By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
It's nice that Capitol Records has seen fit to reissue The Band's first four albums with a healthy amount of bonus tracks. So many of those tracks have shown up on bootlegs for nearly three decades, especially the indispensable three-disc Genuine Bootleg Series collection. Each disc includes alternate versions of songs found on the original albums and The Basement Tapesand never-before-heard songs belonging to private collectors. (The first album has eight extras; the second, seven; the final two, only five each.) After all, that's how you get people to buy copies of discs they already have--by adding on a handful of extras in order to justify the expenditure, since nobody makes a purchase based on that "digitally remastered from the original masters" sticker alone. But the fact remains, bonuses or no, that The Band and Music from Big Pink remain among the few flawless and essential albums made in the 1960s; they've outlived their expiration date, long after so many other rock records from that era (cf. Sgt. Pepper's Lonely Hearts Club Band and Tommy) have grown stale and moldy with old age. Such are the benefits, perhaps, of having constructed music out of rickety remnants: pump organ and harmonica, tuba and mandolin, and five men who sang and played together like a gospel choir or a chain gang that's seen too many nights in the roadhouses. Nothing's more timeless than a memory.
The first two Band albums are among those rare discs that never wear down or out the longer you play them; they survive--thrive--with each successive spin. Those who talk, write, and theorize all day long about the vintage clothing and Robert E. Lee mentions and how The Band pieced together an America that exists only in history books miss the thrill of creation, the way four Canucks and a good ol' boy from Arkansas "rebelled against the rebellion," as Helm wrote in his book This Wheel's on Fire. During the era of psychedelics and other indulgences, The Band kept it short and sweet: They opened the first record with a slow song ("Tears of Rage," ), allowed nary a single guitar solo anywhere on the album, and let the horns and organs play till they ran out of breath. Music from Big Pink sounds as if it was recorded during a party during which everyone swapped bottles and instruments. The extras only affirm that notion, especially "If I Lose" (an old Stanley Brothers song), Richard Manuel's solo pianos-and-vocals take on "Orange Juice Blues" (sounds like some old OKeh single from the 1930s), and the oft-bootlegged "Ferdinand the Imposter," which is as close to soused-and-sloppy as The Band ever got.
The outtakes on The Band are most notable for the inclusion of alternate versions of "The Night They Drove Old Dixie Down" and "Jemima Surrender." The former is a stop-and-start affair, the sound of men making it up as they go; listening to it is like watching a magician reveal his tricks. It begins like some half-remembered dream, with the sound of nothing but a slightly strummed acoustic guitar guiding a falsetto, barely heard vocal (most likely Manuel's) until a piano appears suddenly, quietly, in the distance. The Band then launches into the song, only to stop once more; everything's a little...off. The third time's the charm, only this time, the song contains overdubs not heard on the final version--a little flute, perhaps, and other accompaniment later deemed unnecessary (including out-of-tune horns). The version of "Jemima Surrender" is most notable for the fact Manuel plays drums on it, while Helm plays guitar; in the end, it mattered little who played what.
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