Robbie Robertson

At 80 years old, Robbie Robertson physical status not available right now. We will update Robbie Robertson's height, weight, eye color, hair color, build, and measurements.

Jaime Royal "Robbie" Robertson, OC, is a Canadian singer, writer, film producer, and author.

Robertson is best known for his work as the lead guitarist and primary songwriter for The Band, as well as his career as a solo recording artist. Robertson's time with the Band was instrumental in the creation of the Americana music style.

Robertson has been inducted into the Rock and Roll Hall of Fame and the Canadian Music Hall of Fame as a member of the Band and has been named on the Walk of Fame in Canada, both with the Band and on his own.

In Rolling Stone magazine's list of the 100 Top Guitarists, he ranks 59th.

Robertson is known for writing "The Weight," "The Night They Drove Old Dixie Down," "Up on Cripple Creek," "Somewhere Down the Crazy River," and other such titles.

Robertson, a film editor and composer, was inducted into the National Academy of Songwriters (1978), The Last Waltz (1980), The Wolf of Wall Street (2013), and The Irishman (2019).

He has appeared on several other soundtracks for film and television.

Early life

On July 5, 1943, Robertson was born Jaime Royal Robertson. He was the only child at the time. Rosemarie Dolly Chrysler, 1922, was his mother. She was born Cayuga and Mohawk on the Six Nations Reserve southwest of Toronto, Ontario. Chrysler lived with an aunt in Cabbagetown, Texas, and worked at the Coro jewelry plating plant. She met James Patrick Robertson at the factory and they married in 1942.

Rosemarie and James Robertson stayed at the plant where they first met. When Robbie was a child, the family lived in several places in various Toronto suburbs. 55 (59) He often traveled with his mother to visit her relatives at the Six Nations Reserve to visit her family. Robertson was taught by family members, in particular his older cousin Herb Myke. On WKBW in Buffalo, New York, he became a fan of rock 'n' roll and R&B, and stayed up late at night to listen to disc jockey John R.'s all-night blues show on WLAC, a clear-channel station in Nashville, Tennessee.

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When Robertson was in his early teens, his parents were divorced. His mother told Robertson that his biological father was not James, but Alexander David Klegerman, a Jewish man she had encountered at the Coro factory. He became a professional gambler and was killed in a hit-and-run crash on the Queen Elizabeth Way. She had been with him before he married James Robertson, who was stationed in Newfoundland with the Canadian Army. Morris (Morrie) and Nathan (Natie) Klegerman, after reminding Robertson that his mother arranged for the child to visit his paternal uncles Morris (Morrie).

Personal life

Dominique Bourgeois, a Canadian journalist, was married by Robertson on March 24, 1968. They have three children, Alexandra and Delphine, and Sebastian.

Artists Against Racism, a member of the Canadian charity Artists Against Racism, Robertson is a member of Artists Against Racism.

Source

Career

When Robertson was 14 years old, he served two short summer jobs in a suburb of Toronto, then as an assistant at a bizarre exhibition for three weeks during the Canadian National Exhibition. He drew from this for his song "Life Is a Carnival" (with the Band) and the 1980 film Carny (1980), which he produced and starred in.

Little Caesar and the Consuls, Robertson's first band, was formed in 1956 by pianist/vocalist Bruce Morshead and guitarist Gene MacLellan. He was with the company for almost a year, performing hits from the day at local teen dances. Robbie and the Rhythm Chords formed in 1957 with his buddy Pete "Thumper" Traynor (who would later discover Traynor Amplifiers). After they saw the film Forbidden Planet and took a liking to Robbie and the Robots, they changed the name to Robbie and the Robots. Traynor customised Robertson's guitar for the Robots, fitting it with antennaes and wires to give it a space age appearance. Traynor and Robertson formed The Suedes with pianist Scott Cushnie. Ronnie Hawkins first became aware of them at a Suedes show on Toronto's Merton Street on October 5, 1959, when they were playing CHUM Radio's Hif Fi Club, and was impressed enough to join them in a few numbers.

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Hawkins' shadow began. Robertson was recruited by the Hawks for the Hawks' road crew after the Suedes opened for the Arkansas-based rockabilly band Ronnie Hawkins and the Hawks at Dixie Arena. Hawkins recorded two songs co-credited to Robertson, "Hey Baba Lou" and "Some One Like You," on his album Mr. Dynamo (1959), and took Robertson to the Brill Building in New York City to help him select songs for the remainder of the album.

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Scott Cushnie was hired by the Hawkins to travel outside of the Suedes and joined him on tour with Ronnie Hawkins and the Hawks in Arkansas. Cushnie requested that the Hawkins replace him on bass when the Hawks' bass player left the organization, but the Hawks refused to fire him on bass.

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Robertson was invited by the Hawkins to Arkansas and he travelled to the United Kingdom to appear on television there. Robertson, who was left homeless in Arkansas, spent his living allowance on computers and trained rigorously every day. The Hawkins recruited him to play bass upon his return to school. Cushnie left the band a few months later. Robertson moved from bass to lead guitar for the Hawks right away. Robertson, 75, 75, rose to fame as a guitar virtuoso. 20–22: 75, 75 Robertson rose to fame in the 1980s.

Roy Buchanan, a few years older than Robertson, was a minor influence on Robertson's guitar style, his ability to bend multiple strings for a steel guitar-like effect, his rapid sweep picking, and his obsession with bending past the root and fifth notes during solo flights.

Levon Helm, a drummer, was already a member of the Hawks and soon became close friends with Robertson. 76 The Hawks continued to tour the United States and Canada, adding Rick Danko, Richard Manuel, and Garth Hudson to the Hawks roster in 1961.

This group, which later became the Hawks, toured with them from 1962 to 1963. 95, 100 They also recruited saxophone player Jerry Penfound and Bruce Bruno, who were both with the group in their intermediary period as Levon and the Hawks.

During 1961–1963, Ronnie Hawkins and the Hawks cut sessions for Roulette Records, none of which Robertson appeared on. Three singles were performed: "I Feel Well" b/w "I Feel Good" (Roulette 4400, 1961); "Who Do You Love" b/w "Bo Diddley" b/w "High Blood Pressure" b/w "High Blood Pressure" b/w "High Blood Pressure" b/w "There's A Screw Loose" b/w "Honorse) (Roulette 4502 1963);

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At the start of 1964, the Hawks left Ronnie Hawkins to go on their own. The Hawks' members were losing interest in playing in the rockabilly style and favoured blues and soul music. The group approached agent Harold Kudlets in early 1964 to advise them, which he agreed to do, booking them for a year of shows in the same circuits as they had been in before with Ronnie Hawkins. The Levon Helm Sextet was originally named The Levon Helm Sextet, and the group included all of the Band's members, as well as Jerry Penfound on saxophone and Bob Bruno on vocals.

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The organisation changed to Levon and the Hawks after Bruno left in May 1964. Penfound was with the company until 1965. Kudlets kept the band playing throughout 1964 and 1965, before reserving them for two summers at the legendary nightclub Tony Mart's in Somers Point, New Jersey, along the shore. 64–66, 68 They appeared on Conway Twitty and other shows for six nights a week.

John P. Hammond, the member of Levon and the Hawks, was befriended by the group during the 1990s, when the group was playing the Peppermint Lounge in New York City. 65 Robertson performed guitar on the album, and the album's credits included "Jaime R. Robertson."

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In March 1965, Levon and the Hawks cut a single "Uh Uh Uh" b/w "Leave Me Alone" under the name of the Canadian Squires. Both songs were written by Robertson. The single was released on Apex Records in the United States and on Ware Records in Canada, and on Ware Records in Canada. 95 As Levon and the Hawks cut an afternoon session for Atco Records in 1965, resulting in two singles, "He Don't Love You" b/w (Atco 6625). 420 Robertson wrote all three of the tracks on Levon and the Hawks' Atco singles.

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Robertson's second appearance at Levon and the Hawks in New Jersey in August 1965, a call from Albert Grossman Management demanding a consultation with singer Bob Dylan. 21 The company had been invited by Mary Martin, one of Grossman's workers, to both Grossman and Dylan; she was from Toronto and a friend of the band. Dylan, 68, was also aware of the group through his acquaintance John Hammond, 69, whose album So Many Roads members of the Hawks had continued to perform.

Robertson was invited to speak with Dylan. Dylan had intended to recruit Robertson as the guitarist for his backing band at first. Robertson turned down the invitation but did promise to appear two shows with Dylan, one at the Forest Hills Tennis Stadium in Forest Hills, New York, on August 28, and another at the Hollywood Bowl in Los Angeles on September 3. The shows were reportedly based on Levon Helm's drums, according to Robertson.

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In Dylan's backing band, Robertson and Helm appeared, as well as Harvey Brooks and Al Kooper for both performances. The first at Forest Hills received mainly hostile feedback, but the second in Los Angeles received marginally more enthusiastic feedback. Dylan travelled to Toronto and rehearsed with Levon and the Hawks on September 15-17, after Levon and the Hawks finished an engagement and signed the full band for his forthcoming tour.

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Bob Dylan and the Hawks toured the United States from October 8-September 1965, from 8–9, with each set consisting of two sets: an acoustic show starring only Dylan on guitar and harmonica, as well as an electric set featuring Dylan supported by the Hawks. Fans who knew Dylan as a central figure in the American folk music revival were generally dismissive of his tour, and many people considered his break into rock music to be a betrayal. After the group's appearance in Washington, D.C., on November 28, Helm left the troupe. Bobby Gregg was called to replace Helm in December, and Sandy Konikoff was brought on to replace Gregg in January 1966. 105, 109

In the continental United States in February–March 1966, Dylan and the Hawks appeared more often. They appeared in Hawaii, Australia, Europe, and Ireland from April 9 to May 27. Sandy Konikoff, a drummer, left the Pacific Northwest dates in March: 74 and Mickey Jones were recalled, and the group stayed with the company for the remainder of the tour. Disgruntled folk enthusiasts had a particular dislike for the tour's Australian and European legs. The Manchester Free Trade Hall show is best known for an outraged audience member screaming "Judas" on a loud display. It became a frequently booted live show from the tour's Dylan; 73–76 was eventually released as The Bootleg Series Vol. 76. 4: Bob Dylan Live 1966: The "Royal Albert Hall" concert.

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The European leg of the tour was shot by documentary filmmaker D. A. Pennebaker, but the completion of a planned film was postponed. Dylan decided to edit it himself after recovering from a car accident. It was never advertised on ABC television, and it was never released. In 1972, the Whitney Museum in New York presented Eat the Document as part of the exhibition.

Dylan cut a studio session with members of the Hawks on November 30, 1965, resulting in the non-LP single "Can You Please Crawl Out Your Window." Dylan completed the Blonde on Blonde album in Nashville in mid-February 1966, retaining Robertson for one of these sessions, which took place on February 14.

Dylan suffered a neck injury from a motorcycle accident on July 29, 1966, and reverted to a happy domestic life with his new wife and child in upstate New York. 219–219 Some of the Hawks were staying at the Chelsea Hotel in New York City at the time: 220 and were kept on a weekly retainer by Dylan's tenure.

Dylan invited the Hawks' members to Woodstock, New York, to work on music in February 1967. On the Paris stop of Dylan's 1966 world tour, Robertson encountered a French-Canadian woman, and the two bonded into a house in the Woodstock area. 135 The remaining three members of the Hawks rented a house near West Saugerties, New York, who later named it "Big Pink" due to the color's pink exterior.

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Dylan and the Hawks gathered at the "Big Pink" house every day to rehearse and generate new songs, some of which were recorded in "Big Pink"'s makeshift basement studio. 137 The recordings were made between 1967 and 1969, and 1967. Levon Helm, a former Hawks member, rejoined the group in August 1967. 27 Robertson's guitar style had shifted to be more sympathetic of the music and less dedicated to showing speed and virtuosity.

As time, word of these sessions began to circulate, and Rolling Stone magazine co-founder Jann Wenner introduced these tracks in an article titled "Dylan's Basement Tape Should Be Released."

A bootleg album with a plain white cover assembled by two incognito music industry insiders in 1969 featured a series of seven tracks from these sessions. The album, which has been released as The Great White Wonder, began to appear in independent record shops and receive radio airplay. This album was a huge success: 42–46, and it was instrumental in the emergence of bootleg recording.

Robertson would produce The Basement Tapes, a compilation of tracks from the sessions, in 1975. In 2014, The Bootleg Series Vol. 1 was an extensive collection of all 138 original recordings. The Basement Tapes are Complete, 11: The Basement Tapes.

Dylan was destined to record his next album, John Wesley Harding (1967). Dylan asked Robertson and Garth Hudson about playing on the album to bring out the sound. However, when Robertson heard the tracks, he liked the crispness of the sound and suggested that Dylan leave the songs as they were. 147–48 Dylan appeared with the Hawks as his backup band at two Woody Guthrie memorial concerts at Carnegie Hall in New York City in January 1968. LP A Tribute to Woody Guthrie, Vol. 1 (1972): A.K.A.

During the "Basement Tapes" period, the group had developed a sound of their own, and Grossman went to Los Angeles to sell the company to a major label, securing a deal with Capitol Records. The group of 22,28 people went to New York to begin recording songs with music producer John Simon. Capitol sent the group to Los Angeles to finish the album. Music From Big Pink, the resulting album, was released in August 1968.

"The Weight," "Chest Fever," "Caledonia Mission," and "To The Kingdom Comes," Robertson wrote four of the songs on Music From Big Pink, including "The Weight," "The Confession," and "To The Kingdom Comes." In the songwriting credits, Robertson is listed as "J.R. Robertson." Robertson sang lead vocal on "To Kingdom Come"; he would not appear on another Band album until "Knockin' Lost John" on 1977's Islands. 158 Two of Robertson's compositions for the album, "The Weight" and "Chest Fever," would be key touchstones in the company's career. "The Weight" was inspired by director Luis Buuel's films, particularly Nazarn (1959) and Viridiana (1961), and it echoes Buuel's films' about the impossibility of sainthood. The song depicts an individual who wants to travel on a saintly pilgrimage but is confronted by calls from other people wanting to do favors for them along the way. The mention of "Nazareth" at the start of the song refers to Nazareth, Pennsylvania, where the C. F. Martin & Company guitar manufacturer is based; it was inspired by Robertson's discovery of the word "Nazareth" in the hole of his Martin guitar; Despite the fact that "The Weight" made it to #21 on the British radio charts, it didn't do as well on the American charts, stalling at #63.

The song gained traction after Jackie DeShannon (US #55, 1969), Aretha Franklin (US #19, 1969), and Supremes with the Temptations (US #46, 1969), as well as the band's inclusion in the movie Easy Rider (1969), which became a runaway hit. Since becoming the Band's most well-known song, "The Weight" has been a hit. Several musicians, appeared in hundreds of films and documentaries, have all covered it, and it has become a staple of American rock music.

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Big Pink's music first emerged in 1968, the band initially refused media attention and discouraged Capitol Records from promotion attempts. They also didn't immediately plan to promote the album and refused to be interviewed for a year. 38 The company's enigma surrounding it sparked rumors in the underground press. Big Pink's music has received raves, and the album inspired several well-known musicians of the time.

The Band rented a house from Sammy Davis Jr. in Hollywood Hills in early 1969 and turned the pool house behind it into a studio to recreate the "clubhouse" atmosphere that they had previously loved at "Big Pink." The band began recording every day in the pool house studio, completing the album on a tight schedule. 176–178 In April 1969, three tracks were added to The Hit Factory in New York. The majority of the recording was done by Robertson.

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The band began playing regularly in spring 1969, with the Band's first live dates at the Winterland Ballroom in San Francisco. Bob Dylan and the 1969 Woodstock Festival were two of the year's best shows, as well as the UK Isle of Wight Festival in August.

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The Band's album The Band was released in September 1969 and became a critical and commercial success. The album received almost universal critical acclaim, debuted at number 9 on the US pop charts, and stayed in the top 40 for 24 weeks. 25 The Band is a loose interpretation of Americana themes and was instrumental in the inception of the Americana music style. In 2009, it was included in the National Recording Registry of Congress.

"The Night They Drove Old Dixie Down" was the album's most popular song on this album. After the Civil War's demise of the South, the song explores a Confederate man's life. It incorporates historical events in order to create a larger American mythos. Although the band's original version was not released as a single, Joan Baez's cover version debuted on the charts in 1971 and helped popularize the song.

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Several other songs from The Band received substantial radio airplay, and the band's concert appearances would become staples. In late 1969 in the United States, "Up on Cripple Creek" reached the top of the charts, and it would be their first Top 30 hit there. In April 1970, "Rag Mama Rag" hit #16 in the United Kingdom, the highest chart position by the group in that region. Richard Manuel's book "Whispering Pines" was released in France as a single in 1970 and will be the subject of a 2009 book by Jason Schneider on Canadian contributions to the Americana music genre. The Band appeared on the Ed Sullivan Show on November 2, 1969, one of only two television appearances they would make.

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The Band appeared on Time magazine's cover on January 12, 1970. This was the first time a North American rock band was featured on the front page of the paper.

The Band rented The Woodstock Playhouse in Woodstock, New York, with the intention of recording a new live album there, but the city council refused to allow it, so they recorded on location but not without an audience. As before, Robertson was in charge of the majority of the songwriting tasks. Todd Rundgren, the engineer, was sent by Robertson to engineer the album, which was released in two weeks' time. Stage Fright, the band's highest charting album, debuted at #5 on September 5 and remained in the Billboard Top 40 for 14 weeks, with Stage Fright becoming the band's third album.

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Cahoots, Albert Grossman's newly built Bearsville Studios, was released in October 1971. The album received mixed feedback and peaked at #24 on the Billboard charts, with 54–58 only remaining in the Billboard Top 40 for five weeks.

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Cahoots is known for its coverage of Bob Dylan's "When I Paint My Masterpiece," as well as the inclusion of "Life Is a Carnival" on the show. "When I Paint My Masterpiece" came about when Dylan stopped by Robertson's home during the recording of Cahoots and Robertson asked if he had any songs to contribute. Dylan starred in an unfinished version of "When I Paint My Masterpiece" for him. Dylan finished the song shortly after, and the Band recorded it for the album. Allen Toussaint, a writer and arranger, wrote horn parts on "Life Is a Carnival." It will be the only track from Cahoots that the band will follow on their set list all the way to the Last Waltz concert and film.

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The band toured from 1970 to 1971. As the double album Rock Of Ages, a live album made at a number of shows at the Academy of Music in New York City from December 28-31, 1971. Rock of Ages reached their high point at #6, and the king of the Top 40 for 14 weeks.

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The Band retreated from performing live after the Academy of Music's showcases. They returned to Watkins Glen on July 28, 1973, to compete in the Summer Jam with the Allman Brothers Band and the Grateful Dead. Capitol Records as the album Live at Watkins Glen in 1995, the Band's performance was released. In the Guinness Book of World Records, over 600,000 people attended the festival, setting a new record for "Pop Festival Attendance." The data was first published in the book's 1976 edition.

The Band released Moondog Matinee, a collection of cover songs that debuted at number 28 on the Billboard charts in October 1973. 25 Robertson began working on an exciting project called Works, which was never completed or released around the time of the video of Moondog Matinee. In Robertson's song "Fallen Angel," one of his Works project's lyrics, "Lay a flower in the snow," was used.

In February 1973, Bob Dylan moved from Woodstock, New York, to Malibu, California. Robertson went to Malibu in the summer of 1973, and the majority of the band members had followed suit, purchasing homes near Zuma Beach by the end of the year.

David Geffen had signed Dylan to Asylum Records and worked with promoter Bill Graham on the theory that the Bob Dylan and the Band 1974 Tour would be a joint effort. This will be Dylan's first tour in more than seven years.

In the meantime, Bill Graham in the New York Times ran a complete advertisement for Bob Dylan and the Band tour. With between 5 and 6 million ticket requests for 650,000 seats, one of the best in entertainment history up to that point. Graham's office continued to sell tickets on a lottery basis, and Dylan and the Band earned $2 million from the deal.

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Among the rehearsals and rehearsals, the Band went into the studio with Bob Dylan to record a new album for Asylum Records that would be dubbed the Bob Dylan album Planet Waves (1974). From November 2 to 14, 1973, Village Recorder in West Los Angeles, California, held sessions. On February 9, 1974, the first planet Waves was released. The album debuted at number one on Billboard's top 40 for four weeks, and it took home 12 weeks in total, and it was Bob Dylan's first and only time the band and the band recorded a studio album together.

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On January 3, 1974, the 1974 tour began at the Chicago Stadium and ended at The Forum in Inglewood, California, on February 14. The shows began with more songs from Dylan and the Band's new Planet Waves album, as the tour progressed, they began to perform older and more familiar material, with only keeping "Forever Young" from the Planet Waves album on the set list. Dylan and the Band performed a number of songs from the turbulent 1965–1966 World Tour, this time to a largely positive audience reaction, which had not been muted and boos a mere nine years ago.

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The final three shows of the tour at The Forum in Inglewood, California, were captured and assembled into a double album Before the Flood. "Bob Dylan/The Band" is credited to Asylum Records prior to the disaster's outing on July 20, 1974. The album debuted at #3 on the Billboard charts and spent ten weeks in the Top Forty.

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Elliot Roberts, the band's manager, had been booked with the newly revived Crosby, Stills, Nash, and Young following Bob Dylan's reunion tour in 1974. Both artists appeared at Wembley Stadium in London on September 4, alongside Jesse Colin Young and Joni Mitchell.

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Robertson and the Band had found "Shangri-La" a ranch in Malibu near Zuma Beach, and decided to rent it. The main house on the ranch had been constructed by Lost Horizon (1937) actress Margo Albert, and the ranch had been used as the filming and stabling site for the Mister Ed television show in the 1960s. In the interim, the house had been operating as a high-end bordello.

The Basement Tapes album, which was credited to Bob Dylan and the Band, was the first album performance to be recorded in the new studio. The album, which was produced by Robertson, included a selection of tapes from the original 1967 Basement Tapes sessions with Dylan, as well as demos for songs that were not released on the Music From Big Pink album. Robertson penned down the tracks, and the album was released in July 1975. 298 : 311-13.

Shangri-La Studios' return to a clubhouse atmosphere that the Band had enjoyed before at Big Pink, and the group's first release of original material in four years was in the spring of 1975. "Acadian Driftwood," the first album to feature specifically Canadian subject matter, is one of the album's most well-known tracks. After watching the documentary "Acadie, l'Acadie (1971) on Canadian television while in Montreal, Robertson was inspired to write "Acadian Driftwood." 298–299: 1977–79 "It Makes No Difference" and "Ophelia" are two other notable tracks from the album.

Northern Lights – Southern Cross was first published in 1975 on November 1, 1975. The album received mostly favorable feedback: 300 and #26 on the Billboard charts, but it stayed in the Top 40 for five weeks.

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In June 1976, the band began touring again, this time throughout the summer. With Levon Helm's establishment of a studio in Woodstock and Rick Danko's being hired as a solo artist to Arista Records, the members of the band were splintering away to work on other projects.

Richard Manuel was involved in a boating accident that severely injured his neck, and ten dates of the 25-date tour were postponed. 30–01 : 324–5 Robertson introduced the idea that the Band would cease to exist as a touring act during this time. According to Robertson, the group's mutual understanding was that they would host one final "grand finale" exhibition, part of work on their various projects, and then regroup. Helm later argued in his autobiography, This Wheel's On Fire, that Robertson had caused the Band's disbandment of the rest of the team.

On Thanksgiving Day, November 25, 1976, concert promoter Bill Graham booked the band at the Winterland Ballroom. The performance was intended as a gala event, with ticket prices starting at $25 a person. The Band will appear with various musical guests at the Thanksgiving dinner and the audience will attend the performance. Ronnie Hawkins, Muddy Waters, Paul Butterfield, Dr. John, Bob Dylan, Eric Clapton, Van Morrison, Joni Mitchell, Emmylou Harris, and others were among the onstage guests onstage.

Robertson wanted to film the concert, so he called director Martin Scorsese to see if he'd be interested in shooting the event. 73-74 The Last Waltz - The Winterland concert was held in Winterland. Robertson and Scorsese created a 200-page script for the show, listing the songs' lyrics, who was singing what section, and what instruments were featured. It contained columns for the camera and lighting work.

Scorsese brought in all-star cameramen, including Michael Chapman, László Kovács, and Vilmos Zsigmond to film the film in 35mm. As the band's first two albums, John Simon, a producer, was brought in to coordinate rehearsals and work as musical director. Boris Leven was hired as art director. Jonathan Taplin assumed the role of executive producer, while Robertson served as the film's producer.

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The Last Waltz concert rehearsals began in early November. Warner Bros. Records president Mo Ostin agreed to fund the production of The Last Waltz film in exchange for the right to release music from The Last Waltz as an album. However, the company was contractually bound to provide Capitol Records with one more album before being sent to Warner Bros. The Band spent time in between rehearsing and recording on Capitol's studio album Islands. Eight of the ten tracks were written or co-wrote by Robertson. Robertson's "Knockin' Lost John," one of Robertson's hits, was the first Band song Robertson had performed since "To Kingdom Come" from Music From Big Pink. Sebastian Robertson's son's birth in July 1974 inspires "Christmas Must Be Tonight"; 82

On November 25, 1976, the Last Waltz concert festival took place. Around five thousand people were present. The celebration began at 5 p.m., with the audience members being served a complete traditional Thanksgiving meal at candlelit tables, with a vegetarian table offering an alternative menu as an option. The Berkeley Promenade Orchestra performed waltz music for dancing afterward. At 8 p.m., the tables were cleared and moved. The Band played songs for an hour, beginning with "Up On Cripple Creek" at 9 p.m. Ronnie Hawkins, the first onstage guest, was onstage with a series of guest stars appearing with the company until just after midnight.

During a 30-minute break, several Bay Area poets gave readings of their poems. The Band returned to the stage after the break, performing, among other songs, that Robertson had only completed less than 48 hours before. At the end of this second set, Bob Dylan was brought in, performing numerous songs, and finally being joined by the other guest stars for the final performance of "I Shall Be Released." Two all-star jam sessions followed, and the Band then returned to the stage to close the show with one more song, their version of "Baby Don't Do It."

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After the Last Waltz concert performance was over, producer Martin Scorsese had 400 reels of raw footage to work with and started editing the video. The film was then sold to United Artists. In the meantime, Robertson and Scorsese began to brainstorm new film scripts. Emmylou Harris, a country singer, and the Staple Singers, a gospel vocal group, were filmed on a sound stage at MGM in April 1977. 73-87: Emmylou Harris performed on "Evangeline," Robertson's latest song, and the Staples Singers performed on a new album of "The Weight," which they had never intended to perform with. The interviews were conducted by Scorsese.

Warner Brothers Records' Last Waltz album was released on April 7, 1978, as a 3-LP set. Live performances from the festival are on display, and MGM's last side features studio recordings from the MGM sound stage sessions. The album debuted at #16 on Billboard charts, and it remained in the Top 40 for eight weeks.

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On April 26, 1978, the Last Waltz film was released in theatres. Both rock and film commentators enjoyed the film. To promote the film, Robertson and Scorsese made appearances around the United States and Europe. 361 Over time, the Last Waltz has been lauded by many as a leading and pioneering rockumentary. Its influence has been felt on subsequent rock music films, including Talking Heads' Stop Making Sense (1984) and U2's Rattle and Hum (1988).

Jesse Winchester's debut self-titled album, Ampex Records' 1970, was released in 1970. Robertson appears on the album throughout the album, co-crediting Robertson's track "Snow" to Robertson as well.

Robertson appeared on guitar on ex-Beatle Ringo Starr's third solo album, Ringo (1973), while the Band's four-fifths, "Sunshine Life For Me" was a television show. On Robertson's fourth album, Goodnight Vienna (1974), Robertson performed a guitar solo on "Snookeroo."

Robertson performed on song "Raised on Robbery," which was released on her album Court and Spark. Robertson appeared on Carly Simon's "Mockingbird" in 1974, which featured Simon performing with her then-husband James Taylor.

Robertson produced and performed guitar on Hirth Martinez's debut album Hirth From Earth in 1975. Bob Dylan had heard Martinez and recommended him to Robertson. Robertson, who identified strongly with Martinez' music, helped him to land a recording deal with Warner Bros. Records, and decided to produce Martinez' debut album. Martinez also performed guitar on Martinez' follow-up album, Big Bright Street (1977).

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Eric Clapton recorded the album No Reason to Cry at the Band's Shangri-La Studios in 1975, with the help of members of the band. On the track "Sign Language," 326 Robertson played lead guitar.

Robertson met with singer Neil Diamond in the mid-1970s, and the two began working on a concept album about a Tin Pan Alley songwriter's life and times. Beautiful Noise, Shangri-La Studios' original album, was released in early 1976. It ranked 6 on the Billboard charts and remained in the Top 40 for ten weeks. Robertson produced the album, co-wrote the song "Dry Your Eyes" with Diamond, co-wrote the song "Dry Your Eyes," and "Jungletime" and "Dry Your Eyes." Love at the Greek (1977), Diamond's live double album, was released in Los Angeles in 1976. The Greeks ranked #8 on the Billboard charts and stayed in the Top 40 for nine weeks.

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Robertson made two album projects for the Band alumni in 1977. Robertson appeared on "Java Blues" on Rick Danko's self-titled debut album, as well as on the Earl King-penned "Sing, Sing, Sing" on the album Levon Helm & the RCO All-Stars.

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Robertson appeared on Levon Helm's second self-titled album in 1977. Robertson, 21, 279 – 279 (1983) developed the album "The Night You Took Me To Barbados In My Dreams" (co-written by Titus and Hirth Martinez), and wrote and performed guitar on the Cole Porter song "Miss Otis Regults."

Film career 1980–1986

Robertson was seen as a potential film actor after the film's debut, and MGM/UA, who released the film, provided Robertson with an office on the MGM lot. During this period, Martin Scorsese's agent, Harry Ulfand, contacted Robertson about the possibility of a dramatic film about traveling carnivals, which Robertson was attracted to due to his childhood experiences in carnivals. Robert Kaylor, a documentary filmmaker, helmed the film Carny.

Although Robertson was intended to be the producer of Carny, he wound up being the third lead actor in the film, playing Patch, the patch man. Gary Busey appeared on "Frankie," the carnival bozo and Patch's best friend. Jodie Foster was selected to play Donna, a small town girl who runs away to attend the carnival and threatens to clash between the two families. Professional film actors appear on camera, which created a challenging scene on set. On June 13, 1980, Carny first appeared in theaters. Also in 1980, Warner Bros released a soundtrack album for Carny, which is co-credited to Robertson and composer Alex North, who produced the film's orchestral score. In 2015, Real Gone Music's soundtrack was re-released on compact disc.

Robertson returned to New York to assist Martin Scorsese on the soundtrack for the film Raging Bull (1980).

Robertson and Scorsese will have a long-term working relationship. The former actor would find and/or create music to promote the latter's films. Raging Bull was the first of these collaborations. Robertson owes his fascination with sourcing and underscoring music for movies to his time on Raging Bull.

For sourced music, Robertson produced three recently released instrumental jazz tracks. Robertson appears on these three tracks, as well as performances from the Band alumni Garth Hudson and Richard Manuel. Robertson and Garth Hudson co-authored "Webster Hall," one of the tracks. Robertson also worked with Scorsese on selecting the film's opening theme song, choosing the intermezzo from Cavalleria Rusticana by Italian opera composer Pietro Mascagni. Capitol Records' soundtrack was finally released in 2005 as a 37 track, 2-CD set.

Robertson appeared in Scorsese's next film, The King of Comedy (1983), and he was included in the film's opening credits for "Music Production." "Between Trains," Robertson's soundtrack featured one original track. The song was written in honor of "Cowboy" Dan Johnson, an assistant of Scorsese's who had recently died. 379 Robertson produced the album, sings lead vocals, and plays guitar and keyboards; Band alumni Garth Hudson and Richard Manuel were on target; Warner Bros. in 1983 released a soundtrack album for the film.

Robertson's next film, The Color of Money, was released in June 1986. Robertson also composed the film's score, providing Robertson with the first time he had ever written a dramatic underscore for a film. Robertson brought in Canadian jazz composer Gil Evans to orchestrate the arrangements.

Eric Clapton's "It's in the Way You Use It" is the best known song on The Color of Money soundtrack, and it was co-written by Robertson. In January 1987, Billboard's "It's in the Way You Use It" debuted at number one on the Billboard Mainstream Rock Songs chart. Willie Dixon's film "Don't Tell Me Nothin'" was co-written by Robertson; Dixon's track was co-written with Robertson. MCA Records released the Color of Money's soundtrack album.

Solo career

After signing to Geffen Records, Robertson began working on his first solo album, Robbie Robertson, in July 1986. Daniel Lanois, a fellow Canadian, was chosen by Robertson to produce the album. The Village Recorder in West Los Angeles, California, produced a substantial portion of the album. He appeared at Bearsville Studios near Woodstock, New York, as well as in Dublin, Ireland, with U2, and Bath, England, with Peter Gabriel. U2, Gabriel, the Bodeans, and Maria McKee were among the album's guests on the album. Garth Hudson and Rick Danko were also on the album. After Richard Manuel's death in March 1986, Robertson released "Fallen Angel" on his own. 384

Robbie Robertson, who was born on October 26, 1987, debuted at number 35 on the Billboard 200, and remained in the top 40 for three weeks. 260 The album charted even higher in the United Kingdom, peaking at #23 on the UK Albums Chart and remaining on the charts for 14 weeks. Robbie Robertson gained acclaim at the time of its unveiling, being included in several commentators in Billboard magazine's 1987 "The Critics' Choice" end of the year feature. In Rolling Stone's 1989 list of "The 100 Greatest Albums of the Eighties," the album came in 77th place.

Robertson's single biggest success in the United Kingdom was "Somewhere Down The Crazy River," which showcased his spoken word verses in comparison to singing in the choruses. The song debuted at #15 on the UK Hit Singles chart, and it remained in the top ten songs for 11 weeks. Martin Scorsese directed "Somewhere Down the Crazy River" and starred Maria McKee in an acting role.

Robbie Robertson of the United States made several hits on the Billboard Mainstream Rock charts, with "Showdown At Big Sky" coming in the top (#2) and "Sweet Fire Of Love" coming in second (#7). In 1991, the album was nominated for a Grammy Award for "Best Rock / Vocal Album" and was named gold in the United States. At the 1989 Juno Award ceremony in Canada, Robertson received Album Of The Year, Best Male Vocalist Of The Year, and Producer Of The Year.

Rod Stewart produced a "Broken Arrow" for his album Vagabond Heart in 1991. Stewart's version of the song debuted at #20 on the Billboard 100 charts in the United States and ranked second on the Billboard Top Canadian Hit Singles chart. The Grateful Dead's "Broken Arrow" was live on keyboards, with Phil Lesh on vocals.

Storyville was first published on September 30, 1991. Robertson left for New Orleans to work with Aaron and Ivan Neville of the city's Rebirth Brass Band and Aaron Neville. Robertson recalled Garth Hudson and Rick Danko as contributors once more. The album debuted at #69 on the Billboard 200 chart, peaking at #69. Several positive reviews have been shared about Storyville, with Rolling Stone giving it 4 1/2 stars out of 5 stars and the Los Angeles Times awarding it 3 stars out of 4. On the Billboard Mainstream Rock charts at #15 and #32 respectively, two songs from the album, "What About Now" and "Go Back To Your Woods," charted. The album was nominated for Grammy Awards in the categories "Best Rock Vocal Performance (solo)" and "Best Engineer."

Robertson co-produced the song "The Best of Everything" with Tom Petty for the Tom Petty and the Heartbreakers album Southern Accents in 1984. Robertson was also involved in the horn arrangements for the tour, and he welcomed in Band alumni Richard Manuel and Garth Hudson as guests.

Robertson appeared on the album Reconciled by the Call in 1986, playing guitar on the song "The Morning."

Robertson was hired as a Hail creative consultant in 1986.

Hail!

Rock 'n' Roll (1987), a tribute to Chuck Berry that was on display in a deluxe film. Robertson appears in film, interviewing Chuck Berry, then playing guitar, while Berry recalls poetry.

Robertson performed as a songwriter with Lone Justice lead singer Maria McKee in 1988. "Nobody's Child," McKee's self-titled debut album in 1989, was one of the songs they co-wrote.

Robertson recorded and performed a new version of the Band's "Christmas Must Be Tonight" for the Scrooge soundtrack in 1989. Robertson appeared on the Ryuichi Sakamoto album Beauty in 1990, playing guitar on the song "Romance." In addition, he was instrumental in the creation of One World One Voice, a world music video and album collection.

Robertson's posthumous album "King of Hearts" was released in 1992. Orbison had known that it was missing, but it was only recently discovered that it had been restored. Robertson began to expand Orbison's basic vocal track with new arrangements and instruments, with the intention of making it appear as if the arrangements were present from the start rather than later additions.

(1994) Music for the Native Americans Robertson returned to his roots in 1994, founding the Red Road Ensemble for Music for the Native Americans, a collection of songs accompanying a TBS television documentary series. "The Night They Drove Old Dixie Down" and "Acadian Driftwood," Robertson discusses history that has ties to his life and family. In the song, "Ghost Dance," the Battle Of Wounded Knee and the near-extinction of the buffalo in the United States are described. Robertson was named with a Juno Award for Producer of the Year. "Mahk Jchi (Heartbeat Drum Song)"'s international success sparked a festival in Agrigento, Italy, honoring Native American music. Robertson and other Native American musicians opened the festival, and portions of the live show appeared in a PBS documentary.

Robertson deviated from his typical production style and delved deep into a mix of rock, native, and experimental music in 1998. Howie B, DJ Premiership, and producer Marius de Vries also worked with him (Björk, Massive Attack). He takes a closer look at indigenous traditions such as Peyote Healing through the album's songs. "The Sound Is Fading" on the album's opening track samples a recording of a young Native American singer from the 1940s that Robertson obtained from the Library Of Congress, and "Sacrifice" includes excerpts from an interview with Leonard Peltier that was set to a soundscape created by Robertson and de Vries. The racial epithet in the album's name comes from an encounter with Robertson's nickname, "Red Boy," when he was playing with his cousins. Rolling Stone awarded the album 4 out of 5 stars, and Robertson received the Juno Award for Best Music of Aboriginal Canada Recording.

How to Become Clairvoyant (2011): Robertson's fifth solo debut on April 5, 2011. Eric Clapton, a longtime friend, has contributed to the collection. It stars Eric Clapton, Steve Winwood, Trent Reznor, Tom Morello, Robert Randolph, Robert Randolph, Rocco Deluca, Angela McCluskey, and Dawes' Taylor Goldsmith. On CBS's Late Show with David Letterman and Later... with Jools Holland in support of the album, Robbie performed "He Don't Live Here No More." Jimmy Fallon appeared on "Straight Down The Line" with Robert Randolph and the Roots.

The album was released in a deluxe version with five bonus tracks (four demos and the exclusive track "Houdini," named after magician Harry Houdini. "How To Become Clairvoyant" debuted at No. 1 on Friday. Robbie's solo works on the Billboard 200 reached number 13 on the Billboard 200, marking his highest debut and highest chart position for him. He collaborated with painter and photographer Richard Prince to produce a special limited-edition collector's edition of the album. The resulting LP-sized box contained an art book, an individually numbered series of five lithographs (including pieces by Prince and photographer Anton Corbijn), a set of original tarot cards, and the original album plus ten bonus tracks. Only 2,500 were produced.

Sinematic (2019): Robertson's sixth solo album was released on September 20, 2019. On the track "I Hear You Paint Houses," Van Morrison and Robertson appear as dueling hitmen as well as other references to Scorsese's cinema. On the album, Citizen Cope, Derek Trucks, and Frédéric Yonnet appear.

Later career

Robertson appeared in Martin Scorsese's films Casino, The Departed, and Gangs of New York, as well as providing music for Shutter Island, The Wolf of Wall Street, and Silence. He headlined the 1995 National Labour Day concert festival in Rome, assassinating artists Andrea Bocelli, Elvis Costello, and Radiohead.

Robertson, a senior film producer, attended a demonstration of Change the World and sent it to Clapton as a suggestion for the soundtrack of Phenomenon, starring John Travolta. The album was released by Babyface. The world changed everything in 1997, winning Grammy Awards for Song of the Year and Record of the Year. Robertson wrote songs for Oliver Stone's film Any Given Sunday, 1999.

Robertson was convinced by David Geffen and Mo Ostin in 2000 that he should join DreamWorks Records as a creative executive. Robertson, who advised Nelly Furtado not to join the company, is actively involved in film projects and the creation of new artist talent, including A.i., Boomkat, eastmountains outh, and Dana Glover. Robertson performed "Stomp Dance (Unity)" in Salt Lake City, Utah, on February 9, 2002, as part of the opening ceremony of the 2002 Winter Olympic Games. He contributed "Shine Your Light" to the Ladder 49 soundtrack in 2004.

Robertson, a musician from 2005, was executive producer of the band's definitive box set, A Musical History. On the track "Twilight," a Robertson song on Lewis' album Last Man Standing, he recorded with Jerry Lee Lewis in 2006. Robertson appeared at Eric Clapton's Crossroads Guitar Festival in Bridgeview, Illinois, on July 28, 2007. Robertson accepted an invitation to participate in Goin' Home: A Tribute to Fats Domino (Vanguard). Robertson created a "Goin'" version of Domino's "Goin" to the River with the company Galactic.

The Irishman, Robertson, a film that took place in Martin Scorsese, provided the score and worked with music manager Randall Poster on the entire soundtrack.

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