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: 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 ]