A Musical History
A Musical History is a comprehensive box set anthology by the Canadian-American rock group The Band, released by Capitol Records on September 27, 2005.[1] It documents the band's recording career spanning from 1963 to 1976 through five remastered compact discs containing 108 audio tracks and one DVD with nine live performance videos, including 37 previously unreleased studio and live recordings from sessions with Bob Dylan and Ronnie Hawkins.[1][2] The set notably features the complete contents of the band's debut album Music from Big Pink (1968), alongside rare demos, song sketches, and footage from key events such as the 1969 Woodstock Festival and performances in New York City and London.[3] Compiled under the supervision of guitarist Robbie Robertson, the collection serves as a definitive retrospective of The Band's evolution from their roots as backing musicians for Bob Dylan to their status as pioneering roots rock innovators, concluding the remastering of their Capitol catalog initiated in 2000–2001.[2][4] Accompanying the discs is a 108-page hardcover book designed by Ed Ruscha, filled with previously unseen photographs, memorabilia, and detailed historical essays that provide context for the band's cultural impact during the late 1960s and 1970s. This second major box set anthology—following Across the Great Divide (1994)—highlights The Band's blend of Americana, folk, and rock influences, featuring contributions from core members Levon Helm, Garth Hudson, Richard Manuel, Rick Danko, and Robbie Robertson across their collaborative discography.[5] The release received critical acclaim for its archival depth and restoration quality, underscoring The Band's enduring legacy as one of rock music's most influential ensembles.[3]Background
Concept and Scope
A Musical History is the second major retrospective box set for the Canadian-American rock group the Band, following their 1994 release Across the Great Divide. Issued by Capitol Records on September 27, 2005, the set comprises five CDs and one DVD, encompassing 102 audio tracks across the five CDs and nine video performances on the DVD that span the group's career.[6][7][8] The compilation traces The Band's evolution from their formation as the backing group for rockabilly performer Ronnie Hawkins in the early 1960s, through their pivotal role supporting Bob Dylan during his electric tours and the informal Basement Tapes sessions in 1967, to their independent output as The Band, culminating in their dissolution after guitarist Robbie Robertson's departure in 1976.[8][2][7] It highlights key phases of their musical journey, including the rockabilly roots with Hawkins, the experimental and roots-oriented Basement Tapes era, the groundbreaking classic albums such as Music from Big Pink (1968) and The Band (1969), and their later explorations in albums like Cahoots (1971) and Islands (1977). The collection totals approximately 422 minutes of audio material, providing a thorough chronicle of their influence on Americana and rock music.[8][2] Among its contents are 37 previously unreleased tracks, featuring demos, studio outtakes, and live performances that offer fresh perspectives on the group's creative development and collaborative dynamics.[2]Compilation Process
The compilation of A Musical History, a five-CD plus DVD box set released by Capitol Records in 2005, was supervised by Robbie Robertson, the band's guitarist and primary songwriter, who served as the executive producer and oversaw the overall curation to chronicle the group's evolution from their early days as backing musicians to their dissolution in 1976. At the time, only Garth Hudson and Levon Helm remained from the classic lineup, following the deaths of Richard Manuel in 1986 and Rick Danko in 1999.[1][2] Input from the surviving members—multi-instrumentalist Garth Hudson and drummer/vocalist Levon Helm—was integral, providing historical context and guidance on track selections that reflected the band's collective experiences and underrepresented contributions.[9] Producers Cheryl Pawelski and Andrew Sandoval led the hands-on effort, conducting extensive tape research in Capitol Records' archives to source material, including multitrack tapes that enabled remixing of previously unreleased studio and live recordings.[2][9] The inclusion criteria emphasized chronological progression to trace the band's musical journey across eras, balanced with representation of all members' roles and the addition of 37 rarities—such as demos and alternate takes—to address gaps in earlier anthologies like the 1976 double-LP Across the Great Divide, which had focused more narrowly on studio highlights without such archival depth.[9][2] Remixing was a core component, handled by engineer Patrick MacDougal in summer 2004, who worked on live tracks drawn from sources like the 1972 album Rock of Ages and other concerts to improve audio fidelity and integrate them seamlessly into the set's narrative.[2] Additionally, early demos from the 1967 Basement Tapes sessions with Bob Dylan underwent restoration, drawing on original tapes to preserve their raw, informal essence while enhancing clarity for modern listeners, as part of Capitol's broader catalog restoration initiative.[9][2] The final mastering by Dan Hersch and Andrew Sandoval at Digiprep ensured sonic consistency across the diverse materials.[2]Release
Commercial Release
A Musical History was commercially released on September 27, 2005, by Capitol Records in the United States and Canada.[10][11] The box set was positioned as the definitive anthology of The Band's career, curated and executive-produced by guitarist Robbie Robertson to chronicle the group's evolution from their early days as Ronnie Hawkins and the Hawks through their final group recordings in 1976.[12][4] This comprehensive five-CD (plus DVD) collection emphasized rare tracks, alternate takes, and live recordings, appealing to longtime enthusiasts seeking a thorough retrospective.[13] Marketing efforts highlighted the set's archival depth and Robertson's personal oversight, framing it as an essential collector's item for fans of roots rock and Americana.[4] Initial retail pricing was set at approximately $89.98 USD, reflecting its premium status with a 108-page hardcover book, remastered audio, and bonus DVD content.[14] The release was promoted through music media outlets and targeted advertising, underscoring The Band's enduring influence on subsequent generations of musicians.[11] The set was also released internationally by EMI in Europe and other regions on the same date.[1] Distribution occurred primarily through major retail chains such as Tower Records and HMV, alongside online platforms including Amazon, which offered pre-orders and immediate availability upon launch.[15] This multi-channel approach ensured broad accessibility in North America, capitalizing on the fall release window to coincide with holiday gifting season for audiophiles and collectors.[14] A single-disc compilation, The Best of A Musical History, followed in 2007 as a more affordable entry point derived from the box set.[16]Packaging and Formats
A Musical History is housed in a premium hardbound book-style packaging, featuring a cloth-covered box designed to resemble a historical tome, providing an elegant and archival presentation for the collection.[2][1] The set includes a 108-page booklet with essays written by Rob Bowman, offering personal insights into the band's evolution, alongside previously unseen photographs that capture key moments from their career.[2][17] It comprises five CDs stored in individual sleeves and one DVD, all contained within the main box for organized access to the material.[1] The CDs feature audio remastered at 24-bit/96kHz resolution to enhance clarity and fidelity across the tracks.[2] The accompanying DVD is presented in standard definition, with audio options in both stereo and 5.1 surround sound to accommodate various playback systems.[2][18]Content Overview
Chronological Coverage
The box set A Musical History organizes The Band's career chronologically across five discs and a companion DVD, tracing their evolution from formative roots to farewell performances while emphasizing key thematic shifts in their roots rock, folk, and Americana sound. This structure highlights the group's transition from backing musicians to innovative songwriters, drawing on studio recordings, live material, and outtakes to illustrate their musical development without adhering strictly to album boundaries. The collection spans 1961 to 1977, capturing influences from rockabilly, blues, and folk traditions that defined their distinctive ensemble style.[8][3] Disc One focuses on the pre-Band era, encompassing their time as backing musicians for Ronnie Hawkins from 1961 to 1964 and subsequent tours with Bob Dylan from 1965 to 1968. This period underscores roots rock and folk influences, showcasing the group's apprenticeship in high-energy R&B covers and electric adaptations of Dylan's material, which honed their tight instrumentation and vocal harmonies. Early demos and live recordings here reveal the foundational blend of Canadian bar-band grit and emerging American roots sensibility that would later distinguish The Band.[8][13] Disc Two documents the transition to their self-named identity in 1967–1968, featuring outtakes from Music from Big Pink alongside selections from the informal Basement Tapes sessions with Bob Dylan. Thematically, it captures the shift toward introspective folk-rock and collaborative experimentation in the secluded Woodstock environment, where the group began prioritizing original compositions over covers and exploring rustic, narrative-driven songs that marked their breakthrough as a creative unit. This disc emphasizes the democratic songwriting process that solidified their reputation for blending genres like country, soul, and psychedelia.[3][13] Disc Three covers the peak creative period from 1969 to 1971, drawing heavily from the self-titled album (often called the "brown album") and Stage Fright. It highlights the height of their Americana storytelling, with themes of historical and personal reflection delivered through rich, layered arrangements that integrated horns, piano, and acoustic elements. This era represents The Band at their most influential, producing timeless hits that encapsulated 19th-century-inspired narratives and emotional depth, cementing their legacy in rock history.[8][3] Disc Four explores the experimental phase of 1971–1973, incorporating material from Cahoots and live recordings from Rock of Ages. The focus shifts to bolder sonic explorations, including jazz-inflected horns and ambitious covers, alongside the raw energy of arena performances that revitalized their catalog amid growing internal tensions. This disc illustrates the group's willingness to innovate within their roots framework, balancing studio polish with the immediacy of live improvisation to address themes of isolation and resilience.[13][3] Disc Five addresses the winding down of their career from 1973 to 1977, featuring tracks from Northern Lights – Southern Cross and selections from farewell tours leading to The Last Waltz. Thematically, it conveys maturity and closure, with refined songwriting that revisited folk and rock roots while incorporating guest collaborations, reflecting the band's fatigue from constant touring and a poignant sense of finality in their collective journey. This period underscores their enduring impact through polished yet heartfelt performances.[8][13] The accompanying DVD serves as a visual companion, compiling TV appearances and concert clips from 1970 to 1976 that parallel the audio discs' timeline. It provides glimpses into their live charisma and stage presence, from intimate festival sets to grand finales, enhancing the box set's narrative of The Band's performative evolution without overlapping the audio content.[3][8]Rare and Unreleased Material
The box set A Musical History features 37 previously unreleased tracks, drawn from private archives and rediscovered tapes, that provide fresh insights into The Band's creative evolution from their early days as Levon and the Hawks through their final years.[1] These materials, including studio sketches, alternate takes, and live captures, were compiled under the supervision of Robbie Robertson and sourced from collections such as producer Duff Roman's basement holdings, filling historical voids in the group's documented output.[3] Mid-1960s demos from the period immediately after leaving Ronnie Hawkins highlight the raw energy of the band as Levon and the Hawks, exemplified by the unreleased R&B track "He Don't Love You (And He'll Break Your Heart)," where Richard Manuel channels Ray Charles-style vocals over a tight groove, showcasing their nascent songwriting and performance style before aligning with Bob Dylan.[19] Similarly, instrumental sketches like "Bacon Fat" and "Honky Tonk" reveal their boundary-pushing blend of rockabilly and blues, recorded during informal sessions that predate their breakthrough.[3] Basement Tapes-era alternates offer intimate glimpses into the 1967 Woodstock collaborations with Dylan, including extended versions such as the full-length "To Kingdom Come" with Garth Hudson's prominent organ solo.[4] These outtakes, distinct from the official The Basement Tapes release, emphasize the group's improvisational chemistry and role in shaping Dylan's raw, roots-oriented sound during his post-accident seclusion.[20] Live rarities capture pivotal moments, such as the 1970 Festival Express train tour performances, including a gritty "Long Black Veil" sung by Rick Danko amid the tour's chaotic camaraderie with other acts.[4] Excerpts from their 1976 farewell period, like selections from the Saturday Night Live appearance on October 30, 1976—featuring "Life Is a Carnival" and "Stage Fright"—document the band's weathered vitality just before The Last Waltz, highlighting Manuel's poignant delivery in "Georgia on My Mind."[17] Studio outtakes from key albums further illuminate production choices, with Big Pink sessions yielding an alternate "Tears of Rage" that accentuates the Dylan-Manuel co-write's haunting melancholy through subtler arrangements, as well as a slinky rendition of "Baby Lou" featuring Manuel's emotive lead.[21] Later efforts, such as the Moondog Matinee period's adventurous cover "Mystery Train" with added original verses, demonstrate their playful reinterpretation of classics, while sketches like "Twilight" reveal embryonic ideas for Northern Lights – Southern Cross.[3] These pieces, often sourced from private tapes, underscore how earlier compilations overlooked the band's experimental depth.[5] The accompanying DVD exclusives extend this rarity, presenting rare footage from 1970 Woodstock rehearsals at Robbie Robertson's studio, including a vibrant "King Harvest," alongside Festival Express clips and the SNL broadcast, offering visual context to their live dynamism and the era's touring rigors.[1]Track Listing
Disc One: Early Years (1961–1968)
Disc One documents The Band's formative period from 1961 to 1968, tracing their evolution from backing Ronnie Hawkins in rockabilly and R&B styles to developing a distinctive folk-rock sound through collaborations with Bob Dylan and early basement recordings in Woodstock.[22] This disc features 25 tracks, including eight previously unreleased items such as song sketches recorded in hotel rooms and studios, highlighting the group's experimental songwriting and instrumental interplay during their transition from touring musicians to songwriters.[1] The selections emphasize their roots in high-energy covers with Hawkins and Levon Helm's short-lived solo project, Levon & The Hawks, before the Dylan electric tours and the influential Basement Tapes sessions that shaped their rustic, roots-oriented style.[22] The disc opens with four tracks from Ronnie Hawkins & The Hawks, capturing their early rockabilly energy on recordings from 1961–1963 at Bell Sound Studios in New York City, produced by Henry Glover.[22] These include covers like "Who Do You Love," showcasing Levon Helm's drumming and the Hawks' tight rhythm section.[1] Following these, tracks 5–14 feature Levon & The Hawks' independent efforts from 1964–1965, blending blues, instrumentals, and original sketches, with several unissued on CD until this set, such as the raw "Bacon Fat" and "Robbie's Blues" from Toronto's Hallmark Studios.[22] Tracks 15–17 shift to Bob Dylan's 1965–1966 electric tours, where The Hawks provided backing, including a studio take of "Can You Please Crawl Out Your Window?" and live recordings from Liverpool's Odeon Theatre, illustrating their adaptation to Dylan's folk-rock pivot and the audience backlash they navigated.[22] The disc closes with 1966–1968 demos and Basement Tapes-era outtakes from Big Pink in Saugerties, New York, featuring song sketches by Richard Manuel and Robbie Robertson, plus Dylan collaborations like "Odds And Ends," which preview the collaborative creativity that defined their later work.[1] These raw, often mono recordings, many captured by Garth Hudson on a two-track machine, reveal the group's shift toward Americana storytelling and harmony-driven arrangements.[22]| Track | Title | Writer(s) | Length |
|---|---|---|---|
| 1 | Who Do You Love | Ellis McDaniel | 2:40 |
| 2 | You Know I Love You | Jimmy Reed | 2:44 |
| 3 | Further On Up The Road | Don Robey, Joe Medwick Veasey | 3:06 |
| 4 | Nineteen Years Old | McKinley Morganfield | 4:12 |
| 5 | Honky Tonk | Don Robey | 3:02 |
| 6 | Bacon Fat | Garth Hudson, Robbie Robertson | 2:38 |
| 7 | Robbie's Blues | The Hawks | 3:36 |
| 8 | Uh-Uh-Uh | Robbie Robertson | 2:21 |
| 9 | Leave Me Alone | Robbie Robertson | 2:37 |
| 10 | He Don't Love You | Robbie Robertson | 2:37 |
| 11 | (I Want to Be) The Rainmaker (Song Sketch) | Robbie Robertson | 2:58 |
| 12 | The Stones I Throw (Song Sketch) | Robbie Robertson | 1:08 |
| 13 | The Stones I Throw | Robbie Robertson | 2:06 |
| 14 | Go Go Liza Jane | Traditional (arr. Robbie Robertson) | 2:11 |
| 15 | Can You Please Crawl Out Your Window? | Bob Dylan | 3:32 |
| 16 | Tell Me, Mama | Bob Dylan | 4:05 |
| 17 | Just Like Tom Thumb's Blues | Bob Dylan | 5:36 |
| 18 | Beautiful Thing (Song Sketch) | Richard Manuel | 1:41 |
| 19 | Words and Numbers (Song Sketch) | Richard Manuel | 4:10 |
| 20 | You Don't Come Through (Song Sketch) | Robbie Robertson | 2:02 |
| 21 | Caledonia Mission (Song Sketch) | Robbie Robertson | 2:28 |
| 22 | Odds and Ends | Bob Dylan | 1:46 |
| 23 | Ferdinand the Impostor | Robbie Robertson | 4:06 |
| 24 | Ruben Remus | Richard Manuel, Robbie Robertson | 3:13 |
| 25 | Will the Circle Be Unbroken? | Traditional (arr. The Band) | 0:55 |
Disc Two: Music from Big Pink Era (1968)
Disc Two of A Musical History encompasses The Band's transformative 1968 output, focusing on their debut album Music from Big Pink and related sessions that solidified their reputation as innovative roots-rock songwriters. Recorded amid the communal creativity of the Big Pink house in Woodstock, New York, these tracks reflect the group's shift from backing musicians to originators of a distinctive American music synthesis, blending folk, country, gospel, and rhythm and blues elements.[3] The disc features 20 selections, including selections from Music from Big Pink, outtakes from the collaborative Basement Tapes with Bob Dylan, and additional studio experiments, underscoring their emergence as a cohesive unit capable of profound, narrative-driven compositions.[4] The disc begins with three Basement Tapes recordings from late 1967 to early 1968, capturing the playful, improvisational spirit of Dylan and The Band's off-the-grid sessions in Big Pink's basement, which influenced the raw, organic aesthetic of their debut.[17] Transitioning to Music from Big Pink, produced by John Simon at A&R Studios in New York and Capitol Studios in Los Angeles, the album's songs—many co-written or fully authored by band members—highlight vocalists Richard Manuel, Rick Danko, and Levon Helm alongside guitarist Robbie Robertson's melodic structures. Iconic cuts like "The Weight" exemplify this era's communal storytelling and harmonic depth.[22] The latter portion draws from unreleased Woodstock-area sessions and live performances, including seven previously unissued tracks that reveal alternate takes and unfinished ideas, such as the instrumental "Yazoo Street Scandal" and the bluesy "Baby Lou." These additions provide context for The Band's rapid evolution, with Dylan's contributions like "I Shall Be Released" bridging their folk roots to a bolder ensemble sound. Overall, the disc illustrates 1968 as the year The Band transcended their Hawks days, forging anthems that resonated with the countercultural spirit.[3]| No. | Title | Writer(s) | Duration |
|---|---|---|---|
| 1 | Katie's Been Gone | Richard Manuel, Robbie Robertson | 2:44 |
| 2 | Ain't No More Cane | Traditional (arr. The Band) | 3:57 |
| 3 | Don't Ya Tell Henry | Bob Dylan | 3:12 |
| 4 | Tears of Rage | Bob Dylan, Richard Manuel | 5:20 |
| 5 | To Kingdom Come (full-length) | Robbie Robertson | 3:57 |
| 6 | In a Station | Richard Manuel | 3:31 |
| 7 | The Weight | Robbie Robertson | 4:36 |
| 8 | We Can Talk | Richard Manuel | 3:03 |
| 9 | Long Black Veil | Danny Dill, Marijohn Wilkin | 3:04 |
| 10 | Chest Fever | Robbie Robertson | 5:15 |
| 11 | Lonesome Suzie (alternate) | Richard Manuel | 2:57 |
| 12 | This Wheel's on Fire | Bob Dylan, Rick Danko | 3:11 |
| 13 | I Shall Be Released | Bob Dylan | 3:12 |
| 14 | Yazoo Street Scandal | Robbie Robertson | 3:54 |
| 15 | I Ain't Got No Home (with Dylan) | Woody Guthrie | 3:47 |
| 16 | Orange Juice Blues (Blues for Breakfast) | Richard Manuel | 3:18 |
| 17 | Baby Lou | Jimmy Drew | 3:38 |
| 18 | Long Distance Operator | Bob Dylan | 4:32 |
| 19 | Key to the Highway | Big Bill Broonzy, Charles Segar | 2:22 |
| 20 | Bessie Smith | Rick Danko, Robbie Robertson | 4:16 |
Disc Three: Self-Titled and Stage Fright (1969–1971)
Disc Three of A Musical History chronicles The Band's pivotal years from 1969 to 1971, encompassing their self-titled second album and the follow-up Stage Fright, a period marked by widespread critical acclaim for their innovative fusion of rock, folk, and Americana roots. The self-titled album, released in September 1969, was hailed as a masterpiece that redefined rock music by drawing deeply from traditional American sounds while establishing the group's distinctive ensemble style.[23] This era captured the band's creative peak, with songs reflecting themes of Southern history, personal struggle, and communal harmony, amid their rising fame following collaborations with Bob Dylan. Stage Fright, issued in August 1970, continued this momentum despite internal pressures from touring and expectations, peaking at number five on the Billboard 200 and featuring introspective lyrics about fame's burdens.[24] The disc includes core tracks from these albums, supplemented by outtakes and live recordings that highlight the band's evolving stage presence during extensive 1970 tours, including the Festival Express.[22] The selection emphasizes the band's songwriting prowess, primarily led by Robbie Robertson, alongside contributions from Richard Manuel and Levon Helm, showcasing their multi-instrumental interplay and harmonious vocals. Standout singles like "Up on Cripple Creek" reached number 25 on the Billboard Hot 100, underscoring commercial breakthrough, while "The Night They Drove Old Dixie Down" became an enduring anthem evoking Civil War-era loss.[25] This disc features six unreleased live and studio alternates from 1970 tours, offering fresh insights into their raw energy and experimentation, such as early versions and festival performances that were not included in original releases.[22] These additions bridge the studio polish of the albums with the immediacy of live settings, illustrating the tensions and triumphs of a group navigating stardom.| Track | Title | Duration | Writer(s) | Notes |
|---|---|---|---|---|
| 1 | Across the Great Divide | 2:53 | Robbie Robertson | From The Band (1969); recorded March–April 1969 at Sammy Davis Jr.'s Poolhouse, California.[22] |
| 2 | Rag Mama Rag | 3:06 | Robbie Robertson | From The Band (1969); recorded March–April 1969 at Sammy Davis Jr.'s Poolhouse, California.[22] |
| 3 | The Night They Drove Old Dixie Down | 3:33 | Robbie Robertson | From The Band (1969); recorded March–April 1969 at Sammy Davis Jr.'s Poolhouse, California.[22] |
| 4 | When You Awake | 3:14 | Richard Manuel, Robbie Robertson | From The Band (1969); recorded March–April 1969 at Sammy Davis Jr.'s Poolhouse, California.[22] |
| 5 | Up on Cripple Creek | 4:34 | Robbie Robertson | From The Band (1969); recorded May 7, 1969, at The Hit Factory, New York City.[22] |
| 6 | Whispering Pines | 3:57 | Richard Manuel, Robbie Robertson | From The Band (1969); recorded June 16, 1969, at The Hit Factory, New York City.[22] |
| 7 | King Harvest (Has Surely Come) | 3:37 | Robbie Robertson | From The Band (1969); recorded March–April 1969 at Sammy Davis Jr.'s Poolhouse, California.[22] |
| 8 | Get Up Jake | 2:16 | Robbie Robertson | Outtake; bonus track on 2000 CD reissue of The Band. Recorded March–April 1969 at Sammy Davis Jr.'s Poolhouse, California.[22] |
| 9 | Jemima Surrender (early version) | 3:47 | Levon Helm, Robbie Robertson | Previously unreleased; recorded May 7, 1969, at The Hit Factory, New York City.[22] |
| 10 | Daniel and the Sacred Harp (alternate take) | 4:21 | Robbie Robertson | Alternate take; bonus track on 2000 CD reissue of Stage Fright. Recorded June 4, 1970, at The Hit Factory, New York City.[22] |
| 11 | Time to Kill | 3:25 | Robbie Robertson | From Stage Fright (1970); recorded June 1970 at Woodstock Playhouse, New York.[22] |
| 12 | All La Glory (early version) | 3:24 | Robbie Robertson | Previously unreleased; recorded June 13, 1970, at Woodstock Playhouse, New York.[22] |
| 13 | The Shape I'm In | 4:01 | Robbie Robertson | From Stage Fright (1970); recorded June–July 1970 at Woodstock Playhouse, New York.[22] |
| 14 | Stage Fright | 3:41 | Robbie Robertson | From Stage Fright (1970); recorded June–July 1970 at Woodstock Playhouse, New York.[22] |
| 15 | The Rumor | 4:14 | Robbie Robertson | From Stage Fright (1970); recorded June–July 1970 at Woodstock Playhouse, New York.[22] |
| 16 | Slippin' and Slidin' | 3:19 | Eddie Bocage, Al Collins, Richard Penniman, James Smith | Previously unreleased live; recorded July 5, 1970, Festival Express Tour, Calgary, Canada.[22] |
| 17 | Don't Do It | 3:46 | Eddie Holland, Lamont Dozier, Brian Holland | Live version; bonus track on 2000 CD reissue of Cahoots. Recorded February 1971 at Bearsville Sound Studios, New York.[22] |
| 18 | Strawberry Wine | 3:52 | Levon Helm, Robbie Robertson | Previously unreleased live; recorded June 2, 1971, Royal Albert Hall, London.[22] |
| 19 | Rockin' Chair | 4:14 | Robbie Robertson | Previously unreleased live; recorded June 2, 1971, Royal Albert Hall, London.[22] |
| 20 | Look Out Cleveland | 3:29 | Robbie Robertson | Previously unreleased live; recorded June 2, 1971, Royal Albert Hall, London.[22] |
| 21 | 4% Pantomime | 6:01 | Robbie Robertson, Van Morrison | Previously unreleased; recorded June 1971 at Bearsville Sound Studios, New York.[22] |
Disc Four: Cahoots and Live Performances (1971–1973)
Disc Four of A Musical History captures The Band's creative evolution during 1971–1973, a period marked by ambitious studio experimentation on their fourth album Cahoots and electrifying live performances documented in the triple-live set Rock of Ages. Released in September 1971, Cahoots showcased the group's willingness to incorporate diverse influences, including New Orleans-style horns arranged by Allen Toussaint and guest vocalists like Libby Titus, reflecting internal tensions from prior recordings that pushed them toward collaborative innovation. The disc's live selections, drawn primarily from New Year's Eve shows at the Academy of Music in New York City, highlight the band's raw energy and improvisational prowess, augmented by horn sections that added a layer of rhythmic complexity to their roots-rock sound.[22][1] This era also saw The Band dipping into covers and sketches, as evident in tracks from Moondog Matinee (1973), which revived their early R&B influences, alongside previously unreleased material that reveals ongoing song development. The inclusion of an unissued live track like "Smoke Signal" underscores their dynamic stage presence during this transitional phase, where guest contributions helped mitigate creative strains and revitalize their performances. Overall, the disc illustrates a band at the peak of live intensity while navigating studio challenges, blending polished arrangements with spontaneous vitality.[22][1] The track listing for Disc Four comprises 17 selections, spanning studio cuts, live renditions, and rarities:| Track | Title | Duration | Writers | Notes |
|---|---|---|---|---|
| 1 | Life Is a Carnival | 3:57 | Rick Danko, Levon Helm, Robbie Robertson | From Cahoots (1971); horns arranged by Allen Toussaint.[22][1] |
| 2 | When I Paint My Masterpiece | 4:20 | Bob Dylan | From Cahoots (1971).[22][1] |
| 3 | The Moon Struck One | 4:09 | Robbie Robertson | From Cahoots (1971).[22][1] |
| 4 | The River Hymn | 4:39 | Robbie Robertson | From Cahoots (1971); features vocals by Libby Titus.[22][1] |
| 5 | Don't Do It | 4:36 | Eddie Holland, Lamont Dozier, Brian Holland | Live from Rock of Ages (1972); unedited version with horns arranged by Allen Toussaint.[22][1] |
| 6 | Caledonia Mission | 3:22 | Robbie Robertson | Live from Rock of Ages (1972); horns arranged by Allen Toussaint.[22][1] |
| 7 | Smoke Signal | 5:09 | Robbie Robertson | Previously unissued live recording (1971).[22][1] |
| 8 | Unfaithful Servant | 4:41 | Robbie Robertson | Live from Rock of Ages (1972); horns arranged by Allen Toussaint.[22][1] |
| 9 | W.S. Walcott Medicine Show | 4:05 | Robbie Robertson | Live from Rock of Ages (1972); horns arranged by Allen Toussaint.[22][1] |
| 10 | Genetic Method | 7:31 | Garth Hudson | Live from Rock of Ages (1972).[22][1] |
| 11 | Chest Fever | 5:04 | Robbie Robertson | Live from Rock of Ages (1972); horns arranged by Allen Toussaint.[22][1] |
| 12 | (I Don't Want to Hang Up My) Rock 'n' Roll Shoes | 4:30 | Chuck Willis | Live from Rock of Ages (1972); horns arranged by Allen Toussaint.[22][1] |
| 13 | Loving You (Is Sweeter Than Ever) | 3:35 | Ivy Jo Hunter, Stevie Wonder | Live bonus track from Rock of Ages CD reissue (2001).[22][1] |
| 14 | Endless Highway | 5:08 | Robbie Robertson | From Moondog Matinee CD reissue (2001).[22][1] |
| 15 | Move Me (Song Sketch) | 2:56 | Rick Danko | Previously unissued; recorded 1972.[22][1] |
| 16 | Two Piano Song | 4:12 | Robbie Robertson | Previously unissued; recorded 1972.[22][1] |
| 17 | Mystery Train | 5:33 | Junior Parker, Sam Phillips (additional lyrics: Robbie Robertson) | From Moondog Matinee (1973).[22][1] |
Disc Five: Later Years (1973–1977)
Disc Five chronicles The Band's final studio efforts and farewell performances from 1973 to 1977, capturing a period marked by creative maturation amid growing internal tensions, including personal conflicts and substance abuse that strained group dynamics.[26] Following the ambitious but uneven Cahoots (1971), the band reconvened at Robbie Robertson's Shangri-La studio in Malibu for Northern Lights – Southern Cross (1975), where Robertson penned all original material, showcasing refined songcraft and sonic experimentation with 24-track recording and synthesizers.[26] This album represented a return to form, blending rootsy narratives with polished production, though commercial success eluded it.[26] The subsequent Islands (1977) served primarily as a contractual obligation, compiling leftovers and covers after the group's Thanksgiving 1976 farewell concert documented in The Last Waltz, signaling the end of their classic lineup.[26] The disc features 19 tracks, including selections from Northern Lights – Southern Cross like the emotive "It Makes No Difference" and epic "Acadian Driftwood," Islands cuts such as "Livin' in a Dream" and "Home Cookin'," and live highlights from the 1976 Dylan tour and The Last Waltz.[1] It also incorporates four previously unreleased outtakes from the band's final sessions: an alternate "Highway 61 Revisited," a song sketch of "Twilight," "Forbidden Fruit," and "Home Cookin'."[2] These additions highlight the group's waning vitality, with raw demos and collaborations underscoring both innovation and fatigue.[2]| Track | Title | Writer(s) | Duration | Notes |
|---|---|---|---|---|
| 5-01 | Ain’t Got No Home | Clarence "Frogman" Henry | 3:24 | Cover from The Last Waltz sessions, featuring Billy Mundi on drums.[1] |
| 5-02 | Share Your Love | Alfred Braggs, Deadric Malone | 2:54 | Cover from The Last Waltz.[1] |
| 5-03 | Didn’t It Rain | Traditional (arr. The Band) | 3:18 | Gospel cover from The Last Waltz.[1] |
| 5-04 | Forever Young | Bob Dylan | 4:56 | Live from 1974 tour.[1] |
| 5-05 | Rainy Day Women #12 & 35 | Bob Dylan | 3:37 | Live from 1974 tour.[1] |
| 5-06 | Highway 61 Revisited | Bob Dylan | 3:55 | Previously unreleased alternate from 1974 Dylan tour.[2][1] |
| 5-07 | Ophelia | Robbie Robertson | 3:31 | From Northern Lights – Southern Cross.[1] |
| 5-08 | Acadian Driftwood | Robbie Robertson | 6:43 | From Northern Lights – Southern Cross, featuring Byron Berline on fiddle.[1] |
| 5-09 | It Makes No Difference | Robbie Robertson | 6:32 | From Northern Lights – Southern Cross.[1] |
| 5-10 | Twilight (Song Sketch) | Robbie Robertson | 3:23 | Previously unreleased song sketch from Islands sessions.[2][1] |
| 5-11 | Christmas Must Be Tonight | Robbie Robertson | 3:36 | From Northern Lights – Southern Cross.[1] |
| 5-12 | The Saga of Pepote Rouge | Robbie Robertson | 4:13 | From Northern Lights – Southern Cross.[1] |
| 5-13 | Livin’ in a Dream | Robbie Robertson | 2:50 | From Islands.[1] |
| 5-14 | Forbidden Fruit | Robbie Robertson | 5:39 | Previously unreleased outtake from Islands sessions, horns arranged by Howard Johnson.[2][1] |
| 5-15 | Home Cookin’ | Rick Danko | 3:44 | Previously unreleased outtake from Islands sessions.[2][1] |
| 5-16 | Out of the Blue | Robbie Robertson | 3:20 | From Islands.[1] |
| 5-17 | Evangeline | Robbie Robertson | 3:10 | From Islands, featuring Emmylou Harris.[1] |
| 5-18 | The Night They Drove Old Dixie Down | Robbie Robertson | 4:32 | Live from The Last Waltz, horns arranged by Allen Toussaint.[1] |
| 5-19 | The Weight | Robbie Robertson | 4:36 | Live from The Last Waltz, featuring The Staple Singers.[1] |