Showing posts with label Robbie Robertson. Show all posts
Showing posts with label Robbie Robertson. Show all posts

The Band - Stage Fright (1970/2014) [SACD ISO]


Stage Fright
is the third studio album by Canadian-American group The Band released in 1970. Much more of a rock album than its predecessors, it was a departure from their previous two efforts in that its tone was darker and featured less of the harmony vocal blend that had been a centerpiece of those two albums. It also included the last two recordings by the Band of new songs credited to pianist Richard Manuel; both were co-written with guitarist Robbie Robertson, who would continue to be the group's dominant lyricist until the group disbanded in 1976. Nonetheless, the tradition of switching instruments that had begun on the previous album continued here, with each musician contributing instrumental parts on at least two different instruments.

 

Robbie Robertson - Robbie Robertson (1987) [24-192]


Robbie Robertson is the solo debut album by Canadian rock musician Robbie Robertson, released in 1987. Though Robertson has been a professional musician since the late 1950s, notably a founder of and primary songwriter for The Band, this was his first proper solo album. 
  •     Robbie Robertson – vocals, backing vocals, guitar, keyboards
  •     Bill Dillon – guitars on tracks 1, 2, and 5–9; backing vocal on track 2
  •     Tony Levin – Chapman Stick on tracks 5 & 7; bass on tracks 6 & 8
  •     Manu KatchĂ© – drums on tracks 1, 2, 6, 7, and 8; percussion on tracks 1, 7, and 8
  •     Daniel Lanois – percussion on tracks 2, 3, 4, and 8; backing vocal on tracks 2, 3, and 4; Omnichord on track 5; guitar on tracks 5 and 8

Additional personnel

  •     Eluriel "Tinker" Barfield – bass on tracks 1 and 5
  •     Garth Hudson – keyboards on tracks 1 and 5
  •     Peter Gabriel – keyboards on tracks 1 and 3; vocals on track 1; drum program on track 3; vocal cameo on track 9
  •     Martin Page – drum programming on track 1
  •     Larry Klein – bass on track 2
  •     Abraham Laboriel – bass on track 3
  •     Terry Bozzio – drums on tracks 3 and 5
  •     Bono – vocals, bass on track 4; backing vocal and guitar on track 9
  •     The Edge – guitar on tracks 4 and 9
  •     Adam Clayton – bass on tracks 4 and 9
  •     Larry Mullen, Jr. – drums on tracks 4 and 9
  •     Hans Christian – bass guitar on track 5
  •     BoDeans (Sam Llanas, Kurt Neumann) – backing vocals on tracks 2 and 5
  •     Maria McKee – backing vocal on track 5
  •     Sammy BoDean (Sam Llanas) – backing vocal on track 6
  •     Cary Butler – backing vocal on track 8
  •     Rick Danko – backing vocal on track 8
  •     Ivan Neville – backing vocal on track 9
  •     Gil Evans Horn Section – horns on track 9




Robbie Robertson discography [1987-2019]

 

Robbie Robertson was the architect of the Band, the one-time Bob Dylan backing group who profoundly changed the course of popular music in the late 1960s with their first two albums. As their principal songwriter and chief conceptualist, Robertson helped develop the idea of Americana music by spinning North American history into myths and undergirding his songs with a fusion of rock & roll, blues, folk, and country. Robertson stayed with the Band until internal tensions within the group became too much to bear. The Band bid adieu with the grand farewell The Last Waltz in 1976, whose 1978 film sparked a fruitful, enduring creative partnership between Robertson and its director Martin Scorsese. Robertson headed out to Hollywood, working with Scorsese on the soundtrack to Raging Bull, as he produced and starred in his own film, Carny. After a few years, Robertson refocused his attention on music, releasing his eponymous solo debut in 1987. A conventional recording career was not in the cards for him. Storyville, his 1991 album, was targeted at the mainstream, but he found the byways of popular music more intriguing. He fused electronica and Americana for 1994's Music for the Native Americans and 1998's Contact from the Underworld of Redboy, and that became his calling card: whenever he released an album under his own name, he veered toward the spacy and atmospheric, skills that continued to serve him well as he worked as the music producer for Scorsese on film after film.