None of
the Band
's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was,
Music from Big Pink
came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically. Tenor
Richard Manuel
's haunting, lonely voice gave the album much of its frightening aspect, while
Rick Danko
's and
Levon Helm
's rough-hewn styles reinforced the songs' rustic fervor. The dominant instrument was
Garth Hudson
's often icy and majestic organ, while
Robbie Robertson
's unusual guitar work further destabilized the sound. The result was an album that reflected the turmoil of the late '60s in a way that emphasized the tragedy inherent in the conflicts.
came off as a shockingly divergent musical statement only a year after the ornate productions of
Sgt. Pepper
, and initially attracted attention because of the three songs
Bob Dylan
had either written or co-written. However, as soon as "The Weight" became a minor singles chart entry, the album and the group made their own impact, influencing a movement toward roots styles and country elements in rock. Over time,
came to be regarded as a watershed work in the history of rock, one that introduced new tones and approaches to the constantly evolving genre.
[The hallmark of the 50th anniversary deluxe edition of
is a new remix from
Bob Clearmountain
that offers a cleaner version of the original
John Simon
production, one that has more separation between the instruments and, on "The Weight" and "Lonesome Suzie," extraneous studio chatter. Apart from an "a cappella" version of "I Shall Be Released" (which appears to be nothing more than the vocal track from the released version), all of the six bonus tracks were also on the bonus track-laden reissue from 2000; from that expanded CD, the bonus tracks "Katie's Been Gone," "If I Lose," "Orange Juice Blues (Blues for Breakfast)," and "Ferdinand the Imposter" are missing in action here.] ~ William Ruhlmann