CK Retro Review: Cahoots by The BandPosted: March 6, 2014
There were a few flashes of the old brilliance to which fans could cling, but, for the most part, 1971’s Cahoots found The Band’s well running a bit dry. Inspiration was somewhat lacking in Robbie Robertson’s songwriting, and he wasn’t getting the help he once did in that department from the other group members. Their instrumental genius and harmony singing wouldn’t allow for them to record anything truly lousy, but the album certainly suffers from comparison to its predecessors. Here is a song-by-song review.
11. “Where Do We Go From Here?”- For the first time, Robertson writes less like an objective and insightful observer of American life and more like a scold. This song, even with the boys “La-la”-ing their hearts out, can’t recover from that main flaw.
10. “Thinkin’ Out Loud”- Rick Danko does all he can to try to salvage this one, although he doesn’t have much raw clay to mold here. The instrumental give-and-take between Robertson on guitar and Garth Hudson on piano is nice, but the melody is tired and the lyrics are somewhere in the clouds with the protagonist.
9. “Smoke Signal”- The grittiness of the music and Levon Helm’s makes this one palatable. Still, it’s another case of a humorless song, which is all right if the writing is strong enough. Here it’s only so-so, if only because Robertson’s points about miscommunication and oncoming dangers had been more memorably made in other previous Band songs.
8. “Shoot Out In Chinatown”- A catchy chorus cures a lot of ills, and this oddity has one, so it’s eminently listenable. Among the ills that need curing: Pedestrian music in the verses, some cliched Oriental-sounding guitar riffs by Robertson, and an 0verall feeling that this was never intended to be more than filler.
7. “The Moon Struck One”- A kind of melancholy nursery rhyme/slash parable, it’s certainly unique. And it apparently inspired Bruce Springsteen as he was writing “Spirit In The Night” (he paraphrases Robertson’s lines about Little John being hurt and in the dirt.) Manuel saves the song by investing it with sonority and feeling rather than playing it as a novelty, which it sort of is.
6. “Volcano”- This is the type of come-on song which had usually been assigned to Helm in the past, but Danko is the right choice here for capturing the desperation of this wooer. Add in some punchy horns and a slinky sax solo by Hudson and you’ve got an unassumingly potent track.
5. “Last Of The Blacksmiths”- Robertson’s lyrics seem to expand beyond the plight of the blacksmiths into a wider lament for an entire way of life dying out (a recurring theme on the album), and the strain of that attempt shows a bit. Still, The Band does manage to captures some of the minor-key, topical drama of “King Harvest (Has Surely Come)” thanks to Richard Manuel’s impassioned performance.
4. “The River Hymn”- I can live with the nostalgia here because it’s rendered so lovingly. The song also features the best melody on the album, and Helm cradles the tune like a baby about to be baptized while his buddies Danko and Manuel sing to the heavens. A much-needed dose of pure prettiness to balance out an album that was downcast on the whole.
3. “4% Pantomime”- So what if it sounds like the whole thing was made up on the spot with no more inspiration than a couple of bottles of booze? Getting to hear two of the finest vocalists in rock history, Richard Manuel and Van Morrison, trade wails is more than enough to make this a winner. Plus, it provides a source of reckless fun sorely missing from the rest of the album.
2. “Life Is A Carnival”- The great Allen Toussaint really sends this opening track to another level with his horn arrangement. Every utterance by Danko and Helm seems to be punctuated by a blast of brass, each one coming in at a different angle. As a rhythm section, the pair keeps up with the funkiness of the guest players, while Robertson chimes in with energetic lead guitar. Even though the main metaphor is a bit facile, the overall effect of the music more than compensates.
1. “When I Paint My Masterpiece”- Dylan wrote it but Levon Helm hijacked it before Bob ever got a chance to put a good stamp on it. His vocal as an American buffeted about by European extravagances and annoyances is one of those indelible performances that he seemed to give with regularity. (Note there are no harmonies from his buddies here; you couldn’t improve or embellish his performance anyway.) Levon also plays mandolin while Manuel takes over on drums with his winningly ramshackle style. Hudson somehow captures both the romance of a moonlit gondola ride and the homesickness of the protagonist with his accordion. Proof they could still do it better than anybody else when the material was there.
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