obal pekny
desky vyborny stav
A1 Theme From The Last Waltz
Bass [Electric Standup] – Rick DankoGuitar [Dobro] – Richard ManuelGuitar [Harp] – Robbie RobertsonOrgan [Pipe Organ] – Garth Hudson
3:28
A2 Up On Cripple Creek 4:44
A3 Who Do You Love
Guitar [Solo] – Robbie RobertsonVocals – Ronnie Hawkins
4:16
A4 Helpless
Backing Vocals – Joni MitchellGuitar, Vocals – Neil Young
5:47
A5 Stagefright
Arranged By [Horns] – Tom MaloneGuitar [Solo] – Robbie RobertsonOrgan [Solo] – Garth Hudson
4:25
B1 Coyote
Congas – Dr. JohnGuitar, Vocals – Joni Mitchell
5:50
B2 Dry Your Eyes
Drums – Dennis St. JohnGuitar, Vocals – Neil Diamond
3:57
B3 It Makes No Difference
Arranged By [Horns] – Howard Johnson (3)
6:48
B4 Such A Night
Piano, Vocals – Dr. John
4:00
C1 The Night They Drove Old Dixie Down
Arranged By [Horns] – Allen Toussaint
4:34
C2 Mystery Train
Harmonica, Vocals – Paul Butterfield
4:59
C3 Mannish Boy
Guitar – Bob MargolinHarmonica – Paul ButterfieldPiano – "Pine Top" PerkinsVocals – Muddy Waters
6:54
C4 Further On Up The Road
Guitar [Solo] – Robbie RobertsonGuitar, Vocals – Eric Clapton
5:08
D1 Shape I'm In
Arranged By [Horns] – Howard Johnson (3)Organ [Solo] – Garth Hudson
4:06
D2 Down South In New Orleans
Accordion [Solo] – Garth HudsonGuitar, Vocals – Dr. JohnVocals – Bobby Charles
3:06
D3 Ophelia
Arranged By [Horns] – Garth HudsonGuitar [Solo] – Robbie Robertson
3:53
D4 Tura Lura Lural (That's An Irish Lullaby)
Arranged By [Horns] – Henry GloverPiano – John SimonVocals – Van Morrison
4:15
D5 Caravan
Vocals – Van Morrison
6:02
E1 Life Is A Carnival
Arranged By [Horns] – Allen ToussaintGuitar [Solo] – Robbie Robertson
4:32
E2 Baby Let Me Follow You Down 3:00
E3 I Don't Believe You (She Acts Like We Never Have Met) 3:23
E4 Forever Young 4:42
E5 Baby Let Me Follow You Down (Reprise)
Guitar [Solo] – Robbie RobertsonGuitar, Vocals – Bob Dylan
2:46
E6 I Shall Be Released
Backing Vocals – Bobby Charles, Dr. John, Eric Clapton, Joni Mitchell, Neil Diamond, Neil Young, Paul Butterfield, Ronnie Hawkins, Van MorrisonDrums – Ringo StarrGuitar – Ron WoodVocals – Bob Dylan
3:53
The Last Waltz Suite
F1 The Well 3:27
F2 Evangeline
Guitar, Vocals – Emmylou Harris
3:17
F3 Out Of The Blue 3:08
F4 The Weight
Arranged By [Horns] – Tom MaloneGuitar, Vocals – Roebuck Staples*Vocals – Mavis Staples
4:38
F5 The Last Waltz Refrain 1:28
F6 Theme From The Last Waltz (With Orchestra)
Arranged By [Horns] – John SimonArranged By [Strings] – John SimonBacking Vocals – Alison Hormel
3:22
==================================================
Bass, Violin, Vocals – Rick Danko
Clarinet, Saxophone [Alto], Flute, Saxophone [Soprano], Saxophone [Tenor] – Charlie Keagle
Clarinet, Saxophone [Tenor], Flute – Jim Gordon (2)
Drums, Mandolin, Vocals – Levon Helm
Euphonium, Trombone, Trombone [Bass], Flute [Alto] – Tom Malone
Flugelhorn, Trumpet – Jerry Hay*, Rich Cooper
Guitar, Piano, Vocals – Robbie Robertson
Organ, Accordion, Saxophone, Synthesizer – Garth Hudson
Piano, Keyboards, Drums, Vocals – Richard Manuel
Tuba, Saxophone [Baritone], Flugelhorn, Clarinet [Bass] – Howard Johnson (3)
Violin [Electric] – Larry Packer (2)
====================================================================
Between Levon's well-known dissatisfaction with the whole affair and the movie (still the best rock doc ever, with all due respect to Stop Making Sense) and the fact that it's *heaven forbid!* from late in their career, some people like to pick on the Last Waltz and hold up earlier live stuff like it set the golden standard.
I've got news for you - this is the best live album The Band ever put out. Listen to the Woodstock set - it might have been a good thing they didn't show up in the documentary, as they often sound shambling and out of tune. Rock of Ages is better than I used to give it credit for, but it still lacks punch in a lot of areas. Maybe I wouldn't say that, though, if this weren't such an absolute powerhouse (props also to Before the Flood, another under-loved ass-whupper from post-Stage Fright).
Maybe it was the coke room, maybe it was the excellent recording, maybe it was the desire to go out on a high note, but The Band sounds like an absolute juggernaut here, often besting cherished studio versions as they go. Levon goes absolutely nuclear on this "Dixie", blowing the original clean off the map. No question why he was so on that night - he was making his case for why these guys didn't need to split.
Danko likewise gives possibly the performance of a his lifetime on this "It Makes No Difference," a heart-wrencher of the highest order ably backed up by Robbie's soloing and the resident mad multi-instrumental scientist of the band, Garth. I'd be hard-pressed to say anything beats the studio "The Weight," but the Staples Singers-assisted version here sounds every bit as good and fresh.
The list goes on - beasty "Ophelia," harrowing "Stage Fright," funky "Cripple Creek" - all versions that are well worth owning.
On top of all this, the band often elevate their illustrious guests on readings of their multiple classics, and in return those guests give fun, thru-the-roof performances. Coke lump in his nose or not, Neil Young joins the band for what to me is the definitive "Helpless," and I love the original. But just listen to the crowd when they all hit the final round of the harmonized title refrain - that audience knows what's up. Joni Mitchell never had better backing or sounded better than she does on this "Coyote," and if you need me to tell you why Van Morrison's "Caravan" is so incredible you probably didn't listen very well. And, as ever, Dylan lets his hair down to play with his old boys, and just rocks out with them.
Neil Diamond is the only low point here, and that one's all on Robbie, but amidst all the other good going on here (final shout outs to Clapton, Muddy, Butterfield, Dr. John, the Hawk, Emmylou, etc), it's pretty forgivable. This is a monument to the greatness of not only The Band, but rock and roll as it existed up until that point.
======================================================================
The Last Waltz was originally released as an epic three record set in 1978. Five of the six sides were taken from what would be The Band’s farewell concert recorded at Bill Grahams Winterland Ballroom on Thanksgiving night of 1976. The final side was studio tracks.Robbie Robertson was tired of touring and convinced the other members of to become a studio only group, similar to the late career Beatles. They gathered together a cornucopia of their friends to assist them in their final concert. Martin Scorsese filmed it for release as a theatrical documentary film.
Robertson’s plan did not work out as planned for The Band. The album Islands was released in 1977. It was a hastily thrown together affair and fulfilled their obligation to the Capital Label. The Last Waltz was then released a year later. Robertson would never record or play with them again. Robertson may have planned The Band’s demise but the other members were not as enthused as several years later they would reform without Robertson and continue the group’s career.The Last Waltz, the album and the film, are two of the best chronicles of a rock concert ever recorded. While they vary in content, both are recommended as essential viewing and listening. The only downside to the album is that they are so good, it was tragic that they disbanded at the height of their powers.
Old mentor Ronnie Hawkins makes an appearance on “Who Do You Love.” The Band falls into their role as a back-up group and they roar through a primitive rendition of this old classic. Neil Young is on board with a performance of “Helpless.” I have always been a tad disappointed with Young’s performance as it lacks much of the fire of his solo concerts. I have come to the conclusion that he is better dominating a stage than sharing it. Neil Diamond was an odd choice and he provides an average and out of place “Dry Your Eyes.” Paul Butterfield gives scintillating backing on “Mystery Train.” Van Morrison is a good match for The Band and he shines on “Tura Lura Lural” and “Caravan.” Joni Mitchell, Dr. John, Muddy Waters, Bobby Charles and Eric Clapton all keep the revolving door of guest appearances spinning. The highlight of the concert at the time was a set by Bob Dylan. The Band and Dylan quickly fall into a groove that can only be accomplished after years of playing together. The Band would always bring out the best in Dylan and this was no exception. “Baby Let Me Follow You Down,” “I Don’t Believe You,” “Forever Young” and “I Shall Be Released” have never sounded better.
The album version of The Last Waltz just does not contain enough of The Band themselves. The movie restores a number of the missing performances that were recorded at the concert. What is included finds them in top form. “Up On Cripple Creek” is the definitive version of this song. “The Night They Drove Old Dixie Down” takes on new life and makes one forget about the Joan Baez hit version. “The Shape I’m In” and “Ophelia” show the rocking and soft sides of the group. The Last Waltz is a wonderful document of a Rock ‘n’ Roll Hall Of Fame band and of the rock genre in general. The Band would continue but never reach these heights again.
===================================================
The title of this set couldn't possibly be more apropos, but not just for The Band. There isn't a single artist on this collection (with the possible exception of Neil Young, and only because he still had Rust Never Sleeps on deck...and maybe Van -- we could argue that) that would be relevant within a decade of this concert.
The whole affair is a fat, smug gathering of some old farts bidding a farewell to their self-importance.
Oooh. I pulled out some nasty words, there. But I have to be fair, even though I might like this album more than my 3.5 rating would tell you. And that's because The Band is tight. They pull it out on each and every one of the songs, despite some weak support from the very artists they've hired to compare themselves to.
Speaking of smug, I particularly love Robbie Robbertson's intro for Bobby Charles -- when the audience doesn't immediately go wild, he tries to cover by asserting how great a songwriter Charles is. Robertson ends up totally trivializing the man, almost apologizing to the audience. It's a clumsy move that shows the guest stars are far more about Robertson's own ego than anything else.
But hell, maybe I'm wrong there, and that's more about my own perceptions than the music. So what about the music? Well, it's expertly played and passionately presented. But the song selection is a little wonky and uninspired. The Band's handful of songs are the real highlight, just as you would think. They are, however, too few and far between. I wish they had included more. Who needs "Mannish Boy" here?
But, damn, Van. That's a hell of a version of "Caravan." You single-handedly earned this set a half star for this fella, Van the Man. The Staples didn't hurt "The Weight" either.
I haven't heard Rock of Ages though I have heard Before The Flood, so I can't call this the definitive live album for The Band. But I find the whole exercise fascinating.
=============================================