我陷入拿撒勒,感觉到'过去一半死了
我只需要一些我可以躺在脑海的地方
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

- 重量

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
在'65的冬天,我们饿了,几乎没有活着
By May the tenth, Richmond had fell, it’s a time I remember, oh so well.
他们开车旧迪克斯的夜晚,钟声响起
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,在加拿大的百年一年发布。我仍然非常感激。

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。

从左,Richard Manuel,Levon Helm,Rick Danko,Garth Hudson,Robbie Robertson

从左,Richard Manuel,Levon Helm,Rick Danko,Garth Hudson,Robbie Robertson

大粉红色的音乐与我听过的任何东西不同。一个集体创作在各个意义上的这个词,它是复杂的,神秘和困扰,丰富的不同风格和传统,形成了流行音乐的基岩 - 一种充满活力的民间,乡村,福音,蓝调,山地音乐,摇滚乐那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。

主唱声音响起无缝互换(在您认识到谁唱歌之前,它需要很多听。和弦是复杂的,分层,墙壁和左侧场,通过迄今为止闻所未闻的奇怪和精彩的管弦乐队举起。

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,该对构成了美国音乐的高水位标记。他们定义了被称为的东西Americanaroots music. Just think about these titles:重量,胸部发烧,这个轮子着火,我将被释放,在大鸿沟中,他们开车的旧迪克斯下来,爬上瘸子的小溪,耳语松树,看克利夫兰,不忠实的仆人。这些和其他人不仅是经典的,它们是不朽的。

本集团从来没有能够重复这一奇异成就的纯粹的光彩和威严。但在所有后续版本上都会出现伟大的瞥见 -舞台运费,牧师,北方轻南十字架,岛屿andMoondog Matinee,一系列封面同时,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最后的华尔兹那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.

频段以各种配置继续sans罗伯逊和后来在曼努埃尔的死后,但它不一样。音乐续,但魔法已经消失了。

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。我还在Stratford的节日剧院审查了一场音乐会 - 这是一个为曼努埃尔的回家,第一队成员太年轻。在音乐会之前,我拥有与他在伍德斯托特的家乡的家中与Danko交谈。他是一个地球盐,使谈话成为职业突出。

乐队has been pretty well served by a handful of musical biographies beginning with Barney Hoskyns’横跨大鸿沟:乐队和美国(1993),包括基奇纳音乐作家Jason Schneider耳语松树:美国音乐的北方根源。。。从汉克雪到乐队(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年),他谴责罗伯逊据称康复到乐队目录的版权。

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。

任何人都听过罗伯逊谈话的人会立即认识到他的声音。读Testimonyis 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。

与许多在讨论音乐方面没有特别雄辩的歌曲犯罪者 - 达伦和戈登Lightfoot是两个议员来到思想的两个例子 - 罗伯逊是评估,评估和评估音乐家和他们的音乐时的诗人。他对音乐的想法如表达Testimony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。

这里的胶囊形式是一瞥什么Testimony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。

该乐队使其声誉挖掘了美国人的神话。但掌舵外,其他四名音乐家被引入音乐,因为在安大略省西南部的孩子长大。此外,所有五个磨练他们的工艺不在农村农村的山丘和嘶嘶声中,而是在安大略省西南部的酒吧赛道上 - 没有霍金斯,这是Shrewd,从阿肯色州计算的音乐野生男子,他们向伟大的白色北介绍了Rockabilly的Arkansas。

据罗伯逊,霍金斯普遍认为,霍金斯普遍认为,罗伯森的说法,罗伯逊,他和尤其是掌舵,霍金斯的音乐右手,负责将Danko,Manuel和Hudson带入折叠。

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.

至于Robertson自己,他爱他的根源包括多莉,他美丽的莫霍克母亲来自六个国家;他假设辱骂的父亲Jim Robertson;他死者,犹太血父亲;和他的犹太人叔叔,其中一个人为涉及加拿大最臭名昭着的歹徒之一的犯罪活动。他自豪地向我们展示了一个蒙纳尼克嫁给Moninique的家庭人,来自蒙特利尔的美丽的法语记者,他在春天的巴黎举行会议,'以及女儿亚历山大和儿子塞巴斯蒂安。

But what really makesTestimony如此引人注目的是精神的慷慨,深深地,持久,对他的乐队伴侣的感情。他似乎没有怨恨掌舵,他甚至在公开打扮了年轻的音乐家之后,他扮演了一个大哥到罗伯逊的角色。很明显,在酒精和药物进入图片之前,乐队是一个丑女肖像的兄弟般的爱。“Bromance”一词对他们分享的尊重,钦佩和感情并不遵守。

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.

在底部Testimony是Richard,Rick,Garth和Levon的情书,罗比尔森,罗伯逊,并始终将成为乐队。

RobertsonTheBand2.

叙事之美Testimonybegs 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!

同时,thank you Robbie.

观看乐队表演在跛脚的小溪上from The Last Waltz on YouTube: