The Band by The Band

"I'll be down to get you in a taxi honey

You'd better be ready around half past eight
Ah baby don't be late I want to be there when the band starts honey"

I had always been intrigued by the quote on the back cover. Was it from a film, was it made up...if I had looked closer, I would have seen from the footnote that it was actually a lyric taken from "Darktown Strutters' Ball", a song published over 50 years before The Band appropriated it. A jazz standard written by Shelton Brooks, it had been recorded many times, and by a wide variety of artsists including Fats Domino (his version seems to be the lyrics used by The Band), Fats Waller, Ella Fitzgerald, Dean Martin and the Beach Boys.

 The back cover continues the theme from the front; rustic, straightforward, not of its time. A reaction to the psychedelic and explicitly multicoloured music that preceded it; the quote from the early part of the century fits. No surprise that The Band's eponymous album was also dubbed the 'Brown Album'. The subjects and styles all looked backwards, but as Pitchfork put it, both The Band, and its predecessor Music From Big Pink, managed to "sound simultaneously experimental and traditional, irreverent and respectful...blues, folk, jazz, rock, funk, soul, r&b;, and country and western all synthesized into twin monuments to the American music they'd been playing for nearly a decade in clubs, roadhouses, and honkytonks."

A 1971 profile of the band in Melody Maker made a similar point: "Their second album was titled simply The Band, and was a masterpiece, shooting Robbie straight up into the forefront of contemporary composers. 'King Harvest' and 'The Night They Drove Old Dixie Down' reflect sure grasp of the feeling and scope of pan-American music, and the voices of Helm, Danko, and Manuel sounded as old as the hills. The instrumentation was more idiosyncratic than ever; accordion, mandolin, wheezing saxes and grunting tuba made telling appearances."

It was recorded in the pool house of a rented house in the Hollywood Hills once owned by Sammy Davies Jr. The equipment for recording therefore had to be shipped in. As John Simon, who co-engineered the album, recalled in an interview with Sound-on-Sound, "When we finally got all the equipment from Capitol together, we decided to hear what it sounded like. This was in the middle of the night, so we put on the most recent record that we liked, which was a Dr. John album that had a song with snatches of 'My Country Tis Of Thee' and 'America The Beautiful' in the chorus. Our wives were with us, and suddenly one of them ran in, saying, 'The cops are here! The cops are here!' We immediately went outside to see what was going on and it turned out that we'd also hooked the sound up to the outdoor pool speakers, so this patriotic song was just blasting through the Hollywood canyons."

The overlapping voices and the fact the most of band members regularly swapped instruments, gives the album a great feel and despite some overdubs, the basic tracks were indeed laid down as an ensemble. The organic way the voices and instruments intertwine, it can't help but qualify as a great 'feel' album.

Photography was by Elliott Landy (see also Allman Brothers feature), with the design by Bob Cato. The New York Times described Cato, art director and the vice president of creative services for CBS-Columbia Records, as "a ground-breaking graphic designer who helped turn the record album cover into an important form of contemporary art". It goes on to note that he "created or supervised some of the most memorable record-album covers of the 1960's. It was his idea to put the work of the underground illustrator R. Crumb on Janis Joplin's Cheap Thrills.'' He also designed the cover for Bob Dylan's Greatest Hits.

Allman Brothers Band at Fillmore East

The stories of those who surround a band can sometimes be as interesting as those of the band members themselves…this is also the first contribution from a reader (thanks Dad!).

The Allman Brothers Band at Fillmore East, often viewed as one of the truly great live albums, was recorded by Tom Dowd at the height of the band's power on 12th and 13th March 1971 and before guitarist Duane Allman's death in 1973. It resulted in a classic double album with a very distinctive cover featuring black & white photographs taken by Jim Marshall of the band posing casually with their cased equipment which had been piled up against a brick wall. Duane was always appreciative of the band's road crew and insisted that the back cover of the album should replicate the front but with the band replaced by their roadies. So, the same setting was used to depict (from left to right) Joseph ("Red Dog") Campbell, Kim Payne, Joe Dan Petty, Mike Callaghan and Willie Perkins. Red Dog, Kim and Joe Dan are holding cans of Pabst Blue Ribbon beer which, in view of the album's success, was probably as good an advertising campaign as the brewers could have devised themselves. The beer was provided by the photographer as a reward to the roadies for lugging out and stacking the band's heavy equipment for the photo shoot. None of the pictures of the band for the cover were actually taken at the Fillmore East but near the band's headquarters in Macon, Georgia.

"Red Dog" was a red-haired Vietnam veteran and Kim Payne had only just been checked out of a hospital after recovering from being shot by a policeman. He had been stopped for speeding 3 days after the Fillmore concerts. Kim was also the co-writer of one of the band's well-known numbers - "Midnight Rider". Joe Dan played bass in one of Dickey Betts earlier bands - "The Jokers" and Mike Callaghan was a soundman and bus driver for "The Roemans", the backing band for Tommy Roe. Willie Perkins had a degree in business management and had been brought in to replace the band's Tour Manager, Twiggs Lyndon, who was in jail awaiting trial for murder. One of his responsibilities was to look after the books and it wasn't long before he found that the finances were in a mess and that, even as a roadie, he was making more money than anyone else in the band.

At "Red Dog's" suggestion, the back cover also acknowledges Twiggs' absence by having a separate photo of him superimposed on the brick wall beside the track listing.

Words by John Seaton, drawing on Scott Freeman's Midnight Riders - The Story of The Allman Brothers Band and Skydog - The Duane Allman Story by Randy Poe.

Jim Marshall took countless iconic photographs of musicians, from early 1960s images of Bob Dylan in Greenwich Village through to Woodstock, where he was chief photographer (not the first Woodstock photographer mentioned on these pages. Henry Diltz features in the Buffalo Springfield Again entry. Diltz is also described as the official photographer (as, I have discovered, was Elliott Landy), so I guess you are allowed more than one). Marshall also famously photographed Jimi Hendrix setting his guitar on fire at the Monterey Pop Festival, and Johnny Cash at San Quentin. For more visit www.jimmarshallphotographyllc.com