Your Top 5
Songs From The Last Waltz
Your Top 5 was born out of my love of music and reading and the book and film High Fidelity. Each week, I ask a new guest to give me their top 5 tracks, albums or artists relative to a topic.
Thanksgiving is next week and what better way to celebrate than to discuss Top 5 songs from the ultimate Thanksgiving album (and film), The Last Waltz. Joining me this week for another go around on Your Top 5 is the dean of Music Stack himself, Kevin Alexander of On Repeat Records. We are pulling songs from the 54-track deluxe version for this exercise. Let’s dive in!
Kevin’s Top 5
On November 25, 1976, 5000 people entered San Francisco’s Winterland Ballroom for a show by The Band. They most likely banked on it being a fun night and memorable event. They were served dinner. It was a unique way to spend the Thanksgiving holiday, and ticket holders probably thought that, if nothing else, it'd make for fun dinner party conversation for years afterward.
I doubt many of them realized that they would have a front-row seat to history.
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My introduction to The Band was an inauspicious one. In short, I owned one of their tapes, and I was pissed. Like many kids of a certain age, I'd joined Columbia House for the 12 for a penny racket. Not exactly a shining example of high morals, but I also prided myself on returning anything they sent that I wasn't into, and in 1986-87, I was definitely not into whatever The Band was.
But I spaced the deadline to send their Greatest Hits back, and so there it was, taking up space in my wall rack and in my head. My uncle first planted the seed that I might be missing out on. Coming over for a visit, he saw it and mistakenly assumed it was something I'd sought out--or even wanted. He was initially genuinely excited, only to quickly be a little crushed when I ranted about how little I wanted to do with this tape. I gave it to him and was rid of them for good.
...Or so I thought…
Times change, we get older, and our tastes change too. I don't know exactly when I decided I liked Americana and, by extension, the band. I vaguely recall "The Weight" being used in a car ad during my everything is terrible phase (late teens). Maybe I decided they were okay then? Perhaps it was because a couple of friends had begun playing the same style of music. Or a girl I liked was into Dylan and, by association, The Band, which meant that maybe I should see what the fuss was about? Wouldn't have been the first time.
Either way, I dipped a toe in, found the water warm, and have never looked back. I try to watch The Last Waltz at least every couple of years. It's a tradition I have, but not one I religiously observe. This year's holiday feels more fraught than most, and I think 2024'll be a "watch year."
In a concert film packed with great tracks and incredible guests, it's hard to pick a top 5, but it's what Rob Gordon would've demanded, though he strikes me as more of an "Alice's Restaurant" kinda guy.
So, in (sorta) order, here are my top 5 from the film:
Baby, Let Me Follow You Down (w/Bob Dylan)
As noted in the 100 Best Alubms project I recently completed with @Sam Colt, I must be in the mood for Dylan. That mood doesn't strike often, but when it does, it's usually for this one. He shows up on stage in a black coat, wearing a jaunty little white hat, and with The Band in tow, proceeds to tear the house down.
The story about Dylan getting a lot of shit for going electric is well-known, but he's not exactly known as someone who can rock out. This track proves two things: that plugging into an amp was the right move and that the man can, in fact, rock out when the mood strikes.
The Weight w/The Staple Singers
Can we talk about what a treasure The Staples Singers are? Mavis Staples could sing a takeout menu and make it sound like manna from heaven. Pops Staples brings his unique brand of calm and gravitas to the show. The people at the Winterland didn't get to see this in person–it was recorded on a soundstage shortly afterward and then added to the film. Shame, really. Talk about something to have been thankful for! These people would've had a pat answer at the table for decades.
At any rate, the song is solemn. There's a weight to it (no pun intended). It's heartfelt, wistful. Adding the Staple Singers into the mix elevates things to revelatory status. It's like you've snuck into a small town church and are standing in the back, taken aback by the magic. Pulling into Nazareth only reinforces that idea.
The way Levon Helm, Mavis Staples, Pops Staples, and Rick Danko take a verse doesn't hurt. Meanwhile, Garth Hudson and Richard Manuel keep the train rollin'.
The lyrics paint a vivid picture and create a vivid sense of place—a sense of place inspired by Robbie Robertson's looking into his guitar and seeing that it was made in…Nazareth, PA.
You could make a decent argument that Americana starts here, that this very spot is where it took root and sprouted, but The Weight is so much more: rock, blues, gospel, the list goes on.
Who Do You Love? w/ Ronnie Hawkins
"Come on, Robbie, let's take a little walk." When Hawkins says that, you know it's not so much an ask as it is a directive. And we all come through one of the most rollicking parts of the show. Hawkins is a showman as much as anything else--the consummate performer. He also has a helluva time, and it shows. As Robbie goes on this little walk, it sure looks like he's having a good time, too. In fact, everyone's having a blast- including people watching on TV decades later. How electric it must have been in that theater when Hawkins strutted out there!
And like any good showman, he knows just when to make his exit, strutting right back off the stage riding a wave of incredible rockabilly.
It Makes No Difference
For years, this was my default answer anytime someone asked what the saddest song ever recorded was: heartbreaking, soulful, emotional. Grab whatever adjective you want out of the bag; they all fit. Grab some tissues while you're at it. You might need 'em.
I'm going off memory here, but I could swear Levon Helm said that they had to overdub many of the tracks in the movie. I don't know if that's true, and honestly, I'm not going to look too far to find out—mostly because I want to believe that this version was a bit of serendipity, perfectly capturing despair in a way few other songs in our lifetimes have.
Even the most cynical among us can't help but feel every syllable of this one.
I mean:
Well, I love you so much
That it's all that I can do
Just to keep myself from telling you
That I never felt so alone before
Holy shit.
That's the kind of verse that stops a person in their tracks and leaves them gazing off into the distance. Every element of this track pushes the limit—Garth's sax, Robbie's solo, all of it. But man, this one could only have been sung by Rick. No one in The Band does emotion like he does. And he puts it all on the line.
What's the move here? Give him a hug, pass him a smoke, or let him just unload it all?
Whew. What a song. Danko forever.
Evangeline w/Emmylou Harris
Another track recorded offsite. Harris's name often gets overshadowed by her contemporaries, but to describe her voice as gorgeous is an understatement. Harris is one of those singers whose name might not be the first pick in a top 5, but I guarantee she's at least one of your favorite singer's favorite singers. You can hear her influence in countless acts that followed in her footsteps. She's in her element here, and so are they. This is sublime.
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It's not easy to whittle this list down to five tracks! There's a reason this film has long been regarded as one of the great concert films of our day. If you have not seen it, try to block some time to check it out this Thanksgiving. I guarantee it'll be more rewarding than talking politics with your least favorite uncle or red-pilled cousin.
My Top 5
Folks, sometimes these lists have overlap, that is true. Other times, I will purposely try to avoid a lot of overlap or repeat songs, but I have not once in the young period this series has been in existence picked the exact same top 5. When Kevin sent me his list I was shocked to find that he picked the EXACT 5 songs I did for this project. So, rather than bore you all with the same exact list—I picked my next 5.
I love this time of year because it gives me an excuse to play not only this album (who needs an excuse though?), but also “Alice’s Restaurant” and “The Thanksgiving Filter.” Nothing beats The Last Waltz, though. I am sure many of you have read thousands of anecdotes from the concert, but my absolute favorite is Neil Diamond thinking he brought the house down, walking off stage and saying to Bob freakin’ Dylan “Top that!” to which Dylan allegedly replied, “By doing what? Falling asleep?”.
Anyway, you can rest assured that “Dry Your Eyes” is not on this list.
Such A Night (feat. Dr. John)
This so-called concert version, is one of my favorites and is my first choice for this next 5. Dr. John is such a cool dude, and has that unique voice and sound that makes you just want to kick back and relax. Add in The Band with the horns and the sound just takes you to New Orleans wherever you are. The Bradley Manor never tires of Dr. John because we are big on Curious George in this house and who is that singing the theme song to the cartoon? Dr. John.
Further on up the Road (feat. Eric Clapton)
I am somewhat of a guitarist. I used to take it seriously before law school monopolized all my time. One particular thing about guitarists is the quest for that perfect and unique tone. This song in particular really gives the best example of differing guitar tones. In the beginning of the song you can clearly hear Clapton jamming on his guitar as that tone can be recognized anywhere, but oh wait—he breaks a string and you can clearly hear him go “ohhh!” But there is Robbie Robertson who seamlessly filled in the guitar part with his unique tone.
This Wheel’s on Fire
This is actually a Bob Dylan song, but Rick Danko’s vocals shine to make it his own. On The Band’s album version, Levon Helm provides excellent back up vocals as well. What really makes it great on The Last Waltz is Robertson’s guitar solo and the horn section. It makes it a real jam. Dylan’s album version is a bit more sedate and seemingly darker—The Band brightens it up a bit.
Ophelia
I picked this song because, not only does it sound great with (again) the horn section, but this is also my favorite song to watch in the film itself. The Band is all clearly locked in during this and this is also one of the songs that focus in more on Levon and his vocals despites Robertson’s clear lip-syncing.1 I keep beating the horn section thing, horns make everything better in my humble opinion.
Caravan (feat Van Morrison)
I think everyone knows why I picked this song and version. It’s another song that is extremely fun to watch the film version of as much as listening to it on the album. Of course there is Van Morrison’s extremely cool as hell outfit, but there is also the slow and steady buildup to the end of the song where it crescendos and Morrison performs several exaggerated kicks and then mic drops and walks off the stage. Pure rock star right there y’all. Also—horn section doing some heavy lifting here again!
What’s your top 5? I sincerely hope everyone has a great Thanksgiving. I also hope you bring a Bluetooth speaker along to grandma’s house and play this album on repeat—you know, to be festive.
Something he did purposely live all the time, not just for this movie.
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