Wyoming's Timber Canyon Studios Opens with Solid State Logic ORIGIN ConsoleAccording to news on Tuesday, "Veteran engineer, mixer, producer and musician Jim Roberts and his wife and business partner, Marie, have launched their new private music production facility, Timber Canyon Studios, in the Laramie Mountains of southeastern Wyoming. The studio’s control room is centred around a Solid State Logic ORIGIN 32-channel analogue mixing console and additionally features U Series DAW controllers, Fusion and THE BUS+ analogue processing units, as well as SSL 500 Series modules."

"The couple, who have known each other since high school, lived and worked in New York for 46 years before relocating their studio to Colorado in 2012. Several years ago, inspired in part by the famed Caribou Ranch in Colorado, they began planning a destination studio that could similarly attract major artists to the Front Range of the Rocky Mountains. The 2,100-square-foot recording studio, designed by renowned acoustician Sam Berkow, incorporates windows throughout the spacious tracking space and control room that offer expansive views of the mountains and herds of pronghorn that roam the 35-acre property."

ORIGIN: pushing the frontier of hybrid workflow"Jim Roberts, whose credits include work with Kansas, Steve Walsh, John Entwistle and Leslie West, among others, jumped at the chance to replace his SSL Matrix with the new ORIGIN console."

“I work in the hybrid world, but I come from an analogue world, and it felt very much like an SSL 4000. It was the right time, right price point, right feature set and right kind of routing, with an eye towards the hybrid workflow that I enjoy now.”

At Timber Canyon, he continues, “I wanted to mix analogue and do the recall in Pro Tools, and I wanted to have a tracking studio.” Having worked on various SSL analogue desks over the years, he says, “I still think there's tremendous value when you're tracking to be able to put your hands on everything at once, including the headphone mixes and the EQ — and ORIGIN has the EQ flavour you want on a board - SSL’s ‘242’ black knob design.”

A host of tools from Solid State LogicRoberts keeps all his SSL audio tools close at hand. “The ORIGIN’s centre section is configurable, so I chose to put the UF8 8-fader DAW controller in the centre section, directly above the analogue stereo group faders. That’s brilliant, because you're right in the sweet spot and you can control both legs of the journey, analogue and digital. And I've got the UF1 DAW controller on a rolling cart, right where I would once have had the tape machine auto locator, off to my right hand. With the integrated UF8 and UF1 directly on hand, I really don’t feel the need for a fully automated console. Then I have THE BUS+ and the Fusion in the left sidecar of the console with a 500 series ‘lunch box’ with two 611DYN modules.”

Choosing an SSL console for its sound quality is a given, but beyond the sonics, Roberts says, “Taking away all those physical switches that you had on the older SSL consoles, all those points of failure, and using logic and a digital matrix to control the analog routing is brilliant and is also infinite in terms of how you can group things and bus things. You can change up your workflow. The number of possible permutations far exceeds anything that I currently do, but it’s very reassuring knowing the console will allow me to take my workflow in any direction I like.”

He also appreciates SSL’s thoughtfulness in maintaining a vintage feel and retaining SSL’s console design legacy with the ORIGIN, while also enabling it to integrate seamlessly into today’s hybrid workflow. “The Unity gain button on each channel, on both sets of faders, makes it easier to break out stems from Pro Tools. A quick button push and everything's at 0 dB, and you can do that across 64 faders if you want to. To me, that shows that they're paying attention to modern workflows,” he says.

Realising the ultimate vision with no boundariesThe past three years, building the studio, a home and accommodation for two or three visitors, has been hard work. “But this was the ultimate vision, where we had no physical boundaries,” he says, noting that his previous studios were retrofits into existing spaces. He and his wife conferred with several architects and acousticians. “Sam sent his proposal, and we looked at each other and said, ‘Let's make this investment.’ Because, A, we want to get it right and, B, it's going to bring an air of legitimacy to the space.”

Laramie is well located for anyone travelling to the region, Roberts notes, with Denver Airport just a two-hour drive away or a short hop from Laramie’s regional airport. “We're just a few miles from the University of Wyoming and its music department, which was another reason why we picked this location. It's a big music town, with lots of live venues. There's plenty of music going on nearby, let alone regionally or nationally.”

Meanwhile, following the facility’s soft open in September, Roberts and a group of friends are now producing a third full-length record of the band they put together during the COVID pandemic. “That was just a little passion project. We're not going to tour or gig. I also have a second personal project with some friends of mine from around the country. We record cover tunes, and I license them. We put the songs out just for fun; it’s music therapy, which we probably all need!”The post Wyoming's Timber Canyon Studios Opens with Solid State Logic ORIGIN Console first appeared on Music Connection Magazine.

Yes, “Great Things” Really Do “Start in Little Rooms.”A simple OpEd reflection on Andre 3000's impromptu statement, shared Sunday night in Outkast's Rock N Roll Hall of Fame induction acceptance speech.
The post Yes, “Great Things” Really Do “Start in Little Rooms.” appeared first on Hypebot.

Everything You Need to Know About Playlist Pitching in 2025Let's help you understand the ins and outs of getting placed on streaming playlists in 2025.
The post Everything You Need to Know About Playlist Pitching in 2025 appeared first on Hypebot.

GRAMMY Nominations 2025: Song of the YearThe 2025 GRAMMY nominations are here and we're going to help you to untangle it all right up until the big event, continuing with the Song of the Year category.

Take a listen to the nominated songs below--who do you think will win?

See the full list of nominees in every category here.

"Abracadabra"Lady Gaga, Henry Walter & Andrew Watt, songwriters (Lady Gaga)

"Anxiety"Jaylah Hickmon, songwriter (Doechii)

"APT."Amy Allen, Christopher Brody Brown, Rogét Chahayed, Omer Fedi, Philip Lawrence, Bruno Mars, Chae Young Park, Theron Thomas & Henry Walter, songwriters (ROSÉ, Bruno Mars)

"DtMF"Marco Daniel Borrero, Scott Dittrich, Benjamin Falik, Benito Antonio Martínez Ocasio, Hugo René Sención Sanabria, Tyler Thomas Spry & Roberto José Rosado Torres, songwriters (Bad Bunny)

"Golden [From KPop Demon Hunters]"EJAE & Mark Sonnenblick, songwriters (HUNTR/X:EJAE, Audrey Nuna, REI AMI)

"luther"Jack Antonoff, Roshwita Larisha Bacha, Matthew Bernard, Scott Bridgeway, Sam Dew, Ink, Kendrick Lamar, Solána Rowe, Mark Anthony Spears & Kamasi Washington, songwriters (Kendrick Lamar With SZA)

"Manchild"Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)

"WILDFLOWER"Billie Eilish O'Connell & Finneas O'Connell, songwriters (Billie Eilish)

Lady Gaga photo by Sebas Montesinos, licensed under the Creative Commons Attribution-Share Alike 4.0 International license.The post GRAMMY Nominations 2025: Song of the Year first appeared on Music Connection Magazine.

HYBE’s Weverse superfan platform is growing – and going big in ChinaHYBE's superfan platform Weverse is making significant inroads into China through strategic partnerships with two of the market's digital giants
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Bandsintown’s 2025 High Notes Is Coming — Artists, Prep Your Profile!Bandsintown's exclusive trending High Notes recap is back for 2025. It's an annual profile of live music both personal and global. Stay tuned!
The post Bandsintown’s 2025 High Notes Is Coming — Artists, Prep Your Profile! appeared first on Hypebot.

Your Morning Coffee Podcast: Radio Royalties, Spotify Payola Accusations, MoreEpisode 275 of Jay Gilbert and Mike Etchart's podcast Your Morning Coffee: Weekly News for the New Music Business is available now.
The post Your Morning Coffee Podcast: Radio Royalties, Spotify Payola Accusations, More appeared first on Hypebot.

Could Ace Frehley Have Been a Stand-Up Comedian? Comic Don Jamieson States His CaseThat Metal Show co-host and stand-up comedian Don Jamieson espouses on the opinion that the Kiss guitarist could have cut it as a comedian in this excerpt from Greg Prato's book, "Talk to Me: Conversations With Ace Frehley."

Rico Nasty Gets Gnarly at the FondaEighty percent of the best new rappers of the last decade have been female. After years and years of misogyny in the music industry that, lets be clear, does still exist, it does at least seem to have gotten through to some of the people at the top of the industry tree that, hey, if there's more than one female rapper in the charts at the same time, the world won't implode.

So, beefs aside, we have Cardi and Nicki, Megan and Doja. Bubbling under, we have a lot more strong, talented women ready to make the break into arena-level shows. Saweetie, Ice Spice, Doechii, Coi Leray, Kash Doll... the list goes on and on. And let's get this right: If Rico Nasty isn't headlining the Kia Forum in two years MAXIMUM, then something's wrong with the world.

She's got it all. Rico Nasty's rhymes are incisive, intelligent and, in the very best possible way, cutting. Her delivery is rapid-fire and, most importantly, very much her own. There's a little snarl in there, that bit of nasty, which is partially why she's so attractive to the contemporary punk crowd. That, and she performs on stage with a live guitarist as well as her DJ.

She's a consummate show-woman. She holds the crowd at the Fonda, Hollywood in the palm of her hand which, given the length of her nails, is a precarious but elevated position to be in.

And then there are her songs which are either gloriously memorable or rabble-rousingly anthemic. Oftentimes, they're both.

Weighing it at about 40 songs, her setlist at the Fonda was lengthy but didn't outstay its welcome by one microsecond.

"WHO WANT IT" and "EAT ME!" gets the crowd yelling along early, and there are some awesome choices of covers (Doechii's "Swamp B*tches" and Doja Cat's "Tia Tamera"). The set flies by, one killer tune after the other. Teezo Touchdown and Molly Santana join Ms. Nasty at various points, and Paramore's Hayley Williams gets up to help her with "Smack a B*tch," increasing the scream volume.

Towards the end, we get set highlight "TEETHSUCKER" and "Son of a Gun," but in truth the set was packed with highlights. Rico Nasty is the real deal--make her huge!

Photo credit: Emily Eizen, @emilyeizenThe post Rico Nasty Gets Gnarly at the Fonda first appeared on Music Connection Magazine.

From Suno getting sued by Koda to Live Nation’s $8.5bn in Q3… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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FINNEAS Created Apple TV’s New Mnemonic — Artists Take Note…Tapped by Apple, Grammy-winning producer and songwriter Finneas has created Apple TV's new sonic logo, or mnemonic. Artists, there could be opportunity here...
The post FINNEAS Created Apple TV’s New Mnemonic — Artists Take Note… appeared first on Hypebot.

Choosing a Digital Platform for Music Promotion Based on GenreThis post, courtesy of notefornote, talks about the differences between DSPs and why those differences matter for promotion depending on the genre of music you make as an artist.
The post Choosing a Digital Platform for Music Promotion Based on Genre appeared first on Hypebot.

Best of The Band, Robbie Robertson Insomnia, and The Band PhotographsOn December 12, Capitol Records/UMe will release the newly remastered The Best of The Band on vinyl, CD and Super High Material CD. The long out-of-print LP version will be available on standard weight black vinyl, marking the first time it’s been available since the 1980s. Both the CD and SHM CD versions have been mastered for digital format, with the SHM CD utilizing a special polycarbonate material that leads to additional clarity, depth and definition of sound.

At the height of summer of 1976, the sun was setting on The Band. Having ushered in the decade’s folk-rock movement by seamlessly weaving elements of rock, blues, jazz and country, The Band was at its breaking point. Guitarist and songwriter Robbie Robertson was tired of the road and interested in exploring new musical avenues, pianist Richard Manuel was still recovering from a boating accident, and Garth Hudson, Levon Helm and Rick Danko were all ready to go their separate ways. As the group prepared for their farewell concert, they released The Best of The Band, a retrospective of timeless classics that would influence music for generations to come.

Released on July 16, 1976, The Best of The Band is a precursor to a landmark moment in music history. Having first formed in the 1960s as Ronnie Hawkins’ backing band, The Hawks, the group— Helm (drums, vocals, mandolin), Robertson (guitar, piano, vocals), Danko (bass, vocals, fiddle), Manuel (keyboards, vocals, drums), and Hudson (keyboards, horns)—would back Bob Dylan during his controversial electric “plugged-in” phase.

Rechristening themselves as The Band, the group recorded their landmark debut album, 1968’s Music From Big Pink, featuring “Tears of Rage” and the song that would become the group’s enduring signature, “The Weight.” Drawing from the American roots music panoply of country, blues, R&B, gospel, soul, rockabilly, the honking tenor sax tradition, hymns, funeral dirges, brass band music, folk, and rock 'n' roll, The Band forged their singular sound that would forever change the course of popular music.

The Band followed in 1969 with their masterpiece, their eponymous album, which would go on to be lovingly called The Brown Album for its iconic cover. With classics like “Up On Cripple Creek,” performed in a star-making moment on The Ed Sullivan Show, and “The Night They Drove Old Dixie Down,” The Band’s fame skyrocketed and their status was cemented as one of the most respected and exciting bands in years.

Between 1970-76, The Band released four studio albums, including 1970’s Stage Fright (“The Shape I’m In”), 1971’s Cahoots (“Life Is A Carnival”) and 1975’s Northern Lights—Southern Cross (“It Makes No Difference,” “Ophelia”) plus the 1972 live record, Rock Of Ages (“Don’t Do It”), recorded at the Academy Of Music in New York City, until exhaustion and creative differences were too much to handle. They opted to lower the curtain on Thanksgiving 1976 with a performance at the Winterland Ballroom in San Francisco. 

The farewell gala would grow to include performances by friends such as Neil Young, Joni Mitchell, Van Morrison, Muddy Waters and Bob Dylan. Six weeks before the concert, Robertson reached out to filmmaker Martin Scorcesse to see if he’d film the show for posterity’s sake. The result was The Last Waltz, one of the greatest concert films ever made.

In the decades since their release, both The Last Waltz and The Best of the Band have stood as testaments to The Band’s undeniable place in rock and roll history. In 1994, The Band was inducted into the Rock and Roll Hall of Fame. Though every member has passed on, their legacy endures, and the upcoming The Best of the Band is at once both a perfect primer for those just discovering The Band’s genius and longtime fans eager to have the hits on vinyl once again.

The Best of The Band

Vinyl Track list

Side A

1. Up On Cripple Creek

2. The Shape I'm In

3. The Weight

4. It Makes No Difference

5. Life Is A Carnival

Side B

1. Twilight

2. Don’t Do It

3. Tears Of Rage

4. Stage Fright

5. Ophelia

6 The Night They Drove Old Dixie Down

CD Track list

1. Up On Cripple Creek

2. The Shape I'm In

3. The Weight

4. It Makes No Difference

5. Life Is A Carnival

6. Twilight

7. Don’t Do It

8. Tears Of Rage

9. Stage Fright

10. Ophelia

11. The Night They Drove Old Dixie Down

In other Band news, the sequel to Robbie Robertson’s New York Times bestselling memoir, Testimony, titled Insomnia, will be released November 11 via Penguin Random House. The late rock legend tells the story of his wild ride with Martin Scorsese – as friends, adventure-seekers, and boundary-pushing collaborators.

For four decades, Robertson produced music for Scorsese’s films, a relationship that began when Robertson convinced Scorsese to direct The Last Waltz, the iconic film of the Band’s farewell performance at the Winterland Ballroom on Thanksgiving 1976. Insomnia is an intimate portrait of a creative friendship between two titans of American arts, one that would explore the outer limits of excess and experience before returning to tell the tale.

Elliot Landy is a celebrated music photography artist and writer, who has captured some of the industry’s greatest names. His iconic works include portraits of rock music giants like Bob Dylan, Jimi Hendrix, Janis Joplin, The Band, Jim Morrison, and many others. As a photojournalist as well, his early career images documented and supported the rising tide of anti-war sentiment and spiritual awakening throughout the United States during the late 1960s. Since 1967 Elliott’s work has been published and exhibited in galleries and museums worldwide. He has published nine books on his photography.

Elliott Landy has announced a second volume of photos that he took of The Band. Ten years after the first edition that had long since sold out, the legendary photographer will publish The Band Photographs: 1968 – 1969 Two-Volume Set. The hardcover title, 12×12 inches, joins the two editions, with a combined 352 pages and nearly 400 photos. The book, via publisher Weldon Owen, arrives November 25, 2025. The title features a foreword by Eric Clapton and an introduction by Bruce Springsteen.

When you picture The Band, you have Landy’s photographs in your mind. He took the legendary photos in their 1968 debut album, Music From Big Pink, and The Band, their self-titled 1969 follow-up.

“I was the only photographer who had access to The Band during that period while living in Woodstock, NY,” he says. “Because we were friends, I had the freedom to hang out and take whatever pictures I wanted. I shot more than 10,000 frames of film of The Band during this period. Of these, fewer than 25 had been published prior to my 2015 book, The Band Photographs 1968-1969, which contained 200 photographs—most of which had never been published before.”

Want more on The Band? May I humbly suggest The Story of The Band From Big Pink to The Last Waltz that was published in 2018 by Sterling/Barnes & Noble. It’s a hardcover coffee table-size book I wrote with fellow author and musician, my brother Kenneth Kubernik.

Robbie Robertson always knew and respected my knowledge of The Band. Over nearly a half a century from 1976-2017 I conducted three extensive interviews with Robertson who praised my understanding of The Band. 

I saw the group in concert eight times, including three Bob Dylan/Band Inglewood Forum shows on the 1974 tour, and attended The Last Waltz as a reporter for Melody Maker. I’m glimpsed in the documentary.

In January 2017 I interviewed Robertson inside his office at The Village Recorders in Westwood, California, upstairs from where the Band and Bob Dylan recorded Planet Waves in 1973 with engineer Rob Fabroni and the live ’74 Bob Dylan and The Band album Before the Flood was mixed.        

During one chat, Robbie discussedcollaborating with Dylan onThe Basement Tapes.

“But we did have the experience with Bob Dylan and in doing The Basement Tapes with the songs that were supposed to be shared with other artists to record. It was because so many people recorded Bob’s songs and we were hooked up together, you thought ‘Oh. That’s part of it.’ And how that struck me I didn’t think about it in writing the songs or making the records that other people would do. This was a very interior thing. This was a thing between the five of us in the band. Something that we had collected over ages and pulled it together and made this gumbo.

“Bob already had such a track record that you thought people are going to be drawn to this. If he put something out there for people to record, people are going to be drawn to this. It just seemed to me that this was something he’s already established.

“Bob was involved in it. Garth was involved in it. Right? And part of it was just in fun. You know, we would record a song like ‘You Ain’t Going Nowhere.’ And Bob would say. ‘Whatta you think. Ferlin Husky? Right?’ And it was half kidding around and half meaning somebody is going to but with the way that he is and the way that he thinks too Bob that he could insist on sending that song to Ferlin Husky first. You know what I mean? Just because he would do something like that. But when we said ‘OK. We’ve got to pull some of these things. We were recording a lot of stuff. We were covering songs and just having fun. And then, every once in a while, there would be an original one in all of this.

“And when we were doing this not with Bob, this was the germs and the idea and the beginning of Music From Big Pink. That was happening kind of in the back room too. So, when we chose those songs to send out, we were choosing what we liked. We were kidding around. I didn’t notice Manfred Mann could do a really great job on ‘The Mighty Quinn.’ I didn’t know that. But we were saying ‘that ‘The Mighty Quinn’ thing has something to it.’”

The Band’s Music From Big Pink was on everybody’s turntable I knew in 1968. Their debut LP wasn’t really an outgrowth from road work with Dylan. Robertson and group members had previously logged some time in recording studios.

“When we hooked up with Bob Dylan it was made clear to Bob and to [our manager] Albert [Grossman], ‘this is a whistle stop for us.’ We are on our own path. We’ll do this in the meantime but we’re going to do our own thing. Right?’ After we did the thing with Bob and he wanted to do more. But he had this accident [in July 1966] and so then, and I say this in my book [Testimony], Albert had no idea what we were or what we could do. No idea. He liked us. He thought it was really interesting what we did with Bob. But he said ‘I think I can get you a deal for doing an album of instrumentals of Bob Dylan songs.’ So, I said, ‘All right. Let me talk to the guys about that.’ (laughs). And I thought, ‘Albert has no idea…’

The Band and Bob on stage. There was a thing that happened between Bob and The Band that when we played together that we would just go into a certain gear automatically. It was like instinctual, like you smelled something in the air, you know, and it made you hungry. (laughs). It was that instinctual.

“When we recorded Music From Big Pink, Albert was astonished by the results of that record. And he so embraced it and made it his own and all that other stuff vanished. He was like ‘I knew it all along.’ It fit so perfectly into his scenario. But we had gone to the edge together. And because we had done all that stuff and The Basement Tapes, and through all of this, still had no idea of what this was going to be when we did it. That was thrilling.”  

This century I’ve interviewed the legendary songwriter and record producer Al Kooper a few different times. Last decade he reminisced about Music From Big Pink.  

“I knew what was happening in 1968 with John Simon producing the debut Blood, Sweat & Tears album and the first Band album and should have had an early glimpse of what was going on,” Kooper admitted. “But at the time I was staying home and not going out.

“John used to call me up, right after the first BS&T album. ‘What are you doing?’ ‘You gotta come down to the studio and hear what he called, Robbie’s album.’ 

“I think John zeroed in on like the leader of The Band in this case.   And John would call me over and over again and say, ‘You gotta come hear Robbie’s record.’ That’s what he called it. And I didn’t know what it was.

“John had an understanding of the singer songwriter. He was an erudite musician. And that was the important thing. That was the thing I learned from him. How to use that in the production of the record.

“And then I heard it when it was finished up at Albert Grossman’s office. I went, ‘Holy shit! This is ridiculous.’ I didn’t think it was gonna be like that. I had no idea what that was gonna be like. Up at Albert’s office they just played it. Side one and side two. And I kicked myself for not going to the sessions since I was invited.

“I later reviewed Music From Big Pink for Rolling Stone. ‘Music from Big Pink is an event and should be treated as one… There are people who will work their lives away in vain and not touch it.’”

Released during a long, turbulent season of war and socio-political unrest, and sandwiched between other culture-shifting 1967-‘68 albums by The Beatles (Sgt. Pepper’s Lonely Hearts Club Band and ‘The White Album’), Jimi Hendrix (Axis: Bold As Love), and The Rolling Stones (Beggars Banquet), Music from Big Pink astonished critics.

Writing for Rolling Stone, journalist Alfred G. Aronowitz proclaimed that Big Pink was “the kind of album that will have to open its own door to a new category.” 

In his San Francisco Chronicle review, Ralph J. Gleason wrote, “The voices are unique and make a sound not available anywhere else in popular music that I know of. It is a rural sound, not on the country & western stations, yet not rural in the sense of lack of sophistication; I think it is hymnal… The songs are going to be American classics and it will not matter if there is no second album nor if The Band ever appears in person again.” 

The Band album recorded their second self-titled LP inside Sammy Davis, Jr’s pool house in the Hollywood Hills.

I suggested to Robbie in one conversation that The Band and co-producer John Simon had started a new low-fi recording bio-regional process when a signed group with a major label record company moved into a home studio and did masters for albums and not just recorded demos.   

“That’s where that Les Paul thing came back into the picture,” explained Robertson. “Before Big Pink, I had had this dream of having a workshop. A place. A sanctuary where we could go into the privacy of our own world and do something and not be on somebody else’s lawn to really be in our own environment let alone away from studio union breaks, so all of these things played into it a little bit. We go into a studio and the guy is like ‘well, it’s almost 4:00 pm…’ So, all of these things are playing into it and although the experience in the studio of recording Music From Big Pink was fabulous. The producer John Simon was great and the engineers were great at Phil Ramone’s place, all of it, but the idea of having this private sanctuary and that it would have its own sound. Its own sound and its own flavor.

“It would be like Chess Records. We could have our own one and it would not sound like any of these other places. Going into somebody’s environment and then saying, ‘you go over there. You sit here. And we’re gonna use this kind of microphone on you.’ I thought that was what you did with somebody else. ‘I feel like I’m getting seconds here.’

“I was thankful for that period of time too. Because it was now a period where an artist wanted to something that A&R guys like [Capitol Records engineer and staff producer] John Palladino had nothing to do with the music. He was never there when we recorded. No intrusion. So, when I said ‘we want to do this thing that started in the basement of Big Pink we want to bring the equipment to us in our own atmosphere. And we want to record at whatever time we feel the spirit. We don’t want to be on somebody’s clock.’ John was like ‘OK.’ ‘We just need the equipment to come to us.’ And he had to kind of go along with it, you know, but he didn’t understand it.

“We came to do it in Hollywood because it was too cold in Woodstock. [Laughs.] And we were from Canada. So, we knew cold and we knew when to get out of the way. So, we thought, ‘Wouldn’t it be wonderful to go and do this thing and go outside, where it feels beautiful and sunny and everywhere else it’s stormy.’ It was a good feeling inside and we felt we were getting away with something.

“Many years later when I went to Dublin, Ireland, to do some experimenting with U2 and they were recording in the living room of Adam [Clayton]’s house, and when I walked in, the producer Daniel Lanois, Edge and Bono said, ‘Does this feel familiar?’ And I didn’t quite understand what they meant.

“What they were saying was, ‘You are the guys who started this whole thing.’ When we did Stage Fright at the Woodstock Playhouse, we brought the equipment into that room. But it’s very common today.”

In my 1976 interview with Robertson for Crawdaddy, I wanted to know about one aspect of his songwriting with The Band, why he employed a third-person perspective on tunes like “The Weight,” “Stage Fright,” and particularly “The Night They Drove Old Dixie Down.”

“It’s just that it’s a part of storytelling. It isn’t anything to put the songs in the third person. Sometimes when you get that little detachment you can write about more. I’m Canadian and I wrote the song about the Civil War. I didn’t know the story, and it fascinated me. Everyone else took it for granted—they read about it in history class. When it’s strictly about yourself, you’re not allowed to deal with fiction. So, it’s something that opens the gates a little bit,” he underlined.

In my 2016 interview with Robbie Robertson for Record Collector News magazine, I asked what was it like for him when he hears The Band recordings on the radio or when compiling reissues. Was it a joyous or sad experience? 

“I just feel extremely proud in the choice that we made to work together,” reinforced Robbie. “I absolutely feel there are moments when I think… ‘Whew…He’s the business. What talent.  What an amazing emotional musical choice was made right there.’  I do feel those things.” 

(Harvey Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015's Every Body Knows: Leonard Cohen, 2016's Heart of Gold Neil Young and 2017's 1967: A Complete Rock Music History of the Summer of Love. Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In 2021 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble. 

Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters. His Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll TV Scenes) is scheduled for 2025 publication.     

 Harvey wrote the liner notes to CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.

During 2006 Kubernik appeared at the special hearings by The Library of Congress in Hollywood, California, discussing archiving practices and audiotape preservation. In 2017 he lectured at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their Distinguished Speakers Series. Amidst 2023, Harvey spoke at The Grammy Museum in Los Angeles discussing director Martin Scorsese's The Last Waltz music documentary.

Kubernik is in a documentary, The Sound of Protest now airing on the Apple TVOD TV broadcasting service. https://tv.apple.com › us › movie › the-sound-of-protest. Director Siobhan Logue’s endeavor features Smokey Robinson, Hozier, Skin (Skunk Anansie), Two-Tone's Jerry Dammers, Angélique Kidjo, Holly Johnson, David McAlmont, Rhiannon Giddens, and more.

Harvey is interviewed along with Iggy Pop, Bruce Johnston, Johnny Echols, the Bangles' Susanna Hoffs and Victoria Peterson, and the founding members of the Seeds in director Neil Norman’s documentary The Seeds - The Seeds: Pushin' Too Hard now streaming online on Vimeo. This November 2025, a DVD with bonus footage of the documentary is scheduled for release via the GNP Crescendo Company).The post Best of The Band, Robbie Robertson Insomnia, and The Band Photographs first appeared on Music Connection Magazine.

BeatStars has paid creators over $400m to date. CEO Abe Batshon wants 1 million musicians to earn a living from his platform1.5 million tracks are downloaded monthly from BeatStars' marketplace of 11 million-plus beats
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Introducing Dune: a New Music Startup Letting Fans Own Stakes in ArtistsA new UK-based app, Dune, is raising seed funding to build a marketplace where artists and fans can connect with revenue-generating opportunities modelled after stocks.
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