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Stage Fright (Remastered / Expanded) Original recording remastered

4.4 out of 5 stars 25 customer reviews

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  • Stage Fright (Remastered / Expanded)
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Product Details

  • Audio CD (Aug. 29 2000)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Universal Music Canada
  • ASIN: B00004W50Z
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.4 out of 5 stars 25 customer reviews
  • Amazon Bestsellers Rank: #13,638 in Music (See Top 100 in Music)
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1. Strawberry Wine (2000 Digital Remaster)
2. Sleeping (2000 Digital Remaster)
3. Time To Kill (2000 Digital Remaster)
4. Just Another Whistle Stop (2000 Digital Remaster)
5. All La Glory (2000 Digital Remaster)
6. The Shape I'm In (2000 Digital Remaster)
7. The W.S. Walcott Medicine Show (2000 Digital Remaster)
8. Daniel And The Sacred Harp (2000 Digital Remaster)
9. Stage Fright (2000 Digital Remaster)
10. The Rumor (2000 Digital Remaster)
11. Daniel And The Sacred Harp (Alternate Take 1) (2000 Digital Remaster)
12. Time To Kill (2000 Digital Remaster) (Alternate)
13. The W.S. Walcott Medicine Show (Alternate Mix) (2000 Digital Remaster)
14. Radio Commercial (Stage Fright) (2000 Digital Remaster)

Product Description

Product Description

Their top-charting album ( sans Dylan) from 1970. Includes alternate mixes of Time to Kill (by Glyn Johns) and The W.S. Walcott Medicine Show (by Todd Rundgren), plus an alternate take of Daniel and the Sacred Harp and a radio spot!


The Band's third studio album is also their third-best studio album, and that isn't bad. It's not as synchronous as Music From Big Pink or as overpowering as The Band, but that's part of its appeal. The quintet's first two albums were such towering achievements that the group came to lean on its songs, turning the lion's share of them into concert staples. Stage Fright is littered with lesser-known Robbie Robertson compositions possessing more modest charms than the overplayed likes of "The Weight" and "The Night They Drove Old Dixie Down". The title track is uncommonly hard-eyed and modern; Richard Manual's vocal, like most of his turns at the mike, is sparkling. (Manual also shines on the reflective "Sleeping" and the up-tempo "Just Another Whistle Stop"). "All La Glory" is a gorgeous lullaby, while "Time To Kill" sounds like the Band doing Creedence Clearwater Revival. This isn't the place to discover this great North American band, but it's definitely a stop worth taking before your exploration is completed. --Steven Stolder

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Customer Reviews

4.4 out of 5 stars
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Top Customer Reviews

Format: Audio CD
The conventional wisdom is right: Pound for pound, "Big Pink" and "The Band" are more complete successes for this group, and I love them both. But I love "Stage Fright" more. It is the album where this group drops its masks and speaks directly to the audience about themselves and each other.
The Band is really two duos: Helm and Danko, who are usually paired as singers on some of the group's best-loved material, and Robertson and Manuel, who are engaged in a sort of musical and spiritual dialogue that often forms much of the depth, richness and mystery of this group. That dialogue is the dominant theme of "Stage Fright" in its many evocations of the theme of self-destructiveness, especially the self-destructiveness of a great artist.
My theory is, Richard Manuel was the artistic soul of the The Band. He was their best singer, by far. His "feel" approach to playing the many instruments he played, especially piano, gave the Band a funky, soulful "bottom" that contrasted with the highly intellectual approaches of both Robertson and Hudson. Manuel was responsible, on their first three albums, for some of their very best songs as writer or co-writer: "Tears of Rage," "In A Station," "Lonesome Suzie," "Whispering Pines," "Across the Great Divide," and, on this album, "Sleeping" and "The Shape I'm In" were at least partly his. But...Richard Manuel was not a particularly responsible person. He was, in fact a drunk, and an unmotivated writer. He was a sadly vulnerable man, for whom, as Robertson writes in "Sleeping," "the world was too sore to live in." In some ways, being in the Band destroyed him. At the same time, it created a place for him to hide.
Robertson, ever the brilliant control freak, clearly admired and loved Richard Manuel, and was also exasperated with him.
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Format: Audio CD
A little less idiosyncratic than The Band's first two albums, the melodic and literary "Stage Fright" may seem more immediately accessible than "Music From Big Pink" and "The Band". It's not a better record than those two ("The Band" remains the Canadian-American roots rockers best effort), but it contains some of The Band's catchiest and most enjoyable songs.
Garth Hudson's characteristic organ is somewhat less dominant than on previous recordings, but otherwise the arrangements are the same as always, a deep foundation laid down by bassist Rick Danko and sublime rock drummer Levon Helm, and Robbie Robertson's guitar on top. Richard Manuel's excellent piano playing is also very prominent, partciularly on the beautiful ballad "Sleeping", and the swinging boogie of "Time To Kill", and Manuel's expressive vocals are as good as ever.
Other highlights include the guitar-heavy "Just Another Whistle Stop", which contains one of the few extended guitar solos Robertson ever recorded with The Band, and the dark tales "Stage Fright" and "The Shape I'm In".
On this album, as on "The Band", Robbie Robertson was in full control of the songwriting, writing or co-writing every tune, and his guitar playing is generally more prominent than it had been before. Also, Garth Hudson recorded his first sax solo, and you should really notice Levon Helm's wonderful drumming on songs like "The Rumor", "Just Another Whistle Stop", and "Stage Fright".
Although "Stage Fright" may not be quite as amazing as its ïmmediate predecessor, it is a wonderful album in its own right, and one of The Band's two or three best records.
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Format: Audio CD
Though maybe not as "dark" as most will claim, The Band's third studio effort, "Stage Fright" captures the group letting loose and creating a musical portrait different than that of their two previous albums. Recorded in the haven of the Woodstock Playhouse in New York, "Stage Fright" has a loose, and most likely unintentional, theme that expresses the burdens of the music scene; it captures The Band (particularly songwriter Robbie Robertson) in a spotlight of praise from fans and critics that they were maybe unprepared for.
Each song on this mild-mannered masterpiece can act as some sort of metaphor for what The Band was trying to express; at one gig, Robertson reportedly had to be hypnotized to overcome his fear of performing, an experience articulated in the title track. 'Sleeping' can convey the hopes of dreaming the trouble away, like the more honest 'All La Glory,' a quietly triumphant tune (which perfectly displays drummer Levon Helm's Arkansas flavored voice). The despair continues to be inadvertently expressed in the joyful alcoholism of 'Strawberry Wine' and the hustle and bustle of 'The W.S. Walcott Medicine Show.' Perhaps the hymn-like folklore lessons of 'Daniel And The Sacred Harp' can symbolize the dreaded concept of "selling out," while 'The Rumor' offers both rays of hope and uncertainty. If you still don't get it, refer to 'The Shape I'm In,' a raw track that displays Richard Manuel's vocal work in top shape and particularly Garth Hudson's punching keyboards, while Rick Danko's presence is always felt.
"Stage Fright" is definitely one of The Band's most unique albums, even if the terror they were expressing came through in upbeat rockers such as those presented here.
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