This is the story of Bob Dylan and The Band, the legendary amateur recordings that they made together in Woodstock, their re-invention of American music and their continued relationship during the late 1960s and 1970s. Featuring the first interview with Garth Hudson in over a decade, together with contributions from Band producer John Simon; 66 tour drummer Mickey Jones; Hawks mentor Ronnie Hawkins and many more, plus rare footage, archive interviews and the music that changed the world. This is the finest program on Dylan and The Band s respective and communal careers yet to emerge. ~amazon.com
I play patterns. I’ll make up a pattern and just play it.
“Well, let’s see: I started [in music] at nine and quit. Then got back to it when I was twelve. Then I became a party star. In fact, I became a party!”
For me he was the true light of the Band. The other guys were fantastic talents, of course, but there was something of the holy madman about Richard. He was raw. When he sang in that high falsetto the hair on my neck would stand on end. Not many people can do that.
A nice tribute video – I’m just a country boy:
I Shall Be Released (The Band)
Gonna dedicate this song to Mr. Richard Manuel, who does it so well
~Bob Dylan (Introducing “I Shall Be Released” December 8, 1975)
Richard George Manuel
April 3, 1943
Stratford, Ontario, Canada
March 4, 1986 (aged 42)
Winter Park, Florida, U.S.
Richard George Manuel (April 3, 1943 – March 4, 1986) was a Canadian composer, singer, and multi-instrumentalist, best known for his contributions to and membership in The Band.
Here is the wonderful “Georgia On My Mind” from The Last Waltz concert:
“Richard Manuel was a whole show unto himself. He was hot. He was about the best singer I’d ever heard; most people said he reminded them of Ray Charles. He’d do those ballads, and the ladies would swoon. To me that became the highlight of our show.”
The Band was a Canadian-American roots rock group that originally consisted of Rick Danko (bass guitar, double bass, fiddle, trombone, vocals), Levon Helm (drums, mandolin, guitar, vocals), Garth Hudson (keyboard instruments, saxophones, trumpet), Richard Manuel (piano, drums, baritone saxophone, vocals) and Robbie Robertson (guitar, vocals). The members of the Band first came together as they joined rockabilly singer Ronnie Hawkins’s backing group, The Hawks, one by one between 1958 and 1963.
You Dont Know Me – Tokyo 1983
“He brought a lot of powers and strengths to the group. He brought in gospel music from his church upbringing. Plus, he loved to play and just come up with new things. It was like having a force of nature in the band.”
In 1994, Richard Manuel was inducted, posthumously, into The Rock and Roll Hall of Fame as a member of The Band.
In 2003, Japan’s Dreamsville Records released Whispering Pines: Live at the Getaway, which contains selections from a solo concert recorded in Saugerties, New York in October 1985.
Former bandmate Robbie Robertson‘s song “Fallen Angel” (1987) and The Band‘s song “Too Soon Gone” (1993) are each tributes to Manuel.
On Forbes.com, Allen St. John wrote a tribute article about Richard Manuel and Rick Danko on April 19, 2012.
Eric Clapton’s 1986 album, August, features his tribute to Richard Manuel entitled “Holy Mother”.
San Francisco-area group, The Call, who had collaborated with former Band members Hudson and Robertson, dedicated the video for their 1986 single, “Everywhere I Go” to Manuel.
Counting Crows recorded the song “If I Could Give All My Love -or- Richard Manuel Is Dead”, released on their 2002 album Hard Candy.
The Drive-By Truckers’ song “Danko/Manuel” was released on their album The Dirty South in 2004.
A wonderful version of Tears of Rage (Dylan/the Band) from earlier this month at The Beacon Theater.
The song was first recorded in rehearsal sessions at The Band’s upstate New York residence, “Big Pink”, in 1967, with Dylan on lead vocal and The Band backing him. This recording and those from the rest of the sessions would not be officially released for another eight years, on the 1975 album, The Basement Tapes, although they were widely bootlegged in the late 1960s and early ’70s. It is considered one of the most widely acclaimed from The Basement Tapes.
The first official release of the song was as the first track on The Band’s debut, 1968 album Music from Big Pink, without Dylan and featuring Manuel on lead vocal. According to Levon Helm, “Richard sang one of the best performances of his life.”
Jan Wenner: Of all the versions of This Wheel’s On Fire, which do you like the best? Bob Dylan: Uh… the Band’s. Who else did it? Jan Wenner: Where was that done? Bob Dylan: Well, that was done out in… out in somebody’s basement. Just a basement tape. ~ Jan Wenner Interview Nov 1969
@ #100 on my list of Dylan’s 200 best songs. Recorded in the basement @ The Big Pink, West Saugerties, New York – June – October 1967.
Basement tapes version:
“This Wheel’s on Fire” is a song written by Bob Dylan and Rick Danko. It was originally recorded by Dylan and The Band during their 1967 sessions, portions of which (including this song) comprised the 1975 album, The Basement Tapes. The Band’s own version appeared on their 1968 album, Music From Big Pink.
June 26, 1975
Bob Dylan, Rick Danko
Bob Dylan & The Band
Here’s a great live version from Stockholm 1998-06-09:
Well, but you see, Columbia’s never offered to do that. They have done that with The Basement Tapes and the Budokan album. But they’ve never offered to put that out as a historical album or whatever. And believe me, if they wanted to do it, they could.
~Bob Dylan to Kurt Loder in 1984
“I still can’t believe they’ve finally put it out. I just keep staring at my copy.”
~Andy Kershaw (BBC Radio 1 DJ)
14 years ago today… they finally put it out, this surely calls for a celebration!
Baby, Let Me Follow You Down:
October 13, 1998
May 17, 1966
Rock, folk rock, blues rock
Live 1966: The “Royal Albert Hall” Concert is a two-disc live album by Bob Dylan, released in 1998. Recorded at Manchester’s Free Trade Hall. It is from Dylan’s famous world tour in 1966, having been extensively bootlegged for decades, and is an important document in the development of popular music during the 1960s.
The setlist consisted of two parts, with the first half of the concert being Dylan alone on stage performing an entirely acoustic set of songs, while the second half of the concert has Dylan playing an “electric” set of songs alongside his band The Hawks. The first half of the concert was greeted warmly by the audience, while the second half was highly criticized, with heckling going on before and after each song.
Here are two (of many..) “real” bootleg covers of this concert: