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Leeway gained notoriety in the mid-to-late 1980s by playing alongside groups such as Crumbsuckers, Prong, Ludichrist, Bad Brains, and Sick of It All at the predominantly hardcore punk-oriented CBGB venue,[2] and had metal influences from the start. For their tight fusion of hardcore, punk, heavy metal, thrash, hip-hop and even reggae, Leeway are often credited as being one of the most influential and exploratory bands to emerge from the NYHC scene. Guitarist and songwriter A.J. Novello said of their career "We might have helped open up a can of worms by bringing suburban metalheads to shows. Years later, it kind of ruined things in the scene, but I can't say I have any regrets."[3] The fact that the band experimented with sound, had two guitarists riffing and solo-ing between them and the singer dressed in skeleton outfits and Yankees uniforms also set them out from the rest of the hardcore punk scene.

Leeway subsequently signed to Profile Records, which released the band's first two albums, Born to Expire (1989) and Desperate Measures (1991); both albums were well received by fans and critics alike, and Leeway toured relentlessly in support of them.[1][2] However, sharing the stage with their NYHC peers as well as other bands like Bad Brains, Exodus, Overkill, Suicidal Tendencies, Sepultura, Flotsam and Jetsam, Sacred Reich, Morbid Angel and GWAR,[2] and their video for "Kingpin" getting airplay on MTV's Headbangers Ball,[4] did nothing to improve record sales and the band's reputation, and by 1992, they had severed ties with Profile.[1] In a 2014 interview with No Echo, guitarist Michael Gibbons recalled of the band's tenure with the label:

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The label did no promotion. They also had no proper, accessible distribution of the album. Not to mention they didn't give us tour support and they had really low recording budgets. It was just a horrible record label, unless you were Run-D.M.C. or Rob Base. It was a rap label that experimented with signing three hardcore bands (Cro-Mags, Murphy's Law and Leeway) and a metal band called Wargasm, then did nothing for any of us. So, how in the world were their artists supposed to generate income for the company, let alone themselves?[1]

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.

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.

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]

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".

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.

In the late 1970s and 1980s, 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. In 1997, a CD by Levon Helm and the Crowmatix, Souvenir, was released.[62] Beginning sometime in the 1990s, Helm regularly performed Midnight Ramble concerts at his home and studio in Woodstock, New York, and toured.[63] 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 won in the same category.[64] 2351a5e196