The Band

Audio files
Video clips
Tape archive
Related artists
Chat Room
What's New?

The Band Guestbook, November 1999

Below are the entries in the Band guestbook from November 1999.

Posted on Tue Nov 30 23:43:55 CET 1999 from (

Natasha woolbank

From: austra;ia

Can you please let me know if Marianne has starred in any movies recently? If so which movie? And when did it come out? Or is there one coming out soon? Thank you , natasha

Posted on Tue Nov 30 22:53:50 CET 1999 from (


To your answer about Cripple Creek - Rick has done it a number of times. From what I remember, I have heard him do it at the downtown lone star and Stephen's Talk House in Amagansett. I'm sure he has pulled it out of "the hat" when people request it at other times as well.

Posted on Tue Nov 30 21:31:34 CET 1999 from (


From: CT

I loved Robbie's comments in the new aforementioned Rolling Stone. He said that he had seen a lot of performers who luckily had the ability to play without sweating or tiring. However, Dylan/Band concerts were like pulling teeth leaving all the performers absolutely exhausted.

Posted on Tue Nov 30 18:52:32 CET 1999 from (

Pete Rivard

From: Hastings, MN

Been away from this site for awhile. I'm sitting in the front of my classroom watching my students take their quarterly final exam. In skimming the archives, I think I saw some reference to Mr. Viney doing an article on "Acadian Driftwood". True or false? As a person of 50% French-Canadian ancestry, I'm looking forward to that one.

The Rivard's date back to two prominent 17th century settlers, brothers, whose descendents abound in the Trois Rivieres area of Quebec Province, and whose American descendants settled both New England and the Wisconsin/Minnesota border area. I believe one of Montreal's more distinguished gangsters was a Rivard. I guess the Rivards were among those who "stayed on to finish what they started. They never parted. They're just built that way." Anyway, the story of the Acadians is another North American reminder that the Eastern Europeans didn't invent ethnic cleansing.

Speaking of Cajuns and different ethnic types, Annie Proulx's "Accordian Crimes" is a fine read for those with an interest in music, that traces the path of an accordian as it passes hands, bought and stolen, between various owners, covering the musical gamut from Italian to conjunto to polka to Cajun to Celtic.

My first Band listening story is set way back in the year of 19 and 69, when me and my two brothers pooled our meager resources and ordered up "Three LP's for a Penny!" which we chose by loking at the little sticky stamps of LP covers provided. We chose Quicksilver Messenger Service (pardon me while I pause to shake that one off) Best of Steppenwolf, and The Band. For some reason, pure ignorance at the time, I'm sure, we listened to the Brown album last, when all three arrived. And I've never been the same since. Can't remember ever listening to the other two again, and imagine our delight when we found out that a previous album, Big Pink existed. I remember the three of us fighting over whose album was whose, none of us owning up to ordering QMS. Easily the best 1/3rd of a penny I ever spent.

Got to go. I need to get home and practice my annual 5-minute medley of Christmas Carols transposed for 5-string banjo. Illka, I haven't forgotten. The CD should be under your tree this Christmas.

Posted on Tue Nov 30 16:31:53 CET 1999 from (

David Powell

From: Georgia

The Dec. 16/23 issue of ROLLING STONE features "Behind The Scenes" photographs of various "rock stars" and popular culture figures. The photo collection contains the work of the wide variety of photographers who have contributed during the three decades of the magazine's history. The photos were not chosen on their technical merit, but rather on their "immediacy" in capturing the moment. Many of them are outtakes from famous photo sessions and have never been published before.

An Annie Leibovitz photo of Robbie Robertson at the Last Waltz is on page 118. The picture was taken backstage in the shower that served as a dressing room. Robertson, dressed in vintage '70s apparel complete with fedora, appears to be extremely wasted, looking as if he just stepped off the set of "Boogie Nights." In the accompanying caption, Robertson explains that he was very tired following the concert, not stoned, and didn't really want Ms. Leibovitz to take the shot. In commenting on the concert itself, Robertson is quoted as saying: "There was such a wonderful feeling in the air ...and a sadness, too. It was a musical conclusion. It was more of a New Orleans funeral than your usual burial." None of the other members of The Band are anywhere to be seen. The caption concludes with Robertson complaining that someone had stolen a "nice" shirt of his that he had left in the dressing room.

Posted on Tue Nov 30 04:01:52 CET 1999 from (

Richard Patterson

From: St Catharines, Ontario

Bumbles: It's a real shame about Greil Marcus. I think this guy must have realised his potential years ago and then just kept going anyway. Nothing like my favorite critic, Robert Palmer (RIP).

Posted on Tue Nov 30 03:57:04 CET 1999 from (


From: Dutchess County

Mr. Tim(SUNDOG)Corcoran - Hoping you have a terrific show!!!

Mr. Jon Lyness - Sorry, I don't know Rick Danko's performance history with regard to Cripple Creek, can anyone else answer?

Posted on Tue Nov 30 00:53:58 CET 1999 from (


From: Madison, Wisconsin, *AMERICA'S JERRYLAND*
Home page

Thank you Gene, its just that this show means alot to me,,,and I hope he does Blind Willie Mctell, that would be so cash!!!

Posted on Mon Nov 29 22:32:49 CET 1999 from (

John D

DAVID POWELL......Sent you an e-mail earlier today and had it bounce back to me. I realize that this isn't your original address that you used to have. Is it working OK?

Posted on Mon Nov 29 22:29:43 CET 1999 from (

Jon Lyness

From: New York City

Thanks again,, not to beat this into the ground, but is this the first time Rick has ever done "Cripple Creek"?

Posted on Mon Nov 29 20:40:06 CET 1999 from (


From: Dutchess County

Rick on lead vocal, with everyone joining in on choruses.

Posted on Mon Nov 29 20:36:52 CET 1999 from (

Jon Lyness

From: New York City

Gene, thanks for your comments on Rick's show. You say that Cripple Creek was the last song?? That seems notable...was Rick on lead vocals, or someone else from his band?

Posted on Mon Nov 29 20:25:53 CET 1999 from (

Erik Johansson

From: Sweden

Ilkaa: Yes... Eldkvarn is a great band... Have you heard their latest record, released this year???? It's very nice... But I DON'T like swedish dansband music... That's not music... but let's not go into that discussion... Among Eldkvarn, several swedish groups/artist have been associated with Bob Dylan and The Band.. Especially Eldkvarn, Ulf Lundell, And in some ways Pugh Rogefeldt.. at least I think so.. But I think Eldkvarn is the best of them, I think you could call them swedens The Band.. They've got the same kinda wholeness in the band... There is no such thing as a missing link... Good Songwriting, good singing, and good instrumentals.... It's very nice music, and I recommend anyone to buy their records if you can get your hands on it... but of course, as ilkaa said.. it's in swedish...

Posted on Mon Nov 29 19:45:25 CET 1999 from (


From: the North Country Blues
Home page

TO PAUL GODFREY: The Canadian pop scene in the mid 60s seems to be that in the Scandinavian countries. I'd like to add tango, foxtrot, schlagers and (in Sweden) the dansbands = John Reeves type main stream country. Cliff Richards' Band connection for me goes via Van Morrison. In my overlooked misc. VHS tape recording they sing togethert an unbalanced gospel song from the late 80s.
Thanks to my brave compatriot KALERVO for bringing WIGWAM in to this gb. If there are any Swedes reading this, please, do the same with ELDKVARN. For me Eldkvarn is even more important because they sing in their own language (which nobody outside the Scandinavian countries understand, that's pity - they have great lyrics).
BTW Real men don't push Preview buttons.

Posted on Mon Nov 29 19:24:09 CET 1999 from (


From: Where the Elite Meet

The terminal item from Griel Marcus’ Real Life Rock Top 10,, 29 November:

10) Levon Helm's Classic American Cafe (300 Decatur St., New Orleans)

Is this where the road ends? Here at this defunct restaurant-cafe, even the word "American" communicates like a lapsed trademark. A "Live at Levon's" poster has an insert of a Ronnie Hawkins & the Hawks poster and a design spelling out "BAND" to remind you; a spring 1999 calendar lists Levon and daughter Amy Helm with the Barn Burners, Levon Helm's Classic Blues Band, Levon Helm with Allen Toussaint, Levon Helm with James Cotton, Levon Helm with Cork, Levon Helm with the Dirty Dozen Blues Band. The creepy stuff is on the menu: "I'm a Lonely Boy ... I Ain't Got No Home" Po' Boys; The Last Waltz Desserts; "Up on Cripple Creek" seafood -- and, too perfectly, "King Harvest Has Surely Come" salads. After the big "FOR RENT" sign, a red and white sticker under the menu pages in the window seemed like the last word:

A Revenge Site for Women

Posted on Mon Nov 29 18:21:13 CET 1999 from (


From: Bucks County Pennsylvania

Peter Viney: I too have always been interested in what music is played before concerts. I seem to remember that prior to keith richard's dates with his band, an awful lot of James Brown emanated from the house PA. The Stones, on the other hand, seemed partial to Prince ("sexy M----------r") and Hank Williams. Heaven help me, I can't seem to remember much of anything that was played before any Band concerts. i think some bands really care what music their audience hears before the show to "set the mood" for the performance of "the main attraction." Some other groups either (1) could care less or (2) like to play some really BAD tunes (maybe, in some perverse way, to make their set sound better).

Posted on Mon Nov 29 18:17:39 CET 1999 from (

David Powell

From: Georgia

Thanks John D. for the Last Waltz reminiscence and to Paul G. for sharing the memories of seeing The Hawks for the first time. Also enjoyed reading all the other postings from the last few days as I catch up after the long holiday weekend.

Christmas must indeed be near as I watched "Scrooged" on cable the other night. And I'll be damned if I didn't find a copy of the soundtrack CD in the discount bin for $5 at a local music store the very next day. A great disc to load into the tray for some modern versions of seasonal (and other) sounds.

The big buzz in the music industry of late is Platinum Entertainment's announcement that they're about to make their entire catalog available on-line for free downloading. Platinum is the largest independent label in the U.S., and through its subsidiaries offers a varied catalog of artists that includes The Band ("Jubilation"), The Beach Boys, Pete Townshend, Roger Daltry, Phoebe Snow, Etta James, Taj Mahal, Derek Trucks and many more. Platinum has also recently released tributes to the music of The Rolling Stones, Eric Clapton, Bob Dylan, Led Zeppelin and Janis Joplin.

Platinum's website is scheduled to go on-line on December 15 at The company has announced that by the end of January they will have over 15,000 songs available for downloading in MP3, Liquid Audio, and Microsoft formats. In return for offering free music, speculation is that Platinum hopes to create revenue from banner advertising, as well as promoting retail sales of their catalog.

Posted on Mon Nov 29 16:23:48 CET 1999 from (


From: Dutchess County

Gee, Mr. Tim(SUNDOG)Corcoran, full of questions, aren't we? Sorry, I didn't get any pictures. The first set (without Rick) started about 9PM and went about an hour. Then there was an intermission for about 15 minutes. Rick came out and the second set lasted until around 11:30PM. There was a good crowd there, with proceeds from the $30 admission price(which was good for a cocktail) going to the Northwestern Connecticut AIDS project. I understand that the proceeds from t-shirt and CD sales also went to this worthy cause.

Rick joked between songs with all his usual charm. He looked good. I can't recall what he wearing. (I do remember what my wife wore, however, and more importantly). Rick disappeared into a Winnebago type trailer after the set. I don't know if he came out again, to talk with fans, because we left around midnight for the 45 minute drive back to Geneville.

Hope that helps. If not, Lars from Pine Bush, was also there. Perhaps Lars can be prevailed upon to share his recollections. Cheers.

Posted on Mon Nov 29 14:48:14 CET 1999 from (

Rich Forbes

From: Clifton, New Jersey

I will be in NYC tonite to see Levon perform for a Rainforest benefit with James Taylor and Robert Cray... Just wondering if someone may have some insight as to who may be playing with Lee tonite...

Posted on Mon Nov 29 14:40:57 CET 1999 from (


From: Madison, Wi. *AMERICA'S JERRYLAND*
Home page

Thanks Gene, can you tell us if you got some pictures, how long was the set, was it a sell out, what was he wearing, did he talk to hes fans, did he bring CD's to be signed by him, did he and Aaron come out after the show and talk with hes fans, ect?

Posted on Mon Nov 29 13:23:53 CET 1999 from (



Posted on Mon Nov 29 10:38:09 CET 1999 from (

Peter Viney

John D and Paul Godfrey: OK, I’m being forced to admit that I saw Cliff in “The Young Ones” multiple times (but probably less than ten), and OK, “Summer Holiday” more than once. Classic teen movies. “The Young Ones” soundtrack was the dominant album for months … and then The Beatles arrived. The Shadows had a huge influence on British musicians, much more than the similar-style Ventures did in the USA. The mid-60s generation of guitarists started playing when “beat groups” played Shadows numbers. The Shadows “Wonderful Land” held the record for longest-running number one UK single (9 weeks) for over 20 years. I don’t know quite how The Beatles reacted. They were a few years too old to have been Shadows-influenced, and they recorded George Harrison’s instrumental “Cry For a Shadow” in Hamburg, which could be a pastiche or a homage, depending on how you look at it.

I used to trade Cliff & Shadows’ British singles for Canadian releases with my cousin in Toronto in for about four years, 1961 to 65. I still have some of the results (e.g. The Righteous Brothers “Hung On You”) and believe I got the better part of the deal. If only I knew then what I should have been asking for! She was into the prestige of having those pale green UK Columbia labels (UK Columbia is part of the EMI Group, and as a result US Columbia have had to trade as “CBS” in Britain). I read that Neil Young was a great fan of The Shadows in his early years.

You might both enjoy this additional radio story. This morning, the 8 o’clock radio news had Cliff being interviewed about his success in getting to #1 in spite of heavy opposition from all the evil DJs who had banned him. . As soon as the news finished, the DJ exploded and said that it was untrue that Cliff had been “banned from BBC playlists” as he claimed, and that Cliff knew better than anyone that no Christmas singles were ever added to BBC playlists until December 1st. Which is why he’d released it halfway through November and made a huge fuss about getting no airplay, and getting a ton of publicity. I have now heard the single and it is mind-numbingly awful.

Whatever the motives, I was pleased that he’d beaten the majors - there’s no doubt that EMI refused to release it. He’s the kind of artist who does have an ear for catchy singles, and inevitably has good production. And he knows his fan base and market better than the people paid to know at EMI.

As a postscript, I once did lights on a Shadows show, probably in 1967, and the principals were two of the most unfriendly musicians we ever ran into it. I guess in that era the light of stardom had receeded dramatically, and long-haired stage hands were a reminder of what had happened. They were wearing DJs, I recall. Good show, though.

Posted on Mon Nov 29 07:09:45 CET 1999 from (


From: Dutchess County

As promised, I got the set lists for the Rick Danko Band show in Connecticut, tonight. Special guest--Garth Hudson on keyboards, accordian and sax!!! First set, with Aaron Huwitz, vocals and keyboards; Marie Spinoza, vocals; Tom "Bones" Malone, sax; Gary Burke, drums; Mike De'Meiko, guitar, Mike Dunn, bass; Jimmy Eppart, guitar and vocals; and Garth--1. Ram-Bunk-Shush, 2. Poor Little Fool, 3. Runnin Out, 4. Restless Islands, 5. Mother-In-Law, 6. Chain Of Fools, 7. In The Nite, 8. Two Close Chairs, 9. My Babe, 10. Sittin In the House Blues, and 11. Great Beyond.

Rick Danko, accoustic guitar and vocals, came out for the second set for 1. Book Faded Brown, 2. This Wheel's On Fire, 3. Crazy Mama, 4. Sip The Wine, 5. Sea To The North (a Garth solo instrumental on keyboards), 6. Christmas Must Be Tonight, 7. Blind Willie McTell, 8. Let The Four Winds Blow, 9. SUV Blues (Aaron told me it's a new title for the instrumental formerly known as Jeep's Blues), 10. The Weight, 11. The Shape I'm In, and, an encore, 12. Cripple Creek.

The show was terrific and it was great to see Garth.

Posted on Mon Nov 29 03:22:48 CET 1999 from (

John D

Paul G. If I remember correctly The Beatles hated Cliff Richard's back up group.....The Shadows. They were quoted as saying so. I always liked The Shadows. Straight ahead "pop instrumental" music. Hank B. Marvin had his own sound and in retrosepect The Shadows seem like a soundtrack to British 60's movies. They were very, very precise; but lacked soul. Like many British bands they did extremely well in Canada; but not the U.S. I always loved The Rise and Fall of Flingel Bunt. Bought Harry Webb's "Livin Doll" on the Sparton label out of London Ontario and "The Young Ones" on reo. Hey Paul Godfrey...theirs a flashback of Canadian labels.

Posted on Mon Nov 29 03:10:24 CET 1999 from (

Diamond Lil

From: laughing on the outside

Hoping someone posts about Rick's show in Conneticut tonight. Was supposed to go...but my oldest...who is also the babysitter for my 2 at work tonight. Sigh. Would appreciate a set list from anyone who's babysitters weren't otherwise engaged. Thanks.

LG: Thank You :-)

Posted on Mon Nov 29 01:37:55 CET 1999 from (

Paul Godfrey

Peter V. Interesting that the name Cliff Richard would come up on this sight. Other than the record company affiliation I would not know of any Band connection. Cliff Richard would not enjoy the "England's Elvis" status he enjoyed in the UK here in Canada or the USA.

However, if you were a teenager in Canada in the 60's and caught Cliff on the Big Screen in movies like "Summer Holiday" you might have thought he was kinda neat. Again, it has to do with living back in those times and understanding the influences on the music and movie (so called) star-system.

In the early to mid-60's there were not the entertainment choices available today. The music charts had only three categories being: Pop, Country and R&B. Most people listened to AM radio which was programmed for mostly older people...not teenagers. You might get some top-40 music after school and early evening. Cliff Richard was a fairly big player in those times especially in Canada.

In the late 70's - early 80's I interviewed him and was the M.C. for a show he did at Kitchener, Ontario Canada's "Centre In The Square." He had a few hit tunes out at the time and was very well received and put on a great show. His songs are still played by solid gold and adult contemporary stations in Canada. It is difficult to understand such distaste for him on this site?

Posted on Sun Nov 28 19:32:39 CET 1999 from (


From: Suomi

Richard, three bows to you. Oh yes, Lucky...was one of their later records. You can ask from Digelius ( - you can find other Northern delights, too), very fine record shop in Helsinki. Sometimes even the greatest American Wigwam fan, Phillip Page, are selling records there. At least compilation album Highlights should be there. Phillip and Tapio Korjus have written a little Wigwam history: //

Posted on Sun Nov 28 19:02:18 CET 1999 from (

Pat Brennan

From: USA

BTW, MFBP purchased at Harmony Hall in the Lincoln Village Mall on Chicago's beautiful North side. Had to get Dylan's backup group's just on that basis alone. Expecting Highway 61 and got a whole new world.

Posted on Sun Nov 28 18:53:37 CET 1999 from (

Charlie Young

From: Down in Old Virginny

Well Luke, my friend, the first time I heard the music of The Band was on the tinny AM radio of my parent's 1964 Chevrolet Bel Air: this weird almost jaw-harp-like clavinette sound from Garth Hudson on "Up on Cripple Creek" grabbed my ear and wouldn't let go. I don't remember if I bought the brown album before or after the TIME cover, but I still have my original copies of both. I wonder if I bought that album at Korvette's myself. My best friend from high school and I would save our pocket change and drive a good distance to shop at Korvette's record department during their semi-annual record sales. That was thirty years ago, though. Korvette's died years ago but the music of The Band lives on!

Posted on Sun Nov 28 18:45:27 CET 1999 from (

Pat Brennan

From: USA

Royal Albert Rags....Is this the whole show? No "Weight," but a wonderful version of "We Can Talk," a rare live performance. Again, I'm struck how they produced three albums of such originality in a mere four years. I recall the complaints among the critics when Cahoots didn't meet their expectations (I love it, apologies to Peter V.) And the kind of crap Dave Marsh traffics in. Can you imagine a group now producing those four albums in four years? Each so different than the next yet a seeming whole. Amazing. As for the critics, welcome to the world you craved.

Posted on Sun Nov 28 17:16:46 CET 1999 from (


From: Philly suburbs

Well, since we're on the subject of first Band listenings - I remember going to an old Korvette's dept store with my dad, who bought the brown album in 1969. He actually bought it for himself, and wrote our last name on Garth's forehead so none of my sister's friends would steal it. Anyway, I've been hooked ever since. It'd be interesting to see what order other people out there heard The Band's records. For Example, Diamond Lil heard Rock of Ages first, etc. As for me it was The Band, ROA, Big Pink, Stgefright, Northern, Moondog.

Posted on Sun Nov 28 15:50:40 CET 1999 from (

Peter Viney

Bashful Bill mentioned an Indigo Girls tape before a 1993 Band show. This started me thinking about the stuff played before shows. You think of Elvis with Also Sprach Zarathustra, and classical intros for Neil Diamond. That needs a lot of face. With some artists’ shows, it sounds as if the pre-show stuff is a hissy heavy metal C60 the roadies had lying around the equipment truck. Sometimes, it’s carefully chosen. Ideally, pre-show music (of the non-anthemic variety) should set a mood without detracting from the show. It’s better if it’s below the volume of the show so as not to detract from the band’s impact when they start. It takes a brave band to use great blues classics, but Van Morrison (I have tickets for next Friday) and The Band have done this. A sensible choice is something that doesn’t cover too similar ground. Before a Vancouver show by the Band I remember “First time I Met the Blues”, a good choice because it’s so distinctive that it doesn’t cause comparison. Something quirky or unusual is good too. With The Band, I’ve thought it sounds like a Levon compilation of favourites. Any thoughts on this?

Posted on Sun Nov 28 10:19:51 CET 1999 from (

Richard again

From: St Kits

Kalervo: Wasn't one of their albums called 'Lucky Stripes and Starpose' ?

Posted on Sun Nov 28 10:13:56 CET 1999 from (

Richard Patterson

From: St Kits, Ontario

Hi Kalervo: Just came home from seeing a Canadian institution, Dutch Mason, and saw your post - yes he is alive and well folks and sounding just fine. I'm very interested in scoring a copy of 'Nuclear Nightclub' by Wigwam. I remember it clearly from my high school daze (and yes I heard about it from rave reviews in imported copies of 'Melody Maker'). I would dearly love to get a copy on wax, but it's hard enough to find domestic vinyl nowadays. If you know of a source for their music on CD please share. Thanks for the memory. I would call their music "semi-pop".

Posted on Sun Nov 28 08:55:14 CET 1999 from (


From: Elf land

Thank you Brian for your moving experience, Lil for your many lively and wise messages, Matt ,Peter,Ilkka and many others for your wisdom and open-heartness. I don' t know why I have this need to thank, we haven' t Thanksgiving in Finland, maybe it is collective consciousness, morfogenetic fields or something... Our best band of all time, Wigwam, was like a younger brother to the Band; to me and to many others the best Band-influenced band in the world. They made some classic albums like Being and Nuclear Nightclub, but never made it internationally (English music press gave them some rave reviews though). Their music was called deep pop. If someone is interested I could check where their music can be bought.

Posted on Sun Nov 28 07:12:11 CET 1999 from (

Brien Szabo

From: NJ

It's late Saturday night - Just got done doin some research, so i thought i'd just pop by the ol guestbook and drop a line. Lil - I hope you wake up in the morning and feel that Christmas feelin all over and hope you enjoy your holiday and of course lets never forget to give thanks no matter what time of year.

Just wanted to share a story or a maybe better yet, a reminisce. I was too young to see The Band in their hey day but i have seen them about a dozen times since the reunion. My first concert was at the Capital Theatre in Passaic NJ in 1984. It was the spring i believe. I remember the Cate brothers opened. Didn't know them from Adam at the time so we just listened, and waited. When The Band hit the stage, they were kind of set up close to each other - not making use of the whole stage, which at the time i thought was odd - but it was a configuration common to them, as i latter saw from photo's and a bit from The Last Waltz. None-the-less me and my buddies went nuts. We were in a festive mood and we smiled and grooved to the music all night. Of course we only knew a handful of tunes at the time but we knew we wanted to see more. That summer we went to Caldwell College in Verona NJ-August 22 1984 as i now look at my ticket stub pasted to a photo album. That show was maybe the Hottest Show i'd ever seen The Band perform.

As i look at the ticket stub, it's funny to see that Bonnie Raitt opened. I only knew one tune she did at that show. Funny that a couple years later she would rocket to the top of the charts. But The Band ROCKED!!!! I remember that as vividly as a foggy mind at the time can. I saw The Band several more times that year and the next. Then one day on my way to work I heard the news about Richard. I think it was snowing that morning but i do know i turned my car around went home, called in, then called my buddy who was in college, gathered my Band albums and split for his place. We partied all night in a candleight vigil and listened to The Band. It was sad but the music would always be there, along with the memories. The Band came back to the Capital Theatre 3 weeks later - I can only imagine to fulfill a contractual obligation, but my college friend and I shot up to the Capital even though we didn't have tickets and the show was sold out. The bill was the Greg Allman Band, The Dickey Betts Band then The Band. Had to go! We got there - no one was selling tickets outside (imagine that) We mulled around contemplating what we should do. We eventually went into the alley and pounded on one of the doors. Someone opened it - Can't remember if it was a Capital employee or roadie. We offered him $20 a piece to let us in the show. He hemmed&hawed a little but eventually took our money, told us if anyone asks anything "we were his cousins" I remember that as plain as day. Saw the show. But when The Band came on; it just wasn't quite the same w/o Richard and they knew it on stage. Though that may have been the most somber show i ever saw I am thankful not only for all the memories and great music BUT I'm also thankful for them keeping the spirit alive. I'm thankful for all the shows i've seen since - Thankful for all the new music and thankful for the music to come. I can only hope to see more shows, whether it's The Band or Rick or Levon (who i have never seen solo). I just want them to keep playin' and makin' new music because it is what works for me and makes me very happy. Merry Christmas and Happy Holidays to the members of The Band,and to all of you who make this site a pleasure to visit and help keep the spirit of The Band alive.

Posted on Sun Nov 28 06:55:30 CET 1999 from (


From: Madison, Wisconsin. *AMERICA'S JERRYLAND*
Home page

Peter- very goood! Gene- Ya, I have to wait till Friday to see Rick Danko and Aaron in Chicago Ill., looking forward to your set list, Tom and Carol say I 'maaay' just get an interview with Rick or Aaron if they are up to it,,,keeping my fingers crossed! If not, I'll be just as happy with a picture or two, and seeing them again!

Posted on Sun Nov 28 06:31:16 CET 1999 from (


From: Dutchess County

The Rick Danko Band is playing at the G.W. Tavern in Connecticut Sunday night. According to a flyer, the Rick Danko band features Rick and Aaron Hurwitz, Marie Spinosa, Tom "Bones" Malone, Gary Burke, Mike De'Meiko, Mike Dunn and Jimmy Eppart. I'll get the set list.

Posted on Sun Nov 28 04:00:34 CET 1999 from (

Diamond Lil

From: the decked halls

This may be pushing it, but I just spent the night putting up the Christmas tree and drinking rum and coke while watching the lights. Very relaxing, very soothing. And yes...there _is_ a Band connection! (go figure...) Listened to a Christmas mix I have which includes Rick doing "Christmas Must be Tonight". Made me smile. Been several years since I was genuinely excited about Christmas (used to be my favorite holiday) and this year..some of that feeling seems to be coming back again. A good thing I guess. There's something about the music..that heals. Thank God.

Have a good night everyone. I'm going to bed.

Posted on Sun Nov 28 00:36:14 CET 1999 from (

Bashful Bill

From: Minoa,N.Y.

Peter Viney-this may be stretching it a little for a Band connection, but...Indigo Girls do {an O.K.) version of Midnite Train to Georgia on their live double CDfrom a couple years ago, Rick and Garth, of course, play on a song on their brand new album. And to reeeally stretch it, when The Band played Symphony Hall in Syracuse 12/10/93,one of my favorite "new Band" shows, they played Indigo Girls tunes on the sound system before and after the show.

Posted on Sat Nov 27 23:25:47 CET 1999 from (

Peter Viney

From: Nutbush City limits

Just watched Tina Turner’s Birthday Special. 60 Years Young. Don’t miss the repeats / US broadcast, with outstanding contribution from Bryan Adams. If you can rock, age doesn’t come into it. Read the John Lee Hooker biography by Charles Shaar Murray, “Boogie Man.”

Side point - make up a car tape with Tina Turner, Millie Jackson, Gladys Knight (Midnight Train To Georgia.) Add Macey Gray. You can’t see the join. Listen to them in a row, then add Atlantic and Motown. It doesn’t mesh, because Atlantic and Motown had such distinctive sounds. The others may have been assisted by not having to fit into it. Band connection? Dunno.

Posted on Sat Nov 27 22:20:11 CET 1999 from (

Peter Viney

From: The correct e-mail address, as usual

Hi, Generally I follow the policy that troublemakers are best ignored. Both of you (maybe you don’t know there are two.) This is a policy I will return to tomorrow. I would have thought that the point I made about a small labels’ ability to sell mature artists who are ignored by the uncaring majors would not have been entirely out-of-line with your own views. I seem to remember that Capitol, along with Barney Hoskyns, Limeys in general, The Corrs, Americans in general, individually-insulted ethnic groups of Americans, hippies and Robbie Robertson were among your various hang-ups / buttons. But, sorry, I didn’t realize you were a Cliff fan. I didn’t intend to malign him, “Please Don’t Tease” was a great record with that Everly-style wash of acoustic guitars. OK, 95% of Cliff was crap, but there’s a lot of it, and the good 5% is worthwhile :-) I'll say the same about you.

Posted on Sat Nov 27 21:37:59 CET 1999 from (

Barnacle Hosspuckins

From: NY

Mr Pompous does not like Cliff Richards' "holier-than-thou" attitude ?? Look who's calling the kettle black.

Posted on Sat Nov 27 17:18:51 CET 1999 from (


E-Town now has the Danko/Hudson show available for listening at your leisure at their website. Happy listening!

Posted on Sat Nov 27 11:17:55 CET 1999 from (

Diamond Lil

Dave Z: What a great post! I read it 3 times..I laughed, I cried... I called my grandma :-) You have a wonderful style of writing and your 'dream' posts are among my favorites. (I remember you did one awhile back from...where was it..the bathtub?!) Thanks for starting my morning off with a smile.

Posted on Sat Nov 27 07:39:26 CET 1999 from (

Dave Z

From: Just taking up space in Chaska

So I'm driving home Wed nite... passing thru one of America's recently named top bottlenecks... in Mpls... wondering about my wierd attraction to a redhead who maybe resembles someones grandma... Reba by Request on VH1... Sounds of Danko Breeze Hill fill my compact car space... it's stop n' go... to the sites and sounds of Twilight... Gotta stop for milk myself soon, and maybe a lotto too... Wouldn't it be nice if I won... and hit it rich... the guy behind me honks for me to keep up... I guess I'm not in NY Upstate... nope, it's cold damp MN-Nice, actually Minnetonka now... perfect weather for a Dylan song like Girl of the... the loneliest time of day, Rick sings from the speaker behind... Better yet, I ponder as I drift into a daydream watching some pines in this lonely twilight...

If I win lotto, it's not money... but rather the Band on VH1 by Request that I want... kinda like Reba I saw a day or so ago... from speakers near my feet and behind I now hear Garth sounds to Crazy Mama... Yes, of course... it would have to be Dylan/Band by Request (new Band though)... and the show unfolds before my eyes... lights come on and Levon and the boys kick into Remedy... just like on the authorized video... except Reba's on vocals... She snaps her wrist as dancers groove... and points to... Grandma? on air guitar... a Hoover Vacuum?... Damn, grandma could clean with the best of 'em...

Anyway, tired by now I find myself in the left turn lane... as Rick sings... and the sound on this CD is really sooo clear... Let's go out... in a blaze of glory... and I am quite a sight... My allergies are now bugging me compounded by the car heat running maybe a little too high... so I got my lower lip over my upper lip to pull my nose open a bit... and as Garth's organ weaves... and Rick says Come on Garth... I am shrugging my shoulders up and down neurotically to the music to relax me in this traffic... cause now I gotta pee... when I happen to glance right... right at the car next to me, and that cute redhead... who is smiling at me... and realizing how silly I must look she then points ahead as I hear another honk... and hit the accelerator... step on the gas... to catch up and make the light...

But the car in front doesn't signal his quick left after the left... and I swerve right... jump the curb... and come to rest in a parking lot of some gas n' go... all tear-y eyed with shock because my dreamcatcher's red horse hair on the rearview mirror had whipped me in the eye... so I lean back now and sniff... all the while my shoulders shrugging to Ophelia... and thinking great horns... so I roll down the window to mix some cold air with these tears and dixieland sounds... and peer right into the face of... of a cop... who asks... Sir, are you alright... and could you please step out of the car... it's dark now... and as I spread and lean against the car I notice the crack of light in my car door as fog, horns and organ twirl... to Blaze of Glory... the 2nd time through... and Rick says Come on Garth...

Meanwhile, I go back to my dreamshow... like a Fleetwood Mac concert... the players of the Band come and go... and exit and enter as they each take their turn... if I could I would request Sip the Wine... with 2 guitarists... never far from not leaving the past be... but they got some clown on the line requesting Please Mrs. Henry Please... hey, wait, I know that voice... Just then the program is interrupted by President Clinton... No it's Jesse V... and he informs us that Leonard Peltier has just been freed... and the stage curtain parts and Leonard P walks to the podium to introduce a very special guest... Robbie R... who joins the Band for Sip the Wine... and some tastefully done licks to compliment Weidner's smooth solos... as Reba joins a chorus of Maria and Amy... and Grandma too...

Now it's back to the phone lines and a mumbler's request... Now I know it's Dylan... Who Levon will intro later... and he requests HanginaroundBandtown... the new Counting Crows song... and Levon looks to Rick with a grin... heck, this is VH1 by Request... as RR adds in a gravelly voice... We got the Crows... and heads with the others for the lima bean green couch... or maybe it's pumpkin pie 1970's orange... that's sitting on stage next to a coat rack... as Adam and boys launch into HanginaroundBandtown... and Natalie Merchant swirls in a circle dance stage right...

Reba does in fact join the Band later for the Genetic Method Chest Fever... and swaps lyrics with Randy... because let's face it... Reba is everywhere... and now she sings... I ate the reeses butter cup and feel the breeze in my knees... and of course I don't see it coming... that wrist snap before I sneeze... and come to... to the transitory sound of... this is not a small upstate NY town... whatta you want... and then... Huh, I say... and finally as my sinus's clear... a smiling face says you want gas with that... followed by... what kinda lotto ticket did you say you want?... I say no gas... and after a pause... no, I'll pass on the lotto too... it's then I notice the cop behind me in that long line looking at me... anything else then or rather anything at all... the counter girl says... Yeah, I say... Happy Thanksgiving... and off I go...

To a door still open... and Rick singing It makes no difference... to me... and 15 minutes later when I get home there's the smell of pumpkin pie... opps I forgot the milk... cause there's the look... and 2 laughing little boys rush to my side... and look the mail on the table... a European Import tape has just arrived in holiday red wrap... a Van tape to boot... and I have sooo much to be thankful for in this Hoiberg-Band-Guestbook-Dreamlife... So, here's wishing all you all a real good holiday too... and in the background my wife switches TV channels... and Regis says... Is that your final answer?... and I ask my wife for the question... and she snaps... who wrote Genetic Method/Chest Fever... and she switches the channel right as some guy Rick says, no wait... I want to call my friend Garth... followed by... Come on Garth... as the phone rings and rings...

Posted on Sat Nov 27 03:03:25 CET 1999 from (

Joe Zaffran

From: Buffalo,NY

Message for Levon: Joe & Beth(BUFFALO) miss you friend!, Please call 800 895-1622 (Office) or 716 836-4570 (Home)

Posted on Sat Nov 27 02:42:33 CET 1999 from (

Dan Blood

From: CA

It has been a long time, but a few weeks back there was a conversation going on about musicians who might be of equal caliber to Garth. I think I've found one, however, he's in a jazz trio. The trio, Medeski, Martin and Wood features Hammond B-3, bass and drums, no vocals. This guy Medeski can play that organ/synthesizer thang like no other and I know that there's got to be a connection somewhere with Garth. Hi to all! Jan, I like the preview button, I can corruct mi spellin misteaks now.

Posted on Sat Nov 27 01:00:50 CET 1999 from (


From: Madison, Wi. *AMERICA'S JERRYLAND*.
Home page

CRABGRASS,,,I think your storie is the best story thus far, WOW, farout man! I think me and you could have been the best of friends back then,,,easely! My BIG PINK album had some skips too, as time went on, and when I hear those songs today, my mind can *still* hears them there skips!

Posted on Sat Nov 27 00:05:51 CET 1999 from (

Paul Godfrey

Ok..lets see. First time to see the Band. Wish I could remember the exact date? Maybe 62 0r 63 at the Brock Ballroom in Peterborough, Ontario Canada. The M.C. was a friend who would get me my first radio job. His name was Johnny Gilbert from CHEX RADIO 980. He was known as the "King Swinger of the Kawarthas!" Toronto folks may recall he went on to CHUM's talk show. John died last year and so passes on one of radios greatest characters.

At the time The Band had not been born. Of course it was really Ronnie Hawkins and the Hawks. Two songs stand out in my memory from that night. 1. You Don't Know Me by Richard and 2. Come Love who I will always associate with Robbie as he shared the mike to sing harmony with Ronnie.

Don't remember how it happened exactly, but after the show Levon was carrying his drum kit out to the white Chevy panel truck and I asked him if he needed some help. Tired as he was he had time for this poor country boy and maybe thats how we got to talking about growing up with alot of the same things...although a thousand miles apart. The original 5 were up there on stage that night and as Ronnie might look back and say..."Son it was a night when kings & queens would be inspired and true rock n' roll legends came to play right before your eyes!"

That was my first great concert as a young teenager and The Last Waltz was my last great concert as a slightly older teenager!

Shine On everybody .. and again Happy Thanksgiving :o)

Posted on Fri Nov 26 23:47:26 CET 1999 from (

Peter Viney

A heart-warming tale for “mature” artists:

It involves Sir Cliff Richard. When I was a spotty youth, we were divided in Britain into Elvis and Cliff fans. I was in the Elvis camp. I’ve never much liked Cliff, who has a holier-than-thou image, but nevertheless he has had 120 chart hits in the UK, a record. Anyway, Cliff recently decided he wanted to release a record called “Millenium Prayer” which is the Lord’s Prayer to the tune of Auld lang Syne. Yes, I cringed when I heard that, too. The powers-that-be at his conglomerate, EMI (The original Band’s label too), decided that it was too old-fashioned and declined to release it. They knew best. What did Cliff know? He’s only had those 120 chart placings. Undaunted, Cliff released it through a small independent label. Whereupon the BBC and most other radio stations declined to add it to their playlist. They knew best. In spite of this, it entered the charts at #2 last week, and I see in today’s paper that it’s #1. I stress that I haven’t even heard it, sounds bad, probably is. BUT in writing about it, the paper made much of the same conglomerate’s refusal (via their Capitol branch of course) to release The Beatles first four singles in the USA. They knew best.

The point of all this, is that sometimes, in spite of what all those A & R guys at the majors say, the artist knows best. And that small independents can beat the hell out of the majors. I hope this gives a smile to those at Woodstock Records, River North, Grappa and Pyramid, who DO release The Band and Rick Danko. More power to you. Whether you love or hate Cliff or his record, we should applaud his victory. BTW, I don’t discount rumours of “Norwegian Internet Poll” type assistance from dedicated fans!

Posted on Fri Nov 26 23:22:39 CET 1999 from (

Richard Patterson

From: St Kits

Crabgrass: Actually 'Thanksgiving' is celebrated in other countries. In Canada it takes place on October 11. Rick's quote "Happy Thanksgiving" is a polite gesture to our American neighbours from a very polite man.

BTW, which lasted longer the hash or 'Big Pink' (or "Skeebo", who may yet outlive them both)?. Thanks for a great story (and I mean that sincerely), but I'm going for pizza.

My first Band experience is beyond my memory right now (everything is fuzzy and blurry from those days -although maybe I just needed glasses).


Posted on Fri Nov 26 23:02:05 CET 1999 from (


From: PA

Thought it kind of ironic that a many of us were first turned on to the BAND after watching the Last Waltz. I think I saw it on PBS in the early 80's. It is ashame it had to end so that all of us could get turned on.

I just read Levon's book on Friday. I thought it was great and I think that the BAND could not have been without the input of all the members. I hope this is not taken the wrong way, but I feel that Levon became a little bothered by the fact that when he came back from his 2 year layoff he was not longer the leader of the Hawks. I still don't get why he blames RR for the problems. I think RR still wanted to make music but he just did not want to tour.

Am I reading this wrong?

I was also troubled by the fact that RR did not show for Richards funeral. Has he ever stated why? Thanks!

Posted on Fri Nov 26 22:49:09 CET 1999 from (

Stanley Landau

From: Toronto

Shame on me. I don't remember where I was when I first heard The Band. I'm pretty sure it was in the late summer or early fall of 1968. I know I bought Big Pink in the summer of 1969. I distinctly remember listening to it over and over again on my tinny stereo on the evening of Labour Day 1969 as I lamented the start of a new school year the next day.

My next distinctive Band milestone was in December of 1969. A friend of mine worked at Sam the Record Man on Yonge Street and was able to get us 8th row tickets to their upcoming concert at Massey Hall, Toronto on January 17, 1970. (Indeed I bought the Brown album for $3.49 (Canadian) at Sam's annual Boxing Day sale, December 26, 1969 - I still have the scratched up thing, although I only listen to the CD these days.)

The actual epiphany of my musical life, and to some extent my life life was at the Massey Hall concert. Several months ago I was fortunate enough to get a copy of the tape of that concert that is referred to in the archive on this site. I keep promising myself to write a somewhat belated review of the concert and if I do, I'll post it here. Maybe for the 30th anniversary. But I digress...

Posted on Fri Nov 26 21:32:58 CET 1999 from (


From: The Front Lawn

It's kinda hard to believe that there are countries where Thanksgiving is not celebrated -- how Un-American! I suggest that people living anywhere like that petition their governments to declare a "Last Waltz Day" to coincide with Thanksgiving!!

I remember exactly where I was when I first heard Big Pink. About ten of us assorted hippies were sitting in a squalid roach infested apartment on New York City's Lower East Side listening to Hendrix and draining the last drops from a gallon jug of cheap red wine. There were a few scattered pizza boxes in the middle of the floor left over from the night before when we'd all seen Jimi at the Fillmore East. Well, anyway it was getting to be late afternoon and there was a knock at the door which made us all real paranoid 'cause a dealer upstairs had recently been busted by the pigs an' we were all stoned out of our heads. Anyway, it turned out to be this guy we called "Skeebo" who was also a dealer but very cautious as he always wore a suit and had his hair cut short to throw off the fuzz. He had some great Afghani black in his briefcase and also a copy of Big Pink which had just come out - said it was Dylan's band on their own and that the name they went by was "Big Pink." We all thought that was weird but put it on the turntable while we sampled some of that great hash. An' the rest is history... we all stayed in that apartment for five days straight until we practically wore the grooves off that record! ("Tears of Rage" and "Chest Fever" were the favorites at first - I remember someone scratching the record while tryin' to play "Chest Fever" a second time and makin' the record skip an' play Garth's intro for about three hours straight!) Eventually, we all got real hungry and went out for some more pizza. Those were the days!! (BTW - I ran into Skeebo a few months back - he's now head of a large Wall Street brokerage firm.)

Posted on Fri Nov 26 20:38:20 CET 1999 from (

Rick V.

From: White Plains, NY

Anyone else in the NY Metro area paying any attention to the WFUV (90.7 FM) best albums of the century poll? Just heard #8 (Pet Sounds) and they are currently playing #7 (Joni Mitchell Blue). 5 entries for the Band: Rock of Ages (57), Last Waltz (44), Brown Album (28), Big Pink (17) and Basement Tapes (15). Without any stuffing of the ballot box! If you want to look at what they played through yesterday, it's at Listeners were asked to submit their top 10, from which the top 100 were compiled.

Posted on Fri Nov 26 20:15:10 CET 1999 from (

John D

I just purchased three prints from Paul Fleming from London Ontario for Christmas. His work graces this site. Long overdue. He is a very fine artist. I want to thank Serge for making the delivery to Toronto for me. The Molson's on me Serge!

Posted on Fri Nov 26 18:39:39 CET 1999 from (


From: the North Country Blues
Home page

We don't have Thanksgiving up here but I am *giving thanks* anyway:
Paul Godfrey and John D. for sharing their TLW memories.
brien, Mario, DLil, Ragtime, Mike and Jens Magnus for your warming reminiscenses.
Jan, for making this happen.

Posted on Fri Nov 26 17:36:07 CET 1999 from (

brien Szabo

From: NJ

Hope everyone had a wonderful Turkey Day! While we are sharing "How we came to love the Band stories" -- I'll add mine. It was about 1980. I was 16. My family was up visiting my grand parents in CLifton NJ. They had cable tv - which at the time was the "end all" - cable wouldn't hit our area of the state for another 5 years. Anyway, we were watching HBO and "The Last Waltz" was on. I loved it. At the time I was a huge YES fan - They were my first concert -summer of 79. But this music blew me away. And i had to have this music. Can't remember how i found out about the album but i needed to add it to my collection. Funny thing is -- at first I didn't know this was The Band. Seeing Robbie being interviewed I thought i was watching the Rolling Stones. So when i went to the record store - They were record stores in those days - I kept looking in the Rolling Stones section. I remember asking the clerk about the album and he politely pointed me in the right direction. Needless to say my musical tastes changed that day on. Extra note: I didn't buy The Last Waltz that day because my jaw hit the ground on the price of a triple album. So i wound up buying the first disc of Rock of Ages and ever since that album has always been my favorite live album ever.

Posted on Fri Nov 26 13:57:21 CET 1999 from (

Mario Emonds

From: Germany

Hello, I'm coming from Germany and I'm a big The Band-Fan since many years. The first thing I heard (or better saw) from The Band was the movie "The last waltz", and since that day I'm a big fan. This movie is for me still the best musik movie of all times, and I'm still looking it for many times. Robbie Robertson, Levon Helm, Rick Danko, Richard Manuel and Garth Hudson were great! Greetings on all Band-fans MARIO from Cologne

Posted on Fri Nov 26 12:31:57 CET 1999 from (

Diamond Lil

Jens Magnus: My story of first hearing The Band is very similar to yours. I think I was about 14 or 15, and was at my cousin's house. He's several years older than me, and alot of my musical likes and dislikes came from his introduction to it all. I remember him putting on "Rock of Ages"...and I had no clue _who_ this "Band" was...but I knew they were something special. I think I made him play the album 2 or 3 times, and I guess I finally exasperated him enough that he _gave_ it to me. And the rest, as they history.

And on an amusing note, because of the introduction of "Howard Johnson, Snooky Young" the beginning of that album...I thought _they_ were The Band :-)

Posted on Fri Nov 26 09:01:29 CET 1999 from (

Jens Magnus

From: Up north, east of Atlantis

When I first heard the Band? I was fifteen, and had just moved with my parents to another town in Norway. My elder brother (19 by that time) stayed in Oslo for education. I remember visiting him in his one room city shack. Plain, poor, serving bisquits and tea. And as always he introduced med to new music, him being the elder. Earlier the same year, he came home with Joplin's Cozmic blues. I was intrigued. This time he showed me a brown album simply stating The Band. (What band?). My brother showed a knowing grin, and spun the turntable. I don't think we spoke a word in the following 45 minutes. The tea ran cold, so did the blood in my veins. Suddenly I grasped that this was an orchestra that had managed to take the invitation from Beatles and Beach Boys and really take it further. Like in '64 or '65, when I first heard Can't buy me love, this was a turning point in my promising career as a listener. What an album. Still today it stands out in my opinion. Big hug to Robbie, Levon and the boys!

Posted on Fri Nov 26 04:45:53 CET 1999 from (

Paul Godfrey

Hey J.D. wasn't that a party. Yes we both have friends from Arkansas to thank for TLW. Do you still have your yellow button. I lost mine but Julia lets me pin on hers occassionally.

Talked with the Hawk. He's sounding fine. Buzz Thompson is playing here Saturday night. Will certainly drop by to see that blues boy from Peterborough if we are in town Saturday night.

Happy Thanksgiving to all our American Friends. We are all grateful for The Band, the music, the memories, the friendships....mostly for the friendships.

So put on The Last Waltz one time this weekend...and Turn It UP LOUD! ;o)

Posted on Fri Nov 26 04:06:16 CET 1999 from (

Diamond Lil

From: Thanksgiving Night

As a day filled with laughter and the warmth of friends comes to an end...I find myself thinking of Richard...and how lucky I was to be able to spend this day with his most precious legacy. His son. Josh (and Jane)...thank you. And if you were both wondering why I refer to this place as 'crazyville' you know :-)

Hoping everyone had a wonderful day...and just think...only 29 shopping days left till Christmas! Trust kids are counting :-)

Uncle Hangover: Please contact me. Soon. Thanks.

Posted on Fri Nov 26 03:39:45 CET 1999 from (

Bashful Bill

From: Minoa, N.Y.

Yikes-sorry for all those typo's!

Posted on Fri Nov 26 03:34:05 CET 1999 from (

Bashful Bill

From: Minoa, n. y.

Suprised at the # of posters here tonite. I, too am a serial lurker, infrequent poster. Reliving my LW memories, also. BTW Mike from Oregon, Big Pink is my favoriyte over the Brown Album, probably for simalair reasons. Anyway, happy holidays to all, or "happy Thanksgiving"{Rick's quote, as somebody pointed out}and... Hi Dr. Pepper, where have you been, haven't seen or heard of of or from you since the Blues Fiasco-Leon Russel and Mick Taylor were great, butb I was too pooped to make it for John Mayall. Hope all is well.

Posted on Fri Nov 26 00:31:04 CET 1999 from (

John D

From: Toronto

Can't believe 23 years ago tonight I was at The Last Waltz. I had spent the afternoon with Boz Scaggs doing an interview for Columbia and he drove he over to the hotel. Amy Helm was just a little girl running around the suite as the hotel prepared for what was to become their biggest nightmare. Hundreds of music people all ordering room service at the same time. Levon was in a reflective mood and always making you feel at home.

A few hours later, one of the best concerts I have ever scene in my lifetime. After the show; when I went back to the hotel, I found myself getting "called over" to the table by "The Hawk." Sitting with him were Dylan and Clapton. Ronnie asked me to sit down........WHAT A PARTY!. Tonight I'm staring at the "backstage pass button" we all had to wear, in order not to get kicked out. Guests of The Band wore blue buttons and the performers wore yellow ones. What a wonderful memory. It may have been bittersweet; but I'll always have the man from Arkansas to thank for inviting me.

Posted on Thu Nov 25 23:37:20 CET 1999 from (

Peter Viney

After The Waltz: great idea for a CD Ben Turkel. I’ve got the title too. You mentioned:

One more shot, Blaze of glory, When I get my rewards, You don't know me, The battle is over, Kingfish, Caledonia, Rivers of Baylon, Voodoo music, CC rider and My love.

You might add the following:

Deep Feeling, Many Rivers To Cross, (Jim Weider’s essential contributions), Willie & The Hand Jive(many versions), Sweet Home Chicago (btw, thanks Pat!), Blue River (Manta Eastern Sound), Louisiana 1927 (New Orleans, 87), Rainin In My Heart (1990), Mary Ann, “Imagination”, Freedom For The Stallion (N.O. 1987), Just in Case we Both were Wrong (?), Steppin Out, Milk Cow Boogie, Caravan (with Van, without Levon, 1984), Every Night & Every Day, I Finally Got You, Little Red Rooster. What about a “Sail On Sailor” with Blondie Chaplin? You can fill 76 minutes without solo stuff.

Don’t know where I first was when I heard the Band. I remember looking at the cover of “Big Pink” upstairs in W.H. Smith, Bournemouth and saying ‘Wow! This is Bob Dylan’s backing group. Weird cover.’ Then (as I wrote somewhere) I spent months at university (in Hull) where every morning I put one shilling in the juke box for three selections. The machine fouled up if you put an A & B side next to each other, so my shilling was always: The Weight - White Rabbit (OK, OK, it was the era) - I Shall Be Released. Always set me up for the day. The Brown Album and Stage Fright have much more interesting stories, but I’ll save those.

Posted on Thu Nov 25 22:30:29 CET 1999 from (


From: 1968
Home page

Great idea Mike

where were you when JFK was shot

where were you when the first men landed on the moon

where were you when the Berlin Wall fell down

where were you when your parents told you Santa doesn't exist

and - first & most of all -

where were you when you first heard The Band

Well, to make a start to this new major Guestbook thread:

Once upon a time, way way back in the sixties, I was a student in a small but very very famous Dutch university town. My world was Buxtehude, Bach, Beethoven, Brahms, Bruckner, Bartók and all the other Bees. But... there was this girl who happened to live in the middle of the town centre. And because she lived so conveniently in the middle of the town centre there was a crowd of students who used to visit her for a cuppa coffee. And because there was this crowd she always had a full house. Needless to say I was one of this crowd. Almost every day I dropped by for a cuppa. But she had many more attractions. One of these was a nice collection of longplayers. And so I made my acquaintance to a phenomenon called rock music. I must admit I liked it. And one fortunate day she showed her latest arrival. It had a strange drawing on the record sleeve and a picture of a big pink house. I couldn't figure out the name of the band ("The Band" "What Band?" "The Band"). But from the first moment this down-to-earth music knocked me down. These men looked and sounded like lumberjacks living in the woods all their life. This was music I wanted to hear again and again. So I decided to kick the whole caffeine-addicted crowd out and stay with her forever. So she's mrs. Ragtime now for many many years... Well, I told you she had many many attractions...

Who's next?

Posted on Thu Nov 25 21:49:18 CET 1999 from (

Jason Roy (17)

From: Grand Rapids,MI

I'd like to wish all of you and Richard,Rick,Levon,Garth, and Robbie and Happy and safe thanksgiving. Bless you Richard we all miss you down here.

Posted on Thu Nov 25 20:34:38 CET 1999 from (

Ben Turkel

From: New Jersey
Home page

I almost forgot that today is the 23rd anniversary of the last waltz. Although most Band fans people have mixed feelings about that event, it is an important part of their story. I do think that a lot of the work that Levon, Rick, Richard, and Garth (with the diferent versions of the Band and in solo performances)have done since then, is deserving of wider exposure and release. Woodstock records could easily compile a cd of unrecorded songs performed since the waltz that would go a lot furthur than 'Best of vol. 2' in putting this period into perspective. Off the top of my head I think this cd could include One more shot, Blaze of glory, When I get my rewards, You don't know me, The battle is over, Kingfish, Caledonia, Rivers of Baylon, Voodoo music, CC rider and My love. A few of these songs have been released on solo albums, but since they never appeard on a Band release they deserve a place here. I would be curious to see other peoples' additions to the list. Happy Thansgiving, Ben

Posted on Thu Nov 25 19:24:28 CET 1999 from (

The Lube

From: CT

Happy Thanksgiving, everyone, from a daily, compulsive lurker! Although I rarely (almost never) post, I would like to thank Lil, Peter, Matt and all the regulars for making me feel like part of an intelligent, eclectic community. Viva The Band Forever

Posted on Thu Nov 25 18:04:38 CET 1999 from (


I don`t have time for a long post now but I love The Band (past , present and future )and wanted to say something on the anniversary of The Last Waltz .The Band is the greatest musical group ever! All their music, even the less notable songs, seem so perfect. All the instruments and voices blend so perfectly. I have always been amazed how 5 or 6 guys could produce such incredible music. I have seen The Band in various forms several times, and even more solo performances by Rick, Levon and Richard. Every show has been GREAT! They are real gentlemen, I love it when they thank the audience after they perform a song for us. I miss Richard. The Last Waltz concert was much better than the movie or CD. To quote Rick "Happy Thanksgiving" . Thanks Guys. Long Live THE BAND !!!!!

Posted on Thu Nov 25 17:32:54 CET 1999 from (


From: Oregon

Happy Thanksgiving everyone!!! Just want to echo the same thoughts as a lot of you. The music of The Band has meant so much to me over the years. I guess their songs have helped me through a lot of stuff. I see their music as an extension of them. To me, their music's not just great because of their immense, innate talent; it's great because of their attitude towards music. From Big Pink to the present solo stuff, let's enjoy it because it comes from them. Let's be thankful that somehow, somewhere, sometime, we all heard the guys for the first time and said, "Wow." I had just moved from Toronto to San Diego the summer of '68 when I heard "Music from Big Pink." (I'm probably one of the rare birds who likes Pink better than the Brown Album. I'm not saying it's better. I guess I heard Pink at a certain point in my life and it affected me in a special way. Takes all kinds!) Thirty years later I'm listening to Breeze Hill thinking, "Thanks Rick! You're still at it." Whether together or apart, let's be thankful they are still at it. Just a thought, would it be interesting to compile a page in the GB on "Where were you when you first heard The Band?" I think it would be really interesting. From veterans like Serge to Tanja in Norway, it might be fun. Thanks for all the work, Jan. -- It's my favorite site on the web. Kevin, thanks again. Lil, don't eat too much! Peace.

Posted on Thu Nov 25 14:55:26 CET 1999 from (


From: PA

Everyone have a safe and happy Thanksgiving. Lets hope by this time next year we will all be able to give thanks for some new music by the BAND or any of the boys!

Lil, my wife won't touch the turkey with a ten foot pole, so it's my job today!

Posted on Thu Nov 25 14:19:18 CET 1999 from (

Pul F. Karinja

From: Campton, NH

I'm back on the internet, and this is the first site I've visited. I am a devoted fan who would like to find free music/lyric sheet for The Band's songs. I play guitar and find their music inspirational. If you can help, please contact me at my e-mail address. Thanks! PS Didn't you love "The Last Waltz"? Hope they tour again.

Posted on Thu Nov 25 11:39:53 CET 1999 from (


From: Tennessee (Chicago originaly)

I just wish The Band would know how much I love them. I was just sitting here watching my video copy of the last waltz, (it's a pretty bad copy), and I was wondering if there was some way to tell them how much they mean to me. In fact, my whole family is into The Band. I also love Robbie's solo stuff. I was very into it and my husband (he was'nt at the time) actually got a broken arrow and a bottle of rain to make up with me after a fight. I knew I would marry him after that. I don't know who will be reading this, but, I sure hope that someone in The Band would know how much they mean to me. I actualy met Garth Hudson in the bathroom at a concert in Knoxville!! That's it for me, just had this overwhelming urge to talk to The Band. Even if I did'nt really. Tree

Posted on Thu Nov 25 07:41:46 CET 1999 from (


From: The Duck Pond ****AMERICA'S BANDLAND****

A toast to The Original Band on the Anniversary of The Last Waltz!! (We've got a case of Ripple here in the old pond.) You never shoulda hung up your rock 'n' roll shoes boys - but thanks for bein' there when it really mattered. (Anyone who doesn't love 'em is all wet!) I'm outta here! Quack! Quack! ~~~waddle ~~~waddle

Posted on Thu Nov 25 06:03:03 CET 1999 from (

Pat Brennan

From: USA

It's funny. In the midst of all the well-wishing, you have posts like Hossfeathers show up. Interesting. Read any of Peter's posts or the fine articles he's written for the site, then read Hossfeather's addition. Then, tell me--you're included, Hossfeathers--who's the boob? The answer is painfully clear. And on this, another anniversary of The Last Waltz, I wish good cheer to everyone here. We were drawn here by the truth the boys discovered, and we return here to remember. And, of course, many thanks to Jan Hoiberg.

Posted on Thu Nov 25 03:32:51 CET 1999 from (


From: Madison, Wisconsin, *AMERICA'S JERRYLAND*.
Home page


Posted on Thu Nov 25 02:00:10 CET 1999 from (

Diamond Lil

From: The Black Web

The Last Waltz: 23 years ago today. Anyone else feeling as old as I am right now? :-)

Got a big ol turkey downstairs, probably cringing at the thought of being stuffed...and just thought I'd mention that I'm cringing too. Something weird about that 'up to your elbow inside a bird' feeling if you know what I mean. A friend's 5 year old has volunteered to do the dirty deed, and I may just let him.....

That's the report from crazyville. Everyone enjoy. Be safe and be happy.

Posted on Thu Nov 25 00:20:39 CET 1999 from (

Tom - Woodstock Records

From: Woodstock Records
Home page

From: The Staff and Crew of Woodstock Records :

We would like to extend thanks and greetings to all and
wish a healthy and safe Happy Thanksgiving to everyone in North America.

Enjoy the holiday, as Rick & Aaron are getting very excited about next week's upcoming dates.

Peace from Woodstock!

Tom/Woodstock Records

Posted on Thu Nov 25 00:00:44 CET 1999 from (

Jonathan Katz

From: Columbia, MD

Happy Thanksgiving to all my Guestbook friends. What a treat to catch the rebroadcast of the E-Town radio show via Thanks Stu Hruska! For me, the best part was Garth playing a great solo number. Where's that solo album Garth? Please!?!?!? And I'm actually beginning to like "Crazy Mama!" I was able to get this onto a file, so time allowing I'll edit it and ask Jan to post some of it [space allowing].

Is anyone interested in the Fresh Aire tapes of shows with Robbie (1) and Levon (2)? I want to get these but the price of ~$25 each is too steep for me. If you are interested in a "consortium" purchase, let me know via e-mail. With enough participants it could be cheep!

Posted on Wed Nov 24 23:55:53 CET 1999 from (

Peter Viney

From: deep in data

Amos Garrett - Band connections:

Paul Butterfield’s Better Days: It All Comes Back: This line-up featured Bobby Charles, Geoff and Maria Muldauer and Amos Garrett. Rick Danko doesn’t appear on this album (though co-writer Bobby Charles does). It includes a superb version of Small Town Talk

Hungry Chuck: Amos and Garth appear on ‘People Do.’

Eric Von Schmidt: 2nd right, 3rd row. Garth Hudson is credited with “special assistance” and appears along with Amos Garrett and Maria Muldauer. Five tracks (but which ones?) feature Garth.

Bobby Charles:"Bobby Charles" - Rick Danko, Levon Helm, Garth Hudson, Richard Manuel and John Simon in a line-up that also includes Amos Garrett.

Danny Douma: Night Eyes. Both Garth and Amos appear, but on different tracks.

Happy Thanksgiving to all in the USA.

Posted on Wed Nov 24 22:50:27 CET 1999 from (


Good of David Powell to mention Eric Andersen's "Tin Can Alley" LP. Amos does another great Bo Diddley beat thing on one of the songs - actually the only Amos-does-Bo example that I know of, other than the Dirty Shames 45 mentioned previously.

Posted on Wed Nov 24 22:28:52 CET 1999 from (

David Powell

From: Georgia

Another great Amos Garrett solo can be heard on Jesse Winchester's version of "Third Rate Romance." Amos also played on the last album Eric Andersen recorded for Vanguard, "More Hits From Tin Can Alley."

Posted on Wed Nov 24 21:56:55 CET 1999 from (

Peter Viney

Amos Garrett moment to treasure (among many): "Lazybones" on Geoff & Maria Muldaer's "Sweet Potatoes". A fine album, and though comparisons are invidious, I'd place their take on "Havana Moon" above even Chuck and Levon.

Posted on Wed Nov 24 21:15:45 CET 1999 from (


Band Thought: A tour of NY would probably bring Amos Garrett here too - which's gotta be a good thing. Last I heard, in the summer, he was playing out of Calgary - where he's been living for years - with pianist Kelly Jay (ex-Hawkins, ex-Crowbar). No idea if others are involved too, or just a duo. I saw Amos in a duo at Expo'86 in Vancouver - with Bill Stevenson from Earth Opera with Peter Rowan.

Posted on Wed Nov 24 21:01:46 CET 1999 from (

Band Thought

From: New York

Bill M. and David P. - It is certainly Amos Garrett and you both are amazingly astute.

I have always somewhat associated Amos with The Band via the Canadian connection, the Butterfield connection, the Bobby Charles connection and the Bearsville connection. Overall, his versatility as a player could easily be compared to double R's. The brilliant fillers on "Midnight At The Oasis" complement the song without getting in the way, reminiscence of how Robbie might have approached the same work. Amos can also play straight ahead, flat-out rockability or slow things down with a jazz blend full of that "butter on the frett" style.

I recently contacted his booking agent via his website with an inquiry into when he might tour the U.S. (he has been in Europe in '99 and is currently in Canada). She (Louise) mentioned that there are no plans but that Amos would love to come. I suggested a few of the New York area venues where his Eh Band would be a nice fit - places like the Bottom Line and the Turning Point. With the unfortunate passing of Doug Sahm, perhaps some set list additions of the work they have performed together would be a nice tribute.

Speaking for myself, it would be great to hear Amos Garrett play live (the guy can sing, too). Anyone with a similar interest might do well to contact his agent to bring him to a stage near you. John S.

Posted on Wed Nov 24 20:36:48 CET 1999 from (

Ghost Rider

From: In Your yard

Truer words were never posted on this Guestbook than these from BAND THOUGHT, Tues. Nov. 23, 14:56 CET: "Small world up there in upstate New York, nice community, great people."

Something I'm giving thanks for this holiday is the good group of people I've encountered and learned from through this Guestbook, and principally among them, the neighbors from upstate New York who constitute such a large segment of Guestbook regulars.

Upstate New York's a nice place to live anyway, but I never fail to be moved on clear mornings when I'm driving to work and I can see across the river to the foothills of the Catskills, and spot old Overlook Mountain, perhaps thirty miles to the northwest. Its sight always reminds me to say a little prayer of Thanksgiving for the men who made their music in its shadow (some of whom still do to this day, God bless 'em) and a special thanks for their havng shared it with the rest of us.

Posted on Wed Nov 24 20:10:39 CET 1999 from (

Rick V.

From: White Plains, NY

WFUV, the Public Radio station in NYC, based at Fordham University, recently conducted a listener's poll asking for the most important albums of the century. This week, they're playing down the top 100. Yesterday, Rock of Ages came on as #57. You can see the results, at least what they've played already (#51-100) at their website ( It's an interesting list, encompassing many different musical styles. Great station, a throwback to an earlier era in radio where on-air personalities with interesting tastes could play whatever they damn well pleased. I haven't found anything around here that comes close.

Posted on Wed Nov 24 17:08:58 CET 1999 from (

David Powell

From: Georgia

In answer to Band Thought's quiz: AMOS GARRETT

From his work with Ian & Silvia, Geoff & Maria Muldaur, Hungry Chuck, Jesse Winchester, Bobby Charles, Paul Butterfield and countless others, Amos has developed his own distinctive guitar style. He's as smooth as butter on the frets. Two outstanding solos come to mind, both played accompanying Maria Muldaur's vocals on "Midnight At The Oasis" and on Geoff & Maria's incredible version of "Georgia."

When Amos joined Paul Butterfield's Better Days he almost became a band-mate with Rick Danko. Rick reportedly declined the invitation to join the group due to commitments with that other Band. Better Days would record a great version of Rick & Bobby Charles' "Small Town Talk."

Sadly, this past week Amos Garrett came to mind with the passing of Doug Sahm. The Amos Garrett, Doug Sahm, Gene Taylor Band released two fine albums, "Live In Japan" and "The Return of the Formerly Brothers," that showcase the talents of these three great musicians.

Posted on Wed Nov 24 16:56:46 CET 1999 from (


Band Thought: You're Amos Garrett today, no? On the subject of Amos, I don't recall seeing talk on this website of his "Live Off The Floor" (or some such title) CD, which includes a wonderful song called "Conversation With John Lee". This is really a version of Hooker's "Boogie Chillen" with a funny and fascinating spoken intro in which, among other things, Amos talks about slipping out of the family home in leafy north Toronto to tour the bars on Yonge Street, and seeing bands like the Ronnie Hawkins and the Hawks, the David Clayton Thomas and the Shays, Robbie Lane and the Disciples and the Silhouettes (wiht Dianne Brooks, Steve Kennedy and Doug Riley).

A couple of months ago I managed to snag a long-sought Amos 45: the second of two by his mid-sixties group, the Dirty Shames. I was expecting folkish rock like the first 45, but instead there's Amos doing great Bo Diddley riffing (shave-and-a-haircut-two-bits). And for you family-tree fetishists, two Dirty Shamers (one of whom who'd been in the AuGoGo Singers with Stills and Furay) went on to form Cat Mother and the All Night Newsboys - one of the few groups that got to be produced by Jimi Hendrix.

To Richard Patterson's comments about "Baby Please Don't Go", I'll add that the Sparrow, which evolved into Steppenwolf, also recorded a version. The Sparrow's recorded output (now on a Sony CD) included a few songs that were in the Hawks' repertoire as well, so Richard's suggestion is certainly not much of a strech.

Posted on Wed Nov 24 16:14:50 CET 1999 from (

Richard Patterson

From: St Kits

I can't quite make a first generation link between between Ted Nugent and the Band, but both Ted (the Amboy Dukes) and Van Morrison (Them) did cover versions of the Joe Williams tune "Baby Please Don't Go" in the sixties. Don't know if this song was ever in the Hawks repertoire, but it seems like it would fit right in.

Was digging around in some old video tapes and came across some footage of the Mothers of Invention playing on (or at?) "Beatclub" in Germany from 1968. The line-up includes just about everyone Sundog has secured for his Zappening 2000 show. Seems like it would be a fun time to me. Also, Sundog you asked who might be good acts to add to a Band event? A few requests: The Fugs (I forgot to mention in my last post that Howard Johnson was a Fug in 1968 when they recorded the live "Golden Filth" album), Jesse Winchester, David Bromberg, Gary Lucas (a remarkable guitarist who played with Captain Beefheart for a while - available with his band Gods and Monsters or with Peter Stampfel as the Du-Tels), the McGarrigles, for starters; then maybe any and all acts that ever had Rick or Garth or Levon guest on their lps (or Richard for that matter - Bonnie Raitt comes to mind). This is an endless list - I'll be there!

Bones: The Chip Taylor CD sounds interesting. I a big fan of Lucinda Williams since seeing her open for the Allman's in the summer. She also appears on the new John Prine album 'In Spite of Ourselves' (which deserves a review of it's own}.

Happy Thanksgiving to all you folks south of the border.

Posted on Wed Nov 24 14:42:20 CET 1999 from (


Home page

Click my homepage above for web site to Levon Helms concert.

Posted on Wed Nov 24 14:19:13 CET 1999 from (

Balorney Hossfeathers

From: Near Woodstock

That last paragraph of Mr. Viney's latest entry proves to me once and for all that he is indeed a genius. What an insight.! I am sure none of us could ever come up with such clairvoyance. He is our saviour, mentor and "explainer" of everything that exists in this confusing world.

Posted on Wed Nov 24 14:13:00 CET 1999 from (

Band Thought

From: New York

From the archives of the Great Guitarist Quiz Volume IV (I-Jeff Beck, II -Ry Cooder, III-Clarence White)

Who Am I?

I have so many Band connections that I might be just too easy to figure out. It's safe to say that I have followed a physical trail which has led me across the New York-Canadian border and back several times in my career. At least one band which I played with reminded everyone what a pretty good songwriter one of the original Band members is. And me? You could say that there is an easy, smooth-as-silk quality to my playing that could be as relaxing as a day with rod and reel as it would be at some tropical oasis.

And yes, if you don't already know, I've got a pretty damn good singing voice to boot.

Who Am I?

Posted on Wed Nov 24 13:52:42 CET 1999 from (

Band Thought

From: New York

Wishing all those here who celebrate a terrific Thanksgiving Holiday filled with family, friends and food! John

Posted on Wed Nov 24 09:53:06 CET 1999 from (

Peter Viney

Tanja: Stranded in a Limousine (not Cadillac) was the B-side of the “Slip Slidin Away” single (another favourite of mine). It appeared on his first greatest hits CD, “Greatest Hits Etc.” (Columbia CK35032), but was dropped from the subsequent “Negotiations & Love Songs” collection and the “Paul Simon 1964-1993” box set. As it was a big seller in its day, “Greatest Hits Etc” is a good bet for a second-hand shop.

David and John: This moog is bugging me. I read an article about moogs years ago which quoted this bit about the effect in “The Boxer” and if it’s misinformation I’ve often repeated it. Will try to think where. Still, it’s an excuse to listen to the song. I’ve only just been able to enjoy the album (BOTW) again recently. When it was new I was stuck working in a house for three solid days where there was no TV, no radio, just a record deck and BOTW, which we had on replay. Couldn’t listen to it for a while after that. Some one will pick us up on this Paul Simon aside soon, but great music is great music.

According to the handshake game, you could make any number of connections to The Band. (You know, if you shake hands with x, then you’re one handshake from y, and two from z.) That game is a waste of time because if you’ve shaken hands with e.g. Bill Clinton or Prince Charles, you’re within two handshakes of anyone famous in the 20th century.

Posted on Wed Nov 24 09:42:04 CET 1999 from (


From: Norge

has anybody seen Cody lately? He's GONE! ... ... .......... Hope he's not too soon

Posted on Wed Nov 24 08:52:42 CET 1999 from (


From: Norwege

Hmmmmm...I see you're talking about The Boxer, some cover versions...I still think the original version with S&G is the best...but I don't like Garfunkels voice...I think it's too...I dunno...high...But Paul's Slip Slidin' Away is one of his best...Where can I find Stranded In a Cadillac?

Posted on Wed Nov 24 03:18:10 CET 1999 from (

Diamond Lil

Just want to wish everyone celebrating Thanksgiving a happy and healthy one. Looking forward to spending the day with what I'm most thankful for kids...and the company of friends both old and new.

Thanks Jan for this wonderful site... for being a big part of my strength... and for knowing how to make me smile. And thanks too, to all the folks who make this such a nice place to visit. Happy Thanksgiving!

Posted on Wed Nov 24 02:36:58 CET 1999 from (

Paul Godfrey

Somewhere in my tape interviews from days gone by there is a cassette with Fred Carter Jr. recorded at a college where he related a great deal about working with Simon and Garfunkel. Specifically he tells how he rehearsed the 8 second intro to the Boxer for more than 12 hours before the actual session. Will try to find the tape. Its a great one because it leaves you with the feeling of being in his living room as he just sits around and shares memories of old times.

Posted on Wed Nov 24 01:39:04 CET 1999 from (

John D

Allow me to correct myself. The track with the shaft was Bridge Over Troubled Water.

Posted on Wed Nov 24 01:36:42 CET 1999 from (

John D

From: Toronto, Canada

Re: Roy Halee......The sound of the bass drum was indeed done with an open elevator shaft. The bass drum was placed in front of the open shaft and a microphone was lowered into the shaft. No moog here. Just a natural echo from the shaft. "Fire in the hole."

Posted on Wed Nov 23 23:59:59 CET 1999 from (


Below are a few entries from this month that people forgot to submit (of course, they may just have forgotten to cancel them...).

Posted on Tue Nov 23 00:16:51 CET 1999 from (

Peter Viney

I didn’t realize the subtleties and extent that you could go to hide your address. I guess in the end it all comes down to goodwill and basic honesty! The structure of the net means that it’s easier to ignore unpleasantness when it happens than to erect an elaborate array of fences against it. Anyhow, I think most will applaud the Zappening Festival, and acknowledge that there are great musicians out there who haven’t gone multi-platinum, and Zappa had a particular talent for spotting them. Lil mentions some more, like Sredni Vollmer who can be seen on the Rick Danko tuition video, as well as being well represented in the tape archive. The eclecticism of The Band is indicated by the range of artists who get mentioned here - with positive comments. Why Jimmy Carl Black, and indeed The Corrs, should be singled out for abuse is beyond me. One provided great drumming on some seminal music of the late 60s, the other provides tuneful music in a popular style. I don’t happen to have any of their albums, but I have been known to turn the car radio up when they’re on. I know absolutely nothing about Ted Nugent, but was pleased to see Carmen Appice getting a mention. If you believe that you can trace any rock / jazz / folk connection to The Band within three to four moves, which is probably true, I’d suggest the Ringo Starr & The All Star Band concert as fertile ground for some tangents. Ringo himself will get you to any 60s British music hall star in three, as well as to most country singers via the session men on “Beaucoups of Blues”.

Posted on Tue Nov 9 05:50:29 CET 1999 from (

Pat Brennan

From: USA

I was at a Chicago show (actually Niles) that Levon didn't show for. Richard, Rick, Garth, and the Cates. Maybe that caused the problems. The Dead soundchecked last the day before Watkins Glen proper, although the crowd began filling the place that afternoon. As a result there were probably 250,000 at the soundcheck although I'm just guessing here. The aBros and the Band also soundchecked but I didn't catch either. I'm not sure the place was open when they tested their equipment. Dead soundchecked last because they went on first the next day. BTW, I located a short film I shot there--has at least a couple of minutes of the Band. Dropped it off to be transferred to video. Will forward it to Jan for everyone's entertainment.

Posted on Sat Nov 20 19:57:54 CET 1999 from (

Bill Paige

From: River North (not really!)
Home page

Greetings to all of you GB regulars -- it's been awhile! River North is probably a label name that will never be used again; the parent co. eliminated my position in July; Pete Townshend and Eddie Vedder played at my "going away" party (well, sort of) and while I was there I got to hang out with Vince Neil of Motley Crue on the golf course.

So that brings ya'll up to date.

I'm back on this site a lot because I've joined the "Band ensemble" that meets weekly at Chicago's Old Town School of Folk Music. Getting to know these songs from a performance point of view has greatly enhanced my enjoyment of the discs, which I also have rediscovered in trying to figure out how to play the songs!

The songbook/tabs page is phenomenal, Jan, and at least one of the group's members has this entire site printed out in a notebook, referred to in class as "the bible."

Viney, excerpted your notes on "Christmas Must Be Tonite" and handed 'em out. We have not run it through yet.

Looking forward to Rick and "Prof Louie" swinging through Chicago in a couple of weeks; they will be performing with the Nicholas Tremulis band, and that in itself is a treat. Tremulis is a mainstay on the Chi music scene, an eclectic rock/R&B/jazz/ singer/songwriter/gtrst/keybdst whose new album "In Search Of Woodfoot" (QRS Recordings) features Rick Danko on the song "Disappear." Should be fun and will try to provide a more or less coherent report afterwards.

Posted on Fri Nov 12 04:17:46 CET 1999 from (

Dave Z

From: Chaska, MN

Has all this talk about Robbie scared away that bright breezy Danko icon that has recently served as a refreshing spot of green peace to my left?... Or maybe there's a gremlin in my home PC...

Posted on Fri Nov 19 19:54:17 CET 1999 from (

Matt Harrington

From: Buffalo, NY

There has been much discussion about whether or not the BAND shoould still be called the BAND. I look at it this way...

Other bands that have lost members because of death (The Stones-Brian Jones, o.k. they kicked him out, The Who-Keith Moon, The Dead-Pigpen, Brent Mydland, Allman Bros.-Brother Duane Allman) have all continued to still make great albums and sell-out concerts under the original name. Fortunately these great bands were able to find exceptional replacements that gave us the impression that nothing was ever lost.

But let's face it. One of the catalyst's of The Band was R.R. Although sometimes sparingly used, his piercing guitar riffs shot shivers down our spines. Let's not forget the showmanship displayed in The Last Waltz. When a band loses a great songwriter like R.R. you can really notice. Do we really think there will be another Big Pink?

Or anything remotely close to it?

We can call em what we want. But I would much rather hear/see the original Band playing Ophelia than Last Train to Memphis. I would also like to see the original three being called the Band rather than these sessions musicians (not to mention any names) getting even a sip of credit. Keep it real.

Posted on Sat Nov 20 17:50:13 CET 1999 from (


From: the land of snow

Just wanting to add my comments about the RR issue. Let me say first that I think that speculation on the matter is futile because Levon, Garth, Rick, and RR, for that matter probably sit back and say that they just don't get it. I also imagine that they might say that the issue is none of our business.

Levon's public comments on the matter may have fueled this chatter, but I view his actions as the beginning of a catharsis. Writing has been helpful to many who wish to work the bugs out. After all, anger is, on a very basic level, the result of love. Someone gets hurt, and because they care, they get angry.

Posted on Tue Nov 23 23:10:08 CET 1999 from (

David Powell

From: Georgia

Pehr: I'm not aware of any published discography of Fred Carter. Last year in a used record store I ran across a sealed copy of a solo album he recorded--perhaps a short "review" of this would be in order. I've run across his name listed in the credits to so many albums over the years. Many of his contributions on Band-related projects can be found listed in Jan's discography section.

Peter: In the inteview I cited, Mr. Halee does not mention the use of a synthesizer on "The Boxer." He mentions the use of the elevator shaft in response to the interviewer's question on how he got the "kishhhhh" sound of the "big drum." To my ears this sounds like a hard-hit snare recorded with that big natural echo. Columbia/Legacy has included "The Boxer" on a just-released "The Best of Simon & Garfunkel," a single disc collection of 20 remastered tracks. If you don't want to spend big bucks on the S&G box set, this is the one to get. It sounds great!

Footnote on Roy Halee: In the past, labels like Columbia didn't always list engineers in the album credits. In addition to his work with S&G, Mr. Halee also recorded two of the best sounding Byrds albums for Columbia, "Notorious Byrd Brothers" and "Sweetheart of the Rodeo." He also worked on albums by Blood, Sweat & Tears and Laura Nyro's "New York Tendaberry." He cut the Yardbirds version of "I'm A Man." He also did some free-lance work for the old Kama Sutra label, including the classic "Hums of the Lovin' Spoonful" that contains the great single "Summer In The City." After leaving Columbia he worked with Phil Ramone at A&R studios, and in recent years has worked almost exclusively with Paul Simon. No easy task--he recorded & mixed S&G's live reunion concert in Central Park. Mr. Halee's work on Simon's "Graceland" and "Rhythm of the Saints" are examples of his great ability to beautifully blend together tracks literally recorded in locations all over the world.

Since Mr. Halee has worked with hundreds of musicians over the years, I was impressed by the fact that, in discussing how he recorded "The Boxer," he mentioned Fred Carter by name and pointed out his contibution to the song's basic track. Just think about this--Roy Halee recorded "Like A Rolling Stone," "The Boxer," "Summer In The City," and "Bridge Over Troubled Water," four magnificent yet diverse examples of classic pop singles, not to mention all his other work with S&G and Paul Simon ("Kodachrome," "Mother And Child Reunion," "You Can Call Me Al," "Graceland" etc.)

Posted on Tue Nov 23 22:01:07 CET 1999 from (

Alan Cunningham

From: Austin, TX

Still my favorite! At the age of 22, I am a devoted fa, and have FINALLY managed to get my hadns on a copy of the Brown Album, vinyl, ORIGINAL, not a reprint!(jumps up and down with joy!) I am still waiting for the Bant to come to TX. I just want to meet these guys ONCE in my life... I think that they are extraordinary musicians, with a colorful outlook on life, evident by their songs, and I aconsider myself somewhat of a historian, as research material is kinda limited. I think that I would give almost anything to see the musicians that I have known and lovedf since the age of 8. Meanwhile, back to the trenches!

Posted on Tue Nov 23 21:49:17 CET 1999 from (


thanks David Powell. I had no idea that was Fred Carter Jr. on "the Boxer". very interesting. Would they have a Fred Carter Jr. dicography at the record store or elsewhere? I am very interested in his playing.

Posted on Tue Nov 23 21:42:19 CET 1999 from (

Peter Viney

David: enjoyed your analysis of “The Boxer”. Truly an incredible song, I agree. What about the “Boingg” noises in the middle? Is this what you mean by the elevator shaft? This has usually been held up as an early example of Moog synthesizer use, although you can create the same “Boinggg” effect by bringing your fist hard down on certain kinds of echo chamber.

Posted on Tue Nov 23 20:05:32 CET 1999 from (

David Powell

From: Georgia

After Fred Carter, Jr. left Ronnie Hawkins & The Hawks he played briefly with Conway Twitty before embarking on a successful career as a session guitarist in Nashville. Out of all the recordings he did, in my opinion, one that really stands out is Simon & Garfunkel's "The Boxer."

Legendary engineer Roy Halee began working with S&G when, at producer Tom Wilson's request, he recorded their audition tape. Halee had started out editing & mixing tapes in Columbia's classical division. His first work in the studio as a session engineer came when he worked on Dylan's "Highway 61 Revisited," which from his standpoint was not a pleasant experience. Following his work on Simon & Garfunkel's audition tape, Halee began a successful collaboration with S&G that continues to this day with his work on Paul Simon's solo recordings.

When Halee started recording S&G, Columbia was still using 8-track analog recorders. Halee cleverly figured out a way to sync two 8-track machines together to add more recoding tracks. He would also record separate "wild" tracks on other machines and add these to the mix, as he did on "The Boxer."

In 1991, an interview with Mr. Halee by Michael Fremer was published in "the absolute sound." Mr. Halee talked at length about recording "The Boxer," which he considered to be his best work. Although I don't have the benefit of using the master tape to play back on a studio mixing board (like John Simon, Levon Helm & Robbie Robertson did on "The Band Classic Album" video), using Mr. Halee's comments let me briefly describe how "The Boxer" was recorded:

The basic track was first recorded in Nashville with Fred Carter & Paul Simon playing acoustic guitars in the Merle Travis style of picking. The great drummer Buddy Harmon then added a shaker & percussion effects. Then a bass harmonica was added (Toots Thielmann?) and pedal steel guitar. Using another recorder, Halee recorded (in mono) S&G singing the overdub "lie la lie" vocals in the chapel at Columbia University in NYC. In addition to the chorus vocals, a tuba and piccolo trumpet playing the melody were added. Two tracks of strings and the dobro track were recorded on other machines. The incredible "crashing" big drum sound was achieved by using the elevator shaft at Columbia studios as a natural echo chamber.

In the end, the final mix of 20 tracks was done by synching two 8-track machines together with two other machines containing four "wild" tracks. Thus, through Roy Halee's expertise, an incredible song that began with just Fred Carter & Paul Simon picking guitars was created by assembling all those layers of sounds.

Posted on Tue Nov 23 20:02:01 CET 1999 from (


From: Philly Burbs

With Freedom comes responsibility. Should we eliminate cars because we have bad drivers? Should we eliminate this Web Site because some persons place posts which are offensive to some? My take is we should not let bad drivers drive rather then take cars away from good drivers. It is my guess that the majority of hunters are safe and well informed. I am not a hunter but I love freedom and before you are so willing to allow these freedoms to be taken away from groups you feel deserve it (i.e. gun owners or hunters) remember you or persons like you may be next. It was not that long ago that pepole in our government wanted to outlaw Rock and Roll. What is next cigarettes or SUV's.

Sorry this is not a BAND post, however, I just have a hard time when people feel the need to want to just hand our freedoms over. No I am not a waco conspiricy nut, just a freedom loving, BAND FAN.

Posted on Tue Nov 23 19:29:58 CET 1999 from (

Bashful Bill

From: Minoa,N.Y.

I hadn't been planning to weigh in on the hunting issue, but something occurred last night that made me want to share my feelings. My wife and I watched a Biography episode on A@E of one of my musical hero's, Kris Kristofferson(many, many Band connections}. I was in a fine mood. Then I made the mistake of watching the local news. Somewhere in the CNY area, I didn't catch exactly where, a 17 year old hunter killed a rare albino deer. How rare? I don't know, but I assume they are as rara in that species as in any other. Viewers of course were treated to the sight of this beautiful, all-white furred creature dead in the back of a pickup. Serious downer. This in addition to the usual hunting accident I've heard/read about affirm my decision 17 years ago to never hunt animals again unless I actually had to in order to survive(hopefully will never happen}. A couple weeks ago a squirrel hunter shot another hunter in the face near here and actually said "I thought he was a sqirrel". And in this A.M.'s paper is an article where a woman found an arrow imbedded in her yard! From the direction the arrow seemed to come from she determined that the idiot(I won't refer to he or she as a hunter) not only endangered anyone but was trespassing on her property. I know all the pro and con arguments,VERBATIM, and don't claim to know the answers. But I know that the safety and trespassing issues are routinely ignored by many. And I know Iim glad to be an ex-hunter, I feel much better as a result. Thanks for letting me vent.

Posted on Tue Nov 23 14:56:06 CET 1999 from (

Band Thought

From: New York

Stu: Thanks for the info. Had a great time that weekend up in Kingston. It's always a great feeling to be up in that part of the woods, whether it be Woodstock, Saugerties (West, of course), New Paltz or Kingston. Hearing Rick and Garth in that area is an extra special treat. Found a nice little restaurant, Le Canard Enchaine, right before the show. Made nicer by the fact that the waitress knew Jim Weider.

Small world up there in Upstate New York, nice community, great people.

Posted on Tue Nov 23 04:29:26 CET 1999 from (

Stu Hruska

From: Westchester, New York

Happy Thanksgiving to all! For those of you who missed the recent broadcast of the E-Town radio show originally taped at the Broadway Theater at UPAC in Kingston N.Y. on September 24, 1999 featuring Rick, Garth, Aaron, Marie and Natalie Merchant check out the following. On Tuesday November 23, 1999 at 10 PM Eastern time log on to where it will be simulcast. You will hear "Book Faded Brown", "Sip The Wine", "It Makes No Difference", Garth playing an amazingly beautiful solo, "Crazy Mama", accompanied by Eric Anderson, "Twilight" and "If I Had A Hammer" with all the artists. What you won't see is how everyone on the stage slowly gravitatied towards Garth as he played his solo. How Natalie Merchant seemed to be in awe of Rick and Garth and how funny Rick was when they stopped him mid-song to do a sound adjustment. Additional Band connections: I saw Jon Hall and the legendary Bo Diddley at The Bottom Line NYC Saturday night.

Posted on Tue Nov 23 04:02:27 CET 1999 from (


From: The Near Far Distance

BAND-TED NUGENT CONNECTION: Nugent headlined Winterland the night after The Last Waltz.

Posted on Tue Nov 23 00:58:07 CET 1999 from (


From: Madison, Wisconsin. *AMERICA'S JERRYLAND*
Home page

Thanks Jan, 'Lil, and Peter, you people are the best! I just can't understand why a person, would want to be so mean as to say things like that, and about musicians who play all their lives to make people happy and feel good. What kind of person would have a need for that kind of action is beyond me,,,is it cuz they don't have friends?? is it cuz they are lonesome?? is it cuz they don't like *me* for trying to have musicians and fans alike have a good time?? is it cuz they are just mental?? Well,,,whatever it is, all I have to say to them is this,,,LIP SERVICE IS CHEAP, even in writing! To all of you, I surly didn't expect this to happen, and I'm sorry, cuz you all are good people, but it seems that holidaze can sometimes make people bitter. With that said,,,Happy and plentyful Thanksgiving to all of you, and your families!

Posted on Tue Nov 23 00:36:33 CET 1999 from (

pehr again

From: austin

thanks for the tip Rick! happy thanksgiving Matt K!

Posted on Tue Nov 23 00:10:48 CET 1999 from (


I would love to see a post from someone who attended the LIVE ON BREEZE HILL concert. Listening closely theres some wonderful musical exchanges going on between the players, such craftsmanship is all to rare at concerts Ive attended in the past few years [ with the notable exception of one John Fogerty].

Posted on Tue Nov 23 00:04:52 CET 1999 from (


From: TX

Pehr: I also heard the E-Town show yesterday. It was a real treat to hear a live version of Book Faded Brown (even though, as it was their first song, there were a couple of rough spots). Once they got their groove, everything sounded great, and both Rick and Garth sounded like they were having a good time. AND, there will be at least one more chance to hear this broadcast. Go to E-Town's web page, then to "radio stations", then look for the participating station in Vermont. They'll be broadcasting the show at 7pm (I think) tomorrow. PLUS, they have a web simulcast feature, so Band fans everywhere can tune in! Happy listening!

Posted on Mon Nov 22 23:25:05 CET 1999 from (


From: Heading Out of Town

Leaving town for the remainder of the week and unhooking the browser welded to my head. Off to the frozen tundra of Massachusetts for a few days R&R and overeating. Before I go, I wanted to wish everyone a Happy Thanksgiving (US Version). Regardless of the obvious inconsistency in showing thanks by overindulging, be sure that when I bow my head I'll be thanking the gods/goddesses/cosmic goo for the many friends I've made on the GB.

...also, I'm actually six people. Sort of a multi-threaded, confused gnostic kinda guy. I vote for DNA testing before posting ; )



Posted on Mon Nov 22 23:07:15 CET 1999 from (


From: austin

As Tom had told us, Rick and Garth were live on E-Town last night, a coast to coast radio show. the show was terrific! songs Faded Book Brown, It Makes No Difference, To the North (a Garth solo, just lovely and amazing) Crazy Mama. Rick sang with Natalie Merchant on the finale Pete Seeger medley, If I Had a Hammer. Really enjoyed the show and keep hopin for Rick to come south soon.

thanks Ikka! glad you enjoyed it! I didnt talk about Robbie being quiet because on before the flood and live 66 he's pretty loud! (!!!!!!!!!!!!!!!!!!!!!!)

Doug Sahm was such a treasure, always up beat, plenty to talk about. cant believe he's gone on.

Posted on Mon Nov 22 22:30:32 CET 1999 from (


From: Halden, Norway

Actually, it is possible and very easy to operate under a false Internet Protocol address (aka IP number), and the software needed to do so is available from several places and way to easy to use (try e.g. an AltaVista search for "IP spoofer", and you'll find more "false identity" software than you'd ever care to download).

I think this is what "Another Canadian" was hinting at and demonstrating, by using the same IP-number as that other idiot. And that IP number they used is probably not valid. According to my DNS service there seems to be no host on the net with the address

Oh, well ... I may implement a "valid-IP" check in the guestbook script, but I guess they'll find a way around that too. Maybe we should switch to e-mail submission here ... but who has the time to browse through everything ...

PS. John D.: The 2B3 album sounds very interesting indeed. If I had a copy I'd be able to say something about it, too ... any pointers?

Posted on Mon Nov 22 22:17:05 CET 1999 from (

Diamond Lil

From: society for the prevention of net nuts

Good observation Peter....noticed that 'split personality' thing myself on other posts in fact. Why anyone would want to make a comment, and then argue with themselves is beyond me however. Perhaps some folks have too much time on their hands.

There was a comment made about how the Band members would not want to associate with "obscure" artists. Not true! Alot of the best performances I've seen have been done with incredibly talented "obscure" artists ('obscure' by Webster meaning "unknown"). Some of the brightest lights have come from the darkest corners of some of the smallest towns. Srendi Vollmer comes to mind immediately. A very talented (not to mention humble and nice) man...relatively unknown...and blew the roof off alot of clubs with Rick in the 80's. And for all you Long Islanders, what about Ed Kaercher? Not to mention so many "obscure" artists from up here, such as Scott Petito who is wonderful.

And so, I have to add that the uncalled for attack on _Sundog_ was not only malicious, but not even factual. Just as friends start out as strangers before they become friends, the well known (even the _very_ well known) start out "obscure" and unknown. Thanks.

Posted on Mon Nov 22 21:57:01 CET 1999 from (

John D

I'm sorry to see that no one commented on my earlier post that included Richard Bell playing an amazing instrumental version of "King Harvest." Life Is A Carnival is also on the CD entitled 2B3. Lance Anderson did say however that he received an e-mail from a poster in Chicago. Your missing a great CD folks.

Posted on Mon Nov 22 21:30:25 CET 1999 from (

Peter Viney

Fake addresses: If you care to read the number in brackets at the top of two of today’s posts, you will note that both “Barney Forskyns” and his alleged attacker “Another Canadian” share the same number: ( You can fake an e-mail address, but you can’t fake the number. This confirms what some of us have long suspected, that certain posts and subsequent attacks on the writer of the posts come from the same person. I don’t think the “content” is worthy of comment, nor is speculation over the origin. But if someone wants to post a malicious and unpleasant comment then attack themselves for doing so, you may draw your own conclusions.

Posted on Mon Nov 22 20:11:49 CET 1999 from (

Another Canadian

From: duh...

Hey. Mr. "Barney Forskyns" (how mature), we can all fake our IPs, ok? And if we continue to do so, I'm sure this guesbook will be history very soon. Of course we know who you are (from the Southern parts of my country), so I'm sure you'll love to see how this one has degenerated:

The Corrs?! Puke. At least you were right about the limeys.

Posted on Mon Nov 22 19:41:44 CET 1999 from (


From: CT

I just received Chip Taylor's Seven Days in May disc which Garth and Rick play on. Rick contributes vocals on two tracks and Garth plays on about six cuts. There are two duets with Lucinda Williams and one with Guy Clark. Any fan of David Olney, Guy Clark or Leonard Cohen would enjoy this record.

Posted on Mon Nov 22 19:04:50 CET 1999 from (


From: the North Country Blues
Home page

TO PEHR - Thanks for your article of Robbie Robertson's guitar playing. You mentioned that RR used a banjo technique, very interesting. But where IS the banjo? Rick plays violin - tuned often like banjo. Where IS the banjo? I want to hear banjo!
Pehr, you didn't mentioned that RR plays NOT loud - in opposite to (too) many lead guitarists. It reminds me of barock trumpet players who could play their strong instruments as quiet as the recorders. (This is Ragtime's *cup of tea*, I'm only an amateur in the classical music).
To be more classic, what can I say of Tim Sundog's plans in Latin if not this:

Tim Sundog - ille faciet!

Posted on Mon Nov 22 18:48:53 CET 1999 from (

Barney Forskyns

From: NY state

Regarding Sundial's (or whatever his name is) promo: Jimmy Carl Black will work any venue, even toilets for $600 and a case of beer, and as long as there will be impressionable teenage girls in the audience. Also, the promoter must be an over 30, long haired redneck analphabet, or else no deal. Can't imagine any Band member wanting to associate with that kind of non-event, full of obscure "artists" (!?)

Posted on Mon Nov 22 16:54:50 CET 1999 from (


From: Philly burbs

I don't happen to agree with the anti gun lobby, however, that doesn't make either side bad people.

One of my favorite BAND lyrics: "Tell me hun, what ya done with the gun"

Posted on Mon Nov 22 12:27:52 CET 1999 from (

Anthony Frazer

Of course there's a Ted Nugent/Band connection. There's a connection for anything, isn't there?!

On two of Ted Nugent's albums ("Nugent" and "Little Miss Dangerous") Carmine Appice played the drums. Guess what? He also played drums on four Rod Stewart albums. Rod Stewart....Ron Wood etc. (My personal favourite title for Ted N. albums as far as laughability had to be "If you can't lick 'em, lick 'em")

Now, I have no interest whatsoever in Ted Nugent, in fact, I have never heard a song of his at all. I was just so desperate to get into this guestbook with some information of worth that I went to the trouble of researching this boring info. about some guy whom I know literally NOTHING about save for the fact that Tommy in the crap show "Eight is Enough" had a ridiculous poster of the aforementioned rocker (Mr Nugent) on his bedroom wall.

Sad, huh?

Posted on Mon Nov 22 07:48:36 CET 1999 from (


From: East TN

I'm just thankful The Band did what they did, they have been a very big influence on my own personnal career as a musician. There's nothing like putting on one of the CD's and just listening and soaking it all in. It's sad that sometimes things can happen and ruin a great association of talent, but as they say !@#$ happens, just be thankful you got what you got and let it be.

Posted on Mon Nov 22 06:51:43 CET 1999 from (


From: The Front Lawn

I hope there's no Band connection to 70's heavy metal wizard Ted Nugent who was an avid hunter - recall one of his album covers featuring a painting of him holding a guitar that was also a double barrelled shotgun. I believe he's lost most of his hearing - probably contributed to by the blasts from his shotgun - good for him - never cared for his music anyway! (And he had long hair too that SOB! Hey, Manson was enough!)

Posted on Mon Nov 22 05:07:22 CET 1999 from (

Blind Willie McTell

From: Canada

I have got to agree with Diamond Lil. I also "Hate guns and all they stand for". BWMcT.

Posted on Mon Nov 22 02:46:50 CET 1999 from (

Lars Pedersen

From: Pine Bush, NY

DIAMOND LIL: I sympathize with your negative feelings about orange- clad city hunters coming into your town with rifles and, starting tomorrow morning, shooting the woods up. Maybe it's time to write to your Congressman about Ulster County outlawing rifles and only using shotguns, like they do in neighboring Dutchess County. At least then the bullets wouldn't go so far.

We are all savages, let's face it. I myself used to sneak up to a tomatoe plant and rip the tomato from the life-giving vine. And then I'd go inside and cut it up. But I've come a long way, now I just take photos of them.

But getting to the point, next Sunday (Nov 28) the Crowmatix (also being referred to as the Rick Danko Band) is playing at Washington Depot, Ct. (which Tom of Woodstock Records was kind enough to tell us about earlier this month). The venue is "G.W. Tavern" and they're supposed to go on at 8:30 PM and, according to the manager, play until midnight. The proceeds go to help people with AIDS. The cost is $30 a ticket and you get a free first cocktail. The number to call for booking tix is (800) 381-AIDS. There will only be advanced ticket sales through the above number, they expect to be sold out soon and there will be no sales at the door.

Posted on Mon Nov 22 02:01:29 CET 1999 from (


From: cookin' the halloween pumpkin (holiday kill)

Sundog - SURELY YOU JEST. Surely. I'm being nice...

Posted on Mon Nov 22 01:51:54 CET 1999 from (

Ben Eyler

From: New York City
Home page

There's some great performance footage of The Band in their Authorized Video Bio as well as The Band Classic Albums video (i.e. performing in what I believe was one of their first shows after Big Pink was released; rehearsing King Harvest). It looks like old home movies, but I'm wondering if anyone out there knows where I can get my hands on unedited versions of those films. They must exist somewhere and I'd love to see them. Thanks!

Posted on Mon Nov 22 00:16:37 CET 1999 from (

Diamond Lil

From: the temporary home of elmer fudd wannabes

No..they're not hunting wabbits..but they've descended on my little town, in their khaki's, with their big rifles and cold brews to start shooting at anything that moves in the morning. Hate guns and all they stand for. Just needed to say that. Thanks.

Ghostrider: Agree with the sentiments of your very nicely worded last post. 30+ years of heartfelt music that's brought so much happiness to so many. And just think how truly lucky we are to have not only what they gave us in the past, but also what they'll continue to give us in the future, as the 4 surviving members, each in their own way, take us into a brand new century. Now _that's_ a reason to celebrate!

Posted on Mon Nov 22 00:08:48 CET 1999 from (


From: Maison, Wisconsin, *AMERICA'S JERRYLAND*
Home page

Sooo,,,With my last post in mind, I have every intention of asking *RICK DANKO* if there would be ANY possibility to get the remaining members of *THE BAND*, to perform an event (like ZAPPENING 2000 )in the year 2000. If Rick says yes, and if he helps me a get the ball rolling,,,my question to The Band fans would be this, WHO WOULD YOU LIKE TO SEE PERFORM WITH THE BAND, on 3 dazes of rock'n roll?

Posted on Sun Nov 21 23:41:34 CET 1999 from (


Home page

Richard Patterson / Ghost Rider,,,I'm going to give ALL of you a little peek to a BIG party thats in the making, I only wish Frank Zappa would be a part of it. The only reason its ZAPPENING is because it NEEDS to ZAPPEN!!! Just 'click' the HOMEPAGE above! The web site above is not finalized,,,so its NOT offically for public yet and is still under constuction, but all performers mentioned in the web site have agreed to the event, its going to be a blast! I was a roadie for Jimmy Carl Black when I was 18 years old, that helped!!!

Posted on Sun Nov 21 21:41:01 CET 1999 from (

Ghost Rider

From: In Your Yard


If, in fact, there ever is to be a Band Convention, there'll be no cause for mourning as your Sunday 05:37 post suggests. Band fans have a 30+ year body of work to celebrate (and savor) that is unique and rarely matched in music history.

And if we're still taking suggestions as to who should chair this proposed event, my vote goes to none other than Tim SUNDOG Corcoran. Something tells me that the man knows how to throw a party.

Posted on Sun Nov 21 19:15:24 CET 1999 from (

Richard Patterson

From: St Kits

DANGER: The following contains references to obscure American music.

Just picked up a re-issue of "The First Fugs Album" (originally released as "The Village Fugs" in 1965). Not musical geniuses by any stretch of the imagination, the Fugs (whose name comes from a Norman Mailer euphemism) were born in a former Kosher meat store on East 10th Street in New York, which founder Ed Sanders transformed into a vegetarian restaurant/bookstore called Peace Eye Books (leaving the words "Strictly Kosher" on the front window).

Early performances were comprised of shouted poetry over top of very rudimentary music. By Feb '65, Steve Weber and Peter Stampfel (The Holy Modal Rounders) were members of the group. Their first recording session was produced by musical anthropologist Harry Smith (who got the support of Folkways Records owner Moe Asch by telling him they were the "Fugs Jug Band"). The 10 songs comprising "The Village Fugs" are joined on this re-issue by 7 more studio tracks from the same sessions (according to Ed Sanders 23 songs were recorded the first afternoon) and live tracks from the same period and "The Rhapsody of Tuli".

Not for the faint of heart (I would not recommend this to anyone who finds say Frank Zappa or Rob Crumb offensive). It is none the less drop dead funny. Song titles like "Slum Goddess", "I Couldn't Get High", "Boobs A Lot" and "In the Middle of Their First Recording Session the Fugs Sign the Worst Contract Since Leadbelly's", should give you an idea.

This re-issue was digitally compiled and restored by Aaron L. Hurwitz, and along with the recent re-issue of the first two Holy Modal Rounders albums (on Fantasy from this year) offers a rare glimpse into the concept that "there is oodles of freedom guaranteed by the United States Constitution that is not being used".

Posted on Sun Nov 21 17:18:18 CET 1999 from (

Sally Kasey

From: Kentucky

Is Lavon/Levon Helm a descendent of the Kentucky Helm family of the 1800s? He strongly resembles my dad and his sister, who were Helm descendents. Thanks--- Saw him in "Coal Miner's Dau." while surfing one day.....the resemblence was amazing.

Posted on Sun Nov 21 16:40:36 CET 1999 from (


From: philly burbs

All this talk on the new Rick CD has got me also wishing for another RR release. Any news or rumors out there on this?

Posted on Sun Nov 21 05:37:39 CET 1999 from (


From: The Front Lawn

Correction - Terry Cagle is Levon's nephew rather than his cousin as I stated in my previous post. Most readers probably know this already, I'm quite sure.

Posted on Sun Nov 21 04:22:48 CET 1999 from (


From: The Front Lawn

Whoever asked the question about "You Don't Know Me" it's sung by Richard on the 2 hour long early '80s Band / Cate Brothers Japan video concert and features an amazing "floating mic" obviously added in post production - why? - not exactly sure. Terry Cagle (Levon's cousin and lookalike) plays drums beside Levon on this tour and I believe he was the drummer for the Cate Brothers Band. Where is he now? Probably can find out on the Terry Cagle website!

BTW that Garth recording may very well be a box set if the deadline is met. Otherwise the year 2000 double CD will most likely be followed by a year 2001 triple CD. And I also forgot to mention that the year 2000 will bring us the first annual International Combined Band Convention & Funeral!!

Posted on Sun Nov 21 00:37:52 CET 1999 from (


From: NYC

Interesting Band soundbite FYI: Last week in a made for TV movie (i think it aired on CBS) based on the book "Black and Blue" about spousal abuse, "Whispering Pines" was played almost in it's entirety during one of the scenes.

Posted on Sat Nov 20 22:43:36 CET 1999 from (


From: Oregon

Hey Little Lil -- Live long and prosper, girl! That's what life is all about -- makin' memories!!! -- Mike

Posted on Sat Nov 20 21:28:47 CET 1999 from (

Little Lil

Hello,Im dimond Lils daughter.I am 9 years old Im almost 10.My mom said I can write this.Rick Danko kissed me on the cheek. Mom says I should write something about the band.that was it.Hey JC I miss you,bye

Posted on Sat Nov 20 19:46:06 CET 1999 from (


From: Madison, Wisconsin. *AMERICA'S JERRYLAND*.
Home page

ATTN: Are there any *RICK DANKO* fans attending the Cubby Bear performence on December 04th in Chicago? I'm going there with about 6 other friends and would like others while we're there! Does anyone know a good place to meet, its across from Wrigley Field...

Posted on Sat Nov 20 17:07:15 CET 1999 from (


From: The Front Lawn

Gee, with such a long list of Band happenings for the year 2000 I was bound to leave something out - re-mastered versions of Big Pink and The Brown Album will be produced by Columbia from the lost master tapes and released for the benefit of Band audiophiles!

Posted on Sat Nov 20 11:48:50 CET 1999 from (

Peter Viney

Bobby Jones: Far as I know the “Japan Tour” 1983 video is the only official release with “You Don’t Know Me.” If you have a look at the tape archive on the site, you’ll find a few unofficial ones.

Crabgrass: love your predictions. Really disappointed that the Garth prediction is only a double album, a lot of us out here were hoping box set. You missed the video release “The Fly’s Greatest Swats.”

Posted on Sat Nov 20 11:18:25 CET 1999 from (


Lil: Doug Sahm was found dead of an apparent heart attack on Thursday during the day in a hotel room in Taos, New Mexico. Never got to see Sahm live, but would have liked to. Few weeks ago I dug out Doug Sahm & Band, a great album with Mac Rebennack, David Bromberg, Flaco Jimenez, Bob Dylan, and great hornmen like David Fathead Newman. Another good un leaves the show.

Posted on Sat Nov 20 07:49:49 CET 1999 from (


From: The Front Lawn

Well, the century's almost over and I'm lookin' forward to what the year 2000 will bring. First, there's the VG Rock Poll World Tour (with Robbie joining the lineup) kicking off in Norway, then there's Rick's new studio album featuring several great new songs written for him by Robbie who also adds some tasteful lead guitar, Garth's long-awaited double solo CD finally hits the stores around July, and a brand new reunited MegaBand triple album culled from the world tour is released along with the outtakes from Jericho and HOTH in addition to an album of newly discovered "lost tapes" of original material by Richard and last but not least the eagerly anticipated "By Request" album emerges as the boys put the final touches on it just before the year 2001 arrives!

Posted on Sat Nov 20 07:06:19 CET 1999 from (

Bobby Jones

From: the 83 tour

I dont get get it. The album is about Rick, noone else. If Eric Clapton came in and played the best licks of his life would that mean it some how diminished the overall effect of RICKS PROJECT. If R.R. did have something to contribute, it would,(and should) be Ricks wishes on how much and how it should be reflected. Back in 1983 we had the same conversations on the Robbie issue. You know back then I thought it would be very cool to see Robbie back with his old haunts. As time went by I realized that maybe....., just maybe Robbie didn't write all those songs by himself.(someone other than Levon explain "What is a Knockin Lost John".) If we could and would let ourselves believe that a Friend or Brother as it must seem after 16 years,would exploit his siblings. We must also be Mindful that that trust will never be fully granted again. On a different note is anyone aware of the song "You don't know me". What recordings exist being sung by Richard. Cool site, Till next Time! One last bit of business, can anyone tell me what happened to Terry "Boom Boom" Cagle.

Posted on Sat Nov 20 04:46:58 CET 1999 from (

John Donabie

From: Toronto

The other day Bill Munson did a piece on an upcoming CD called 2B3. This is an all instrumental CD featuring some of the best Hammond B3 players in Toronto R&B History. Doug Riley; who has played with everyone from Ray Charles to Bob Seger. Michael Fonfara, a one time member of a local group called Jon & Lee & The Checkmates. He later went on to become keyboard player for Rhinoceros and a stint with The Electric Flag. Denis Keldie, Rob Gusevs, Bill Payne of Little Feat with Ritchie Hayward on Drums on all tracks. Colin Linden, and of course Richard Bell of The Band, playing an instrumental version of King Harvest. Life is a Carnival is also on this CD. The idea and creative genius behind this is Lance Anderson a master piano and organ player; who had the vision to put it together.

Other songs include Hip-Hug-Her (Booker T)....Gimme Some Lovin' (Spencer Davis Group)......Drown In My Own Tears ( Ray Charles...... and much more. This CD will blow David Powell away. Soon Lance will launch his website and I will give it out for those of you who would like to order the CD. He is asking $20.00 Canadian for a single CD and $30.00 Canadian for two. I will try to send up a .ra sample of King Harvest soon. 2B3 is just simply great. Toronto was a very big R&B town when the Hawks were here and brought forth many great musicians.

If you want to get in early on this you can e-mail Lance at for American prices.

Posted on Sat Nov 20 03:06:54 CET 1999 from (

Jerry Hawkins

From: Some little Oka-Chobie-Town in Oklahoma
Home page

Hi..! Hey I surfed onto your Ronnie Hawkins web site tonight and went..Wow, does this guy bring back memories! I saw him LIVE here in Tulsa years ago. Ronnie Rocked the house. Man, there musta been more body guards pullin pretty girls off a that man...whew..! All I can say is....when Ronnie Hawkins sang.."Who Do You Love"....I think those gals just let em know! Best wishes and thanks for letting me sign your nice guestbook.

Posted on Sat Nov 20 01:12:53 CET 1999 from (

Ghost Rider

All this speculation about Robbie being invited to help on the new Rick Danko project ... I'd be more interested in seeing Levon welcomed in, myself.

Posted on Sat Nov 20 00:44:29 CET 1999 from (


Earlier this year Doug Sahm was THE highlight of the Blues Estafette in Utrecht, The Netherlands. Great great show & a great - & Band-related - man. Sure, today's a sad day...

Posted on Fri Nov 19 22:36:06 CET 1999 from (

Diamond Lil

From: acopyoungenoughtobemykid

Aah..Life in the fast lane. Or fast in the slow lane. Or whatever it is I did to aggravate the junior cop who I doubt even shaves yet. Just another day in crazyville I suppose.

Carmen: I agree that a "guest appearance" by RR somewhere sometime would be a positive thing. My previous post was in reference to the 4 remaining original members "getting back together" as The Band. Too many old wounds, too many new directions for that to happen I think.

Stan: Never gave alot of thought to the 'big picture' of RR coming together with the other 3. My "oldies" comment had to do with a 'live' performance...wasn't really thinking about what could happen if real writing and creativity began again. Again, it's my opinion that _The Band_ once was and won't be again, but I'd be very interested to hear what would come of the 4 surviving members using their collective talents and creativity to give us one more glimpse of their ability to awe us....

Doug Sahm???? Does anyone know what happened? Was fortunate enough to meet him a few times.....a sad day indeed.

Posted on Fri Nov 19 19:11:04 CET 1999 from (

Dave Z

From: Chaska, MN

Personally, I'd love to see RR play on the Danko album... and bring some twisted hair guitar techno stuff... It appears to me the others get RR questions regardless of his participation in their work... so what the hey... also, it'd be cool to hear a cover of Ferdinand the Imposter if covers be done... anyway, I look forward to a spring release...

Posted on Fri Nov 19 19:04:55 CET 1999 from (


Thanks everybody for comments about the Rick - Robbie reapproachment. MattK, I am not asking for a Band reunion. I have enjoyed the new lineup. I just think that it is a good time for everybody to shake hands and work on a few songs together. I don't think that the Rick Danko solo effort would be overshadowed (at least in my mind).

Posted on Fri Nov 19 18:58:57 CET 1999 from (

Paul Godfrey

There is a certain time when a family can be together as a unit. Some families are fortunate to have harmony for a period of time. As the years go buy some will marry, some will move away, some will find new interests, some will no longer be with us.

As the family members mature it only seems reasonable that they will seek out their separate lives and with some luck and good fortune they will still be able to look back and fondly on that certain time when they had harmony...and smile and be grateful and maybe even Band Together in their own personal and quiet manner.

Posted on Fri Nov 19 18:36:02 CET 1999 from (


From: outer circle

Peter, Lil, all, I think most folks recognize my normal "pro-Robbie" stance when the bashing starts. I agree that musically, RR could contribute greatly to Rick's (or Levon's or Garth's or a collective) project. At an emotional level, however, having Rick on a Robbie project in the 90s has a different implication than Robbie working with Rick in the 70s or appearing on a Rick album in the 90s.

Fair or not, in terms of perception, publicity, and industry politics, there's no way that any RR contribution would not overwhelm the attention Rick would/should deserve--pass or fail. Like it or not, in the popular press, and perhaps even among us diehards, "the fued" continually overwhelms the music. I'd hate to see Rick's efforts embroiled in that, especially after such a long wait for new solo material from him.

As much as I'd like to hear RR on a Rick (or Levon or Band) project, I don't trust the media or the listening public to allow Rick to get out from the shadow of the 1968-1976 version of the group if Robbie were to participate.

I do appreciate how frustrating and unfair it is that the world won't let them forget that, for a time, they were as good and as influential as any rock band ever. While The Band (maybe) continues to function as an entity with accomplished musicians, the fact is, those days ARE over. But once you've been to the top of the mountain, it's very difficult to enjoy the view from the foothills, regardless how beautiful...


Posted on Fri Nov 19 18:26:02 CET 1999 from (


From: Scandinavia

Re: David Powell - DOUG SAHM was a popular artist and guest in the Scandinavian countries. He had a hit in the Top Charts in Sweden. It goes like this:

"Meet me in STOCKHOLM, baby, we'll mess around
Take a real slow boat to HELSINKI town.
And when it's over I know you want to stay.
Live your life with me in SCANDINAVIAN way."

Posted on Fri Nov 19 17:23:05 CET 1999 from (

David Powell

From: Georgia

"Is anybody goin' to San Antone?" So many years of giving us great music spanning the spectrum of styles--Doug Sahm truly was a mover.

Robbie Robertson is among the people acknowleged in the liner notes to the Counting Crows first album, "August and Everything After." Robertson reportedly suggested that the group record in a non-studio setting to achieve that "clubhouse" ambience. The Crows took his advice and recorded the basic tracks in a rented mansion in Los Angeles.

In addition to Aretha's version of "The Weight," Duane Allman also played on an instrumental version of that song by King Curtis. With Curtis, Duane used a unique-sounding Coral electric sitar as he had done on Curtis' Grammy-winning version of Joe South's "Games People Play." Although Duane relied mainly on a Gibson Les Paul played through Marshall amps with the ABB, his primary guitar during his Muscle Shoals days was a Fender Stratocaster played through a Fender Twin. Earlier with Hourglass, Duane used a Telecaster with a Strat neck. His distinctive slide sound was achieved using a glass Corocidon (cold medicine) bottle on his ring finger.

Duane can be heard playing with John Hammond on four bonus selections from the "Southern Fried" sessions recorded with the Muscle Shoals boys that are included on the CD version of "I Can Tell." This album of course also featured Robertson & Danko. Duane also played some incredible slide on Ronnie Hawkins' salacious version of "Down In The Alley."

Posted on Fri Nov 19 16:22:44 CET 1999 from (

Stanley Landau

From: Toronto

Lil, I guess I don't quite follow why there appears to be a general consensus that it is ok for the current lineup (which I understand to mean Levon, Rick, Garth, Richard B., Jim and Randy) to call themselves "The Band" whereas it would somehow be inappropriate for the hypothetical combination of Levon, Rick, Garth and Robbie to use the same name

I guess I agree with you in one sense: "The Band" now and forever ought to mean the original 5. I feel that the current lineup (if they still exist as such) should be using a different name out of respect for Richard and Robbie.

As far as what Levon, Rick, Garth and Robbie would or could collectively produce if they ever got back together, call me a cockeyed optimist, but I can't believe that the result would be a rehash. Whenever I listen to the music of the original 5 (from Big Pink to Islands) I can't help but think that if these four survivors could ever get past the personal stuff, the musical interaction that would result could not be anything other than brilliant. No disrespect is intended to Richard (IMHO the greatest singer in rock history) or to the other three "current" members (fine musicians all).

Posted on Fri Nov 19 16:16:18 CET 1999 from (

Peter Viney

I agree with Matt on discussing the “feud”. One day we’ll all be sitting in our rocking chairs saying ‘It was Robbie’s fault,’ ‘No, no, it was Levon’s …’ until we assault each other with our zimmer frames.

I’ve never thought it wrong for the remaining three (or the four in 1983) to call themselves The Band. RR didn’t object and wished them well. Sure, without Richard it was never “THE” Band in the true sense, but then again I’ll never have long hair again (at least on the top of my head) and all the groups still on the circuit have had major changes in their line-ups. Last night I listened to ‘Coyote Dance’ and ‘Twisted Hair’ and thought this guy is now so interested in textures in the music. The best assistance in the world he could have would be Garth. Musically there has been great divergence between RR and The Band, but Garth could bridge the gaps. The Band are different from groups on the oldies circuit. While even the reformed Eagles relied almost entirely on past glories, The Band’s sets in 1994 to 1996 were about half “new” Band numbers. That’s about as it should be.

I don’t see any big deal about a (VERY) hypothetical who sits in with who. People are always sitting in on others’ albums without taking them over. e.g. Clapton on Jubilation, Neil Young on Storyville, Peter Gabriel & U2 on Robbie Robertson, Van Morrison on Cahoots, Dylan on No Reason to Cry. Rick, Levon & Garth do it all the time. One of Robbie’s strengths as a guitarist is economy. He doesn’t blast solos all over a song. He’s a great ensemble player. I even wonder if the additional publicity would make that much difference. Surely anyone with any sense instantly buys a new Rick Danko album or a new Robbie Robertson album.

Posted on Fri Nov 19 15:55:12 CET 1999 from (


I don't usually write in the GB, but I feel I just have to add my two cents, for whatever it's worth. I must agree with Matt. I have known Rick for quite a long time and although I know him to be a very generous and kind man, I believe Rick's solo album should be about Rick. There are many other great talents who can contribute to the CD. I would hate for Robbie to take away ANY limelight that Rick so rightly deserves. After all, I don't know about you guys, but I have waited a long time for another solo album from Rick.

Posted on Fri Nov 19 15:33:08 CET 1999 from (

medicne hat

From: pittsburgh

doug sahm _dead_? jesus, this is a sad day.

Posted on Fri Nov 19 15:08:49 CET 1999 from (


From: here to eternity

All this fuss is because this group's music is timeless... from the 60s as well as the 70s, 80s, 90s and the new millennium.

Posted on Fri Nov 19 15:07:33 CET 1999 from (

Brown-Eyed Johnny

From: San Antonio

R.I.P.: Doug Sahm.

Posted on Fri Nov 19 14:47:36 CET 1999 from (

It is the 90's

From: Today

Why all this fuss about a group that is no longer a group?

Posted on Fri Nov 19 14:45:28 CET 1999 from (

Band Thought

From: New York

Looking back on the times when the post-1976 Band members provided contributions to solo projects, more times than not, the back-ups proved to be very powerful.

Robbie's tasteful contributions to Levon's Sing, Sing, Sing and to Rick's Java Blues, Rick's haunting backing vocals on Rob's Hold Back The Dawn and Garth's freelance portrait-landscape-abstract masterpiece painting on any studio canvas he touches have not only brought to mind the greatness of the original group, but have brought to the ears some very memorable musical moments.

Outside the walls of the Levon-Robbie issue(s), there is really no reason for the various original members not to get together on occasion other than where the artists are at musically at a particular point in time. That's not to say that Garth and Rick could not have contributed to Red Boy. Their styles are just more suited to the New Orleans-flavored Storyville.

Robbie on a new Rick Danko release? Sure, I believe Robbie could contribute some classic licks to anything Rick puts his stamp on (look what Rob did for Aaron Neville's Crazy Love). And that would be great. I am just not sure that it has to have some greater meaning (Will the original members re-form?, Is Levon upset with Rick for having Rob on his new CD?, Will Rick even let him know?). So, the negative view point regarding the beat-reporter fishing is most valid. Anytime these guys are interviewed, the same questions are brought up.

Ultimately, Levon, Robbie, Rick and Garth have their own musical directions. It is a mix of some parts Band, some parts the Cromatix, some parts Rick and Garth, some parts Robbie, etc. I agree with Lil, there can never be The Band again without Richard, just as the Fab Four lost any chance at a meaningful reunion without John.

There is certainly enough music to come which will bring together, in various forms, the four remaining members.

Posted on Fri Nov 19 13:58:19 CET 1999 from (


From: philly burbs

Lil & Matt, I here what you are saying, however, I don't understand why you both are viewing the subject from the glass is half empty point of view. I think that a guest appearence or a song from RR should be viewed as a positive. These guys were all good friends for a long time and they are not getting any younger. Wouldn't it be nice to see them burry the hatchet. Who knows, mabey the rekindled freindship may spill over to Levon. The way I see it, If RR's name on the CD helped Rick make some more money, then great. I do not think this would overshadow Rick's overall effort. Rick is a big boy who has earned respect by all of his peers as a result of his BAND efforts and post BAND efforts.

Posted on Fri Nov 19 13:46:19 CET 1999 from (

Ben Turkel

From: New Jersey

I agree with the last couple of posts regarding Robbie's contribution to Rick's new album. I doubt very much it will happen and don't see any reason for it. There are so many other artists who have performed or recorded or have professed admiration for the Band who would be better candidates for participation in this album. Off the top of my head I'm coming up with Eric Andersen, Colin Linden, Bruce Hornsby, Jorma Kaukonen, Graham Parker, Shawn Colvin, Bobby Charles and John Hiatt. And how about Adam Durwitz or Elvis Costello who is is quoted in the Hoskyns' book as a big fan of the Band.

Posted on Fri Nov 19 13:44:48 CET 1999 from (

Teppo Salmirinne

From: Oulu,Finland

Thank you ´cause your very good site. The best Band needs the best site.

Posted on Fri Nov 19 11:55:11 CET 1999 from (

Diamond Lil

From: one too many mornings

Stanley: Wow! I've mentioned a few times how alot of The Counting Crow's music is so reminiscent of The Band. So many of the instrumental parts, as well as Adam Duritz's vocals (I'd love to hear _him_ do "It Makes no Difference"). The tune 'A Long December' (one of my favorites btw) is also something I think Rick would do an incredible job on. The tune itself has some very emotional moments for me ("The smell of hospitals in winter"...if you've been there, you know what I mean)....and both Duritz and Rick have those wonderful 'emotional voices' that can carry something like that off and kind of 'take you there' if you know what I mean. Someday it would be great to hear these 2 men sing _together_. Wow!

MattK: I too, would not be crazy about the idea of Robbie rejoining Rick, Levon, and Garth as "The Band". First of all, without Richard, it wouldn't _be_ The Band. And secondly, if they were to get together, it would be nothing more than another 'oldies' show. It could never be as it used to be, and as much as i love going to the oldies shows at the county fairs here every year, I think it would really hurt my heart to see The Band in that catagory. Better to remember what was, and enjoy the individual efforts of what is now.

And btw...this is just an _opinion_, but although Robbie the "icon" is something that critics and interviewers can't seem to stay away from, I don't think Rick...or Levon and Garth for that matter...think of him as such. Because when it all counted, Robbie was just one of the boys. _He_ wasn't The Band. Nor were any of the others. All 5 of them were..which is why it can never happen again.

"It's been a long December, and there's reason to believe...maybe this year will be better than the last. I can't remember all the times I tried to tell myself, to hold on to these moments as they pass......"

Posted on Fri Nov 19 07:40:08 CET 1999 from (


From: somewhere not far from mitt but minus beer

Dan, it's difficult to open that can without really digging in on theories about the breakup and the feud. If there's anything I've learned hereabouts, is that discussion ends in nothing really productive 90% of the time. Having said that, I will make this observation...

Personally, I really don't want to see any kind of reunion between RR and the other guys as "The Band." While I think RR has no problem inviting Rick and Garth to work on his albums (obviously), I don't think Rick in particular would want RR. Less from a musical sense, but from the dynamic.

I never really think of Rick as someone who's mad at Robbie, in the sense that Levon is. Obviously there are folks out there on the GB who actually know Rick, and I'm going from interviews, but my sense is that Rick's more frustrated by Robbie the Icon than Robbie the Person.

I'm constantly amazed when I read various conversations with Rick or Levon or even the lone interview with Richard on this site that begin with some variation of "when ya gonna work with Robbie again?" Then, some inordinate amount of time is spent talking about the old days, maybe a couple TLW questions, and then, finally, some conversation about what's new. I see this, and I can almost hear Rick's or Levon's eyes rolling over in the back of their head: "25 years later, and it's still all about Robbie, no matter what we do." Personally, I think that's very unfair to Rick, Levon and Garth.

Even though I've been pretty up front that none of the post-TLW music by The Band excites me, I still appreciate how frustrating it must be, after spending X weeks/months on a recording, and X dollars out of your own pocket to cover the recording and tour costs, you still get asked the same old questions about something you did 20-30 years ago.

So when I try to imagine Rick and Robbie working together on a Rick project, I see Rick getting asked a lot of questions about Robbie, and the whole thing getting defined by the press as "Rick Danko Album with Robbie Robertson On One Track." If I'm Rick, I doubt I'd want that. I'm not saying it couldn't happen, but I think it probably wouldn't do Rick much good.

And, of course, I'm just making this up as I go along. It's just a theory.


Posted on Fri Nov 19 03:24:49 CET 1999 from (

Lola Sample

From: Canada

One of the most talented groups to ever make music! They should be remembered for all time, for what they did and the joy their music gave to others.

Posted on Thu Nov 18 23:48:12 CET 1999 from (



Carmen and Patrick thanks for supporting an appearance by Robbie on the upcoming Rick Danko album. It is time for everybody to shake hands. Rick sang on the first two Robbie solo albums and Garth contributed to more than a couple of songs. I think Rick and Robbie have another "Twilight" in them. It would be nice to see what a few afternoons could bring. Peter and MattK, please weigh in on this.

Posted on Thu Nov 18 23:30:03 CET 1999 from (

Mitt Stampler

From: Washington, DC
Home page

"Well, I've already had two beers, I'm headed for the broom--" Spent the afternoon writing a proposal and listening to the Basement Tapes and decided to stop into the Guestbook after happy hour. Wow! It's been almost a year since I first started lurking, and come January it'll be a year since I first posted. And what a year...looking at the postings tonight makes me think of all the great conversations and correspondences (is that a word?) that I've had in that time. Mattk, Mr. Landau, Paul Godfrey, Lil--nice to see you all! Paul and Stanley--my beloved spouse has developed this weird fascination with Don McKellar movies. I've been wondering: Do Canadians actually watch those films, or do they go to movies starring Arnold Schwarznegger and Brad Pitt like the rest of us? Had to ask after giving up a Sunday night watching "Last Night." For some reason, I'm thinking of one of my favorite observations of RR's: "Why do the best things always disappear?" But then, I've always believed--or wanted to believe--that he knew that they didn't always disappear. Peace! Mitt "Don McKellar is a fine actor but he does not RULE" Stampler :)

Posted on Thu Nov 18 22:32:05 CET 1999 from (

David Powell

From: Georgia

Bones: The version of "The Weight" that you refer to is Aretha's cover of The Band song. Duane Allman was a session guitarist at that time over in Muscle Shoals, Alabama. It was his slide-work on this song and on others such as "Hey Jude" with Wilson Pickett that helped establish his reputation as a guitarist among his peers.

Posted on Thu Nov 18 21:39:06 CET 1999 from (

Stanley Landau

From: Toronto

A comment on Acadian Driftwood and the extent of The Band’s influence.

Many commentators have noted the influence of The Band on the group Counting Crows (at least on the instrumentation if not the vocals). An excellent example is the song "Long December". Punctuated by Garth like accordion riffs and tasty (if not exactly RRlike) guitar, the underlying sound is balanced by bass, drums and piano. While there is no violin, synthesizer, organ or piccolo on Long December, the chords, cadences and even harmonies at the end of the song are very reminiscent of the end of Acadian Driftwood.

While many find Adam Duritz’s vocals and lyrics contrived and pretentious, there are a number of other "Band-like" Counting Crows songs that are certainly worth listening to. Another example is "Omaha" from their first album which features accordion and mandolin.

Posted on Thu Nov 18 21:29:46 CET 1999 from (


From: CT

There is a track of "The Weight" on Duane Allman's Anthology and underneath it says Aretha Franklin. Does this mean that this is Aretha's version which he played on or is this another song altogether or does some bozo think Aretha wrote this song? Anybody have this record?

Posted on Thu Nov 18 21:26:52 CET 1999 from (


jan and peter: the pictures look terrific! ya done me proud! thanks so much!

Posted on Thu Nov 18 20:58:11 CET 1999 from (


From: Illinois

I was looking at's entry of "Stage Fright," and to my surprise, there's supposed to be an Audio CD release of it in the year 2000 (doesn't give a month), and the retail price is about $7! It's being sold for a little less than that, of course, but I was wondering if anyone's heard about this new release. Isn't simply a reissue of the old album, or have they actually remastered it?

And while I'm at it, does anyone know if there are any plans to release remastered versions of the Band's albums in the U.S.? I'm a little hesistant to fork out $30 a pop for the Japanese editions.

Posted on Thu Nov 18 19:39:55 CET 1999 from (

David Powell

From: Georgia

Those who enjoy Garth & The Band's version of "The Third Man Theme" may be interested to know that Criterion is releasing a newly restored version of "The Third Man" movie on DVD next week. The print is restored from an original optical negative of the uncut 104 minute British version of the movie. Anton Karas' zither-based soundtrack has also been digitally restored. Among the wealth of bonus materials included on the disc is a performance by Karas.

Posted on Thu Nov 18 18:00:01 CET 1999 from (

Richard Patterson

From: St Kits

Can't add too much to the already comprehensive posts on Acadian Driftwood, except to say that I think it is the last great "collective" statement by the Band. That is to say, all three principle vocalists contribute fine performances, the music is a perfect setting for the lyrics, and the lyrics are sentimental yet compelling. From Robbie's opening guitar riff, to Garth's accordian and piccolo bits, to Byrone Berline's fiddle part, this is one big, complex, accomplished arrangement that the Band pulls off beautifully.

NL/SC has always struck me as a dark, ominous record. Even the upbeat tunes like "Ophelia" ask "why do all the best things disappear" (although this is balanced by Garth's great Lowrey organ fills). This record often gets critisized for being overly sentimental, and sure enough "Hobo Jungle" and "It Makes No Difference" always make me want to cry, but I ask you, isn't consistantly getting this response from your listeners really high art ? I mean when Dickens killed off Little Nell was it base sentiment or high art ?

Posted on Thu Nov 18 17:20:51 CET 1999 from (

Erik Johansson

From: Sweden

David Powell: That's right... But the "Work song" that the Paul Butterfield Blues Band recorded was written by Cannonball Adderley, I think...

Posted on Thu Nov 18 16:34:18 CET 1999 from (

David Powell

From: Georgia

WORK SONG: Many artists have recorded songs using this title and received authorship credit. Examples include Duke Ellington, Nina Simone, Kate McGarrigle and Wynton Marsalis. As I recall, The Paul Butterfield Blues Band recorded an instrumental entitled "Work Song" on their landmark "EAST/WEST" album.

Posted on Thu Nov 18 15:49:39 CET 1999 from (

Tanika Po

From: Up on the cripple creek

well...I can't scann anything to Jan or you others, I don't have a scanner at fact, I don't have a computer at all!But I would like to see your art...maybe I'll find a way..I'm going to do some aquarell paintings of them...A web site with Band! :)

Posted on Thu Nov 18 14:15:56 CET 1999 from (


From: philly burbs

Patrick, I'll second that and raise you RR playing on Rick's new release. Keep your fingers crossed.

Posted on Thu Nov 18 11:39:52 CET 1999 from (


From: SOUTH AFRICA is by far my favourite site on the Web. The love of the subject (one, I am sure is close to our hearts),the attention to detail, the depth of information is awsome. My greatest wish is that Robbie writes a real winner song for Rick. A song that brings back all that was good in the original Band and shows the world the importance of this music

Posted on Thu Nov 18 04:09:00 CET 1999 from (


From: Penn State

thanx to everyone who helped me out with directions to big pink. i really appreciate it. just to clear things up.....i'm not getting married there. i'm going to a wedding. thanx again.

Posted on Thu Nov 18 03:13:17 CET 1999 from (


A Toronto band called Richie Knight and the Midknights released their version of "Work Song" on a 45 in '65. I could be mistaken on this, but I believe the their pianist at the time was Richard Bell. Guitarist George Semkiw does a creditable sub-Robbie job on guitar too.

If Bell wasn't on that particular record, he was in the Midknights at about that time. A bit after that, Richie Knight was replaced by Richard "King Biscuit Boy" Newell who, like Bell, graduated to Ronnie Hawkins and the Hawks.

And speaking of Joe Zawinul, his "Mercy Mercy" was made a hit by the Buckinghams, whose Marty Grebb has a newish CD (filed under Blues in my local store). I don't have the money to buy all this stuff, but I did spot familiar names like Amos Garrett and Jim Keltner in the credits.

Posted on Thu Nov 18 00:50:26 CET 1999 from (

The Americanization Of Patric

An observation...For a site set up and run by a Scandinavian [ wonderful Jan ! ] and dedicated to a Canadian group this guestbook at most times is loaded down with American music trivia and associations between U.S. musicians and The Band.Whilst acknowledging that most of The Band's career was spent in the U.S. they were far removed from mainstream U.S. music,some stories or associations from outside America would be a refreshing change.One I can recall was a mysterious link with the seminal Australian band the Dingoes.

Posted on Thu Nov 18 00:18:44 CET 1999 from (

Peter Viney

Ragtime: Acadian Driftwood is not forgotten. I’ve been busy of late and the England v Scotland play-offs for Euro 2000 have taken two chunks of writing time (At last England won 2-1 on aggregate just an hour ago. Not gloriously, not well, maybe not even deservedly, but at least they’re in Benelux next summer for Euro 2000). BTW, any more points on the song? It’ll be a couple of weeks at least before I finish it.

Work Song: Zawinul would have been in Adderley’s band when the Hawks were in their Cannonball phase (as Levon describes it) in Toronto. I often wondered when and where the lyrics come from. Snatches of the melody appear in other instrumentals. If the lyrics are newer than Nat Adderley’s songwriting, they sound brilliantly authentic. I always wondered if the song was really another (Trad. Arr …) job. I’ll listen to any version of this number anytime by anybody BUT my all-time favourite, beating even Cannonball, is Bobby Darin with acoustic bass and drums on “Earthy”. It’s on his box set “The Bobby Darin Collection”. “Earthy” has never surfaced on CD. Shame. Amazing album. Of course, the tapes with The Hawks version from Dallas, 1965 are too rough to judge fairly from.

Weather Report / Band connection: Jaco Pastorius jammed with The Band.

Posted on Wed Nov 17 23:18:38 CET 1999 from (

medicine hat

los angeles times reports that the wife of los lobos guitarist cesar rosas is presumed dead at this point. you may recall that ms. rosas turned up missing some weeks ago, and her half brother was held for questioning, then released. the half-brother is still the focus of the investigation, but is reportedly not cooperating. an la times source stated that ms. rosas' van was found, with "enough blood in it" to indicate foul play or homicide. those familiar with los lobos know their connection with the band, but connection or no, those interested in good music, or just those with good hearts will no doubt keep the rosas family in their prayers.

Posted on Wed Nov 17 20:48:43 CET 1999 from (


From: CT

John Donabie: The Scrooged disc is wonderful(except for two tracks). Peter is right, for it is currently out-of-print, but I often see copies of it listed on Ebay. Good luck!

Posted on Wed Nov 17 18:35:46 CET 1999 from (


From: outer circle

For the Jazz freaks out there, keep in mind the Hollywood Bowl show was almost certainly Miles "Bitches Brew" era band. Those unfamiliar with Mile's work, Bitches Brew is about as far away from early 70s Band as Stockhausen or Edgar Varese. Given the number of psychedelics in use, I'm sure Danko's "pouring fire" comment is probably, if anything and understatement. This Davis band was as challenging and dissonant an ensemble as ever walked the earth. Also, remember, this is not acoustic jazz. It was highly electric, rather violent in character and VERY loud.

Posted on Wed Nov 17 18:34:19 CET 1999 from (


From: the North Country Blues
Home page

TO RICK: You asked about directions to Big Pink. Go to the archives: February 7th and 8th (thanks to REINHARD!). If this information was for any help, please, tell about your impressions of your visit in this gb, with a photo from your wedding in Saugerties, maybe... And Rick, GOOD LUCK to you both - may you stay forever young!

Posted on Wed Nov 17 18:29:52 CET 1999 from (


From: outer circle

Miles Davis to the Band, most links I have are circumstantial...except one...

The most direct link is through ROA, TLW, and RCO tuba-ist, Howard Johnson (who also appears on one of John Simon's solo albums). Johnson performed with Miles Davis and Quincy Jones in Montreaux, which resulted in the 1991 "Miles and Quincy in Montreaux" release.

HoJo was a member of the Gil Evans orchestra in the 1960s. Johnson was not on any of the released versions of the Gil Evans collaborations (Miles Ahead, Sketches of Spain, Porgy and Bess, Quiet Nights), however, in the "Complete Miles Davis and Gil Evans" compilation set, numerous outakes from the more recent albums (either/both Sketches of Spain and Quiet Nights), have HoJo on tuba.

On a unrelated note, Miles tended to record every studio album again and again, with the final version culled from the best cuts/band that Miles would deploy. This means that there are thousands and thousands of unreleased material by Miles in the Columbia vaults. Columbia has begun to release this material as alternate takes in remastered and compilation recordings.

Howard Johnson also recorded with Hank Mobley, who recorded with Miles in the early sixties during the period John Coltrane was transitioning out (Someday My Prince Will Come, the live recordings from the Blackhawk, as well as the famous Carnegie Hall concert from that same era. I believe HoJo and Mobley hooked up in the late sixties, after Mobley had been replaced by George Coleman in the Davis band.

Miles also, according to Danko via "This Wheel's on Fire" opened for the Band at the first Hollywood Bowl show. In the book, it's a great story where Danko relates how the Band's fans at the show must have been terrified as Miles "poured fire" on them.

More indirectly...

"Work Song" was covered by Levon and the Hawks. "Work Song" was composed by Nat Adderly, the brother of former Miles sideman Julian "Cannonball" Adderly. Cannonball's band recorded the seminal and most recognized version of "Work Song." I believe it even charted (though Cannonball's version is instrumental, and the Hawks covered a version with vocals). Josef Zawinul, who played piano on the orignal recording of Cannonball's "Work Song" eventually left Cannonball's band to work with Miles in the late-60s, early 70s. Of course, Zawinul and former Davis sideman Wayne Shorter formed the core of Weather Report in the 70s.

Another is Robbie's apocryphal or at least uncredited work with Charles Lloyd. Davis and Lloyd did perform together informally, though Davis, according to his own biography, did not particularly like Lloyd's playing (too "commercial").


Posted on Wed Nov 17 17:55:24 CET 1999 from (

David Powell

From: Georgia

For me, one of the highlights of "Jubilation" is The Band's collaboration with John Hiatt on "Bound By Love." In his own work, Hiatt has displayed an ability to blend his strong R&B-style voice with his great songwriting skills. That so many other artists have covered his songs is a testament to his gift for song craft. From straight ahead rockers to sensitive ballads, Hiatt's songs cover a wide range of music. From heartfelt sentiments & bluesy laments to the tongue-in-cheek humor of a pop craftsman, Hiatt's lyrics can take the listener in any direction and evoke the span of human emotions. Above all, he does this with grace & ease, without sounding contrived.

A great example of his gifts can be found on his 1987 album "Bring The Family." Teaming up with guitar-Zen master Ry Cooder, drummer Jim Keltner and bassist Nick Lowe, Hiatt paints a wonderful landscape of music, from the rolicking opening of "Memphis In The Meantime" to the moving "Have A Little Faith In Me."

Five years later, this same group of musicians would reunite for the collaborative Little Village recording sessions. This time out the songwriting would be spread among Hiatt, Cooder & Lowe, resulting at times in a loss of focus.

Speaking of Nick Lowe--he like Marty Stuart and Rodney Crowell was at one time a son-in-law of the Carter/Cash family. He was once married to Carlene Carter, June's daughter from her previous marriage to country star Carl Smith. Nick & Carlene have a beautiful daughter, Tiffany Anastasia Lowe, who is now an aspiring actress. June Carter Cash, on her recently released album "Press On," humorously warns her granddaughter about the dangers of life in Hollywood and urges her to stay away from a certain director known for his edgy, off-beat movies. June sings: "Quentin Tarantino makes the strangest movies that I've ever seen / Quentin Tarantino makes his women wild and Mean."

Posted on Wed Nov 17 15:42:51 CET 1999 from (


Well, dear friends of The Band, I've got so much to tell you... :-)

Lil & Ilkka: I'll email you privately.

Peter: Acadian Driftwood?

Posted on Wed Nov 17 13:41:52 CET 1999 from (

Roger Woods

From: Birmingham, UK

Totally disagree with you Lil about Ragtime's post. Reading between the lines he's being disrespectful to the fly. Good to have you back MattK. Roger

Posted on Wed Nov 17 12:54:11 CET 1999 from (

Diamond Lil

From: the sunny side of life

Ragtime: Totally agree with your last post. Next time though, do ya think you could be a little less wordy??? :-)

Feeling good here a handle on quite a bit of perspective here I think. A nudge in the direction of what really matters in the big picture. The love of family, the love of special friends, the music.... Don't mean to sound mushy or emotional here, but had a very scary experience yesterday that thankfully turned out ok. Made me appreciate even more the things that truly count I guess.

Anyhow..just thought I'd pass that along for anyone who might be going through a hard time. Where there's family and friends and music and life...there is hope. Have a good day everyone :-)

Posted on Wed Nov 17 12:30:20 CET 1999 from (


Posted on Wed Nov 17 04:04:24 CET 1999 from (


From: detroit, originally

Rick from Penn State: check the site under library, go to articles, check out misc. articles. there's some stuff there from others that have gone to mecca- directions if i remember well.

Posted on Wed Nov 17 03:37:09 CET 1999 from (


From: in the pool

Crabgrass: Thanks for the response on Levon's voice situation. All of us would like to imagine him back to his old form someday, for sure. Would be nice for someone out there who's in the know to keep us informed. Hang in there, Lee, we love ya!

Posted on Wed Nov 17 00:23:02 CET 1999 from (

Richard Patterson

From: St Kits

Band Thought: Don't know of Little Village, but the 1990 Nick Lowe l.p. called 'Party of One' can be looked up in the dictionary under 'cat's ass'. Features Ry Cooder, Jim Keltner, Dave Edmunds (also producer), etc.

Nick (the Basher) was the producer for 'Riding With the King', still my favourite John Hiatt l.p.

BTW, regarding the "Basher" moniker; Nick has been known to say "bash it out now, and tart it up later". Cheers...

Posted on Tue Nov 16 23:42:54 CET 1999 from (


From: Penn State

my girlfriend and i are headed to saugerties, ny this weekend for a wedding and i was wondering if anyone could provide me with some directions to Big Pink. thanx in advance.

Posted on Tue Nov 16 23:40:46 CET 1999 from (


I also meant to note, in reference to David Powell's post, that Ry's Rising Sons group included drummer Ed Cassidy for a time. Cassidy went on to form Spirit with, among others, Randy California, who'd played in Jimmy James the the Blue Flames with Jimi Hendrix AND John Hammond.

Posted on Tue Nov 16 23:36:11 CET 1999 from (


One route from Miles Davis would be via John McLaughlin, Carlos Santana and the live Bloomfield/Kooper supersession.

Posted on Tue Nov 16 23:29:25 CET 1999 from (

Peter Viney

John Donabie: I have a “Scrooged” CD in front of me as I write. A&M CDA 3921 (1988). I guess it’ll be out of print by now, so one for the second-hand shops. It includes Buster Poindexter covering “Brown Eyed Girl” credibly, as well as the other RR version of “Christmas Must Be Tonight,” and Miles Davis et al on “We Three Kings”. Miles Davis connections anyone? He was a major feature in two well-seperated “Rolling Stones” with Robbie interviews, and played support to The Band (see Levon’s book).

Posted on Tue Nov 16 23:09:42 CET 1999 from (


From: The Front Lawn

I wish they would release a version of "Don't Look Back" with Joan Baez skilfully edited out. She is exceedingly irritating in this film - I'm sure Don Pennebaker was sorry Bob brought her along.

Posted on Tue Nov 16 22:49:36 CET 1999 from (

David Powell

From: Georgia

This afternoon I ran across some good news for Dylan fans. New Video will be releasing a Special Edition DVD version of D.A. Pennebaker's "Don't Look Back" documentary on Jan. 4th. Bonus material includes: Uncut performances of five songs from the original footage ("It's All Over Now, Baby Blue," "The Lonesome Death of Hattie Carroll" plus three others); Audio commentary by Pennebaker and "tour manager" Bob Neuwirth; An alternate version of the famous "Subterranean Homesick Blues" opening cue-card scene; and the original theatrical trailer.

Posted on Tue Nov 16 22:38:46 CET 1999 from (

Band Thought

From: New York

David Powell: on the mark, as usual. Ry Cooder indeed has a kinship to The Band although looking at some of the artists he has worked with you might never know it. Who else but Ry could jump from working with Paul Revere and the Raiders to Captain Beefheart to Taj Mahal to the Monkees to the Rolling Stones to Arlo Guthrie to Steve Vai to Aaron Neville to......whew!

Little Village was a terrific little ensemble with Ry, John Hiatt, Nick Lowe and the ever-present Jim Keltner. I recall reading a review of their one and only CD with the remark that "Big Love" was reminiscent of The Band at its best. Yes Hillary, sometimes it takes a village to come close to the unique sound which The Band produced.

By the way, a good intro to Ry's music is via the primarily instrumental double-CD "Music By Ry Cooder." Even the old Band friend Harry Dean Stanton is featured on one of the tracks.

Posted on Tue Nov 16 22:12:54 CET 1999 from (

john gilmour

From: London

How come Paul Butterfield has 2 solos on the album of The Last Waltz but only one on the film? There is no mention of more than one version on The Complete Last Waltz bootleg blurb. Any ideas?

Posted on Tue Nov 16 22:06:12 CET 1999 from (

john gilmour

From: London

just getting started!

Posted on Tue Nov 16 21:32:37 CET 1999 from (


From: Philly 'burbs

Carmen - regarding the Aunt Pat CD. Aunt Pat is a local Philly area group that I've seen many times. For a long time they lacked a drummer, and I was thinking about taking the gig, but business commitments got in the way. Haven't seen them in a few years. So LEvon actually playes on a track on their CD? That's great. Keith (The Thief) Allen's son, Blake, is the de facto leader (for lack of a better word) of Aunt Pat. Later.

Posted on Tue Nov 16 21:25:45 CET 1999 from (

John Donabie

I wish the "Scooged" soundtrack would be released on CD. It's the only CD with Al Green & Annie Lennox singing, "Put A Little Love In Your Heart." They didn't record it physically together; but you would never know.

Posted on Tue Nov 16 20:32:59 CET 1999 from (


Richard: a bit more info about Karen Dalton is available at this site's discography.

Posted on Tue Nov 16 19:59:11 CET 1999 from (

David Powell

From: Georgia

I was listening to Ry Cooder's fine 1972 album "Into The Purple Valley" last night. A collection of great covers and arrangements of traditional songs, the overall theme of the album is the migration of Dust Bowl farmers to the "promised land" of California. This is an excellent companion work to go along with "The Band" album for an enjoyable evening of music.

Along with The Band's "King Harvest," Ry Cooder's version of "Taxes On The Farmer Feeds Us All" are two of the best songs dealing with the plight of family farmer. Accompanying his eclectic choice of material and arrangements, Cooder's incredible slide guitar and mandolin work on this album make this one of his best works. From his amazing mandolin playing on "Billy The Kid" to the dark, haunting acoustic slide guitar on Woody Guthrie's "Vigilante Man," this is a wonderful musical journey across the American landscape.

Posted on Tue Nov 16 19:56:59 CET 1999 from (

Paul Godfrey

Hi John & Bill. "its the Tommy Shannon Show...on KB in Buffalo" is the way I remember it. Must admit I borrowed the idea and had a local Kingston band record as "its the Paul Godfrey Show on CKWS Radio" back in '66. Hey if its good...borrow it right! ;o) Of course after WKBW Tom really went big time on the BIG EIGHT CKLW..29 states and 4 provinces. We co-mc'd a night at a tavern in Kingsville Ontario. He was a great person. Wonder if there could be a Band connection?

Posted on Tue Nov 16 19:53:34 CET 1999 from (


From: CT

Does anybody know which track(s) Garth and Rick play on Robert Palmer's Heavy Nova record? I'm pretty sure I hear Rick's vocal and Garth's accordian on "Change His Ways" but I wanted verification. It doesn't say in the Cd liner notes.

Posted on Tue Nov 16 19:40:45 CET 1999 from (

Dave Z

From: Chaska, MN

Tanika Po: I do art too... in fact I am in the process of doing a big Band mural... So far I've just got a plan and a bunch of pencil sketches made while daydreaming... but if it turns out half way decent, maybe I'll send a scan to Tracy and Jan... by the way, I'd love to see a pic of your Richard sculpture too...

Posted on Tue Nov 16 19:28:30 CET 1999 from (

Richard Patterson

From: St. Kits

Just aquired a CD by Karen Dalton ('It's So Hard To Tell Who's Going To Love You The Best'). This chick has been down the drainpipe for sure. "Blues on the Ceiling" ("Never get out of these blues alive"), "It Hurts Me Too". Weird, 'cause I was all ready for a Joan Baez clone, and I got a Marlene Dietrich clone. Great songs (blues standards by Jelly Roll and Leadbelly) mixed with contemporary folk (this was originally released in '69 so contemporay folk means Tim Hardin). The back cover shows Karen jamming with Bob Dylan and Fred Neil at the Cafe Wha? in Feb '61. So there's your band connection.

Recommended to anyone who enjoys the unusual.

Posted on Tue Nov 16 18:35:02 CET 1999 from (


From: the North Country Blues
Home page

TO DEXY: *New Morning* is in my opinion the most Bandish Dylan album and the piano is great! (BTW If you wonder the word *Bandish* - this is how it is. Some American executive in the Swedish automobile combany SAAB said these words of their new model: *A good car, but is it SAABISH enough?* So, Bandish - Saabish, it works for me anyway . . .)

Tanika Po and other artist: an art exhibition of the Band in the Web, wouldn't that be something.

Posted on Tue Nov 16 16:37:34 CET 1999 from (


I'm sure John was correct to guess Tom Shannon. Shannon's back in Buffalo, according to Big John Little of the Hot Toddys, one of the two Southern Ontario bands he recorded for his Shan-Todd and Abel labels in the late '50s. Their "Rockin' Crickets" from '59 was one of Hendrix's favourite records of the time, according to one of the bios.

The other group was the Consuls, just before Robbie Robertson joined. The Consuls split when Robertson and fellow Consuls Peter Deremigis and Gene MacLellan met Scott Cushnie and decided to form the Suedes. (The two remaining Consuls added some new players and went out as Little Caesar and the Consuls.)

Posted on Tue Nov 16 16:14:13 CET 1999 from (

Peter Viney

Carmen: “Winter Fire & Snow” on Atlantic (1995) has “Christmas Must Be Tonight” in the Robbie Robertson version in an “eclectic” mixture (i.e. they don’t go together too well). This version is different to the solo one on the “Scrooged” soundtrack. These albums seem to stay around forever, so I’d guess it’s been reissued this year.

Posted on Tue Nov 16 14:47:39 CET 1999 from (


From: Philly Suburbs

Anyone know of a Christmas compilation available today that contains "Christmas Must Be Tonight" performed by the Band or any member of the Band? Thanks!

Posted on Tue Nov 16 13:31:47 CET 1999 from (

Andy Johnson

From: Birmingham, England

I've only recently discovered the Band after getting into Dylan but "The Band" is one of the greatest albums i've ever heard. I'm going to go now and listen to Up On Cripple Creek but i'll definitely be back. Oh, and everyone should go out and buy anything by the Super Furry Animals, the best band in the world!

Posted on Tue Nov 16 13:26:54 CET 1999 from (


From: Woodstock Records
Home page

Greetings out in cyber BAND-LAND!

Just a quick note : Rick Danko & Professor Louie are about
to embark on a promotional tour of the midwest.

More details as it happens !

Here's the schedule as of 11/15/99 :

Sunday - Nov. 28th
AIDS Benefit-
Rick Danko w/ Professor Louie and the Crowmatix
-G.W. Tavern - Washington Depot, Conn. (860) 868-6633


Monday - Nov. 29th
Woodsongs Radio Show- Rick Danko w/ Professor Louie - Location TBA - Lexington, Kentucky

Tuesday - Nov. 30th
Rick Danko w/ Professor Louie
Lynagh's Music Club - 388 Woodland Ave. Lexington, Kentucky
(606) 255-6614 - 10pm.

Wednesday - Dec. 1st.
Rick Danko w/ Professor Louie
Cleveland, Ohio - Location TBA

Thursday - Dec. 2nd
Rick Danko w/ Professor Louie
Chicago,IL - Radio Show w/Nick Tremulis Band LIVE ON THE AIR

Friday - Dec. 3rd
Rick Danko w/ Professor Louie
Cubby Bear - Chicago,IL - w/Nick Tremulis Band - 1059 West Addison-Chicago,IL
(773) 327-9455

Saturday - Dec. 4th
Rick Danko w/ Professor Louie
Cubby Bear North - w/Nick Tremulis Band - 21661 N. Milwaukee, Lincolnshire IL. (847)-541-4700

Monday - Dec. 6th
Rick Danko w/ Professor Louie
Recording "Acoustic Cafe" Radio Show

Tuesday - Dec. 7th
Rick Danko w/ Professor Louie
"The Ark" - 316 S Main St. - Ann Arbor, Michigan (734) 761-1800

As always, check the site and of course, here at Jan's great site.

Thanks for your love and support -

Peace from Woodstock!

Tom/Woodstock Records

PS. Santa Claus is coming..... check out the Christmas special on the Woodstock Records merchandise page.

Posted on Tue Nov 16 11:42:54 CET 1999 from (

Diamond Lil

From: one more cup of coffee

Peter: Funny, but 'Southern Cross' is one that I carry around with me too. We all know that CSN and The Band have connections, so I'm not going to try and justify this post. Just going with the feeling this morning. I absolutely agree that the tune is CSN's best.

Think about how many times I have fallen. Spirits are using me, larger voices calling. What heaven bought you and me, cannot be forgotten....."

Good Stuff.

Tanika: Would love to see your sculpture of Richard! Can you take a photo and scan it to Jan? I think everyone here would be interested. Thanks!

Sundog: Nice to 'see' you again! What new project are you working on..and are we all invited? :-)

Wishing I could leave Crazyville for a few weeks or so. There's something so incredibly ominous about crazed city people (no offense to anyone who's not up here now) running around the woods with rifles and beer, shooting at anything that moves. Time to hang the "DOG" sign around the pooch's neck I suppose....

John Donabie: Very nice to see you back. I missed you :-)

Sea Shepard: Please mail me!

Have a good day everyone.

Posted on Tue Nov 16 06:08:22 CET 1999 from (

liz palace

From: born in New Mexico, currently in Missouri

In the past few years I have been searching for my Navajo hertiage, a gift from my father. In this search I came across this sound track and I have shared it with any one who will listen to it. It is very inspirational and comforting. When I lost my mother in law, Teresa (Apache)- I offered your songs to heal my husbands family. A comfort they will never forget. Thank you

Posted on Tue Nov 16 05:27:04 CET 1999 from (

Pat Brennan

From: USA

Re: BOTT. I've yet to hear of a vinyl version of the original version of BOTT in circulation. Most of the boots supposedly come from the acetate copies Columbia made. Recently, a pristine acetate has resurrected and a boot entitled Blood On The Acetate is the result. A few other things. I was somewhat inaccurate in my last post. The released version contains a number of songs from the NY sessions: Shelter from the Storm, You're Gonna Make Me Lonesome, Simple Twist of Fate, and Meet Me In The Morning. The other five songs are from the Minneapolis sessions. The Official Bootleg Series also misidentifies the version of Idiot Wind (ironic) included in the boxed set. Paul Griffin overdubbed a genius organ track and Dylan actually overdubbed a vocal line. While claiming to be this version, the OBS includes the track without the overdubs. Odd because the liner notes extol Griffin's playing. BTW, the first time I encountered the NY sessions was a double-vinyl boot called Passed Over and Rolling Thunder. No Band connection, but it did have Newport 65, Chicago 75, and the NY BOTT sessions.

Posted on Tue Nov 16 04:33:28 CET 1999 from (

Mike AND Robin Raines

From: Alabama


Posted on Tue Nov 16 03:04:07 CET 1999 from (


From: texas austin

thanks for the nice comments about the robbie guitar stuff folks! I went on a trip to dallas and listened to "Live '66" and thought of some other stuff too i'll add soon. enjoyed David Powell's postings on the great Willie Johnson. Peter V, I'd be honored to have you paste our posts together but hang on just till I finish what I'm working on now after studying Live 66 ok, that ties it all together ( i think)

interested in persuing robbie's spirituality also but i just need a little more time in that dept. of study o.k?

Tanika Po: i paint and draw little doodles of the Band for amusement and for friends but havent thought of submitting them- but now i have! i'll get to that soon!

finally, picked up a copy of "The Land The Blues Comes From"(did i get that quite right?) by Alan Lomax. best damn book i ever read!( so far) lots of interesting stuff, too much and to heavy to mention but appropos blues as a "vocal" music form very interesting histories. get that book y'all!

Posted on Tue Nov 16 01:55:09 CET 1999 from (

John Donabie

Hey Paul Godfrey.....could it be Tom Shannon at WKBW Buffalo? By the way the Tom Shannon theme is now available on Ace records on the best of the Rockin' Rebels or the Buffalo Rebels as an import.

Posted on Tue Nov 16 01:33:46 CET 1999 from (


From: Down South In New South Wales


I must admit I was sceptical as I looked down the running order and saw some old classic standards on the song-list, more of the same ?...not at all, With the greatest respect to Richard & Levon I always thought that Rick's voice captured the real spirit of The Band, while not having the range of Richard or the power of Levon in his prime it has something quite hard to pin down, maybe the inflections, maybe the emotions conveyed, whatever it is though it really comes to the fore on "LIVE ON BREEZE HILL ".

Highlights [ and there are plenty], Blaze Of Glory..ten seconds into the song I was looking for a cowboy hat and a bale of hay to sit on !, Garth in the intro' to "Chest Fever" takes us from a monastery to a midnight carnival and drops us off at the phantom of the opera as the song opens.I saw Rick perform "Shape I'm In " at a concert in Sydney in 1988 and thought as it began "hey, thats Richard's song " but he sung it beautifully as is the case on this release, one bomb, Crazy Mama[ like chalk sliding down a blackboard to me].

Musically "LIVE ON BREEZE HILL " is probably the best produced "live" release Ive heard, all the musicians get ample opportunity to showcase their talents, A real revelation for me was Jim Weider's guitar playing , he's had plenty of people in the GB extol his talents but I'm ashamed to admit I was one of the "he'll never be as good as RR club " ,his playing on "BREEZE" is truly wonderful.The highlight of the CD for me is "TWILIGHT ", this song has always epitomised to me what the Band was all about, more so than all of their famous songs, on "BREEZE" it positively sparkles with emotion, Ricks voice hasnt the power of years gone by but that special magic is still there and on "Twilight" it calls forth all sorts of sentiments from nostalgia to rapture.

Aaron Hurwitz adds his considerable talents to the production and wonderful to hear the female backing singers, something I thought The Band could have done more with in earlier releases.This collection to me lies somwhere in between the smooth "Rock Of Ages " and the belligerent "Before The Flood " it's the Band CD we were always promised but never recieved.

"LIVE ON BREEZE HILL " is the missing piece of the jig-saw in the history of The Band and all it's distinguished members.

Posted on Tue Nov 16 01:31:33 CET 1999 from (

Paul Godfrey

Ok...trivia time boys & girls! "Wild Weekend" by the Rockin Rebels was the theme song for what dj on what station?

Posted on Tue Nov 16 00:51:25 CET 1999 from (


From: The Front Lawn

The film "You Are What You Eat" (Directed by Peter Yarrow) was re-released on VHS in '97 or '98 - I don't have a copy unfortunately and have not seen it around in stores recently but it might be available on the internet.

Posted on Tue Nov 16 00:35:43 CET 1999 from (

Mike Nomad

From: Moonbeam, Ont.

Bill Munson: Rather interesting stuff re yr Capson post, espy the Rockin' Rebels data. Was unaware of the Dave Mickie connection.

Posted on Mon Nov 15 21:06:58 CET 1999 from (


From: CT

Lucky Day! I found a copy of the soundtrack to "You Are What You Eat" on compact disc. I can't believe it got re-released on disc. It was in the discount bin at a local record store selling for $1.99.

Posted on Mon Nov 15 20:52:17 CET 1999 from (

David Powell

From: Georgia

Regarding the alternate version of Dylan's "Blood On The Tracks": It's quite possible that Columbia may have shipped out a few copies of the album containing the alternate versions of the songs. When last minute changes are made, often advance copies of the original version are already in circulation, as was the case previously with Dylan's "Freewheelin'" album.

If my memory serves me well, the "Bootleg Series, Vol. 1-3" box set contains four songs from the previously unreleased original New York sessions. They include "Tangled Up In Blue," "Idiot Wind," "If You See Her, Say Hello" and "Call Letter Blues" (an out-take). An excellent alternate version of "Shelter From The Storm" was included in the soundtrack from the movie "Jerry McGuire." This version received a prominent placement in the movie at the close of the final scene.

"Blood On The Tracks" was released at a crossroads in both Dylan's career and personal life, following the breakup of his marriage. The title of the album was most appropriate--the songs so deeply intense and personal that one could also see the blood Dylan shed in recording them. As great as the album is, I've always wondered how the songs would have sounded if The Band had backed Dylan on the sessions.

Bill Munson mentioned two rather weak cover versions of Joe South songs. No, K-Tel hasn't released a greatest hits compilation, but both Rhino and Koch have in the '90s. Perhaps my favorite cover version of a Joe South song is Aaron Neville's rendition of "Greatest Love" which was produced by Allen Toussaint.

Posted on Mon Nov 15 20:40:31 CET 1999 from (


Lance Anderson reports that "2B3: The Toronto Sessions" (featuring Richard Bell and two Band covers) can be had for 20 Canadian dollars; Lance can be reached at

Posted on Mon Nov 15 20:25:06 CET 1999 from (


From: The Front Lawn

Well, I heard that Levon had a recent bout with throat cancer - don't wish to be spreading a rumor so if anyone has knowledge in the opposite direction please do come forth and clue us all in. It seems to me that someone out there or in there should know the facts. And whatever the case I'm sure we all wish him well even if the voice never returns to full power.

Posted on Mon Nov 15 19:12:47 CET 1999 from (

Peter Viney

Ben: Hope you have a great time in London (on a sunny day Greenwich is a good place to stroll and take in the views). We are fiendishly clever here with prices. Because the pound’s a bigger unit, everything initially LOOKS cheap until you think about it. We rely on people thinking in dollars, and saying ‘Hmm, 5.99. That’s not bad.’ On one hand, tax is already included in the price, so WYSIWYG, but on the other hand that tax is 17.5%. We get the reverse effect where everything seems great in the USA until tax and service are added. Last time I was in the US, I noticed DVD prices were rapidly converging (US going up, UK coming down), but CDs are a big differential still. The Japanese Band imports were way cheaper in Tower than in Virgin or HMV a few weeks back.

Lil: Stephen Stills (with C & N) on “Southern Cross” is on many of the compilations I tend to carry around. I always thought it was their best song.

Posted on Mon Nov 15 16:14:06 CET 1999 from (


I was in a used record store on the weekend and turned over a 1972 LP I'd seen but ignored many times before (by New Brunswick singer Allan Capson on the Marathon label) and was surprised to see both Stan Szelest and Jerry Warren listed in the credits. Jerry Warren was the leader of Jerry Warren and the Tremblers, the Hawks principal farm team during the early '60s: Stan Szelest, Rebel Paine and Sandy Konikoff joined the Hawks from the Tremblers, and Scott Cushnie joined the Tremblers after leaving the Hawks - taking with him bassist and long-time Robertson crony Peter Traynor.

Sandy Konifoff, by the way, now plays in the Buffalo area with the Rockin' Rebels - best-known for their classic 1960(?) instrumental, "Wild Weekend". The same group provided instrumental backing for the only record by the Revols' manager, Dave Mickie (who was also a popular radio dj, and worked for some years with John Donabie at CHUM-FM).

Posted on Mon Nov 15 14:46:17 CET 1999 from (

Tanika Po

From: A looooong country...shhh

I'm so proud of myself, I made Richard Manuel by some cernit...or what you call it in english. A sculpture, small one...He looks like a god from Greece tough... =D But I think he was a God! P.S Does someone else here paint or something like that?

Posted on Mon Nov 15 13:03:23 CET 1999 from (

Ben Pike

Well Vinney, I am making my first trip ever over here in LONDON . So far, Highgate Cemetary in the best. But I resested buying a copy of the import ISLANDS(kinda hard to find) cause I still think I can beat the price at home. Everything is pretty expencive here. Well, I just read Eric Alterman's rather dulsutory IT AIN~T NO SIN TO BE GLAD YOURE ALIVE; and he lists some examples of the mainia of Springsteen hardcores. They have nothing on us Band Fans, I can tell you that. Everyone have a great week.......

Posted on Mon Nov 15 13:00:21 CET 1999 from (

Diamond Lil

From: the state of confusion

Ingrid: Quite a bit of the info you're looking for can probably be found by reading through the archives of this guestbook. Everything you always wanted to know about The Band...and then some :-)

_Southern Cross_ University....brings back the memory of a tune...and the memory of a friend....and how hard it is to let go, especially when you don't know why you even have to...

Sorry. I digressed. Have a good day everyone.

Uncle H: Love You :-)

Posted on Mon Nov 15 05:09:25 CET 1999 from (


From: Australia

Hello, I am a third year music student at Southern Cross University, Australia. I am currently writing an article to be printed nation wide that focuses on The Band. Although, I do have some information, I am finding it hard to obtain resources on the following: * Approx. marriage dates of all members in the band. * Children - DOB, careers now etc. * Current relationships between each band member. * Plus any other interesting stuff on them. For example, behind the scenes stories etc. * Also, does anyone know how I can contact Rick Danko??? (e-mail, or through manager...whatever.) Thanks. I'll appreciate a reply, as this article goes towards my final grade. From Ingrid. P.S. The Band rocks!!!

Posted on Mon Nov 15 03:15:22 CET 1999 from (


Ikka -- my longtime favorite Dylan album is... New Morning. Love every moment, especially his piano. The solo, rough and tumble, in Sign on the Window is probably my all time favorite.

Posted on Mon Nov 15 01:59:59 CET 1999 from (


From: Fla

To Bones from Ct. Hey, I'm a former Nutmegger and a long time Band Lover who has been wondering about Levon's voice also. I was saddenned the first time I listened to Jubilation to think that what was once a collection of unbelievable voices in Richard, Levon and Rick (in that order in my opinion) had given way to just a frail Levon and Rick. Would appreciate any info here on this subject from anyone who's "in the know"

Posted on Sun Nov 14 23:55:29 CET 1999 from (


From: Madison, Wisconsin, *AMERICA'S JERRYLAND*.
Home page

High everyone, its been a while that I've been here and its because of a new event that I'm up to my neck in. I'll be going to Rick Danko in Ill., and hope to see a few of you there in support of his music!

Posted on Sun Nov 14 23:51:36 CET 1999 from (

Pat Brennan

From: USA

Blood on the Tapes (and Blood on the Acetates) both feature Eric Weissburg's bassist Tony Brown; it's difficult to tell who else might have played on the first go-round but it definitely isn't the full Deliverance band. Overdubs included Buddy Cage on pedal steel and Paul Griffin on organ. In December of 74, this version was being mastered by Columbia when Dylan went to Minnesota for the Holidays. There he re-recorded the entire album. The released version of BOTT features the five musicians from Minneapolis.

Posted on Sun Nov 14 23:22:41 CET 1999 from (


From: The Front Lawn

Right on! The Band Rocks! The Band Rules!

Regarding BLOOD ON THE TRACKS - while a great album, I have come to prefer the bootleg version BLOOD ON THE TAPES which is comprised of outtakes not featuring the super polished backing of Eric "Deliverence" Weissberg and his cohorts. Particularly great are the completely different versions of "Tangled Up In Blue" and "Lily Rosemary and the Jack of Hearts."

REGARDING SELF-PORTRAIT - while the reordering of the songs may improve it somewhat I think the outright elimination of most of the tracks would improve it even more as would the elimination of that hideous cover painting. "Wigwam" is certainly an embarrassment to any true Dylan fan although I'm sure it was instrumental in shaping Robbie's recent musical direction.

Posted on Sun Nov 14 21:45:41 CET 1999 from (

Jim ( the Greek ) Pernokis

From: Ontario

Great site, great photos. Been a Band fan from day one. Simply the best rock band ever.

Posted on Sun Nov 14 21:29:55 CET 1999 from (

Richard Patterson

From: St Kits

David Powell: Would you know if the two different versions of 'Blood on the Tracks' were both available commercially ? I have noticed two different covers for this album (one with sleeve notes by Pete Hamill on the back cover, and the other one eliminating the notes and blowing up the artwork to cover size). Is the music different too?

Every track on this album "tingles to your bones". Bob was obviously on a high when he recorded this, a high that he doesn't again achieve (other than the odd song) until 1990's 'Under the Red Sky' (IMHO of course). My faves: "Simple Twist of Fate", "Idiot Wind" ("I can't even touch the books you've read") and "If You See Her, Say Hello". Beautiful stuff.

Posted on Sun Nov 14 02:44:33 CET 1999 from (


From: Planet Gong
Home page

Het totally stumbled on your site, I,m glad you guys are still out there. Hey Riddley, you got any Beamans?

Posted on Sun Nov 14 02:10:58 CET 1999 from (

Pat Brennan

From: USA

I just ran into this on a Dylan site. This is the recording order of Self-Portrait, rather than the album's sequence. The poster claims that listening to the songs in this order imparts a fluidity otherwise lacking: Livin the Blues, Let It Be Me, Take a Message to Mary, Litle Sadie, In Search of Litle Sadie, Belle Isle, Copper Kettle, It Hurts Me Too, The Boxer, Woogie Boogie, Days of 49, Early Mornin Rain, Wigwam, Albert #2, Albert #1, Gotta Travel On, All The Tired Horses, Isle of Wight (4 songs), remaining Nashville tracks.

Posted on Sat Nov 13 22:25:41 CET 1999 from (


From: CT

Mattk: I'm glad to see you back!

Garth and Rick are playing together. What about Levon? I know he is enjoying his blues band, but why doesn't he show up on some of Rick's dates like Garth? Any more word on the progress of his voice?

Posted on Sat Nov 13 19:28:43 CET 1999 from (

Charlie Young

From: On on Ferry Called the Baltimore...

Jonathan Katz and I are both fans of a Baltimore-Annapolis area radio station called WRNR, where songs by The Band are frequently featured in the station's free-form format. I'm usually only able to hear the station when traveling in Maryland, but just started listening on Real Audio through It's one of the few true free-form stations left in the vast radio wasteland, so check it out. I've listened to one dj there on and off for over 25 years and he's always been a fan of The Band. He's Damion Einstein and he sounds a bit odd sometimes due to injuries from a car wreck years ago...

Posted on Sat Nov 13 18:05:51 CET 1999 from (


From: the North Country Blues
Home page

I have not dared to say this in public in almost 30 years. I must do it now - There have been fabulous Dylan lists in this gb. Poor me, I have my favourite: SELF PORTRAIT. I tape recorded DAYS OF 49 over and over again, drove in a worn out Chevy the Highway 49 in 49 miles /hour, listened to the song 49 times, remembered the men of 49 (not the football players, but the gold miners) and played 49 banjo tunes in Fiddle Town and saw the 49 tired horses in the sun.

Posted on Sat Nov 13 17:47:07 CET 1999 from (


From: Oregon

Stanley -- If my mem'ry serves me well, the Festival Express was in July of 1970. I had moved from Toronto in '68 and was living in California at the time, and I remember wishing I was still up there so I could see the shows! Regards.

Posted on Sat Nov 13 16:08:16 CET 1999 from (

Stanley Landau

From: Toronto

Just looking at the tapes from the 70's and I have a minor query for Paul Godfrey, Bill Munson, Serge or any other Southern Ontarians. Wasn't the Festival Express in June of 1970 rather than August? I was in high school and I seem to recall that it coincided with the beginning of summer vacation. The Band headlined the first night and Janis Joplin the second night at Exhibition Stadium.

Posted on Sat Nov 13 08:54:37 CET 1999 from (


From: the little bighorn

feel like betting, send me your NFL picks for sunday with the margin of victory. thnx.

Posted on Sat Nov 13 08:52:52 CET 1999 from (


From: tomorrow a winter wonderland, hopefully

Thank you Matt, for your wise words! I must print them. The world is not so small that appreciating one' s work is denying others'. The Band is the finest band of all time because everyone in it is/was a real own person and an outstanding artist, authors in their ownselves. I think Gershwin would have been the first to admit that Billie took The Man I Love to new heavens, created the sublime song out of the great song.

Posted on Sat Nov 13 08:22:07 CET 1999 from (


From: The Front Lawn

Great idea! With casinos springing up on Native American lands (f/k/a "Indian Reservations") all across the country maybe Robbie should weave his entire family heritage into a single album combining Native American and Klezmer music (hot stuff if you've never heard it) into a really visionary album or even turn it into a Broadway stage musical - an endeavor he hasn't yet undertaken.

Posted on Sat Nov 13 07:12:34 CET 1999 from (


From: the little bighorn

i wonder if rr's next personal roots foray will be hassidic chants, as his dad was a jewish gambler out of toronto.

Posted on Fri Nov 12 22:58:23 CET 1999 from (


From: outercircle

Garth's technique: There is something so spontaneous in Garth's approach to the keyboards, the seemingly instantaneous ability to shift gears and styles from measure to measure, I wonder how anyone could write such I book. I wonder if Garth himself could translate his "Garthness" into something pedestrians like us could comprehend or assimilate. Seems like it would be like writing a book on "how to pray."

Posted on Fri Nov 12 22:50:53 CET 1999 from (


From: outer circle

Kalervo, actually, I dug your more "spiritual" analysis of the Native stuff and could not agree more. There is a definite otherworldly quality to them, which is probably why so may traditional Band folk find it hard relate to. So much of the Band's material, while often spiritual by implication, is somewhat existential. Mythology as applied in the pre-TLW Band material seems almost cautionary--no doubt stemming from those same qualities that dominate the BT material.

It's important to note, I think, that RR's foray into his "roots" is a by-product of where his own head is. RR, in interviews regarding Red Boy, time and time again quotes from his Red Boy composition where he refers to "this is where we go off the road, past the powerlines..." or something to that effect. RR is in that enviable place in his life where success has allowed him to pursue personal/spiritual matters with resources unavailable to 99% of us. While some would say that success is "ill-gotten" or whatever, the fact is, RR is exploring internal territory as much as external territory in his new material. I often wonder how this feels for him. After all, so much of his previous work was templating his personal ideas, visions, whatever onto those of others, usually with great success. I don't know of too many songwriter/performers in the Rock era so adept at composing material which is sung/performed by other people who in turn are so talented that they can make their own. Perhaps this is ultimately where the 'rift' begins.

Old Band material soars with Richard, Rick and Levon, and certainly would never have been as musically successful (as opposed to sales or monetary success) without their talents and ability to express themselves musically. It's a tribute RR that he can write material that works this way and a tribute to the other members of the Band that they could bring it to life so brilliantly.

After that, it becomes a chicken vs. egg issue in my mind. If I'm Levon or Rick, how cannot I not be bothered when I'm told a song "belongs" to another person, when I've poured my own heart and soul into the signature version--regardless of composer?

Is "The Man I Love" ultimately a Billie Holiday song? Absolutely, but it takes nothing away from Billie to note that George Gershwin composed it. Nor does it besmirch Gershwin to note that Billie, perhaps more than anyone, brought that song to life.

I think you are right, in a Zen world, there would be no 'rift.' Distinctions like these are unique to our somewhat capitalist view of ownership. I wonder, given the native american view that no individual truly "owns" anything, how RR's own sense of his music may be changing as he delves deeper into that world. I suppose there's a lesson in there for everyone...


Posted on Fri Nov 12 22:07:20 CET 1999 from (


Talking about Joe South, the guy wrote so many hits that he deserves his own K-Tel album. Who can forget the immortal hit version of "Down In The Boondocks" by Billy Joe Royal? Or "Birds Of A Feather" by Paul Revere and the Raiders?

Posted on Fri Nov 12 19:14:52 CET 1999 from (

David Powell

From: Georgia

Mr. Johansson, you are indeed correct. Joe South's own recording of "Games People Play" won the Song of the Year Grammy in 1968. Deep Purple had their first hit with their version of Joe's "Hush." Lynn Anderson had a big crossover country/pop hit with her recording of Joe's "I Never Promised You A Rose Garden." Ry Cooder covered Joe's "Down In the Boondocks" on his 1980 "Borderline" album, which featured a cast of back-up musicians that included John Hiatt, Tim Drummond & Jim Keltner, who have all worked with members of The Band.

Jan recently posted a picture of Garth Hudson posing with the Indigo Girls in Atlanta's Southern Tracks recording studio. Legendary Atlanta music publisher Bill Lowery built the original Southern Tracks in a converted schoolhouse in the mid-'50s. The studio was originally used as a workshop for Lowery-affiliated artists that one time included Joe South, Ray Stevens & Jerry Reed. Many Atlanta-based musicians got their start working for Mr. Lowery, before going on to wider success & fortune.

In the early '80s, a new state-of-the-art Southern Tracks was rebuilt at its current location on Clairmont Road in northeast Atlanta. It has become a favored recording site for artists from all over the world. In addition to the Indigo Girls, the list includes Atlanta-based producer Brendan O'Brien, Dylan, Pearl Jam, Aerosmith, Stone Temple Pilots, Black Crowes, Matchbox 20, Rage Against The Machine, Curtis Mayfield, Wide Spread Panic, Korn, Limp Bizkit, Brian Setzer, Sinead O'Conner, and part-time Atlanta resident Elton John, just to name a few.

In a way, due to the success of Joe South's songwriting skills honed at Southern Tracks, you might say that Mr. Lowery's present day studio is the House that Joe South helped build.

Posted on Fri Nov 12 18:47:18 CET 1999 from (



. . . and together with Kenneth Buttrey and Charlie McCoy he made that wild Dylan/Nashville sound!

Posted on Fri Nov 12 18:08:48 CET 1999 from (

Jonathan Katz

From: Columbia, MD

Mattk got a general connection between Dylan, Maris, and McHale: "must be a minnesota thing." Dylan, Maris and McHale were all from Hibbing, MN. I didn't know this, but Bill supplied the name of another Hibbing resident: Gary Puckett of the Union Gap. [Yes Bill, this was definitely going from sublime to ridiculous.] I once had a t-shirt with pictures of Dylan and Maris from Zimmy's, a bar in Hibbing. Unfortunately, someone on the staff of a hotel in New Orleans liked it just as much as me.

Posted on Fri Nov 12 17:02:51 CET 1999 from (

Erik Johansson

From: Sweden

David Powell: Could that perhaps be Joe South you're talking about??

Posted on Fri Nov 12 16:50:59 CET 1999 from (

David Powell

From: Down in the Boondocks

I'm sure Dylan himself would agree with Richard Patterson's assessment of the "Dylan" album. This album, comprised mostly of Dylan just fooling around in the studio with other people's songs, was released by Columbia in November of 1973 as an act of revenge following Dylan's albeit brief depature from the label. After nearly a decade on the Columbia label, Dylan jumped over to David Geffen's Asylum label and recorded "Planet Waves" in 1974. The resulting live album, "Before The Flood," recorded during the Dylan/Band tour, was also originally released on Asylum that same year.

Columbia evidently found out about Dylan's plans to record for Geffen and dipped into their vaults & threw the "Dylan" album together from some of the inferior recordings that they found there. Just to rub salt into the wound--since Dylan didn't write any of the songs they chose to release, he of course didn't get any writer or publishing royalties from the sale of the album.

Although Dylan was none too happy about Columbia's decision to release this album, he was reportedly unhappy over Asylum's sales numbers for "Planet Waves" and soon re-signed with Columbia. In 1975, after recording two different versions of the songs, Dylan's brilliant "comeback" album, "Blood On The Tracks," was released by Columbia. The official "Basement Tapes" album was released by Columbia that same year.

To borrow a page from Band Thought's book, see if you can name this guitarist: I played along side Robbie Robertson & others on Dylan's "Blonde On Blonde" sessions. Previously I played on "I Am A Rock" with Simon & Garfunkel. That was me who played the Pops Staples- influenced intro on Aretha Franklin's "Chain O Fools." Although my credits as a session guitarist in Nashville & Muscle Shoals are extensive, I'm best known as a songwriter. Artists as diverse as Deep Purple, Lynn Anderson & Ry Cooder have recorded my songs. One of my own recordings was awarded the Grammy for Song of the Year in 1968. Who am I?

Posted on Fri Nov 12 13:54:40 CET 1999 from (


From: philly

FYI, today is Neil Young's 54th birthday.

Posted on Fri Nov 12 13:18:06 CET 1999 from (


From: Melbourne, Australia

I have been a huge fan of The Band since I was 17. Where I live it has been rather difficult to find CD's of The Band. There is not a huge fan base for the group in Australia, I unfortunately cannot provide a suitable answer for that. Many of my friends ask me why I like the Band so much, I think the resaon is that I like different styles of music. I like R&B, soul, folk and rockabilly music all of which the band have at some time or another incorpotated in to their recordings. I am new to the internet, so if there are any Band fans out there please e-mail me.

Posted on Fri Nov 12 12:26:04 CET 1999 from (


From: SF-and its not San Fransico

I was dissapointed to get only reaction (about my yin-yang thing...these guys are more interested of R.R' s guitar technique than the spiritual realm he is communicating in - but that' s no news...argh) from that evil missmatching mind of Crabgrass, hahaa. I must admit that I wrote 'nothingness' as a catch for guys like CG to see if they can resist to turn my meaning of 'nothingness' upside down...You know CG I have this macho-missmatching side, too. I may not be able to be so poisonous (?) in English as you, but I may try...or hopefully may not.

Posted on Fri Nov 12 11:35:09 CET 1999 from (

Peter Viney

Lil: This is an eclectic site. Never thought I’d see Petula here. Petula Clark “A Sign of the Times” - US #11 hit in 1966. I looked her up- she was already a major star when I was in primary school. Couldn’t believe how long and varied her career is. She had her own UK radio show in 1943 (aged 9), her first record in 1949, first huge hit in 1954. She became a major star in France from 1960, then in the USA in 1964. My sister had some of her records. She has also been a major songwriter under the pseudonym “Al Grant.”

Thanks Bill. I ‘d totally forgotten this. Both Dee Dee & Dionne Warwick feature on 5 tracks with the Hawks from 1961 on “The Best of Ronnie Hawkins” (1964) - with Levon, Robbie and Rick..

Posted on Fri Nov 12 06:44:23 CET 1999 from (

Richard Patterson

From: St Kits

Re: Dylan list: I totally forgot 'Time Out of Mind' because all the others are on l.p.- I would rate it just above 'New Morning'.

These kind of lists are fun to make 'cause they make you listen to this stuff again. This reflects only my taste for sure.

Posted on Fri Nov 12 05:05:30 CET 1999 from (

Pat Brennan

From: USA

The RR guitar book that has been discussed here before has a wealth of info on his playing's technical characteristics. It also has well-transcribed rhythm and lead charts, including the original and ROA solos from Unfaithful Servant. Now how about a Garth Hudson technique book. He threatened releasing one many years ago but nothing came of it. From what I understand, he wouldn't talk to Keyboard Magazine the last time they asked, but Richard Bell gave a nice interview.

Posted on Fri Nov 12 04:25:58 CET 1999 from (

Diamond Lil

From: the sound of silence

Richard Patterson: I may be showing my age here, but "It's a sign of the times" was an "oldie"..which I still think was done by Petula Clark. Any other ehm..middle-aged-yet-young-at-heart folks know if my memory is serving me well?

Mouse Update from Crazyville: _Finally_ (after a month or so of mouse hunting) got that little sucker stuck to a glue trap last my 8 year old is feeding it cheese and crying that if we throw it outside it will freeze to death. I tried to explain that we don't want it in the house because it makes mommy stand on furniture and hyperventilate when it runs by...but the kid wasn't buying. He knew I had to wait for my 15 year old to get in from work to pick the live rodent up on the glue trap and dispose of it (you couldn't pay me enough to do that) when I came up into my room...the 8 year old went downstairs and freed his buddy the mouse from the trap! I have an empty glue trap with little mouse prints on it, a mouse _still_ running around my house with little sticky feet, and an 8 year old son who is smiling again. Anyone wanna join me in a chorus of "Born Free" as I stand on a chair here? Geez....

Pretty long post here for me, and I just realized it has absolutely nothing to do with the Band. But I figure, since they live very close to me here, they can all relate to the mouse thing :-)

Goodnight.....And um..Uncle H: Hug :-)

Posted on Fri Nov 12 03:58:09 CET 1999 from (


From: the basement (not Big Pink)

With all of this talk about Robbie's style, I have to say a tremendous thank you to pehr for that great analysis of his playing. I recently got Roy Buchanan's last album, "High Wire" and I see where some of Robbie's influence came from.

On another note, I recently attended the 2nd Annual Native American Music Awards in Albuquerque, New Mexico. Robbie wasn't there but he won two awards. They were for BEST RECORD & PRODUCER OF THE YEAR. Yahoo!! Last year when he played he was just great!

Native American music has come a long way and some of these newer artists really know how to rock. I'll be sure to attend every year.


Posted on Fri Nov 12 03:46:43 CET 1999 from (

Richard Patterson

From: St Kits

Thanks pehr for the guitar lesson. The Evan Johns tip of not looking at the left hand seems to help tremendously. Since I decided about 6 months ago to throw away my pick for good, the "pulley and levers" analogy makes sense.

Peter V.: Thanks for the parable about guitar playing. I suspect the Sufi version runs at 45 RPM.

My Dylan list:

1. Blonde on Blonde

2. Basement Tapes (the "old weird America" of the late 20's and 30's resurfaces)

3. Blood on the Tracks ("tingles to your bones")

4. Under the Red Sky (For all the hype of 'Oh Mercy', this is the serious pisser)

5. Highway 61 Revisited

6. John Wesley Harding (great songs - stiff backing - needs "the Band")

7. Planet Waves ('nuff said)

8. Bringing It All Back Home

9. New Morning ("so happy just to be alive")

10. Nashville Skyline ("is it rolling Bob ?")

Dishonorable mention:

Dylan (proof there is no God)

Lil: 'sign of the times' is Prince not Pet Clark ;-)

Posted on Fri Nov 12 00:43:16 CET 1999 from (


From: The Front Lawn

Of course, no one wants to hear my opinion but I'd place Robbie second sandwiched between Jimi Hendrix in the third spot and master of technique Duane Eddy on top.

Whoever said Robbie's Native American music reflects the yin quality of "nothingness" - I couldn't agree more!

The late great Clarence White (struck down by a car while loading a van after a gig in LA) appears on videotape with the Byrds in the hour-long 1970 PBS special "Welcome to the Fillmore East." (Numbers are "Jesus is Just Alright" and an extended version of "Eight Miles High.") Can be found as a bootleg video. Also in that show is a 3 song set by a very young and in his prime Van Morrison.

Posted on Thu Nov 11 23:29:41 CET 1999 from (

Dave Z

From: Chaska, MN

Great Robbie guitar comments!!! Maybe I'm pushing it and a little greedy, but anybody want to comment on two additional Q's I have before Peter compiles??? 1. How has Robbie's style changed over the years? 2. Given the call-and-response posts, how does this work when Robbie sings?

While I can maybe agree that it sounds like Robbie strains his voice or appears to not be able to hit the sound he would maybe like to in our mind, I still enjoy his vocals, and wonder if their is some correlation to his guitar style of playing... Maybe a reach... Sorry, really I don't worship him...

To continue with the pushing it... and being greedy... I would also love to hear comments in the future on the techniques videos Rick (bass) and Levon (drums) put out on VHS... I haven't got them yet... but off the top of my head is there some sort of consistency in like the call-and-response stuff that runs through all the players? I remember in college some religious group trying to tell us dorm-dwellers that listening to Zep and the Band was bad for us, and the Band could lead to heart attacks... Well, they are partially right, but it's the good type of heart attacks... or is that cholesterol... Gotta go, been enjoying too many Catbalu posts... Maybe I'll check the GB archives for stuff on the techniques videos...

Posted on Thu Nov 11 22:33:55 CET 1999 from (


I believe Henry Glover used Dee Dee Warwick as backgound vocalist on the Hawkins/Hawks session he produced in '61.

Posted on Thu Nov 11 22:31:16 CET 1999 from (

Band Thought

From: New York

Brown-Eyed Johnny-On-The-Spot - Clarence White it is!

Clarence was really an American original, weaned on bluegrass yet influenced by the jazz greats Django Reinhardt and Charlie Christian. He turn, turn, turned the electric guitar into a pedal-steeled wonder and gave The Byrds one of the best flat pickers ever. The live side of their Untitled album really gave him the opportunity to show his stuff; it is no coincidence that he stands in the foreground on the front cover.

John S.

Posted on Thu Nov 11 22:01:14 CET 1999 from (



Of course that Dylan introduction of The Hawks is available from this site, in both streaming RealAudio and MPEG-2 format. Listen to the first clip in the list at:

for a sample of an intoxicated Dylan with our boys at the Royal Albert Hall in '66.

Posted on Thu Nov 11 21:42:43 CET 1999 from (

Peter Viney

Phew! Add David Powell to Pehr. We need a compilation on Robbie’s guitar technique. Shall I do the cutting and pasting?

Jon Lyness: You’ve forced me to add a third quote from the ISIS review of Sydney April 13th 1966:

“The civilized savagery of ‘Ballad of A Thin Man’ is as thrilling as on other documents we have of its 1966 performances. Garth Hudson’s swirling organ envelops the sneering, aggressive vocal and Dylan’s pounding piano chords underscore the verbal menace.”

They were on a revolving stage in a boxing venue in Sydney (The 11,000 seat Sydney Stadium) that was hand-cranked through 45 degrees between each song. Mickey Jones states that though they taped every show, they wound it back to the start and re-used it every time. S**t. I guess there’s no digital magic for recovering that! Ah well, Hubert Sumlin this evening. Plus a long and enjoyable comparison of Elvis and Dee Dee Warwick on “Suspicious Minds.” (Nothing to do with the Band, as far as I know). Dee Dee is winning.

Posted on Thu Nov 11 21:26:07 CET 1999 from (


From: philly suburbs

After reading all of the posts about RR's guitar playing by people who sould like they know a little about the subject, I was wondering where they rank RR in terms of greatness?

Looking forward to all of your responses. Thanks!

Posted on Thu Nov 11 21:24:28 CET 1999 from (

rick a

From: Bay Area

I'm trying to dredge my memory and perhaps you can help with three questions about TLW.

1) Who were all of the poets that recited at the intermission? Please add to my list.

Lawrence Ferlinghetti

Michael McClure

Gary Snyder

Emmett Grogan

Freewheeling Franklin

Gregory Corso (?)

Allen Ginsberg (??)

2) What poems did they recite? I only remember a selection from the Canterbury Tales, and I don't remember which poet read that.

3) What were the selections played by the Berkeley Promenade Orchestra?

As to the anticipated response of "Who gives a ...," I do. I wish that my memory of the entire event would not fade, and I wish that I could go back and relive it all over again. Happy Thanksgiving, everyone!

Posted on Thu Nov 11 20:41:15 CET 1999 from (

Jon Lyness

From: New York City

Some great discussions going on here! Enjoying the analyses of Robbie's guitar technique.

Peter, your excerpts from ISIS on the April 1966 show are very timely for me, as I've just discovered a CD called "You Know Tom Thumb?", which is a terrific collection of electric tracks from the same April-May 1966 tour (the same 8 songs from the 5/17/66 show on Live 1966, but from different dates/venues).

As the ISIS excerpt suggests, the real interest for me has come not so much in the variation of what Dylan and the Hawks were playing each night, but rather the different mixes that enable you to hear some of the instruments that are buried on the Live 1966 versions. There are several versions of "Leopard-Skin Pillbox Hat", and I too noticed Richard's great piano - as Garth's work usually does, it gives the song nice "flavoring" and more of a subtle playfulness. But the real revelation for me is "Ballad of a Thin Man" from 5/12/66 -- Garth's organ is way up in the mix, as high as the vocal, and sounds incredible. To steal a phrase from the discussion of Robbie's guitar technique, there is a superb "call and response" going on between Dylan's vocal and Garth's organ, with Dylan singing a line and Garth improvising a phrase on the organ to answer it. Compared to the Live 1966 version, the drums & bass are mixed much lower, making the focus the dialogue between vocal and organ & giving the song more of an initimate feel.

There's also a hilarious introduction by Dylan to the final cut on the disc, a (true) Royal Albert Hall version of Like a Rolling Stone (the disc attributes it to 5/27/66, though at least one Dylan web site says it is actually 5/26/66...whatever). I thought it was a pretty amusing footnote to the recent discussion of whether RR was a writer of Dylan's caliber! (You have to imagine this spoken very slowly, with lots of pauses...)

Bob Dylan:

"I've never done this before, but I want you to meet Robbie Robertson here, and, uh, and Garth Hudson, Mickey Jones, Rick Danko, and, uh...(audience applause)...and RICHARD. (inaudible) You promised me you were gonna wave! (laughs) It doesn't mean a thing, you know, I mean, you don't have to.......but they're, they're all POETS, you understand, uh, if it comes out that way, it comes out that way, but.....ALL the group, all poets y'know.

"This song here is dedicated to the Taj Mahal. (audience laughter) Now, we're gonna leave after this song, and I wanna say goodbye to all of you people, you've been very warm, great people, uh, y'know, I lo- well, you've been very nice people, I mean, here you are sitting in this great huge place (applause, laughter), and believe me we've enjoyed (sarcastically) EVERY MINUTE of being here. (a few shouts from the audience as they launch into Like a Rolling Stone)"

Posted on Thu Nov 11 19:22:52 CET 1999 from (

David Powell

From: Georgia

Excellent analysis by pehr of Robbie's guitar technique! To the list of influences on Robertson I would also add Pops Staples, Curtis Mayfield and Willie Johnson. Mr. Johnson played with Howlin' Wolf early in Wolf's career, and can be heard playing on the sessions recorded in Memphis. It is Johnson who is widely credited with developing the electric guitar technique that has become known as "power chording." These chords played by Johnson at a loud volume, over-driven through a small amplifier, helped create that low, distorted drone that became a distinguishing part of the Wolf's sound.

Robbie Robertson, as well as Roy Buchanan and James Burton, learned how to combine that low moan with the sharp, piercing lead style developed by Howlin' Wolf's later collaborator, Hubert Sumlin. By playing in this manner, they were able to sound like two guitarists playing at the same time. They would hit a "power chord" on the low strings, and while the chord was still reverberating they would hit lead notes on the high strings. This particular technique would come in handy for Robertson in The Band, as the only guitarist, enabling him to move smoothly back & forth from rhythm to lead.

There's a story involving Roy Buchanan, when he was playing with The Hawk's cousin, Dale Hawkins. As the story goes, when cousin Dale was about to record "Suzie Q" Roy refused to play on the session because he thought the song was too much of a rip-off of Howlin' Wolf. When the song was recorded in a radio station studio, it was a then teenaged James Burton who played the lead on the session.

This brings to mind another story that Robbie Robertson told about Roy Buchanan. When young Robbie was trying to ask the experienced Buchanan about how Roy achieved some of the sound he got on the guitar, Roy crytically revealed that the secret was that he was "part wolf." So you see, this remark was not far-fetched, Roy was just admitting the influence that Howlin' Wolf had on his playing.

Posted on Thu Nov 11 19:23:16 CET 1999 from (

Paul Godfrey

Bill Munson...thank you for the great resources & sources in "What's New" especially Scott Cushnie...and old friend Buddy Carlton. Great Stuff!

Posted on Thu Nov 11 18:52:31 CET 1999 from (


From: a serious man - this time
Home page

This is to all you parents in gb. I'm asking for your help - Band people are down-to-earth, international, real people, that's why.
I'm writing ETHICAL GUIDELINES FOR INTERNET in our high school. No technical filters - but INNER FILTERS in the minds of our students. (Yes, it sounds idealistic.)
If you have any experiences or thoughts from the parents' point of view or if you can link me somewhere, I'd be thankful. I'll thank Jan, too, for this opportunity to publish this request here.
Please, use the email address above.

Thank you


Posted on Thu Nov 11 18:27:26 CET 1999 from (


From: when the shoe fits, 'tis time for big boots...

Would like to thank Rick for his acknowledgement of his "internet fans." He is too kind. Thanks, Mr. Danko.

Would like to thank my assistant, Angel, for fixin this computer the other night - even tho she was saying "No! wait a minute!" while i went ahead and resubmitted from "wrote" (sp?) to the GB - yeah, she read some, oh me...

what i do best - crash systems!! :) What she does best - "be an Angel :)"

what i don't do best: public appearances... called "burn out..." however, WE down here, will be more than happy to send a video (in English - overdubbed in German so you'll all get the real "Godzilla Meets the Salt Miners" effect :)... if Jan wants to come to America on behalf of the Band, i'm in on that, for sure.... ya'll "waffle" on the details. Better you than me... i'm still revelling in "Stage Fright" (thanks, Mr. V) to be of any use otherwise...

Mattk - hello, hello, hello!!!!

now, 'scuse me while i deal with all these autographed footballs... Joe Namath - we want YOU!!!!!! :) along with those fellas down Georgia way that have some lovely land they don't know what to do with... makes me want to have a pig roast or somethin.


Posted on Thu Nov 11 15:34:01 CET 1999 from (

Peter Viney

This is my version of a Japanese story about a man who wanted to be a Zen archer which is apposite to our discussion of guitar skills. I’ve heard a Sufi version too, which I’m sure would be known to Richard Thompson.

The young guitarist walked up the mountain to the home of the Guitar Master. “Master,” he said, “I want to be one of the world’s greatest guitarists.”

The Master looked at him, “Well, my son. Come here and I will teach you. Practise for two hours a day, five days a week, play to the people four nights a week. After fifteen years, with talent, you might become this.”

The guitarist was bitterly disappointed, “Fifteen years! I don’t have fifteen years! Master, I can practise much more than that.”

“Yes. But when will you experience life?” said the Master.

“I need nothing. If I practise 12 hours a day, 7 days a week, 365 days a year, and play 7 nights a week, then how long will it take me?”

“In that case,” said the Master, “It will take you fifty years. If ever.”

Posted on Thu Nov 11 15:26:23 CET 1999 from (


First, I'll second whoever guessed Clarence White (really Leblanc, I believe).

Second, I forgot to list one of the songs on "2B3: The Toronto Sessions": Jimmy McGriff's "All About My Girl".

Third, I'd be happy to see Richard Thompson in the Band. I don't know his newer (i.e., last 20 years) music that well - though I saw him twice in the late '80s - so maybe that's the material that said to be laced with suburban angst. However, the stuff I know and love ("What We Did ...", "Liege and Lief", "Full House", "... Bright Lights") invokes, for me, images of pre-industry and Norfolk flints - so would fit right in to classic Band. Plus, he can rock - as evidenced by "The Bunch" LP and, no doubt, much else.

Posted on Thu Nov 11 14:36:39 CET 1999 from (

Brown-Eyed Johnny

From: Bluegrass/Country Rock Heaven

John S.: Could you be referring to the great Clarence White (1944-1973), known to most for his work as a member of the Byrds?

Posted on Thu Nov 11 14:13:10 CET 1999 from (

Band Thought

From: New York

Pehr's post was inspirational, so, here goes:

From the archives of The Great Guitarist Quiz Volume III (vol. I, Jeff Beck, II, RyCooder):

Who am I?.....I turned pro at the ripe age of 10, but tragically only stayed on this earth for another 19 years. I took a traditional form of American music and added a whole new element to the sound by putting the guitar in the "lead." The Time magazine cover of The Band mentioned a new form of rock; it could be argued that I had a lot to do with that moniker. None other than Jimi Hendrix once paid me a visit backstage to let me know that I was one of his favorite guitarists. It could be said that I gave a bit more musical credibility to the popular group I joined in the late '60's-early 70's. Oh yeah, if you type my name on the Search function on this website, you will find me mentioned with that very group.

Who am I?

John S. <

Posted on Thu Nov 11 13:41:40 CET 1999 from (


From: philly

I do not know how to build a watch but I can tell time. And I can no way pretend to explain or understand the techical aspects of RR's guitar playing like pehr, however, I know what sounds good!

Posted on Thu Nov 11 11:04:12 CET 1999 from (


From: Suomi

Thank you Peter, Ilkka (jep,kiitos Olavi Virta-kuvauksestasi) and Pat. Richard Thompson is a magic talent...Rumour and Sigh is my personal favorite. I have done some freelance music writing and read thousands of record and concert reviews...And the one thing that I see twisted in music writing in general is that it is too yang, masculine (yes I am repeating myself - but this bothers me). I mean overlooking emotions, softness, intimacy, mysticism, everything that is looking suspicious through technical, logical posivistic, western macho scientific minds. It is not balanced....I really think that Robbie has found a rare balance in Native albums, they have lovely yin qualities in them...nothingness, wide range of emotions, warmth.... Of course he has got lots of criticism, but do those critics really live in the same world of experience? English is not my native mistakes happen: I have to correct Peter Rowan' s album name, it is Dust Bowl Children.

Posted on Thu Nov 11 10:53:19 CET 1999 from (

Peter Viney

Dylanologists: seek out the latest ISIS magazine. You can order Michael Gray’s “Song & Dance Man III” direct from the author, and there is an excellent article on a newly-discovered 1966 line recording.

The recording is from Sydney, April 13th 1966, and was Mickey Jones’ second gig as a Hawk. The review in Isis is long and excellent. ‘Positively 4th Street’ replaces ‘Like a Rolling Stone.’ Two comments worth quoting here (to whet your appetites):

“Throughout the Sydney electric set Richard Manuel’s piano is audible, a welcome improvement on most other 1966 concert recordings. His blues licks and strong left hand give ‘Leopard Skin Pill Box Hat’ a slightly different flavour; it becomes almost a New Orleans stroll.”

“ ‘One Too Many Mornings’ is another highlight. The strength and confidence of Dylan’s vocal phrasing accords perfectly with the emphatic drumming of Mickey Jones - Paul Williams has said he believes that Jones’ drumming may have made all the difference between the shows on the world tour and the ones that came earlier …”

It doesn’t mention a bootleg but it can’t be far away.

Pehr’s insightful notes on Robbie’s guitar playing are worth adding to the archives as an article. What do you think, Jan?

Richard Thompson: the others were right to nix the idea of him joining the Band. His tales of British Home Counties suburban angst would hardly fit the sound and style of The Band. They’re aiming for the same thing in many ways, but the roots are too strong and too different. Also, I find Thompson a somewhat “tortured” vocalist (as Neil Young, Dylan & Robbie at times) and this sort of voice only really fits as the lead. The accent may be similar to mine, but it is wrong for the Band, that’s all there is to it. As avid readers know, I’m a Linda Thompson fan first and a Richard Thompson one second!

Posted on Thu Nov 11 05:27:32 CET 1999 from (

Pat Brennan

From: USA

I regard Wilco's "Summerteeth" as one of the better albums of the year. I also think RR is an extraordinary guitarist. I also think Richard Thompson is an extraordinary guitarist. Luckily, my world is large enough for all three.

Posted on Thu Nov 11 05:08:04 CET 1999 from (


From: Ca

pehr: Good job on a subject that is not easy to explain.

Posted on Thu Nov 11 03:27:47 CET 1999 from (

Starla Whaley-Rudy

From: New Carlisle IN

To Levon; I found your web page and just wanted to say Hi, I hope you remember me we worked together in the early 80's in the film "The Dollmaker". I'm married with four childern two girls that are 10 and 8 and two boys that are 2 and 2 months. Not sure if you will get this message, but I'll be looking for your band in the Indiana area so my husband and I can come hear "The Band" Hope to hear from you!! Starla

Posted on Thu Nov 11 02:39:39 CET 1999 from (


From: taxes

RE: Robbie's playing

Robbie is among the pioneers of rock guitar. I got interested in his playing in high school a long time ago- as a way to stay sane! what i responded to in Robbies playing was the economy of means (as stated earlier by Peter V)

Most of what Robbie seems to be doing comes from the blues tradition, which above all else comes from a strong vocal(Holler and Stomp) tradition. Alot of people seem to think the wailing hot dog guitar is the root of the Bukka White said it best once he said, "Blues is walking behind a mule in slavery times." They didnt have many of these guitars around in the early days. They worked, they wailed, they set rhythms, chants, rhymes and stories about the everyday, fantastic, and the absurd. Robbie makes tremendous use of the 5 tone pentatonic scale for this reason. It is a simple scale in its construction and fun to use- the patterns are easy to remember and hook onto. It is found in from many diverse traditions; Greek, African and Chinese music all incorporate it, along with many others.

heck it's folk music, call it what ya will. Robbie's style of playing is often used to accentuate what the vocalist is doing. TLW- "Caravan" - a good example, He just does this all the time-he's the best at it I ever heard at this gospel "Call and Response" style.

I first discovered Robbie on "Before the Flood." I responded to a guy that used this "Talking" style of guitar as a structure. A shout and echo response with the singer going on. very heavy,soulful, very simple, very fun and powerful.

Robbies style emphasizes the right(picking)hand. He does alot of interesting things if you watch TLW closely.He picks flatpick style, alternating bass style, one string bass style,dampens the strings with heel of palm, pinches the string with pick and fingernail simulataneously to get the whistling harmonic tones, adjusts the tone or volume knob while playing to give vibrato, tremolo, cresendo, etc,etc. Among his early influences were Hubert Sumlin from the great Howlin Wolf band, Roy Buchanan, Fred Carter Jr. (Levon calls Carter's the "Louisiana Hayride" style)

The best guitar tip I ever got was from Evan Johns who told me to think of the right hand as a system of levers and pulleys, to just experiment with it and the tones it makes: NEVER watch the left hand fret, just use the ear. If you klune (Sour note) raise or lower it with a sliding manoever. "Make it sound like an animal, an tell me somethin about leavin the dog with no food!" he'd yell at me from across the room.

Evan learned this and some other stuff firsthand from masters like Danny Gatton,Roy Buchanan,and Reverand Gary Davis, but it's all steeped in tradition and common sense, form and function really. Most of them geetar heroes are decorative embellishment experts anyway. If it's a cuttin' contest ya want theres plenty to go round to blow who cares who away.So Crabby has his opinion about what the bottom line is. Robbie rocks,period. that's the gospel truth-say amen. Alot of critics wish that they could rock. Like someone who can't get sex, they can get mean, bitter, because they just can't rock!

Posted on Thu Nov 11 00:22:17 CET 1999 from (


From: Woodstock Records
Home page

Greetings to all in Band-Land ! ! !

Just dropping a quick note....

We were just notified by E-Town, that the RICK DANKO/NATALIE MERCHANT show
from Sept.24th in Kingston, NY is going to be aired over the E-Town
network during the week of Nov. 17 - 24 .

Please check the E-Town website at - - for more information on stations and listings in your area.

This one should not be missed!!!

Thanks again for all your love and support !

Peace From Woodstock!

Tom - Woodstock Records

Posted on Wed Nov 10 23:00:00 CET 1999 from (

Bashful Bill

From: Minoa,N.Y.

Carmen,your Roger Maris post reminds me of a Crawdaddy magazine from I think winter of 75. RR got the cover story, and the picture was a drawing of him standing in you know who's shadow. I don't recall the exact title but it was something like "Stepping out" or "Standing in Dylan's shadow." THe content of the article of course was similair.It bugged me then,and still does, because as Peter Viney recently said(referring to himself}as much as I like and respect Dylan I'm a Band fan first and a Dylan fan second. That,I think,is why I so eagerly anticipated the release of PW way back when.

Posted on Wed Nov 10 22:47:36 CET 1999 from (

the humans

From: the desert
Home page

free mp3s. cool band check it out & tell us what you think

Posted on Wed Nov 10 22:24:43 CET 1999 from (

Don Pugatch

From: Roswell, Ga

For any and all who download music to their hard drives, great site is This site allows you to search over 150,000 songs, and download to your computer.I found two Band songs so far, under Neil Young and Bob Dylan. Nothing under the search of The Band. Great live version of Pink Floyd and Van Morrison, doing a duet of Comfortabley Numb.

Posted on Wed Nov 10 21:51:52 CET 1999 from (

Dave Z

From: Chaska, MN

Re: McHale, Dylan, Maris connection - some of their best work was done in NY (and of course I missed it live)...

Re: Robbie's guitar playing - I am recently intrigued by some of the low rusty sounds he gets that seem to hide behind some other stuff that is usually playing at the time... I'm thinking of his work on SNL's Testimony or even Bad Intentions... It's like maybe you are supposed to feel it instead of maybe hearing it as some crisp isolated "solo"... Any rational comments from somebody out there who plays guitar (not me) on what this is all about?... Also, Slo Burn is pretty damned emotional I think... makes me think of what Carlos said about playing... You are either cursing or loving... or crying...

Posted on Wed Nov 10 19:52:05 CET 1999 from (


From: The Front Lawn

I'm heading right to my local bootleg store to see if any copies of that '73 Band gig with Liberace and Wayne Newton are still available! I hope there's a bootleg video too - so I can see Wayne execute those cartwheels!

IF WHAT ROBBIE "leaves out" of his recent guitar playing is so important I wish he'd do more of it. No one can beat Richard Thompson as far as putting emotion into his startlingly original songs, guitar playing, and singing. That's what the guy is all about! BTW at some point after TLW Thompson was considered to join The Band as guitarist - Rick was for it but the others nixed the idea. (This is reported in Thompson's recent biography.) I don't think it would have worked because Thompson's style is too radically different. And I'm sure he would have gotten bored trudging through the old Band standards gig after gig although he IS a big fan of The Band. There is a link between Thompson's first band (was a founding member) Fairport Convention and The Band since both combined traditional music with rock and and also covered and were influenced by Dylan.

Posted on Wed Nov 10 19:08:18 CET 1999 from (


On the Minnesota question, is it worth noting that Gary Puckett of the Union Gap was born in Hibbing, just like Bob? From the sublime to the ridiculous!

Posted on Wed Nov 10 19:02:00 CET 1999 from (


Outstanding news on the organ / cottage industry front: A couple of years ago, pianist Scott Cushnie (ex-Hawks, ex-Suedes) released a wonderful indie CD of boogie piano duets: Two Pianos, No Waiting. The second pianist was Doug Riley (see previous posts) on most and Joan Besen (of Prairie Oyster) on the rest. The success of that CD led to Two Pianos, No Waiting, Volume II, which featured Cushnie, Riley, Tyler Yarema and Lance Anderson. More info on both CDs can be found at

Now, Lance Anderson has picked up the ball and just released 2B3, a series of Hammond B3 organ duets featuring Anderson, Riley, Bill Payne (nod here to David Powell), Michael Fonfara, Denis Keldie, Rob Gusevs AND Richard Bell. Colin Linden supplies guitar on half the songs. Other guitarists are Mitchell Lewis, John Tilden and Neil Chapman, bassist is Dennis Pendrith drummer is Ritchie Hayward (another nod). All but the Little Featers are local Toronto guys.

Aside from Bell's appearance as organist on one song, Band fans might care to know that the song list includes "Life Is A Carnival" and "King Harvest". Other songs are "Hip Hug-her", "High Heel Feat", "Steel Onions", "Gimme Some Lovin'", "Apricot Brandy" (so that Fonfara can reprise his big number from his days with Rhinoceros), Domenic Troiano's "Burnin' At The Stake", Henry Glover's "Drown In My Own Tears", "Hush", an interweaving of "One Love" and "People Get Ready", and "Magic Carpet Ride".

I bought mine off the stage at an Anderson / Keldie gig on Sunday, and I don't know how it will be available otherwise, other than by writing Calabogie Music, 270 Colborne Street West, Orillia, Ontario L3V 2Z8, Canada.

It's great!

Posted on Wed Nov 10 18:58:47 CET 1999 from (


From: outer circle

dylan, maris, mchale...must be a minnesota thing...

Posted on Wed Nov 10 18:57:30 CET 1999 from (


From: the Arctic hysteria
Home page

TO PETER VINEY - The country where I was born is the chairman of the European Community so there is nothing else to do than learn Railtown Kalervo's list :-) Olavi Virran parhaat is not the easy one: he was a tragic (not tragical) tango singer, nearly every rock artist in the North praise him tears in their eyes.

I surely love the questions of CRABBGRAS - as much as I hate his answers.

Welcome back, mattk - which is worse: the salt mine or the gb :-)

By mistake I poured Cajun spices to Norwegian fish sauce today - from now on the dish is called THE BAND SAUCE! Try it.

Posted on Wed Nov 10 18:54:06 CET 1999 from (

medicine hat

From: pittsburgh

just wanna add my two cents in welcoming back mattk. you and peter are voices of clarity and reason in a pack of (at times) ill-informed/knee-jerk opinion and colloquy. keep it coming boys, it's always a pleasure to read.

Posted on Wed Nov 10 18:51:40 CET 1999 from (

Jonathan Katz

From: Columbia, MD

Mattk - I agree with you, and maybe with Heylin, that the biggest concern about the Official Release of the BT's was the packaging as if it WERE the real deal. I think that is why the bootleggers titled their release "Genuine." Some Dylanologists were upset that Band material was included, but not me. However, I would have sequenced it with the Band stuff on a separate lp or side of an lp. However, I think that some of the misleading labeling was done on purpose to put the Band stuff on par with the "storied" Dylan stuff, and was more than a Columbia idea. Afterall, Columbia Records probably didn't even know what they had in those tapes. Of course as I have said before, only the ones there really know.

Ah, a mention was made of Roger Maris. Does anyone know what Maris and ex-basketball player Kevin McHale have in common with Bob Dylan?

Posted on Wed Nov 10 18:07:42 CET 1999 from (


From: outer circle

Agree with Pat. The Columbia BT release has been plumbed significantly, most recently last spring, if I recall. In that discussion I pretty much stated my personal opinion regarding the dubbing/doctoring issue on Band material--I think it's a lot of Sound and Fury, signifying nothing. Groups have over-dubbed material since it became possible to do so. In part due to desire to release material free of live glitches (performance and technical) and the label's desire to have a strong "radio mix." I'm not saying I think it always benefits the music--I'm increasingly troubled by the lack of organic and spontaneous qualities in recorded music these days. Jazz in particular has suffered.

My biggest issue, as it may be with Clinton, is that the Columbia release was packaged as if it WERE the real deal. While the Band and RR in particular did "sweeten" and in some cases re-record tracks, generally the bands (lower case) on a label get very little input on how the album is packaged or marketed. Since the Band (upper case) was not in Columbia's stable (Dylan was), blame for the misleading labeling and marketing should be laid at Columbia's feet.


Posted on Wed Nov 10 16:15:58 CET 1999 from (


From: Down South In New South Wales

In news just to hand it has been revealed that LIBERACE once guested on piano during a Band tour "73 , playing a sparkling duet with Garth on "Baubles, Bangles & Bright Shiny Beads " unfortunately both were up-staged as WAYNE NEWTON chose the songs climatic moment to cart-wheel out on stage dressed in purple flares and a collar so long and sharp that as he executed a "soul spin" the offending collar severed RR's top three strings. The concert was abandoned and the muso's fly to Vegas to record an album in the "basement" of the Sands Hotel.... That story is not quite as implausible as some of the Band "associations " Ive seen here lately.

Posted on Wed Nov 10 14:33:27 CET 1999 from (

Brown-Eyed Johnny

From: Free Trade Hall, Manchester, England

The participants in Down Beat magazine's 64th Annual Readers Poll have honored Bob Dylan, Robbie Robertson, Rick Danko, Richard Manuel, and Garth Hudson by voting "Bob Dylan Live 1966" as the best Beyond Album of 1999 and best Beyond Reissue of 1999. The "Beyond" categories umbrella non-jazz and non-blues genres.

Posted on Wed Nov 10 13:03:13 CET 1999 from (


From: philly

Although the RR Basement Tape thing may be true, I still think both the BAND and Dylan stuff is some of the best out there. I myself don't need to listen to a bunch of background noise,therefore, I am glad it was worked a little.

I like to think all the crap RR gets out there by the critics etc. is similar the the crap that Roger Marris had to take when he beat out Mickey Mantle for the home run title. Peolpe just could not take the fact that someone could out perform their hero. No one want's to give RR the any credit because they are afraid his elevation may in some way lower their hero Dylan.

Posted on Wed Nov 10 09:25:02 CET 1999 from (

Peter Viney

Matt K: When I think about “Hearts & Bones” I do tend to program the tracks you mention. CD is quite useful for Paul Simon. I do the same with “Bookends” so as to lose At the Zoo, Hazy Shade of Winter etc - which are in the same mood as Allergies, Cars are Cars (though I don’t object to these songs at all). Numbers Get Serious I like, and Graceland is (like The Band) an album that doesn’t need to be programmed at all. Whole thing every time. The first time I heard “Native Americans” it made me think of Simon’s work.

Link 2 was Tony Levin. Link 1 is a song called “Groundhog” on the Peter Yarrow album “That’s Enough For Me”. This track was written and produced by Paul Simon with a credit of ‘special help from Robbie Robertson. Levon Helm, and Garth Hudson.’ The story is that they were working in an adjacent studio and ended up collaborating on the song.

Link 3 (which I’ve only just thought of, but it links to the Basement Tapes too) is that like The Band (original Band at least), Paul Simon has a large body of important work, but very few out-takes. They’ve been struggling on box sets for the odd live version. There aren’t even live unreleased cover versions. As a result, like The Band, there are surprisingly few bootlegs. I know the list is long enough here, but at any Record Fair just look at Dylan, The Beatles, Neil Young, Van Morrison … let alone the likes of Nirvana, Queen …. At one Record Fair a stand boasted of 300 Beatles titles.

Crabgrass: while I appreciate and applaud your enthusiasm for Richard Thompson, I was surprised to see that you’ve been able to study and compare Robbie’s recent 1999 guitar technique and come to the conclusion that he “can barely play the guitar.” I didn’t think he’d done anything live recently! As I never tire of saying, Robbie’s guitar playing is all about emotion, and what he leaves out is the genius, just as much as what he puts in.

Posted on Wed Nov 10 08:37:22 CET 1999 from (


From: The Front Lawn

Well, I just saw the incredible Richard Thompson tonight at the Beacon and realized that by comparison Robbie can barely play the guitar - especially nowadays. WILCO opened - every single song they played sounded like another song that someone else already did but with different (and inferior) words. They were very mediocre as musicians too. Why everyone seems to compare them to The Band is truly mystifying. They have no talent for creating original music.

Posted on Wed Nov 10 05:11:08 CET 1999 from (

Pat Brennan

From: USA

I saw the Band once in the Chicago area and Levon didn't show up for the gig. Perhaps that's the root of the present trouble. Regarding the Basement Tapes: the Guestbook contains some fairly in depth discussion of the official release vs. the boots. It's rather obvious that RR doctored the Band material extensively, even re-recording two full songs. That's the source of Heylin's ire, and I rather agree with him. On the other hand, there is a lot of Band material that was recorded after Dylan left for Nashville that is of interest, especially Garth's piano stuff. We are all happy mattk has returned, but please, brother, don't comment on the "Sarah McLaughlin as the polished Joni Mitchell" post. You are right: the critics' inability to give Paul Simon his due is frustrating but entirely understandable. Critics are eunuchs in whorehouses. I, of course, am not referring to any of the posters here whom I all love. BTW, I am presently having transferred about eight minutes of my Watkins Glen adventure. It includes some nice shots of the boys in action--but no sound. Sorry. I'm forwarding a copy to Jan to perhaps post here for everyone's enjoyment and amusement.

Posted on Wed Nov 10 04:20:23 CET 1999 from (

Jonathan Katz

From: Columbia, MD

Carmen - Clinton Heylin is [as you saw] a very opinionated Dylanologist. He has written several other books on Dylan, as well as a good book on the history of bootlegs. While his comments about Robbie in particular regarding the official release of the Basement Tapes are harsh, there appears to be more than a slender element of truth underlying these particular comments. In other places he has had positive comments regarding the Band, including his commentary on Planet Waves. Heylin has a web site in which he ventilates with some frequency.

Mattk - In my opinion, the reason there is only a little exclusively "Band" material on the "Genuine" Basement tapes is because these CDs are the Genuine thing - not the revisionist Official Release [see above]. Of course, I wasn't there and only the principals know how representative of the process is the Official Release. However, with all due respect to Robbie and the rest of the guys, it seems that the Genuine BT's were primarily a Dylan-driven project.

Posted on Wed Nov 10 02:42:21 CET 1999 from (


From: Down South In New South Wales

Carmen ::: In answer to your question, I omitted the first two albums because they gave The Band their start, they recieved good sales, publicity and critical acclaim, it was the perfect launching pad for a long stay at the top. As I said, I thought that their song subject matter let them down from there. While I'm on that particular line, and with great fear of re-starting the old Levon/Robbie debate I recall Levon saying that ALL The Band created their classic songs not just one person.Looking at the music produced by both parties since the split I'd say that history has shown that what Levon said is gospel. Cheers Carmen .

Posted on Wed Nov 10 02:28:09 CET 1999 from (


From: philly

Took the kids to storytime at Boarders tonight and started to thumb through a book titled Bob Dylan the Recording Sessions by Clinton Heylin. Clinton seems to be very anti Band regarding the Basement Tapes. His comments were along the lines of RR using the official release of The Basement Tapes to put the Band on the same level as Dylan. There were many other jabs as well. Is anyone familiar with this author? Just curious.

Also picked up a free CD while I was there. The Groups name is Aunt Pat. There is a song featuring Levon Helm on mandolin and vocals. Anyone herd of this one? The name of the song is Hard Inside.

Posted on Wed Nov 10 02:23:19 CET 1999 from (


From: outer circle

Interesting that Paul Simon has made his way in. I would have figured it would have happened during this summer's tour with Dylan. Ironic, then that the last two CD purchases I've made were for Paul Simon's first album and the Complete Basement Tapes (5 CDs of, what did i ever do before?). Only downer is it focuses entirely on the original Dylan work, not much from the time after Levon came back, and no real "Band" material save the working versions of "I Shall Be Released" and "This Wheel's on Fire." Still, I'm having a great time.

The first Paul Simon was a revelation for me as a child, and still, IMHO his most under-rated, despite two huge hits with "Mother and Child Reunion" and "Me and Julio."

Peter, it's funny, Hearts and Bones has some of the best work in the Paul Simon songlist, but also some of the worst (at least for me). I think that songs like Johnny Ace, Hearts and Bones, Renee and Georgette Magritte, Think Too Much (particularly the second version) and Train in the Distance are among my favorite songs by any artist. However, Allergies, Numbers Get Serious, and particularly Cars are Cars bug me so much I have to skip over them.

One thing that I've always loved about Simon, and perhaps it's the same thing that so many DISlike about him, is his willingness to reach out and appropriate styles and use musicians on albums to help him explore South African, Brazilian, West African, Minimalist, blues, Gospel, Reggae, whatever. In that sense not too different from what I admire about RR's work: a real desire to get to the roots of the music and then build and mix in odd influences to create a particularly personal statment.

Band connection? All I can come up with is Bassist Tony Levin on Hearts and Bones and One Trick Pony--Tony plays on Robbies eponymously titled first album.

As mentioned before, Levin is a Woodstock resident and friend of the Band. Recently on his site, which he updates himself, he talked about how he had recently recorded out at Levon's barn for some session. Even had a picture.

not bad...


Posted on Wed Nov 10 01:02:32 CET 1999 from (

Dave the Phone Guy

From: Lee Vining, Ca.

It is wonderful to hear Danko and crew played another great show in Philly. I'm eagerly awaiting his new release. %There is no doubt that The Band will record and perform in the future. Sometimes you have to have a lot of patience. I'm for lobbying here on the GB for a New Years Eve gig. Everyone willing to drop all plans,drop some cash,and travel to a Band related New Years Eve show vote here on the GB. YES(check mark)Come on, I know it's make believe but let's see a show of hands.(I would say we'd have to have Rick,Levon,Garth,Robbie,or any combination to qualify as a Band related gig)

Posted on Tue Nov 9 22:49:49 CET 1999 from (

Band Thought

From: New York

I like David's example, bridging the generation gap!

On the subject of this generations music, I'd like to put in a plug for the increasingly popular Sarah McLachlan. Sure, Lilith Fair has received a great deal of press the past three years (and it is deserving) and has included some great, great names like Emmy Lou, Bonnie Raitt, Tracy Chapman (what a powerful stage performer with a great backing band), Natalie Merchant, Joan Osborne (of Largo fame) and Chrissy (the female Bob Dylan). And yes, Sarah's 1997 release, Surfacing, was a huge commercial success and formed the foundation for much of her recent live performances.

Knowing the tastes of the good people here, I highly, highly recommend that you check out Sarah's previous CD, Fumbling Towards Ecstacy. Remember how you felt about The Band when you first heard them? Similar feelings come along about how special a CD this one is. From beginning to end, a gem. Really was of the best CD's of the 1990's. The fine guitarist Bill Dillon (used by Robbie on occasion - see Storyville) appears and Daniel Lanois is connected to the work as well (although not as producer). The instrumentation is reminiscent of Storyville (drums and guitar), there are beautiful melodies and lyrics throughout and I will be damned that, at times, she doesn't sound like the second coming of a more polished Joni Mitchell.

Posted on Tue Nov 9 22:34:42 CET 1999 from (

Peter Viney

Kalervo: so many good records in your list that I do know (Van Dyke Parks, Gene Clark, RR, Coltrane, Tony Scott, Mingus), and yet so many I don’t! Will try to check out the ones I don’t.

Crabgrass & Tanika: seriously, you don’t know what anybody saw in The Beatles? How wonderful. You have all those albums out there in front of you to to discover. Wish I could find an untapped aural goldmine of this order of quality! I envy you. Start with ‘Please Please Me’ and have fun. Tanika is absolutely right about Paul Simon’s consistently low rating in these kind of polls - and since the Norwegian internet one we all know how valid these polls are :-) Paul has produced works of genius like ‘Hearts and Bones’ and ‘Graceland’ and still gets ignored. ‘Hearts and Bones’ is a sublime album. So is ‘One Trick Pony’ in a different way. And ‘Rhythm of The Saints.’ And bits of the ‘Capeman… and … so, why do none of the critics like him? I’m still wondering. (Band connection on a postcard please …)

Matt k: delighted to see you back.

Posted on Tue Nov 9 22:18:09 CET 1999 from (


From: tyxs

hey matt! good to hear from you again!

Posted on Tue Nov 9 22:15:17 CET 1999 from (

Just Wonderin'

David Powell:

Re: Santana's latest...I bought it and it disappeared into my 14 yr old son's maze of a bedroom. Took me an hour to retrieve it so your point is well made!

Warms the heart that good stuff is finally getting through to this generation!

Posted on Tue Nov 9 19:36:32 CET 1999 from (

David Powell

From: Georgia

In light of all this talk about top album lists, Carlos Santana's current success is both amazing & heartwarming. Thirty years after his incendiary performance at Woodstock, his new album "Supernatural" has topped the Billboard charts for the last month. After 20 weeks on the charts, the album has been certified quadruple platinum and has continued to sell more copies with each new week, selling 199,000 last week alone. In addition, the single from the album, "Smooth", has been at the top of the "Hot 100" chart for a month.

Santana's last chart success came in 1970 with the "Abraxas" album. At a time when most veteran rockers receive radio airplay only on "classic rock" stations and rely on sales of their recyled back catalog, what is the key to Santana's current success? He hasn't changed his basic formula of burning guitar solos against the backdrop of Latin-tinged rhythms. What he has done is to inject new blood into his songs with the help of a fresh new group of talented young singers. Apart from teaming up with Eric Clapton on one song, Santana mixes it up with current stars such as Lauryn Hill, Dave Matthews, Wyclef Jean, Everlast and Matchbox 20's Rob Thomas. The resulting, energetic performances have attracted a diverse group of old & new fans.

A part of this success can be attributed to the genius of Clive Davis of Arista Records, who knows talent when he hears it and showed faith in signing Santana to his label. At a time when so many veteran artists are being dropped by their conglomerate-controlled labels, it's refreshing to see someone like Mr. Davis buck the trend.

Picture this scene that's occuring everywhere: Dad walks by his son's room and hears the high volume of music from within. Pleasantly surprised, the old man says to himself, "I know who's playing that fiery, rich-toned guitar but who in the hell is that singing?" He knocks on the door and asks his son to show him the CD booklet. A few days later the kid is pissed when he comes home from school and can't find his "Supernatural" CD anywhere, that is until his dad pulls in driveway and he hears that familiar music blazing through the closed windows of the car.

Posted on Tue Nov 9 19:12:55 CET 1999 from (


From: The Front Lawn

I'd say Levon's "Move To Japan" is a great humorous comment on modern times. AS FOR THE BEATLES - I don't know what anybody ever saw in them! Regarding "underrated bands" the Lovin' Spoonful definitely fit that into that category. And as for "Amazon" - well, it's interesting alright - I'll just leave it at that!

Posted on Tue Nov 9 18:57:52 CET 1999 from (


From: Suomi

Peter: I have to get remastered Street Legal! Top lists are almost pain to me. Of course there are some favorites like Astral Weeks, Brown Album, What' s Going On, Pet Sounds, Revover, but most of my favorites aren' t even in top 1000: Tim Buckley' s Starsailor and Greetings From LA, Van Dyke Parks' Discover America and Jump, Pixies' Doolittle, Eric Peltoniemi' s Songs O' Sad Laughter, John Coltrane' s Love Supreme , Charles Mingus' Let My Children Hear the Music, Christy Moore's Ride On, Bruce Cockburn' s some records, Peter Rowan' s Rust Bowl Children, Wigwam' s Being, Olavi Virran parhaat, Laura Nyro' s Christmas, Beads of Sweat, Robbie's Native albums, Gene Clark' s No Other, Cesaria Evora' s Miss Perfumado, Tony Scott' s Music For Zen Meditation....and so on. They are all for which I have passionate love... So those top 100 or top 20 or top anything suck, because they are glamorizing same records, while there are hundreds of records which are at least as good, but never get recognized..

Posted on Tue Nov 9 18:16:45 CET 1999 from (


From: philly

Peter V. That's funny your top 10,000 has the same number 1 as mine.

Patric, I am curious as to why you exclude Big Pink and the Brown Album from your comments. I think these songs also speak of a time in the past. My one comment is that you can learn a great deal from history. Be careful not to forget these lessons learned or it may repeat itself.


Posted on Tue Nov 9 16:45:06 CET 1999 from (

David Powell

From: Georgia

Just Wonderin': I too wondered about Robertson's appearance on "Teatro." I may be mistaken but I believe that the footage that Wim Wenders shot was not taken from the actual recording sessions, but rather from a staged run-through of the songs.

Paul Godfrey: According to Levon's book, RCO was set up with the help of Henry Glover and stands for "our company."

Posted on Tue Nov 9 15:49:56 CET 1999 from (

Just Wonderin'

From: Texas

I'm sitting here reading the GB and listening to Willie Nelson's "Teatro". Where's the Band connection? everone asks. Well... RR appears on one cut though not credited "I Just Can't Let You Say Goodbye." You can see him on the "Making of Teatro" special playing on this song a few weeks ago. It was on CMT.

Also the great Emmylou Harris and Daniel Lanois are on it.

Give it a listen for something new.

MattK: Welcome back...good to see your comments again!

Posted on Tue Nov 9 14:48:40 CET 1999 from (

Paul Godfrey

John Sebastian was a guest at the RCO party at Levon's in Woodstock in 1977. He did not play but was very much involved in the celebration and brought his encouragement and support of the venture. Good trivial question: What does RCO stand for?

Posted on Tue Nov 9 14:38:18 CET 1999 from (

Peter Viney

From: Dept. of Gratuitous Statistics

There’s always another list. I don’t think the USA Today one is too bad, as they go. There are eight highly deserving albums in it (I agree with you about the two less-deserving). I think ‘Let it Bleed’ is a better Stones album, and prefer both ‘Magical Mystery Tour’ and ‘Abbey Road’ to the White Album, but that’s minor. Marvin Gaye deserves his placing, he’d get somewhere between #3 and #6 in mine. As Lil says, these lists are always a product of their times, and what is really interesting are lists that are updated regularly, to track the perennial favourites. 10% of the lists tend to be fairly recent, and 90% classic. The Sex Pistols is old enough to be classic, but I always thought it was crap. I’d expect Oasis in any recent list. Most of these lists however do include ‘Blonde on Blonde’ in the Top 5, and ‘Astral Weeks’ is usually up there too. The Beatles always grab three of the top ten (with different albums) and ‘Pet sounds’ is in the top Five (and sometimes #1). Here are The Band’s (brown album) placings in some of these lists:

Gambacinni 100 1977: #13

Gambacinni 100 1987: # 24

Rolling Stone Top 100: #19

Guinness Rock 250: #27

Guinness 1000: #33

VIRGIN 1000 (1998): #49


MOJO READERS 100: # 26


Rolling Stone Best 200 1997

Q Top 100 in Universe, 1998: #76

Channel 4/ HMV Music of The Millenium Top 100, 1998 Poll: #60

Viney Top 10,000 (unpublished): #1

Posted on Tue Nov 9 14:30:29 CET 1999 from (

Tanika Po

From: Norwege

I still can't understand why The Beatles are topping all the best bands-best albums-best yaddayaddaya....I can't understand why, and Paul Simon is always so low in the lists....and The Band are not even above top 100! This world is going crazy..... But, what is sooooo great with the B? They're only singing She loves me yeah yeah and stuff like that!!!I can't stand them!There's only one song I like by them...And I can't remember the title...So that means they're not very important for me!

Posted on Tue Nov 9 14:01:25 CET 1999 from (


From: Philly

Diamond Lil, here is the entire list for your review and all to comment: 1. Sgt. Pepper 1967 Beatles, 2. What's Going on Marvin Gaye 1971, 3. Kind of Blue Miles Davis 1960, 4. Revolver Beatles 1966, 5. Pet Sounds The Beach Boys 1966, 6. White Album Beatles 1968, 7. Nevermind Nirvana 1991, 8. The Velvet Underground & Nico Velvet Underground 1967, 9. Exile on Main Street Rolling Stones 1972 & 10. Never Mind the Bollocks The Sex Pistols 1977.

Posted on Tue Nov 9 13:43:18 CET 1999 from (


From: Down South In New South Wales

I would not mind if the any members[ or past members ] of The Band ever played another note ....they have left a legacy of music that viewed as a complete work is equal too or better than any of the "celebrated" people of contemporary music.Elvis Costello once said of The Band that they were a cul-de-sac in modern music..meaning to me that they went in a different direction than their peers and also that no-one has gone any further on that particular road than them.That rings true...If I could name one disapointment I have about their career it would be their choice of lyrics and time-settings in their post Brown album productions, the songs were mainly of the past,romantic as they made it sound the songs were not dealing with issues of the day or modern life,having said that I realise that a great deal of their charm and character came from songs about years gone by. I always hoped that they would have taken a leaf out of Warren Zevon's book and produced just one collection dealing with modern life. Zevon did just that in 1989 with his release Transverse City,subject matter and song titles included ,Networking[user-friendly], The fall of communism in Russia[he sings full verse in Russian], Gridlock [ fuming in an L.A.traffic-jam] and a wonderfully sardonic song called Down In The Mall [ the new Mecca of the young].But alas, it wasnt to be ....

Posted on Tue Nov 9 13:31:57 CET 1999 from (

Diamond Lil

From: the wheel of possibility

Carmen: Seems to me that 'Nirvana' and 'The Sex Pistols' are more a sign of the times (Wasn't that an old tune done by Petula Clark or something?) than anything else. Folks have been listening to and enjoying The Band for several decades now...because it's music that touches the soul and has staying power. Will be interesting to find out if the two groups on the top of the list you mentioned will even be remembered 30 years from now. I think not.

Posted on Tue Nov 9 13:03:44 CET 1999 from (

Peter Viney

Kalervo: Street Legal was wonderful, but the remastered Street Legal is a revelation. Underrated is an under-statement.

Catbalu: I’ve confined myself to Band associated tracks with “fly” in the title, sat back and let the computer do the work. But the stupid thing can’t distinguish between an insect and a verb. Print out:

Blue Tail FLY (Rick Danko), Dixie FLYer (T.J. Kaye with Rick Danko), Eric Von Schmidt - Wet Birds FLY At Night (Garth was on the album), Poco - FLYin’ Solo (Garth was on the album), Graham Parker - The Kid With the ButterFLY Net (Garth was on the album), Borderline - DragonFLY (Richard, Garth on the album). But the Blue Tail Fly is the only tribute to the TLW star.

Posted on Tue Nov 9 12:32:34 CET 1999 from (


From: philly

The 11/8/99 USA today had a top 10 Disc listing from 'Gear Magazine". Is everyone sitting down? How about Nirvana and The Sex Pistols, however, no Band or Dylan in the top 10. Do people believe this stuff?

Posted on Tue Nov 9 07:39:22 CET 1999 from (


From: Suomesta

Jonathan, I think your Bob Dylan lists were great. I agree so much. Like Infidels and especially Street Legal so high. To me Street Legal is Bob' s most underrated album. In this album Bob' s voice is wonderful, real flamenco soul, especially Changing Of The Guards - just listen how he is singing in it.

Posted on Tue Nov 9 06:39:20 CET 1999 from (


From: The Duck Pond ****AMERICA'S BANDLAND****

All I gotta say is "Welcome back, welcome back, welcome back!!" - John Sebastion. (Band connection? Much too easy -- both The Band and Sebastion were at the original Woodstock Festival.) I'm outta here! Quack! Quack! ~~~waddle ~~~waddle

Posted on Tue Nov 9 06:10:32 CET 1999 from (

Jonathan Katz

From: Columbia, MD

Mattk - Glad to see a post from you. Do it again soon, please!

Posted on Tue Nov 9 05:32:06 CET 1999 from (


From: the more things change the more they stay the same. jan, please don't delete...

well, there you go... my computer ate it and jan's didn't. put them together and see what is there. :) leaves me 7 lives to go. :) sure you "get the gist of it, but it's all right"

Posted on Tue Nov 9 05:24:41 CET 1999 from (


From: "All around the world statues crumble for me, god knows how long i've loved you"

A game for the GB - name all the songs you know with the word "fly" in them...

Band convention: maybe jan chair and pick the committee. i would nominate DJ, Lil, Garth, Lars, Mitt, Ilkka, Richard P, Pat B and Woodstock Tom (last 3, the promotion committee :). two rooms? yeah, that or one big one with a floor like a chess board!

Truly admire and appreciate Bob Dylan's influence on The Band. Who am i not to?

Ya'll have a good evenin... headin' to the mirror here to take a good look at who thinks they might have the right to criticize somebody... i swear, that little daughter of mine in tears cos her friend's parents said Kentucky is where all the bad people come from... know the Bear's boys understand why we're decked in Big Blue right now... absolutley...

Posted on Tue Nov 9 04:47:29 CET 1999 from (


From: The Rock

C'grass: I usually have a sympathetic ear for your outspokenness, refusal to toe the party line and knack for stirring the pot, but this time, young man, you've gone too far, like off the deep end, like lost in the freakin fog, casting stones in all the wrong directions, like who haven't got a jones or two. I guess what I'm trying to say is I think 'Amazon' is the most interesting cut on Jericho.

Posted on Tue Nov 9 04:26:05 CET 1999 from (


From: "All around the world statues crumble for me, god knows how long i've loved you"

Now, here's a game for you - name all the songs you KNOW with the word FLY in them. (go, mr. v!)

man, this is a testy bunch - but look who's talkin' (and i admit it! :)... especially since my little daughter has been in tears ever since she was told that all the "bad people" are from Kentucky by one of her school mates. i personally think the parents of that little "friend" of hers have been watchin too much HBO lately. not meanin to be a "traitor" to some very, very generous "Bear" boys, but... we're decked in Big Blue right now... have no doubt those big-hearted big men understand... in fact, know they do. something else to think about - false assumptions: not everybody's a word merchant... not their best thing. not my best thing; know what my "best thing" is. do you?

Band convention: maybe, jan should pick the committe -- and direct. but if i were pickin': Lil, DJ, Richard P, Lars, Mr. V, Mitt, Pat B., Garth and Sundog. Why? Odd number. Two rooms? either that or one great big room with a floor like a chess board.

Truly admire Bob Dylan and Eric Clapton. Who could ever underestimate men like that. Definitely not me...

Ya'll have a good evenin', wish you all the best.... me, i gotta go check my humanity in the mirror - remember to be mindful of who i criticize or laugh at.

Posted on Tue Nov 9 03:30:44 CET 1999 from (

Lil Again

Almost forgot! Got an invitation to a baby shower for a very dear friend today in the mail...and it's being held at "Whispering Pines Clubhouse" down in Yaphank, Long Island! Will have to take a photo of the place when I get there...

Posted on Tue Nov 9 03:22:18 CET 1999 from (

Diamond Lil

I agree with Matt K (nice to see you back Matt!) that all The Band members fought some kind of demons at one time or another...not unlike the rest of us. Don't think anyone here has the right to be judge and jury over things they have no personal knowledge of. The only _fact_ I can add here is that everyone associated with Rick felt a tremendous sense of relief when he was released from Japan and finally came home again. Enough said.

Have a good night everyone.

Posted on Tue Nov 9 03:17:03 CET 1999 from (


From: The Front Lawn

Thanks for the spelling lesson (no one is perfect - not even me!) and also for the crude insults which are almost as poor in taste as my comments on Danko which I now wish to apologize for after reading several news stories on the web concerning Mr. Danko's detainment in Japan. I now realize that he needed the heroin to alleviate a chronic back pain stemming from a vehicular accident which he was involved in many years ago. Anyone in the same situation would have done the same thing.

I also understand, after reading some other knowledgeable posts, that it "makes no difference" if The Band ever gets together to tour or record again.

Posted on Tue Nov 9 00:58:31 CET 1999 from (


From: texaz

jason: i'm all over that one! (although i'm easy to please)

Carmen: thanks for the set list,review and whereabouts on our friend fly!

Posted on Tue Nov 9 00:55:07 CET 1999 from (


From: Dispatch from the outer circle

For the record, I dig the fly thing...

Crabgrass, I suppose, then, that Rick's mistake is getting caught? After all, Levon had his own problem with Horse back in the 70s (per his own biography, please, no abuse). The group was unable to perform for well over a year at one point because of Richard's alchoholism. Everyone in the group has wrestled with demons. Given the tragedies in Rick's family and the loss of more close friends than I can fathom, I'm curious how his particular problem is more onerous than the others.

Belated note: Zawinul is cool, and whoever listed Jimmy Smith was on the mark. Can't forget Les McCann or Bill Doggett as seminal keyboard/organist influences in the rock era. Also, Chuck Berry's longtime sideman Johnnie Johnson is a key influence on rock piano. Emerson was once a hero when I was 16, but ELP's bombast wears thin and relegates them, for me, to the "art rock masturbitory poster child" bin at my favorite Sam Goody's Tape store.

shoot the damn demons are sneaking out from under the rug again...back to the salt mine...more later...


Posted on Tue Nov 9 00:43:40 CET 1999 from (


From: philadelphia burbs

I guess Clapton would be ok. I myself would rather see a guy named Robbie Robertson.

Posted on Mon Nov 8 23:20:21 CET 1999 from (


From: New Jersey

Crabgrass, I never said that Rick was at that show. I thought it was clear in my post that the Cromatix performed with the Band in place of Rick. And the show was about two hours, hardly a shortened performance. What do you think the purpose is in trying to blame someone for the breakup of this version of the Band? Rick, Garth and Levon have been making music for 40 years now and have every right to perform and record with whomever they choose.

Posted on Mon Nov 8 23:10:38 CET 1999 from (

Peter Viney

Bill: I agree with you. I’ve agreed before that I don’t think that Robbie on guitar for ‘Hey Bob-A-Lu’ is likely either. But the theory has been expressed, and Ronnie Hawkins’ odd comment on “Going Home” gave it a new credence. Ronnie would probably be the first to cast doubt on his own reliability as a witness. Nevertheless, it was an interesting comment - and not only that, but one that Robbie chose to leave in / edit in. As we all know, credits, especially composer credits, in the Hawkins era are dubious at best. ‘You Cheated You Lied’ is one glaring example. But on signing documents, there’d be a difference between 15 years 11 months and sixteen. I’ve heard Musician Union rules mentioned. Does this have any basis in fact?

Jason: see my review of ‘Jubilation’. Much as I enjoy Eric Clapton, I don’t hear anything that Jim Weider can’t do just as well. On the other hand it might be a moneymaker, and Eric’s best work has always been with another great guitarist (which Jim Weider is) beside him. And you’d need Randy Ciarlante and Richard Bell. The Band with Eric Clapton (or vice versa). I was glad to see that Rick is re-recording ‘All Our Past Times,’ which would be a must. I also wonder what happened to that long-rumoured Clapton-Robertson collaboration.

Posted on Mon Nov 8 22:03:15 CET 1999 from (


BTW "Crabgrass" - I've noticed that you are unable to spell reindeer correctly. Eat a hamburger, it might help you! Maybe your obsession with the picking on the Dankster, combined with your obvious aversion to meat, and possibly your infantile tendency to pontificate at every turn, has given you some sort of rectal-cranial inversion!!!

Posted on Mon Nov 8 21:04:14 CET 1999 from (


From: Grand Rapids,MI

I was watching the authorized band biography this weekend where Eric Clapton said when he heard the Band he immediately wanted to be the guitar player. This made me think of something....what if Levon,Rick,Garth,and Clapton got together and did an album/tour together? I think it would be a fantastic experience to see and/or hear music made together by these four. Let me know your opinion if ya want.

Posted on Mon Nov 8 21:00:11 CET 1999 from (


From: The Front Lawn

Well, I guess if that BAND CONVENTION ever comes off at least one GB poster is gonna show up dressed as a raindeer with it's guts and blood spilling out all over the place - probably will win First Prize in the Best Original Comic Costume Contest. Good Luck... and happy hunting!

THE POST JAPAN INCIDENT BAND GIGS that weren't cancelled were done minus Rick - I know someone who went to one - The Band came out and did a short set and didn't even make mention of Rick's very obvious absence. The new Band lineup's momentum was killed by Rick's little vacation in Japan and although they got together to record Jubilation this was after some time had passed and any bad feelings had obviously cooled down somewhat. However, everyone was already geared up to carry on with their newly assembled groups and Jubilation was not supported with even a limited tour.

I'd rate Jubilation the weakest of the 3 '90s albums and Jericho the strongest (except for "Amazon" of course) but I like HOTH a lot and play it a lot. Jubilation surely beats out Islands but maybe that's comparing apples to oranges.

BTW "Guenevere" - I've noticed that you are unable to spell your own name correctly.

Posted on Mon Nov 8 20:33:18 CET 1999 from (


From: A rainy day

All this talk about whether The Band is together or not is really immaterial. My son is three and loves The Band (especially When You Awake). To him, their music is brand new. And to me, after thousands of listenings, I still hear new things in the music. Shine on!

Posted on Mon Nov 8 19:55:45 CET 1999 from (

David Powell

From: Georgia


As someone who still has a turntable & enjoys listening to LPs, occasionally I post comments about recent finds from used-record stores. Recently I picked up a copy of "Masters of Rock Vol. 9" a German EMI-LP compilation of songs from The Band's first six albums. I also found a Columbia House Record Club pressing of "Music From Big Pink." Both LPs were in good condition, exhibiting that warm & smooth sound associated with analog. Best of all, both LPs set me back a total of only $8.00.

This past weekend I pulled out some of my old Ray Charles LPs for a spin on my trusty Thorens. Not too long ago I found a promo copy of Mr. Charles' "Love & Peace" album released on the Crossover/Atlantic label in 1978. This LP contains Brother Ray's version of "She Knows," written by James Griffin & Robb Royer, who were formerly associated with the group Bread. This is a beautifully orchestrated version featuring acoustic guitar, electric piano, strings, woodwinds and a fine trumpet solo. Ray turns in his usual amazing vocal rendition, complete with falsetto at the end. Other highlights from this LP include a version of "We Had It All" by Troy Seals & Donnie Fritts, "Riding Thumb" by Jim Seals & Darrell Crofts (of Seals & Crofts) and two songs by Jimmy Lewis, "Take Off That Dress" & "Give The Poor Man A Break."

To my knowledge this album is not available on CD and in particular I haven't seen "She Knows" included on any of Ray's CD compilations. Ray Charles, like Buck Owens and Frank Zappa, had the foresight to successfully negotiate the rights to his recording masters. He currently licenses his works to Rhino after a brief association with Steve Hoffman and the DCC Compact label.

Posted on Mon Nov 8 18:43:34 CET 1999 from (


Peter: I don't think the Robbie-too-young-to-sign theory holds up. Sessions that he definitely did play on were done when he was still underage - suggesting that it didn't matter. (And remember, he was in any case old enough to sign for publishing on "Hey Bobalu".)

On to other matters: It was nice to see the back-cover photos to the Hawkins book on the site. Does everybody out there know that that's our own John Donabie at the end of the row of hairy guys in the top photo? I've always been partial to the posed photo of the Hawks - Hawkins, Helm, Danko, Robertson and Penfound. Since I find it hard to believe that Hawkins would have had a piano-less group, it seems to me that Penfound must've played more than the sax that he's generally credited with. (He is credited with piano on the LP he later recorded with the Capers, but that one's really hard to find.)

Posted on Mon Nov 8 18:09:22 CET 1999 from (


From: Oregon

Crabbygrass -- Bound and determined to blame Rick for everything and anything, huh? Gee, how big of you. Must really be cool to know so much about all their private lives. You know, I bet if you try real hard, you could probably trace the root cause of all The Band's problems to Rick's ordeal with the road-kill deer. Did it take a lot of practice to become such a jerk, or was it fairly easy for you? I'd advise you to mind your own business, but then, you'd have to have a life to do that...

Posted on Mon Nov 8 17:36:00 CET 1999 from (


From: simpler times

Sir Crabs-a-lot : ...and I have another Fairy Tale for you ...

Humpty Dumpty had The Last Waltz...

Some say Humpty's motives were false..

But all the King's money and all the King's friends..

Couldn't put Humpty's Band back together again... (but who knows, maybe Garth could)...

P.S. I second your nomination, but only because I'll enjoy the excitement of your funeral!!!

Posted on Mon Nov 8 15:47:17 CET 1999 from (

Peter Viney

A question for all you Grateful Dead fans: the new 5 CD set contains a track called “Watkins Glen soundcheck Jam”. Any Band involvement?

Posted on Mon Nov 8 15:46:26 CET 1999 from (

Jon Lyness

From: New York, NY

A little late...well okay, about a week late...but Peter, thanks for your article on High on the Hog. I'm still not entirely sold on the album, but I see where you're coming from. As I said, "Hog" sounded great for a few months, but now I rarely put it on. You seem to ask, in quoting Lawrence T., why "Hog" has come in for so many negative commments obvious answer, to me, is that Jubilation was released last year. I think most (not all, I know, but most) people here would agree that Jubilation is their strongest album of the 90s, giving us a much better vantage point to dismiss "Hog" as a weak effort...I think I've gone down this road myself, without entirely being aware of it. (I think a similar reevaluation of Dylan's recent work is taking place now that Time Out of Mind has been released, with everyone praising that album and implicitly dismissing other 80s/90s releases of his (Oh Mercy, for instance) which seemed strong at the time.) Just a thought.

Posted on Mon Nov 8 15:27:58 CET 1999 from (


From: Pine Bush, NY

I guess someone has to be held accountable for the Band drifting apart. Somebody has to be blamed. There are a lot of disappointed Band fans starving for Band music and the quicker we can pin this on somebody the better.

The Band was doing great and making some great music up to the day Robbie (with those tired eyes coming to life as he recognized the Intruder) sat in front of the camera and tried to catch the Fly with a swipe of his hand. From that moment on, the Band went downhill.

Even recently the Fly went for Garth on stage, but Garth stood up to him.

I blame the Fly for everything. Somebody has to stop him. And I'm gonna stop him.

Posted on Mon Nov 8 13:36:17 CET 1999 from (


From: New Jersey

I disagree strongly with Crabgrass. If you blame Rick for the disintegtation of the Band how can you explain Levon recording 'Java blues' and co-producing 'Rick Danko in Concert' during this time? Not all of the dates from that period were cancelled. I saw a show in June, 1997 in East Brunswick, NJ that had basically a Band/Cromatix lineup and it was excellent. And how could 'Jubilation' of ever been recorded if there was some huge rift within the Band? Maybe it's actually Garth who has decided he doesn't want the Band to continue. I know that Levon has said that Garth is the key and that there never would have been a reunion in '83 without his involvement.

Posted on Mon Nov 8 08:32:55 CET 1999 from (


From: Nordic Countries
Home page

To once-upon-a-time RAGTIME WILLIE
I DON'T vote Jan for a chairman - he should be invited and treated as a Guest Of Honor. Let the beatiful guestbook ladies massage the back of his neck (stiff from all the guestbook monitoring)!

Posted on Mon Nov 8 06:56:56 CET 1999 from (


From: The Front Lawn

I hereby nominate myself for Chairperson of the "COMBINED INTERNATIONAL BAND CONVENTION & FUNERAL!!" ... Gee, that was easier than I thought - but now comes the hard part... who's gonna second my nomination?

FOR THOSE WHO MIGHT BE INTERESTED - I blame Rick for The Band's dissipation since his indiscretion in Japan (notice I'm being kind here) forced the cancellation of a bunch of Band concerts and I'm sure also caused The New Band some financial problems as well as personal friction among the members which hastened decisions about future individual directions. However, I'm quite sure I'm wrong about all of the above and await the true story from someone with intimate personal knowledge to come forth and enlighten us all.

Posted on Mon Nov 8 05:01:54 CET 1999 from (

Jonathan Katz

From: Columbia, MD

Well, I'll probably get a lot of grief for this but here goes my personal top ten Dylan albums [excluding live albums, bootlegs, Greatest Hits, other collections, and the Wilburys]:

1. Blonde on Blonde

2. Highway 61 Revisited

3. Infidels

4. Planet Waves [Whoever said you have to be on your toes to play with Dylan and the boys definitely were on with PW got it right - same for TLW where you can see it on their faces]

5. Street Legal [remastered]

6. Slow Train Coming

7. John Wesley Harding

8. The Freewheelin'

9. Blood on The Tracks

10. Basement Tapes [not sure if this really qualifies but I love it].

Honorable mentions:

Oh Mercy

Time Out Of Mind

Bringing it All Back Home

Best Bootlegs:

1. Guitars Kissing...

2. Genuine Basement Tapes

3. Rough Cuts

4. Thin Wild Mercury Music

5. Can't remember title of the one from the 1st evangelicalical tour.

Posted on Mon Nov 8 02:30:58 CET 1999 from (


From: Pine Bush, NY

RICHARD: I don't think I could do justice to a dialogue of the Band members living in a log cabin together. Probably there would be a lot of great music, though. From what I read about those early days, the boys worked pretty hard on their craft. There probably wasn't much comedy in the room, but the music that was born there was, in my opinion, the best rock music ever brought to life.

Glad to hear the Philly show went so well. I can't wait to hear Rick/ Garth/ Prof Louie in a local venue. Speaking of local, I was at that show Jon was talking about, and Oxford Depot (I thought they were kind of like a Marshall Tucker kind of band) WAS outstanding. Nice to leave a show with the feeling that it was even better than I hoped it would be. "The Weight" was a special treat for me. They played in Montgomery, NY last week and I was there for that show, too.

Posted on Mon Nov 8 01:24:33 CET 1999 from (


From: Woodstock Records
Home page


Just a quick note, we'd like to thank all of the wonderful fans who came out last night to the 'Tin Angel' shows in Philadelphia.

Rick, Garth and Aaron had a great time. Thanks to Dee and George from the Tin Angel and the hundreds of fans that came out.
You made the "City Of Brotherly Love" shine and kept it's name true.

We'll be back real soon.

Peace from Woodstock!

Tom/Woodstock Records

Posted on Mon Nov 8 00:37:23 CET 1999 from (


From: a once-upon-a-time "Band guestbook regular"

Don't know what's going on lately... heard something of a fly... a fly?

And what's wrong with Planet Waves now...? Nothing? That's what I thought.

And what's this about a chair"person"? Don't know what this is all about, but Jan gets my vote. Of course... who else?

Posted on Sun Nov 7 23:57:38 CET 1999 from (


From: Upstate NY

I saw a group called Oxford Depot in Monroe, NY last month. They were excellent, played mostly bluegrass. Also covered the Band's "Long Black Veil" and "The Weight."

If you get a chance to see these guys in upstate NY, go see them. They are playing at Bodle's Opera House in Chester, NY in Feb.

Posted on Sun Nov 7 23:41:16 CET 1999 from (

Peter Viney

My list of greatest Dylan albums missed "Royal Albert Hall" which has all the sense of the moment.Play ******* Loud!

Posted on Sun Nov 7 23:00:04 CET 1999 from (


From: philadelphia

Peter V.,I think the fly made it to fly another day. Crabgrass, being critical is one thing, however, I do not feel there is a need to get personal. I don't understand what pleasure you derive from these personal attacks. What's wrong, was the bully on your block named Rick?

Posted on Sun Nov 7 22:25:12 CET 1999 from (

Richard Patterson again


The mention of close pals who live together, and the movie 'Help!', gives me a vision of a log cabin with five separate entrances to the same room. What would the conversation be like inside I wonder? (Lars?).

Posted on Sun Nov 7 21:16:34 CET 1999 from (

Richard Patterson

From: St Kits

Thanks to Crabgrass, Peter V., Pat Brennan, Lil, for helping me to understand the differences between film and video. I think I've got it now. Video has more frames per second but fewer lines of resolution. Making performances appear closer to real time, right?

Peter V.: I think your choices for best Dylan records hit both ends of the inspiration/craft scale. 'Street Legal' (to me) is so bogged down in craft (lifeless, overly ornate arrangements, etc.) that it almost sinks (I said almost, much worse Dylan albums have been mentioned here recently) whereas on 'Blonde on Blonde' (recorded just after Dylan's introduction to a real, live, touring "Band") the sound is immediate, inspired, transcendent. And there is tons of "presence". The accompaniment here only supplies higher octane fuel to feed the artist's inspiration. Perhaps what I'm trying to say is that the true "craft" of the musician _should_ be to reveal the artists vision. The only thing that could have possibly made 'Blonde on Blonde' better would have been the entire "Band" on the sessions. On 'Street Legal' the musicians sound like they're standing in Bob's way.

Thanks Bashful Bill for starting this 'Planet Waves' thread. Have had it on the turntable constantly for the past few days. Trying to accompany Bob Dylan must be a little like trying to anticipate when John Lee Hooker is going to make a chord change. In a word "unpredictable". Hence, the Band are always on their toes and playing at their best. Perfect for live shows (and clubhouse tapes).

Posted on Sun Nov 7 18:51:11 CET 1999 from (


Hi there - I heard that BOB DYLAN "Eat The Document" is going to be released on DVD in January!
For all you tech-heads, this is going to have supposedly, some extra footage on it, etc.

Can't wait ! - Since the US VHS is now out of print.

Posted on Sun Nov 7 15:36:56 CET 1999 from (

Band Thought

From: New York

Lil: I second your nomination of Jan as Chairperson and would give my vote to you as Treasurer (need someone level-headed there ;)

On Planet Waves again, my memory serves me well. Picked up the CD after a long absense and it stands up so, so well. There is no doubt an excitement, an aura, call-it-what-you-will feeling in the studio which jumps out of the speakers. The excitement of the upcoming tour, of playing together again, of knowing they could blow the doors off of the listening world again. These guys recorded a gem in three days; other musicians could spend a liftime in a studio (lots of take-out Chinese, no doubt) and never even come close.

Posted on Sun Nov 7 14:46:07 CET 1999 from (

Diamond Lil

From: band convention headquarters

I suggest we nominate someone to be chairperson of this Band convention. In fact, a guestbook election might be kind of fun..and break up some of the monotony in here. I'll start by nominating Jan...since it's his site and he has the power to vaporize my posts if I don't :-) Any other nominations? The floor is open (and i'm sure there are some of you wishing it would just swallow me up). A little playfulness is sometimes good for the soul.....

Carmen: thanks for your review of Rick's show at The Tin Angel. So glad you enjoyed it!

Posted on Sun Nov 7 14:43:13 CET 1999 from (

Peter Viney

What is a “group”? There are lots of pessimistic posts about The Band’s continuation, but you have to realize that most bands were only in the “clubhouse” phase early on, but inevitably it is a myth that can’t last. Since 1969 there have been many non-productive years and non-playing years for The Band. Probably years of personal antagonism too. Last year was pretty productive, but they haven’t done a live concert for ages. So? That doesn’t mean that they won’t, or that they ever need to make a decision. No one talks of CSNY or Genesis or The Rolling Stones, breaking up, but they could all be considered to be occasional comings together of talented individuals with other fish to fry. OK, the new CSNY shows the differences between the composers on initial listening (the Neil Young songs are strikingly better, for starters), but they still contribute and form a whole. BTW, every reviewer has pointed out the rewrite of “Subterranean Homesick Blues”, one pointed out the lifted riff from “We can Be Together” but has nobody noticed that they lifted from “It’s alright Ma (I’m Only Bleeding)” as well? The idea that groups are close pals who live together goes back to “Hard Day’s Night”, “Help” and The Monkees. I doubt that there was ever much reality behind it. The credits to “Jubilation” suggest that Richard Bell’s membership is getting to be theoretical, but I still hope that one day we’ll see all six current members on stage again. My hopes of seeing the seventh survivor with them are very limited.

The fly conspiracy: as Levon sings, “Don’t Ya Tell Henry, Apple’s got your fly.” As for what this means, suggestions invited! Carmen, you missed the important part. Did the fly survive Garth’s swat?

Jonathan: Though most things beat “Dylan” I like “The Ballad of Ira Hayes”. “Planet Waves” stands in the debate between inspiration and craft as ways of working on music. There is a huge temptation to rely on the moment rather than the year in the studio (“Basement Tapes” are at one end, “Bridge Over Troubled Waters” is the other end of the scale). There’s a place for both, and different pleasures from both too. I think The Band’s albums are the perfect balance. Everyone likes to talk about getting things first take, but the circulating tape of work on “We Can Talk” proves that they did sweat it out and craft things. NLSC shines with the amount of sweetening that Garth did to it. ‘Planet Waves’ is less crafted than their normal level, which may or may not be a bad thing, and I’m still relistening after all the recent opinions.

On Dylan, I’m a Band fan first, a Dylan fan second. I started with Freewheelin’, but for me ‘Highway 61 Revisited,’ ‘Blonde on Blonde,’ ‘Blood On The Tracks’, ‘Desire’ and ‘Street Legal’ are the best things. I think I like that thin wild mercury music from Dylan, because apart from ‘Blood on the tracks’ these are all Dylan at full throttle. I’ve been trying to recall when ‘PW’ came out and what I was listening to at the time. I think the personal connotations of an album are vital. I suspect I was heavily into Marvin Gaye and early Bob Marley and listening to more soul than anything. This is something I frequently do. I have a car auto changer and three of the six slots have permanent inhabitants - a Band compilation (slot 1), an Atlantic soul compilation and a mid-60s mixed soul compilation (Impressions, Four tops, Marvin Gaye, Temptations, Major Lance, Don Covay etc). On which, if The Band ever want to do another soul cover, I can imagine Levon as lead voice and Rick Danko as backing voice on a very gritty ‘You don’t Know like I Know.’

Posted on Sun Nov 7 13:06:28 CET 1999 from (


From: Philadelphia

I was at the Danko/Hudson show last night at the Tin Angel. For all you conspiracy nuts, the FLY was there as well *(see below).

Here is the set list from the 1st show:

  1. Book Faded Brown
  2. Sip The Wine
  3. This Wheel's on Fire
  4. Blind Willie McTell
  5. Stage Fright
  6. Caledonia Mission
  7. Crazy Mama * (Garth Swats At Fly In Middle of Song)
  8. Let The 4 Winds Blow
  9. Ophelia
  10. It Makes No Difference
  11. Long Black Veil
  12. The Weight
  13. Shape I'm In
  14. Rivers of Babylon
Garth and Rick were havings a lot of fun on stage joking at times and Rick was signing anything after the show. Rick stated his new studio album should be ready by the spring time. Overall it was a great time. Rick's guitar playing was real crisp and Garth as always sounded great.

Posted on Sun Nov 7 09:15:42 CET 1999 from (


From: Down South In New South Wales

Anyone interested in finding out a little more about Planet Waves and it's creation should get hold of a biography by Bob Spitz called DYLAN [contains many references to The Band] , it also gives a good look at the behind the scenes making of Nashville Skyline.My personal favourite all-time Dylan is Slow Train Coming,lyrically, [religious beliefs aside]he's never written better.Bob gets on his high-horse from the word go and with Mark Knofler adding some of the best guitar Ive ever heard it really is Bob at his best.Coincidentally [ or perhaps not] Knopler played on Infidels, also a wonderful release, I recall seeing Knopler getting up on stage with Bob during Bob's world tour in '88.

Posted on Sun Nov 7 07:38:30 CET 1999 from (

Just Wonderin'

From: Margaritaville

Just came from the movies tonight and was gratified to see two films advertised with music by The Band and Dylan/The Band. One is the upcoming "Hurricane" film about Hurricane Carter. The other one I don't know, but just heard "The Weight" as part of the soundtrack. Boy will my kids be surprised when they see those films with old folks music in them! Maybe they will realize how timeless the music of The Band is. My 14 year old just got turned on to Sanatana so there's hope yet!

I love Planet Waves...I think there was a lot of fun at those sessions.

Posted on Sun Nov 7 07:29:05 CET 1999 from (

Jonathan Katz

From: Columbia, MD

Peter V: I seem to be once again at odds with you about Dylan albums. While you were disappointed with “Planet Waves” I was delighted to have Dylan back with the Band in 1973. While I loved “New Morning” when it was released, I don’t think that it stands up to repeated listens. Remember, “New Morning” was received by the press as a comeback, after the [to put it mildly] disappointing “Self Portrait.” Going back to it today, it doesn’t hold up as anything startling. Save “New Morning,” and maybe “If Not For You,” the songs are benign statements of middle age complacency. My expectations for “Planet Waves” were extremely high, and I think that it delivered - at least to me it was definitely not a “throw-away.” Done quickly it had a spontaneity reminiscent of the Basement, with some good songs, and some great songs. The album opens with a rousing “On A Night Like This” that instantly transports me to a cabin in the mountains, a fire roaring in the fireplace, curled up on an overstuffed sofa with my wife. Robbies guitar overdub on “Going Going Gone” has already noted here as one of the outstanding features of this album. “Tough Mama” always stirs something in me, and I was delighted to hear it replace “Watchtower” in the third slot during Dylan’s ‘97 tour [though that band didn’t do it justice]. The version of “Forever Young” that closes out side one is devastating. Maybe the lyrics are obvious, but its laid bare emotion is the best statement of a father’s love and prayer for a child that I’ve ever heard in song. [Surely it is hands down stronger than the “Infidels” outtake “Lord Protect My Child.”] There’s nothing to say about “Dirge” that it doesn’t say for itself. Lyrics that start with “I hate myself for loving you...” have to deliver some raw emotion, and the song delivers hands down, with a great accompaniment on guitar from RR. Even more amazing is that this performance was almost an afterthought, redone at the end of the five days of recording. The last three tracks are three different statements of love and commitment each of which move me more than anything on either “New Morning” or “Pat Garrett” including its “one decent song.” Of course “Blood on the Tracks” is another story; definitely difficult for any album to compete with that one, but a different album in concept. Your shot that “Planet Waves” “sure as hell beats ‘Dylan’” was surely understatement if not comic. One phenomenal aspect of “Planet Waves” is that there isn’t much in the way of outtakes: a jam, a fragment of “House of the Rising Sun” and “Nobody ‘Cept You” are the only ones in circulation. Virtually everything they did during those sessions paid off. I read somewhere that during those sessions there was a Barbara Steisand TV special and Dylan and the boys crooned to the song “People.” I’d love to hear a tape of that, which probably also sure as hell beats “Dylan.”

Posted on Sun Nov 7 01:04:13 CET 1999 from (


BAND THOUGHT: Thanks for the thoughtful post. Just goes to show that facts can be stated without name calling and personal attacks.

I also would like to mention, for those who don't know, that Rick has been actively (both personally and financially) involved in some other very worthwhile causes. Different organizations for hunger, the homeless, and especially for a local battered woman's shelter. And for the man that he is, and the heart that he has...I thank him.

Posted on Sun Nov 7 00:11:01 CET 1999 from (

Band Thought

From: New York

Well, I could be wrong about this, but I think not. Rick has come back from the prison garb era and deserves a bit of respect in the process. I have to say that I have seen Rick at venues like The Bottom Line in Manhattan where he really appeared to be in bad shape - this goes back at least two-three years ago. When this site was just beginning, I recall e-mailing Jan and mentioned what a bad experience it was. After so many years of seeing him perform live in the Band or solo, it was very difficult to watch.

I just recently caught the Natalie Merchant (she made a great comment on stage as she sat down at the piano of how difficult it was to follow Garth), Rick and Garth show up in beautiful Kingston town (as Van once said). I wasn't sure what to expect from Rick based on recent times, but I can tell you that he was in fine form - even had the chance to say a word or two in appreciation of the music to him as he was ready to drive off in his "camper" after the show. In fact, he waited in that camper for about 20 minutes as some of the crew were inside the venue settling what was due for the evening (an unfortunate part of the business - do you get what you should from the gross as you play from town to town?).

So I give Rick a helluva lot of credit. He is still playing live, he is pretty damn accessible and he still makes a contribution or two to a few good causes (like Pete Seeger's Clearwater project).

John S.

Posted on Sat Nov 6 22:49:37 CET 1999 from (

Diamond Lil

From: where the grass is greener

Kinda liked the lighthearted kidding of the fly posts myself. Don't remember reading any rules here saying "no having a little fun". What I find most ironic however, is that someone is "disgusted" over what's nothing more than a little silliness, and yet makes no mention of the cruelty of someone else finding some sort of sick humor in the wearing of japanese prison garb with a spike through his arm. Now _that's_ sad.

I'd say more, but since I am now able to preview and correct my entries again, I wouldn't want to have to explain to Jan why I let the word 'asshole' stay in my post. Nope, I sure wouldn't want to have to do that........

Posted on Sat Nov 6 22:27:45 CET 1999 from (

Jeb Stuart

From: VA

Crabgrass, no one would kill you at a Band Convention. You'd just be really lonely.

Posted on Sat Nov 6 22:08:46 CET 1999 from (

Dear Abby

From: Your newspaper

Disgusted, Disgusted, you have no complaint,

You are what you are, and you ain't what you ain't.

So listen up buster and listen up good,

Stop wishin' for bad luck and knockin' on wood.

Posted on Sat Nov 6 21:27:33 CET 1999 from (


People wonder why people like mattk, Serge and other thinkers; who are Band music lovers have left this site. Day's of posts about a fly. I guess this is the aftermath of a Guestbook when a group no longer exists. Sad.

Posted on Sat Nov 6 20:10:22 CET 1999 from (


From: The Planet Wave

Band Thought: please please please couldya couldya couldya pretty please .... find a way to post those photos from the 1974 tour??? (Kinko's Copies [hate to plug them] will scan photos and attach them to e-mails for you ...:-)

That was an incredible tour and I would love to see some shots of it because right now I only have it stored on some very old technology ... some rapidly failing brain cells.

Posted on Sat Nov 6 19:40:41 CET 1999 from (


From: austin,tx.

I've always loved planet waves. the element that brought me to dylan and the band was the relaxed, sloppy, good time profundity that they found in their brand of rocknroll. planet waves was an intimate recording and i love the songs, particularly the ones mentioned in earlier posts and the up-tempo cut of "forever young". i love the sound of dyalns harp with garths etherial backing, richards drums an piano, levons drums and mandolin, my favorite bass player and guitar player an all my favorite singers. give me more and more and more!!!

I can understand that Self Portrait isnt for everyone- but to me it is a very important Dylan record as it's name implies. dylan has gone thru alot of changes but a common thread has been an element of country that ties all his work together. true its been years since i actually listened to my copy, but i love that record particularly "Who's Gonna Throw That MInsrel Boy A Coin????Who's Gonna Let It Roll..." ,rollin stone, days of 49 (oh my goodness!!) i guess ya just have to have a sense of humor about an artist and the high and low water marks that they go thru. Giacommetti once remarked he wished he could really let go and paint like a machine. I appreciate that sentiment but i'm glad my favorite artists dont work their art like machines just the same.

great post Lars. did a fly tell you about that game?

Carmen: you rock hard out there tonite eh?

Posted on Sat Nov 6 19:18:53 CET 1999 from (


Crabgrass: Japanese garb and a spike? Not really funny...Right, you probably would be one of the first to and Serge.

Posted on Sat Nov 6 18:51:21 CET 1999 from (


From: Orlando

Thank you all for your comments on Planet Waves and Going Home. By the way, Dylan's vocal is great on SP's "Copper Kettle - "We ain't paid no whiskey tax since 1793." The entry about Rick smiling when Robbie hits his solo at the HOF knocks me out. I really like Planet Waves which my Dad wore the grooves out after going to Before the Flood. It's a warm album (for the most part), and the musicianship on PW and Before the Flood is better than anything Dylan did since the Basement Tapes and the Woody Guthrie concert. Convinces me that New Morning would have benefitted from The Band -- the title song was perfect for them. The looseness is also impressive although I remain disappointed with the lack of shared vocals. Perhaps the recording was rushed, but I think most of us would like to see Bob, Robbie, Rick, Garth, and friends get together for a few rainy afternoons and see what comes out. Maybe the Rick Danko solo album. Any word on a new Danko, Fjeld Anderson, recording?

Posted on Sat Nov 6 18:36:11 CET 1999 from (


From: The Front Lawn

I like this "Band Convention" idea - especially now since there is no more Band. The costume idea is great - I'm gonna show up in Japanese prison garb with a spike sticking out of my arm! And a convention would give us all a real chance to kill each other (I'd probably be one of the first to get done in - but I'd be in such good company it wouldn't bother me.)

SELF PORTRAIT - despite a few good tracks I'd rather forget it completely - the strings and vocal choruses make me sick. Also, Dylan's PAT GARRETT soundtrack is pretty lame (ditto for the movie) - can't stand "Knockin' On Heaven's Door." Going over to one of the Dylan websites to let them know. I'll be back in time for The Band Convention tho - don't worry!

Posted on Sat Nov 6 17:14:59 CET 1999 from (

The Fly, c.o.

The Fly:

“I guess a lot of people don’t know this, but my great-grandmother featured in The African Queen and was swatted by Bogart. She has her own speck on Hollywood Boulevard. We’re a showbiz family, and one of my ancestors was immortalised by Emily Dickenson. Working with Scorsese was tough. When you’ve got several thousand eyes it takes some acting ability to pretend you don’t see Robbie’s hand coming. Especially after 15 takes. I was grateful to Robbie for bringing me out of retirement for my cameo in Going Home. We took it slow, as I’m not as fast as I used to be, but then nor is Robbie. I don’t know if The Band will ever get back together. I’ve known them since 1967, and was buzzing around that deer that Rick and Bobby Charles butchered. They don’t call too much, but I still get cards at Christmas.”

Posted on Sat Nov 6 17:09:27 CET 1999 from (


From: Philadelphia

Peter V. I watched Going Home again last night. Due to the recent GB comments I was paying extra attention. I was taken back with RR's comments on the whole clubhouse thing. Seems to me RR did not really want the break-up to happen at all. It was just something he could no longer control. Leaves me to believe that there is still that possibility "enough said". I am also more convinced that Dylan was not as much an inspiration to RR as most may think.

Posted on Sat Nov 6 16:54:36 CET 1999 from (


From: "The Bear and 315"

Mr. Zero (like your name :): hope this doesn't "worry" you, me not being the most literate Band fan in the lot, but i agree... good balance in the Band.

Lars: good way to get your leg broke! :) this not being the best year for Alabama football, sure have enjoyed the Howard Cosell (sp?) HBO special... brief moment of Willie Joe approaching the microphone - what a smile!!!!... John Lennon on the sidelines... Ali dancin' like a butterfly... my, my, what fine trees in that old 60's-70's forest... glad some of ya'll are still standing strong.

Mr. V. - guess circumstance and personal taste provide the preference - the reason i like "Planet Waves" is for all the reasons you don't. :) Agree to disagree - love to hear what the warm-up sounds like, next best thing to being there. There are times for perfection, oh so necessary, then there are times to appreciate imperfection. i reckon! :)

Carmen: agree with you on "Dixie" being The Song and not because it's mine personally :)... like you wouldn't believe. :))) Told a true, seemingly well-researched story with a mighty universal appeal, favorite line being "take what you need and leave the rest, but you should never have taken the very best." perhaps RR should think about that, now that he's gettin older and wiser? and too, that line has always reminded me of the philosophy of the Plains Indians: "just enough horses."...

One of the best fotos i've seen that shows Robbie's wavin' good-bye to something that had already waved goodbye is on Mitt's site - a black and white of him looking out a window (always brings to mind the words of a timeless poem: "what is it to be a woman to prefer a lake to a river, a window to a door" in reverse. melancholy - the pleasure of being sad... and one wonders why

Of old GB: favorite female singer: always and forever more, Patsy Cline. only Mr. Helm can sing "Blue Moon of Kentucky" with as much soul. Go Big Blue...

Posted on Sat Nov 6 15:44:49 CET 1999 from (

Peter Viney

GOING HOME. Some quotable quotes, transcribed without pausing the DVD, so I won’t swear they’re absoloutely word for word.

Ronnie Hawkins on RR and Hey Bob-a-lu “… and he hit those licks.” Possibly confirming the theory that RR played on it, uncredited because of his age.

RR on himself at 15: “Nobody’s capable of trying harder than me, so I’ll win.”

RR “Garth Hudson could have played with us, Miles Davis or the Symphony Orchestra.”

Ronnie Hawkins: “Robbie wasn’t a show-off like the rest of us.”

RR on joining Dylan: “Electric music? What does that mean? We never had an acoustic moment in our lives.”

RR on Levon & Dylan: “Levon said, I don’t understand this music and I don’t really like it.”

On the subsequent career of the fly. RR to Martin Scorsese: “There’s that fly again. You remember this - the same fly as The Last Waltz.”

On TLW: “I just couldn’t make myself part of this. I lost my passion for the road. That’s what happened.”

On the break-up: “I used to be able to get everyone’s enthusiasm … now I couldn’t cut through the fog anymore … we were all causing the damage. I remember one day going to the studio, and nobody came … and I thought, well, I devoted 16 years of my life to this, and maybe that’s all it’s asking of me.”

“Everyone could do their individual projects … I would love for there still to be the core … the clubhouse… but it just kept driftin and driftin …” (relapses into silence, head bowed).

I’d defy even the hardest RR critic to fail to be impressed by the live “Skinwalker” or to fail to notice Rick’s smile as Robbie hits the guitar solo to “The Weight” at the RR Hall of Fame. In film extracts, Richard remains pretty invisible, but the camera spends a fair time on Rick and Garth, given that it’s an RR autobiographical piece.

Crabgrass: “Self Portrait”: a much reviled album, with the shoddy Isle of Wight performances of “Rolling Stone” etc. But “Minstrel Boy” is great, and I believe that inside there’s a subtle comedy record. Take “It Hurts Me Too”. This is an ancient 1940 Tampa Red (or maybe earlier Big Bill Broonzy song, this is disputed) which Elmore James borrowed and pretended to have written. Then every bad British blues boom band covered it. So Dylan does it, changes it from blues into country and has a laugh at all of them. Then compounds it by claiming to have written it. “All the Tired Horses”? Brilliant opener. I imagined Pete Seeger-types in a hairy sweaters placing the new Dylan on the turntable and sitting back to be totally confounded (yet again). “Copper Kettle” - well, he had very publicly attacked St Joan Baez for still living off this song, then covered it himself. “The Boxer”- interesting stories behind this, involving the love-hate feelings Paul Simon had towards Dylan’s work. Then tributes to the Everly Brothers … it’s not as bad as you think if you approach it ready to smile with him!

Convention: I vote for the Fly for closing plenary. At Star Trek conventions (so I’m told!) none of the cast like to turn up if Shatner is present.

Posted on Sat Nov 6 13:38:40 CET 1999 from (

Richard Patterson

From: St Kits

In the wake of the flood here I'm replaying 'Planet Waves'. This is one tough, high quality album. Much better in hindsight than I thought at the time. I find the "tossed off - one take" sound of the Band's playing very appealing (Dylan spent an entire decade - the 80's - trying to get studio musicians to make it sound like the first take, with often dire results).

I especially like "DIRGE" (just Bob w/ Mr. Manu_a_l on piano) and "Going Going Gone" (some of Robbie's most tasteful playing).

Recorded November 5, 6 and 9. Synchronicity?

Posted on Sat Nov 6 13:42:12 CET 1999 from (

Lil Again

Was just thinking (imagine that!) about this Band convention thing. At the Star Trek 'trekkie" conventions, they show up in 'Spock ears' and such. So..would that mean we'd have to show up in beaks? Or call everyone "son"? Or walk around in our socks? Or tell each other we feel like we're in our own livingroom? Or wear native american garb? Hmmm....just curious.

UNCLE H: Counting on you in. Will meet you at the bar. You bring the fingers, ok? :-)

Posted on Sat Nov 6 13:26:27 CET 1999 from (

[guest photo]

Uncle Hangover

From: Joe's Generic Bar, Austin, TX
Home page

A convention for Band fans?! Count me in!! And let's all chip in to buy tickets for Jan to join us. He deserves it for creating and maintaining this wonderful web site. Amen.

Posted on Sat Nov 6 12:42:23 CET 1999 from (

Diamond Lil

MICHAEL SHILOH: Wow...what a beautiful post. So nice to wake up and read such poignant and heartfelt words. Thanks.

BRIEN SZ: You mentioned that you wished you could write some "short, insightful observations"..and guess what? You did! muisc that gives you "great pleasure and a sense of peace" pretty much says it all. Thanks to you too.

Brien, Carmen (the bald guy with the good looking woman :-) and anyone else going to the Tin Angel tonight...have a great time..and please post a set list tomorrow. Thanks!

Posted on Sat Nov 6 10:10:06 CET 1999 from (

Michael Shiloh

From: Houston

The music of The Band will go down as among the best of the 20th century. It invokes a timeless feeling that approaches that of any of the great "orchestras" of the big band era. added to classic images from American country music, religion, history, myths and literature (yes, and film and rock and roll), wedded to a mid-20th century point of view. The Band's music is classic, at once soothing and bold, at once jolting and mystical. It's music for the ages, for all ages. No group of five musicians has done anything like it before or since. And the more you come to understand the music, the more you understand the unique contribution of each artist, each Bandmember. The sharing of the music by each musician -- the musical restraint by each gifted artist in service of the song and the performance -- may be The Band's greatest untold legacy, because each member was (and is -- God rest you, Richard) a brilliant solo artist alone, lost in a tempest of commercial music trends, saved by membership in this mature and highly-styled collaboration.

Posted on Sat Nov 6 09:54:42 CET 1999 from (


From: Nordic Countries
Home page

That reminds me of the old ones in these woods. They used to say to me: "Son, there are too many trees around you so you can't see the forest :)))))))

No it is my turn to be old and wise(?). Let me put it this way: "There are too many people, opinions, fans, articles, too much music and fun around you on this site so you can't see the convention :)))))))))

Posted on Sat Nov 6 09:31:45 CET 1999 from (


From: The Front Lawn

"Planet Waves" was a hastily thrown together album of basically weak songs. Still it was much better than the super abominable string and vocal chorus drenched Dylan "Self Portrait" album - "Alberta" is the only memorable cut. Both PW and SP feature abominable covers drawn or painted by Dylan in his characteristic kindergarden style. The cover on SP however was the worst of the two and gets my vote for the worst album cover of all time (although the cover pretty adequately reflects the content). The second worst is probably the PW cover. The "Big Pink" cover I can accept but never thought it was a great work of art. Dylan should have stopped there.

Posted on Sat Nov 6 05:20:26 CET 1999 from (

Diamond Lil

From: too tired to remember

An annual convention for Band fans...what an interesting idea. Can you just see all of us in a room together, trading opinions? Yikes! Might have to make sure Jan's there to referee :-)

Peter: How _could_ you forget "You Angel You"?? Love that tune...means alot to me.

Never did feel this way before, I get up at night and walk the floor. If this is love then gimme more, and more and more and more and more...."

Thanks for reminding me of a reason to smile as I try and fall asleep here. Goodnight.

Posted on Sat Nov 6 01:18:24 CET 1999 from (

Frank Dracman

From: lic

talk of Planet Waves reminds me of something I read this week, in a rock book I own with 2-3 pages of text on 60 or so artists. It lists bands highest charted singles and albums. Planet Waves peaked at #1, Before the Flood got to #3.

Posted on Sat Nov 6 00:48:00 CET 1999 from (


From: Philadelphia

Charlie, like the idea. Just as long as the RR fans don't have to sit outside. I will be at the Tin Angel Saturday for the 1st show. Hope I get a chance to run into some of you. I will be the bald guy with the good looking girl.

Posted on Fri Nov 5 23:38:50 CET 1999 from (

Peter Viney

Ah! I'd forgotten "You angel You" - how could I? The best song on the album, beats 'Forever Young.' It's got me under its skin. Can't believe it slipped out of my mind. Will do. (Play Planet Waves soon).

Posted on Fri Nov 5 23:37:54 CET 1999 from (


From: Woodstock Records
Home page

Hey Band Fans ! ! !

Lots on the burner with Rick & Garth, especially tomorrow night (Sat. 11/6) if you are in the Philadelphia,Penn. area, at the TIN ANGEL

Rick Danko - Garth Hudson - Roger Mason & Aaron Louie Hurwitz will perform 2 shows,
this is a going to be a good one ! ! ! Check the Tin Angel website for information and will-call tickets.

See you all there ! ! !

Peace from Woodstock!

Tom/Woodstock Records

Posted on Fri Nov 5 23:14:01 CET 1999 from (

Charlie Young

From: Down in Old Virginny

It occurred to me a while back that it might be interesting for someone to organize some sort of conference/convention for fans of The Band, but then the guestbook convinced me that it could turn into a big free-for-all fight too easily. Beatles fans (not to mention STAR TREK fans) have done this for years, but I wonder if someone here could pull it off, say in the metro New York or Bearsville area...

Posted on Fri Nov 5 22:43:40 CET 1999 from (

Bashful Bill

From: MinoaN.Y.

Peter Viney and our Band Thinker: This is definitely a to each his own type thing. I think my fond feelings about PW are similair to Band Thought. In my case it wasn't snowy NYS but rainy Montery,CA(the wettest rainy season in decades out that way). I eagerly anticipated the release and was not at all disappointed, musically, vocally, or lyrically. I was seriosly bummed that I didn't see any of the shows, though. I listen to once a year or so, and it brings me back to that much younger, leaner, virtually responsibility-free period of my life for a few songs. Band Thought- do yourself a favor and dig out your old album if you still have it and check it out again. You too, Peter V. The music is really nice, especially RR's playing. BTW I think Pat Garrett, though not a great Dylan album, has its moments, more than one songs worth. It would have been much better if it had been fleshed out a bit and not padded just to get it to album length. Wonderful cult movie though. I'm a big Kris Kristofferson and SAm Pekinpah fan(but not Convoy-ugh!) and recall seeing it 2 nights in a row when it opened in Syracuse. Anyway, to each his own.

Posted on Fri Nov 5 22:03:00 CET 1999 from (

Band Thought

From: New York

Another side of Planet Waves: I've always liked the album for a variety of reasons. First (I believe it was released in late 1973 or early '74), it contained that Dylan-Band clubhouse quality that most non-Great White Wonder owners would soon hear on The Basement Tapes. While I have not even heard songs from Planet Waves in over a decade, I can still clearly recall Robbie's punching, vibrato guitar playing on Going, Going, Gone, the buttons of Dylan's shirt scratching the back of his guitar on Wedding Song, the almost self-parody singing of Bob on You Angel You (and more great guitar from RR), Garth's rambling, merry-go-round keyboard playing on Tough Mama and the pretty fade-out-with nice touches on harmonica-towards the end of Hazel. It also brings back strong memories of the landmark 1974 tour and watching the guys play on three consecutive nights in the New York area (Jan, I have pictures but I don't have a scanner!).

The music was a real comfort, hearing the guys together in a way that perhaps The Band wanted to originally record Stage Fright; raw, in one or two takes and not overly produced. Personally, I remember listening to Planet Waves that winter and there was often snow on the ground in the New York area. I brought the album into my high school and played it often during art class - o.k., I digress a bit.

Bottom line, a variety of elements around the time of the Planet Waves release bring back a lot of great memories; about people, about school, about the weather, about the tour and especially about the nuances of the music that these guys made together and made them so damn special.

Posted on Fri Nov 5 21:20:33 CET 1999 from (

Peter Viney

Bashful Bill: Because I was disappointed. When I bought “Planet Waves” in 1973, I already had bootlegs of “Royal Albert Hall” and “The Basement Tapes” let alone “Blonde on Blonde”. I loved “New Morning.” I even liked “Self Portrait”. My expectations for “Planet Waves” were extremely high, and I think it was something of a throw-away. Done too quickly. Not great sound quality. Good songs, but not great songs. It doesn’t match up to either “New Morning” or “Blood on the Tracks”. Sure as hell beats “Dylan” the dire Columbia spoiler album. Even with “Pat Garrett”, which had one decent song, that decent song was better than anything on “Planet Waves.”

Posted on Fri Nov 5 19:33:30 CET 1999 from (

Bashful Bill

From: Minoa,N.Y.

To the ever eloquent Peter Viney: Just read your latest article{HOTH} and am curious re one comment. Why do you consider "Planet Waves" to be a "dissapointing album"?

Posted on Fri Nov 5 18:37:31 CET 1999 from (


Richard Patterson: Another McGarrigle/Band connection would be via their (and Jesse Winchester's) former keyboardist, Ken Pearson, who was in the Full Tilt Boogie Band with Richard Bell.

Posted on Fri Nov 5 18:35:22 CET 1999 from (

David Powell

From: Georgia

Regarding Dylan's influence on Robertson's songwriting technique--This is discussed in some detail in Rob Bowman's excellent detailed history of The Band that Jan has posted elsewhere on this website. See the chapters "Playing With Dylan" and "The Debut Album" in the "History" section.

To briefly summarize: Dylan was one of many influences that also includes Curtis Mayfield, Little Willie John, Hank Williams, the Staple Singers, Smokey Robinson and others. As part of Robertson's "self education," he also studied the works of many film makers, including Luis Bunuel, which also influenced his writing. I recall that Robertson once recounted somewhere that he was also into reading screenplays, which is evident in his almost cinematic approach in songwriting technique.

One cannot discount Dylan's influence on contemporary songwriters. Perhaps the main thing he showed so many of them is that you can experiment; there are no set rules or Tin Pan Alley formulas that you have to follow in crafting songs. Since Robertson & the rest of The Band worked so closely with Dylan on an almost daily basis for so many years, Dylan's influence is one of a more direct nature. This is not to say that they copied Dylan, but rather they learned first-hand from his techniques.

Posted on Fri Nov 5 15:06:07 CET 1999 from (

brien Sz.

Love reading the guestbook. Wish i could come up with short - insightful observations and analysis but i'd have to write a draft on a pad - then revise it - then post it - then see if anyone wants to comment on my observations or lack thereof. So all i want to say is The Band and all their solo work has given me nothin' but great pleasure and a sense of peace because someone wrote and performed music that just works for my soul. Love em' and for anyone going to the Tin Angel this weekend-See you there and i'm sure it will be a wonderful show.

Posted on Fri Nov 5 14:58:42 CET 1999 from (

Richard Patterson

From: St Catharines, Ontario

For those interested: Saw a concert last night by Kate and Anna McGarrigle. They performered with a variety of accordians, guitars, a banjo (just one which Kate tuned to a different key every time she picked it up) and a grand piano. Anna's daughter Lily Lanken complemented them on BG vocals (definately blessed with the family voice) and Joel Zifkin (violin) and Michael Pepin (bass and guitars) added color.

They were brilliant. Concentrating mostly on material from their newest Joe Boyd produced "The McGarrigle Hour" (which reunited many of the same players from their '75 debut - both recommended), they charmed their way through 2 sets of songs and stories. Highlights ? - Too many to mention them all, but they started the evening with Loudon Wainwright's "The Swimming Song" (Loudon is Kate's ex and Rufus her son) and ended the show after two encores with "Talk to Me of Mendocino" (a beautiful song and my personal fave). In between there were lots of surprises, like a tune from the first Fugs album I believe called "Sunflower of Weary Time" - lyrics by William Blake, and an oldy from the Harry Smith anthology - sorry forgot the title - that they are recording next week in New York with Hal Wilner.

Band connection you ask? Kate told a story about a certain moving day in Montreal in 1969 when they had invited their many friends over to lend a hand - Jesse Winchester (then just recovered from pneumonia) was the only one who showed up to help.

Posted on Fri Nov 5 14:59:41 CET 1999 from (


From: Nordic Countries
Home page

ELDKVARN (see Related Artists on this site) has toured for 28 years and released 23 albums, the latest has the name "Limbo" (after all these years people are waiting for that, they say). They are playing tomorrow night in Pub Adlon on Aland Islands in the middle of the Baltic Sea.
In case you are sailing in the Baltic Sea tomorrow, these are the co-ordinates: 60-05-45-North, 19-54-40-East.

Posted on Fri Nov 5 12:32:58 CET 1999 from (

Peter Viney

Lars: great one again. Wish I could follow through, but I never sussed the rules of American football.

Mr Zero: I didn’t write the main bit of the Going home review, but I have mentioned the same point elsewhere. I got the Sammy Davis’s pool house location from someone else , and it’s been repeated enough to become a “fact” but I think you’re probably right. I was sure it couldn’t be the basement because of the material. The brown album shows the pool house (I suppose) and this looks different.

I watched the Seville 1992 “Guitar Legends” concert last night. Were there only the four songs that were broadcast on TV? Or is there more lurking in the vaults? The first two songs show a very nervous RR, but he warms up during “The Weight” possibly because Ivan Neville, Bruce Hornsby, Monk Bordeaux & Bo Dollis give such fine support and it begins to cook. On “Shake this town” RR is really flying - great performance, great band, with Bruce Hornsby giving the signals, absolutely standout drumming from Manu Katche, bass from Tony Levin and the great Miami Horns. This band had tremendous experience and also potential. I’m surprised they didn’t do more live.

Posted on Fri Nov 5 05:33:53 CET 1999 from (

Pat Brennan

From: USA

If "losing it" involves writing What About Now, Fallen Angel, Precious Angel, or Jokerman, tell me where to sign up.

Posted on Fri Nov 5 04:24:49 CET 1999 from (

Carmen again

From: Philadelphia

My vote is for Dixie.

Posted on Fri Nov 5 04:16:46 CET 1999 from (


From: Philadelphia

I was just checking out (read discusions) and there is a contest discussed regarding who is the greatest song writer. Got me thinking, what one song would be best to use for a RR nomination?

Posted on Fri Nov 5 03:45:24 CET 1999 from (


From: Upstate NY

This latest delusion involves a football game. It's the beginning of the 4th quarter, no score, the Band has a 3rd and 15, on their own five yard line. Robertson, their star quarterback, can't get the play from Albert on time and, in disgust, calls time-out.

HELM (fullback): Just give me one goddamn reason, it just doesn't add up!

ROBERTSON (qb): I told you, if I go back for a pass they'd be expecting it. I could get hurt.

HELM: So you think a dive over Garth is gonna get us fifteen yards?

ROBERTSON: Two at the most. Then we get John Simon to punt and I'm going in for a shower.

HELM: So you're quitting? Just like that? What about the team?

ROBERTSON: Come on, Lee. What team? Everybody's out here doing their own thing. Danko's not even huddled up, he's over there with Louie. Randy, Weider, and Bell are my three wide-outs and even I don't know what routes they're taking. Garth hikes the ball on whatever count he's in the mood to hike it on, then Bubba James runs him over on his way to get at me. I've had enough. You can press your luck.

HELM: Ah, what the hell....what count are we going on?

ROBERTSON: When you see Bubba busting through the middle, you'll know it's time for me to hand off to you. Good luck.

HELM: Yeah, thanks a lot.

Posted on Fri Nov 5 01:54:02 CET 1999 from (


From: the depths of nicotine withdrawal

Re: RR vs. Dylan songwriting... To paraphrase (hopefully not too badly) Springsteen's comments from his speech for Dylan's induction into the RRHOF: Dylan was/is on the intellectual end of the spectrum. Lots of wordplay and analysis, not so much emotion and passion. Band-era RR songwriting is certainly full of wordplay, but also has strong undercurrents of emotion, which is reinforced by the famous "emotional" guitar and the beautiful voices. There was also just more music. When RR started to write as a solo artist, you hear much less complicated wordplay and a lot more feeling --in the lyrics, in the music and in the voice (regardless of opinions on the quality of RR's voice, he does have a very emotive style). So.............. to go way out on a limb, RR created a middle ground between the intellectualism of Dylan and the pure physicality of, say, the Stones (or Ronnie Hawkins).

Posted on Fri Nov 5 00:52:50 CET 1999 from (

pehr again

From: buzzzzzzz

the fly's mike sure seems to be on to me when introducing guests onstage at tlw...perhaps its turned a tad lower than levon & co. he also yells, neck bulging on "Shape" and away from the mike.

so he's not pavarotti,i guess.He wrote the song and he rocks. Can't feature why that's something to be ashamed of.

Posted on Fri Nov 5 00:50:35 CET 1999 from (

Just Wonderin'

Just for the record...I've added to the silliness this week, but it sure helped combat the lonesome blues I've been battleing!

Don't know what I'd do without y'all and this site!

Thanks Jan!

Peter I can hear The Fly singin' too! Didn't sound half bad! Or maybe it was "Just My Imagination"!

Posted on Thu Nov 4 22:59:21 CET 1999 from (

Peter Viney again

I'm rather worried by this suggestion that the fly's microphone was turned off (or wasn't "hot") during TLW. I think you can hear the fly's voice pretty clearly in "I Shall Be Released", but perhaps only in the Complete Last Waltz version (I know that some claim this is a microphone buzz), and you can just pick him up flying into Neil Diamond's ear. The anti-Robbie brigade will claim that the fly emerges at the other side unscathed.

If anyone's tuned in for the first time this week, we're not all mad here. Just being silly.

Posted on Thu Nov 4 22:55:31 CET 1999 from (

Mr. Zero

From: Parts Unknown

Couple of quick questions and comments:

1) I'm not entirely sure I agree with Mr. Viney assessment with the "Basement Tapes" footage (which I agree it is not). I don't believe it is from Sammy Davis Jr.'s pool house. I am in no way criticizing Mr. Viney, I just am unsure of it unless he or someone else has certifiable evidence to prove it.

My reasons: 1) For one, it just doesn't look like it. If I recall correctly, there was insulation and recording junk strewn around. There also should have been a barrier between Levon's drums (is it called a go-go or golgo-who knows?). The walls are wood in the video. 2) Also Garth appears to be in the wrong spot, as is Richard. Click here. In the video, they are in their traditional concert lineup (Richard on the left, Garth behind everybody) 3) It appears from the one outside shot that I think appears in the Classic Albums one, it appears they are playing in a shack or guest house in the woods. Maybe I'm reading into it, but it looks like Woodstock. 4) Notice the arrangement of Cripple Creek is almost identical to the recorded version. In Levon's book, he said that arrangement was made in the studio, suggesting that if my idea is correct, this is after they recorded the Brown album. 5) Note Richard Manuel's beard. He didn't have one for the Fillmore or Woodstock shows.

I think it is much more likely the video is a rehearsal for their tour after the release of the Brown album or simply a rehearsal.

Interesting thing I also noticed, Levon does refer to a "John," after playing King Harvest, saying they were warmed up but that could be John Simon or Jonathan Taplain (sp.?) who you can see wandering around in the clips.

Of course, if there is other evidence, I'm assuming and guessing way too much. You make the call.

2) I am also curious in hearing people's reasoning for the influence Dylan had on Robbie in terms of songwriting. I'm not saying there wasn't one but I guess I don't obviously see it. In terms of what Levon said, about a song could come from anywhere, title etc., he obviously influence them but I'm not sure if I see any direct correlation.

3) Also, someone asked about this once before but, has anyone ever seen an article that appeared not too long ago online. It was an interview with Greil Marcus in which he talked about Invisible Republic, and said an old Dylan folkie friend told him recently that during the Basement period, Dylan called him and asked him to bring some weird instrument over to the Basement. He said Dylan wanted to show Richard and Robbie. I wanted to find that article, if anyone knows or has seen it.

Posted on Thu Nov 4 22:49:49 CET 1999 from (

Peter Viney

Being a man of few words ( :-) ). all I'm going to say is that Robbie is a more considered, musical and thoughtful lyricist than even Dylan, and as a result is a greater ROCK song writer, while being something less of a poet. Uh, having said something that controversial, I'll retire with my favourite Dylan track, 'Visions of Johanna' (which is pretty good).

Posted on Thu Nov 4 22:08:34 CET 1999 from (


From: flypaper factory

what songwriter from those days wasn't influenced by Dylan?

which songwriter from those days did Dylan choose to work with in changing the direction of his own work?

Robbie's songwriting from 67 to 76 stands alongside anyone's work that I'm familiar with in any era. To say he was influenced by Dylan and shrug it off at that makes me wonder what does somebody enjoy about this group if the songwriting is unresolved.

One of the things i have enjoyed about this website has been Peter Viney's articles on the sources of images and their connections in Robbies songs. It has certainly stocked the well of my own imagination this past year.Robbie took alot of time and energy to educate himself and had a poignant gift for expressing the things he was impressed by-in songs that speak for themselves- a guitar that had it's own voice and a band people remain in awe of.

I also dont know of any artist of any form making procedure that didn't go thru periods of fullness and evaluation.

Posted on Thu Nov 4 21:18:19 CET 1999 from (

Mitt Stampler

From: swimming in the crazy river
Home page

Hmmm...Looks safe to come in :) I'm also pretty sure there was no fly, and I think the fly got an even rawer deal when he was upstaged by Jeff Goldblum. Be that as it may...I've always been a middle-of-the-roader on the Robbie issue. I like *some* of his solo stuff, and as far as I'm concerned, some of the songs he wrote for the Band were among the best ever written. (The less said about "The Moon Struck One," the better.) This could just be my wildly off-base opinion, but I've always thought Robbie was at his best when he was writing more directly, or maybe a better expression is more simply, or more honestly...My beloved spouse thinks Robbie really did catch the fly, so I can't say this at home, but some of his more recent stuff always strikes me as trying too hard to--well, something. Sigh. And happy hour doesn't start till 7 here in our nation's capitol. Peace! Mitt

Posted on Thu Nov 4 20:53:30 CET 1999 from (


From: CT

Bill: I think you're right about Robbie's songwriting. It seems that he was heading somewhere special anyway. Robbie has always credited Dylan for changing the rules of songwriting. "Cole Porter is great, but there is another way to go with this thing." On a more individual basis, Levon and his heritage had more influence on Robbie than anything else.

Posted on Thu Nov 4 20:51:37 CET 1999 from (

Band Thought

From: New York

On Dylan's influence on Robbie's songwriting, just listen to the lyrics on Big Pink and it becomes pretty clear that the Basement Tape era and the close collaboration between the six had an impact on the songwriting. Chest Fever is a prime example of that. The influence, though, wore off relatively fast. Robbie really came into his own with the Brown album and the vastly underrated Stage Fright. His songwriting today hints more of NLSC and Islands than perhaps any other Band album.

Looking over the body of all of his work, it could be argued that his songwriting is influenced by who and what he is working with at the time.

Posted on Thu Nov 4 19:28:23 CET 1999 from (


From: Philadelphia

Why does it matter why or how someone becomes a great songwriter. Should we disregard him as a great because he had an influence. I guess we need to disregard all of the early Rock and Roll greats because most of them were influednced by the Blues and Jazz greats. RR was still in his early 20's when he wrote the Weight etc... I would say regardless of who influenced him, this is prety impressive. By the way I don't agree that Dylan had as much influence on his writings as some would think. Any comments?

Posted on Thu Nov 4 18:53:51 CET 1999 from (

Diamond Lil

From: home

Someone wanna hand me a fly swatter? I think the fly was there simply because flies are just naturally attracted to sh..owbiz folk.

Peter Viney: Just read your article on "High on the Hog", and although I am still unimpressed with the album, the article (as always) is a good one. Thanks.

Posted on Thu Nov 4 18:40:45 CET 1999 from (

David Powell

From: Georgia

In light of recent Last Waltz comments: Rhino's website reports that "The Last Waltz" premiere took place on this day in 1977 in New York City.

For those who may be interested, Martin Scorsese will appear tonight on NBC TV's "Late Night With Conan O'Brien," presumedly to plug his new movie, "Bringing Out The Dead." Counting Crows are scheduled to be the musical guests on the show. BTW--the soundtrack to Scorsese's new movie includes Van Morrison's "T.B. Sheets" and UB-40's version of Neil Diamond's "Red Red Wine."

Posted on Thu Nov 4 18:38:15 CET 1999 from (


Crabgrass: While I wouldn't dispute that Dylan influence Robertson's writing, I'd say that the progress from "Uh Uh Uh" to "The Stones I Throw" suggests that Robertson would have gone somewhere remarkable no matter what.

Stanley: I don't recall noticing Manuel on the video either, but he can be picked out in the photo on the cover for the 12-inch version, and his signature is one of those reproduced on the sleeve for the 45.

Posted on Thu Nov 4 18:19:50 CET 1999 from (


What continues to irk me, all these years later, is how much more time was spent on those endearing close-ups of The Fly, neck veins bulging, than on Richard during The Shape I'm In. Very few people even knew that The Fly's mike wasn't even "hot," and that he was only there to buzz around the turkey. As reported by Dave Marsh, Levon even threatened to walk, when he was told the Fly was going to get two solos. In the end, he just got his little moment in the sun, while Muddy Waters was returned to the lineup.

Posted on Thu Nov 4 16:57:39 CET 1999 from (

David Powell

From: Georgia

Although they didn't perform together, The Band and Ry Cooder can be heard on the "Tribute to Woody Guthrie" album (from Part 1). The performances were recorded live at two charity fund raising concerts, at Carnegie Hall in 1968 and the Hollywood Bowl in 1970. Part 1 was originally released on LP in 1972 by Columbia, and Part 2 was released by Warner Brothers. Warner Brothers later released both LP performances on a single CD.

The Band performed with Bob Dylan on riveting versions of "I Ain't Got No Home, Dear Mrs. Roosevelt, and The Grand Coulee Dam." Ry Cooder can be heard on the CD playing his distinctive slide guitar with Arlo Guthrie, Odetta and Country Joe McDonald. He also played mandolin with Joan Baez on "Hobo's Lullaby." Cooder also played with Richie Havens on "Vigilante Man," which was one of the three LP tracks that were unfortunately left off the CD version.

Happy birthday Delbert McClinton, one of the greatest singers around. Highlights of his career are too numerous to mention here. However, just to mention one--it was Delbert who played that great harmonica solo on Bruce Channel's "Hey Baby." Later on tour with Channel over in England in the '60s, Delbert showed John Lennon a few things about playing the harmonica. Sadly, Delbert has not always received the recognition he deserves, which he sardonically comments upon in one of his great songs, "Victim of Life's Circumstances." And who can forget Emmylou's wonderful version of Delbert's "Two More Bottles of Wine."

Posted on Thu Nov 4 16:18:14 CET 1999 from (


From: Washington, D.C.

I've noticed the persistent abuse of the chat room the last couple of days by some students in the UK. I just wanted to thank the person (Jan, I think?) for monitoring it so closely, and putting a stop to their abuse. I also wanted to say that us regular chatters really appreciate the work you do and really enjoy being able to chat with other Band fans.

Posted on Thu Nov 4 13:40:12 CET 1999 from (

Tanika Po

From: n

I think that the fly was spredding bad rumors about Robbie and that's why R catched the fly.

Posted on Thu Nov 4 11:10:41 CET 1999 from (

Peter Viney

From: Geek central Technical Dept

TECHNICAL ONLY: scroll by if you’re not interested!

Video is only 30 frames a second on the NTSC system used in North America and Japan. The rest of the world uses 25 frames a second, but with higher resolution. The German PAL system (as in the UK) uses 625 horizontal lines instead of NTSC’s 530, and the French SECAM system uses 830. The difference is perceptible. NTSC also has such poor colour stability (it is known as ‘Never Twice Same Colour’) that bright reds are often avoided by wise video directors. Also, broadcast TV with a decent signal will far surpass the quality of VHS video tape, which is what most of us will be watching Band videos on. VHS tape will only resolve 220-240 horizontal lines, though S-VHS or DVD or Laser will bring it to over 400 lines. VHS is so poor in comparison to anything professional, that the debate is academic. Even when it was new, VHS was by far the worst of four competing systems. Crap rules, and the whole VHS saga has been repeated with the success of Windows over Mac. If you see a digital Betacam signal at 1000 lines the difference is huge. Material on tape at the TV station will be on a high definition format of some kind. As is HDTV broadcast (which I was admiring in a Sony shop last week - it looks vastly better than DVD or broadcast).

When film is shown on a TV station, or transferred to a domestic carrier system (VHS, DVD, Laser, whatever) there is a discrepancy between film’s 24 frames a second and the 25 frames a second on PAL / SECAM or the 30 frames on NTSC. With PAL, this is easy. The transfer is done frame-to-frame, with the result that the video / broadcast is running 4% faster. This is not noticeable. With NTSC, it’s harder, as a 12.5% speed increase would result, which would be noticeable. So when film is transfered to NTSC video, a complex and seemingly random process is applied which doubles some frames. At points, depending where the doubling occurs, this can cause a jerkiness on NTSC videos which is not visible on film or PAL. This is why I think there was a perception that video originated material runs more smoothly - the jerkiness is missing, but it is on PAL / SECAM anyway.

In the end, it’s pretty academic if you’re watching VHS. The quality of the recorder and the TV screen monitoring it will have such a major effect. The quality of the tape it is recorded on has a major effect too. Compare (say) Maxell HGX-Black with a tape from the gas station or drug store discount bin. A lot of sell-through video at budget prices is recorded on rubbish. It’s all a bit like someone with a portable cassette player, playing a C120 budget cassette and arguing about the virtues of digital mastering versus analogue mastering in the original studio recording.

Posted on Thu Nov 4 08:52:51 CET 1999 from (


From: The Front Lawn

Film is neither better than video nor vice-versa. Both have different aesthetic qualities. While it is true that high resolution video can be transferred to film and made to look like film (though usually not high enough quality to be projected on a theater size screen without revealing the lines that are inherent in it) for home video or broadcast purposes this is usually done to cut costs by using TV cameras, magnetic tape instead of expensive film stock, and the live switching capabilities of video in order to save editing time and costs. I have several VHS videos of music performances where this was done (Rickie Lee Jones and also one of Richard Thompson and to me they look "dead" and I can't watch them over and over like The Band & Cates tapes or Joni Mitchell's recent taped concert.) Sometimes the video to film transfer (or quite frequently "film quality treatment" - since if your final edit is on videotape you can make it look like film by merely applying digital filters in the electronic editing process) is done in order to deliberately impart a "haze" or slight blurriness upon the subject so the camera won't seem so unflattering to them. But it still kills the "live real-time" look of the original video footage.

Whaddyknow - now there's a Band / Vincent Price connection courtesy of The Fly!

BTW without the Hawks association with Dylan - Robbie would never have developed his songwriting talents. Eventually, he lost them... but then again so did Dylan particularly during his Jew for Jesus period.

Posted on Thu Nov 4 05:15:11 CET 1999 from (


From: Sarasota

Serious Question; I've been a long time fan/admirer of TB's Musical prowess especially vocally (RR xcluded natch) When I heard "Jubilation" for the first time, a certain sadness fell over me regarding Levon. His voice lacked the crispness and clarity (drawl & all)that has been his trademark through all time.In truth, I wonder if the man's well, have all the years of well, ya know stuff,this and that, taken there toll finally? Any input on this?

Posted on Thu Nov 4 04:29:04 CET 1999 from (

Pat Brennan

From: USA

Most people who shoot on video send it through a digital process that makes it look like it was shot on film. Why? Because film looks better than video. Most people shoot on video because it's cheaper and easier to edit. But they will inevitably reprocess it to look like film. Of course, to each his own. I don't believe there is any video in TLW. Digital film, like digital audio, is here and finding its place. But the digital medium still suffers from various shortcomings.

Posted on Thu Nov 4 02:01:03 CET 1999 from (


From: Philadelphia

I am a little taken back by all the RR bashing. Does anyone believe that without RR, the Band would have been anything other then players for Dylan? I respect the talents of all members, however, as with any team, organization, government or Band there needs to be a leader. RR was the leader of the Band.

Posted on Thu Nov 4 01:10:49 CET 1999 from (

Stanley Landau

From: Toronto

Bill Munson, every time I've seen that "Tears are Not Enough" video I've searched unsuccessfully for Richard. Is he really in it? I remember reading at the time that he flew into Toronto to be on it, but arrived late.

Posted on Thu Nov 4 00:05:39 CET 1999 from (

The Fly

Actually folks I did get my own movie! They even used my name in the title. I wanted Marty to direct and Robbie to act or score the soundtrack, but they were both busy promoting The Last Waltz!

Posted on Wed Nov 3 23:32:25 CET 1999 from (


From: The Front Lawn

Technically, video is a purely electronic image which is captured, stored, and viewed electronically at 30 frames per second which is why as someone else stated it has a "crisp and clear" look to it and is indistinguishable to the viewer (or most viewers) from a TV broadcast occurring in real time like the evening news. Film is shot at 24 frames per second and does not display the greater continuity of motion which video does for this reason. The image is optical not electronic and is stored on a celluloid base on top of this and the slight opacity further dulls the image to some degree - this worsens in time when the celluloid yellows and gets scratched from repeated running through the projector. Of course the film image has a higher resolution and can be blown up onto a big screen while video would have to be transferred to film in order for this to be done (or a video projector could be used as well) - but the image would necessarily be degraded because you would see the scan lines so enlarged. Something originally shot on film and transferred to a videocassette for home viewing retains the "look" of film. So each has its pluses and minuses but the purely electronic image will always appear more crisp and clear on a TV screen and give you that sense of immediacy that film cannot.

Pre-planning an event or just capturing what's happening can be done with either film or video. TLW was a bit of both. Pennebaker's "Don't Look Back" was more in the capturing what's happening category. Things are evolving on a technical level at a rapid rate with HDTV (High Definition) on the horizon and new professional motion picture cameras that are completely electronic and digital so the differences between film and video with be more likely to blur in the future although the director will be able to choose the aesthetic look of his project with greater flexibility.

THAT FLY seems to be getting more mention in the GB than even Liberace did a few weeks back!

Posted on Wed Nov 3 23:16:08 CET 1999 from (


From: big fly

I always wondered what rick an robbie were lookin at during "Helpless" chorus and solo!

dont ya tell henry!

Posted on Wed Nov 3 22:39:06 CET 1999 from (

Charlie Young

From: Down in Old Virginny (where all the horse flies will freeze tonight)

Rick even recorded a song about that fly on a children's music album: "Blue Tail Fly." But Mr.Scorsese loved it so much he had a taxidermist(not to be confused with a TAXI DRIVER) preserve the fly and then it was woven into arty Marty's prominent eyebrows...

Posted on Wed Nov 3 22:18:05 CET 1999 from (

Band Thought

From: New York

Actually, the fly was there to help Robbie out, but the poor fly never had the opportunity. Robbie had just returned from the restroom, and the fly was about to tell him that his man was open...

Posted on Wed Nov 3 21:58:25 CET 1999 from (

Just Wonderin'

Hmmm...just maybe Scorsese is using the fly for source music and soundtrack work while Robbie works for Dreamworks! That's why the fly agreed to do the scene...he was promised a career in Hollywood!

Posted on Wed Nov 3 21:48:24 CET 1999 from (

Peter Viney again

Just Wondering / Bill: I remember our discussion last year which is why I said “on the sessions for” rather than “on” - Bill is clearly right on the aural evidence.

Posted on Wed Nov 3 21:45:31 CET 1999 from (

Peter Viney

There were two lots of airbrushing needed on the fly, for the hapless insect landed on Neil Young’s nostril, causing all sorts of absurd allegations. The final indignity for the fly was being loaded into Levon’s Jeep by Bobby Charles and Rick Danko, strung up on a tree, inexpertly butchered and turned into chili. This is all told in Levon’s book, but the fly became a deer.

Posted on Wed Nov 3 21:14:51 CET 1999 from (

Just Wonderin'

To those who responded to my query about the Ronnie Hawkins set Thankyou! I shall read the booklet more thoroughly 'tho to my ears there may be errors.

Oh to be a fly on the wall at the Last Waltz!

Posted on Wed Nov 3 20:57:06 CET 1999 from (


From: CT

... and I hear that the fly is bitter to this day. Evidently, the fly got drunk one night and sold his movie rights to Robbie. The fly blames Robbie for everything that has happened to him.

Posted on Wed Nov 3 20:32:06 CET 1999 from (


From: the land of too much time on my hands

I heard that the fly sound was not picked up live. In post production Robbie and Marty brought a session fly into the studio to over dub. Not many people know that there was also some fly airbrushing needed, further delaying the completion of TLW.

Posted on Wed Nov 3 20:00:37 CET 1999 from (


From: Dutchess County

I'm pretty sure that RR took credit for songs written by that fly.

Posted on Wed Nov 3 18:39:03 CET 1999 from (


Just Wonderin': Even if you do have the 18-page booklet, don't take it as gospel. I'm sure Adam Kamorowski used whatever session notes he had at his disposal, but I know for a fact that he used information provided by my friend Wayne Russell, who got some of the information from me (who got if from Jerry Penfound and guesswork). And of course a lot of that reportage and guesswork got garbled along the way. So, if your ears don't hear instruments that the notes insist are there (as on the "Bo Diddley" session), or if your own sense of logic can't accept something, trust yourself.

Posted on Wed Nov 3 18:11:11 CET 1999 from (

Peter Viney

Just Wonderin’: Did your copy of the Roulette Years comewith an 18-page booklet? Mine has a full sessionography by Adam Korowski. Some of the details have been questioned (see archives), but according to Korowski who took it from session notes, Richard plays piano on the sessions for Bo Diddley, Who Do you Love (Jan 63), Bossman, High Blood Pressure, There’s A Screw Loose (May 63) & Mojo Man (Feb 62 or maybe later).

Posted on Wed Nov 3 17:28:15 CET 1999 from (


Paul Godfrey: "Tears Are Not Enough", which included contributions from both Richard Manuel and Marc Jordan.

Posted on Wed Nov 3 17:01:21 CET 1999 from (

Peter Viney

Back to the fly: the extreme wild-eyed frothing-at-the-mouth Robbie basher might say that actually Richard caught the fly off camera, and that the event was re-staged with Robbie catching the fly.

Posted on Wed Nov 3 15:56:32 CET 1999 from (

Just Wonderin'

From: Texas

I just purchased the Sequel Records "Ronnie Hawkins and The Hawks The Roulette Years". I'm having trouble figuring out what cuts Richard played on. I looked it up on this site, but to no avail.

There's some great piano playing on these discs. Can anyone more knowledgeable than I help?


Posted on Wed Nov 3 14:45:58 CET 1999 from (

John D


I'm still here. Had some e-mail problems. Working on them. Just observing these days. Take care.

Posted on Wed Nov 3 14:26:32 CET 1999 from (

Peter Viney

I must admit the film / videotape distinction has me puzzled. Video is more tolerant of poor lighting conditions, film more spectacular in the shadows in poor light. Film tends to be more pre-planned, but for years film makers have used video cameras as well to monitor what they’re doing. It’s getting academic. The future is digital video- they say Star Wars II and III will be digital video, and the effects have been for years. I suspect what Crabgrass is getting at is ambience - correct me if I’m wrong - but the difference is between trying to grab something that’s happening anyway (Cate Bros-Band & New Orleans) and something carefully pre-planned (TLW). I think that TLW’s greatest virtue is that it was carefully pre-planned, thus making it different from the thousand other filmed concerts. Musical quality is a whole other question. I haven’t ever felt that the 1983 shows are The Band at their musical best, though I watched both several times when I first got them with great enjoyment. They were better in the surviving SNL extracts, and again in the 1990s at New Orleans. If you’ve seen the whole RR Agrigento show there is a major difference in style. A lot of thought has gone into stage positioning, presentation and lighting that doesn’t happen with The Band. It’s like the Seville RR show where the horn guys form a line and wander off stage playing. Good theatre. I loved Lars’ analogy. What about those who reckon Robbie not only saw the fly and caught it, but scripted it in advance and had it lured into the room along a pre-planned trajectory?

Posted on Wed Nov 3 12:55:22 CET 1999 from (

Diamond Lil

From: one more cup of coffee

FILM VS VIDEOTAPE: As I've mentioned in the past, I don't have alot of knowledge of technical stuff, but as someone who has concerts on both film and videotape, I think I can give an opinion here. It's been my experience that 'film' tends to get that "aged" look about it after a short period of time ( it also, at least to my eyes, seems to show things in slightly slower motion than how it's actually happening when it's filmed). Videotape, on the other hand, seems to always be crisp and clear..and gives more of the feeling of "real" if you're actually there watching it as it happens.

Perhaps Crabgrass can explain the technical stuff involved in why this happens. I only knows what I sees and what I hears :-)

Have a good day everyone.

Posted on Wed Nov 3 10:56:24 CET 1999 from (

Richard Patterson

From: St Kits

Crab: I must admit, you lost me. What is the difference between film and video?

Posted on Wed Nov 3 09:43:30 CET 1999 from (

Tanika Po

From: Norwege

Okey, some hate Robbie.Why? he just want to make things at his own, and he is good. I dunno how The Band would have been without him, not that good probably...And he likes different music than the runited Band....So...

Posted on Wed Nov 3 08:02:50 CET 1999 from (


From: The Front Lawn

I don't think fragments of videotape from TV appearances and films are anywhere near the equal of having a fully videotaped concert of The Band. Videotape has a totally different quality to film. I can watch a good videotaped concert of an artist I like over and over and get the feeling that it's actually happening in the here and now while a film of a concert looks more like a record of something that has transpired in the past and which doesn't hold up to repeated frequent viewing. However, there are people I know personally who cannot tell the difference between film and video which I admit confounds me. I am thankful for the two videos with the Cate brothers as well as the more recent New Orleans release both of which were shot with video rather than film equipment.

Posted on Wed Nov 3 07:46:32 CET 1999 from (


From: King Harvest (Has Surely Come)

Kevin Gilbertson: (a bit late) but, The Bridge School Benefit Concert was amazing! As you mentioned, the 8 plus hour show was simulcast on the web. I was there and met people from all over the US, who had traveled to attend both days, and in a way I felt like it was the "real" Woodstock ‘99...

Neil Young and his wife Peggy do a great job putting on this benefit show for The Bridge School, a school founded by Peggy Young for children with severe physical disabilities. The concert was very mellow, as all the bands perform acoustic sets only ... and benefitting these special kids provides a distinct feeling of unity among all who were there. Now that I've seen the Who do an "acoustic set" ... (like they were in my living room) and Brian Wilson singing "God Only Knows" (big sigh) and "Good Vibrations" ... and do these songs the way HE wanted them performed ... I don't know what to do anymore ... did anyone else catch it? If not, its an annual event!

Band Connection??? The concert's finale was "I Shall Be Released"!!!!

Posted on Wed Nov 3 05:16:10 CET 1999 from (

Pat Brennan

From: USA

Crabgrass, to each his own. Your quote is telling :"And once again let me say I think it's too bad there's no full video concert of The Band at their peak." "Their peak..." Hmmm. Classic Album has nearly complete Cripple Creek and King Harvest. Lost Woodstock has Weight. Band Doc has Ed Sullivan Cripple Creek, Woodstock Tears of Rage. SNL (which might be replayed on this latest round of reruns) has monstrous versions of Dixie, Stage Fright, Carnival, and Georgia (far superior to TLW). I suppose you could include the Hawks stuff from RAH on the Eat The Document boots. That aint bad. And Handsome Lake kills. Second-guessing why Robbie decided to leave the road is a bit strange, but I do recall that the Band signed with WB to release new albums. It just never happened.

Posted on Wed Nov 3 04:55:51 CET 1999 from (

Paul Godfrey

Can anyone make a connection to the Band concerning Marc Jordan. Certainly think there is connection with Steely Dan as Marc may have produced some sessions while out on the coast. Bill Munson...Stanley...John D...anybody?

Posted on Wed Nov 3 03:33:48 CET 1999 from (

Diamond Lil

From: the memory bank

The mention of Earl Cate just reminded me of something funny that happened back in the 80's at a Long Island club called 'My Father's Place'. Saw Levon, Earl and Ernie Cate, and Terry Cagle...and had a front table. Earl was playing guitar, and a ring flew off his finger and landed right smack dab in my drink! I fished it out of my glass and tossed it back up to him. He thanked me later and said he was so glad I didn't swallow it....

So..that's my last thought for the night. Tired, incredible wind storm outside here right now. Radio says we have gusts up to 60 mph. Toto, I don't think we're in Kansas anymore :-)

Goodnight from Crazyville. I'm gone..with the wind.

Posted on Wed Nov 3 03:16:15 CET 1999 from (


From: The Front Lawn

Hey, I'd happily buy a new Band release with or without Robbie - hope one is coming down the pike soon though some say The Band in any form is gone for good. (Wish this website would clue us in.) The early '80s Band videos with the Cate brothers give me endless pleasure particularly the Japanese concert which is a full 2 hours and has more of Richard (great solo of "You Don't Know Me"). Rick, Levon, and Richard look like they're havin' a great time despite Robbie's absence. (Earl Cates is more than adequate on lead guitar.) And the versions of "It Makes No Difference" and "Ophelia" have a lot more feeling and life in them than the studio versions on NLSC. BTW I think Robbie would never record a full album with the rest of the remaining original members simply because TLW was mainly his idea and he wouldn't want to go back on his word. I think he should have titled it "The Last Waltz for a While" and left the door open instead of closing it for good. And once again let me say I think it's too bad there's no full video concert of The Band at their peak. But maybe there's some footage locked away in the late Bill Graham's vaults - I know there's stuff by other great artists of the era. Or maybe The Band members have lots of videotapes they're not disclosing to the rest of us.

Posted on Wed Nov 3 03:13:33 CET 1999 from (


From: down in the basement

Michael MacDonald connection with The Band. Okay, Michael MacDonald appeared on Steely Dan's "Pretzel Logic" in '73 and '93 with the Rock & Soul Review. Who was Donald Fagan's producer for R&SR? None other than Libby Titus (now Fagan) who use to be Levon's girlfriend and is Amy's mom.

I wonder if Levon and Donald get along? Hmmmmmm.

IMHO Robbie's stuff is quite good if you have an open mind. Listen to Coolidge sometime or even John Trudell (pure poetry!)


Posted on Wed Nov 3 02:59:20 CET 1999 from (

Band Thought

From: New York

Thanks, David Powell, for getting that one right. Ry Cooder was and is one of those musicians who I connect directly to The Band, even though they may never have made a direct connection musically. Some of his earlier solo work with Van Dyke Parks, especially when Ry played mandolin, was a close cousin to The Band's earlier and, surprisingly recent work. High Cotton sounds so much like Ry's first solo album that, on first listen, I thought he had sat in on the session for a chop or two. Hats off to Levon for creating that atmosphere. And if you haven't had the good fortune of hearing Ry's double-soundtrack CD, you owe it to yourself (as fans of great taste as witnessed here)to take the ride. Quality music, just like The Band.

Posted on Wed Nov 3 02:55:14 CET 1999 from (

Lil Again

PS....Has anyone heard from John D? His e-mail is non-functioning, and I've noticed his absence from this site. Am hoping all is well with him. Please give him my best if anyone is in contact with him. Thanks.

Posted on Wed Nov 3 02:48:28 CET 1999 from (

Diamond Lil

RICHARD PATTERSON: You wrote: " So why should their private lives have anything to do with the appreciation of the music at all?" My sentiments exactly......

I've always contended that the souls behind the music are human..just like the rest of us. They're not perfect, nor have they ever pretended to be. What was, _was_ ...and we could go in circles trying to speculate on it all forever...or we could just let whatever was, _be__. Things don't stay the same as much as we'd like them to's a fact of life. People change, friendships fall apart, lives go on in different directions. And as it happened to The also happens to everyone of us. If their music can help _us_ through those times, then they've done their job...well.

To quote a line from a Genesis tune: "The sands of time are eroded by the river of constant change".

Posted on Wed Nov 3 02:10:12 CET 1999 from (

Richard Patterson

From: St Kits

I'm not a Robbie-basher, (I don't know enough about his solo material to have an opinion one way or the other), but I'm pretty sure there was no fly ;-).

There are those of us who think both Robbie_and_Levon looked pretty darn smug in those TLW interview segments (practising for acting careers?), and that the rest of the Band were being coached to perform in the same manner (by Scorsese ?, Robbie?, I don't know, and I don't care). But guess what? It doesn't effect the music, and that's the part I like. These guys never put themselves up as role models for their fans (that was Greil Marcus), so why should their private lives have anything to do with our appreciation of the music at all?. Shit, the music was made to relate to _our_ private lives! How much have you learned about _yourself_ by listening to the Band? The concept of 'the Band' belongs to us as much as them.

Enjoy it!

Posted on Wed Nov 3 01:06:56 CET 1999 from (


From: Philadelphia suburbs

One question! Who besides Crabgrass would not buy a "new BAND release" if RR was on it?

Posted on Wed Nov 3 00:44:39 CET 1999 from (


anyone who loves the band and hates robbie must have some kinda hole in the soul!

Posted on Wed Nov 3 00:25:31 CET 1999 from (


From: Upstate NY

I've been listening to "Robbie-bashing" for years now, and I've come to the conclusion that there are three kinds of Band fans:

1."Robbie-lovers" who believe that, in TLW movie, Robbie not only saw the fly, but he caught it in his hand.

2. People who accept Robbie for being what he is (kind of a colorful show-off) and maybe there WAS a fly, but it's doubtful that he really caught it.

3. "Robbie-bashers" who don't believe there ever was a fly at all, it was just another one of Robbie's tricks.

As for myself, I've always admired Robbie, even when I have to admit that he took up an awful lot of footage in TLW. Too bad the movie didn't pay more attention to Garth and Richard. Too bad the movie left some people so bitter.

Posted on Tue Nov 2 23:58:43 CET 1999 from (

medicine hat

From: pittsburgh

hey crabgrass! i own the "going home" video and find it quite enjoyable. keep in mind, it's a robbie robertson documentary, not a band documentary, so obviously it's going to be tilted to robbie's point of view. but as to your review: 1) that levon wasn't at the hall of fame induction was _his_ choice; 2) they _were_ robbie's songs; 3) the "mtv style" (i.e. well produced?) videos were no worse than, say, "the man outside"; 4) i thought the live footage looked like a pretty good concert -- much better than the video from the band's perfomance with the cates; 5)the duet with cassandra wilson was obviously a rehearsal, so let's not be too hard on him. ok all you robbie haters out there, lemme have it!

Posted on Tue Nov 2 23:37:06 CET 1999 from (


Thanks to Peter Viney for the Zoot info and for mentioning Mose Allison. One of Allison's tunes, "Fool Killer" is covered on the Bearsville LP recorded by the Toronto group Jericho (see the discography). Group organist Gord Fleming later did lots of arranging - including some for Keith Hampshire, whose cover versions of unknown (in Canada) British hits of days gone by: "Day Time, Night Time" (Manfred Mann), "The First Cut Is The Deepest" (Cat Stevens / PP Arnold) and "Bigtime Operator" (Zoot Money).

Posted on Tue Nov 2 23:14:52 CET 1999 from (


Band Thought's who-am-I quizzes remind me of Alex Trebek: I'll take rock guitarists for 40 please Alex. Funnily enough, Alex hosted a R&R show in Toronto in the early '60s. Band connections galore - though no direct ones as far as I know.

Posted on Tue Nov 2 21:59:52 CET 1999 from (


methinks ry too.yep

Posted on Tue Nov 2 21:48:57 CET 1999 from (

David Powell

From: Georgia

Answer to Band Thought's guitar quiz: Ry Cooder.

Posted on Tue Nov 2 21:40:58 CET 1999 from (


From: CT

Pehr: Michael McDonald hmmmm... Let's see. He co-wrote "What A Fool Believes" with Kenny Loggins, who released some great records with Jim Messina, who once played in Poco, and a Band member guested on one of their albums.

Posted on Tue Nov 2 20:56:11 CET 1999 from (

David Powell

From: Georgia

Speaking of video: THE BAND CLASSIC ALBUM series video is now available in the U.S. on DVD. I recently picked up a copy for $19.99 and with this format's improved video & audio resolution, it's well worth the price.

Posted on Tue Nov 2 20:41:06 CET 1999 from (

Band Thought

From: New York

From the archives of the Great Guitarists Quiz Volume II (Jeff Beck the answer to Volume I):

Who Am I? Much like The Band, my music defies a singular classification, in fact, at your local music store you will find my work in the Rock, World and Soundtrack sections with equal representation. My Band connection is somewhat indirect, as I have played with Van Morrison, Eric Clapton and even Pop Staples amongst many, many, many others. To suggest that my services are much in demand is a great understatement. And, oh yes, I once had a major "riff" with a more famous guitarist which allowed me to turn over a few new stones in my career path. Who am I?

Posted on Tue Nov 2 20:33:10 CET 1999 from (


From: The Front Lawn

Am surprised to hear that Robbie's "Going Home" video made it to DVD as I thought he would have had enough sense to kill it before it got that far. The clip from the "Rock & Roll Hall of Fame" ceremony (Levon NOT present) where Robbie sort of thanks the other members for having recorded "my songs" is blatantly arrogant and the clips from his MTV style "music videos" are more than enough to turn any Band fan's stomach. Yet, added to that there are some really awful stage performances from his Native American music trip with the Cooledges singing backup not to forget the godawful vocalization of the first line of "Dixie" and the studio "duet" with Cassandra Wilson (did he really have to prove he can't sing MORE than once?) There is, however, some interesting footage of The Band - nice, but chopped up as is usual on these "documentary" videos. Fortunately, I got my copy on VHS for only $6.99 - and don't advise anyone to spend more than that.

BTW - I'm sure EVERYONE will disagree with my little review and I welcome your counter-reviews but ONLY after you've seen the video PLEASE! I think that's a fair request.

Posted on Tue Nov 2 16:49:36 CET 1999 from (

brad stoller

From: hunter college

best rock and roll band ever

Posted on Tue Nov 2 16:42:20 CET 1999 from (

Richard Patterson

From: St Kits

Peter V.: Zoot Money. Can't thank you enough for the info on where to obtain some 'Big Roll Band'. Have never seen anything but a passing mention of Zoot in any of my reference material. Guess it pays to know someone "who was there" (to answer the lp's title :-) Now if we could just get Trojan Records interested in the Hawks.

Hoyt Axton of course was not Canadian. John Kay (of Steppenwolf "The Pusher" fame) was based in Toronto with his band Sparrow, just before transforming himself into a steppenwolf. They were already playing "The Pusher" at this time. Associating out of control here. I'll blame Herman Hesse.

Have a good day folks.

Posted on Tue Nov 2 16:33:20 CET 1999 from (

David Powell

From: Georgia

The citizen from Arkansas, who fancies himself to be a saxophonist, is currently visiting Norway. I would guess that Jan & his fellow Norwegians would much prefer a visit from a certain drummer from Arkansas, especially in light of the fact that the erstwhile saxophonist rudely kept King Harald V waiting last night at a palace reception.

Eric Andersen is another American with a connection to Norway. 1999 has been a good year for fans of Mr. Andersen. Earlier this year saw the release of his first new solo album in a decade, "Memories of the Future" on the Appleseed label. Later in the year, Sony released a beautifully remastered CD version of his brilliant 1972 Columbia album, "Blue River." More recently, Vanguard released "Violets of Dawn," a single disc compilation of 18 recordings of Mr. Andersen from his years on the Vanguard label (1964 through 1968).

Eric Andersen, through the language of a poet set to the music of a gifted troubador, sings from the heart with rare intelligence & grace. The aforementioned recordings give the listener generous portions of this artistry. Those familiar with Mr. Andersen only through his work with Rick Danko & Jonas Feld should seek out these solo recordings for a further appreciation of his unique & talented work.

Posted on Tue Nov 2 13:53:08 CET 1999 from (

Peter Viney

From: Back in the UK

I’ve mentioned this before, but fans of the early Levon & The Hawks sound might enjoy the British equivalent, Zoot Money. It’s taken me five weeks and three repeat orders to get Zoot Money & The Big Roll Band’s “Were You there? Live 1966.” I bought it at a store directly opposite Bournemouth Pavilion where Zoot led the resident band in the early 60s. This is a newly remastered set of live tapes - it doesn’t sound as if it was designed as a live record, more a tape of a show. It captures Zoot rather late on when he was leaning further to horn-led soul, but the similarities with Levon & The Hawks repetoire is remarkable - ‘Smack Dab in the Middle’, ‘I Feel Good’ for starters. There is no cross-influence, Zoot was doing the same stuff in 1963, but a similar interest. Then Booker T’s “Boot-leg”, an obscure Lee Dorsey track, People Gonna Talk, Ray Charles (Hallelujah I Love Her So). There are also some covers of contemporary soul, ‘Ain’t That Peculiar’, ‘You Don’t Know Like I Know’, ‘The In Crowd.’ Also Zoot’s singles ‘Big Time Operator’ and ‘The Uncle Willie’. The band included Andy Summers(aka Somers) on guitar, Colin Allen on drums, Johnny Almond & Nick Newell on saxes, Paul Williams on bass & vocals, Geoff Condon on trumpet and Zoot on lead vocal and Hammond.

The Hawks went on to join Dylan, Zoot to join Eric Burdon, who might have been just as much fun but less creatively stimulating. This sounds like a 1966 live tape in a club, but has been well cleaned. Zoot describes it in the liner notes as “marginally rough, but always ready”. It shows what could be done with those legendary Hawks tapes. Details from the Trojan Records website

There’s something about Zoot’s vocal style that reminded me sharply that Mose Allison was hugely influential on the British 60s scene around 1964/65, and the “Mose Allison Sings” compilation was one of those major albums that never sold well, but everyone who bought it was influenced by it (this was first said of “The Velvet Underground & Nico”). I don’t hear the same influence from so many American musicians. Was Allison less popular? As well as his originals he acted as a filter for things like “Eyesight To the Blind.” The Band relevance here is when discussing the presumably-lost Big Pink out-takes, Rick Danko mentions “Sitting Here A Thousand Miles From Nowhere” which could well be “One Room Country Shack” from the same Mose Allison album, but it wasn’t an original.

Reading Peter Carey’s collection of short stories “Exotic Pleasures” which are set in the future, and he has one about a police state of the future run by “The Danko Regime” and “General Kooper (with a K)”. This looks as if he was looking through his record collection for names. The two together can’t be coincidence.

Robbie Robertson’s “Going Home” is on DVD, and cheap - $16.99 in Virgin less 20%.

Posted on Tue Nov 2 04:04:20 CET 1999 from (


From: The Front Lawn

Glad to hear there seem to be no solid links between The Band and... Gee, I can't even stand to mention his name again!

Posted on Tue Nov 2 02:07:19 CET 1999 from (


From: big rockin chair dont go nowhere

Bill Clinton's Balls! Ha! Thanks Charlie!

someone mentioned the live take of richard doing "before i get too old"- yeah... amen, brother.

Posted on Tue Nov 2 00:27:39 CET 1999 from (

Charlie Young

From: Down in Old Virginny

Pehr: one connection between The Band (or Levon, at least) and Michael McDonald would be Bill Clinton's Balls. Please let me CLARIFY: both Levon Helm and Michael McDonald played at Clinton Inaugural Balls. I can't think of any other connections offhand, but I imagine there are others...

Posted on Tue Nov 2 00:01:05 CET 1999 from (

Stuart S.Greenberg

From: Long Island ,New York

Will the Band Tour together I have lucky to see them many times .I am also looking for the Jericho Album cover poster if they are still out there. Thanks

Posted on Mon Nov 1 22:58:35 CET 1999 from (


can anyone find a micheal mc'donald link to the band?

how about lyrics to "What a fool believes"?


most of those songs are in D molished or E gads i think

Posted on Mon Nov 1 21:46:46 CET 1999 from (

Diamond Lil

LYRICS SHARK: Thanks! _Very_ much appreciated :-)

Posted on Mon Nov 1 20:20:30 CET 1999 from (


From: CT

While on the subject of "Miss Otis Regrets", Libby Titus did a marvelous version(although nobody can beat Ella) of the song which Robbie produced and played on her solo album.

Posted on Mon Nov 1 19:54:14 CET 1999 from (


From: The Front Lawn

Well, like I said, "Different strokes for different folks!" To anyone who enjoyed that anecdote about Rick and the roadkill deer from Levon's book I suggest that a visit to the local slaughterhouse might better help recreate some of the "humor" of the situation should you crave more of a "first hand" experience. Hope you have a barrel of laughs!

SUPERMARKET MUSIC - Happy to report it has improved in my neighborhood too! Frequently shop to Joni Mitchell, CSNY, and Steely Dan though haven't heard The Band in there yet.

(Now if they'd just scratch that awful and boring Michael "Everysongsoundsthesame" McDonald from the playlist I might shop a bit longer. Everyone's with me on this one, right?)

Posted on Mon Nov 1 18:38:47 CET 1999 from (

medicine hat

From: pittsburgh

while visiting relatives in akron, ohio this weekend, i found myself in a supermarket when, lo and behold, "remedy" began playing over the intercom. not a muzak version, mind you, but the real thing. i guess the guys, in the _weirdest_ way, have made it.

Posted on Mon Nov 1 18:17:32 CET 1999 from (



Here's a silly comment but what the hey,If you ever get the chance to the teen adventure movie "The Goonies" again check out the kid in it called Mickey,he's a dead ringer for Robbie. Told you it was a silly.

Posted on Mon Nov 1 16:31:16 CET 1999 from (

Lyrics shark

Miss Otis Regrets (She's Unable To Lunch Today)
Written by: Cole Porter (C. Albert P.)

Miss Otis regrets, she's unable to lunch today, madam,
Miss Otis regrets, she's unable to lunch today.
She is sorry to be delayed,
but last evening down in Lover's Lane she strayed, madam,
Miss Otis regrets, she's unable to lunch today.

When she woke up and found that her dream of love was gone, madam,
She ran to the man who had led her so far astray,
And from under her velvet gown,
She drew a gun and shot her love down, madam,
Miss Otis regrets, she's unable to lunch today.

When the mob came and got her and dragged her from the jail, madam,
They strung her upon the old willow across the way,
And the moment before she died,
She lifted up her lovely head and cried, madam......
Miss Otis regrets, she's unable to lunch today.

Miss Otis regrets, she's unable to lunch today

Posted on Mon Nov 1 16:02:21 CET 1999 from (


From: Oregon

Crabgrass: I'd just about give anything to have been there to see Rick with that deer! That's one of the funniest stories I ever heard -- it makes me smile every time I think about it. Lil: Enjoy your day. I always enjoy your posts. Kevin: Thanks again.

Posted on Mon Nov 1 15:36:14 CET 1999 from (

Jon Lyness

From: New York City

By the way, along the same lines as Lil's lyrics request...I wonder if anyone has the lyrics for "Before I Grow Too Old"...can't stop listening to the clip of Richard's performance so thoughtfully provided on this site, and can't make out a handful of lines. Any help appreciated.

Posted on Mon Nov 1 15:31:48 CET 1999 from (

Jon Lyness

From: New York City

Lil: There's an excellent version of "Miss Otis Regrets" by Ella Fitzgerald (among others, I assume?). It can be found on a compilation CD called "Ella Fitzgerald: The Cole Porter Songbook, Vol. 1". While I can try to transcribe the lyrics at some point, you could hardly go wrong to pick up the CD for yourself...some beautiful stuff on there. Ella's Miss Otis Regrets is a beautiful song, and must have been perfect for Richard's voice and phrasing.

Posted on Mon Nov 1 03:55:46 CET 1999 from (

The Watcher

Wee ghoulies and ghosties safe in bed, snuggled down

While out in the streets the dead walk the town.

Frankenstein's Monster and the Werewolf bring dread,

And one riding horseback without any head!

The vampires are prowling. Their victims they seek.

The corpses are walking. Flesh hangs from their feet.

Slobbering hell-dogs, cruel demon spawn

Hunting for innocents to torment 'til dawn.

Keep your doors bolted. The windows locked tight.

Perhaps you'll survive one more Hallowe'en night!

Posted on Mon Nov 1 03:34:36 CET 1999 from (

Diamond Lil

CRABGRASS: Very thankful here that Ray Charles didn't trade his music abilities for a drug habit. He's always been one of my favorites and I listen to him alot here. 'I can't stop loving you', 'Unchain my heart', 'Baby it's cold outside', 'What'd I say', and the beautiful 'Georgia' are among my favorites. Also love the duet he did several years back with Billy Joel called 'Baby Grand'.

Maybe what you pointed out, and what Richard Patterson reiterated, is the difference between drug "use" and drug "abuse". Unfortunately, Richard fell into the latter catagory. I'm not sure that I agree with your statement of it being a "career choice" however, but more like a life-altering situation that he got into and couldn't get out of. I'll always be grateful that Richard left us with what he did, and always be saddened that he never gave himself the chance to reach his full potential. I truly believe that Richard himself didn't even know how really _good_ he was.

Posted on Mon Nov 1 03:18:16 CET 1999 from (

Kevin Gilbertson

From: NE PA

Check out: This is the site that is web casting neil youngs annual concert for the Bridge School. Brian Wilson is doing the old Beach Boy tunes. Live - right now. Check it out. Peace

Posted on Mon Nov 1 02:29:58 CET 1999 from (

Richard Patterson

From: St. Kits

Ray vs. Richard: I must admit Crabgrass, you usually bring up something worth thinking about.

Don't know much about drugs, but I do know there are "fuctioning" (the ones who make it into work the next morning) and "non-functioning" alcoholics (I'm one of the latter :-). This may be the case as far as drugs go as well. "Junking out" and "speeding around" (etc.) should hardly be considered "career choices". I don't think the future figured into the choice to try these things at all.

llkka: Your last post (re: the deer hunter scenario) is the funniest thing I have ever read. Take that, Monty Python !!!

Posted on Mon Nov 1 01:26:19 CET 1999 from (


From: The Front Lawn

Caught the very great Ray Charles last night (or early this morning) on a repeat of a classic SNL on NBC from 1977. Lots of songs and medleys including the first single I ever bought - "What'd I Say?" Although, I believe Ray had a drug habit he never seemed to let it get in the way of his musical career unlike Richard who let it put his musical career on permanent hold. Ray is still going strong today with dozens of albums under his belt while Richard has been gone for many years. Lamenting what Richard might have done is pointless - obviously, except for his years as a Band vocalist and pianist practically nothing else remains. Junking out and speeding around the roads in fancy cars was a poor career choice (glad I never met him on the road.)

[History] [Members] [Library] [Discography] [Videography] [Filmography] [Pictures] [Audio Files] [Video Clips] [Tape Archive] [Concerts] [Related Artists] [Merchandise] [Guestbook] [Chat Room] [Search] [What's New?] [Main Page]