Stage Fright - The Band - album review

The Band's third album, Stage Fright, released in 1970, had a lot to live up to, following as it did in the wake of the group's brilliant first two records, Music From Big Pink and The Band.

Regardless of whether Stage Fright can be said to be "better" or "worse" than the two works which preceded it, it was without doubt different. Several theories have been put forward to explain this. The rock n roll lifestyle may have begun to affect the musicians, together with the rigours of life on the road. It may be that the initial magic and enthusiasm of the group striking out on its own had begun to diminish.

This record is markedly darker in tone, and The Band may have been reflecting some of the uncertainty and perceived bleakness of the new decade. The shift in atmosphere and sound may have been a conscious attempt to explore new territory, both sonically and lyrically. Trying to replicate the feel-good factor of the first two records, even assuming that they had the energy, would have represented treading water.  There wasn't so much a decrease in intensity here;it was just a different kind of intensity. It wasn't a comedown or a hangover, but more a change in direction and emphasis.

One of the major differences immediately discernible on this album is the comparative absence of the idiosyncratic and endearingly chaotic vocal harmonies which characterized the band's work of the late 1960s. This is one of the reasons why the sound on Stage Fright feels thin and lacking in depth and warmth. The instrumental backdrop is also quite sober, in keeping with the lyrical content. The keyboard layers of past times are thin on the ground.

There are a few genuine highlights, and not all of this record has a soulless reticence. Track number two, "Sleeping" contains many of the Band's traditional hallmarks, and is marked by a fine Richard Manuel vocal. "The Shape I'm In" has some real character and drive to it - the vocals, again from Manuel, but also this time the harmonies have real presence. This is one of the few tracks on the album where Garth Hudson's keyboards are permitted full freedom, and his contribution helps propel things admirably.

The second half of the record is much stronger than the first. "The W.S. Walcott Medicine Show" reminds us of the mystique which surrounded the group, and has the welcome bonus of a horn part. "Daniel And The Sacred Harp" has similar attributes. There is some feeling in the vocals by Manuel and Levon Helm, and the words are nicely enigmatic. There is even a hint of the Cajun, in the employment of accordion and fiddle.  All in all, plenty is going on to hold the interest.

The title track is one of the key numbers. It has quite an affecting melody, and Rick Danko delivers one of his most effective lead vocals. This is one song where a lack of harmonies is an advantage. The subject matter suggests one voice only.

"The Rumor" is a downbeat, even sinister, track with which to finish proceedings, but not inappropriate. It is very much a "Seventies" song, in its ambiguity.

So there is some fine material here, and a distinctive vibe which makes Stage Fright a fascinating listen, both on its own merits and as a period-piece. It is less accessible and lovable than what went before, unsettling even in its tone, but it also encourages the listener to think....