So here we are, finally ready to reveal our format in full. I would imagine that this format will change over time as we find what works best for us, but I for one couldn't be happier with the results from our first endeavor.
The first album that was randomly selected was "The Band", the second album from the Canadian-American group, The Band. It appears at #45 on Rolling Stone's list of the Greatest Albums of All Time. Here's a link to a full playlist from You Tube:
Wikipedia sums up the album:
The Band is the second studio album by the Band, released on September 22, 1969. It is also known as The Brown Album. According to Rob Bowman's liner notes for the 2000 reissue, The Band has been viewed as a concept album, with the songs focusing on people, places and traditions associated with an older version of Americana.[2] Thus, the songs on this album draw on historic themes for "The Night They Drove Old Dixie Down", "King Harvest (Has Surely Come)" and "Jawbone" (which was composed in the unusual 6/4 time signature).
I asked each of the participants here to produce some thoughts on the album before they listened, and then again, after they listened. Let's see what everyone said pre-listen:
Rob P.
I listened to this a lot post-university, pre-marriage: Bought this on CD whilst at HMV in the attempt to create the ultimate music collection. It was a companion CD when I was road rep in 2003, then on the iPod from 2004 through 2012. It came back into rotation when I got married because our wedding DJ and I bonded over The Band. They've cycled in and out of my listens because there's always something that brings them to attention: the death of band members, their ubiquity in discussions of late 60s Bob Dylan, the publishing of Robbie Robertson's memoir, Testimony. Probably spent more time with Music from Big Pink than this one, but the self-titled album has the most signature songs of any of their records.Greg K.
I consider them, just good ol rock and roll. I know I like at least one of their songs although I can’t remember the name. I’ll likely enjoy listening to the others and discovering why the are on the top 500 of all time and not only that but number 45.Greg S.
I have never heard of this band before. All I know is their album is in the top 100 on Rolling Stones top 500 albums list and that it is the band’s second album. Judging by the album cover, it looks like it’s from the 70’s. Based on the fact that they named themselves “The” Band, I’m guessing they thought quite highly of their musical talents and their certain everlasting fame (who are these guys again?). Also, judging by the fact that they self-titled this, their second album, I’m guessing they considered this to be their best work and that which truly defined their sound. But who am I to judge, it did make it on the Rolling Stones’ list after all.Mark O.
So many of my first experiences with classic rock bands came not from the bands themselves, but rather from their estranged lead singers. Somehow, I came to own Robbie Robertson's self-titled 1987 album in my University years. Despite being deep into early alt-rock at the time, this album made an impression on me. Robertson's association with The Band was of course known to me, but I didn't dig into any of that.
Steve Perry, Dennis DeYoung, Robert Plant, Phil Collins, Peter Gabriel, Don Henley and Glenn Fry. My introduction to each of these legendary rock figures came well before I knew anything about their accomplishments with their classic bands. Today, With the possible exception of the Genesis guys, I associate these singers with Journey, Styx, Led Zepplin and Eagles well before I consider their solo work. Robbie Robertson fits right in there too, of course.
The only song I am even slightly familiar with from The Band's "The Band" is "Up on Cripple Creek". The rest are a mystery to me, and I'm very interested to see where the listen takes me. I'm expecting a series of southern rock tracks, maybe with a less gritty facade than say, The Allman Brothers and certainly less-bluesy. I'm not expecting to hear any of the typical hallmarks of the 60's like psychedelic organs or messages of peace and harmony. We shall see.William W.
I’ve loved The Band for forever. Truly. First heard them when I was about 7 – I was born in 1963 - and wondered at the sound. Only saw them once, what was left of them, at Ronnie Hawkins’ 60th birthday bash at Massey Hall. The concert was incredible. And to hear ‘The Weight’ done live? Even without Richard Manuel, who had committed suicide and Robbie Robertson, who had had a falling out with Levon Helm and no longer played with The Band, it was truly magical. That a rag tag group of Canadians and one American could create such sublime music was to me incomprehensible. Still is. The funny thing is, when Helm and Robertson parted ways Helm’s music got hokey and Robertson’s freaky. It was like they needed each other to keep on an even keel. Don’t get me wrong, I love both their solo efforts, but they pale to what they created together.
Very interesting stuff. We run the gamut from people who are intensely familiar with this group to those who have never heard of them. I next asked everyone to listen to the album and then write out a as little or as much as they cared to. As you will see, opinions varied.
Rob P. (listened on vinyl, the 2015 Capitol remaster on an Audio-Technica LP 60 turntable with powered Audioengine (A2+ speakers)
My first thought upon hearing "Across The Great Divide": I can't believe this came out the same year as Woodstock, the Moon Landing, Charles Manson. This is a record that exists outside of the time continuum. As it plays on, I can hear Wilco, Bon Iver, My Morning Jacket, The Hold Steady... not just in the arrangements and the microphone placement, but in the storytelling style of the lyrical content.
Side One has an unimpeachable run of songs.
Flipping it over, there is a strange, fundamental shift from timelessness to a sound that I can only describe as 70s downtown bar. It still sounds great and the songs are enjoyable, but the horns and piano sound kind of drunk. I do like that sound profile, which reminds me a bit of early Tom Waits, Dr. John and Asbury-era Springsteen, but it's jarring after hearing the American roots of side one.
It's a stone cold classic, but the one thing I always thought detracted from The Band was that I found the vocals to be indistinct. I'm getting better distinguishing between the vocalists with familiarity and with focused attention that listening to a record brings with it, and maybe the whole appeal of The Band was that it was a group effort all around rather than the work of one guy and backing musicians.Greg K. (listened on Apple Music through a Bluetooth speaker)
Songs I knew. Up on cripple creek.
Album impressions: Some songs I could see myself listening to on a Sunday morning. That was my thought around song 5. Couple times they reminded me of CCR. But I don’t tend to like CCR only because their songs are so over played. Sometimes a slight Motown or Funk feel. Couple sing song moments. Nothing I disliked. I enjoyed the piano, keyboard, occasional harmonica and saxophone? By song 12 I’m starting to get tired of this sound. They sound like talented musicians though. Great guitar solos.
The night they drove old Dixie down sounds very much like another song. It’s driving me crazy which one. Might be their own famous song or maybe it was a CCR song.
I’m horrible at being able to hear the song lyrics. Probably why I didn’t learn French.Greg S. (listened on Apple Music though a Bluetooth speaker)
This album reminded me of a combination of Steppenwolf and the movie Every Which Way But Loose, except that it was forgettable. I honestly can’t remember the melody from a single song as of writing this. Harsh, I know. Sorry, The Band. I did enjoy the Hammond organ parts though. I realize now that I was wrong about their name though. They weren’t “The” Band, they were “the band”, as in, “Hey Johnny who are those guys over there by the bar?” “Hmm, I think they’re the band that was playing earlier.” “Oh.”Mark O. (listened on YouTube via headphones)
Following the listen, I can say that I heard mostly what I expected. While the album is strongly rooted in southern rock, many tracks reach in surprising directions. The sound was much larger than maybe the era is known for but at the same time it felt like this could have been a group of uncles jamming in the backyard. Most songs challenged my ears to find the extended array of instruments. One surprising aspect stands out to me and that is the lack of vocal range and tonal control of the singers. Sure, this quirk pulls the listener in and creates an unpolished veneer but to me it is somewhat distracting.
On "Rag Mama Rag", the sheer amount of instruments was a treat. In addition to the usual kit, I heard two fiddles, at least two pianos, an organ and a lovely underneath melody performed on a tuba. "The Night They Drove Old Dixie Down", clearly a song set during the US Civil War, and "King Harvest", seemingly portraying some of the struggles of the working man, are drawn from deep in the American palette. That a band made up of mostly Canadians would generate such works is an artifact of the almost non-existent Canadian music industry of the 1960's.
I love the organ and slide guitar combo on "When You Awake", it being so representative of the era. "Up on Cripple Creek" was the only song I'd heard before from this album and I really enjoyed the clavinet parts, now that I took the time to listen closely. "Whispering Pines", the final song on the first side of the album, is a by-the-numbers ballad that plods along until the chord progression starts going in some unfamiliar places. I feel like I need to listen to this track more to get the nuances of it. While the vocals again struggle to hold notes, a stronger voice would destroy this song. The lyrics are vulnerable, as is the delivery. This song intrigues me.
"Rockin' Chair" combines a number of traditional folk sounds into something unique. Maritime shanty is mixed with medieval mandolin and a backwoods raw rhythm to create a sound I have never heard before. "Jawbone", easily my favourite track, places the bass front-and-centre with as active a groove as I've ever heard in this genre.
The observation that stands out the most to me after listening to the album is that one of my favourite bands, Buffalo Tom, is very clearly heavily-influenced by The Band and in particular this album. From the structure of Buffalo Tom's early songs, to the wavering vocals of Bill Janovitz; I'll listen to BF differently from now on.
* After writing this, I went to Wikipedia to read about the album and the songs. It turns out Bill Janovitz is a major acolyte of The Band and his reviews of the album and its tracks is quoted often. Funny, that.William W. (did not listen on vinyl, much to his disappointment)
Across the Great Divide: Richard Manuel’s vocals are truly haunting. There is a sadness, a pain, that somehow doesn’t go with the song.
Rag Mamma Rag: Fun n’ fruity. Levon singing at his best. The lyrics make no sense and don’t need to. It’s a rollicking roller coaster of a song that threatens to go off the rails at any moment – and never does. It’s songs like this that demonstrate the tightness of a group – and these boys were.
The Night They Drove Old Dixie Down: First time I heard this song it was Joan Baez’s version. And it pales in comparison to the original. Levon’s accent coming through, the history – however made up it is – made real by his accent. It surprised me when I eventually learned a Canadian wrote this – Robbie Robertson. But after awhile I realized his distance from the subject matter allowed him to make a song that was perfect Americana.
When You Awake: A lesser known deep cut for sure. I have their second compilation of greatest hits – the first being Across the Great Divide. No cuts disappoint. None. Including this one. There’s a carnival aspect to this song that makes it endearing, and draws you in. Rick Danko, though not the best of singers, takes the lead on this and does it justice.
Up On Cripple Creek: This is likely my favourite Band song of all time. Garth and his clavinet were truly the stars of this song,and the playful lyrics draw the song along. I mean, a song that waxes poetic about Spike Jones? How cool is that.
Whispering Pines: Manuel’s voice is painful. Not that it’s bad, but plaintive, and so, so sad. Again, a deep cut – that is, it won’t get airplay and is hard to categorize. But beautiful? Hell yeah.
Jemima Surrender: Countrified Funk is what this is. Most of The Band’s music is hard to categorize other than ‘The Band’s music’, because they defied categories. Jemima does this. It has a funk drive but a definite country instrumentation and sound – Levon will always be Levon.
Rockin’ Chair: A lament on aging? Not sure, but sad just the same. The harmonies? The soaring instrumentation? The sad and ‘looking back’ lyrics. Robertson paints a picture like no other.
Look Out Cleveland: One could almost call this straight ahead rock and roll – but like with all Band songs, including those on Moondog Matinee, there’s too much texture here to call it ‘mere anything’. From Danko’s reckless singing, to Garth’s freaky organ playing and Robertson’s killer guitar licks, this is a classic. And again, not mainstream Band material.
Jawbone: For me this is the least of the cuts on the album. It doesn’t go anywhere and I don’t find it compelling. This might be a reason why it’s not included in the 5 disk greatest hits ‘A Musical History’.
Unfaithful Servant: Rick can sing, don’t get me wrong. But his voice is not kind, it’s emotional and it hits the lyrics hard. He does this on Unfaithful Servant. With the New Orleans style horns, the plodding rhythm, it sounds like jazz gone wrong. And it works.
King Harvest: Americana again. Hard times a plenty. Failed crops, burned barn and carpet baggers taking advantage. And the repeated bridge of ‘King Harvest is surely come’ and then Richard rocks out again. A truly exceptional picture painted by a truly amazing band.
All in all this is one of the most amazing albums I own – and I have over 1000. What makes it special is that it encompasses an era – two, actually. It’s so much of the late 60s, and seems to speak to a much earlier time. This comes from Robbie Robertson’s fascination with American history, and his ability to filter it through his Canadian sensibility.
All-in-all, a very interesting exercise, and something I think we're all looking forward to continuing.
