I pulled into Nazareth, was feeling ’bout half past dead
I just need some place where I can lay my head
嘿,先生,你能告诉我,一个男人可能会睡觉吗?
他只是咧嘴笑着摇了摇手,“不”是他所说的。

乘坐负担fanny,免费搬起
Take a load off Fanny, and you put the load right on me

— The Weight

Virgil Caine is the name, and I served on the Danville train
“直到Stoneman的骑兵再次来撕裂轨道
In the winter of ’65, we were hungry, just barely alive
By May the tenth, Richmond had fell, it’s a time I remember, oh so well.
The night they drove old Dixie down, and the bells were ringing
他们开车旧迪克斯的夜晚,人们唱歌了
La,La,La,La,La,La,La,La,La,La,La,La,La,La,La,La,La
— The Night They Drove Old Dixie Down

我于1967年由独唱艺术家买了我的第一张专辑。我16岁的是,我的10年级英语老师拉里·麦克林队第一个是Lightfoot,上一年发布;第二,伦纳德科恩的歌曲, released in Canada’s Centennial year. I remain deeply grateful.

一年后,我用一群人买了我的第一张专辑。我的弟弟史蒂夫推荐。它不是由披头士乐队或戴夫克拉克五或滚石,而是由五名音乐家知道简单地宣传为乐队。

From left, Richard Manuel, Levon Helm, Rick Danko, Garth Hudson, Robbie Robertson

From left, Richard Manuel, Levon Helm, Rick Danko, Garth Hudson, Robbie Robertson

音乐From Big Pinkwas unlike anything I had ever heard. A collective creation in every sense of the term, it was complex, mysterious and haunting, a rich blend of different styles and traditions that formed the bedrock of popular music — a vibrant tapestry of folk, country, gospel, blues, mountain music, rockabilly, improvisation, even classical, not to mention good ‘ol butt-kicking rock ’n’ roll.

由多个乐队成员的歌曲,书面或共同撰写,具有独特的文学品质,如老故事,通过几代人传递,​​晚上在船际上遍布壁炉。同时,它们完全完全全新 - 革命性,实验,精致,进步,新鲜,迫切,创新。在叙事推力和角色肖像,隐喻和象征中,他们类似于Bob Dylan的奥文和神秘的歌曲。

The lead vocals sounded seamlessly interchangeable (it took many listens before you recognized who was singing when). The harmonies were intricate and layered, off-the-wall and from left field, held together by a weird and wonderful orchestration of hitherto unheard of sound.

有熟悉的吉他,鼓,电动低音和钢琴;但英国教堂器官,克拉夫德特和手风琴;喇叭包括萨克斯,小号,长号和大块;和其他杂散的声学仪器,包括嘴巴和曼陀林在摇滚音乐中没有传统的声音。音乐家交易乐器,就像他们是学校院子的男孩之间的曲棍球卡。

The effect on the listener: like being deaf and suddenly hearing for the time.

Although cut from the deep roots of American music, four of the musicians came not from the United States, but from Southwestern Ontario — Robbie Robertson from Toronto via the Hebrew mafia and Six Nations Reserve, Rick Danko from a tobacco farm outside of Simcoe, Richard Manuel from small-town Stratford and Garth Hudson from the forks of the Thames River in London. The four were anchored by the lonewolf American, Levon Helm from the Arkansas Ozarks.

A year later The Band released its eponymous sophomore album. Coupled with音乐from Big Pink, the pair constitutes a high-water mark in American music. They define what became known asAmericanaroots music. Just think about these titles:The Weight, Chest Fever, This Wheel’s On Fire, I Shall Be Released, Across the Great Divide, The Night They Drove Old Dixie Down, Up On Cripple Creek, Whispering Pines, Look Out Cleveland, The Unfaithful Servant。These and others are not only classic, they are immortal.

The group was never able to repeat the sheer brilliance and majesty of this singular achievement. But glimpses of greatness appear on all subsequent releases —舞台运费,牧师,北方轻南十字架,岛屿andMoondog Matinee,一系列封面Meanwhile,摇滚史remains one of the best live rock albums of all time.

乐队brought the curtain down in grand style on American Thanksgiving in November 1976 with最后的华尔兹, the best music documentary ever filmed thanks to celebrated director Martin Scorsese. They had been together 15 years, first with Rompin’ Ronnie Hawkins, then with Dylan. They famously — or perhaps notoriously — accompanied the future Nobel Prize for Literature recipient when he crossed the great divide from acoustic folk music to electric rock in 1966, causing fans from around the world to shout and scream indignities and throw tomatoes — and worse.

乐队continued in various configurationssansRobertson and later after Manuel’s death, but it wasn’t the same. The music continued but the magic was gone.

罗伯逊在乐队后识别最多;但所有音乐家都继续以某种方式制作音乐。Manuel,Danko和Helm最终死了,离开了Hudson和Robertson的最后一个幸存者,因为它们最能抵抗诱惑性地破坏的酒精和药物的诱惑。

当他们在多伦多的校舍体育场开业时,我第一次看到乐队作为粉丝作为粉丝。他们很棒。我仍然在舞台上看到他们,在我的脑海中,摇摆着下午晚些时候和傍晚。杰西科林杨也在账单上。

我看到了乐队,sansRobertson, play Lulu’s Roadhouse when I was an arts & entertainment reporter at theWaterloo Region Record。我也在挺起了音乐会ford’s Festival Theatre — a kind of homecoming for Manuel, the first Band member to die too young. I had the privilege of talking to Danko over the phone from his home in Woodstock, in rural upstate New York, prior to the concert. He was a salt-of-the-earth delight, making the conversation a career highlight.

乐队has been pretty well served by a handful of musical biographies beginning with Barney Hoskyns’Across the Great Divide: The Band and America(1993),包括基奇纳音乐作家Jason SchneiderWhispering Pines: The Northern Roots of American Music. . . From Hank Snow to The Band(2009)。我们也有掌舵的票据这款车轮着火:Levon Helm和乐队的故事(1993), in which he condemns Robertson for allegedly conniving to steal copyright to The Band’s catalogue.

RobbieRobertsonTestimony

现在我们从乐队内部拥有最后一句话 - 罗伯逊的灿烂回忆录Testimony。鉴于他的个性和气质,哈德森将写一本书。我在丰富的抒情散文中奢侈了500多页。我放下了完全满意的书,但我无法帮助自己想要更多。

Anyone who has ever heard Robertson talk will recognize his voice immediately. ReadingTestimonyis the equivalent of sitting down with the guitar ace and gifted songwriter over a pint as he weaves an utterly magical adventure of falling in love with music, joining Hawkins’ touring band The Hawks at 15 and becoming the potent creative force that guided The Band to greatness.

Robertson为他的非凡记忆和他优雅的讲故事来学会他的第一个国家血液。如果他的歌声不说服这些礼物,Testimony肯定会。像所有好作者一样,更不用说音乐家,罗伯特森用他的耳朵写的,热衷于节奏,傻瓜和词汇。

与掌舵,Danko,Manuel和Hudson不同,所有人都为音乐而沉迷于制作音乐,罗伯逊是集团的知识,对文学,视觉艺术和电影感兴趣。多年来强迫阅读电影脚本有助于塑造他的歌曲,以及他们的电影讲故事的质量以及他的回忆录。

In contrast to many songwriters who are not particularly eloquent when it comes to discussing music — Dylan and Gordon Lightfoot are two examples who come readily to mind — Robertson is a poet when it comes to assessing, evaluating and judging musicians and their music. His thoughts on music as expressed inTestimony通过变动和迷人。他对所有音乐剧的奉献是传染性的。

这是一段代表的段落,当他第一次看到他的一个英雄之一时,传奇豪林的狼,表演生活:

我们进入了一个音乐避风港:一个组合酒吧,餐厅,舞厅和Juke联合。盛大的香烟烟雾,香水,酒和辛辣食物在空中厚厚。。。狼和他的乐队已经在他们的落地中间,他们的脸上发光。狼的舞台服装是一件白衬衫和裤子,但在他身上看起来像直箭头蓝调。在舞台上方,蓝色聚光灯闪耀着他的脸上让他看起来像一个闹鬼的男人,但这不是伏都教;这是一个不祥之子和“新蓝调”的精神,不同于乔希白人或大贝尔布罗齐的传统民间蓝调。这是下降,肮脏和艰难的。

我正在绊倒自己试图越来越靠近那声音和愤怒。狼的声乐风格来自另一个星球,从他的大咆哮声的口气滑入他捏的喇叭巫革刺刀,然后就像迅速把我们用他的hoot-owl falsetto升起。和Hubert Sumlin的那些吉他部分,蓝调之王riff - 听到他们的生活就像第一次听到他们一样。在嚎叫的'狼的记录中,音乐从扬声器中爆发了强大的权威,但当乐队播放的时候,它有一个令人惊讶的精致混合。所有的零件都听起来很平衡。

Here in capsule form is a glimpse of whatTestimony优惠。透明的记忆召回召回植物牢固地在特定的地方和时间;这里和现在,即时和直接的情绪和氛围;音乐的深刻知识及其丰富的历史;描述性能力,具有隐喻和图像的微妙细微差别,可以在音乐的超越翅膀上扫除你。此外,狼的乐队表演活的描述可以容易地施加到乐队。

Robertson对音乐家的回忆展开了Who’s Who20世纪60年代和70年代。对于诱人的品味来说,太多了​​太多了:甲板,Jimi Hendrix,Joni Mitchell,Neil Young和'Belfast Cowboy'van Morrison,当然,到罗伯森亲爱的朋友。

乐队made its reputation mining the mythology of Americana. But with the exception of Helm, the four other musicians were introduced to music as kids growing up in Southwestern Ontario. Moreover, all five honed their craft not in the hills and hollers of rural America, but on the bar circuit of southwestern Ontario — with and without Hawkins, the shrewd, calculating musical wild man from Arkansas who introduced rockabilly to the Great White North.

While Hawkins is generally credited with assembling the musicians who eventually became The Band, according to Robertson, he and especially Helm, Hawkins’ musical right-hand, were responsible for bringing Danko, Manuel and Hudson into the fold.

罗伯逊致力于memoi超过五分之一r to these early days and they make for fascinating reading — from London’s Brass Rail to Grand Bend’s Imperial Hotel and everywhere in between. We get an up-close and personal look at what the music scene in Southwestern Ontario was like in the 1960s.

As for Robertson himself, he lovingly recalls his roots including Dolly, his beautiful Mohawk mother from Six Nations; his assumed, abusive father Jim Robertson; his deceased, Jewish blood father; and his Jewish uncles, one of whom did time for criminal activities involving one of Canada’s most notorious gangsters. He proudly shows us the family man married to Moninique, a beautiful French-speaking journalist from Montreal who he ‘met in Paris in the springtime,’ as well as daughter Alexandria and son Sebastian.

But what really makesTestimonyso compelling is the generosity of spirit and deep, abiding affection for his Band mates. He seems to carry no resentment towards Helm, who played the role of a big brother to Robertson for many years, even after publicly dressing down the younger musician. It’s clear that before booze and drugs entered the picture,乐队was a sepia portrait of brotherly love. The term ‘bromance’ doesn’t do justice to the respect, admiration and affection they shared.

Of course, we are left with Robertson’s take on the destructive forces that eventually ripped The Band apart. We get his view on what happened with respect to the copyright issue that embittered Helm. He claims he bought out the others fairly and squarely when they needed money. He’s very persuasive; but there’s nobody left to contradict, refute or rebut him.

Testimony是一种情绪激励读。我在旧金山的Winterland的最后一个华尔兹的罗伯森的回忆中,我哭了大部分地区,他的乐队伴侣的最后肖像。这是心脏扭伤和令人心碎的。他忍受的爱是诗意的。

这是他在武器中的每一个音乐兄弟上的几句话:

Rick — His support in music and in life was unparalleled in this group. You never even had to look around: Rick had your back come rain or shine. And boy, what an ear! He could hear intricate intonations and parts like he had a dog’s super-hearing. He was king of harmonies in the Band, but not because he studied harmony or read music; it just came perfectly natural to him. . . He had no idea how incredible I thought (he) was. . . He evolved into an incredible force in the Band’s machine.

Richard — Man, oh man, Richard could break your heart, either with his voice, sounding like it was on the verge of tears at times or with his deeply sensitive personality. He had such a rich tone. He could sing lower and higher than anybody in the Band, which made us refer to him as ‘our lead singer.’ He didn’t like that. . . We were awestruck by his power and soulfulness.

Garth — Garth was a teacher. . . An inspiration in showing how much a musical instrument has locked inside of it and how much you can truly get out of it. . . I savoured Garth for turning me on to the glorious sounds of Anglican choirs, Greek and Arabic sounds with rhythms accompanying hip-rattling belly dancers, classical music maestros and their masterpieces (some through Glenn Gould’s piano), jazz masters’ unique tones and techniques. I couldn’t get enough of it and it broadened my sonic horizons as far as the ear could see.

Levon — The very first time I saw Levon play, when I was 15 years old, it struck me there and then: God only made one of those. He was a star already. . . you couldn’t take your eyes of Levon. Ronnie (Hawkins) knew it too; he danced in front of him, sang in his direction and looked to him for musical cues, while Levon played eighth notes on the kick drum, the cymbals and the snare, with a backbeat on the toms like a locomotion. All the while laughing until everybody joined in. I had never seen anything like it, and still haven’t to this day.

At bottomTestimonyis a love letter to Richard, Rick, Garth and Levon who, with Robbie Robertson, were and always will be The Band.

RobertsonTheBand2.

The narrative beauty ofTestimonybegs the question: will Robertson continue to trace his journey in music with a sequel, picking up where The Last Waltz left off? I certainly hope so!

Meanwhile, thank you Robbie.

Watch The Band performing在跛脚的小溪上from The Last Waltz on YouTube: