Proving that their rebirth as studio artists had legs, The Band followed up 1993’s Jericho with High On The Hog in 1996. This album was even more reliant on cover material than its predecessor, with some of the song choices inspired and some a tad wacky. Nonetheless, they still sounded great, even if their horn-laden, big Band sound drastically deviated from the relatively stark magic they conjured in their prime. Here is a song-by-song review.
10. “I Must You Love Too Much”- There was a reason that Bob Dylan shelved this one. Not even Bob’s idiosyncratic phrasing could have saved this mess which sounds like it took less time to write than it does to perform.
9. “The High Price Of Love”- One of two “originals” on the album (although Jules Shear and Stan Szelest are credited along with The Band), there’s nothing special here, a groove in search of a song. Sung and played well, but still filler.
8. “Crazy Mama”- Once a hit for J.J. Cale, this grinding blues has Helm on bass, and he acquits himself well in service of an otherwise routine genre exercise.
7. “Ramble Jungle”- Sort of out of left field. The vocals are provided by Champion Jack Dupree, a New Orleans blues legend who died in 1992 not long after this recording was made. It’s got a little bit of “Don’t Do It” in it, but its inclusion probably speaks more to the lack of suitable material for the album than to its effectiveness.
6. “Free Your Mind”- I’m sure this one is a bit polarizing if only because of the risky song choice. I actually think Levon Helm sells the lyrics of the one-time En Vogue song well by playing them straight. If there’s a problem, it’s that the horns are a bit of overkill. Better to have stood pat with the Helm’s stinging drum groove as the main focus.
5. “Stand Up”- The herky-jerky beat and horn-heavy arrangement are reminiscent of the great work The Band did with Allen Toussaint back in the day on “Life Is A Carnival” and Rock Of Ages. Levon sings the heck out of it, turning this 80’s country hit into a solid if unspectacular blues.
4. “Forever Young”- I’m not sure they could have done much with this evergreen on which they backed Dylan on Planet Waves that would have turned heads. That they chose the same lumbering tempo as the original version probably sealed its fate as loving homage instead of clever re-imagining. But Garth Hudson’s accordion part in the breaks is worth the price of admission.
3. “Where I Should Always Be”- Written by one-time Beach Boy Blondie Chaplin, this ballad gives Rick Danko the soulful showcase with which he always charmed. Once he sinks into the minor keys, it’s easy to overlook the somewhat pedestrian lyrics because Danko makes them sound like the most profound poetry. Nice work by Hudson, of course, keeps the vibe intact in the instrumental accompaniment.
2. “Back To Memphis”- Not to be confused with the Chuck Berry raver that The Band memorably covered, this is a soulful lament that Helm, with Danko in harmony, handle with power and grace. Hudson’s saxophone work is typically on-point, playing nicely off Richard Bell’s nimble piano work. As inspired as some of the best stuff on Moondog Matinee.
1. “She Knows”- So what if its divine tenderness throws a harsh light on the rest of the album? The Band does right by their fallen comrade Richard Manuel by including this gorgeous live performance (recorded just months before his death) of an unreleased Bread song. Hudson provided the restrained string arrangement that proved the ideal setting for some of Manuel’s most heart-rending emoting. Then Danko comes in for one of those skyscraper harmonies in the closing moments to absolutely kill you.
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