By the end of the 1970s, Rick Danko found himself in an unexpected place. After the release of his first solo album on Arista Records didn’t sell well, and with management in flux, Arista dropped him.

A Song With returns featuring my friend and Chest Fever bandleader, Daniel Cervantes.

After navigating a tumultuous phase in his life marked by heavy drinking and the disbandment of The Band, Richard Manuel entered rehab, marking a pivotal step toward reclaiming his passion for music.

In this episode, Luke C. Bowden joins me. He is a music journalist, academic, and concert promoter. Luke's pick is "Ferdinand The Imposter," an outtake from the Music From Big Pink era.

“Levon’s solo albums are pure, egalitarian magic and joy.”

In this episode, I'm joined by Michael Koelher,, a dear friend and show editor. Michael's pick is "Twilight," a non-album single from 1975.

Welcome to another installment of Odds & Ends, this time we look at Katie's Been Gone.

Today, I have the pleasure of sitting down with Breanna McCann and Teagan Lisson to dive deep into The Last Waltz at 45.

A mini-series focused on The Band's outtakes, rarities and unreleased material

The Band brought their music to Massey Hall in 1970. Now decades later, Chest Fever is bringing it back to the hallowed venue.

Amidst the initial turbulence of his inaugural solo release and subsequent tour, Levon Helm and his ensemble found themselves grappling with an unfortunate dearth of problems.

Following the triumphant launch of "The Last Waltz," Robbie Robertson redirected his ambitions toward carving a prominent niche in Hollywood.

The Band: A History is joined in a roundtable discussion by Michael Koehler and Annie Burkhart to dig into The Band's Moondog Matinee in it's fiftieth year of existence.

“On the surface, it was all so beautiful and underneath, everything was so rotten.” – Libby Titus.

He is genuinely the most original, brilliant and moving keyboard players that has ever operated within rock ’n’ roll.”

“Sitting around my house in Malibu and walking around the beach. I’ve been doing that for a long time, and frankly, I’m tired of it.”

The Band: A History sits down with writer, columnist and author Jude Warne to discuss her recent essay on The Band's 1970 studio album Stage Fright, which is part of a larger scholarly study of The Band entitled Rags and Bones: An Exploration of The Band published by the University Press of Mississippi. You can find Rags and Bones: An Exploration of The Band here and visit Jude's website here.

“I was looking for a simpler, fresher routing... But I really like this new group. I can go out and perform the record now.” Rick Danko was now out on his own. Nearly two decades with The Band left him wanting more. More music, more touring and more control.

With the break-up of his band and his family, Levon Helm did what he knew best, make music. While The Band was all but extinct, Helm continued to tell journalists they’d keep making music. However, he started putting together a new band, and he moved back east to set up permanently. As he recalled, “I decided to remain in Woodstock. I loved the town and the people and the way of life too much to sell my house and relocate.”

The Band: A History sits down with Chest Fever, the official revival of The Band.

The Band: A History sits down with legendary recording engineer, mixer and record producer Bob Clearmountain. whose innovative approach has led him to work with industry-heavy-hitters like Bruce Springsteen, David Bowie, and The Rolling Stones. Tackling the 50th anniversary of Music From Big Pink in 2018. Bob has worked on all subsequent anniversary releases by The Band, including the most recent, Cahoots.

Assembling in the studio at various points during 1976 through 1977, The Band put together a plan for Islands. It was described later by Robbie as being similar to The Who’s Odds & Sods album. In essence, it was a hodgepodge of older recordings along with some newer cuts to complete their eight album record deal with Capitol.

Full-on post-production of The Last Waltz took place over an eighteen-month period from the winter of 1977 through the spring of 1978. It was a monstrous undertaking with many moving pieces between the studio, producers, technicians, crews and the musicians.