Fifty years of TheBand, an album that didn't fit the mold then or now
reclusiveness was largely because they didn’t want it known in the press that bassist/vocalist Rick Danko was recovering from a serious car accident, in which he had broken his neck -- the group had a bad habit of driving recklessly in and around Woodstock, where they had all recently moved to write, and were lucky to escape their various accidents alive -- but it was also because they preferred the mystique.
“All anyone knew of us was that we were affiliated with Bob Dylan and that we lived somewhere up in the mountains,” guitarist/vocalist Robbie Robertson writes in his 2016 memoir,. “Coming out into the open would pull back a veil that we thought suited us.” Things were simpler -- and likely never better -- than when they were in the basement of Big Pink, their Woodstock meeting house.
Literally down the road from the Sunset Strip, as well as directly adjacent to Laurel Canyon, Robertson, Danko, drummer/vocalist Levon Helm, keyboardist/vocalist Richard Manuel, and multi-instrumentalist Garth Hudson were tasked with making an album for Capitol Records that would fit into the musical landscape of Doors and Byrds they had been thrust into. But The Band didn’t fit into that landscape at all.
Then, as if to match this anachronistic sound, their lyrics were written from the perspective of various characters in distant-past American settings: Dust Bowl farmers , Civil War soldiers , Manifest Destiny fulfillers . It’s a concept album of sorts about the working class and the shared tragedies inherent in the mundane. Label executives’ hair must have been torching up in the background as the tapes arrived.
“It was a complicated record,” Helm writes in Wheel. “We wanted to make one that you didn’t really get until the second time you played it.” came out fifty years ago this week , it was immediately received as a masterpiece -- “
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