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Lossless Galaxy Release / Rock / Folk, Country, Ethnic

The Band: The Last Waltz ● 4CD Box Set Rhino Records

Lossless Galaxy Release

The Band: The Last Waltz ● 4CD Box Rhino Records

The Band: The Last Waltz ● 4CD Box Set Rhino Records

Исполнитель:
The Band
Box:
The Last Waltz
(4CD Box Set Rhino Records)
Информация:
Ⓟ 1978 & 2002 Warner Bros. Records
© 2008 Rhino Entertainment Company
Warner Bros. Records / Rhino Entertainment Company
Manufactured in the EU
Catalog Box: 8122-79899-3
Catalog All CDs: 8122-79899-3
Label Code: LC02982
Жанр: Rock / Folk Rock / Country Rock / Classic Rock
Год: 2002
Формат: FLAC / Level 8 (img + *cue + log, AccurateRip)
Качество: lossless
Covers: format PNG 300dpi, full scans
Размер:
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Каждый CD можно скачать отдельно
Each CD can be downloaded separately
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Залито на: FileSonic + Hotfile + Fileserve (3% восстановление)

Подарочное издание упаковано в картонный DigiPack размером 14 х 19,5 см с 80-страничным буклетом-книгой, закрепленным в середине упаковки. Буклет содержит фотографии и дополнительную информацию на английском языке.

Amazon.com
Review by Bill Holdship
Even taking into account inflation, it's ironic in this era of $250 concert tickets that critics harped when the Band charged $25 for their legendary November 1976 farewell show at San Francisco's Winterland. That price not only included Thanksgiving dinner, but also numerous guest superstars who'd influenced, worked with, and/or shared the Canadian roots of Robbie Robertson and crew. What transpired was a grand celebration of North American musical forms. There are numerous definitive performances here--from Van Morrison's goose-bump-inducing "Caravan" and solo rendition of the beautiful Irish standard "Tura Lura Lural" (Celtic music inspired those Appalachians in the first place) to Bob Dylan and "the Hawks" delivering a pop-metallic "Baby, Let Me Follow You Down," first captured on the Royal Albert Hall Concert tapes. But because this new fleshed-out version--produced and compiled by Robertson - includes surprises (late blues legend Muddy Waters's endearing take on Louis Jordan's "Caledonia"; current blues legend Dylan's "Hazel"), treasures ("This Wheels on Fire," Neil Young's "Four Strong Winds"), and two jam sessions that just don't add much, the new box set simply matches and enhances--but doesn't top--the original three-LP version of this wonderful slice of rock & roll history.
Product Description
More than twice the content of the original soundtrack release! Over 4 hours of music (on 4 CDs), featuring performances by The Band, Muddy Waters, Van Morrison, Dr. John, Ringo Starr, Paul Butterfield, Stephen Stills and Ron Wood. Includes the complete original 1978 album plus 24 previously unreleased tracks (23 exclusively available here!). Contains an 8o-page book with a forward by Robbie Robertson, new liner notes by famed rock journalist David Frike and rare photos. Digitally remixed and remastered by Robbie Robertson. Housed in a cloth-bound digi-book.

ru.wikipedia.org
The Band - канадско-американская фолк-рок-группа, которая - несмотря на ограниченную популярность у широкой публики - пользовалась огромным уважением музыкальных журналистов и коллег-музыкантов. По результатам масштабного опроса музыкантов и критиков журнал Rolling Stone включил их в число пятидесяти величайших артистов эпохи рок-н-ролла. В 1959-63 гг. члены группы аккомпанировали исполнителю рокабилли Ронни Хокинсу под названием The Hawks. Впоследствии выпустили несколько пластинок под названиями Levon and the Hawks и The Canadian Squires. В 1965 году по приглашению Боба Дилана сопутствовали ему в первом мировом туре, который стал одним из легендарных событий в истории рок-музыки. После отхода Дилана от концертной деятельности записали вместе с ним музыкальную сессию, которая долгое время циркулировала в качестве бутлега (первого в истории), а в 1975 г. была наконец выпущена альбомом под названием «The Basement Tapes». В 1968 году участники группы записали первый самостоятельный альбом - «Music from Big Pink». В музыкальном отношении этот диск был продолжением «The Basement Tapes»; обложку для него нарисовал сам Дилан. Он был удостоен восторженных отзывов музыкальных критиков и оказал значительное влияние на других музыкантов, положив начало новому направлению в музыке - кантри-року. В частности, прослушав этот диск, гитарист Эрик Клэптон покинул супергруппу «Cream»; впоследствии он признавался о том, что в то время мечтал стать участником The Band. Один из рецензентов назвал дебютный альбом группы «сборником рассказов об американских обывателях - столь же мощно и изящно запечатлённых на этом музыкальном холсте, как были выведены герои в книгах Марка Твена». Написанные Робертсоном и Мэнюэлом треки исполняли различные участники группы - в основном это были Мэнюэл, Дэнко и южанин Хелм. Особенным успехом пользовалась песня «The Weight», в тексте которой замысловато преломились библейские мотивы. В 1969 году The Band выпустили второй альбом, который так и назывался - «The Band». Журнал Rolling Stone, многие сотрудники которого были поклонниками группы, писал тогда о том, что The Band - единственная рок-группа, которая звучит так, словно в Америке не было ни «британского вторжения», ни психоделии, и в то же время остаётся современной. В этом альбоме Робби Робертсон, который написал основную часть песен, обратился к темам американской истории. Характерный пример - песня «The Night They Drove Old Dixie Down», основанная на эпизоде Гражданской войны между Севером и Югом. В семидесятые годы The Band продолжали концертную деятельность, выступая вместе с Дженис Джоплин, Grateful Dead и другими музыкантами. У них вышло ещё несколько дисков, но критики были к ним менее благосклонны, чем к ранним работам группы. Внутри команды накапливались противоречия, связанные главным образом со стремлением Робертсона диктовать другим участникам свои музыкальные предпочтения. Попытки Робертсона стать непререкаемым лидером The Band ни к чему не привели, и после грандиозного тура с Бобом Диланом участники группы объявили в 1976 г. об её распаде. Их последний концерт был запечатлён на плёнку Мартином Скорсезе и выпущен в качестве документальной ленты под названием «Последний вальс». Помимо Дилана, на этом историческом концерте выступили те музыканты, которых The Band считали своими авторитетами (Мадди Уотерс, Дилан, Нил Янг) либо с которыми они работали в прошлом (Вэн Моррисон, Джони Митчелл, Доктор Джон, Клэптон). Семь лет спустя The Band вновь возродились, на этот раз без участия Робертсона. В этом составе они провели немало концертов и записали несколько новых дисков, среди которых - совместная работа с Борисом Гребенщиковым, «Лилит».

en.wikipedia.org
History
The Band were an acclaimed and influential rock group. The original group consisted of Canadians Rick Danko (bass guitar, double bass, fiddle, trombone, vocals), Garth Hudson (keyboard instruments, saxophones, trumpet), Richard Manuel (piano, drums, baritone saxophone, vocals), Robbie Robertson (guitar, vocals), and American Levon Helm (drums, mandolin, guitar, vocals). All five members were notable musicians in their own right. The members of the Band first came together as they joined rockabilly singer Ronnie Hawkins' backing group, The Hawks, one by one between 1958 and 1963. Upon leaving Hawkins in 1964, they were briefly known as The Levon Helm Sextet with sax player Jerry Penfound being the sixth member, then Levon and the Hawks after Penfound's departure. In 1965, they released a single on Ware Records under the name Canadian Squires, but returned as Levon and the Hawks for a recording session for Atco later in 1965. At about the same time, Bob Dylan recruited Helm and Robertson for two concerts, then the entire group for his U.S. tour in 1965 and world tour in 1966. They also joined him on the informal recordings that later became The Basement Tapes. Because they were always "the band" to various frontmen, Helm said the name "The Band" worked well when the group came into its own and left Saugerties, New York, to begin recording their own material. They recorded two of the most acclaimed albums of the late 1960s: their 1968 debut Music from Big Pink (featuring the single "The Weight") and 1969's The Band. In 2004, "The Weight" was ranked the 41st best song of all time in Rolling Stone's 500 Greatest Songs of All Time list. The Band broke up in 1976, but reformed in 1983 without founding guitarist Robbie Robertson. Although the Band was always more popular with music journalists and fellow musicians than with the general public, they have remained an admired and influential group. The group was inducted into the Canadian Music Hall of Fame in 1989[5] and the Rock and Roll Hall of Fame in 1994. In 2004, Rolling Stone ranked them #50 on their list of the 100 Greatest Artists of All Time, and in 2008, they received the Grammy's Lifetime Achievement Award.
Box Set
The box set The Last Waltz is a 2002 four-disc re-release of the 1978 album The Last Waltz documenting the concert The Last Waltz, the last concert by The Band with its classic line up. A full forty tracks are taken from the show in addition to rehearsal outtakes. Twenty-four tracks are previously unreleased. Among the tracks added are a version of Louis Jordan's "Caldonia" featuring Muddy Waters and Pinetop Perkins trading off the vocal, a radically reworked version of the live favorite "Rag Mama Rag", Neil Young and Joni Mitchell joining The Band on "Acadian Driftwood", a blistering take on the Stage Fright classic "W. S. Walcott Medicine Show" and the concert closer, "Don't Do It". In addition, several edits made on the original 1978 set have been done away with. Certain songs (such as "Forever Young" with Bob Dylan) are presented in their unedited versions. Songs still missing are a version of "Georgia on My Mind", the full versions of the two jams presented, the full version of "Chest Fever", and the concert takes of "King Harvest (Has Surely Come)" and "Evangeline". The album is still rife with overdubbing, re-sequencing and editing but it does paint a more complete picture of the event than the earlier album or film do. Bootleg recordings of the show have been made available by collectors, who say it presents a more accurate depiction of the concert.

Allmusic.com
Biography by Bruce Eder

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For roughly half a decade, from 1968 through 1975, the Band was one of the most popular and influential rock groups in the world, their music embraced by critics (and, to a somewhat lesser degree, the public) as seriously as the music of the Beatles and the Rolling Stones. Their albums were analyzed and reviewed as intensely as any records by their one-time employer and sometime mentor Bob Dylan, and for a long time, their individual personalities were as recognizable to the casual music public as the members of the Beatles. Although the Band retired from touring after The Last Waltz and disbanded several years later, their legacy thrived for decades, perpetuated by the bandmates' respective solo careers as well as the enduring strength of the Band's catalog. The group's history dates back to 1958, just about the time that the formative Beatles gave up skiffle for rock & roll. Ronnie Hawkins, an Arkansas-born rock & roller who aspired to a real career, assembled a backing band that included his fellow Arkansan Levon Helm, who played drums (as well as credible guitar) and had led his own band, the Jungle Bush Beaters. The new outfit, Ronnie Hawkins & the Hawks, began recording during the spring of 1958 and gigged throughout the American south; they also played shows in Ontario, Canada, where the money was better than in their native south. When pianist Willard Jones's left the lineup one year later, Hawkins began looking at some of the local music talent in Toronto in late 1959. He approached a musician named Scott Cushnie about joining the Hawks on keyboards. Cushnie was already playing in a band with Robbie Robertson, however, and would only join Hawkins if the latter musician could come along. After some resistance from Hawkins, Robertson entered the lineup on bass, replacing a departing Jimmy Evans. Additional lineup switches took place over the next few years, with Robbie Robertson shifting to rhythm guitar behind Fred Carter's (and, briefly, Roy Buchanan's) lead playing. Rick Danko (born December 9, 1943) came in on bass in 1961, followed by Richard Manuel (born April 3, 1944) on piano and backing vocals. Around that same time, Garth Hudson (born August 2, 1937), a classically trained musician who could read music, became the last piece of the initial puzzle as organ player. From 1959 through 1963, Ronnie Hawkins & the Hawks were one of the hottest rock & roll bands on the circuit, a special honor during a time in which rock & roll was supposedly dead. Hawkins himself was practically Toronto's answer to Elvis Presley, and he remained true to the music even as Presley himself softened and broadened his sound. The mix of personalities within the group meshed well, better than they did with Hawkins, who, unbeknownst to him, was soon the odd man out in his own group. As new members Danko, Manuel, and Hudson came aboard - all Canadian, and replacing Hawkins' fellow southerners - Hawkins lost control of the group, to some extent, as they began working together more closely. Finally, the Hawks parted company with Ronnie Hawkins during the summer of 1963, the singer's at times overbearing personality and ego getting the better of the relationship. The Hawks decided to stay together with their oldest member, Levon Helm, out in front, variously renaming themselves Levon & the Hawks and the Canadian Squires and cutting records under both names. A hook-up with a young John Hammond, Jr. for a series of recording sessions in New York led to the group's being introduced to Bob Dylan, who was then preparing to pump up his sound in concert. Robertson and Helm played behind Dylan at his Forest Hills concert in New York in 1965 (a bootleg tape of which survives, and can be heard), and he ultimately signed up the entire group. The hook-up with Dylan changed the Hawks, but it wasn't always an easy collaboration. In their five years backing Ronnie Hawkins, the group had played R&B-based rock & roll, heavily influenced by the sound of Chess Records in Chicago and Sun Records in Memphis. Additionally, they'd learned to play tightly and precisely and were accustomed to performing in front of audiences that were interested primarily in having a good time and dancing. Now Dylan had them playing electric adaptations of folk music, with lots of strumming and lacking the kind of edge they were accustomed to putting on their work. His sound was traceable to the music of Big Bill Broonzy and Josh White, while they'd spent years playing the music of Jerry Lee Lewis, Chuck Berry, and Bo Diddley. As it happens, all of those influences are related, but not directly, and not in ways that were obvious to the players in 1964. Ironically, in the spring of 1965, the group had just missed their chance at what could have been a legendary meeting on record with a musician they did understand. They'd met Arkansas-based blues legend Sonny Boy Williamson II, and jammed with the singer/blues harpist one day, hoping to cut some records with him. They hadn't realized it at the time, but Williamson was a dying man - by the time the Hawks were ready to return and try to cut some records with him, he had passed on. Another problem for the group about working with Dylan concerned his audience. The Hawks had played in front of a lot of different audiences in the previous four years, but almost all of them were people primarily interested in enjoying themselves and having a good time. Dylan, however, was playing for crowds that seemed ready to reject him over principle. The Hawks weren't accustomed to confronting the kinds of passions that drove the folk audience, any more than they were initially prepared for the freewheeling nature of Dylan's performances - he liked to make changes in the way he did songs on the spot, and the group was often hard put to keep up with him, at least at first, although the experience did make them a more flexible ensemble on-stage. Eventually the group did get together with Dylan as his backup band on his 1966 tour, although Levon Helm left soon after the tour began at the end of 1965. The group ultimately fell under the management orbit of Dylan's own manager, Albert Grossman, who persuaded the four core members (sans Helm) to join Dylan in Woodstock, NY, working on the sessions that ultimately became the Basement Tapes in their various configurations, none of which would be heard officially for almost a decade. (Indeed, up to this time, only a single song, "Just Like Tom Thumb's Blues," done live from the tour just ended, on a 45 B-side, had surfaced representing the group playing with Dylan). Finally, a recording contract for the group - rechristened the Band - was secured by Grossman from Capitol Records. Levon Helm returned the fold, and the result was Music from Big Pink, an indirect outgrowth of the Basement Tapes. This album, enigmatically named and packaged, sounded like nothing else being done by anybody in music when it was released in July of 1968. It was as though psychedelia, and the so-called British Invasion, had never happened; the group played and sang like five distinct individuals working toward the same goal, not mixing together smoothly. There was a collective sound to "the band," but it made up five distinct individual voices and instruments mixing folk, blues, gospel, R&B, classical, and rock & roll. The press latched on to the album before the public did, but over the next year, the Band became one of the most talked about phenomenon in rock music and Music from Big Pink acquired a mystique and significance akin to such albums as Beggars Banquet. The group and album ran counter to the so-called counterculture, and took a little getting used to, if only for their lack of a smooth, easily categorizable sound. Their music was steeped in Americana and historical and mythic American imagery, despite the fact that all of the members except Helm came from Canada (which, in fact, may have helped them appreciate the culture they were dealing with, as outsiders). Robertson, Manuel, and Danko all wrote, and everyone but Robertson and Hudson sang; their vocals didn't mesh sweetly but simply flowed together in an informal manner. Classical organ flourishes meshed with a big (yet lean), raw rock & roll sound and the whole was so far removed from the self-indulgent virtuosity and political and cultural posturing going on around them that the Band seemed to be operating in a different reality, to different rules. During this same period, the group's past association with Bob Dylan - whose name at the time had an almost mystical resonance with audiences - was mentioned in the rock press and also put right in the faces of listeners through a new phenomenon. Only a single track from the group's 1966 tour with Dylan had ever surfaced, and that was an out-of-print B-side to an old single. But in 1969, the first widely distributed bootleg LP, The Great White Wonder, featuring the then-unreleased Basement Tapes, started turning up on college campuses and record collectors' outlets. The quality was limited, the labels were blank, and there was no "promotion" as such of this patently illegal release, but it got around to hundreds of thousands of listeners and only heightened the mystique surrounding the Band. Music from Big Pink, which featured a painting by Bob Dylan on its cover, began selling - slowly at first and then better - and the group played a few select shows. A second album, simply titled The Band, was every bit as good as the first. Dominated by Robertson's writing, it was released in September of 1969, and with it, the group's reputation exploded; moreover, they began their climb out of the shadow of Bob Dylan with songwriting of their own that was every bit a match for anything he was releasing at the time. A pair of songs, "Up on Cripple Creek" and "The Night They Drove Ol' Dixie Down," captured the public imagination, the former getting them onto The Ed Sullivan Show in an appearance that's fascinating to watch on the official Ed Sullivan video release; the host comes out to embrace and congratulate them, obviously thrilled after the psychedelic and hard rock acts that he usually booked, to see a group whose words and music he understood. Meanwhile, "The Night They Drove Ol' Dixie Down" became a popular radio track and yielded a hit cover version in the guise of an unaccountably corrupted rendition by Joan Baez (in which, for reasons that only Baez may be able to explain, Robert E. Lee is transformed into a steamboat) that made the Top Five. Following the release of the second album, things changed somewhat within the group. Partly owing to the pressures of touring and the public's expectations of "genius," and also to the growing press fixation on Robbie Robertson at the expense of the rest of the group, the other group members remained familiar enough that their names and personalities were well-known to the public. The Band was still a great working ensemble, as represented on their brilliant third album, Stage Fright, but gradually exhaustion and personal pressures took their toll. Additionally, the huge amounts of money that the members started collecting, against hundreds of thousands and ultimately millions of record sales, led to instances of irresponsible behavior by individual members and their spouses and raised the pressure on the group to perform. The members had always engaged in a certain amount of casual drug use, mostly involving marijuana, but now they had access to more serious and expensive chemical diversions. Some private resentments also began manifesting themselves about Robertson's dominance of the songwriting (some reality of which was questioned openly in Levon Helm's autobiography years later), and the fact that the group was now constantly in the public eye didn't help. By the time of the fourth album, Cahoots, some of the glow of experimentation and easygoing camaraderie was gone, though ironically, the album was still one of the best released in 1971. The problem for the group became fulfilling all of the commitments involved in success, including touring and writing new material to record. By the end of 1971, they'd decided to take a break, cutting a live album, Rock of Ages, that was all fans had to content themselves with in 1972. The fact that their next album, issued in 1973, was a collection of studio versions of the oldies that the group used to do on-stage, and numbers that they knew from their days as the Hawks, should have been a warning sign that not everything was well within the group. More troubling still was the fact that the renditions were so plain and flat sounding compared to the music they'd cut on every prior album; it simply wasn't up to the standard that one expected of the group and the fact that they didn't tour behind the record seemed to indicate that they were marking time with Moondog Matinee. The group did play one major show that year, at the race track at Watkins Glen, NY, before the largest audience ever assembled for a rock concert - it was a demonstration of their place in the rock pantheon that the Band was booked alongside the Grateful Dead and the Allman Brothers Band. The year 1973 was also where they let the other shoe drop on their association with Bob Dylan, cutting the Planet Waves album with him and preparing for a huge national tour together in 1974. That tour, in retrospect, seemed more a basis for cashing in on their association with Dylan than for any new music-making of any significance. In many critics' eyes, the Band was superior to Dylan in their performances, an idea borne out on much of the live LP Before the Flood that was distilled down from the two February 14, 1974, performances. Everyone made a fortune from it, but the tour with Dylan also thrust the group right into the middle of the most decadent part of the rock world. A lot of the simplicity and directness of their music and lives succumbed to the easy availability of sex, drugs, and other diversions and the expensive lifestyles they were all starting to maintain. By the end of 1974, the Band had expended much of the good will they'd built up from their first four albums. Another album, Northern Lights - Southern Cross released in late 1975, was a major comeback and restored some of the group's reputation as a cutting-edge ensemble, even encompassing elements of synthesizer music into its writing and production. Around this same time, Levon Helm and Garth Hudson made a belated contribution to the history of Chess Records (in light of their near-miss with Sonny Boy Williamson a decade earlier) when they worked with Muddy Waters, cutting an entire album with the blues legend at Helm's studio in Woodstock, NY. The Muddy Waters Woodstock Album, although ignored at the time by everyone but the critics, was the last great album cut by the label or by Waters at the label, and his best album in at least five years. It was too late to save the Band as a working ensemble, however; the members were all involved in their own interests and lives and the group stopped touring. The inevitable best-of album in 1976, ahead of what proved to be their final tour, marked the unofficial end of the original lineup's history. One last new album, Islands, fulfilled the group's contract and had some fine moments, but they never toured behind it and it was clear to one and all that the Band was finished as a going concern. The group marked the end of their days as an active unit with the release of the film (and accompanying soundtrack LP set) The Last Waltz, directed by Martin Scorsese, of their farewell concert, which was an all-star performing affair pulling together the talents of Ronnie Hawkins, Muddy Waters, Eric Clapton, Neil Young, Van Morrison, and a dozen other luminaries drawn from the ranks of old friends, admirers, and idols of theirs. Robertson and Helm pursued musical and film careers, while Danko tried to start a solo career of his own. Capitol Records kept repackaging their music on vinyl with an Anthology collection and a second best-of LP, as well as a pair of CD recompilations, To Kingdom Come and Across the Great Divide, in the '90s. As it turned out the members, apart from Robertson, weren't quite as ready or willing to close the book on the group, in part because they saw no reason to and also because several of them proved unable to sustain profitable solo careers (Robertson, having written most of the songs, had a steady income from the publishing as well as the record sales). The other members of the group reunited at various times - in 1983, four members of the Band, with Robertson replaced by Earl Cate of the Cate Brothers on guitar, reunited for a tour that yielded a full-length concert video and a healthy audience response. The death of Richard Manuel in 1986 cast a dark pall on any future reunions, of which there were several - Robertson issued his first solo album a year later, which included a tribute to Manuel ("Fallen Angel"). This was as close as the guitarist would get to a Band reunion, however, which became a bone of contention among onlookers and the members. Robertson publicly questioned what the meaning of The Last Waltz had been and would never participate. And as the group's major songwriter and principal guitarist, he was their most famous member, but he almost never sang significant vocal parts on their recordings (indeed, it is said that one reason their set from Woodstock was never issued was because his mic was live and his voice too prominent). Other guitarists could build on his work well enough, and the rest of the group had made significant contributions to virtually every song they ever did, so the reunions made sense. In 1993, the Band released Jericho, their first new album in 16 years, which received surprisingly good reviews. High on the Hog followed in 1996 and two years later, they celebrated their 30th anniversary with Jubilation. The death of Rick Danko in his sleep at his home in Woodstock on December 10, 1999, the day after his 56th birthday, seemed to call an end to future activities by any version of the Band.

Review by Stephen Thomas Erlewine

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"The road was our school. It gave us a sense of survival; it taught us everything we know and out of respect, we don't want to drive it into the ground...or maybe it's just superstition but the road has taken a lot of the great ones. It's a goddam impossible way of life" - Robbie Robertson, from the movie The Last Waltz, quoted in the box set. Perhaps Robertson's greatest gift is how he can spin a myth, making the mundane into majestic fables. Outside of his songs, his greatest achievement in myth-making was The Last Waltz, where he doesn't necessarily overstate the amount of time the Band spent on the road, but he sure tried to make it all seem like something special, both in amount of time they spent on the road and what they've accomplished. And while he was right on the latter - the Band did change the course of music, leaving behind records that still sound gloriously rich and out of time - the former is a bit of a stretch since not only were the rest of the Band not exactly ready to stop touring (they would later reunite without him), it ignores the basic fact that touring is what working musicians do. They make music, they play for audiences, they keep rolling throughout the years, and many of the artists invited to participate in the Band's farewell concert - Ronnie Hawkins, Dr. John, Muddy Waters, Van Morrison, Neil Young, the Staple Singers, Emmylou Harris, Eric Clapton, and Bob Dylan, who legendarily launched a neverending tour in the '80s - lived the life of a working musician, performing live well past 50. The Band was cut from the same cloth as this, but Robertson realized that the group wasn't doing itself any good by staying on the road - and the accompanying Martin Scorsese-directed film does suggest that the Band was indulging itself way too much - and that it was the perfect time to draw the curtain on the Band with a lavish concert that turned their entire career into a burnished myth, nearly as ancient and romantic as photographs from the Civil War. Hence, The Last Waltz, a farewell concert on Thanksgiving 1976 promoted by Bill Graham and turned into a timeless documentary by Scorsese, was released as a triple-album set in 1978 and finally reissued as a four-disc box set by Rhino in 2002, on its near-25th anniversary (it's somewhere between 24 and 26, depending if you're counting performance or release, so 25 is a good compromise). Many people call this the greatest rock movie and greatest live performance of all time. They're wrong. It could be argued that the film is among the greatest rock films - convincingly so, actually - but the music amplifies not just what was great about the Band, but also their greatest flaws. That is, their effortless virtuosity and wonderful organic sound is a joy to hear, yet it can be undercut by the literary pretensions of Robertson, which gives the songs and sometimes the performances an artificial, academic feel - something that is accentuated here, since the music is being presented in an artificially romantic setting, where everything was heightened for the cinema; the Band even gives the entire enterprise a theme straight out of The Third Man. This resulted in something equally wonderful and affected, with each track having portions of both in different proportions. On the whole, the sublime outweighs the missteps, particularly since the invited guests are by and large troubadours who enjoy playing: Dr. John hauling out "Such a Night" (such a standard practice, it was later parodied on SCTV), Bobby Charles turning in the happiest performance of the evening with "Down South in New Orleans," Muddy Waters roaring through "Mannish Boy," Paul Butterfield playing mean harp, Van Morrison's joyous set, Dylan performing with an authority that suggests that he always thought he owned the Band. Other good moments are here. Clapton croons his Band-supported album track "All Our Past Times" with appropriate melancholy; Neil Young turns out a sweet "Helpless"; Joni Mitchell's "Coyote" is alluringly allusive; even Neil Diamond's "Dry Your Eyes" -- all are engaging. But it doesn't add up to something transcendent, either in its original triple-album set or in this quadruple-disc box. Part of the problem is that the concert is supplemented by a studio set - entitled "The Last Waltz Suite," expanded to a full disc here - that feels entirely out of place, even if it was designed to spotlight influences of the Band that weren't covered in the concert. Perhaps that's the reason why it feels so studied and affected, right down to the Staple Singers' celebrated version of "The Weight." This draws attention to one of the problems of the Band shining a spotlight on their influences - they are treating their influences with a respective distance, not as if something that is still vital to them, making even appearances by ruffians like Hawkins seem like museum pieces. Much of the Band absorbed these influences, so some of the spirit echoes throughout their own performances, but that distance is still evident - enough so that this music isn't transcendent, when it should be. This is all evident in spades within the box of The Last Waltz, which is an admittedly handsome, loving production. It's not necessarily historically accurate - the Band performed a full set before the guests show up, but here their songs are interspersed throughout the first three discs, a couple of songs are left off, and even "The Genetic Method/Chest Fever" doesn't have the latter part of the song. Still, this is as good as an historical release as imaginable, since it is expertly detailed, impeccably mastered, perfectly annotated, and filled with great liner notes and much unreleased material. None of the newly released material is revelatory - the jams are negligible (everybody sounds like they just ate a bunch of turkey before they played), the rehearsals confirm that Van the Man really clicked with the Band, the studio ideas fall flat, "Don't Do It" is as great as ever, everything inserted into the proper concert is welcome, even if it varies in quality - but it's all good, all welcome for those that have bought the myth of the Band and, particularly, The Last Waltz. But the box proves that the myth, in regards to the final concert, is not accurate - for those listeners who didn't grow up with the music, or those that never thought this particular concert pulled the curtain down on a wonderful era, it's easy to wonder what all the fuss was about. Because the thing is, the people who sound the best here - Dylan, Van Morrison, Dr. John, Levon Helm himself - are the ones who didn't treat the road as a goddam impossible way of life, but as what a working musician does. The Last Waltz teeters between these two schools of thought, wanting to celebrate the end while blithely ignoring that musicians make music for a living - and that's what keeps the music from truly captivating, from being essential, even if this set is perfectly assembled.

Rip by ALLexxess

CD1
243MB (1 Part) + 226MB (1 Part)

01 Theme From The Last Waltz - with Orchestra
The Concert
02 Up On Cripple Creek
03 The Shape I'm In
04 It Makes No Difference
05 Who Do You Love - with Ronnie Hawkins
06 Life Is A Carnival
07 Such A Night - with Dr. John
08 The Weight *
09 Down South In New Orleans - with Bobby Charles
10 This Wheel's On Fire *
11 Mystery Train - with Paul Butterfield
12 Caldonia - with Muddy Waters *
13 Mannish Boy - with Muddy Waters
14 Stagefright

* Previously Unissued

EAC log - AccurateRip

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Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 24. May 2011, 20:35

The Band / The Last Waltz CD1

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audiochecker / auCDtect

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CD2
243MB (1 Part) + 226MB (1 Part)

01 Rag Mama Rag *
02 All Our Past Times – with Eric Clapton *
03 Further On Up The Road - with Eric Clapton
04 Ophelia
05 Helpless - with Neil Young
06 Four Strong Winds - with Neil Young *
07 Coyote - with Joni Mitchell
08 Shadows And Light – with Joni Mitchell *
09 Furry Sings The Blues – with Joni Mitchell *
10 Acadian Driftwood *
11 Dry Your Eyes - with Neil Diamond
12 The W.S. Walcott Medicine Show *
13 Tura Lura Lural (That's An Irish Lullaby) - with Van Morrison
14 Caravan - with Van Morrison

* Previously Unissued

EAC log - AccurateRip

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Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 24. May 2011, 21:40

The Band / The Last Waltz CD2

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==== Log checksum 97264F9C5E3C32734A944E14D6F34FF5694F9790C3F6101E059259CF4BF5E197 ====

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CD3
201MB (1 Part) + 151MB (1 Part)

01 The Night They Drove Old Dixie Down
02 The Genetic Method / Chest Fever (Excerpt From Movie Soundtrack) *
03 Baby Let Me Follow You Down - with Bob Dylan
04 Hazel - with Bob Dylan *
05 I Don't Believe You (She Acts Like We Never Have Met) - with Bob Dylan
06 Forever Young - with Bob Dylan
07 Baby Let Me Follow You Down (Reprise) - with Bob Dylan
08 I Shall Be Released (Finale)
09 Jam #1 *
10 Jam #2 *
11 Don't Do It *
12 Greensleeves (From Movie Soundtrack) *

* Previously Unissued

EAC log - AccurateRip

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Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 24. May 2011, 22:34

The Band / The Last Waltz CD3

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Delete leading and trailing silent blocks : No
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audiochecker / auCDtect

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CD4
Full Covers
271MB (3 Part) + 232MB (1 Part)

The Last Waltz Suite
01 The Well
02 Evangeline - with Emmylou Harris
03 Out Of The Blue
04 The Weight - with The Staples
05 The Last Waltz Refrain
06 Theme From The Last Waltz
Concert Rehearsal
07 King Harvest (Has Surely Come) *
08 Tura Lura Lural (That's An Irish Lullaby) - with Van Morrison *
09 Caravan - with Van Morrison *
10 Such A Night - with Dr. John *
11 Rag Mama Rag *
Studio Ideas
12 Mad Waltz (Sketch Track For 'The Well') *
13 The Last Waltz Refrain (Instrumental Version) *
14 The Last Waltz Theme (Sketch) *

* Previously Unissued

EAC log - AccurateRip

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Exact Audio Copy V1.0 beta 1 from 15. November 2010

EAC extraction logfile from 24. May 2011, 23:25

The Band / The Last Waltz CD4

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Read offset correction : 667
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Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
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Used output format : Internal WAV Routines
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Test CRC C46D9E05
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audiochecker / auCDtect

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