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Gram stain
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A Gram stain of mixed Staphylococcus aureus (S. aureus ATCC 25923, gram-positive cocci, in purple) and Escherichia coli (E. coli ATCC 11775, gram-negative bacilli, in red), the most common Gram stain reference bacteria
Gram stain or Gram staining, also called Gram's method, is a method of staining used to distinguish and classify bacterial species into two large groups (gram-positive and gram-negative). The name comes from the Danish bacteriologist Hans Christian Gram, who developed the technique.
Gram staining differentiates bacteria by the chemical and physical properties of their cell walls by detecting peptidoglycan, which is present in the cell wall of Gram-positive bacteria. Gram-negative cells also contain peptidoglycan, but a very small layer of it that is dissolved when the alcohol is added. This is why the cell loses its initial colour from the primary stain.[1] Gram-positive bacteria retain the crystal violet dye, and thus are stained violet, while the Gram-negative bacteria do not; after washing, a counterstain is added (commonly safranin or fuchsine) that will stain these Gram-negative bacteria a pink color. Both Gram-positive bacteria and Gram-negative bacteria pick up the counterstain. The counterstain, however, is unseen on Gram-positive bacteria because of the darker crystal violet stain.
The Gram stain is almost always the first step in the preliminary identification of a bacterial organism. While Gram staining is a valuable diagnostic tool in both clinical and research settings, not all bacteria can be definitively classified by this technique. This gives rise to gram-variable and gram-indeterminate groups.
Contents
[hide]
1 History
2 Uses
2.1 Medical
2.2 Staining mechanism
3 Examples
3.1 Gram-positive bacteria
3.2 Gram-negative bacteria
3.3 Gram variable and gram-indeterminate bacteria
4 Orthographic note
5 See also
6 References
7 External links
History[edit]
The method is named after its inventor, the Danish scientist Hans Christian Gram (1853–1938), who developed the technique while working with Carl Friedländer in the morgue of the city hospital in Berlin in 1884. Gram devised his technique not for the purpose of distinguishing one type of bacterium from another but to make bacteria more visible in stained sections of lung tissue.[2] He published his method in 1884, and included in his short report the observation that the typhus bacillus did not retain the stain.[3]
Uses[edit]
Gram staining is a bacteriological laboratory technique[4] used to differentiate bacterial species into two large groups (gram-positive and gram-negative) based on the physical properties of their cell walls.[5][page needed] Gram staining is not used to classify archaea, formerly archaeabacteria, since these microorganisms yield widely varying responses that do not follow their phylogenetic groups.[6]
The Gram stain is not an infallible tool for diagnosis, identification, or phylogeny, and it is of extremely limited use in environmental microbiology. It is used mainly to make a preliminary morphologic identification or to establish that there are significant numbers of bacteria in a clinical specimen. It cannot identify bacteria to the species level, and for most medical conditions, it should not be used as the sole method of bacterial identification. In clinical microbiology laboratories, it is used in combination with other traditional and molecular techniques to identify bacteria. Some organisms are gram-variable (meaning they may stain either negative or positive); some are not stained with either dye used in the Gram technique and are not seen. In a modern environmental or molecular microbiology lab, most identification is done using genetic sequences and other molecular techniques, which are far more specific and informative than differential staining.
Gram staining has been suggested to be as effective a diagnostic tool as PCR in one primary research report regarding gonococcal urethritis.[7][non-primary source needed]
Medical[edit]
See also: Gram-negative bacterial infection and Gram-positive bacterial infection
Gram stains are performed on body fluid or biopsy when infection is suspected. Gram stains yield results much more quickly than culturing, and is especially important when infection would make an important difference in the patient's treatment and prognosis; examples are cerebrospinal fluid for meningitis and synovial fluid for septic arthritis.[4][8]
Staining mechanism[edit]
Gram-positive bacteria have a thick mesh-like cell wall made of peptidoglycan (50–90% of cell envelope), and as a result are stained purple by crystal violet, whereas gram-negative bacteria have a thinner layer (10% of cell envelope), so do not retain the purple stain and are counter-stained pink by safranin. There are four basic steps of the Gram stain:
Applying a primary stain (crystal violet) to a heat-fixed smear of a bacterial culture. Heat fixation kills some bacteria but is mostly used to affix the bacteria to the slide so that they don't rinse out during the staining procedure
The addition of iodide, which binds to crystal violet and traps it in the cell
Rapid decolorization with ethanol or acetone
Counterstaining with safranin.[9] Carbol fuchsin is sometimes substituted for safranin since it more intensely stains anaerobic bacteria, but it is less commonly used as a counterstain.[10]
Figure 1: Gram stain procedure and effect on Gram-negative and Gram-positive cell walls.
Crystal violet (CV) dissociates in aqueous solutions into CV+
and chloride (Cl−
) ions. These ions penetrate through the cell wall and cell membrane of both gram-positive and gram-negative cells. The CV+
ion interacts with negatively charged components of bacterial cells and stains the cells purple.[11]
Iodide (I−
or I−
3) interacts with CV+
and forms large complexes of crystal violet and iodine (CV–I) within the inner and outer layers of the cell. Iodine is often referred to as a mordant, but is a trapping agent that prevents the removal of the CV–I complex and, therefore, color the cell.[12]
When a decolorizer such as alcohol or acetone is added, it interacts with the lipids of the cell membrane.[13] A gram-negative cell loses its outer lipopolysaccharide membrane, and the inner peptidoglycan layer is left exposed. The CV–I complexes are washed from the gram-negative cell along with the outer membrane.[14][citation needed] In contrast, a gram-positive cell becomes dehydrated from an ethanol treatment. The large CV–I complexes become trapped within the gram-positive cell due to the multilayered nature of its peptidoglycan.[14][citation needed] The decolorization step is critical and must be timed correctly; the crystal violet stain is removed from both gram-positive and negative cells if the decolorizing agent is left on too long (a matter of seconds).[15][citation needed]
After decolorization, the gram-positive cell remains purple and the gram-negative cell loses its purple color.[15][citation needed] Counterstain, which is usually positively charged safranin or basic fuchsine, is applied last to give decolorized gram-negative bacteria a pink or red color.[16][17]
Examples[edit]
Gram-positive bacteria[edit]
Main article: Gram-positive bacteria
Gram-positive bacteria generally have a single membrane (monoderm) surrounded by a thick peptidoglycan. This rule is followed by two phyla: Firmicutes (except for the classes Mollicutes and Negativicutes) and the Actinobacteria.[5][18] In contrast, members of the Chloroflexi (green non-sulfur bacteria) are monoderms but possess a thin or absent (class Dehalococcoidetes) peptidoglycan and can stain negative, positive or indeterminate; members of the Deinococcus-Thermus group, stain positive but are diderms with a thick peptidoglycan.[5][page needed] [18]
Historically, the gram-positive forms made up the phylum Firmicutes, a name now used for the largest group. It includes many well-known genera such as Bacillus, Listeria, Staphylococcus, Streptococcus, Enterococcus, and Clostridium.[19][citation needed] It has also been expanded to include the Mollicutes, bacteria like Mycoplasma that lack cell walls and so cannot be stained by Gram, but are derived from such forms.[20][citation needed]
Some bacteria have cell walls which are particularly adept at retaining stains. These will appear positive by Gram stain even though they are not closely related to other gram-positive bacteria. These are called acid fast bacteria, and can only be differentiated from other gram-positive bacteria by special staining procedures.[21][citation needed]
Gram-negative bacteria[edit]
Main article: Gram-negative bacteria
Gram-negative bacteria generally possess a thin layer of peptidoglycan between two membranes (diderms). Most bacterial phyla are gram-negative, including the cyanobacteria, spirochaetes, and green sulfur bacteria, and most Proteobacteria (exceptions being some members of the Rickettsiales and the insect-endosymbionts of the Enterobacteriales).[5][page needed][18]
Gram variable and gram-indeterminate bacteria[edit]
Some bacteria, after staining with the Gram stain, yield a gram-variable pattern: a mix of pink and purple cells are seen.[14][citation needed] In cultures of Bacillus, Butyrivibrio, and Clostridium, a decrease in peptidoglycan thickness during growth coincides with an increase in the number of cells that stain gram-negative.[22] In addition, in all bacteria stained using the Gram stain, the age of the culture may influence the results of the stain.[23]
Gram-indeterminate bacteria do not respond predictably to Gram staining and, therefore, cannot be determined as either gram-positive or gram-negative. Examples include many species of Mycobacterium, including M. tuberculosis and M. leprae.[24][25]
Orthographic note[edit]
The term Gram staining is derived from the surname of Hans Christian Gram, the eponym (Gram) is therefore capitalized but not the common noun (stain) as is usual for scientific terms.[26] The adjectives 'gram-positive' and 'gram-negative'; as eponymous adjectives, their initial letter can be either lowercase 'g' or capital 'G', depending on whose style guide (if any) governs the document being written. Lowercase style is used by the US Centers for Disease Control and Prevention and other style regimens such as the AMA style.[27] Dictionaries may use lowercase,[28][29] uppercase,[30][31][32][33] or both.[34][35] Uppercase 'Gram-positive' or 'Gram-negative' usage is also common in many scientific journal articles and publications.[35][36][37] When articles are submitted to journals, each journal may or may not apply house style to the postprint version. Preprint versions contain whichever style the author happened to use. Even style regimens that use lowercase for the adjectives 'gram-positive' and 'gram-negative' still use capital for 'Gram stain'.
See also[edit]
Bacterial cell structure
References[edit]
Jump up ^ John G. Holt; Noel R. Krieg; Peter H.A. Sneath; James T. Staley; Stanley T. Williams (1994). Bergey's Manual of Determinative Bacteriology (9th ed.). Lippincott Williams & Wilkins. p. 11. ISBN 0-683-00603-7.
Jump up ^ Austrian, R. (1960). "The Gram stain and the etiology of lobar pneumonia, an historical note". Bacteriological Reviews. 24 (3): 261–265. PMC 441053  . PMID 13685217.
Jump up ^ Gram, H.C. (1884). "Über die isolierte Färbung der Schizomyceten in Schnitt- und Trockenpräparaten". Fortschritte der Medizin (in German). 2: 185–189. .
English translation in: Brock, T.D. (1999). Milestones in Microbiology 1546–1940 (2 ed.). ASM Press. pp. 215–218. ISBN 1-55581-142-6.
Translation is also at: Brock, T.D. "Pioneers in Medical Laboratory Science: Christian Gram 1884". Hoslink. Retrieved 2010-07-27.
^ Jump up to: a b Ryan K.J., Ray C.G. (editors) (2004). Sherris Medical Microbiology (4th ed.). McGraw Hill. pp. 232f. ISBN 0838585299. CS1 maint: Extra text: authors list (link) [full citation needed]
^ Jump up to: a b c d Madigan, M.T.; Martinko J.; Parker J. (2004). Brock Biology of Microorganisms (10th ed.). Lippincott Williams & Wilkins. ISBN 0-13-066271-2. [full citation needed]
Jump up ^ Beveridge T.J. (2001). "Use of the Gram stain in microbiology". Biotechnic & Histochemistry. 76 (3): 111–118. doi:10.1080/714028139. PMID 11475313.
Jump up ^ El-Garnal, A.H., Al-Otaibi, S.R., Alshamali, A., Abdulrazzaq, A., Najem, N., and Fouzan, A.A. Polymerase chain reaction is no better than Gram stain for diagnosis of gonococcal urethritis. Indian Journal of Dermatology, Venereology, and Leprology, (2009); 75, 101.[non-primary source needed]
Jump up ^ Søgaard M.; Nørgaard M.; Schønheyder H. (2007). "First notification of positive blood cultures: high accuracy of the Gram stain report". Journal of Clinical Microbiology. 45 (4): 1113–1117. doi:10.1128/JCM.02523-06. PMC 1865800  . PMID 17301283.
Jump up ^ Microbiology: Principles and Explorations, p 65; Jacquelyn.G. Black Prentice Hall, 1993.
Jump up ^ "Medical Chemical Corporation". med-chem.com. Retrieved 9 March 2016.
Jump up ^ Leboffe, Michael (2014). Microbiology Laboratory Theory and Application (3rd ed.). Englewood, CO: Morton Publishing Company. p. 105. ISBN 1617312800.
Jump up ^ "StainsFile - Stain theory - What a mordant is not". stainsfile.info. Retrieved 9 March 2016.
Jump up ^ "Welcome to Microbugz - Gram Stain". www.austincc.edu. Retrieved 2017-05-26.
^ Jump up to: a b c Tim,, Sandle,. Pharmaceutical microbiology : essentials for quality assurance and quality control. ISBN 9780081000229. OCLC 923807961.
^ Jump up to: a b Gram's Serendipitous Stain by Hardy's Diagnostics at hardydiagnostics.com/wp-content/uploads/2016/05/Hans-Christian-Gram.pdf
Jump up ^ Beveridge T.J.; Davies J.A. (November 1983). "Cellular responses of Bacillus subtilis and Escherichia coli to the Gram stain". Journal of Bacteriology. 156 (2): 846–58. PMC 217903  . PMID 6195148.
Jump up ^ Davies J.A.; Anderson G.K.; Beveridge T.J.; Clark H.C. (November 1983). "Chemical mechanism of the Gram stain and synthesis of a new electron-opaque marker for electron microscopy, which replaces the iodine mordant of the stain". Journal of Bacteriology. 156 (2): 837–845. PMC 217902  . PMID 6195147.
^ Jump up to: a b c Don J. Brenner, Noel R. Krieg, James T. Staley (July 26, 2005) [1984]. George M. Garrity, ed. Introductory Essays. Bergey's Manual of Systematic Bacteriology. 2A (2nd ed.). New York: Springer. p. 304. ISBN 978-0-387-24143-2. British Library no. GBA561951. CS1 maint: Uses authors parameter (link) [page needed]
Jump up ^ Galperin, Michael Y. (2013-12-27). "Genome Diversity of Spore-Forming Firmicutes". Microbiology Spectrum. 1 (2). doi:10.1128/microbiolspectrum.tbs-0015-2012. ISSN 2165-0497. PMC 4306282  .
Jump up ^ Practical Medical Microbiology by Dr. Hams H. Hashem, from http://qu.edu.iq/el/mod/resource/view.php?id=1391
Jump up ^ "THE ACID FAST STAIN". www2.highlands.edu. Retrieved 2017-06-09.
Jump up ^ Beveridge, Terry J. (March 1990). "Mechanism of gram variability in select bacteria". Journal of Bacteriology. 172 (3): 1609–20. doi:10.1128/jb.172.3.1609-1620.1990. PMC 208639  . PMID 1689718.
Jump up ^ Beveridge, Terry J. (March 1990). "Mechanism of Gram Variability in Select Bacteria" (PDF). Journal of Bacteriology. 172 (3): 1609–20. doi:10.1128/jb.172.3.1609-1620.1990. PMC 208639  . PMID 1689718. Retrieved 17 September 2016.
Jump up ^ Black, Jacquelyn (2012). Microbiology: Principles and Exploration (8th ed.). John Wiley & Sons. p. 68. ISBN 978-0-470-54109-8.
Jump up ^ Reynolds J.; Moyes R.B.; Breakwell D.P. (2009). "Differential staining of bacteria: acid fast stain". Current Protocols in Microbiology. Appendix 3: Appendix 3H. doi:10.1002/9780471729259.mca03hs15. PMID 19885935.
Jump up ^ Waddingham, Anne (28 August 2014). New Hart's Rules: The Oxford Style Guide. OUP Oxford. p. 105. ISBN 978-0199570027.
Jump up ^ Centers for Disease Control and Prevention. Emerging Infectious Diseases Journal Style Guide. Preferred Usage
Jump up ^ Elsevier, Dorland's Illustrated Medical Dictionary, Elsevier.
Jump up ^ Merriam-Webster, gram–positive, Merriam-Webster.
Jump up ^ "Definition of Gram-positive". Collins.
Jump up ^ "Gram stain". Oxford Dictionary.
Jump up ^ "Definition of Gram-positive". Medicinenet.
Jump up ^ "Gram negative/positive". Business dictionary.
Jump up ^ "gram-pos·i·tive or Gram-pos·i·tive". The American Heritage Dictionary.
^ Jump up to: a b "Gram-positive". Dictionary.com.
Jump up ^ Lisa Brown, Julie M. Wolf, Rafael Prados-Rosales & Arturo Casadevall (2015). "Through the wall: extracellular vesicles in Gram-positive bacteria, mycobacteria and fungi". Nature Reviews Microbiology. 13: 620–630. doi:10.1038/nrmicro3480. PMC 4860279  . PMID 26324094. CS1 maint: Uses authors parameter (link)
Jump up ^ Kristen L. Mueller (12 June 2015). "Detecting Gram-negative bacteria". Science. 348 (6240): 1218. doi:10.1126/science.348.6240.1218-o.
External links[edit]
Wikimedia Commons has media related to Gram stains.
The Wikibook School Science has a page on the topic of: Gram staining
Gram staining technique video
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The Band
From Wikipedia, the free encyclopedia
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Not to be confused with The Banned.
For other uses, see Band (disambiguation).
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The Band
The Band in 1969: (left to right) Manuel, Hudson, Helm, Robertson and Danko
Background information
Also known as
Levon and the Hawks
Canadian Squires
Origin
Toronto, Ontario, Canada
Genres
Roots rock, Americana, folk rock, country rock
Years active
1968 (1968)–1977, 1983–1999
Labels
Capitol, Rhino, Warner Bros.
Associated acts
Ronnie Hawkins, Bob Dylan, John Simon, Allen Toussaint, Cate Brothers, Ringo Starr & His All-Starr Band, Van Morrison
Past members
Rick Danko
Levon Helm
Garth Hudson
Richard Manuel
Robbie Robertson
Jim Weider
Stan Szelest
Randy Ciarlante
Richard Bell
The Band was a Canadian-American roots rock group formed in Toronto, Ontario in 1968 by Rick Danko (bass guitar, vocals), Garth Hudson (keyboards, saxophone), Richard Manuel (keyboards, vocals), Robbie Robertson (guitar, vocals), and Levon Helm (drums, vocals). The members of The Band first came together as rockabilly singer Ronnie Hawkins's backing group, the Hawks, which they joined one by one between 1958 and 1963.
In 1964, they separated from Hawkins, after which they toured and released a few singles as Levon and the Hawks and the Canadian Squires. The next year, Bob Dylan hired them for his U.S. tour in 1965 and world tour in 1966.[1] Following the 1966 tour, the group moved with Dylan to Saugerties, New York, where they made the informal 1967 recordings that became The Basement Tapes, the basis for their 1968 debut album, Music from Big Pink. Because they were always "the band" to various frontmen, Helm said the name "The Band" worked well when the group came into its own.[2][a] The group began performing as The Band in 1968 and went on to release ten studio albums. Dylan continued to collaborate with The Band over the course of their career, including a joint 1974 tour.
The original configuration of The Band ended its touring career in 1976 with an elaborate live ballroom performance featuring numerous musical celebrities. This performance was filmed for Martin Scorsese's 1978 documentary The Last Waltz. The Band resumed touring in 1983 without guitarist Robertson, who had found success with a solo career and as a Hollywood music producer. Following a 1986 show, Manuel committed suicide. The remaining three members continued to tour and record albums with a succession of musicians filling Manuel's and Robertson's roles; the final configuration of the group included Richard Bell (piano), Randy Ciarlante (drums), and Jim Weider (guitar). Danko died of heart failure in 1999, after which the group broke up for good. Helm was diagnosed with throat cancer in 1998 and was unable to sing for several years, but he eventually regained the use of his voice. He continued to perform and released several successful albums until he died in 2012.
The group was inducted into the Canadian Music Hall of Fame in 1989 and the Rock and Roll Hall of Fame in 1994.[4][5] In 2004 Rolling Stone ranked them No. 50 on its list of the 100 greatest artists of all time,[6] and in 2008 they received the Grammy Lifetime Achievement Award.[7] In 2004, "The Weight" was ranked 41st on Rolling Stone's list of the 500 greatest songs of all time.[8]
In 2014, The Band was inducted into Canada's Walk of Fame.
Contents
[hide]
1 History
1.1 1960–1964: The Hawks
1.2 1965–1967: With Bob Dylan
1.3 1968–1972: Initial success
1.4 1973–1975: Move to Shangri-La
1.5 1976–1978: The Last Waltz
1.6 1983–1989: Reformation and the loss of Richard Manuel
1.7 1990–1999: Return to recording
1.8 Members' other endeavors
2 Musical style
3 Copyright controversy
4 Legacy
5 Members
5.1 Timeline
6 Discography
7 See also
8 Notes
9 References
10 Further reading
11 External links
History[edit]
1960–1964: The Hawks[edit]
The members of The Band gradually came together in the Hawks, the backing group for Toronto-based rockabilly singer Ronnie Hawkins: Helm, an original Hawk who journeyed with Hawkins from Arkansas to Ontario, then Robertson, Danko, Manuel, and finally Hudson. Hawkins's act was popular in and around Toronto and nearby Hamilton,[9] and he had an effective way of eliminating his musical competition: when a promising band appeared, Hawkins would hire their best musicians for his own group; Robertson, Danko, and Manuel came under Hawkins's tutelage this way.
While most of the Hawks were eager to join Hawkins's group, getting Hudson to join was a different story. He had earned a college degree, planned on a career as a music teacher, and was interested in playing rock music only as a hobby. The Hawks admired his wild, full-bore organ style and asked him repeatedly to join. Hudson finally agreed, under condition that the Hawks each pay him $10 per week to be their instructor; all music theory questions were directed to Hudson.
There is a view that jazz is 'evil' because it comes from evil people, but actually the greatest priests on 52nd Street, and on the streets of New York City were the musicians. They were doing the greatest healing work. And they knew how to punch through music which would cure and make people feel good.
—  Garth Hudson, in The Last Waltz
With Hawkins, they recorded a few singles in this period and became well known as the best rock group in the thriving Toronto music scene. Hawkins regularly convened all-night rehearsals following long club shows, with the result that the young musicians quickly developed great technical prowess on their instruments.
In late 1963, the group split from Hawkins over personal differences. They were tiring of playing the same songs so often and wanted to perform original material, and they were weary of Hawkins's heavy-handed leadership. He would fine the Hawks if they brought their girlfriends to the clubs, fearing it might reduce the numbers of "available" girls who came to performances, or if they smoked marijuana. Alcohol and pills were acceptable,[citation needed] but Canada then had stiff penalties against marijuana possession.
Robertson later said, "Eventually, [Hawkins] built us up to the point where we outgrew his music and had to leave. He shot himself in the foot, really, bless his heart, by sharpening us into such a crackerjack band that we had to go on out into the world, because we knew what his vision was for himself, and we were all younger and more ambitious musically."[10]
Upon leaving Hawkins, the group was briefly known as the Levon Helm Sextet, with sixth member sax player Jerry Penfound, and then as Levon and the Hawks after Penfound's departure. In 1965, they released a single on Ware Records under the name The Canadian Squires, but they returned as Levon and the Hawks for a recording session for Atco later that year.[11] Also in 1965, Helm and the band met blues singer and harmonica player Sonny Boy Williamson. They wanted to record with him, offering to become his backing band, but Williamson died not long after their meeting.
1965–1967: With Bob Dylan[edit]
"Big Pink" in 2006
In late summer 1965, Bob Dylan was looking for a backup band for his first U.S. "electric" tour. Levon and the Hawks were recommended by blues singer John Hammond, Jr., who earlier that year had recorded with Helm, Hudson and Robertson on his Vanguard album So Many Roads.[12][13] Around the same time, one of their friends from Toronto, Mary Martin, was working as secretary to Dylan's manager, Albert Grossman. She told Dylan to visit the group at Le Coq d'Or Tavern, a club on Yonge Street, in Toronto—though Robertson recollects it was the Friar's Tavern, just down the street.[14] Her advice to Dylan: "You gotta see these guys."[15]
After hearing the band play and meeting with Robertson, Dylan invited Helm and Robertson to join his backing band. After two concerts backing Dylan, Helm and Robertson told Dylan of their loyalty to their bandmates, and told him that they would continue with him only if he hired all of the Hawks. Dylan accepted and invited Levon and the Hawks to tour with him. The group was receptive to the offer, knowing it could give them the wider exposure they craved. They thought of themselves as a tightly rehearsed rock and rhythm and blues group and knew Dylan mostly from his early acoustic folk and protest music. Furthermore, they had little inkling of how internationally popular Dylan had become.[16]
With Dylan, the Hawks played a series of concerts from September 1965 through May 1966, billed as Bob Dylan and the Band. The tours were marked by Dylan's reportedly copious use of amphetamines. Some, though not all, of the Hawks joined in the excesses.[17] Most of the concerts were met with heckling and disapproval from folk music purists. Helm was so affected by the negative reception that he left the tour after a little more than one month and sat out the rest of that year's concerts, as well as the world tour in 1966.[18] Helm spent much of this period working on an oil rig in the Gulf of Mexico.[19]
During and between tours, Dylan and the Hawks attempted several recording sessions, but with less than satisfying results. Sessions in October and November yielded just one usable single ("Can You Please Crawl Out Your Window"), and two days of recording in January 1966 for what was intended to be Dylan's next album, Blonde on Blonde, resulted in "One of Us Must Know (Sooner or Later)", which was released as a single a few weeks later and was subsequently selected for the album.[20] On "One of Us Must Know", Dylan was backed by drummer Bobby Gregg, bassist Danko (or Bill Lee),[b] guitarist Robbie Robertson, pianist Paul Griffin, and Al Kooper (who was more a guitarist than an organist) playing organ.[21] Frustrated by the slow progress in the New York studio, Dylan accepted the suggestion of producer Bob Johnston and moved the recording sessions to Nashville. In Nashville, Robertson's guitar was prominent on the Blonde on Blonde recordings, especially "Leopard-Skin Pill-Box Hat", but the other members of the Hawks did not attend the sessions.
During the European leg of their 1966 tour, Mickey Jones replaced Sandy Konikoff on drums. Dylan and the Hawks played at the Free Trade Hall in Manchester on May 17, 1966. The gig became legendary when, near the end of Dylan's electric set, an audience member shouted "Judas!" After a pause, Dylan replied, "I don't believe you. You're a liar!" He then turned to the Hawks and said, "Play it fucking loud!" With that, they launched into an acidic version of "Like a Rolling Stone".[22]
The Manchester performance was widely bootlegged (and mistakenly placed at the Royal Albert Hall). The recording of this gig became one of the most famous of Dylan's career. In a 1971 review for Creem magazine, critic Dave Marsh wrote, "My response is that crystallization of everything that is rock'n'roll music, at its finest, was to allow my jaw to drop, my body to move, to leap out of the chair ... It is an experience that one desires simply to share, to play over and over again for those he knows thirst for such pleasure. If I speak in an almost worshipful sense about this music, it is not because I have lost perspective, it is precisely because I have found it, within music, yes, that was made five years ago. But it is there and unignorable."[23] When it finally saw official release in 1998, critic Richie Unterberger declared the record "an important document of rock history."[24]
On July 29, 1966, while on a break from touring, Dylan was injured in a motorcycle accident that precipitated his retreat into semi-seclusion in Woodstock, New York.[25] For a while, the Hawks returned to the bar and roadhouse touring circuit, sometimes backing other singers, including a brief stint with Tiny Tim. Dylan invited the Hawks to join him in Woodstock in February 1967,[26], and Danko, Manuel and Hudson rented a large pink house, which they named "Big Pink", in nearby West Saugerties, New York. The next month (initially without Helm) they commenced recording a much-bootlegged and influential series of demos, initially at Dylan's house in Woodstock and later at Big Pink, which were released partially on LP as The Basement Tapes in 1975 and in full in 2014. A track-by-track review of the bootleg was detailed by Jann Wenner in Rolling Stone, in which the band members were explicitly named and given the collective name "The Crackers".[27]
1968–1972: Initial success[edit]
L to R: Danko, Helm and Manuel on tour in Hamburg, Germany, in 1971
The sessions with Dylan ended in October 1967, with Helm having rejoined the group by that time, and The Hawks began writing their own songs at Big Pink. When they went into the recording studio, they still did not have a name for themselves. Stories vary as to the manner in which they ultimately adopted the name "The Band." In The Last Waltz, Manuel claimed that they wanted to call themselves either "the Honkies" or "the Crackers" (which they used when backing Dylan for a January 1968 concert tribute to Woody Guthrie), but these names were vetoed by their record label; Robertson suggests that during their time with Dylan everyone just referred to them as "the band" and the name stuck. Initially they disliked the moniker, but eventually they grew to like it, thinking it both humble and presumptuous. In 1969, Rolling Stone referred to them as "the band from Big Pink."[28]
Their first album, Music from Big Pink (1968) was widely acclaimed. The album included three songs written or co-written by Dylan ("This Wheel's on Fire", "Tears of Rage", and "I Shall Be Released") as well as "The Weight", the use of which in the film Easy Rider would make it probably their best-known song. While a continuity ran through the music, the style varied by song.
Hudson in 1971
After the success of Music from Big Pink, The Band went on tour. Their first live appearance was at Stony Brook University in spring 1969. That summer they performed at the Woodstock Festival (their performance was not included in the famed Woodstock film because of legal complications), and later that year they performed with Dylan at the UK Isle of Wight Festival (several songs from which were subsequently included on Dylan's Self Portrait album). That same year, they left for Los Angeles to record their follow-up, The Band (1969). From their rustic appearance on the cover to the songs and arrangements within, the album stood in contrast to other popular music of the day. (Several other artists made similar stylistic moves about the same time, notably Dylan, on John Wesley Harding, which was written during the Basement Tapes sessions, and the Byrds, on Sweetheart of the Rodeo, which featured two Basement Tapes covers.) The Band featured songs that evoked old-time rural America, from the Civil War in "The Night They Drove Old Dixie Down" to the unionization of farm workers in "King Harvest (Has Surely Come)".
These first two records were produced by John Simon, who was practically a group member: he aided in arrangements in addition to playing occasional piano and tuba. Simon reported that he was often asked about the distinctive horn sections featured so effectively on the first two albums: people wanted to know how they had achieved such memorable sounds. Simon stated that, besides Hudson (an accomplished saxophonist), the others had only rudimentary horn skills, and achieved their sound simply by creatively utilizing their limited technique.
Rolling Stone lavished praise on The Band in this era, giving them more attention than perhaps any other group in the magazine's history; Greil Marcus's articles contributed to The Band's mystique. The Band was also featured on the cover of Time magazine (January 12, 1970).[29]
A critical and commercial triumph, The Band, along with works by the Byrds and the Flying Burrito Brothers, established a musical template (sometimes dubbed country rock) that paved the way to the Eagles. Both Big Pink and The Band also influenced their musical contemporaries. Eric Clapton and George Harrison cited The Band as a major influence on their musical direction in the late 1960s and early 1970s. Clapton later revealed that he wanted to join the group.[30]
Following their second album, The Band embarked on their first tour as a lead act. The anxiety of fame was clear, as the group's songs turned to darker themes of fear and alienation: the influence on their next work is self-explanatory. Stage Fright (1970) was engineered by musician-engineer-producer Todd Rundgren and recorded on a theatre stage in Woodstock, but the fraying of the group's once-fabled unity was beginning to show. As on their previous, self-titled record, Robertson was credited with most of the songwriting. However, the trademark vocal style of The Band's three lead singers was much less prominent on this work.
After recording Stage Fright, The Band was among the acts participating in the Festival Express, an all-star rock concert tour of Canada by train that also included Janis Joplin, the Grateful Dead and future Band member Richard Bell (at the time he was a member of Joplin's band). In the concert documentary film, released in 2003, Danko can be seen participating in a drunken jam session with Jerry Garcia, Bob Weir and Joplin while singing "Ain't No More Cane".
At about this time, Robertson began exerting greater control over The Band, a point of contention between Helm and Robertson. Helm charges Robertson with authoritarianism and greed, while Robertson suggests his increased efforts in guiding the group were largely because Helm, Danko and Manuel were becoming more unreliable, due to their heroin usage.[31] Robertson insists he did his best to coax Manuel into writing more songs, only to see Manuel descend into addiction.
Despite mounting problems among the group members, The Band forged ahead with their next album, Cahoots (1971). Cahoots featured Bob Dylan's "When I Paint My Masterpiece," "4% Pantomime" (with Van Morrison), and "Life Is a Carnival," the last featuring a horn arrangement by Allen Toussaint. Toussaint's contribution was a critical addition to the Band's next project, and the group would later record two songs written by Toussaint: "Holy Cow" (on Moondog Matinee) and "You See Me" (on Jubilation).
In late December 1971, The Band recorded the live album Rock of Ages, which was released in the summer of 1972. On Rock of Ages, they were bolstered by the addition of a horn section, with arrangements written by Toussaint. Bob Dylan appeared on stage on New Year's Eve and performed four songs with the group, including a version of "When I Paint My Masterpiece".
1973–1975: Move to Shangri-La[edit]
Bob Dylan and the Band in Chicago, 1974: (left to right) Danko, Robertson, Dylan and Helm
In 1973, The Band released Moondog Matinee, an album of old songs written by non-Band members. There was no tour in support of the album, which garnered mixed reviews. However on July 28, 1973, they played at the legendary Summer Jam at Watkins Glen, a massive concert which took place at the Grand Prix Raceway outside Watkins Glen, New York. The event, which was attended by over 600,000 music fans, also featured the Grateful Dead and The Allman Brothers Band. It was during this event that discussions began about a possible tour with Bob Dylan, who had —along with Robertson—moved to Malibu, California. By late 1973, Danko, Helm, Hudson and Manuel had joined them, and the first order of business was backing Dylan on the album Planet Waves. The album was released concurrently with their joint 1974 tour, in which they played 40 shows in North America during January and February 1974. Later that year, the live album Before the Flood was released, which documents the tour.
During this time, The Band brought in Planet Waves producer Rob Fraboni to help design a music studio for the group. By 1975, the studio—known as Shangri-La—was completed. That year, The Band recorded and released Northern Lights – Southern Cross, their first album of all-new material since 1971's Cahoots. All eight songs were written exclusively by Robertson. Despite poor record sales, the album is favored by critics and fans alike. Levon Helm regards this album highly in his book, This Wheel's on Fire: "It was the best album we had done since The Band." The album also produced more experimentation from Hudson, switching to synthesizers, showcased on "Jupiter Hollow".
1976–1978: The Last Waltz[edit]
The Band with guests at the Last Waltz concert. Photo: David Gans
By 1976, Robbie Robertson was weary of touring. After having to cancel tour dates due to Richard Manuel suffering a severe neck injury in a boating accident in Texas,[32] Robertson urged the Band to retire from touring, and conceived of a massive "farewell concert" known as The Last Waltz. Following an October 30th appearance on Saturday Night Live, the event, including turkey dinner for the audience of 5,000, was held on November 25 (Thanksgiving Day) of 1976 at the Winterland Ballroom in San Francisco, California,[33] and featured a horn section with arrangements by Allen Toussaint and a stellar list of guests, including Canadian artists Joni Mitchell and Neil Young. Two of the guests were fundamental to The Band's existence and growth: Ronnie Hawkins and Bob Dylan. Other guests they admired (and in most cases had worked with before) included Muddy Waters, Dr. John, Van Morrison, Ringo Starr, Eric Clapton, Ron Wood, Bobby Charles, Neil Diamond, and Paul Butterfield. The concert was recorded by Robertson's friend, filmmaker Martin Scorsese.
In 1977, The Band released their seventh studio album Islands, which fulfilled their record contract with Capitol so that a planned Last Waltz film and album could be released on the Warner Bros. label. Islands contained a mix of originals and covers, and was the last with The Band's original lineup. That same year, the group recorded soundstage performances with country singer Emmylou Harris ("Evangeline") and gospel-soul group The Staple Singers ("The Weight"); Scorsese combined these new performances—as well as interviews he had conducted with the group—with the 1976 concert footage. The resulting concert film–documentary was released in 1978, along with a three-LP soundtrack.
Helm later wrote about The Last Waltz in his autobiography, This Wheel's on Fire, in which he made the case that it had been primarily Robbie Robertson's project and that Robertson had forced The Band's breakup on the rest of the group.[34] Robertson offered a different take in a 1986 interview: "I made my big statement. I did the movie, I made a three-record album about it—and if this is only my statement, not theirs, I'll accept that. They're saying, 'Well, that was really his trip, not our trip.' Well, fine. I'll take the best music film that's ever been made, and make it my statement. I don't have any problems with that. None at all."[35]
1983–1989: Reformation and the loss of Richard Manuel[edit]
In 1983, The Band resumed touring, though without Robertson. Several musicians, mostly from the group's Ronnie Hawkins days, were recruited as touring personnel to replace Robertson. The reunited Band was generally well-received, but found themselves playing in smaller venues than during the peak of their popularity.
After a performance in Winter Park, Florida, on March 4, 1986, Manuel committed suicide, aged 42, in his motel room.[36][37] He had suffered for many years from alcoholism and drug addiction, and had been clean and sober for several years beginning in 1978, but had begun drinking and using drugs again by 1984.[38] Manuel's position as pianist was filled by old friend Stan Szelest (who died not long after), and then by Richard Bell. Bell had played with Ronnie Hawkins after the departure of the original Hawks, and was best known from his days as a member of Janis Joplin's Full Tilt Boogie Band.
The Band was inducted into the Canadian Music Hall of Fame at the 1989 Juno Awards, where Robertson was reunited with original members Danko and Hudson. With Canadian country rock superstars Blue Rodeo as a back-up band, Music Express called the 1989 Juno appearance a symbolic "passing of the torch" from the Band to Blue Rodeo.
1990–1999: Return to recording[edit]
The Band appeared at Bob Dylan's 30th anniversary concert in New York City in October 1992, where they performed their version of Dylan's "When I Paint My Masterpiece". In 1993, the group released their eighth studio album, Jericho. Without Robbie Robertson as primary lyricist, much of the songwriting for the album came from outside of the group. Also that year, The Band, along with Ronnie Hawkins, Bob Dylan, and other performers, appeared at U.S. President Bill Clinton's 1993 "Blue Jean Bash" inauguration party.[39]
In 1994, The Band performed at Woodstock '94. Later that year Robertson appeared with Danko and Hudson as The Band for the second time since the original group broke up. The occasion was the induction of The Band into the Rock and Roll Hall of Fame. Helm, who had been at odds with Robertson for years over accusations of stolen songwriting credits, did not attend.[40] In February 1996, The Band with the Crickets recorded "Not Fade Away", released on the tribute album Not Fade Away (Remembering Buddy Holly). The Band released two more albums after Jericho: High on the Hog (1996) and Jubilation (1998), the latter of which included guest appearances by Eric Clapton and John Hiatt.
The final song the group recorded together was their 1999 version of Bob Dylan's "One Too Many Mornings", which they contributed to the Dylan tribute album Tangled Up in Blues. On December 10, 1999, Rick Danko died in his sleep at the age of 56. Following his death, The Band broke up for good. In 2002, Robertson bought all other former members' financial interests in the group, with the exception of Helm,[41] giving him major control of the presentation of the group's material, including latter-day compilations. Richard Bell died of multiple myeloma in June 2007. The Band received a Lifetime Achievement Grammy Award on February 9, 2008, [42] but there was no reunion of all three living members. In honor of the event, Helm held a Midnight Ramble in Woodstock.[43] On April 17, 2012, it was announced via Helm's official website that he was in the "final stages of cancer";[44] he died two days later.[45]
Members' other endeavors[edit]
In 1977, Rick Danko released his eponymous debut solo album, which featured the other four members of The Band on various tracks. In 1984, Danko joined members of the Byrds, the Flying Burrito Brothers, and others in the huge touring company that made up "The Byrds Twenty-Year Celebration". Several members of the tour performed solo songs to start the show, including Danko, who performed "Mystery Train". Danko also released three solo albums in the 1990s, "In Concert", "Live on Breeze Hill" and "Times Like These".
In the late 70s and 80s, Helm released several solo albums and toured with a band called Levon Helm and the RCO Allstars. He also began an acting career with his role as Loretta Lynn's father in Coal Miner's Daughter. Helm received praise for his narration and supporting role opposite Sam Shepard in 1983's The Right Stuff. Beginning sometime in the 1990s, Helm regularly performed Midnight Ramble concerts at his home and studio in Woodstock, New York, and toured.[46] In 2007 Helm released a new album, an homage to his southern roots called Dirt Farmer, which was awarded a Grammy Award for Best Traditional Folk Album on February 9, 2008. Electric Dirt followed in 2009 and won the inaugural Grammy Award for Best Americana Album. His 2011 live album Ramble at the Ryman was nominated in the same category and won.[47]
After he left The Band, Robbie Robertson became a music producer and wrote film soundtracks (including acting as music supervisor for several of Scorsese's films) before beginning a solo career with his Daniel Lanois-produced eponymous album in 1987.
Hudson has released two acclaimed solo CDs, The Sea to the North in 2001, produced by Aaron (Professor Louie) Hurwitz, and Live at the Wolf in 2005, both featuring his wife, Maud, on vocals. He has also kept busy as an in-demand studio musician. He is featured extensively on recordings of the Call and country-indie star Neko Case. Hudson contributed an original electronic score to an off-Broadway production of Dragon Slayers, written by Stanley Keyes and directed by Brad Mays in 1986 at the Union Square Theatre in New York, which was restaged with a new cast in Los Angeles in 1990. In 2010, Hudson released Garth Hudson Presents: A Canadian Celebration of the Band, featuring Canadian artists covering songs that were recorded by The Band.
In 2012, Jim Weider launched The Weight Band, performing covers of The Band's music, alongside former members of the Levon Helm Band and Rick Danko Group. Recently, The Weight Band performed in a nationally broadcast PBS special, Infinity Hall Live[48], featuring new music. Following the show, the band announced a self-titled album of new music. The Weight Band also hosts Camp Cripple Creek, which celebrates the legacy of the Woodstock Sound. Past guests have included Jackie Greene, Music from Big Pink producer John Simon and John Sebastian.[49]
Manuel had few projects outside The Band; he and the rest of The Band contributed to Eric Clapton's 1976 album No Reason to Cry. It included an original composition by Manuel and featured his vocals and drumming on several tracks. Manuel later worked on several film scores with Hudson and Robertson, including Raging Bull and The Color of Money.
Musical style[edit]
The Band in Hamburg, 1971: (left to right) Manuel, Danko, Robertson, and Helm
The Band's music fused many elements: primarily old country music and early rock and roll, though the rhythm section often was reminiscent of Stax- or Motown-style rhythm and blues, and Robertson cites Curtis Mayfield and the Staple Singers as major influences, resulting in a synthesis of many musical genres. Singers Manuel, Danko, and Helm each brought a distinctive voice to the Band: Helm's Southern voice had more than a hint of country, Danko sang tenor, and Manuel alternated between falsetto and baritone. The singers regularly blended in harmonies. Though the singing was more or less evenly shared among the three, both Danko and Helm have stated that they saw Manuel as The Band's "lead" singer.[50]
Every member, with the exception of Robertson, was a multi-instrumentalist. There was little instrument-switching when they played live, but when recording, the musicians could make up different configurations in service of the songs. Hudson in particular was able to coax a wide range of timbres from his Lowrey organ; on the choruses of "Tears of Rage", for example, it sounds like a mellotron. Helm's drumming was often praised: critic Jon Carroll declared that Helm was "the only drummer who can make you cry," while prolific session drummer Jim Keltner admits to appropriating several of Helm's techniques.[51] Producer John Simon is often cited as a "sixth member" of The Band for producing and playing on Music from Big Pink, co-producing and playing on The Band, and playing on other songs up through The Band's 1993 reunion album Jericho.[52]
Copyright controversy[edit]
Robertson is credited as writer or co-writer of the majority of The Band's songs and, as a result, has received most of the songwriting royalties generated from the music. This would become a point of contention, especially for Helm. In his 1993 autobiography, This Wheel's on Fire: Levon Helm and the Story of the Band, Helm disputed the validity of the songwriting credits as listed on the albums and explained that The Band's songs were developed in collaboration with all members. Danko concurred with Helm: "I think Levon's book hits the nail on the head about where Robbie and Albert Grossman and some of those people went wrong and when The Band stopped being The Band.... I'm truly friends with everybody but, hey—it could happen to Levon, too. When people take themselves too seriously and believe too much in their own bullshit, they usually get in trouble."[53] Robertson denied that Helm had written any of the songs attributed to Robertson,[54] and his daughter Alexandra later remarked in a letter to the Los Angeles Times that Helm's solo work consists almost entirely of songs written by others.[55]
Legacy[edit]
The Band has influenced numerous bands, songwriters, and performers, including the Grateful Dead; Eric Clapton; George Harrison; Crosby, Stills, Nash & Young;[56] Led Zeppelin;[57] Elvis Costello;[58] Elton John;[59] Phish;[60] and Pink Floyd.[61]
The album Music from Big Pink, in particular, is credited with contributing to Clapton's decision to leave the supergroup Cream. In his introduction of The Band during the Bob Dylan 30th Anniversary Concert, Clapton announced that in 1968 he had heard the album, "and it changed my life."[62] Nazareth took their name from "The Weight" - taken from the line "I pulled into Nazareth, feeling half past dead" Guitarist Richard Thompson has acknowledged the album's influence on Fairport Convention's Liege and Lief, and journalist John Harris has suggested that The Band's debut also influenced the spirit of The Beatles' back-to-basics album Let It Be as well as the Rolling Stones' string of roots-infused albums that began with Beggars Banquet.[63][c] George Harrison said that his song "All Things Must Pass" was heavily influenced by the Band and that, while writing the song, he imagined Levon Helm singing it.[64] Meanwhile, the Big Pink song "The Weight" has been covered numerous times, and in various musical styles. In a 1969 interview, Robbie Robertson remarked on the group's influence, "We certainly didn't want everybody to go out and get a banjo and a fiddle player. We were trying to calm things down a bit though. What we're going to do now is go to Muscle Shoals, Alabama, and record four sides, four psychedelic songs. Total freak-me songs. Just to show that we have no hard feelings. Just pretty good rock and roll."[65]
In the nineties, a new generation of bands influenced by The Band began to gain popularity, including Counting Crows, the Wallflowers, and the Black Crowes. Counting Crows indicated this influence with their tribute to the late Richard Manuel, "If I Could Give All My Love (Richard Manuel Is Dead)", from their album Hard Candy. The Black Crowes frequently cover songs by The Band during live performances, such as "The Night They Drove Old Dixie Down", which appears on their DVD/CD Freak 'n' Roll into the Fog.[66] They have also recorded at Helm's studio in Woodstock.
The inspiration for the classic rock-influenced band the Hold Steady came while members Craig Finn and Tad Kubler were watching The Last Waltz.[67] Rick Danko and Robbie Robertson are name-checked in the lyrics of "The Swish" from the Hold Steady's 2004 debut album Almost Killed Me.[68] Also that year, southern rock-revivalists Drive-By Truckers released the track "Danko/Manuel" on the album The Dirty South.
The Band also inspired Grace Potter, of Grace Potter and the Nocturnals, to form the band in 2002. In an interview with the Montreal Gazette, Potter said, "The Band blew my mind. I thought if this is what Matt [Burr] meant when he said 'Let's start a rock 'n' roll band,' ... that was the kind of rock 'n' roll band I could believe in."[69]
A tribute album, entitled Endless Highway: The Music of the Band, released in January 2007, included contributions from My Morning Jacket, Death Cab for Cutie, Gomez, Guster, Bruce Hornsby, Jack Johnson and ALO, Lee Ann Womack, the Allman Brothers Band, Blues Traveler, Jakob Dylan, Rosanne Cash, and others.
Members of Wilco, Clap Your Hands Say Yeah, the Shins, Dr Dog, Yellowbirds, Ween, Furthur, and other bands staged The Complete Last Waltz in 2012 and 2013.[70] Their performances included all 41 songs from the original 1976 concert in sequence, even those edited out of the film. Musical director Sam Cohen of Yellowbirds claims “the movie is pretty ingrained in me. I've watched it probably 100 times.“[70]
A recent incarnation of The Band's legacy, The Weight Band, originated inside the barn of Levon Helm in 2012 when Jim Weider and Randy Ciarlante, both former members of The Band, were performing “Songs of The Band” with Garth Hudson, Jimmy Vivino and Byron Isaacs. In July 2017, PBS's Infinity Hall Live program began airing a televised performance by The Weight Band, featuring Band covers and new music by the band.[71]
Every year on the Wednesday before and the Friday after Thanksgiving, Dayton, Ohio NPR affiliate WYSO and The Dayton Art Institute host a tribute to The Last Waltz.[72] Frequently selling out, the show features more than 30 local musicians.
Members[edit]
Years
Lineup
1968–1977
Rick Danko – bass, vocals, double bass, fiddle, trombone
Levon Helm – drums, vocals, mandolin, guitar, percussion
Garth Hudson – organ, keyboards, saxophone, accordion, pedalboard, woodwinds, brass
Richard Manuel – piano, organ, vocals, lap steel guitar, drums
Robbie Robertson – guitars, vocals, percussion
Additional personnel
John Simon – baritone horn, electric piano, piano, tenor saxophone, tuba
1977–1983
Disbanded
1983–1985
Rick Danko – bass, guitars, vocals
Levon Helm – drums, vocals
Garth Hudson – keyboards, saxophone, accordion, woodwinds, brass
Richard Manuel – piano, organ, vocals
Additional personnel
Terry Cagle – drums, backing vocals
Earl Cate – guitars
Earnie Cate – keyboards
Ron Eoff – bass
1985–1986
Rick Danko – bass, vocals
Levon Helm – drums, vocals
Garth Hudson – keyboards, saxophone, accordion, woodwinds, brass
Richard Manuel – piano, vocals
Jim Weider – guitars
1986–1989
Rick Danko – bass, vocals
Levon Helm – drums, vocals
Garth Hudson – keyboards, saxophone, accordion, woodwinds, brass
Jim Weider – guitars
Additional personnel
Buddy Cage – lap steel guitar
Terry Cagle – drums, backing vocal
Fred Carter, Jr. – guitars
Jack Casady – bass
Blondie Chaplin – guitars, drums, backing vocals
Jorma Kaukonen – guitars
Sredni Vollmer – harmonica
1990
Rick Danko – bass, vocals
Levon Helm – drums, vocals
Garth Hudson – keyboards, saxophone, accordion, woodwinds, brass
Stan Szelest – keyboards
Jim Weider – guitars
1990–1991
Rick Danko – bass, vocals
Levon Helm – drums, custom percussion, vocals
Garth Hudson – keyboards, saxophone, accordion, woodwinds, brass
Randy Ciarlante – drums, custom percussion, vocals
Stan Szelest – keyboards
Jim Weider – guitars
Additional personnel
Sredni Vollmer – harmonica
1991
Rick Danko – bass, vocals
Levon Helm – drums, custom percussion, vocals
Garth Hudson – keyboards, saxophone, accordion, woodwinds, brass
Randy Ciarlante – drums, custom percussion, vocals
Jim Weider – guitars
Additional personnel
Billy Preston - keyboards, backing vocals
1992–1999
Rick Danko – bass, vocals
Levon Helm – drums, custom percussion, vocals
Garth Hudson – keyboards, saxophone, accordion, woodwinds, brass
Richard Bell – keyboards
Randy Ciarlante – drums, custom percussion, vocals
Jim Weider – guitars
Timeline[edit]
Discography[edit]
Main article: The Band discography
Music from Big Pink (1968)
The Band (1969)
Stage Fright (1970)
Cahoots (1971)
Moondog Matinee (1973)
Northern Lights – Southern Cross (1975)
Islands (1977)
Jericho (1993)
High on the Hog (1996)
Jubilation (1998)
with Bob Dylan
Before the Flood (1974)
Planet Waves (1974)
The Basement Tapes (1975)
See also[edit]
Book: The Band
American rock
Canadian rock
Music of Canada
Music of the United States
Country music portal
Rock music portal
Music of Canada portal
Notes[edit]
Jump up ^ According to Alan Livingston, who as president of EMI records first signed them in 1968, the group's manager at the time came up with the moniker after Livingston insisted that they give themselves a name.[3]
Jump up ^ The booklet accompanying The Original Mono Recordings reissue of Blonde on Blonde lists Will Lee as the bass player (Marcus, Greil. Album notes for The Original Mono Recordings by Bob Dylan, 2010). Sean Wilentz insists that "the playing and talk on the Blonde on Blonde session tape show conclusively that Danko was the bassist on 'One of Us Must Know' (Wilentz, Sean. Bob Dylan in America, 2009, p. 113).
Jump up ^ The recording sessions for Beggars Banquet, however, wrapped up in the same month that Music from Big Pink was released.
Jump up ^ Heylin, Clinton (2003). Behind the Shades Revisited. New York: HarperCollins. pp. 223–260. ISBN 0-06-052569-X.
Jump up ^ Hoskyns, Barney (1993). Across the Great Divide: The Band and America. Hyperion. pp. 144–145. ISBN 1-56282-836-3.
Jump up ^ "How the '60s Group The Band Got Their Name". YouTube. Retrieved 2014-04-24.
Jump up ^ "Canadian Music Hall of Fame". carasonline.ca. Retrieved 2014-01-04.
Jump up ^ "The Band". rockhall.com. Retrieved 2014-01-04.
Jump up ^ Williams, Lucinda (April 15, 2004). "The Immortals – The Greatest Artists of All Time: 50, The Band". Rolling Stone, no. 946. Retrieved 2017-06-20.
Jump up ^ "Lifetime Achievement Award". Grammy.com. Retrieved 2008-12-28.
Jump up ^ "The RS 500 Greatest Songs of All Time". RollingStone.com. Retrieved 2007-06-02.
Jump up ^ Graham Rockingham. "Branding Hamilton as a music city". Hamilton Spectator, Nov 09, 2016.
Jump up ^ "Andy Gill: Back to the Land". Theband.hiof.no. Retrieved 2009-01-21.
Jump up ^ Gray, 33, 37.
Jump up ^ Heylin, 173–174.
Jump up ^ Gray, 292–293.
Jump up ^ MacDonald, Bruce. "Part 2 (1960–1965): Clip 6". Yonge Street: Toronto Rock & Roll Stories. Toronto: Bravo Canada. Archived from the original (Video) on 2012-01-21. Retrieved 2011-05-14.
Jump up ^ Hoskyns, 85–86.
Jump up ^ Hoskyns, 94–97.
Jump up ^ Hoskyns, 104.
Jump up ^ Gray, 33.
Jump up ^ Helm, Levon; Davis, Stephen (1993). This Wheel's on Fire: Levon Helm and the Story of the Band. New York: William Morrow & Company. p. 143.
Jump up ^ Heylin, Clinton. Revolution in the Air: The Songs of Bob Dylan, 1957–73, 2009, pp. 285–286
Jump up ^ Björner, Olof (June 3, 2011). "Columbia Recording Studios, New York City, New York, 25 January 1966". Bjorner's Still On The Road. Retrieved February 6, 2012.
Jump up ^ Sounes, 213–215.
Jump up ^ "Review of Dylan/Hawks, 1966". Theband.hiof.no. 1971-06-03. Retrieved 2009-01-21.
Jump up ^ Unterberger, Richie (1966-05-17). "((( The Bootleg Series, Vol. 4: The "Royal Albert Hall" Concert > Overview )))". allmusic. Retrieved 2009-01-21.
Jump up ^ Sounes, 216–218.
Jump up ^ The Basement Tapes Raw. Legacy Recordings 88875019672, 2014, liner notes, p. 3.
Jump up ^ Jann Wenner (1968-06-22). "Dylan's Basement Tape Should Be Released". Rolling Stone. Retrieved 2013-06-06.
Jump up ^ "Big Pink Band To Tour U.S.". Rolling Stone (30). April 5, 1969. p. 9.
Jump up ^ "Time Magazine Cover: The Band – Jan. 12, 1970 – Rock – Singers – Music". Time. 1970-01-12. Retrieved 2009-01-21.
Jump up ^ "Eric Clapton – Derek and The Dominos – Layla & Other Assorted... – Review – Uncut.co.uk". Uncut.co.uk. Retrieved 2009-01-21.
Jump up ^ Crouch, Ian (December 8, 2016). "Robbie Robertson Offers His Story of The Band". The New Yorker. Retrieved December 29, 2017.
Jump up ^ Patrick Snyder (16 Dec 1976). "The Band: Drifting Toward the Last Waltz". rollingstone.com. Retrieved 29 Oct 2015.
Jump up ^ Fricke, David, November 2001. The Last Waltz liner notes, 2002 CD re-issue, p. 17.
Jump up ^ Levon Helm and Stephen Davis. This Wheel's on Fire: Levon Helm and the Story of the Band, Chapter Nine: The Last Waltz
Jump up ^ Kiersh, Edward. Where Are You Now, Bo Diddley? The Artists Who Made Us Rock and Where They Are Now[1]
Jump up ^ Pareles, Jon (6 March 1986). "Richard Manuel, 40, Rock Singer and Pianist". The New York Times. Retrieved 26 April 2014.
Jump up ^ Dougherty, Steve (24 March 1986). "A Haunting Suicide Silences the Sweet, Soulful Voice of the Band's Richard Manuel". People. Retrieved 26 April 2014.
Jump up ^ Hoskyns, 365, 376–377, 384. Helm and Davis, 289, 294.
Jump up ^ Gray, Michael. The Bob Dylan Encyclopedia (Levon Helm entry), ISBN 0826429742
Jump up ^ "Induction into Rock HoF". Rockhall.com. Retrieved 2011-10-18.
Jump up ^ Selvin, Joel (2011-01-08). "The day the music lived / Rereleased 'Last Waltz' documents amazing night in 1976 when rock's royalty bid farewell to the Band – Page 2 of 2". The San Francisco Chronicle.
Jump up ^ Bill Forman (19 Apr 2012). "Levon Helm, 1940–2012". grammy.com. Retrieved 29 Oct 2015.
Jump up ^ [2] Archived August 26, 2010, at the Wayback Machine.
Jump up ^ "Levon Helm, singer and drummer for The Band, in final stages of cancer". LevonHelm.com. Retrieved April 18, 2012.
Jump up ^ Browne, David (April 19, 2012). "Levon Helm, Drummer and Singer of the Band, Dead at 71". Rolling Stone. Retrieved April 19, 2012.
Jump up ^ Dawn LoBue (2006). "Levon Helm Biography". LevonHelm.com. Archived from the original on December 2, 2011. Retrieved December 12, 2011.
Jump up ^ "Best Americana Album". Grammy.com. Retrieved December 9, 2011.
Jump up ^ http://ihlive.org/artists/the-weight-band/
Jump up ^ http://www.jambands.com/news/2016/01/26/the-weight-to-host-camp-cripple-creek
Jump up ^ Classic albums: The Band documentary, 1997.
Jump up ^ Hoskyns, 189.
Jump up ^ Barney Hoskyns – ''Across the Great Divide: The Band and America''. Retrieved 2011-10-18.
Jump up ^ Flanagan, Bill. "Rick Danko on The Band – New Albums, Old Wounds" Musician magazine #182, December 1993.
Jump up ^ "Greg Kot: `Waltz' bittersweet for many, but not Robbie Robertson". Theband.hiof.no. 2002-04-07. Retrieved 2014-04-24.
Jump up ^ "The Band's dispute plays on". Los Angeles Times. February 17, 2008. Retrieved October 5, 2013.
Jump up ^ Gray, 36–37.
Jump up ^ Mick Wall (2008), When Giants Walked the Earth: A Biography of Led Zeppelin, London: Orion, p. 181.
Jump up ^ Hoskyns, 169.
Jump up ^ Seaggs, Austin (February 17, 2011). "The Rolling Stone Interview: Elton John". Rolling Stone (1124): 36–68.
Jump up ^ "10 Goodbyes to Levon Helm". American Songwriter. Retrieved 2013-02-19.
Jump up ^ "Today in Music History: The Band Release "Music From Big Pink"".
Jump up ^ "Scott Spencer: Levon's Next Waltz". Theband.hiof.no. Archived from the original on 2012-03-15. Retrieved 2011-07-06.
Jump up ^ Harris, John (2007-08-03). "There was a manic feeling in the air". London: The Guardian. Retrieved 2008-12-28.
Jump up ^ "George Harrison: 'All Things' in Good Time". Billboard.com. Retrieved 2013-07-16.
Jump up ^ Gladstone, Howard. The Robbie Robertson Interview Rolling Stone #49, December 27, 1969.
Jump up ^ "Soundtracks for the Black Crowes: Freak 'n' Roll... into the Fog". The Internet Movie Database. Retrieved 2009-12-06.
Jump up ^ Master, Dave. "Hold Steady returns hope to rock'n'roll: Daily Collegian exclusive interview with Craig Finn". The Daily Collegian.
Jump up ^ "Feature: Craig Finn". Cloak & Dagger Media. Archived from the original on 2008-07-06.
Jump up ^ Perusse, Bernard. "Grace Potter on Ghostbusters, rock 'n' roll and not wearing pants". The Montreal Gazette. Archived from the original on 2013-04-05.
^ Jump up to: a b "Members of Yellowbirds, Wilco, Dr Dog, Ween, CYHSY, Fruit Bats, Blitzen Trapper, Low Anthem, Superhuman Happiness, more to Perform the Band's Entire "Last Waltz"". The Future Heart. 2013-11-16. Archived from the original on 2014-02-04. Retrieved 2014-04-24.
Jump up ^ https://www.pbs.org/video/the-weight-band-6mnluj/
Jump up ^ "Such A Night: The Last Waltz Live To Benefit WYSO".
References[edit]
Hoskyns, Barney (1993). Across the Great Divide: The Band and America. New York: Hyperion. ISBN 1-56282-836-3.
Gray, Michael (2006). The Bob Dylan Encyclopedia. New York: Continuum. ISBN 0-8264-6933-7.
Marcus, Greil (1998). Invisible Republic: Bob Dylan's Basement Tapes. New York: H. Holt & Company. ISBN 0-8050-5842-7.
Helm, Levon; Davis, Stephen (2000). This Wheel's on Fire: Levon Helm and the Story of the Band. 2nd ed, Chicago: A Cappella. ISBN 1-55652-405-6.
Further reading[edit]
Bochynski, Kevin J. (1999). "The Band". In Hochman, Steve. Popular Musicians. Pasadena, California: Salem Press. pp. 61–64. ISBN 0893569879.
External links[edit]
Find more aboutThe Bandat Wikipedia's sister projects
Media from Wikimedia Commons
Data from Wikidata
The Band at Curlie (based on DMOZ)
The Band – A Musical History, official site from Capitol Records
The Band web site, extensive fan-operated site
The Band discography at Discogs
The Band at AllMusic
The Band on IMDb
"The Band". Rock and Roll Hall of Fame.
[show]
v
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The Band
Rick Danko
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The Band
Stage Fright
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Jubilation
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Planet Waves
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Before the Flood
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Live at Watkins Glen
The Bootleg Series Vol. 4: Bob Dylan Live 1966
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Live at the Academy of Music 1971
Compilations
The Best of The Band
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To Kingdom Come
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Films
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Singles
"Uh-Uh-Uh"
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Other songs
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"Jemima Surrender"
"Look Out Cleveland"
"King Harvest (Has Surely Come)"
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"Daniel and the Sacred Harp"
"Stage Fright"
"When I Paint My Masterpiece"
"Don't Do It"
"Mystery Train"
"Acadian Driftwood"
"It Makes No Difference"
"Georgia on My Mind"
"Blind Willie McTell"
Related
Discography
Bob Dylan
Bob Dylan World Tour 1966
Bob Dylan and The Band 1974 Tour
Cate Brothers
Ronnie Hawkins
Big Pink
List of Basement Tapes songs
List of Basement Tapes songs (1975)
No Reason to Cry
John Simon
This Wheel's on Fire: Levon Helm and the Story of The Band
Allen Toussaint
[show]
v
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Levon Helm
Studio albums
Levon Helm & the RCO All-Stars (1977)
Levon Helm (1978)
American Son (1980)
Levon Helm (1982)
Dirt Farmer (2007)
Electric Dirt (2009)
Live albums
Ramble at the Ryman (2011)
Other albums
The Legend of Jesse James
The Lost Notebooks of Hank Williams
Related articles
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Larry Campbell
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Love for Levon
The Band
This Wheel's on Fire: Levon Helm and the Story of The Band
[show]
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Robbie Robertson
Studio albums
Robbie Robertson (1987)
Storyville (1991)
Music for The Native Americans (1994)
Contact from the Underworld of Redboy (1998)
How to Become Clairvoyant (2011)
Soundtracks
Raging Bull
The Color of Money
The King of Comedy
Phenomenon
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Carny
[show]
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Woodstock Festival
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August 15, 1969
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August 16, 1969
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Recordings
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Woodstock: Music from the Original Soundtrack and More (1970)
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The Best of Woodstock (1994)
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Live at Woodstock (Jimi Hendrix album) (1999)
Live at Woodstock (Joe Cocker album) (2009)
The Woodstock Experience (2009)
Woodstock: 40 Years On: Back to Yasgur's Farm (2009)
"Lay Down (Candles in the Rain)" (Melanie song)
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[show]
v
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Rock and Roll Hall of Fame Class of 1994
Performers
The Animals (Eric Burdon, Chas Chandler, Alan Price, John Steel, Hilton Valentine)
The Band (Rick Danko, Levon Helm, Garth Hudson, Richard Manuel, Robbie Robertson)
Duane Eddy
Grateful Dead (Tom Constanten, Jerry Garcia, Donna Jean Godchaux, Keith Godchaux, Mickey Hart, Robert Hunter, Bill Kreutzmann, Phil Lesh, Ron "Pigpen" McKernan, Brent Mydland, Bob Weir, Vince Welnick)
Elton John
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WorldCat Identities
VIAF: 130105133
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Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Band&oldid=825359634"
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The Best of The Band

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The Band – Czech
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The Band – Hungarian
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The Band – Dutch
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The Band – Norwegian
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The Band – Norwegian Nynorsk
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The Band – Polish
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The Band – Portuguese
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The Band – Russian
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The Band – Ukrainian
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The Band – Vietnamese
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