Stage Fright (album)

Last updated
Stage Fright
StageFright.jpg
Studio album by
the Band
ReleasedAugust 17, 1970
RecordedMay–June 1970
StudioWoodstock Playhouse Woodstock, New York
Genre Roots rock
Length35:41
Label Capitol
Producer The Band
The Band chronology
The Band
(1969)		Stage Fright
(1970)		 Cahoots
(1971)
Singles from Stage Fright
  1. "Stage Fright" / "Sleeping"
    Released: August 1970
  2. "Time to Kill" / "The Shape I'm In"
    Released: October 1970

Stage Fright is the third studio album by Canadian-American rock band the Band, released on August 17, 1970, by Capitol Records. It featured two of the group's best known songs, "The Shape I'm In" and "Stage Fright", both of which showcased inspired lead vocal performances (by Richard Manuel and Rick Danko, respectively) and became staples in the group's live shows.

Contents

Stage Fright was a contradictory record, combining buoyant music and disenchanted lyrics, and exploring themes such as peace, escape and frivolity that revealed darker shades of melancholy, anxiety and fatigue. [1] Writer Ross Johnson described it as "a cheerful-sounding record that unintentionally was confessional... a spirited romp through a dispirited period in the group's history." [2] As a result, it received a somewhat mixed reception compared to its widely praised predecessors, largely due to the ways that it departed from those records and, perhaps, frustrated expectations. [3] [4] [5] [6] Generally, critics agreed that the music was solid. They hailed aspects like Garth Hudson's diverse textural weavings, Robbie Robertson's incisive guitar work, and the funk of the Danko– Levon Helm rhythm section, but differed on the record's troubling tone and overall cohesiveness. In later years, on the occasion of reissue and remaster releases, many critics reappraised the album as showing "no drop-off in quality compared to the first two" [7] and "evidence of a group still working at the top of their form." [8]

Much more of a rock album than the group's previous efforts, Stage Fright had a more downcast, contemporary focus and less of the vocal harmony blend that had been a centerpiece of the first two albums. The tradition of switching instruments continued, however, with each musician contributing parts on at least two different instruments. The album included two of the last songs composed by pianist Richard Manuel, both co-written with Robertson, who would continue to be the group's dominant songwriter until the group ceased touring in 1976.

Stage Fright peaked at number 5 on the Billboard albums chart, surpassing the group's first two albums, which reached numbers 30 and 9, respectively. It was one of three albums by the group, including The Band and Rock of Ages, to be certified gold (more than 500,000 sales). [9]

Production

Stage Fright was engineered by an up-and-coming Todd Rundgren and produced by the group themselves for the first time. Its cover featured a semi-abstract sunset designed by Bob Cato wrapped in a poster of a photograph by Norman Seeff, in his first major gig. [10]

Initially, Robertson says that he intended to do a less serious "goof" or "good-time" record in contrast to The Band. [1] The group's plan was to record the album live in their home base of Woodstock, New York at the Woodstock Playhouse. Ultimately, the town council feared a Woodstock Music and Art Fair-type stampede and vetoed the idea, leading the group to simply use the off-season theater as a makeshift studio. Upbeat, straightforward rockers like "Strawberry Wine", "Time to Kill" and "Just Another Whistle Stop", the funkier "The W.S. Walcott Medicine Show", and Robertson's more prominent guitar work together suggest the record retained some of the early, good-time intention. However, Robertson gradually found the songs taking a darker turn: "this album Stage Fright started seeping through the floor. I found myself writing songs that I couldn't help but write." [1] "The Shape I'm In" and "Stage Fright" grappled with dissipation and panic, while "The Rumor" and "Daniel and the Sacred Harp" addressed the malevolence of gossip and the loss of one's soul in pursuit of fame and fortune. [8] Manuel's dreamy "Sleeping" walked an uncomfortable line between bliss and a too-close-to-home longing for final escape. [1] Standing alone as a purely positive song was Robertson's delicate lullaby, "All La Glory", written for the birth of his daughter, buoyed by one of Helm's most gentle, emotive vocals. [1] Even there, though, Robertson uses lonesome imagery, referring to feeling "so tall like a prison wall". [11]

In a 2010 interview, Robertson described the recording atmosphere as tense, with the group contending with a tricky sound situation in the playhouse, an unfamiliar presence in Rundgren, and "distraction and a lot of drug experimenting." [12] In This Wheel's on Fire, Helm concurred, describing a "dark mood that settled upon us" during the sessions. [13] Helm also believed the record could have benefited from more time, saying, "for the first time we hadn't cut it to our standard... The days when we would live with the music were over." [13]

Two different mixes were prepared in London, England, one by Rundgren at Trident Studios and another by Glyn Johns at Island Studios. Some reports have suggested that Johns's mix was selected for the original LP release and nearly all subsequent reissues on Capitol (including the expanded 2000 remaster), while Rundgren's Trident mix was eventually used on Capitol's first CD release and a 24k gold CD reissue by the DCC Compact Classics label in 1994. [14] However, there is considerable disagreement about this. In an interview with Relix magazine, Rundgren said he had to engineer a third set of mixes with the band in New York after some members expressed dissatisfaction with his Trident mixes and Johns's Island mixes. However, Rundgren conceded that he had no idea which mixes were finally used for any of the album's releases. [15] In his memoir, Sound Man, Johns seems to confirm Rundgren's memory, noting that each did their own set of mixes independently, without the band present, and that he never really knew whose mixes were used or in what quantity either. [16] Further confusion has been caused by inaccurate documentation that mistakenly lists Johns as the engineer for both mixes with no indication of Rundgren doing any work at either studio. Both Rundgren and Trident engineer Ken Scott have independently stated that Rundgren mixed the album at Trident, and Johns himself has confirmed Rundgren's presence in London mixing at a different studio than his. [17]

When Robertson produced a new reissue for the album's 50th anniversary, he supervised a brand new mix with Bob Clearmountain, just as he had done with previous deluxe sets commemorating the 50th anniversaries of Music from Big Pink and The Band . While the previous anniversary mixes were intended as experiments with new formats such as 5.1 surround sound and high-resolution digital playback, the new mix for Stage Fright addressed Robertson's own dissatisfaction with the original LP mix, just as the 2013 reissue of the 1971 Academy shows addressed his dissatisfaction with the original mix of the Rock of Ages live album. Furthermore, Robertson resequenced Stage Fright, claiming that the original LP sequence had been compromised by internal politics. [18] [19]

Reception

Professional ratings
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar half.svg [20]
Christgau's Record Guide B+ [21]
DownBeat Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [22]
Entertainment Weekly A− [23]
MusicHound 4/5 [24]
Pitchfork 8.3/10 [25]
Q Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [26]
Rolling Stone Star full.svgStar full.svgStar full.svgStar half.svgStar empty.svg [27]
The Rolling Stone Album Guide Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [28]
Uncut 8/10 [29]

Upon its release, critics generally praised Stage Fright's music. But several identified differences from the first two albums—themes of anxiety and vulnerability, fewer Americana character sketches, less of a communal feel—and suggested that something elusive was missing. Rolling Stone critic John Burks cited the group's "precision teamwork", but felt the lyrics did not quite connect with the music and vocals; he wrote that the album was lacking "glory." [3] Critic Robert Christgau thought that the "bright and doughty" tunes overmatched the words. He concluded, "Memorable as most of these songs are, they never hook in—never give up the musical-verbal phrase that might encapsulate their every-which-way power." [5] Billboard's Ed Ochs described it as "candid and confessional, genuinely comic and gently satiric," but noted a "relationship of music to message [that] is noticeably off." [30]

According to author Neil Minturn, Greil Marcus's take in Mystery Train (1975) became pivotal and permeated subsequent assessments. [7] Marcus called it "an album of doubt, guilt, disenchantment and false optimism. The past no longer served them—the songs seemed trapped in the present, a jumble of desperation that was at once personal and social. The music was still special, but in every sense, the kind of unity that had given force... was missing. Now instead of hearing music that could not be really be broken down, one picked at parts for satisfaction." [4]

Later reviewers, however, questioned whether some mid-1970s criticism was colored by a perceived decline in the group's output, post-Stage Fright. In Q , rock critic John Bauldie hailed the trademark vocal interplay on "The Rumor" and "Daniel and the Sacred Harp", the ballads "All La Glory" and "Sleeping", and "The Shape I'm In" as career highlights. He suggested Stage Fright "may well be the greatest of their records." [7] AllMusic critic William Ruhlmann applauded the album's dense arrangements and instrumental work, and noting its "nakedly confessional" quality, wrote, "It was certainly different from their previous work... but it was hardly less compelling for that." [8] Writer Paul Casey described Stage Fright as "heartfelt," "sublime," and the "most personal, and least enamored with the fictional history aesthetic" of the band's albums. He concluded that it was "in some important ways above the two previous records," and that while "a commentary on the problems that were beginning to become apparent, [...] it is not compromised." [31]

Track listing

Side one

No.TitleWriter(s)Lead vocalsLength
1."Strawberry Wine" Levon Helm, Robbie Robertson Helm2:34
2."Sleeping"Robertson, Richard Manuel Manuel3:10
3."Time to Kill"Robertson Rick Danko, Manuel3:24
4."Just Another Whistle Stop"Manuel, RobertsonManuel3:48
5."All La Glory"RobertsonHelm3:31

Side two

No.TitleWriter(s)Lead vocalsLength
1."The Shape I'm In"RobertsonManuel3:58
2."The W.S. Walcott Medicine Show"RobertsonHelm, Danko2:58
3."Daniel and the Sacred Harp"RobertsonHelm, Manuel4:06
4."Stage Fright"RobertsonDanko3:40
5."The Rumor"RobertsonDanko, Helm, Manuel [32] 4:13

2000 reissue bonus tracks

No.TitleLength
11."Daniel and the Sacred Harp" (alternate take)5:01
12."Time to Kill" (alternate mix)3:26
13."The W.S. Walcott Medicine Show" (alternate mix)3:05
14."Radio Commercial"1:05

2021 50th anniversary deluxe edition

Disc 1
Original album 2020 remix

No.TitleLength
1."The W.S. Walcott Medicine Show"3:11
2."The Shape I'm In"4:01
3."Daniel And The Sacred Harp"4:12
4."Stage Fright"3:43
5."The Rumor"4:14
6."Time To Kill"3:25
7."Just Another Whistle Stop"4:26
8."All La Glory"3:34
9."Strawberry Wine"2:34
10."Sleeping"3:19

Bonus tracks

No.TitleLength
11."Strawberry Wine" (alternate mix)2:33
12."Sleeping" (alternate mix)3:25

Calgary Hotel Room Recordings, 1970

No.TitleLength
13."Get Up Jake" (#1)1:47
14."Get Up Jake" (#2)2:34
15."The W.S. Walcott Medicine Show"1:14
16."Rockin' Pneumonia And The Boogie Woogie Flu"3:11
17."Calgary Blues"3:01
18."Before You Accuse Me"2:11
19."Mojo Hannah"3:59

Disc 2
Live At Royal Albert Hall, June 1971

No.TitleLength
1."The Shape I'm In"4:00
2."Time To Kill"3:30
3."The Weight"4:49
4."King Harvest (Has Surely Come)"3:48
5."Strawberry Wine"3:40
6."Rockin' Chair"4:11
7."Look Out Cleveland"3:30
8."I Shall Be Released"3:38
9."Stage Fright"3:46
10."Up On Cripple Creek"4:38
11."The W.S. Walcott Medicine Show"3:39
12."We Can Talk"3:05
13."Loving You Is Sweeter Than Ever"3:24
14."The Night They Drove Old Dixie Down"4:12
15."Across the Great Divide"3:21
16."The Unfaithful Servant"4:16
17."Don't Do It"4:41
18."The Genetic Method"4:16
19."Chest Fever"5:10
20."Rag Mama Rag"4:01

Personnel

The Band

Additional personnel

Charts

Album

Chart performance for Stage Fright
Chart (1970)Peak
position
Australian Albums (Kent Music Report) [33] 2
Canada Top Albums/CDs ( RPM ) [34] 6
Dutch Albums (Album Top 100) [35] 5
Norwegian Albums (VG-lista) [36] 9
UK Albums (OCC) [37] 15
US Billboard 200 [38] 5
Chart (2021)Peak
position
Belgian Albums (Ultratop Flanders) [39] 180
German Albums (Offizielle Top 100) [40] 83
Scottish Albums (OCC) [41] 9
Swedish Physical Albums (Sverigetopplistan) [42] 19

Singles

YearSingleChartPosition
1970"Time to Kill"US Pop Singles (Billboard)77

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References

  1. 1 2 3 4 5 Hoskyns, Barney. Across the Great Divide: The Band and America, Milwaukee: Hal Leonard Corp., 2006, p.234-5. Retrieved 26 February 2018
  2. ↑ Johnson, Ross. "It's All in the Name," Miami New Times, October 26, 2000. Retrieved 27 February 2018.
  3. 1 2 Burks, John (September 17, 1970). "Stage Fright". Rolling Stone . Retrieved 2017-03-18.
  4. 1 2 Marcus, Greil. Mystery Train, New York: E.P. Dutton, 1975. Retrieved 26 February 2018.
  5. 1 2 Robert Christgau review site. Retrieved 26 February 2018.
  6. ↑ Williams, Richard. "The Band: A Melody Maker Band Breakdown", Melody Maker, May 29, 1971. Retrieved 27 February 2018.
  7. 1 2 3 Minturn, Neil. The Last Waltz of The Band, New York: Pendragon, 2005, p. 143. Retrieved 26 February 2018
  8. 1 2 3 Ruhlmann, William. Review in All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul, Ed. by Vladimir Bogdanov, Chris Woodstra, Stephen Thomas Erlewine, San Francisco: Backbeat Books, 2002, p. 61. Retrieved 26 February 2018
  9. ↑ Recording Industry Association of America (RIAA) website. Retrieved 26 February 2018
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  11. ↑ Burks, John (17 September 1970). "Stage Fright". Rolling Stone.
  12. ↑ Paul Myers music blog. Interview with Robbie Robertson excerpts. Retrieved 26 February 2018
  13. 1 2 Helm, Levon with Stephen Davis. This Wheel's On Fire: Levon Helm and the Story of the Band, Chicago: Chicago Review Press, 2000. Retrieved 26 February 2018.
  14. ↑ "Stage Fright". Theband.hiof.no. Retrieved 2012-03-10.
  15. ↑ Relix Retrieved 27 March 2021
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  17. ↑ Steve Hoffman Music Forums Retrieved 27 March 2021
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  25. ↑ Nelson, Elizabeth (February 13, 2021). "The Band: Stage Fright (50th Anniversary Edition) Album Review". Pitchfork . Retrieved February 13, 2021.
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  27. ↑ "The Band: Stage Fright". Rolling Stone . August 31, 2000. pp. 69–73.
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  42. ↑ "Veckolista Album Fysiskt, vecka 7" (in Swedish). Sverigetopplistan . Retrieved April 20, 2021.
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