Revisit our look into TheLastWaltz, in which Robbie Robertson became a matinee idol and Martin Scorsese regained his touch.
“It was such a relief to do it with him, since he was already ninety percent there. He knows the music as well as I know it. Obscure songs on the fourth album, fifth song on the second side — he knows the words to the third verse.”
Dr. John, on the other hand, wore a smoking jacket, beret and pink bow tie. He looked like Dizzy Gillespie’s valet. His “Such a Night” was very friendly, and you could feel it. Scorsese took them to a movie sound stage for a few numbers — “The Weight,” with the Staple Singers, and “Evangeline,” with Emmylou Harris — to fully unleash the snaking cameras, just as he’d been doing all those months on. Scorsese came to admit that his big-band picture is really a prelude to the rock picture. Both pictures move from gritty realism to sound-stage gloss, and it is the grit that is memorable.
But after all, it was Dylan who took them at the midpoint of their sixteen-year career and put them on wheels of fire. With this crowd the land of Woodstock became holy turf. Dylan’s old manager, Albert Grossman, took the Band, secluded in a big pink house after eight years of barhopping, and made sure their noble and enigmatic reentry into public life.in 1968 aroused only a few piddling tour offers.
With Marty they made shiny their last stand. But Robertson gets just a little testy in explaining that this was no plate-throwing divorce case:— we’d spent half our lives on the road..” A significant look appeared beneath the droopy eyelids. “I mean, our whole upbringing. Everything — the rules, the street — that’s where we got it from. We felt like a debt, a very warm spot. We felt it was incredibly cruel and dangerous, something that could eventually just call your number.
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