Robbie Robertson: Opinions on three things

2) i know too little to distinguish between his or any other Band mates' songs, but i do know i prefer dylan's songs on the basement tapes, for what that's worth.

3) big time points for being half mohawk, but he did do tv ads for the GAP

Next to Levon and Richard, anyone would look like a thin and un-emotive singer. i mean damn, their voices are so rich. even rick, i think, pales in comparison.

so robby may have had the fourth best voice in the group, i actually quite like the ONE song he sings on "Music From Big Pink", TO KINGDOM COME.

But, until you see this video:

you haven't lived. O boy!

There is a disc floating about of one of Manuel's last gigs before taking his life. It's a tough, sad listen. Manuel ain't in good shape but at the same time, there are a few incredible performances. I forget the name of the disc though.

I know I'm just a sentimental, middle-aged fan, but it pains me to watch the part in The Last Waltz when Levon is doing the interview with Scorsese and Robbie's at the table.. Levon has a butt hanging out of his mouth and sparks up a match, talks a bunch, then lights Robbie's cigarette, talks some more, then finally lights his up, just before his fingers would start to burn. They still seem like buddies at that point, and I just wish it was still the same today.

I'm sure it would help if Robbie would see fit to part with some of his %100 take on the writing credits, but nevertheless.

Levon and Robbie were the perfect singer meets songwriter match. can you imagine someone else trying to sing "the night they drove old dixie down"? it would sound like a bad middle school history report. levon actually sounds like a freakin' confederate soldier, i mean he was the only member of the band to hail from the US let alone the south.

it was a special bond. levon probably should have made more money, but i am guessing if he had managed his money a bit better he would be a wealthy man today regardless of the publishing.

has anyone read robbie's book?

I read the first few chapters which were actually pretty good.

I have. by far the biggest flaw is that it concludes after the Last Waltz. anyone who cares to know about him is familiar with his doings up to that point. The true points of interest are the past 40 fucken years…friendship with Scosese, acts in Carny, whatever constitutes music consulting for S's films, the end of his marriage with his quebecoise wife (who he praises in the book), the solo albums (the first one contains the song from which the book takes its name) that do not seem to have ever prompted reassessment, his response to the levon's accusations (he does this passive-aggressively in this book), being a Los angeles smoothie, not playing live but for a handful of times in 40 years, etc etc… as it is, he spins the same yarns he's always preferred to proffer.

the solo albums (the first one contains the song from which the book takes its name) that do not seem to have ever prompted reassessment,

and how!

You did it again. Kudos

This is the rare example of an album I've only ever put on for every reason but the singer and songwriter.

so why do you play it?

I like the session dudes. For example, the song you picked is not a good song, but the drum part (by Manu Katche) is cool on its own merits.

Two of the tracks have the weird proggy rhythm section of Tony Levin and Terry Bozzio (!)

Something I'm not sure of, but I think RR started working with Lanois *before* Joshua Tree or So came out, which is an interesting dynamic, especially since there was that trend jumping vibe to this record's release.

i have a soft spot for his self-titled debut, but man -- and this isn't even something i normally care much about -- the lyrics are some deeply corny-ass shit

also lol at bono hooting and hollering all over the guest spot

Chris Willman with what seems to be the last interview with him

https://variety.com/2023/music/news/robbie-robertson-interview-killers-flower-moon-martin-scorsese-1235764103/