A new episode of "A Song With," where I chat with guests about their chosen tracks from The Band and the stories woven within them. There are no constraints; it could be a passionate case for why a song reigns supreme in The Band's repertoire, a personal narrative or bond, or simply revelling in the joy of listening.

In this episode, Luke C. Bowden joins me. He is a music journalist, academic, and concert promoter. Luke's pick is "Ferdinand The Imposter," an outtake from the Music From Big Pink era. We delve into the various song versions, the musical and lyrical songwriting, and much more.

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"Levon's solo albums are pure, egalitarian magic and joy." - Matty Wishnow

After a dedicated grind in the late '70s, Helm ventured to Nashville, inspired by his role in the lauded film Coal Miner's Daughter. There, with the city's top session players, he created his seminal album, American Son, in 1980. Helm, almost forty, forged a path to new creative horizons, trying to position himself for a new musical renaissance.

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Welcome to our series "A Song With," where I chat with guests about their chosen tracks from The Band and the stories woven within them. There are no constraints; it could be an impassioned case for why a song reigns supreme in The Band's repertoire, a personal narrative or bond, or simply revelling in the joy of listening.

In this episode, I'm joined by Michael Koelher,, a dear friend and show editor. Michael's pick is "Twilight," a non-album single from 1975. We delve into the various versions of the song, the songwriting, both musical and lyrical and much more.

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Welcome to another installment of Odds & Ends, a series of mini-episodes that invites you to explore the hidden treasures within The Band's extensive musical library. This episode reveals the depths of Richard Manuel and Robbie Robertson's artistic collaboration within the 1967 composition "Katie's Been Gone."

From the exquisite composition to the speculated ties with Greenwich Village folk luminary Karen Dalton and the enigmatic drummer behind the scenes, this episode of Odds & Ends is a comprehensive exploration of everything.

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Welcome to the premiere of our new series, "A Song With," where I chat with guests about their chosen tracks from The Band and the stories woven within them. There are no constraints; it could be an impassioned case for why a song reigns supreme in The Band's repertoire, a personal narrative or bond, or simply reveling in the joy of listening.

In our debut episode, I'm joined by the wonderful Annie Burkhart, a dear friend of the show and the force behind Manuel Mindset on Twitter. Annie's pick is "Jawbone," featured in The Band's eponymous second studio album. We delve into the intricate musical layers and the collaborative songwriting prowess of Richard Manuel and Robbie Robertson and even ponder its modest streaming figures.

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Today, I have the pleasure of sitting down with Breanna McCann and Teagan Lisson to dive deep into The Last Waltz at 45. This legendary film resonates with audiences, even after four and a half decades. As we gather to celebrate its forty-fifth birthday, we have a relaxed yet engaging conversation that encompasses various facets of this cinematic masterpiece.

We delve into the intricacies of the film itself, exploring its enduring allure and the genius behind Martin Scorsese's direction. Beyond the camera, we explore the remarkable journey of The Band and the profound cultural and musical impact the film has.

You can follow Teagan's podcast, Our Golden 20s, online and listen every Tuesday. You can also find Breanna McCann's work on Split Tooth Media, where she writes about music and film.

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Our inaugural episode delves into "Orange Juice Blues," a soul-stirring composition by Richard Manuel, crafted in 1967. This evocative song has a story over several decades, and in this episode, we shall examine its evolution and the profound resonance it holds.

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