responsability of trying to be a NEW Beatle record; which is a hopeless dream. I look at Jubilation and current Band shows like I would Old Timers Day at the ballpark; they are fat, outta shape and not like they used to be... but there's something reasursing about it, you stay on the field till the clock runs down.....

Mon Nov 23 21:12:33 MET 1998


REQUEST: The other day I heard a snippet on the radio that two Mississippi bluesmen died, but I missed the rest of the story telling who they were. I have not seen the news any where else, does anyone here know who died?

Mon Nov 23 16:38:41 MET 1998

David Powell

From: Georgia on my mind

A version of the film _Eat the Document_ is once again seeing the light of day. Assembled from footage originally shot by D. A. Pennebaker during the Dylan / Hawks European tour in 1966, the documentary was originally intended to be shown on ABC television. This was one of the projects that Dylan was working on in Woodstock following the tour.

Reportedly unhappy with the footage that Pennebaker edited with the help of Bob Neuwirth, Dylan decided to re-edit the film with the help of Howard Alk, a cameraman who had worked with Pennebaker on both _Don't Look Back_ and _Eat the Document_. Dylan also enlisted the help of Robbie Robertson. According to Clinton Heylin, in his book _Bob Dylan Behind The Shades_, Dylan "encouraged [Robertson] to come up to Woodstock with the remainder of the Hawks." Robertson is quoted by Heylin: "The first reason I went to Woodstock was that he [Dylan] was working on _Eat the Document_ and he asked me to help on the film, and that's what I did, I went up and lived at his house and worked on the film for a while..."

Speaking of films---Donald Joseph or anyone else having trouble finding the "The Band Classic Album" video can order it direct from Rhino. Check the website for details at:

It was thirty years ago yesterday that _The Beatles_ with its minimalistic white cover designed by Richard Hamilton was released. The 30 song two LP set was immediately successful, selling "nearly two million" copies in the U.S. during the first week of release, according to the Guiness Book of Records. Beatle chronicler Mark Lewisohn wrote that the album at one time was going to be entiled _A Doll's House_, after the Henrik Ibsen play.

Mon Nov 23 15:50:21 MET 1998

Peter Viney

I think Willie's probably correct, sadly. We are dinosaurs longing for the past. I just thought about The Byrds reunion, and the Eagles reunion, and CSNY 'American Dream' let alone the 1989 Jefferson Airplane reunion or The Beatles 'Free As A Bird.' A reunion would either be yet another reprise of previous greatness (live), but minus Richard.Or a compromise - solo artists are reluctant to put their best material in the hat. A reunion would only work if they were basically doing new RR songs, and then they'd feel they were backing Robbie, or controlled by RR. Which i imagine would be unacceptable. I think that's the one they'd have to swallow. It's the same reason why the three remaining Beatles will stay apart. They can't replace John any more than The Band can replace Richard (no, this isn't a signal for more John / Richard comparison!). There'd be an imbalance on the writing side. Even after Richard stopped writing, they all knew he could, and that helps balance things out.

Mon Nov 23 12:15:08 MET 1998

Diamond Lil

From: The Web

Speculation is dangerous folks, and it serves no purpose other than to generate more speculation.

There is no basis for _blame_ in Richard's death. He was loved and taken care of up until the end, an end which he himself was responsible for.His reasons are ones that we'll never know.

Richard, I think - was a victim of his own insecurities. He just never knew how good he really was.

Mon Nov 23 11:05:18 MET 1998


After the interesting posts by Mama & Ned & Rod I'd like to add that probably Richard's death makes it impossible for the four of them to jam together as if nothing happened. It was a trauma for all of them. Blaming each other doesn't help, but playing together doesn't either. So much for psychology...

Mon Nov 23 10:12:09 MET 1998

Ragtime Willie

From: that old rockin' chair

If Levon has his personal reasons to hate Robbie (whatever the possibly Beak-related cause), I think Robbies reasons not to reunite with the others are purely musical. He simply went another way and if they want to play along with him (like Rick & Garth on hirst first two albums), that's fine. Levon's musical aspirations are far more down-to-earth. They never will be a group again and - sad as it is - we should realize that we are dinosaurs longing for the past. ... The Seven Seas won't carry us no more ...

Mon Nov 23 09:34:43 MET 1998


From: N.Z.

Mama Chickee, an interesting theory. I would think that it is probably Robbie who blames Levon (in reforming The Band)for Richard's death rather than vise versa. I remember two interviews with Robbie. The first was about the time The King of Comedy came out. RR was saying that Richard was living in LA and was in "great shape - seems real calm". In the second article, from the mid nineties he was talking about The Band reunion and that "Richard died as a result" (I think he was talking about The Band's drug use). Rick seems to sometimes say nice things about RR but more recently he hasn't had much nice to say at all. Garth doesn't comment at all - though he did seem interested in the Native Americans project - as a true musician he seems more interested in the music than anything else. As someone else in the guestbook said, the reason we keep going on about this is that we wish RR and LH would kiss and make up and make a real Band record.

Mon Nov 23 05:02:18 MET 1998


Mama Chickee

Maybe he has to blame Robbie, because if he doesn't than there is little other option than to blame himself.

Mon Nov 23 02:59:34 MET 1998

Mama Chickee

Now that I've read Stanley Landau's comments re: the feud and the fact that they asked Robbie to return in the 80's; just might throw my theory out the window; but here she goes.

First of all a fued usually means that at least two people are at each other. I think this is more of a one way fued aimed at Robbie from Levon.

Why? Levon really loved Richard. Not just for his talent; but as a person. He loved his sensitivity and his charm. His "let's take the whole damn world on attitude" to being a little shy. You might remember that Richard came out of the chute writing some great material. Then it was gone! But why? I believe that Levon blames Robbie for breaking Richard's spirit. I believe that Levon feels that Richard crept backwards into the darkness; after Robbie and Grossman took their stand. Think about it. It's not such a crazy idea. Levon is above and beyond all, LOYAL. There may be other reasons thrown it; but I do think it was watching Richard retreat (and in Levon's eyes because of Robbie) that has made him so angry over the years. But what does an old woman know anyways?

Mon Nov 23 02:31:32 MET 1998


From: The Brokerage

From the I kid you not department, I am continually facinated by the links between the many aritsts some of us enjoy. Tim Drummond's connection to Rick Danko is well known, his sometime participation as a Coral Reefer backing up Jimmy Buffett was noted earlier this summer. On A.J. Croce's debut album released in 1993, Drummond helps out on bass (electric). The album was arranged and produced by John Simon. It includes his cover of "Stuff You Gotta Watch" likewise covered by The Band on 1993's Jericho.

As has been noted before, Jim Croce's first serenade to Ingrid was "Country Boy". This same tune is included on Jericho as the sole Manuel song.

Mon Nov 23 02:21:42 MET 1998

Diamond Lil

From: The Web


I read your first post (twice) and then read posts by Uncle Hangover and Ellerbee. I have to agree with their interpretation. "Levon croaking his way through...." is pretty self explanatory I'd say. Maybe some of us are missing whatever your point was supposed to be. Care to enlighten us?

Mon Nov 23 01:09:59 MET 1998


In this discussion of the post-Waltz rift between Robbie and Levon, it is intersting to note the interactions that followed: The roxy concert has been brought up and some of the others appeared with Robbie but without Levon for the R&R Hall of Fame and the Juno awards as mentioned as well as on Robbei's first two solo albums and on his soundtrack to King of Comedy for the track Between Trains.

Suggesting that Richard's death was the breaking point is very intersting and likely to be very difficult and controversial to discuss. Both books, Levon's and Hoskyn's, use it as a starting point and both seem to draw different conclusions. I would add that Robbie's famous commnet during the Last Waltz movie about the road claiming the great ones seemed to come true that night in Winter Park.

I really appreciate the information on the crediting done on the original vinyl of Big Pink. I only came to own the album much later when things had changed.

Mon Nov 23 00:51:24 MET 1998


To Uncle Hangover & Ellarbee:
Why dont you read what I said again, you might see what I really said, Not your interpretation.

Sun Nov 22 23:57:55 MET 1998

Uncle Hangover

From: Austin, TX

Chris, I don't share your view on "Jubilation". Levon's "Don't Wait" is wonderful. You should show some respect for who they are and what they have given us over all these years, instead of writing them off as nobodys because they get older. Go listen to some pop music and don't come back here.

Sun Nov 22 23:27:09 MET 1998


From: Ft. Wash, PA

To Stanley Landau: I think you might be on target. Richard's death was probably the last straw. I think the Levon/Robbie break was a gradual thing. Remember, the Band were supposed to continue recording as a unit. After that fell threw, and Levon's albums didn't sell particularly well, and they went from arenas to smaller venues, I'm sure there was a lot of anger brewing. But that type of story is harder to explain and would probably not sell as many books. That might sound like I'm slamming Levon, but I'm not. He's still my all time favorite. It's too bad Levon and Robbie won't be in the same room together, because if that were to happen they might remember how much they liked each other.

Sun Nov 22 21:47:11 MET 1998

Stanley Landau

From: Toronto

To Ellarbee: If you are suggesting that Levon’s anger with Robbie originates from Robbie’s having broken up the original line up for no reason, then I don’t follow Levon’s thinking. For one thing, Robbie admitted in the 80’s that it was clear to him the others had not shared his publicly stated reasons for giving up touring and that he had been presumptuous in suggesting that they did. How does that and Robbie’s desire to do different things translate to Levon’s apparent unwillingness to even occasionally share a stage with Robbie? As far as Robbie "going Hollywood" I assume you do not mean this literally since Levon has had his own share of "Hollywood" success (and in my opinion has acquitted himself much more favourably than Robbie). What I assume you mean is the "Duke" stuff, the posturing in The Last Waltz and the whole full of himself persona. I can understand that turning off a guy like Levon who by all accounts is a down to earth, no bullshit individual. But surely this can’t be what this feud is all about. These guys were best friends. They hung together for years. People change, that’s life, but this doesn’t make sense. It’s got to be something more. This is my own speculation and I’ve never read or heard it suggested before, but I wonder if Levon in some way blames Robbie for Richard’s death. Was Richard depressed because of the relative lack of success achieved by The Band mid-80’s minus Robertson - the apparent fall from success? Obviously I’m just guessing, but there’s got to be something fairly profound to have caused this rift, not explained by what has been suggested so far. By the way, I too am a big Levon fan. But like many others, while I would rather listen to The Band post Robertson then the post Robertson Band, neither compares to The (original) Band. All of us surely must be intrigued by the thought of what a reconciliation might produce, and I guess that’s why the whole Levon and Robbie relationship keeps coming back up on this Guestbook.

Sun Nov 22 21:44:01 MET 1998

Peter Viney

Rick was also down to sing on 'Soap Box preacher' but couldn't make it and was replaced by Neil Young - we don't know, but it would seem that Levon feels strongest. As I said, both Garth & Rick turned up for the R&R Hall of Fame. It's a difficult thing when two friends are in conflict - you try to avoid choosing sides, but anything you do is interpreted as doing so. The quote I posted from edmonton was when they were very "up" launching Jericho. Anyway, 83 was 15 years ago, 94 was 4 years ago. I still have (faint) hopes of hearing the surviving four together again.

Sun Nov 22 20:56:11 MET 1998


From: Virginia

My typing is not always as I'd like it to be. I meant to say "generosity" and "collaborating" near the end of my 11/22 post. Thanks, Jan. Hope all is well.

Sun Nov 22 20:55:55 MET 1998

Ragtime Willie

Rick sings is on Storyville too (Hold Back The Dawn)

Sun Nov 22 20:49:51 MET 1998


From: Virginia

A couple of thoughts pertinent to very recent postings:

To Chris: You've described "Jubilation" as being a "dead-end street." What tripe. You wouldn't know soul and creativity if it rose up and bit you on your rear-end, which, apparently, is where your brain is located.

To Stanley Landau: I'm a big, big Levon fan, but I must agree with you in your analysis of the evidence, at least that which is generally available. Robbie "went Hollywood" and Robbie, at least in Levon's mind, broke up the original line-up for no good reason. Levon has always harbored a grudge about each such matter -- and perhaps with no small amount of justification. However, as for songwriting, the evidence is clear that Levon was receiving some credits for certain songs in the early albums. I must conclude that, if he had really played a major songwriting role in "The Night They Drove Ole Dixie Down" (and others for which he is not listed as an author), due credit would have been given.

To All: A number of bands in the 90's have learned much from the intra-group business mistakes made by The Band. For instance, on the very topic that now seems to have forever driven a wedge between Levon and Robbie, I know of one very successful band in which the principal songwriter and his bandmates have entered into an agreement which formally recognizes the contribution each member makes to the development of the song in the studio. This contractual arrangement assigns certain revenue percentages to the bandmates and, thus, rewards those who enhance a song, who give the song its birth, but who are not, technically, its authors. This arrangment keeps the peace and ensures that the largesse produced by a successful song is enjoyed by all -- its principal author, as well as the bandmates whose shaping efforts in the studio contributed to the song's popularity. As I learn more and more about what drove, or what keeps, Levon and Robbie apart, I've often wondered what would have happened had someone in their business camp had the good sense to implement the kind of agreement described above. It's a marvelous peace-keeping device and properly rewards all those who put in place the components of a widely accepted song. But, first it takes the good faith and the gererosity of the writer to recognize those collaborate with him a quasi-writing way. Robbie doesn't seem like a selfish sort to me. One must wonder whether, had Mr. Grossman had the foresight to suggest such an arrangement to Robbie, history would have been different. Guess we'll never know. There's so much to learn from the story of The Band -- in music and in the business of music.

Sun Nov 22 20:29:57 MET 1998

Ben Pike

From: Cleveland TX

Peter, you may be right about Danko in 94, but I remember Danko doing promo for his solo album. At that point the Band had not deserted the idea of working together in the studio, and Rick said"I wrote these songs, but when I'm in the Band I want Robbie to be my writer, because he is so specail." I think Rick went through a lot of dough, and blow, over the years too. Also, witness the positive comments Danko made about Robertson in Rolling Stone when the first Robertson solo album, witch he sings on, came out......

Sun Nov 22 19:14:29 MET 1998

Stanley Landau

From: Toronto

A few comments on the origin of the Robbie/Levon feud and the last time the original five played together.

I recall listening to a radio interview with Rick Danko interspersed with live recordings of Rick performing with his touring band. It must have been in the early 80’s. If my memory serves me well, he mentioned that he had recently had a party for a hundred friends or so, some of them who hadn’t seen each other for a long time. He said that all the guys including Robbie got up on stage and before they knew it, they were playing Stage Fright. From reading the previous posts, my guess is he was referring to the Roxy Theatre gig.

I find it hard, as have others who have written on these pages, to reconcile the basis for the Levon Robbie split with Levon’s explanation in This Wheel’s on Fire. There are several reasons.

As I understand it, Levon says that Robbie conspired with Albert Grossman to screw the others out of song writing royalties. From what I have read, Levon has specifically mentioned The Weight and The Night They Drove Old Dixie Down as songs that were really group efforts. As others have asked, why did it take until the 1980’s for this to first manifest itself in a visible schism when these songs were on albums released in the 1960’s? That’s a lot of years to be pissed off about something without publicly saying a word about it, not to mention a long time for the screwees to continue collaborating with the screwor. It’s not as though others (principally Manuel) didn’t get any song writing credits on the first two albums. Levon was credited on Jemimah Surrender, Strawberry Wine, and Life is a Carnival. So what happened? Perhaps Levon’s contributions on these songs were so great that Robbie could simply not avoid giving Levon credit. If this is the case, then what was the threshold on the other songs? Only four people know, but I don’t recall hearing any explanations from the Levon camp (if I can call it that) as to why he was, in fact, given credits on these songs, if there was a concerted effort by Robbie to ensure that only Robbie received song writing credits.

I recall reading an interview, at around the time Northern Lights came out. Robbie was asked why only his songs were used on the album. I believe he said that they had been planning to include a song of Rick’s but at the last minute it was rejected because they felt that it didn’t fit as well as the others. I also remember a later interview with Rick at around the time his solo album came out in which he complained he couldn’t seem to get the other guys in The Band to take any interest in his songs. These comments seem to be consistent with Rick, Robbie and perhaps others, all writing their own songs. Again if others contributed to the Robertson songs, this would have been a perfect segue into that issue.

It is my understanding that when Levon, Rick, Garth and Richard regrouped in the 80’s, Robbie was asked to join them. Robbie explained on more than one occasion that he wished the others well, but felt it would be inconsistent with the whole Last Waltz thing for him to get back n the group. How did it get from Levon acquiescing to Robbie’s rejoining The Band in 1983 to his refusal to join him on stage at either the Juno induction or the Rock & Roll Hall of Fame. How do you explain Rick’s apparent current negative attitude to Robbie with Rick’s singing on Robbie’s first solo album?

Finally, I remember reading an article in Rolling Stone (I think it was ’79 or ’80) in which Levon mentioned that he and the others wanted to make another Band studio album but he couldn’t get through to Robbie to discuss it and Robbie’s "people" said "Robbie will have to get back to you on that".

I guess what I’m trying to say here is that it just doesn’t make sense given the foregoing, that Levon’s apparent anger at Robertson has its origin in the song writing thing. If my hazy recollections are correct, it seems as though the feud began after 1983 and was full blown by around 1987.

Maybe nobody but those closest to the surviving four knows the answer, although I suspect that others, including some who post on these pages know more and aren’t saying, perhaps because they have received information in confidence. Frankly, perhaps it’s not our business. I guess I just get a little tired of reading in this Guestbook about the songwriting screwing being an historical fact. Maybe so, but it just doesn’t jive with what I remember over the years..

Sun Nov 22 18:33:35 MET 1998


Ive listened to Jubilation a few times but there is always something better to play! Try Colin Lindens New album. Is The Band finished? They haven't played together for ages, Richard Bell is hardly on Jubilation, Jimmy Weider doesn't get to play guitar, they get Eric Clapton to do the honours instead. Levon croaks his way through a few boring old tracks that sound like rejects from his first album, What happened to The Band we had on Jericho which had so much potential? They seem to lose their way a bit on High on the Hog but now they've ended up a dead end street.

To Peter: The Robbie hatred thing definitely started around the band reunion time and now it is just plain stupid

Sun Nov 22 17:07:08 MET 1998

Pat Brennan

From: USA

Mr. Rotten, perusing Jan's suggestions for proper behavior on his website would do you a world of good. So would adding something to the proceedings. Your view of Peter Viney as a bore, while entirely within your rights to have and hold, is beyond baseless.

Sun Nov 22 16:31:00 MET 1998

Johnny Rotten

From: the Corova Milkbar

Simmer down Viney, you bore. Face it, Joseph is right, now go and listen to Crazy River and "blow........hard", I'm not above being vulgar and I don't care if you excuse me Donny.

Sun Nov 22 16:27:27 MET 1998

Jerry Tenenbaum

From: Toronto, Canada

I was at the Dylan/Hawks concert of Nov. 15, 1965 at Massey Hall. After Dylan played his acoustic set, Levon and the Hawks came on (if I recall it correctly, alone!) and played "The Stones That I Throw". I believe it was on our music charts by that time. I cannot recall if they did anything else alone, but I don't think so. It's so hard to remember so many years later. I was 16 at the time.

Has anyone else commented on these concerts (not the well booted or taped ones, but some of the others of the 1965 period?

Incidently, my dad owned the Concord Tavern on Ossington and Bloor in those days. I used to go to the matinees to see the bands who were booked for the evening. I saw David Clayton Thomas and the Shays as well as Jon and Lee and the Checkmates (Rhinoceros - Jon Fonfara) and... I often saw Levon and the Hawks. They played there often. They were fantastic and were way above any other band that I saw locally at that time. They played standard R& B and were rehearsing for the evening shows. No tapes, unfortunately. Tape recorders were a luxury in those days and I certainly did not have a reel-to-reel. No pictures either. Only memories, and good ones.

Regards and keep up the excellent work.

Jerry Tenenbaum

Sun Nov 22 16:19:14 MET 1998


From: Ft. Wash, PA

I just read part of "Bad Moon Rising", the unauthorized biography of CCR. According to the author, John Fogerty would not play with the surviving members of CCR at the R&R Hall of Fame presentation, but DID play with Robbie Robertson and Springsteen. Seem Fogerty is not happy about the fact that his old CCR chums are touring as CCR Revisited (with The Cars' Elliot Easton on guitar and a new lead vocalist), and has slapped an injuction on them to prevent them from using the CCR name. Now, Fogerty was lead singer/guitarist/songwriter for CCR, but an injuction? Funny how some guys bend over backwards to prevent the former friends from making a few bucks. Still love Fogerty's music, though not as much as The Band's.

Sun Nov 22 14:46:13 MET 1998


From: Ft. Wash, PA

To Peter Viney: I believe the "Rob" that Rick hollers to at the Roxy show was Rob Fraboni, who produced Rick's solo album.

Sun Nov 22 14:38:11 MET 1998

Marvin Gardens

From: NY

Regarding Donald Joseph's review of Man Outside. I have never seen the film, but would like to. Since as we know Richard died on March 4, 1986 it is likely the film was shot in 1984 or 1985. Levon's book indicates it was 1984 (see page 291). The title seems an appropriate epitaph for Richard.

Sun Nov 22 14:22:49 MET 1998

Peter Viney

EDMONTON JOURNAL. Rick Danko interview by David Howell, June 1994. Reprinted in The Vancouver Sun, 21 June

I looked this out after my earlier post. It's worth quoting at greater length, though I disagree with the view put forward by Rick!

" He also doesn't mind saying that Robertson wasn't missed over the years that Jericho was being recorded. The sound you hear on Jericho is the result of "everybody collaborating, paying attention and giving 2000 per cent," he says, "It's not one person being a dickhead. Why the Band broke up … you can likely hear it in the later records. It wasn't really a Band project anymore. Kind of like Roger Waters with the Pink Floyd." In Danko's opinion … and it's shared by Helm … Robertson wasn't the heart and soul of The Band. That's the popular perception, thanks in part to 'The Last Waltz, the Martin Scorsese film about The Band's "final" concert in 1976, which focussed on Robertson. Danko points to keyboard player Hudson as the group's master musician."

Boring facts department: The Roxy show in 1978 was known as 'The Picnic in LA show' - I don't know why, and I'd forgotten all about it. Though it might well be their last stage appearance, I'd imagine that it was with Rick's touring band - did they all play instruments on 'The Weight' as well? At the start (allegedly) they have a lot of trouble getting sound on Levon's mic and Rick shouts, 'Hey let's get Levon's mic up here, you knuckleheads … (then after more) …Hey, Rob(?) are you out there? Holler. Can you get Levon's mic up please? The drum / vocal mic.' Whether this is Robbie or a roadie who knows? - you can hear guitar tuning up through it. If it was Robbie maybe they needed his roadie skills too. There's accordion on there as well as organ. As Garth normally played piano on this, I'd assume it was Richard on organ and Garth on accordion? Any clues from California? Someone must have been there.

Apart from the R&R Hall of Fame in 94 (which united all surviving members of the Live 66 line-up), there was a Juno Awards in 1989 with Danko, Hudson & Robertson. Both of these were 'The Weight.' RR also sat-in with Danko & Hudson in March 89 in Toronto, with 'Life Is a Carnival' and 'The Weight'. Are there any more?

Sun Nov 22 14:07:24 MET 1998

Ragtime Willie

From: not a twit (thank you thank you Serge)

CAHOOTS & RR: Some days ago Ned started some discussion about The Band's group dynamics & leadership. When Cahoots came out I listened to an telephone interview with RR on Radio 208 (Lucky Luxemburg). The interviewer was Noel Edmonds (if I remember well). This nitwit now hosts a quasi-hilarious BBC-tv show of the laugh-or-die variety. He showed his ignorance by asking silly questions like "What does Belfast Cowboy mean?". He presented Robbie as 'the leader of The Band' and RR answered all his questions in the 'I' form. "I wrote this because...", "I decided to dub this to..." and-so-on. There was no mention of any other Band member. I recall this so well because this was the first time I heard The Band had a leader! Time for a tiny little personal attack. One of the funniest things about Donnie Joseph is that he always presents common-known facts as if he's the one who found them himself after years of digging. And that he needs half this guestbook to inform us about his 'finds'. Go on Donald! The guestbook is peristaltic anyway. Please click "Submit" button only once!

Sun Nov 22 12:42:08 MET 1998

Peter Viney

Donald J: Another boring fact - You're not a frigging genius at all. Everyone who's read "The Budget Short Drug-Store Cut-Out bin Encylopaedia of Rock- large print edition" (the one with a paragraph on everyone, e.g. Roy Orbison: singer. American.), or any of the longer sleeve notes is aware that the name The Band was not used on Big Pink, except in the sense of "The orchestra:" / "Line-up:" / "Musician's credits".This was mentioned by contemporary reviewers - and may have been a piece of marketing genius, probably Grossman-inspired. I sentence you to seeking out the 'Classic Albums' video and watching it at least three times. No, that's too enjoyable.

Ben Pike: I think you're probably right about the start of the dissing, but I have to say that Mr Danko has also had harsh words on the subject of RR, in an interview in the Edmonton local paper in 94, reprinted in Vancouver, he referred to his former colleague as a "dickhead". But he did turn up for the award ceremony, as did Garth. And I've referred to some of my closest friends as dickheads and worse on more than one occasion. I even got close to using the term earlier today, but changed it to "not a frigging genius."

Sun Nov 22 11:25:18 MET 1998


Donald Joseph: The twit is not Ragtime, it's some non-entity calling itself Tyler, the art critic.

Sun Nov 22 09:07:54 MET 1998


From: New Zealand
Home page

I love your music....and I have put a clip on 3 of my webpages.... Thanks for the pleasure you give with your music

Sun Nov 22 06:14:12 MET 1998

Donald Joseph

From: Cincinnati was

John Donabie: I'm scared to admit this, but I'm still searching for the video on the making of the Brown l.p.: Never yet seen it. Glad to hear Levon backs up my thesis that the group's name appeared post-Pink. I'm a friggin' genius!

Diamond Lil: Thanks, too, for backing up my genius memory with your clipping faded brown: What an organized pack rat you are! Glad to see my memory DOES serve me well! (O.k., in the intervening 21 years I misremembered the Roxy for its down-the-street competitor the Whisky. So what?) The point remains that the 5 did jam together post-Waltz. Jan, you may need to amend some incorrect statements to the contrary on your website-in-chief.

And query -- from a Dr. John head such as I: With Garth AND Richard on stage, why do you NEED Mac ticklin' ivories?

Serge: I know I'll get mercilessly flamed, but here goes: As one victim of Ragtime's ire to another, please, PLEASE, PLEASE take a prozac before you log on.

I'm the first to get cantankerous, snappy, and (dare I say it?) egotistical (see above). In fact, I more than others loathe boring posts which try too hard not to offend (Viney's delivery, for e.g., can get be too just-the-facts-ma'm). But why be nasty, rude, personal, bullying and/or vulgar? It's been said before: You have a lot to bring to the table here (cf. your stuff on the web-page-in-chief). Contribute.

Sun Nov 22 05:22:03 MET 1998

John Moynahan

From: Bay Shore;N.Y.

long time FAN

Sun Nov 22 04:27:20 MET 1998

Little John Tyler

From: The House next Door

Awww, poor Serge. Things just aren't going as you'd like, are they, little buddy? Try to remember: It's not about you. And it's certainly not about me. It's about The Band. Now try to get along with the others.

Sun Nov 22 02:27:15 MET 1998

Ben Pike

From: Cleveland Tx.

To clarify: The problem with the "Dylan Live 66" set is not that the Band don't get billing, but that the liner notes say allmost nothing about their playing and presence. Peter, I would guess, even if it is a bit painfull, that Levon got PO'd later on down the line cause he BLEW all his dough. Then started belly aching about song credits. It seems significant that none of the other members ever, to my knowledge, publicly dissed Robertson.

Sun Nov 22 01:44:08 MET 1998


TYLER, don't invoke my name to ingratiate yourself back into this guestbook, and come on as if your insults meant nothing.. You are an ignorant twit who without thinking stepped all over his own dick. You have nothing substantial or intelligent to offer here, other than to regurgitate the obvious.

Sun Nov 22 00:22:58 MET 1998

Diamond Lil

From: The Web

John Donabie:

What I have here is a faded brown newspaper clipping that a friend sent to me back in 1978. It talks about Rick Danko having a sellout concert at the Roxy theatre in LA, also marking the first occassion that Rick and the rest of The Band played together since TLW a year and a half earlier. It goes on to say that Robbie (yes, Robbie), Levon, Richard and Garth all joined Rick onstage during his set at about 2 in the morning. Alice Cooper and Jack Nicholson were in the audience. Dr. John played keyboards.

Unfortunately, this clipping is all I've got - and because it's only a clipping, I don't even know what paper it might've been from. Can anyone else substantiate this?

Sat Nov 21 23:42:53 MET 1998


From: the floor

"robbie's ragin' ego", you're a real pisser Joseph, but ya made me laugh. Remember Dirge, how does it rate on your most accurate scale?

Sat Nov 21 22:11:26 MET 1998

john donabie

Diamond Lil'....could you tell us more about the date with the original 5 at the Roxy? I always thought that the Waltz was it. Thank you in advance for the info.

Sat Nov 21 22:07:28 MET 1998

John Donabie

The reason that there wasn't really as credit for "The Band" on Big Pink is an easy one. If you watch the video on the making of the Brown album, Levon mentions that the name of "The Band" didn't really happen until then (Brown LP). The only reason being, everyone called them Bob's Band in the beginning and then The Band. They really didn't have a name yet (officially) on Big Pink.

Sat Nov 21 21:57:45 MET 1998

Josh Bashore

From: Hershey, Pa

Sat Nov 21 19:57:18 MET 1998

Peter Viney

Donald Joseph: you certainly keep us talking here. When The Band broke up after TLW, there was still talk of further Band studio work from RR, while discounting any more tours. The future for both Rick and Levon looked bright in 77/78. Danko was touring with a good album, Levon was having fun with the RCO All-Stars. They were sitting in on each other’s work. The TLW album was yet to appear. Things often feel fine when they’re being filmed, but less satisfactory when edited. There was no reason to assume they wouldn’t ever record as a unit again, even if touring was ruled out. CSNY have broken up more times than I care to remember. A few bands are getting onto their third or fourth reunions.

I don’t know, as some will be quick to say, we weren’t there, BUT maybe the perceived disharmony came later, or grew from a grumble into a rift. Perhaps it came when RR refused to rejoin in 1983, when Levon’s solo albums weren’t getting expected sales, when the inspiration that fired Rick’s solo album began to wane, maybe when the money started to run out, maybe with the loss of Richard, maybe with the realization that they needed Robbie as a mover and shaker, let alone as a songwriter, more than he needed them. Levon’s autobiography makes much of the business deals, the other three disposing of their share and so on. It could be that the ramifications took some time to hit them. Songwriter royalties are (a) better (b) take longer to dry up. Because of RR’s work on the TLW movie and his higher profile, they realized that he’d inherited much of their joint prestige. I still remember buying a ticket for The Band in Vancouver in 1994. It went something like this:

ME: The Band, please.


ME: The Band.

TICKETMASTER: I said, ‘Which Band?’

ME: The Band. Music from Big Pink? Bob Dylan’s backing group?

TICKETMASTER: Oh! You mean Robbie Robertson and The Band!

And this was in Canada. And yes, it annoyed me too. Maybe it was my British accent.

Sat Nov 21 19:32:05 MET 1998

Spider John

From: LAD3/4

Information from this site indicates that Robbie was not presnt at The Roxy for Rick's show. See below

As early as 1978 there were signs that some of the musicians would continue to work together. Four of the five - all except Robbie Robertson - played at what began as a Rick Danko gig at L.A.'s Roxy club in March 1978.

Sat Nov 21 18:40:30 MET 1998

Diamond Lil

From: The Web

I'd just like to add something to Donald Joseph's last post, but first I have to ask a question.

Are the Whiskey A Go Go and The Roxy Theatre the same place with a name change? Maybe one of you Californians can answer that.

Now..if it _is_ the same place, that may indeed be the last time the original 5 played together onstage.

If these venues are _not_ the same, then the last time the original 5 played together onstage was at The Roxy in late 1978. They performed "The Weight", and Dr. John was also there on keyboards.

Sat Nov 21 18:02:18 MET 1998

Stephen Novik

From: Edmonton, Alberta, Canada

I still love this site. Want another two cents 'bout guitar riffs? I like ba ba ba, ba ba ba ba- ba ba ba, ba ba ba ba- "When I get off this mountain, you know where I wanna go...."

Sat Nov 21 17:54:12 MET 1998

Donald Joseph

From: Illinois ex-Ohio

I just was browsing Jan's main page & came across Jonathan Katz's fantastic analysis of 3 versions of TLW; I commend it to you.

But a bone to pick: Katz repeats the hackneyed cliche that the Band's last song performed before a live audience under the original line-up was the "Don't Do It" encore at TLW concert.

Why, oh why, does everyone so conveniently forget that in '77 (or '78), when Ricky & Levon were touring in suppert of their 1st solo l.p.'s, the original 5 reunited on stage at the Whisky-a-Go-Go in L.A. for a set? (Check Rolling Stone of the time if you don't take my word on it.)

Which brings me back to the question of my last post: What happened AFTER the Whisky set & before the (silly) Rock Hall induction to cause the schism?

Sat Nov 21 17:40:53 MET 1998

Pat Brennan

From: USA

It seems to me that the Band quit being a commercial entity around the time of Northern Lights Southern Cross. Where other Band albums had done fairly well sales wise--Stage Fright reached #4 and Don't Do It went Top 40--NLSC kinda came and went quickly. Since the group didn't have any commercial pretensions to begin with, this would appear to be no big thing. But there's no doubt that they had at least come to accept and enjoy the fruits of commercial success, and as it began to slip away, the decline must have been hard to take. I've said it before, when RR began spreading his talents beyond the group, he had to see the writing on the wall. Now adays, roots music seems to be a commercial anathema. The whole Americana thing is a marginal sales presence--please note I'm not discussing the quality of music here, only it's sales potential. When Columbia sits down to market RAH 1966, they have a guy who just won a Grammy 35 years into his fabled career. Columbia doesn't need to put the name of a group who ceased to be a commercial force 20 years ago to help sell the thing. We all know what the presence of the Hawks meant artisticly to the preceedings. But sales wise, 30 years later?

Sat Nov 21 17:31:18 MET 1998

Donald Joseph

From: Near I-94

Tovo: Fascinating observation, yours of a Zimmie/Robbie rift, while Alias does, from time to time, hang with the Boys. Can anyone else add to this: Has Dylan been caught with Jamie post-LW?

Thoughts of a Zimmie/Robbie rift bring me back to the Levon/Robbie schism, and my perrenial unanswered question: What is the genesis of the Levon/Robbie split? Levon's book blames Robbie's unilateral decision to break up the Band plus his hogging songwriting credits. But the book ignores that Levon invited Robbie to guest on the '77 RCO l.p.-- he didn't even invite Richard or Ricky. And the book ignores that, his acting talents notwithstanding, Levon seemed chummy with Jamie during the Last Waltz. What happened AFTER the RCO l.p. to cause a rift so great that the same Levon who grinned through Robbie's guitar duel with Clapton & filmed the happy reminiscin' interviews with Scorcese AFTER the Last Waltz ("it was a big dose") wouldn't even appear on the same stage with Robbie at the (silly) Rock Hall o' Fame induction & won't sing "Dixie" as a protest?

P.S. "Dixie" bores my pants off & I'm glad Levon leaves it for Joan Baez.

Also I'm interested in y'all's thoughts on my thesis that Big Pink was not recorded & released under the name "The Band." Speak, whole congregation!

Sat Nov 21 17:29:05 MET 1998

Little John Tyler

From: The House Next Door

Donalder S. Josephson,

your last post prompted me to pull out my original vinyl of Big Pink for the first time in a long, long time, and you're absolutely right about the credits (or lack of same). Also, on the black paper label on the record itself, "John Simon - Producer" is given equal billing with the five players' listed alphabetically, and "The Band" appears only on the spine and inside the centerfold as you describe it, as a "heading" to explain the five names beneath it. Interesting to note, too, that Albert Grossman is given credit for "arrangements."

How's it goin', Serge?

Sat Nov 21 17:11:18 MET 1998

John Donabie

Regarding this Dylan Hawks thing on the official release of Tour 66

This is a Bob Dylan Album period. Let me clarify. Did the Hawks change the way Bob presented his music? Did the Hawks change the way the world listened to Dylan? Sure. Would the Tour 66 album have the historical greatness without The Hawks. Of course not. The simple fact was that they were his back up band of the time. God that sounds so sacrilegious. The truth is that after this tour (which is before the motorcyle accident and everything changed at that point) there was no way of knowing what the relationship would be in the future. I repeat...they were just the back up band for the tour. God that sounds terrible in retrosepect. But I'm writing this in the 90's and not in 1965. We all know now the historical significance through hindsight. It was unknown in '65. Should there be a sticker on the box that indicated the historical aspect of the group that was to become The Band? Sure. However it is still a Dylan album. It's not like Before The Flood; where The Band got to perform as The Band.

Sat Nov 21 14:42:31 MET 1998


From: the ferry "Baltimore"

AL VACADO: I was Living In A Dream too. And then Richard came out and they did ... make me get up.

Sat Nov 21 14:31:24 MET 1998

Kevin Gilbertson

From: NE PA

Sorry, of course that should be "Bootleggers". So much for accuracy.

Sat Nov 21 14:30:02 MET 1998

Kevin Gilbertson

From: NE PA

Well, at least Bookleggers had accuracy on their CD cover:

"Guitars Kissing and the Contemporary Fix"

Bob Dylan and The HAWKS

Sat Nov 21 13:33:05 MET 1998

Al Vacado

From: Coral Reefers

Was at the Wetlands last nite for Rick's show. Incredible show. Never be another show like it, maybe I just imagined it.

Rick and Professor Louie opened with 4% Pantomime, I suppose they were in Cahoots. Next Rick did A Change is Gonna Come, I swear he was Cookein. Amazon, Caledonia Mission,Christmas Must be Tonite,Endless Highway, Holy Cow,It Makes No Difference, Look out Cleveland, This Wheel's on Fire, When You Awake, Book Faded Brown and If I Should Fail. They then turned off the mike and Robbie came out and did Islands. He never sounded so good. For an encore Jonas & Eric came out and helped Rick on Twilight, Blue River, & One More Shot. Then Levon came out and they did Blind Willie McTell. Levon closed the show with Don't Wait. Guess I was just Livin in a Dream.

Sat Nov 21 12:39:56 MET 1998

Peter Viney

Donald J: You're quite right about the lack of credit as the Band on 'Big Pink' and that their name was used on The Basement Tapes & Planet Waves. Dylan had just had the awful "Dylan" album foisted on him by Columbia and his career was not its brightest, so I'd agree that the Band name was a sales plus. But I wouldn't have thought it's a minus now among Dylan fans. I doubt that it's their lack of sales potential. I'd reckon it was to do with the original deal and money. As official tapes were rolling, Grossman must have covered the eventuality of an official live recording. It would seem likely that it was a salaried job without percentages - Dylan would have been insane to give a percentage to unknowns in 1965 (when the deal must have been done). If Columbia wanted to use the name "and The Band" on the sleeve nowadays, then I assume that the name is copyright and they'd have to pay. If they don't have to pay, I can't see Sony putting themselves in a position where they'd be obliged to. I don't think it'd be a Dylan decision necessarily, but a corporate one. (And historically inaccurate).

Sat Nov 21 10:41:19 MET 1998

Rod Prowse

From: Wellington NZ

Great Band guitar licks ? Considering The Band were (fortunately) never a guitar based outfit this is a bit hard. Jemmina Surrender springs to mind (even though it's probably Levon), on the solo front Saved and heaps of stuff from BTF are pretty good too. While we're talking guitars, it's about time popular music had another revolution and dropped the guitar as it's main instrument. It's all been done to death and getting pretty boring.

Sat Nov 21 09:26:43 MET 1998

Nick Tovo

From: Italy

I want to clarify my earlier comments by saying that Bob Dylan did a lot to help the BAND/HAWKS in the early days and was a big part of them gaining recogniton. For all I know he may have swung them some risiduals on '66 but since the boys were on salary and Columbia owns the rights it's doubtful. They do deserve a kickback though whether it be financial or in print. Otherwise it is wrong.

Sat Nov 21 09:07:01 MET 1998

Ragtime Willie

The way they promote the 66 album simply is a shame. We all realize that The Band's name is not a record seller nowadays, but this is a "historical recording", a _document_ and no matter the money it makes for the record label, the Hawks played an important role in this event and in Dylan's new sound. So they & Mickey Jones deserved a better treatment, if not for commercial reasons, than for historical reasons anyway. BTW the linernotes referring to other great cultural events of the century made me laugh. Matter of perspective... (See you tonight, Gerard?)

Sat Nov 21 08:50:51 MET 1998


From: Leiden NL

Are their still Dutch visitors to this Guestbook? For those who missed Jan Hoiberg & The Levonettes in Halden, Norway, there is another main event this weekend: tonight DOUG SAHM & THE LAST TEXAS BLUES BAND will be the final act of the Blues Estafette in muziekcentrum Vredenburg in UTRECHT.

Sat Nov 21 08:48:26 MET 1998

Nick tovo

From: Italy

DJ, I think the HAWKS deserve a mention on the '66 release, They provided a lot of firepower on that tour. While you say that the BAND (or HAWKS) name does not carry a lot of sales weight regarding this CD is also true. At the same time I feel that mention of the group could only help lend credibility to the release and bolster it. It certainly could not hurt, so why did Columbia promote it as strictly Dylan? Maybe they felt Dylan's sales would be diluted by the mention of another group? Not likely. More likely is that Dylan and company sought to retain the profits for themselves (maybe rightfully so, although Bob hardly needs the dough). I do not think Bob has any problems with the current BANDand it is interesting to note that he has given them songs and jammed with Levon, Rick and the BAND a few times (most recently with Rick in August of '97) but has had no relations at all with Robbie since The Last Waltz. This is strange since RR has been involved in making records and a lot of movie scores and Dylan has also been very active recording music and even acted in a movie, so there was a chance for paths to cross. Why didn't it happen? I think Dylan may have soured on him. I know it's not my place to say this, so it's just an analyzation.

Sat Nov 21 07:05:21 MET 1998

Pat Brennan

From: USA

Hey DJ, if it was so silly, why'd you comment on the 30 years thing? Don't get mad--your Dylan 66 analysis is quite good. I remember hearing a rumor that the Bearsville studio was supposed to be given to the Band minus RR to equalized the publishing thing, but it never happened.I'm also surprised, well actually I'm not surprised, that the guitar lick question elicited exactly zero responses for the post-RR Band. And if we compress the 30 year career accomplishment to 20, my first vote is for XTC.

Sat Nov 21 06:05:20 MET 1998

Donalder S. Josephson (no nom ge guerre for Donald Joseph)

From: Where "gonzo" style reigns

FIRST, SOME BUSINESS --Tony: "Man Outside" is a bad movie that stars all 4 Bandmen save Robbie & at least was once on video (I own it). It was discussed on this guestbook in the last month & is discussed in Jan's website-in-chief: Dig, man.

"Java Blues" aside, Sahm of course is the chief giutar hero on Ricky's debut solo outing. I asked Sahm about his Rick-work (and about his licks on the Dead's "Wake of the Flood" l.p.) when I interviewed him in about '80 on a Sir Douglas Quintet reunion tour. Doug blew my questions off because they didn't relate to him as a front man. Jeeze, more Ego. (Thanx 4 the Dope on Sir Douggie's new l.p.--news 2 me!)

NOW FOR THE GONZO STUFF: You guys who excuse '66 for sleighting our Boys on the historical fortuity that "The Band" name didn't yet exit in '66 are in deep...well, let's just say DE NILE is more than just a river in Egypt. Here's why you're wrong:

* The Basement Tapes l.p. is billed as "Bob Dylan & The Band," yet the Boys were not at the time it was recorded yet known as The Band. Levon plays on few or none of the real Basement l.p. recordings -- there are some non-Dylan Hawks tracks, some of which include Levon, but those were recorded much later (& were included on the l.p. to calm Robbie's ragin' ego -- although they are GREAT TUNES). The bulk of the Basements l.p. was recorded without Levon (albeit also without any 3rd pty. subsitute drummer, as distinct from '66). Yet nevertheless Columbia used "The Band's" name on the Basement l.p. spine because that helped sell records in '75.

* "Planet Waves" is billed as "Bob Dylan & the Band," although LIKE '66 (& unlike the Basements) there are no Band songs on it, and in fact the Band's playing is understated, with few backing vocals, & at least one track is solo Dylan with no accompaniment, a la the 1st disc of '66.

* Didjaever notice...(apologies to nagcaster Andy Rooney) that on Big Pink, on the ORIGINAL vinyl pressings of the record, the group was credited under their 5 Christian (sorry, RR) names (Robbie as "Jamie RR") -- and the packaging did not really credit these boys as "The Band"? I don't have the original vinyl in front of me, but as I recall even the paper label on the black vinyl disc named all 5 men w/OUT using the words "The Band." As I recall, the words "The Band" appeared only on the spine, & appeared there only because the 5 guys' names wouldn't fit. Also "The Band" words appeared inside the fold-out cover, but only as a HEADING designating "The Band," under which appeared their 5 names -- like designating "The Players" or "Next of Kin." After examining the original cover closely, I came to believe that the 5 guys signed their record contract under their own names, or without a name, & "The Band" name LATER evolved from what the printer happened to put on the l.p. jacket spine because the 5 names didn't fit there. Look at the Big Pink cover: If I'm wrong, wouldn't the name of a new group have to appear more prominently on its own debut album? What other debut l.p. in history hides the very name of the debuting group?

Of course, subsequent versions of Big Pink, such as the Mobile Fidelity version & the CD, more prominently display "The Band" name.

My point is, if I'm right, even Big Pink wasn't recorded under the name "The Band," and was only attributed to the Band after-the-fact, a la The Basements. If this was done for the Basements & Big Pink, it could also be done for '66, historical anachronism notwithstanding.

* More tellingly, though, is that Columbia's marketing geniuses -- even assuming they're a pack of Vineyesque slaves to historical accuracy -- could've figured out some way to name-drop "The Band" on the '66 cover & in the '66 print ads, if only by quoting Griel Marcus, the liner notes, or an advance review, WITHOUT CO-CREDITING THE ALBUM TO THE BAND. I never said the '66 record had to be CREDITED to the Band. I just expressed surprise that the name "The Band" never appears anywhere in the marketing or on the cover -- even in a blurb quote or something.

I believe this conspicuous absence is because the Band name no longer sells records.

Sat Nov 21 04:46:44 MET 1998

Erik Aasland

From: Winnipeg, Canada

The Band is an example of great Canadian Talent! I think it is time for them to explore some more of the Canadian Aboriginal Music scene! Keep up the great work!

Sat Nov 21 04:28:55 MET 1998

tony a.

From: bucks, pa.

anyone remember a movie with all the band in it?i think the movie was called " a man outside ". from what i remember, garth played a veitnam veteran keeping to himself and rick lost his son and then got him back. i seen this only once on hbo a real long time ago and have never seen or heard about again. just curious if anyone else had seen this movie. thanks, tony a. , bucks, pa.

Sat Nov 21 01:39:27 MET 1998

Mike Carrico

David - Peter V. has already responded about the personnel on "Garden of Earthly Delights", but your boys Bramblett and Causey do play on a cut called "Sawdust and G-Strings" (which they also wrote). All the cuts are instrumentals save "Fat Man", featuring growling vocal from Robbie, organ by Dr. John, and drums and vocal "harmony" by Gary Busey(!).

Sat Nov 21 01:29:31 MET 1998

TD Bear

From: Joshua's (try the fellafel)

To The Dancin Bear

You should take your Little Feat over to the Wetlands and hear Rick Danko sing Book Faded Brown & If I Should Fail from Jubilation. Welcome back to the site. If David Bromberg ever appears at The Bottom Line-would you go?

Sat Nov 21 00:38:34 MET 1998


From: Connecticut

I have always enjoyed Robbie's solo on "Just Another Whistle Stop". It is not all that esoteric, but I love its power and tone.

Fri Nov 20 23:46:15 MET 1998

Model 59

As the final notes of "The Weight" fade out (the finest performance of the song since the Band I'm sure) and _The Jan_ leaves the stage, the entire world waits in anticipation to hear how it went. Tell us oh esteemed webmaster - didja knock em dead or what? :-)

Fri Nov 20 23:43:33 MET 1998

Little John Tyler

From: The House Next Door

Re: Pat Brennan's List o' Licks

It's hard to argue with the top vote-getters so far (King Harvest, Don't Do It) but I've always been partial to Jemima Surrender's brief guitar break, and (does the following qualify as a "lick?) the opening acoustic notes to The Weight still send a chill every time I hear them. Hi, Serge.

Fri Nov 20 23:22:27 MET 1998

Stanley Landau

From: Toronto

I don't know if you call these "licks" but in my opinion the three best Band guitar solos are as follows in order 1. King Harvest from The Band 2. Unfaithful Servant from The Band 3. Stage Fright (from Before the Flood).

Fri Nov 20 22:27:15 MET 1998



Fri Nov 20 21:36:53 MET 1998

Peter Viney

Garden of Earthly Delights: David, the line-up for this is RR- lead guitar / Steve shaeffer-drums / Chuck Domanico- bass / Gary Herbig, Jerry Petrson - saxes / George Doering - guitar / Randy Kerber- organ

Why isn't CARNY on CD?

Fri Nov 20 20:56:33 MET 1998

Ragtime Willie

Ned & David: thanks for making things clear. Re Guitar licks: don't forget that Robbie did a great job on Earl King's "Sing, Sing, Sing" on Levon's first album (RCO All Stars). Garth was on that one too, playing accordeon. This is the most Band-like piece on that album.

Fri Nov 20 20:33:20 MET 1998

David Powell

John may have a point regarding publishing. The songs on _Music From Big Pink_ I believe were published by Dwarf Music, Dylan's publishing company. Begining with the Brown Album, the Band's songs were published by Canaan Music I think. The thing to remember is that publishing rights are separate from songwriting royalties. The publisher receives a percentage for publishing the material in addition to whatever the songwriter is due.

Fri Nov 20 20:31:19 MET 1998


Willie my friend, I never suggested that he did, rather I focused entirely on the three tracks he was credited or and the cover art. John does, however, make a suggestion about the whole album including every track but seems to sugest that his version may be fiction and is based on the idea of payback for salary rather than artistic credit.

Fri Nov 20 19:48:40 MET 1998

Ragtime Willie

John Donabie & "Frogman" Ned: just a question. How can BD get royalties from The Weight when he's not credited for it?

Fri Nov 20 19:03:02 MET 1998


John Donabie

Just a thought: A simpler explanation for Bob to receive royalties from Big Pink was that he wrote or cowrote three of the most well-known tracks and painted the cover illustration.

Fri Nov 20 18:35:19 MET 1998

David Powell

Donald Joseph: I enjoy reading your comments & your gonzo sense of style. Haven't heard it yet but Doug Sahm has a new CD out entitled "Get A Life." I seem to recall that some boys from Normaltown, Georgia, including sax/keyboard man Randall Bramblett & guitarist Davis Causey, played on the _Carny_ soundtrack. Were they on the cut "Garden of Earthly Delights"?

In my opinion, some of Robertson's best guitar licks can be found on John Hammond's _So Many Roads_ album. Take your pick.

Fri Nov 20 18:33:18 MET 1998

John Donabie

Just a thought or two on something David Powell wrote earlier on. Mickey Jones was not the only one salaried by Dylan after the motorcycle accident. The story goes and I believe it to be true, is that The Band themselves were on salary as well, leading up to the relase of Music From Big Pink. In other words they were financially taken care of by Bob, as he prepared John Wesley Harding and the Hawks were busy becoming The Band and working on Big Pink.

Here's the part that may be fiction; but I've been told over the years it's true. Much of the royalties from Big Pink (AND BIG PINK ALONE), actually went back to Bob through Witmark & Sons publishing. I checked my old vinyl and there is no mention of Bob's publishing company. But the story is, that the reason Bob was able to take royalties from the first album (and this was all agreed to up front by everyone); was in order to pay him back for the time he kept them going on salary. I understand this only affected the first album; which means "The Weight" for example on every other album; but Big Pink would go to The Band. Maybe I've been told the story so many times, I now believe it; but I can't prove it. It would make sense though.

Fri Nov 20 18:00:48 MET 1998


From: NJ

As far as the billing on 'Live 1966,' I think it simply reflects the way the concert itself was promoted. The attraction on the '65 & '66 tours was Bob Dylan, and that was the name on the tickets and ads. Presumably a (significant?) portion of the audience had no idea there would be any additional musical accompaniment. 'Bob Dylan' is probably the most appropriate billing for the the basement tapes as well, since they are Dylan accompanied by musicians who later became part of the Band. The 'official' Columbia release added the '...and the Band' because it included non-BT tracks on which Dylan does not appear. 'Before the Flood' is credited to BD & the Band not only because it includes performances w/o Dylan but because the Band, at their commercial peak, figured prominently in the promotion of that tour.


Hard to decipher from D. Joseph's feverish & occasionally incoherent dispatch, but he's referring to Doug Sahm in his mention of the Danko solo album. RR does indeed contribute typically incendiary lead to 'Java Blues,' but that is the only track on which he appears. Most of the other tracks feature the erstwhile Texas Tornado on lead guitar.

Fri Nov 20 18:00:11 MET 1998


Horsehead, It wasn't me that asked! BC3

Fri Nov 20 16:58:42 MET 1998

Ragtime Willie

From: A Dinosaur

Questioning RR's position in The Band's group dynamics is not the same as Robbie bashing. Donald Joseph Reality Check: for the first time in my whole long life I totally agree with you (sad as it is...). On this particular point I mean (let's not overdo it). Three characteristic Band Guitar licks: #1 King Harvest #2 Unfaithful Servant #3 Endless Highway (Before The Flood Version). Not a very original choice, but still...

Fri Nov 20 16:46:37 MET 1998

Peter Viney

1966 and all that:

Delighted to see that Donald J is still available as a producer. So sorry, Daniel Lanois - don't call us, we'll call you. And mention that to Don Was and Sir George if you see them. Very surprised to see criticism of Lanois' work on 'Yellow Moon' - it brought The Nevilles to a different audience. It's a wonderful album.

On Van Morrison, I'd like to see DJ write a list of "11 minute dirges" by Van M, then list "all those homages" to John Donne. It won't take very long, especially if you discount live medleys.

DJ brings up the question of billing for live 1966. Well, as Ned says, they simply weren't "The Band" at the time it was recorded. I suppose a few Tony Sheridan records were later released as "The Beatles", but it's not a practice to be commended. I think that reviewers knew that they were "The Hawks" at the time, but they were never billed as such. Did they ever refer to themselves as The Hawks after Levon had left? I don't think they did. We don't even know if they thought of themselves as The Hawks when they were functioning as the backing band, without having their own spot on the show. Some time ago I posed the question as to whether the surviving Hawks would get paid for Live 1966. David Powell pointed out that they'd been on salary - you don't usually get it both ways. Mickey Jones interviews announced that he'd been kept on salary for a year after Dylan's motorbike crash. Presumably this is why the others went to Woodstock and stuck around in the basement. A year's retainer was undoubtedly generous at the time, and gave them the time and the "jump" to kickstart their career.

I'd guess that in every legal way they got paid at the time when it counted. The booklet is surprisingly careful on re-reading - it mentions the musicians as being "FROM The Hawks" not as "The Hawks" and calls Konikoff "another Hawks alumunus", except in one place, right at the start (page 7) where this official, Dylan-approved essay says:

"Dylan replies "I don't believe you" turns to the band and snarls "Play …" (look it up in the booklet, I'm not getting into this debate again) Drummer Mickey Jones cracks the snare like a rifle shot and The Hawks roar into Like A Rolling Stone"

I even wonder if The Band / The Hawks wanted to be credited on this - as Levon was not a member of this outfit. I wouldn't imagine they were paid for the album. I think it would have been good to be on the sleeve, though every reviewer mentions them anyway. Which is something River North should be following up, if they know what they're doing, but as 'JUBILATION" is still unreleased, unreviewed and uncommented on in the UK, I doubt it.

Seeing an article on Mercury rev was the cover story, I bought New Musical Express for the first time in many years. It was required reading till around the Sex Pistols era. I glanced through to see how many bands I'd never heard of and was confronted by the letters page. The headlines caught my attention - 'Pro-Robbie Lobby vs Snobby Indie Choddy' / 'Robbie Sux' / No! Robbie Rules! - I was amazed to think that our debates here had reached a wider audience, and read on. It seems they are in fact referring to Robbie Williams, who I believe is a popular entertainer much liked by the under-twenties.

Fri Nov 20 16:42:42 MET 1998


David, Thanks. I understand and like your clarification the difference.

Fri Nov 20 16:26:06 MET 1998

David Powell

From: Georgia on my mind

Ned: I neglected to differentiate the terms control & leadership. The leadership role is one that is delegated whereas control is assumed, often unilaterally.

The December issue of STEREOPHILE magazine has a nice profile & overview of Ry Cooder's recording career. In the article, Mr. Cooder is quoted from a 1992 interview with the London _Sunday Times_ regarding group dynamics. "Bands generally don't get along," Cooder said. "First thing they do is fight, last thing they do is fight. In between something happens. Maybe."

Fri Nov 20 15:52:12 MET 1998

Ben Pike

From: Cleveland Tx

A buddy of mine, much more a Dylan person than a Band fan, pointed out the lack of recognition the Band gets in the 66 set. Maybe cause all Rick sings is "BBBEEEEEEHIIIIIINNNNNDDDDD". No matter. The Band don't have much to complain about where critical attention is conserned. When I think of Great Guitar moments of Robbie, "King Harvest" comes to mind. Course it is the Coda on THE BEST ALBUM IN ROCK HISTORY(says ME!) Then I would go with the controled fury of "Don't Do It", and the Uncontroled fury of the Before The Flood version of "Stagefright."

Fri Nov 20 15:42:31 MET 1998

Mr. K. Horse

From: Down in the Couloir, (off - piste)

TO: Mr. B.D.C. III; P.C. I was sittin around the fire with my squaw, French Betty. As you might imagine she wandered into my whicky up late one evening sayin she had been terrorized by a couple of drunken injuns down woodstock way while gainfully employed at some waterin hole called " The Joyous Lake". What the hell kinda name for a waterin hole is that? Any way it was Frenchy who first brought to my attention the request you have made on behalf of the Iroquois nation regarding LaCrosse contributions by one Mr. Robertson who parades around singin teh accolades of Indian values and all that. Certainly seems to me that RR could spring for a little bread for this important event in light of his new venture with "The Dreamers" Who knows maybe he will see the light?

Fri Nov 20 15:41:01 MET 1998


From: san francisco

three best licks: i am partial to "band" guitar sounds, be they licks or riffs, on "it makes no difference," "life is a carnival," and "w.s. wolcott"

Fri Nov 20 15:20:19 MET 1998


Just Wonderin': I totally agree

Pete Rivard: Good point, though I would argue that the time at Big Pink was special becuase the leadership was in flux and the democracy of the group was at its highest.

David Powell: you are using the term control like I am using the term leadership, so we really agree.

Bones: Excellent post.

Joseph: I find your post difficult. I agree that it is a shame that Capital is not promoting the Band in connection with the Dylan CD and your interpretation of their motives makes sense, though one could also argue that in '66 the Band did not technically exist but were still the Hawks plus a replacement drummer, they appear on only a half of the CD and do not perform any of their own songs unlike Basemnet Tapes of before the Flood. Picky points, I know, but the way I rationalize not seing their name on the cover of that CD. I have never critized Robbie's ego, thus I guess you won't question my standing to praise Van as the greatest musical artist of modern times. I don't own Ricky's solo album but I am familar with it and very familair with some tracks leading me to assume you are referring to Robbie as the guitarist--his playing on Java Blues is phenomenal. I love the album Yellow Moon and might refer to half the tracks as funky but then that term might need defining before we can argue it.

Fri Nov 20 14:02:56 MET 1998

The Dancing Bear

From: NYC

For those who care about GREAT rock n roll: Little Feat @ The Keswick Theater 11/18/98: One Clear Moment Honest Man Calling the Children Home Fallin' Through the Worlds Loco Motives Cold Cold Cold Shake Me Up Dixie Chicken-->Gringo-->Dixie Chicken Voices on the Wind High Roller Under the Radar Home Ground The Blues Don't Tell it All Let it Roll ---- Old Folks Boogie Fat Man in the Bathtub

Fri Nov 20 12:11:20 MET 1998

Donald Joseph

From: Near Chicago

Reality-check time here, kiddies. Have any of you seen Columbia's ad campaign for Dylan '66 "Royal Albert Hall"? There's a print ad for the CD in the current Rolling Stone & Chi. Reader.

Parlor Game: What's missing from the print ad?

Answer: Any mention whatsoever of the Band. In the mid-70's, when Columbia promoted Basement Tapes, & when Elektra/Asylum promoted Before the Flood & Planet Waves, all 3 of those l.p.'s were billed as releases from "Bob Dylan & The Band."

Why isn't '66 similarly billed?

Answer: It would have been if this were the '70's. But in the late '90's, obviously Columbia has determined the words "The Band" won't help sell even a 35-year-old Dylan performance! And this is no oversight -- big companies put intense attention into their promotions, using focus groups, etc., etc. As far as I know, the Band didn't deny use of their name to Columbia--Columbia still uses the Band name on BTF, Planet Waves, LW.

Our boys are dinosaurs, people. Their name can't even sell Bob Dylan albums anymore!

What's Donnie J's point? Not much. We're all still fans here. But those of you who seem to think "Jubilation" might or could or should chart are dreamers. And don't hold your breath for John Fogerty or Ry Cooder or Santana or whoever to join the Band. And don't expect Lanois to produce our boys: Danny's ego makes Robbie look like Pee Wee Herman.

BTW, while Lanois is a GOOD producer, he's not a FUNKY producer -- he's never produced a funky album in his life, & as "Yellow Moon" shows, he was even able to drain the Neville Bros. of their funk (except for the title & "Voodoo" tracks, in which they triumphed over him). Hence we don't want Danny Boy to produce our boys, anyway. BTW, I like Danny's work A LOT with Robbie, Emmylou, & Willie Nelson, & I think it's ok but not as good with Bob Dylan & the Nevilles -- however, in no case is it funky, and without funk, where is the latter-day Band? As Viney points out, I'd be a better producer, if I'm available.

Only one of you guys, in your rather silly talk of "30 year artists," mentioned Dr. John & Doug Sahm & Allen Toussaint. Don't any of you have "Anutha Zone" & "Los Super 7" (granted, Doug only appears on 1 "Super 7" track, but a hot one) & "Connected"? Hey, Van the Man is cute when he does those Porky-the-Pig kicks in TLW, but why don't you guys turn yourselves on to the greater geniuses behind "Such a Night," the guitar on Ricky's 1st solo album, & the ROA horn charts? And NO ONE who criticizes Robbie's ego has standing to laud the perpetrator of all those unlistenable 11 minute neo-Christian dirges & hommages to John Donne.

Someone (Ragtime, was it?) accused me of using noms (plural) de guerre. Knock it off. I'm a big enough boy to post stuff under my single moniker. If it doesn't come with the "DJ" seal of approval, you can know it's not mine. (You should know my ego's too big to spread myself around without recogniton.) Accusations like this will turn me into another Serge!

The RR fantasy tape needs to include "Garden of Earthly Delights"--Robbie's greatest & funkiest guitar work ever recorded -- way better than the over-rated "Who Do You Love?" Hawks solo (albeit 5 yrs. ahead of its time), & better than "Crazy Love" & any guitar on the Geffen/Capitol solo lp's. Obviously, though, the mandolin-cum-guitar sound of "Unfaithful Servant" & the "fretwork" on "King Harvest" & "Ophelia" are nice 'n' hot.

Sorry about the "cum" in the last paragraph -- it just slipped.

By the way, let me go Robbie's press release one better: I will answer any question about any topic regarding anything from the beginning of time. (Just don't expect a correct answer.)

Fri Nov 20 11:02:31 MET 1998

Patric Mulcahy

From: Rutherford. N.S.W.Australia

In reply to Pat Brennan's vexing question on the three guitar licks that most exemplify the character of the Band. I think personal choice is the only way to go so heres mine !! , in order of preference..#1, Get Up Jake ..#2 King Harvest #3 W.S. Walcott.These always create a sense of place for me and thats where the Band live.Oh ,and of course the guitarist is the often maligned [ how dare he be creative !!] but always talented J.R. Robertson.

Fri Nov 20 05:10:37 MET 1998

Pat Brennan

From: USA

I'm curious if the esteemed contributors to the Guestbook would entertain a question, namely could everyone name their three favorite guitar licks associated with The Band. I'm talking about those organic guitar passages that are deeply identified with particular Band songs. Oh yes, name the guitarist. Thanks.

Fri Nov 20 05:08:58 MET 1998

Jonathan Katz

From: Columbia, MD

Jan - Good luck with the concert. Just get up there, have fun, and don't worry about it! I did it a long time ago - and you can't be worse than the band I was in!

Fri Nov 20 04:49:03 MET 1998

Mr. Calhoun

From: in between Canada and the USA would have been OK if the Last Waltz never happened! VERY OK

Fri Nov 20 04:37:41 MET 1998


From: Arkansas

Why does everybody keep whining about Robbie Robertson. He quit The Band and The Band kept on playing. They played the King Biscuit Blues Festival a few years ago with Fred Carter on lead and it was the best damn music i've ever heard. They can do just fine without him! The road goes on forever and the party never ends.

Fri Nov 20 01:34:38 MET 1998


From: penna

Advice for webmeister JH and other aspiring bass players from the Simcoe Sensation himself: I don't play bass, I just fill space. You know, Levon's bass drum and the bass really work well together, because we listen to each other. It's not really what you play, but what you leave out, that counts. And when you leave space, its easier to hear everybody. But if everyone is just up there churnin', it's going to sound like buttermilk.

Fri Nov 20 01:12:32 MET 1998

Jerry C

BONES, well said. After all I found The Band through The Last Waltz. I don't think we need to be in one camp or another, I like Contact and Jubilation.

Fri Nov 20 00:23:25 MET 1998


From: Connecticut

There is constant bashing about Robbie and his ego, which is always portrayed as a huge negative to the group. However, the Band benefitted greatly because of that ego. The Dylan/Band tour, the Last Waltz, etc ... would never have taken place without Robertson. Although he is completely aware of his own talents, Robbie constantly claims that the Band was great because it had no leader. Like Diamond Lil, I do appreciate how humble the rest of the guys are.

Thu Nov 19 23:23:55 MET 1998


From: Halden

Rehearsal just finished, tomorrow we're doing "The Weight" and more together with the Levonettes. May the sound system work a little better than today. And I could need a Szelest to give me the "magic look" that Rick got way back in '63. Sigh. Bass playing is rough when your about as musical as ... me.

Thu Nov 19 22:52:32 MET 1998

Beuregard D.Calhoun III, Attorney-at-law

From: St. Regis Indian Reservation

On January 15, 1999 representatives from the Iroquois National Lacrosse team will be at the Downtown Marriott in Philadelphia at the National LaCrosse Conference. The congregation will be meeting to finalize plans to bring the World Lacrosse Games to the Onondaga reservation of the Iroquios Confederacy. Hopefully Mr. Robertson will be there to present a check to help his brothers with this venture. Perhaps afterwards he might join Mr. Danko at the Tin Angel since it is only .9 miles away. I think it would be more appropriate, however, fro Mr. Robertson to learn some of Mr. Danko's recent material to please the Great Creator. Handsome Lake says Rick Rocks!

Thu Nov 19 22:18:19 MET 1998

David Powell

Regarding the analysis of group dynamics---I think it's often more an issue of control rather than a role of leadership. Within any group of musicians, when it comes time to play or record, the person or persons who produce the goods (i.e. the songs or arrangements) generally exerts the greatest degree of control over the course the group will take. When the question "O.K. what are we gonna play?" is posed, the person who steps forward with something assumes control. If no one else challenges the selections or produces any alternative choices, then the control is relinquished by default.

Thu Nov 19 21:38:37 MET 1998

Pete Rivard

From: Hastings, MN

I would argue that no successful band was ever a democracy-one person, one vote. Nor was the Band. They have featured a succession of leader/mentors, starting with Ronnie Hawkins, then Levon when they broke with the Hawk, then Bob Dylan, then Robertson (with Albert Grossman as his Svengali). Now Danko appears to be the man.

Thu Nov 19 21:22:31 MET 1998

Just Wonderin'

From: Texas

Ned: I think had RR insisted on singing his own material the Band would have had its demise earlier. He was astute enough to realize this and instead wrote songs for other voices. He has been a notoriously reluctant singer albeit and excellent musician and songwriter all these years.

Thu Nov 19 20:05:39 MET 1998



I suggest three forces: he was inclined through artistic vision and ego to assert control; the industry demanded a spokesperson/leader for the purposes of the media and business arrangements; and the others acquiesced through lack of concern (did not perceive the tension that would result) or lack of will (sipping the wine too much).

In many other groups the songbook is usually written by the lead singer. At the beginning, when Richard seemd as much the main songwriter as anyone else, this seemed true also. But with time that balance changed. How much faster would the band have collapsed if Robbie had insisted on singing his own songs?(I should add that I don't accept Levon's assertion that Robbie's claims of authoriship are false.)

Thu Nov 19 20:04:01 MET 1998

Doug Maple

From: Ann Arbor, Michigan

I have enjoyed reading the guest book and i would like to add some comments of my own. All of the great music that we discuss on this page was created out of collaboration. I think it's pointless to try to figure out who did what when etc. After almost 30 years apart, I'm sure all of the surviving Beatles understand that the body of work they created together far surpasses what they did on their own. For all of their rivalry and togetherness, Lennon and McCartney really needed each other. Without John, Paul reduces himself to a mere pittance of what he was when he was with the Beatles. I can see Lennon staring over McCartney's shoulder saying "Paul, that's crap." At the same time, Lennon needed McCartney to stay away from some of his more extreme tendencies. I for one am glad that we have their body of solo work to listen too - but not much of it would find its way to my desert island. One further note - I was simply amazed at what the surviving Beatles put together for the anthology. In "Real Love", you have the basic drum, piano, bass and the wonderful slide guitar of George Harrison. I also think that George Harrison is the only Beatle who rose above his time as a Beatle (on and off), and he did this because he didn't have the opportunity to do it while he was a Beatle. What does this have to do with The Band? 5 people instead of 4, incredibly talented men, highs and lows, incredible, unforgetable music. Bless them all - they really gave something special to all of us. I had the pleasure of turning a friend on to "Acadian Driftwood" last night. Life doesn't get much better than that.....

Thu Nov 19 15:42:04 MET 1998

David Powell

From: Georgia on a fast train

Regarding still-productive recording vets---Thanks for all the great suggestions from others. I would be amiss if I didn't mention bluesmen John Lee Hooker, Buddy Guy & Hubert Sumlin. Although the blues often involves re-interpretation of familiar themes, these gentlemen continue to breathe new life & fire into their music. We shouldn't forget Tracy Nelson, who once upon a time sipped the wine. Oh what a voice! And above all, there's Johnny Cash, who despite recent health problems, has continued to produce perhaps one of the richest recording legacies of any artist. He's a walkin', talkin' songbook, with a voice as deep as America's soul. I don't know about you, but I pray for The Original Man In Black everyday.

Thu Nov 19 09:53:08 MET 1998

Ben Pike

From: Cleveland Tx

I would recommend the new album "The McGarrigle Hour" to Band fans. Check it out.

Thu Nov 19 09:40:13 MET 1998

Ragtime Willie

Ragtime's reply to Ned's analysis: If it's true what you say (and I think it is) how is it possible that in the event one member of The Band took up the role of the obvious leader and main creative songwriter? Not only because of his ego. Why did the - equally gifted - others allow him to forward himself like this? They must have agreed at first that he was their spokesman and leader.

Thu Nov 19 04:59:03 MET 1998


Ned's Analysis of Groups Dynamics

It has been noted that the discussion of music veterans has focused on individuals at the expense of groups. Continuity in an individual is much easier to express. When an individual changes it is an expression of innovation but when a group changes it can sometimes signal a break in continuity.

What is the nature of a group? Can membership change and styles differ and it stay the same group? The answers depends on a spectrum: at one end is the sanctity of the group name at the other end the sanctity of the individual musician.

Groups generally develop into a hierarchy with senior members and junior memebers. There are two divisions: longevity and artistry. Founding members generally have seniority over later members; artistically powerful members exert dominance over supporting members.

One of the incredibel strenghts of the Band was that there was no obvious leadership at the begining. Seniority was equal and artistry was mixed and strong all around.

Thu Nov 19 04:28:11 MET 1998


From: Madison, Wisconsin
Home page:

DANNY LOPEZ: Thanks you for the post you did on "CAHOOTS". David Powell: on th 30 year vets of Rock-n-Roll let us not forget (unless I missed it) the National Anthem by JOHN KAY and STEPPENWOLF'S "Born To Be Wild". I still rock out to that timeless tunes and many more! Anyway, I'll bury you now, but I'll dig ya LATER! Peace, Love, and Light, Tim(SUNDOG)Corcoran.

Thu Nov 19 00:27:47 MET 1998


From: Connecticut

After reading the "30 year" posts, there is a name missing surprisingly.....Bob Dylan. Many a critic would argue that the former Bandman is still making vital music.

Wed Nov 18 21:34:59 MET 1998

tony williams

From: south wales uk (swansea)

became a fan after listening to the last waltz incredible musicians

Wed Nov 18 21:18:15 MET 1998

Just Wonderin'

From: South Texas

Danny Lopez: Thanks for mentioning "River Hymn". I love that song too although it has been highly UNDERRATED. I also think it conjures up the 19th century ethos of the Band. "The whole congregation was gathered at the banks of the mighty mississippi" conjures up pictures of family gatherings with ladies in long dresses, bonnets and men in straw hats and string ties.

Wed Nov 18 21:12:20 MET 1998

Rich Forbes

From: New York City

Rick Danko is scheduled to play this Friday, November 20, at the Wetlands in good ole NYC. Moby Grape is also booked for this evening. Is Rick opening for Moby Grape? If so, does anyone know what time??? Thanks!

Wed Nov 18 20:52:35 MET 1998

Danny Lopez

From: Iowa

A while back several people were commenting on Garth's solos, such as the Genetic Method and Too Wet to Work. Some like them, some don't. What was not mentioned, however, was, his concert solo found on The Complete Last Waltz. I was lucky enough to locate a copy a few months back, and Garth's intro to Chest Fever tops all the official releases. Another issue: No doubt Levon is a great drummer. I really like his work on Unfaithful Servant, I Shall Be Released, and Stage Fright. Awesome stuff. On Servant, in particular, he doesn't so much provide the backbeat to the song as much as he leads it. Which brings me to a critical point: the drumming on Smoke Signal is a big disappointment. There just doesn't seem to be any creativity involved. And it seems I read somewhere (perhaps on this site) that both Levon and Richard are drumming. At one point there is a break in the music and the same simple drum pattern just chugs along. Any comments/explanations/critiques on this? And by the way, this one critical comment comes from someone who really digs Cahoots. Yes, it's not produced well; and yes it doesn't quite measure up to the previous three recordings. BUT, two songs alot of people have complained about on this page I like very much; namely, Chinatown because Rick and Richard doing a dual lead vocal is irrestible; and The River Hymn, because, to me, it's part of the same 19th century ethos they conjure up on the first 3 albums.

Wed Nov 18 20:44:58 MET 1998


From: CT

It's interesting that nearly all of the "30 year" nominations are individuals. Since they never break up, have members pass on, etc. it may be more instructive to ask what groups have have survived 30 years? I came up with: Band, Allman Bros. Stones, Kinks(have not heard an official breakup), Moody Blues, Nitty Gritty Dirt Band. I'm certainly missing some others, but with the exception of the Stones, none of these have had any significant chart/sales success in the last decade or so. All are, more or less, locked into a "classic" (ie fan-familiar) sound, and have maintained a following largely on the basis of touring. They are all largely ignored by the mainstream rock press as well. The web has become a lifeline for most of them. Memory purge: add Jethro Tull, Yes, et al and now, of course the long-awaited return of the original Black Sabbath. E-Gads!!

Wed Nov 18 20:39:21 MET 1998

David Powell

I almost forgot---It was thirty years ago next week when _The Beatles_ "White Album" was released.

"When I get to the bottom I go back to the top of the slide / Where I stop and I turn and I go for a ride / Till I get to the bottom and I see you again."

Wed Nov 18 20:11:17 MET 1998


From: NJ

Frank Dracman

Willie Nelson certainly deserves mention. 'The Legend of Jesse James' is better than just 'worth the trouble' for Levon's contributions alone, but don't track it down expecting to hear Willie Nelson--he's not on the album.

Wed Nov 18 20:06:04 MET 1998

Peter Viney

Consistency: That's the difficult word. So many truly great artists have had gaps - or rests - or what you want to call it. I would have said Joni a few years ago, but there was a big gap and I'm finding the new one heavy-going. Still trying though.

You're all quite right - Neil Young is the closest comparison to Van - hard working, an album a year, tours regularly, keeps coming up with the goods. More willing to take risks, too. Hmm. First equals in the consistency stakes.

Richard Thompson, an unequivocal yes on the songwriter front, but I had to stop buying his albums due to a mild distaste for his singing voice. (I expect you to come back with the fact that I like Robbie Robertson's voice … and Dylan … and Neil Young, none of whom are "natural singers" in the way that Van, or the boys are). I think the Richard AND Linda Thompson albums were great - bought all of them. And Linda Thompson's solo album is a favourite. Pity she retired- her story is told in the notes to 'Dreams Fly Away- A history of Linda Thompson' (which every Richard Thompson fan should own). Maybe it's that after reading the stories behind the whole business, I cast my vote squarely on her side.

My mild comment that in spite of weaker albums, McCartney was consistent, brought two barbed responses! What is this knee-jerk reaction to McCartney? You guys are reading British rock magazines too much - they all have the same reaction to Sir Paul. I am not personally convinced by his classical excursions, but he has topped the classical charts (twice), written children's songs that have eaten into our consciousness (what's wrong with that? It's better than kicking old ladies, as Monty Python might have said), made dance albums under a different name, done film scores and still produced a number of good rock songs. Also, having seen him not only with the Beatles, but in the "Band on The Run" era, I'd have to say that he has instant on-stage charisma comparable only to Dylan (who also gets away with a lot of stuff because of it).

Wed Nov 18 20:02:27 MET 1998

Frank Dracman

From: LIC, nyc

A thirty year guy nobody's mentioned is Willie Nelson. I saw him live a few years ago and he cooked. His new album "Teatro" is getting good reviews also. I bring him up because I've been looking for the album, on which he collaborated with Levon, "Legend of Jesse James". Is it worth the trouble?

Wed Nov 18 19:37:37 MET 1998


The list of musicians who are still around after thirty years could end up being quite long. Yet part of the comment that sparked this discussion was to identify artists "still producing VITAL NEW music."[emphasis mine] Here is the point where some of us will go our separate ways. Steve Winwood has been active for as long as the Band and at times his creations have been vital and exciting [Blind Faith, John Barleycorn, Low Spark, Arc of A Diver] but I don't feel that way about the second half of that thirty years (though he was fantastic live when he opened for the Dead in 94). The Allman Brothers have lost a couple of members to fatal motorcycle accidents but they still put out the occasional album and tour. But are they still as vital and interesting as the were from 1969 to 1974? Absent from anyone elses posts has been Paul "still crazy after thirty-five years" Simon. Then again, after bringing him up, I don't think I would place him in the same crowd as Van the Man. Simon's work is of a high quality, but he has released only two studio album of new music in the 1990s and three in the 1980s, whereas Van has released 6 and a half so far in the 1990s and eight in the 1980s. [I am not counting in-concert recordings or releases of previously recorded materials such as Best Of, Anthology or archive material.]

Wed Nov 18 19:20:53 MET 1998


From: NJ

Not too surprisingly, citations for the 30+ years club run down the roster of the hoariest of classic rockers. While I too find something thrilling in a new Dylan and look forward to anything anytime from Van Morrison, I can't help but note the absence of soul and R&B artists. They may not have had guest spots on 'The Last Waltz,' but Aretha Franklin, Stevie Wonder, George Clinton, Irma Thomas, Solomon Burke, Smokey Robinson, A. Toussaint, and a host of blues artists--not to mention Mr. Charles, who did more than serve as an inspiration to Richard Manuel--are all still recording. The results may sometimes be spotty and uninspired (conditions that shouldn't be unfamiliar to 'Jubilation' enthusiasts), but any and all are capable of richly satisfying work with any release.

Two artists with direct Band links (both of whom have been delivering the goods for closer to 40 years) who also deserve mention are Doug Sahm and Dr. John.

Wed Nov 18 18:02:14 MET 1998

David Powell

Although they've mellowed a bit in recent years, Eric Clapton, Paul McCartney & Steve Winwood can't be counted out. Likewise for John Fogerty, Steve Miller, Roger McGuinn, Chris Hillman & David Crosby, who resurface occassionally with interesting work. Lo & behold, I see where Moby Grape is booked to perform at the Wetlands club in New York City this Thursday & Friday nights. Apart from Taj Mahal, Boz Scaggs, Carlos Santana & the surviving members of the Grateful Dead, who's left from California scene? Maybe Brain Wilson & his former co-hort Van Dyke Parks.

Wed Nov 18 16:16:09 MET 1998


Just Wonderin': The idea of Scorcese making a film version of This Wheel's On Fire is very funny. For the soundtrack he could enlist a friend and regular collaborator--Robbie.

Wed Nov 18 15:50:46 MET 1998

Just Wonderin'

From: South Texas

David Powell: I agree with you completely. In a Joni interview she once said that Neil Young is the only artist she knew of who didn't change his vision or attitude towards the music one iota. On another note.....I've just recently purchased a copy of Levon's book "This wheel's on fire" to reread (got it throught a mail order co.for 10 bucks plus shipping). I'd forgotten how funny he is! Levon's life story would make a great movie.....maybe Mr. Scorsese should look at it as a new project.

Wed Nov 18 15:29:48 MET 1998

David Powell

From: Georgia on my mind

Van Morrison, Joni Mitchell, Ry Cooder, Richard Thompson, Carlos Santana & Lou Reed---Yes I would have to agree. And what can you say about the Godfather of Grunge, Neil Young? Consistent, often cantankerous, iconoclastic, yet never complacent, always taking chances. From his work with Buffalo Springfield, to his solo ventures & recordings with Crazy Horse, the Stray Gators, International Harvester & yes even with Pearl Jam, he's always out there reaching for something. Every once in a while, he achieves something transcedent in his work, an epiphany of sorts. Along with Van, Joni, Ry, Richard, Carlos, Lou, Levon, Rick, Garth, Robbie, Dylan & perhaps a few others, Neil still has that fire in his belly.

Wed Nov 18 14:28:12 MET 1998


From: CT

Seconds for Richard Thompson & Ry Cooder on the "30 year" thing, though I do think RTs very best work was with ex Linda. "I Want to See the Bright Lights..." and "Pour Down Like Silver" are classics. I also seem to recall rumors that both Ry & RT were being bandied about circa '82 as Robbies replacement in The Band. Anyone else remember that? And one more 30 yearer: Joni Mitchell. With her recent concerts w. Bob she is somewhat back in the spotlight, but IMHO a very,VERY underappreciated Artist with a capital A. Can't think of too many others who have changed, expanded, challenged so consistantly as Joni. Taken as a whole, her work stands with anyone.

Wed Nov 18 05:45:48 MET 1998

Pat Brennan

From: USA

I have to say I really didn't like CCR back when they were big, but I recently heard a Filmore performance circa 1970 and it was very good. I'm afraid the one person we're forgetting here as far as consistently delivering the goods is Carlos Santana. I listened to his box set a few weeks ago and was mightily impressed. I also kinda like the Page-Plant Back to Clarksdale thing. I saw them in Chicago a few years ago and the show was tremendous. I also think Jeff Beck--while not necessarily busy producing product--is monstrous. They're not all working the same side of the street as the boys, but they aren't watching TV and eating twinkies either.

Wed Nov 18 04:46:20 MET 1998

jim stamper

From: new richmond ohio

Wed Nov 18 04:14:08 MET 1998

Ben Pike

From: Cleveland Tx

Of the Thirty year vets, I'd hafta say none produces more on the songwriter front than Richard Thompson. His songs just get better and I sense that critics that have been praising him so long they are just sick of it, so now they sometimes pan him out of boredom. But the proof is in the pudding, and Peter, songs like "Beeswing" and "Woods Of Darnay" make Paul's work sound like flaming cowpie. Louden Wainwright III, apart from being Mr. Underated, has also written songs that bravely confront the passing of the years, so he would deserve some consideration here too.

Wed Nov 18 02:58:02 MET 1998


From: Nueva York

Word is...Neil Young is the Big Daddy of "Grunge". Now, I know that may not sound great to some, but it's a compliment. Cause many young artists are part of the "Grunge" world - or are derive from the world of Grunge as it once was...and they've got heart.

Wed Nov 18 01:35:12 MET 1998


This is RE: Paul Flemings work again for a minute. I've already said my piece on the opening page; but I went back this evening to check his "other works." They are beautiful. I travel to places like Memphis & New Orleans a couple of times a year and I buy different pieces of "black art." Do you know how much you would pay for such paintings as Bessie Smith & T. Monk? A whole lot more than Paul is charging. I plan to buy a Tom Waits for my son, who is a big fan. Check it out, it you haven't visited Paul's other works.

Wed Nov 18 01:26:38 MET 1998

John Donabie

From: Toronto

What button I hit to just post my name, I'll never know.

Re: Who's been around and is still developing and producing significant work for 30 years?

Along with Van the Man, I would have to say Neil Young. Neil has never lost his energy or passion for making music. You might not always like what he's doing; but if you saw him on the Bob Dylan 30th anniversary know what I'm talking about. Another; but some may argue if he has progressed much, as opposed to consistently putting out product, would be Lou Reed. Thanks to David Powell, I saw him on Sessions at West 54th St. and he was awesome.

Wed Nov 18 01:18:44 MET 1998


Wed Nov 18 01:16:00 MET 1998

Johnny Rotten

From: Earth

Peter Viney is a Flaming Pie fan as well as Crazy River lover! He's just so cute and cuddly.

Tue Nov 17 22:59:19 MET 1998

Amanda Xiarhos

From: Acton, Massachusetts

I love them...

Tue Nov 17 22:54:59 MET 1998

David Powell

Although the albums that Geoff & Maria Muldaur released are hard to find, Geoff & guitarist extraordinaire Amos Garrett recorded two albums around 1973 with Paul Butterfield that are still available on CD. These two albums are entitled _Better Days_ and _It All Comes Back_.

Tue Nov 17 22:24:56 MET 1998

Peter Viney

The Muldauers: Yes, John. 'Pottery Pie' is fine - I only picked it up a few weeks ago. On the other hand, 'Sweet Potatoes' is even better. A wonderful album.

David Powell asks a good question: who has been around 30 years and is still developing and producing significant work? The accolade must go to Van Morrison, no one has steadily stuck in there, toured every year and brought out work of more consistent quality. He runs away with it. While The Band are my preferred listening (if I had to choose), they have had fallow patches. Robbie Robertson has stuck there and continued to innovate, but he’s issued four albums in 20 years plus the soundtracks - Van has produced TWENTY TWO albums in the same time span (Wavelength to The Philospher’s Stone, counting doubles as two). Quantity is not necessarily quality, but Van has produced many significant albums since the Last Waltz. At least ten, if you’re not a fan. Fifteen or more if you are. If The Band have had fallow patches, Dylan has had dire patches (World Gone Wrong. Real Live, Saved, Dylan & The Dead …) interspersed with excellence (Street Legal to Time Out of Mind). The other 1968 survivors have related histories - Taj Mahal and Ry Cooder, but Ry hasn’t done much recently under his own name. I suppose The Rolling Stones deserve a vote (though my total belief stops around ‘Exile on Main Street’). Paul McCartney certainly, but there have been significantly weaker albums too. The Band, 1968 to 1998 are my personal number one, but I’d have to award Van the consistency and significance prize. All in all, a surprising number are still producing the goods.

Tue Nov 17 21:54:17 MET 1998

John Donabie

David Powell was mentioning Geoff Muldaur. Once in a blue moon I have seen Pottery Pie on CD with Geoff and his ex Maria Muldaur. Should have picked it up. Haven't seen it in some time. Great album.

Tue Nov 17 21:02:04 MET 1998

Mike T.

From: Pennsylvania

As I mentioned previously that I would let you all know about the CD order I placed with for "High On The Hog", and "Jericho". I received both items today in perfect condition for the order I placed on Friday Nov. 13. I'll definitely order again, because their prices also seem to be cheaper than everyone else. Take care, and if you want the link to TappedInto's Band merchandise read my previous post.

Tue Nov 17 20:42:19 MET 1998

Mr. K. Horse

From: Above the tree line bout now

Hey there band lovers; well its almost time to deck those halls again so how about the stars of our admirations commin together for some good time rock and roll; Levons health excepted. An nother thin, Does anyone know why Neally Yong was at the Onondaga County War Memorial two Mondays ago signin auto.'s betwee the Mitchall and Dylan set, Sittin right out there bold as could be lettin the commn folk get up close and personal. Thinkin maybe he came down from Canada to check out the show. We were all waitin for the man to take the stage but he never did. Darn it!

Tue Nov 17 17:35:40 MET 1998

Steve Rovner

From: Greenville, SC

Just found this page, so sorry if this question has already been asked - is the sound quality of the new limited edition Japanese CD of the Brown Album a significant improvement over the sound quality of the Capitol CD (which, in my opinion, is lousy)? I don't want to shell out $30 bucks or so unless the sound quality merits the upgrade. Thanks.

Tue Nov 17 16:11:22 MET 1998

David Powell

From: Georgia on my mind

Thirty years ago (I'm younger than that now), I heard an album that forever changed my musical conceptions. I'd heard the Hawks backing Dylan several years before, but when I listened to _Music From Big Pink_ for the first time, it really opened up new doors. For me at the time, the music on that album sounded so much more mature & sophisticated in comparison to other albums of that era.

Now, thirty years later, with the release of _Contact From The Underworld Of Red Boy_ and _Jubilation_, the members of The Band are still producing new music. Rather than compare these new albums with their own excellent earlier work, how would you judge them in comparison to that of their comtemporaries? How many artists can you think of that have been around as long as The Band, who are still producing vital new music, rather than just re-hashing their earlier work? How would you judge _Jubilation_ and _Contact..._ in that context?

BTW---Geoff Muldaur, who has crossed musical paths with The Band over the years, has a wonderful new album out on Hightone Records, entitled _The Secret Handshake_. The music on this album is like a lesson in the roots of American music, with examples of blues & gospel mixed with portions of country, folk & jazz. With guest appearances by musicians such as Stephen Bruton, Amos Garrett, Howard Johnson, Bill Rich, David Grisman & Richard Greene, Mr. Muldaur treats the listener with finely arranged doses of guitars, bass, drums, horns, fiddle, mandolin, banjo & accordian. Highlight of the album is a medley which includes a pennywhistle & Bo Diddly hambone rhythm driven "Chevrolet" that segues into Don Pullen's jazz instrumental "Big Alice". One could easily envision the members of The Band sitting in to back up Geoff for a live performance of this music.

Tue Nov 17 15:44:34 MET 1998

Peter Viney

Creedence Clearwater Revival: Robbie always quoted them as the opposite of The Band "John Fogerty and three backing musicians" BUT I don't think this reflects badly on Fogerty. I had a very nice bootleg of Fogerty with The Grateful Dead, which a guy working in the local record store borrowed and never returned. I should have learned about lending records years ago. I lost my first print-run 'The Times they are A-Changing' in a similar way. This may be heresy but I can see a fun stage performance by combining The Band and JF- nothing permanent, as Weider is as good as anyone will ever need, but it'd be a pleasant one-off concert.

Tue Nov 17 14:46:00 MET 1998

Uncle H.

From: Austin, TX

Nay! God forbid! I hereby declare this web site to be a CCR-free zone.

Tue Nov 17 14:28:29 MET 1998

Patric Mulcahy

From: Rutherford. N.S.W. Australia

I'm a frequent visitor to this site that does justice to a mighty music group. I've been a Band fan since 1967,I attended a concert by John Fogerty in Sydney last week and was amazed by the power of his singing and guitar playing...then a thought struck me..Fogerty lead guitar with the Band !!, Now I'd go a long way to see that !!!! Yay or Nay?

Tue Nov 17 04:34:34 MET 1998


I think it's probably a good thing Robbie left the Band when he did. I'm no song writer but Livin' in a Dream sounds like Robbie really was burnt out from the road and just didn't give a poop what he wrote.

We gonna live live live and never stop Gonna give give give my very best shot Cause what I need is what you got And you know we're only livin' in a dream

Tue Nov 17 02:37:24 MET 1998


From: Raised on Robbery

That boy sure can play!

Mon Nov 16 23:45:27 MET 1998

Ragtime Willie

BEN PIKE: There were two LP versions of Northern Lights: one ending with Rages & Bones, the other with Jupiter Hollow. As I understand there is only one CD version ending with JH. BTW: I think Rags & Bones is one of the most underrated Band songs.

Mon Nov 16 16:36:42 MET 1998

David Powell

From: Georgia on my mind

I think Paul Fleming's original artwork adds a distinctive touch to the website. Regarding the shortcomings in the sound quality of _Cahoots_---No doubt part of the problem was that this was the first recording made at the Bearsville Studio and evidently all of the kinks hadn't been worked out with the studio's equipment. I think this was further compounded by the fact that the album was "self-produced", when the group could have possibly benefited from the expertise of a qualified producer. Overall, the lack of enough good material combined with a new recording environment, the absence of a producer and dissension within the group, resulted in a lackluster performance. In the end, however, perhaps the weakness of the material was the decisive factor. After all, it was the strength of the songs & the performance that overcame the deficiencies in the recording techniques on the Basement Tapes.

Mon Nov 16 16:05:39 MET 1998

Ben Pike

From: Cleveland Tx

You Robbie haters will love this one, but don't forget he teamed up with Dr. John and James Taylor to play on Carly Simon's hit verison of "Mockingbird". Well, it was a hit remake of a hit I guess. And don't forget all the boys save Richard helping Ringo out with "Sunshine Life for Me." And when it comes to great moments with Garth, I think his Sax solo on "Last Of The Blacksmiths" is right up there. And don't forgot Robbie's solo remake of "Christmas Must Be Tonight" on the Scrooged soundtrack. They been running that one on cable. Pretty bad. Hey, do any of you Chicago types remember Record City in Skokie? Got my first "Northern Lights" there.....And hey, why do they reverse the songs "Jupiter Hollow" and "Rags and Bones" on the Northern Lights CD?

Mon Nov 16 13:15:41 MET 1998

Ragtime Willie

Thanks for loving me Madison, but I don't think this will change my opinion on Cahoots. Possibly a remastering can improve the sound, but not the 'writery' lyrics or the lifeless choruses. RE Flemings: I like them & prefer them to pictures of a boozing Uncle who forgot to take his daily Alka-Seltzer. I think it's only Jan Hoiberg's privilege to decide whatever he wants to do with the lay-out of his website.

Mon Nov 16 11:02:57 MET 1998

[guest photo]

Uncle Hangover

From: Austin, TX
Home page:

I like Fleming's paintings, it's nice to have original artwork made for the web site. But Elliott Landy's photos should be there too. Maybe Jan could make "alternating" home pages or something? One with e.g. the brown album pic and one like the current? Just a suggestion.

Mon Nov 16 09:17:08 MET 1998


From: Den kuleste bygda i Norge:KOLBU
Home page: å trur du

Ole ivars

Mon Nov 16 08:23:47 MET 1998

Nick Tovo

From: Italy via Newark, De.

Jan your work on this page is nothing short of exemplarly as well as the best I've seen yet on the web. That said, Peter Fleming's work is also great but in all fairness I feel that Randy and Richard B. also deserve a look as they have now been members for some time. On a final note, I hope The BAND regroups and plays some outdoor shows because they are the best in this situation. I think they should put out their Woodstock '94 show w/Hornsby and Weir guesting at the end, which along w/Dylan's set may have been the best of the day. Sounds like bias but I think it's true. It was a slap that they were'nt included in the official live CD (don't worry I did not buy it), but then again the only groups that were are on major labels.

Mon Nov 16 08:08:01 MET 1998

Rod Prowse

From: Wellington, NZ

The picture of Bob Dylan, Robbie and Levon playing mandolin from Shelter from the Storm, in the BD and Band photo section, is I think from the Rock of Ages concert and not tour '74 as mentioned. The give away is the guys' hair length and BD playing Robbie's Tele with the humbucker. On the subject of ROA, the Authorised Biography mentions that most of what was on the album is from the previous night's sound check on not New Years eve. Is this right ?

Mon Nov 16 06:04:04 MET 1998

Pat Brennan

From: USA

Here's another vote for the Fleming paintings.

Mon Nov 16 03:40:33 MET 1998

Jonathan Katz

From: Columbia, MD [back home]

Peter: I made just such an RR tape a while back. The track listing is: The Fat Man (Carny) Between Trains (King Of Comedy); Wonderful Remark (King Of Comedy); Modern Blues (Color Of Money); Main Title (Color Of Money); Slo Burn (Jimmy Hollywood); Let The Good Times Roll (Jimmy Hollywood); Bad Intentions (Jimmy Hollywood); The Far Cry Of Lonely Trains (Jimmy Hollywood); Crazy Love (Phenomenon); One And All (unreleased). The flip side of the tape starts with Dixie from the recent Good Morning America appearance and is still a work in progress but will include I shall Be Released with the Red Road Ensemble and Elvis Costello.

Mon Nov 16 02:00:00 MET 1998

Just Wonderin'

From: Texas

Point of interest: Ebay has an auction of "Music from Big Pink, signed by all original members of the Band. This copy of the LP has lived at Big Pink for the past 21 years. The jacket was signed by four members in 1983, then by Robbie Robertson earlier this year. The jacket is somewhat worn but not severely, the record likewise. The record comes with two authenticating videos. The first from CNN and shows this copy of the record being displayed in front of the house. The second is from CBS and actually shows RR signing the record in the basement of Big Pink." Bidding starts at the low low price of $1000.00. Anyone with extra scratch wanting a piece of history?

Sun Nov 15 23:41:07 MET 1998

Diamond Lil

From: The Web

Personally, I love the Fleming portraits and hope Jan keeps them right where they are. Alot of work, and heart, and talent went into producing something so unique for us all to enjoy. Maybe some of you would rather little Band caricatures..or cartoons with funny captions? C'mon guys...Flemings stuff is _art_. Show a little appreciation.

Sun Nov 15 23:26:52 MET 1998


Viney, Donabie..THANKS.

Tyler you little weasel, you didn't just make a suggestion, you put down and ridiculed Fleming's work. There was no need for that.

Sun Nov 15 22:44:49 MET 1998


From: uk

Anybody on this side of the water got any band bootleg cds or tapes to sell?. if so contact me at the above email.

Sun Nov 15 22:35:30 MET 1998

john donabie

Just a comment on the site's opening page. I think the Fleming paintings are wonderful. I think they should stay there; until Jan decides otherwise. It's his home and we are but mere guests. Hey we don't even have to pay rent.....

Sun Nov 15 22:22:50 MET 1998

john donabie

Just a thought, on a Sunday afternoon. Whoever did the post on Daniel Lanois producing The Band, had a good point. I think that Daniel, a Hamilton Ontario boy, could preserve the original flavour of The Band and, dare I say it, bring Garth out even more. Lanois has a great talent for this. He respects the history of a group; yet he is progressive in thought. I think he could jump start them up a notch and they would love it from a creative point.

Sun Nov 15 22:07:35 MET 1998

Mary Lena Leach

From: Tyler, Texas

Love the music for The Native Americans. I sent an email allready but I'll say it again....I'd like to hear you do more like it.....I play it many times a day....thanks...Mary Lena Leach.....Texas

Sun Nov 15 21:54:59 MET 1998

Victoria Mull Leichliter

From: Irwin, PA

Just browsing and I thought I would look up my maiden name.

Sun Nov 15 21:13:26 MET 1998


From: Madison, Wisconsin.
Home page:

RAGTIME WILLY; How could you say that after playing "CAHOOTS" over and over again, that now you are bored with it...Instead of hearing it over and over again; please try to LISTEN to it over and over again... Who robbed the cradle, who robbed the grave, who's the ONE that asked to be saved, No, no answer came. I moved to the country, that cried of shame, I left my home and found a name, No, nobody could explain! Have mercy cried the Blacksmith, How ya gonna replace human hands? FOUND GUILTY said the judge, "FOR NOT BEING IN DEMAND". Frozen fingers, at the keyboard, Now could this be the BIG reward? No, no answer came. I brought everyone to see for themselves, Cuz they wouldn't believe it from no one else. No, nobody could explain. "Dead tongues", said the poet. To the daughter of burlesque... Cocteau, Van Gogh, and Geronimo, "THEY USED UP WHAT WAS LEFT". "Cry wolf", said the martyr, I don't believe I'm alive, Your the "HERO",said the mute; And you're BOUND to survive! The picture on the inside cover of the "CAHOOTS" album, with the boys sort of backed in the corner, symbolizing themselves looking at a reconstruction of where they were, and where they were going, and how to build their music better. It was a bad time for the boys. The front cover no doubt shows the extreme presents of drugs in their lives, like "Rubber Soul" by the Beatles was to them at that time. BUT, the music, and song writting, and the great album covers were by all means..."FANTASTIC", not boring. "We love ya Ragtime Willy here in Madison". Peace, Love and Light to ya! Tim(SUNDOG)Corcoran.

Sun Nov 15 18:56:07 MET 1998

Peter Viney

IN-CAR ENTERTAINMENT: If you’re not a technology-freak, read no further, but scroll through to the last paragraph.

We’ve been suggesting stuff for the car by Rick and Garth. I noticed the original suggestion was for 110 minutes. An odd length. I wouldn’t use C120s in a car - they stretch and are poorer quality. The old rule was C90, but I think the C100s now on sale are the same tape with smaller spools. Mojo’s home-taping page works on C90, but let’s get up to date. 74 minutes is the length of a CD, and domestic CDR-burners are now a reasonable price. With DVD coming in fast, I think everything will be on a CD size carrier very soon. You can use computer CDRs too. A computer CDR is about one third the price of an audio CDR (UK £1.25 as against £3.75), and you can adapt a CD recorder to use them, but quite rightly Audio-CDR price has a copyright element in the price which I am happy to pay for. I’ve used CDRs for six months. I have compiled myself several ‘Best of …’ CDRs as well as genre CDRs. My problem is this, I keep putting those Hard-To-Find-Rarities on ‘Best of …’ compilations and they don’t always deserve to be there. So I have seperate ‘Rarities’ ones. There are now a stack of Dylan bootlegs of “Hard To Find” tracks. You can do yourself a good Robbie one to save pulling out all the individual soundtrack albums.

So, to the point: suggestions for a Robbie Robertson rarities CDR (or cassette) and a Band rarities collection. I’m talking about things like ‘Between Trains’ from The King of Comedy, or ‘Deuce And A Quarter’ by The Band from ‘All The Kings Men.’ Come to think of it, this would be good feedback for the artists. Robbie could fill an excellent “From the Soundtracks” CD. So, exclude tracks from bootlegs, as they would not be available. BTW, I know that almost no one buys a bootleg until they already own all the official releases. The ethics of buying bootlegs might be a good topic for the week!

Sun Nov 15 18:45:08 MET 1998

Ragtime Willie

From: Home Again

THANKS A LOT all of you, for your "Garthian" suggestions. The very best is Apple Sucking Tree, I think (today that is, tomorriw os another day). SWAGGER LEE: you forgot ENDLESS HIGHWAY (Before The Flood version) & SING SING SING (RCO All Stars) for you Robertson Guitar Anthology.

Sun Nov 15 18:32:41 MET 1998

Jerry Comeau

MuchmoreMusic is listing two Robbie Robertson specials to be aired next week. One is the Redboy special, the other is called "Clip Trip" and says it's Robbie taking us on a musical journey of his career. There is also a special listed on The Band. I'm not sure if this is the Classic Album program or not. See the schedule at

Sun Nov 15 17:04:08 MET 1998

Kevin Pohl

From: Indianapolis

Richard: Thanks for the info on Levon's new club in New Orleans. We hope to be there 12/31, 1/1, or 1/2. I told Anne to give you a call. Take care.

Sun Nov 15 16:57:05 MET 1998


From: The House Next Door

SERGE: It was a suggestion. That's all. As any of us who've been visiting the site for a period of time know, Jan has changed the home page graphics on occasion to keep things fresh. He does a great job. I just was expressing an opinion that a change may be due again soon. Didn't intend to heap a pile of work on Jan or anyone else, or to impugn Mr. Fleming's artistic ability. And I remember and am grateful for the role YOU played, Serge, in getting those paintings to the site many months ago, too. Sometimes, though, change is good.

Sun Nov 15 16:14:12 MET 1998

Peter Viney

I like the fact that Paul Fleming's original pieces of art are on the opening screen. And don't forget that it's Jan who has to invest his time changing these things, so why pile on additional work? There are other Paul Fleming paintings under RELATED MERCHANDISE which could be used if people feel like a change - but it's easy to request, but a lot of work to do it. I'm happy with a familiar sight to prove that everything's working. If you browse other rock sites you get really sick of animated bits and audio files wasting time as they load up. You also see how easy this guessbook is to use and how clear everything is.

Sun Nov 15 15:58:59 MET 1998

Swagger Lee

Why don't we just make it a four Disc box set, wonderfuly packaged for all of the Robbie Bashers to privately cherish.

Sun Nov 15 15:54:22 MET 1998


TYLER, or whatever your name is.. critic. Why don't YOU paint "your" version of a Garth portrait, and offer it to this site. I am sure that you are at least as multi-talented as Fleming is, and could turn out a better resemblance. You are tired of seeing the portraits..I am tired of your feeble guestbook entries. Why don't you identify yourself, post your Email, don't bark from a distance like a little dog.

Sun Nov 15 15:50:54 MET 1998

Swagger Lee

From: Gennese

Ballad of a Thin Man from 66 must be on this Garth compilation. Beautiful colors. A Robbie Guitar Anthology would be an interesting disc. Mine would have tracks that include, She's 19, Matchbox, Who Do You Love, So Many Roads, I Can Tell, Spoonful, Brown Eyed Handsome Man, Tom Thumbs Blues, Obviously Five Believers, Leopardskin from Blonde on Blonde, Orange Juice Blues (from The Box Set), King Harvest, Don't Do It, Back To Memphis, Unfaithful Servant ROA, LIfe Is A Carnival ROA, Dirge, Sign Language, All Along the Watchtower 74, Most Likely 74, Highway 61, 74, Forever Young 76, It makes No Difference NLSC, Crazy Love with Neville, Day of Reckoning, Vanishing Breed, Rattlebone, Java Blues 76, The Far Distant Cry of Trains,The short clip of him solo during Eat The Document,This collection should also contain rare and never before heard clips of Robbie's Jam sessions. A two or better yet, a three disc set would be a great Chrismas present. What have I left out?

Sun Nov 15 15:40:22 MET 1998

Dave Besterman

From: Valparaiso, Indiana, USA

Just got back from a visit to New York and Connecticut. Highlight of the trip was finding Big Pink and like other fans before me I 'obtained' a souvenir stone.

Anyone looking for Ralph Gleason's Review of Rock of Ages can find it in the Oct 12, 1972 issue of Rolling Stone.

Sun Nov 15 14:19:32 MET 1998


From: The Brokerage

I think Norman Hunter Jr. is right on the money. Not suprising for a Scotsman :-). The strength of "Don't Wait" is in the weakness of Levon's voice. I do hope, however that if and when we have the pleasure of hearing it live, he is at 100%. Anybody using a word like plenipotentiary is so out of touch with their audience as to have no audience except maybe the Hollywood elite. They can have each other.

Sun Nov 15 12:19:24 MET 1998

Al Vacado

From: Recycle bin

Ben Pike

Whoever said Robbie was mindless? Self absorbed, yes. Mindless, no.

Sun Nov 15 06:52:20 MET 1998

Ben Pike

From: Cleveland Tx

You know the mindless Robbie bashing is even starting to get to me.....

Sun Nov 15 06:12:37 MET 1998

Pat Brennan

From: USA

Ragtime, I suppose it's worth repeating that Levon and Rick only refer to it as The Band when Garth is around. How 'bout that weird sound on I Shall Be Released?

Sun Nov 15 04:46:14 MET 1998

Danny Lopez

From: Iowa

Little John Tyler -- I second your motion. It's time to replace the Fleming paintings with something else. The Brown album pic sounds good to me. Can we vote on this?

Sun Nov 15 04:21:55 MET 1998

Little John Tyler

From: The House Next Door

Point 1. I'm just back from a screening of "Eat the Document" at a museum in NYC, and am still shaking my head at how young Dylan and The Hawks all looked: A cleanshaven content Garth, a gaptoothed smiling Robbie, a mischievous funloving Richard, and a lean and hungry Rick. See it if you can.

Point 2. My submissions for a "Garth's Greatest" collection: Ballad of a Thin Man from Before the Flood, and The Shape I'm In from Stage Fright. Actually, having just listened closely to TSII repeatedly recently, I was blown away by the bass and drum work on it as well; this could be The Band's best collective studio work from an instrumental standpoint.

Point 3. Anybody else getting tired of the Fleming pantings upfront on the homepage? I'm in favor of bringing back something with the current lineup, or maybe the great photo from the back of the Brown album with the 5 originals at their instruments. I always thought the Fleming painting of Garth looked more like Alexander Solzhenitsyn with an accordian.

Sun Nov 15 00:48:19 MET 1998

Ragtime Willie

GERARD: just read what I said about Neil Sedaka & listening to music in the car. Got no car, got no misery... PAT BRENNAN: Thanks for lifting the ban for a moment. Now It's Time To Say Goodbye... But your Garthian (thanks Gerard) suggestions are very useful anyway. The problem is: there is hardly a Band tune without Honey Boy's omnipresence. Otherwise it wouldn't be The Band, wouldn't it? BEN PIKE: Never heard "Mary Jane Had A Pain". Sing it for me, will you?

Sat Nov 14 23:31:36 MET 1998

Tom Thumb

From: Back in New York City

Apple Suckling tree contains organ from another world. I hate to admit it , but I'm not crazy about the Genetic Method either, I would much rather hear Too Wet To Work. Garth's Largo is one of the prettiest pieces of music I have ever heard. Love his piano on The Weight. Putting together a Garth tape is nearly impossible. Been listening to Dylan 66 where he shines very brightly, Ballad and Just Like My Blues are standouts. Must say that I can't hear the "f" word. Maybe I haven't read enough Dylan material Peter. Doesn't really matter though, the music is what I love.

Sat Nov 14 23:05:21 MET 1998

Norman Hunter Jr.

From: Edinburgh, Scotland

The Band's like good wine, brothers and sisters. I just received my copy of "Jubilation". It made me cry, the first time I heard Levon struggling through "Don't Wait". I love it, what a wonderful song and a wonderful singer. Who cares about record sales? Robbie's embarassing techno-native over-inflated-ego thing may sell because of him posing as the know-it-all-mystery-man. Levon and Rick and Garth make honest music Jubilation deserves to go platinum. Here's to Levon Helm! Cheers, and please come back to Europe.

Sat Nov 14 23:04:20 MET 1998

Peter Viney

You have to start your Garth compilation tape from 'Jupiter Hollow' and work from there. 'French Girls' would be another certainty. 'Garth's Largo' would be on. But sessions - whew, there are so many. As for other Band tracks he's so insperable that I wouldn't know where to begin. Just wish he'd release some more solo material.

Sat Nov 14 21:49:26 MET 1998

Neil Sedaka

"Did you hear my cover version of Mary Jane Had A Whispering Paine?".

Sat Nov 14 21:37:37 MET 1998

Davey Davidson

From: Jersey City

Dear Robbie Robertson regarding your press release and how an artist can ask you anything since you are all knowing. When I get together with my band mates and work on songs that I have a basic idea on, how can I screw them and get the songwriters royalties??? And about how you've seen it from 360 degrees. Yep it all starts and ends with you. What a guy! I wait your answer with great anticipation!

Sat Nov 14 21:36:00 MET 1998

Ben Pike

From: Cleveland Tx

Peter, Ragtime is correct. You should not mention Revolution#9 in the same breath as "Rites Of Spring". Because we all know that the rejected White Album Track, "Mary Jane Had A Pain" is the true masterpeice, greater than "Rites Of Spring" or anything Mozart and Bach did put together! Let's not forget Solo Garth, the excellent "Feed The Birds" on that Disney album. For serious advocacy in favor of "Genetic", see Ralph Gleason's review of "Rock Of Ages" in one of those Rolling Stone reveiw Anthologys, if you can find it......

Sat Nov 14 21:23:53 MET 1998

edward todd

From: floral city,fl.u.s.a.

i'd like to know where i can send for robbie robertson albums via snail mail in the u.s.a.

Sat Nov 14 21:13:18 MET 1998


From: Leiden, The Netherlands

Neil Sedaka? Do you know what you are saying, Ragtime?

Sat Nov 14 20:08:39 MET 1998

Just Wonderin'

From: Texas

Gerard: Love your new adjective "Garthian"! Couldn't have said it better myself!

Sat Nov 14 19:13:44 MET 1998

Pat Brennan

From: USA

Ragtime, I've decided to quit talking to you. Oh, wait a minute. Garth's greatest moments? Well, I guess I'll put off the quarantine for a bit. Intro to Stage Fright from B4 The Flood. Dixie from Washington DC 76. Get Up Jake from ROA. Horns from Tears Of Rage/Organ from We Can Talk, Big Pink. Piano on Rag Mama Rag, Brown Album, Acadian Driftwood, Share Your Love, Mystery Train, ad infinitum......Okay, we can talk about it now.

Sat Nov 14 18:58:01 MET 1998

Ragtime Willie

YA, RITE: you can come out now! PAT BRENNAN: I could show you lots of horrible arrangements and quotations of music that I love. PETER VINEY: It's just that Le Sacre du Printemps (or The Rite of Spring as you English-speaking people call it) is one of the landmarks of 20th century music. I agree that you shouldn't use it for entertainment in the car, which counts for all good music. If I had a car I should possibly listen to Neil Sedaka. Feel free to contact me about Air on a G-string. Re GARTH HUDSON: someone asked for suggestions for a Rick Danko compilation. I'd like to do the same for a Garth tape (to prove that I love the guy). Any suggestions? I'd suggest Chest Fever (not Genetic Method) but: Bessie Smith, All La Glory, Whispering Pines, Resurrection, You Angel You. Who else?

Sat Nov 14 18:52:02 MET 1998

Ya, Rite!

Sorry you took the heat Ragtime, now I just smell like gas. Of course, I never meant that I didn't like Garth or questioned his talent. I know he's great and his Midas touch is what pushed The Band from good to great. I just find that particular track too long and horrible in the car. I agree it would have been great live.

Sat Nov 14 18:27:37 MET 1998

Marvin Gardens

From: NY

The sportsworld lost a great coach last night- Red Holzman of the NY Knicks. In the late 60's and early 70's when I should have been trackin The Band, much of my time was spent following the Knicks and playing basketball. Rest in peace Red.

Sat Nov 14 16:48:36 MET 1998

Pat Brennan

From: USA

Ragtime Willie, how can you call a piece of music "noise" when the performer quotes Beethoven's 9th?

Sat Nov 14 15:46:18 MET 1998


This press release surely defines the term creative plenipotentiary.

Sat Nov 14 15:42:50 MET 1998

Peter Viney

Ragtime Willie: Music is all tiny movements of air in one sense. I don't think I was comparing GM, Rite of Spring and R#9 in quality or kind - I was just pointing out that they all require attentive listening to a degree that makes them unsuitable for in-car entertainment.Or any kind of entertainment in the case of R#9. On another matter, I was having an argument about 'Air on A G-string' that you can probably settle for me, but perhaps send me your e-mail as I don't think this will be of general interest.

Good to see Robbie posting, albeit without his knowledge. Seems fair to me. I think he's right.

Sat Nov 14 15:40:10 MET 1998

Rapid Roy

From: Mini Mart


Could you confirm you appearance at Levon's Cafe on 12/26/98. I hear its "closed mike" night?

Sat Nov 14 15:17:42 MET 1998

Robbie Robertson

From: DreamWorks Press Release, 11/10/98

"I've been there. I've seen the whole 360 degrees of this equation. There's nothing an artist can't talk to me about; there's no question about the music or the business I can't answer."

Sat Nov 14 14:12:58 MET 1998

Ragtime Willie

YA, RITE (Frogman NED?) where are you? I conveniently diverted the matches for you.

Sat Nov 14 14:02:31 MET 1998


BEN PIKE: you really ARE An American Original. HEY CAROLE: you must be convinced now.

Sat Nov 14 13:13:54 MET 1998

Ragtime Willie

From: A classical buff

Peter Viney: with all due respect, you should not mention The Rite Of Spring in one breath with Genetic Method and even less with R#9.

Sat Nov 14 12:07:47 MET 1998

Peter Viney

When Capitol first released 'Rock of Ages' on CD they thought the same as Willie about The Genetic Method because they cut it to make a single album, which I bought. I then bought the 2CD package which followed just to obtain it, and for me it's the high point of any live show (or bootleg). It's wonderful, ever -changing and astonishing. BUT I might skip it in the car myself, for the same reason I wouldn't play 'Rite of Spring' in the car or 'Revolution #9' in the car. Both demand total concentration and would be jarring, and at European average speeds, dangerous! Actually 'Genetic Method' is something I could play in the car (and have) whereas I'd skip 'Revolution #9' altogether. I'm reversing my position of last week, and knocking The Beatles track! Garth is always melodic and to me, always makes sense wherever his adventures take him. The King Biscuit show Washington DC 76 show is heavily bootlegged and has a great version on that I have often enjoyed in car, but usually when parked, waiting to pick up my kids. I think you can tailor your journey by the music. I keep a selection of Motown classics for when I'm in a hurry. I used to keep a carefully selected Stones tape for when I was REALLY in a hurry, but I've mellowed and now consider Rolling Stones-induced speeds to be anti-social. Playing 'Gimmie Shelter' or 'Let it Bleed' at high volume in a car is Hunter S. Thomson territory. Definitely dangerous driving. But a bit of Four Tops or Temptations allows controlled, sensible rapid progress. The Band tends to slow me down - I think because I want to prolong the journey while I'm listening to them.

I know this is not the Van Morrison site, but last night he did a two hour plus show, and his version of 'Just Like A Woman' was a truly transcendent moment. I didn't think anyone could get near the 'Blonde on Blonde' version's impact, but this had a live impact that could not be bettered by anyone. One of the true greats. Which makes '4% Pantomime' a pretty important collaboration. Two of them together.

Sat Nov 14 11:33:56 MET 1998

Ragtime Willie

From: ...number 9...number 9...number 9...

Believe me. I know about improvisation. I admire Garth Hudson. I wish I had his genius. Without him there should be no BAND at all. But The Genetic Method? I makes me nervous. Makes me wanting to kick my dear wife and children. For safety it's better not to play it when I'm around. And YES! I skip Revolution Nine too. CAROLE: Who said this 6 months ago?

Sat Nov 14 11:07:02 MET 1998


From: Leiden, The Netherlands

RAGTIME: Did you ever hear The Genetic Method LIVE? I did, in Voorburg (The Netherlands) in 1971. You should have been there. It's not NOISE, it's GARTHIAN.

Sat Nov 14 04:56:11 MET 1998

Pat Brennan

From: USA

"The Genetic Method" is noise? Whew.

Sat Nov 14 01:57:36 MET 1998

Diamond Lil

From: The Web

Slow Down Willie Boy! With all due respect, I have to disagree about the Genetic method being just "noise". There's a musical genius at work there in the name of Garth Hudson and I think it's absolutely incredible. Probably what makes it so is that it's very much ad-libbed and comes right from the soul of the man.

Sat Nov 14 01:10:35 MET 1998

Mike Carrico

From: Georgia

Ragtime, I agree with you about the sound on "Cahoots". It's muddy and thin, especially compared to its three predecessors. Saw them in early December '71 - they perfomed some of the new album material and the songs sounded much better than on the record.

Overall, I think it's their weakest album , but I would love to have heard rerecorded, or at least remixed, versions of the songs. The writing is self-concious and "arty", but the playing is strong and a lesser effort by The Band is still better than 99% of what else is out there.

Sat Nov 14 01:08:29 MET 1998

Tim Hannick

From: Troy, MI

You've been a major influence on my best friend Ben and I. I want to see you fellas play here in Detroit. Please try to make it a stop on your next tour. Try not to make it at pine knob music venue, the security guards are a bunch of HUGE jerks, and they don't let us dance freely. And how else is there?

Sat Nov 14 00:58:29 MET 1998

Mike T.

From: Pennsylvania
Home page: Band page

Ok, Just placed an order for High On The Hog, and Jericho on CD with I'll let you all know if I actually receive them before 2+ months or not :). Seriously though, I compared the prices for The Band Cd's vs. CDnow and is EXTREMELY cheaper than CDnow. I placed the link up above so you can compare the prices with Jan's link. Now I only hope that can deliver. Time will tell soon enough. I should have bought a CD Player alot sooner .

Sat Nov 14 00:39:17 MET 1998

Ben Pike

From: Cleveland Tx

Now look here Carol, in just the last weeks I has introuduced the NEW topics of A) Clinton Vrs Starr, and where a true Band Fan should stand B) The set list at all Chicago area Band shows C) Songs that was never on any Band set list(yet are Band songs) D) the star crossed merits of "Cahoots" ...Sure, these are mostly ignored and everyone starts talking about how they hate Robbie's guts or something, but it ain't like I don't try..... Ragtime: I now understand the sense of betrayal expereiced by the singer of "Unfaithful Servent." Genetic Method must be experienced and reexperienced in all its developing glory. I felt CHEATED last time I saw the boys and Garth did no solo. I bet you skip "Revolution Nine" when you play the White Album too!!!

Sat Nov 14 00:35:04 MET 1998

Mike T.

From: Pennsylvania

Just received my Band Jubilation Vinyl from yesterday. It's very nice, and is a little bit different from the CD in packaging. The back of the Vinyl Cover has the autographs from the members (Not actually ink, but still makes for a nice collection piece). I guess they finally got their act together. I'm going to try and order some CD's and I'll let you all know how it turns out. Take Care!

Fri Nov 13 23:50:32 MET 1998

Ragtime Willie

From: Anna Magdalenas Notenbüchlein

GOT NO CAR, GOT NO MISERY. This really WAS a confession, dear YA RITE (another nom de guerre of Donald Joseph, I presume?). I have another confession to make, but no swallowing needed: I ALWAYS skip Garth's megalomaniac Genetic Method or whatever he calls it. It makes me nervous. It's not rock, not funky, not classical, it's just... NOISE.

Fri Nov 13 22:31:06 MET 1998


OK, just a second while I pour some gas on myself.... Alright, here goes Band confession: I was dubbing off Rock of Ages to listen to in the car and (heavy swallow) I deleted Garth's Solo. It just took up too much space and I couldn't picture myself stuck in traffic listening to it. Now you can all throw your matches towards me.

Fri Nov 13 20:52:05 MET 1998


From: FL

Okay, it was a misprint... I've been a FAN <

Fri Nov 13 20:30:04 MET 1998

David Powell

Dave---since the Rock & Rock Hall of Fame induction ceremony is a "music industry event," only a small number of tickets are available to the general public. (This is one of the reasons why Neil Young boycotted Buffalo Springfield's induction) Unless you have an industry connection, there's a waiting list for tickets. See the website for details at:

Diamond Lil, Jill, Pat, Christine, Ruth, Bobbi, Sarah-Melodie & Carole et al.---thank you for your observations. Please share your comments more often, to keep us M.C. Pigs in line.

Fri Nov 13 19:59:58 MET 1998


From: Minneapolis

Does anyone have any idea how I can get tickets to the Rock & Roll Hall of Fame Induction Ceremony to be held in New York City in March 1999? Since I missed The Band's day I want to try to catch Springsteen's day, with or without the E-Street Band. Thanks.

Fri Nov 13 19:44:39 MET 1998


From: Boston (but now NYC)

Same people still here. Maybe Jan just changes the dates and prints the same posts. Seems like it. I haven't been here in 6 months or so..... nothing stays the same like you guys! *L*

Fri Nov 13 16:54:40 MET 1998

David Powell

From: Georgia on my mind

The recording labels are killing me with all these "new" box sets. Randy Newman & Springsteen are the latest, with lots of previously unreleased stuff. The Rhino label has two Ray Charles boxes out now. In addition to the Complete C&W set, they also have Brother Ray's _Genius & Soul, The 50th Anniversary Collection_. So much music, so little time & money. I don't think "She Knows" or "Ophelia" appear on either, but Genius & Soul has Ray's cover of the Bobby Charles song "The Jealous Kind." This classic has also been covered by Rita Coolidge & Delbert McClinton.

Peter mentioned Daniel Lanois' work as a producer. In the December issue of _Guitar Player_ magazine, there's an article & interview with Sir George Martin. Writer Michael Molinda asks Sir George the following:

"Some musicians perceive the role of the producer to be that of a visionary dictator---they think producing a record is all about control."

To which Sir George replies: "The role of a producer has been much magnified, and I think that a lot of the dictatorial producers are just throwing their weight around for their own ego. They don't necessarily make the best records. I think the real role of a producer is to get inside the mind of the artist and find out what they're looking for. What the artist has in his or her mind is probably better than what you can impose upon them, and it's your job to bring _their_ ideas out---to provide them with a practical means of realizing their vision."

Fri Nov 13 15:13:55 MET 1998


STOP talkin' 'bout the F-word, you male chauvinist pigs. There are GIRLS on the scene. One has even been female for over TWENTY years!!

Fri Nov 13 13:56:15 MET 1998

Peter Viney

I dug out Daniel Lanois' "Acadie" last night and gave it a listen through after a gap of several years. Thinking back to the magic Lanois has woven for several artists (notably Robertson and Dylan) makes you wonder what his input and atmospheric production might do for The Band (assuming of course that first choice Donald Joseph is unavailable for production duties). And he's Canadian. The whole album is great, though rather like 'Jubilation', I think he's put the best four tracks at the start. I love the language switching in 'O Marie' and 'Jolie Louise'.

Saw an advert for a 4CD Ray Charles set 'The Complete C & W Recordings 1959 - 1986' in the CDX Newsletter , 92 tracks from 22 albums, "remastered at Ray's own studio with his input and ear". Looks like the ideal Christmas present for David Powell. Don't know the track listing, but I wonder if 'She Knows' and / or 'Ophelia' will be on it? They're also listing a new Geoff Muldauer, 'Secret Hand.'

Fri Nov 13 13:34:13 MET 1998


From: FL

I'm a female also, have been for over 20 years. If you listen to the lyrics, you can see how mushy some of those songs can be :) Isn't that what us girls go for? Actually, I'm a bit surprised that there are so many MALE fans out there!

Fri Nov 13 13:28:04 MET 1998

Peter Viney

Joseph: I could list you a large number of reviews that all hear the F-word on 'Live 1966'. I don't have a hang-up about this, I don't even find it particularly interesting. I don't know if you read a lot of Dylan books / magazines, but if you do, you'll know that I am not only reporting the evidence of my ears, but the consensus of virtually everyone that has reviewed 'Live 1966' and the many bootlegs that preceded it. I don't find it either odd nor wrong that a rock musician should have said it.What's the problem with it?

Fri Nov 13 13:27:54 MET 1998

Ragtime Willie

From: A fizz of Johnny Walker Red

When Cahoots was new, I was thrilled. I loved it & played it over and over again, just like I used to do with the previous 3 albums. But after a while it began to bore me. It didn't stand the time. Nowadays I keep playing BP, Brown, SF and NLSC frequently, but Cahoots only occasionally. How come? I think something is wrong with the sound (not subtle enough), the lyrics (too "writery" as someone stated earlier) and the composing, especially the choruses that don't stay alive until the end of the song. Even "Masterpiece" lacks a subtle arrangement. "Moon Struck One" could have been a emotionally moving portrait of two people mourning about the third, but it failed. "River Hymn" is the very worst as the sound is concerned. But I love "Carnival" and of course "4% Panto" is one of my all-time favourites. I agree that the reactions to Cahoots must have disappointed the struggling Band. It took them years to recover.

Fri Nov 13 10:12:10 MET 1998

Ben Pike

From: Cleveland Tx

I knew some gals who worked at a flower shop once that only knew and loved the Robbie solo. The Band would have sounded like country hicks to them. For the record, of course, I love Cahoots too. I also think it was a MUCH more committed effort than they tend to let on now. I think they were fighting by then and disapointed by the reaction to it. Some of the playing is pretty dazzeling. But what can I say.... even the house dick's been fired.....

Fri Nov 13 09:10:18 MET 1998


From: Italy or Newark

Bones, it's very important to realize that record sales don't accurately reflect a records worth. So while RR's records may be average' (depending on opinion)' listening wise he has always benefited from strong marketing and therefore sales (some of the time,solo). His former cohorts have put out some very soulful efforts with relatively small promotion and achieved less than hollywood sales but this is par for the course. Muddy Waters at one point (in the early sixties} was reduced to painting the walls of Chess Studios, does this make him any less of a great musician.? The Band always struck me as a heartfelt t group full of soul- present and past, I love the sound and vocals, and that the group is not in the top forty doesn't bother me. I'm simply GRATEFUL for the musicianship and singing. It's gratifying on a personal level.

Fri Nov 13 04:48:55 MET 1998

Pat Brennan

From: USA

Just picked up "Don't Think Twice, It's All Right--Bob Dylan The Early Years." First of all, I had a bit of age shock when the early years went up to Nashville Skyline, but we must accept the passage of time gracefully. Still, adopting the nitpicking mode, there are a couple of errors relaing to the boys. First of all, p. 121 has a picture ID'ed as "The Band Onstage-1969." It's not. It's Watkins Glen. And dig the Dead's ostentatious wall of sound rising behind the boys' modest amplification. Also, p. 116-17 has a shot ID'ed as "Robbie Robertson of the Band, resting between engagements." It's actually a sick Robbie contemplating his approaching performance, the boys' first as the Band, at Winterland. Also, the picture is reversed. And, Dave Powell, there's that Epiphone.

Fri Nov 13 02:55:26 MET 1998

Sarah-Melodie Robertson

From: Oakville Ontario Canada

I know you guys are going to be like you are sooo full of it but you know what I'm going to say it any ways. I'm Jaime's second cousin... He stopped talking to our family when his parents split. I know you're thinking that I've really lost it now but I'm telling the truth. I know that his father died early this year. I know that my my uncle Jim fought in the world war and that he had to survive on only his pipe. I have a picture of him at one of our family reunion. Any ways I really want to meet him but I don't think that's going to happen any time soon... Thanx 4 listening... Luv Ya Sarah-Melodie Robertson

Fri Nov 13 02:49:35 MET 1998

Spider John

From: LAD3/4 Time

The Rumor is that Robbie will appear at Levon's Cafe on December 26th for the auspicious opening. They are having closed mike nite.

Fri Nov 13 02:44:59 MET 1998

Don Pugatch

From: Roswell, Ga

Thanks for the RD ideas, I think I put together that cassette with some choices from all. Another point, Forever Young is also a boot from Madison Sq. Garden with Dylan and The Band from 1974. I guess everybody had the same idea. Still looking for anyone wanting to trade for Crossing the Great Divide. David, which is the used record store you keep on taking advantage of, share the wealth, I promise not to tell anyone else.

Fri Nov 13 02:41:48 MET 1998

John donabie

Speaking of Dreamworks....looks who's just signed on after spending his whole career with Reprise. The one and only Randy Newman. I got his box set through the first 2 Cd's and am now on #3 of 4 called Odds & Ends. Nothing to do with the Basement Tapes.

Fri Nov 13 01:59:13 MET 1998

Noah Webster

From: Morocco

Plenipotentiary: Means lots to eat in jail. On a more important note could someone ask Robbie how he felt about the vicious portrayal of Jewish Indians in Mel Brooks' Blazing Saddles? I think they should have use Smoke Signals in that flick.

Fri Nov 13 01:45:08 MET 1998

Diamond Lil

From: The Web


Ok..realistic is fair. I am certainly aware that neither Jan nor Robbie wrote that press release.However, I have a really hard time getting past the pompousness and holier than thou attitude that Robbie exudes in nearly every interview I've ever seen him do. Don't have a problem with his music if that's your thing.We're all entitled to our opinions.

BTW - I've been a Band fan for about 25 years now - and appreciate the talents of all of the members. I just feel that when it comes to being humble, Robbie could certainly learn a lesson from Rick, Levon, Garth, and Richard (god rest his soul..)

Fri Nov 13 01:21:40 MET 1998


From: NY

Listen again Peter, Dylan does not use the F word. Now shut up about it. Thank you.

Fri Nov 13 01:18:18 MET 1998


From: Toronto

It seems to me that the history of The Band would make a great movie or tv mini series. Think about it. It's got all the right dramatic elements. All we need now is a happy ending - a reconciliation between Levon and Robbie.

Fri Nov 13 01:07:28 MET 1998


From: Connecticut

To Diamond Lil and Uncle Hangover: I get the impression that you would rather use this forum to bash Robbie than talk about the Band. That's fine but be realistic. Diamond Lil, neither Robbie nor Jan wrote that press release. Uncle Hangover, Robbie's last soundtrack went platinum(Phenomenom) and his solo records at worst stay on the charts about 4-5 weeks. The Band's records haven't even charted since Robbie left.

Thu Nov 12 22:50:11 MET 1998

David Powell

Uncle H., surely you exaggerate. Production costs don't ruin record companies, since they customarily recoup them from the gross sales. Geffen & Mo Ostin (formerly of Warner Bros.) are two of the most astute guys in the music business, and Speilberg & Katzenberg are no dummies either. I'm sure they're looking at Robertson's track record in producing movie soundtracks. Just take a look at the Billboard charts to see how well so many soundtracks are doing. The placement of songs in movie soundtracks has become even more lucrative then selling them for commercials. Since DreamWorks will be producing both movies as well as music recordings, Robertson's talent should come in handy for exploiting that end of music industry.

Thu Nov 12 21:31:22 MET 1998

Uncle Hangover

From: Austin, TX

OK, who slipped David Geffen that acid? I mean... David, hello ... this is the guy that nearly ruined Geffen Records with the cost of his over-produced pompous first solo debut, and bombed seriously with the follow-up. And now you give him totally free hands again at DreamWorks? Hmmm...

Thu Nov 12 19:14:03 MET 1998

Rob McKenna

From: NY

Any updates on how Levon is doing?

Thu Nov 12 17:22:40 MET 1998


From: Jupiter, Fl

Jill - I'm female. I like Crazy River. I think Broken Arrow is the most beautiful love song I've ever heard. Fallen Angel makes me teary. Vanishing Breed is lovely... The Band is terrific. They are sticking to the style they made popular while RR has changed and branched out to emcompass many different aspects of the music world. I think that any comparison at present is like apples and oranges. I certainly can not claim to be an expert nor any musical historian like so many here. I'm a fam of both and that's just my opinion.

Thu Nov 12 16:12:23 MET 1998

David Powell

Ray Charles covered "Ophelia" on his 1980 album _Brother Ray_, released by Atlantic / Crossover Records. I have a copy of the LP, but can't recall seeing it on CD.

Thu Nov 12 15:59:16 MET 1998

john donabie

I have a question about Ray Charles covering a Band tune. A few years ago I saw a Ray Charles album (not CD) with Ophelia on it. Robertson's name was under the title. I have never seen the album or a CD version since. Does anyone else remember seeing this. How about you David?

Thu Nov 12 15:48:08 MET 1998

David Powell

From: Georgia on my mind

I finally found the Ray Charles version of the song "She Knows," which was included on his album _Love & Peace_. At a used record store, I picked up a promo copy of the LP, released by Atlantic / Crossover Records in 1978. Brother Ray gives a very soulful rendition of the song, backed by bass, drums, acoustic guitar and electric piano. The arrangement also includes a string & woodwind section, and features a trumpet solo. For comparison, I plan on making a cassette tape containing the original 1974 version of the song by James Griffin & Co., Brother Ray's version, and Richard Manuel's 1986 live version.

Regarding "Matchbox"---Several years ago, Cinemax cable tv aired a concert called _Rockabilly Session_ which featured Carl Perkins backed by an all-star band. He performed a great version of "Matchbox," with Ringo Starr, sitting in on drums, and Eric Clapton on lead guitar. Carl sang the first verse, Ringo the second, Eric took the third verse, and then Carl & Eric together sang a reprise of the first. Eric played some awesome solos on his vintage black Strat. Carl & Eric then followed up that song with a duet on "Mean Women Blues", on which Eric played one blistering lead solo after another.

Happy birthday Neil Young. Keep on rockin' in the free world.

Thu Nov 12 14:35:32 MET 1998


From: Virginia

More good reviews for "Jubilation" roll in. Does anyone know how the label regards the sale figures: good, bad, so-so? Anyway, here's the lastest review I've seen, from CMJ New Music Report, accessible through "Although Robbie Robertson left The Band many years ago to pursue a solo career, Garth Hudson, Levon Helm and Rick Danko have continued under their original name, and remain one of the best roots rock groups in existence. "Jubilation" speaks volumes about the band's ability to continue its musical legacy as well as about the amount of respect it continues to earn, as proved here by cameos from fans John Hiatt and Eric Clapton."

Thu Nov 12 13:05:51 MET 1998

Peter Viney

From: Poole UK

1) MATCHBOX. I've listened to this several times now. I capitulate. I agree that The Hawks do the best version, superior to The Beatles, Carl Perkins or Carl Perkins / Willie Nelson. I said it wasn't "Robbie's best guitar solo by a long way'. I don't think he's ever played a "bad" guitar solo. But you can only do what the song allows, and sorry, I still don't like the song itself. And this had started talking about Richard's singing, and he neither sings nor plays on it. No, Hawkins doesn't say 'play f**king loud' on this track, but I've had more thoughts on this. I've been having a Van Morrison live week, and if you listen to live versions of 'Tupelo Honey' / 'Why Must I Always Explain' you'll hear that Van Morrison liberally sprinkles the latter song with F-words when performing in the UK / Europe, but deletes these additions when in the USA. Maybe Dylan in 1966 had worked out (as Van also has) that the word is potentially more offensive in the USA. Note Dylan used it in the UK.

2) "stung by a snake" - I had no objection at all to this expression. The "serpent's sting" is Shakesperean and also Biblical. It's the rhyme with "over by the lake" that offended. :)

3) John Donabie brings up the question of male / female fans. Before I say more, I'm trying to keep in mind a very good point that John made last week, "You don't have to knock others to make your point about those whom you admire." I think The Band actually have a larger number of female fans than many artists do (and Ruth McD no one is an "interloper" - all who contribute are welcome), but there do seem to be more males. When I've gone to see the rock stars of the early 70s and 80s in concert recently, there has been a majority of males. This is true of The Band and Van M (tickets for Van for tomorrow night are on my desk). But with British "progressive" artists the number of males goes up to 95% plus. I don't ever remember women being heavily into these bands at the time. Women supposedly have keener hearing in the higher registers and might be less impervious to screeching feedback! The concert I've seen with much larger female numbers in the last ten years (discounting teen stars, when I just drop my daughter off outside the concert) was k.d.lang. I'd say it was around 50 / 50 for The Everly Brothers and The Beach Boys (and kids and grandparents too). With Dylan the male majority was there, but only just. Still a lot of women. Going way back, 20 years back, I still remember that Marvin Gaye attracted more women than men. And he was incredible live. As good as any single artist I've seen (a list that includes serious competition - Muddy Waters, John Lee Hooker, Hendrix)

There must be a whole sociological essay here on male allegiances to various types of band. If you take a look at the Robbie Robertson site, you'll notice immediately more female names. Significantly so. Only a couple of weeks ago, we were talking about this very point. The women were surprised that the males were surprised. (Sorry, I am now erecting asbestos barriers over my computer - if I'm in trouble over 'Matchbox' I'm really going to cause the animal droppings to hit that big round revolving thing). It was pointed that Robbie is more obviously articulate, overtly concerned with ecological issues / native Americans, the writer of intelligent lyrics (they presumably hadn't heard "The Moon Struck One" :) … and has aged better than the others. He could pass as several years younger.He also works on his TV appearances with women singers, as in all his Native American material. This means he appears to break out of the close-knit all male club of the group. There are all sorts of dubious theories about male bonding - the small hunting group, leading to team games etc. Music groups fit this idea of a small male band travelling together, against the world. I know that the others have been working with women too, but somehow the Robbie TV appearances seem to focus quite heavily on the women (they're doing the singing, the cynics may remark). But as Ruth suggested, many women find Robbie's "lived in" voice appealing. Let's face it, Robbie in 1998 is the best-looking. Now looking in my own mirror at myself in 1998, I certainly hope that looks aren't the only criterion, but they are, unfortunately, a factor.

I've also found women less conservative in their musical tastes than men, and more willing to go with the changes. And Robbie seems more open to the influences of the 1990s than the others. (Argh! Broad sweeping statements like this cause trouble). I'm quite prepared for the blast from the Robbie-bashers who will say he is insincere, and that he didn't pay for a beer in 1971 or whatever. But I think that is the image that is projected for good or ill. I imagine that Robbie has greater appeal to women than the others do. Again, I'm sure some can point out that the others were more "successful" with women in 1965 or whenever, and there'll be a whole lot of women who will say they find any one of the others vastly more attractive / articulate than Robbie. This is because fortunately we're all individuals with different tastes and interests. I think we can only try to assess the impact of the public image. Whether Robbie has more intrinsic appeal, or whether he has sucessfully created an image that has more appeal, I don't know.

Thu Nov 12 09:54:07 MET 1998

Diamond Lil

From: The Web

Pretty impressive sounding words there Jan:

"Creative plenipotentiary with a wide range of mandate". Hmmm....Noah Webster defines it as a creative ambassador with full power and representative of the people.

My definition? Full of himself, as always...

Thu Nov 12 06:05:26 MET 1998


RUTH McD brings up an interesting point about the male-female ratio of Band fans. I remember growing up on the music of The Band and I know there were female fans; but the majority seemed to be male. I found this true with Little Feat. When I first became a fan of The Band's music I would find the girls I knew were into Joni Mitchell or Steely Dan. Times have changed though.

I am going to turn these thoughts over to Mr. Powell or Viney

Thu Nov 12 05:25:29 MET 1998


From: RNR
Home page:

I did not see it posted yet, but this is an "interesting" release about RR's new DreamWorks gig . . . from PR Newswire

Thu Nov 12 05:19:05 MET 1998

Pat Brennan

From: USA

"Somewhere Down the Crazy River" is a great song. Of course, I kinda like "Moon Struck One" and "Where Do We Go From Here?" In fact, I like Cahoots alot. Plus, I saw them right around that time at the Arie Crown in Chicago, just before ROA. A ton of onstage power.

Thu Nov 12 04:16:27 MET 1998

Lance Staricha

From: Minneapolis, MN

Thu Nov 12 02:29:42 MET 1998


From: penna

For a Danko compilation I would have to have "just your fool" from Rick's Bass Video which he performs with Happy Traum and Shredni. Sung with passion and feeling with an-ain't we having fun now-vibe, this is vintage Danko at his best. And I wish I had a tape of the sound check Dec 31,1996 at the Keswick Theater. RD did half of the Johnny Rivers tune "Mountain of Love" and George Jones "The Race is On" with Levon taking a verse. Positively outstanding! Never to be heard by a paying audience unfortunately To paraphrase the Simcoe Sensation: Gotta give the people what they expect, dontcha know?

Belated{nov 11} birthday kudos to jazz/country gitar picker Hank Garland. He's 68. As a Nashville session guitarist Hank played lead on many Elvis songs from 1958-61. Its now or never. Are you lonesome tonight? A fool such as I. Little sister. A big hunk of love. I need your love tonight. He is best known for his jazz work but Hank played appropriately rocky/bluesy guitar on the Elvis cuts. His swamp-rock sound on Little Sister and the Chuck Berry-like fills and solo on Big Hunk O' Love fit Elvis perfectly. The Gibson Byrdland guitar was named after Billy Byrd and Garland. I just had to testify about one of the classy old-timers who made important contributions to the music we all have listented to through the years. We lost Carl Perkins last year but its good to know there is still quite a few seminal figures from Rockabilly around and we are all duly blessed. Scotty Moore,Jerry Lee Lewis, Link Wray,Paul Burlison, Robert Gordon,etctera. Go Cat Go.

Thu Nov 12 01:58:12 MET 1998


I do agree that the Beatlles and Perkins version of Mathchbox are rather dull, but personally I love the Hawks version of Matchbox. Their interpretation is straight forward rock and roll and it makes me wanna dance. What do you mean Peter, you don't like Robbie's playing? It is great to hear the Hawk say "let me hear it Robbie, whew watch out". Although you might think he say's, "let me fuckin hear it Robbie" yuk yuk. Another decent tune from the Hawkins compilation cd is Come Love, which contains RR's first song as lead guitarist. Great playing from Garth scattered throughout this disc, a must for any Band fan. I agree, Crazy River sucks. Much to glossy.

Thu Nov 12 01:33:38 MET 1998


From: Connecticut

I saw Bob Dylan's Eat The Document last weekend in New York City. WOW! If anyone has a chance, do yourself a favor and see this film. I had seen a poorer quality tape of the film on video, which doesn't hold up to the big screen. Robbie, Richard, Rick and Garth look great in it. Sounded great in the museum's theater.

Thu Nov 12 01:17:26 MET 1998




Thu Nov 12 00:23:00 MET 1998


From: FL

HELP! I'm visiting relatives next week up near Woodstock! Can anyone give me some tips as to where to look first to get the full BAND experience. I already checked the concerts and unfortunately, there is nothing :( Any suggestions welcome--thanks! Christine

Wed Nov 11 23:55:27 MET 1998

Ragtime Willie

Being "writery" is the main problem on Cahoots. Remember Cocteau, Van Gogh & Geronimo?

Wed Nov 11 23:22:32 MET 1998

Ben Pike

From: Cleveland Tx

To clairfy: I was not challenging Peter on the Stung by a snake thing. Someone else had complained about the phrase not so long ago. To me, The Moon Stuck One suffers from a self-awareness, the writer trying to be to "writery". Tom Petty's "Something Big" would be another example of this kind of overreaching. But lets face it, Robertson never regained the unforced richness of the early Band tunes. Not a big knock of him, few writers ever have that kind of insperation in the first place....

Wed Nov 11 22:30:53 MET 1998


Re:Band mailing list.

What's the deal with this? What will it give us that Jan's doesn't already? Just curious.

Wed Nov 11 22:25:08 MET 1998

Jeff Partyka

From: Danbury, CT
Home page:

Hello: This is an incredible Band Web site; a fantastic resource. I'm currently making an attempt to set up a Band email mailing list; to subscribe to it, please visit All we need is some subscribers to get it up-and-running! Thanks, Jeff

Wed Nov 11 22:12:22 MET 1998

David Powell

From: Georgia on my mind

Congratulations to the Staples Singers, who, along with Paul McCartney, Bruce Springsteen, Curtis Mayfield, Del Shannon, Dusty Springfield & Billy Joel, will be inducted March 15th into the Rock & Roll Hall of Fame.

Wed Nov 11 21:00:13 MET 1998

Danny Lopez

From: Iowa

On stinging snakes: My wife is from a Caribbean island and the other day, when I asked her what she was watching on TV, she said some animal getting "stung by a snake" (it was one of those wildlife shows). Believe me, she's never heard the song "Moon Struck One." I'm the only Band freak in the house. Maybe this phrase only sounds odd to more Anglo-oriented ears?

Wed Nov 11 20:25:29 MET 1998

Ragtime Willie

Nobody mentioned our pet sound LONG BLACK VEIL yet for the Danko album. PETER VINEY: "Moon Struck One" and "Crazy River" represent two extremes. I agree with you that it needs some symbolic athletics to link MOON's snake & human trio to Adam and Eve in paradise. Rather far-fetched. Besides, the whole tune is musically mediocre. Re CRAZY RIVER: I don't understand - if it's true what they say about you - why you like it. Every second rate composer of elevator muzak could have done that. Hard to believe this is the same genius that wrote KING HARVEST & GOOD DAY TO DIE.

Wed Nov 11 19:42:20 MET 1998

Peter Viney

MOON STRUCK ONE: You know, maybe I'm missing all sorts of arcane levels on this song. Snakes, well we all know what that symbolizes. And bites or stings. Yes.Obvious. And you're into the whole Adamic archtype, and maybe Cain and Abel too. Perhaps there's something to this song! But probably not.

Wed Nov 11 18:46:43 MET 1998

Just Wonderin'

From: Texas

Ben Pike: I think a snakebite WOULD sting! Peter Viney: Thanks for the info!

Wed Nov 11 18:27:40 MET 1998

Ragtime Willie

Add a complete version of _Ferdinand_ plus _Once Upon A Time_, _Xmas_ and (to annoy Donald J) _Amazon_. Now your Danko compilation is over 110 minutes. So it is time for a reselection.

Wed Nov 11 18:22:30 MET 1998

Peter Viney

Just wonderin': There's a 2CD bootleg called 'Before & After the flood' which is Madison square Garden, 30 January 1974 with Berkely 4 December 1965 (the latter in unlistenable quality) and also a 2CD bootleg called 'Into the Flood' which is 'The Capital Center Jan 15 1974'.

Ben Pike: I suppose I did say I liked 'Old shep' so maybe my dismissal of 'The Moon Struck One' is harsh, but I still think Rick could do a live solo version that would have them rolling in the aisles!

Wed Nov 11 18:14:38 MET 1998

Ben Pike

From: Cleveland Tx.

Since we can't get off the subject of "Matchbox": I thank Ringo blows the lyrics. Isn't it suppose to go: "I'm sitting here wondering, would a Matchbox hold my cloughs?" But Ringo changes this comic overstatment to reality: "I'm sitting here wondering, Matchbox holding my cloughs..." Although I guess them Beatles was travling light in those days..... Peter, it's OK with me if you dig "Crazy River", I am more conserned with your dismisal of "The Moon Struck One". This seems to be a love it or hate it song. I have known people who claim it is there FAVORITE Band song. Unlike some, I have no problem with Julie saying little John was stung by a snake. After all, She was in an aggitated state of mind at the time.......

Wed Nov 11 17:36:01 MET 1998

Just Wonderin'

From: South Texas

Can anyone tell me anything about a 2 disk lp called AFTER THE FLOOD compared to BEFORE THE FLOOD. Thanks!

Wed Nov 11 16:45:45 MET 1998

David Powell

From: Georgia on my mind

My additional choices for the Danko compilation tape as suggested by Don:

"This Wheel's On Fire" (from the Mobile Fidelity version of _Music From Big Pink_), "Stage Fright" (the DCC gold CD version), two duets: "All Our Past Times" with Clapton (from_No Reason To Cry_) & "Bound By Love" with John Hiatt (from _Jubilation_), "High Cotton" (also from _Jubilation_), and Rick's wonderful solo version of "When You Awake" (from the Classic Album video).

Wed Nov 11 13:17:57 MET 1998

Peter Viney

Jill from NJ: Take a picture of this - "Crazy River" might sound like a GOOD jeans commercial. Then what's wrong with the company it keeps? 'The Joker'. 'Mannish Boy', 'I Heard It Through The Grapevine'. 'C'mon Everybody', 'Stand By Me', 'Piece of My Heart' … all very classy songs used in commercials. They all have a nostalgic quality too, a bit like laying in the back seat listening to Little Willie John. Yeah, that's when time stood still.

The whole 'Matchbox' thing is running miles from the original point which was to do with The Band & The Beatles. It was the song itself I was knocking more than the version. I'd expect amazing drumming from Levon, and a crackling solo from Robbie even if they were accompanying selected readings from the phone book. I tried to make the comparison, played three versions and decided I didn't like the song anyway, that's all. And that I didn't like the versions either. As songwriters go, Carl Perkins was hardly in the Robbie Robertson league. But he did do 'Blue Suede Shoes' and 'Honey Don't' - and I love the 'Go Cat Go' album, particularly 'A Mile Out of Memphis' and 'Rockabilly Music' with the not inconsiderable talent of Paul Simon helping out. On that album he duets on 'Matchbox' with Willie Nelson.

Jerry: Danko also does 'Blue Tail Fly' on 'Bringing It All Back Home Vol 2' if you're looking for it.

Wed Nov 11 06:35:33 MET 1998


From: Living in Oregon

Just wondering if anyone out there has either an audio or video of the guy's 1996 tour, especially the Portland, Oregon gig. I was there and have been told by some who accompanied the tour that it was one of the best that year. Anyone? Thanks.

Wed Nov 11 04:13:55 MET 1998

Jake Vasey

From: Forest Grove Oregon

My Dad and I think that the Band is one of the best bands of all time. In some bands most of their songs are good, but The Bands are all good. It is amazing!

Wed Nov 11 01:40:15 MET 1998

Jerry C.

Here's some for your Danko compilation. A complete list would take me all day to compile, these are just off the top of my head:

When you Awake & Endless Highway from BTF, What a Town, Java Blues and Blue Tail Fly from American Children. I've never heard that one, but it's gotta be good.

Wed Nov 11 01:39:46 MET 1998

Ben Pike

From: Cleveland Tx.

Well, I knew I couldn't sustain intrest in the What songs were done live topic TOO long. So let me just end it by suggesting a LIVE bootleg for Band hardcores with the following lineup. Ring Your Bell Volcano In A Station Just Another Wistle Stop Stawberry Wine Shoot Out In Chinatown Rocken Chair Jamima Surrender To Kingdom Come Forbiden Fruit Where do We Go From Here Holy Smoke Share Your Love (And if you ask me, they could issue a Slippin and Slidden with better sound......)

Wed Nov 11 01:16:40 MET 1998

Pete Rivard

From: Hastings, MN

I once saw/heard John Gorka do "You Don't Know Me" at a Minneapolis gig. Now there's a guy with a rich, soulful voice. He used to hail from New Jersey but moved out here to Minnesota, where the air is clear and we elect ex-professional wrestlers as our governor. Now Gorka's voice with Danko's and Levon's, there's a thought. And he's an excellent songwriter to boot. Hmmmm...

Wed Nov 11 00:55:01 MET 1998

Don Pugatch

From: Roswell, Ga

Time to have a little fun, Thinking about dubbing a Rick Danko cassette, anyone interested in trading their ideas of Rick's best songs to fit a 110 minute blank cassette. All Rick tunes are applicable, either live, on CD with The Band, solo albums, duets or guest appearance. Just some of my favortes, It Makes No Difference, Twilight, Endless Highway, Unfaithful Servant, Sip the Wine, Blue River, Book Faded Brown (without Kermit the Frog).

Wed Nov 11 00:32:29 MET 1998


From: NJ

What the hell are you talking about Viney, Robbies guitar work as well as Levon's drumming smoke on the 61 Matchbox. Your remark shouldn't surprise me, after all one of your favorite Robbie songs is Crazy River. Nothing more than a bad beer commercial. "did you hear that".

Tue Nov 10 23:42:42 MET 1998

Peter Viney

Bill Munson: of course you're right and I'm getting careless. 'Matchbox' was originally on 'Mojo Man' then lots of compilations. I think all those faded out singles in the background of 'The Roulette Years" booklet had somehow influenced my thinking- I'd thought there were only two with the catalogue number (Suzy Q / Matchbox) but that's because 'Mojo Man' had only a limited number of Hawks tracks? ( '19 Years old' and 'Further On Up The Road' are from the same session). And The Hawks 'Further' … as ever … beats other versions

I meant that the reason it's on every Perkins anthology was the link with The Beatles. If you'd asked me without me re-listening to it, I'd've remembered it fondly. Listening to all three versions on Sunday, I was taken with its dullness. Maybe a case of mood? Not a rockabilly day obviously.

Tue Nov 10 19:09:10 MET 1998

Bill Munson

From: Toronto

RE: "Matchbox"

I was surprised to read that the Hawkins / Hawks version of "Matchbox" was a single. True? Perhaps Hawkins recorded for release on 45, but I've certainly never seen or heard of a copy.

I'm also not so sure that the song's prominence was due to the fact that the Beatles recorded it. Unlike Peter, I think it's a great song, with feet in the blues as well as rockabilly, and that its prominence reflects its intrinsic quality rather than its association with the Beatles.

Tue Nov 10 19:00:21 MET 1998

David Powell

From: Georgia on my mind

CINDY WALKER: You may not know her by name but you know her songs.

The song "You Don't Know Me," that Richard Manuel often performed so beautifully with The Band, was brought up the other day in the guestbook. This song, as Peter Viney pointed out in his article on the influence of Ray Charles on The Band, was written by Cindy Walker & Eddy Arnold. Although published in 1955 and first recorded by Mr. Arnold, Brother Ray recorded the definitive version of the song. His version was recorded on February 15, 1962 at United Studios in Hollywood. With its distinctive background vocals and a lush string arrangement by Marty Paich, it was included on Mr. Charles' landmark album, _Modern Sounds Of Country And Western Music_, which was released on March 15, 1962. Other, more recently recorded versions of this song, have been done by Charlie Rich, on his 1992 _Pictures And Paintings_ album, Emmylou Harris, on her 1993 _Cowgirl's Prayer_ album, and Van Morrison, on his 1995 album, _Days Like This_.

This past Saturday, John Burnette on National Public Radio contributed a fine piece on Cindy Walker, which included a short interview with the songwriter. Ms. Walker, who was recently inducted into the Cowgirl Hall of Fame, and is also a member of the Country Music Hall of Fame and the Nashville Songwriters' Hall of Fame, has had over 500 of her songs recorded. She got her first big break in the business in 1941, when Bing Crosby recorded her song "Lone Star Trail". Over the years, artists as diverse as Bob Wills & The Texas Playboys, Roy Orbison, Hank Snow, Jim Reeves, Loretta Lynn, Tennessee Ernie Ford, Mickey Gilley, Johnny Cash, Perry Como, Roy Acuff, Asleep At The Wheel, Cher and Babara Streisand have recorded her songs. In addition to "You Don't Know Me," some of her hits include "Blues For Dixie," "Bubbles In My Beer," "Cherokee Maiden," "In the Misty Moonlight," "Blue Canadian Rockies," and Roy Orbison's classic version of "Dream Baby."

After working 13 years in Hollywood, Ms. Walker returned to her home state of Texas in 1954, where she still lives & writes. Known for her sentimental love songs and tales of simple life in the American West, she has a gift for writing plain, yet melodic lyrics that mesh perfectly with the song's melody. Over the years , she developed a technique of writing "custom-tailored" songs, by studing the singing styles & repetoires of the particular artists before actually writing songs for them.

After over 50 years in the business, Ms. Walker has surely become one of the greatest songwriters, male or female, in country music. She still rises every morning at 5:00 to begin work on her songwriting. Wouldn't it be great if she could "tailor-write" a song or two for Levon & Rick to sing on the next Band album? In the meantime, former Texas Playboy Leon Rauch has recently released a tribute CD to Cindy Walker, containing 20 of her fine songs.

Tue Nov 10 16:51:36 MET 1998

Ol' Dexy

From: The Early Bird Cafe

JOHN DONABIE: You the man. Many thanks for the Finnigan site address.

Tue Nov 10 07:41:42 MET 1998

Donald Joseph

From: got my plne ticket...

Overall, this guestbook is getting too damn straight. How 'bout at least a few irrelevant digressions & bitter personal attacks?

Viney, your description of the perfect concert more accurately describes the theoretical concert prototype. Everything you say makes sense on paper, but a truly magic show will break all your rules.

J. Katz: Love your story! You remind me! Just over a month ago I went to & had myself photographed crossing the Great Divide (in the Rockies near Estes Park, Colo.). And you mention Zevon's "Werewolves." If I had the space I'd tell you about the time I walked throught the streets of London's Soho looking for a place called Lee Ho Fook's. After a few bum leads I found it. Instead of a more authentic Chinese meal, I had myself a big dish of...oh, YOU know! (True story.)

I had forgotten about Richard's minute steaks prepared on the iron. Out of deference to the vocal minority that declares off-limits what I ask about Beak, I won't speculate on how the hell he cooked his fries.

Jerry Comeau & Ben Pike: Count me as someone who has always considered the blue '78 Levon l.p. & even the Capitol Levon l.p. as among the Band's best post-breakup work. In fact, I had a girlfriend in about '81 when I was still HEAVILY into the '78 blue album. I kept playing it on our little romantic evenings and successfully wooed her. (Lou Ralls, eat your heart out!) She'd had no background in the Band, but one day announced she was "into Levon Helm"! I laughed & told her that was impossible -- no one was into Levon; you were either into the Band or you weren't; Levon came with the territory. (Little could I predict the fractious splitting of the fan base that would, so many years later, manifest itself in this guestbook!)

BTW, this girlfriend, even today, remains into Levon first, but is into the whole Band by now. I know, because we're married.

Although a fan, my wife's not into the Band enough to stay up nights pecking at the computer. I fear she doesn't fully believe I'm really talking to you guys -- she suspects I've got myself some cyber-babe!

Tue Nov 10 05:27:31 MET 1998

john donabie


Tue Nov 10 04:08:02 MET 1998

Pat Brennan

From: USA

The discussion of the live repertoire of the Band has been very interesting. Having heard a lot of boots from the original quintet, I must disagree, respectfully of course, with the thought that they had grown weary of their "warhorses." There are any number of sets from 69 to 76 that absolutely burn, with little reliance on covers. Dont Do It, Loving You, Share Your Love, Mystery Train, that's about it. Otherwise they're pulling stuff from all of the albums and performing them with great emotion. I think of that Sept 76 show with horns and I'm shaking. Stuff from NLSC, Twilight, an absolutely amazing songlist.Perhaps they should have toured with horns, I don't know. Another telling boot is Royal Albert Rags, a British stop on the 71 tour. We Can Talk is exquisite. They play like 20 songs. Remember also, if they operated under the recording habits of today's major "artists', they'd put an album out every three of four years. Thus, Big Pink=68; Brown=72; Stage Fright=76; Cahoots=80; you see where it goes. Obviously, that's a far-fetched concept, but it should put some pespective on the group's output.

Tue Nov 10 02:41:13 MET 1998

Ben Pike

From: Cleveland Tx

You know, I had a tape with some Island songs on it the other day. Even if they were just going through the motions at that point, the music still reflects a lot of care and professionalism. Can't say the same for all the post Band Band stuff that came after. No one ever mentions the Capital Levon Album, with "Even a Fool Would Let Go." Sounds like Levon was really looking Mainstream Country on that one. Still I kinda like it. Rest of the album is pretty bad though.

Tue Nov 10 02:24:40 MET 1998


From: Connecticut

Thanks to Jonathan Katz for his wonderful story. I ask David Powell to remember that great things took place in that studio. Instead of the negatives(which ofcourse there are), think about "Acadian Driftwood", No Reason to Cry, and the wonderful interviews preserved in The Last Waltz.

Mon Nov 9 21:45:58 MET 1998

Don Pugatch

From: Roswell, Ga

Anyone interested, Dylan wound up his tour this past Saturday night here in Atlanta, and for those who did see this tour, last nights show had to be one of his finest. I have had the luck of seeing Bob 3 times in the past year and something about last night, he just was on fire and most excellent. I am not going to go into his play list, or analyze his work, but something magical was there and for any doubters, next time he preforms, see for yourself, when the man is on, he is one of a kind. Just 3 notes, #1 Between verses on Blind Willie McTell, he made this strange weird smile and no he did not forget the words, like he did in Maryland, #2 He gave Larry Campbell, the lead guitarest, the range and lattitude that showed the talents of Larry, and some have said, that not since RR, has Dylan had a person of those strengths. #3 Hope he tours again.

Mon Nov 9 20:12:32 MET 1998

Jerry Comeau

I love "Sweet Johanna" from Levon 78 self titled album. Too bad either The Band or Levon hadn't pulled that one out live. The rest of that album is pretty bad.

Mon Nov 9 19:39:44 MET 1998


From: Virginia

Re: Donald Joseph's concert comments, he's right on point with respect to some songs on some nights. However, Rick can still deliver the goods (and the magic) with a song like "It Makes No Difference". [Jim's guitar work on the concert performance of this song is a model of taste and feel, far superior in my opinion to Robbie's work on the original studio version.] And older songs such as "Rag Mama Rag" can still sizzle. As for certain other slower RR-penned songs, I agree that there are times when they aren't as enthusiastically presented as perhaps they once were. Nevertheless, even those can rise to great heights in the 1990's. For instance, give a listen to "The Weight" as it appears on the first Ringo Starr All-Star Band CD. The sheer joy of the music is so evident in performer and audience; it's so "there" as to be almost palpable. But, to be sure, there's no replacing Richard, so some of the better known slower songs from the old days will almost certainly never be performed again by The Band. Such is life. And death. In the meantime, we have jubilation, and good reason for it. So let's enjoy what we have of the boys for as long as we have it!!

Mon Nov 9 17:05:10 MET 1998

David Powell

From: Georgia on my mind

Reading Jonathan Katz's wonderful account of his odyssey got me thinking about Shangri-La. For me, Shangri-La has become a symbol of the decline of The Band. When the individual members crossed the great divide & moved to the left coast, the fabric of the group already seemed to be unraveling. The attempt to recreate the "clubhouse" atmosphere that produced the great songs that were spawned at Big Pink & Sammy Davis' pool house fell flat at Shangri-La with few exceptions. The California studio, instead, became a symbol of everything that went sour, the excesses, the self-indulgence, the in-fighting, and most of all, the declining brilliance of their music. Where the relative isolation & time of self-reflection in Woodstock seemed to add strength to The Band, the move to Shangri-La & the inherent distractions of the fast-lane life in California, only seemed to weaken the group. So for me, where Big Pink represents the strengths of The Band, Shangri-La represents everything that went wrong.

Mon Nov 9 15:15:41 MET 1998

Ragtime Willie

From: Endless Highway 61

Misty: I just meant to say that in this respect The Band was not different from any average rock group. And when I said "save Garth" I meant, well, save Garth.

Mon Nov 9 15:09:14 MET 1998

Esta F.

From: NYC

"Eat the Document" is being screened at the Museum of Television and Radio in Manhattan on West 52nd Street. There are screenings on Saturday and Sunday at 4 p.m. and 2 week nights. Admission to the Museum is $6. Call the Museum for more information. It is only being shown through November 20th. Get there at least 1/2 hour before because it gets sold out. It's the entire one hour version as it was to be presented on ABC television as "Studio 67" -- including commercials.

Mon Nov 9 14:00:58 MET 1998

john donabie

Johnathan Katz....What a great story. Thank you.

Mon Nov 9 11:25:56 MET 1998



So sad....I am the only one who really cares... THE BAND ,I LOVE THEM!!!!it makes no differens,its so beautiful....Rick have a voice like an angel......and Levon.....poor Levon...I hope that he is not sick.....

Mon Nov 9 10:29:28 MET 1998

Peter Viney

Donald Joseph makes some interesting points about live concerts, though I would say the Dead had short fixed elements combined with long improvised segments -there's a signal, and they go into a fixed vocal segment. Van M and Dylan over 30 odd years are the most consistently hard-working touring artists, and they do refresh their material. Donald quotes the newer stage material from The Band. The problem is that they've been doing these for a long time too. 'Crazy Mama' goes back to 79, 'Caldonia' to (at least) the 83 tour. OK, so task for the week. What are the ideal criteria for a live performance? Let's say there are 15 songs lasting between an hour and an hour and a half (or 74 minutes for the convenience of CDR bootleggers). I'd say you need to do this:

You have to play your best-known older songs. The biggest should probably be the first encore. People get really pissed off when they go to a concert where this doesn't happen. It doesn't matter that you don't reproduce the studio sound, BUT two or three should be close, two or three should be reworked, perhaps radically.

You have to give everyone their showcase number. They've turned up for the gig. They want to do their thing. ('Deep Feeling' / 'Too Many Rivers To Cross' is an example, the intro to 'Chest Fever' is another). Some of these will be Greatest Hits anyway. This also gives the singers a brief rest.

You should play one or two quality cover versions - Springsteen had this perfectly worked out. So does k.d.lang (whose 'What's New Pussy … cat' was hilarious on stage). The Band always did this with Motown (Don't Do It / Loving You) or 'Slippin' and Slidin'. Old blues / R & B (Caldonia, Stuff You Gotta Watch) don't count here. The one thing I dread at every Van M concert is the obligatory tedious 12 minute run through 'Help Me'. The cover needs to be a SONG - both Springsteen and k.d. triumphed by choosing the unexpected - Gary U.S. Bonds or Tom Jones, and then making them their own. There are tapes of The Band a few years ago doing Randy Newman's 'Kingfish'. Can't believe they never recorded it. 'Soul Deep' is a great example (from CTGD) that should have been done live. 'Blaze of Glory' was good in this way, as was 'Rivers of Babylon'. 'Free Your Mind' might have been an effort to do the unexpected cover, but didn't work too well on stage. But you have to keep trying new ones.

You should play three or four numbers where you are obviously having fun, and that you enjoy. This communicates to the audience. Old blues / R & B (Caldonia, Stuff You Gotta Watch) DO count here.

If you have a new album, you should showcase about three songs from it.

You should try out a couple of new songs (probably no more than two) that you might do later.

That's my blueprint. Any other ideas?

Mon Nov 9 09:57:20 MET 1998

Peter Viney

It seems we're in agreement about comparisons. I just had to check out 'Matchbox' last night though, Joel. The Hawks recorded it three years earlier in 1961. But this is actually Ronnie Hawkins (in the Hawks version) versus Ringo Starr on The Beatles version. The Beatles version was an EP track, a throwaway. A song within Ringo's range. The Hawkins track was a single. What struck me listening to both versions, this was the nadir for both of them. I didn't like Ronnie's overblown version, nor Ringo's cheerily jaunty one. Neither Richard nor Garth played on The Hawks version, and it isn't Robbie's best guitar solo by a long way. So I put on the Carl Perkins, expecting it to be the best. Listened twice. You know what, this is a really DULL song. Its prominence is that the Beatles covered it (badly).

Mon Nov 9 08:18:01 MET 1998

Jonathan Katz

From: Normally: Columbia, MD; Today: Malibu

While visiting the inlaws I was ambivalent about driving up the coast in search of Shangri-La. This morning I turned on the TV and caught the first half of "Coal Miners Daughter," and it was fixed in my mind. After countless trips out here without a trip to Zuma, today was the day. [By-the-way: if you haven't seen "Coal Miner's Daughter" do it. Besides being a damn good movie, Levon is great. When he pleads with Loretta not to get married it will break your heart. Not unlike his singing on "Dixie" or "Acadian Driftwood." But I digress...].

Hoskins says its 30065 Morning View Drive. I checked it out on the internet and found West Morning View Drive - close enough. I printed out the map and was off.

Pacific Coast Highway is a "Great Drive" [Levon again!], and some morning fog had burned off as I turned the rented Maxima north. If only I had a tape for the cassette player@#$%^&!* I found W. Morning View Drive easily and turned right looking for the gate that graces the back of Clapton's "No Reason To Cry" lp. Slowly driving checking the side of the road with the odd-numbered addresses, I finally reached the end of the road and no Shangri-La!@#$%^&*.

Maybe Hoskins had the address wrong - Robbie said that he had some bigger things wrong - an address would be easy to botch. I stop across the street from a house that looks as close as any to what I remember from NRTC [there is a stable on the property], and stare. An older gentleman walks down the driveway in my direction. I get out.

"Don't mean to intrude sir, but was this property once known as 'Shangri-La Ranch?'"

"Not that I know of," he replies.

"Do you know if the TV show 'Mr. Ed' was filmed here," I counter, not giving up, but figuring he wouldn't know about The Band.

"Sorry, I don't think so," he kind of laughs.

The absurdity of that question hits me well after the fact. I can only imagine the laugh that he and his wife had about it when he got back into the house.

I turn back towards PCH disappointed, figuring that it was just as well that I hadn't bought one of those disposable cameras to record my site seeing. [Jan - I would have scanned all of them for you!] On the way back I search for 30065 again. This time paydirt! There it is - I had driven right past it! There's the little converted stable in which Richard had taken up residence - drinking Gran Marnier and frying minute steaks on the flat of an electric iron. How I missed it the first time I don't know. The address is right on the fencepost. The gate is gone bit there's the house - up a path just about 30 yards from the entrance. Just like the picture in ol' Barney Hoskin's book. I sit in the car and stare. Then I get out and walk up and down the sidewalk. I want to go in, but afterall its not right to intrude. I hear music from the little stable that was Richard's abode. Somehow, I keep fixating on that little structure. Damn, if only I HAD bought the disposable camera!

Back in the car I turn south on PCH. I turn off the radio and rehearse in my mind the images of Shangri-La. I don't want them to fade from memory too fast. It was well worth the trip and I'll be back again. Maybe the next time I'll see someone who lives there, and ask them about Mr. Ed.

After a while I turn on the radio. "Wherewolves of London" is playing. Not The Band, but not too bad [one of RR's "favorites" from "Color of Money."] I turn it up. p.s. Don: You're welcome - thank you too

Mon Nov 9 07:38:31 MET 1998

Donald Joseph

From: Near Chicago

A propos of Viney, et al, on The Band doing the same warhore greatest hits live without fresh arrangements: I couldn't agree more. The live versons of the warhorse hits, as documented on the live l.p.'s & the post-TLW performances, are almost boring -- except for the rare magic moment like the "Rag Mama Rag" I caught at U.Chi.'83 (& this was a Rick/Levon show, not The Band), or most of the "Rock of Ages" horns night. Listen to "Before the Flood": The standout Band track is "Highway." Listen to TLW: Standout tracks are the guest songs.

I disagree, Viney, that solo performers (Zimmie/Van) have a better ability to change arrangements -- the Dead were a group with vocal harmonies (not exactly the Staples, but listen to "Jack Straw"), yet the Dead are the quintessential example of an act that never did anything the same way twice (although the Dead's variations were more based in spontanaiety & jamming than in radical rearrangements a la Dylan's "Hard Rain" l.p.).

The many live album versions of, say, "Stage Fright" or even "Cripple Creek" aren't sufficiently different enough to be interesting to compare on their own merits -- the way a Dead Head makes a listenable & instructive tape of only "Dark Star" (or "Sugar Mag.," "Casey Jones," etc.) performances over the years.

Ever since the Band re-grouped in '83, I sat through the versions of their warhorse greatest hits tunes at their concerts almost bored. I come alive only during the new cover stuff, of which they always do plenty (but never enough for me): Caledonia, Blaze of Glory, Short Fat Fanny, Danko doing Mystery Train (since Moondog makes it Levon's tune, I always considered Rick's live version a new cover), Richard's showstopper tunes (which've been heavily discussed here recently -- no coincidence these are NOT Band warhorse hits -- I don't hear anyone pining for Beak's latter day run-throughs of "I Shall Be Released"), and, in the current era, the tunes from the last 3 l.p.'s. I sense the Boys dutifully play their old hits (I guess other than TNTDODD), but come alive -- indeed, show up for the gig -- only for the new covers. In the mid-80's I had the sense that if someone who knew nothing of the Band's work attended a show, even he would be able to distinguish the new covers from the old warhorses -- The Boys' perfomances of the new covers were that much more alive.

Complicating this, the Band songs on the studio albums (the warhorse repeitoire) are my favorite recordings. The Boys just don't bring these songs across live, and, I assert, never have (except, perhaps, in each tour immediately following the release of each album, as to the material on that album).

I posit the Boys got bored of the RR-penned tunes after each tour in support of each l.p. on which they appeared. Another factor here is a difference of type: RR songs are cerebral and often introspective (not "Cripple Creek & Ophelia, sure), while the Boys choose rollickey, good-time crowd pleasers for live covers (Caledonia, Blaze of Glory, Stuff You Gotta Watch, BUT CF. "Atl. City").

I suspect many of you have almost this same opinion, maybe articulated to yourselves somewhat differently. Am I on my own here (or breaking a taboo) --?

Mon Nov 9 07:31:22 MET 1998


Willie, Tbanks for your post. May I ask, on what are you basing your remark that "save Garth, they all had their share..." What makes you say they ALL indulged in sex, drugs & alcohol? (We know that Unfortunately Richard and Rick have had substance abuse problems)

Mon Nov 9 06:09:14 MET 1998

Clean Clancy

From: Mo

Congrats to RR on his new position as A&R DreamWorks. Maybe he can get the post RR "The Band" a deal for their next release. Clean Clancy

Mon Nov 9 02:52:54 MET 1998

Danny Lopez

From: Iowa

I was just listening to KUNI, University of Northern Iowa's Public Radio Station, and "lo and behold," on comes "Last Train to Memphis." Right after the song, the DJ announced that was "the Band, from their new cd Jubilation." Hooray! Now what about commercial radio?

Mon Nov 9 02:27:03 MET 1998

Ben Pike

From: Cleveland Tx

Peter, to keep this(to me) interesting subject going..... I am working basicly from Memory. I skipped "Moondog" based on the fact that they had played those tunes in the nightclub days. At least "Share Your Love" "Holy Smoke" and "Mystery Train" were done at Band shows. I am not really SURE about "In A Station" either, but LS was the only other tune I don't have a confermation of them doing live. "We Can Talk" of course, they did at Ilse of Wright. Jawbone I'm not sure of. But All La Glory I believe is on a set list in the archives, as well as Shoot Out In Chinatown(!). And Garth did once perform "Knocken Lost John" with the Call.

Mon Nov 9 01:43:04 MET 1998

john donabie

Just a postscript. I want it clear that choice is a wonderful thing and an absolute right. Comparisons are interesting and fun. I remember watching Clapton & Robertson in the Last Waltz literally spar against each other. It was like a battle of the bands. When Robbie took his solo you could see the pride in Levon's face, at the time. I also always preferred Robbie's style of playing. i don't have to knock Clapton to love Robbie's playing.

It's just when someone has to denigrate one artist to build up another is where I draw the line. Thanks for listening

Mon Nov 9 00:06:53 MET 1998

john donabie

Just a thought. Let the flaming begin. Like many actors who don't like putting themselves up against other actors in award shows, I believe the same goes for comparisons of singers and musicians. I think it's ludicrous to say this guy was better than that guy etc. You can certainly have a personal opinion; but to say it as an absolute fact is bizarre.

Let's see... who plays better guitar, Segovia or Clapton...Robertson or ? It doesn't matter. Most of the people mentioned here in comparisons..i.e. Richard, Van, R. Charles, John Lennon....they all brought something to the table. Because this is a Band site I am sure that any member of the Band will generally get the nod. I would never however put down greats like Ray Charles or others just to raise the stakes on a Band member. Believe me, members of the Band hated these comparisons. If Richard were here today and he heard you say that Ray Charles doesn't live up to the standard of Richard, he'd laugh at you. He loved Charles and many of the R&B greats. This is a long way (sorry) of saying, you don't have to knock others to make your point about those whom you admire. And God knows that The Band will always be my group of choice. So much talent. My only frustration...that as the original five members they didn't make more albums.

Sun Nov 8 23:33:01 MET 1998

Peter Viney

Have you all seen / read "Sophie's Choice"? Sorry. This is what we were trying to do here today. Now I think about it, Richard Manuel and John Lennon are highly comparable. Both full of intense soul, both wonderful singers, both major creative artists, both in the shadow of a more-focussed and equally brilliant partner.And both Too Soon Gone.What was I trying to do? Give Ray Charles 99% and Richard 98.5%? It's not measureable in that way. And because you appreciate Richard, you don't have to Knock(ing lost) John.I don't need to list what he wrote that is embedded in the collective consciousness.

Sun Nov 8 22:37:10 MET 1998

Remembering (again)

Forgot to say the most important thing at the end of that last post.

Thanks Richard.......

Sun Nov 8 22:34:33 MET 1998


You put your hand in mine, and then you say hello, and I can hardly speak, my heart is beating so. And anyone can tell, you think you know me well - but you don't know me.

No you don't know the one, who dreams of you at night, who longs to kiss your lips, and longs to hold you tight. To you I'm just a friend, that's all I've ever been - and you don't know me.

Sun Nov 8 21:39:59 MET 1998

Ragtime Willie

P.S. to PETER VINEY: I had my say on Country Boy & She Knows before and I agree that they show only a shadow of the Richard we used to love. Not (only) for his singing, but for his selection of repertoire in the first place. A few weeks ago I stated that the arrangement of Country Boy (Garth's synthesizer and-so-on) was added many years after the event. Nobody reacted by then, but I'd like to know if my suggestion is correct. BTW: The Band DID make a new arrangement of Get Up Jake for live performance (ROA), but that is almost the unique example.

Sun Nov 8 21:28:49 MET 1998

Ragtime Willie

From: The Flying Dutchman On The Reef

KEVIN GILBERTSON: Amazing story. 30 years compressed into one! Actually we all should not listen to the albums, but to all the songs (at random) instead. Make tapes and include all. Don't leave anything out (not even The Moon Struck One). Play the whole range a hundred times. And then we'll see which tunes really survive. (I think I know the answer already, but I haven't done the experiment yet).

PETER VINEY: Some Band songs like All La Glory are too delicate to do at live shows. They tried Acadian Driftwood: didn't work.

Sun Nov 8 20:00:54 MET 1998


From: south wales uk

Just a couple of comments, I've listened to both the Beatles and the Band all my life and there's no doubt in my mind that the Band are (were) far superior in 64 or at any other time. In fact I'd like to do a historical swap the US gets the Beatles and the UK gets THE BAND. As to the question of vocalists I think that Richard was far better than Lennon (or Van, or Ray Charles for that matter, although I'm biased). I think this obsession with the Beatles is just too much (alright, they were a great band but you can have too much). P.S. does anybody know how many versions of "You Don't Know Me" are doing the rounds?, or which is the best.

Sun Nov 8 19:38:09 MET 1998

Peter Viney

I enjoyed the post about the experiences of a new listener to The Band. It made me wonder how the reaction to ‘Cahoots’ and ‘Islands’ was due to disappointment among long-term fans. It even made me listen through ‘Islands’ twice today. I enjoyed it more than I have for a long time. Perhaps ever. You might have a good point, Kevin. And thank you. Though I don’t think it would help ‘The Moon Struck One’ (sorry, am I obsessed with this dire song today? )

Joel: Will have to think about comparisons some more. The Beatles hadn’t reached their creative peak in 64, but as far as live performance went, they had probably gone past it. They couldn’t hear themselves play. I think I indicated that I wasn’t an apologist for The Beatles. I listen to The Band considerably more myself. Now I’m really putting my head on the line, but I like the Richard of the first three albums a lot more than the Richard of (e.g.) Country Boy / She Knows. ‘You Don’t Know Me’ is amazing. It would be an enjoyable exercise to compare Richard, Ray Charles and Van M on the song. They’re ALL superb. The best I’ve heard it is Van M live (which is difficult to argue against, I know. Where? When? etc). The best on record is … er … sorry, Ray Charles. But if you told me to listen to Richard’s version for an hour or a day, I’d do so with pleasure.

Sun Nov 8 16:47:16 MET 1998

Joel Richards

From: Detroit

No the Hawks hadn't reached their peak by 64, but what you fail to mention, Peter Viney is that the Beatles hadn't either. I'm definitely at the Hawks show with Mr. Thumb. Richard was a better singer than Lennon. Some of John's best vocal performances, A Day In the Life, Tommorow Never Knows and Lucy in the Sky all use studio trickery to great effect but may point to his insecurity as a vocalist. The early stuff like Money, Twist and Rock and Roll Music are good and have lots of energy but basically he is just shouting at the top of his lungs. Richard, on the other hand was a virtuoso as a vocalist. I like them both as singers but I don't see why it is an unfair comparison. They were both rock singers after all. It would be unfair to compare Lennon to Nat Cole or Willie Nelson but certainly not Manuel. Why are you afraid of comparison? It is human nature. If I had to listen to John's Twist and Shout five times in a row, I would probably shoot myself by the fourth time but I could listen to Richard sing Honky Tonk or You Don't Know Me all day. Long live Richard ! Oh yeah, and The Hawks version of Matchbox slays The Beatles version from around the same time. Is this an unfair comparison too Peter?

Sun Nov 8 16:44:49 MET 1998

Pat Brennan

From: USA

Peter, don't quote me, but Ampeg made what I believe was the first fretless bass guitar. Two models, the one Rick used circa Rock of Ages and another that resembled a stand-up bass. The latter had a smaller body than a standard stand-up and had a metal pole/extension so that the player could stand while playing it. I believe the electronics of both gave a rather muffled tone, thus dimming their popularity. Jaco was the first to pull the frets from a Fender, thus having a fretless that incorporated the advantages of Fender's superior technology.

Sun Nov 8 13:04:51 MET 1998

Peter Viney

Ben Pike: I'm assuming you looked up this list of unperformed Band songs in the tapes list here. Sounds right to me. It reminds me that two of my favourite Band songs, 'Daniel & The Sacred Harp' and 'Jupiter Hollow' have never been done live. 'Jawbone' surprised me, but I think you're right there too. Did they ever do 'All La Glory' / 'Sleeping' / 'Last of The Blacksmiths' / 'Where Do We Go From Here? / 'Shoot Out In Chinatown? '4% Pantomime (surely not without Van)? It's a shame really, because 'Smoke Signal' is pretty good in the live version - better than the studio one. I don't think anything could have saved 'The Moon Struck One' though (might be funny if Rick did it as a send-up on one of his solo shows between 'Blue Tail Fly' and 'Long Black Veil'). They never did most of 'Moondog Matinee' either.

Over thirty years, The Band's main flaw - and it is a flaw - is their reliance on the same few songs for live performance, and reliance on the same arrangements when they do so. Dylan and Van M. invariably surprise with unexpected selections from their repetoire. Not only that, because they're both capable of turning songs on their head, there's always something novel. Often with Dylan or Van the reworking grates. I've heard a bootleg of Van M at Madison Square Gardens this year, and he turns in a stunningly fine 'Tupelo Honey' and 'A Change is Gonna Come' then does (to me) an absolutely dreadful version of 'Cleaning Windows' (where he abandons the tune). But it keeps people coming to the concerts. You'd be mightily annoyed if it was all novel and unrecognisable - and I saw Van M. lose an audience badly during the 'jazz tour', but he worked incredibly hard and got them back with the encores. If you look at the magazines Isis (Dylan) or Wavelength (Van M) you see they'll do a three day stint in a city, and do 50% different songs every night. The Band might vary just with what Garth decided to do before 'Chest Fever'. Looking back at the set lists this has always been the case - it's not a "post-Robbie" syndrome. It may be that as solo singers with a backing group, it's so much easier for Van and Dylan to ring the changes than where there are vocal arrangements to consider as well.

I've never understood why later versions and Levon solo never did 'Strawberry Wine' (which the Band used to do live).

No one has an opinion on fretless bass?

Sun Nov 8 11:45:48 MET 1998

Diamond Lil

From: The Web

Donald Josph:

Frankly,I don't know why I'm wasting my time responding again to this subject, but I'd like you to consider something here.

Although "rock star deaths" in the big picture are fair game for discussion, there's a certain respect that should be shown to the many friends of Richard who do visit this site. You stated that you didn't know him. I did. His 2 kids visit this site occassionally, as do Rick's kids. The "physics" of the situation is not appropriate conversation here.

Thank You.

Sun Nov 8 09:38:32 MET 1998

Ragtime Willie

Donald Joseph: If you want to go into forensic pathology (please don't), you should choose your words very carefully. Don't ya tell me that you didn't realize that. Your humbleness lived too short.

Sun Nov 8 09:32:38 MET 1998

Ben Pike

From: Cleveland Tx.

I have been bouncing around the site, and Jan, this cite is the greatest thang one of you Nortic dudes has come up with since Ingy knocked out "Hour Of The Wolf." I mean that you knuckleheads, now ya'll get outta here. Anywho, I thought of a kinda triva subject that never excites anyone but I thought I would try to force it in one more time. Here is a list of Band tunes I claim were NEVER done live. Any challeges? I'm I missing any? NEVER DONE LIVE: Lonesome Susie. Whispering Pines. Sleeping. Daniel ATSH. Last of The Blacksmiths. Moon Stuck One. Thinking Out Loud. River Hymn. Hobo Jungle. Jupiter Hollow. Rags and Bones. Islands(whole album besides the two covers).....and maybe even......Jawbone?

Sun Nov 8 08:40:32 MET 1998

Donal' Josep'

From: Chicag'

Diamond Lil & Ragtime, I think you called me on the carpet without focusing on what I actually said. The words "boneless ham" in my post did not appear in the same sentence with "Richard" (or "Beak," etc.). The "boneless ham" comment modified & was directed at "hotel shower curtain rods." If you 2 revere metal poles in bathrooms, that's a sentiment personal to yourselves. Go back & re-read what I said: I mean it--I'm raising a question on the physics of the event, & I maintain my question brings up a discussable & not irreverent point. Hendrix, remember, died not of an overdose but of drowning in his own vomit; Jimi-heads can discuss this unappealing fact without dissin' the fast-fingered lefty. Garcia died not of a drug-related condition but from too many years of Whoppers & McNuggets. I'm a Dead-head but I nevertheless drill Papa Jerry's fate into my kids -- to teach that McDonald's is poison (BTW, McProduct has never crossed my darlings' lips). Rock Star Cause of Death is discussable without disrespect; any disrespect I have is for cheap motels and ignoble exits -- certainly not for The Man. I know: I Don't Know Him.

Hubba Hubba, Ben Pike, Mama Chicken: I agree with what I think is the consensus: Robby is great, but the guy's ego rivals the "Godzilla" movie ad campaign. To know this you don't have to know the man; just look at how he poses in photos. A sage guestbook clubber recently cited to some recent RR pix & noted that Levon wouldn't be caught dead preening similarly. I once read that when Big Pink came out the press was interested in interviewing The Band, but was told Robbie was spokesman & given access only to him. Soon the press only wanted to talk to him. Regardless of Levon's actual contributions to songwriting, Jamie did essentially insist on all tune-writing credit. His approach reached its excess when he brought the Boys "Last of the Blacksmiths" ("How can you get to sleep/When the whistle don't moan?"). In concert Jamie muscled to center stage to sing, neck veins a-bulgin', into a dead mike. My mother met RR in Spain; she said he was very nice & approachable. But she also said she got the sense he was friendly to her precisely because the Spaniards weren't treating him like Mick Jagger. He basked in my mother's gushing.

The man has an ego, people. I've been told that I have one too. Hence I'm in a position to know: A big ego & greatness are not mutually exclusive.

Kevin Gilbertson: You time capsule, you. You're a little too good to be true: An articlule, knowledgeable & lucid 40-something Band freak who had never heard a Band tune (short of Cripple Creek & the Smith cover) until 12/97? In a position to assess the music without The Weight of its history & context? I agree your perspective is a great addition to this page -- if you're not putting us on.

Friend of Donald Joseph/Not a Friend of Donald Joseph, Who Speaks Exclusively Through Ever-Appropriate Dylan lyrics: He Said He Who's Not For Me Is Against Me; Don't You Know Where He Was Comin' From?

Sun Nov 8 07:23:15 MET 1998

Blind Willie McTell

From: Toronto

Kevin Gilbertson - your story about the band in one year or less is great.

I am the same age as you and was familiar with The Weight, Dixie, Stage Fright as singles that were played on AM radio.

Here comes the turining point for me. January 12, 1974 - The Forum in Montreal. Holy shit! Not only is Bob Dylan touring for the first time in 8 years, but there is this great Band backing him. Then the Band does a set, Dylan solo with guitar, and then The Band again.

That night almost 25 years ago set the stage.

Sun Nov 8 05:53:38 MET 1998

Hubba Hubba

From: Florida

Thank you Mama and Ragtime. Point taken. I do respect your feedback about RR. (I kinda felt like kicking my boots up and making a stir, but you all are ladies and gentleman). I'm moving back to my old hometown - New York City - and may go and see Rick Danko downtown on Nov. 20th. Now there's a hard working man for you. I'll also be in New Orleans in January, and would like to visit Levon's club. It should be jumping and jiving by then. Anyone planning on going to LH's club when it opens? Or perhaps the actual opening party?

Sun Nov 8 05:11:36 MET 1998

Kevin Gilbertson

From: NE PA. USA

First off, this is a long post. Generally I stay in the background but feel the urge. Hope I don’t get flamed too much.

I’m amazed at the knowledge base of the participants here (Band as well as music in general). Keep it up! I’ve picked up some great vinyl after reading about it here.

I’ve seen many posts regarding the Band’s catalog of music. General consensus being that 1st two albums are the cream. Probably are. However, I find myself listening to each of them at different times enjoying each of them as much (sometime more) as Big Pink and the Brown album.

Hold on, before I get flamed over High on the Hog or Islands, listen up.

I think the reason I appreciate all of their material is that I absorbed it ALL since last XMAS. That’s right, all of their group albums, solo work as well as some boots in about 11 months.

My very 1st exposure was when I was about 12 or 13 (now approaching 42) and I heard “The Weight” on one of my older brothers Easy Rider soundtrack (isn’t it ironic that this was not even The Band). Later, I remember Cripple Creek. So while I had heard of them at an early age thanks to music hip older brothers and later in life having actually seen them twice (no not the original line up) I was not at all familiar with their entire body of work.

That is until my wife gave me a vinyl copy of Big Pink for XMAS last year. She had no idea what she started and I had no idea what a great overall LP this was. I immediately went out and got the Brown Album. Think about this, I heard Caledonia Mission, Long Black Veil, In A Station, Across the Great Divide, Whispering Pines, Rockin Chair, etc. all for the first time in the same WEEK. Obviously, if Pink wasn’t any good, I probably would have stopped there.

Within a few weeks I had the Last Waltz, Stagefright, Moondog Matinee. From there I can’t remember the order but I wound finding everything (except for American Son) on either vinyl or CD. I can honestly say I enjoy every one immensely.

Prior to purchasing some items, I had read about them here. For example, general reviews on Islands and NLSC were not that good. I can tell you I was just as excited about these as I was about Big Pink. Richard’s voice on Right as Rain, Let The Night Fall and Georgia is wonderful and I was blown away by Acadian Driftwood. I remember purchasing Jericho and High on the Hog on the same day. I distinctly remember thinking before hand that, while I HAD to have these, based on what I had read, it was probably a waste money. Again, I was blown away.

Now, if I had purchased these albums in the original order at the time they were released, I may have a different opinion. Waiting for albums to be released as well as the musical atmosphere at the time it is released, certainly have an effect on ones overall feel for a particular album. I can understand someone being disappointed after waiting months, indeed years for the next album only to find it does not meet their expectation.

Also, I don’t tend to compare each album (not that I mind when other people do). In general, I tend to like music for the lyrics (even if I don’t understand it all) and especially for the voice and emotion of the singer. This is why I enjoy all of the Bands work. Not many acts in town can match Levon, Rick and Richard in soulful vocals.

I did not see them when they were considered the best live act in town. I did not see them when they were real tight, really working together as a unit. I was not a fan from day one. Of course, I am definitely influenced by hearing it all in a short amount of time. However, from where I sit, based on what I have heard in the last 11 months, ALL of their work holds up to me just fine.

My only regret is that there is not more “official” stuff. Too many rehashed compilations. Of course, I’ve got these too. When you’re hooked, you’re hooked.

Well, off to find all the boots I can.

Sat Nov 7 22:06:29 MET 1998

Peter Viney

Gerard: I tried to puzzle out the Dutch, but can't guess my way through. I would guess that you're asking about The Band show at Rotterdam on 6th June 1971? I think you'll find a set list on the concerts list on the site. On the other hand you might be looking for someone you met there! I have the set list written down somewhere.I think I've seen a Dutch review that I couldn't read once. Feel free to contact me directly.

Interesting to hear from some people who knew Robbie. I think the guy is a genius whatever. They needed that drive. Every band does.

I posted about the Taj Mahal 2CD and 3CD sets recently. I take back my implied criticism of record companies. There are very few tracks in common. Both are superb. But the 3CD one is essential.

Sat Nov 7 21:41:17 MET 1998


RedFEET, that is (sorry to bother you all again).

Sat Nov 7 21:37:55 MET 1998


From: Leiden, The Netherlands

Sorry Jan the Norman and you all American redfoots and rednecks, but I have to do this in my native language obviously: IS ER NU ECHT NIEMAND IN 1971 BIJ HET CONCERT VAN THE BAND IN VOORBURG (De Vliegermolen) OF ROTTERDAM GEWEEST? HOE KAN DAT NOU??

Sat Nov 7 21:16:51 MET 1998



Sat Nov 7 21:08:07 MET 1998

Ragtime Willie

DIAMOND LIL: Thank you for being alert and spanking little Donnie. He can be fun, but you're right by not letting him get away with it. Mr or Ms a from b: you should listen to Ballad Of A Thin Man (my all-time favourite Dylan song anyway) on Live 66. Absolutely Malicious And Absolutely Cooking As Well.

Sat Nov 7 20:16:01 MET 1998

Mama Chickee

From: Cabbagetown


So you want a little inside info. Well let me see. Rob was not called "The Duke" by The Hawk or the boys for nothin. When the boys dressed in jeans and work shirts, Robbie would wear a sports jacket with a scarf around his neck. Robbie always had a dream of "being somebody". I mean "really" somebody. When he now sits at Hollywood parties and hangs with what he considers people "who count", he's where he should be. Where he always dreamed he would be. Mama would never knock a guy for wantin to be somebody and then finally arrive in that world. The main difference between Rob and Levon, is that after Levon meets you and likes you, you're in forever! Robbie on the other hand tended to be pals as long as you could help him get to his dream. Once he passed you by on the ladder to success, that was it. Again, that is not to be considered a flaw. Just the way it was and is. He had specific goals and a road map to success. He never lost sight of it, even if it appeared that he was snobby. I believe Robbie is in a place now that he dreamed of since he was 14. Robbie always wanted champagne and cavier. Not bad for a high school drop-out. Levon was more of a poulet bone chicken man with a bottle of Coca-Cola. Personally, I'd rather hang with the man from Turkey Scratch. Adios

Sat Nov 7 19:59:10 MET 1998

Ben Pike

From: Cleveland Tx.

Little John, I would beta a lot of folks have comforward by now offering you a take of "You Don't Know Me" but I know a good fella you can E mail, He help replace a lot of my thangs when some went down in the flood. I'm going to come right out and say it: This hate RR thang is kinda the mark of the hack Band Fan. Dispite the awsome RAW TALENT of every member of the group, just what they would have done without Robertson's prodding, his obvious LOVE of the group is a big question mark. Levon's bitchy attempts to take away credit for Robbie's songwriting should be seen in contex of LEVON's output as a songwriter. But here we go again....can't we talk about Clinton?

Sat Nov 7 19:42:02 MET 1998

Diamond Lil

From: The Web

Donald Joseph:

If noone else is going to say it, then I will. Your remark about shower rods and boneless hams was in very poor taste. Maybe thinking before you post next time would be smarter.

Sat Nov 7 19:25:53 MET 1998

Pat Brennan

From: USA

Re: RR; people come and people go. They generally end up where they want to be. We should be thankful that at one point RR had the Band as his outlet. He's moved on and I've enjoyed his journey to varying degrees.

Sat Nov 7 18:36:02 MET 1998

Ragtime Willie

Don't overdo it, humble Donal'. HUBBA HUBBA HUBBA FROM FLORIDA: at last we have done with the RR bashing lately. Is he a snob? He doesn't want to live up anymore to the image he had as a Hawk and a Band member. I remember The Band in the late 60s as a bunch of hard working musicians, family men, lumberjacks in wooden houses. People said groupies had a day-off when The Band came playing. How different was the truth! They all - save Garth - took their share of Sex & Drugs & Alcohol, as we all learned. And that's what a rock band should do. And now? I must say I don't like the sight of Robertson & Clapton & "Marty" Scorsese sipping champagne at Hollywood parties, dressed up in tuxedos. In his new job as an executive we'll see him more often like that. But I agree with you that his Native Americans' experiment is worth taking seriously. In this he is very sincere.

Sat Nov 7 16:52:40 MET 1998

Pat Brennan

From: USA

Random Notes: Big Twist and the Mellow Fellows opened for the Band is Back show at the Auditorium in Chicago in 83. Notable in that their guitarist, Pete Special, became a member of the Band for a short period some years later. The XRT show was two days later at Mandel Hall. Levon didn't show up for a Chicago show once--at the Mill Run Playhouse, in the round.

Sat Nov 7 16:48:47 MET 1998

Hubba Hubba

From: Florida

Has anyone here ever met Robbie Robertson? Does anyon have stories about his great ego? I mean, first hand, up close. I'd like to know what all the animosity toward RR is about. I'd like to see justification of his inflated, Armani suit-wearing, capped toothed persona. Cause Clapton is the same, and I don't hear the same jibes against him. Seem that if you don't know or have never met Robbie, you're all maintaining the impression that he is a "Snob" by second hand word of mouth. How sad. Condemning Robbie's new album for it's different sound is like being one of those hecklers at the Dylan 1966 tour. Yeah, there's a difference between the two events - but the similarities are glaring. Discuss.

Sat Nov 7 15:22:39 MET 1998

Little John Tyler

From: The House Next Door

A number of posts here recently have been about Richard's wonderful interpretation of Ray Charles' "You Don't Know Me." Still other posts in the last few days have cited an instance where a song in concert (Rick & Levon's acoustic Rag Mama Rag,in this case) has provided a never-to-be-forgotten thrill.

I had a similarly unforgettable moment at a Band show in 1983 on the Reunion tour, when Richard brought the audience in Poughkeepsie to silent awe with his heartfelt, searing "You Don't Know Me." Before then I'd seen the original Band lineup in 1970, several Levon shows (with the Cate Bros. and others) and several Danko shows (with Sredni or with Howard Johnson or with whoever he happened to bump into along the way that day!) in the late 70s and early 80s. Like most of the 700 or so in attendance that night, I considered myself a true fan, had bought all The Band's albums, but I had never heard any of the bootlegs, wasn't a "Band historian" as so many who post here now seem to be. Thus, we had no clue that "You Don't Know Me" was part of the repertoire. Richard had every one of us in the palm of his hand, and the ovation he received after that song, performed mid-show, was overwhelming. Not too many dry eyes in the house. I even remember Levon rising from his drumkit at its conclusion to give Richard his own personal "standing O."

Since then I've had the good fortune of seeing 20 or 25 more shows featuring the current 6-Man Band, Levon and the Crowmatix, Rick solo and in various combinations -- but there's never been a more memorable moment in concert --any concert, any act -- than that night in Poughkeepsie fifteen years ago when Richard Manuel surprised us all with "You Don't Know Me." So who's got the tape?

Sat Nov 7 15:14:16 MET 1998


From: Madison,Wisconsin.
Home page:


Sat Nov 7 12:25:39 MET 1998


From: South Wales U.K.

To Peter Viney Thanks for the information, I'll start a search right away.

Sat Nov 7 12:16:51 MET 1998

Ben Pike

From: Cleveland Tx

Well, if it helps I remember reading a REVEIW of that Danko show you are talking about. It was kind of charitable and said "Next Time Will Be Better." I also remember around this time that Danko had this big PR peice of the Random notes page about his NEXT solo album....still waiting on that one. Also around this time the RCO All Stars cancelled a show at the Park West....right around the time the Sex Pistals did the same thing.........

Sat Nov 7 09:23:49 MET 1998


Donald Joseph: thanks for the compliment. I love you too, Man. I agree with Ragtime Willie: you always make me laugh. PS. The _hugue_ was a misspelling. Not so nice, next to that wonderful _Garthian_ of mine. ANYONE in the Netherlands who attended the Band concert in '71? On 2nd thoughts there was a 2nd show in Rotterdam during the same tour.

Sat Nov 7 07:17:33 MET 1998

Donald Joseph

From: If You Don't Know Me

Gerard, if you're Dutch, I assume your native language is Dutch. I didn't see your show because in '71 I was 10 & my mother didn't yet live in Europe. However, your coinage of the new adjective "Garthian" blows my shit away. Your being a non-native-English speaker impresses me all the more. Garthian. Garthian. Garthian.

I love you, Man.

Sat Nov 7 06:53:38 MET 1998

(A Somewhat Humbled) Donald Joseph

From: Originally it was Chicago & now it is again

Dirty Dan: YOU YOU YOU need to learn the difference between "your" & "you're," & that "grow up" is 2 words. It Makes A Difference.

Yeah, I like seeing my words in print -- but I've seen 'em in plenty of higher-circulation & (dare I say it?) more prestigious media than Jan's beloved guestbook. Can you say the same, Dirty One?

Thanks for your support, FODJ, Ragtime, Viney, & (gasp!), Serge! It's nice to be loved. Gets me all mushy inside. {Sniff!}

Steve Hirsh: Isn't it amazing that a 4 min. performance (Rag Mama Rag) can make such an impression that we, 13 yrs. later, still tingle? Cool!

Serge, I figured you haven't been listening. Why so mum?

Pat Brennan: PLEASE give us some anecdotes about opening for the Boys. How'd you score the gig? Do you still perform? What did the Boys say to you?

On the subject of memorable shows, I wish I could ferret out someone who saw that snowy, sparsely-attended Danko solo show at the Ivanhoe with Terry in support of the '77 solo l.p. Where were you Chicago big talkers, anyway? Any of you non-Chicagoans catch other sets on that tour? I was surprised at how low-profile it was, given it was any Band member's first time out after TLW (although at about the same time, the RCO's were on the road).

Also, anyone catch a Ft. Lauderdale Fla. show on "the strip" in about '84 where Levon called in sick, & Ricky & Richard had to carry The Weight? Not having rehearsed a whole set without Helm, they did a middle portion with just the 2 of them winging it; Ricky said: "Pretend we're in your living room," & they did a duet jam.

Danny Boy, I admit I'm not grown up yet -- I am a good 10 yrs. younger than some of you old timers! Geez, Viney pines for shows he caught when I was in diapers.

Speaking of Richard in Fla., anyone else ever wonder how Beak could have hung himself on a shower curtain rod in a motel? Every rod I've seen in a motel shower wouldn't support The Weight of a good-sized boneless ham.

I concede if I log onto this damn guestbook I'm going to post something, usually lengthy, even if I have nothing to say (cf. my shower-curtain-rod remark). Jan, if you want, pretend I'm Viney's lost screed on the role of a record producer & DELETE ME. Dirty One, scroll past me if you can't handle Infused Wisdom.

Ego-wise, ok, Dirty Dan, I hear you -- but mine's a pimple next to Robbie's! At least I'm not an acerbic twit! (Uh-oh, here we go; help me out, Serge!)

Sat Nov 7 06:51:53 MET 1998

Ben Pike

From: Cleveland Tx.

Pat, I saw the Band is Back show at the Auditorium, with some big brass blues group opening. You got a great "You Don't Know Me" that night, and I still have a tape of it off that radio concert. The savings of these old tapes and stuff is really amazing. A buddy of mine said they saw the old Hollywood Bowl Boot on CD!! That thing had AWFUL sound and the Band thought they played crummy. Come to think of it, I still have the take of Rocken Chair off that!!!

Sat Nov 7 06:01:57 MET 1998


From: Leiden, The Netherlands

Anyone who shares my memory of the only Band concert ever in the Netherlands, when they played in DE VLIEGERMOLEN in Voorburg in '71 or early '72? Absolutely smashing. I was so carried away that I don't remember the whole program, but I surely remember (not in this order) The Weight, Chest Fever [with a hugue Garthian intro], Cripple Creek, WS Walcott, The Rumour, The Shape I'm In, Stage Fright, but there must have been more. I'm not sure about Don't Do It and/or Loving You Is Sweeter Than Ever. ANYONE?

Sat Nov 7 05:29:17 MET 1998

Pat Brennan

From: USA

Ben Pike, thanks. That's pretty much what I recall and matches some contemporaneous boots. The Band is Back Mandel Hall show was recorded by local radio station WXRT and has floated around for quite some time. Tim Powell, a genius in his own right, did the remote recording that evening. As I recall, they played the Auditorium on a Friday night then Mandel Hall on Sunday. They flew the American, Canadian, and Japanese flags. The Levon/ Rick show at the Metro was on a Sunday night; they had played a north suburban bar on the previous Thursday with Jump N The Saddle --yeah, the Curly Shuffle-opening. Then They headed out to Galesburg where they played the local University, returning to Chicago on Sunday for the Metro. David Bromberg performed with them at the Metro; shades of his joining Dylan on the same stage just last year. One performance I recall with great relish was a Rick/Richard weekend at the Cubby Bear. Unlike the Rick/ Levon shows that emphasised the bluesier side, Rick and Richard performed a lot more Band material: Unfaithful Servant and The Rumor to name two. And a beautiful version of You Dont Know Me.

Sat Nov 7 04:39:17 MET 1998

Ben Pike

From: Cleveland

Pat, the Washington Park show was, in something like this order: Don't Do It, Shape I'm In, Makes No Dif, Tears of Rage, King Harvest, Weight, Ophelia, WS Walcott, Stagefright, Dixie, Garth/Chest Fever, Cripple Creek, Life Is A Carnival...... Basicly the Best Of The Band Album with Walcott thrown in.......

Sat Nov 7 03:34:04 MET 1998


From: b

Just Like Uncle Tom's Blues, on the new Live 66 album is magical. Perfect. Try it some time.

Sat Nov 7 03:30:25 MET 1998


From: zyx

Jan. What the hell are all these tests about?

Sat Nov 7 03:26:59 MET 1998

Don Pugatch

From: Roswell, Ga

David, thanks, Matt, Thanks Eric Anderson ThankS Richard Manuel ThankS Rick Danko Thanks Jan Thanks North River Records ThAnks John Donabie Thanks Jothathon Katz THanks Ian Cohen ThanKs Some others NO THANKS Joni and Bob SEE YA Tomorrow Night, LIve at the THRILLER DOME THANKS

Sat Nov 7 03:19:50 MET 1998


From: nj

My scorecard says Danko - 30 and Robertson - 1.

Sat Nov 7 03:03:56 MET 1998

Freddy Fishstick

From: Javaritaville

It is fascinating to see who influenced the musicians you like, in my case The Band & Jimmy Buffett. The attached paste speaks for itself and continues the links :

Then, the "British Invasion" of the 60's came along. I loved the Animals, the Yardbirds, the Rolling Stones, the Dave Clark Five, and the Beatles. I especially began to dig the bluesy sounds. I loved soul singer Wilson Pickett, then Jimi Hendrix, then all of the Stax and Atlantic artists like Otis Redding, Sam & Dave, etc... I also dug the "white" blues players like Eric Clapton, John Mayall, and Paul Butterfield. From their records, I was led to the sounds of the "real" African American bluesmen, like Muddy Watters, Sonny Boy Williamson (Rice Miller), .

The above influences on Jimmy's harpoonist- Finger's Taylor.

Sat Nov 7 02:20:54 MET 1998

J. Croce

From: The Brokerage

If you have sought a Remedy from your Workin at the Car Wash Blues maybe you were fortunate enough to be at Manny's Car Wash on 11/5 and can post us a review/setlist for Jim Weider & the Honky Tonk Gurus. I've heard on the Coconut Telegraph that the magical Greg "Fingers" Taylor, harpooner extraordinaire will be waxing musical there later this month.

Fri Nov 6 23:41:34 MET 1998



Fri Nov 6 22:48:31 MET 1998

Steve Hirsch

From: Maryland

This is in response to Donal' Joseph. I was at the Univ. of Chicago performance by Danko/Helm as well. That was the BEST version of Rag Mama Rag I've ever heard as well. Just Rick on guitar and Levon on mandolin. Also saw a Danko show with Robert Hunter at Tuts before that. Saw the Auditorium show and the Mandel Hall show. Mandel was better, both were good. I'm hopeful the version of "You Don't Know Me" from Mandel Hall will be included on a CD some day. Great memories from all those shows. Thanks for reminding me.

Fri Nov 6 22:46:13 MET 1998


Dirty Dan, quit stealing my lines...about opinions. Come up with something original. Leave my buddy Don Jos. alone.

Fri Nov 6 22:43:29 MET 1998

Peter Viney

1) Apologies, Donal, I hit these typos after half a bottle of wine, sorry, Donald.

2) Fretless bass: There's an erudite article by Charles Shaar Murray (great rock writer and commentator on Macintosh computers) on Jaco Pastorious in today's "Independent." He makes this comment:

… an instrument that he more or less invented; the fretless bass guitar. By pulling the frets out of a 62 Fender Jazz Bass, he created a unique voice, enabling him to combine the fluidity of the fretless acoustic bass, with the power and range of the fretted electric, providing access to cello and trombone tonalities, otherwise impossible to achieve. By doing so he reinvented the electric bass as profoundly as Jimi Hendrix reinvented the electric guitar, Jimmy Smith the Hammond organ and Charlie Parker the alto saxophone."

He then goes on to express how this was demonstrated on Joni Mitchell's HEJIRA (1976) and with Weather Report. Now, I'm a great fan of Jaco-era Weather report. BUT I thought your favourite bass guitarist and mine was already some years into fretless bass in 1976 (I mean Rick Danko). So who did invent the fretless electric bass? And when? And was Jaco ahead of Rick? Someone out there must know about this. (David Powell?). I thought Rick was playing it in 71. Maybe Jaco was too, and the HEJIRA thing is just badly put.

Fri Nov 6 22:28:24 MET 1998

Bill Paige

From: River North Records


Busy week here, announcing our MP3 promotion that involves "Last Train To Memphis"; the track was #2 on the Rock chart at today! Plus, the PlatinumCD website (as well as The Band and Jubilation) got lots of mentions/attention on CNBC,, Wired, Reuters, etc.

Also, the mailman today brought the Nov/Dec issue of NO DEPRESSION magazine, which features a full-page "Jubilation" ad and a nice review, which reads in part:

"['Don't Wait'] is a remarkable, timeless performance, one of three or four songs that hold their own with the group's best work of any era. Like 'Daniel and the Sacred Harp' the song revises fateful encounters with music and the claims such devotion makes on the souls of performers and listeners. But beyond the lyrical depth rises the magical ensemble playing, the open-ended sound The Band all but invented. . . . Helm's harmonica, Hudson's organ and accordion and Danko's voice and acoustic bass have the graceful sweep of shared memories and visions."

Fri Nov 6 20:40:17 MET 1998

Ragtime Willie

From: Me Me Me

Hold your horses DIRTY DAN. What made you so mad? I like Donny Joseph. I hope the kid will never grow up. I admit he hates dogs, but he's a wonderful daddy. He always makes me laugh, even when he's talking nonsense. Occasionally you might find some pieces of information about The Band Of All Bands, hidden in his egomaniac comments. That's more than can be said of your latest entry. I thought the bashing was over now.

Fri Nov 6 18:22:52 MET 1998

A Friend Of Donald Joseph

Who's Gonna Throw That Minstrel Boy A Coin...

Fri Nov 6 18:11:01 MET 1998

Dirty Dan

From: Savanah

My,My,My, Donnie Joseph aren't we all so smug and wrapped up in ourselves. Everthing with you write is me,me,me,I,I,I. The world revolves around Donnie Joseph and what he thinks and your reactionary diatribes. Opinions are welcome here as stated at the top. Even more welcome here is some news and info. Opinions are like ---holes, everyone has one but too many of them stink up the joint. In other words don't write something here just for the sake of writing and to see your words on the screen{golly gee look at me}, but try to add something, otherwise your just wasting space or should i say bytes. Yeah thats it Donnie, byte me! Take your grandstanding ego somewhere else, or until you growup.

Fri Nov 6 18:04:12 MET 1998

David Powell

From: Georgia on my mind

Billboard magazine online is reporting today that Robbie Robertson has been hired by DreamWorks Records "in an executive role that includes A&R and soundtrack duties." According to the report, Robertson "will have the ability to sign bands, work with artists already on the label, write and supervise soundtracks, and more." It is not clear as to how this move may affect Robertson's status with Capitol, since he is still under contract with Capitol as a recording artist.

Fri Nov 6 18:00:43 MET 1998

Ol' Dexy

According to Showbizwire online, RR has signed with Dreamworks as an A&R executive -- will sign and develop music talent for the company. It's from a 11/14 Billboard story. He also says he will continue to record on his own for Capitol.

Fri Nov 6 15:54:04 MET 1998

Bud Hendershot

From: St Augustine, Florida

I just got a copy of "Largo" - what a stunning CD. The whole thing is very good, and Levon's song, "Gimme a Stone" is wonderful. "Garth's Largo" - a masterpiece - these two tunes alone are worth the price of the CD, but performances by others on the album are great too. I am sure "Largo" has been discussed here already, and I am just a Johnny-Come-Lately, but WOW! I am impressed. I really do like "Jubilation", but I think these performances my Levon and Garth give me even more optimism that better things are to come from The Band.

Fri Nov 6 06:54:46 MET 1998

Donal' Joseph [at least per Viney]

From: Second City, used to be "Queen" (?) City

Paul T.: I can't tell you where to buy the Ophelia boot, but I own it & have it here, computerside. I'd be happy to give you info. on it if you have questions.

Pat Brennan: O.K., I'll admit I'm impressed -- blown away -- that you opened for Rick & Levon. Given that some of us guestbook clubbers were active Band-o-philes in the late 70's-early 80's period, let me see if I can ferret out who else caught the same Chi-town shows I did.

I caught the Ivanhoe Theater Danko solo album tour show, with a band that included Terry Danko, in Winter '77 -- night of a giant snow storm, only a handful of us loyalists showed. Rick gave free tix to the 2d show to all of us at the 1st show. Set list was the solo album + "Wheel's on Fire" -- nothing more.

Around '80 I caught a band billed as the (ugh) "Band of Friends" at the Park West; the act included Butterfield, Ricky, and I believe Blondie Chaplin. There was some kid on keys who at one point climbed up on his keyboard & jumped off (struck me as a stupid move).

I caught the Ricky & Levon alone & acoustic tour (Levon on guitar) in about '83 that you, Pat, appear to have opened for. I caught only a show at the Univ. of Chi. Ida Noyes Hall (I came up from Fla. for the set); perhaps you, Pat, opened at another Chi.-area gig, because the U. of C. set may not have had an opening act. They were fantrastic. A kindred spirit working the show refused to turn up the house lights after the encore; we brought Ricky & Levon back for a 2d encore, scratching their heads, after a 10 min. yelling/stomping near-riot. Best "Rag Mama Rag" I've ever heard.

I caught the 2 Chi. "The Band is Back" post-Japan reunion tours in '83 or '84, one show at the Auditorium Theater and the other at Mandel Hall at U. of C. (I came up from Fla. for those shows, too).

Of course, I -- like so many of you -- have seen lots of other Band solo/reunion shows over the years; I've seen our Boys in Fla., N.Y., Calif., Ohio, & Indiana (plus Ill., of course) over the years (& my mother caught the RR guitar heroes set in Seville, Spain). I'm not trying to inventory my life-list -- I'm sure many of y'all's are almost (!) as impressive. I'm just asking whether you Chi-town hustlers caught any of the same shows I did in that late '70's-early '80's period.

Fri Nov 6 06:05:11 MET 1998

Pat Brennan

From: USA

Ben Pike, I saw TLW around 8:00 pm that Saturday. Pretty close there, bother, you, me, and Donald Joseph. But of course Chicago is a large town. Please send me the songlist, if only to jog a few synapses. On the first Levon/Rick tour, I was in a band that opened for them at the Metro in Chicago. Quite a night.

Fri Nov 6 04:26:14 MET 1998

Paul T.


Not any more, I'm afraid. You and I corresponded about the Ophelia CD and Generation many months ago. Contact me offline, if you don't mind, John

Fri Nov 6 01:55:42 MET 1998

John Donabie



Fri Nov 6 00:01:46 MET 1998

John H. Bjørknes

From: Alta Norway

Thu Nov 5 23:41:33 MET 1998

Paul T.

* Hey, Mister, can you tell me

where a man might find . . .

a copy of the double-CD concert bootleg

"Ophelia", recorded in Japan

on the reunited Band's 1983 tour?

Thu Nov 5 22:20:51 MET 1998

Steve Hirsch

From: Maryland

This is an answer to Rob's question about Danko being listed in the credits of the Kids are Alright. I met Pete Townshend in 1982 when he came in the book store where I worked in Chicago. He was extremely nice and we talked for awhile. I asked him why Rick Danko's name was listed in the credits when I had seen the movie about 3-4 times and watched for Rick without ever seeing him. He said that Rick had been hanging out in LA with Keith Moon and Ringo I think, and that the scenes had been cut from the final release. Meanwhile the Who were having a dispute with the director, who had gone way over budget, and he was holding some footage hostage against getting his fee paid including the Danko footage. Townshend said there was a possibility of releasing a video version of the movie with more material than was in the theatrical release. I've never heard if this happened.

Great Web-site, Jan! The best I've seen anywhere.

Thu Nov 5 22:06:23 MET 1998

Ol' Dexy

Yesterday, the wife and I bundled up our five- year-old daughter and one-year-old son and took them to the traveling Rolling Stone magazine rock'n'roll exhibit. It ain't bad -- plenty and plenty of Dylan stuff (cover art mainly), and a bucketload of Lennon (covers, original letters and postcards including one in which he corrects a Random Note suggesting the ex-Fabs never spoke to each other. Unfortunately, it wasn't dated). But, of course, the highlight was the black-and-white cover of The Band on a bench, backs to the camera. Now, if Mr. Wenner would just assign someone to review JUBILATION.

Thu Nov 5 21:30:36 MET 1998

Peter Viney

Tom Thumb: I can't believe it either. It's too hard a choice. If it was in the US, I could get away by paying for my tickets with a small pile of quarters (if I could find old coins anyway). In the UK, the design of the bills and coins has changed too often. I could probably get pre-decimal money in a shop though (you see, I've been thinking about the practicalities - you get the time machine, I'll find some 1964 money). So, at 1964 prices, it'd be easy to say I'll switch clubs after the first set. But I think both bands would be too mesmerising to allow a switch. But The Hawks hadn't reached their peak. If it was Manchester in 1966 or The Band in 1969 or 70 there'd not even be a moment's hesitation. I used to watch Zoot Money's band weekly in the early 60s (with Andy Somers on guitar in the later bits), and the set list was not dissimilar. Zoot probably did even more Ray Charles. They also had an incredible vocalist (I don't know the name) who used to do Dee Clark's 'Raindrops' as his party piece. I've often wondered whether Richard had ever done this song. Never seen any note of it, but he'd've been magnificent.

Donal Joseph: but isn't it interesting that everyone here seems to like Taj Mahal, Ry Cooder, Van Morrison, Little Feat?

Thu Nov 5 17:05:30 MET 1998

David Powell

From: Rollin' Stone Mountain, Ga.


When Bob Dylan & the Hawks played in Manchester, England in May 1966, it wasn't the first time that an audience in the Free Trade Hall had been shocked by the electrified guitar of an American musician. Previously, on October 26, 1958, Muddy Waters surprised the English music fans in attendence at the Hall with his screaming electric slide guitar & exhuberant singing.

Since Muddy was not being paid much on that tour, he couldn't afford to bring along his band. Instead he brought along just his electric guitar & amp along with his piano player, the legendary Otis Spann. They were accompanied that night in Manchester by the steady & subtle British drummer Graham Burbidge.

The audience was in for a treat that night. The basic stripped-down sound of guitar, piano & drums allowed Muddy's vocal intensity, set agianst the intricate interplay between his guitar & Spann's piano, to shine through powerfully unadorned. The set list included: "Long Distance Call, Baby Please Don'r Go, Hoochie Coochie Man, Blues Before Sunrise, Rolling Stone, I Can't Be Satisfied, blow Wind Blow, & I Feel Like Going Home." Muddy was sharing billing on the tour with English trombonist Chris Barber & his trad jazz band. Barber & his band joined Muddy for a lively Dixieland version of "Walking Thru the Park" & a brief impromptu encore, "Lovin' Stuff."

A tape recording of the concert was re-discovered & released on compact disc by the Tomato label in 1995, entitled _Muddy Waters & Otis Spann / Collaboration_ (R2 71661). The CD liner notes quote Muddy from a 1981 interview: "I drove 'em crazy in '58...I went over there and they went stone nuts. 'Where's he comin' from with all this noise?' In England, people had very delicate ears. They wasn't used to hearing no loud music." One of the tabloid headlines would describe the Manchester concert as "Screaming guitar and howling piano."

Surely one of the highlights is Muddy's performance of "Rolling Stone," accompanied only by his electric slide guitar. You can hear his powerful voice, building in intensity, echo through the Hall as he mesmerized the audience that night. There was one group of young Englishmen, who were so in awe of Muddy's music, that they would later adopt the title of this signature song as their group's name. Eight years after Muddy played Manchester, Bob Dylan & the Hawks would fill the Free Trade Hall with the echoes of another electrified variation of "Rolling Stone," and they played f-----g loud. Once again, the delicate ears of Englishmen were challenged.

Thu Nov 5 12:35:00 MET 1998

Diamond Lil

From: The Web


Ok..gotta ask.What exactly _is_a gigabyte? Word makes me laugh when I hear it :-)

Thu Nov 5 08:38:51 MET 1998

Donald Joseph

From: Chi-town

Time out, time out!! What're the rules? I'm a Taj freak: I have all his recent albums & a bunch of old ones incl. Rising Sons, I see him live, etc., etc. I'm also a Delbert freak. I have all his recent & lots of his older releases, I saw him recently live in a hot show promoting his latest l.p., & I've seen him in concert several other times over the years. He's an amazing singer & showman; his songwriting is secondary & his harp skills are, at best, tertiary.

But do I post about these guys? Even someone as prolix as I keep mum about Taj & Delbert here, on this Guestbook, which (last time I checked) Jan had dedicated to the Band. Any comment I've made about another artist tied in at least remotely to the Band. And a birthday's not a tie-in.

I'm not sure I'm complaining. Tell me the rules & I'll play by them. Are we open to any posting about "good music that should appeal to fans of the Band even thought the artist didn't appear in TLW or other Band projects"? O.k., great. Allow me to join in by offering my opinions -- & I do have strong opinions -- about my favorite non-Band-related acts you should like: T Bone Burnett & his Alpha Band, Mason Ruffner, the Dead boys (i.e., Jerry's crew), Tom Waits, Warren Zevon, Buddy Guy, Sonny Landreth, Theodis Ealy [his new l.p. is killer], Slim Harpo, Lazy Lester [swamp-blues legend who played my wedding reception!], Charles Fold [Grammy winning gospel legend who played my church wedding ceremony!], Arlo Guthrie, Cracker, Elvis Costello, Oscar "Who Shot the La-La" Morgan [killer live performer], Graham Parker, Ry Cooder [you guys've already gone down that road, but I can, too -- let's get into the "Buena Vista Social Club" album], Jimmy Johnson [I interviewed him once on my college radio show], David Bromberg, Sleepy LaBeef [Chris, see him next time he plays Southgate House in Newport as he does frequently], Corky Siegel [I also interviewed him on my old show], Rosanne Cash, Lyle Lovett, Quacky Duck & His Barnyard Friends [yes, they're for real], John Fogerty, John Hiatt, John Lee Hooker, Zachard Richard, The Tractors, Sam Phillips, Bob Neuwirth, Albert King, John Prine [he once responded to my cat-call from the stage at one of the many shows of his I've caught], Lonnie Mack, Texas Tornados & other Doug Sahm & Flaco Jimenez projects [I once interviewed Doug, BTW], Los Lobos including Latin Playboys & the brand-new "Los Super 7" project, Prof. Longhair, Boogie Bill Webb, Buckwheat Zydeco, the recently deceased Johnny "The Tan Canary" Adams, Clarence "Gatemouth" Brown, AJ Croce [yes, Chris, I saw him in Cinti., but at Bogarts touring for his John Simon-produced 1st l.p. years ago; I moved from Cinti. this last Aug., I believe I was in town for the Main St. show, but I missed it], Albert Collins, Stevie Ray & Jimmy Vaughn, John Hammond [post-Band stuff], Snooks Eaglin, Matt "Guitar" Murphy, Keb' Mo', Neville Bros., Steve Cropper & Duck Dunn & Booker T in their various combinations, Bonnie Raitt, Roy Buchanan, Commander Cody [who, Chris, I recently saw in Newport at Southgate House -- Commander once covered "Life is a Carnivore"], Cinti favorites Lonnie Mack, Big Joe Duskin, & H-Bomb Furgeson [I once booked H-Bomb for a party], Lee Dorsey, Willie Nelson & Johnny Cash, Big Walter, Sonny Terry, Marcia Ball, New Riders, Johnny Winter, Amos Garrett & Geoff & Maria Muldaur [saw her on Main in Cinti. about a yr. ago, Chris], Kenny Neal [caught him on Main once, Chris], Barrence Whitfield w/Tom Russell [they cover "Dan'l & Sacred Harp"], Dave Van Ronk, Little Willie John [listen to him while sittin' in the back seat], Roland Stone, the funky New Orleans albums -- but not the schlock stuff -- of Harry Connick, Jr., Jr. Wells, Billy Bragg & Wilco's new Woody Guthrie album, Clarence "Frogman" Henry, Little Feat, etc., etc., etc.

If you guys want all my many opinions about these faves of mine -- all of whom I believe any Band freak would adore -- YOU'RE ON! Jan, roll out a new gigabyte!

Thu Nov 5 08:33:53 MET 1998

Ben Pike

From: Cleveland Tx

Pat, well I may have been sitting with ya at That Waltz screening too....I saw it that Saturday afternoon.... Did you ever go to any of those shows Levon and Rick did in the suburban bars? If you want, I could send ya a set list from that Washington Park show... but it was pretty standard..Hey, I guess the American People are with you me and Robbie when it comes to you know what........

Thu Nov 5 05:55:30 MET 1998

Tom Thumb

From: Del Rio Texas

no Peter i'm writing to you from Del Rio Texas. i can't believe you're going to give up your only chance to see and hear Richard one more time. by the way Paul was the best singer (musician too) in the Beatles. Helter Skelter is quite sick in a beautiful way. Oh Darling and Golden slumbers also come to mind. the guestbook has been smokin' of late, have any reports Jan? as for 1962, i would rather have see James Brown than the Mop Tops, why settle for an imitation when you can have the real thing. thanks for the info David, you never cease to amaze me and i never have to sing Don't Let Me Down, with you. that song is a single for any other group in the world, in 1960 or in 1999. i will check Jammin with Edward for any wrong doing. I appreciated the story mr. Powell

Thu Nov 5 03:37:36 MET 1998


From: Virginia

I just recently saw the Who`s movie "The Kids Are Alright".Rick Danko was listed in the credits but I did not see him in the film.Does anybody out there know what scene it was and why it was left out of the movie?Also Levon Helm narrated vh1`s Legends documentary of the Who which I thought was a strange choice.Is there some type of connection between the Who and the Band that I just don`t know about?

Thu Nov 5 02:26:51 MET 1998


Mr.Horse: That's a real shame what happened to your classmate in 73. I'm not sure that anyone said it was funny that he died though.

Thu Nov 5 00:12:32 MET 1998

Peter Viney

The Hawks set list of 64 (from Levon's book) is still on my mind. My point was that they were probably conscious in doing two covers that The Beatles had already covered. I just looked it up. They opened with 'Not Fade Away' which had just been a Stones hit. This is more interesting in that most bands doing R&B didn't do Buddy Holly , which was probably unjust to Holly. The Band have returned to this song, and Rick sang 'Raining In My Heart' on the Ringo Starr tour. The Hawks list looks like many Merseybeat bands BEFORE The Beatles took off. 'Money' was a well-covered song. Though Bern Elliot & The Fenmen claimed they'd never heard The Beatles version before they cut it. 'Twist & Shout' much less so, if only because the word 'twist' was already uncool by 63.. What's really unusual is the James Brown numbers the Hawks did - very few bands had a vocalist who could touch these. BTW, I don't think comparing Richard with Lennon is a valid comparison. They're both up there among the greatest of the greats. George Harrison has been vocally enthusiastic about Robbie's playing since the 66 tour. Levon has played with Ringo. We know that The Beatles thought The Hawks were fantastic in 66, and that they loved The Band. I found the comment about the rhythm section extremely perceptive. I think you can compare both Levon and Ringo in style, and also Danko and McCartney (both melodic, inventive players). And both had three singers + a fourth who tried now & then.

My thought was that the inclusion of these songs (Money / Twist & Shout / Not Fade Away) in their set was conscious, even though they must have known - and probably even performed- the songs before they heard of The Beatles. Even though The Beatles didn't explode until 64 in North America, the musical community can't have been unaware of their huge success in late 62 /early 63 in the UK? And 'Twist & Shout' was #2 in early 1964.

I remember The Beatles first TV appearance in 62. We all went out and bought harmonicas and failed to play 'Love Me Do'. But you can never be sure - when Lennon first appeared with his harmonica in 62 he had certainly never heard of Dylan. As someone pointed out, 'Hey Baby' was the influence. How easy it is 35 years later for a would-be rock historian to assume a connection. Maybe that's what I'm doing. So, OK, those who know, when they did 'Twist & Shout' and 'Not Fade Away', would the audience have recognized them as recent / current hits?

And finally - "Record Collector" Nov 1998 has rumours of a third 'Travelin' Wilburys' album "already finished". It then goes on to say "Tantalising as these ideas are we've been unable to find any evidence". I agree with the comments about them. Let's hope.

Wed Nov 4 22:57:54 MET 1998


From: The Parachutists highschool

The parachutist referred to was my friend "Smitty". An extremely accomplished chutist at a very early age. He went to Jamesville DeWitt High School outside of Syracuse N.Y. and operated the para. sc hool in Seneca Falls N.Y.; close to Watkins Glen. In a past conversation with Mr. Danko I brought the subject up and Rick remembered the incident vividly. It was the colored road flares the Smitty had attached to his legs and that of a friend as they jumped that caused tthe chute to catch fire as he plummeted to his death. A great guy you all would have liked. A depressingly sad turn of events at what up till that point has been a real fine weekend. Not too much funny here.

Wed Nov 4 20:39:06 MET 1998

Just Wonderin'

From: Texas

David Powell: Thanks for the info on Senor Blues!

Wed Nov 4 19:53:24 MET 1998


From: Canton, MA

Cooder & Beefheart teamed up with Nitzche again later on the soundtrack to the Richard Pryor movie BLUE COLLAR. (Anybody know if it's out on CD?)

Wed Nov 4 19:19:37 MET 1998

Jerry Comeau

The parachutist in the sky at Watkins Glen must be the reason for the "..Maybe it's the second coming." comment on the Cd (?). I always wondered what they (I think it's Robbie who says it) meant by that. Thanks Pat.

Wed Nov 4 19:00:37 MET 1998

David Powell

PS--Yes Mr. Thumb, in addition to playing with Taj in the Rising Sons, young Ry Cooder played on the Captain's _Safe As Milk_. Mr. Cooder & Jack Nitzche later worked on the soundtrack to Mick Jagger's movie _Performance_, mentioned in the guestbook recently. That's Cooder playing slide on the evil sounding "Memo From Turner." Cooder would later record with the Stones, showing up on "Country Honk" from _Let It Bleed_, "Sister Morphine" from _Sticky Fingers_ & the _Jammin' with Edward_ album. Cooder, later in interviews, did not have kind words for the Stones. It seems that whenever he was jamming around with them, they'd keep the tape recorders running, capturing Ry's distinctive slide licks. These same licks, played by Keith Richards, later showed up mysteriously as the basis of a lot of Stones songs. So the story goes.

Wed Nov 4 18:34:02 MET 1998

David Powell

From: Georgia on my mind

The Hawks & the Beatles honed their chops & paid their dues, so to speak, playing in some interesting clubs, the Hawks throughout the South & Canada, & the Beatles in Hamburg, Germany. Some of these clubs were so rough, as the old joke goes, if you didn't have a knife or gun when you came in, they'd loan you one at the door. Many places would have chicken wire strung across the front of the stage to protect the band from flying bottles. (Remember the scene in the Blues Brothers movie where Jake, Elwood & the boys play in the cowboy bar. You get the picture.) In some areas of the "Bible Belt" South, clubs didn't operate with a liquor license, since the sale of alcohol by the drink was banned. Patrons would bring their own bottles of booze in paper bags & the clubs would charge a cover & sell high-priced set-ups like Coke & 7-Up. Needless to say, a crowd that brings their own can really get drunk & rowdy.

Places like this were not conducive for displaying the finer musical techniques like finesse or dynamics. Mostly you just played fast & loud, occasionally slipping in a slow number. You had to play familiar material to keep the audience happy, dancing & drinking. These requirements dictated that the bands play primarily cover versions of hit songs. Once in a while, maybe you could sneak in an original number if it didn't sound too different & strange. Bands were required to play several sets, with only short breaks in between, until the clubs closed in the wee hours of the morning. To stay awake, night after night, many musicians would pop amphetamine pills or snort a couple fingers of crank. As products of the same environment, it's no wonder that both the Hawks & Beatles would cover some of the same basic types of material.

In answer to the question about Taj Mahal's _Senor Blues_ album, Robbie Robertson receives no written credit in the liner notes. The CD, however, was mixed at Village Recorders in L.A. where Robertson, under a long standing arrangement, rents an office/studio working space. This album, released on the Private Music label in 1997, received an award at this year's Grammy ceremony. With a five piece band & horn section, Taj plays a wide range of country blues, R&B soul & jazz numbers. Featured songs include Lowman Pauling's 1957 classic "Think," birthday boy Delbert McClinton's "Having A Real Bad Day," Horace Silver's "Senor Blues," Washboard Sam's "Sophisticated Mama," the old Louis Armstrong classic "You Rascal You," Hank Williams' "Mind Your Own Business," the Otis Redding / Steve Cropper classic "Mr. Pitiful," and many other wonderful songs. A very strong & polished effort from Taj.

BTW the Rolling Stones have just released yet another live album entitled _No Security_. Taj Mahal makes a guest appearance, performing "Corrina" with the Stones. This song was one of the songs that Taj, Jesse Ed & band performed in 1968 as part of the Stones' Rock & Roll Circus.

Wed Nov 4 18:13:55 MET 1998


From: Virginia

In response to John from PA's post about Delbert McClinton, he's so right!! What a road warrier Delbert is. I've always thought that his voice mixed with Rick's and Levon's would present some VERY interesting possibilities. Have seen Delbert in concert a number of times. He NEVER disappoints. And, at least for the past few years, he's had a cracker-jack band with him, led by a keyboardist (Mike, can't remember his last name at the moment) who used to be in Wet Willie and a lead guitar player from Down Under who can flat light it up. One of the very best live albums ever is Delbert's "Live in Austin", on Alligator Records. In my book, it's right up there with "Rock of Ages." Happy 58th Delbert, and thanks to John of PA for bringing some attention to this fine performer who, like The Band, has had some bad breaks but keeps on keepin' on! For which all lovers of good music should be thankful.

Wed Nov 4 18:08:51 MET 1998


From: Cincinnati

Donald Joseph, Rick played at Ripley's about 1 year ago. It was on a Sunday night. The show wasn't promoted at all. I saw Rick two nights earlier in Columbus. That club had posters printed up, and it resulted in a full house. Rick put on a great show. The Cincinnati show was good, but not a big turnout. It was a great place to see the show. But I know a couple that would have been better. I don't know when you left Cincinnati, but I hope you got to see some of the new bars in Over the Rhine. A.J. Croce just played at one on Main st.

Wed Nov 4 17:10:34 MET 1998


From: penna

Singer/songwriter,harmonica player Delbert McClinton turns 58 today. Born in Lubbock, raised in Fort Worth Texas, he is a roadhouse warrior that is still going strong. Delbert is a big fan of the Band and Roy Buchanan. Made his 1st record in 1959. In the 60's{?} Del toured England with Bruce Channel where he met John Lennon and proceded to show young John the finer points of harp playing. Lennon was a good student as we all know he used the harp to good effect on some great Beatles tunes. Bruce Channel's big hit, Hey Baby was helped along by the prominent harp work of Delbert. He has recorded a ton of gems written by others and I think he is one of the few artist who consistenly does cover versions that are unsurpassed. Examples: Big River{johhny cash}, Sick and Tired, Corinna{taj mahal,davis}, I Can't Quit you Baby{bobby charles}, Givin' it up for your love{jerry williams}, Bright side of the road{van morrison}, Hold on to your hiney{tony joe white}, Spoonful{dixon}, turn on your love light, Isn't that so{j. winchester},etcetera...He's written some pretty fair songs of his own:"B" Movie Boxcar Blues, Crazy About You, Lovinest Man, Victim of Life's Circumstances, Two More Bottles of Wine, It Ain't Watcha Eat But the Way How You Chew It, Ruby Louise and this doesn't even include the excellent tunes from his new album- One Of the Fortunate Few.

Personally my favorites are Delbert's powerful versions of old chestnuts like: James Brown's-Please,Please,Please. Blue Monday. Lovey Dovey. Before You Accuse Me. Leiber/Stoller's One Kiss Led To Another. Let The Good Times Roll. Lipstick,Powder&Paint.

Wed Nov 4 16:12:16 MET 1998

Ol' Dexy

Hmmm. Not sure why I would list Bob as a guest artist at a Wilbury Tour. Too early in the morning, I guess.

Wed Nov 4 16:06:08 MET 1998

Ol' Dexy

From: West of the Arkansas line

RE: Beatles and Band in the early '60s. Who was better? Who knows -- as musicians, certainly The Band. As innovators, probably The Beatles. But the similarities are as strong as the differences: both spent hour after hour after hour in roughhouse bars playing many of the same songs (and certainly admiring many of the same artists). The Beatles backed Tony Sheridan for a while, much as The Band was backing Ronnie. Both emerged with three singers, drummers who strived for a similar sound, bassists who rivaled for the "best ever" and the ability to create original popular music that has to be at the top of anyone's list. The authorized Band biography video, as many of you know, delves into this in some detail, thanks to the interviews with George and Ringo. Bottom line: these are two incomperable groupings of musical talent, and the fact that there has been so much interaction over the years points to a clear and understandable case of mutual admiration. One thing missing: tapes of George's time in Woodstock, and a Traveling Wilbury/Band tour (has anyone noticed how easily Rick, Levon and Garth would fit into the Wilburys? They need a bassist, a drummer and a keyboard wizard. Guest artists could include Ringo and Bob. Just a thought.).

Wed Nov 4 11:31:10 MET 1998

Peter Eric Strahl

From: My Mother.. Bless Her..

Roy is a MASTER in my mind... Thanks for your wonderful page!. I Don't know what else to say other than "Turn Up That R.B.!!!" What a GOD send......................

Wed Nov 4 10:07:01 MET 1998

Peter Viney

Time machine time: 1964, and The Beatles and The Hawks are playing? Well, no question. I'd go to see The Hawks given the knowledge I now have. They'd've probably played three hours as against 20 minutes, and in 64 you went to see The Beatles, not hear them. Move it back to 62 when The Beatles were still playing long sets in smokey places and I'd call it the other way. (But how old would I be? My age now, or then? It looks like the girls watching The Hawks in 64 would've been too old for me, which might have been a serious consideration at the time). In 1964 The Beatles were already slightly uncool in the UK (they became cool again with 'Revolver'). BTW, Are you really writing from Mexico City, Tom Thumb?

Bill Munson's point about young girls not being in the kind of bars they played in 64 is interesting. You're sure none sneaked in? I agree that other bands were mining the same R&B gold as The Beatles, at the same time and earlier. But I still reckon the profile of 'Twist & Shout' by 1964 (or late 62 in the UK) extended well beyond the teenyboppers.

Wed Nov 4 05:44:53 MET 1998

Pat Brennan

From: USA

In the continuing weird world department, I evidently missed Donald Jospeh by one day when The Last Waltz came out. I had to work the Friday it opened but saw it on Saturday. Just north of the corner of Rush and Oak.

Wed Nov 4 05:36:41 MET 1998

Pat Brennan

From: USA

Ben Pike, as a number of others here are loathe to admit, I too suffered from experiencing the 60's and 70's with a tad too much abandon. My memory of the Washington Park show was my fixation on Garth. I recall Richard struggling with Tears of Rage but more from a technical point of view--his voice was straining considerably. I saw the first Dylan show at the Stadium which was awfully exciting for a lot of obvious reasons. I also saw the Arie Crown show which Taj opened for. That was particularly good. Very slow relaxed tempos. Everyone sounded great. I was at Watkins Glen, which for some unexplained pharmaceutical reason I remember quite well. The boys seemed very happy and they sounded great. Dixie was really powerful and the legendary Chest Fever nugget actually happened the way its been so colorfully recalled. Another thing: during one of the songs, Rick started pointing up at the sky. Most of the crowd turned to see some parachutist careening down with a flare. We all laughed but were saddened to find out the parachutist had somehow succumbed during the jump and was probably dead when we saw him/her. That was quite a weekend. I used to have three rolls of super 8 film with a lot of the boys, but it's long gone. I believe I recall Robbie being somewhat enebriated during the final jam after the A-bros.

Wed Nov 4 05:35:51 MET 1998

Donald Joseph

From: Now is near Chicago

Sorry about the misspellings & typos in my last post -- next time I'll proof better. But let me try to justify the most glaring one, the missing end parenthesis at the end of the big long paragraph in the middle: That same paragraph mentions Lowell George, who, as a running joke in his liner notes on Little Feat albums, always dropped an end parenthesis and then made some remark about it. Hence I must say I'm sort of proud I made, essentially, a FREUDIAN LITTLE FEAT TYPO!!

Wed Nov 4 05:34:32 MET 1998


From: Acadia

Alon, there is some information on this site at

on Acadian Driftwood. Also one of my faves as I live in the land of the Acadians, Nova Scotia. I love to visit Grand Pre where the Acadian people were deported, which is mostly what Robbie was talking about in the song.

Wed Nov 4 05:21:31 MET 1998

Donald Joseph

From: Used to be Cincinnati

Ragtime: Upper 40's? Speak for yourself. My b'day's next week but I'm still legally 37. And Lopez, I was a sr. in high school when TLW was released; I drove to the record store & bought the triple l.p. on its day of issue, and then a good month or more later, I saw the film on its first day of release (which also was my last day of high school -- my party was to see the flick with a friend). I saw it at a now-defunct theater on Rush St. in Chi. near the Esqiure at Oak St.; TLW played there damn near all summer in an exclusive area run, & I saw it there a bunch of times. For some reason, after the 1st week or so the theater cut the card at the very beginning that says "THIS FILM SHOULD BE PLAYED LOUD." Obviously the projectionist was either tired of everyone yelling "woooooooooo!" -- or else was a grammarian.

Danny Lopez: I too caught the great Dylan Dayton show a yr. ago; I also saw Zimmie a few months later in Cinti., & he was NOT as good: That Dayton show was a special night, & you & I were lucky to be there.

Chris, I NEVER HEARD about a Ricky show at Ripleys! I once saw Toots Hibbert there, & that show was also poorly promoted. I'm kicking myself for missing Rick -- how was I to know? BTW, I once shared a house with the then-owners of Ripleys.

Ragtime: Save your lecture on the role of a record producer (although I AM young enough to be your student). The producer role varies a lot: Lowell George producing the Dead's "Shakedown St." was obviously a lot less active than Daniel Lanois producing Emmylou's "Wrecking Ball." I'm glad Jan censored your lecture -- gentleman that Jan is, he blamed technology, but you probably bored his pants off. Besides, I asked to be "executive producer with veto power." I'll concede many producers don't have this power, & maybe Aaron isn't to blame for song choice on the last 3 l.p.'s. If so, I'm sorry, Aaron -- but I'd rather blame you than blame the Boys for recording dogs like "Amazon" & "White Caddy." Call the role what you will, I want veto power over the songs on the next Band l.p. so as to create an l.p. WE ALL can enjoy. (I'm not delusional, though, & I don't expect to get it -- althogh I might get a credit on a forthcoming blues album on Antone's records for legal work I did, so I am a tad closer to The Industry than you guys might think.

Firefall open for the Band...and in my home town of Chicago?? Say it aint so!!

Uncle Hangover/David Powell: I have the l.p., it is called "Ululu," and it does cover "Stawb. Wine," crediting Levon & Robbie by full name on the back cover.

Aside to Beak Freaks: The new -to- video film "2 Girls & a Guy" w/Rbt. Downey Jr. & Heather Graham VERY prominently features several different covers of "You Don't Know Me." No, no cover by Beak, but to us, it'll always be his song.

Wed Nov 4 03:49:54 MET 1998


From: Long Island, NY

Beautiful Site! One question Does anybody know how did Robbie come out with the amazingly beautiful ending to "Acadian Driftwood"? Are the French lyrics taken from some sort of a folk song? Did he write it himself? - I'd appreciate any clue…

Wed Nov 4 01:51:47 MET 1998

Tom Thumb

From: Mexico City

Y es Peter, I was wrong but I sure did stir up some interest. Embarassed is too strong a word but intimidated might not be. The Beatles were a great rock band, John and Paul were fine singers (especially Paul on Long Tall Sally) but neither of them sang with the soul that Richard had. He was truly a gifted vocalist. Also, in a live setting, John and Georges fine guitarwork was no match for the power, excitement or sheer volume of Robbie's screaming lead. Not to mention, there is only one Garth and he isn't in the Beatles. Throw Jerry Penfound into the Mix and it really becomes a no brainer. Sure you can say "the Beatles were different" and that it's not a fair comparison but I just want to hear you say it Peter Viney. If you could go back to 1964 for just one more show and the Beatles and The Hawks were playing the same strip at the same time, who would it be? As for my choice of albums that should be available on disc, Beefheart's Safe as Milk tops my list, and I'm sure David Powell knows what 19 year old guitarist is featured.

Wed Nov 4 00:50:51 MET 1998


From: Hodel

Great site, thanks a lot Jahn. Thursday night 11/5/98 in NYC at MANNY"S CARWASH JIM WEIDER AND THE HONKY TONK GURUS including RICHARD BELL and RANDY. They are an excellent band, I recommend their CD for lover's of blues and electric guitar. See you there, ED.

Wed Nov 4 00:37:49 MET 1998

John Donabie

Peter Viney: Thanks for the clarification. Your wording in your second post makes sense. I will tell you; (and this may tick off R&B purists)that the versions of Twist and Shout and Money by the Beatles will always remain my favorite versions. In my particular case, this was the first time I had ever heard these songs. I have since over the years heard the originals many times; but The Beatles versions led by one of the greatest vocalists of my lifetime, John Lennon, are exciting and guttural. I was watching an old Ed Sullivan show the other evening and Lennon just "felt" the lyric of Twist & Shout. He was a natural. He made the song his own.

One forgets that here in North America; just before Beatlemania, Rock 'n' Roll was getting pretty stale. In the 50's, Elvis, Little Richard, Jerry Lee Lewis etc. woke up the world to a new sound. By the early 60's we had, what I call, the "Bobby" generation. Bobby Vinton...Bobby Rydell. Songs like Volare were back on the charts. Rock 'n' Roll on this side of the ocean fell into a middle of the road wasteland.

Then along came the Beatles; with all the electricity and passion of the 50's performers. I believe, in my humble opinion, that The Beatles saved Rock & Roll and took it to its next stage. In Canada the first Beatles album released was Beatlemania. I will never forget dropping the needle down and hearing "It Won't Be Long". It still makes my hair stand up. Today, November 3rd marks the release of the new John Lennon Box set. I am looking forward to it.

Hearing Beatlemania for the first time (Please Please Me in Britain....Meet The Beatles in the U.S.) was very much like the experience I had with an album called Music From Big Pink five years later. Not the same feeling...just different and just as pleasurable.

Wed Nov 4 00:24:05 MET 1998


From: Connecticut

To Bill Paige: Any news on our boys?

Tue Nov 3 23:32:07 MET 1998

Bill Munson

From: Toronto

Re: Peter Viney's comments on the Hawks' songlist, I'd suggest that the Hawks would not have been playing songs like "Money" and "Twist and Shout" to please Beatles fans, as Beatles fans of the time (i.e., young girls, for the most part) wouldn't have been allowed in Ontario (and presumably other jurisdictions') bars to see the Hawks. Ontario's drinking (and bar entry) age was 21 then. So, I think it was just a case of good songs being recognized by bands and fans everywhere.

For what it's worth, another Yonge Street group, Frank Motley and the Motley Crew featuring Jackie Shane, released a recording of "Money" in '62/'63, and they were even less likely to be trying to please Beatles fans.

Tue Nov 3 22:31:01 MET 1998

Mr. "B"

From: Hazels House

Great Dylan show at Syracuse War Memorial on 11/2. Rick, Waited at Dinosour BBQ up til show time. Where were you. Ya missed some good eats. Did you hook up with JM afeter the show?

Tue Nov 3 22:24:55 MET 1998


From: Cincinnati

I am a 24 year old Band fan. We are not all in our 40's. I have been listening to The Band for many years. I have seen them in concert, and even meet Rick a couple of times. Donald Joseph, were you still in Cincinnati when Rick played a show at Ripley's last year?

Tue Nov 3 21:38:01 MET 1998

Peter Viney

John Donabie: no problem about disagreeing. I guess I should dilute or modify my comment. I’m sure The Hawks would have been well aware of the Isley Bros and Barrett Strong long before they heard The Beatles versions. What I really meant is that the reason these songs would be in a 1964 set list, is that they would please a crowd who might be more familiar with The Beatles versions. In that sense, they’d be covers. They’d be doing ‘Twist & Shout’ rather than ‘Shout’, and ‘Money’ rather than ‘Jamie.’ The Rolling Stones were almost certainly doing ‘Money’ early on independently. Bern Elliot & The Fenmen had a minor British hit with it. But ‘Money’ was indelibly associated with The Beatles once they’d covered it. Take Chuck Berry - any decent working R & B band could have covered anything he’d written, and usually did. But in 1963 / 4 there was a strong tendency to do ‘Roll Over Beethoven’ because everyone knew it from The Beatles 2nd album. Likewise, a lot of bands did ‘Twist and Shout.’ BTW, two things come to mind - no one bettered The Beatles version of this, and The Beatles version of ‘Money’ beats the Levon Helm solo version hands down. There was a huge awareness of these kind of R&B artists among musicians - in Canada with The Hawks, Northern Ireland with Van Morrison, in the UK with The Beatles and The Stones, let alone in the USA, and there was a common core of stuff that everyone covered independently of each other, some of which individual bands had hits with, and others that everyone did without anyone having a major hit. Van Morrison tends to return to these until this day - ‘A Shot of Rhythm & Blues’, ‘Blue Suede Shoes’ and ‘A Change Is Gonna Come’ featured in 1998 shows. Levon Helm does the same, and Springsteen used to

In doing this post I’ve learnt two things. First, until I checked just now I’d never been aware that Barrett Strong did the lyrics to the incredible run of late-Temptations hits. Two, having mentioned The Four Seasons earlier, I’ve just realised that I probably listen more to The Four Seasons (mainly the ‘Working My Way Back To You’ album) than I do to the early Beatles. Vp> Many thanks to David Powell for more info on Jesse Ed Davis.

Tue Nov 3 21:20:41 MET 1998

Just Wonderin'

From: Texas

Speaking of Taj Mahal....I think I read somewhere that RR worked on "Senor" with Taj. Can anyone confirm/deny this? Or is it just a RUMOUR?

Tue Nov 3 19:34:29 MET 1998

David Powell

From: Georgia on my absent mind

As Uncle H. pointed out, I was right the first time--it was _Ululu_, which I always seem to confuse with the name of the reggae / dub group. I'd also forgotten about Jesse Ed's work on Clapton's _No Reason To Cry_. The Rolling Stone's Rock & Roll Circus, on which Davis appears with Taj Mahal, is availble on video & provides a fine memorial to Davis in his prime.

Tue Nov 3 18:46:54 MET 1998


From: ct.

Thought you all should know: Rick Danko at The Towne Crier, Pawling,NY 12/5/98. 9:00 pm 20$. See ya there!

Tue Nov 3 18:16:51 MET 1998

Uncle Hangover

From: Austin, TX

Hey, Powell, Davis' album was called "Ululu", and had a cover of The Band's "Strawberry Wine". There is a page for it on this site, in the cover version list in the discography. The '70s must've been good to you, man...

Tue Nov 3 17:30:44 MET 1998

David Powell

From: Georgia on my mind

My memory, like my spelling & grammar, is somewhat faulty. The Jesse Ed Davis solo album I think was correctly entitled _Uhuru_. To paraphrse the old saying: "If you can remember the '70s, then you didn't really experience them."

Tue Nov 3 17:02:43 MET 1998

David Powell

From: Georgia on my mind

Glad to see the interest expressed regarding Taj Mahal & Jesse Ed Davis. Here's a little bit more on the late Mr. Davis (since I'm at work, away from my music library, this is strictly from memory):

Peter mentioned the early connection of Jesse Ed Davis watching the Hawks play. Mr. Davis, a Native American who grew up on a reservation, of course shared this background with that of Robbie Robertson. Apart from his playing with Taj, Davis became part of the Tulsa, Oklahoma group of session players who backed Leon Russell & many others. Davis became known for his "slithering" yet melodious slide guitar style & was much in demand for studio work, along with the rest of the Tulsa "Tops."

In 1971 Davis played on Roger Tillison's self-titled album which featured performances of the Band's "Get Up Jake" & Dylan's "Down In The Flood". That same year, Davis appeared on _Bob Dylan's Greatest Hits Vol. II_ as part of the group backing Dylan on "Watching The River Flow" & "When I Paint My Masterpiece," produced by Leon Russell.

Davis released a solo album entitled _Ululu_ that featured a fine version of George Harrison's "Sue You, Sue Me Blues," written about the endless litigation that surrounded the Beatles. (More on that album later.) Davis also recorded with John Lennon. He evidently became somewhat embittered over that experience, & reportedly was a source in Albert Goldman's infamous book about Lennon, regarding Lennon's heroin use. Davis himself battled that demon for years & would later become yet another casualty to that way of rock & roll life.

Just before his untimely death, Jesse Ed Davis would become involved in a music project with fellow Native American, John Trudell. The results of this partnership, however, would not be released until several years after Davis' death when, under the auspices of Jackson Browne, the Ryko label released the album entitled _AKA Grafitti Man_ in 1992. This album foreshadows & surely influenced Robbie Robertson's musical involvement in Native American causes. _AKA Grafitti Man_ features the strong poetic, half-spoken / half-sung lyrics of Trudell, with their Native American themes, set against the rock back-drop supplied by Davis & the other musicians. That this is strongly reminiscent of Robertson's later solo work is no mere coincidence. Trudell & Robertson are indeed friends, and the haunting voice of Trudell's late mother-in-law, Leah Hicks-Manning, is featured prominently on Robertson's _Contact From The Underworld of Red Boy_, as is the mood surrounding the circumstances of her death. Mr. Trudell released a second album, _Johnny Damas And Me_, on Ryko in 1994. Both of these albums are still available I believe & are worthing checking out.

Tue Nov 3 16:55:27 MET 1998

Gerry Comeau

Check out this review of the Dylan/Joni concert in Indianapolis, Indiana on Oct 26. Joni really lost her cool. I'm not a Joni basher either, I like alot of her stuff, even Coyote.

Tue Nov 3 16:17:34 MET 1998

John Donabie

From: Toronto


I can't believe that I am actually disagreeing with you on a singular point you made in your last posting. You say "According to the set lists, The Hawks used to play 'Money' and 'Twist & Shout' - you wouldn't be able to convince me that this was due to a love of Barrett Strong and The Isley Brothers versions! Like everyone else, they were covering The Beatles" .No No No Peter my friend, I beg to disagree.

Growing up in Toronto we listened to WBLK from Buffalo, a very big R&B town. The "Hound" George Lorenz played all the best black R&B of the day. We could also listen to Nashville radio and the great John R. Many musicians from Toronto including Robbie listened to clear channel radio to John R. There was also WUFO out of Buffalo; which came later; with an R&B format. I don't believe The Beatles had any real influence on The Hawks. They were far more into R&B than they were pop music.

I also read an article once that John Lennon; upon reflecting about The Beatles early days, was not happy with the direction they finally took. He really wanted The Beatles to be an R&B band. Between Epstein and Martin......that was not to happen. The rest is History.

I totally agree with your reaction to Tom Thumb's comments. The Beatles were doing just fine and as for The Hawks they were in an early stage that reflected the music of the day in Toronto & what they were listening to south of the border. Without that early R&B influence, The Band would have probably sounded differently.

Tue Nov 3 15:24:24 MET 1998

Just Wonderin'

From: Texas

Just recieved my copy of Jubilation. Great stuff! Hope the boys can keep on keepin' on. Levon you done your mamma proud.

Tue Nov 3 14:00:58 MET 1998

Simon Rae

From: Glasgow , Scotland

As a 24 year old Band fanatic living on the other side of the pond, I was glad to find such a great site with loads of info. After seeing 'The Last Waltz' for the first time last year, I just gotta say that Levon Helm is one of the most talented percussionists I've ever seen. I couldn't believe anyone could sing like that and play such great drum fills at the same time. Anyways, great site.......thanks

Tue Nov 3 10:24:10 MET 1998

Peter Viney

There once was a Vee-Jay LP called "The Beatles v The Four Seasons" with a side of each. Having seen The Beatles play in 63 and 64 and 65, I'm pretty convinced that Tom Thumb would be wrong in predicting their embarrassment if they'd heard The Hawks. Interest, yes. Enthusiasm, yes. But The Beatles knew how to do their thing (which was a 20 minute set and run) and were quite used to more technically proficient musicians on the British scene, and also many bands with a tighter R & B feel.They were surrounded by them and didn't seek to emulate them. If you re-listen to early Beatles stuff, they were pretty good on the R&B themselves - Lennon had an amazing "feel" as a rhythm guitarist, though I'm told he was not a technically great player. McCartney in 64 was doing things with bass guitar that only came to be appreciated when the albums were released on CD. I don't think he'd've felt any sense of defeat in a comparison. In terms of material, The Hawks were recycling R&B - they were getting ready for what they became. I'd agree that a release from this era would be wonderful. I'd love to hear it too - especially as computers can revive and clean so much from older materials. According to the set lists, The Hawks used to play 'Money' and 'Twist & Shout' - you wouldn't be able to convince me that this was due to a love of Barrett Strong and The Isley Brothers versions! Like everyone else, they were covering The Beatles.

Tue Nov 3 09:28:32 MET 1998


From: Norway

The maintainer of this site is still in his thirties, Karen. He is male though, even if the first name tends to confuse Americans :-)

Tue Nov 3 08:10:01 MET 1998

Ben Pike

From: Cleveland Tx

Hey Pat...Well, I guess the world just got a little smaller. Let me ask you, did you see any of the other Chicago area shows? For some reason I thought they had done the Auditorium theatre. Outside of the Titanic Buzz of seeing the boys there in the flesh, here's some things I remember. Richard Blew some of lyrics to "Tears Of Rage", and Robbie shot him a look of affection rather than annoance. There was some folks behind us and the guy had just seen The Rolling Thunder Review. And Towards the end some kids started dancing and screaming in vain for "Time To Kill." And just in CASE you don't remember, they opened with "Don't Do It" and closed with "Life Is A Carnival." Take'um for there all and all, we ain't goin to see there like again........

Tue Nov 3 05:56:26 MET 1998

Pat Brennan

From: USA

Ben Pike, I knew there was some reason I liked you. Washington Park Racetrack, mid-summer 1976, a far south suburb of Chicago. I missed Firefall but saw the boys and Emmylou. No hint of finality--in fact the Last Waltz wasn't announced for a couple of months. Garth was amazing with a whole new battery of synths besides his trusty Lowry. Obviously, the last Chicago area show of the original quintet. BTW, the others were the Opera House 69, Arie Crown 71, w.Dylan 74 Chicago Stadium. Not counting Dylan 66 Arie Crown nor the south side Hawks shows. How'd you end up in Tejas? Also saw Dylan a week ago at the House That Michael Built. I don't think you can compare his band now with the Hawks. Hawks had a lot of keyboards, new guys have a lot of strings. New drummer is pretty basic. Bucky Baxter is great but Campbell pretty much played rhythm to Zimmy's lead. Joni was transcendent. Her versions of "Trouble Man" by Marvin Gaye and "Comes Love" by Billie Holiday were priceless. New and old, but no Coyote.

Tue Nov 3 05:43:10 MET 1998

Danny Lopez

From: Iowa

Sorry, I prematurely submitted. Anyway, the last thought to share was it wasn't until I saw Robbie Robertson's Crazy River video that I started to become really conscious of the Band. I bought the first two Robertson cds, and then gradually made my way into Big Pink and all the rest. So post-Band Robbie has certainly been critical for my musical (de)-volution.

Tue Nov 3 05:38:30 MET 1998

Danny Lopez

From: Iowa

Colonel Capricorn -- I'm sure you expected a severe rhetorical beating, but I second your motion. The latest Dylan band (and cd) is phenomenal. Saw them about a year ago in Dayton, Ohio. It was awesome. I'm also one of those under 40 Band fans. In fact, I was in 8th grade when the Last Waltz came out. Of course then I was into a heavier teenager sound (can Deep Purple be mentioned on this page?!?). I vaguely remember advertisements for The Last Waltz and the Basement Tapes in Circus magazine. And of course I always knew of Up on Cripple Creek and Dixie.

Tue Nov 3 04:01:33 MET 1998

Tom Thumb

From: Del Rio, Texas

Thanks for the review on Taj's new one David. I was wondering what other artists did Jesse Ed play for? I looked into the availability of his first record as Taj Mahal and found that it is only on casette. I did pick up The Rising Sons on disc though. Listening to it makes me realize how much better The Hawks were as a band. Who would you rather have seen in live in 1964? The Hawks or The Beatles, for me this is a silly question. The Beatles became outstanding songwriters but in 64 if John and Paul had seen the Hawks the way John Hammond and Bob Dylan had, they would have been blown away and maybe even a little embarassed. It's a shame no good recordings exist. The new Dylan is good but imagine a live 64 Hawks disc of quality. Just dreaming again. Manuel really had a gift as a vocalist. Who can name all of the songs Richard played drums on, including the Official Basement Tapes release?

Tue Nov 3 02:44:27 MET 1998

Don Pugatch

From: Roswell, Ga

Any of the Georgia Connection attending Saturday Night's Joni and Zimmy Festival at the Thriller Dome? The family and friends and me will be there. Let me know and we'll toast one for The Band.

Tue Nov 3 01:54:35 MET 1998

Paul T.

Personal Aside to John Donabie: About a year ago you and I corresponded about a Band bootleg CD you bought via mail order "by accident" which I had been lookng for for some time. Still no luck on my end. Please get ahold of me at the address above if you care to resume our conversation, please, John. I've got a favor to ask

Tue Nov 3 01:48:48 MET 1998

TD Bear

From: Joshua's (try the fellafel)

If Joni does Coyote I'm outta there!

Listened to Jericho today. Commented to Mama Bear how strong Levon sounds on Atlantic City, Caves of Jericho, Move to Japan and Stuff You Gotta Watch. I said I wished Levon had sounded so good on Don't Wait. We then agreed that the real strength, power and meaning of Don't Wait come from the weakness of Levon's voice. A paradox, but the truth.

Tue Nov 3 01:34:52 MET 1998

Ben Pike

From: Cleveland Tx.

Well, I guess NO ONE has seen "You Are What You Eat", even though it was once reveiwed by that Pauline Keal. Karen, you're story warms the cockels of one old Band Freaks heart. Hey, I was thinking the other day about the last time I saw The Band with the original lineup. It was at a racetrack in Chicago. Emmylou Harris was the opening act, and before her the wimp rockers "Firefall" before they had lots of big hits. Pretty standard set for that tour. Anybody else at that show. Jan Maybe?

Tue Nov 3 00:18:52 MET 1998

Ol' Dexy

From: formerly the land of Adult Portions

VINEY -- this won't help much regarding Taj/Johnson/Last Waltz, but a little tie-in of sorts: Back with my wife in NYC (we lived there '88-95), we went to see The Band at Carnegie Hall as part of a Michelle Shocked tour that included Taj. In fact, we were two of many lined up to get our money back after someone came out before the show to announce that The Band would not be appearing. As we left, we heard Taj begin his set. Probably should have stayed to hear him, but we were just too bummed out that we weren't going to see The Band at Carnegie Hall. I think there were some "personal" differences w/Michelle, but I can't remember where I heard that. Anyway, soon after, the boys issued JERICHO and the rest is '90s Band history.

Mon Nov 2 23:38:58 MET 1998


Ragtime Willie... You be happy to know that there is at least one more Band fan who isn't male in his late forties! I discovered The Band about a year ago when I rented The Last Waltz, thinking it was a video of Bob Dylan in concert. Instead, a whole world of music opened up for me. In addition to falling in love with The Band, I fell in love with Van Morrison, Muddy Waters, Emmy Lou Harris... I guess I've lived a sheltered life. I am very grateful to have chanced into such remarkable music. I've been lurking on this site for a year and making occasional posts. I've learned a lot about music and have checked out many of the artists that people have recommended in their posts to the guest book. Thanks to all of you music lovers who post here.

Band Fan in her thirties

Mon Nov 2 23:10:22 MET 1998

Peter Viney (3)

Taj Mahal: Ain't that just like the record company to play games when you're wanting to be so quiet. They release 2 CD 'Best Of', wait a month and release a 3 CD set. Thanks David for the review. On this subject, can someone tie up some loose ends?

Jesse Ed Davis, Taj's guitarist, used to watch The Hawks in Oklahoma. *p> Robertson / Hudson write 'Bacon Fat'. The Hawks cut a demo, which exists as a snatch on CTGD (and slightly more on tapes). Taj Mahal covers it.

Taj cuts 'The Real Thing' live in NYC with Howard Johnson etc.

Soon after, The Band cut 'Rock of Ages' … So do these events tie up together?

Mon Nov 2 21:44:34 MET 1998

Peter Viney

Forgot to answer the question. A bargain at £45 sterling.

Mon Nov 2 21:43:04 MET 1998

Peter Viney

I'll be posting on 'Crossing The Great Divide', but initial impression is that this a "second pressing" - my copies are labelled Colosseum, not Scorpio, and discs 2 and 3 have the wrong labels on them (they're reversed - 3 is labelled two and vice versa). Also the site says 'I Shall Be released" ends disc two. My sleeve says it starts disc 3, but it actually does finish disc 2. There are single word shorthand titles on the discs themselves, and the title "Rereased" might indicate a Japanese origin (or be a smokescreen). I had heard all (except Soul Deep) this on tape. Five stars for packaging, especially the beautiful inner sleeves. I'm playing it and ruminating.

I saw Dylan last year and thought (a) his new band was superb (b) his electric guitar playing has improved greatly.

His attempts at the lyrics on 'The Weight' and 'Nadine' are unforgiveable though (on CTGD). On 'Nadine' he basically knows the chorus, that's all - and the lyric is great! I've known it by heart since release. Shame on him!

Mon Nov 2 21:22:38 MET 1998

Knockin Lost John

From: NYC

It's ridiculous to take sides; Robbie or Levon or Mickey Jones or WHATEVER. As long as we weren't in the room, WE DON'T KNOW.

Mon Nov 2 20:55:46 MET 1998

Foot Loose/Fancy Free

From: The Dinosaurs back room

Bring the new guitar and your fiddle; Bob

Mon Nov 2 20:39:50 MET 1998

HEL-L-L-L-lllllOoooo!!! WILllllburrrrr

From: The Barn

Rick: If your seriously comming up I'll meet you down at the "dina." bb q. Don't for get to bring the metamucil cocktail you enjoy so much. Gonna be great to hear you and bobby cut loose on wheels on fire again.

Mon Nov 2 20:05:40 MET 1998


From: Bearsville, Ny

Mister Ed, I am leaving Bearsville around 9:30 PM and heading straight to the Dinosaur Bar-B-Q for some Hard Core Wings with Joni. See you there!

Mon Nov 2 18:18:31 MET 1998

Ragtime Willie

From: Norwegian Driftwood

JAN HOIBERG: I never suspected you of censorschip in earnest. Thanks a lot for maintaining this website that's giving us so much joy. You must be working on it day & night. I feel a bit sorry for the 15-year old girl from Norway. She said she was the only one of her age who loved The Band. Poor thing... she must feel lonely. There is so much ignorance in the world. Glad to see there is at least one Band admiror who is not a male species in his late forties like we all are, including DONALD JOSEPH: what I wanted to say to you was that you're wrong about the producer's responsability for the choice of songs. But I'll get to you later. Gotta go now to make some money. Like the Andrews Sisters said: We've got a job to do!

Mon Nov 2 16:57:24 MET 1998

David Powell

From: Georgia on my mind

In response to Tom's query regarding the new Taj Mahal 3-CD set, _In Progess & In Motion 1965-1998_; I heartily recommend this release for all fans, new & old, of Taj's music. This retrospective contains recordings from every phase of Taj's career, including folk, country, blues, rock, R&B, gospel, Carribbean & soundtrack work, taken from all of the labels he has recorded on. Columbia / Legacy has done a fine job packaging the 3-CDs & informative booklet in a disc-size cardboard, fold-out package. The sound quality is clean & detailed throughout.

The set includes 15 unreleased and/or live recordings. These rarities include three songs, "Corrina, Checkin' Up On My Baby & Leaving Trunk," that Taj performed at the legendary Rolling Stones Rock & Roll Circus with his fine band that included Jesse Edwin Davis. Also included are five songs recorded live with the Pointer Sisters, three songs recorded live from the Austin City Limits television series, and several out-takes from over the years. A previously available version of "Statesboro Blues," that Taj & a very young Ry Cooder recorded as part of the group Rising Sons, is also included. These extra songs are a delightful bonus for Taj's fans.

The generous portion of previously unreleased material, along with the wide variety of songs taken from his studio albums, gives the listener a great portrait of how Taj's music has evolved over the years. This is a must have set for long-time fans & a great jumping-off point for new fans, who might not be familiar with his earlier work.

Mon Nov 2 15:50:35 MET 1998

Ragtime Willie

From: The Seven Seas

JAN HOIBERG: What's wrong with my latest reply to Donald Joseph concerning his aspirations to produce Band albums? It saw my entry on the guestbook, but now it's just vanished. I thought it was decent enough... no need for censorschip... I like the guy, you know...

A couple of entries from earlier today (between 7:30am and 1pm MET) were lost during a little maintenance, including your entry and one from a 15-year old kid. Sorry about that, didn't mean to censor anybody. Please repost if you can.

Mon Nov 2 15:41:52 MET 1998

Mr. K. Horse

From: East of Syracuse/West of Chittenango

Tonite, Nov. 2, 1998 Dylan with Joni Mitchell at the Syracuse War Memorial. Rick, I bet Bob would be glad to see ya show up and play a few tunes. We're only three hours up the road.

Mon Nov 2 15:28:02 MET 1998


From: Texas

Donald Joseph: If you can stand Dry Your Eyes the album Beautiful Noise from where it comes is a decent effort. Has RR's involvement so that helps. Also anyone who is dedicated to helping someone wrongly imprisoned for 23 years and following his cultural background is NOT DOING INDIAN CRAP!

Mon Nov 2 13:13:14 MET 1998

Jan Høiberg

From: Halden, Norway
Home page:

And we have a new record! The Band guestbook script generated nearly 500K of HTML and text in October, this is almost 90K more than the previous record from March when Robbie's latest album came out. If this increase continues I'll soon need a gigabyte of disk per year for the guestbook archives.

Mon Nov 2 07:28:11 MET 1998

Donald Joseph

From: Chicago near, ex of Cinti.

Nick Tovo, you're tough to get a handle on. Oct. 31 you say Bob Margolin had an "admirable and righteous career" & is more than just trying to "pas[s] himself off as just Muddy's guitar player." But on Nov. 1 you buckle under my questioning, conceding you're not a Margolin fan & own not a one of his solo releases.

And why ignore my quote of King Muddy that honkies can play but can't sing the blues? -- a damning indictment, from the Master himself, of wannabe Bob's whole career.

Where can I take this? Nowhere, Man.

And why deride my comment that I could do a better job producing the Band than Aaron Hurwitz does? I COULD. Aaron -- assuming he's responsible for green-lighting "Move to Japan," "Amazon," "Where I Should Always Be," "Free Your Mind," "The High Price of Love," "Ramble Jungle," "Kty. Downpour," "White Caddy," "If I Should Fail," & "Spirit of the Dance" -- has a TIN EAR. Not a one of these tunes would've gotten on any l.p. with Robbie's involvement (and I can't believe the Jericho clunkers got by John Simon -- I assume Simon got outvoted, had a stroke, or was too busy polishing his high school horns).

Instead of assuming I'm some nobody with nothing better to do than type on a computer at night about the Band [although I admit this is a fair assumption!], perhaps YOU should Free Your Mind & realize that if the Boys'd give me Aaron's job (or otherwise let me exec.-produce with veto power), I could indeed craft a product far superior to Jericho/HOTH/Jubilation. My album would have only good songs (even if it'd only be an e.p.).

When that silly Rock Hall inducted The Band, I didn't see Aaron get an invite. His association with our Boys has blinded you to the fact that my claim that I'd make a better executive producer of the Band is no bolder a boast than to assert I'm a better fitness trainer than Richard Simmons, or to insist I'm better in bed than Don Knotts.

Mon Nov 2 03:58:01 MET 1998

Texas Ben

From: El Paso

With apologies to Donald Joseph

EL PASO by Marty Robbins Out in the West Texas town of El Paso I fell in love with a Mexican girl Nighttime would find me in Rosa's cantina

Mon Nov 2 01:29:19 MET 1998

Little John Tyler

From: The House Next Door

PETER VINEY: Glad to hear you picked up "Crossing The Great Divide" and look forward to your usual insightful analysis here sometime soon. What did it cost you, if you don't mind my asking?

TRUTH: Just calling your opinions that doesn't make it so, you know.

Mon Nov 2 00:14:49 MET 1998

Colonel Capricorn

I dont want to start a fight or nothing but I take exception to the question of Dylan's new band. They are a quality unit and tight. They're just different than the Band. Sorry people, but Dylan would never touch the Band now. He would possibly do a song or a show (like the President's ball as Mr. Helm wrote in This Wheel's on Fire) or bring Danko on for a song as he has done but the Band is not what it was. Danko can still sing and Garth Hudson is still in fine form but their magic died long ago. With his new band, Larry Campbell is a great player and Tony Garnier is a very adept bassist. They have just a different approach than the Band did. The whole pedal steel thing is truly breath-taking. And Dylan's lead work, albeit erratic is a bluegrass, fingerstyle blues meets old school rockabilly style. He's something similar to Bob Weir in that respect but completely unique. Basically, I lvoe the old Band playing behind Dylan, but he'd never, for good reason, play with the Band again. Just my opinion

Sun Nov 1 23:32:25 MET 1998


Dear David Powell, How about some feedback on the newly released 3 disc set from Taj, How are the unreleased tracks and how many are there on it?

Sun Nov 1 23:24:21 MET 1998

Defender of the Crown

From: Usenet

A Levon-basher-psycho has been going bananas in the Dylan newsgroup for a while. Looks like he has found this site now. Everybody PLEASE just ignore him, and he'll go away. Jan, if you can, keep him out of here, this guy is crazy. Those of you who don't read the Dylan group won't believe some of the terrible, cruel things he's been saying about The Band. He is mad and evil and must be ignored.

Sun Nov 1 22:37:23 MET 1998

Ragtime Willie

From: The Flying Dutchman On The Reef

The title A GOOD DAY TO DIE was not only used by Robbie Robertson and novelist Jim Harrison, but also for novels by Del Barton and Stephen Solowita and even on a (not Indian related) song by James Rivera as late as 1995 (one year after RR). DONALD JOSEPH: did I tell you to try Randy Newman's TICKLE ME when roughhousing with your kid? EDO KLEMENT: please be aware of the simple fact that Robbie Robertson just went his own way. Joining Levon Rick Garth et les autres should be a total departure from what he is doing lately. En doe mijn oom Wilko in Kampen de groeten. TRUTH: So you wanna be a Levon Helm basher. Be so, but please keep it for yourself.

Sun Nov 1 21:49:53 MET 1998

Peter Viney

Truth: The last few weeks seem to have seen an end to most of the Robbie-bashing. Why go in the other direction? If you look around, you'll find that Robbie has said nothing unpleasant about his Bandmates. Quite the contrary, he seems to have wished them well whenever asked. Have the grace to do the same. I don't see this need to have all these feuds - Robbie v Levon, or Levon v Mickey Jones. I'm sure the principals don't see it this way. I'd agree that on the 66 tour, Mickey Jones was the right person in the right place at the right time. It was about power and sheer committment, not soul or versatility. That doesn't mean I have to denigrate Levon, who is I think a person for whom 99% of us have the very greatest admiration and respect. Levon would just as likely have been brilliant in 66 too - all the evidence points that way. It didn't happen to be his thing. The 66 shows are wonderful - they prove once and for all that Robbie could hold his own against anyone on his instrument, and I think Levon makes this clear as his opinion when describing the 65 shows. I'd bet that Levon and Mickey Jones would be the first to praise each other, in spite of their greatly different drumming styles. Robbie always says that the great thing about The Band was that it wasn't Creedence - John Fogerty and sidemen. It was five individuals who all had an equal part to play. And they were overjoyed when Levon rejoined them. Apart from Garth, they've all sung The Weight solo. And not one solo version touches the group one. (But of course, Levon gets closest). I'm sure that (a) you were trying to be provocative (b) you'll succeed and generate a lot of traffic.

Sun Nov 1 21:44:01 MET 1998

Freddy Fishstick

From: Javaritaville

Figured I'd finish the Sip the Wine connection via David Bromberg- "aint life strange"/

THE HOLDUP (version 2) (3:03)
By George Harrison and David Bromberg
Recorded: 17 August 1972 at Wally Heider Studio, San Fransisco and Columbia Studios, New York, New York
Producer: David Bromberg
David Bromberg: Vocals, acoustic & electric guitar
Jerry Garcia: Guitar
Neil Rossi, and Jay Ungar: Fiddle
Winniw Winston; Banjo
Andy Statman: Mandolin, tenor saxophone, and vocals
Joe Ferguson: Alto and baritone saxophones
Peter Ecklund: Trumpet and mellophone
John Payne: Alto flute, bass clarinet and tenor saxophone
Jeff Gutcheon and Keith Godchaux: Piano
Phil Lesh and Tony Markellis: Bass
Bill Kreutzmann: Drums
Jack Lee, Andy McMahon, Tracy Nelson and The Sweet Inspirations: Background vocals

Sun Nov 1 21:36:13 MET 1998

Edo Klement

From: Kampen, The Netherlands

Bach or Butterfield, Mozart or (Van the man) Morrison, Debussy or Dylan, Saint-Saëns or "Slowhand" Clapton - I love them all, but there's nothing like the Band's music, which I have enjoyed for more than thirty years now. From "Music From Big Pink" to "Jubilation" this Band of Bands created the best songs ever in the history of rock music. Yet I hate to see the Band deprived, already for so many years now, of Robertson's genius as a songwriter. If only you could find a way to get together again...

Sun Nov 1 20:30:53 MET 1998

Freddy Fishstick

From: Javaritaville

So I'm listening to The Best of David Bromberg- The Holdup and what do I hear but much references to Rose's Cantina. Unbelievable.

Sun Nov 1 20:02:28 MET 1998

Peter Viney

Jerry: sorry, I wasn't clear - no Hawks tracks on 'From Route 66 to the Flamingo' - what I meant was that it sums up the era, and includes some of their influences. There's an incredible run of four tracks in a row: So Far Away - Hank Jacobs / You Can't Sit Down (1 & 2) Phil Upchurch / Sticks - Cannonball Adderley / I've Got A Woman - Jimmy McGriff

Then you get stuff like Barbara George 'I Know',. Shirley & Lee 'Let The Good Times Roll', Gene McDaniels 'Point of No Return', Garnet Mimms 'A Little Bit of Soap', Soul Sisters 'Loop de Loop', but also more instrumentals in the same groove: Ike Turner "New Breed', Freddie Roach, 'Googa Mooga', Jimmy McGriff 'Discotheque USA', King Curtis 'Soul Serenade'. It's on the EMI Stateside label.

Sun Nov 1 19:42:18 MET 1998

Jerry Comeau

Peter Viney: Tell us more about this "From Route 66 to the Flamingo". It sounds great. How many Hawks tunes are on it?

Sun Nov 1 17:35:35 MET 1998

Nick Tovo

From: Newark, De.

Donald J., sorry I forgot to mention that you also said you could produce the Band better than Aaron Hurwitz and now that you've called Linda Ronstadt and the assorted others in "Hail! Hail!.." (Robert Cray, Eric Clapton, and Etta James) losers I really believe you have lost your mind. You sure are full of knowledge and truly a class act. I do not own any Bob Margolin nor am I a fan, but this does not make him any less Muddy's guitar player nor does it make him a cracker (don't tell me that among your other fine qualities your also prejudiced). Muddy had alot of guitar players over the years (James Cotton, Jimmy Rogers and Buddy Guy etc.) and they may have quit him or been fired but like your nemesis Bob Margolin they were still in his band. Margolin played with him for years so give the guy a break. In fact do everyone a favor and aim before you shoot.

Sun Nov 1 16:59:40 MET 1998


Yo "Truth" - you are not in the middle - where the real truth usually lies. No doubt about it that Robbie was the major catalyst for The Band. No doubt that he wrote most of their songs. BUT, he did not write Chest Fever (like he could write Garth's part). Even he says the lyrics to Chest Fever weren't fully developed because the song stands on Garth's musicianship. The original Band was the greatest ensemble ever, and without Levon's singing and drumming they would have been merely very good. And, in my opinion, Jones can't match Levon's soul and versatility.

Sun Nov 1 13:57:30 MET 1998


When Levon say's that lyrics don't interest him, it is just a transparent pose. Give me a break. Thank god he left the 66 tour. Jones blew him away. Paul Williams agrees on this. Stop bad mouthing RR. and I'll stop telling the truth about your beloved Levon. At least Robbie had the brains to stick it out, realising what might come from it. Levon let the boys do the dirty work and came back when things seemed safe. He might say that he dosen't regret leaving but I bet he feels stupid now that the 66 tour has recieved the acclaim it always deserved. If Robbie had given up there might never have been Big Pink, the Brown album and the rest. He always was the brains and Levon was always the winer. It's funny to see some of you deny Robbie any credit at all.

Sun Nov 1 12:25:49 MET 1998

Freddy Fishstickq

From: Javaritaville

As noted by my favorite fish from Cleveland 'Lookout" Ben Pike, David Bromberg has covered the Bobby Charles/Rick Danko tune "What a Town". The cover appears on the new release/box set "Reckless Abandon/Bandit in a Bathing Suit". To bad Dave didnt pick "Sip the Wine". The album credit could have settled once and forever the alleged banditry by Rick.

Sun Nov 1 11:22:58 MET 1998

Ragtime Willie

BEN PIKE: the novelist's name is Jim Harrison

Sun Nov 1 11:07:20 MET 1998

Ragtime Willie

From: The Little Big Horn

All fans of Jaime R. who "take his Indian crap seriously" should read _IT IS A GOOD DAY TO DIE! Indian Eyewitnesses Tell The Story Of The Battle Of The Little Big Horn_ by Herman J. Viola. You can also check and for Donald Joseph's little boy - when he's outroughhoused with daddy - there is entitled A GOOD DAY TO DIE: the kid learns from a Sioux Warrior that things aren't always what they seem to be...

Sun Nov 1 08:14:06 MET 1998

Ben Pike

From: Cleveland Tx.

Random half note: David Bromberg coverd Danko's "What A Town" on an album that I think was called "recless Abondon". One of those dudes who wrote "Long Black Veil" wrote the them to the Kennedy glorification flick "PT1O9" (It's not that old a song) The title "A Good Day To Die" was used by that novelest from Michagan who wrote the movie "Wolf." Can't for the life of me remember his name...Antonionni wanted the Band to star in a movie for him.....might have even been greater than The Last Waltz.... but maybe the boys were smart to hold out for a classic like "Man Outside..."

Sun Nov 1 07:54:14 MET 1998

Donald Joseph

From: Near Chi-town

Dirty Dan, thanks for seconding me on Bob Margolin. Nick Tovo: Margolin has lots of solo l.p.'s out: How many do you own? If you like him so much, log onto I conceded Bob's a good technician, but even Muddy Waters himself once said that while lots of white boys can play the blues, he never heard one who can SING the blues. (Although Bob sports a Super-Fly Afro, he is a Cracker). And while Muddy did hire Bob, he also FIRED him -- a fact Bob wants you to forget.

Ragtime: My 7 yr. old boy & I roughhouse a lot. We went through a period where one or the other of us would yell "It is a good day to die!" while attacking the other (in fun, don't hotline me), until it degenerated into both of us laughing, rolling on the floor. A lot of yucks, and also perhaps a little lesson for Jaime R.: Don't take your Indian crap too seriously.

I listened to the new Bobby Charles album, Secrets of the Heart, copyright 1998. About half is recycled; the 1/2 that hadn't been previously released is very good. Bobby does his first-ever-released version of "Why Are People Like That?" -- the song he wrote that opens the "Muddy Waters Woodstock Album," with Levon & Garth (and yes, Tovo, with Bob "Your Man" Margolin).

Bobby's new album ends with an "extra track" of a 15 min. interview; in it Bobby mentions "Levon" once, by 1st name only, & he reminisces about the old Woodstock days -- excellent stuff, but no new trivia worthy of my repeating here.

Nick Tovo: Yes, I do purport to suggest which Band members shouldn't sing -- the new guys. After I made that suggestion on this Guestbook, no one challenged it. I pointed out that the Dead had let Brent Mydland (& Kieth Godchaux before him) sing, & even hard-core tourheads would admit those songs stink. I noted the Stones never let their new guys sing -- even Woody, who's been with them for decades & sings on his own solo l.p.'s. If my suggestion offended you, you're pretty touchy. I was only stating that the emporer is naked in his White Cadillac.

I admit "Hail Hail Rock'n'Roll" is my 2d fave rock film; I own the video. But while the Chuck - as-bastard - dissing-Keef stuff is indeed classic, the film dosn't stand as a movie nearly as well as TLW. And while TLW has Neil Diamond, don't forget the Berry film has Julian Lennon, Linda Rondstadt (in a passable performance), & other losers. BTW, Robbie is credited as some sort of advisor on the Berry film. Also BTW, while I hate everything else Neil ever did, I sort of like "Dry Your Eyes" (obviously the part I like must be the part Robbie wrote/produced).

Also BTW: When my kids end up sniffling after roughhousing goes overboard, I've been known to console them with "Dry Your Eyes"! (No hotlining me, now!)

Sun Nov 1 00:45:44 MET 1998

Peter Viney

I like the fact that we drift around the point (The Band) here. A bit of Bernstein or whatever makes a change - no doubt Garth (as Pat indicates) could add a lot on this subject. We've mentioned Taj on THE REAL THING before - same era as ROCK OF AGES, Howard Johnson (and three other tubas) again, John Simon on piano, recorded at The Filmore East not that long before - there are connections.

Those hankering after The Hawks early era should seek out "FROM ROUTE 66 TO THE FLAMINGO" - a Stateside compilation (i.e. EMI) that has a whole bunch of great organ-led instrumentals & vocals from the early 6os- stuff like 'Sticks', 'Can't Sit Down' 'Point of No Return'. Been alternating it with the first few tracks on "Crossing The Great Divide" and it all fits together.

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