The Band - High on the Hog CD Album The Band > High on the Hog CD music Product Description High on the Hog album for sale by The Band was released Feb 21, 2006 on the Pyramid label. The Band: Rick Danko (vocals, acoustic guitar, acoustic & electric basses); Levon Helm (vocals, harmonica, bass, drums); Randy Ciarlante (vocals, drums, percussion); Richard Manuel (vocals, piano); Jim Weider (acoustic & electric guitars, bass); Garth Hudson (accordion, soprano, alto, tenor, baritone & bass saxophones, trumpet, Hammond organ, keyboards); Richard Bell (horns, piano, keyboards). High on the Hog CD music contains a single disc with 12 songs. The second post-comeback release from this reconstituted musical institution finds The Band inspired and in top form. High on the Hog album for sale Who'd have guessed that the loss of two key members (Robbie Robertson left in '76; Richard Manuel died ten years later) wouldn't cripple the venerable outfit?

High on the Hog CD music With 3 able members remaining and 3 newcomers supporting them, the Band has come up with a gem of an album that remains true to their musical vision. HIGH ON THE HOG features great vocal performances by both Levon Helm and Rick Danko, original great tunes, a shockingly cool version of En Vogue's hit "Free Your Mind." And as is always the case with the Band, there are also a couple of Bob Dylan standards: a 1986 live recording sung by Manuel, and a rollicking take on "Forever Young." ...

See Full Description High on the Hog buy CD music Product Reviews Entertainment Weekly (2/23-3/1/96, pp.126-127) - "...good roadhouse rockers with one unforgettable singer and a storied past." - Rating: B The Band - High on the Hog Album Track Listing Trk cdu4asppid music 7016941 cdu4pidall cdu4pls7 ver260cdu cdu4all 1/18/2017 6:08:03 AM � PreRip Terms and Conditions PreRip is a free option on select CD's displaying the PreRip icon. This option allows you to download the MP3 version of that CD immediately after your purchase. The physical CD will still be shipped to you. If you agree to accept your PreRip MP3s, please be aware that the corresponding CD will be non-refundable and cannot be canceled from your order. This protects us against customers taking the free MP3 and then canceling the CD. PreRip availability may change at any time, so we recommend that you download as soon as possible.

Should the CD you receive be defective, we will exchange it for a new one. PreRip is only available to customers in the United States. This is a limitation placed on us by the record labels. THE BAND ~ FOREVER YOUNG. - YouTube THE BAND ~ FOREVER YOUNG. Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Jul 27, 2011 BOB DYLAN (COVER). TAKEN FROM LP HIGH ON THE HOG (1996). THE RE-UNION OF.. RECORDED : January 19,1986. May God bless and keep you always May your wishes all come true May you always do for others And let others do for you May you build a ladder to the stars And climb on every rung May you stay forever young Forever young, forever young May you stay forever young.

May you grow up to be righteous May you grow up to be true May you always know the truth And see the lights surrounding you May you always be courageous Stand upright and be strong May you stay forever young Forever young, forever young May you stay forever young. May your hands always be busy May your feet always be swift May you have a strong foundation When the winds of changes shift May your heart always be joyful And may your song always be sung May you stay forever young Forever young, forever young May you stay forever young. Category Brief history of The Band The Band: A Brief History by Bruce Eder Copied from the All-Music Guide For about six years, from 1968 through 1975, the Band was one of the most popular and influential rock groups in the world, their music embraced by critics (and, to a somewhat lesser degree, the public) as seriously as the music of the Beatles and the Rolling Stones. Their albums were analyzed and reviewed as intensely as any records by their one-time employer and sometime mentor Bob Dylan . And for a long time, their personalities were as recognizable individually to the casual music public as the members of the Beatles. The Band, 1968.

L-r: Rick Danko, Levon Helm, Richard Manuel, Garth Hudson and Robbie Robertson in the Catskills posing for Music From Big Pink. Photo © Elliott Landy . The group's history went back nearly as far as the Beatles, to 1958 (just about the time that the formative Beatles gave up skiffle for rock & roll). Ronnie Hawkins , an Arkansas-born rock & roller who aspired to a real career, put together a backing band that year that included his fellow Arkansan Levon Helm (born May 26, 1940), who played drums (as well as credible guitar) and had led his own band, the Jungle Bush Beaters. The new outfit, Ronnie Hawkins & the Hawks , was recording by the spring of 1958 and gigged throughout the south and also up in Ontario, Canada, where the money was better than in their native American south. It was the fact of being based in Canada late in 1959, coupled with pianist Willard Jones leaving the lineup, that got Hawkins to start looking at some of the local music talent in Toronto; Hawkins approached a musician named Scott Cushnie about joining the Hawks on keyboards.

Cushnie was already playing in a band with Robbie Robertson (born in 1944), however, and would only join Hawkins if he came along. After some resistance from Hawkins, Robertson came into the lineup on bass, replacing a departing Jimmy Evans . More multiple lineup switches took place over the next few years, Robbie Robertson shifting to rhythm guitar behind Fred Carter 's (and, briefly, Roy Buchanan 's) lead playing. Rick Danko (born December 29, 1942) came in on bass in 1961, followed by Richard Manuel (born April 3, 1944) on piano and backing vocals. Around that same time, Garth Hudson (born August 2, 1937), a classically trained musician who could read music, became the last piece of the initial puzzle as organ player. For four years, from 1959 through 1963, Ronnie Hawkins & the Hawks were one of the hottest rock & roll bands working, which was very special in a time when rock & roll had supposedly died.

Hawkins himself was practically Toronto's answer to Elvis Presley, and he remained true to the music even as Presley himself softened and broadened his sound. The mix of personalities within the group meshed well, better than they did with Hawkins, who, unbeknownst to him, was soon the odd man out in his own group. As new members Danko, Manuel, and Hudson came aboard -- all Canadian, and replacing Hawkins' fellow southerners -- Hawkins lost control of the group, to some extent, as they began working together more closely. Finally, the Hawks parted company with Ronnie Hawkins during the summer of 1963, the singer's at times overbearing personality and ego getting the better of the relationship. The Hawks decided to stay together with their oldest member, Levon Helm, out in front, variously renaming themselves Levon & the Hawks and the Canadian Squires and cutting records under both names. A hook-up with a young John Hammond Jr. for a series of recording sessions in New York led to the group's being introduced to Bob Dylan, who was then preparing to pump up his sound in concert.

Robertson and Helm played behind Dylan at his Forest Hills concert in New York in 1965 (a bootleg tape of which survives, and can be heard), and he ultimately signed up the entire group. The hook-up with Dylan changed the Hawks, but it wasn't always an easy collaboration. In their five years backing Ronnie Hawkins, the group had played R&B-based rock & roll, heavily influenced by the sound of Chess Records in Chicago and Sun Records in Memphis. Additionally, they'd learned to play tightly and precisely and were accustomed to performing in front of audiences that were interested primarily in having a good time and dancing. Now Dylan had them playing electric adaptations of folk music, with lots of strumming and lacking the kind of edge they were accustomed to putting on their work. His sound was traceable to the music of Big Bill Broonzy and Josh White, while they'd spent years playing the music of Jerry Lee Lewis, Chuck Berry, and Bo Diddley. As it happens, all of those influences are related, but not directly, and not in ways that were obvious to the players in 1964.

Ironically, in the spring of 1965, the group had just missed their chance at what could have been a legendary meeting on record with a musician they did understand. They'd met Arkansas-based blues legend Sonny Boy Williamson II , and jammed with the singer/blues harpist one day, hoping to cut some records with him. They hadn't realized it at the time, but Williamson was a dying man -- by the time the Hawks were ready to return and try to cut some records with him, he had passed on. Another problem for the group about working with Dylan concerned his audience. The Hawks had played in front of a lot of different audiences in the previous four years, but almost all of them were people primarily interested in enjoying themselves and having a good time. Dylan, however, was playing for crowds that seemed ready to reject him over principle.

The Hawks weren't accustomed to confronting the kinds of passions that drove the folk audience, any more than they were initially prepared for the freewheeling nature of Dylan's performances -- he liked to make changes in the way he did songs on the spot, and the group was often hard put to keep up with him, at least at first, although the experience did make them a more flexible ensemble on-stage. Eventually the group did get together with Dylan as his backup band on his 1966 tour, althoughLevon Helm left soon after the tour began at the end of 1965. The group ultimately fell under the management orbit of Dylan's own manager, Albert Grossman, who persuaded the four core members (sans Helm) to join Dylan in Woodstock, NY, working on the sessions that ultimately became the Basement Tapes in their various configurations, none of which would be heard officially for almost a decade. (Indeed, up to this time, only a single song, "Just Like Tom Thumb's Blues," done live from the tour just ended, on a 45 B-side , had surfaced representing the group playing with Dylan ).

Finally, a recording contract for the group -- rechristened the Band -- was secured by Grossman from Capitol Records. Levon Helm returned the fold, and the result was Music From Big Pink , an indirect outgrowth of the "Basement Tapes". This album, enigmatically named and packaged, sounded like nothing else being done by anybody in music when it was released in July of 1968. It was as though psychedelia, and the so-called British Invasion, had never happened; the group played and sang like five distinct individuals working toward the same goal, not mixing together smoothly. There was a collective sound to "the band," but it made up five distinct individual voices and instruments mixing folk, blues, gospel, R&B, classical, and rock & roll. The press latched on to the album before the public did, but over the next year, the Band became one of the most talked about phenemenon in rock music and Music From Big Pink acquired a mystique and significance akin to such albums as Beggars Banquet. The group and album ran counter to the so-called counterculture, and took a little getting used to, if only for their lack of a smooth, easily categorizable sound.

Their music was steeped in Americana and historical and mythic American imagery, despite the fact that all of the members except Helm came from Canada (which, in fact, may have helped them appreciate the culture they were dealing with, as outsiders). Robertson, Manuel, and Danko all wrote, and everyone but Robertson and Hudson sang; their vocals didn't mesh sweetly but simply flowed together in an informal manner. Classical organ flourishes meshed with a big (yet lean), raw rock & roll sound and the whole was so far removed from the self-indulgent virtuosity and political and cultural posturing going on around them that the Band seemed to be operating in a different reality, to different rules. During this same period, the group's past association with Bob Dylan -- whose name at the time had an almost mystical resonance with audiences -- was mentioned in the rock press and also put right in the faces of listeners through a new phenomenon. Only a single track from the group's 1966 tour with Dylan had ever surfaced, and that was an out-of-print B-side to an old single.

But in 1969, the first widely distributed bootleg LP, The Great White Wonder , featuring the then-unreleased Basement Tapes>, started turning up on college campuses and record collectors' outlets. The quality was limited, the labels were blank, and there was no "promotion" as such of this patently illegal release, but it got around to hundreds of thousands of listeners and only heightened the mystique surrounding the Band. Music From Big Pink, which featured a painting by Bob Dylan on its cover, began selling -- slowly at first and then better -- and the group played a few select shows. A second album, simply titled The Band , was every bit as good as the first. Dominated by Robertson's writing, it was released in September of 1969, and with it, the group's reputation exploded; moreover, they began their climb out of the shadow of Bob Dylan with songwriting of their own that was every bit a match for anything he was releasing at the time.

A pair of songs, "Up on Cripple Creek" and "The Night They Drove Ol' Dixie Down," captured the public imagination, the former getting them onto The Ed Sullivan Show in an appearance that's fascinating to watch on the official Ed Sullivan video release; the host comes out to embrace and congratulate them, obviously thrilled after the psychedelic and hard rock acts that he usually booked, to see a group whose words and music he understood. Meanwhile, "The Night They Drove Ol' Dixie Down" became a popular radio track and yielded a hit cover version in the guise of an unaccountably corrupted rendition by Joan Baez (in which, for reasons that only Baez may be able to explain, Robert E. Lee is transformed into a steamboat) that made the Top Five. Following the release of the second album, things changed somewhat within the group. Partly owing to the pressures of touring and the public's expectations of "genius," and also to the growing press fixation on Robbie Robertson at the expense of the rest of the group, the other group members remained familiar enough that their names and personalities were well-known to the public.

The Band was still a great working ensemble, as represented on their brilliant third album, Stage Fright , but gradually exhaustion and personal pressures took their toll. Additionally, the huge amounts of money that the members started collecting, against hundreds of thousands and ultimately millions of record sales, led to instances of irresponsible behavior by individual members and their spouses and raised the pressure on the group to perform. The members had always engaged in a certain amount of casual drug use, mostly involving marijuana, but now they had access to more serious and expensive chemical diversions. Some private resentments also began manifesting themselves about Robertson's dominance of the songwriting (some reality of which was questioned openly in Levon Helm's autobiography years later), and the fact that the group was now constantly in the public eye didn't help. By the time of the fourth album, Cahoots , some of the glow of experimentation and easygoing comraderie was gone, though ironically, the album was still one of the best released in 1971. The problem for the group became fulfilling all of the commitments involved in success, including touring and writing new material to record.

By the end of 1971, they'd decided to take a break, cutting a live album, Rock of Ages , that was all fans had to content themselves with in 1972. The fact that their next album, issued in 1973, was a collection of studio versions of the oldies that the group used to do on-stage, and numbers that they knew from their days as the Hawks, should have been a warning sign that not everything was well within the group. More troubling still was the fact that the renditions were so plain and flat sounding compared to the music they'd cut on every prior album; it simply wasn't up to the standard that one expected of the group and the fact that they didn't tour behind the record seemed to indicate that they were marking time with Moondog Matinee . The group did play one major show that year, at the race track at Watkins Glen , NY, before the largest audience ever assembled for a rock concert -- it was a demonstration of their place in the rock pantheon that the Band was booked alongside the Grateful Dead and the Allman Brothers Band.

The year 1973 was also where they let the other shoe drop on their association withBob Dylan, cutting the Planet Waves album with him and preparing for a huge national tour together in 1974. That tour, in retrospect, seemed more a basis for cashing in on their association with Dylan than for any new music-making of any significance. In many critics' eyes, the Band was superior to Dylan in their performances, an idea borne out on much of the live LP Before the Flood that was distilled down from the two February 14, 1974, performances. Everyone made a fortune from it, but the tour with Dylan also thrust the group right into the middle of the most decadent part of the rock world. A lot of the simplicity and directness of their music and lives succumbed to the easy availability of sex, drugs, and other diversions and the expensive lifestyles they were all starting to maintain. By the end of 1974, the Band had expended much of the good will they'd built up from their first four albums.

Another album, Northern Lights -- Southern Cross released in late 1975, was a major comeback and restored some of the group's reputation as a cutting-edge ensemble, even encompassing elements of synthesizer music into its writing and production. Around this same time, Levon Helm and Garth Hudson made a belated contribution to the history of Chess Records (in light of their near-miss with Sonny Boy Williamson a decade earlier) when they worked with Muddy Waters, cutting an entire album with the blues legend at Helm's studio in Woodstock, NY. The Muddy Waters Woodstock Album , although ignored at the time by everyone but the critics, was the last great album cut by the label or by Waters at the label, and his best album in at least five years. It was too late to save the Band as a working ensemble, however; the members were all involved in their own interests and lives and the group stopped touring. The inevitable best-of album in 1976, ahead of what proved to be their final tour, marked the unofficial end of the original lineup's history.

One last new album, Islands , fulfilled the group's contract and had some fine moments, but they never toured behind it and it was clear to one and all that the Band was finished as a going concern. The group marked the end of their days as an active unit with the release of the film (and accompanying soundtrack LP set) The Last Waltz , directed by Martin Scorsese, of their farewell concert, which was an all-star performing affair pulling together the talents ofRonnie Hawkins, Muddy Waters, Eric Clapton, Neil Young, Van Morrison, and a dozen other luminaries drawn from the ranks of old friends, admirers, and idols of theirs. Robertson and Helm pursued musical and film careers, while Danko tried to start a solo career of his own. Capitol Records kept repackaging their music on vinyl with an Anthology collection and a second best-of LP, as well as a pair of CD recompilations, To Kingdom Come and Across the Great Divide , in the '90s.

As it turned out the members, apart from Robertson, weren't quite as ready or willing to close the book on the group, in part because they saw no reason to and also because several of them proved unable to sustain profitable solo careers (Robertson, having written most of the songs, had a steady income from the publishing as well as the record sales). The other members of the group reunited at various times -- in 1983, four members of the Band, with Robertson replaced by Earl Cate of the Cate Brothers on guitar, reunited for a tour that yielded a full-length concert video and a healthy audience response. The death of Richard Manuel in 1986 cast a dark pall on any future reunions, of which there were several -- Robertson issued his first solo album a year later, which included a tribute to Manuel ("Fallen Angel"). This was as close as the guitarist would get to a Band reunion, however, which became a bone of contention among onlookers and the members. Robertson publicly questioned what the meaning of The Last Waltz had been and would never participate.

And as the group's major songwriter and principal guitarist, he was their most famous member, but he almost never sang significant vocal parts on their recordings (indeed, it is said that one reason their set from Woodstock was never issued was because his mic was live and his voice too prominent). Other guitarists could build on his work well enough, and the rest of the group had made significant contributions to virtually every song they ever did, so the reunions made sense. In 1993, the Band released Jericho , their first new album in 16 years, which received surprisingly good reviews. High on the Hog followed in 1996 and two years later, they celebrated their 30th anniversary with Jubilation . The death of Rick Danko in his sleep at his home in Woodstock on December 10, 1999, seemed to call an end to future activities by any version of the Band.

The Band | New Music And Songs | The Band About The Band For roughly half a decade, from 1968 through 1975, the Band was one of the most popular and influential rock groups in the world, their music embraced by critics (and, to a somewhat lesser degree, the public) as seriously as the music of the Beatles and the Rolling Stones. Their albums were analyzed and reviewed as intensely as any records by their one-time employer and sometime mentor Bob Dylan. Although the Band retired from touring after The Last Waltz and disbanded several years later, their legacy thrived for decades, perpetuated by the bandmates' respective solo careers as well as the enduring strength of the Band's catalog. The group's history dates back to 1958, just about the time that the formative Beatles gave up skiffle for rock & roll. Ronnie Hawkins, an Arkansas-born rock & roller who aspired to a real career, assembled a backing band that included his fellow Arkansan Levon Helm, who played drums (as well as credible guitar) and had led his own band, the Jungle Bush Beaters.

The new outfit, Ronnie Hawkins & the Hawks, began recording during the spring of 1958 and gigged throughout the American south; they also played shows in Ontario, Canada, where the money was better than in their native south. When pianist Willard Jones left the lineup one year later, Hawkins began looking at some of the local music talent in Toronto in late 1959. He approached a musician named Scott Cushnie about joining the Hawks on keyboards. Cushnie was already playing in a band with Robbie Robertson, however, and would only join Hawkins if the latter musician could come along. After some resistance from Hawkins, Robertson entered the lineup on bass, replacing a departing Jimmy Evans. Additional lineup switches took place over the next few years, with Robbie Robertson shifting to rhythm guitar behind Fred Carter's (and, briefly, Roy Buchanan's) lead playing. Rick Danko (born December 9, 1943) came in on bass in 1961, followed by Richard Manuel (born April 3, 1944) on piano and backing vocals.

Around that same time, Garth Hudson (born August 2, 1937), a classically trained musician who could read music, became the last piece of the initial puzzle as organ player. From 1959 through 1963, Ronnie Hawkins & the Hawks were one of the hottest rock & roll bands on the circuit, a special honor during a time in which rock & roll was supposedly dead. Hawkins himself was practically Toronto's answer to Elvis Presley, and he remained true to the music even as Presley himself softened and broadened his sound. The mix of personalities within the group meshed well, better than they did with Hawkins, who, unbeknownst to him, was soon the odd man out in his own group. As new members Danko, Manuel, and Hudson came aboard -- all Canadian, and replacing Hawkins' fellow southerners -- Hawkins lost control of the group, to some extent, as they began working together more closely. Finally, the Hawks parted company with Ronnie Hawkins during the summer of 1963, the singer's at times overbearing personality and ego getting the better of the relationship.

The Hawks decided to stay together with their oldest member, Levon Helm, out in front, variously renaming themselves Levon & the Hawks and the Canadian Squires and cutting records under both names. A hook-up with a young John Hammond, Jr. for a series of recording sessions in New York led to the group's being introduced to Bob Dylan, who was then preparing to pump up his sound in concert. Robertson and Helm played behind Dylan at his Forest Hills concert in New York in 1965 (a bootleg tape of which survives, and can be heard), and he ultimately signed up the entire group. The hook-up with Dylan changed the Hawks, but it wasn't always an easy collaboration. In their five years backing Ronnie Hawkins, the group had played R&B-based rock & roll, heavily influenced by the sound of Chess Records in Chicago and Sun Records in Memphis. Additionally, they'd learned to play tightly and precisely and were accustomed to performing in front of audiences that were interested primarily in having a good time and dancing. Now Dylan had them playing electric adaptations of folk music, with lots of strumming and lacking the kind of edge they were accustomed to putting on their work.

His sound was traceable to the music of Big Bill Broonzy and Josh White, while they'd spent years playing the music of Jerry Lee Lewis, Chuck Berry, and Bo Diddley. As it happens, all of those influences are related, but not directly, and not in ways that were obvious to the players in 1964. Ironically, in the spring of 1965, the group had just missed their chance at what could have been a legendary meeting on record with a musician they did understand. They'd met Arkansas-based blues legend Sonny Boy Williamson II, and jammed with the singer/blues harpist one day, hoping to cut some records with him. They hadn't realized it at the time, but Williamson was a dying man -- by the time the Hawks were ready to return and try to cut some records with him, he had passed on. Another problem for the group about working with Dylan concerned his audience. The Hawks had played in front of a lot of different audiences in the previous four years, but almost all of them were people primarily interested in enjoying themselves and having a good time. Dylan, however, was playing for crowds that seemed ready to reject him over principle.

The Hawks weren't accustomed to confronting the kinds of passions that drove the folk audience, any more than they were initially prepared for the freewheeling nature of Dylan's performances -- he liked to make changes in the way he did songs on the spot, and the group was often hard put to keep up with him, at least at first, although the experience did make them a more flexible ensemble on-stage. Eventually the group did get together with Dylan as his backup band on his 1966 tour, although Levon Helm left soon after the tour began at the end of 1965. The group ultimately fell under the management orbit of Dylan's own manager, Albert Grossman, who persuaded the four core members (sans Helm) to join Dylan in Woodstock, NY, working on the sessions that ultimately became the Basement Tapes in their various configurations, none of which would be heard officially for almost a decade. (Indeed, up to this time, only a single song, "Just Like Tom Thumb's Blues," done live from the tour just ended, on a 45 B-side, had surfaced representing the group playing with Dylan).

Finally, a recording contract for the group -- rechristened the Band -- was secured by Grossman from Capitol Records. Levon Helm returned the fold, and the result was Music from Big Pink, an indirect outgrowth of the Basement Tapes. This album, enigmatically named and packaged, sounded like nothing else being done by anybody in music when it was released in July of 1968. It was as though psychedelia, and the so-called British Invasion, had never happened; the group played and sang like five distinct individuals working toward the same goal, not mixing together smoothly. There was a collective sound to "the band," but it made up five distinct individual voices and instruments mixing folk, blues, gospel, R&B, classical, and rock & roll. The press latched on to the album before the public did, but over the next year, the Band became one of the most talked about phenomenon in rock music and Music from Big Pink acquired a mystique and significance akin to such albums as Beggars Banquet. The group and album ran counter to the so-called counterculture, and took a little getting used to, if only for their lack of a smooth, easily categorizable sound.

Their music was steeped in Americana and historical and mythic American imagery, despite the fact that all of the members except Helm came from Canada (which, in fact, may have helped them appreciate the culture they were dealing with, as outsiders). Robertson, Manuel, and Danko all wrote, and everyone but Robertson and Hudson sang; their vocals didn't mesh sweetly but simply flowed together in an informal manner. Classical organ flourishes meshed with a big (yet lean), raw rock & roll sound and the whole was so far removed from the self-indulgent virtuosity and political and cultural posturing going on around them that the Band seemed to be operating in a different reality, to different rules. During this same period, the group's past association with Bob Dylan -- whose name at the time had an almost mystical resonance with audiences -- was mentioned in the rock press and also put right in the faces of listeners through a new phenomenon. Only a single track from the group's 1966 tour with Dylan had ever surfaced, and that was an out-of-print B-side to an old single.

But in 1969, the first widely distributed bootleg LP, The Great White Wonder, featuring the then-unreleased Basement Tapes, started turning up on college campuses and record collectors' outlets. The quality was limited, the labels were blank, and there was no "promotion" as such of this patently illegal release, but it got around to hundreds of thousands of listeners and only heightened the mystique surrounding the Band. Music from Big Pink, which featured a painting by Bob Dylan on its cover, began selling -- slowly at first and then better -- and the group played a few select shows. A second album, simply titled The Band, was every bit as good as the first. Dominated by Robertson's writing, it was released in September of 1969, and with it, the group's reputation exploded; moreover, they began their climb out of the shadow of Bob Dylan with songwriting of their own that was every bit a match for anything he was releasing at the time.

A pair of songs, "Up on Cripple Creek" and "The Night They Drove Ol' Dixie Down," captured the public imagination, the former getting them onto The Ed Sullivan Show in an appearance that's fascinating to watch on the official Ed Sullivan video release; the host comes out to embrace and congratulate them, obviously thrilled after the psychedelic and hard rock acts that he usually booked, to see a group whose words and music he understood. Meanwhile, "The Night They Drove Ol' Dixie Down" became a popular radio track and yielded a hit cover version in the guise of an unaccountably corrupted rendition by Joan Baez (in which, for reasons that only Baez may be able to explain, Robert E. Lee is transformed into a steamboat) that made the Top Five. Following the release of the second album, things changed somewhat within the group. Partly owing to the pressures of touring and the public's expectations of "genius," and also to the growing press fixation on Robbie Robertson at the expense of the rest of the group, the other group members remained familiar enough that their names and personalities were well-known to the public.

The Band was still a great working ensemble, as represented on their brilliant third album, Stage Fright, but gradually exhaustion and personal pressures took their toll. Additionally, the huge amounts of money that the members started collecting, against hundreds of thousands and ultimately millions of record sales, led to instances of irresponsible behavior by individual members and their spouses and raised the pressure on the group to perform. The members had always engaged in a certain amount of casual drug use, mostly involving marijuana, but now they had access to more serious and expensive chemical diversions. Some private resentments also began manifesting themselves about Robertson's dominance of the songwriting (some reality of which was questioned openly in Levon Helm's autobiography years later), and the fact that the group was now constantly in the public eye didn't help. By the time of the fourth album, Cahoots, some of the glow of experimentation and easygoing camaraderie was gone, though ironically, the album was still one of the best released in 1971. The problem for the group became fulfilling all of the commitments involved in success, including touring and writing new material to record.

By the end of 1971, they'd decided to take a break, cutting a live album, Rock of Ages, that was all fans had to content themselves with in 1972. The fact that their next album, issued in 1973, was a collection of studio versions of the oldies that the group used to do on-stage, and numbers that they knew from their days as the Hawks, should have been a warning sign that not everything was well within the group. More troubling still was the fact that the renditions were so plain and flat sounding compared to the music they'd cut on every prior album; it simply wasn't up to the standard that one expected of the group and the fact that they didn't tour behind the record seemed to indicate that they were marking time with Moondog Matinee. The group did play one major show that year, at the race track at Watkins Glen, NY, before the largest audience ever assembled for a rock concert -- it was a demonstration of their place in the rock pantheon that the Band was booked alongside the Grateful Dead and the Allman Brothers Band.

The year 1973 was also where they let the other shoe drop on their association with Bob Dylan, cutting the Planet Waves album with him and preparing for a huge national tour together in 1974. That tour, in retrospect, seemed more a basis for cashing in on their association with Dylan than for any new music-making of any significance. In many critics' eyes, the Band was superior to Dylan in their performances, an idea borne out on much of the live LP Before the Flood that was distilled down from the two February 14, 1974, performances. Everyone made a fortune from it, but the tour with Dylan also thrust the group right into the middle of the most decadent part of the rock world. A lot of the simplicity and directness of their music and lives succumbed to the easy availability of sex, drugs, and other diversions and the expensive lifestyles they were all starting to maintain. By the end of 1974, the Band had expended much of the good will they'd built up from their first four albums.

Another album, Northern Lights -- Southern Cross released in late 1975, was a major comeback and restored some of the group's reputation as a cutting-edge ensemble, even encompassing elements of synthesizer music into its writing and production. Around this same time, Levon Helm and Garth Hudson made a belated contribution to the history of Chess Records (in light of their near-miss with Sonny Boy Williamson a decade earlier) when they worked with Muddy Waters, cutting an entire album with the blues legend at Helm's studio in Woodstock, NY. The Muddy Waters Woodstock Album, although ignored at the time by everyone but the critics, was the last great album cut by the label or by Waters at the label, and his best album in at least five years. It was too late to save the Band as a working ensemble, however; the members were all involved in their own interests and lives and the group stopped touring. The inevitable best-of album in 1976, ahead of what proved to be their final tour, marked the unofficial end of the original lineup's history.

One last new album, Islands, fulfilled the group's contract and had some fine moments, but they never toured behind it and it was clear to one and all that the Band was finished as a going concern. The group marked the end of their days as an active unit with the release of the film (and accompanying soundtrack LP set) The Last Waltz, directed by Martin Scorsese, of their farewell concert, which was an all-star performing affair pulling together the talents of Ronnie Hawkins, Muddy Waters, Eric Clapton, Neil Young, Van Morrison, and a dozen other luminaries drawn from the ranks of old friends, admirers, and idols of theirs. Robertson and Helm pursued musical and film careers, while Danko tried to start a solo career of his own. Capitol Records kept repackaging their music on vinyl with an Anthology collection and a second best-of LP, as well as a pair of CD recompilations, To Kingdom Come and Across the Great Divide, in the '90s.

As it turned out the members, apart from Robertson, weren't quite as ready or willing to close the book on the group, in part because they saw no reason to and also because several of them proved unable to sustain profitable solo careers (Robertson, having written most of the songs, had a steady income from the publishing as well as the record sales). The other members of the group reunited at various times -- in 1983, four members of the Band, with Robertson replaced by Earl Cate of the Cate Brothers on guitar, reunited for a tour that yielded a full-length concert video and a healthy audience response. The death of Richard Manuel in 1986 cast a dark pall on any future reunions, of which there were several -- Robertson issued his first solo album a year later, which included a tribute to Manuel ("Fallen Angel"). This was as close as the guitarist would get to a Band reunion, however, which became a bone of contention among onlookers and the members. Robertson publicly questioned what the meaning of The Last Waltz had been and would never participate.

And as the group's major songwriter and principal guitarist, he was their most famous member, but he almost never sang significant vocal parts on their recordings (indeed, it is said that one reason their set from Woodstock was never issued was because his mic was live and his voice too prominent). Other guitarists could build on his work well enough, and the rest of the group had made significant contributions to virtually every song they ever did, so the reunions made sense. In 1993, the Band released Jericho, their first new album in 16 years, which received surprisingly good reviews. High on the Hog followed in 1996 and two years later, they celebrated their 30th anniversary with Jubilation. The death of Rick Danko in his sleep at his home in Woodstock on December 10, 1999, the day after his 56th birthday, called an end to future activities by any version of the Band, even when they received the Grammys' Lifetime Achievement Award in 2008.

Levon Helm, whose solo career had accelerated during the 2000s (including the well-received Vanguard album Dirt Farmer), contracted cancer and died in April 2012. ~ Bruce Eder, Rovi Hear more of The Band: Levon Helm Levon Helm Mark Lavon Helm, May 26, 1940 -- Apr 19, 2012 Lead singer. Instrument: Drums, mandolin Levon Helm is one of the handful of people you can turn your back on in this business. Under the definition of 'gentleman', you'll find his picture. --James Hooker, "The Reagan Years" Biography Copyright © 2006 Levon Helm Studios , Inc. All Rights Reserved. Published with permission from Levon Helm Studios. Levon Helm was in the right place at the right time. He saw the birth of rock and roll and though he's too much of a gentleman to say it, his role in helping to keep that rebellious child healthy is more than just instrumental. On May 26, 1940, Mark Lavon Helm was the second of four children born to Nell and Diamond Helm in Elaine, Arkansas.

Diamond was a cotton farmer who entertained occasionally as a musician. The Helm's loved music and often sang together. They listened to The Grand Ole Opry and Sonny Boy Williamson and His King Biscuit Entertainers regularly on the radio. A favorite family pastime was attending traveling music shows in the area. According to his 1993 autobiography, This Wheel's On Fire, Levon recalls seeing his first live show, Bill Monroe and His Blue Grass Boys, at six years old. His description: "This really tattooed my brain. I've never forgotten it." Hearing performers like Monroe and Williamson on the radio was one thing, seeing them live made a huge impression. Levon's father bought him his first guitar at age nine. At ten and eleven, whenever he wasn't in school or at work on the farm, the boy could be found at KFFA's broadcasting studio in Helena, Arkansas, watching Sonny Boy Williamson do his radio show, King Biscuit Time. Helm made his younger sister Linda a string bass out of a washtub when he was twelve years old. She would play the bass while her brother slapped his thighs and played harmonica and guitar.

They would sing songs learned at home and popular hits of the day, and billed themselves as "Lavon and Linda." Because of their fresh faced good looks, obvious musical talent and Levon's natural ability to win an audience with sheer personality and infectious rhythms, the pair consistently won talent contests along the Arkansas 4-H Club circuit. In 1954, Levon was fourteen years old when he saw Johnny Cash and Carl Perkins do a show at Helena. Also performing was a young Elvis Presley with Scotty Moore on guitar, and Bill Black on stand-up bass. They did not have a drummer. The music was early jazz-fueled rockabilly, and the audience went wild. In '55 he saw Elvis once more, before Presley's star exploded. This time Presley had D.J. Fontana with him on drums and Bill Black was playing electric bass. Helm couldn't get over the difference and thought it was the best band he'd seen. The added instruments gave the music solidity and depth. People jumped out of their seats dancing to the thunderous, heart-pumping, rhythms. The melting pot that was the Mississippi Delta had boiled over and evolved.

It's magnificently rich blues was uniting with all the powerful, new, spicy- hot sounds and textures that became rock and roll. Natural progression led Levon to form his own rock band as a high school junior, called "The Jungle Bush Beaters." While Little Richard and Jerry Lee Lewis were making teens everywhere crazed, Levon would practice, play, watch and learn. After seeing Jerry Lee's drummer Jimmy Van Eaton, he seriously began thinking of playing the drums himself. Around this same time, the seventeen year old musician was invited by Conway Twitty to share the stage with Twitty and his Rock Housers. He had met Twitty when "Lavon and Linda" opened for him at a previous show. Helm was a personable, polite teen who took his music seriously, so Twitty allowed him to sit in whenever the opportunity arose. Ronnie Hawkins came into Levon Helm's life in 1957. A charismatic entertainer and front-man, Hawkins was gathering musicians to tour Canada where the shows and money were steady. Ronnie had a sharp eye for talent. He needed a drummer and Levon fit the bill.

Fulfilling a promise to Nell and Diamond to finish high school, Levon joined Ronnie and his "Hawks" on the road. The young Arkansas farm boy, once a tractor driving champion, found himself driving Hawkins' Cadillac to gigs, happily aware that all the unknown adventures of rock and roll would be his destiny. In '59 Ronnie got "The Hawks" signed to Roulette Records. They had two hits, "Forty Days" and "Mary Lou," sold 750,000 copies and appeared on Dick Clark's American Bandstand. Hawkins and Helm recruited four more talented Canadian musicians in the early sixties, Richard Manuel, Rick Danko, Robbie Robertson and Garth Hudson. Under Ronnie's tutelage they would often perform until midnight and rehearse until four in the morning. Other bands began emulating their style, now they were the ones to watch and learn from. Eventually, the students surpassed their teacher. Weary of Ronnie's strict regulations, and eager to expand their own musical interests, the five decided to break from Hawkins. They called themselves "Levon and the Hawks." About 1965, Bob Dylan decided to change his sound.

He was ready to "go electric" and wanted "The Hawks" to help him fire it up. The boys signed on to tour with Dylan but unfortunately Dylan's die-hard folk fans resisted. Night after night of constant booing left Levon without the pleasure of seeing his audience enjoy themselves. He calls his drummer's stool "the best seat in the house," because he can see his fellow musicians and his audience simultaneously. What pleases him most, then and now, is that his audience is having a good time. He left the group temporarily and headed to Arkansas. Dylan and the rest of the band took up residence in Woodstock, N.Y. They rented a large, pink house where they wrote and rehearsed new material. Danko called for Helm to join them because Capitol Records gave them a recording contract. Woodstock residents called them "the band," so they kept the moniker. The name "The Band" fit. The sound was no frills rock and roll but far from simplistic. They fused every musical influence they were exposed to over the years as individuals and as a unit. The result was brilliant. Their development as musicians was perfected by years of playing. Living together at "Big Pink" allowed complete collaboration of their artistic expression.

Americana and folklore themes, heart-wrenching ballads filled with naked emotion, majestic harmonies, hard driving rhythms, and exquisite instrumentation made critics, peers and fans realize that this music was unlike any heard before. Their first album, Music from Big Pink, released in July of 1968, made them household names and as a result they were invited to appear on the Ed Sullivan Show in autumn of '69. Following "Big Pink's" success the next album, called simply The Band, is considered by some as their masterpiece. They made seven albums total, including one live recording in 1972, Rock of Ages. Many of their hits such as "The Weight," "W.S. Walcott's Medicine Show," and "The Night They Drove Old Dixie Down, were spawned from stories of Levon's beloved south. Helm was working in Los Angeles in '74, at a Sunset Blvd. hotel when he spotted a beautiful young brunette taking a dip in the pool. Her name was Sandra Dodd and when she looked up at him smiling, she didn't recognize him at first. The charming musician offered to take the lovely lady for sushi and never looked back.

They were married on September 7, 1981 in Woodstock and today remain at each other's side. The barn and studio Helm built in Woodstock, which became his permanent home, was just about complete in 1975. He invited Muddy Waters to his new studio and they recorded Muddy Waters in Woodstock. To the delight of everyone involved, it won a Grammy. The Band held a farewell concert at Winterland in San Francisco on Thanksgiving 1976. It was a bittersweet time for many who felt the group's demise was too soon. They called it The Last Waltz which included Ronnie Hawkins, Dr. John, Muddy Waters, Ringo Starr, Bob Dylan, Eric Clapton and an all-star guest list of peers and friends that read like the "Who's Who" of rock and roll. The event eventually sold as a triple album and was also filmed, becoming a historical "rockumentary." Group members went on to individual pursuits. Levon cut his debut album The RCO All-Stars, in 1977. His next effort was the self-titled Levon Helm, followed by American Son, released in 1980.

That same year was pivotal as Helm turned his attention to acting. He played Loretta Lynn's father in the Coal Miner's Daughter, winning great reviews for his first film appearance. He did another self-titled album and Hollywood again came knocking in '83 giving Helm a role in The Right Stuff. The authenticity he brings to his characters has brought him numerous movie roles from 1980 to date. Levon gave a sensitive, convincing portrayal of a destitute blind man in the 2005 Tommy Lee Jones' vehicle, The Three Burials of Melquiades Estrada. In 2007 he filmed Shooter with Mark Wahlberg. Helm recently portrayed Confederate General John Bell Hood in a movie called In the Electric Mist, again with his friend Tommy Lee Jones. Watch for it's release in December 2007. Rick Danko and Levon reunited to play music after Danko had been living in California. Rick moved back to Woodstock and the friends did an acoustic tour in early '83. In San Jose the following year, they received excellent reviews when Hudson and Manuel joined them for their first U.S. appearance as The Band since 1976.

They continued playing together until the tragic death of their dear friend and comrade, the forty-two year old Manuel. During the 90's three more Band albums were recorded. Jericho, High on the Hog, ending with Jubilation. In 1996, Levon was diagnosed with throat cancer and the famous voice with the rich southern nuances was silenced to a whisper. He still played the drums, mandolin and harmonica, often performing with his daughter, Amy Helm, also a vocalist and instrumentalist. A great emotional support to her father during this time, Amy continues to appear with him regularly at Levon Helm Studios. In 1999, Helm endured another tragic loss when Rick Danko passed away the day after his birthday at fifty-six years old. His death marked the end of an era. Today, Levon's voice has miraculously recovered. He is singing again, strong and clear. His imagination and vision conceived The Midnight Ramble Sessions, a series of live performances at Levon Helm Studios in Woodstock. Named for the traveling minstrel shows of his youth, the first Midnight Ramble was held in January, 2004.

It featured one of the last performances by great blues pianist, Johnnie Johnson. Friends old and new have joined Levon on his stage including: Emmylou Harris, Dr. John, John Sebastian, Allan Toussaint, Elvis Costello, Larry Campbell, Jimmy Vivino, Hubert Sumlin, Little Sammy Davis, The Muddy Waters Band, Donald Fagen, Hipmotism, Ollabelle, The Alexis P. Suter Band, The Love Trio, The Bruce Katz Band, Sex Mob and The Brian Mitchell Band. The monthly Rambles have been so successful they are usually sold out in advance. New releases produced by Levon Helm Studios are Volume I and II of The Midnight Ramble Sessions, plus a live RCO All-Stars performance from New Year's Eve 1977, at the Palladium which came from Helm's personal "vault." The vitality and magnetism of these recordings speak for themselves. The newly released Dirt Farmer is Levon's first solo, studio album in twenty-five years. A project particularly close to his heart, the CD contains music reminiscent of his past and songs handed down from his parents.

The intimacy of the shows performed at Levon's hearth offer a hospitality and warmth found in no other venue, not to mention the excellence of the performances themselves, hosted by a man whose gifts are legendary. Though always an enthusiastic and passionate performer, today with sheer joy and gratitude, he effortlessly captivates his audience young and old, with a rhythmic power all his own. During a career that has spanned almost five decades, Levon Helm has nurtured a tradition of professionalism with a deep respect for his craft and remains refreshingly genuine in a world that often compromises integrity. He is a master storyteller who weaves his tales with the magic thread of universality that ties us all. He beckons us to come in, sit awhile and enjoy. We see ourselves in his stories and we are home. Blondie Chaplin | Biography & History | AllMusic The greatest success for South Africa-born multi-instrumentalist/vocalist Blondie Chaplin has come as a sideman for such groups as the Beach Boys , the Band , and the Rolling Stones . His hook-laden melodies have enhanced albums by Jennifer Warnes , Bonnie Raitt , David Johansen , Elliott Murphy , and the Band 's Rick Danko .

Chaplin initially attracted attention as a member of the Flames, a soul cover band that became the first non-white group to reach the top slot on South Africa's music charts with their 1968 single, "For Your Precious Love." The following year, the band's performance in a London club was overheard by Carl Wilson of the Beach Boys . In search of bands to produce for the Beach Boys ' label, Brother Records, Wilson invited the band to record in Los Angeles. In addition to changing their name to "the Flame" and producing their debut album, Wilson had the group open shows for the Beach Boys in 1970 and 1971. When the Flame disbanded in 1972, Chaplin and drummer/percussionist Ricky Fataar were invited to become full-time members of the Beach Boys . The two musicians remained with the band until 1976, helping to record three albums -- Carl and the Passions: So Tough , Holland , and Live in Concert. It's a Hog Groove! - Microsoft Store It's a Hog Groove!

1996 • 14 songs • Pop • Contemporary Pop • New Rounder The Tailgators' music has always been rooted in American rock. For this effort they reach into the swamp country of Louisiana and come out with some smokin' zydeco. The title track "Hog Groove," which is also the first on the album, is a hot tune. Don Leady's accordion licks sound as if zydeco music has been in his blood all his life; he's a natural. Even though the solos are not complex, they are certainly soulful and melodic. The rhythm section keeps the beat strong and very danceable. Variety is a key word in describing this record. On "Tico Tico," one finds a neat Latin-flavored instrumental with hints of a surf influence coming from the lead guitar phrasings. With the next tune, "Stop That Rappin," the sound moves toward a straightforward boogie-woogie; it has all the fixings for the swing generation of the new millennium. "Talk to Me" falls into the blues-zydeco style, with some super sax work from Joe Cabral.

What gives this song a special feel are the small nuances which Don Leady's accordion accents lend. "Howlin' for My Darlin' " is a funk-driven blues cover that showcases the talent behind the drum kit. "Shake That Zydeco" has excellent vocal harmonies in the chorus and features some more of the accordion that really swings, all the while resounding the classic groove from " 'Til the Cows Come Home." "Button Box" is sure to be a favorite of Cajun/zydeco music fans, the "button box" being a reference to the accordion that's heavily featured. The harmony between lead guitar and accordion in the solo is ace. Zydeco bands will certainly want to do their own covers of this tune, maybe even in Cajun-French. "Deuces Wild," a Link Wray cover, gives surf music fans another tune to keep in their repertoire. With the primitive drum beat, the power chords, and the melodic fretwork on lead guitar, echoes of the ocean are near. Any track from the album is sure to get the joint hoppin'. This is a high-energy production, following in the tradition of previous releases from the Tailgators.

This is party music as it was intended to be played: loudly. So strap on those dancin' shoes, 'cause tonight the Tailgators are telling everybody It's a Hog Groove!. ~ Larry Belanger Top 100 Popular Songs of 1996 1996's Top 100 Pop Music Hits 1. Grease Megamix - Olivia Newton John & John Travolta "This car is automatic, systematic, hydromatic, why its Grease Lightning" "You're the one that I want" "Did she put up a fight?" "Tell me more, tell me more..." 2. Macarena - Los Del Rio "Now don't you worry about my boyfriend The boy who's name is Vitorino I don't want him, couldn't stand him He was no good so I... hahahah!" 3. Maria - Ricky Martin "Un, dos, tres un pasito pa'lante, Maria Un, dos, tres un pasito pa'atras. Un, dos, tres.

Un, dos, tres Es que me tiene loco She's the one that always turns me on Sexy angel fallen from heaven She's the one that always drives me wild In her arms she's driving forever" 4. Because You Loved Me - Celine Dion "For all those times you stood by me For all the truth that you made me see For all the joy you brought to my life For all the wrong that you made right For every dream you made come true For all the love I found in you I'll be forever thankful baby" 5. California Love - 2Pac "California knows how to party. In the citaaay of L.A. In the citaaay of good ol' Watts In the citaaay, the city of Compton. We keep it rockin! We keep it rockin!" 6. Champagne Supernova - Oasis "Today was gonna be the day But they'll never throw it back to you By now you should've somehow Realized what you're not to do" 7. I Will Remember You - Sarah McLachlan "I will remember you Don't let your life pass you by Weep not for the memories" 8.

Sweet Dreams - La Bouche "Sweet dreams of rhythm and dancing Sweet dreams of passion through the night Sweet dreams are taking over Sweet dreams of dancing through the night " 9. I Believe I Can Fly - R. Kelly "I believe I can touch the sky I think about it every night and day Spread my wings and fly away I believe I can soar I see me running through that open door I believe I can fly" 10. Breakfast At Tiffany's - Deep Blue Something "And I said 'What about Breakfast at Tiffany's?' She said 'I think I remember the film And as I recall, I think we both kinda liked it' And I said 'Well, that's the one thing we've got'" 11. Be My Lover - La Bouche "La da da dee da da da da La da da dee da da da da La da da dee da La da da da dee da La da da dee da da da da da Be my lover want to be me lover" 12. Ironic - Alanis Morissette "Mr.

Play It Safe was afraid to fly He packed his suitcase and kissed his kids good-bye He waited his whole damn life to take that flight And as the plane crashed down he thought 'Well isn't this nice...' And isn't it ironic ... don't you think" 13. What I Got - Sublime "Well, life is too short, so love the one you got 'Cause you might get run over or you might get shot Never had to battle with no bulletproof vest Never start static I just get it off my chest Take a small example, take a tip from me Take all of your money, give it all to charity" 14. Who Will Save Your Soul - Jewel "Who will save you soul when it comes to the flower Who will save you soul after all the lies that you told, boy Who will save your soul if you won't save you own?" 15. Missing - Everything But The Girl "I'm walking down your street again and past your door But you don't live there any more It's years since you've been there But now you've disappeared somewhere like outer space You've found some better place And I miss you, like the deserts miss the rain" 16.

Ready To Go - Republica "From the rooftops shout it out It's a crack, I'm back yeah standing On the rooftops having it Baby I'm ready to go I'm back and ready to go From the rooftops shout it out, shout it out" 17. No Diggity - BLACKstreet "I like the way you work it No diggity, I try to bag it up, bag it up" 18. Tha Crossroads - Bone thugs-n-harmony "God bless you working on a plan to Heaven Follow the Lord all 24/7 days, GOD is who we praise even though the devil's all up in my face But he keeping me safe and in my place, say grace" 19. Only You - 112 "I need you in my life, Where do we go, I can't live without your love" 20. Wonderwall - Oasis "Today is gonna be the day That they're gonna throw it back to you By now you should've somehow Realized what you gotta do" 21.

Killing Me Softly - Fugees "Strumming my pain with his fingers (one time, one time) singing my life with his words (two time, two time) killing me softly with his song killing me softly with his song" 22. Satellite - Dave Matthews Band "Satellite in my eyes Like a diamond in the sky " 23. Don't Speak - No Doubt "Don't speak I know just what you're saying So please stop explaining Don't tell me cause it hurts Don't speak" 24. Name - Goo Goo Dolls "If you could hide inside me, maybe for awhile and I won't tell no one your name and I won't tell 'em your name" 25. Daughter - Pearl Jam

Question: Which pop group recorded the 1996 album "High on the Hog"?
Answer: THE BAND