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This Wheel's on Fire: Levon Helm and the Story of the Band
The Band, who backed Bob Dylan when he went electric in 1965 and then turned out a half-dozen albums of beautifully crafted, image-rich songs, is now regarded as one of the most influential rock groups of the '60s. But while their music evoked a Southern mythology, only their Arkansawyer drummer, Levon Helm, was the genuine article. From the cotton fields to Woodstock, from seeing Sonny Boy Williamson and Elvis Presley to playing for President Clinton, This Wheel’s on Fire replays the tumultuous history of our times in Levon’s own unforgettable folksy drawl. This edition is expanded with a new afterword by the authors.
328 pages, Paperback
First published October 1, 1993
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Displaying 1 - 30 of 307 reviews
January 2, 2010
I'll always take Levon's word over Robbie's.
August 22, 2013
This had been on my personal to-read list for a while, just as my goal of attending one of Levon's Midnight Rambles had (I'd gone as far as to decide that this year, 2012, would be The Year I would make it happen), when the possibility of experiencing either while Levon's smile raged on suddenly vanished.
It was a few weeks after he'd died before I was finally able to open to the first page, sitting on the L train on my way to work - I don't think I will ever forget the experience of reading those first handful of pages.
It is overwhelming, because it is not that you are reading the first few pages, it is that Levon is there, just behind you, speaking to you, recalling, rehashing. He lives in those pages so honestly and so vividly and so much that as I read, reality seemed to stretch, to pull at threads, some even snapping, to let him back through.
I cried silently and leaned back and leaned back in my subway seat, as though maybe if I leaned back just enough, and in the right way, I might feel the heat from his breath near my ear as he spoke.
Read this book. It will touch you, in some way or another, and I hope it will change you too, as it did me. We need more men on this earth like Levon, today, and always.
It was a few weeks after he'd died before I was finally able to open to the first page, sitting on the L train on my way to work - I don't think I will ever forget the experience of reading those first handful of pages.
It is overwhelming, because it is not that you are reading the first few pages, it is that Levon is there, just behind you, speaking to you, recalling, rehashing. He lives in those pages so honestly and so vividly and so much that as I read, reality seemed to stretch, to pull at threads, some even snapping, to let him back through.
I cried silently and leaned back and leaned back in my subway seat, as though maybe if I leaned back just enough, and in the right way, I might feel the heat from his breath near my ear as he spoke.
Read this book. It will touch you, in some way or another, and I hope it will change you too, as it did me. We need more men on this earth like Levon, today, and always.
September 12, 2015
I was listening to The Basement Tapes today and remembered that I read this one a few years ago. Helm goes into his early life and time with Ronnie Hawkins, Bob Dylan and of course the Band. I can't imagine someone being a huge Ronnie Hawkins fan in 2014, but the people who are into Dylan's legendary folkie-infuriating 65-66 shows/tours (see the Electric Dylan controversy) and the solo Band albums should seek this out, as it's a valuable resource. Most of the other dudes in the...Band come out looking pretty good with the obvious exception of Robbie Robertson...Helm makes the case that the guy was an asshole egomaniac who took credit for way too much of the creation of Band songs. I remember he makes the valid argument of (and I'm paraphrasing here) "When you think about a song like 'Chest Fever', do you remember the lyrics or the organ part?" Definitely the organ part! That's some majestic shit.
The stuff about The Last Waltz was great. Even before I read this I remember thinking "This couldn't look more like the Robbie Robertson band." Scorsese's cinematographic sidelining of Band greats Richard Manuel and Garth Hudson was fucking lame. Instead of some shots maybe illustrating the depth of their contributions we get extra shots of fucking Robertson with his stupid gilded guitar and fucking...open-chested jacket and scarf hamming it up. Horrible. Helm's castigation of the whole thing was awesome. The whole thing was probably a bad idea...although it does make for great rock/movie mythos, what with Neil Young having to have a blob of cocaine removed from his nose in post-production and the weird story with the room backstage specifically designed for cocaine use, with fucking...a recording of sniffing sounds playing over speakers and a bunch of plastic noses everywhere or something? To be honest, I could be misremembering some of this shit but it was utterly bizarre and over the top, and did not jibe with the totally unpretentious Band approach to music.
So yeah, if you are one of the people like myself who are into the Band and wonder what their whole deal was, this is a good place to find out. It's hardly an objective, unbiased look at things but you're not gonna get one of those from a dude who disgruntedly parted ways with one or more of his former bandmates. Still, Helm's writing (I don't remember if he had a ghostwriter on this one) is easy to read and predictably unpretentious and there's some very moving stuff, a lot of it centering around the tragic end of the great Richard Manuel. I'm pretty sure that it also contains a glossy picture section containing some very nice images of the Band and the people they played with and some awesome shots of them in the semi-legendary Big Pink writing songs and hanging out. This is probably not the definitive Band book as it's hardly objective, but it's worth checking out for fans.
The stuff about The Last Waltz was great. Even before I read this I remember thinking "This couldn't look more like the Robbie Robertson band." Scorsese's cinematographic sidelining of Band greats Richard Manuel and Garth Hudson was fucking lame. Instead of some shots maybe illustrating the depth of their contributions we get extra shots of fucking Robertson with his stupid gilded guitar and fucking...open-chested jacket and scarf hamming it up. Horrible. Helm's castigation of the whole thing was awesome. The whole thing was probably a bad idea...although it does make for great rock/movie mythos, what with Neil Young having to have a blob of cocaine removed from his nose in post-production and the weird story with the room backstage specifically designed for cocaine use, with fucking...a recording of sniffing sounds playing over speakers and a bunch of plastic noses everywhere or something? To be honest, I could be misremembering some of this shit but it was utterly bizarre and over the top, and did not jibe with the totally unpretentious Band approach to music.
So yeah, if you are one of the people like myself who are into the Band and wonder what their whole deal was, this is a good place to find out. It's hardly an objective, unbiased look at things but you're not gonna get one of those from a dude who disgruntedly parted ways with one or more of his former bandmates. Still, Helm's writing (I don't remember if he had a ghostwriter on this one) is easy to read and predictably unpretentious and there's some very moving stuff, a lot of it centering around the tragic end of the great Richard Manuel. I'm pretty sure that it also contains a glossy picture section containing some very nice images of the Band and the people they played with and some awesome shots of them in the semi-legendary Big Pink writing songs and hanging out. This is probably not the definitive Band book as it's hardly objective, but it's worth checking out for fans.
July 6, 2018
The only downside to this book is that it sort of ruins watching The Last Waltz for me. But the rest is upside.
Turns out Levon Helm is the most American person the 20th century has ever had the decency to spew out. He's basically a personification of the Heartland, writing in the same voice he sings in. Helm has stories to tell, plenty of them, but I fell in love with this autobiography as soon as I realized he didn't have a "story" to tell -- no agenda, no pretentious theme, just a guy who was getting older and realized that a lot of people would get joy from hearing what he had to say.
That format IS the story. If I had to choose a story to tell about the American 20th century, it's how a country of farmers and factory workers became one of salespeople and consumers. Helm's life and philosophy contradicts that American identity. He was a person so clearly in love with life and fun and equality, and a consummate lower-case-c christian, despite the ordeals and money of the rock-n-roll lifestyle.
I absolutely recommend Helm's autobiography to anyone interested in The Band or American rock music.
Turns out Levon Helm is the most American person the 20th century has ever had the decency to spew out. He's basically a personification of the Heartland, writing in the same voice he sings in. Helm has stories to tell, plenty of them, but I fell in love with this autobiography as soon as I realized he didn't have a "story" to tell -- no agenda, no pretentious theme, just a guy who was getting older and realized that a lot of people would get joy from hearing what he had to say.
That format IS the story. If I had to choose a story to tell about the American 20th century, it's how a country of farmers and factory workers became one of salespeople and consumers. Helm's life and philosophy contradicts that American identity. He was a person so clearly in love with life and fun and equality, and a consummate lower-case-c christian, despite the ordeals and money of the rock-n-roll lifestyle.
I absolutely recommend Helm's autobiography to anyone interested in The Band or American rock music.
August 3, 2015
One of the best music memoirs I have read. Levon Helm has a great attitude about the ups and downs of his career with The Band. The biggest mystery is- if he truly did spend so many years drinking and using drugs and travelling on the road, carousing, and staying up until all hours every night playing music with The Band, how in the world can he remember so many details going all the way back to the late 50s? Perhaps he was an obsessive diarist, although it does not seem to be his nature. Well, it shall remain a mystery.
Nonetheless, here is a guy with a passion for music, an extroverted ability to relate cordially with other musicians, and a sort of country gusto that allows him to pour on the aggression when necessary for self-defense, but also to be kind, gentlemanly, and loyal.
He wrote this book with a co-author. Most of it is first-person, but from time to time he pulls in quotes written or spoken by bandmates, old friends, and old girlfriends. This is useful, such as when he allows Libby Titus and his eventual wife, Sandy to describe the moment they fell in love with him and relate what a handsome gentleman he was. (He could hardly describe this himself.)
However, I suspect a little bit of fudging may have occurred. During the preparations for The Last Waltz, around 1976, he notes that he and Libby mutually decided to split up, "which was what we both needed." But then, in 1978, Sandy mentions that "Libby found out about us and immediately instituted a support order." It is so hard not to get caught up in reconstructing a musician's personal history, especially once they open the door.
Another trait that comes through repeatedly is Levon's loyalty to musicians he has known and respected for years. During an account of the financial skullduggery that went on during the planning of The Last Waltz, at one point an accountant tries to convince Levon to cut Muddy Waters from the lineup, citing time constraints. In probably my favorite moment in this story, Levon unleashes the wrath of Moses on this poor bean counter and drives him from the room, saving Muddy's slot, and thank goodness; it was one of the best parts of the movie.
Like many autobiographies, this one gets sad at the end. Not only do revered fellow musicians die (Richard Manuel, who committed suicide on the road) or go their own way (Robbie Robertson was the only one who wanted to break up the band, and he got his way), but the unfair business practices of managers and record labels are revealed: most egregiously, the crediting of virtually all the songs on the Band's first two wonderful albums - which were co-written in workshop fashion by the entire ensemble - to Robbie Robertson. Apparently of all of them, he was the one with the most ambition and business sense, and his alignment with manager Albert Grossman enabled him to cut some corners. All very sad.
Nonetheless, it was a pleasure reading Levon Helm's accounts, hearing his voice, and learning so much about the culture of music that the whole band made the air they breathed. A warning, though: if the film, The Last Waltz has always been a favorite of yours, this account may disillusion you somewhat.
On a happier note, the book was written in 1995. Levon survived another 20 or years or so; his daughter Amy (with a music career of her own) produced one of his last albums, and his last 2 recordings both won Grammy awards.
Nonetheless, here is a guy with a passion for music, an extroverted ability to relate cordially with other musicians, and a sort of country gusto that allows him to pour on the aggression when necessary for self-defense, but also to be kind, gentlemanly, and loyal.
He wrote this book with a co-author. Most of it is first-person, but from time to time he pulls in quotes written or spoken by bandmates, old friends, and old girlfriends. This is useful, such as when he allows Libby Titus and his eventual wife, Sandy to describe the moment they fell in love with him and relate what a handsome gentleman he was. (He could hardly describe this himself.)
However, I suspect a little bit of fudging may have occurred. During the preparations for The Last Waltz, around 1976, he notes that he and Libby mutually decided to split up, "which was what we both needed." But then, in 1978, Sandy mentions that "Libby found out about us and immediately instituted a support order." It is so hard not to get caught up in reconstructing a musician's personal history, especially once they open the door.
Another trait that comes through repeatedly is Levon's loyalty to musicians he has known and respected for years. During an account of the financial skullduggery that went on during the planning of The Last Waltz, at one point an accountant tries to convince Levon to cut Muddy Waters from the lineup, citing time constraints. In probably my favorite moment in this story, Levon unleashes the wrath of Moses on this poor bean counter and drives him from the room, saving Muddy's slot, and thank goodness; it was one of the best parts of the movie.
Like many autobiographies, this one gets sad at the end. Not only do revered fellow musicians die (Richard Manuel, who committed suicide on the road) or go their own way (Robbie Robertson was the only one who wanted to break up the band, and he got his way), but the unfair business practices of managers and record labels are revealed: most egregiously, the crediting of virtually all the songs on the Band's first two wonderful albums - which were co-written in workshop fashion by the entire ensemble - to Robbie Robertson. Apparently of all of them, he was the one with the most ambition and business sense, and his alignment with manager Albert Grossman enabled him to cut some corners. All very sad.
Nonetheless, it was a pleasure reading Levon Helm's accounts, hearing his voice, and learning so much about the culture of music that the whole band made the air they breathed. A warning, though: if the film, The Last Waltz has always been a favorite of yours, this account may disillusion you somewhat.
On a happier note, the book was written in 1995. Levon survived another 20 or years or so; his daughter Amy (with a music career of her own) produced one of his last albums, and his last 2 recordings both won Grammy awards.
August 29, 2017
I was not expecting this to be a page-turner, but it totally was. I couldn't put it down once I got started. Levon is hilarious and very heart-felt.
June 18, 2012
Levon Helm was truly a national treasure when he died this past spring. Born into a cotton farming family near Turkey Scratch, Arkansas, he found that music could be his ticket out of this tedious work. As a young teen he and his sister Linda earned cash and renown playing and singing at local venues. While still a teen, local legend Ronnie Hawkins took him into his band, the Hawks, and through him Levon discovered the lucrative Northern circuit of Ontario, Canada. It was here that Hawkins put together the famous group that would come to be named simply The Band: Levon Helm, Robbie Robertson, Rick Danko, Richard Manuel, and Garth Hudson. When Bob Dylan shocked the folk world by plugging his guitar into an amplifier in the mid-sixties, The Band backed him. In the process they found critical acclaim and a loyal following. In this rich memoir Levon traces the demise of the group to Robbie Robertson's actions leading up to The Last Waltz, Martin Scorsese's film of the group's final concert in 1976.
One of my most treasured memories was attending one of Helm's fabled Midnight Rambles last July in his barn/studio in Woodstock, NY. Joe Purdy, special guest performer, played an opening set, and then Levon and family and friends played for almost three hours to a small (100 or so), but appreciative audience, ending at midnight with The Band's famous song, "The Weight." As they finished, Levon climbed down from his perch on the drums and proceeded to shake hands with the fans in the front row. Since my husband and I were in the second row, I was concerned we would not get such an honor, but before he left the room we somehow made eye contact with him, and he reached over to shake our hands. The adrenaline generated by the show and the handshake fueled our hour and a half ride home to NJ. It was an amazing experience that I will treasure always.
February 6, 2008
I enjoyed this book. Helm said he had the best seat in the house as drummer for the The Band and his memoir shows it. Helm had a southern upbringing and was steeped in music and cotton farming. The Band always seemed southern to me, but I learned they were all Canadians, except for Helm. But Helm has enough southern boy to make up the balance. You get a good sense of how the band developed, the ups and downs, the personalities. Bob Dylan comes off as something of a strange, almost mythic figure and I've yet to read anything about him that didn't leave me wondering, what the F is up with this guy? Can't he walk a straight line from one human to another? It always has to be half-spoken, half understood. You think a guy like Helm would beat the shit out of him - but he seems to genuinely respect Dylan's talents and what he did for their careers. You are left in no doubt how Helm feels about Robbie Robertson (betrayed), though he does show the important force Robertson was to the band. The description of Richard Manuel's dissolution and eventual suicide is heart breaking. Almost all the band members are hit by one kind of tragedy or another. The music is the life force. Surely one definition of joy would be Rick Danko dancing and playing the bass, bobbing and weaving like a little boy lost in happiness. Just puts a smile on my face.
February 14, 2017
I decided to read "This Wheel's on Fire" after having read Robbie Robertson's "Testimony." The two pieces work as interesting counterpoints. While Robertson comes off as the ultimate hero in his story, Helm has a different story to tell.
I thought Helm's writing was entertaining - a real backwoods, country style of story telling. It made for an enjoyable read. I enjoyed learning about the early parts of Helm's life in Arkansas, working the cotton fields.
He definitely has a chip on his shoulder regarding Robertson - as he should - and I enjoyed that he didn't hold back on taking swipes at him...
Overall a quick, easy and enjoyable read. Definitely worth reading alongside Robertson's "Testimony". Some stories Helm glosses over are explained in further detail in Robertson's telling and vice-versa.
I thought Helm's writing was entertaining - a real backwoods, country style of story telling. It made for an enjoyable read. I enjoyed learning about the early parts of Helm's life in Arkansas, working the cotton fields.
He definitely has a chip on his shoulder regarding Robertson - as he should - and I enjoyed that he didn't hold back on taking swipes at him...
Overall a quick, easy and enjoyable read. Definitely worth reading alongside Robertson's "Testimony". Some stories Helm glosses over are explained in further detail in Robertson's telling and vice-versa.
October 26, 2009
Definitely to be read with a grain of salt. This is 100% Levon Helm's take on The Band, and his schism with Robbie Robertson really comes through. I got frustrated with Helm's self-flattery a little bit but when it comes down to it he really is one of the best out there, and this book is pretty much requisite for any Band fan.
August 29, 2011
I really liked this book. I liked how it felt like Levon was talking right to you about his life and The Band. Some parts were a little slow for me, but ultimately it was fun to read his life from beginning to end. I also really liked the updated ending. Levon seems like such a happy-go-lucky country boy and I really liked how humble he was. Most rockers aren't. He wasn't the best writer of all time, but I enjoyed knowing the story of The Band.
July 22, 2020
Interesting read, but hard for me to get over the unending vitriol and hatred that Helms spews nonstop at Robbie. He comes across as a negative, bitter, self-serving jerk. He's lucky Robbie let him rejoin the band after he quit prior to the Dylan nightmare tour. Helm had a great voice, drumming was mediocre at best.
March 29, 2009
Pretty disappointing. He slams other people but doesn't probe his own faults.
January 22, 2021
"we tried to teach dylan football but it didn't work out. lead a horse to water situation"
February 24, 2013
I loved the opening and the beginning chapters of Helm's story. His descriptions of his childhood, that community and the shared life those farmers led, was gorgeous and real. I could see it. And I was learning, after a lifetime of being half in love with Helm's voice and his band, who he was.
The story of him discovering music worked for me, too. The anecdotes felt like stories you'd share with friends in the middle of the night, while the world slept around you. His steps into the world that would transform him were telling.
And then it became all about the telling. Whole chapters seemed to contain little beyond song titles and stars' names. There was very little movement -- "We played XXX with XXX until XXXX." He was no longer painting a picture of his life; he was instead recounting the who and where, but very little of the what and how. I wasn't looking for gossip, but Helms and Davis were missing the details that made the beginning.
He only opens that window again with the filming of The Last Waltz. Again, we could see what he saw -- only it wasn't as picturesque and folksy as his childhood. But it was real. A story again. Makes me wonder if, after all this mess, he was so pissed off that he couldn't see The Band the way he saw his fam, though he'd clearly lived that with them, once.
Really need to watch Waltz again with this perspective in mind. And plan to spend this lazy Sunday with The Band as my soundtrack. 'Cause if I learned anything from Helm, it was that the music matters.
The story of him discovering music worked for me, too. The anecdotes felt like stories you'd share with friends in the middle of the night, while the world slept around you. His steps into the world that would transform him were telling.
And then it became all about the telling. Whole chapters seemed to contain little beyond song titles and stars' names. There was very little movement -- "We played XXX with XXX until XXXX." He was no longer painting a picture of his life; he was instead recounting the who and where, but very little of the what and how. I wasn't looking for gossip, but Helms and Davis were missing the details that made the beginning.
He only opens that window again with the filming of The Last Waltz. Again, we could see what he saw -- only it wasn't as picturesque and folksy as his childhood. But it was real. A story again. Makes me wonder if, after all this mess, he was so pissed off that he couldn't see The Band the way he saw his fam, though he'd clearly lived that with them, once.
Really need to watch Waltz again with this perspective in mind. And plan to spend this lazy Sunday with The Band as my soundtrack. 'Cause if I learned anything from Helm, it was that the music matters.
October 30, 2010
Ever wonder who those people are hanging around with Bob Dylan on the cover of the John Wesley Harding album? Levon has the answer, along with a number of other puzzling tidbits, such as what the hell was Neil Diamond doing at The Last Waltz, anyway? The writing in This Wheel's On Fire is fairly uneven, not that there's much "writing" in it to begin with: Most of the text seems to consist of the transcripts of tape recordings cobbled into a narrative. These quotations tend to be lengthy at times -- so lengthy, in fact, that it's easy to lose track of the person speaking. Still, this is a must read for anyone who's ever been a fan of The Band, Bob Dylan, or Levon Helm. And the pages in which Helm himself is the obvious voice come through loud and clear.
August 13, 2017
Every story has a thousand sides, and this is Levon's take of the history of The Band. Not surprisingly, he's quite bitter about it all (most specifically about Robbie Robertson) and it honestly comes off annoying after awhile as the book just ends up seeming like his outlet just to complain about everything at every chance he gets. There's also a weird thing where it's his autobiography, but there's a ton of quotes from other people and band members reminiscing or telling their side of a particular event, but it always just gets randomly dropped into the story, so often times it's hard to tell who this new person is speaking and when it switches off to Levon. Kind of random complaint, but it really threw off the flow of the book at times.
December 24, 2016
I bought this book when it came out, out of my great and enduring love for The Band, but didn't get around to reading it till now. I decided I'd read it before I read Robbie Robertson's book, as they seem to have varying memories of a lot of things. Based on this book, Levon was a charmer -- and I know he was talented and shares responsibility for a lot of music that I love -- but this book is rather less than satisfying. He skimps on the reflection and seems to pick heroes and villains out of those he has known rather than trying to understand the point of view of others. So, interesting, but not altogether convincing.
March 14, 2012
A compelling read, not least because Levon shares some colorful stories of The Band's early experiences with the likes of Ronnie Hawkins and Sonny Boy Williamson. But it's impossible to ignore the ax he's trying to bury in Robbie Robertson. Deserved or not, this would be a better book if he had kept that animus off the page.
March 1, 2018
Whatever you think of Levon, he hated Robbie Robertson at the time he wrote this book, and it warps his portrayal of The Band's history and success. He's also kind of a braggart. Robertson's book...whatever you think of HIM..... is a much greater success.
October 20, 2023
I’ve had this book for many years but hadn’t read it. It took the death of Robbie Robertson to get me to dive into it. Similarly, Robbie Robertson’s book Testimony, sat on my bookshelf unread for many years until recently.
All I’ll say is that both books are a great read. They present two wildly different accounts of what went on in The Band. Perception is a strange thing especially when much is left unsaid. The truth probably lies somewhere in between. Some of the stories made me very sad. Tales of self- destruction, drugs , alcohol, premature death, tragedy and a falling out between friends. .
Ultimately though, The Band’s musical legacy is immense. Their influence on others was massive and their music will live on. A hugely talented bunch of guys, that when combined and at their best could not be beaten.
All I’ll say is that both books are a great read. They present two wildly different accounts of what went on in The Band. Perception is a strange thing especially when much is left unsaid. The truth probably lies somewhere in between. Some of the stories made me very sad. Tales of self- destruction, drugs , alcohol, premature death, tragedy and a falling out between friends. .
Ultimately though, The Band’s musical legacy is immense. Their influence on others was massive and their music will live on. A hugely talented bunch of guys, that when combined and at their best could not be beaten.
December 19, 2022
I'm still thinking about this book months after I read it, and I think that's a good sign. Levon Helm was an iconic man who embodied a lot of mid-twentieth century life in the USA. There are quite a few funny stories, too. I'm sad that he's dead.
December 3, 2017
This is a fantastic read. I've never been a rabid The Band fan, but Levon Helm's book made me want to hear all of their music. If you like music or just want a great read I highly recommend this.
November 13, 2023
Bring headphones.
April 11, 2025
I really enjoyed this book about one of the best bands in the world. It was like you were sitting one on one with Levon telling this wild story!
May 11, 2024
Easily among the top 3 or so all-time best music biographies/autobiographies I've ever read. I guess it helps that I really love The Band. A riveting book.
January 9, 2021
First I am a fan of The Band. Second, I liked "The Last Waltz" but parts seemed out of sync. After reading Levon Helm's book, it makes sense why the film seemed out of joint. It could have been so much better.
The book is an interesting read and a good story of rock and roll and the performers.
The book is an interesting read and a good story of rock and roll and the performers.
July 29, 2020
Listening to the Band's albums alongside Levon's story made the music sound sweeter. I love reading memoirs that make the music I already love more enjoyable and that's exactly what this book did. The harmonies between Rick Danko, Richard Manuel and Levon Helm are as good as any rock band of the era, but different because of the Band's southern roots that come from Levon, who is the only southerner in the band.
I've heard pieces of Robbie Robertson's conflict with The Band but this book delivers by telling the full story. On top of Levon's confusion and eventual anger at Robbie Robertson claiming most of the songwriting credits, Robbie alone decided to dissolve The Band and mark its dissolution with their final concert, The Last Waltz. Levon disagreed with everything about that last concert including the camera positioning which always included Robbie in the shot and dis included (or severely limited) two members, Richard Manual and Garth Hudson. After the Last Waltz, everyone except Robbie kept playing music together while Robbie Robertson schmoozed with Hollywood. Finally, Levon directly blames Robbie Robertson for playing a role in Rick Danko's death. Levon says Rick had money troubles which were caused by Robbie Robertson's disproportionate and unearned share of the Band's wealth and that Rick had to work to extraordinary lengths in order to make up for those money troubles which eventually killed him.
Overall, I loved the book but struggled with the sexism and racism in Levon's story. Some of the songs make me cringe such as "Jemima Surrender." Levon says it's a song about wanting a woman of color's love, but the lyrics suggest a love that he is "bound to win" suggesting something more coercive. On the other hand, Levon talks about standing up for one of his musical idols, the black musician, Sonny Boy Williamson, who is the victim of racist police. Levon says his family never taught him to be racist even growing up in segregation, yet when it's black women's humanity as a topic, he apparently doesn't consider racism.
I love the Band and their music, and I suppose one might expect there to be racist and sexist attitudes in a white southerner's memoir about growing up on a cotton farm in Arkansas and playing rock n roll. I point these out because I love their music and I want to see the music persevere and continue in a more conscious and equitable future -- but maybe just cut out Jemima Surrender from their canon.
I've heard pieces of Robbie Robertson's conflict with The Band but this book delivers by telling the full story. On top of Levon's confusion and eventual anger at Robbie Robertson claiming most of the songwriting credits, Robbie alone decided to dissolve The Band and mark its dissolution with their final concert, The Last Waltz. Levon disagreed with everything about that last concert including the camera positioning which always included Robbie in the shot and dis included (or severely limited) two members, Richard Manual and Garth Hudson. After the Last Waltz, everyone except Robbie kept playing music together while Robbie Robertson schmoozed with Hollywood. Finally, Levon directly blames Robbie Robertson for playing a role in Rick Danko's death. Levon says Rick had money troubles which were caused by Robbie Robertson's disproportionate and unearned share of the Band's wealth and that Rick had to work to extraordinary lengths in order to make up for those money troubles which eventually killed him.
Overall, I loved the book but struggled with the sexism and racism in Levon's story. Some of the songs make me cringe such as "Jemima Surrender." Levon says it's a song about wanting a woman of color's love, but the lyrics suggest a love that he is "bound to win" suggesting something more coercive. On the other hand, Levon talks about standing up for one of his musical idols, the black musician, Sonny Boy Williamson, who is the victim of racist police. Levon says his family never taught him to be racist even growing up in segregation, yet when it's black women's humanity as a topic, he apparently doesn't consider racism.
I love the Band and their music, and I suppose one might expect there to be racist and sexist attitudes in a white southerner's memoir about growing up on a cotton farm in Arkansas and playing rock n roll. I point these out because I love their music and I want to see the music persevere and continue in a more conscious and equitable future -- but maybe just cut out Jemima Surrender from their canon.
February 17, 2017
Makes me wish I had never paid money to see Robbie Robertson speak on his most recent book tour and read this first.
January 27, 2024
Both Robbie Robertson and Levon Helm were talented, flawed men. The Band’s fan base has one of the most toxic and annoying fanbases, which often ruins any discussion about the group. These opinions are mine, and I have no desire to get into a Robbie v Levon debate.
About the book—it’s quite engaging and Levin is a heck of a storyteller. The co author also wrote Hammer of the Gods, the Zeppelin book that is famously sensationalized and inaccurate, so do with that info what you will. At times, events are written to minimize Robbie’s contributions in the most petty way possible, and it takes away from Levon’s story. Levon minimizes a lot of his own bad behavior and is a study in contradictions. He is an outspoken, take no prisoners type, but he couldn’t stand up to Robbie, he didn’t want to do anything with The Last Waltz, but had all kinds of opinions about the final product (I agree with his criticisms!), he wasn’t there when the negotiations to buy Garth, Richards and Rich’s music rights happened, but he knows it’s Robbie’s fault. If you want vulnerability, you won’t find it here. If you want to read a forward looking book, this ain’t it. Still, his life story is interesting and the stories—Danko getting tangled up with the deer was the funniest anecdote. Plus he was a great entertainer. Fortunate for us, we had a short period of time where The Band made great music, and their legacy lives on. Do yourself favor and listen to the 1971 live show tonight, it’s my favorite. RIP to Levon, Robbie, Rick and Richard.
About the book—it’s quite engaging and Levin is a heck of a storyteller. The co author also wrote Hammer of the Gods, the Zeppelin book that is famously sensationalized and inaccurate, so do with that info what you will. At times, events are written to minimize Robbie’s contributions in the most petty way possible, and it takes away from Levon’s story. Levon minimizes a lot of his own bad behavior and is a study in contradictions. He is an outspoken, take no prisoners type, but he couldn’t stand up to Robbie, he didn’t want to do anything with The Last Waltz, but had all kinds of opinions about the final product (I agree with his criticisms!), he wasn’t there when the negotiations to buy Garth, Richards and Rich’s music rights happened, but he knows it’s Robbie’s fault. If you want vulnerability, you won’t find it here. If you want to read a forward looking book, this ain’t it. Still, his life story is interesting and the stories—Danko getting tangled up with the deer was the funniest anecdote. Plus he was a great entertainer. Fortunate for us, we had a short period of time where The Band made great music, and their legacy lives on. Do yourself favor and listen to the 1971 live show tonight, it’s my favorite. RIP to Levon, Robbie, Rick and Richard.
This entire review has been hidden because of spoilers.
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