Music

Robertson didn’t perform this ode to Canadian weather, but he co-wrote it and produced it, along with the rest of Winchester’s 1970 self-titled debut, so we’ll allow it. It’s not deep, pardon the pun, but it’s beautiful, with the looseness of The Band’s best music. 

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In January 1968, Dylan made his first live appearance since his 1966 motorcycle accident, at a tribute concert for Woody Guthrie, who had died three few months before. He and The Band rip through three Guthrie covers with the manic energy of their 1966 performances – “I Ain’t Got Not Home,” “Dear Mrs. Roosevelt,” and “The Grand Coulee Dam.” As The Band hold the song together with an organic groove, Dylan howls.  

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One of the sources of tension in The Band was Robertson’s decision to invite to The Last Waltz concert Neil Diamond, whose album Beautiful Noise he had just produced. He wasn’t exactly a rocker, but Robertson has said he represented the Brill Building strain of sixties pop. He killed with his performance of this song, which Robertson co-wrote, and this album helped revive his career. 

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Some of Robertson’s first film music was recorded for this Robert Kaylor-directed carnival drama, in which Robertson also appeared as an actor. He wrote an album side’s worth of “midway music” for it, including this song about a literal heavy. 

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Robertson produced this classic-rock-heavy soundtrack but also contributed a Band-style classic about a man on the run who’s not a cowboy, a prisoner or a soldier but is on the run – “Somewhere between trains.” 

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The standout track on this blues-drenched soundtrack was the hit Robertson co-wrote for Eric Clapton, “It’s In the Way You Use It,” which became a hit for the guitarist first on this album and then on his solo project August. Robertson also put together the soundtrack, which features B.B. King and Willie Dixon, plus wrote and performed two instrumentals with arranger Gil Evans. 

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Did Robbie Robertson really contribute a good song to the soundtrack of this Barry Levinson flop? No, he contributed a few – these instrumentals (the first is mostly-instrumental), plus a few other strays and a version of “Let the Good Times Roll” with Cassandra Wilson. Go figure. 

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Robertson picked some odd films to write great songs for, and this thriller directed by Jay Russell is no exception. His song is an elegiac weeper – it’s heavy but it works – and it may have had a weight the movie couldn’t quite carry off. Sentimental but great. 

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Robertson hooked up with the New Orleans jam band Galactic to give his tribute to Domino the right vibe, and it works. Galactic plays with some restraint, and Robertson, who always does, shines with the perfect guitar lines. They both sound like they’re too cool for school – but also having the time of their lives. 

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Robertson’s biological father was Jewish, so he may have inherited some knack for writing Christmas songs (See: Berlin, Irving; Marks, Johnny). His serious one is “Christmas Must Be Tonight,” recorded with The Band for Islands and then again, a bit quieter, for the Scrooged soundtrack. But he was funny enough to record another one, “Happy Holidays,” which has its own seasonal message: “Never, ever eat / The yellow snow.

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