Editing Robbie Robertson (section)

==Early career==
When Robertson was 14, he worked two brief summer jobs in the [[travelling carnival]] circuit, first for a few days in a suburb of Toronto, and later as an assistant at a [[freak show]] for three weeks during the [[Canadian National Exhibition]]. He later drew from this for his song "[[Life is a Carnival]]" (with the Band) and the movie ''[[Carny (1980 film)|Carny]]'' (1980), which he both produced and starred in.<ref name="carny_ost_notes">{{cite book|last1=Bowman|first1=Rob|author-link1=Rob Bowman (music writer)|title=''Robbie Robertson And Alex North:'' Carny ''OST CD reissue liner notes''|date=2015|publisher=Real Gone Music/Warner Brothers Records|location=Orange, CA}}</ref>

The first band Robertson joined was [[Little Caesar and the Consuls]], formed in 1956 by pianist/vocalist Bruce Morshead and guitarist [[Gene MacLellan]]. He stayed with the group for almost a year, playing popular songs of the day at local teen dances. In 1957 he formed Robbie and the Rhythm Chords with his friend [[Peter Traynor|Pete "Thumper" Traynor]] (who later founded [[Traynor Amplifiers]]). They changed the name to Robbie and the Robots after they watched the film ''[[Forbidden Planet]]'' and took a liking to the film's character [[Robby the Robot]]. Traynor customized Robertson's guitar for the Robots, fitting it with antennae and wires to give it a [[space age]] look. Traynor and Robertson joined with pianist Scott Cushnie and became The Suedes. At a Suedes show on October 5, 1959, when they played [[CHUM (AM)|CHUM]] Radio's Hif Fi Club on Toronto's Merton Street, [[Ronnie Hawkins]] first became aware of them and was impressed enough to join them for a few numbers.
<ref name=levon_helm_book/>{{rp|66}}<ref name=whispering_pines/>{{rp|56–57}}<ref name="band_bio">{{cite book|last1=Hoskyns|first1=Barney|title=Across The Great Divide: The Band and America|date=1993|publisher=Hyperion|location=New York|isbn=0786880279|edition=first paperback}}</ref><ref>For Robbie's early-band chronology, see Chapter two "Who Do You Love: Ronnie Hawkins & The Hawks" in Jason Schneider's book ''Whispering Pines: The Northern Roots of American Music... From Hank Snow to The Band'', ECW Press Toronto {{ISBN|9781550228748}} 2009 First Edition hardcover</ref>

===With Ronnie Hawkins and the Hawks===
Robertson began shadowing Hawkins after the Suedes opened for the [[Arkansas]]-based rockabilly group [[Ronnie Hawkins|Ronnie Hawkins and the Hawks]] at Dixie Arena.<ref name="Robertson2016">{{cite book |last1=Robertson |first1=Robbie |title=Testimony: A Memoir |year=2016 |publisher=Crown |isbn=978-0-307-88980-5 |pages=6–28 |url=https://books.google.com/books?id=wMIOCAAAQBAJ&pg=PT6}}</ref> One afternoon he overheard Hawkins say he needed some new songs since they were going into the studio to record the next month. Hoping to ingratiate himself, Robertson stayed up all night and wrote two songs, "Someone Like You" and "Hey Boba Lu", and played them for Hawkins the next day. The showman was impressed and recorded both of them for his new album, ''Mr Dynamo'' (1959).<ref name="Wright-McLeod2018">{{cite book |last1=Wright-McLeod |first1=Brian |title=The Encyclopedia of Native Music: More Than a Century of Recordings from Wax Cylinder to the Internet |year=2018 |publisher=University of Arizona Press |isbn=978-0-8165-3864-5 |page=166 |url=https://books.google.com/books?id=TkBIDwAAQBAJ&pg=PA166}}</ref><ref name="Marcus2015">{{cite book |last1=Marcus |first1=Greil |title=Mystery Train: Images of America in Rock 'n' Roll Music: Sixth Edition |year=2015 |publisher=Penguin |isbn=978-0-14-218158-4 |pages=239–245 |url=https://books.google.com/books?id=trEBDAAAQBAJ&pg=PA245}}</ref> Hawkins brought Robertson to the [[Brill Building]] in [[New York City]] to help him choose songs for the rest of the album.<ref name=rnr_h_seb/>{{rp|14–15}}<ref name=levon_helm_book/>{{rp|66–67}}<ref name=band_bio/>{{rp|45–46}}
[[File:Ronnie Hawkins.jpg|left|thumb|[[Ronnie Hawkins]] (here pictured performing in 2014) hired Robertson as a member of his backup band the Hawks in 1960.]]
Hawkins hired pianist Scott Cushnie away from the Suedes, and took him on tour in Arkansas with the Hawks. When the Hawks' bass player left the group, Cushnie recommended that Hawkins hire Robertson to replace him on bass.<ref name=band_bio/>{{rp|49, 51–52}}<ref name="sc_hamilton_2014">{{cite news|last1=Rockington|first1=Graham|title=Professor Piano moves to the Hammer|url=http://www.thespec.com/news-story/4345452-professor-piano-moves-to-the-hammer|access-date=February 21, 2016|work=Hamilton Spectator|agency=Metroland Media Group|publisher=Neil Oliver|date=January 31, 2014}}</ref>

Hawkins invited Robertson to Arkansas, and then flew to the UK to perform on television there. Left in Arkansas, Robertson spent his living allowance on records and practised intensively each day. Upon returning, Hawkins hired him to play bass. Cushnie left the band a few months later.<ref name=sc_hamilton_2014/> Robertson soon switched from bass to playing lead guitar for the Hawks.<ref name=rnr_h_seb/>{{rp|20–22}}<ref name=levon_helm_book/>{{rp|68–70, 75}} Robertson developed into a guitar virtuoso.<ref>[[Howard Sounes]]. ''Down the Highway: The Life Of Bob Dylan'' Doubleday (2001), pg. 189; {{ISBN|0-552-99929-6}}</ref>

[[Roy Buchanan]], a few years older than Robertson, was briefly a member of the Hawks and became an important influence on Robertson's guitar style: "Standing next to Buchanan on stage for several months, Robertson was able to absorb Buchanan's deft manipulations with his volume speed dial, his tendency to bend multiple strings for [[steel guitar]]-like effect, his rapid [[sweep picking]], and his passion for bending past the root and fifth notes during solo flights."<ref name="Drozdowski">How to Play Guitar Like The Band's Robbie Robertson, Gibson.com Aug 26, 2011; accessed September 2, 2017.</ref>

Drummer/singer [[Levon Helm]] was already a member of the Hawks and soon became close friends with Robertson.<ref name=levon_helm_book/>{{rp|76}} The Hawks continued to tour the United States and Canada, adding [[Rick Danko]], [[Richard Manuel]], and [[Garth Hudson]] to the Hawks lineup in 1961.<ref name="band_last_waltz_book">{{cite book|last1=Minturn|first1=Neil|editor1-last=Budds|editor1-first=Michael J.|title=The Last Waltz of The Band|date=2005|publisher=Pendragon Press|location=Hillsdale, New York|isbn=1576470938|pages=200–201|url=https://books.google.com/books?id=G9VIrC7aDU8C|access-date=February 21, 2016}}</ref>

This lineup, which later became [[the Band]], toured with Hawkins throughout 1962 and into 1963.<ref name=levon_helm_book/>{{rp|95, 100}} They also hired the saxophone player Jerry Penfound and later Bruce Bruno, who were both with the group in their intermediary period as Levon and the Hawks.<ref name="jerry_penfound">{{cite web|title=Jerry "Ish" Penfound|url=http://theband.hiof.no/band_members/jerry_penfound.html|website=The Band Website|publisher=Jan Hoiberg|access-date=February 21, 2016}}</ref><ref name="bruce_bruno">{{cite web|title=Bruce Bruno|url=http://theband.hiof.no/band_members/bruce_bruno.html|website=The Band Website|publisher=Jan Hoiberg|access-date=February 21, 2016}}</ref>

Ronnie Hawkins and the Hawks cut sessions for Roulette Records throughout 1961–1963, all of which Robertson appeared on. The sessions included three singles: "Come Love" b/w "I Feel Good" (Roulette 4400 1961); "Who Do You Love" b/w "Bo Diddley" (Roulette 4483 1963); and "There's A Screw Loose" b/w "High Blood Pressure" (Roulette 4502 1963).<ref name=band_bio/>{{rp|420}}<ref name="rh_discog">{{cite web|title=Ronnie Hawkins Discography|url=http://www.ronniehawkins.com/discography.cfm|website=Ronniehawkins.com|publisher=Hawkstone Enterprises|access-date=February 21, 2016|archive-url=https://web.archive.org/web/20141201091351/http://www.ronniehawkins.com/discography.cfm|archive-date=December 1, 2014|url-status=dead}}</ref>

===With Levon and the Hawks===
The Hawks left Ronnie Hawkins at the beginning of 1964 to go on their own.<ref name="bowman_band_bio_3">{{cite web|last1=Bowman|first1=Rob|title=The History of The Band: The Pre-Band Groups|url=http://theband.hiof.no/history/part_3.html|website=The Band Website|publisher=Jan Hoiberg|access-date=February 14, 2016}}</ref> The members of the Hawks were losing interest in playing in the rockabilly style and favoured blues and soul music. In early 1964, the group approached agent Harold Kudlets about representing them, which he agreed to do, booking them a year's worth of shows in the same circuits as they had been in before with Ronnie Hawkins. Originally dubbed ''The Levon Helm Sextet'', the group included all of the future members of the Band, plus Jerry Penfound on saxophone and Bob Bruno on vocals.<ref name=levon_helm_book/>{{rp|105–106}}

After Bruno left in May 1964, the group changed their name to Levon and the Hawks. Penfound stayed with the group until 1965.<ref name=jerry_penfound/> Kudlets kept the group busy performing throughout 1964 and into 1965, finally booking them into two lengthy summer engagements at the popular nightclub Tony Mart's in [[Somers Point, New Jersey]], at the Shore.<ref name=whispering_pines/>{{rp|64–66, 68}} They played six nights a week alongside [[Conway Twitty]] and other acts.<ref name="tony_mart_1965">{{cite web|title=1965: From Conway Twitty to Bob Dylan|url=http://www.tonymart.com/memory-lane-1965.htm|website=Tony Mart Official Website|access-date=February 28, 2016|archive-date=January 14, 2016|archive-url=https://web.archive.org/web/20160114101037/http://www.tonymart.com/memory-lane-1965.htm|url-status=dead}}</ref>

The members of Levon and the Hawks befriended blues artist [[John P. Hammond]] while he was performing in Toronto in 1964.<ref name=band_bio/>{{rp|84–85}} Later in the year, the group agreed to work on Hammond's album ''So Many Roads'' (released in 1965) at the same time that they were playing the [[Peppermint Lounge]] in New York City.<ref name=whispering_pines/>{{rp|65}} Robertson played guitar throughout the album, and was billed "Jaime R. Robertson" in the album's credits.<ref name=levon_helm_book/>{{rp|110}}

Levon and the Hawks cut a single "Uh Uh Uh" b/w "Leave Me Alone" under the name the Canadian Squires in March 1965. Both songs were written by Robertson. The single was recorded in New York<ref name=whispering_pines/>{{rp|66}} and released on Apex Records in the United States and on Ware Records in Canada.<ref name="band_box_2005">{{cite book|last1=Bowman|first1=Rob|author-link1=Rob Bowman (music writer)|title=''The Band:'' A Musical History ''box set accompanying hardcover book''|date=2005|publisher=Capitol Records|location=Los Angeles}}</ref>{{rp|95}} As Levon and the Hawks, the group cut an afternoon session for [[Atco Records]] later in 1965,<ref name=band_bio/>{{rp|81}} which yielded two singles, "The Stones I Throw" b/w "He Don't Love You" (Atco 6383) and "Go, Go, Liza Jane" b/w "He Don't Love You" (Atco 6625).<ref name=band_bio/>{{rp|420}} Robertson also wrote all three of the tracks on Levon and the Hawks' Atco singles.<ref name=band_box_2005/>{{rp|95}}

===With Bob Dylan and the Hawks===
====1965–1966 World Tour====
{{see also|Electric Dylan controversy|Bob_Dylan_World_Tour_1966|l2=Bob Dylan 1966 World Tour}}
Toward the end of Levon and the Hawks' second engagement at Tony Mart's in New Jersey, in August 1965, Robertson received a call from [[Albert Grossman|Albert Grossman Management]] requesting a meeting with singer [[Bob Dylan]].<ref name=band_box_2005/>{{rp|21}}<ref name="taxi_2">{{cite web|last1=Laskow|first1=Michael|title=Robbie Robertson on Bob Dylan and Songwriting: Second in a Three-Part Series|url=http://www.taxi.com/transmitter/0707/robbie-robertson-taxi-rally.html|website=Taxi.com|publisher=Taxi Transmitter|access-date=February 28, 2016|date=July 2007}}</ref> The group had been recommended to both Grossman and to Dylan by Mary Martin, one of Grossman's employees; she was originally from Toronto and was a friend of the band.<ref name=whispering_pines/>{{rp|68–69}}<ref name="bowman_band_bio_4">{{cite web|last1=Bowman|first1=Rob|author-link1=Rob Bowman (music writer)|title=The History of The Band: Playing With Bob Dylan|url=http://theband.hiof.no/history/part_4.html|website=The Band Website|publisher=Jan Hoiberg|access-date=February 14, 2016}}</ref> Dylan was also aware of the group through his friend John Hammond,<ref name=whispering_pines/>{{rp|69}} whose album ''So Many Roads'' members of the Hawks had performed on.

Robertson agreed to meet with Dylan. Initially, Dylan intended simply to hire Robertson as the guitarist for his backing group. Robertson refused the offer, but did agree to play two shows with Dylan, one at the [[Forest Hills Tennis Stadium]] in [[Forest Hills, Queens|Forest Hills, New York]] on August 28, and one at the [[Hollywood Bowl]] in [[Los Angeles]] on September 3. Robertson suggested they use Levon Helm on drums for the shows.<ref name="where_are_you_now">{{cite book|last1=Kiersh|first1=Edward|title=Where Are You Now, Bo Diddley? The Artists Who Made Us Rock and Where They Are Now|date=1986|publisher=Doubleday and Company|location=Garden City|isbn=038519448X|url=http://theband.hiof.no/articles/where_have_you_gone_bo_diddly_rr.html}}</ref>{{rp|5}}

Robertson and Helm performed in Dylan's backing band, along with [[Harvey Brooks (bassist)|Harvey Brooks]] and [[Al Kooper]] for both shows. The first at Forest Hills received a predominantly hostile response, but the second in Los Angeles was received slightly more favourably.<ref name="whispering_pines"/>{{rp|70}} Dylan flew up to Toronto and rehearsed with Levon and the Hawks September 15–17, as Levon and the Hawks finished an engagement there, and hired the full band for his upcoming tour.<ref name=band_bio/>{{rp|96–99}}

Bob Dylan and the Hawks toured the United States throughout October–December 1965,<ref name="bjorner_1965">{{cite book|last1=Björner|first1=Olof|title=Something is Happening: Bob Dylan 1965|date=2000|publisher=Olaf Björner|url=http://www.bjorner.com/1965%20Something%20Is%20Happening.PDF|access-date=March 1, 2016}}</ref>{{rp|8–9}} with each show consisting of two sets: an acoustic show featuring only Dylan on guitar and harmonica, and an electric set featuring Dylan backed by the Hawks. The tours were largely met with a hostile reaction from fans who knew Dylan as a prominent figure in the [[American folk music revival]], and thought  his move into rock music a betrayal. Helm left the group after their November 28 performance in [[Washington, D.C.]] Session drummer [[Bobby Gregg]] replaced Helm for the December dates, and Sandy Konikoff was brought in to replace Gregg in January 1966.<ref name=band_bio/>{{rp|105, 109}}

Dylan and the Hawks played more dates in the continental United States from February to March 1966 of [[Bob Dylan World Tour 1966|Bob Dylan's 1966 World Tour]]. From April 9-May 27, they played Hawaii, Australia, Europe, and the UK and Ireland. Drummer Sandy Konikoff left after the [[Pacific Northwest]] dates in March,<ref name=whispering_pines/>{{rp|74}} and [[Mickey Jones]] replaced him, staying with the group for the remainder of the tour. The Australian and European legs of the tour received a particularly harsh response from disgruntled folk fans. The May 17 Manchester Free Trade Hall show is best known for an angry audience member audibly yelling "Judas!" at Dylan; it became a frequently-bootlegged live show from the tour,<ref name="bootleg_book">{{cite book|last1=Heylin|first1=Clinton|title=Bootleg: The Secret History of the Other Recording Industry|date=1995|publisher=St. Martin's Press|location=New York|isbn=0312142897|edition=First|url=http://monoskop.org/images/a/a4/Heylin_Clinton_Bootleg_The_Secret_History_of_the_Other_Recording_Industry.pdf|access-date=February 27, 2016}}</ref>{{rp|73–76}} but was eventually released officially as ''[[The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert]]''.<ref name="bjorner_1966">{{cite book|last1=Björner|first1=Olaf|title=Skeleton Keys: Bob Dylan 1966|date=2000|publisher=Olaf Björner|url=http://www.bjorner.com/1965%20Something%20Is%20Happening.PDF|access-date=March 1, 2016}}</ref>{{rp|4}}

The European leg of the tour was filmed by documentary filmmaker [[D. A. Pennebaker]], but completion of a planned film was delayed. After recovering from an accident, Dylan decided to edit it himself.<ref name=bjorner_1966/> [[American Broadcasting Company|ABC television]] rejected it,<ref>[[Howard Sounes]]. ''Down the Highway: The Life of Bob Dylan.'' Doubleday 2001 p258 {{ISBN|0-552-99929-6}}</ref> and it was never commercially released. It was screened as ''[[Eat the Document]]'' in 1972 at the [[Whitney Museum]] in New York.<ref>{{cite news| url = https://timesmachine.nytimes.com/timesmachine/1972/12/01/issue.html| title = Dylan's '66 European Tour at the Whitney| author = Canby, Vincent| date = December 1, 1972| page = 31| access-date = February 9, 2021| work = The New York Times}}</ref><ref name =Rapp>{{cite web| url = https://ultimateclassicrock.com/bob-dylan-eat-the-document/| title = Why Bob Dylan's 'Eat the Document' was Shelved | author = Rapp, Alison| date = February 8, 2021| access-date = February 9, 2021| website = ultimateclassicroak.com}}</ref>

On November 30, 1965, Dylan cut a studio session with members of the Hawks,<ref name="bjorner_sessions_1965">{{cite web|last1=Björner|first1=Olof|title=Still On the Road: 1965 Concerts, Interviews, and Recording Sessions|url=http://www.bjorner.com/DSN00785%20%2865%29.htm|website=Bjorner.com|publisher=Olof Björner|access-date=March 2, 2016}}</ref> which yielded the non-LP single "Can You Please Crawl Out Your Window?" Dylan completed the ''[[Blonde on Blonde]]'' album in Nashville in mid-February 1966, employing Robertson for one of these sessions, which took place on February 14.<ref name="bjorner_sessions_1966">{{cite web|last1=Björner|first1=Olof|title=Still On the Road: 1966 Blonde on Blonde Recording Sessions and World Tour|url=http://www.bjorner.com/DSN01225%20%2866%29.htm|website=Bjorner.com|publisher=Olof Björner|access-date=March 2, 2016}}</ref>

===="Basement Tapes" period====
{{see also|The Basement Tapes|
The Bootleg Series Vol. 11: The Basement Tapes Complete}}
[[File:The_Big_Pink_(crop).jpg|left|thumb|The "Big Pink" house in 2006. "Big Pink" was the house where Bob Dylan and the Band's [[The Basement Tapes|''Basement Tapes'']] were recorded, and the music from the Band album ''[[Music From Big Pink]]'' was written.]] 
On July 29, 1966, Dylan sustained an injured neck from a motorcycle accident, and retreated to a quiet domestic life with his new wife and child in upstate New York.<ref name="down_the_highway">{{cite book|last1=Sounces|first1=Howard|title=Down the Highway: The Life of Bob Dylan|date=2011|publisher=Grove Press|location=New York|isbn=978-0802145529|edition=revised and updated|url=https://books.google.com/books?id=-GjRsF5AT_oC}}</ref>{{rp|216–219}} Some of the members of the Hawks were living at the [[Hotel Chelsea|Chelsea Hotel]] in New York City at the time,<ref name=down_the_highway/>{{rp|220}} and were kept on a weekly retainer by Dylan's management.<ref name=bowman_band_bio_4/>

In February 1967, Dylan invited the members of the Hawks to come up to [[Woodstock, New York]] to work on music.<ref name=bowman_band_bio_4/> Robertson had met a French-Canadian woman on the [[Paris]] stop of Dylan's 1966 world tour,<ref name="rs_rr_intv_1987">{{cite magazine|last1=Goldberg|first1=Michael|date=November 19, 1987|title=The Second Coming of Robbie Robertson|url=https://www.rollingstone.com/music/features/the-second-coming-of-robbie-robertson-19871119|magazine=Rolling Stone|publisher=Wenner Media LLC|publication-date=November 19, 1987}}</ref> and the two moved into a house in the Woodstock area.<ref name=band_bio/>{{rp|135}} The remaining three members of the Hawks rented a house near [[West Saugerties, New York]]; it was later dubbed "[[Big Pink]]" because of its pink exterior.<ref name=down_the_highway/>{{rp|220–221}}

Dylan and the members of the Hawks worked together at the Big Pink house every day to rehearse and generate ideas for new songs, many of which they recorded in Big Pink's makeshift basement studio.<ref name=band_bio/>{{rp|137}} The recordings were made between the late spring and autumn of 1967.<ref name="rs_basement_tapes_complete_14">{{Cite magazine |first=Andy |last=Greene |url=https://www.rollingstone.com/music/news/bob-dylan-complete-basement-tapes-bootlegs-released-november-20140826 |url-access=subscription |archive-url=https://web.archive.org/web/20171013114328/http://www.rollingstone.com/music/news/bob-dylan-complete-basement-tapes-bootlegs-released-november-20140826 |archive-date=2017-10-13 |title=Bob Dylan's Complete, Legendary 'Basement Tapes' Shall Be Released |date=2014-08-26 |access-date=2024-02-04 |magazine=[[Rolling Stone]] }}</ref> Previous Hawks member Levon Helm returned to the group in August 1967.<ref name=band_box_2005/>{{rp|27}} By this time, Robertson's guitar style had evolved to be more supportive of the songs and less devoted to displaying speed and virtuosity.<ref name="Drozdowski"/>

In time, word about these sessions began to circulate, and in 1968, ''[[Rolling Stone]]'' magazine co-founder [[Jann Wenner]] brought attention to these tracks in an article entitled "Dylan's Basement Tape Should Be Released".<ref name=rs_basement_tapes_complete_14/><ref name="rs_jann_wenner_1968">{{cite magazine |url=https://www.rollingstone.com/music/news/dylans-basement-tape-should-be-released-19680622 |url-access=subscription |archive-url=https://web.archive.org/web/20121227225330/https://www.rollingstone.com/music/news/dylans-basement-tape-should-be-released-19680622 |archive-date=December 27, 2012 |title=Dylan's Basement Tape Should Be Released |author=[[Jann Wenner]] |magazine=[[Rolling Stone]] |date=June 22, 1968 |access-date=February 4, 2024}}{{cbignore}}</ref>

In 1969, a bootleg album with a plain white cover compiled by two incognito music industry insiders featured a collection of seven tracks from these sessions. The album, which became known as ''[[Great White Wonder|The Great White Wonder]]'', began to appear in independent record stores and receive radio airplay. This album became a runaway success<ref name=bootleg_book/>{{rp|42–46}} and helped to launch the [[bootleg recording]] industry.<ref name="bootlegging_bob">{{cite book|last=Klagg|first=James C.|title=Bob Dylan And Philosophy|editor-last1=Vernezze|editor-first1=Peter|editor-last2=Porter|editor-first2=Carl|publisher=Open Court Publishing Company|location=Peru, Illinois|date=2005|page=40|chapter=Chapter 4: Great White Wonder: The Morality of Bootlegging Bob|isbn=0812695925}}</ref>

In 1975, Robertson produced an official compilation, ''[[The Basement Tapes]]'', which included a selection of tracks from the sessions. An exhaustive collection of all 138 extant recordings was released in 2014 as ''[[The Bootleg Series Vol. 11: The Basement Tapes Complete]]''.<ref name=rs_basement_tapes_complete_14/>

===With The Band===
{{see also|The Band}}

====1967–1968: ''Music from Big Pink''====
[[File:Robbie Robertson (1971).png|upright|thumb|Robertson performing live with the Band]]
In late 1967, Dylan left to record his next album, ''[[John Wesley Harding]]'' (1967). After recording the basic tracks, Dylan asked Robertson and Garth Hudson about playing on the album to fill out the sound. Robertson liked the starkness of the sound and recommended Dylan leave the tracks as they were.<ref name=band_bio/>{{rp|147–48}} Dylan worked with the Hawks again when they were his backup band for two [[Woody Guthrie]] memorial concerts at [[Carnegie Hall]] in [[New York City]] in January 1968.<ref name=band_box_2005/>{{rp|29}} Three of these performances were later released by Columbia Records on the LP ''A Tribute to Woody Guthrie, Vol. 1'' (1972).<ref name="woody_guthrie_tribute">{{cite web|title=Various Artists: A Tribute to Woody Guthrie, Part 1|url=http://theband.hiof.no/albums/tribute_to_woody_guthrie.html|website=The Band Website|publisher=Jan Hoiberg|access-date=May 30, 2016}}</ref>

Over the course of the "Basement Tapes" period, the group had developed a sound of their own, and Grossman went to Los Angeles to shop the group to a major label, securing a contract with [[Capitol Records]].<ref name=band_box_2005/>{{rp|22, 28}} The group went to New York to begin recording songs with music producer [[John Simon (record producer)|John Simon]]. Capitol brought the group to Los Angeles to finish the album.<ref name="bowman_band_bio_5">{{cite web|last1=Bowman|first1=Rob|author-link1=Rob Bowman (music writer)|title=The History of The Band: The Debut Album|url=http://theband.hiof.no/history/part_5.html|website=The Band Website|publisher=Jan Hoiberg|access-date=February 14, 2016}}</ref> The resulting album, ''[[Music From Big Pink|Music from Big Pink]]'',<ref name="hoskyns_2000_liner_notes">{{cite web|last1=Hoskyns|first1=Barney|title=Liner notes for the Band 2000 remasters|url=http://theband.hiof.no/articles/hoskyns_ln_remasters.html|website=The Band Website|publisher=Jan Hoiberg|access-date=March 13, 2016}}</ref> was released in August 1968.<ref>{{cite web|last1=Rucker|first1=Leland|title=Big Pink in Retrospect. How Songs Learn: "The Weight" Hangs Tough at 35|url=http://theband.hiof.no/articles/big_pink_in_retrospect_leland_rucker.html|website=The Band Website|publisher=Jan Hoiberg|access-date=March 13, 2016}}</ref>

Robertson wrote four of the songs on ''Music From Big Pink'', including "The Weight", "Chest Fever", "Caledonia Mission", and "To Kingdom Come". He is listed in the songwriting credits as "J.R. Robertson". He sang lead vocal on the track "To Kingdom Come"; he did not sing on another Band song released to the public until "Knockin' Lost John" on 1977's ''[[Islands (The Band album)|Islands]]''.<ref name=band_bio/>{{rp|158}}<ref name=bowman_band_bio_5/> Two of Robertson's compositions for the album, "[[The Weight]]" and "[[Chest Fever]]", became important touchstones in the group's career. "The Weight" was influenced by the films of director [[Luis Buñuel]], in particular ''[[Nazarín]]'' (1959) and ''[[Viridiana]]'' (1961), and reflects the recurring theme in Buñuel's films about the impossibility of sainthood. The song portrays an individual who attempts to take a saintly pilgrimage, and becomes mired down with requests from other people to do favors for them along the way. The mention of "Nazareth" at the beginning of the song refers to [[Nazareth, Pennsylvania]], where the [[C. F. Martin & Company]] guitar manufacturer is located; it was inspired by Robertson seeing the word "Nazareth" in the hole of his Martin guitar.<ref name=rnr_h_seb/>{{rp|20}} Although "The Weight" reached No. 21 on the British radio charts,<ref name="official_charts_band">{{cite web|title=[The] Band|url=http://www.officialcharts.com/artist/13424/band|website=Official Charts|publisher=Official Charts Company|access-date=June 28, 2016}}</ref> it did not fare as well on the American charts, initially stalling at No. 63.

The song gained traction following more successful covers by [[Jackie DeShannon]] (US No. 55, 1968), [[Aretha Franklin]] (US No. 19, 1969), and [[the Supremes]] with [[the Temptations]] (US No. 46, 1969), and the song's inclusion in the movie ''[[Easy Rider]]'' (1969), which became a runaway success. "The Weight" has since become the Band's best known song. It has been covered by many artists, appeared in dozens of films and documentaries, and has become a staple of American rock music.<ref name=band_bio/>{{rp|168–173}}<ref name=band_box_2005/>{{rp|32}}<ref name="viney_the_weight">{{cite web|last1=Viney|first1=Peter|title=The Weight|url=http://theband.hiof.no/articles/the_weight_viney.html|website=The Band Website|publisher=Jan Hoiberg|access-date=May 30, 2016}}</ref><ref name="no_depression_the_weight">{{cite web|last1=Colangelo|first1=Joanna|title=The Weight: When a Song Becomes an Anthem|url=http://nodepression.com/article/weight-when-song-becomes-anthem|website=No Depression|publisher=Kyla Fairchild|access-date=May 30, 2016|date=March 12, 2013}}</ref>

When ''Music from Big Pink'' was released in 1968, the Band initially avoided media attention, and discouraged Capitol Records from promotional efforts. They also did not immediately pursue touring to support the album, and declined to be interviewed for a year.<ref name=band_box_2005/>{{rp|38}} The resulting mystery surrounding the group prompted speculation in the underground press.<ref name=bowman_band_bio_5/> ''Music from Big Pink'' received excellent reviews, and the album influenced many well-known musicians of the period.{{citation needed|date=April 2017}}

====1969–1973: Expansion and acclaim ====
[[File:The Band (1969).png|right|thumb|The Band in 1969, Robertson is second from the right]]
In early 1969, the Band rented a home from [[Sammy Davis Jr.]] in [[Hollywood Hills]], and converted the pool house behind it into a studio to recreate the "clubhouse" atmosphere that they had previously enjoyed at Big Pink. The band began recording every day in the pool house studio, working on a tight schedule to complete the album.<ref name=band_bio />{{rp|176–178}} An additional three tracks were recorded at [[The Hit Factory]] in New York in April 1969.<ref name=hoskyns_2000_liner_notes/> Robertson did most of the audio engineering on the album.<ref name=band_box_2005/>{{rp|41}}

The Band began performing regularly in spring 1969, with their first live dates as the Band taking place at the [[Winterland Ballroom]] in San Francisco.<ref name="band_concerts">{{cite web|title=Late Dec. 2013 Updated Concert List|url=http://theband.hiof.no/concerts/LATE_DEC_2013_UPDATED_BAND_CONCERT_LIST.pdf|website=The Band Website|publisher=Jan Hoiberg|access-date=March 14, 2016|date=December 31, 2013}}</ref> Their most notable performances that year were at the 1969 [[Woodstock|Woodstock Festival]] and the UK [[Isle of Wight Festival 1969|Isle of Wight Festival]] with Bob Dylan in August.<ref name=band_bio/>{{rp|201–245}}

The Band's album ''[[The Band (album)|The Band]]'' was released in September 1969, and became a critical and commercial success. The album received almost universal critical praise, peaked at No. 9 on the U.S. pop charts, and stayed on the Top 40 for 24 weeks.<ref name="billboard_book">{{cite book|last1=Whitburn|first1=Joel|title=The Billboard Book of Top 40 Albums|url=https://archive.org/details/billboardbookoft00whit|url-access=registration|date=1995|publisher=Billboard Books (Watson-Guptill Publications)|location=New York|isbn=0823076318|edition=Third}}</ref>{{rp|25}} ''The Band'' works as a loose concept album of [[Americana (music)|Americana]] themes,<ref>{{cite web|last1=Hoskyns|first1=Barney|title=Liner notes for the Band 2000 remasters. The Band: ''The Band'' (Capitol)|url=http://theband.hiof.no/articles/hoskyns_ln_remasters.html#tb|website=The Band Website|publisher=Jan Hoiberg|access-date=28 June 2016|date=October 2000}}</ref> and was instrumental in the creation of the Americana music genre.<ref name=hoskyns_2000_liner_notes/> It was included in the [[Library of Congress]]' [[National Recording Registry]] in 2009.<ref name="loc_natl_recording_registry">{{cite web|title=Complete National Recording Registry Listing|url=https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing|website=Library of Congress Website|publisher=Library of Congress|access-date=May 30, 2016}}</ref> The song from this album that had the strongest cultural influence was "[[The Night They Drove Old Dixie Down]]". The song explores a [[Confederate States of America|Confederate]] man's life after defeat of the South following the [[American Civil War]]. It incorporates historical events to create a larger American mythos. Although the Band's original version was only released as the B side of the single "[[Up on Cripple Creek]]", a cover version by [[Joan Baez]] went to No. 3 on the charts in 1971 and helped to popularize the song.<ref name=band_bio/>{{rp|192–193}}<ref name="dixie_viney">{{cite web|last1=Viney|first1=Pete|title=The Night They Drove Old Dixie Down (revisited)|url=http://theband.hiof.no/articles/dixie_viney.html|website=The Band Website|publisher=Jan Hoiberg|access-date=June 28, 2016|date=2000}}</ref>

Several other tracks from ''The Band'' received significant radio airplay, and became staples in the group's concert appearances. "[[Up on Cripple Creek]]" peaked at No. 25 in late 1969 in the United States, and was their only Top 30 hit there.<ref name="bowman_band_bio_6">{{cite web|last1=Bowman|first1=Rob|author-link1=Rob Bowman (music writer)|title=The History of The Band: The Masterpiece|url=http://theband.hiof.no/history/part_6.html|website=The Band Website|publisher=Jan Hoiberg|access-date=March 13, 2016}}</ref> "[[Rag Mama Rag]]" reached No. 16 in the UK in April 1970, the highest chart position of any single by the group in that country.<ref name=official_charts_band/> [[Whispering Pines (The Band song)|"Whispering Pines"]], co-written by Richard Manuel, was released as a single in France in 1970,<ref>{{cite web|title=Record Details: The Band "Whispering Pines" b/w "Lonesome Suzie"|url=http://www.45cat.com/record/2c00680447m|website=45cat.com|access-date=28 June 2016}}</ref> and was later the title of a 2009 book about Canadian contributions to the Americana music genre by Jason Schneider.<ref name=whispering_pines/> On November 2, 1969, the Band appeared on the ''[[Ed Sullivan Show]]'', one of only two television appearances they made.<ref name=band_box_2005/>{{rp|45}}

On January 12, 1970, the Band was featured on the cover of ''[[Time (magazine)|Time]]'' magazine.<ref name="band_time">{{cite magazine|last=Cocks|first=Jay|date=January 12, 1970|title=Down To Old Dixie and Back|url=http://theband.hiof.no/articles/time_1970.html|magazine=Time|location=New York|publisher=Time Inc.|access-date=March 13, 2016}}</ref> This was the first time a North American rock band had been featured on the cover of the magazine.<ref name="rr_site_bio">{{cite web|title=Robbie Robertson Biography|url=http://robbie-robertson.com/biography|website=Robbie Robertson official website|access-date=March 14, 2016}}</ref> The Band rented The [[Woodstock Playhouse]] in Woodstock, New York with the intent of recording a new live album there, but the city council voted against it, so they recorded on location, but without an audience. Robertson handled most of the songwriting duties as before.<ref name=band_bio/>{{rp|235–236}} Robertson brought in [[Todd Rundgren]] to engineer the album which was recorded in two weeks' time.<ref name="bowman_band_bio_7">{{cite web|last1=Bowman|first1=Rob|author-link1=Rob Bowman (music writer)|title=The History of The Band: ''Stage Fright'' and ''Cahoots''|url=http://theband.hiof.no/history/part_7.html|website=The Band Website|publisher=Jan Hoiberg|access-date=March 13, 2016}}</ref> These sessions became their third album, ''[[Stage Fright (album)|Stage Fright]]'', which became the Band's highest-charting album, peaking at No. 5 on September 5 and staying on the Billboard Top 40 for 14 weeks.<ref name=billboard_book/>{{rp|25}}

[[File:The_Band_-_2005710007.jpg|left|thumb|Robertson performing live with the Band in 1971]]
The Band's next album, ''[[Cahoots (album)|Cahoots]]'', was recorded at Albert Grossman's newly built [[Bearsville Studios]] and was released in October 1971. The album received mixed reviews, and peaked at No. 24 on the Billboard charts,<ref name=band_box_2005/>{{rp|54–58}} only remaining on the Billboard Top 40 for five weeks.<ref name=billboard_book/>{{rp|25}} ''Cahoots'' is notable for its cover of Bob Dylan's "[[When I Paint My Masterpiece]]", as well as for featuring the concert favourite "[[Life Is a Carnival]]". The inclusion of "When I Paint My Masterpiece" came about when Dylan stopped by Robertson's home during the recording of ''Cahoots'' and Robertson asked if he might have any songs to contribute. That led to Dylan playing an unfinished version of "When I Paint My Masterpiece" for him. Dylan soon completed the song and the Band recorded it for the album. "Life Is a Carnival" features horn parts written by producer and arranger [[Allen Toussaint]]. It was the only track from ''Cahoots'' the Band kept in their set list through to ''The Last Waltz'' concert and film.<ref name=band_box_2005/>{{rp|54–55}}

The Band continued to tour throughout 1970–71.<ref name=band_concerts/> A live album recorded at a series of shows at the [[Palladium (New York City)|Academy of Music]] in New York City between December 28–31, 1971,<ref name=band_concerts/> was released in 1972 as the double album ''[[Rock of Ages (The Band album)|Rock Of Ages]]''.<ref name="bowman_band_bio_8">{{cite web|last1=Bowman|first1=Rob|author-link1=Rob Bowman (music writer)|title=The History of The Band: The "In Between" Years|url=http://theband.hiof.no/history/part_8.html|website=The Band Website|publisher=Jan Hoiberg|access-date=February 14, 2016}}</ref> ''Rock of Ages'' peaked at No. 6, and remained in the Top 40 for 14 weeks.<ref name=billboard_book/>{{rp|25}}

After the Academy of Music shows, the Band again retreated from performing live. They returned to the stage on July 28, 1973,<ref name=band_concerts/> to play the [[Summer Jam at Watkins Glen]] alongside [[the Allman Brothers Band]] and [[the Grateful Dead]]. A recording of the Band's performance was released by Capitol Records as the album ''[[Live at Watkins Glen]]'' in 1995.<ref name="watkins_glen_album">{{cite web|title=Live at Watkins Glen|url=http://theband.hiof.no/albums/live_at_watkins_glen.html|website=The Band Website|publisher=Jan Hoiberg|access-date=March 14, 2016}}</ref> With over 600,000 people in attendance,<ref name="noise_addicts_record_concerts">{{cite web|title=Concerts with Record Attendance|url=http://www.noiseaddicts.com/2009/08/concerts-with-record-attendance|website=Noiseaddicts.com|date=August 20, 2009 |access-date=May 30, 2016}}</ref> the festival set a record for "Pop Festival Attendance" in the [[Guinness World Records|Guinness Book of World Records]]. The record was first published in the 1976 edition of the book.<ref name="gbowr_1976">{{cite book|last1=McWhirther|first1=Norris|last2=McWhirther|first2=Ross|title=Guinness Book of World Records|year=1975|publisher=Sterling Publishing Company|location=New York|isbn=0806900156|page=221|edition=1976}}</ref> In October 1973, the Band released an album of [[Cover version|cover songs]] entitled ''[[Moondog Matinee]]'',<ref name=band_box_2005/>{{rp|69}}<ref name=bowman_band_bio_8/> which peaked at No. 28 on the Billboard charts.<ref name=billboard_book/>{{rp|25}} Around the time of the recording of ''Moondog Matinee'', Robertson began working on an ambitious project entitled ''Works'' that was never finished or released. One lyric from the ''Works'' project, "Lay a flower in the snow", was used in Robertson's song "[[Robbie Robertson (album)#"Fallen Angel"|Fallen Angel]]", which appeared on his 1987 [[Robbie Robertson (album)|self-titled solo album]].<ref name=bowman_band_bio_8/>

====1974: Reunion with Bob Dylan ====
In February 1973,<ref name="bjorner_1973">{{cite book|last1=Björner|first1=Olof|title=Willing To Take Chances: Bob Dylan 1973|date=2001|publisher=Olof Björner|url=http://www.bjorner.com/1973%20Willing%20To%20Take%20Chances.pdf|access-date=30 May 2016}}</ref>{{rp|2}} Bob Dylan relocated from Woodstock, New York to [[Malibu, California]].<ref name=Marty>{{cite book| last =Newman| first =Martin Alan| title =Bob Dylan's Malibu| publisher =EDLIS Café Press| year =2021| location =Hibbing, Minnesota| isbn =9781736972304}}</ref><ref>{{cite web|last1=Hasted|first1=Nick|title=Shelter From The Storm – the inside story of Bob Dylan's Blood On The Tracks|url=http://www.uncut.co.uk/features/shelter-from-the-storm-the-inside-story-of-bob-dylan-s-blood-on-the-tracks-15656|website=UnCut Magazine online|publisher=Time Inc. (UK) Ltd.|access-date=May 30, 2016|location=London|date=November 15, 2013}}</ref> Coincidentally, Robertson moved to Malibu in the summer of 1973, and by October of the year the rest of the members of the Band had followed suit, moving into properties near [[Zuma Beach]].{{citation needed|date=March 2017}}
[[File:Bob_Dylan_and_The_Band_-_1974.jpg|right|thumb|Bob Dylan and the Band performing at the [[Chicago Stadium]] in [[Chicago|Chicago, Illinois]], on the 1974 reunion tour, Robertson is second from the left]]
[[David Geffen]] had signed Dylan to [[Asylum Records]], and worked with promoter [[Bill Graham (promoter)|Bill Graham]] on the concept that became the [[Bob Dylan and the Band 1974 Tour]]. It was his first tour in over seven years.{{citation needed|date=April 2017}}

Meanwhile, Bill Graham took out a full-page advertisement for the Bob Dylan and the Band tour in ''[[The New York Times]]''. The response was one of the largest in entertainment history up to that point, with between 5 and 6 million requests for tickets mailed in for 650,000 seats. Graham's office ended up selling tickets off on a lottery basis, and Dylan and the Band netted $2&nbsp;million from the deal.<ref name=whispering_pines/>{{rp|298}}<ref name=band_bio/>{{rp|284–286}}<ref name=band_box_2005/>{{rp|70}}

Among the rehearsals and preparations, the Band went into the studio with Bob Dylan to record a new album for Asylum Records, ''[[Planet Waves]]'' (1974). Sessions took place at [[The Village (studio)|Village Recorder]] in [[West Los Angeles|West Los Angeles, California]], from November 2–14, 1973.<ref name="bjorner_sessions_1973">{{cite web|last1=Björner|first1=Olof|title=Still On the Road: 1973 Recording Sessions|url=http://www.bjorner.com/DSN02100%201973.htm|website=Bjorner.com|publisher=Olof Björner|access-date=27 March 2016}}</ref> ''Planet Waves'' was released on February 9, 1974. The album was No. 1 on the Billboard album charts for four weeks, and spent 12 weeks total in the Billboard Top 40.<ref name=billboard_book/>{{rp|25}} ''Planet Waves'' was Bob Dylan's first No. 1 album,<ref name="indiewire_2014">{{cite web|last1=Friedman|first1=Jon|title=The Greatest Rock Tour: Bob Dylan & The Band in 1974 – 40 Years Later|url=http://www.indiewire.com/mediamatrix/the-greatest-rock-concert-ever-bob-dylan-the-bands-tour-74|website=Jon Friedman's Media Matrix|publisher=Indiewire|access-date=March 28, 2016|date=January 2, 2014|archive-date=May 7, 2016|archive-url=https://web.archive.org/web/20160507204727/http://www.indiewire.com/mediamatrix/the-greatest-rock-concert-ever-bob-dylan-the-bands-tour-74|url-status=dead}}</ref> and the first and only time Bob Dylan and the Band recorded a studio album together.<ref name=band_bio/>{{rp|287}}

The 1974 tour began at the [[Chicago Stadium]] on January 3, 1974, and ended at [[The Forum (Inglewood, California)|The Forum]] in [[Inglewood, California]] on February 14.<ref name="bjorner_tour_1974">{{cite web|last1=Björner|first1=Olof|title=Still On the Road: 1974 Tour of America With The Band|url=http://www.bjorner.com/DSN02230%201974%20Tour.htm|website=Bjorner.com|publisher=Olof Björner|access-date=March 27, 2016}}</ref> The shows began with more songs from the new ''Planet Waves'' album and with covers that Dylan and the Band liked, but as the tour went on, they moved toward playing older and more familiar material, only keeping "[[Forever Young (Bob Dylan song)|Forever Young]]" from the ''Planet Waves'' album in the set list.<ref>{{cite web|last1=DeRiso|first1=Nick|title=The Story of Bob Dylan's Return to the Road With the Band|url=http://ultimateclassicrock.com/bob-dylan-returns-to-the-road-with-the-band/?trackback=tsmclip|website=Ultimate Classic Rock|publisher=Diffuser Network|access-date=March 28, 2016|date=January 3, 2014}}</ref> Dylan and the Band played a number of tracks from the controversial 1965–1966 World Tour, this time to wildly enthusiastic response from the audience where there had been mixed reaction and boos nine years previously.<ref name=band_bio/>{{rp|291}}

The final three shows of the tour at The Forum in Inglewood, California were recorded and assembled into the double album ''[[Before the Flood (album)|Before the Flood]]''.<ref name=bjorner_tour_1974/> Credited to "Bob Dylan/The Band", ''Before the Flood'' was released by Asylum Records on July 20, 1974. The album debuted at No. 3 on the Billboard charts, and spent ten weeks in the Top Forty.<ref name=billboard_book/>{{rp|26}}

====1974–1975: Shangri-La Studios ====
Following the 1974 reunion tour with Bob Dylan, rock manager [[Elliot Roberts]] booked the Band with the recently reunited [[Crosby, Stills, Nash, and Young]].<ref name=band_concerts/> On September 4, both artists played [[Wembley Stadium]] in [[London]], appearing with [[Jesse Colin Young]] and [[Joni Mitchell]].<ref name=band_bio/>{{rp|308–310}}<ref name="the_archive_festivals">{{cite web|title=Crosby Stills Nash and Young, Joni Mitchell with Tom Scott and the L.A Express, The Band, Jesse Colin Young. Wembley Stadium, London. Sept 14th 1974|url=http://www.ukrockfestivals.com/wembley-1974.html|website=The Archive: UK Rock Festivals 1960–1990 and UK Free Festivals 1965–1990|access-date=June 4, 2016|date=October 2012}}</ref>

[[File:Shangri La Studios entrance.jpg|left|thumb|The entrance to Shangri-La Studios in 2016. The Band had the ranch house on the Shangri-La property converted into a recording studio in 1974.]]After moving to Malibu in 1973, Robertson and the Band had discovered a ranch in Malibu near Zuma Beach called "Shangri-La", and decided to lease the property. The main house on the property had originally been built by ''[[Lost Horizon (1937 film)|Lost Horizon]]'' (1937) actress [[Margo (actress)|Margo Albert]],<ref name="star_tribune_shangri-la">{{cite web|last1=Bream|first1=Jon|title=Dylan's legendary Shangri-La studio is for sale by owner Beej Chaney|url=http://www.startribune.com/dylan-s-legendary-shangri-la-studio-is-for-sale-by-owner-beej-chaney/123578689/|website=Star Tribune|publisher=Star Tribune Media Company LLC|access-date=June 4, 2016|location=Minneapolis|date=June 10, 2011}}</ref> and the ranch had been the filming and stabling site for the ''[[Mister Ed]]'' television show in the 1960s. In the interim, the house had served as a high-class bordello.<ref>{{cite web|title=Shangri-La Recording Studio|url=http://rockandrollroadmap.com/places/studios-and-labels/los-angeles-area-studios-and-labels/shangra-la-recording-studio|website=Rock & Roll Roadmaps|date=December 26, 2015 |access-date=June 4, 2016}}</ref>

The album release of ''[[The Basement Tapes]]'', credited to Bob Dylan and the Band, was the first album production that took place in the new studio. The album, produced by Robertson, featured a selection of tapes from the original 1967 Basement Tapes sessions with Dylan, as well as demos for tracks eventually recorded for the ''Music From Big Pink'' album. Robertson cleaned up the tracks, and the album was released in July 1975.<ref name=whispering_pines/>{{rp|298}}<ref name=band_bio/>{{rp|311–13}}

Shangri-La Studios proved to be a return to a clubhouse atmosphere that the Band had enjoyed previously at Big Pink, and in the spring of 1975, the group began work on ''[[Northern Lights – Southern Cross]]'', their first release of original material in four years.{{citation needed|date=March 2017}} One of the best known tracks on the album is "[[Acadian Driftwood]]", the first song with specifically Canadian subject material. Robertson was inspired to write "Acadian Driftwood" after seeing the documentary ''L'Acadie, l'Acadie'' (1971) on Canadian television while in Montreal.<ref name=whispering_pines/>{{rp|298–299}}<ref name=band_box_2005/>{{rp|77–79}} Two other notable tracks from that album are "It Makes No Difference" and "Ophelia".{{citation needed|date=March 2017}}

''Northern Lights – Southern Cross'' was released on November 1, 1975. The album received generally positive reviews,<ref name=whispering_pines/>{{rp|300}} and reached No. 26 on the Billboard charts, remaining on the Top 40 for five weeks.<ref name=billboard_book/>{{rp|26}}<ref>{{cite web|last1=DeRiso|first1=Nick|title=40 Years Ago: The Band Bounce Back, Briefly, With 'Northern Lights-Southern Cross'|url=http://ultimateclassicrock.com/the-band-northern-lights-southern-cross/|website=Ultimate Classic Rock|publisher=Townsquare Media|access-date=June 5, 2016|date=November 1, 2015}}</ref>

====1976–1978: ''The Last Waltz'' ====
The Band began touring again in June 1976, performing throughout the summer.<ref name=band_concerts/> The members of the Band were splintering off to work on other projects, with [[Levon Helm]] building a studio in Woodstock and Rick Danko having been contracted to [[Arista Records]] as a solo artist.<ref name="rs_last_waltz_1976">{{cite magazine|last1=Snyder|first1=Patrick|date=December 16, 1976|title=The Band: Drifting Toward the Last Waltz|url=https://www.rollingstone.com/music/news/the-last-waltz-19780601|magazine=Rolling Stone|publisher=Wenner Media LLC|publication-date=December 16, 1976|issue=228|access-date=June 22, 2016}}</ref> While on the summer tour, member Richard Manuel severely injured his neck in a boating accident, so ten dates were cancelled.<ref name=whispering_pines/>{{rp|300–01}}<ref name=band_bio/>{{rp|324–5}} During this time, Robertson suggested the Band cease to tour. He said they agreed on a "grand finale" show, part ways to work on their various projects, then regroup.<ref name=band_box_2005/>{{rp|82}}<ref name="nyt_11-27-76">{{cite news|author=Ledbetter, Les|title=The Band Ends Era With 'Last Waltz'|newspaper=The New York Times|date=27 November 1976|page=18}}</ref><ref name="geo_stroum_intv_2011_1">{{cite interview|last=Robertson|first=Robbie|subject-link=Robbie Robertson|interviewer=[[George Stroumboulopoulos]]|title=Robbie Robertson On the Break-Up of The Band|url=http://www.cbc.ca/strombo/videos/robbie-robertson-on-the-break-up-of-the-band|work=George Stroumboulopoulos Tonight|publisher=CBC|location=Toronto|date=March 31, 2011|access-date=June 12, 2016}}</ref> Helm later made the case in his autobiography, ''This Wheel's on Fire'', that Robertson had forced the Band's breakup on the rest of the group.<ref>Levon Helm and Stephen Davis. ''This Wheel's on Fire: Levon Helm and the Story of the Band'', Chapter Nine: ''The Last Waltz''</ref>

Concert promoter [[Bill Graham (promoter)|Bill Graham]] booked the Band at the [[Winterland Ballroom]] on [[Thanksgiving (United States)|American Thanksgiving]], November 25, 1976. ''The Last Waltz'' was a gala event, with ticket prices of $25 per person. It included a Thanksgiving dinner served to the audience, and featured the Band performing with various musical guests.<ref name=rs_last_waltz_1976/> The onstage guest list included [[Ronnie Hawkins]], [[Muddy Waters]], [[Paul Butterfield]], [[Dr. John]], [[Bob Dylan]], [[Eric Clapton]], [[Van Morrison]], [[Neil Diamond]], [[Joni Mitchell]], [[Neil Young]], [[Emmylou Harris]], and others.<ref name="sf_gate">{{cite web|last1=Selvin|first1=Joe|title=The day the music lived/Rereleased 'Last Waltz' documents amazing night in 1976 when rock's royalty bid farewell to the Band|url=http://www.sfgate.com/movies/article/The-day-the-music-lived-Rereleased-Last-Waltz-2857293.php|website=SFGate.com|publisher=Hearst Communications Inc.|access-date=June 12, 2016|location=San Francisco|date=April 4, 2002}}</ref>
[[File:The Last Waltz.jpg|right|thumb|The Band with musical guests performing "I Shall Be Released" at ''The Last Waltz'' concert on November 25, 1976]]
Robertson wanted to document the event on film, and approached director [[Martin Scorsese]] to see if he was interested in shooting the concert.<ref name="rs_last_waltz_1978">{{cite magazine|last1=Hodenfield|first1=Chris|date=June 1, 1978|title=The Last Waltz: A Concert Becomes a Legend|url=https://www.rollingstone.com/music/news/the-last-waltz-19780601|magazine=Rolling Stone|publisher=Wenner Media LLC|publication-date=June 1, 1978|issue=266|access-date=June 22, 2016}}</ref><ref name="cbc_intv_1978">{{cite interview|last=Robertson|first=Robbie|subject-link=Robbie Robertson|last2=Scorsese|first2=Martin|subject-link2=Martin Scorsese|title=Robbie Robertson, Martin Scorsese and The Last Waltz|url=http://www.cbc.ca/player/play/2165969688|work=90 Minutes Live|publisher=CBC|location=Toronto|date=April 14, 1978|access-date=June 12, 2016}}</ref><ref name="scorsese_on_scorsese">{{cite book|editor1-last=Christie|editor1-first=Ian|editor2-last=Thompson|editor2-first=David|title=Scorsese on Scorsese|date=2003|publisher=Faber and Faber Ltd.|location=London|isbn=9780571220021|edition=Revised|url=https://books.google.com/books?id=iZvyBBGAzHgC|access-date=June 13, 2016}}</ref>{{rp|73–74}} They developed a 200-page script for the show, listing out in columns the lyrics of the songs, who was singing what part, and what instruments were being featured. It included columns for the camera and lighting work.<ref name=cbc_intv_1978/>

Scorsese brought in all-star cameramen such as [[Michael Chapman (cinematographer)|Michael Chapman]], [[László Kovács (cinematographer)|László Kovács]], and [[Vilmos Zsigmond]] to film the show in 35mm.<ref name=rs_last_waltz_1978/><ref name=cbc_intv_1978/> [[John Simon (record producer)|John Simon]], producer on the Band's first two albums, was brought in to coordinate rehearsals and work as musical director.<ref name="something_else_john_simen">{{cite web|last1=DeRiso|first1=Nick|title=Something Else! Interview: John Simon on the Band, fixing The Last Waltz and taking credit|url=http://somethingelsereviews.com/2014/01/29/something-else-interview-the-band-producer-john-simon/|website=Something Else!|access-date=June 12, 2016|date=January 29, 2014}}</ref> [[Boris Leven]] was brought in as art director. Jonathan Taplin assumed the role of executive producer, and Robertson worked as producer of the film.<ref name=band_bio/>{{rp|336}} Rehearsals for ''The Last Waltz'' concert began in early November. [[Warner Bros. Records]] president [[Mo Ostin]] offered to fund its filming in exchange for the right to release its music on an album. The Band were contractually obligated to supply Capitol Records with one more album before they could be released to work with Warner Bros. So in between rehearsing, they worked on the studio album ''[[Islands (The Band album)|Islands]]'' for Capitol. Robertson wrote or co-wrote eight of the ten tracks. One of the songs, "Knockin' Lost John", features Robertson on vocals, and was the first Band song Robertson had sung on since "To Kingdom Come" from ''Music From Big Pink''. "[[Christmas Must Be Tonight]]" was inspired by the birth of Robertson's son, [[Sebastian Robertson|Sebastian]], in July 1974.<ref name=band_bio/>{{rp|336–8}}<ref name=band_box_2005/>{{rp|82}}

Approximately 5,000 people attended the concert.<ref name="time_12-6-76">{{cite magazine|author=Staff|title=The Last Set|magazine=Time|publisher=Time Inc.|date=December 6, 1976|volume=108|issue=23|pages=46–47}}</ref> The event began at 5&nbsp;pm, beginning with the audience members being served a full traditional Thanksgiving meal at candlelit tables, with a vegetarian table serving an alternate menu as an option. The Berkeley Promenade Orchestra played waltz music for dancing afterward. The tables were cleared and moved at 8&nbsp;pm. At 9&nbsp;pm, the Band played songs for an hour, beginning with "Up On Cripple Creek". Just after 10&nbsp;pm, Robertson introduced [[Ronnie Hawkins]], the first onstage guest, with a succession of guest stars appearing with the group until just after midnight.

The group took a 30-minute break, during which several [[San Francisco Bay Area|Bay Area]] poets, including [[Lawrence Ferlinghetti]],<ref>{{Cite web|url=https://www.rogerebert.com/reviews/the-last-waltz-2002|title=The Last Waltz movie review & film summary (2002) |first=Roger|last=Ebert|website=rogerebert.com/|access-date=August 29, 2023}}</ref> [[Diane di Prima]],<ref>{{Cite web|url=https://www.vogue.com/article/diane-di-prima-obit|title=Why You Should Know About Diane di Prima, the Beat Poet Decades Ahead of Her Time|date=October 27, 2020|website=Vogue|accessdate=August 29, 2023}}</ref> and [[Michael McClure]]<ref>{{Cite web|url=https://www.latimes.com/archives/la-xpm-1991-07-27-ca-304-story.html|title=This Poet and Musician Have Seen the Best and Verse of It|first=Bill|last=Kohlhaase|date=July 27, 1991|website=Los Angeles Times|accessdate=August 29, 2023}}</ref> performed readings of their poems. After the break, the Band returned to the stage, performing, among other songs, a new composition entitled "The Last Waltz Theme" that Robertson had just completed less than 48 hours prior. [[Bob Dylan]] was brought in at the end of this second set, performing several songs, and finally being joined with the other guest stars for a finale performance of "[[I Shall Be Released]]". This was then followed with two all-star jam sessions, after which the Band returned to the stage to close the show with one more song, their rendition of "[[Baby Don't You Do It]]".<ref name=band_bio/>{{rp|351}}<ref name=nyt_11-27-76/>

After ''[[The Last Waltz]]'' concert event was finished, director Martin Scorsese had 400 reels of raw footage to work with,<ref name=time_12-6-76/> and began editing the footage. The film was then sold to [[United Artists]]. In the meantime, Robertson and Scorsese continued to brainstorm more ideas for the film. In April 1977, country singer Emmylou Harris and gospel vocal group [[the Staple Singers]] were filmed on a sound stage at MGM performing with the Band. Emmylou Harris performed on "Evangeline", a new song written by Robertson, and the Staples Singers performed on a new recording of "The Weight", which they already recorded in 1968.<ref name=band_bio/>{{rp|352–53}}<ref name=band_box_2005/>{{rp|85–87}}<ref name=scorsese_on_scorsese/>{{rp|73–74}} Scorsese's next idea was to intersperse the concert footage with interviews of the Band that told their story. Scorsese conducted the interviews.{{citation needed|date=April 2017}} [[The Last Waltz (1978 album)|''The Last Waltz'' album]] was released by Warner Brothers Records on April 7, 1978, as a 3-LP set.<ref name="allmusic_last_waltz">{{cite web|title=The Band: The Last Waltz|url=http://www.allmusic.com/album/the-last-waltz-mw0000198624|website=[[AllMusic]]|access-date=June 23, 2016}}</ref> The first five sides feature live performances from the concert, and the last side contains studio recordings from the MGM sound stage sessions, including ''Out of the Blue'', which would be released as a single and which is the third and last Band song on which Robbie sings lead.<ref name="bowman_band_bio_9">{{cite web|last1=Bowman|first1=Rob|author-link1=Rob Bowman (music writer)|title=The History of The Band: 1975's Miracle and the Last Waltz|url=http://theband.hiof.no/history/part_9.html|website=The Band Website|publisher=Jan Hoiberg|access-date=June 23, 2016}}</ref> The album peaked at No. 16 on the Billboard charts, and remained in the Top 40 for 8 weeks.<ref name=billboard_book/>{{rp|26}}

''The Last Waltz'' was released to movie theatres on April 26, 1978.<ref name="nyt_4-26-78">{{cite news|author=Maslin, Janet|title=Film: Scorsese and the Band|newspaper=The New York Times|date=April 26, 1978|page=C15}}</ref> The film fared well with both rock and film critics. Robertson and Scorsese made appearances throughout America and Europe to promote the film.<ref name=band_bio/>{{rp|361}} Over time, ''The Last Waltz'' has become lauded by many as an important and pioneering [[rockumentary]]. Its influence has been felt on subsequent rock music films such as [[Talking Heads]]' ''[[Stop Making Sense]]'' (1984), and [[U2]]'s ''[[Rattle and Hum#Film|Rattle and Hum]]'' (1988).<ref name="film_quarterly">{{cite magazine|last=Severn|first=Stephen E.|title=Robbie Robertson's Big Break: A Reevaluation of Martin Scorsese's The Last Waltz|url=http://theband.hiof.no/articles/a_reevaluation_of_lw_severn.html|magazine=Film Quarterly|edition=Winter 2002/2003|location=Berkeley, California|publisher=University of California Press|volume=56|issue=2|pages=25–31|access-date=June 23, 2016}}</ref>

In his mixed review [[Roger Ebert]] wrote, "In ''The Last Waltz'', we have musicians who seem to have bad memories. Who are hanging on. Scorsese's direction is mostly limited to closeups and medium shots of performances; he ignores the audience. The movie was made at the end of a difficult period in his own life, and at a particularly hard time (the filming coincided with his work on ''[[New York, New York (1977 film)|New York, New York]]''). This is not a record of serene men, filled with nostalgia, happy to be among friends."<ref>{{cite web|url= https://www.rogerebert.com/reviews/the-last-waltz-2002|title= The Last Waltz movie review|website= Rogerebert.com|accessdate= September 3, 2023}}</ref>

=== Work outside of the Band (1970–1977)===
[[File:Jesse Winchester Sings and Plays JazzFest 2011.jpg|right|thumb|Singer-songwriter [[Jesse Winchester]] performing in 2011, Robertson produced his self-titled debut album in 1970]]
Robertson produced [[Jesse Winchester]]'s debut self-titled album, which was released in 1970 on Ampex Records.<ref name="rs_jw_obituary">{{cite web|last1=Browne|first1=David|title=Jesse Winchester Dead at 69, Singer-Songwriter Became Anti-War Icon|url=https://www.rollingstone.com/music/news/jesse-winchester-dead-at-69-singer-songwriter-became-anti-war-icon-20140411|website=Rollingstone.com|publisher=Wenner Media LLC|access-date=June 27, 2016|date=April 1, 2014}}</ref> The album features Robertson playing guitar throughout the album, and co-credits the track "Snow" to Robertson as well.<ref name="jw_st">{{cite web|title=Jesse Winchester: ''Jesse Winchester''|url=http://theband.hiof.no/albums/jesse_winchester.html|website=The Band Website|publisher=Jan Hoiberg|access-date=June 27, 2016}}</ref>

Robertson played guitar on ex-[[The Beatles|Beatle]] [[Ringo Starr]]'s third solo album, ''[[Ringo (album)|Ringo]]'' (1973), performing with four-fifths of the Band on the track "Sunshine Life For Me (Sail Away Raymond)".<ref>{{cite web|last1=Calkin|first1=Graham|title=''Ringo''|url=http://www.jpgr.co.uk/pctc252.html|website=JPGR: The Complete U.K. Discography of John, Paul, George and Ringo|publisher=Graham Calkin's Beatles Pages|access-date=June 27, 2016|date=2002}}</ref><ref name="rs_ringo">{{cite web|title=Ringo Starr: ''Ringo''|url=http://theband.hiof.no/albums/ringo.html|website=The Band Website|publisher=Jan Hoiberg|access-date=June 27, 2016}}</ref> Robertson contributed a guitar solo on the track "Snookeroo" on Starr's fourth album, ''[[Goodnight Vienna]]'' (1974).<ref name="rs_goodnight_vienna">{{cite web|title=Ringo Starr: ''Goodnight Vienna''|url=http://theband.hiof.no/albums/goodnight_vienna.html|website=The Band Website|publisher=Jan Hoiberg|access-date=June 27, 2016}}</ref>

Robertson played guitar for Joni Mitchell on the track "[[Raised on Robbery]]", which was released on her album ''[[Court and Spark]]''. In 1974, Robertson also played guitar on [[Carly Simon]]'s version of "[[Mockingbird (Inez & Charlie Foxx song)#1970s: Carly Simon and James Taylor|Mockingbird]]", which featured Simon singing with her then-husband [[James Taylor]].<ref name="scott_cahill">{{cite web|last1=Cahill|first1=Scott|title=The Inside Story of Mockingbird with Carly Simon and James Taylor|url=http://mylifewithrockandrolllegends.com/2013/05/the-inside-story-of-mockingbird-with-carly-simon-and-james-taylor|website=Behind the Board: My Life With Rock And Roll Legends|publisher=Scott Cahill|access-date=June 27, 2016|date=May 12, 2013|archive-date=August 14, 2016|archive-url=https://web.archive.org/web/20160814194308/http://mylifewithrockandrolllegends.com/2013/05/the-inside-story-of-mockingbird-with-carly-simon-and-james-taylor/|url-status=dead}}</ref>

In 1975, Robertson produced and played guitar on singer/guitarist [[Hirth Martinez]]'s debut album ''Hirth From Earth''. Bob Dylan had heard Martinez, and recommended him to Robertson. Robertson identified strongly with Martinez' music, helped him to secure a recording contract with Warner Bros. Records, and agreed to produce Martinez' debut album. He also played guitar on Martinez' follow-up album, ''Big Bright Street'' (1977).<ref name=band_bio/>{{rp|321–322}}<ref name="hm_obituary">{{cite web|title=Hirth Martinez: Obituary|url=http://www.legacy.com/obituaries/latimes/obituary.aspx?pid=176176313|via=Legacy.com|access-date=June 27, 2016|work=Los Angeles Times |date=October 21–24, 2015}}</ref><ref name="hm_hirth_from_earth">{{cite web|title=Hirth Martinez: ''Hirth From Earth''|url=http://theband.hiof.no/albums/hirth_from_earth.html|website=The Band Website|publisher=Jan Hoiberg|access-date=June 27, 2016}}</ref><ref name="hirth_martinez_mark_guerrero">{{cite web|last1=Guerrero|first1=Mark|title=Hirth Martinez: Hirth From Earth and Beyond|url=http://www.markguerrero.net/18.php|website=Mark Guerrero: singer-songwriter|publisher=Mark Guerrero|access-date=June 27, 2016}}</ref>

In 1975, Eric Clapton recorded the album ''[[No Reason to Cry]]'' at the Band's Shangri-La Studios with help from members of the Band.<ref name=band_bio/>{{rp|326}} Robertson played lead guitar on the track "Sign Language".<ref name="ec_no_reason_to_cry">{{cite web|title=Eric Clapton: ''No Reason To Cry''|url=http://theband.hiof.no/albums/no_reason_to_cry.html|website=The Band Website|publisher=Jan Hoiberg|access-date=June 27, 2016}}</ref>

In the mid-1970s, Robertson connected with singer Neil Diamond, and the two began collaborating on a concept album about the life and struggles of a [[Tin Pan Alley]] songwriter. The resulting album, entitled ''[[Beautiful Noise]]'', was recorded at Shangri-La Studios in early 1976. It reached No. 6 on the Billboard charts and remained in the Top 40 for sixteen weeks. Robertson produced the album, co-wrote the track "Dry Your Eyes" with Diamond, and played guitar on "Dry Your Eyes", "Lady-Oh", and "Jungletime". He produced Diamond's live double album ''[[Love at the Greek]]'' (1977), which was recorded in 1976 at the [[Greek Theatre (Los Angeles)|Greek Theatre]] in Los Angeles. ''Love at the Greek'' reached No. 8 on the Billboard charts and remained in the Top 40 for nine weeks.<ref name=band_bio/>{{rp|321–322}}<ref name=billboard_book/>{{rp|89}}<ref name="neil_diamond_book">{{cite book|last1=Jackson|first1=Laura|title=Neil Diamond: His Music, His Life, His Passion|date=2005|publisher=ECW Press|location=Toronto|isbn=1550227076|pages=114–15, 127|url=https://books.google.com/books?id=1MCvNbOTdSgC|access-date=June 28, 2016}}</ref>

In 1977, Robertson contributed to two album projects from the Band alumni. Robertson played guitar on "Java Blues" on Rick Danko's [[Rick Danko (album)|self-titled debut album]], and also played guitar on the [[Earl King]]-penned "Sing, Sing, Sing" on the album ''[[Levon Helm & the RCO All-Stars]]''.<ref name=levon_helm_book/>{{rp|273}}<ref name="lh_rco_all-stars">{{cite web|title=Levon Helm: ''Levon Helm & the Rco All-Stars''|url=http://theband.hiof.no/albums/rco_all_stars.html|website=The Band Website|publisher=Jan Hoiberg|access-date=June 27, 2016}}</ref>

Also in 1977, Robertson contributed to the second self-titled album by singer-songwriter [[Libby Titus]], who was the former girlfriend of Levon Helm.<ref name=levon_helm_book/>{{rp|213, 279–280}} Robertson produced the track "The Night You Took Me To Barbados In My Dreams" (co-written by Titus and Hirth Martinez), and produced and played guitar on the [[Cole Porter]] standard "[[Miss Otis Regrets]]".<ref name="libby_titus_1977">{{cite web|title=Libby Titus: ''Libby Titus''|url=http://theband.hiof.no/albums/libby_titus.html|website=The Band Website|publisher=Jan Hoiberg|access-date=June 27, 2016}}</ref>