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DISCID=890a6809,8c0a6909
DTITLE=Robbie Robertson / Robbie Robertson
DYEAR=1987
DGENRE=Rock
TTITLE0=Fallen Angel
TTITLE1=Showdown At Big Sky
TTITLE2=Broken Arrow
TTITLE3=Sweet Fire Of Love
TTITLE4=American Roulette
TTITLE5=Somewhere Down The Crazy River
TTITLE6=Hell's Half Acre
TTITLE7=Sonny Got Caught In The Moonlight
TTITLE8=Testimony
EXTD= 1987 Geffen Records\n\nOriginally Released 1987\nMFSL Gold CD E
EXTD=dition Released December 13, 1994\n\nAMG EXPERT REVIEW:  Robbie R
EXTD=obertson was once asked why he waited 11 years after the breakup 
EXTD=of the Band to release a solo project, and he replied, "I wasn't 
EXTD=so sure I had something to say." One can hear a bit of this think
EXTD=ing in Robertson's self-titled solo debut; it's obvious that he d
EXTD=idn't care to revisit the country- and blues-flavored roots rock 
EXTD=that had been his bread and butter with the Band, and at the same
EXTD= time Robertson seemed determined to make an album that had somet
EXTD=hing important to say, and could stand alongside his legendary ea
EXTD=rlier work. Looking for a moody and atmospheric sound, Robertson 
EXTD=teamed up with producer Daniel Lanois, who had previously worked 
EXTD=with U2 and Peter Gabriel, two artists whose work obviously influ
EXTD=enced Robertson's musical thinking while he was making the album 
EXTD=(they both appear on the album as well). As a result, Robbie Robe
EXTD=rtson is an album that represents both a clear break from his pas
EXTD=t, and an ambitious attempt to take his fascination with American
EXTD= culture and music in a new and contemporary direction. It's high
EXTD=ly ambitious stuff, and the album's ambitions sometimes prove to 
EXTD=be its Achilles' heel. Robertson's collaboration with U2, "Sweet 
EXTD=Fire of Love," sounds like a rather unremarkable outtake from The
EXTD= Joshua Tree, with the group's aural bombast subsuming the ostens
EXTD=ive leader of the session, while "Fallen Angel," "American Roulet
EXTD=te," and "Somewhere Down the Crazy River" find Robertson explorin
EXTD=g the same iconography of the Band's best work, but without the s
EXTD=ame grace or subtle wit. And it doesn't take long to realize why 
EXTD=Robbie only took two lead vocals during his tenure with the Band;
EXTD= his dry, reedy voice isn't bad, but it lacks the force and autho
EXTD=rity to communicate the big themes Robertson wants to bring acros
EXTD=s. Despite all this, Robbie Robertson does have its share of pear
EXTD=ly moments, especially on the bitter "Hell's Half Acre," "Sonny G
EXTD=ot Caught in the Moonlight," and "Broken Arrow" (a performance mo
EXTD=re subtle and effective than Rod Stewart's better-known cover). R
EXTD=obbie Robertson isn't the masterpiece its creator was obviously s
EXTD=triving towards, but it's an intelligent and often compelling set
EXTD= from an inarguably important artist, and it comes a good bit clo
EXTD=ser to capturing what made the Band's work so memorable than the 
EXTD=latter-day efforts from Levon Helm and company.  -- Mark Deming\n
EXTD=\n\nAmazon.com Editorial Review\nLightning does strike twice. Rob
EXTD=bie Robertson's breathtaking 1987 solo debut was every bit as rem
EXTD=arkable as another debut he'd masterminded two decades before, Th
EXTD=e Band's Music from Big Pink. Even more impressive was the fact t
EXTD=hat Robertson's new sound owed so little, other than a shared vis
EXTD=ion, to the sonic Americana he'd created with The Band. Robertson
EXTD= cashed in The Band's rustic tones in for a lush, beat-box womb c
EXTD=reated by coproducer Daniel Lanois. His own weird, almost spectra
EXTD=l voice, also turned out to be the right vehicle for the words he
EXTD='d been handing to others for so long. Bono, The BoDeans, and Pet
EXTD=er Gabriel join in on keepers like "Fallen Angel" and "Broken Arr
EXTD=ow." --Michael Ruby \n\nAmazon.com Product Description\nThe Band 
EXTD=singer/songwriter's 1987 solo album debut, unavailable domestical
EXTD=ly. Guests include The Bodeans, Peter Gabriel, Maria McKee, Ivan 
EXTD=Neville, & U2 with production by Daniel Lanois. 9 tracks. Include
EXTD=s a 16-page booklet with song lyrics & credits. Geffen. 2003\n\n\n
EXTD=AMAZON.COM CUSTOMER REVIEW\nPeter Gabriel Meets U2, March 15, 200
EXTD=0 \nBy  dev1 (Baltimore)\nRobbie Robertson's solo debut is a radi
EXTD=cal departure from his former work with The Band. The sparse feel
EXTD=-good country rock compositions are gone. This release could very
EXTD= well be titled 'Peter Gabriel Meets U2' if is was not for the fa
EXTD=ct that Robertson is clearly in command. Gabriel's African rhythm
EXTD=s dominate 'Fallen Angel' and 'Broken Arrow.' Bono and The Edge l
EXTD=end a hand on 'Sweet Fire Of Love' and 'Testimony.' Bono's passio
EXTD=nate pleading vocals are contrasted by Robertson's gravely speak-
EXTD=sing delivery.\n\nThe music has an overall feel of danger: it is 
EXTD=rich, powerful and pounding. The bass guitar notes crack like thu
EXTD=nder. 'American Roulette' is the perfect driving song. Speeding a
EXTD=long a deserted Nevada straight away at 120 miles per hour is liv
EXTD=ing on the edge of fear.\n\nThe disc begins with 'Fallen Angel,' 
EXTD=a slow tempo loving tribute to a departed friend. It is filled wi
EXTD=th loss and longing. The fear and anticipation of Judgment Day (S
EXTD=howdown At Big Sky) will knock you out of your seat. Peaceful and
EXTD= melodic, 'Broken Arrow' (with its references to the Prince of Pe
EXTD=ace) is a brief relief from 'Showdown.' Love and redemption set '
EXTD=Sweet Fire Of Love' ablaze. 'American Roulette' is a dangerous ga
EXTD=me played by superstars - and it sounds hazardous too. That dark 
EXTD=mysterious place on the wrong side of town is 'Somewhere Down The
EXTD= Crazy River.' Again, menace and horror are the center of 'Hell's
EXTD= Half Acre': it may very well be a scene of carnage from any war.
EXTD= The outlaw is filled with shock and regret when "Sonny Got Caugh
EXTD=t In The Moonlight.' The album closes with a funky 'Testimony.'\n
EXTD=\nRobertson's most captivating lyrics are lines from the Bible: f
EXTD=ive of the nine compositions include multiple Biblical quotations
EXTD=. The Good Book is a deserving choice as a reference on the subje
EXTD=cts of love, fear, danger, despair, peace, comfort and redemption
EXTD=. \n\n\nAMAZON.COM CUSTOMER REVIEW\nThe Most Underrated Album of 
EXTD=the Last 25 Years, January 31, 2000 \nBy  Ken Carroll "Ken Carrol
EXTD=l" (Eastman, GA United States)\nAs a fan of The Band and especial
EXTD=ly Robbie Robertson's songwriting skills, I bought this CD as soo
EXTD=n as it hit the shelves. I don't remember what I was expecting, b
EXTD=ut it wasn't this -- sure, the lyric content of Robertson's songs
EXTD= was as captivating as ever, but there was more. \n\nRobertson to
EXTD=ok the already great songs he had penned for this album such as "
EXTD=Fallen Angel," "Broken Arrow" and the truly haunting "Somewhere D
EXTD=own the Crazy River" and added something which can only be descri
EXTD=bed as "texture" to the music. Without a hint of overproduction, 
EXTD=layers of sound give a richness to this recording which truly mus
EXTD=t be heard in order to find appreciation. This album is why digit
EXTD=al sound was invented. \n\nFrom Robertson's tribute to the late b
EXTD=and keyboard player Richard Manuel, "Fallen Angel" right through 
EXTD=to "American Roulette" there are ghosts roaming freely across thi
EXTD=s disc and the mysticism shines through like dense, backlit fog. 
EXTD=The partly spoken "Somewhere Down the Crazy River" sounds like th
EXTD=e beginning of a Dashiell Hammett noir-style detective novel: the
EXTD= night-time heat, a river in the distance and a woman who suddenl
EXTD=y appears and says, "Why do you always end up down at Nick's cafe
EXTD=?"\n\nThere are brief appearances by too many top-notch guests to
EXTD= list, but it's Robertson's show and he is never upstaged by the 
EXTD=collection of talent present. The strong writing and near-perfect
EXTD= production combined with fine musicianship and unexpectedly emot
EXTD=ional vocals from Robertson make this a classic album in the same
EXTD= class as Dylan's "Blood on the Tracks" or Derek and the Dominos'
EXTD= "Layla and Other Assorted Love Songs." \n\n\nAMAZON.COM CUSTOMER
EXTD= REVIEW\nGives credibility to the rumor that Robertson wasn't eve
EXTD=rything in The Band., 05/10/06\nBy  Grigory's Girl "Grigory's Gir
EXTD=l" (NYC)\nThere's been quite a bit of controversy to Robbie Rober
EXTD=tson's role in The Band. He wrote almost all of the material (at 
EXTD=least officially), and he and Levon Helm have had words over the 
EXTD=years about songwriting credits and arrangment ideas. This situat
EXTD=ion is similar to that of Pink Floyd, in that if you listen to Ro
EXTD=ger Waters's solo work, it doesn't have that Floyd sheen to it. I
EXTD=n other words, David Gilmour had quite a lot more to do with the 
EXTD=Floyd sound than Waters would probably like to admit to. And the 
EXTD=same here for Robertson. This album sounds nothing like The Band.
EXTD= The songs are very good, the production is superb. Robertson, ho
EXTD=wever, doesn't sing very well (to his credit, he rarely sang lead
EXTD= while in The Band), and the whole thing sounds so far removed fr
EXTD=om The Band you wouldn't have guessed that Robertson was in The B
EXTD=and. When you listen to Robertson-less Band albums like Jublilati
EXTD=on, you realise that the others in the Band had a lot to do with 
EXTD=the sound of their music. Jubilation sounds very Bandish, and is 
EXTD=a wonderful album. So, in conclusion, this is a good album. But i
EXTD=t is not The Band. Some will say "Robertson moved on". Others wil
EXTD=l say "he wasn't the whole Band". I agree with the later. Daniel 
EXTD=Lanois, the album's producer, sounds like he had quite a bit of i
EXTD=nput here, similar to what The Band did in their heyday. It sound
EXTD=s like other Lanois produced material, like U2 and Bob Dylan (Oh 
EXTD=Mercy and Time Out of Mind). So I would conclude that Robertson h
EXTD=ad a lot of help with arrangements, and maybe, possibly, took a f
EXTD=ew too many writing credits. \n\n\nAMAZON.COM CUSTOMER REVIEW\nDe
EXTD=sert Island Disc, July 25, 2007 \nBy  James Bonevich "Jazz Librar
EXTD=ian" (Kalamazoo, MI)\nSome things I feel qualified to say about R
EXTD=obertson's solo debut album from 1987 after living with it for tw
EXTD=enty years now: \n\nAs a librarian with emphasis on music composi
EXTD=tion, it still fascinates me how coherent the material on Robbie 
EXTD=Robertson is, how well it all works together as a (non-concept) w
EXTD=hole, even with the personnel changes from track to track. The si
EXTD=milarities to Band material ("Showdown At Big Sky" and "Sonny Got
EXTD= Caught ITM") and the differences (which are everywhere) put some
EXTD= amount of focus squarely on intrepid producer Daniel Lanois as a
EXTD= highly artistic "treater" of Robertson's well-crafted songs. Lan
EXTD=ois is just so flat-out capable of using the studio as his instru
EXTD=ment (much like his mentor Brian Eno) that it's possible he could
EXTD= work this kind of magic with anybody's stuff, regardless of qual
EXTD=ity. Make no mistake, though - Lanois starts out with good stuff 
EXTD=here and then makes it even better. That long 10-year post-Band g
EXTD=estation period probably helps explain why most of these comps ar
EXTD=e so solid to begin with (think of all the discards there must ha
EXTD=ve been). But consider also that when Robertson was pressed by Da
EXTD=vid Geffen to make a follow-up for release, it took him 4 years a
EXTD=nd the results were "ehh" - still good songs but not nearly as im
EXTD=pressively produced with no Daniel Lanois on board for Storyville
EXTD= from 1991. \n\nMore that I can say 20 years on: As a guitarist, 
EXTD=I am still to this day finding stuff to cop off of Robbie Roberts
EXTD=on, and not just Edge stuff from what I consider to be one of the
EXTD= album's two stand-out tracks, "Sweet Fire Of Love". "Hell's Half
EXTD= Acre" is the other one, and little-known 6-stringer Bill Dillon 
EXTD=gets major credit for his work. The spoken rather than sung vocal
EXTD= sections of "Somewhere Down The Crazy River" also make for great
EXTD= practice jams when you want to try out some suave blues lines. W
EXTD=hat gets me fed up is that these folks who are telling me they ca
EXTD=n't stand Robertson's singing (here or anywhere else) are the sam
EXTD=e ones who seem to love this latest Lucinda Williams West thing. 
EXTD=Some people say there's no accounting for taste. Well, I say ther
EXTD=e is, but I also say that everybody has a tin ear one day a week.
EXTD= \n\nI wouldn't want to be without Robbie Robertson for many reas
EXTD=ons: excellent comps, great production, U2 cameos, Peter Gabriel 
EXTD=cameos, Tony Levin's stick, Manu Katch's drums, Gil Evans' horn 
EXTD=section. My only complaint - at less than 45 minutes, it's over t
EXTD=oo soon. How about a re-issue with 20+ minutes of bonus material,
EXTD= Mr. Geffen? My only other complaint about anything anywhere - tr
EXTD=y to ignore those irrelevant reviewers on these pages who just wa
EXTD=nt to kvetch about RR as an actor in Scorsese films. We live in a
EXTD= world where an Austrian bodybuilder can become governor of Calif
EXTD=ornia, and where an incompetent idiot can become president of the
EXTD= US, twice, so go write some reviews about them and leave Robbie 
EXTD=alone. \n\n\nHalf.com Details \nContributing artists: Daniel Lano
EXTD=is, Garth Hudson, Ivan Neville, Maria McKee, Peter Gabriel, Rick 
EXTD=Danko, Terry Bozzio, The BoDeans, U2\n\nAlbum Notes\nPersonnel in
EXTD=cludes: Robbie Robertson (vocals, guitar); Bill Dillon (guitar, b
EXTD=ackground vocals); Tinker Barfield, Larry Klein, Abraham Laboriel
EXTD=, Hans Christian (bass); Tony Levin (Chapman stick); Manu Katche,
EXTD= Terry Bozzio (drums, percussion); Martin Page, Cary Butler (drum
EXTD= programming).\n\nProducers: Daniel Lanois, Robbie Robertson, Jim
EXTD= Scott, Gary Gersh.\n\nAfter dismantling The Band in the mid '70s
EXTD=, Robertson remained strangely inactive. Thus, the anticipation l
EXTD=evel was high when rumors of his impending solo album began to ci
EXTD=rculate at the tail end of the '80s. Rather than release a thowba
EXTD=ck retro effort to satiate the hearts of fans thirsting after The
EXTD= Band's brand of backwoods roots rock, Robertson stepped firmly i
EXTD=nto the present day. With the help of producer Daniel Lanios, the
EXTD= album is enveloped with modern textures. Robertson admirably han
EXTD=dles the bulk of the vocal chores (keep in mind that he rarely sa
EXTD=ng a note with the Band).\n\nNonetheless, numerous artists are dr
EXTD=awn into the fold to beef up Robertson's effective, but limited, 
EXTD=vocal abilities. Peter Gabriel helps transform the beautiful "Fal
EXTD=len Angel" (a moving eulogy to deceased Band member Richard Manue
EXTD=l) into a bona fide hymn that does justice to Manuel's memory. Bo
EXTD=no injects heat into the "Sweet Fire of Love" while Robertson gro
EXTD=wls like a man who's somehow found an extra reserve of energy to 
EXTD=lay his claim, once again, as one of the premiere talents of his 
EXTD=generation.\n\nIndustry Reviews\nRanked # 77 in Rolling Stone's 1
EXTD=00 Greatest Albums Of The Eighties survey (November 1989).\n\n\nR
EXTD=OLLING STONE REVIEW\nThis is sure stirring up some ghosts for me,
EXTD=" says Robbie Robertson on the first album he's made since the de
EXTD=mise of the Band more than a decade ago -- but he's not talking a
EXTD=bout the ghosts of "The Weight" or "The Night They Drove Old Dixi
EXTD=e Down" or any of the other slices of elemental backwoods rock he
EXTD= wrote while leading that outfit. The Band's music sounded as if 
EXTD=it had sprung out of some deep, unsettling North American subcons
EXTD=cious; a surprisingly high-tech slice of Eighties rock, Robbie Ro
EXTD=bertson could have come only from painstaking sessions in a moder
EXTD=n-day recording studio. That it still has enormous power is tribu
EXTD=te to Robertson's ability to summon up ghosts wherever he is.\n\n
EXTD=Though the man is a certified, class-A legend, the album's succes
EXTD=s was by no means a sure thing: after they changed the course of 
EXTD=rock & roll with Music from Big Pink and The Band in 1968 and '69
EXTD=, Robertson and the Band never again hit those peaks. And after t
EXTD=he Last Waltz concert in 1976, Robertson sometimes seemed in dang
EXTD=er of becoming one of his own dead-end characters: sleepy eyed, w
EXTD=hiskey voiced, purposefully dissolute and romantic as hell, he le
EXTD=t his undeniable presence carry him through things like the 1980 
EXTD=movie Carny while keeping his music in the background, except for
EXTD= occasional soundtrack work for his pal Martin Scorsese.\n\nYou w
EXTD=anted to believe that the guy still had a great record in him -- 
EXTD=and you admired him for resisting whatever pressures there were t
EXTD=o join his old colleagues in the sadly reunited Band -- but when 
EXTD=he finally went into the studio to make a solo record and then st
EXTD=ayed there for three years, you could only hope that the man who 
EXTD=wrote songs as evocative as "King Harvest" and "Chest Fever" stil
EXTD=l had something left.\n\nIt turns out that he did, though it took
EXTD= some unlikely cohorts to bring it out. From the start, Robbie Ro
EXTD=bertson sounds tough, defiant and assured, but it also sounds lik
EXTD=e a record made by the guys who back Robertson up. The first song
EXTD=, "Fallen Angel." is a heartbreaking elegy to the late Richard Ma
EXTD=nuel, the Band's singer-pianist -- but even before Peter Gabriel 
EXTD=sings the chorus alongside Robertson, the melancholy wash of synt
EXTD=hesizers and Manu Katch's stutterstep drumbeats make it sound li
EXTD=ke something straight off Gabriel's album So. And "Sweet Fire of 
EXTD=Love" is even more dramatic: the opening guitar riff could only c
EXTD=ome from the Edge, and the song itself is a classic exercise in t
EXTD=he expansive, hard-rocking side of U2, right down to Bono's wail 
EXTD=(which Robertson matches, more or less, in his affecting but grav
EXTD=elly fashion).\n\nThey're remarkable songs, both of them, but in 
EXTD=a way they sidestep the question of Robertson's own artistic vita
EXTD=lity. That's where the rest of the album comes in: not only does 
EXTD=Robertson's distinctive sensibility turn a batch of seemingly dis
EXTD=parate musical stances into a coherent, focused whole, but you be
EXTD=gin to hear how much he brought to U2 and Gabriel, rather than ju
EXTD=st the other way around.\n\nOne thing he brought to them -- and t
EXTD=o the BoDeans and Maria McKee and Band keyboardist Garth Hudson a
EXTD=nd everybody else who appears on the album -- is an obsessive ded
EXTD=ication to myth, to portent-laden images, to dramatic storytellin
EXTD=g. This should come as no surprise, considering that his best Ban
EXTD=d songs were often tales of American lives, big and small; what's
EXTD= new is the scale in which he works. In much of his early work wi
EXTD=th the Band, Robertson let the small details resonate and underpl
EXTD=ayed the big metaphors (though that's not true of his signature s
EXTD=ong, "The Weight"); in later songs, and especially on this album,
EXTD= the storytelling is more elliptical, the images more dramatic an
EXTD=d oversize. "Broken Arrow," a love song with an indelibly plainti
EXTD=ve air, is nearly all portentous image: "Who else is gonna bring 
EXTD=you a broken arrow/Who else is gonna bring you a bottle of rain?"
EXTD=\n\nIt's a bravura, nervy approach that threatens to sink Roberts
EXTD=on's aspirations beneath the weight of all the metaphoric Sturm u
EXTD=nd Drang. Crucially, though, Robertson can supply the kind of for
EXTD=ceful, dramatic musical settings that hold their own with the lyr
EXTD=ics. "American Roulette" is riveting not because it's the plaines
EXTD=t expression of Robertson's obsession with myth making but becaus
EXTD=e its verses (about James Dean, Elvis Presley and Marilyn Monroe)
EXTD= are set to violent, rampaging rock & roll that makes its own poi
EXTD=nts about the brutality of fame. Then there's "Somewhere down the
EXTD= Crazy River": the wondrously raspy Robertson recites the choruse
EXTD=s like the hard-boiled private dick in a detective novel, the nar
EXTD=rative zigzags as wildly as the river he's singing about, and it'
EXTD=s all topped off by a melodic, haunting chorus, with splendidly w
EXTD=hiny backing vocals by the BoDeans' Sammy Llanas. What initially 
EXTD=sounds silly winds up being extraordinarily affecting.\n\nIt's th
EXTD=e kind of LP you might expect from a guy whose band once seemed c
EXTD=apable of anything but wound up splintering into next to nothing:
EXTD= an album about loss, about longing, about fighting to find a voi
EXTD=ce and a place. There is nothing on the album as bucolic as "Liv'
EXTD=n in a Dream," as raucous as "Ophelia," as playful as "Up on Crip
EXTD=ple Creek"; its characters, from the drafted Indian in "Hell's Ha
EXTD=lf Acre" to the hunted man in "Sonny Got Caught in the Moonlight,
EXTD=" together tell a group of stories united only by an unsettling, 
EXTD=cautionary poignancy.\n\nCoproduced by Daniel Lanois, who has wor
EXTD=ked with U2 and Peter Gabriel, Robbie Robertson sometimes sounds 
EXTD=like a harder, sadder Gabriel record. That doesn't mean it'll sel
EXTD=l like So -- Robertson, who almost never sang in the Band, has an
EXTD= eloquently strained voice that simply isn't very commercial, tho
EXTD=ugh its broken nobility is perfect for the sense of yearning that
EXTD= pervades the album's ballads. (Less suited vocally to the fullti
EXTD=lt rockers, he compensates with typically jagged, angular guitar 
EXTD=playing that both animates and drives the songs.)\n\nBesides, Rob
EXTD=bie Robertson's voice is the only voice for these songs. Uneasy, 
EXTD=pained, sometimes angry, it's a voice that unites the disparate s
EXTD=trains that make up the album -- a voice, you might say, that's f
EXTD=ull of ghosts. That voice suggests that Robertson, in the words o
EXTD=f some of his special guests, still hasn't found what he's lookin
EXTD=g for; the sound of this album makes it clear that he's hard on t
EXTD=he trail. (RS 513 -- Nov 19, 1987)  -- \nSTEVE POND
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