Across the Great Divide
Rag Mama Rag
The Night They Drove Old Dixie Down
When You Awake
Up on Cripple Creek
Whispering Pines
Jemima Surrender
Rockin' Chair
Look Out Cleveland
Jawbone
The Unfaithful Servant
King Harvest (Has Surely Come)
Having backed Bob Dylan at the Isle of Wight Festival, the quintessential Canadian backwoodsmen rented Sammy Davis Jr’s mansion in the Hollywood Hills and knocked off their second magnum opus.
With an album containing The Night They Drove Old Dixie Down (a hit for Joan Baez), Up On Cripple Creek and the bouncy Rag Mama Rag, the beardy quintet paved the way for rootsy rockers everywhere.
Robbie Robertson established himself as the group’s director, casting his bandmates to sing roles intrinsic to the nature of songs that reach deep into some storied, semi-mythological past: Richard Manuel excels on Across The Great Divide; Levon Helm was never more powerful than on the Civil War lament, The Night They Drove Old Dixie Down.
A flawless assimilation of blues, soul, R&B and more, and a touchstone for every Americana act that followed. Although not the most successful act of the era, they were arguably the hippest.
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
Other albums released in September 1969
- I Got Dem Ol' Kozmic Blues Again Mama! - Janis Joplin
- Then Play On - Fleetwood Mac
- New York Tendaberry - Laura Nyro
- Abbey Road - The Beatles
- At Home - Shocking Blue
- Get Ready - Rare Earth
- 2 Ozs of Plastic with a Hole in the Middle - Man
- Canned Wheat - The Guess Who
- Four Sail - Love
- Love Chronicles - Al Stewart
- Nice - The Nice
- Noah - The Bob Seger System
- Rock & Roll - Vanilla Fudge
- The Aerosol Grey Machine - Van der Graaf Generator
- Spare Parts - Status Quo
- A Step Further - Savoy Brown
- Supersnazz - The Flamin' Groovies
- These Things Too - Pearls Before Swine
- Volume Two - The Soft Machine
What they said...
"The Band were four-fifths Canadian – drummer Levon Helm was from Arkansas – but their second album is all American. Guitarist Robbie Robertson's songs vividly evoke the country's pioneer age ("Across the Great Divide") and the Civil War ("The Night They Drove Old Dixie Down"), while reflecting the fractured state of the nation in the 1960s." (Rolling Stone)
"Now, when people think about the Band, the most common reference point is The Last Waltz, Martin Scorsese’s iconic concert film about the group’s would-be farewell show in 1976, in which Robertson is placed at the center and Manuel is barely visible. Hierarchy had finally been imposed. And yet the power of the Band’s second record is such that it can make you forget all of that for about 40 minutes." (Pitchfork)
"The Band overflowed with talent. From the Civil War (The Night They Drove Old Dixie Down) to the plight of farmers (King Harvest [Has Surely Come]), Canadian Robertson channeled Helm’s (the group’s only American) individual experience and knowledge into roots pop/rock with teeth. The outfit spent nearly a decade refining its sound and with the modestly titled The Band, reached arguably the pinnacle of its career." (American Songwriter)
What you said...
Steve Pereira: The Eric Clapton story is that he says he heard The Basement Tapes and loved the loose sound and friendly atmosphere. He obviously wasn't referring to the 1975 album, nor the bootleg, Great White Wonder, which contained some of the recordings, as that was released in 1969, after Cream split up. He must be referring to some demo tapes that got sent out.
We know about the demo tapes because various bands recorded and released songs from The Basement Tapes from 1968 onwards (Julie Driscoll with This Wheel's On Fire for example). He liked the atmosphere so much that he went out to Woodstock to meet the band, with a view to asking if he could join them.
But when he got there, he found he had little in common with them, and that they were not as friendly and laid back in real life as they had sounded on the demo tapes with Dylan. So he went back to the UK and formed Blind Faith instead. And Clapton considered Blind Faith to be the English version of The Band.
Henry Martinez: A sour Rolling Stone review also contributed to Clapton's decision to end Cream, but I can see The Band influencing the sound of his self-titled 1970 debut and especially his solo output starting in '74. The line from this Band album to the The Last Waltz is well worth following if you're new to them. It's not just about Robbie Robertson; it was a talented assortment of characters who all brought their different strengths. Well worth a listen.
Steve Pereira: As regards The Band by The Band. I feel it's a solid, worthy, respectable album. But it's also somewhat dull and boring. The Band behind and with Dylan are a gritty little band. Little in the way of character, but certainly decent backing musicians. By themselves they retain that feel of a solid, respectable band. Though (unless playing live) they do end up sounding more like a group of skilled session musicians than a proper band. They are a band in need of a charismatic front man.
Decent, solid songs on the album, which like the debut, Music From Big Pink, sounds like they came out of the recordings which ended up on The Basement Tapes. I guess if folks like The Basement Tapes they'll like this album. But it's all so dour for me. And Americana is not a genre of music than holds any interest for me. I struggle to see the genuine distinction between Americana and American folk-rock and country-rock. Except that it lacks joy and life. And is rather old-fashioned. The next year Elton John released Tumbleweed Connection - for me John's finest (sadly overlooked). Now that's a great exploration of the Americana genre.
Greg Schwepe: As a music aficionado, I’ve always been sure to check out bands or albums that are generally acknowledged as classics or influential in some way to other artists. Kind of like, if you’re really a music geek you have to own a copy of Rumours, Hotel California and Back In Black type of thing.
So, I had to do the same thing with The Band a few years ago. Knowing how Eric Clapton was a fan, and their involvement with Bob Dylan, I decided to give them a listen. And, during a concert marathon on a music related TV channel I watch, I probably saw an ad for The Last Waltz, so that probably nudged me a little. After purchasing some album by The Band (either a compilation or release that I can’t remember), I did my due diligence to see what the fuss was about.
And to tell you the truth, I was a little underwhelmed. And I was disappointed that I was underwhelmed. After I got past the 3-4 songs that actually did radio airplay I just didn’t “get” The Band. Bunch of talented musicians, but the rest of their stuff didn’t seem to click with me.
And when The Band’s second album got selected for this week’s review, I thought I’d take another listen and try harder this time. But alas, the same result. A few songs really, really stuck with me; the funky Up On Cripple Creek, and the bluesy chugging Jemima Surrender. The rest of the album, well, maybe Americana is not my thing for the most part.
7 out of 10 for me on this one. Influential band with albums that influenced and moved a lot of people, but just not me.
John Davidson: Not my cup of tea. Though lord knows I've tried over the years. I do like southern rock and the occasional country rock song crosses over but this one just sounds dated to me.
Clearly a host of talented musicians and some decent songs that have entered the public lexicon, but overall it's a no.
Evan Sanders: Thanks for making The Band the Album of the Week, as my usual listening to them has either been The Last Waltz or a greatest hits selection. I think this album is a great example of the Americana movement, which influenced bands from The Grateful Dead, The Eagles, and even Southern Rock, with its emphasis on songs that seem to evoke a place and history.
Even though the album that gets more attention is the previous year's Music From Big Pink, I think the second album better establishes The Band's sound. Perhaps this is because all the songs were written by the members, rather than adapting covers. Songs like The Night They Drove Old Dixie Down, Up On Cripple Creek and Look Out Cleveland continue to be played in the great American songbook, deservedly.
I'm giving it a 7/10, subtracting a few points for several songs that are less impressive b-sides, and my opinion that the lyrics of The Night They Drove Old Dixie Down have not aged well.
Philip Qvist: A good album, including a couple of their iconic songs, mainly The Night They Drove Old Dixie Down and Up On Cripple Creek.
Some great vocals from Richard Manuel (who also contributed to the songwriting), Levon Helm and Rick Danko. That all said, it is Robbie Robertson's songwriting that is the key here. A rather decent album.
John Stout: Just bought the deluxe edition, as it includes the Band's full set at Woodstock. Music From Big Pink and this one are the essentials, but Stage Fright is excellent too (and comes with a full show from the Royal Albert Hall 1971 which is absolutely killer.)
And that's coming from someone who only just started listening to them a couple of months ago.
Chris Elliott: In 1984 during one of their reformations I "saw" them at a strange festival. I was 18 and may have succumbed to other temptations and I have absolutely zero recollections of much at all - including seeing The Band.
However a few years down the line I finally got this album and it's been a favourite since. Once a complete outlier in my tastes - it's become more of an indicator of my tastes as time passes.
It has the same feeling as Uncle Tupelo albeit taking a more roots approach. Barely a note wasted - together with Music From Big Pink it's a wonderful album. They never reached the same heights after.
A perfect album to walk the dog - a wonderful album to just waft you along. Whispering Pines is a thing of beauty.
Adam Ranger: I'm probably in the minority here but I found this a bit dull. Great playing, good writing, but I found myself, with a couple of exceptions, a bit bored by the experience.
I think I was expecting something special from years of critical acclaim. I had only heard these songs on The Last Waltz (an excellent live album that I can easily listen to anytime)
I guess for me, the album versions are not as lively.. the exception being Up On Cripple Creek, the best song on this record.
I can appreciate their influence given that this was 1968, and I appreciate the artistry, but it's not an album I will revisit quickly.
Mike Canoe: Party over, oops, out of time; tonight I'm gonna party like it's 1869.
I try one of the Band's albums again every few years, but I find their music as aggressively and pretentiously dull as their choice of band name. It's as if, at the peak of psychedelia and heavy rock, they made a point of rocking out as little as possible.
In some ways, they remind me of the Grateful Dead but without Jerry Garcia's scruffy charm and the cool skull logo. I guess their musicianship is high quality but none of the three vocalists or Robbie Robertson's lyrics draw me in.
The faux ol'-timey The Night They Drove Old Dixie Down is everything I dislike about the band in one song. As inauthentic as the sepia-toned band photo on the album cover. If I had to point someone towards a hit, it would be the upbeat Up On Cripple Creek. For a deeper track, Look Out Cleveland or Rag Mama Rag.
I have friends who swear by the Band's greatness and have named dogs after certain band members. However, they remain not for me. But I'll probably try again in a few years.
Final score: 8.09 (53 votes cast, total score 429)
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