The Band 1972-1973 by Antonino Abramo

The Ottawa itizen • larch 24. 1972 The Band has not broken up, they've just lost the services of Levon Helm for six months. He's at the Berkley school of music while the boys continue to

SOUND

It's a·fealt of foli.~ ·i l1 lll8IIIOIY of Woody

work at Woodstock. Robbie Robertson is producing the live album taped in New

York and it'll be released before long.

Fort l.ouikrdal• New, ,nd Sun.S.ntin~I. Sunday, Juno 25. 1972

J JU!. MJJ\1v11 l'li&:.w.:, & llUf ,, JUiy Ja, hii

Leas Campbell is planning a I rock concert on July 8th to some of you at last ~~~k!! benefit the World Dolphin Foundation. The concert, to benefit for The Dolphin be held at the Miami Jai Alai Foundation recognized a fa fronton, will feature Steven miliar face among the musi Stills, John Sebastian and clans participating in the jam Fred Neil at this point. Word it belonged to Rick Danko of is that the other twothirds of The Band ... the original Crosby, Stills and Nash might show up for the occasion, as well as other rock entertainers of name cal iber.

Rock of Ages

THE BAND In Concert

Recorded in ew Yor during the ecuose of lhe New Year 197172, here 1s a culrmnauon of The Band s 11 ... e year leadership In contemporary music. Don't Do It. Rag Mama Rag, Get Up Jake, The Night They Drove Old D1x1e Down. The Shape I'm In. Stage Fright, (I Don't Want Toi Hang Up My Rock And Roll Shoes. The Weight, King Harvest (Has Surely Come). The Geneuc Method, Chest Fever, Unfaithful Servant, Whee,s On Fire, Across The Great D1v1de, Lile Is A Carnival, Caledonia Mission, and W. S. Walcott Medicine Show. SABB-11045

. ~--'

Cash Box March 11, 1972 THREE-Jackie Lomax-Warner Bros. 2591 "Roll on into something better" might be the key phrase of Jackie Lomax's new LP, which places the emphasis less on his old hard rock style and more on the rolling musical flow he befriended by residing in Woodstock since his last album. "Roll On," the tune that houses the catchphrase, shows Lomax's transition from bassist to guitarist (he actually started as a guitarist in London· years ago), and features Howard Johnson on tuba and Woodstocker John Simon on keyboards, "Hellfire, Night· Crier" showcases John Hall's unique guitar style with the aid of The Band's rhythm sec· tion, bassist Rick Danko and drummer Levon Helm. More Amedcao._funk_arul less British gloss mark the new Jackie Lomax.

Cash Box -April

RECORD WORLD SEPTEMBER 9, 1972

MARTIN MULL C<tJ>ricoru

0106

(Wnr11(•r

llro.".)

Mar tin Mull's songs bring to mind such illustrious songwriters as Shel Silver stein and Randy Newman. They're funny and telling at the same time. The music, aided by the likes of John Simon and Levon Helm, is equally engaging. With some airplay, this package could take off.

22, 1972

HUNGRY CHUCK-Bearsville 2071 Hungry Chuck is bound to what your ap petite with 13 tasty treats on the group's debut album. The band is new, but the mern bers are all old pros; drummer N.D. Smart 11 (formerly with Barry & the Remains, Kan· garoo, Hello People, Mountain). steel p1ayer Ben Keith (Neil Young's "Harvest," Ian & Sylvia), guitarist Amos Garrett (Ian & Sylvia, Eric Anderson). pianist Jeffrey Gutcheon (Tom Rt1sh, Mitch Greenhill) bassist Jim Col· grove and hornman Peter Ecklund merge for a funky set with lots of chuckles, especially on "Doin' The Funky Lunchbox." Also, give an ear to "People Do" and "Hats Off, America."

BOBBY CHARLES-B•arsville. BR 2105 (War· ner Bros.) For those unfamiliar with the work of Bobby Charles let it suffice lo say lhat many roads ago he wrole "See You Later Alli· gater," "Walkin' to New Orleans" etc. Di· vorce him from previous successes and vou

now have a man with a mellow, casual mu

sical grasp and a lot of fine friends; some of whom like Levon Helm, Geoff Muldaur, Rick Danko, et al, helped create the placid laid back but by no means catatonic feel of the album. Sink your leeth into "Streel People," "Grow Too Old" and "Small Town Talk." OCTOBER 21, 1972, IILLIOARD

CREDITS: Pro411co• lly Haa"ry C:la11ck with Jen Chll,l PROMOTION

SPECIAL TIUUIKS TO,

PAUL BUTTEBl'IELD •. ,H .... .sc.-WAlCII nu: ntUCU GO BY. C04Ut•ll' ol 'lie.,.rll,e R.<o,N OAJITH HVJ>BON••• Ts.x&s.,..... ...n:o,u:oo, nor1HY of Copbol 1.co,a

OEOITREY NVLDAUR ..• a...i..1-IUJ.IO~DOWN

c•wt••T ol W......, J,o,., .MONI. KID BHALEEN ••• Gw1•Sol...J'IOP!.EDO

n:ONr COVD PHOtoi Aadnw Lny .. ILLUSTJlATION1 KourTl.ae COVEii CONCEPT AND INSIDE PHOlOSa Mlch .. l P>t•da•a AP.T DllllCTOla Nch..4 Na.ia J\ECORD!D A.Tt a..r.-.tu.SOWMt St~dloa, Co.Or& .. ocl hv•d MIXEDAT: no~ r..cwy &honrill• S.ilaclSc-.cU.. Tl:IAHQ TO tK£ E>IGIHa&Sa foa Caill. K•k H..,. .... N!dt Jmnoeoo & Ar1 PolkoD'\1'1

RECORDING

SPECIAL

MERIT

ERIC VON SCHMIDT: 2nd Right, Jrd Row. Eric Von Schmid! (vocals. guitar, kazoo. electric piano): Campo Malaqua (accordion): Geoff Muldaur (guitars): various other musicians. Turtle Beach: If I Ever Catch Old Per ry; My Ltwe Cmm• Rolli11,: Down: Believer: Tiu.· Letter; If/ Had u Good Dog (The M"lt• Ch auvinist Possum Song): Fuir mul Tender Ladies: Loop the Loop: Wc•t Binls Fly at Ni>tht; Sc,lutt' to Chinn: Fut. Fat. th(• Wmer Rat: My Counrr_v "tis of Thee, POPPY PYS 5705 $4.98.@ 11105 $6.95.@ 1250.S $6.95. Performance: Remarkable Recording; Good

Cash Box 2nd RIGHT,

Poppy 5705

3rd ROW-Eric

June 17, 1972 Von Schmidt-

Bob Dylan first met Eric Von Schmidt on the "green pastures of Harvard University." That was seven years ago, and if you still haven't met Eric and his music, then be in· formed that his pastures are greener thorn ever with this new Poppy collection of the Boston balladeer's special brand of tender but

fantastically funky originals, including "Be· liever," "Turtle Beach" and "Fat, Fat, The Water Rat." Along for the ride on this LP are ex-Jim Kweskin Jugbanders Geoff & Maria Muldaur, as well as Paul Butterfield, Billy Mundi, Ben Keith and a host of original Boston folkies such as Bob Siggins and Jim Rooney.

Eric Von Schmidt was either the first hippie or the last beatnik I ever saw. He arrived in Sarasota years ago as I was preparing 10 leave. and brought with him a life style 1ha1 was intriguing and. it seemed at the time. impossibly casual. It turned out. of course. to be the only way to Hy. Before that. Von SchmidI had paused at Harvard Square to teach Bob Dylan a few guitar licks. And so this album, among other 1hings, makes me homesick for the places I've met and the people I've been. Only someone who has been around could have madesuch an album: it shows 1ha1 Rick has steeped himself in his music. and knows exactly whal he wants IO do and how to do ii. II is a remarkable album. an odd mixture of variations on the blues and Rick's own special kind of surreal humor. For reasons known only 10 Von Schmidt. Campo Malaqua's accordion (!)is the sidekick instrument to Rick's gruff vocals and bluesy acoustic guitar. The sound is expansive. with a shimmering abundance of dobro. bouleneck. and slide guitars and some harmonica played by none other than Paul Butterfield. Von Schmidt has ereated a dandy New Orleans dirge for Fm. Fm. the Watc·r Rm. with tuba. clarinet. and Greg Thomas' excellent snare-drum lapping helping to make that a major achievement. For Salute to Chino. he sings in a pinched voice. almost enunciating "saroot." and has Jules Feiffer and Gerald Weales playing ping-pong (nor too efficienlly) in the background. The album is musically sophisticated. but has the kind of nonchalant charm that makes i1 readily accessible to anyone. Probably there docs breathe a man with shin so stuffed that he can resist this album, but with any luck at all you and I will never have to meet up with lhe critter. N.C. Campo Malaqua = Garth Hudson

Cash Box-April

8, 1972

A TRIBUTE TO WOODYGUTHRIE (Parts One & Two) Columbia KC 31171 and Warner Bros 2586 Two record companies have gotten together to present both parts of a tribute to America's greatest folk artist. These are highlights from concerts at Carnegie Hall in 1968 and the Hollywood Bowl two years later, and among the artists paying their respects to Woody are Bob Dylan, Judy Collins, Ario Guthrie, Richie Haven, Odetta, Tom Paxton, Pete Seeger, Country Joe McDonald and Joan Baez. Narra· tion ls provided by actors Will Geer, Robert Ryan and Peter Fonda. Both disks effectively capture the warmth and sincerity of the principals involved. All proceeds from the s-Ies go to The Woody Guthrie Tribute Fund, which will further medical research into Huntington's Disease.

)o.,8.n JudyCollins J.-kDI,., R"'hfe~~ns Odc:tt1

AOOCuthnc

Co..otryJo<Mdl,n,ld loml\.,1on EulRobuooa

fucfugc,

RECORD WORLD JUNE 3, 1972

... A new Band album will be out on or about June 24. A tworecord set, live at the Academy of Music last December. It's called "Point of Retiect icn"

Colorado ·1,ringA Gazelle Telegraph alurday. June 17!_}972

The Band is scheduled to re lease a n w LP on June 24. The album, tentatively called "Point oI Reflection", was recorded live at concerts during the past Chri trna holidays. Bob Dylan sat in with the group on New Year's Eve, but it's not yet known if that se ion will be in cluded. RoLLING STONE/JTJNE22,

AILuUIIII

•• ••

$4•97

Tapa •••••• $4.77

1972

A new Band album due out in late June, called Plaintive Reflection, re corded live at the New York Academy of Music last December and featuring RoLLING STONE/JULY6, 1972 a horn section arranged by Allen Tous saint. Some old Band songs, some new, • The Band's new album, Point of and an elaborate embossed, maroon· Refl«tion (not Plainll~e. as we'd been colored album.....,,c,,ov,,_,e"'r,._,. _. told) is del~yed till July ...

__ ......_..._,_.._ ..

-·--

• WAIINI• UOI. NCOIIDI 'Ill.ACK IANATH'

.....

• GltUNT NCOIIDI 'JIPPlltlON AIIIPLANI'

'L---v••

• KA NCOIIDI 'GUiii 'UVW'

Band's 'Rock' LP Via Capitol HOLLYWOOD Ca~itol Records is releasing The Bands longawaited "Rock of Ages" LP this week, ac cording to Brown Meggs, vice pres ident of marketing. Recorded live on New Year's Eve at the Academy of Music in New York, the twodisk set is being issued in conjunction with The Band's new single "Don't Do It." The group's New Year's EYe per formance was the first time they had performed with a horn section. Among "Rock of Ages" most notable features are the innovative horn ar rangements by Allen Toussaint for some of the group's most familiar material. Besides Garth Hudson on tenor and soprano sax, Toussaint's brass forces include Snooky Young (trumpet and flugelhorn), Howard Johnson (baritone sax, tuba and eu phonium), Joe Farrell (tenor and so prano sax ancl english horn j , Earl Mc lntyre (trombone) and J. D. Par ron (alto sax and e flat clarinet). Included on "Rock of Ages" are such new or previously unrecorded songs as "Get Up Jake," "Don't Want to Hang Up My Rock and Roll Shoe's" ancl "The Genetic Method," an organ solo by Garth Hudson. In addi tion, there are newly arranged ver sions of such Band classics as "The Night They Drove Old Dixie Down," "Rag Mama Rag," "The Weight," "Stage Fright," "The Shape I'm In" and "Life is a Carnival."

WHO'

Bond LP Ready

• CAPITOLNCOIIDI '•AND' 'POINT

Cash Box August 26, 1972

Of nl'UCTION'

RECORD WORLD JULY 1, 1972

... Hold it: The Band album is now being called "Rock Of Ages" after Rolling Stone mistook "Point of Reflection" for "Plaintive Reflection" ...

STONE/AUGUST 17, 1972 . . . A new title for the Band's LP: Rock. of A. es .•.

RoLLINc

• LOS A:\'GELES Capitol Records will release The Iland's longawaited "Rock of Ages" this week, annou need Brown Meggs, Vice President, Market. in g. Recorded I ive on Kew Year's Eve at the .Acadernv of Music in New York, the two LP set is being issued in con junction with The Band's new single, "Don't Do n.': Their New Year's Eve per formance was the first time The Iland performed with a horn section. and among "Rock of Ag es" most notable features are the innovative horn ar rangements by Allen Toussaint for some of the group's most familiar material. RECORD WORLD AUGUST 26, 1972

- The Band

THE BAND In Concert

T1IE

IUD

5.19

2 RECORD SET

POINT OF REFLECTION Reg. Mfr's. Price $5.98NOW

$3s,

RECORD WORLD DECEMBER 30, 1972

... The Band's live album from The Academy of Music was being retitled back and forth between "Point of Reflection" to "Rock Of Ages." 'Rock' eventually won out ...

D001'DOIT

It'1 New Year'1 Eve in New York City,on Four· lffnth llrHt, at The Academy of MU11ic. The BAND 11 about to lhare the Jut. day of the year with 111. We know their mu1k:. We lmo,r that they were once The Hawkl. That they worked with Dylan for 1everal year1. That lhey'vebeenlo(etherrorelevenyeara.Wek:now the hiltorlc Big Pink; thtir maaterpieoe, The Band: their 1971 autobiography on record, Stage Fright; and the experimental Cahoot& We know they are Robbie Roberuon, Levon Helm, Rick Danko, Richard Manuel, Garth Hudeon. The BAND lh·eon theecllpeeofa new year i1 tepee.I ally fiUlng1lnce all thole other people who are in bands today were home li1tenlng to The Big Beat on their radi011Vhen The Hawlu were out there playing iL They were one of the origi nal "live" band1. They were the Soni of the Teenage Pioneers of Rhythm and Bluea, Country and Weste.rn, and Rock and Roll. This New Year's Eve the group hae choeen to sum up their years of mu.sk ae The BAND by perfonnlng110meoftherock'n rollclaeele1con talned In their known album1, and a lot ot IIOngl they'veneverrecorded.Theconcertgivetthem allabreathofnewlife,afeatdueinnoamall part to tht ITIONlt.er hom charta deviled by in· novative arnnger, Allen ToUNalnL Thi11pontaneou1 audleftt'e.partlclpatlng con cert, with Tou1a,1int'1 New Orlean1' Influenced horn eectkm recreating the familiar eongs u freehly and atartlingly aliveu the new, ii a true musical event that we can lhare viathil two reecrd 1eL Thi, album 11 another further 1t.ep in The Band'• developmenL In the development of our mu.sic. Themu1icofourag11. ThililROCKOFAGES.

9,1'•T""'•,1"/lll,IIIO Mo\MAIIAG

<•.til.)1f·•(:.,~

The Band IN CONCERT

·TNI

INflANAPOLII

NIWI

THE BAND PLAYS ON

'Rock Of Ages' Finally For Real

By ROBERTBASLER Better late than never much better, in fact. After months of promises, misinformation and d e I a y s, The Band has released its fifth album, "Rock of Ages," (C8pltol-SABB-UM5).

at this last bit of information, fearing the group may have turned into a Blood, Sweat and Tears or Chicqo, may rest euy. T11ere are llready enou&h lfOUPI like that, IIUV· en knoWI, and 'Ibe Band lm't about to join their brassy

After several release dates, ranks. starting in May, came and Rather, Robbie Robertson, went, and after Capitol an· Levon Helm, Ricbard Manuel, iiounced three different titles Garth Hudson and Rick Danfor the record, Band fans ko play u they always did, were left with little to work with their five backup men ~ith but imagination. filling what few gaps In IOUlld : Rumors spread about the are left, and Band fans know (orthcoming record as enthusi it's bard to get a note in asts of the group told each ed,ewlle around Hudson's or· other Bob Dylan would be gan and Manuel's piano. featured on the album, it The two brand new offer )vould be a double record, it ings are "Hang Up My Rock would feature a horn section, and Roll S h o e s," a loud etc. throwbaclt to the 1950s, and ; Aside from the fact that "Get Up Jake," a very typi l>ylan is not to be heard, the cal Band song. Tbough it was 6ther rumors were surprising written years ago and includ ?' accurate. What was finally ed in early Band songbooks released was a double album, "Jake" was never recorded i'ecorded in concert last New by the group, though it cer :'{ear's eve at the Academy of tainly should have been. The Music, New York. And, yes, tune is a good one and the the group is backed by some song comes across with the Jhing new, an ensemble of same friendly delivery as oth· ) a x e s, trumpets, trombones er early Band songs, such as and other horns. "When You Awake" from the · Fans who recoil in horror group's second album.

TBEBDD

ONVERGETEUJKQNVERBETERUJK;

WEET,ZIT,

NUJ7.50

LUISTER,HUIVERENGENIET

ENZIEDANDEPRIJS

· t

THE BAND

Nll-,1"-llockot ..... DDn'1dol1-~M--Udo,n-1ioJ....,.1,pmv1oct. Ind rofl.t..-St.., h}flt-n.."""1 1tlrt'G"-old ODctownt1w re11 chode - R-,~, .. -n..~1-T"'.._ l',n"' 11 • .-~ ICGk.11 ... , '7,50 (C.,totl

Acr-

LI,.

ORIGINAL

ARTISTS!• ORIGINAL

~1;~~:::. llm!JIJ.

RECORDINGS!

rJ.Je r-lif)hr ·r!Jey '!),•o\JB OM .Di;<.fo j)owr, z

w ;::;

2. THE HIGHT THEY DROVE OlD DIXIE OOWH

w > 0

3. ACROSS THE GREAT OMOE 4. THIS WHEEl 'S OH FIRE

,..= 0

..."'...

m 0

~ ,.. z

~....

"' ...

5. AAG MAMA RAG 6. THE WEIGHT

~z "' "'

...

7. THE SHAPE l'M IH

8. UNFAITHFUL SEAVAHT 9. LIFE IS A CARNIVAL

0 0

;::;

10.00H'TOOIT

... ..."' z

;;;

11. KJHG HARVEST (Has Surely Come)

.... "'mz

1. STAGE FRIGHT

~~ N

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~ ...-f~-:r=T:t::.~::~-=-=lc1:".!~:t:=!.rNl.,,,._~OI ~·.~~=,..."1::'lroiOlr:"~~~~U..•

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I:!!( II

2........Ne~... Groups Debut In 13Album Release 1'7l

THI INDIANAPOLIS NIWS

wit-. .......... ..... __ ..,,,.

---r<lt . J.Ntrao "-

HOU.YWOOD

t .. -·Aytor1I 111111,m ..... .... llllbloetr. .... label )lr,..i.belring ...... Abo ftllutd b: Pt111

~t11ec.p,1o1

WI-.

H•ldlloiftc Ille releue

Band'• lworecont stl, ..... ti Apt.",_ h,e IMI ~ II New Von's .,o1111111c.111ddi,

Unlike the rerroepec uve r1ualit.>t or rhe Band's album, the Iiv e halr of

New Sets by Band

and Kinks IV llOlfRT HlllURN

• Slnce lh19 llanU and the Kink.a are ::unong lhe ha1f·do1cn b e s t rock groupa ln the world, the release thl1 week of new, tworecord album tel1 by both groupi f1I cause for

celebrallonIndeed. •Roc.k of Age,: the Ibnd'a lll'lt lhc alhum, wa-' recorded last Dtctm·

ber at. the Academy of lfualc in New York City, while the Klnka' ·1~'\•('ry, body'• In Showl>lz" la hall 11\<C and holl new l'lludlo 01:.tterJal.

For lhose "ho have

found LM Oand'1 Itve PI e c e Jn.i,ln.1mcnta1lon

ne.'U'ly perfect In lie econ omy, Allen Touualnt'1 arrangements

··-

...

l!p.

CortU11..~d Fro,n Pag~ 4.S lo ,rnrk with Toussaint, a noted Xew Orlunabased 'E,ee;~l)'" In Show music:la.n.90np·riterrec· biz.• Li :1 'l>«:1fk look at ord p.roduttr, on ,ome the Kinks' fa,t "1.H')('('rt horn touchH.. tour, moc of thf' songs The horns are apparent coming Crom the •lfu• from the ope,nJn1 trark. well Jllllbillk,• album. • Baby; Don't You Oo 11.•

POP RECORDS

horn

Coutry

some 80ngs may Reem un

ncccut1ry at rlmee. but the album, both O.H 3 refleellon of the Oand·a mu sic unlll now and £or eome song1 th..,L genuine ly ben<!ftt lroin thf' bctns,

Is a , aluable. Impressive work.

Much or tbe M!('()nd half of the album iii devoted to Ray Oa, iei;' M)m<'ll~, 8.ltlri<';il, omt:'tlme" paln fu1ly lntro,:pttlhe com mcntatlClt on 1ll...comrort1 and di-,('()Ur.>g<'1mml!l of being a JlOI> rnu:,,,.lc i.tar 11, too, dl·.J11H•.i n .. pot In

)Ot•r record rollN"lion

The n.,ntl'l'I "'R4H-k •' Ar~• (('.11'1101 SA R O 11015)-\\'~n ,11~·cu~lng his plant l.i,t winter for thl't album Ill(' O,md'.11 Hobbie flotM>1L"'"1n pokt

nr the 11lhu111 In crnn• .or adding rotor to thr group•., u11k, rtom.ltnka1 aman~oetnf"nt"' ·T~ bl.wk ,1,nd "hlle photOi on our .ill>u1n co,·· Pl'I ttflN'"t lhf. NW aus tude of our mu,.,lr,• he H,OIJ. "The •,on,c,. ha, e

...........

_.,

... 1.M1l11er'1durd C.p,tolllbura • In July, Sl!dttt "'k wdl prtttnt Ltoo fluudl'I

·c.n.r.·

the Pttformtt· Bobbie Rofa Writtt'I third IOlo 1Jbum and a chal"""lnc chu1• ti .... :"."~' ~:· "EMI." addlutlJ' "'l'•Y•• On laland R«onll, .., Dlcl<Qrletl; .......,,. a solo album b7 ,,..,,a uoiqw Ja pop .... lhdl Trame·, dnunmtt. K e e b o p 1roup, ud "IMI ..__,. An1LI Carter's ............ ''lllltJ ...... KnhBuh,willbe......._ .... linl ,,_ ......

Is Lee's

,,..

Pl r t a al eew CGMNnp>ra,y ....

111,.. ;

the Band. The h~m "·Ork l!i much like adding italics to one or t ~·o "onls in a srnt,rnu or )Xlr~ graph.

e,.·er put on a rot:k album. %.1~ t•m rn.· •t:nfalth Beginning wtth what ful Serunt• and ·ure ls Stt~ like the original a Camh-a\• (the 10ng

from t~ ·cahoots" .,. bum that feature!J, both and In ha original ,·enton, a i:pirltcd, almost Side One rontinuOJ hecLlc Tous,aint horn' ar 1'ilh •King Han~t.• a ran(.,'f'nHmtl part I c ularly eftecth e The 1lbum'.e final ~hie Oo" n• that u"'CI a hom I llollandllo:d•rllolbnd ·Ca.klonla lli.slion: the reatun'.'s a sev~nmlnute 10ng that the Band has ratbe.r routine •c:et \;p In JUll the •cry or moan" org:rn M>IO by Gar1h llud· often used In conttrt but Jake• (lhe only nobert ".&y Robtrtllln had plo l'l()n I lneludlng a 1IJ:,,,.h or tured. It Ii foHowed by not pne,·lowly r,conlod, IOOJ on the alOOm • AuM Lang Sync- In re. • ACl'OM the Great. 01· It b; alto app1rfnt on thb: <hot the S.nd hadn't pre Whttl'• on rogltion of the concert'• track (which Is apparmt· ~lou.l(y r«<>nl«!) I nd Xew Year', E, e Betting) S. Wakolt Medicine Fire• and· •Rag Mama ly ,:olng to be tti..,...1 •• llag, • an \l()beat tune that lead.a Into ~chest a atngle) that the uae of Show," :11 song that bene F'e,er." The album rlo8e1 the homa Is Nntrolled in lita from the u,e of home. that bencflu from the with a fireball, ln(ectloul the album. The fin~··rr\an A ~. bul not o,·e_r,. uBe or horns. \'C:nJlon of the late Chuck Skle Thre,,e continues horn lf<:lion I.! uced •1· "'hclmlns;: opening II~. Willia' •tr Don't Want tol But things ,el lnllnlte on a fitrong not.e "hh Hong moot •• • ,1nr1< oddlllon ily Rock and al lnurumcnt. not 11 • Jy bttk'r on Side Two, 'The w,lghL" (no no<l<o non fihoes: competlna tn1l1y "Ith one of Ole flnei.t tides able u..1e o( horns), •'fhe chon ror an AM1 hebit ~l a:h1· RI•. Though Bob Dylan llN 'CIDII• CAllNO~ SUNDAY, AUGUST 77, 1972 jolnoo the Band on 1tnge for one In the serlc1 Xew York concerti, hr doein'l appear on the at· bum. The Kinu' •En,1 \ • 411' • h1 Sliewltla• arrangement of •stage Fri_ght• (If there are aoy horm on the track. they are hard to nnct), then a ,·en.Son o( •The ~lght Dro,·e Oki Dixie

n.e,

'°"

,·we: •n.1,

·w.

•naflr•

IHCA YPS=>-1 wa1 dl80ppolnted lbe 11 r ll time I NW the Klnka In penon. The En1U.ah rock

been o tnue um.fcrdone talhcr th.m t~ other •ay. In the lhr album, '\Ille wam to 11,ld Ju-it • touch o( l"Ok>r So1nNhln1 like a rry or a moan to h. Ju.st I lout h IMl ('In romc through "llhout bringing :imon(' tlo• n or gtlllng In tfw. wa~· • Rather th.in • f m pl) play

tl1c

"'"'

the

h(>tt

~:'~ ~:'!n~Nl:.,J (lrom auch prl· ,...pec(od mhhe early

rotkcra as ~You Really Got Me• to

!a~1~~,h~\t~=:· !!'a~~li lhur" and 'Lola'),

leeffl·

td "" lntcntlorully dllor ganlted on stage that It appcared to ho doing a burl""'lu• ol lllcl(.

way

they a pp ea r on ttM:i

~i:c.l!:t1:~r !rt~~~:~ Band's

four Ca1lllol

aJ..

Bui, after being coon·

~lei.I by a 1ongllme KI n k I t'oncert fan:Hlc

Bob Dylan took adu1ntase of thelr 1\'ew York contt.rts Piro.,~ T,mt ta P11ge .ii n the band behind

Lhl• :ipparcnt

that

, Pleau Tttrn to Page GO

The Band Produces Live 'Rock of Ages' Kod: •f A&h 1C.pilol S.\88 118'5!. might ht- subtitled ''TM 8ancrs &rHtest laflt." Tltdr fiftbaJbum. Uitsorne, .. hattl"· pt!rlmentalaod'tr)' lht. Tht 17 ~411'1 lhls double album 'lier. rKWdPd before an :ip;>rtt a:1\1' • ,rhtoce at W ,\e~t:ny o! \l,•c 11'1 :0ew \orlt

light and Cffll!rall) 1UtTCJU::1d the melody lxn never get in the ,uy.

The 83!'1,i 1t R*r'.. Rd iR.'lko,R~ tu.rd .\l.llltM'I. Gartll H~ and Won Htlrn nr· iou'llv Ol'I r.;tu mandollll. basi. dnlffl$, nob •., p dav

an,.

l~tle. orJ.an. teMr a.'MI ,upraoo !•M,ndllfta,1year 1,axophot:,.,,and \'Oea ll'tcl"Jd el ar'" SIX"h well,kno1n1 Tbe mlllK" IS tbt SO.id k!n'tll-

Rr,,.,i,1,p, R t;w,rtsr,in l~e3 ,U "Tht Fright," aDd 'Tot X1,:ht ~y DrO\I! Old [).,,( Down.· t.ath 1mmt'f:!1<11~fly rtol·Q,;n:1<'<:l &n<i ap;,!atJdlil by th11 I'>''"""~ Bkf I~ (l('t"JI< >II al.I} ~ .. ril'd t'> krrr ,oiUt"f' llf'\tra) 1•!<1•1•·.'l'l.11} T"'!I' B,rd n,:,,r· tv,a ll1f iJ<~.rii R,f"~1,,..,r·s··rttt l.'1 .J,k,..'11•d I 1 [))!•" torr, .,.. 1 fr•!TI 11111 r:l n r ffoT ti lttk fl~\IPI..~ I Hnot 1· Im f,rt..~·1~·' rmance IS a h,,rn ,.n>f'Tll:ile con 1 •en:; .f N\OC.h \o. ~ Gil I• :'I' f_..' ~ f•rr'horn }lfl.ntd J.M.~ Ol'I l1c1r•!N!f s.,x .• ~ anit,. ~t'V?l-ium. Jr"" f.1••·•11o, 1r;o~ ar;.rl

\\'e11;:ht." ··s:ai:,

~rur.o a,t, wJ tn b ~ho',..

t:11rl\lrln11,•rm1r,,..,~ ind J [) P,in,,n 00 a1to .Jl ar.dt:ui•,..t ~ .. ._. Orl"' n~· Al!•TI T~,:,t pot fogf'thtr t~ horn 11rnn;e mtnl$, "AhKh under;!1rd, high

li\·e,

<."OUJ'l'r,·lf'ut:n~

rock ttui ls rtspom.~1' for tbt ,·enera'IOD an ad:iliiuot1 0: many fan n... rT!t«lfl !or The 8.J..")1·s profK•IOll,l ,m. hoM(f wtuJe p·.., 1r '"~tWr for matt than Hl·,ertrJ,I ('l»'t111Jlvdt1cf1bfoj n t.bttn:.:.nt.1n!trt>1i.'l.l !in· f't r.1.Mpt)! 'tr .Ct~·rtp.<'T)1ftCthe al • Tl)f' H.1•b •.u t?,ey 1lttt

A·!) \n

fl,,. ;,'a, n:t •,·h Rrl

Knie Rr..MJe lla11rkim1 11":tlf..!> LD car.xa mid thf' sou•hitm i;ta1~ tawrf'1 and !>."'.• ~,rt folk, c:ur.c .!1~ 1"0MI ,~4 «ot drv.nlt, On:n Sot1th. n bur)e k hart'. Em.all ~up pt r clubS. r1Sk·)·our life r,Lnls nd be,,r h.alls Tbty al~ play~ at football vktory p.r l•t~. •~t the} ·d ha,e lo go kne,e..d""i' ID bttr C'ffl.1110 l:"'t 10 !he ~ n.y played SlX or se,'tn o.gMs a •etk. 1be: pace a!>Jly

p·3~~

~=~~th

.as

,:rue~ TbfJ tnnled IO

llP

• Ha•UIS"

cadallac, •it.II

~b.1::! One •ttt

t1:btt Sidr

l)Par

off

l.a:tr they pb)cd •;:bi Sor.&17 &1:, •·i11wmoa and Bob ~Ian and eadi n?'fl'D("einll~

•'le O'O',IP's •ll\lC'. Al an Ul..'lt p.!t for a Mt.l'I! C&na'lilla to •mt 'ibt ~#' n-,. [)ro,,.'1')

Ud0txiel>o1'::a.,·•~

m.:.i;J haw- l"nm plett I)'" 1mmerwd lwruieH a !be numc an.1 hul,ey and ('U1'...irt of tbe South SmaD •Olldtr that m\K'tl ti ThP Band's 1M 1J pure

ir.'s..ndmolallf'S

n 11:·

r.nor e'"I~ pal"'K:\llarly t\tdfom on \Ide one •llb ··Don t ()I) "KINI Hr,e51.''''Ca,.._ Oo11..a }I 1.s;tUG "r.t1. lpJa'l:t." &M •·w s W"almtt \ltdt0ne ~ .. Of r~ tht f1n:1 are pWtxubr~ ~n ~ ~ode two opeas "'S!rw! fr&-"rl"~b.JmBro_. ,n the not#'!II as R.rl"s l,Jcu-w~.~awbwe tllhtr lu.:t cl p,1IOSMIII. doJrtl! in lht tb}"tlm o( aD c,ld tune Rt,. 11,U. tba1 ,otS atnipl f,urn the Lalin t!Ht into §ourtune IM'l'I» " Top duil. d pou Oft. 1bffl coma: ·'The ~ight Tlw'J Dr'o,·eOld Dixie l>o'l\11." IMfl" Ing mt.o "Aaou lM Grul idt:."D)la.n's·~on flfT4 aod ene of the •fbum'• btil numbtrs. "Rae Mama Rag Side thtH: p.s lMIUgb "'1be Wt,,W.... "'1bt Shape I m ln," and '"l'D.faithfal Servant... 1nth a mee mffldahn • and mda ,nl!tanot!lefefUil!albwll··· ttmpO ,oodM. "'Ufe J.s A Car_ lUQI.., 11t1th the llotDs ttaC,

t••

,.,1J

_ .

°'"'

...

BuctbttlmtJtdehlur"hit,,the ~thtliltcntthaa~ fttl pnnw.d kw .. dmlactk

II btplJ .ttll Gat'lll fhtdtol'1 Pirlll:mn,te..-pn~ "'"" Gtnebc Method,.. •bout 1l'hdl Bnldry .. theS,e .utbontalh'e obwrvauDm "flt com

....., ....... ..,... ...

.,,...,,_ ...

JJUh lwlabM&. )m tpt'lffil. p pel hy!nl, G,..,tu mnttn M ,,., .... "' ~ llhifts ill» ·~lllllnbtr,"aie.tf~ Vtt,"aodtbt.a.nffld.swtha ........,., --W"llUtolltit. "'I

o.,

........... ,.,,.... ifta'S.

... ,,..

Oun-> Wut And Roi m,..d .. led lo .el

Jtaic Up NJ Rod:

,_._

thtrt ert tttestMalo!f-

mf clime : • &a ~se • mmllrl'l'un. ~

... ~.. /(uh/Ju Roberlso11 of The IJa,rd ...... ..

.irchy waabolh the charm the group and a logical

momNJts

raqtd •re at ltle same bpi 111 tut ., Dabs. and in t~ wttllltht~fttl"'CII lbl.lDUlk:.iD &bl ca.orUtev.

u.e

eals:. Baad fans won't mind the sbchtly fflOnllfonaus styk on

. . . ....

Ttchnic•l)y. t!ittt .arf' no (.'llfflf>l.amu about w l'«"'l('(llf'I~ or the mizanz t'trlaps the,..,.

calsffllldh1rt~ahlllt mor. c:hsunct, )Oli're liable IO m:u such RobtrllOn l)T <: <"hurklr, 1.1, \01· ltll ""'· 1100·, •Mt<:NI OT1t 11 !h 1he i1tn•'1 J GHEG ROHEIITSO:i

InnerCity Students BecGme Theatergoers s,,m..1211 bi~ Jdior,: <rt!W'RU: 1,... 111 'Ail! mttt r.'lth the ctU •1111T111'din.., thJ1 pl;i) I\ IJM fNlffl Hartf<lrd·1 IMl'f c11,·" I (.1,} JUI C(-llttr to d,SCUil thi $tt and dbam pl.a.yi, •• •t,,, P:..\' H.artford S:.a.tr Compao)· lb.I T'ht 111(1,:11·~ v.111 be nlll'Minit uoathtouchaproct11m pon- \\<'dn,,· •fa~ 'A,ntm:it1nN pt"r· .ft'ld b\• ConlltclJtut ,1..~1 form;,n,rS, ~nd 11·1 ~••lh l:f' lnsu~ c. and thr ('1.ly !hr 1ctors and prod1.1<:llf.ncrew Hdl R"'Tt.atv,n Qoiittr &f'tr t}," p,rformance

of• "«h !19Ph',mores and JW!.IOfS.

\ dft,r ..DI 1rvup

.+w»!

by the a,y Hill ttn!tr •a,•: :nd f"ri play There att rt~·• lh., Clf'&,on 'nit, day bri.c tadl play. r,..mlf'C'!:)l'Ut MUI.NII Ld,. n~

dlr,s,"

:\'~"· Poll

Th,, firi1t pl.ay •1'.I ~ \f'>. here'• "llM' \l.s.anthrope,· and pla\ to bl p,rodl.l('t(I lhb n~ ioc ~ T~flfl" ~'t' \\11 L:um:' •.,. !ii'rtt'tar ~:imcd f)t. \ltf'" and llan.ikl Pmtcr·1 Old

filhtt

TIMI'

Shows

Student Presidents, E Don't Reflect M ajori1 and.Cam'*'

Tna:q,e,:iall'laiy~te,od %1 '"'l!fVM"ll;ff.1f... 1bt natllOMI O;;'tinn IW'Vt'Jtli:f'dwith•wnpl ~al t'Ofkgt "IDi"llt body pn..:1,i,111 lftdtrhooi~P"f'f'd,'K1 ~tht«aa:drvHya

s,pt_

1n~ol.,..arty~to0f'tt.

11udtnl~t1pttf~ Sen Gfflrl,. \ttf',civm •o PT""'" dmt 'lilJOfl m L'it '72 t1...t"'" ArMIICfdltor'III el atndtnt pa~n wbtwtl'!~.lhtYlll!.b Datara WNtor •" ptf!"ff'NI five OM Offl' !he Prudent hrb.afll -'ult k nw:.t ~·rn fr· nnt about 1h1t: b1r,1 pnll L~ 1h irdk:abon e,{ bow )"UII people aut tht ..,,.as tbty hea ro1n bt ea .!Jmbn.ad.. ,,,. d.ifftN't'ltt bfoh:N'ft the a,m .. d thew on IM t"Ol~t campu,es •be are 111 .a ,-tlOII YI IN-t W N'ntr\ ffikcJa,I al•

'°

_ ...

._ ...... .,. ...

"9t.aJ at\dmt body, app111n to bt l'Y'CIII Jfffltf' I.bu th&t al tudy ahon lrtWttn colSea:e t!~inCfflN"IIIM'lliW' .,..rtythrttf1JdJIIO.Zl)t'M ...,. •ho ..t in IN' rWI

,_.. •rt

As an tampi.,, trlwlr •' Im'

a,f1pttf,.,.,1tf''°'~ thtM"!:3lftf's m"rp II not ,w,arly H IU'Onll'. a, nu.pl be lndkalNI hy • tipl oee bacti:n& •moni

'°

t"W:,• ~,orly pN' •lmL• In ae t· ,11., th.r:1!fl~t,pr('fr~for S,.,i \lrl'",l)Vl'fJll1 lf\Orl" l·k• Me anclah.1lftoo,i.rjAu,i:u.t111Jr· 'ff"V \!,{;...,,'t'ffl '7 ~ Pl'f' C'ffll 111 \1v,nUtp1"Tf'Nl•1 ,-,... liil1'" maJO(ilY of <.'OIJl'ft ~udrnti;,. bo•"tVt·r. arf' .u f)nl' nl)t'C't1:ir Ins \l~lll 11,d pt!l11rall) ..- ·1~·f' tht,n art Lhftr tMNS riimpu., t,·:.dtrs.. (Th(, ttlli!k'r should brar in JI\Jnd th.it, In mAnY' <"•~ dM!t tioor prf"lidrntt Art. m fael, tiK'kd by a pn:.11 mloorl·

••M

,,tt

Campus Opinion 1ynfdlttotalnum.,..,aue!\dnc • pan Niu IC'bo,l.1 Thus ..... bt a,pj)Ur1 \i'(Ol'I 11,,.. h.1\f' r,,t tlM

(,Jllf"c:rt..alllf)UIM oftC'flh~re, _t.trdr<l1111.urpr11nti: l'.P" ._11,111,.n ,., .. ,,.,,.,.louk1111a11ti,,c.'!)i.t

nu., ••mt

,_-Of

ttw,t'flfitf' ISlllH)·Mr·

r>Mp,>p,1t..tl9flillirruo 2:im11:,oru ..nil tho> 72 ('lf'f' Mnt1:il r~ •a.,111 olfl·MI 1 •"Id n.111111lr !\m'.lnl\C11rtt'lllly11wt"n111J·ht S.:t<l•m«1111ho...,l1rl'llm1r1ot "'~ Ofll' •!·11·h 1, o••n1110 tbt f.Ki \ua~ am11111..._ nonc11U('Jf'

PAGE 62

ROLLING STONEIOCTOBER

12, 1972

!l.1111• 'Rockof Ag{s:Acrackling,mind·blowingmomentpreserved or

Rock Aces The Band Cap110/ SA 8811045 BY RALPH J. GLEASON There is, if my addition and the record company's listed times arc correct, precisely one hour, 11 minutes and 11 sec onds or music on this album and it is the bargain or the de cade at your favorite discount house. Recorded during the Band's fournight gig at the end or 1971 at New York's Academy of Music (you can hear a "Happy New Year" from the audience) it ,s a livc inperson double LP concert album. Live albums (what's a dead one?) do not always work m elcctnc music because or the complexity of set up and the usual necessity for precise con trol of the sound. But this al bum, even on first hearing (and it gets better and better the more you listen to it) irn mediately JOlnS the ranks or such celebrated inperson re cordings as Mingus at Mon terey, Count Basic in Sweden, Duke Ellington's Seattle Con cert, Miles at the Blackhawk and Ray Charles at Atlanta. In other words, it is a classic; 17 beautiful tracks Cine Band pla)ed 18 numbers at the last concert I went to) and at the discount price the equivalent or a concert ticket except you can take it home and play 11. My litany or sacred "hve" albums above l,sted 1s mainly jazz. faen the Stones concert LP didn't quite make it for me and, aside from some tracks from Janis, the Airplane and the Grateful Dead, electric music has fared better ,n the studio, as rar as records go,

than on the stage. But we've all regretted it and hoped for some way to preserve that crackling moment which blew our minds so that we could take it from the top and start right over again. This one lets us do it, thank God. The problem in concert re cordings is more than the dir ference in the possible exercise or control. In a studio you can do it over as well as add to it ir you don't like what you have the first time. On a concert re cording you get to do u once and that's it. And as far as I know, this album presents the Band's music precisely as it went down at the Academy or Music. Robbie says, inciden tally, that about 80% or it was from the last night or a thrce night gig. The Band has always given a strong impression of precise control in its albums and in its concerts more attention has been paid to set up and sound than almost any group of which I can think. Their suc cess here is all the more sur prising since this album was not only done in conccn but done with the addition or a horn section ("We're gonna try something tonight we've never done before," Robbie says in opening the show) which had only one rehearsal before the concert, That rs a tribute to Allen Toussaint, who arranged the horns. Toussaint aided on the last Band LP, or course, and is someone for whom Robbie has had deep admiration smce "'I was a kid starting out." Back there with "'Mother-in-Law" and the rest. for a brief time on tour the Band had a horn section and of course they have always

taken advantage of Garth Hudson's ability to play wind instruments as well as key boards. So the idea or horns was in itself not so revolutionary, but it is who the horn players arc and what Tous sa int did with them that just knocks me out. On trumpet and flugclhorn is Snooky Young, unquestion ably one or the greatest lead trumpet players in the history of jazz and a veteran of the big bands or Jimmie Lunceford, Count Basic, Lionel Hampton and Benny Caner as well as hundreds or studio groups and several TV talk show bands. When you hear him hit that high trumpet shake on "W.S. Walcott Medicine Show; think or him as he used to be in the Basic brass sec tion, sitting there, the ultimate in cool nonchalance, doing those incredible things with only one hand holding the trumpet. Howard Johnson, who plays baritone sax, tuba and euphonium, has played and record ed with Ray Charles, Gerald Wilson, Miles Davis and Gil Evans, and is the man who contributed that amazing sound to Taj Mahal's "Dixie." Joe Farrell (tenor and soprano sax and English horn) is a familiar on the New York jazz scene, having been wuh Elvin Jones and Mingus (currently with Chick Corea) and having recorded extensively. Earl Mc Intire is a young ( 17 years old!) trombonist who was a member or the touring tuba section that Howard Johnson put together for Taj Mahal, while J.D. Parron is a reed man from St. Louis who'd only been in New York two wcclcs

when he was picked for this date. Add these: musical person aliues to the members or the Band plus Toussaint and you have an amalgam or rock, country, blues, Jazz, free form, and classical influences in playing in addition to the folk, rock, kids' songs, campfire singalong, protestant church and soul music sounds rn the group's material and vocal sound. It is a kind a summa tion of American music, If you will. A cultural mix unequaled in contemporary music. The horns arc a tremendous asset to the album in every way. Whereas m the past, the shadings of color and texture, as far as the instruments go, were contributed mamly by Garth's doubling, in this per formance they arc enhanced and extended by the astute use or Lhe horns, The Band IS a remarkable group or instru mentalists in the first place; Consider the fact that the group has three firstrate lead singers, two incredible drum mers, and can avail uself or doubles on piano and various stringed instruments as well as the instruments Ganh plays. When you can make music like this, )OU don't need to talk. At all. Vocally, of course, the Band is unique. Their development or a style whrch encompasses all the aspects or the human voice on the pan or each or the singers affords them a flexi bility no other contemporary group can match. Listen to these records on earphones with the volume turned up and you can get the full flavor of their voices, the subtlety with which they sneak in and out of

ensemble vocal passages and the in which they can switch from one lead to anoth er not only efl'onlcssly but

""Y

with such a similarity

in ttm

bre and phrasing that you may not catch it first time round. Earphones also give you the added pleasure or picking up on all the weird shit Garth Hud son contributes on his various keyboards in the backgrounds of the cmscmble passages and behind the vocals, each time almost providing a full solo improvisation. The songs on the album arc, with two excepucns, from their other Capitol LPs. One or the exceptions is a new song, "Get Up Jake," which, "h,lc rt is a good enough num ber, is for me the weakest er fort on the album. The other exception is the opening track, "Don't Do IL," which is avail able only on one or the bootleg LPs, the Los Angeles eonccn. There arc four songs from B,g Pink, five from Tht Band, three from Stag~ Fright and one from Cahoots, ("Lire is a Carnival"). Eight, including "Don't Do It." arc on the Los Angeles concert bootleg and the remarkable thing about all or them is that they run almost exactly the same length of time as in their other ver-

sions.

When songs arc recorded first, then played on concert tours and then recorded "live" later, they mellow down and sometimes drop in tempo and usually change in length. All of these songs have mellowed down and now and then the tempo is a bot slower. The result is that the performances here arc. for me at any rate, superior in every case to both

ROLLING STONE/OCTORF.R 12, 1972

tt<e originals and 10 the boot leg versions. The differences are in the occasional addition of a voice on the spur of the moment and an occasional change in a lyric or tricky switch in lead singing. That and the unbelievably mellow yet intense feeling which per vades both LPs. It is very clear on these LPs that the feeling and the spirit that was in the concert hall has been captured in the record ing. It began right away, Rob bie says. "As soon as we kick ed off tbe first song, it was over. We weren't even touch ing ground. You could sec the sound covering the people. It was the greatest experience of our life, we were overwhelm ed by the feeling II gave." It was New Year's Eve, a good time Saturday night ball from start to finish. When I first started listen ing to these albums I wonder ed whether or not the se quence of songs was the same on the LPs as at the concert because every rearrangement effects how the ultimate pro gram sounds. Rut as I listened I forgot all about that point. It doesn't make any difference because the way the 1racks arc sequenced here is nght within itself and a concert album, on this ease anyway, is a thing apart from the concert itself. • "Don't Do h (doncha break my heart)." that great Holland· DozierHolland number, opens the concert beginning with a permutation of Bo Diddley rhythm, the guitar and piano riffs and the horns behind the vocals and two guitar solos by Robbie surrounding the last vocal chorus. At the end, Robbie and guitar have it again. Levon sings lead on this with Rick and Richard adding the hannony. A rush ing quality of excitement. ..King Harvest," one of Rob bie's most deeply nostalgic compositions and one which expresses the common her· ital!" of the Band, has a love ly guitar solo by Robbie over the horns whidl arc quite unobtrusive throughout as they fill in the background punctuating the phrases. Richard sings lead with Levon on har mony and there is a deeper feeling of wannth to this ver sion than to the other versions. ~ledonia Mission .. is one of Rick's best vocals ever, and there is a sax obbligato 10 it which is delightful. Look for II just where Rick sings "I do be· licve in your hexagram ... " "Get Up Jake" has Richard singing lead with Rick and Levon harmonizmg and Rob bie plays a lovely guitar solo (it's another of his tunes). While it is not a let down, II docs not, at least so far. move me as the previous tracks do. ·w.S. Walcott Medicine Show" closes the first side, wi1h the horns g,v,ng it a dc lightf ul dixieland feeling in cluding some fine sliding tail gate trombone from Mcintire. Garth Hudson has an out· standing tenor sax solo on this track, one of his best The horn players were cheering him on, Robbie says, blowing with one fist in the air. It was a de served tribute because, appre hensive as he was to be per forming before these cete

PAGE G3

brated jazz men, Garth Hudson really dug m and blew himself a solo. Side one is a knockout all on its own. Side two begins with "Stagefright," Robbie's classic analysis of the perform ing artist. Rick sings it beaun fully, including a delightful "hoo hoo" after the line "he gets 10 sing just like a bird." Garth has a fine organ solo and they go out on Robbie and Garth and in the earphones it sounds like a 70p,ecc orcbes tra with Howard Johnson un derlining every bass note with his beautiful sound. "The Night They Drove Old Dixie Down," which Robbie wrote for Levon so he could get it all out, all the heritage of his time and place, rs a wonderful track. Snooky Young contributes a bugle call open ing packed with nostalgia, wrenching from the heart chords the sounds of 'way back home and later throwing ,n a touch of "Swanee River" just to make sure you get the point. There is a moving ensemble passage with interior shifting harmony by the horns and then they segue into • Across the Great Divide" which has a dixieland feeling when the horns sing out and some more mad sciennsr organ music by Garth. "This Wheel's on Fire," Rick Danko's collaboration with Dylan, has some beauti ful tuba on the bottom, a de lightful passage of unison gui tar and organ before Robbie's guitar solo plus some truly wild piano by Richard. Rick sings it and everyone joins in. "Rag Mama Rag," which I believe was the Band's best seUing single record, is sung by Levon and has Garth play ing the piano this time. a wild, eccentric, abandoned solo that is like an old Cripple Oarcnce Lorton bit in its straight out use of dissonance and discontinuity. Howard Johnson's IU· ba adds another dimension again as side two ends. "The Weight" opens side three with Levon singing and Robbie, Richard and Rick on harmony. It is the classic song of poetic symbols in the Band's repertoire and one or their most successful numbers. Rick's bass is simply beautiful to hear and Richard's piano obbligato is intriguing. "The Shape I'm In" is slightly slower ind groovier than the original and there is an impressive organ solo which evolves into a long in strumental passagc with Rob bie's guitar. On this track Rick Danko gets the best tone I have ever heard from a Fender bass. At times it sounds like an upright bass, 11 is so mellow and sweet. "Unfaithful Servant" IS in troduced by a voice from the audience yelling "Happy New Year!" It's an unusually warm, moving version of this ex quisite song and is the best vocal Rick contributes, possi bly the best he's done. "Life is a Carnival" has Le von and Rick singing plus a fantastic instrumental passage with Robbie's guitar leading the horns through a repeated jau riff that is simply wild. It ends side three 1n an arnaz ing blaze of excitement.

Side four is a masterpiece all by itself, one or the most in credible performances by any band on record. It opens with "The Genetic Method," which is Garth Hudson's name for his organ solo that once was merely the prelude 10 "Chest Fever" but is now an instrumental tour de force in which he combines all his vast knowledge of the whole range of music into one unbelievable solo shot. I find Garth's or gan playing a continual de light. lie never blatantly quotes from htS sources but rather builds rmprovisaucns on quotes, hinting at them and ringing changes in your cars that haunt you. lie has master ed the use of dissonance and the unexpected note in a line in something of the manner of Thelomous Monk. I break up laughing at what Garth docs, and then am totally frustrated trying to son out the rear rangement of music he pre sents in thrs kalc1doocopic fashion. The only thing I can compare it to is Dylan's har monica solos at concerts when he was totally carried away. Garth runs through nursery rhymes, Celtic reels, late night show organ music, old hymns and anc,cnt popular melodies and even gives us "Auld Lang Sync" for a Happy New Year's good measure. shpp,ng swift ly into "Chest Fever." Richard sings "Chest Fe ver" with Levon, Robbie and Rick on harmony and the glor ious horns punching out riffs after the vocals, a furious solo from Garth and the churning rhythm and plunging horns taking it out. It was a fine climax and could only have been followed (after shouts for "More! More! More!") by 'Rock 'n' Roll Shoes." Levon sinp this with Robbie and Rick harmonizing and the horns laying down a big band riff that is so good you wa nl it to go on all night. The drums, tuba and bass swing like mad and Robbie plays two guitar solos on this track which I rank among the best he has ever done for pure economical ex citement. From the beginning to the end of side four, the en tire side simply cooks with a crackling, roaring. swinging energy that leaves you breath less at the end. Rock & roll is surely here to stay if the Band has anything to do with it. Ewrybodytake a bow'

Buddy Guy & Junior Wells Plly tho Blues Arro JJ-364 by Pete Welding One of the things Junior and Buddy have in common is their healthy respect for blues tradi lion; it probably accounts in large measure for the highly

satisrying character of the bulk of their recorded work over the years. Each has used tradition as a springboard to the develop ment of a strongly individual performing styleJunior by tempering a b8SIC Sonny Boy Williamson I hannonica style with gkanmgs from Lillie Walter, Buddy by devising a personalized variant of 8.8. Kingstyled modern guitar. pos sibly through the retention of certain aspects of more funciamental MisS1Ssippi blues styles he heard there as a youth. The tradiuonal roots of both per formers are displayed extensively rn thts set of lowkeyed, relaxed and generally tasty performances In a way, this is one of the oldestsounding modem blues LPs by this pair of young mod ernists to be issued in a long while. The music sounds as though fl might have been recorded ,n the early or mid F1ft1cs. h's just straightahead modem ensemble blues play ed (and sung) with unhurried ease, fine rhythmic relaxation, with plenty of soulful reeling, and with absolutely no attempts at being "contemporary" or "hip" either ,n programming or in producuon. Most or the tunes arc wellworn blues staples (though not overrc corded ones) and, while some are or more recent vintage than others, all have been aged 1n the wood. Junior's version of"I Don't Know" sounds older sty tisticaUy than singcrpianist Willie Mabon's 1953 hit version of this old Cripple Oar encc Lofton song. And then there are tunes like the old traditional piece "My Baby ... Left Me a Mule to Ride," "Bad Bad Whiskey," Joe Liggins' "Horicydripper," and TBone Walker's 1947 "TBone Shw· He." Junior even redoes a couple of his earlier records, the late Fifties "Come on in This House" and the early Six· tics "Mcssin' with the Kid." And the several recent com positions partake of this same vintag,e spirit. I don't mean to imply that the music sounds dated or out· moded, because II doesn't. Tasty, heartfelt, convincing blues never really docs. And that's what marks this whole program: taste, conviction and plenty of deep feeling. The music is never Hashy or unnecessarily showy, though there's lots of quietly spectacular instrumental work by bolh of the principals; but the point is, it's always ap propriate. In fact, the most im portant thong about this album IS that everyone involved work ed towards the same goal; the creation of a perfectly relaxed, rhythmically resilient, totally bluesy feeling and the gaull" of their success is that the per· formanccs arc as wholly enjoy able as they are unpretentious. With the exceptions of a pair of 1972 Boston performances on which Guy is sensitively backed by the J. Geils Band ("This Old Fool" and "Honey dripper"), the balance or the album was recorded in 1970 at Criteria Studios with a band composed of Eric Clapton, gui tar, A.C. Recd, tenor saxo phone; Mike Utley, piano and organ; Leroy Stewart, bass; and Roosevelt Shaw, drums; Dr.

John replacing Utley on three of the pieces and Carl Radle and Jim Gordon substituting for Stewart and Shaw on one. Tasty is as tasty docs. Th1S engaging. nonhystcncal album was well worth waiting for

=···=·'<I'~""

A Sons For You Carpenters A&.M SP-3511 by Stephen Holden While the Carpenters' music is not particularly compelhng, its lack of pretension lends II a bland integrity that is uncom mon for middleoftheroad pop music. The baSIS of this in1egnty is Karen's singing, which grows more assured with each album. She ts espe cially strong m her lower reg ister, and she shows tbe potential of developing onto an interesting stylist. The musical value of Richard's contribution to the Carpenter phenomenon, however, is another matter. The best that can be said for most or his arrangements is that they provide adequate support for Karen's voice and have a recognizable stamp. What they lack is a sense of dramatic structure or interpretive style. The fonnula that Richard applies to his own songs, heap plies to everyone else's as well. This is a shame. since many of the Carpenters' records begin strikingly but then fail to gather momentum. The most obvious way in which this happens is that, time and again, the clarity or Karen's vocal line is interrupted or joined by multitrack ed "choral filler," which tends to drain a song of its per sonality. It is the same fault that weakened countless pop records in the Forties and Fif·

tics.

Five songs arc authored or coauthored by Richard. They vary in emotional ran~ from cotton candy to ice milk, the best of them being the current hit single, "Goodbye to Love." Richard smgs solo on two cuts "Piano Picker" and "Crys1al Lullaby." His voice is pleasant enough, but he seems to be afflicted with a very noticeable lisp. One cut, "Flat Baroque," features Richard on the piano playing 1n a style that can only be described as Peter Ncro manque. The lltle cut, Leon Russell's • A Song For You" is far and away the album's finest mo ment. It rs a great song that ,s rapidly achieving the classic status II deserves, and Karen communicates its poignancy with effortless serenity. The Carpenters have done well by Leon in the past, their version of "Superstar" standing as per haps thor finest record to date. Unfortunately, the album doesn't contain any other very strong material. "Hurting

July 28, 1973 Watkins Glen, New York Watkins Glen Grand Prix Circuit Summer Jam

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July 27, the soundcheck: Instrumentals Don’t Do It The W.S. Walcott Medicine Show July 28, the concert: Back To Memphis Loving You Is Sweeter Than Ever The Shape I’m In The Weight Stage Fright I Shall Be Released Don’t Do It Endless Highway Too Wet To Work Chest Fever The Night They Drove Old Dixie Down Across The Great Divide Jam Holy Cow Life Is A Carnival Saved Up On Cripple Creek Share Your Love With Me This Wheels On Fire The W.S. Walcott Medicine Show Slippin’ & Slidin’ Rag Mama Rag Summer Jam: A Change Is Gonna Come Raining In My Heart Have You Ever Been Mistreated? Da Di De Day Not Fade Away All Around The World Warm And Tender Love Reelin' And Rockin' There Is A Mountain Amazing Grace There Is A Mountain Notes: Audience audio recording. Audience films. “Too Wet To Work” officially released on “Across the Great Divide” in 1994. “Too Wet To Work” and “Jam” officially released on “Live at Watkins Glen” in 1995.

SUNDAY TELEGR.Ut, F.1m1ra, N. Y ., JUiy zt, 1m

The Hills Were Alive with the Sound of Music By MIKE BOYER

WATKINS GLEN The Grateful Dead were out in front at "Summer Jam" Saturday, a spot they richly deserve. The Dead have been out in front of much of the youth culture for at least half dozen years. They opened the 12hour music festival and carried the crowd through about five hours of fine rock music. Extended musical jams featuring the guitar work of Jerry Garcia and Bob Weir has been the trademark of the band since its beginning and Saturday was no ex ception. Garcia and Weir worked their guitar magic over the crowd and the crowd was theirs. \ The Dead worked smoothly and ef fectively building their compositions. In a fine display of control the Dead built the intensity of their music and then let it ebb. Then built it again to a higher peak. About midway through their set they brought the crowd to its feet with a hand clapping, foot stomping rendition of "Truckin'," a Dead classic. They softened later for the slow paced "He's Gone" particularly poignant because of the death earlier this year of organist Ron (Pigpen) McKernan.

The Dead was followedon stage later in the afternoon by The Band, a group which has had an impact on rock on the east coast something akin to the Dead's on the west coast. The Band came on in the wake of a rousing finale by the Dead and started in with a fine up tempo version of "Loving You.,.

In contrast to the extended jams by the Dead, The Band moved slowly from number to number. At one point leader Jaime Robertson asked the crowd if it minded the delay between numbers, but the crowd didn't. seem to mind. Despite a driving rain in the middle of The Band's set, most of the crowd didn't budge. Later Saturday, "Summer Jam" was to conclude with The Allman Brothers Band, a powerful rock band with a fine blues feeling. Early Saturday night rock fans at the concert were anticipating an all out Jam among members of all three groups as a finale. In the crush of half a million people just how important is the music?

Summer Jam promoter Shelley Finkel said Saturday the bands were the most important part of the event. The type of rock played by the three bands appeals lo special kind of rock fan who comes to listen to the music. The Dead, The Allman Brothers Band and The Band were selected for that very reason, he said. A unique system, being used for the first lime according to Finkel, was used at the concert to bring music to the crowd. The system, based on a tenth of 11 second delay in feeding the sound lo the crowd, sprayed the music around the concert area and worked rather well. The sound system was provided by FM Productions with the assistance of the Dead, Finkel said. And for all those who didn't make it to the concert, Finkel said each of the bapds were recording its music in hopes of eventually putting it together in an album.

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Gigantic Crowd Pulsates at Rock Fest •1n Tiny Watkins Glen WATKINS GLEN. N.Y. (AP) ..l As many as 600.000 young persons sprawled elbowtO<lbow over a 90acre hillside Saturday for a rock music concert rivaling the propor lions of the famed Woodstock lesti\•al A brief bul heavy thunder· sholow drenched the crowd and tuml'd dirt paths lnlo mud Sal· urday esenlng. but the driving music: continued The rocking mammolh crowd tried to squee,,e within view of the outdoor stage. !tut al least a thin! of the mass had to ,ewe for spots oul of sight and almost out of hearing of the perlormen. Some persons weie a half milt away from the stage. Slate Pollce estimated the crowd at about 600.000 double the number who had reached lhe concert site tbe day befon,.

0.. fteld Th< WoodslOCk festh·al drew a crowd of 400.000 and set lhe pace for a series of outdoor rock concerts lhroughout the nation. Mounted policemen made token efforts to divert the crowd lrom ba,\:V~~ :dJ!iJi~ many pee the backstage amt without. much sueeess, pie would come." he said, noui !hat his paid ticket sales amount Even1uaOy. larie sections of the to only 150.000. renccwere ripped down and pee He said gate personnel had pie crossedinto the backstage area stopped checklng for lickets earber freely in the week In order to keep tramc Other spectators climbed to the moving. Th~ apparently prompted roof of portable loile!J and permed nontlcket holden to crash tlf pretarlouslyfor a belier '1impse of sates. he said. tlw specially built musicians' plat· 1be concen was held al lhe form Grand Prix race coune whldt nnr· "Thi.s l.5 ridiculous." was a mapy accommodates crowds up to frequent cry from disgruntled tll0.000 for automobil< """ youthsseated in sun-wanned field "This Is ~'Or,e lhan Wood as temperatures reached Into the stock." rematted a young concert mld·!Os. The first notes or musk' from wotter attempting to guard lhe six· (oot chain lmk fence surroundmg The Gratelul Dead marked the Shelley Finkel. C01)fOl!IO(er of lhe "'enl. con<umd with the 600.· 000 esUmate. and added. "I lhil* before lhlS thing is over. th,ee quarters of a million people will

WATIClll3 9UN tuMMHJAM Jun

dimll of a Wlj!'klong mass ml· graUon to !his ,...!em New York village. The Influx swelled Into m.mlve tralfie jams Thur1day and Friday. All incoming routes to the concen area ·were blocked by a bandoned cars. lm(k director Henry Valent said The only fresh arrival, at the concert Saturday morning were those ~illing to hike on foot for 10 to 20 miles. he said Since Thursday. seven persoo, ha\·e died in trafnc actident1while en route to the concert. The most recent vi<tlm was Barbara Errigo. 20 of Brooklyn who died Saturday when a pickup truck carrying nine persons cvertemed near Monll<ello When the concert opened on schedule at noon. a master of ceremonies said the crowd on hand

numbered "between JXl,000 and 400.000." Thole auendlng the concert said no one had ch<eked them for which co,t $10. The Grateful Dead led off to thunderous applause and mythmic handclapplng. startlng a program !hat also headlined The Allman Brothers and The Band In sets expected to wind up sometime after midnight As the music played, two helicopters circled the field monitoring crowd movemeets. The production rivaled nnt only Woodstock.but also the West Coast Altamont festival of llllitl which drew 300.000. "I can·t understandwhy so many people came." said Valen~ the head or the WaUdns Glen Grand Prix COq). "The same program in Washin1tton, D.C.. drew 80.000

Here we are out In isolated country,kle and everybody came." He said he would no1 want to see a second concert as larie at lhe Glm. ''We ean't be a nuhance to the tommunlty," he sakt He said a more ....,...ble size for a rock festival at the track would be 150.000 to 200.000 per·

....

"This b the lrial concert." he uid "We'll judge from our ex periencethtS time whetherto allow ,ny more." n,e mile-long dirt lane ltadlng from campgroundsIntotheconcert field was lined wllh trucks and tables selling soft drinks, watmnek>n. navored lee, T-shirts and stereoequipment. Scores of youths stood about hawkln& drugs of various kinds. Drug use was open •J!.tenerally Jw>ored bv depuly ffs who

staved on lhe fringe of the crowd. "I would say lhe main .mea,cal problems we're finding here are dru1 O\"mloses and cuts." said a lint aid worker. '"lbe cuts come mostly from l"'lltlng on broken glm. climbing fences and ac· cldenls with '!'l<hetL" By population. aecordlng to the latest US Cemus llsis. lhe 600.000 penon, jammiDR the rock festival make Uoy Wlllklns Glen • IIUle smaller than Honolulu. Hawaii. 630.000 and Je'l9 City, N.J., 6()11,. 000: bul somewhat largertl\lD S.lt Lak, City. Ulah. m,000 and Nashville. Ttno .. 540.000. It also makes tho!e 80 acres or Walkins Glen more heavily pop ulated than the Individual states of Otlawan, Nt'\'ada, Vermont. Wyomlr111 and Alaska.

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WATKINS GLEN SUMMER JAM JULY ''7a

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1. "BLUE SKY" (Allman Bros.} 7:0S 2. "JESSICA" (Allm1n Bros.) 10:00 3. "THE NIGHT THEY DROVE OLD DIXIE. ~t'lWN" (TJu1 fund) •:JO

July 31, 1973 August 1, 1973 Jersey City, New Jersey Roosevelt Stadium

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July 31 Back To Memphis Loving You Is Sweeter Than Ever The Shape I'm In The Weight Stage Fright I Shall Be Released Don't Do It Endless Highway The Night They Drove Old Dixie Down Across The Great Divide This Wheel's On Fire Saved Life Is A Carnival Share Your Love With Me Up On Cripple Creek The Genetic Method Chest Fever The W.S. Walcott Medicine Show Slippin' And Slidin' August 1 Back To Memphis Loving You Is Sweeter Than Ever The Shape I'm In The Weight Stage Fright I Shall Be Released Don't Do It Endless Highway The Night They Drove Old Dixie Down Across The Great Divide Instrumental This Wheel's On Fire Life Is A Carnival Share Your Love With Me Up On Cripple Creek The Genetic Method Chest Fever The W.S. Walcott Medicine Show Notes: Soundboard and audience audio recording of the 31st. Soundboard recording of the 1st.

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(July 30 was cancelled)

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1/ECOIID WORLD AUGUST

14, 1973

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SWEET DREAMS AND QUIET DESIRES IIOIWF.lll.lNEArttfr111r/11•

Al'

LA016F (UA)

FM programmers must pick up on this album of some of the freshest country folk tunes in years. A funky "Don't Know Where I'm Going" and a haunting "As Long As It's You And Me" high light a set. of outstanding songs, super bly performed. Cash Box

2S, 1973

M. FROG

B,mr.vil/t> BR 2140 (Wt1r11er Bro,.)

Jean Yves Labat is M. Frog, the young French synthesizer genius who has advanced his instrument enormously with this album. M. Frog has created incredibly diverse sounds that are as accessible and enjoyable as they are strange and unique. Oddly funny lyrics and melodies round out the fine ..._ sounds and the results are both daring ..,._and delightful.

April 7. 1973

Avalanche Ships 'Borderline' LP HOLJ.Y\\'OOD Avalanche Rec· t ho disk arm of the United Ar tists Music Publishing Group, is now shi ppinz a debut LP ent it led "Sweet Dreams and Quiet Des ires" by Bor· derline. The group, consisting of James Rooney and Jonathan and Da vid Gershen, is based in Woodstock, N. Y., where the album was recorded at Albert Grossman's Bea rsv ille Sound Studio. Borderline's recor-linrr sessions were filled out bv many major Wood stock musicians. including John Si mon, Carl h Hudson and Richard :llanuel from ''The Band." and Ben Keiths. Borderline is cur rentlv negotiating for II major North AmPrican person· al appearance tour, to be announced in the near future.

fit!

ords.

Before it was over we enlisted both Dick Handle (aka Richard Manuel) and Campo Malaqua (aka Garth Hudson). For a couple of my tunes I wanted to have twin fiddles. I got my friend Kenny Kosek to come up from New York and, as a long shot, called Vassar Clements, who I had met with John Hartford in Washington. To my surprise, Vas sar said he'd come up, so he and Kenny played beautiful twin fiddles on a country standard, "Good Woman's Love," and a Cajun version of "Handsome Molly," I was in heaven. Jon and I found ourselves sharing the producing chores during the overdubs and mixing, and we were thrilled with the results. We called ourselves Borderline and the album Sweet Dreams and QuietDesires.

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29, 191:J

THAT'S ENOUGH FOR ME PETEii YAIIIIOW-Warner

A musical

Bros. 27:JO 15.981

smorgasbord that features songs recorded in England, New York and Ja maica (where else?) and tunes by Yarrow, Paul Simon, Jimmy Cliff and Paul Williams. Much is reggaetinged and best cuts are "Isn't That So," "Groundhog" and a beau tiful single "Morning After."

OftOUNDHOG Produced nd wntt n by Paul Simon Spectal help-Robby Robertson, L von Holm. Garth Hud on

M ndOlin - David &om berg

Etectnc Gunar- David Spinoza Recorded I A & A Studios. Now York Chy Mouth HarP-P ul Buuerlteld Recorded I Bearsv1llo Sound StucJ10, New York Socood Electric Gu1t11-J1mmy Johnson Re<:01ded I Musel Shoals Sound S1uc110, Al o m Muled II Aengus StuOIOS, M SI cnusollt Engln r-Jonn N

"In It for the Long Run: A Musical Odyssey" by Jim Rooney

A great new album. Ringo Starr

3 back with some help from his

friends! John Lennon, George Harrison, Paul McCartney, Linda McCartney, Klaus Voorwan, Billy Preston, Jim Keltner, Marc Bolan, James Book-er, Milt Holland, Tom Scott, Nicky Hopkins, Vini Poncia, Jimmy Calvert, Lon and Derrek Van Eaton, Bobby Keyes, Jack Nltzche, Robbie Robertson, Levon Helm, Rick Danko, David Brombera.GarthHudson, Harry Hilsson, Tom Hensley, Chuck Finley, Richard Perry.

~vailable at your favourite record

ltore.

EXCLUSIVE REPORT from Loraine

Altenaan in New York STARTED IT when Peter

asked bis friend Paul Simon if he had any songs he had not re corded with Art Garfunkel. Yarrow

No,

wered

Paul

ans

first,

then yes, there was one called " Groundhog " he wrote around the

same time as " Bn<lge Over Troubled Water." Artie had not wished to sing 1t and Peter was

welcome lo It.

It ended up in

a super session for Peter Yarrow

with Paul Simon producing and playing guitar, Robbie Robertson co-producing, PAUL SIMON/PETER YARROW/ROBBIE ROBERTSON Levon Helm on drums, Gar th into the beat conveying Hudson on organ, David Is the sound and feeUng he Spinozza on guitar, David wanted with his body as well p.m. and he's supposed lo be Bromberg on mandolin and as his voice. Russell George (top session ~i~y Time means nothing to a ~~~e~! man. formerly upright bass perfectionist lik,. Paul and for Village 1t 10:15. ISl with Dizzy Gillespie) over an hour de went over "Tell them to hold off," on Fender bass. Paul Butter and ove.r a few phrases just says Paul. "Tell them we'll to get the right sound. He all come down to play. We're field will pobebly overd\Jb a harmonica part before can't get the right ching out on top of it and should have of Levon's cymbals and Peter it in a half hour." "Groundhog " is pressed. my key ring to tape At 9:40 Paul is ready to lay The door up at A&.R borrows on the cymbals but that down the rh.ythm track. With studios on seedy Seventh doesn't work. an impish gnn, he announces: Avenue said •• dosed session." must have a bigger " Watch this first take, it'll be Melody Maker was the only key" Albert ring." some yells out. magic.'' outsidu allowed to watch. Peter's manager, Albert It's not. The cymbal doesn't The session the afternoon sound sweet enough. While before bad been a bummer Grossman, looking more like Ben Franklin than old Ben they work on it, Peter asks according to both Peter and Paul it it reels good bounetng Paul, so everyone was ideas back and forth with nervous. Even superstars bear furl), stopped by to Robbie. make mistakes, fans. watch for a while with Rick Wearing a funky sLraw .. Yeah," replies Paul, "he Danko. cowboy hat complete with really knows his records." rhinestone red, white and Pa11I enten the control The day before Robbie had blue America.n flag pin on the room to confer with Peter. tust come in lo watch, started crown, Peter zips from the Paul wants to change the f!~~~\in!eJi~ein:,n;al s;:~ control room into the studio lyric from " living a hobo's helping Paul and Robbie work Jife " to " living the hobo's of the project. out the intro for the tune. life." P.aul looks at me and During breaks, he and Paul Throughout the session, :ou:gi,i•~ftr a~utof~i\e~~/s~ Paul swept up his eyebrows, contorted his face, waved his You put in too many d's and Paul told him he had tried to arms and pushed his torso not enough l's or th's." buy up all the old Allan •

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Freed tapes from WI.NSradio~ but they had been destroyed. Then there was talk of Phil Spector and the way he recorded 20 piece orchestras in mono. By take 7, Robbie at the control board telJs Paul, who is in the studio cueing Levon on a lick: " Jt feels gOOd in

1:0!~!

~!Ji~gT~at ~1lm!:fs make a mistake at any moment. We got rid of that." Take 8 Robbie: " Paul why don't you sing to them on that break. Otherwise the feeling is getting • sloopy ' and nice." Paul finishes with Brom berg's mandolin part at 10:30 and lets him duh out. He comes inside to listen to the playback of the intro with Peter. Paul listens and exclaims: " Sensational! They'll never figure out how we did that time. That Bromberg oh that was terrific." Levon laughs: 0 He had to be at the club at 10:30. That's how he did iL" "Play it again," Paul tells the engineer... Sensational."

" Sounds Uke birds," Garth observes. .. ~:::rs th~..intr:~.!er says. " Don't lose that," Paul smiles. .. That's magic. Wa.it until Roy Halee hears thaL He'll know the gremlins are at work.'' an:?'R~~!~u~::;y •::in~•: each other gleefully. Robbie's nail cuts into Paul's finger and blood oozes out of Paul's knuckle. Alben miraculously pro duces a tube of antiseptic first aid cream. Nothing as simple as that, of course, early in the fall cured Paul's injured thumb that made hlm cancel his concert tour. They listen to several or the takes for the rhythm track, ln the control room Peter. sometimes with Paul, sings the words softly. •• It's a forlorn tune," Paul notes. •• There's somethin& sad about it." Peter, Robbie and Pa.ul d.iscu.u whether take 13 or 19 sounds beUer. At one point, Paul takes a break and invites me into another studio to hear one of his new songs on a cassette. It's beautiful one of bis best I think very pensive, melancholy. Back in the other studio Levon has to leave. It's 12:30 and the parking lot closes at l. He and his wife Libby, who came in with Peter's wife Mary Beth, have to get back to Woodstock.

Paul i.1 st.ill searching for a way to get a sizzle on the cymbal and suggests making a chain of paper clips. He tells Levon he ca.n go. Robbie wiU work out that one cymbal beat. .. It wa.s rully great meet ing you. I enjoyed this," says Levon to Paul. So did I," says Paul. M David Spinozza pointed out to me earlier, one of the joys of doing sessions is working with the greats. Members of a band, no matter how big. don't often get the opportun ity to work with their peers. Now Paul, getting a second wind, wants to lay down his f~r G~~rin~~t~ern'!t:he: he had his 12 string with hjm so he could give Paul the string, bu.t then figures out that if he takes a h&ht E string and pushes it up be can get the sound Paul wants. Peter goes into the studio with a new E and works it OUI •

.. we·ve got it," says Paul pleased with the tone now. He goes into the control room and sings the lyrics alon1 with Peter as they listen to the playback Paul plays an imaginary sax where he wanu the horn part to come in. It's too late to aet the vocal down, but everyone l.s smiUng. Garth's remarkably fluid oraan playing i.s a muterplece At 1:30 in the momlnc it sure sounds like Peter Yarrow 1.s ,oin& to have another hit record. I can't 1et the son1 or the sound out or my head the next ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~day.

Is Everybody Wet? Unreleased Capitol album, 1974 SMAS 11265 (LP) 8XW 11265 (8-track) 4XW 11265 (Cassette)

STEREO

MASTER NO.

PROJECT NO. -45 RPM

TITLE

TIME

21:

~2U26S

SIDE 2 33 YJ RPM

IS ........E\1ER?==WJY=... ?_u __

11..

Test pressing dated January 18, 1974, sold on eBay in 2010. RECORD WORLD NOVEMBER 17, 1973

• SHORT TAKES: Sources report that Bob Dylan and the Band have been up to something at Village Recorders here, though it's not clear what. Re hearsals, probably .

llpaklng ol The Band,

Robbi~ group's

Roberteon. th gullarlat, la rnnUy ha.rd at work on the 11,'e.t Oout mixing the tapf!a of th Band'• performance at la l Auguat•a WaUclna Glen

IMMINENT PRODUCT: Paul McCartney's next with Wings is "Band on the Run." It's due Nov. 26 ... And in January, Capitol will be releasing not only an album mixed down from those Watkins Glen tapes of the Band, but also new ones from Skylark, Tavares, the letter men, Kathy McDonald, Pat Williams and Leo Kottke. Plus Gangsters of Love's first ...

.._.npltf

Cllltf

llualc 1lbl•

CALEHDAI, SUHDAY, NOVEMIER 11, 1913

· With "Moondog" released, the .Band turns its at .. tention to a 'variety of other projects: a live Wat· kins Glen album. the still ·unfinished 'works' ·&I·

poll·

tnftuen_Ua}_lothe ~up_

__,.._,.,. .

20 The Yanity

...... The Band has a single, the instrumental, "Third Man Theme" from thE!lr recent MOHdog MaU.ee album. Their Watkins Glen album is due out soon, and in the future, a Dylan/Band lp live at Madison Square Garden is expected ......

Band album release.

for

llallnff la a compendium of eonp from the l50't and •rty eo·. which have bffll

bum, some recording with Dylan and the tour that beJiE~. Jan. _3 ~ µticago.

Cash Box -

Fei,Uval

r•l•aae as th• gn,up'a n, l a.lbum. Their current LP. Moondog

Friday, February 15, 1974

A new album of orlginal songs by The Band should be released any day now. The title will be, Is Everybody Wet. March 2, 1974

... Capitol is readying the new It's to be called "ls Everybody Wet." ...

22 - - - RPM 13/4/74 ARTIST

TITLE

LABEL

The Shadows Anne Murray Kathi McDonald Skylark The Band Linda Ronstadt Tony Booth Buck Owens Merle Haggard & the Strangers

Rockin' With Curly Leads A Love Song Insane Asylum Skylark 2 Is Everybody Wet Different Drum Happy Hour The Best Of Buck Owens, Vol. 5 If We Make It Through December

Capitol (Fl Capitol (Fl Capitol (Fl Capitol (Fl Capitol (Fl Capitol (F) Capitol (F) Capitol (Fl Capitol (Fl

ST 6408 ST 6409 ST 11224 ST 11256 SMAS 11265 ST 11269 ST 11270 ST 11273 ST 11276

8-TRACK

CASSETTE

8XT6409

4XT6409

8XT 11256 8XW 11265

4XW 11265

8XT 11270 8XT 11273 8XT 11276

4XT 11276

The playing time of the unreleased album is just 22 seconds longer than that of the infamous Live at Watkins Glen CD released in 1995. It's very likely that the 1995 release is pretty much the same product that The Band prepared for release in 1974.

Live at Watkins Glen Capitol, 1995

w. TKI NS 6LEit •

- LIVE AT-

Endle11 Hiahway I Sh•U Be RelHS&d

c Lovin& You It SwHftr Than Ever

,.._

drt

ttdill

Too Wer To Wri t t Don't Y• Td Henry

} I

ThtRumor

TimeTo Kill

'.nm Up On Cripple

Back to Memphis 1973 studio recording with added crowd noises. Original version later released as a bonus track on the “Moondog Matinee” CD in 2001. Endless Highway 1972 studio recording with added crowd noises. Original version later released as a bonus track on the “Moondog Matinee” CD in 2001. I Shall Be Released Academy of Music, December 30, 1971. Later released as a bonus track on the “Rock of Ages” CD in 2001. Loving You Is Sweeter Than Ever Academy of Music, December 29, 1971. Later released as a bonus track on the “Rock of Ages” CD in 2001. Too Wet to Work Watkins Glen, July 28, 1973. Don't Ya Tell Henry Woodstock, August 17, 1969. The Rumor Academy of Music, December 30, 1971. Later released as a bonus track on the “Rock of Ages” CD in 2001. Time To Kill Academy of Music, December 28, 1971. Later released as a bonus track on the “Rock of Ages” CD in 2001. Jam Watkins Glen, July 28, 1973 Up On Cripple Creek Academy of Music, December 30, 1971. Later released as a bonus track on the “Rock of Ages” CD in 2001.

. : J ,,

FOil JJIMl!DllTE ltELU.SE FEIRUAltY 10. 1995

' CAPITOL PISCOVEBS TBE hMfi>'S LOST PEBPORMAHCB AT W~GLEN

On JuJ.y 2e# 1913 &l Wotkin6 Glen ln New York. The Ba.mi i:;layl!d one :>! the ~:iggcat o,n.dnnr sho,..5 in ~hfi h:.s:ory ot r:,ck, d=.awing nc:ilrly &C01000 ta.n.6. H':>!' th1t. fi:st. c:..me ever. cai:::t\)l Record" wi:l re:.e;a&e

U;i• Lncre-d.ih:e :ive per!armance wh~ch is titled tbt Band Live At o.~ A.pril 4 on UO:h CD •~d cnsset~e Co:-rrata. ~ W&S:kin, Glen is r.he only know:: :."'t:c:>rd!n9 of th.i.5 spect:acJ..:ar evenc

•atkina Gltn,

and 1:. wa9 recen; :y dis:coveTed iu lhe capico: Rcco:do vault w:"..!.le com.piling m.at.er:.a.l !:0.1 the cri t.i::ally ac~lah,ed box IGt of The

f>and, Aero•, Tht Ortlt Div.1.d.e.

Att~r a Jong abse~ce fror.a ~ouring, The Bar.d =etuTned ~o the ~L~gc in 197.3 fo: t.h!» now hiat:::>=ic a;::~ranec c t Wat:kina Glen, 1'•w Y:>::k. Tbt Band LiYP At Matkin• GlM offcr2 an incre::ibly powvr!cl. 110:1ppe:I do,m l,ve perfo:uaoce t:o:ri Th<, 3.ln:I. Thia epeet•c:uJ..r p«:C::>!'tla!l~ec! n::! utlc:a ::;:apl£s .sud: ae eh.!.= .1969 h!.c .. Up On Cripple

R•l•••~."

Creek.• r Bac:.k To He:mpbie. • ar.d. •I Shall Be a acng pertonoc<l by Richard Manuel anC. co·wri tten wi:.:":. Bob Dylan. ':'he Ba.nc also belL~ o~t raw vcr~ions of songs c~ch ~s Dob 0y:an•s .. Don't Ya Tell Beuzy, " Chuck Berry's "Back To Kaphi11" and the Pour Tep•• lJ6~ h1t ~Loving You Xa sweeter Than Ever." Liva At Wttkinf G1en u.l.wo c.ont•in• an amazir.li organ r:.olc by Garth Hudson Ll :.l~d. "Too Wet To Work,• fo~rly krunm a s .. Organ Xa The ltaia." Car th H\:.dt:on hftgan Lu .iq,roviae · thie incredible solo "''hile a. rAin.1:orm bnrhATdvd

th::)U$A..~ds of aereaiains f~. HuCSO:t'• aolo in •Too W•c To Mork• la rcol clape :>f thu!lder all cap:.untd on t:his I ivc

•c::c.n~ed by recoT:i: ..u2.

Pand Live Al Watking CAtP ia the only kno~n live r•r.ordlng or The: sa:1d'A W.i:.k.inc Glen performanc• and is 11:vailable tor the !ii~t :.irr.t.:. 1: H• the rr.oce ecrr.p:ttte ve~•ion of thi"' now legendary ccucetr twer.L am! t:he only docu:ner.t.atior. of t.heir vi r:t:,:-ioui; ret·.:rn t.o :.he ~t•gc.

The

' • Bio D.J.t•r~~la, photoa CONTACT:

a~d advanced caea~LLen availabl~.

SUJATA KUllTRY, Capicol

1ecordo (213)

~.,4.,.,,._. :..~,,,•.••'t" ......._!I.Ott:fl'~:s,..;.

(¥,;£

871-5370

r,t,,".\...d~..\IMnc'"a.»i·r•• , ,,.wt.='Tt.fl"

.,rc·.p

THE BAND-LIVE AT WATKINS GLEN

THE BAND

BIUBOARD

(~,

APRIL 8. 1995

Uw At Watkins Glen

PRODUCERS: the Band REISSUE PRODUCER: WlfYM Watkins

c.i,;tol 31742

One would think that the tapes from one of 01e largest and most significant concerts in history couldn't possibly get lost in a vault, but that's exactly what happened to the reels from the Band's landmark date at Watkins Glen. Fortunately, the masters have been

unearthed and are now released as a 45

minut.e live albwn, followinga sneak preview on the three-disc set" Across The Great Divide." ~'uperbly mastered for CD release, album includes touching versions of such Band staples as "I SbalJ Be Released" and "Up On Cripple Creek," covers like Chuck Berry's "Baek To Memphis" and the Four Tops' "Loving You Is Sweeter Than Ever," and Garth Hudson's midstonn organ improvisation (titJed '1'00 Wet To Work"). A rare find.

____ Fort Laudrrdnle

Concert To· Benefit Dolphins Freel Neil, Vince Martin, and Bob Ingram will be the featured performers at a pop music concert May 26, at 8:~ p.m. at the Coconut Grove Playhouse, sponsored by the

,Thurs.,ll11y31,

lt73

World Dolphin Foundation to benefit their Dolphin project. All proceeds will be used to support the work of the non profit Key Biscayne group, which aims to create an alter L native to the traditional con

~l'WA

aud

1111·

entinel,

logyoriented lobby, and pub lishes the scientific journal "Voice of the Dolphin" and a cept of zoos, by "detraining" newsletter for members who and releasing into the bay dol contribute SS annual dues. phins which have been donat ed to the project. Under the leadership of Dr. Henry M. Truby, the Dolphin Foundation is an active ece-

at~iay ~far 19. 1973_

The price of tickets to the concert, which will be a tax deductable contribution, will range from SS.SO to SS.SO and they will go on sale at the Playhouse box office May 21.

TIIE MIAMI NEWS

Dolphin concert: more next year? lly NICOLETTE IIANDROS M6ffN ...... ....,.

It WU OIMI of !hole lped1I trutl tllat com11 1round only once • Yt4r the annu, 11 btnelil <Onetrt lot Iha World Dolphin F011nd111ot1 But thole foll< music bu/fs who llttndtd Saturd1y nl1ht's show II the Coconut Grou Pllyhoule probably wlJh the fOl!ndlllon would put out enttttllnmenl durin1 tht )Hr. Since 111 prof1t1 from tkketl So 10 lht foundation to pve dolphin, sod the use of the pllyhoule WU don1t, ed, It wu sn evenln1 well Justified. Lui yHr, Sttphtn StUls with M1ns1111 end John S. bUUen hHdtd the lineup end qullAI • few 1udi•nce members last week were hopln1 for •• encore. Whit they aot. however, turned out to be • more Intl· mete evening with eome or the counuy, be II folk 1ln1'rs ind mu,lcl1ns most of them .. lied from the

I ROCK mu,lc

J.. mlne ind ,.1ndln1 1trett1 ol Coconut Gro.t. First on the hneup wu lob ln,nm. who UMd to play frsquenOy tt The Flick coffeehouse hers ,.hen It wu lflll open. With a senile touch, ht ""' 1 llaht num· btt on alimony and IOfflO So butian compoo,uonL Followlns him wu Jimmy Buffett, 1nother former Flick performer who now calls Key Wm home. Bullett, who Id· mite hlm1tlf lhll he does more talkln1 thin lllnsin1, has I touch for standup comedy ind Ptlrlcal eon&L SOme ol Buflett'I aonp Slturd1y nl1ht were "My Hud Huru, My Fett Stink ind I Don't Lou Juus," ''They Don't Dlnct Uke Cir· men No More" and "Who's Gonn1 Steil the Punut Butter?." a Lune that re:ml nioces the coli.,. dlys of 1hoplll1tn1 to 1urvtv,. Nelll came Vince Martin. 1 Gro.e mldent for 13 yurs, who led his 1tt with ''Glvere Ind T1kers." the m o st dyn1mlc .. 1.. uon on his ju,t,relHltd 1lbum. "Vince M1rtln." (C.pitol)

e wu FrM Nril and ... tlltl)'body know• ht wrote "Evtrybody's Tai· kin~ Ind "The DolphinL" folk m

Rick Danko, Eric Andersen & Fred Neil

Tllo fiftll touch came when all the musicians ..,,,. on 1t1se for • llll number a Im• tndlfll to • wonderful O'tnln,.

• • •

Her1'1 bet11n1 the 1udlence will be the 1how Fridly nlahl at Mleml Beach Auditorium when blurrorG<k mUllclsn LOU Ated 1ppe1rs In eeecen, The bill 11Jo lncludH Wet \1<1llle and Mmhlll Tlldiu.

1/ECOIIO WOIILO MARCH J, 1973

Before Doug Sahm finished his gig at Max's Hick Danko and Danny O'Keefe were among those joining him on stage. 1/w i,illnp VOICE, Ff'br""ry 8. 1973

See

Doug Sahm/SirDouglas Quintet David Bromberg at Max'sKansas City Feb.1419. appearing with

He WIS followed by Eric Andtrltft Ind then Rick Danko, from The Bind, who pl1yed IOme nice ICOUltiC auitar end pl1no. He even uni an old Bind tune, "When YOII Awake." Last In the f®r hours ol

DougSahms new albumis on AtlanticRecords andTapes.lil

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THE NEW YORK TIMES, SUNDAY, NOVEA!J!E.g 11~i~?.1.

first With Richard Manuel shouting out "I used to

Pop

smoke, drink and dance the

hoochle koo," the band's ar

By LORAINE ALTERMAN

In Mr.ondog M~tlnee (Cap itol' SW ·. 11214); the title · taken from Alan ·· Freed's legendary radio sliows, The · Band performs material most ly from the late· .fifties; the years when they began their professional careers. Starting out as the Hawks, lhey at tained prominence as . Bob Dylan's backing band in the midsixties· before becoming

Until then, ''Moondog Mat• a big name m,thelr own right Exciting news now Is that !nee" reminds us what superb The Band and Dylan are re· musicians Robbie Robertson, uniting for a·twomonth tour Levon Helin, · · Rick Danko, . handled by Biil Graham; in Richard · Manuel .and Garth New York they will be doing Hudson are. Although rm not two shows on Jan: 30th at familiar with the originals of Madison Square Garden and· most of uiese~songs and two at Nassau Coliseum on even . an oldies buff I know Jan. 28th and 29th. Further· didn'~ recognlz.e a 'few - it's more, this historic reunion obvious that Tiu, Band · has will · feature new · SODgs by recorded them in their own stYle rather th~n. trying· to both Dylan and The Band and will probably be recorded imitate anyone else. The full· ness !)f sound, the tightness live.

rangement Is, so dynamic that it not onl]i'. underlines the hu-. mcir ln!ieient In ~ and Stoller but also reminds us 'just what a great team those The · Band had the good of .the _arrangements, .tJ.le, In· . . terplay of the· instruments all ~te to . pick: out songs that two are. The l)lrics .. of these; sonp speak ot The liand, not those lend themselves · to fresh, in· e¥!Y, essenUally thin 'and terpretatlon. They givea nice don't claioi to .inake profound monotonous 'rock 'n1· rollre· mellow· sound to Alan 'fous· stattments,. but it is the mu· cordirigs. · saint's ·''Holy Caw,'' original sic ·11iat matters in iny. case.: In the . vocals there's no ly' recorded by Lee :Dorsey, Th~ '~; felll&ins ; true to. attempt 'to. nilmic tile 'original anci·pu!J.out all'stop; on·Fats Domino's lyric, "rm· ready, singer : and one of t'.he high Domino's ."flli Ready" com· I'm: willlng and I'm able. tQ points· of this album· is Rick plete ·.with'· hoarsely wailing rock (n',rdll.all night" 11)ey. Danko's sensitive and · mov su·-aiJd ·Dominostyle· piano conilii~ieJ~t·~.t with:.• ing 'renditionof Sam Cooke's energy; My favorite cut has real . ~' ;of, Joy Ill/ their "A Ch.ange Is· Gonna Come'! to "be their' version . of the p)ay!!lg and' so briilg that II!&' ;a real tribute ·to 'ccexe's Leiber : and Stoller · "Saved" tetu!J .to (lfe once again. · · · which· r.aveme Baker cut spirit.

Capitol

Canada January

Albums of the Year Returns are by no means all in yet. but the nation's music press· people have been very busy rooting around in their memory banks and

cahbrating love affairs and finally presenting their top 33's for '73. An extraordinary number of them have been dehghtful reading for Capitol plumpers. The Band: Moondog Matinee was

Spanish release

"RecordOf The Year" in the To· ronto Citizen. and "probably the best rock album to come out this year" in the Kitchener.waterloo Record, and "an incredi~e ex· tended high" in the Toronto Star. Pink Floyd: Dark Side Of The Moon was .. Album Of The Year" in

lhe Montreal Gazette. where critic Bill Mann summed up, "This is the one record I've found all year that you can play from beginning to end without hesitation-a concept al· bum that works and one of the most complete and accessible LP's of the decade." Ringo was singled

out for rare praise by the Montreal Star's jazz. oriented Juan Rodriguez ,n his wrap-up of the year's best nine: "The best 'Beatie album' in five or

si, years.

Lavishly

11IB

26, 1974

produced.

but

latter of which also won a Best Al·

bum Of The Year award from Roll· ing Stone. One of the other five winners was Paul McCartney: Band On The Run. And in case you didn't see it. their New Country Artist Of The Year was

Hank Wilson. and among the four top new artists was The Wailers. John Lennon: Mind Games was the pk:k of at least the Christmas releases by lain Macleod. the Cana· dian Press correspondent who is currently working on selling up a regular record-reviewcolumn. As he put it. "The second side especially

of Mind Games is absolutely mind· blasting. Lennon is nitty-gritty with genius." Mind Games,the single, was one of the top five of the year in the Beetle Magazine Reader's Poll, a list which was topped by Grand Funk: We're An American Band.

Capitol.

Box -

"Moondog

)t,jtn -~:_ .

BAND, . have · failed,

once again, .to come. oµt album·· or

'·with

'new materlttl,'.

iui

Cash

Australian record club release

NOYIMIII

the subliminal values of •pop' are brilliantly illustrated. Hooray for Ringo!" His nominations for Tenth Place included Moondog Matinee and The Harder They Come-the

Rumors: The Band to be leaving their ,ast !cir tne label .. Recent

su,ioi.Y iu'Ui.D. ADYIITiSll,

but they have ~~~ci?eii~d;;~-ih. MOONDOG ~T~E (Ca~i; to! SW1Ul4), In reviving a host of slightly obscure' golden oldies.

. "'.I' h

e G;e;i. P.retend~f.;'..

"l'm R:eady ," Sam Cook'•, . beautiful "A Change Is •Goii.'•

. ~a

Come,"

Allan.;Triiiss~·i

.biiffooru.sh "iroiy' cow"' an.~· ·a. unique version. of' . "Mys tea , Tra~" are ~rioed by .th,;, Band with. a:, blend of humor, . urgent.vocals 'and tight instru mental work.

·' Eacli cut on' thi,' l_p

19 ·exceJ:·.

lent and singular ,il:rid/

sojpef..

how! µie alb~_·&;'.'..( w~ole_ sounds 'like · an' original· Band· Ip. Any group which can make··

'an album. full· oi .the .' maiei'.; ial .of other' piopie' sourid"l.lke. its own must be speciai;. and MOONDOGMATINEE'is,6~ Jy one or the ;J!IOSt !lpeC!al forts or the }ear: . ·. '. ·, . . ...

ef·

November

Matinee"

I 0, 1973

to be

!!!

USIC SCENE

..,

fhe Band: A.n Outsider's Insights If

AL ARONOWITZ

'IRE

;

BAND has always been my favorite

.t-::

,roup. What I mean is that they've always

the most fun for me to sit in with. Oh,

I 4on't play any Instrument. I can't even carry • i.e. For me, aitUng in means to pull a ehalr rlrht ~ the middle where they're playing, and then alt djnra on ft and listen. 1'hat's at rehearaala or In G. studio, o! course. At concerts, when I ait ln, !fa behind the ampa. I hate to think o! bow grotesque I must look wtlen I ait In, dancing in my chair, tapp~ my feet, nodding my bead, bouncing on my bottom, anapp~ my fingers, slapping my thirha, elappinr my hands and sometimes even shimmyinc. That's all ri&'ht. I often imagine myself aa aome kind of freakylookinr ToulouseLautrec, a cripple because I -'t play music, allowed into the company of al theae rlamoroua people on the strenrth of my aMJlty to draw pirtures of them. You'Te rot to be a pntty heavy musician to be able to ait ta with The Band. Think o! how heny you've rot t4 N if you're not even a muaician.

Atltl• So•et•i•t

"'z c

~ z

.- >

·...·~

., :,

;::, Amid the brittle faN laaves, apiritv ally hanginl.: t. Nchot. I fri9ht.Md babes, The land and • -ofpsychic kinship.

to lood

I'm pretty rood when I sit in. U memo1'J' aervea well, Bob Dylan once compared me as a folbinrer te General deGaulle. Well, maybe that's atret.cbing a point. Actually, my playing is much better than my ainglng when I'm sitting in, and I think I really l'4 something to a band. I always thourht I added iomethinr to The Band. I always felt an acceptance yhen I was sitting in, a psychic kinship, a ahare ._ that aeeret ability to communicate that la ao ttcessary for a band of musicians to perform maric fer en audience. the ability to read one another'• alnda. to know exactly who is going to do what 11nt. The Band has been playing together some dozen ,rs now. There's not much need for talk. On the stage at Watkins Glen, before 600,000 ,er,ple, Bill Graharn kissed his fingertips. describinr die performance in terms of bow great can be even &'ff.Ater than great; I was sitting in with the.m then, toot behind the amplifiers, when the rain came, forcing Robbie Robertson and Rick Danko from the lip of the stage, where they could have been electrocuted by all that water hitting their inatrumenta. They .. treated to the rear. t.eneath the canopy, along with Levon Helm, whose drums had to be covered ~th plastic, anti Richard Manuel, who was gettinr lrenched at the piano. Only organist Garth Hudson, stationed far enough lack to be sheltered by the canopy, stayed at his byboards. doodling during the 20 minutes or ao ~t the downpour lasted. He was just amusinr him .. lf, but he was also, even if only incidentally, keep lllc the 600,000 plugged in. Suddenly an idea struck and I rushed up to Robbie. Look, I aaid, let Garth keep on playing for as long as it rains, and flen the rest of you go onstage and break Into "Chest Fever." It would be sensational. I said. Garth waya doe, a fong organ prelude to "Chest Fever" d this would make it seera as il there had been interruption at all. Robbie la usually deep in concentration wben The nd plays. He looked at me abstractly with a faint blile o! recognition and maybe even a little disdain d asked me for a cigaret. I thought my idea d been shot down. Then the rain let up. Garth dn't let up, though; he had played rirht throurh .. d, sure enough, when the reet ot The Band went k onstare, he built the organ to a crescendo d The Band broke into "Chest Fever." The 600,000 nt wild. It was a thrilling moment. The Band 1 1iven me a lot or thrilling momenta. But the point is that The Band had done it without straining. Robbie didn't even mention the idea to the others. There had been no need to. There had been no need for me to mention the idea to him. When

f._'

c"1

I went to Watkin, Glen, I hadn't aat in with The Band for a long time. I've known them for yeara. Known them, followed them, respected them, even loved them, and called them friends. Like me, they're Dylanite1. What'• 10 attractive about them to me? Their ability to survive, perhaps, to survive and stay civilized. To ~ave survived the decadence of the drur years intact aa a band and aa human beinra, atill sensitive to uncompromisingstyJe1 of reason, fairness and sinceri ty, in their music and i_n their lives. There is _dignity to them, dignity to their taste and their music, Mlatolre11 for Wild Al•• Sure people sometimes mistake Rick for a wild man b~t that's because they're the kind who like to k°eep their effen·esco,nce corked, afraid that they don't have enough to waste. Did you know that Rick grew

up listening:

to country

music

on a windup

his not havin1t told me that his father

was a country

Victrola? They didn't get any electricity where ~e lived until he was 10. Once he told me that his father was a woodcutter. When I put it In print, he got mad because I didn't say his father was a country musician, too. And then there was one checkers game I'm sure he'll never forgive me for. I ruess I beat him ao savagely to get even for musician in the first place. And sure, Richard drinks a lot. Maybe It comes from the colorful nuttiness and artistic pride that runs in his veins. His father was an automobile mechanic In one garare for 30 years. Drunk or sober, ~i~hard _always haa a amile for you. I remember vl11tinr him one Sunday in his room at the Chelsea Hotel. He hadn't been out for daya and he waa readinr a book on hypnosis. It was 1966, after Bob Dylan's motorcycle accident, and just about everybody I knew was all freaked out, spooked by some mystic onslaurht that had caught all of 11s in its grip of weirdness. Aa for me, I kept imarining I was dodrinr God's thun derbolts. The sinners were being weeded out. I got Richard out into the fresh air that day. It was good to have a friend in that cold, bleak, hostile city, good for him, good for me. We took a walk in Riverside Park, through the brittle fall leaves. spiritually hanginr on to each other like two frightened babes in the unknown of a new dimen sion that had been revealed to us. As I say, those were weird, mystic days in 1966. It was as if everyone had been given a piece of some vast common vision and nobody wanted to crack about it. And yet every thing seemed connected. You'd find yourself thinkinr

.'!It,

a violent thourht and a piece of pluter would fall • from the ceWog. I remember once we walked into the ve1tibule of Robbie', apartment In Greenwich Village and the overhead lirht bulb suddenly dimmed. Robbie laurhed, looked around and aaid, "Who did that?" It's to Robbie I owe the biggut debt. He helped carry me through those months, helped a~ve me from drowning in my own paranoia by lettinr me hang on to the buoyancy of his kind and gentle friendship. I had Just gone broke in my iirst flins at the music business and I waa totally moon~ out. I remember once we went to a party at Du1d Blue's apartment, me, Ro~bi~, Richard and Rick. _At one point, I remember 1hpp1ng oU the edge, losing my grip falling into the abyH. Robbie caught me. Someho.;, intuitively, he noticed r was in trouble, turned ~ me, smiled and drew me into the conver eation he waa baving with a few other people. It was re.assuring to me to think that someone like Robbie would take •ncb an interest in a total failure like me. I remember when I first met him, in a rehearsal hall in midtown Manhattan, where he waa practicinr with Bob's first electric pickup band, prac ticing for Bob'• Forest Hills Stadium concert, the one where folkrock was born in New York.

Toat.fol Electric Goitor rloyor From that very flrat Ume, I thought Robbie waa the moat tasteful electric rultar player I'd ever heard. I was too much In awe of him to do more than mumble a t,w words, and he was too shy to aay much. He had been brourbt to Bob's attention by a secretary

in ...\Jbert Groasman ...s o!Jice named Mary

Martin. She baa come up quite a bit in the muaic buslnees since tha. She bad heard Bob waa looking for an electric rroup to play behind him In the concert halls and ahe recommended the Hawk1, a group that used to play behind Ronnie Hawkin,. There'a a connection, I suppose, between then and now, too. The Hawks were workinr a road house in Somera Point, N.J., when Bob first aaked if they'd like to play the Hollywood Bowl with him. Now Bob and the Band are goinr out on tour to&"'ther again and The Band has just released this album called "Moondog Matinees." You might find the aonrs atranrely familiar. They're just a bunch of aonra you might have beard in any juke joint a few yeara back. Aa a matter of fact, they're the same bunch of aonga The Band wa1 playinr when Bob found them in Somera Point.

Set., Nov. 3, 1973111rt II

ROBERT HILBURN

Dylan, Band Will Go on Tour Ready for a bombshell? 'Rob Dylan Is going to tour again. With The Band. A source close to Dylan confirmed Frirlay that Dylan the most Important songwriter of the rock era. a~d 'rhe Band, America's most acclaimed rock group, will start the lour Jan. 3 i.n Chicago a~d ~nd it Feb. 14 in Los Angeles. It will be Dylan s first tour since his near tragic motorcycle accident In 1966. For Dylan's fans, the news ends months, even years of speculation over whether the man whose songs reshaped rock music and established him as the spokesman for a generation ~ould ever ~our again or simply, as some had predicted, 1!1ove into from pop music into films or other creative areas. The significant thing about the tour Is that it isn't just a modest, one or two city project. In stead it includes 38 concerts, a sign, perhaps, that Dvla~ plans to remain actively Involved in music. There'll be three concerts at the Inglewood For um. one on Feb. 13 and two on Feb. 14. There'll be three concerts at the Inglewood For um. one on Feb, 13 and two on Feb. 14. Other Cali fornia dates are Feb. 11 at the Oakland Coliseum (two shows) and Feb. 12 at the San Diego Sports Arena. Ticket information is expected within three weeks. An estimated 600.000 persons will he able to see the tour with a potential gross of up wards of S4 million. Here is the rest or the tour schedule: Chicago (Jan. ;J . .J). Philadelphia ((Vi), Toronto (910). Otta wa (11), Montreal (12), Boston (14lwo shows), Washington ( 1.1lli), Charlotte (17), Miami (Hl), Atlanta (2122), Memphis (23), Ft. Worth (2'.i), Houston (26two shows), New York's Nassau Col iseum (2830), Kew York Cily (30lwo shows), L'nlversity of Dayton (Feh, l ), Notre Dame Uni versity (2), University of Indiana (3), St. Louis (4 two shows), Deriver (6two shows) and Seattle (!ltwo shows). The tour planning began two months ago when Rill Graham, rock's premiere concert producer, was contacted by David Ceffen with word that Dy lan and The Band wanted to lour. In the rumor filled. gossiphappy record industry, it is amazing that Geffen and Graham were able to keep the lour a secret <luring the weeks of formulation. Jn view of Dvlan's desire lo keep the tour as "low key" as possible, both Geffen and Graham were re luctant to comment on such matters as Dylan's motivation for touring now or what it suggests about his future. "All I think we should say now is that Bob wants to go out and play music amt the time seemed right," Geffen said Friday. "I'm as ex cited as anyone else about being able to see him again." Rather than simply an exercise in nostalgia, the tour looms as one of the most exciting musical events in years. Dylan's songs remain a vital part or today's contemporary music scene and his vo cals, as he showed in the Concert for Bangladesh, are vigorous and engaging. The backing of The Band will add an extra dimension. Sinre the accident. Dylan has made numerous recordings (his "Knockin' on Heaven's Door" is a current top10 single), but few concert appear ances. The latter include England's Isle of Wight Festival in J!l6!l, an unannounced appearance with The Band in New York in l!l72 and the Concert for Bangladesh in Madison Square Carden l!l71. Though The Rand first gainerl national attention as the "backup" group for Dylan, it has since tr::J"':""c".t

\r1/il~J[~~tz

Bob Dylan and Bond will ploy L.A. Feb. 1314.

Ill WlrePllolo

established llself, lhrough such songs as "The Night They Drove Old Dixie Down" and "The Weight," as a major force of its own. The Band ap peared at Watkins Glen, but this will be its first tour In more than two vears. A Band lour alone is a major event, but with Dylan it is a dream package.

WHO TICKETS STTLL AVATLABLBUnlil the Dylan news, the biggest surprise around town this week was that tickets are still available for The Who's Nov. :!223 concerts al the Inglewood Forum. ln fact, a spokesman for the Forum said Friday that some 8,000 tickets were still available ror a show that had been predicted for weeks as an "instant sellout." The reason the tickets remain, most sources ag1 ee, isn't because of any decline in the populari ty of the English rock band. but due lo a combina tion of factors, the largest of which seems to he the assumption by many that the demand for ticketi; in view of rapid sellouts by the Rolling Stones anrl Jethro Tullwould be so great that it was virtual lr hopeless to try for tickets. 'l'o avoid charges of Iavoritism in handling of tickets, the plan was to put all 37,000 tickets on sale at one time (10 a.m. last Saturday) at the For um box office and Ticket 1·011 outlets. Before tickets went on sale, however, Tickctrcn, perhaps recall ing the rush and confusion resulting when Rolling Stones tickets went on sale In l!l72. decided not to handle the Who tickets. This directed all the ticket attention on the Forum box office, where fans be gan lining up davs before tickets went on sale. From lhe mammoth jam at the Forumsome 14,000 personslast Saturday when tickets went on sale, il must have seemed impossible to some late arrivals that they could still get tickets. There were radlo and television reports that il was a sell· out. ln fart, onlv 24,000 tickets were sold Saturdav, To reach persons in outlying areas, the remain ing tickets will go on sale today al Ticketron, Liberty and Mutual outlets throughout Southern California as well as the Forum. The initial crush for tickets is over and the ticket chains now feel the requests ran be handled without interfering with the orderly operation of lhe stores.

, "'

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1973-PirtN

BOB DYLAN/THE BAND

--··

CHICAGO STADfUII "lltURSDAY I FRIDAY, JANUARY J4., I PA

MAIL IAltUG!lnglewoocl Forum general manager Jim Appell, right, ond employes tackle some of the 150,000 ticket orders received for the Feb. 1314 Dylan concerts, port of o 21city tour that's sold out nationwide. Tlmr1 photo by Mal'lanna Dlan10,

ROBERT HILBURN

Dylan Tour: 6 Million Orders

There's a "new" Bob Dylan album on Its way to the stores today, but It consists of nine songs recorded around the time of "Self Portrait" In 1969 and is apparently being re leased without Dylan's blessing. Thus, the real news is that Dylan has recorded a new album in Los Angeles with the Band and that it Is expected to be available by the time Dylan begins his 21<'ily lour Jan. 3 in Chicago. The alhum. fc>a· luring 10 new Dylan songs, will he released on Dylan's own lahelto be called Ashes and Sandand rlis tributed hy David Ceffen's Elektra Asylum ·label. But perhaps the most ~lagi:crini: single note ~ cl on the whole Dylan reemergence is the estimate from San Francisco concert producer Bill Graham that 6 million ticket orders have been received Ior the Dylan tour. That's one ticket (or every 35 persons in the United States. AL an average of say S8 per ticket. that's S48 million in orders. And the estimate may be conserva tive.

When it became obvious Tuesday that the mail orders already on hand far exceeded the available tickets in each of the cities, most of the arenas involved simply refused to accept any more orders, bagfulls of which were still arriving in some locations. Thus, thousands of or· ders were never counted in Gra ham's estimate. In New York City alone. l .2 million orders were re· cei ved before the arenas stopped accepting new ones. Since there are only approxi mately 600,000 seats available for the 40 concerts on the tour. Dylan and the Band could have done 10 limes as many shows and still sold outa striking example of Dylan's continued impact on lhe contem porary music and social scene. An interesting sidelight in the ticket scramble occurred in Mon treal, the only city in which tickets were sold at lhe box office. By the time the box office opened, the line was four abreast for three blocks. And most of those in line were 16

to 20 years olda point that under cuts the argument that Dylan's re cent recordings have caused him to lose touch with the young. An eatimated 150.000 orders were received !or 56,000 available seats for the three concerts Feb. l 3 and 14 al the Inglewood Forum, accord Ing to Jim Appell, Forum general manager. The orders are now heing processed, but tickets won't be , mailed until early January. There apparently won't be any concerts added lo the schedule, Because of the impact of lhe lour and the fact il is the.Iirst time Dylan has recorded a full album with the Iland. his new Ashes and Sand al· hum will quite likely be his biggest sller ever, A live concert album is alo, obviously. a possibility. The Columbia album meanwhile, i• titled simplv'Dylan" and rca turcs him singing such songs as Jerry Jeff Walker's "Mr, Bojan gle," Joni Mitchell's 'Bil? Yellow Taxi,' Peter La Farge's "The Ballad of Ira Hayes' and two tunes gener ally associated with Elvis Presley, 'Can't Help Falling in Love" and • A Fool Such as I.• Though Dylan is no longer affili ated with Columbia and reportedly never intended to have these rec ordings released, Columbia still owns the right to whatever materi al Dylan recorded while under con· tract to the 1abel. Yes. a Columbia spokesman in New York said Fri day, there are other tapes in the can. The new Dylan material. how ever, will be on Ashes and Sand.

BOB DYLAN /THE BAND

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CLUB SIC ON CERTS: David Crosby and Graham Nash will be at the Anaheim Convention Center to night al 7:30 and al the Dorothy Chandler Pavilion of the Music Center Monday night at 9 ... Paul Butterfield's Better Days and Elvin Bishop will be at the Santa Monica Civic Auditorium tonight at 8 ... Helen Reddy and Danny O'Keefe will be at the Dorothy Chandler Pa vllion Tuesday, while Jo Jo Gunne, Frampton's Camel and Grin wlll be at the Long Beach Auditorium Wednesday.

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~ THIRD MAN TIEME O «:"*(

NOVEMBER 18, 1973

A Ioele of enlltu,iosm hos kepi tit• Bond lrom touring, but the upcoming lour with 8ob Oylon is being looked on by the group with excilemenf. The tour will ~gin Jon, 3 in Chicago.

The Band: Hitting the Road in High Spirits BY ROBERT HILBURN

'n'

• IC the excitement and creativity level of rock roll could be charted on a daybyday basis the way the stock market measures financial transactions. the entries for the first 10 months of this year would, I'm afraid, show a definite tailspin. In fact, only the herculean efforts of a few key artists, such as David Bowie and the AllmaR Broth· ers, have kept rock Crom going into a total collapse similar to the preBeatles, early 1960s. It's not that we haven't had a lot of product. In deed. everyone seems to have either just released an album or gone into the studio to record one. But the results. for the most part, have been decidedly uneventful. Most of the old standbys seem to be simply repealing themselves, while the great new hope still hasn't raised his/her head. Because of the generally depressed stale of rock

this year. the surge in the music's stock on our alle gorical chart was all the more dramatic this month when Bob Dylan, the most important songwriter of the rock era, announced he is going on tour for the first time in eight years. The stock surged again when it was announced Dylan would be Joined on the tour by the Band, whose new "Moondog Matinee" album (Capitol SW 11214) firmly reestablishes it, after nearly two years of relative inactivity, as America's foremost rock group. The Dylan/Band tour shapes up as the most Im portant musical event of this stilt young decade. Not even the Rolling Stones' extravaganza In 1972 carried as much multilevel excitement and poten tiaL

The surprising news o£ the tour was less than 24

hours old as the Band's Robbie Robertson relaxed in the den or his rented beachCront home. He had been through a strenuous 13hour rehearsal the day before, but his enthusiasm about the tour forced back any hint of tiredness as he talked about the new Band album, the reasons for the group's recent low public profile and, or course, that upcoming tour. "Everyone felt in the right mood to do It and It's great. We're thrilled; as excited about it as little kids and that's what touring should be. We thought about just doing a few cities.That's how it started out. But as we went along, we got more and more courage anditjustgrew.• It was lack o( enthusiasm for louring that kept the Band orr the concert stage from the recordlnf 'f?l.lts live "Rock of Ages• album in December of Please Tum to Poo, 11

Rock 'ri Roll. Hitting Road •,n High Spirits Continued from First.Page 1971 to Watkins Glen last July. "Rock of Ates• !caturcd the songs the Band had used on records and In concert the previous four years. They had some new songs that didn't Into the type of albums they had been recording and they felt in late 1971 it was . time to move on musically. "Rock of Ages• was con sidered a good way to end the carlier"MusicFrom Big Pink" to "Cahoots• albumsphase of the group's career. Despite the enormous success of "Rock of Ages" (It spent six months on the national sales cha~t and was hailed by Rolling Stone and other rock publi cations as the live album of the year), the Band didn't give in to the urgings that it resume touring. "To go back on the road at that point Just seemed like spinning our wheels," Robertson says now. "It seemed like such an unarUsllc move. To my mind, we had already been to those cities and halls. The Ider is not to repeat yourscU, but to keep moving. You've got to be dying to go on the road or it's stale; meaningless. You've got to really be up for it, which is the case now. "Everybody had Ccrgotten about the possibility of Bob Dyland and The Band ever playmg together again. For a long time, everybody expected us to do it and we never did. So, now we do it and it catches everybody orr guard. That really makes it interest ing from our side of it and you have to be interest ed or it isn't any good.• For the rest of us, the tour Is appealing because Dylan's songs remain a vital part of today's con . temporary music scene and his vocals, as he showed in the Concert for Bangladesh, bring out the impact of his songs better than anyone. He will also have several new songs. The backing. of the Band will add an extra dimension. Though the Band first gained national attention as the "backup" group for Dylan, it has since clear ly established itseU, through such songs as "The Night They Drove Old Dixie Down" and "The Wcir;ht." as a major force in contemporary music.

Conceptvof Insights There is more intelligence, precision and overall design in the Band's music than in any of its rock competitors. Both vocally and instrumentally, the quintet has the technical skills and conceptual insights to tailor its music to bring out the maximum navorofasong. · · 1n Robertson, the Band has one of rock's finest writers. His songs renect a sense of timeliness and history in the lyrics that give them a ring of authen ticity and truth. Robertson, whose themes range from humor to social comment, writes about the human condition.something never out of style. While the Band's basic lineup features Robert son on lead guitar, Rick Danko on bass/vocals, Levon Helm on drums/vocals, Garth Hudson on or; gan and Richard Manuel on piano/vocals, it can al ter that setup to bring out the shading of a part.lcu Jar song. It isn't unusual, for instance, £or the Band to shift the lead vocal three times (from, say, Helm to Danko to Manuel) within the same verse to give the right , emphasis to the lyrics. Similarly, the Band often re arranges itself instrumentally (with Helm moving to mandolin, Hudson to piano, Manuel to drums, for in· stance) to provide the right texture. This teamwork and craftsmanship ls the result of more than a dozen years of playing together. The Band's members (except for Arkansasbom Helm. all are natives of Canada) met through &>nnle Hawkins, the rockabilly singer who moved froll\ :Arkansas to Canada in 1960 .. Robertson wu 1& when he joined Hawkins' backup band, the Hawks. Helm was already in the Hawks. The others Joined within a few months. • In 1961, the Hawks Jett Hawkins to pursue so~e more adventurous musical paths. Until they Joined Dylan ln 1965, they played clubs in the Southern States and in Canada. Their repertoire consisted chiefly of rockabilly, blues, rock and rhythm & blueslncludini the song, featured on the ".Mocindog Matinee• album. • They did a world tour with Dylan hf 1965 and, caught tn tlte controversy over whether Dylan should move from a IOlt acoustic style to the new

rock style, were booed in almost every concert by the folk purists. After Dylan's nearfatal motorcy. cle accident In 1966, he moved to Woodstock, N.Y.. to recuperate. The Band followed. · By 1968, the exHawks signed with Capitol Rec.• ords · and produced the highly Influential "Music From Big Pink" album. It was named album of the year by Rolling Stone. The second album, tilled simply "The Band." was hailed bl some as the finest American rock album ever made. 'J.'he other albums"Stage Fright." "Cahoots" and "Rock of Ages"where ~lso consensus choiceson annual top· 10 lists. . . Id ed . After "Rock of Ages." the group cons er some soundtrack offers. "People have ofte~ assoetated ~ur music with pictures and I've been dymg to do a film score but we just couldn't find one that excited us enough. When you do a film score, you're really going on somebody else's trip. To make you want to do that, it's really got to be interesting or you'd rather go on your own trip." So the Band returned to.the recording studio and began work on an album of original songs. •we were 60% through the album when we realized it. was going to take more time than we had planned." Robertson said. "It was our most sophisticated musical move, more like a 'works' than Just a bunch of songs. · "I've been heavily into Krzysztor PendereckL He's a classical writer who really haunts me. He'11 like the Ingmar Bergman of music. And that's where rm at. I totally relate to those two people. His 'influence on the new album (the 'works' al· bum) may be totally unrecognizable, but he's what I've listened to to get where I now am musically.• When it became clear the •works" album was going to take more time, the Band decided to do the "Moondog"album. Thus, it Is an Interlude between the Band's "Rock of Ages• period and the next per iod.

But it is far from a careless, throwaway album. In fact, It Is not only one of. the best albums of 1973 but It may well be the best retrospective rock al bum ever madea joyous celebration of the roots of rock 'n.' roll that features some extraordinary VO• cals and arrangements. . In essence, "Moondog Matinee" (the title is from the late ,t.lan Freed's old rock radio show) ls a look at the various styles from rockabilly to rhythm & bluesand emotionsfrom humor to plaintive lamentsthat comprise the foundations of rock. Each song on the album Is given the same carefully tailored arrangements as the Band gave. its own material "Those old songs aren't as easy to do as ft might seem." Robertson said. •A lot of them sound like googoo today. I mean, 'I got a girl named ~n~ Ma· ronie' can really sound dumb. You just cant sing It with any conviction. We did· maybe four more songs that we didn't put on the album because we couldn't pull them oU. We had to !ind some songs that meant something to us." Though the Band did several Chuck Berry tunes in an nightclub act, "Promised Land" was cho sen ror the album as something or a gag because the group, like the narrator in the song, was movIng to California (le~ the promised land). There's even more humor and goodtime spirit in the Band's versions of Leiber & Stoller's "Saved," Fats Domino's "I'm Ready." Clarence (Frogman} Hen 1y's "Ain't Got No Home" and the surprise entry. Anton Karas' '"l'hird Man Theme."~ • On the softer side, the album includes Allan Toussaint's "Holy Cow." Sam Cooke's "A Change ls Gonna Come." Bobby Bland's "Share Your Love" and the Platters' "The Great Pretender.•· The al· bum's tip of the hat to Sun Records' rockabilly style ls "Mystery Train,• an early Elvis Presley flipside. . Since the Platters' highly styli1.ed versionis so well known, 'The 'Great Pretender" was the most chal lenging song, bpt Richard Manuel's vocal, perhaps the all)um's finest Individual performance,gives new power and authenticity to the J.yrics: Oh 1/tl, I'm the (l'ftat prtte11der Prettndi,ag that ·rm doing well J111 netd 111eh lhat I pretend too ,nuch I'm lofttl11 ht no. OM can telL

llobliy ltob.rl1on'1,ong, for tit. land ml•d • ..,,,. ol tim.,.sute1 and /li,tory lftot rinf• wlff, tn,tf,, Another exceptional vocal ls Rick Danko's lonesome, gospeltinged effort on •A Change Is Gonna Come": It', bten too hard living

But rm afraid to die Because I don't know what•, up there Btt/Ond the ,ky. ·

The album's most ambitious track, "Myster)' Train," was given some additional lyrics b.Y Robertson·to bring out more of the feeling of a guy who keeps .hanging around the depot hoping hil girl will return to town. Levon Helm's vocal carriel Just the right touch of lovesick desperation!

CoiM down to the station (to) mett m11 babJI at tht gait

Asked lht ,tation master If that traln's ntn• ning late

Ht ,aid if you're wailing on the four fortyfour. I halt to teU you son, that train don't 1top hert ani,.mort.

One of the Band's instrumental strengths hu been its understanding or economy in arrange ments, It knows when to harness power and when to unleash it; how to pace a record. While so many groups simply establish a pace and hold on for three or four minutes, The Band builds to a climax, slowly and subtly so that you almost don't notice to gradual heightening or tension and rhythm. The in· terplay between drum, organ, guitar and bass on "Saved" is a classic example •.

Appropriate Timing The timing or the album seems particularly ap. propriate, •1 just felt some recycling was definitely in order, that people were up for It," Robertson says. "1 mean everybody thinks he's a songwriter now and there are Just millions and millions of songs coming out and most or them aren't any gpod at all •• •All of a sudden, it seemed these songs were valid again. A year ago they may haveseemed corny to me, but now they seem valid. Things happen like ·that; In waves. 'Grease' and 'American Graffiti' are out and radio stations are playing oldies. Suddenly, what looked like a corny, decadent era has become an interesting, funny era and YQU have a soft spot for It instead of shunntng' It." With "Moondog"released, the .Band turns its at1 tcnUon to a 'variety of other projects: a live Wat· kins Glen album. the still ·unfmished 'works' al bum, some recording with Dylan and the tour that begins Jan. 3 in Chicago. While each of these projects Is cause ror celebra on the rock 'n' roll stock chart, tlie tour Is, un derstandably, the most dramatic entry. Il's rare that the best bt any field get ·together, but that'• what the Dylan:/Band tour represent& •

tion

MARCH/APRIL-1974 VOLUME 5 - NUMBER 2 $1.50

'PLANET WAVES' fif..CORCING BOB DYLAN at the V/1.LAGE RECORDER

THE 'PLANET WAVES' SESSIONS

RECORDING BOB DYLAN at

THE VILLAGE RECORDER Interviews With ROB FRABON I & DIC La PALM

GARY D. DAVIS

Re/p: Dick, h oui did you choose un engineer for the Dylan album? DICK LA PALM: I left the decision up to Rob. I asked him who should do ii. At the time we had 3 guys. Rob came back after a couple of days and said, "I should do it." I said, "Fine." Re/p: Rob, why did you decide to do it'! ROB FRABONI: ?.la.inly because I was really familiar with Bob's music, as well as The Band's. I've been listening to them both since their first albums. I talked to the other guys, and it seemed like I was the most familiar. R·e/p: Dick, do you feel that familiarity with the music is essential for a mixer'! DICK LA PALM: Engineers are much like the medical specialist. I just don't think that every engineer can do every kind of music. I think this guy might be a hell of a lot heller to do an R&B date, as opposed to a Country & Western date. And one engineer might he a hell of a lot better to do a Dylan and a Stones. I'm not taking anything away from him; I'm sure he could do a Willie Hutch. I'm sure he could do a Little Milton or a Chuck Berry. But I don't know that he could do it as well as someone else who's really mto that krnd of music. I think there's a hell of a lot more to it than just knowing that board. I think II has to do with gut feel, and fcchng for the music itself.

Re/p: Rob, did you tiste« to l"iei stuff before the sessionst Did you go home and prep 011 it'! ROB FRABONI: No, I didn't I make sure not to do that. You've got to approach things fresh; that's tile way I feel. After we mixed the albu:n .10d it was all done, then I went and li~tcued to his records. I didn't want to be influenced before the sessions. I just wanted to do it fresh, and that was what they wanted, too, Dylan and The Band. Re/p: Was there anything unusual dbout the way Dylan and The Band work which would affect the choice of an engineer? DICK LA PALM: We talked about engineers. The one thing they wanted was a guy that not only knew the equipment and respected it, but someone who could work really rapidly. Knowing how a Dylan works the guy says, "Let's do it now," and he expects the engineer can do it, JUSt like that, without fumbling.

R·e/p: Why did Dylan and The Bani: record at Village? What did you have that made it just right for them? ROB FRABONI: One thing, the room \\ as right for them. As far as the size, they really liked that. And as far as the control room is concerned, they just wanted something that sounded good. It could have been done at a number of places, but we had a combination of things: the room, the security and the location. They liked the idea of being out of town (The Village Recorder is situated in West Los Angeles, about ten miles from Hollywood). \\'hen we actually got down to the mixing, Robbie was com·

R-e/p 19

for table with what he was hearing, and that was the really important thing.

Re/p: IVhen you say Robbie, you are talking about ... RF: Robbie Robertson, [guitar, The Band). Re/p: Wa.r hi' the producer? RF: There was no producer on this record. Everybody was the producer. Robbie is the one who gives a lot of direction, although they all have some thing lo say about the music, and are all really involved. DL: He seems lo be the one that has the most knowledge as far as engineering is concerned He has tremendous knowledge about what equipment can do what a board can and can't do. Re/p: lei's get back to the room. You told us that studio B was used for the album. IVhat is it about this room that made it attractive? RF: For one thing, you can work in here for hours and hours and not get fatigued. And you can turn this room up very loud and it won't hurt. Numerous people have commented on that. Re/p: IVhat kind of monitors are you using? RF: The room was conceived by me and designed by George Augspurger, and the monitors are custom built using J BL components and custom crossovers. Each enclosure has two 15" 2220 woofers, which are thincone units. They're also efficient, so our amplifiers aren't working so hard on the low end. 1 t gives us a punchier hottom than a 2215, with a different coloration, The 2215 has a more rubbery sound. While the curve of our room might look like another room, it has a certain character. The 2405 tweet· crs arc also part of the picture. I just really like the way they sound in this installation. The overall system has a very low fatigue factor, or whatever you'd call it. Rc/p: What kind of a curve does the room actually have? RF: Well, it was originally flat, but we tailored the: high end a little differently. I found that having a Oat monitor sys tem was a terrible hype. The way we finally decided on the curve was that I went to a lot of studios and to a lot of people's homes and played music on different systems. I took notes and gathered the information, Re/p: Since the room is equalized, you could probably have achieved similar frequency response with other speakers. Was there another factor involved in the choice of these particular speakers? RF: Well, I like 604's with the Mastering

Lab crossover. But they still beaming effect. That's one thing can't gel away from, and that reason we decided to switch with better dispersion.

have a you just was the to units

R·e/p: Without the beaming, what kind of coverage do you get? Where is the best sound in the control room? RF: Realistically, the working area is the length of the console. You can sit at the producer's desk and hear well, although there is some difference from behind the console. As far as quad sound, it's sur prisingly good for a small room. It sounds very large and open in here. Re/p: IVe 've talked a lot about the control room. Let's discuss the studio for a while. For example, how many mikes were used in the sessions? RF: As it turned out, I used about 28 microphones.

recording artist is Bob Dylan? What was it like working with him? Dick men tioned and you are also hinting that Dylan needs an engineer who's on his toes. RF: Right. Robbie came in that first morning and said lo me, "There are going to be no overdubs. We're doing it live. This is it, what's happening here is it." Bob doesn't overdub vocals. Re/p: It sounds like Dylan was m the studio to perform, period. RF: That's really true. The record was really a performance, as far as I'm con cerned. It wasn't like we were "making a record." It was more of a performance, and Bob wanted it to sound right to come across. When he starts playing, there's nothing else happening but that, as far as he's concerned. I don't think I've seen anyone who performs with such conviction. Re/p: Maybe we can back up a little and get some information on how the album was first conceived. And how long did Dylan work on it? RF: I can tell you what I know, although I don't know everything. A few weeks before we started the album, Bob went to New York by himself. He stayed there for two to two and a half weeks and wrote most all the songs. One of the classic songs, "Forever Young," he told me he had carried around in his head for about three years. He gets an idea for a song sometimes, he said, and he's not ready to write it down. So he just keeps it with him and eventually it comes out.

Re/p: That seems like quite a few mikes for a relatively small studio. Why were so many mikes necessary? RF: 7 were used on the organ. Garth (Hudson) has got this elaborate Lowrey organ with a Leslie on each of two key boards. One Leslie is a model I 03, of which very few were made. It has station ary speakers with a phasing device in the tubetype amplifier, as well as 2 rotors. There was also a Hammond organ with a Leslie. Sometimes Garth would play both organs at one time, so we were miking three Leslies, Re/p: How about the other instruments? RF: I often use a lot of mikes on the drums; I used about 7 or 8. I wanted to mike everything kind of light in this case. Bob had an electric and an acoustic guitar, as well as his vocal mike. And it all had to be ready to go because they would just say ''OK" and boom, you go. Re/p: We'd like to know a little more about the miking, and the diagram you 're doing will help. But you just raised an interesting point. That is, what kind of a

Re/p: When did he get together with The Band for this album? RF: I'm not exactly sure but I know they had started rehearsing for the tour before we began recording. They only knew two of the songs on the album before coming in. The balance of the songs on the album they never heard until they were right here in the studio. Re/p: It appears The Band are pretty good musicians. RF: They're really something. And it's got such character the music sounds like it's all arranged. Bob would just run it down, and they'd play it once. Then they'd come in to the control room and listen. That's another thing that really astounded me. Nobody was saying, "You ought to be doing this," or "You ought to be playing that." They just all came in and listened to hear what they should do, and then they'd go out into the studio. That would usually be the take, or the one following. That was pretty much the way it went. Re/p: Were the takes through from the top?

run

straight

R-e/p 21

example was the album I did with Richard Green before we did Bob's album. Our studio was booked so heavily that we had to go outside to Sound Labs (Hollywood). It sounded very similar and was easy for us to adjust.

40 cycles almost flat. It just didn't sound like it was doing that at Sound Labs. Our bottom end has a certain feel to it, as well as a sound, which is different over there. But the high end sounded very similar, which surprised me.

Re/p: That's a 604 system with the Mastering Lab modification. RF: Right. The bottom end is different in here, it goes lower down to

Re/p: What about people who like a different sound? RF: Of course we're talking about taste. That's pretty much what it comes down

DOBRO

to. Some people like 604's, and you can't argue with it. What we do have in all our rooms is a speaker switching system. We have a rotary selector switch, with ocher speakers on custom made stands. They have small bases, telescoping height adjustment, and heavyduty casters. They're sturdy enough to hold a 604E or 4320 and roll around. Re/p:

You brought

up the subject of

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THE VILLAGE RECORDER STUDIO 'B'

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taste, and it reminds me that we were going to discuss the mikes used for the album. I wonder if you can describe Dylan's vocal mike, to begin with. RF: We used a Sennheiser 421. But we went through five or six mikes to find out which would be best, Re/p: Did Dylan have a favorite mike? RF: He preferred a 421 because he had used it before and liked it. Robbie suggested the 421. To tell the truth, it didn't cross my mind because I hadn't used it for vocals before. Re/p: Which one would you have used? RF: As I said, I was experimenting, although there wasn't much time for it. The first day, we tried an SM53, 57, an 8 7 and a 4 7. I figured the condensers weren't going to work because of leakage problems. We also had to consider popping, which was a problem with the 421 especially because Bob doesn't like to use a wind screen. Re/p: What did that do to the sound? RF: It worked out OK. He's always popped and seems to be used to it. Re/p: Did you use any deessing or correction on the mix? RF: No deessing. We had a Pultec filter we would click in for the p's. We usually shelved the vocal at 50 Hz. Nat would sit over there and switch to 80 Hz just for the p's. On one song, "Dirge," I got Bob to use a wind screen. He used it, and it really worked well. So, to answer your earlier question, that was how we chose the vocal mike experimen tation, with an ear to leakage. Re/p: What are the leakage character istics of the 421? RF: Well, The Band was playing fairly loud and I was limiting Bob slightly, 3 to 5 dB. Live, we were getting 15 dB, tops, on the leakage, and that was incredible. I couldn't believe it. I'd look at the meter, and it was just barely moving. I was immediately sold on the mike. Plus, what leakage there was, sounded good. Re/p: Would you mind getting into more detail on the instrument miking? RF: On the drum kit, l used quite a number of mikes: a Shure SM7 on the bass, Sennheiser 421 on the snare, KM84 on the high hat, and 87's for toms and overheads. I experimented with the set a little bit. Re/p: Was there anything you partic ularly like in that combination of drum mikes? Is it a favorite setup? RF: It just worked. The Band likes a thick tom sound, and the proximity effect of the 87's worked to our

advantage in this respect. And I like the sound of condenser mikes on drums, so that's why 1 chose them. On the high hat, I have found the 84 just works well on almost any set. I've got about three or four different mikes I use on snares, based on the kind of sound the drum set has. Re/p: So you try to get a sound tailored to the specific situation? RF: Yeah. I don't have a set up that I use on every drum set. Re/p: You really seem to be enthusiastic about the drums. RF: That's probably because I play drums. I feel they're really an important part of a good sounding record. I have a feeling for musicians, having played my self. I always go out in the room and listen. They'll run through something and I'll stay in the studio. When the musicians come in initially J always ask, "What's the most comfortable way for you to set up?" I tell them we'll start from there, and if there are any problems, we'll re arrange things. It helps a lot when you give musicians that kind of room, they feel better. Re/p: Let's run through the rest of the miking. The diagram you prepared shows a lot. What about the choice of piano mikes? RF: We used two KM 84's. J tried a couple of things. I miked both facing the hinge. One of them was almost to the end of the harp, and about 12" toward the hammers about a foot to 18" from the hinge. The body of the mike was parallel to the soundboard, about 2" up. The other mike was in the same basic position, but angled a bit toward the soundboard about 30 degrees. It was in the high end section of the piano, nearer the holes. It worked really well, with practically no leakage at all. Re/p: Did you have the top open? RF: I had it on the short peg, with it really covered. We were all surprised how low the leakage was. But when I did "Dirge" with Bob, we used a completely different set up, mainly because he wanted it that way. I had it open all the way, no covers, nothing. Re/p: Did the piano get into his vocal? RF: No, he sings so loud. Interestingly enough, the one thing that leaked into the drums was Bob's vocal. That's one reason the leakage was so low. He really sings hard. In fact, he was leaking so badly into the uncovered piano that I had to experiment. I used RE 15 's. I faced them toward the back of the piano, instead of the hammers, and it worked really well. It took a bit of F..Q, but as far as leakage went, it was really

excellent. Plus, as I said, he wanted a more "far away" sound for that number. Re/p: Were there any other unusual or special miking techniques? RF: Let's see. We used a special direct box for the bass. Our maintenance man, Ken Klinger, built it. It's a solid state, discrete, FET type. We used that on the bass, and miked the amp a twin reverb, I think with a 56. Re/p: It's becoming easier to see where all the mikes were used. According to the diagram, there seem to be quite a few more instruments than there were players. Were they ail used in the same session? RF: Yes, sometimes. There was a pianet and clavinet both were direct. Rick (Danko), who played bass, also played fiddle a bit. And there was an accordion. There was also a Dobro guitar. I had extra mikes up for these instruments, for whatever might happen. The Band didn't do any singing on the album. And that's it. Re/p: With all the close miking and the experienced musicians, did the actual levels in the studio tend to be low? And, if so, did everybody wear phones? RF: The levels were mediumloud, and they could hear each other in the room. They would occasionally wear phones. Re/p: What kind of mixes would you give them? Heatry on their own instru ments, just the other guys, or what? RF: A stereo mix of the whole thing, and they loved it. They had Sennheiser 414 phones, and the stereo worked out very well, especially for Garth. I could put one Leslie in one ear, and the other Leslie in the other ear, and it gave him the perfect effect because that's what he does. He puts the Leslies on either side of the Lowrey so that when he uses the different keyboards, the sound goes back and forth. Re/p: As far as your monitoring was concerned, did you listen in mono at all? RF: Yes, a lot. That's a surefire way to acoustically catch phase problems. Re/p: But what do you do with some thing Like the Leslie, where the phase is all over the place? RF: That's a whole different circum stance. You just do your best to make it sound good. Re/p: We have led you into long dis cussion about miking, and you have told a lot about your decisions. But we'd like to play the Devil's advocate for a minute, and to ask you how important the miking really was? RF: It was very important. I'm doing a continued on page 29 R-e/p 25

continued from page 25 ----

quad mix of it now, and I've been away from the 16track for about 21/2 months. And I was astonished when I put those tapes up. Bob was right in the middle of the room, with all these musicians, and without baffles. The leak· age is really low, especially for the size of the room and the fact that they were playing pretty loud. There is no leakage to speak of, and I really feel it's in the miking. Re/p: Did you use any noise reduction on the 16track masters'! RF: No, just 30 ips. There's no noise reduction on the whole record. Re/p: You said you used a little limiting on some of Bob's vocals. Was any other limiting necessary? RF: I used a little limiting on the bass, very little. It was just there in case; Rick, all of them, are so great in the studio. They know just what to do. Bob works the mike. He gets on it when he's supposed to be on it. He was great about it. They all know just what to do, so a little bit of limiting on the bass and the vocal was about all we needed. Re/p: How about equalization? Did you use much of it, in addition to the piano EQ you mentioned for "Dirge"? RF: There is relatively little EQ on anything. Vocals were all cut flat. But I do tend to get rid of frequency response that isn't needed on the instruments. Re/p: You mean you roll off the high or low end accordingly? RF: Say, on the drum overheads; l got in tight on the cymbals and I didn't want to get a lot of bottom end on it. So I just rolled off a certain amount of the bottom end. I like to use equalizers for things like that. Re/p: That would help with crosstalk, too. RF: Right. That was one approach. They might have wanted the guitar to sound a certain way, so we might have used some EQ on that. For example, the piano was recorded relatively flat, We arrived at the right combination of his touch, the microphones, and the positioning, so I didn't need the EQ. Re/p: How about echo? Did you use much, and was it equalized? RF: We used echo in the mix. We used a few things: an Eventide digital delay, two EMT's with a little EQ, and acoustic chambers on a few things. We also used 15 and 30 ips slap (tape delay}, with a VSO to tune it in very carefully.

addition to your obvious involvement on the creative side. What kind of technical background do you have? RF: I did the Institute of Audio Research course on systems design, and the one on Studio Technology. I took an electronics course for two years, also. It may seem unrelated, but at one time I was a calibration repair technician and a mechanical inspector for precision mach ine parts. I even took a course in shock testing and vibration from the Tustin Institute of Technology. But I can do what needs to be done. For example, I layed out wiring and run sheets for the studio upstairs, and worked with George in putting this studio together. Now I realize how valuable it all is. We try to train engineers who work here and want to expand their background. Re/p: Do you think that mixers should also have musical training? RF: I don't think it's a necessity, but I think music education is a definite asset.

I feel, the more you know about music, the better engineer it helps you to be. Because it's a matter of fusing the engin eering with the music; to me that's what the whole game is about. Re/p: In other words, it helps you direct your gut feelings? RF: Yeah, that's why I think some of these guys, like Jerry Masters of Muscle Shoals, for one example, are on it. The magic in their work is that they know exactly what the mix should be to make the music sound and feel right. It's really not a technical thing. Yet, it's interesting to note that some people, forceful talent Dylan's a good example you could record with one mike and it still gets across. It then gets into degrees of greatness, or of feel. You can keep polishing the gem, but it's a gem to begin with. That, to me, is a great thing to be fortunate enough to work with people like that.

ODO

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W.C. Wedderspoon Delta Equipment Tempo Audio Helios Electronics Studio Technique G.T.C.-Peter Wolfert

424 Univ.,.slty Avenue Polo Alto, Calif. 94302 Phone 415326·6980

Circle No. 155

Rselp: In talking with you, Rob, you seem to have a pretty good grasp of the technical realities of the studio, rn

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