1975 San Francisco, CA Kezar Stadium SNACK Sunday ,
March 23, 1975 San Francisco, CA Kezar Stadium SNACK Sunday , ...... J.t..t.r ~ s.t.,Mlr.1, 1'75 Neil Young in SNACK
~·olk-rock sUlll'n-lar :'\e,I Krtth Younq, the Ooobie 81ulll1'r,, and the ~liracles huve been Promoter 8111 Gruham, added lo the Sund111 111 announcmg Young's :>iACK benefit concert rcir booklni:. noted thal the the S.F. sehools' sports and seven-boor show's roster Is cultural programs. in Ke- now complete zar Stadlum March ZJ be gmnmg at 10 a m Joan Baez, Jerry Gar cia. TW'er of Power, San Jommg Youn11 wtU be tana, Graham Centrnl Sta· drummer Levon Helm and lion. Jeffen;on7Slarshlp and bassl•t Rick Dan!.o of The others have already been Band and KUilansl Ben JIIIIOllllCed.
16 Ollla•b ltrlbunc Mon., March 24, 1975
Brande end Dylan Starsof SNACK1
Are You Ready For The Country Ain't That A Lot Of Love Looking For A Love Loving You Is Sweeter Than Ever I Want You The Weight Helpless FROMENGI..AW Knockin' On Heaven's Door Will The Circle Be Unbroken SNEAK PR~ Rick Danko – bass Bob Dylan –guitar, piano, harmonica Tim Drummond – guitar Levon Helm – drums Garth Hudson – keyboards Ben Keith – pedal steel guitar Neil Young - piano, guitar
Notes: Broadcast live on K-101 radio. _.. THE PEARLFISH ERS t,yGeorgos8int IN ENGLISH produced by San Francisco Opera Kurt Herbert Adler, General Director at the PARAMOUNT THEATRE TUESDAY, APRIL 8 al 8:00 P.M.
.8 Pwt lV-Tues.,'Mar. 25, 1975 l.llf ... )!OBERT HILBURN $200,000- SNACK Time--A Line-Up of Who Needs It? Talent in Live Stereo . Bob Dylan made a surprlae vl!ll Sunday al Kezar Stadi- um In San Francisco during a benelil concert to help that ECENTLY the San talent to raise more than F~f (in stereo) and K-101 etly'I financially troubled echool syatem, but the week. R Francisco School biggest aurprtse came when the San Franctaco Board $250,000 for the students of AM (1010) plans for KQED· em Board, in an e!fort to re- San Francisco. (SNACK TV to carry the picture in ol F.ducaUon dlacovered an 'extra' $2.1 million In one of duce the school .budget, Ila accounta. lhua leaving stands for Students Need color were cancelled short- announced there would no Athletics, Culture and ly before press time. organizer Bill Graham won- longer be after-school dering If his concert reeelpta Kicks.) sports, extra-curricular ac- The 24 microphones on -an estimated $200,000- tivities, elc. are really needed. Santana, Je(!erson Star- stage will be blended down ship, Jerry Garcia, Eddie into two stereo channels. Graham. the rock produ- A few individuals Palmlere, Neil Young, the cer who put together the stepped forward and of· Doobie Brothers, the Mira- K-101 will be featuring concert which attracted fercd to help: among them cles, Joan Baez, Graham interviews with many of the aome 60.000 peraona, said he was Bill Graham, the rock Central Station and Tower• performers between the will hold lhe money In trust impresario who molded the numbers. Some of these until he can discuss Its fate of Power will entertain a San Francisco rock music sellout crowd of G-0,000. will be recorded live by K· with the artlsta and olhera scene through the GO's and 101 disc jockey Stefan Pa- who contributed to the Ke- 70's. The nine-hour concert nek; others were recorded ar Stadium event, "The will be broadcast from 9 during the past week. only thing I know at this He bas packaged a show a.m. to 7 p.m. live on radio point Is that It won\ end up called "SNAOK Sunday," · wilhout commercial inter- There will also be com- Bill Graham in my own bank account,' which takes place today at ruptions. mentary on the audience he said. Kezar Stndium featuring a and artists during the Dylan's unscheduled appearance came as he joined Neil· line-up of music greats who The show will be carried lengthy pauses between tbe !oung in a ~minute set that closed the all-day show alao will donate their time and simultaneously on K-101 variop_SJl.C!t. featuring auch major, largely Bay Area-baaed rock acta as lhe Grateful Dead. Doobie Brothers. Joan Baez. Santana· IIJld Tower of Power plus guest appearancee by such nen' musical celebr!Ues as Marlon Brando, Willie Mays. John. l3rodie and Gene Washington. Besides playing harmonica, guitar and piano on some or Nell Youngs aongs, Dylan sang his own 'l Want You' and "Knockin' on Heaven's Dool" and then joined Young and the backing musiciana (including Rick Danko, Levon Helm and Garth Hudson from the Band) on 'Will the Cir· cle Be Unbroken.• The benefit concert-nicknamed SNACK, standing for Students Need AthleUea, Culture & Kicks-was scheduled by Graham. best known as the man behind lhe Fillmorea F.ast and West, to help pay for the athleUea, band and oth- er acUvtUes trimmed from the spring semester budget to help reduce a $9 million deficit in the San Francisco echool system. Decision for the Fund-Raisers Though Graham has not spoken to school district olfi- cials since the announcement late Friday that $2.1 million in •extra• funds had been discovered. Graham expects to look into the legality or whether the money must still go to the school system or can be used for another purpose. 'l hope, In the end, to turn the decision or where the money goes over to the people reaponsible for raising it-the ar- tists who drew the 60,000 people to Kezar,' Graham aaid Monday. When the news was announced that the school system had found the extta $2.1 million tucked away in an ac- count labeled 'delinquent taxes.' there was an iniUal surge or disappointment among the artists who had rearranged their schedules and donated their Ume for what seemed to be an empty exercise. 'But I told them, 'What if someone in your block has a eertous accident and you decide to throw a party to help cover the tremendous medical costs, then on the night be- ,fore the party the doctor rushes into the planning center and says the patient has suddenly recovered. You don't feel bad. You feel good for him. You have the party and use the money for something else.' In the same way, we knew there were still lots of causes needing money.•
Collection to Aid Indians After the school district funds were found, Graham did, however, decide to announce that all the money collected at Kezar Sunday would go to aid US Indian causes. When Brando was informed of that plan. he decided to attend and lend his supporl All 60,000 tickets had been sold in advance. ao the money raised Sunday ~ strictly in the form of spot donations. Though Graham had voiced discouragement last week that the city itself had not reaponded better to the cause (the tickets didn\ begin selling until some major acts- e.g.. Nell Young-were added and Graham said not one parent, student or teacher called to say 'thank you' or to offer assistance), he called the event Itself the proudest JDOD1ent in his professional life. The often crtUcal, outspo- ken producer had nothing but praise for both the artists and aew that 'handled the day's massive logistics. 11iraculously, the show went through all nine acts and the aeries of celebrity guests right on time It started at· 9:01 un. and ended at 5:59 p.m. "The perfect show." Gra- ham said Monday, 'the perfect show.' The only thing Jeft to decide ts who geta the money.
November 24, 1975 Hartford, CT Civic Center Arena Rolling Thunder Revue ..- ' HARTFOR CIVI CENTE 111-w • D i H,irtford, Connectrcut .....,.a,lffl NOV Mon. Eve. at 9:00 ~ (:.) ~ ROUING ~ E THUNDER REVIEW R{!ck/Thunder' Is Roaring Success u 24 troductlon for Ramblln' kept the tempo up with in the Wind." 'Ibey did rive (_) ~ t 97!5 ADMISSION $8.50 J. GREG :bBER™>N. TA.ll lHClUO!O The Rolling Thunder ~C:i1 ·:: ~·;,a~~ it~f :::t, i:~re=:~ ~~l~,~~'~::J~or befon Revue, which has been rum did three numben includi"I be.It of theae. "A Hard "'Diamonds and Rust' 1 blln1 melodiously around one o1 the best sonp or tbe Rain's A-Gonna Fall,'' performedanacapella\'OCII evening, a long IOlo on "'Ille Dylan sang with the a~er lour de force with "SWffll ::ekJ.E:ft!!"rn~n H~~,:~ Uon Ruin lhe Barranca.'.' Mooday a, , rull.fledaedtaJ. Dylan himself came on !a"f. i~~~s~~: vt: f:h!~-:l~~l~'of7;; ent storm. lllKe unannounced but tbe llnist. Scarlet Rlver1, :l°'ned most beautifulVOtCe:S extant. A H1rtlord Civic Center crowd's roar was Inst.anti-. capacity cro,.'d ol 11,837 was ous. Arter a duet version of ':;n~e-~ch:en:~ J: in~t.~~~ ~ tttated to nearly four houn "When I Paint My Mane,.. ~Ii~~: piece" Yt'ilh Neuwirth, Dylan "~ft:~~:r":\~~;~ion. !:d~ ~~:~:n:;~~~: :~\~rtlll~1:~~:~ and the band rolled Into a the curtain came up on solo of ·'PISstonate Stra111= Blei. R.ambtia' Jack Elhou. Dylan and Miu Baez sharing ers. ·• Roeer McGulnn. Bob Neu· ~1rA ~!!":e~~~?~ a microphone ror "Blowing Folk and jau guitarist wirlll. Ronee Blakley and Sandy Bull reeelved pohte w.'Rt:\::i.~l),;/tl::~ applause when be was Intre- Gin5bur&, f~f1: ~tu:f~=':fn: i: An excellent group oC 10 stnunental .solo. with ptr· backup musicians, smooth cusslon counterpolnt111g, on "'line, and my good sound the oud. AS he shifted from ::ment aod enginHring Arabic-Indian 10 "disco" The ~11u:.·~~~iod :rr!:y :.:::e. i::: j~::b :: rnends ohow ro1alned the Miss M1tchell. basic IOrll format u •'hen It Roger McGuinn ripped off ot)tOed In Plymoodl. Mus., a few rock and country num- but the bop were wor1
December 8, 1975 New York, NY Madison Square Garden Rolling Thunder Revue – Night of the Hurricane
...... r.M1arnmadAl NEW YORK (AP) -Bob Dylan While All WIS on Ill~~ h' BenefitConcert December8at8PM brou1bt hla Rollin& Thunder :;:le\\',:' hae:3Yt;0 t!ft~:o~ I Revue to Madlton Square Garden Dylan Is this big." !:~!'?,b(n t~:!h~\~ c!i~:; Tic~~oo~~Monday ree a benefit concert Monday Correctional Institution for Wom· December l atlOAM , • boxer Rubin lheec:i:~~c~ ~.~~~,.~~~a~ en, whereone-thlrdoftheinntata t#J ~n~~~~!P.~: tin Luther King Jr., waa In· are men. Carter'• wife, Thelma, rtUCU SlUO.IIO - IUMIT2TICXITS,t:ll"ll:SONI ;,,;.,,,..."'_ Dylan ,tarted the tour with troduced on stage but did not and daughter, Theodora, 11, also Tt
ROLJ...JNC STONE.J ANUARY19 , 1916
Cate Bros.
Asylum 7£1050 "Livin' on Dreams," "Time for
by Bud Scoppa Us," "When Love Comes" and
Ten years ago. Earl and Ernie "Can't Change My Heart"- urging you simultaneously to Cate were playing the same Ar- kansas bars as Ronnie Hawkins gel up and dance and sit down
and the Hawks. While the and sigh. There's not a dud on Hawks have moved on with the album and the perform StanJin'On Dylan and on their own as the ances match the material ( al ~\ '.\loun1;iin Tor~ Band, the Cate boys have kept though the band-now a four- toiling away in those bars. But somewith the addition of drum- [n,11.• l'ah.· recently, at Levon Helm's urg- mer/singer Cagle and bassist/ 1...-aJ \",..-al. 1:1,,-,rk I.IL.o Pi.'""• ing (Helm is the uncle of Cate singer Albert Singleton- LulCoh· Bros. drummer Terry Cagle), sounds even better onstage, \\,-.11 ll.srn,,,,,n. l.,·~1.I (,ui1ar the Cates were signed by Elliot churning with an urgency that T,·m l·.,i:1,- Roberts and Ron Stones's belies the players' poker faces). \".,"·"'I ll"'r""''" Lookout Management and by Though their roots are closer Sr"·"~· l-",rr-·r Asylum. They've recorded .Jl to Fayetteville than Memphis. (tuil~u terrific album of lean, taut and the Cate Bros. embody much of ll:" iJ l·u,h·, infectious Southern R&B in an the energy and sound of late- overdue and well-deserved pay- Sixties StaxNolt music, with l 1.'1, in-i·•· 1•t..'111,, off for unrewarded labors. an emphasis on Sam and Dave L,···n.•nll dn1 (especially on "Can't Change llnan,, (l.'oun"...._,. ,,( t:11ritul R"'·un_l,, You can hear the bar-band experience on every track: the My Heart") and Booker T. and Kl.1n"" \',·•onn ..,n Cates waste no time in getting the M.G.s (for their overall 1'3,, to the point, and there are precision and economy). The ( i..11' (."ol·,·man plenty of rhythmic gut-grab- Cates have remained close to a \'il"tl--..., rn'\.·u,,inn bers, melodic twists and witty significant source, added ele- punctuations to hold you once men ts of recent soul styles
they've got you. Earl is a won- (Green. Sly, Wonder) to their derfu11y understated and fluid own pop and soul ideas, and guitarist of the Steve Cropper molded it all into a rich, ebul- school ( Cropper produced the lient mix that must make Uncle album, and quite effectively); Levon long for the old days in his fills and solos snake out ef- the Arkansas saloons. fortlessly. Brother Ernie at- "Union Man"' is apparently tacks his battery of keyboards the choice of the R&B stations, as if they were so many hand but "Can't Change My Heart," drums, and he's a truly gifted with its reggaelike lilt (I'd wa- singer with a distinctive sound ger these guys never heard of
that reca11s Al Green, Little reggae), the delectable "Livia' Willie John and a relaxed Wil- on Dreams" and "Standin' on a son Pickett. Ernie's coarsely Mountain Top," which falls silky voice works equally well somewhere between the dock of in scorching footstornpers like the bay and Big Pink, would "Union Man" and midnight sound al least as seductive on wails like "Easy Way Out." the radio. Cate Bros. is an None of the ten songs (a11 uncomplicated, captivating al- Cale collaborations) arc utterly bum from the best Southern pretty or utterly throbbing; band to come out of the woods rather they're combinations of in 1975. the two. with the best ones-
JOEL BERNSTEIN, guitar JACKSON BROWNE, background VOGJ/s CRAIG OOERGE, keybcards
TIM DRUMMOND, bass LEVON HELM, drums BEN KEITH, guitar CAROLE KING, keybcards RUSS KUNKEL, drums DANNY KORTCHMAR, bass/guitar DAVID LINDLEY, guitar/violin LEE SKLAR, bass STAN SZELEST, keybcards JAMES TAYLOR, vOGJI
This album from David Crosby and Graham Nash is gen ... TAPE! erally acknowledged as one of the finest spinoff projects from "Crosby, Stills, Nash & Young". It was originally DAVID CROSBY released in 1975 on the ABC Records label in America. The lead track, "Carry Me" was a minor hit single in America reaching No 52 during November of 1975. &GRAHAM NASH As can be seen from the credits above the album had a "WIND • THE WATER'' stellar line up of talent especially the background vocals ____ IIIIUll.f • lllACK .. WSITTl ,m llUITIC supplied by Carole King, Jackson Browne and James ---·-Wl•.vu.mc•mm Taylor. Band drummer Levon Helm can be heard on the r, J I'll track "Fieldworker" whilst legendary session man Russ ~IPI.~ Kunkel is probably drumming on all other tracks. Keyboard player Stan Szelest was also a long time asso ciate of The Band.
SATURDAY,Bllplm•N.Y. A-11,1111 Poco has a winner HEADOVERHEELSA~. · Poco'a llnt 1Jbam cm I new reconllnc label la I wiMtr. 'Ibey have oome blclt from ID 1werqe llbum, "C.onlomol,''1 which followed "Poco 7," the lint llbwn ofter lbe deporture of Rlcble Fur1y. It toot awhile al!er "Poco r• was releaed to skip bop 1,. 1111t Fm-ay'a vocalt mlpt-u DIIOWbere. WbeaeVer Poco wu mentloned. Furay C11De lmmedl1tety to mind.• Alter living with the llbum llld llltml,w lo It in Ille rlsbt penpective, "Poco T' mw repre ... ts a ,...i" UIIJlll ef· fort by lbe mw lour-memberedPoco . However, when "Canlomos" was released it put a damper oo my enthusillffl for the group, which wu a1.. 1ys present up to that point. In "'Held Over Heels" Poco is back oo the rilbt track. From the opening sweet lwmonles of "Keep On h
SUNDAY, AUGUST 24, 1975 J.m lllnadd 1liffln CALENDAR - the bearded figure with the guitar, probably Though the popular success or the album may well Rock 'Ii Roll thought lwtlnn WU ~ ..... IUY chaling an lmpc6- depend on how well audiences are able to accept tu lible. Umewastlng droam. eclecllclsm, It almOll certalnly will end up as a favorite But one of the peop1t who did happen to hear so,ne among mulllclana. Some cover versions or the aonp of llartines'I tapes WU a guitar col1fflor Bob Dylan oetm likely. 'Saturday Night." a oong that captures the happened to viii! a few months 18"· The colltctor mindless. Saturday night honky-tonk spirit IO well It Years of Tapes played a tape fer Dylan who found the sonp IO lnter- would hav• been Ideal ror Randy Newman•, 'Good Old estlng he later mentloned them to Roblio Roberlaon, Boys" album, Is one or th• album', moot accessible the leader of the Band. tracks. On hll next viii! to the cou.ctcr, Roberlaon asked The aong, which hu such a festive, authentic ar- Made at Home about the tapes. Roberlaon, too, was fascinated by the rangement that It could have been t.akon straight from sophiltication of Martinez's melodies and guitar play- a lively Bourbon St jam, hu both humor and a bit or bite: ing, and the maturity of hll lyrics. H• arranged to Hm U Is Soturdey night m
- albums In a long time. appeUte that could be equally at homo BY ROBERT HILBURN Since a new Band album wu long overdue, Robort- with Or. John or Maria Muldaur. white aon felt he couldnt devote the lime to produce an al- 'Bo Everything" is a compelling ballad bum with Martinez, but he began t.alldng to several of •When I started going to the downtown library u a teen....,- to pther material fer IChool projecll, I not· his producer-friends to oet If any of them might be In- ::t~:1~~r.1:1::i'v.:::1~~::r. Iced that rd ...... of the same people In the library terested. The more Robert.Ion talked, the mere he menl with much of the vip of Stevie almOll every trip. They wm UIUl!ly older men with became enthused about the project himself. So, he Wonder• "Yoo Ain't Dono Nothin'." Nmpltd clothing who lived, porhapo, In a laded hotel eventually produced the album. The result ts "Hirth While the writing becomes a bit distant nearby. They limply oat at one of the tables. wri~ In From Earth," a work of .....Umes uneven, but often when he wanden too rar Into the cosmic, spectacular result£ It is only the second Ume Robert- notebooks er on - """" of paper. When It WU Martinez's phrasing Is convincing <••on II time to leav•. they would c:olkcl what they had writ aon-as respected a figure as we have In pop and rock his actual voice oetma a bit rough at ten (a shopping bog wu a mere lilt•IY container than a mulic-has lent his name as producer to a non-Band limes) and the instrumentation is excep bridcaoe) and rttum whalevor ft!OffllCO boob they album. tional. As a guitarist. Martinez atllCks had pthmd that day. They would Mum to the same Since the lint Robortaon-producod album was the space rather than. as ,o many do. simply spot the next day and ...... ,. writing. much heralded debut by Jesse Winchester, a writer In tries to fill the space. My lint inltlnct WU that they had )Ill found their so,newhat the Southern roola, country-tinged style or Alter the Roxy show
aspiring IOllgwriten do. Some of hll friends ,ay he wu strength of the album Is In Ill refusal to be limited. ll'I limply too busy writing the aonp. H• did sing and the crallamanshlp, rather than the unity or style. that play guitar on a few afternoons at a Laundromat holda the album together. It Is, In aome ways. a aollta· owned by a friend, and he hu sung -• of his aongs ry. Independent wcrk. There sre con,mercial strains at an asylum where another friend Is eemmlued, Oth- that Nn through I~ but there Is a strong oense or laola- erwise, his chief audience has boon his lape r«enler. llon. He, 10mehow, makes you enter his room and his Song writing-and UFOs-wu his pas,ton. world. The reference polnll are 10mellmes UFOs and It's easy, then. to ... how the peopl• who might hav• other COlmlc forces. But th• actual themes ro the aongs stopped by the houae-e.g. the postman-or the peo are love, lonellnea, search. celebration. ••en aome ,o. ple at the Laundromat, who paused between IOrtlng ctal comment the cottons and the polyesten long '"'"'8h to even
RECORD WORLD JUNE 28, I 91S HIRTH FROM EARTH HIRTH MARrlNEZ-Warnu Bros. BS 2867 16.981 Easy FM airwaves are in for a treat with this gentle, yet stimulating teaming of Martinez with the production capabilities or The Band's Robbie RoberlSon. A sophis ticated country feel keeps the sounds compelling and dynamic while maintain· ing a folk rock ambience. All cuts are appropriate for FM favor.
Altogether Alone / Do Wrong Shoes - 7” single issued by Tower Records in Japan in 2017.
UCOJO WOUO MAJCH I, 1975 • Levon Helm and Garth Hudson of The Band joined Muddy Waters at Bearsville Studios in Woodstock for a few days at the beginning of February to help Waters with his next Chess album. Paul Butterfield and Fred Castor also lent their talents, with Henry Glover (from the Ronnie & the Hawks days) producing. They reportedly laid down tracks for some classic blues and r&b numbers, among them "Kansas City," "Let the Good Times Roll" and "Caldonia."
BITS & PIECES: Muddy Waters, who 1ust finished recording his nexl album m Woodstock with members of the Band is pictured here with (lop) Pine Top Perkins, Levon Helm, Garth Hudson, Fred Carter, and (bottom) Bob Margolin and Paul But tertield. The album. which was recorded at Bearsville Studios wasp roduced by Henry Glover of Ronnie and the Hawks fame. Titles from the lorthcoming album include .. Let The Good Times Roll. 'Caledorua." .. Kansas City." and ·For Souirrel In A Tree
Pine Top Perkins, Levon Helm, Garth Hudson, Fred Carter, Bob Margolin, Muddy Waters, Paul Buttertield: Quite an impressive band.
THE MUDDY WATERS WOODSTOCK ALBUM Muddy Waters Chess CH 60035 Producer: Henry Glover When a blues legend hke Muddy Waters goes back lo Woodstock where rock music really grew up and records an album ,t is truly a special event Muddy whose downhome voice and guitar work have been an mso.ratron to nearly everyone in 1he business has never sounded better lhan on his latest on Chess Backed by a very fine band wruch includes the likes of Paul Butterfield on harmonica and Garth Hudson on organ adds up to make this Muddy Waters hnest effort to date Travel along the road to Woodstock with Muddy as he sings from the gut on Why Are People Like Thal Born Witt, Nothing and Catoorua
noe l>YI.AN frOfl t.h~ anlris 3tHJ us<"R nf the t-lrult:cr:J. In the uveut, I enter 1•. O. tux: 2611 Coope,· S ~~ tion lnto .on ne.recmcuc w1ch a chlrd vnrcy with respee e co m:1nuf.,ccuro. lh.-w York, 11cw 'tnrk 10003 sole and dl:..tribuUon of phonogrnph rccorrl~ m.'1dt! from th.»- >t:uir:cr.s.
dated ns oC: June 9, I 111s or Any oth~r diDpocition tboroo£, I Rh~ll hnvo the rltht co cUU$C
ouch third pRrty to Jl"Y your share of net. irn.:o.Ae derived Mes:;rs. Ja1Clrvby ontl ,ay entire!' uncierstnntling ,1tnd :shull not be 1nodificd, altorcd or you nnd I sell, crnnstcr ona o•n1gn ro CBS nll ri&ht, title nnd a11Pn<1cct unless 1n wrlLlni; aii:ncd by you ""II by me. · 'lhts agreement 1.ntur~i;t: in ood to cc.rtoin mo::.tct n:cordtugs ("M.a~c ,·r1.:11) C\.ilboJicd shall be binding on 11nd inure to thP. benefit of your uutl my 11THE on cbc douhlc• LP ,phononraph J. lo Ilic event I lc(l~c, li..cc:n.'•cc., trtuua£ur, Gell, "o~itn Levon llclm or od1cn•ian dinpo:ic of t.hc tfootc1.·o, I o&,rcc co J)DY Ot' c:rncu to bo i'ichord J):mko Jun,, 25, 1975 ~ July 7, Columbia Record.av:Ul iaaue th@ ID08t tmoua album.~ve r releued. The Basement Tape,, a joint effort ot Bob Dy'lan and The 8111.d, recorded betwen June and October 1~7 in tbe bueaent of Big Pink, a houee in Weat Saugerties, Nev York ninted by ecee JDember• ot The Band, vu the product of a p&rticu.larly creative period in Dylan'• lite u he reated in up,tate Kev York tollowi.na bia near tragic motorcycl.e accident ot July 1966. orten bootlegged in tonM that had only poor recorded quality in cazmon, the otticial veraion of The Ba.aement !!I!!! vil.l fin&lly be available in a atud.io guality form, vi.th all tracb on the Columbia package having been remixed and remutered to brl.na: out higblighta, to 1barpen tones and to remove te,pe. bin. Twenty-tour •ona:• vill be included on the tvo l,,lbua Ht vh.ich vill ll•t tor $9.98, Cm. ,uteen ot the track.a Dylan ai.np lead, with r::aembera ot '!'be Band singing lead oa the other eight. The •ons: titles to appear on the albuma are u tollova: "Oida and Enda" "Orange Juice Blue• (Bluea tor Breialttut)" "Mill1on Dollar Buh" "Yuoo Street Sca.nd.al" "Goin 1 to Acapulco" "Katie' a Been Gone" "Lo and Behold!" "Beuie Smith" "Clothe a Line" "Apple Suck.ling Tree " "Pleue1 Mr,. Henry" "'l'eara ot Rage" "Too Much ot Jtothing" "Yea! Heavy and a Bottle ot Bread" "Ain't fto More Cane" "Craah on the I.ewe (Dovn in the flood)" "Rube.n Pl!DN.a" "Tiiu' Montaamery" "You Ain't Goin' llowhere" '°Don't Ya Tell Henr;y" BOB DYLAN & THE BAND jOIJl··· ...... -J.!'::!.-,. ___---- ..· -, --_ ---_ .. __._ .. -----· ... _,..------_ IECOID WOILD JUlY S, 1915 Sat, July 26, 1975-Part II 5 ' ColumbiaTo Release ROBERT HILBURN 'BasementTapes' LP • NEW YORK Columbia Rec ords is preparing to release a Dylan Songs Out of the Basement tworecord set of Bob Dylan and the Band's legendary "Basement I don't recall now the name of the caller's favorite bands dominate the airways these days -that they began to ex- Tapes." The material was re· (I think they were along the lines of Ten Years After and plore the old tapes. It finally seemed time to release them. corded in sessions between June Deep Purple). but I do recall the nature of his argument, Reportedly. there was even some brief talk about record- and October in 1967 in the up The call came during last year's Bob Dylan/Bandt our and ing a new "basement"tape album-nott he same material, state home o( The Band known the caller felt, quite simply, that I was devoting too much but new songs in the same quick informal style. as Big Pink. attention to the tour. He In putting the two-record set together, Robertson lis- 1ncluding 24 songs in all, the thought it would be fairer tened to hours of old tapes. Besides the official "basement" double Ip set includes several to write one article on Dy- tapes, Robertson listened to other tapes recorded by Dy- songs and performances which lan/Band, then one on, say, lan and the Band during the same period, including cover have never before been available, Ten Years After and then versions of such hits as Johnny Cash's "Folsom Prison on bootleg albums or otherwise. one on Deep Purple. Blues." The resultant album (Columbia C2-33682) contains "The Basement Tapes" set is due 18 Dylan songs (two co-written by members of the Band) for release by Columbia al the be The point I tried to make ginning of July. to him was that it is more plus six songs Written or arranged by the Band. At one The personnel on "The Base important in the long run to time the latter were all apparently considered as possible ment Tapes" album consists of write about subjects of sig- selections for ''Music From Big Pink," Bob Dylan (guitar, vocals), Rick nificance in a given field Sound of the Jam Danko (bass, vocals), Garth Hud (e.g. Dylan and the Band in Since most of the Dylan material is familiar to even son (organ, vocals), Richard Man pop music) than simply di- r , those who don't have the original booUeg albums (all but uel (piano, drums, vocals), Rob vide space among the va- two of Dylan's songs are included in his "Writings and bie Robertson (lead guitar, vo rious popular bands of the Drawings" lyric book and most of the better ones have cals). The material on the album day. I tried to emphasize been recorded by other artists), the chief interest In the was cut live, without overdub· this by saying we'd all be new album-aside from being able to hear the songs free bing, and has been remastered better off listening to the (or release on record by Colum of the old surface noise-is in the musical perfonnances. kind of ragged stuff Dylan "Apple Suckling Tree." true enough. is the kind of simp bia. The recording sessions which and the Band·di d in their basement rehearsals back in resulted in "The Basement Tapes" ly joyous. spirited musical exercise that one might have Woodstock in the 1960s than the latest, polished studio al- expected to stumble across-if lucky-after hours one look place following a national After tour in 1966. bums by Ten Years and Deep Purple. Outraged, he night at the old Ash Grove or wherever else musicians Columbia has planned a major hung up. I guess he had never ~1eard of the Basement gather for their own pleasure. A freedom from deadlines merchandising campaign in sup Tapes. - and other recording studio pressures enabled Dylan and port o( the release of "The Base Big Pink's Basement the Band-a group that was just rounding into its own ment Tapes." "The Basement Tapes" was the name given to the series musical maturity-to come up with some truly inspired of songs Dylan recorded in mid-1967 on a home recorder performances in the Big Pink basement those nights in with the Band in the basement of Big Pink. the house in 1967. upstate New York that later became famous itself because The album. in fact. reflects such an inviting' lack of inhi- of its mention in the title of the Band's first album (''Music biting self-consciousnessthat it tempts one to say musi- From Big Pink"). The songs, mostly recorded in just one cians just don't sing and play that well for money. but or two takes with little or no formal rehearsal. were put they can for themselves. Dylan's vocals move freely and on "demonstration"records and sent to artists and produ- conVincingly from the western narrative of a song like cers who had expressed interest in recording some of Dyl- "Lo and Behold" to the spunk of 'TinY.Mo ntgomery" to an's songs, the Johnny Ace-like, 1950s R&B style of ''Nothing Was Because of the enormous interest surrounding Dylan's Delivered." There is humor, bite and comment in his work. it was only natural that some of the "demo" records songs. The Band's support-both in the instrumentation found their way into the hands of booUeg record-makers. and the occasional harmony-is textured in a way that Though there was a Jot of surface noise on the bootleg co made its own emergence inevitable. pies. "The Basement Tapes" comprised the basis for the The Band's material is highlighted by •Ain 't No More most famous of the hundreds of bootleg albums released Cane." a song with a sense of Southern musical-social his- in the 1960s. tory that would have fit easily into the tone of the Band's Though one is always on shaky ground trying to specu- second album. "Orange Juice Blues." a Richard Manuel late on Dylan's reasoning. there has been one line of tune whose arrangerr.ent reflects the primitive country thought that Dylan waited until now to "officially"release and blues mixture of the classic, early Sun Records ses- the tapes because he wanted to clearly reestablish his crit- sions. and "Bessie Smith." a Robertson-Rick Danko song ical credentials (something he has done With "Planet that is far too infectious to have stayed hidden away all Waves" and "Blood on the Tracks") before issuing some- this time. thing from his previously acclaimed period (the basement The timeliness of the ''The Basement Tapes" again tapes were recorded between "Blonde on Blonde" and points up the art in the music of Dylan and the Band. If "John Wesley Harding''). this album's history weren't so well known, it could easily Another source. however, said the decision to release have carried a 1975 copyright tag without anyone being the album was triggered when Dylan and the Band's Rob- the wiser. There is a vitality to the album that defies its bie Robertson heard one of the basement tracks-("Apple age. When you realize an eight-year-old album can still Suckling Tree") on the radio one night and thought the sound so tasteful. it makes you wonder what the rest of ragged. festi.-e nature of the tune sounded so interesting rock has been doing all this time. rd hate to think what -in contrast to the smooth. homogenized sounds that the new Ten Years After album will sound like in 1982. _,··_,.. r~., .. - · •·-·- . ..,...... .....·· · .. , . ••u•,.-- ••·•-•"' ...... c..-..-,,. ··~, _. r,.,.,.-~~··r•·..," ·It ,.., •• 'J' ,-,- ,.,. ... M~u, •. ., .., ,.,.,., ..,,.,, . .,.,, ••·1, ,. 7_ , , ...., .. , ,.,...,,. .... ,...... _ , •• 1 , -,.- •• - ~·• • .,, _,_r ,, ..,, ,..i.e ...... _,,,. .., ,, ...... ··..,·~·-·_,, "· ...... ···. ·~· 7- ---~· .. . , ...... • ... , - .~· ··~·· ••••-"w, -u,,.. ,,._,. The basement of the Hollywood YMCA, 1975 Photos by Reid Miles BOB DYLAN & THE BAND "THE BASEMENT TAPES" PHOTO SESSION FOLIO 8 unreleased fine art prints taken behind the scenes of the cover shoot Fir:t Edition Signed by Photographer John Scheele EARL G www.[ARlcompainy.com fb,.,CoolStutf.com ~·&. . ,... . ~\fi"r .• . •----- ,. ' ,,. . . . ~ - ' . ~, ... ~ .... , :# ~ ,..,,., V' ·: ; ( ~- r- ' - ~ .. ~: • ·---·• BOB DYLAN & THE BAND "THE BASEMENT TAPES" PHOTO SESSION BONUS "ONE SHEET" IMAGE .,, r. l c rr p ny co m copyr,!hl 2014 John Schee e 1;11 r eht, ,e..served ALBUM COVER COPY·cYELLOW) 0 MASTERIMG INSTRUCTIONS~SLUEl O LABEL COPY- ~ •• •h 6/20/75 !"'""""" :>O( (OOfl•O•••l•~IU- ... J I ::.,,- :0.\l ..... ,,,_~ ... T. .. U.l;;' ... ri! C~l••ID '"OLJ .... , ... ' tI· O•·PEM.,.,... 'n!t. DOOR, HOMER Dltut !talc (ASCA.P) i967 I LO:«i !>ISTAIC!: OPEP..U'OR i !>.tart ~le (ASCA.P) 196> " l-:a.E.'yl.an- 6 Tl!Ill WIIEEL'' ar ra CDLl .. ll HCDIDS ...... CDLUIIIA HCDIDS ...... 6/'2[) 75 MAT#1~2 C2 33682 6o4 +.,...~3~ 6o4 C"tlNtAfllVt/10 MlT 12 or 2· c:• .... l'I•• an• (C 33684) .1,.. (C33683) ALIUM COVIR COl'Y AND IIASTHIMG COLIJMBIA - j°~d=r~e lW:llsber c.rdits on Side:::.:::::• •t.• -• ...... ,. c...::::..::.;~~ill~itl..£r;~ii_;:::_::.:.==--=~;;;;;....-.:.:;:-;AL:':3~368:;;:3:---- ••- 2 • 12" R>pul.ar AL 33684 BOB DYLAII & nm BAltD BOB DYLA!I & THI BAltD nm BASEMEIIT TAFBS !=....~.~. ~.~~~.~~...,.,,....~ THI BASEMENT TAl'BS .:i •• ~.;:. . • ·· ... · .. · .. ·· -·--·------·------SIDE :lll Dwarf *81c ~ Clll>S AJII) BJID8 1970 ·,...... , (ASCAP) 1 LO AJII) BE!!Olll I . owart Jr,bsic Dlfart M.l.lic aw«lB JUICE Blll!S (Blll!S Fell BREAKFAST) 1968 (ASCAP) 1967 (ASCAP) BESSIE SMinf Dwart Music DWart Jiillaic IIIW~ DOILAll BASii 1967 (ASCAP) 1970 .• (ASCAP) -.11 • 3 CLO'fflES LINB SNJA Dwa.rt *t:ic Owe.rt JrtllSic YAZOO STRUT SCAIIDAL 0 (ASCAP) 1970 (ASCAP) · 1968 ~ APPIE SUCKLING TREB Dllart litlaic Dwarf J,llaic . (ASCAP) GOIK' TO ACAFUICO (ASCAP) , 1975 1970 - 0 5 PIBASB, MRS. HENRY Dlart MJ&ic Dwart ,t.iaic (ASCAP) ca nm• a BBII' Gaat 1968 . 1967 . . (ASCAP) - • Q ~ C1fRAGB Dwa.rt Jt.taic (ASCAP) 1968 Mll,llLlla NO'a.. BL 33683 BL 33684 ~ SIDE THREE ))tart Muaic YOO Allf1T GOIN' NO/HERB (ASCAP) 1967 TOO MIJCH a, NO'lmr«l owut ~le Dwart l&laic DClf1T YA TELL HENRY 1971 (ASCAP) 1967 (ASCAP) YEA I HEAVY AND A BO'l'l'IB OF BREAD Dwarf Muaic Dw&rf Music NO':l!l'.\G \/AS DELIVERED (ASCAP) 1967 (ASCAP) 196!1 AIN'T NO MCRE CANE ff:NDOO Dwarf r.t.lsic .4 OPEN mE D~, Hc»(!R . -Arranged by itle Bancl 1968 (ASCAP) • 4 • CRASH ON THE LEVEE (DOIN IN THE FLO(])) Dwart lt..taic o.,art ~ic 0 • 5 LOr«l DISTAICB O>ERATOR (ASCAP) 1967 (ASCAP) 1971 • 5 RUBEN REMUS Dwarf ~aic !)fart 1'l1aic WHEEL1S ON FIRE (ASCAP) 1968 ' nus (ASCAP) 1967 :6 TINY MON'IGOMERY Dwa.rt Jollaie 0 (ASCAP) 1967 For Flyleaf' Only; Produced by Bob D,1lan & '!be Band " " " Produced by Bob Dylan & '!he Band =:: ~ ::b!:s!~~~:~nBj.g Pink, Wut Sa erties, N.Y., 1967 Compiled by Robbie Robertson Recorded in the basement or Big Pink, West Sa ertiea, N.Y., 1967 ~~~::~~:.·~~~:t!nur::o~ Anderson, t Jettrey & Mark Agllet~! Recording Engineer: Garth Hudson Mixed at Village ilecordera & Shangri-La Studi • Mixing Engineers: Rob Fraboni, Ed Anderson, t Jettrey & Mark Agllett Mastering Eng11'1eer: George Horn · Hi.il:ed at Village Recorders & Shangri-La Stud! 1 Mastering Engineer: George Hom Ci!) 1975 CBS Inc • ...... ANO 1.-cc, .. 1. ~AC••••No , .. 1,11uc,10.,,, •11c ...... CAT, ....o . 1110,, B.DYLA!I & BAltD I) SELECTIONS CLEARED A1iD IN S~UENCE =====< C2A 33682 1967 1967 C2T 33682 NDI YCIUC NEW YCE{ ,- ...... ='-'-= =~ November 15, 1975 5 Capitol Nov. LPs HOLLYWOOD capitol Records rs set for a five album release in November it was announced by Don Zimmermann, senior vice president. marketing. Capitol Records. Inc "Together" by Anne Murray and "Northern Lights/Southern Cross" by T~IJ,t,:.,• 1 a--V~?C1)tlJli; .. ~..,...,C':.,t:v, The Band headline the November re ltMTN>'C'J..iil.t:.JtW/ r.._-:,f7~·~:tt--J'1'C,2•.-it~t::.•...fll lease. along w,th Radio Activity by West .. ¢< f!•Lt::. ..,.,c--., t1c1>ea•r,.9 Germany's Kraftwerk Easy listening product from Capitol 1'1+*& 9 ...... - _..,: ·· ,..-...... ,. features "The Time Is Right" by the Let •~·J(::.,.... t: F::'i:~:;:~~·~::,.:~·!~"'"::: termen and "The Homecoming" by Hagood Hardy. ** THE BAND !. Pop ~usic ,, /' For the Band Fans, a: c( 0z the Long Wait ~ '3 j Is Finally Over i BY ROBERT HILBURN ! • If even some of its most ardent supporters have . tended to worry about the future of the Band in recent years, the group itself has certainly done little to alle viate the concern. Except for the ".Moondog Matinee" oldies collection, the Band-once widely heralded as America's premier rock unit-hasn't released a new studio album in more than four years. ~ True, the Band backed Bob Dylan on "Planet "'In Northern lights/Southern Cross," the 8and is providing ill audiences with new reasons to believe. ~ :=·~~~ :ia~ r:ey:r~I~ :~~ 'c:'b~~ Stills, Nash & Young so badly-in an artistic sense- DeUver us, Lord, from this golden calf In Danko, Manuel and Levon Helm, the Band has . ffi last year at the Oakland Stadium that it was a wonder People only wont what they can not have ... three of the finest vocal interpreters in contemporary CD CSNY didn't call it quits on the spot. How can 1 tvalk u;ith this ball and chain? pop music. While Danko and Manuel are at their best· :E But mostly the Band-which has moved its personal Hi,w can I land in this hurricane? on the more plaintive tunes, Helm is ideally suited for ~ and proCessional base from Woodstock to Malibu-has . Or is lhis part of man's evolution the earthier, kick-up-your-heels numbers. "Olpbelia" w been in what appeared to be semi-retirement, leaving To lit torn betwetn truth and illusion? and ''Ring Your Bell," for instance, are songs on the · O others-chiefly the Allman Brothers, Steely Dan and new album that are in the "Rag Mama Rag"/"Up on· > the Eagles-to contend for the American leadership in By contrast, "Hobo Jungle," the next track, deals Cripple Creek• tradition that is tailor-made for Helm's ~ rock. with those who have stepped Crom the mainstream in a rough and rowdy vocal ways. Helm has just the right z To make matters worse, the Band's last album of way that causes them to be labeled outcasts, but who touch of grin-and-bear-it conviction in his voice. ~ original material ("Cahoots" in 1971) was its weakest actually may have a keener sense of direction than · Instrumentally, the important thing' abciui' Uie Band artistically and, probably, Ila poorest seller. "Rock of most. The song's universal tone turns it into a gentle is the way its arrangements seem at once spare and Ages," a lwO:record set In 1!112, was a spectacular live ode to anyone who seeks his own-sometimes lonely, · complete. The group knows just when to stop adding album, but it relied almost exclusively on the group's unpopular-path. Richard Manuel's vocal is so lovely layers to its sound. Garth Hudson's use of synthesizer old songs. The Band still needed to give its audience and evocative that the Grammy Award voters should is an example. Though the synthesizer is noticeable on new reasons to believe. remember it if they are really serious about honoring several tracks In "Northern Lights/Southern Cross," it "Moondog Matinee." In 1973, was a greatly satisfying the best performances this year: never becomes unruly or dominant as it does in so look at rock's roots (e.g., "Mystery Train." "The Great many less disciplined hands. Pretender"), but It. too, failed to fully nex the group's Thm was a chill that night in the hobo jungle · But the playing generally on the album-particular- creative abilities. Things 9eellled to grow everr more Over tht trainyard lay a smooth coat of frost. ly Helm'• steady, prQPUlsive drumming-is comfort- tenuous this year as the release date of the Band's Allhough flCbody here reall11 know, where they're goin' able and controlled. Unlike so many groups returning long.awaited new studio album got pushe.d back farth· At the very same time, ncbodljs /ost ••• from a layoff, there are no signs of rust or stiffness. er and farther. Driftm and rounders and distant friends Just as the amngements are nicely balanced, there, The wait, however, is finally ever, and the Band's Rldin' tht rods, sleepin' under tht ,tar, too, is an equal weighing or harsh and soft, sophisticat- fans can rejoice. "Northern Ughls/Soulhern Cross" is . Playin' tht odds from a rollin' bo: car. ed and earthy elements in the album. Indeed, Robert· not merely the fll'St true Band album in four years, In the equally poignant "It Makes No Difference,• son has even divided his canvas between the city (e.g., but, CNCially, the most consistent and penetrating "Rags & Bones,• an ode to the sounds or the streets) Band album since the group's classic "The Band" In Robertson touches on a theme (a love affair blocked and the country (e.g., "Jupiter Hollow,• an acknowl- 1969. There is a sureness and strength in both the by prior obligations) that is so contemporary that It edgement of tbe freedom and opportunity associated songwriting and musical execution that reclaims the just finished winning a song-of-the-year Grammy for with an untarnished land or frontier). Band's position of leadership in rock. the writers of •1 Honestly Love You.• But tho Band While there are elements of'pessimlsm In the album While there Is no need to view the album as more song is such a more eloquent treatment that the judges that quite accurately reflect aome feelings in ,ociety, than simply a collection of interesting, entertaining may want to consider a revote. there is also optimism. It's the same kind of ultimate sonp. Robbie Robertson ts such an accomplished and The 1970s certainly have no monopofy on romantic faith In man's ability to endure that one found in the purposeful lyricist that his songs invite the listener to 'compllcalions, but the changing moral and philosophi- sometimes pessimistic pages of William Faulkner's . look for some deeper meanings and unifying factors. cal values of this era have certalnly added to ro- novels. In the heart of "Northern Lights/Southern Cross• mance's sometimes tormenting intensity. The lead vo- The only disappointing note in "Northern Lights/ Robertso!' and ~ Band ~ at 90llle of the complexi- cal-this time by Rick Dankois so convincing that It Southern Cross" is that the Bandwhich can be a vfg. ties, lrorues and, indeed, disappointments or this "rest- may well be Richard Manuel's only legitimate competi- orous/celebrative unit on stage-(Olltinues in a gener- less age• in America. It's an examination that was lion for a ,-ocalist or the year Grammy. The song deals ally softer key on record. Only in moments of "Rock of touched on in both the "Slap Fright• album in 1970 :'Aiil! the ache of a romance that can't be {inallzcd: Ages" did the group step out dynamically In a way that would capture the affections or a hardcore rock :: !n~ ~ the study Is more concentrated It,,..,"° diffmt« how far 1 go Ian. Thu,, the rock side of the group remains largely By updating the exploration ol the American ....i.:t Likt a ,ear tht hvrt will alwa)II allow Ul)beard by thme who have li!tened to its records. and heri'~""' thal , _ _...._. """' lhnaku 7IO di/fmttewho 1 lllffl • But the Band, In truth. ls not atricUy I rock group. It -~ was ~ In the original "The ""'-'re juJI ca 'a«In tht crowd on a dead~ strttt. ~ album, the rock quintet bas completed the artfs. UK. r combines too many important elements in its music - tic circle in its new album (Clpitol ST 11440) that il •Acldlan Driftwood," a song with much or the tone from country and blues to folk and rock-to be a pri- began in 1969 with such IOll&I U "Acroa the Grut DI· and historical sensitivity of "The N"ight They Drove lOllel' of any one of them. It's a stance that bas cost the ~-~m.· •lun-eJt"and Jbe l\'ilbt They Drove Old Old Dixie Down,• deals with the forced migration of a group some commercial Impact. but It was a decision people (the Acadians who originally aeWed in Nova that has enabled the Band to produce one of the most In the album's opeal,c "Forbidden Fruit,• for in Scotia) In a way that is once a ref1ecUon or their valuable and tnnuent.ial bodies ol v.·cn in oontempon· atance. Robert1on sprats ol bow mat\Y pt0ple these pllght, but uo relates to the conUnued oppression ry pop music. da.11 seem t«n between a deep.rooted emptinea (e~ around the v.1ll'ld. .. In a time v.ilen pop music fans Eelll almost obsessed econcmic, splriluaI) and llw::re&1lng desires/t.emptatiom Where •Acadlan Driflv.·ood• offen Robert.Ion In his with pointing out bow few veteran rock ltar'I hal'e In a way that mam It dlfficuh for one to pin balance familiar role cl story-teller, there is an Intimacy and done ~ In the l970I to mald1 the poWff and Cir penpectitt. 'Jbe lq't tcae, bonnr, it llgbt and' penona1 vision In much of "Northern LlghWSouthem pusian of their work In the 19609, I.he Band enlhusl· 'frl1ral1ler ~ IIIGl'Olt! Cc'OII" that gives it the overtooel ol a IOlo wort by a all can point proudly to "Northern Llghll/Soulhem' Cro&. The Band, unquest.iollabq,Is back. The Irony it Ifill nd ~ • • n.,, Stlll'f ~:==· lklt no lingeNollpriter ever bad • tbail the PMN41 pt:'11:'f qa>. tlloulht cf 8 ... .,.,,,• .,., ,.., ,., .,,.,,, :.':.. Omble a~~~ co praen; M "' ~ ------=-i:aiaa=-==-==-=~~...... ;;i::::;::==:,;;:=~~ cash box/singlesrev iew. THE BAND (Capitol P4230) ' February 14. 1976 Ophelia (2:52) (Medicine Hat ASCAP) (R Robertson) This first single from the chartbusting "Northern LightsSouthern Cross" LP is a funky shuffle in The Band's best foundandlost woman tradition Levon Helm's flop py drums kick the piece along. and his vocal is impeccably mournful. Robbie Robertson plays an absolutely steaming guitar solo. popping the strings until they cry, and this song will hit the charts strong Flip: Hobo Jungle 'I111E 11111\11) Mid. In U.K. Med1c1ne H.t Music Produced br The B111d Ophelia I lohoJun~le QllMT .uTIST / l'WOOUCT I DAil I PU NO...... __ I I ... ~ ....,..,. lNGMtl IW.0. NO. ""'CH.NO.~ NOJSlUOI0•--•2 , .. ,. TIICII TH 16•--•2•TIIC .... ~"'"".., I I I I I ,...... o••ot,G:111 I I I COOi, fS fAI.Sl ...- G GOOD M MASTB s SPUCf TIAClt 1 TIAClt 2 TIAClt 3 TIACK • TIACK S TIACK 6 TIAClt 7 TIAClt I A ~ }.SA-S<" ~«. ~...... J ..... !:1(/t. <;IV -'{>I?, l+IS- (ct:, ~ ~ ~ .... o,lt. ~~~ TIA. Clt t TIAClt 10 TIAClt 11 TIAClt 12 TIAClt 13 TIACK U TIAC1( IS TIACK 16 ~ r,;;;,;; ~,,,.; ~ ) ''11~ 7" ,-,,,L. ~,,, ~•L Ai'F' -e r rr-.. <• '-u )< ~ 11)1!.. Q' TIAClt 17 TIACK 11 TIACK 1' TIAClt 20 TIACK 21 TIACK 22 TIAC1( 23 1'IAOC 2• I Iµ, .. ~ ~ ~ l ~Ol· ~vJ-- c. • cJ11.4 f'\ lf1'-' -\µV ~ TIACK 1 TIACK 2 TIACK 3 TV.a. TIACK S TIACK 6 TIAClt 7 TIACIC I ... ~ ~ -4 .... • - -.:J ", L -~:,,., ,-:, . I< ..... - TIACK t TIACK 10 TIACK 11 rua 12 TIAClt 13 TIACK 1• TIACIC IS TIAClt 16 .;. -+,.) ,... •¥ •:t"' .... . ~ ... .4 .. , - e-, " --, - - - TIAClt 17 TIAClt 11 TIAO: IP U.CK 20 TIACK 21. TIAClt 22 TIACK 23 TIACK 2• ...... u.J.1111 .it,h- I ~ ...... ' -- ' ~- 51~ TU.CK 1 TIACK 2 TIACK 3 TIACK • TU.CK S TIACK 6 TU.Cit 7 TIACK I 'Set t,L.... ,i;::::::. ....; i)1.S +W<> l'-11> ;:- I~ :5-s, ... ~.; ;, .. /,, t,('{11 E: ~ +- 4~ c~ RIQC,. ~ ·V ~S"l< ~~ B-side to Twilight, edited down to 3:48 from 6:41 ROLUNC STONE. JANUARY 19, 1976 The Band's Wintry Tales: Nothing Is Revealed of new songs in four years must a revolution in ideas. words to their author isn't self; even devoted analysts of inevitably be judged. The first Robertson 's new songs are made clear. "Rags and Bones." the Band's oeuvre can have few seconds of Northern Lights set in his native north country, which ends the album. con- only a vague notion of how it -Southern Cross promise a from the "smoky bars and sists of an obsessive catalog of feels to be Robbie Robertson. departure. Robbie Robertson's souped up cars" that comprised urban sights and sounds with Robertson's re-creations of usually clean. cutting guitar the Canadian landscape of his only a passing evocation of the American past have been quavers through a wah-wah youth to the porn theaters of deja vu to indicate what they the most unique and the most and phase-shifter, and Garth limes Square, New York, and mean to Robertson or arc sup- easily accessible of his songs, Hudson is using multiple syn- for the most part they attempt posed to mean to the listener. nnd predictably enough North- thesizers to create an orchestra- lo render emotion directly In "Jupiter Hollow," an ap- ern Lights' most unambiguous like overlay. The entrance of rather than through the medium pa rent dream journey into success is its one historical nar- Levon Helm's voice, its Ar- of characters. Unfortunately, states of mental drssocration, rative, "Acadian Driftwood." kansas inllection intact, pro- the self-dramatization and occa- Robertson notes matter-of- Richard Manuel and Levon Northern Lights.- vides a familiar reference. but sional baldness which marred factly, without seeming to com- Helm are at their mood-sus- Southern Cross only momentarily. The vocals the more personal songs on plain, that "nobody cares when taining best as they take turns , The Band on earlier Band albums tended Cahoots are still present. "It a man goes mad/ And tries to tracing the odyssey of the Capitol ST-11440 to blur into murkily hornog Makes No Difference" wallows free the ghost wuhm." Even French-speaking Acadia ns cnous instrumental backdrops, in emotional excess ("Since "Ophelia" and "Ring Your from Canada to the sugar fields by Robert Palmer but here Levon and the answer- you've gone it's a losin' battle/ Bell," both relatively light- of Louisiana. The lyrics are Cahoots and the oldies LP, ing voices of Richard Manuel Stampcdin' cattle they rattle the weight sagas of mounties, out- direct and earthy. the melody Moo11dog Matinee, weren't ex- and Rick Danko are mixed for- walls") and the down-and-out laws and renegade women, is the most memorable on the actly auspicious developments ward, ringing through loud and narrator of "Forbidden Fruit" come replete with forebodings LP and the instrumental ar- in a recording career with be- clear. The listener realizes dur- wonders, as he wanders past of separation and retributive rangement is positively breath- ginnings as brilliant as the ing the first few bars of music the sleaze palaces of 42nd justice. Robertson is true to his taking. Garth Hudson sur- Band's. Their playing behind the extent to which the antique Street, ". . . is this part of roots in the far north, where rounds the keening fiddle of Bob Dylan on Planet Waves sepia-tinged flavor of the first man's evolution/To be tom window shades stay drawn guest Byron Bertine with the and Be/ore the Flood as well as Band albums was a result of between truth and illusion?" throughout the year and com- sounds of a whining bagpipe on the earlier Basement Tapes their determinedly primitive Several other songs are so intro- ments on the weather arc usu- chanter, an accordion and a has been more accomplished mixes. Before long it's equally verted they're almost antiex- ally answered with that most piping piccolo, while Robertson and stirring than any of their evident that the Band's new pressive. "Hobo Jungle" may noncommittal of affirmatives, adds restrained chordal punc- own music since The Band, and sound is the result of a revolu- be more than an account of the "Ayuh." He expresses pain, tuations on acoustic guitar and it is against these efforts as tion in instrumental and re- death and funeral of a drifter, frustration and desperation, Manuel maintains a burr y sidemen that their firlit album cording technology and not of but the significance of the but cannot really reveal him- rhythm line on clavinct. The chorus sings "Canadian cold "Bones." Until he begins to at THE NEW YORK TIMES. FRIDAY. DECEMBER s. 1975 front/ Movin' in," butt he words least formulate the problems are almost unnecessary; the ar- with which he is grappling rangement makes you feel the through his music, the Band's cold in your bones. records will doubtless continue ·The Pop Life In fact, all the arrangements to be, like this one, exquisitely are superb. They camouflage put together, emotionally af- the deficiencies of the material fecting, melodious, sincere, and The Band Has a New Album so successfully that on a purely like a picture puzzle with one sensual, noncognitive level, piece missing, slightly but sig- Northern Lights is invigorat- nificantly awry. By JOHN ROCKWELL ing. Levon sings lead on over half the songs. His nuanced The Band has a new album tle way, one that doesn't sub- twang is the perfect foil for the out called "Northern Lights vert the Band's basic sound -Southern Cross," and in at all. The prevailing idiom more histrionic deliveries of the press biography that Cap- Manuel and Danko, and his reverts to the sturdy simplic- itol Records has released for ity of the best Band disks, drumming is as crisp and in- the occasion, the quintet is free of the sometimes slight- cisive as ever. Garth Hudson's casually referred to as "one ly awkward exgerimentation contributions reveal the most of America's most prolific of "Cahoots." · spectacular individual growth. groups." The songs cover a wide "Ophelia" is of interest prin- Aside from . the fact that range of concerns; although cipally because he has over- four of the five come from Mr. Robertson's verse has dubbed an orchestra of brass Canada, the statement be- always struck this observer woodwinds and synthesizers, trays a wicked sense of irony. as too convoluted and opaque and dovetailed all his instru- On the one hand, they have for its own good, despite its ments precisely into the delib- put out five disks in the last evocativeness. No doubt the erate pulsation of the tune's two years. not even counting analysts among us will soon rhythm track. The veiled this one. But on all five they be. corning forth with sober phenomenology of "Jupiter were overshadowed by Bob elucidations of the disk as a Hollow" is lent an air of arcane Dylan-"Planet Waves" was total concept. One can say mystery by his succinct string a collection of Dylan songs; that motions of rootless de- synthesizer and vibrantly dis- "Before the Flood" was a spair tempered by gentle con- sonant Lowrey organ. On two-record document of the solation pervade the record, "Hobo Jungle" his organ and Dylan-Band 1974 tour, with especially in its two most ini- accordion blend with Robert- only Band oldies representing tially striking songs, "Arcadia son's acoustic guitar and me- the Band on its own, and Rising" and "Jupiter Hollow." lodica into a delight of shift- "The Basement Tapes," while All in all, this is certainly the containing some previously finest Band record for half a ing luminosities. The influence unreleased Band songs, decade, and a reaffirmation of New Orleans producer Allen of the fecundity of the group Toussaint, who wrote horn dated from 1967. Furthermore, the group's in general and of Mr. Robert- charts for the Band's live Rock son in particular. of Ages LP, is evident in the record for 1973 was a collec- tion of rock and rhythm-and- offbeat rhythm patterns played blues oldies, again with no It looks fairly• likely as of by drums and bass in "Ring original material, and their this moment that Mr. Robert- Your Bell," "·Forbidden Fruit" -record for 1972 was a two- son will be among the guests and "Ophelia," and in the snak- record Jive album that con- who show up for the Dylan ing shapes of Hudson's brass sisted largely of material benefit concert Monday night and reed lines as well, but the from their previous studio at Madison Square Garden. overall sound remains rustic, albums. All of which means , As usual, secretiveness cov- due largely to the roughness of that "Northern Lights - ers everything. As of now- Hudson's horns and the coun- Southern Cross" is the first aside from Muhammad Ali try-style close harmony of the record First, There's The Band; Then, There's The Rest Of Them R) Cl lfF RADEi. plain clot.hes, stark reatures. and represents the thousands of f'rench The ArL Ensemble of Chicago 1-,nquirt>r RPporlt"r coalblack hair make lhem appear as Acad1an1 deported from the area does noL sound llke The Band. In If they are p()6Jng for a daguerre beginning In 1755 The song tells or fact. It does not sound like any Thi" Band The group·s name tn OlYP< the hardships these people encoun- group lhat has ever played on Ood's ~u nll)' suggesta pre-errnnence u Com pared to I.he group's stx tered u they settled In lhe F'rench Earth The quart.e\.'s ArlJLa-f'ree· we !ii tht band Bob Dylan enose to previous Capitol albums. "'Northern C'Olony of Loui~tana and beeeme dom double-record seL. "The Parts accompn.ny h Im on his 19M world Llghts-SouUlem CT055"' contslru a known as CaJun.s. Session," C Al 1903). ls a mixture or tour v.·ealth of tnformauon. f'or the tint melOdlc and percussivee xpertments The name al,o lmpUes a aacriflc Lime In The Band's recording ca and humor. tng of mdlvtdual 1denuues m ravce reer. the voc:all!l &nd lnstrumenta- r ro:"~ h: ~~nu:.·~,~;}~5!i7l. 9~:!nl of the group Levon Helm. Oarlh Uon are indlvldually ldentlfied for Bones." about a ragman. to the EACH OF THt:: ART Ensemble's Hudson. Richard Manuel. Rlct each song Imagery or "'Hobo Jungle."' -ever the members, Lester Bo,•le (trumpet, [}gnko. and Robbie RoberLSOn are trainyard lay I smooth coat or and percus.slon), Roscoe Mitchell Th~ Band No one receives st.ar b11J- "NORTHER~ I.IGHTS-SOUTII frost," arrangement..s featuring creeds and percussion). Joseph Jar- ,ng t:R, Cross.. represents a year's 'A·ort Hud1on'1 accordtan and L.o ...• rey man (reeds and keyboards). and for The Band The lime and organ. and ,moolhly blended vocal Malarhl t"'avora( electric and acous- o, Rt:c'ORO t ne h\e h&\t C'On· thought the 1roup put lnto the narmontes prove that. Tht Band's tic- bl.SI). are muter lmprovllors. unuou\ly 1trtSSt'd the rroup over album wes wetl spent ereeuce pewers are sllll mtact, the ,ndh,dual performance Pie- The album was composed by Their music ls In a constant. tur- 1ure, or Thf' Band on ils albums gun.arm RoberLSOn Three of the moil Eury minute or the album never bear any ktf'ntlfymg capuon.s. seteeuons. "Rine Your Bell,"' "Hobo ch11len1e, the fundamentalA of Only one or the 1roup'1 record1n1s. Jun11e-,"' and '"Acad1an Drtrt••ood," Judamg from Little f"nt·, "'The Western music u, Sttond. "The Band." and lhrtt contain reterenees to the na uve La.st Record Album" (Warner Bros, Throu1hout the album Bowle albums with Dylan. "'Before thP land or 4/5ths or The Band, Canada BS 2884) warner Records' A&R peo- takes the trumpet from It.a melodic nnod" .. BaMment Tapo" and Drummer Helm, from Arkansas, rs pie- have deC"lded to mallie Lhe croup eoou and transforms It Into a per- Planet waves." include any men· Lhf' "Southern Cr05I" In tht 111>um'1 lh'" company's ans' OUNSAS C~ S.,• 0.. 14. lffl. • 9E . Recordings Concert Set By Jazz Group ne Jua EaNmble at tN. The. Band Shines for Change in 'Northern Lights' u.._..,. of ""'- •t m. lie Rock wW lite a CC*lert at By PAUL.IOIINS()N Tlte Nly qyanel wltlt au piMO ..... - a bit too llpt rools. At all~ and I p.m. r..a,. iD IM UAIJl Of 1ltt 6Clt Slaff albai tut l'ata 4\la 9*an CID a f• m,. tasle. qmet. tlle * 4lllta Recital Hall. Tiie Jlllblle Is .. I RAVE NEVER BEEN Country Music f09r-star miD& Is tltat Rlct. Tlte otller lltree discs • Ille etip&iq. espedallJ Loader· Yit.ed and A4knillioD is ,__ . pal'llltr to tlte deiflcatift of n..o•si is a bit too pol Mries are "Sweet B&lldl" by milk's "Tlte Nlpt AtlHta Tiie eipt__,,_ Jazz Ea- Tlte ..... la fact; tMlr last 1. LOVE PUT A SONG IN illled CID '11 llaua No Differ· Da•ld Liebman. "Jim Ball ...... Tiie CGmpllltlOD. - sembe. wlllclt is directed bJ tltree .._. ltaft left me si. NV---- HEART. J ollDDJ ence:· ll•t tltat's q•lbbli•&· Ll•e" Hd .. AwakeDID&" .,. cated wUlt dazzllllC ·per1-. Roeald 8onell of Ille UALR plarly Hiaipreue4. Hcl I Radripez. wlls lite fact .._... tut tllls S-,.F--.. a11CeS from alt tlle pla,ers. music fac•ltJ. will perform a.-, lit. ANY al tlleir al 2. SECRET LOVE. allllml .. ,.. .. &IDCID& lite Jaa~will..._ especiallJ Atklaa. comltlNa Jazz aad jau·rock arran&e· ._. liDce '"ne Bur VP.RY FnddJFader ,-'s belt two or lltree record 1ltt additio8 of lite Label to • falat nt defimte tr- of 1111111& .,, _. of tbe ~ 3. EASY AS PIE. am,. crowi•& c,eaaclswell of jau Spallislt claslcal .... witlt try's leadin& juz compoeers. .._.... IDch1diD& QIIIDq J-. t>icl; Nnert•etess.' 'Nortltera CCraal Ctacldock. . ..I *8rt:, ""- JiamJ IIIIUett wtJ •Dclert- of Scottlslt mnic. Tiie ....it Is at Groft. Kim RidimoDd ud Du Ll<ts SHthrD Cross" t'OUNTRY BOY CYOII alMmS. Hd I'd ,-mod · Chet's Concept oece CCapllell lmpr. .,.. •• Cot y,_ Feet la LA.I. tlljoyable and c:wta.. llaerte. tllil • llldllJ .. .,. of old CONCEPT ALBUMS ofles Featared selOISls wW be W• U1a• HJ alhm I• receat Gile Campl,ell. Jim's; for me tltat's abollt as Cllet's fau will enjoy bis . _... ud Is qeite ,lbly $. WRERE LOVE BE· ,...... disappolDU8&. bat Oet AtklDs Slriac C-,U,.. ud l Hall tnunpet; Boswell. saso- .._.a Nllllllimmt • I eu pa:r AtklDs ltas maupd to brillc pltooe; Tilden Barpr. &Ultar. ..., die belqr ~ of GINS. Geee Wa-. a--. for - look forwlrd to fllllre die lalt lift ,-s. '- IT'S ALL IN THE - off witlt &real itJle Oil Ollllnp. and Jack Pritc:bett. dnuns. Always one of lite lllOSl MOVIES. Merle Ha&· ''Tiie Nipt Atlanta Bfflltd" hmue of ba•. ne Bud pnl A&M.wlJaz CRCAI IIJ lite Atltiu Stri•& ret- OD "N«Qe111 Li<ts 7. WARM SIDE OF YOU. ,.... RECORDSltas ._. a CGmpl9y. CID ne idea started w;u. Jou s.tllern CNm" to - al tbe Freddie Hatt allcl Tiie lfties al jul 1-,!iDp Ille SPECIAL U.- IUl mrad tbe belt of Heartbeats. llormm label. If tlteit ,. I> Loadermilk. wbo bad llNrd MONDAY NIGHT Its eMtier . ..t. For lmluce. UlN'EV§. Ea&les. t.re Olllpat" ls die equl of lite - abollt Ille Atlanta Coe- "AcatliH ·Driftwood" ls tlle t••. JUST lN CASE. Ronele IDitlaJ ma. Juz ramare· ID for M'Yatory of Music. w~ iD ONlY best BHd so•& si•ce "Tiie Milsap. amajortNllL ~Yil War da,s was a mt of sc:bool of "claaic:al" co. Nlpt ne, Dro•e Old Dllie 11. SINCE I NET YOU ...... all lite first offerlle Don." Like tltat earlier re BABY. !"teddy Feeder. try-style nmic. Tiie sc:bool - Is "Slllle for Peps" bJ tlte Tuel ..... ~ willt lite rest al --- "Aadiall llrUtwooel" Lewis bi& jazz ...... deals wlllt a ltislclrical tlteme. ~·s cleft compositlolli .,_,Net tltt cltJ. .,, Sberman. Ml Loiid- I tllialt tlle .,_,Lewis &rOllp ennlllt -.! an old man wllo C-W ID It terms tltat are esented witlt marvelOIIS Is probablJ tlle best bi& bud make die eaperietlee real for feeliDa aiicl pncilloD .,, Rldt said be kad seen some slieet aromid. and It u... lip to tltat IUSic lltat WU UIIISlratitt of llteti..r. DHh. Arkle Lnoa Helm. rejllllatoo bere. ne allNlm Is .. Acadia• Driftwood" tells Gartlt H•dso• ud Rlcltard t1tt style of mmic lltey played aot an attem~ to repndoce lllee. Ille ..,. of . tbe aodm al Ille ...... meic. INt is tom.,,,_..... AW. plays ~ pitar Acadlaas wlto - to become "Foniddell FN1t. .. a creed a lrib9te te • and ltis We. Oii Ille albotm. joined by Lisa ...... _., Cajla Wltb '1rcm ~ klcur .... lite Tlte music ...... fl'Gll'I slteer Sliver on •ioll• .aad •Iola. Berlille's 9mtcltY fiddle j,ow. alb•m oa a prlmltin note. bnaJ power to soft Wallie$. i-·s .oc:a1 beiDc ftlterM to .Jollmiy Gimble C&Dd excelltet Ille a _,. Abcl9ed c.Jwa and e'fflJ M Is a site« joy. flddlerl OD mandolill and Palll swamp ~ lltelae. llle proYlde tlle rlpt alri of -c Jiil Tiie ba1d members are too Yallclell oa ~contlc rtaya.m Wffl ..... is D0t a Caj9 tw .,,...... n,d; tltat Is Deeded pitar • · to carry off tlte tHe. Tllat - to IDllldoD INt tlteJ . . ID tlle dasslc It C01Uias iacl11de J" Faddis. Marvin Tlte ra.lt Is a cmiOIIS com lyrics lltat ~ willt Ille aoclm pws ..,. to a lofter .,. .. Stamm. JlmmJ Jtaepper. Ill ...... , ~ terms tltat "Hobo Run&le:· aaotlter of lllnalloe of a clUllcat male Geor,e Mraz. Jerry Dodo. sound wltlt contrJ m11lc make lite...... ,. _.. R~·s llalane oblerva· Pepper Adams. Eddie Xlqoles denlaDclallle. '"Try to raise ., llom aboat ·-ne olcl maa 1a,. RolaDd e- uo1 oe1ters. ne a famllJ ... lite t,ae relatH. ftolltD OD Ille cGld cold ~ atbiim Is 11 ,-. dllipt IOI" jazz ..~ "' t!ie _,. - wllat lie was a straJ binl plaJIII& i. lovers wlto Insist tltat tllelr went down oa 1,e Plaip of odds from a rollla1 bozcar." IMSic sou.a like music and DOl IWSICFRON Abrallam." 1t COllitDaes. "We RudrGe"s accordion allcl llarp lilte a tJns1tiac madlllle. 'fl'ELA11DeF ~ed ID Ille lflC&l" fields •P add .. appropriate!J IODesome APPYFEET ill al New Orteaas: it .. feellD& to a '-'- railroad Otbtt atlMlms iD Ille Initial nerpeen •P mill Ille flooct... ,.· Horizon offeriDC iDdllde "Bra- 11lls IOI!&.will nak lUDOa& Tlie As a IINlldall. BlNtiondoml- bedt aacl De:smollcl 1975: Tiie ·Band's ·belt e,er ud claenes Dates lltis atbain like • Colos- Du;ets... a •er, Dice. quiet ez. cW1ioo .,, . Paal DesalCIDd and to beClOIW • bi& a Mt as "Ra& plaJiD& a Yirtllat roomr.t Mama Ra&" or some of tbe of lnstnuneats rucm& from bne Bnbeck. Tiiis l!lllJ be. too . CICllers. orp:i. llarp and $Jlllllesizlln to tame for - jazz Ins. bat "AcadiaDDriftwGod " Is IIOl ltorns and accordions.· Bis It's stlU a Dice recordiD&f or tbe· Giiiy eoo,l S0DC OD tllis al- bnsJ CGDtribatiCID and i-·s U. wllme tasus ""' more to bllm bJ HJ means. In fact. dnmmla& power - "RiD& relantlOD titan tension. Des- e9ftJ time strit• ltome witlt Your Bell.. matiDi it a ...... , mmd .Is Ille real Siar Oii . enjoyable Jal Ille rlpt feeliD&, Robbie work. . of tbe c•ts. witll Brubeck's Provick's albums The Citittn, Oii•••· Thursday, Doccmbtr JS, 19~. Ptae n Band album shows Canadian roots call my home/the land of As usual. The Band pro- From Forbidden Fnut, The Band swings into By Bill P' rovick snow/C1nadi1n cold vldes an excellent. warm. front/moving in/whit • enveloping mesh of sound msrvelous, slow. la1e·n1aht You ca" we the band created by individual blues called Hobo Jungle out of the country but w,y to ride/oh what • way to 10." excellence. In additton to with Richard Manuel's you can't take the country vocals rivaling those of out ~ rite bald. On both levels, h's a one or the most fluid Entertainment guitarists and most taste· any other male vocalist. h's trite but it's true. beautful song. paga 77-11 A not her is Forbidden rut keyboardists anywhere, h'a allo • quick way to The Band also boasts sum •P a panicular magic Fruit, which opens the CLEAR LENI album with an otd-Ia- three fine vocalisu equally COATED TO native to one or the finest adept on their instruments m•aica! aroups in exis- shioncd twang that leads stage by the light or Tif Ar:11di•n Driftwood is nicely into some classic - drums. bass and key- IUNGLAIIH renee The Band. RIGHT IN THE PREMISES As a rock band with rany lamps and posed for Canadian history, one sec- rustic runk by The Band boards. Canadian roots Iona since album covers in log ca· tion that overlaps with transplanted In the fertile bins. The image fit the American history, mvolv- PUBLIC - and lucrative - field music, which had an ing special link, between or entertainment in the earthy naturalness to it, the two nations. The IT'S WORTH MORE. PTICA United States, The Band restful and compelling like Band, with its dual cit· izcnship, uses this history 749 IANK IT. is strobably the Lorne rural scenes sortly sketch· MUCHMORE. Orccnc or contemporary ed in pastels. to draw some modern par· m111ic. The music also had a rallels. Lightnes Baclt home, we celebrate strong foundation, a basic, "Set my compass north/ tke group's Canadian orig· lonesome catchiness like a I've got winter in my and moothness Looking fo ina while in the U.S. they backwoods - Timmins. blood . . . Acadian drift· probably rc91rd the band Ont.? - bar sound raised wood/gypsy tailwind/they you'd expect members as extremely sue· to new levels by excellent to find only in cessrul Americans - rich musicianship. and ramo1&1, winners in This relaxing naturalness Canadian whiskies Remember tb• Great American was executed with awe· costing more. Dream some precision by some or We've got it I don't know how The the tightesl, most graceful " Much more. Band's material currently musicians anywhere. in Stock qualifica under the Cana· Dylan's cbok» WISER'S at a Price dian Radio-Television SPECIIIL BLEND. Commission's rules on Ca· It's been no accident You can Afford nadian cgptc11t, but in a that for the past IO years, thorough(J non-legislated when America's genius ~ . ,<~. manner, The Band's music singer-songwriter Bob Dy· ! Your····~·· ...... bears enough Canadian Ian wanted to rock, he content to please ardent always chose The Bandto Canadian nationalists and accompany him in his live I UNICEF confuse many American performances. listen era. But like its friend Dy· greeting At leest I auume most Ian, The Band only comes Americans, if pressed for out once in a while. is a child's an answer or guess, wou Id While glitter boys like say the Plains or Abra· Elton John are releasing future ham probably have some· albums as rast as they can AUTI+O,IIZ.lDOI AL(A ,Ofl AXI ,Ac, thing to do with the Civil record them, a new release For ,nformation and a free War. or original material from catalogue contact: UNICEF Canada • The Band is a rare but Classic song cherished event. Some. Americans may Anrnoog & Rkhardson Ltd. even recall havin1 already The Band sits back so HerYy Bits & Sons heard some Civil War long between albums, one begins to wonder if the Files Rowers history rrom The Band - ..,,, Cleaners all aboul The Night They group has lost something. Dro11e Old Dixie Down. Then suddenly, there they Robstlon Gains This classic Band tune arc. belier than ever. Shi1ey L.eWrnan Books - which has since been The Plains or Abraham Mtian Solhits recorded by a number or crop up in Acadi,n Drift· Lei Galeriel de IU other artists - was perso- wood - another beautiful nalized Civil War history ballad or distant, war-torn captured in an unusual days of sadness - from contemporary-rustic style The Band's latest album, that proved mellow yet Nortllfm U1hts - South- thorou1hly arresting. ern Cross (Capitol ST· The Bf ncl performed on 11...0). cashbox/a#i m revi•ews NORTHERN LIGHTSSOUTHERN CROSS .:_ "he November 29. 1975 Band Capitol ST ·11440 Producer: T~ e.a ,d List: 6.98 The downhome strain in rock and music in general has always done right by The Band Their chops just seem to lean that way and. as a result. the music is always superior On "Northern lightsSouthern Cross" this vein is supplemented by a crisscross of other elements such as soul. folk and a minute strain of mountain music that makes the wait on this album one well worth it. Top cuts from the hills include "It Makes No Difference." "Hobo Jungle" and "Jupiter Hollow." The latest by The Band rs music of the earth with a whole lot of maresrv TRE TAt\lPA TRIBUNE, Tut day. July s; lt75 Nell Dlamoad will record his next album with R•bltle R•bert11111 of the Bud producing. The presence of the genius guitarist composer - a new acquaintance of Dia· mond's - hints at a shift in direction for Neil. And, 1ccording to one assocl1te1 "Neil's anxious to get back in bis old groove after all this crap (speclflc1lly the "Jouthan Livingston Seagull" soundtrack)." Diamond, who will record in LA, paid a visit to his childhood stomping grounds In Brooklyn recent· ly for some songwriting inspiration. 9 ;_. IV-Tues., flcL 21, 1975 LOI ~1agtlif ._. * NEIL DIAMOND'S RETURN: Neil Diamond is about to begin recording his new Columbia album and hopes to re turn to concerts early next year. The albtnn, which will be produced and arranged by the Band's Robbie Robert· son, will be recorded m Malibu ans! lis expected to take about eight weeks. The tour, whictf will mark the end of Diamond's self-imposed, three-year sabbatical from con certs. will probably begin in Australia with Diamond working his way back to the United States in late spring or early summer, THE BASD TIIF rm RIER·JOl R.'HL, Top rock group, The Barid, offers Tt'I D.\r, !U'fl:.\lBlll !, 19;;; 'Northern Lights-Southern Cross' By GERRY BARKER sic called ··:.tusic from Big Each succeeding song sub SW'•Tclteram ~·rittr Pink."' stains this feeling. America has been the birth· Songs like ··The \\"eight."" Cuts like "Hobo Jungle" place for a lot o! great music. ··t;p On Cripple Creek" and reaffirm how this group has \\"hen you're talking about ··Toe Xight They Drove Old the blues. or rock and roll. bottled what constitutes grass Dixie Down" have become roots America. while Helm's bluegrass or country. there's modem classics. a wealth o! bands which could ,·ocals contribute to the easv, be considered oustanding at goodtime feeling or songs like THEIR ALBU)IS since that "Ophelia." one or more. time haw continued to be But the group most rock best-sellers. although not a_ll BL"T )L-\KE special not r critics name as the one which 1?,·e measured up to _the:r · ··Acadian Driftw~ .. iii?. random notes best represents everything first efforts as to quaht\'. . . · :s American music has come to But The Band has a new at. one is a dandy, ~ sweet ballad United Artists ~ave a rrcording session· is The Band. bum on the Capitol label. that_ bears playing agaui and jam session-party for newly signed Dr. And I agree. ··:-.orthem Lights-Southern agam. . . John, Los Angeles. Those attending in· That fact is slightly ironic Cross.·· that is their best work The ~od _continues on side eluded Rin!(o Starr (who played host), .. -hen \"OU consider that rourol in a long. long time. two. ~h!_ch_ mcl~des the ~k the group· s five members - It features eight cuts that stead~ Ring 'four Bell. a Eric Clapton, Alice Cooper, Jackson Robbie Robertson. Richard capture the essence of· the b!to!theblues~~th:·~tMakes Browne, Phoebe Snow, Joe Cocker, Min- Mahuel. Garth Hudson and ··rockabilly"" the group made '.\o Difference. . which lea· nie Rlpcrlon1 Efl~ar Winter, Eddie Ken- Rick Danko hail from famous in its salad davs, tures Hudson doing marvel- dricks, Maria Muldaur, Tommy Smothers Ontario. Canada. Robertson has in the. past ous things with the soprano and the lland's Rick Danko. John enter· · The fifth. Levon Helm. was been the catalvst that makes saxophone. and the even- tained for n couple or hours with his born in :\tan·ell. Ark. it all come together. and on temj)e_red ··Jupiter Hollow._·· Jllzwm and Rluts Revue, while the ta•pes The Band has been-around this album he does a man-el· Critics t_ia\·e been wanmg ran and a film crew, whirred away. Then in one form or another since . ous job or doing just that. All !oralo~gt1melorTheBandto at midnlght, he was joined for an after· 1959. But it wasn't until 1965. eight cuts were written by s~w tt s still o~ of the most recording-session Jam with Ringo, elap, when Bob Dylan picked the Robertson. and his guitar viable forces m American ton (on congas). Cocker, back-up singer group. to be his backupba nd. work is excellent throughout. . music. Tami l.ynn and Alice Cooper guitarist that things started happening ··forbidden fruit""kicksoff ··:-.orthem Lights-South· Str\'e for the group in a big way. side one. and right from the ~m Cross" more than proves Hunter. The resullin!l album. en· What happen was a mile· start vou know this album is it. tilled "I Got Rizzum," Is due in early fall. stone album in American mu- goingjo be something special. . •,r.-.--~----.·----··---·--. Masters of Rock Vol. 9, European compilation, 1975