Robbie Robertson "Sinematic" (2019)

Sinematic
release date: Sep. 20, 2019
format: digital (13 x File, FLAC)
[album rate: 3,5 / 5] [3,58]
producer: Robbie Robertson
label: UMe (Universal Music Enterprises) - nationality: USA

Track highlights: 1. "I Hear You Paint Houses" (feat. Van Morrison) - 2. "Once Were Brothers" - 3. "Dead End Kid" - 4. "Hardwired" - 7. "Shanghai Blues"

6th studio album by Robbie Robertson released 8½ years after How to Become Clairvoyant from 2011 is a nice return from a man who has never exactly been renowned for releasing an abundance of new studio material. The actual foundation to the album here is probably with some persuassion from Robertson's 'Cinematic' friend Martin Scorsese, for whom Robertson composed the title track "I Hear You Paint Houses" and the closing track "Remembrance", both for Scorsese's TV movie "The Irishman". The Scorsese-Robertson friendship was initiated with Scorsese's 1978 film "The Last Waltz" - which many critics have on their top list of the best concert / music films of all time - the epic music by The Band. Since then, Robertson has contributed with musical scores to several films by Scorsese, which includes "Ragging Bull" (1980), "The King of Comedy" (1983), "The Color of Money" (1986), and Robertson is also credited as a musical -producer on these plus several other films by Scorsese in addition to being credited music-producer for other directors and especially from the early 80s to the present day. Most recently, Robertson is seen as music producer on "The Irishman", which in a way says a great deal about his professional commitment as an artist, who is linked to film art and who only rarely deals with the release of his own studio albums.

The title of the album is of course a play on words with the term 'Cinematic', as a word used with reference to film art, and when you know that the album here is purely sound based, then a 'sound motion' release rightly described as a 'Cinematic' experience. Simultaneously, the quality of music is pointed out as something that activates inner images while listening.

Sinematic is Robertson at his most playful and, I dare say, at his most original expression for several years. His 2011 album gave an experience of sparse originality, which in a way was also seen with his second solo album, Storyville back in 1991. On this his sixth studio album, and at the age of 76, Robbie turns up with one of his most sincere albums and with unusual amounts of freshness and vitality.

It may not be among his very best, but it's certainly more than just a decent collection of new tracks to recommend.

[ allmusic.com 3 / 5, 👍Rolling Stone 3,5 / 5, American Songwriter 4 / 5 stars ]

Robbie Robertson "How to Become Clairvoyant" (2011)

How to Become Clairvoyant
release date: Apr. 5, 2011
format: 2 cd (Deluxe Edition)
[album rate: 2,5 / 5] [2,68]
producer: Marius de Vries and Robbie Robertson
label: Macrobiotic Records - nationality: USA

Track highlights: 1. "Straight Down the Line" - 2. "When the Night Was Young" - 3. "He Don't Live Here No More" - 5. "This Is Where I Get Off" - 6. "Fear of Falling"

5th studio album by Robbie Robertson released more than thirteen years [!] after his most recent studio album Contact From the Underworld of Redboy (1998).

The album doesn't fall far from his previous albums in the sense that this is also a combo of preferred styles, a natural love for rhythm & blues, americana and traditional singer / songwriter folk rock blended with contemporary styles and influences from alt. rock and small dozes of electronic. The album features several guest musicians, e.g. Eric Clapton, Steve Winwood, Trent Reznor, Tom Morello, Robert Randolph, Rocco Deluca, Angela McCluskey, and Taylor Goldsmith. Apparently, the album was initiated from Robertson and Clapton's jam sessions, which grew to the idea of a new album - Clapton features on three of the songs and is co-composer of two and is sole writer of the instrumental "Madame X" (track #8).

Although using bits of electronic elements, How to Become Clairvoyant is not the continued experience with electronica as was initiated most boldly on his fine '98 album - neither is it the return to his other solo releases. In fact, it shares much more with albums produced while playing in The Band. And then the songs with Clapton, well, they simply sound like Clapton featuring Robertson, which means r&b pop / rock in that unmistakably (ordinary) traditional British style of his.

The album is not one of his most spectacular solo efforts - in fact, I find it his least favourable. The songs are solid compositions but all sound like others and older compositions, and Robertson sound as if in doubt of who to lean towards: Clapton or Dylan? And sometimes he even sound like imitating John Mayer.

The album fared more than just well as it actually became Robertson's best charting album on the US Billboard 200 Albums list peaking at #13 (his solo debut is still his best-selling and only Platinum-selling album peaking at #38).

The Deluxe Edition comes with a bonus disc titled 'Deluxe Disc' containing five "songwriter versions", i.e.. demo takes and one outtake from the recording sessions.

Not really recommended.

[ allmusic.com 3 / 5, Rolling Stone 4 / 5 stars ]

Robbie Robertson "Contact From the Underworld of Redboy" (1998)

Contact From the Underworld of Redboy
release date: Mar. 10, 1998
format: cd
[album rate: 4 / 5] [3,86]
producer: Howard Bernstein
label: Capitol Records - nationality: USA

Track highlights: 1. "The Sound Is Fading" - 3. "Making a Noise" - 4. "Unbound" (4 / 5) - 5. "Sacrifice" - 6. "Rattlebone" (4 / 5) - 9 "Stomp Dance (Unity)"

4th studio album by Robbie Robertson when also including his soundtrack album Music for the Native Americans (1994). The sound of his former colleagues of The Band and its great and vast musical legacy still lives on a bunch of albums, and if you don't really know The Band, you should at least check out one of the most legendary live albums, The Last Waltz (1978), either on DVD or as a music album.

Robbie released his solo debut Robbie Robertson (1987) and once again fascinated the world of popular music. Everyone wanted to work with him after that and "we" all yearned for a follow-up that never seemed to come. Storyville (1991) proved to be a bit of the difficult sophomore album. After creating a fine blend of styles he fell for the music of too many others and was so inspired by the sound and music of the Scottish band, The Blue Nile that he simply had to copy and paste on his second album and basically just forgot to make his own music. After that he then made the album of his heart and blood: Music for the Native Americans (1994), which was very well-received in the US but quite frankly is to say it politely: a difficult listen. Not that it's bad, it's just very 'native American' and with little sign of traditional popular music to it... And then - BOOM - he releases this fantastic inspiring album on which he (again) makes his own brew of all his music influences and reveals at least a new one: 'electronica'. 

Had it not been for its inconsistency, I'd rate it higher - it really contains some great tunes that stay with you. This has become one of my favourite albums by this great Indian blooded everlasting old-timer who needs to make more music, or: release more often.

1998 Favorite releases: 1. Grant Lee Buffalo Jubilee - 2. Mark Hollis Mark Hollis - 3. Robbie Robertson Contact From the Underworld of Redboy

Robbie Robertson "Music for the Native Americans" (OST) (1994)

Music for the Native Americans (soundtrack)
release date: Oct. 4, 1994
format: cd
[album rate: 3,5 / 5] [3,58]
producer: Robbie Robertson
label: Capitol Records - nationality: USA

Track highlights: 1. "Coyote Dance" - 2. "Mahk Jchi (Heartbeat Drum Song)" (feat. Ulali) (live) - 3. "Ghost Dance" (4 / 5) - 5. "It Is a Good Day to Die" - 6. "Golden Feather" - 10. "Skinwalker"

3rd studio album by Robbie Robertson released as 'Robbie Robertson & The Red Road Ensemble' is a soundtrack album for the TV documentary "The Native Americans" - an American-produced series in three parts and six hours.

Being an actual soundtrack it's quite obvious a rather different album than his two previous studio releases, and the styles represented here are much more shaped towards traditional native Indian music with bits and pieces thrown in from rhythm & blues and the style established on his solo debut from '87. A few compositions are pure instrumentals with strong stylistic bonds to native Indian music, then some sound if leftovers from his debut, and a few points to his 1998 successor with the inclusion of electronica. The lasting impression is a great variety of songs of genuine complexity with some traditional melodic songs scattered all over the album, where the most memorable tracks being the first three.

The reception of the album was quite positive, as I recall it. Together with The Red Road Ensemble, Robertson toured America and Europe playing the music from the documentary much as to celebrate the much forgotten Indian culture. And as a half Indian himself, Robertson was put on a bit of a pedestal of the Indian culture movement with this contribution.

I recall listening to the album with much anticipation when it was all new and also remember my initial confusion as how to digest the whole thing. I think "complex" is a rather neutral kind of term to use when people actually don't fully appreciate something, and from my perspective, the album is generally formed by too many stylistic influences - not that those implications in themselves produce lesser works of art, but here the vast variety of styles point in too many directions; however, the album is far from a lesser work of art as it also contains fine structures and some truly fine compositions. Also, from a personal perspective, I have come to appreciate this much more over the years and today find it much more gratifying because of the album's complexity and despite the many stylistic impressions, you still find that common denominator in the native tone that fills the whole album.

Anyway, Robertson was lauded with this original album, but as a stand alone album, it's... different and somewhat difficult.

[ Rolling Stone 3,5 / 5 stars ]

Robbie Robertson "Storyville" (1991)

Storyville
release date: Sep. 30, 1991
format: cd
[album rate: 3 / 5] [3,18]
producer: Robbie Robertson, Gary Gersh, Stephen Hague
label: Geffen Records - nationality: USA

Track highlights: 1. "Night Parade" - 5. "Day of Reckoning (Burnin' for You)" - 8. "Breakin' the Rules" - 10. "Sign of the Rainbow"

2nd solo album by Robbie Robertson following four years after his acclaimed debut.
Stylistically, the album is much more pop / rock-shaped than his '87 album, which paid more attention to americana. The track "Breakin the Rules" was made for the Wim Wenders '91 movie "Until the End of the World", and the song feature all three band members of the Scottish band The Blue Nile: Paul Buchanan, Paul Moore and Robert Bell, and Moore also plays keyboard on three other tracks.
The album sounds like the result of Robertson gathering much of his contemporary inspirational sources: The Blue Nile and their spacious art pop, and the production-sound and arrangements made by U2 on its most recent albums.
I have always felt that the album was too slick - the production and the structure of the songs echo too many familiar songs by others or sound as remakes of other songs by Robertson, thus making it a bit of a bland experience.

Robbie Robertson "Robbie Robertson" (1987)

Robbie Robertson [debut]
release date: Oct. 27, 1987
format: vinyl (924 160-1) / cd
[album rate: 4 / 5] [3,86]
producer: Daniel Lanois, Robbie Robertson
label: Geffen Records - nationality: USA

Track highlights: 1. "Fallen Angel" - 2. "Showdown at Big Sky" - 3. "Broken Arrow" - 5. "American Roulette" - 6. "Somewhere Down the Crazy River" (4,5 / 5) - 8. "Sonny Got Caught in the Moonlight"

Studio album debut by former guitarist and songwriter of legendary roots rock and rhythm & blues band - The Band - Robbie Robertson (aka Jaime Royal Klegerman). Together with Alex North, Robertson stood behind the official soundtrack for the movie "Carny" (1980 - directed by Robert Kaylor), in which he also played one of the leading parts. That movie is one in a long series of films for which he contributed as either composer, music producer or music consultant.
Musically, Robertson successfully builds bridge between his roots within traditional r&b, americana and more modern styles of alt. rock and art pop. The album is cleverly produced in the hands of Robertson and Lanois, the latter, who at this point already is an established successful producer, and together with Brian Eno he aided U2 in reaching its position as one of the most original acts of alt. rock of the mid to late '80s. And especially the sound of U2 is ever-present on this without too much plagiarising. The Irish quartet also take part on at least two of the album's nine compositions. Track #4 "Sweet Fire of Love" is co-written by Robertson and U2 but basically sounds like a U2 song and track #9 is a Robertson song only sounding as if made entirely by U2. Old associates Rick Danko and Garth Hudson of The Band feature on two of the songs, and the album also includes established artists like Peter Gabriel, Maria McKee, Ivan Neville, Manu Katché, BoDeans, Martin Page, and Gil Evans.
Altogether, the album is a warm return of Robbie Robertson, and the album was nominated "Best Rock / Vocal Album" at the Grammy Awards.
In retrospect, the album remains Robertson's clearly best solo effort.
[ allmusic.com 4 / 5, SputnikMusic 4,5 / 5 ]

The Band "Cahoots" (1971)

Cahoots
release date: Sep. 15, 1971
format: cd (2009)
[album rate: 3,5 / 5] [3,58]
producer: The Band
label: Mobile Fidelity Sound Lab  - nationality: Canada

Track highlights: 1. "Life Is a Carnival" - 2. "When I Paint My Masterpiece" - 5. "4% Pantomime" - 7. "The Moon Struck One"

4th studio album by The Band recorded in a newly built studio in Bearsville, New York, originally released on Capitol Records, is the group's last album of original material in the following four years. The songs here are credited Robbie Robertson (eight alone), Rick Danko and Levon Helm (one song as co-writers with Robertson), one original by Bob Dylan (track #2) and one song by Van Morrison (track #5 together with Robertson). None of the songs are credited Richard Manuel or Garth Hudson and according to Helm, Manuel only appeared to play his parts before going his own ways.

Success hasn't made things easier for The Band. Internal conflicts about writing credits split the members and on top of that alcohol and drugs stood in the way of artistic outcome.

The album was met by luke-warm reviews and didn't sell as their two previous albums had done, although, it went as high as #15 and #21 on the Canadian and US album charts lists, respectively.

It's, however, no bad album at all. The band members themselves may have bad memories about the process, but they still play better than most despite the fact that a few of the tracks sound more like blue-prints or demo-takes of songs that were simply left as they came to be, e.g. "Last of the Blacksmiths", "Thinkin' Out Loud" and "Smoke Signal", but the remaining tracks only serve to document how well these guys played as a unit.

[ allmusic.com 3,5 / 5, Q Magazine, Rolling Stone 3 / 5 stars ]

The Band "Stage Fright" (1970)

Stage Fright
release date: Aug. 17, 1970
format: vinyl (gatefold) / cd (2011)
[album rate: 3,5 / 5] [3,68]
producer: The Band
label: Mobile Fidelity Sound Lab - nationality: Canada

Track highlights: 1. "Strawberry Wine" - 3. "Time to Kill" - 6. "The Shape I'm In" (4 / 5) - 7. "The W.S. Walcott Medicine Show" - 9. "Stage Fright" (4 / 5) - 10. "The Rumor"

3rd studio album by The Band originally released on Capitol Records was initially intended as live recordings, which was shelved as rumors about the concert place became too overwhelming with people arrangers selling more tickets than was available, so the end-production setting was established to record the songs as is. The Band make the attempt to continue in their already familier style, but what appear most striking here is twofold: an immediate absence of enough good songs for a full album and what may sound like lack of presence. It's no big secret that the lifestyle they led at this point with too much alcohol and drugs didn't make things easier and tensions withing the band had become increasingly difficult just to stove away, but also Capitol, who had signed the band for 10 albums, was eager to see another album out that summer and pressed the band into the studio.
"The Shape I'm In" and "Stage Fright" are signature tracks and among their very best but the majority of the remainders seem to lack that quality one will find on The Band's first two albums. The album is far from poor but it may feel like a bit of a disappointment, although, it still contains classic material. I think the biggest complaint about the album is the sensation that you know they could've nailed these songs better proving that they could make a lesser song sound great just by being such great musicians as they truly were. And what are the lesser songs, you may ask. Well, songs like "Sleeping", "Just Another Whistle Stop", "All LA Glory" and "Daniel and the Sacred Harp" just don't rocket the band up the charts, but really, they are quite fine examples of an inner perspective that may have changed. And that's really what the album may be about: all the things that came with fame, and for once they sing about their own present story instead of glory days of the past.
The album sold quite well, reaching number #5 on the US album charts list (number #6 in Canada) but it wasn't met by the same overwhelming enthusiasm from critics as their two previous albums, although, most still saw the album as yet another fine classic release from The Band.
I think, it's better than its reputation as their first album out, or a minor release. Later on, the band members talked the album down, but that may likely reflect the negative emotions that tie around their relationships and unsound lifestyle more than this was about their musical skills and what they actually still produced together.
[ allmusic.com 4,5 / 5, Q Magazine 4 / 5, Rolling Stone 3,5 / 5 stars ]

The Band "The Band" (1969)

The Band
release date: Sep. 22, 1969
format: cd (2000 remaster)
[album rate: 4 / 5] [4,18]
producer: John Simon
label: Capitol Records - nationality: Canada

Tracklist: 1. "Across the Great Divide" - 2. "Rag Mama Rag" (4,5 / 5) - 3. "The Night They Drove Old Dixie Down" (5 / 5) - 4. "When You Awake" - 5. "Up on Cripple Creek" (4,5 / 5) - 6. "Whispering Pines" - 7. "Jemima Surrender" (4 / 5 ) - 8. "Rockin' Chair" (4 / 5) - 9. "Look Out Cleveland" - 10. "Jawbone" (5 / 5) - 11. "The Unfaithful Servant" - 12. "King Harvest (Has Surely Come)"

2nd studio album by The Band recorded at a rented house in Hollywood belonging to Sammy Davis Jr. The 2000 remaster contain 7 bonus tracks primarily consisting of alternate takes. The album simply continue the style that was established with Music From Big Pink, but in a tighter and more homogeneous sounding shape, which binds all compositions together with well-defined borders. They build on the roots of rock & roll tying it all together in a unique blend, and they continue to demonstrate their musical skills as singers, instrumentalists and arrangers.
After the succes of their debut album they took part of the famous Woodstock festival of '68, although, they declined to take part in the film that was made documenting many other great artists of the time, and later they also played at the first Isle of Wight Festival.
The album was met by positive reviews by the press and it sold better than the debut, however, it has only gained critical and artistic acclaim since its release and has come to be cherished as milestone of rock and folk rock history.
As was the case with the songwriting credits on Music From Big Pink, the majority of these songs are credited Robbie Robertson, and that became an ever-growing point to conflict. In Levon Helm's autobiography "This Wheel's on Fire: Levon Helm and the Story of The Band" (1993), Helm points to his and the other band members' dissatisfaction about composer rights, as nearly all their own songs, according to Helm, in most cases were the results of mutual work. He accuses Robertson of having claimed credit to songs that would not have seen the light of day without more substantial input from either Manuel, Danko, Hudson or himself, who weren't even mentioned as co-writers on compositions when the albums were released.
The album is simply wonderful and one of the finest accomplishments of the 1960s. Just listen to "Whispering Pines" or "Jawbone" and tell me, which singer of the era that would equal Manuel... or listen to Helm's perfect southern hoarseness on "The Night They Drove..." and "...Cripple Creek". It's so great to hear this group play folk rock, country, rhythm & blues and americana when everyone else were playing psychedelic rock , garage rock, baroque pop or jazz pop. They played with such finesse and with the greatest respect to the origins of popular music, and I also end up feeling lighter and in a better mood after putting this one on.
[ allmusic.com, Rolling Stone, Q Magazine, MusicHound it 5 / 5 stars ]

1969 Favourite releases: 1. Neil Young & Crazy Horse Everybody Knows This Is Nowhere - 2. The Band The Band - 3. Creedence Clearwater Revival Willy and the Poorboys

The Band "Music From Big Pink" (1968)

Music From Big Pink [debut]
release date: Jul. 1, 1968
format: cd (2004 SHM issue)
[album rate: 4 / 5] [3,98]
producer: John Simon
label: Capitol Records - nationality: Canada

Tracklist: 1. "Tears of Rage" (4 / 5) - 2. "To Kingdom Come" - 3. "In a Station" - 4. "Caledonia Mission" - 5. "The Weight" (4 / 5) - 6. "We Can Talk" (4 / 5) - 7. "Long Black Veil" - 8. "Chest Fever" (4 / 5) - 9. "Lonesome Suzie" (4 / 5) - 10. "This Wheel's on Fire" - 11. "I Shall Be Relased"

Studio album debut by Canadian quintet The Band consisting of Richard Manuel on lead vocals, piano, (Hammond) organ, (Jamie) Robbie Robertson on electric and acoustic guitars and vocals, Rick Danko on bass, lead vocals and violin, Garth Hudson on (Lowrey) organ, soprano and tenor saxophone, clavinet and piano and with Levon Helm on drums and lead vocals. Four Canadians and one American (Helm of Arkansas, US).
Already here they simply showcase their musicianship - how well they knew all of their many instruments. And on top of that it's so impressive to listen to their vocals. The Band didn't have one particular lead singer as both Levon, Rick and Manuel could fill this part, although, the latter is the only one who could sing almost any kind of song with his broad register and is the only singer of the band who could equal the best vocalist of the 1960s.
The story of The Band's earliest incarnation playing as Levon and The Hawks (sometimes just The Hawks), consisting of Helm, Danko and Robertson from Ronnie and The Hawkins - who goes even longer back - is also the story of how American/Canadian rock and roll turned into r&b, folk rock and roots rock in the early 1960s. When Bob Dylan went electric ("betraying" the folk world), his backing band was almost identical to what became The Band. Helm reveals in his autobiography "Wheels of Fire" how they composed these songs, convinced they were to be released under the name of The Crackers, but a management decision changed all that to what they were referred to: "The Band" - the (infamous) backing band of Dylan.
Stylistically, it's really hard to narrow down 'cause these guys play on so many musical traditions, which will have enlist most of modern contemporary genres and styles. The outcome has become known as rhythm and blues, roots rock and folk rock with elements of country and soul.
I didn't come across this album until after listening to, or rather: watching the famous live "documentary" film "The Last Waltz" from 1976 by Martin Scorsese. I knew nothing of The Band, but knew a great deal of the performers on that occasion, and I simply adored that film from the first moment on.
I think, my first impression of Music From Big Pink was a bit bland. I never was a big fan of r&b, country or folk, but I kinda appreciated it for what it was: a bunch of skilled musicians playing... American music. Of course, I came to redefine my initial verdict. Each time I went back and listened to the music, I became increasingly soaked into its... soul, I guess. Today, I find it a gem of the days. It's not psychedelic nor blues rock like many of those days' representatives, but The Band goes its own way and builds on the music of great masters. It may contain great singles hits but the album itself is simply nothing but adorable and without fillers. A year later they would even go on and better this on their follow-up.
The album is rightfully enlisted in "1001 Albums You Must Hear Before You Die" and it has been lauded as one of the most influential albums of modern popular music by contemporary and present magazines and artists around the world.
[ allmusic.com, Q Magazine, Rolling Stone, MusicHound Rock 5 / 5 stars ]