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The Band was a Canadian-American rock band formed in Toronto, Ontario, in 1967. It consisted of Canadians Rick Danko (bass, guitar, vocals, fiddle), Garth Hudson (organ, keyboards, accordion, saxophone), Richard Manuel (piano, drums, vocals), Robbie Robertson (guitar, songwriting, vocals, piano, percussion), and American Levon Helm (drums, vocals, mandolin, guitar, bass). The Band combined elements of Americana, folk, rock, jazz, country, and R&B, influencing musicians such as George Harrison, Elton John, the Grateful Dead, Eric Clapton and Wilco.

Music critic Bruce Eder described the Band as "one of the most popular and influential rock groups in the world, their music embraced by critics ... as seriously as the music of the Beatles and the Rolling Stones."[4] The Band was inducted into the Canadian Music Hall of Fame in 1989 and the Rock and Roll Hall of Fame in 1994.[5][6] In 2004, Rolling Stone ranked them 50th on its list of the 100 greatest artists of all time,[7] and ranked "The Weight" 41st on its list of the 500 greatest songs of all time.[8] In 2008, the group received the Grammy Lifetime Achievement Award.[9] In 2014, they were inducted into Canada's Walk of Fame.[10]

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The members of the Band gradually came together in the Hawks, the backing group for Toronto-based rockabilly singer Ronnie Hawkins. Levon Helm began playing with the group in 1957, then became their fulltime drummer after graduating from high school in 1958. Helm journeyed with Hawkins from Arkansas to Ontario, where they were joined by Robertson, Danko, Manuel, and finally Hudson. Latter-day Band member Stan Szelest was also in the group at that time. Hawkins's act was popular in and around Toronto and nearby Hamilton,[11] 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.

In late 1963, the group split from Hawkins over personal differences. They were tired of playing the same songs so often and wanted to perform original material, and they were wary 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.

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."[12]

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.[13] 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.

Later in 1965, Bob Dylan hired them for his U.S. tour in 1965 and world tour in 1966.[14] Following the 1966 tour, the group moved with help from Dylan and his manager, Albert Grossman, 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 and the locals in Woodstock, Helm said the name "The Band" worked well when the group came into its own.[15][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.[17]

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.[22]

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.[31] 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,[32] and Danko, Hudson, and Manuel 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".[33] While Helm was not involved in the initial recording, he did perform in later sessions and in overdubs recorded in 1975 before the album's release.

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".[34]

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", which was used in the film Easy Rider, making it one of their best-known songs. While a continuity ran through the music, the style varied by song.

In early 1969, after the success of Music from Big Pink, the Band went on tour, starting with an appearance at Winterland Ballroom. 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)".

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. As with their previous, self-titled record, Robertson was credited with most of the songwriting. Initial critical reaction was positive, but it was seen as a letdown from the previous two albums for various reasons. 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, John Dawson, 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 him and Helm. Helm charges Robertson with authoritarianism and greed, while Robertson suggests his increased efforts in guiding the group were largely because Danko, Helm, and Manuel were becoming more unreliable due to their heroin usage.[38] Robertson insists he did his best to coax Manuel into writing more songs, only to see him 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". ff782bc1db