the basement tapes

Bob Dylan and the Band found a murky mirthful musical expression in the great white wonder of this underground classic.   The whirlwind tour that followed 'Blonde on Blonde' had left Dylan exhausted and overextended.  When he returned from Europe, pressures mounted with dozens more American dates added and a book deal.  On June 29, 1966 he crashed his 500cc Triumph Tiger 100 motorcycle near his home in Woodstock, New York:    "I had been in a motorcycle accident and I'd been hurt, but I recovered. Truth was that I wanted to get out of the rat race ... It happened one morning, after I’d been up for three days ... I probably would have died, if I had kept on going the way I had been ... Until the accident, I was living music twenty-four hours a day.” 

In 1967, when he was well enough, he began recording demos with his touring band The Hawks at their nearby house "Big Pink".  The sessions produced over one hundred songs including some that became hits for other artists.  The music drew from old blues, folks, and country; but there was something transcendent in the loose and lively interactions  Dylan would express:   "That's really the way to do a recording—in a peaceful, relaxed setting—in somebody's basement. With the windows open ... and a dog lying on the floor ... I didn't know how to record the way other people were recording, and I didn't want to. The Beatles had just released Sgt. Pepper which I didn't like at all. I thought that was a very indulgent album, though the songs on it were real good. I didn't think all that production was necessary."

The music remained unreleased for years except on the first ever bootleg 'Great White Wonder'.  In 1975, a double album official release 'The Basement Tapes' came out that added eight songs by The Band.  The tracks had been cleaned up and overdubs added at their Shangri-La ranch in Malibu, California with engineer Rob Fraboni.  The album features  Bob Dylan on acoustic guitar, piano, and vocals;   Rick Danko on bass guitar, mandolin, and vocals;   Levon Helm on drums, mandolin, bass guitar, and vocals;   Garth Hudson on organ, clavinet, accordion, tenor saxophone, and piano;   Richard Manuel on piano, drums, harmonica, and vocals;   and  Robbie Robertson on electric guitar, acoustic guitar, drums, and vocals.   

 'The Basement Tapes' climbed to number thirteen in Australia, eight in the UK, and seven in the US.  It wasn't until 2014 that the entirety of the session would be released as 'The Bootleg Series Vol. 11: The Basement Tapes Complete'.  









http://www.bobdylan.com/









The Basement Tapes - The Legendary Tale





 'The Basement Tapes' 
full album:

http://theband.hiof.no/albums/basement_tapes.html

https://itunes.apple.com/us/album/the-basement-tapes/id309065794

http://jp.juno.co.uk/products/the-basement-tapes/442838-01/

http://www.last.fm/music/Bob+Dylan+and+The+Band/The+Basement+Tapes?ac=the%20basement%20tapes

https://www.youtube.com/playlist?list=PLbehTsDXEdSdCQeGwZjT5mYI0WEohUrGM

https://www.youtube.com/playlist?list=PLmM8UTDy4pXAuUU5n2lvfvgwMG-ZauFQd

https://open.spotify.com/album/6BOlD6UGUg45IsUXPSplkY

https://www.last.fm/music/Bob+Dylan/The+Basement+Tapes





All songs written by Bob Dylan, except where noted.

Side one
1. "Odds and Ends"   1:47
2. "Orange Juice Blues (Blues for Breakfast)" (Richard Manuel) 3:39
3. "Million Dollar Bash"   2:32
4. "Yazoo Street Scandal" (Robbie Robertson) 3:29
5. "Goin' to Acapulco"   5:27
6. "Katie's Been Gone" (Manuel, Robertson) 2:46
Side two
1. "Lo and Behold"   2:46
2. "Bessie Smith" (Rick Danko, Robertson) 4:18
3. "Clothes Line Saga"   2:58
4. "Apple Suckling Tree"   2:48
5. "Please, Mrs. Henry"   2:33
6. "Tears of Rage" (Dylan, Manuel) 4:15
Side three
1. "Too Much of Nothing"   3:04
2. "Yea! Heavy and a Bottle of Bread"   2:15
3. "Ain't No More Cane" (Traditional) 3:58
4. "Crash on the Levee (Down in the Flood)"   2:04
5. "Ruben Remus" (Manuel, Robertson) 3:16
6. "Tiny Montgomery"   2:47
Side four
1. "You Ain't Goin' Nowhere"   2:42
2. "Don't Ya Tell Henry"   3:13
3. "Nothing Was Delivered"   4:23
4. "Open the Door, Homer"   2:49
5. "Long Distance Operator"   3:39
6. "This Wheel's on Fire" (Danko, Dylan) 3:52









'Great White Wonder'
http://www.wyep.org/audio/the-great-white-wonder-other-bootlegs

the band

The Band took that ride across the great divide and found their king's harvest in the rustic nostalgia of this drunkard's dream.  With the acclaim of their debut 'Music From Big Pink', the group began work on the self-titled follow up in earnest.  They recorded in a rented house at 8850 Evanview Drive in West Hollywood that had once belonged to Sammy Davis Jr.  The sessions featured Rick Danko on bass guitar, fiddle, trombone, and vocals;   Levon Helm on drums, mandolin, rhythm guitar, and vocals;  Garth Hudson on electronic organ, clavinet, acoustic piano, accordion, melodica, soprano, tenor and baritone saxophones,  slide trumpet, and bass pedals;   Richard Manuel on acoustic piano, drums, baritone saxophone, harmonica, and vocals;  and Robbie Robertson on electric and acoustic guitars, and engineering;   with John Simon on production, engineering, tuba, electric piano, baritone horn, tenor saxophone, and "high school and peck horns";   and engineers Tony May and Joe Zagarino.   The record company agreed to supply equipment for the makeshift studio in the Hollywood hills.  

Simon recalls:   "Capitol took a long time delivering the stuff and installing the equipment.  Meanwhile, Robbie was writing and we were rehearsing some of the songs, but the group had a deadline because they were playing a gig that Bill Graham had put together in San Francisco. That meant we had to finish things up, and since we didn't quite finish them up we did 'Whispering Pines', 'Get Up Jake' and 'Jemima Surrender' at the old Hit Factory in New York, when Jerry Ragavoy owned it...I remember we needed a piano, and instead of getting a grand piano we got an old upright that we picked up some place in town. Meanwhile, Levon got his drums from a pawn shop, a set with wood rims...Sammy Davis had this pool house; a big, cavernous, barn-like room — and we had the mixing console in there along with the instruments. And what we would do to get our sound was do rough takes during our rehearsals, listen back to those rough takes, fix them up again, and then by the time we were ready to do it we didn't have to do any monitoring of the sound. The bass was recorded direct, the guitars were recorded with amps, and I know the drums were sitting behind some baffles in the room... The photo of that set-up on the album cover is pretty accurate, although we removed the baffles and a lot of the mics — aside from one RE15 — so that you could see the drums ... They had very few ego problems.  None of The Band's members cared who played what instrument. Whatever worked for the song was good. They'd been playing together for years and were consummate musicians."

Robertson would reveal at the time:    "On the new album, most of it was written while we were there. "To Kingdom Come," for example, was written while we were doing it...I am [really tired]. Ive been going for a long time. I'm just one of those kind of people who insists on doing more than he can. I've been wasted for a year. The new album has really wasted me too. We got this brainstorm of doing it ourselves, and I was writing the songs while we were doing it...One of them I wrote with Levon, and about three of them I wrote with Richard. And I wrote all the rest of them myself. Half of them were written while we were recording, and I engineered it. It was really a lot of work. I was wasted before we began, and I'm just not together after that...I don't really understand how it works, it just goes that way. Everybody plays a total different part in the group. There is no leader, nobody in the group wants to be a leader. I do a lot of the out-front stuff, but the guys do a lot of the back-front stuff...The new album is more complex. It was harder for us to play, for us to cut it. It's not the same thing over again. It sounds a lot different. We played it for quite a few people, and a lot of people who found it difficult to get next to Music From Big Pink find it easier to get close to this album. For what reason I, for the life of me, can't understand. I don't understand not being able to get next to Big Pink. It almost seems it should be the other way to me, but it isn't for some reason. I don't understand any of it anymore, I've come to realize. You do your best just trying to make it and I can't figure it out at all. It gets too complicated...On the new album, Richard plays drums on about half the songs. Not that he's a drummer at all, but it gives it a loose floppy feeling. You can tell the two styles very distinctly. Levon plays very fat, you know-boom, boom, boom-while Richard sounds very chunk, chunk, chunk. It's much higher sounding. It's an interesting thing to have two people who can do that. You can change your rhythm, it isn't always the same person doing the same thing. We switch instruments just to take some of the staleness out of it...I sang on "To Kingdom Come." On the new album I don't sing at all. I can hear it when someone else is doing it, but when I'm singing I can't hear it. That way I can tell if it's right if they're doing it. I was engineering, writing, and playing guitar, and I just didn't have time. Everybody played many, many instruments on this album.  Levon sings the lead on "Rag Mama Rag" which is very interesting because it has no bass, it has tuba instead. Richard's playing drums on it, Levon's playing mandolin. John Simon's playing tuba, and Garth's playing piano. Rick plays fiddle. It's totally switched around."

Helm considered:  "Some of the lyrics came out of a discussion we had one night about the times we’d seen and all had in common. It was an expression of feeling that came from five people. The group wanted to do one song that took in everything we could muster about life at that moment in time. It was the last thing we cut in California, and it was that magical feeling of ‘King Harvest’ that pulled us through. It was like, there, that’s The Band."


'The Band' went to number twenty-five in the UK, fifteen in Norway, nine in the US, and number two in Canada.  






http://theband.hiof.no/









"Up on Cripple Creek" became their biggest single, floating to number twenty-five in the US and ten in Canada.
https://www.youtube.com/watch?v=NQq-jcT3qTY



When I get off of this mountain
You know where I want to go
Straight down the Mississippi river
To the Gulf of Mexico
To Lake Charles Louisiana
Little Bessie, girl that I once knew
She told me just to come on by
If there's anything that she could do

Up on Cripple Creek, she sends me
If I spring a leak, she mends me
I don't have to speak, as she defends me
A drunkard's dream if I ever did see one

Good luck had just stung me
To the race track I did go
She bet on one horse to win
And I bet on another to show
The odds were in my favor
I had 'em five to one
When that nag to win came around the track
Sure enough we had won

Up on Cripple Creek, as she sends me
If I spring a leak, as she mends me
I don't have to speak, as she defends me
A drunkard's dream if I ever did see one

I took up all of my winnings
And I gave my little Bessie half
And she tore it up and threw it in my face
Just for a laugh
Now there's one thing in the whole wide world
I sure would like to see
That's when that little love of mine
Dips her doughnut in my tea

Up on Cripple Creek, as she sends me
If I spring a leak, as she mends me
I don't have to speak, as she defends me
A drunkard's dream if I ever did see one

Now me and my mate were back at the shack
We had Spike Jones on the box
She said, "I can't take the way he sings
But I love to hear him talk"
Now that just gave my heart a throb
To the bottom of my feet
And I swore as I took another pull
My Bessie can't be beat

Up on Cripple Creek, as she sends me
If I spring a leak, as she mends me
I don't have to speak, as she defends me
A drunkard's dream if I ever did see one

As there's a flood out in California
And up North it's freezing cold
And this living on the road
Is getting pretty old
So I guess, I'll call up my big mama
Tell her I'll be rolling in
But you know, deep down
I'm kind of tempted
To go and see my Bessie again

Up on Cripple Creek, she sends me
If I spring a leak, she mends me
I don't have to speak, she defends me
A drunkard's dream if I ever did see one





"The Night They Drove Old Dixie Down"  
https://www.youtube.com/watch?v=nOTNQF-o_mQ



Virgil Caine is the name, and I served on the Danville train,
Til Stoneman's cavalry came and tore up the tracks again.
In the winter of '65, we were hungry, just barely alive.
By May the tenth, Richmond had fell, it's a time I remember, oh so well,

The night they drove old Dixie down, and the bells were ringing,
The night they drove old Dixie down, and the people were singin'. they went 
La, la, la, la, la, la, la, la, la, la, la, la, la, la,

Back with my wife in Tennessee, when one day she called to me,
"Virgil, quick, come see, there goes Robert E. Lee!"
Now I don't mind choppin' wood, and I don't care if the money's no good.
Ya take what ya need and ya leave the rest,
But they should never have taken the very best. 

The night they drove old Dixie down, and the bells were ringing,
The night they drove old Dixie down, and the people were singin'. they went 
La, la, la, la, la, la, la, la, la, la, la, la, la, la,

Like my father before me, I will work the land,
Like my brother above me, who took a rebel stand.
He was just eighteen, proud and brave, but a Yankee laid him in his grave,
I swear by the mud below my feet, 
You can't raise a Caine back up when he's in defeat. 

The night they drove old Dixie down, and the bells were ringing,
The night they drove old Dixie down, and all the people were singin', they went 
Na, la, na, la, na, na, na, na, na, na, na, na, na, na,

The night they drove old Dixie down, and all the bells were ringing,
The night they drove old Dixie down, and the people were singin', they went 
Na, la, na, la, na, na, na, na, na, na, na, na, na, na







'The Band' 
full album:




All songs written and composed by Robbie Robertson, unless otherwise noted.

Side one
1. "Across the Great Divide"   2:53
2. "Rag Mama Rag"   3:04
3. "The Night They Drove Old Dixie Down"   3:33
4. "When You Awake" (Richard Manuel, Robertson) 3:13
5. "Up on Cripple Creek"   4:34
6. "Whispering Pines" (Manuel, Robertson) 3:58
Side two
7. "Jemima Surrender" (Levon Helm, Robertson) 3:31
8. "Rockin' Chair"   3:43
9. "Look Out Cleveland"   3:09
10. "Jawbone" (Manuel, Robertson) 4:20
11. "The Unfaithful Servant"   4:17
12. "King Harvest (Has Surely Come)"   3:39

music from big pink

Bob Dylan's backing band came out of the basement and into their own with this unique and emotional blend of country, folk, and rootsy rock.  They were known as the Hawks when Dylan recruited them to back him on his revolutionary first electric tour as Bob Dylan and the Band; and they even participated in sessions for his 'Blonde On Blonde' album.  After Dylan was injured in a motorcycle accident, the members of the Band joined him in Woodstock, New York where they recorded over one hundred demos during his convalescence in 1967.  Some of these recordings were released in 1975 as 'The Basement Tapes' along with demos by the Band. Around this time, the Band moved into a pink house in in West Saugerties, New York where they recorded many of the demos and continued to compose what would become 'Music from Big Pink'.  

The album was recorded in studios in New York and Los Angeles with Rick Danko on bass guitar, fiddle, and vocals; Levon Helm on drums, tambourine, and vocals; Garth Hudson on electronic organ, piano, clavinet, and soprano & tenor saxophones; Richard Manuel on piano, organ, drums, and vocals; and Robbie Robertson on electric & acoustic guitars, and vocals;   with producer John Simon on baritone horn, tenor saxophone, and piano.  'Music from Big Pink' went to number thirty on the US album chart and has gone on to become a resonant classic.  The album cover was painted by Bob Dylan.  




http://theband.hiof.no/

'The Weight' became a classic even though it only charted at number sixty-three in the US.  It went to thirty-five in Canada and twenty-one in the UK.

http://www.youtube.com/watch?v=HmRDM7GyJXE

I pulled into Nazareth, 

I was feelin' about half past dead 

Just need to find a place where I can lay my head 

"Hey, mister, can you tell me where a man might find a bed?" 

He just grinned and shook my hand and, 

"No", was all he said 

Take a load off Anny 

Take a load for free 

Take a load off Anny 

And you put the load right on me (You put the load right on me) 

I picked up my bag and I went lookin' for a place to hide 

When I saw Carmen and the Devil walkin' side by side 

And I said, "Hey, Carmen, come on, would you go downtown" 

And she said, "Well, I gotta go but my friend can stick around" 

And take a load off Anny 

Take a load for free 

Take a load off Anny 

And you put the load right on me (You put the load right on me) 

Go down, Miss Moses, there ain't nothin' that you can say 

'Cause just ol' Luke and Luke's waitin' on the Judgment Day 

"Well, now Luke, my friend, what about young Anna Lee?" 

He said, "Do me a favor, son, won't you stay an' keep Anna Lee company?" 

Take a load off Anny 

Take a load for free 

Take a load off Anny 

And you put the load right on me (You put the load right on me) 

Crazy Chester followed me and he caught me in the fog 

He said, "I will fix your rags, if you'll take Jack, my dog" 

I said, "Wait a minute, Chester, you know I'm a peaceful man" 

He said, "That's okay, boy, won't you feed him when you can?" 

Take a load off Anny 

Take a load for free 

Take a load off Anny

 And you put the load right on me (You put the load right on me) 

Catch a Cannonball, now, to take me down the line 

My, my bag is sinkin' low and I do believe it's time 

To get back to Miss Anny, you know she's the only one 

Who sent me here with her regards for everyone 

Take a load off Anny 

Take a load for free 

Take a load off Anny 

And you put the load right on me (You put the load right on me) 

'Music from Big Pink' 
full album:



1. "Tears of Rage"   (Bob Dylan, Richard Manuel)
2. "To Kingdom Come"   (Robbie Robertson)
3. "In a Station"   (Manuel)
4. "Caledonia Mission"   (Robertson)
5. "The Weight"   (Robertson)
6. "We Can Talk"   (Manuel)
7. "Long Black Veil"   (Marijohn Wilkin, Danny Dill)
8. "Chest Fever"   (Robertson)
9. "Lonesome Suzie"   (Manuel)
10."This Wheel's on Fire"   (Dylan, Rick Danko)
11."I Shall Be Released"   (Dylan)

reissue bonus tracks:

12. "Yazoo Street Scandal"   Robertson
http://www.youtube.com/watch?v=vsy_P1I5wYo

13. "Tears of Rage"   Dylan, Manuel
http://www.youtube.com/watch?v=zptgMRMPz6g

14. "Katie's Been Gone"   Manuel, Robertson
http://www.youtube.com/watch?v=7CrOOL0oRGk

15. "If I Lose"   Charlie Poole
http://www.youtube.com/watch?v=c5Nn-b6qjzg

16. "Long Distance Operator"   Dylan
http://www.youtube.com/watch?v=aSjxQ2Y_jXg

17. "Lonesome Suzie"   Manuel
http://www.youtube.com/watch?v=ezbPU4xKMIo

18. "Orange Juice Blues (Blues for Breakfast)"   Manuel
http://cdn.meemix.com/music/tracks/?track_id=1216397&p=l
https://myspace.com/theband/music/song/orange-juice-blues-blues-for-breakfast-outtake-demo-33902909-46315932

19. "Key to the Highway"   Big Bill Broonzy
http://www.last.fm/music/The+Band/_/Key+to+the+Highway+(outtake)

20. "Ferdinand the Imposter"   Robertson
http://www.last.fm/music/The+Band/_/Ferdinand+The+Imposter+(outtake-demo)

the last waltz

The Band finally released this triple album soundtrack to the documentary film of their triumphant farewell concert appearance seventeen months after the concert took place.  After Richard Manuel was seriously injured in a boating accident, Robbie Robertson came up with the idea of a big final show because he was tired of touring:   "When we did 'The Last Waltz', the idea was let’s close this chapter, we’ve got some issues that we need to sort out – some health issues, some personal things that were going on inside the group. Not a big problem for us as a group, but there were individuals having problems. And we thought, let’s get out of the way for a minute here. Get everything sorted out. Let’s see if we can’t help take care of one another a little bit. And then when we come back together, we’ll have a freshness and we can go in and really do some good work, we can help one another do some good work. In a band like The Band if one of the wheels is flat it just throws everything off. It’s not like, 'Hey we’ll just storm right through this.' This is not a singer and a guitar player band. It really was called The Band because everybody did something quite extraordinary in it.  So this was an opportunity to do that and all the guys were talking about different projects they wanted to pursue. Garth had something he was doing called 'The Queen of Angels' with some artist in Los Angeles, and he did some beautiful things with that. Rick wanted to do a solo album and Levon had talked about that as well. I had some other things I was experimenting with. So we thought, good, this is a good way to shuffle the deck, we’ll do this and when we come back we can get these things sorted out. And everybody went off to do these things and nobody came back. But over time it looked like I put together this idea of breaking up The Band and that’s why I’m saying that was never the plan at all. We did try some things together after that, and I just found that nobody was in a hurry to show up. And I thought, well you gotta read the writing on the wall here. If everybody just has other things to deal with or mental issues that they’ve got to straighten out with themselves, it’s going to take whatever time it’s going to take. So, for that you just say o.k., let’s get out of the way and let things take their natural course. And the natural course was that nobody was pushing in that other direction, which was the plan."

The show happened at Bill Graham's Winterland Ballroom on Thanksgiving Day 1976 with more than two dozen guest musicians.  The performances featured Rick Danko on vocals, bass, and fiddle; Levon Helm on vocals, drums, and mandolin; Garth Hudson on organ, accordion, synthesizer, and saxophones; Richard Manuel on vocals, piano, drums, organ, clavinet, and dobro; and Robbie Robertson on guitars and piano. The horn section included Rich Cooper on trumpet and flugelhorn; James Gordon on flute, tenor saxophone, and clarinet; Jerry Hey on trumpet and flugelhorn; Howard Johnson on tuba, baritone saxophone, flugelhorn, and bass clarinet; Charlie Keagle on clarinet, flute, alto, and tenor and soprano saxophones; Tom Malone on trombone, euphonium, alto flute, and bass trombone; and Larry Packer on electric violin. The horns were arranged by Henry Glover, Garth Hudson, Howard Johnson, Tom Malone, John Simon and Allen Toussaint. Guest personnel included Paul Butterfield on harmonica and vocal; Bobby Charles on vocal; Eric Clapton on guitar and vocal; Neil Diamond on guitar and vocal; Dr. John on piano, guitar, congas, and vocal; Bob Dylan on guitar and vocal; Emmylou Harris on guitar and vocal; Ronnie Hawkins on vocal; Bob Margolin on guitar on 'Mannish Boy'; Joni Mitchell on guitar and vocal; Van Morrison on vocal; Pinetop Perkins on piano on 'Mannish Boy'; Dennis St. John on drums on 'Dry Your Eyes'; John Simon on piano on 'Too Ra Loo Ra Loo Ral'; Cleotha Staples on harmony vocal on 'The Weight'; Mavis Staples on vocal; Roebuck "Pops" Staples on guitar and vocal; Yvonne Staples on harmony vocal on 'The Weight'; Ringo Starr on drums on 'I Shall Be Released'; Muddy Waters on vocals; Ronnie Wood on guitar on 'I Shall Be Released'; and Neil Young on guitar, harmonica, and vocal.  The concert was recorded by filmmaker Martin Scorsese and released as a concert film documentary, which has been acclaimed as one of the greatest concert films of all time.  In the interim the Band recorded their seventh studio album 'Islands' to fulfill their contract with Capitol; so that 'The Last Waltz' could be released on Warner Brothers Records.  

Helm revealed:   "As far as I was concerned, the movie was a disaster ... People tell me all the time they love 'The Last Waltz', I try to thank them politely and usually refrain from mentioning that for me it was a real scandal ... Maybe 'The Last Waltz' started back, you know, during some of the disenchantment that I felt when the songs didn't reflect what I thought was the true spirit of things. So by the time 'The Last Waltz' came up, it was no secret our collaboration and - I felt - that the quality of our music had suffered. I didn't hear us getting better. I heard us, you know, doing albums with old songs that we liked, as opposed to getting in and really trying to grow a fresh crop of songs. And so I certainly didn't want to end The Band. 'The Last Waltz', you know, didn't set right with me. But, you know, there comes a time when we all want to move on, and that's what we did."

Hudson looks back:   "When I did the interviews in 'The Last Waltz', I should have sat down and written it out. I didn't know; I avoided them. I was down at 6 a.m. in the morning. I went back and there were three or four rooms - like a motel - in this house, and I took a nap and they got done with all the other interviews.  I was there and knew I had to be there, though I hated and tried to avoid it. Finally they caught me and sat me down - at six in the morning. I didn't want to say anything."

Danko considers:   "'The Last Waltz' was truly a special moment. I've been a lucky guy to be in the right place at the right time. As for the best moment- I'm still waiting for it..."

'The Last Waltz' pranced up to number twenty-four in Sweden, twenty-three in Austria, sixteen in the US, fifteen in Norway, thirteen in Canada and the Netherlands, and number eight in New Zealand.  








http://theband.hiof.no/









'The Last Waltz'
full album:



Side one
1. "Theme from The Last Waltz"  3:28
2. "Up On Cripple Creek" Robertson  Levon Helm 4:44
3. "Who Do You Love"  Ronnie Hawkins 4:16
4. "Helpless"  Neil Young 5:47
5. "Stage Fright"   Rick Danko 4:25

Side two
1. "Coyote"  Joni Mitchell 5:50
2. "Dry Your Eyes"  Neil Diamond 3:57
3. "It Makes No Difference"  Rick Danko 6:48
4. "Such A Night"  Dr. John 4:00

Side three
1. "The Night They Drove Old Dixie Down" Levon Helm 4:34
2. "Mystery Train" Paul Butterfield, Levon Helm 4:59
3. "Mannish Boy"  Muddy Waters 6:54
4. "Further On Up the Road"  Eric Clapton 5:08

Side four
1. "The Shape I'm In"   Richard Manuel 4:06
2. "Down South in New Orleans"  Bobby Charles, Dr. John 3:06
3. "Ophelia"  Levon Helm 3:53
4. "Tura Lura Lural (That's An Irish Lullaby)" Van Morrison 6:02

Side five
1. "Life Is A Carnival"  Levon Helm, Rick Danko 4:32
2. "Baby, Let Me Follow You Down"  Bob Dylan 3:00
3. "I Don't Believe You"  Bob Dylan 3:23
4. "Forever Young"  Bob Dylan 4:42
5. "Baby, Let Me Follow You Down (reprise)" Bob Dylan 2:46
6. "I Shall Be Released" Bob Dylan, Richard Manuel 6:22

Side six
The Last Waltz Suite written by Robbie Robertson
1. "The Well"   Richard Manuel 3:27
2. "Evangeline"  Rick Danko, Emmylou Harris, Levon Helm 3:17
3. "Out of the Blue"   Robbie Robertson 3:03
4. "The Weight" Levon Helm, Mavis Staples, Pops Staples, Rick Danko 4:38
5. "The Last Waltz Refrain" Richard Manuel, Robbie Robertson 1:28
6. "Theme from The Last Waltz"   3:22

'The Last Waltz'
film:

Watch The Band - The last waltz.avi in Music  |  View More Free Videos Online at Veoh.com