CK Retro Review: Stage Fright by The Band

The Band’s third album, 1970’s Stage Fright, would have to have gone a long way to match its first two. Looking back on it now, the main criticism is probably that the tonal shifts between songs are more jarring here than they ever were on the opening pair, making for less of a smooth ride. Still, there are several top-notch efforts to recommend here, some of which have rightfully become signature songs of the group and others which deserve more attention. Here is a song-by-song review.


10. “Time To Kill”- The term “country rock” never seemed deep enough for what The Band actually played, even though they were sometimes lumped in with that grouping by lazy critics. Alas, this song fits the pedestrian nature of that categorization a bit too well.


9. “The W.S. Walcott Medicine Show”- This song definitely has its defenders, but I feel its nostalgia for old-time traveling shows is an end in itself. The music has its high points though, especially the horns of Garth Hudson and John Simon, who doesn’t produce on this album (The Band handled the duties themselves) but makes his presence felt here.

8. “Strawberry Wine”- You’ll notice that the more playful material is holding up the bottom end of these rankings; those songs just feel a little more forced than the more somber stuff this time around, as if chief songwriter Robbie Robertson was having a hard time committing to the raucousness and ribaldry. Still, Levon Helm, who co-wrote, delivers this fun opening track with enough gusto to get it by, and Hudson’s accordion always cures a lot of ills.

7. “Sleeping”- This is Richard Manuel’s lone songwriting credit on the album (shared with Robertson), the air of dreamy melancholy hanging heavy in the air as it has in so many of his previous efforts, albeit this time around without the same level of inspiration as on classics like “In A Station,” “Lonesome Suzie,” or “Whispering Pines.” Typically well-performed by his buddies though.

6. “Just Another Whistle Stop”- Robertson’s lyrics are a tad unfocused here, somewhat caught between a docile past and a frenzied present. The music is pretty straightforward as well, but it conveys a compelling sense of urgency nonetheless, seconded by an expressive, harried vocal by Manuel.


5. “All La Glory”- A sort of sequel to “When You Awake,” albeit more of an overt lullaby, this track captures The Band at its most gentle and charming. Helm’s shows his vocal versatility with a performance of sweet vulnerability, nailing the tone of Robertson’s unfussy yet pretty lyrics. Manuel’s vocal talent naturally overshadowed his instrumental capabilities, but his solo on the Hammond organ here is a scene-stealer.

4. “The Shape I’m In”- At this point in their career, they were more convincing on the addled, agitated tracks, probably because that’s how they felt under the pressure of critical adoration and touring obligations. Robertson’s prickly one-liners certainly hit home here, aided and abetted by Manuel’s ragged, impassioned vocal. It always helps when you have the talent to mine your worries and woes for cathartic rock and roll.

3. “Daniel And The Sacred Harp”- So what if it’s an old story? Who told it better than these guys? The music is a mesmerizing mix of hoe-down and gospel, conjured by Helm’s soothing 12-string, Manuel’s herky-jerky drumming, Danko’s winking fiddle, Robertson’s soulful fills, and Hudson’s angelic organ. With that frame in place, the tale of a musician selling his soul for talent seems both old as time and thrillingly novel.


2. “Stage Fright”- Robertson somehow turned his fear of performing for an audience into a universal lament when it could have come off sounding like the uptown problems of a rock star. A lot of credit goes to Danko, whose twitching, chirping lead vocal is a marvel of idiosyncratic soul. Other than Hudson’s typically inventive organ, the players mostly deliver for locked-in support here, respecting the value of a great singer tearing into a resonant lyric. Even with virtuosos like The Band, sometimes the equation is as simple as that.

1. “The Rumor”- Perhaps their most underrated song. The music is ominous without being overbearing, starring Robertson’s guitar at its most melodic. (Heck, the instrumental break sounds downright Beatlesque.) The lyrical baton-passing is handled effortlessly, each performer adding his own touch: Danko sounds like a man on the edge of snapping, Helm is all wounded wisdom, and Manuel brings it home with help from his buddies, singing as if he’s trying to blow the malicious gossip away with the desperate compassion in his voice. It’s a far cry in tone from the joyous testifying of “We Can Talk”, yet, in it’s own way, it’s just as powerful and moving.

(E-mail me at or follow me on Twitter @jimbeviglia. For books and e-books based on material that originated on this site, check out the links below.)


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