CK Retro Review: Jericho by The BandPosted: March 20, 2014
Following the departure of chief songwriter Robbie Robertson and death of Richard Manuel, new product from The Band seemed like a pipe dream. Yet in 1993, the three remaining original members teamed up with some of the musicians who had been touring with them and released Jericho, a fine collection of thoughtful song interpretations and spirited performances. Even though the second half drags, the best stuff here is worthy of their towering legacy. Here is a song-by-song review.
12. “Move To Japan”- Lyrically, it’s lost somewhere between social commentary and satire. As music, it’s boilerplate boogie topped with thuddingly obvious Oriental touches. So begins the lackluster second half of Jericho.
11. “Shine A Light”- The Band’s best gospel music sounds like it was recorded under some revival tent. This one sounds like it was recorded in a studio in the early 90’s.
10. “River Of Dreams”- It has a nice enough melody, and Rick Danko sings it with tenderness. But the arrangement, sounding more like the tasteful exotica in which Steve Winwood or Peter Gabriel traded, robs The Band of their personality.
9. “Blues Stay Away From Me”- The closing track is the kind of sleepy blues that you can hear at the end of the night in bars everywhere.
8. “Same Thing”- The arrangement is maybe a bit too busy for this moody Willie Dixon blues classic. Levon Helm salvages things though with a typically gritty vocal and one of his trademark off-kilter rhythms.
7. “Stuff You Gotta Watch”- The instrumentalists sink their collective teeth into this jump blues, and Levon could sing this stuff in his sleep. Well-done, if not exactly revelatory.
6. “Remedy”- The Muscle Shoals-style horns give this energetic opening track soul to spare. The heart comes from Helm’s lead vocal, who for the umpteenth time plays the role of a harried rambler who finds both aggravation and salvation in the arms of a woman.
5. “The Caves Of Jericho”- While this may have been an obvious attempt to recapture the historical glories of “The Night They Drove Old Dixie Down” right down to the somber piano chords, it’s a strikingly successful one. While the lyrics (written by Helm, John Simon, and Richard Bell) may overplay the sorrow at times and lack the deft hand that Robbie Robertson possessed with similar material, having Levon on lead bringing authenticity and passion to the tale of a mine cave-in helps to atone for any weaknesses. And the instrumental mix, fiddles and horns and Garth Hudson’s keyboard apparitions, is undeniably stirring.
4. “Country Boy”- Recorded not too long before his death in 1986, “Country Boy” gave us all one more chance to hear Richard Manuel take a seemingly simple song and wring from it unfathomable levels of emotion. Even at his huskiest, his voice still creaked and faltered in all the right places. When you used the word “soulful” to describe Manuel’s singing, it wasn’t a nod to some genre of music but rather an acknowledgement that he laid his soul bare for the world to hear with every note he sang. One can only hope that soul now rests in the peace it struggled to find down here with the rest of us.
3. “Too Soon Gone”- Jules Shear’s song is a beauty, a meditation on loss that takes poetic turns yet never gets so fussy that the hurt isn’t front and center. Danko, undoubtedly drawing on the memories of his old buddy Manuel, gives an achingly pretty performance in tribute, while Hudson roams the edges with impactful saxophone fills. Lumps in your throat the whole way on this one.
2. “Atlantic City”- If Jericho did nothing else, it reminded everyone of what an authoritative and charismatic performer Helm always was. After setting the tone with some evocative mandolin, he takes Bruce Springsteen’s tale of big dreams and hard luck in the gambling mecca, rendered by the Boss in such iconic fashion on Nebraska, and somehow makes us hear it anew. Hudson helps of course, his accordion taking us on a stroll from the boardwalk to the back alleys and back again.
1. “Blind Willie McTell”- First of all, the song itself is among Dylan’s most haunting, expanding Robbie Robertson’s own examinations of the American South into dark corners and tortured pasts. The Band chose a bluegrass route for their take, albeit one goosed by a herky-jerky rhythm, and then let Danko and Helm work their magic, raising the intensity verse by verse until they harmonize in the refrains, summoning all the ghosts to the fore in the process. Chilling and thrilling all at once.
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