Cahoots (Deluxe Edition / 2021 Remix) The Band

Album Info

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Genre: Rock

Subgenre: Blues-Rock

Interpret: The Band

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  • 1Life Is A Carnival (2021 Remix)03:55
  • 2When I Paint My Masterpiece (2021 Remix)04:29
  • 3Last Of The Blacksmiths (2021 Remix)03:41
  • 4Where Do We Go From Here? (2021 Remix)03:54
  • 54% Pantomime (2021 Remix)04:31
  • 6Shoot Out In Chinatown (2021 Remix)02:52
  • 7The Moon Struck One (2021 Remix)04:12
  • 8Thinkin' Out Loud (2021 Remix)03:23
  • 9Smoke Signal (2021 Remix)05:06
  • 10Volcano (2021 Remix)03:02
  • 11The River Hymn (2021 Remix)04:44
  • 12Endless Highway (Early Studio Take / 2021 Mix)03:54
  • 13When I Paint My Masterpiece (Alternate Take / 2021 Mix)04:13
  • 144% Pantomime (Takes 1 & 2 / 2021 Mix)06:04
  • 15Don't Do It (Outtake / Studio Version / 2021 Mix)03:56
  • 16Bessie Smith (Outtake)04:16
  • 17The W.S. Walcott Medicine Show (Live)04:01
  • 18We Can Talk (Live)03:32
  • 19Loving You Is Sweeter Than Ever (Live)03:50
  • 20The Night They Drove Old Dixie Down (Live)04:02
  • 21Across The Great Divide (Live)04:00
  • 22The Unfaithful Servant (Live)04:31
  • 23Don't Do It (Live)04:45
  • 24The Genetic Method (Live)05:04
  • 25Chest Fever (Live)06:58
  • 26Rag Mama Rag (Live)05:28
  • 27Slippin’ And Slidin’ (Live)03:40
  • 28Life Is A Carnival (Instrumental)03:56
  • 29Volcano (Instrumental)03:05
  • 30Thinkin' Out Loud (Stripped Down Mix)03:23
  • Total Runtime02:06:27

Info zu Cahoots (Deluxe Edition / 2021 Remix)

The Band celebrates the 50th Anniversary of their fourth studio album "Cahoots" with an all-new remix and remaster by Bob Clearmountain from the original multi-track masters.

When The Band pulled into the unfinished Bearsville Sounds Studios in Bearsville, New York in early 1971 to record Cahoots, their fourth studio album in as many years, they were still basking in the success of and acclaim for their first three history-making records. The Band’s landmark debut album, July 1968’s Music From Big Pink, drew inspiration from the American roots music melting pot of country, blues, R&B, gospel, soul, rockabilly, the honking tenor sax tradition, hymns, funeral dirges, brass band music, folk and good ol’ rock ’n’ roll to foment a timeless new style that forever changed the course of popular music.

When they released their seminal eponymous second album, The Band, the following year in September 1969 – or “The Brown Album,” as it would lovingly be called – not much more was known about the reclusive group. Even so, August 1970’s Stage Fright, recorded over 12 days on the stage of the Woodstock Playhouse in upstate New York, cemented the fulfilled promise of those initial back-to-back albums that solidified The Band as one of the most exciting and revolutionary groups of the late 1960s, who were able to carry their avowed excellence directly into the 1970s without interruption.

Indeed, The Band, made up of four Canadians and one American, was still purposefully shrouded in mystery at the turn of the decade, allowing for listeners and the music press to let their imaginations run afield about who these men were and what this music was that sounded unlike anything else happening as the psychedelic ‘60s officially wound down. Dressed like 19th century fire-and-brimstone preachers and singing rustic, sepia-toned songs about America and the deep south, The Band – Garth Hudson (keyboards, accordion, horns), Levon Helm (drums, vocals, mandolin, guitar), Richard Manuel (keyboards, vocals, drums), Rick Danko (bass, vocals) and Robbie Robertson (guitar, piano, vocals) – was still somewhat enigmatic as the ‘70s began to unfold and unravel around them, but there’s no denying how The Band was able to forge such an ineradicable impact on the music scene at large heretofore unmatched by any group that came before them, or since.

“Robbie told me, ‘Just think of the original mixes as rough mixes. Pretty much don’t pay attention to the mixes themselves.’” This directive gave Clearmountain the leeway to unclutter some of the album’s original arrangements, all with Robertson’s blessing: “In the beginning of these sessions, we didn’t know if we were making another Basement Tapes where nobody would hear the music or if we were actually making a real record,” Robertson admits. Though Robertson felt the first three Band records wound up sounding better due to a combination of how today’s technology actually enhances the limitations of yesterday’s technology, he doubled down with his instructions to Clearmountain for Cahoots: “I told Bob, ‘There are no rules. So, every mix we do, I want to start from scratch. I don’t even want to listen to the original. I want to listen to the way we hear it now and be fearless and experimental with it.” (Bob Clearmountain)

Rick Danko, bass, vocals
Levon Helm, drums, mandolin, guitar, vocals
Garth Hudson, organ, accordion, saxophones
Richard Manuel, piano, drums, vocals
Robbie Robertson, guitars, vocals
Additional musicians:
Allen Toussaint, brass arrangements on "Life Is a Carnival"
Van Morrison, vocals on "4% Pantomime"

Recorded Early 1971 at Bearsville Sound Studio, Bearsville, New York
Produced by The Band

Digitally remastered

THE LAST WALTZ is the document of the Band's 1976 farewell performance, filmed as a documentary by Martin Scorsese, capturing the all-star concert for posterity. Sort of a rock version of "This Is Your Life," THE LAST WALTZ brought together performers from all phases of the group's career, giving them a chance to pay tribute and jam with the Band one last time. Many of the group's classics are reprised, but there are some notable standouts. Legendary Canadian rocker Ronnie Hawkins, who the Band backed in their early days as The Hawks, offers "Who Do You Love." After their tenure with Hawkins, the group went on to accompany Bob Dylan on some of his earliest electric sessions. Dylan returns the favor by performing a strong folk-blues medley beginning and ending with a fiery, rocking version of "Baby Let Me Follow You Down." Muddy Waters gives a lesson in the blues on "Mannish Boy," with the late great Paul Butterfield on harmonica. Eric Clapton offers his own polished version of the blues with a blistering "Further On Up The Road." Emmylou Harris, a highlight in any setting, duets on the gentle waltz "Evangeline." Dr. John's accurate and rousing "Such A Night" brings a bit of Mardi Gras to the proceedings. Joni Mitchell provides another pleasant change of pace, introducing her jazz-inflected sound with "Coyote," and joining in on soulful soaring harmonies with Neil Young on his classic "Helpless." Even Neil Diamond joins in on the fun, on a song he co-wrote with Robbie Robertson (who produced Diamond's BEAUTIFUL NOISE). Although not the last track on the disc, the Dylan-led all-star rendition of the Band/Dylan classic "I Shall Be Released" is the emotional climax of one of the most important performances in contemporary music.

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