I still sit in dumb amazement, sometimes, at the power music has over me.
Standing in Johnny D’s on Saturday, watching the Ravens lose, Bobby pointed out a particular Beatles song that Beatlejuice was covering. It reminded him of the old shareware game Scorched Earth, which he used to play for hours with a friend while listening to Beatles albums. I saw his reminiscence and raised: one of the first CDs my parents got, when they upgraded to a CD player and a full stereo, was Revolver. I remember listening to it while playing my dad at Conquest of the Empire.
“It’s odd, the associations we make,” Bobby observed.
After the Ravens finished failing, I stumbled home. A sudden wave of nostalgia for Baltimore and childhood overtook me, and I turned to the surest remedy: The Band’s self-titled 1970 album.
As a scientist, I have to discount the effect that nostalgia may have on me. I remember listening to Levon Helm’s crooning on summer road trips with the family: Baltimore, MD to Cape Hatteras, NC in eight hours or less. I’ve always had a facility for lyrics and rhythm: it only took a few times for the songs to be ingrained on my consciousness.
And yet Martin Scorsese agrees with me: there was something about The Band that made them uniquely talented. They displayed the same penchant for odd but touching harmonies that the Beach Boys had. Combine that with the folksy strains that resonate with half of the American continent and you have a factory for classics. Rolling Stone, always a tough audience, was amazed that “The Night They Drove Old Dixie Down” wasn’t a century-old spiritual. It wasn’t. It was written by a Canadian. That’s how fucking good The Band was.
Blend once-in-a-generation talent with the lure of nostalgia, and you get a powerful brew. I would learn to play the guitar just to cover half of these songs, and I could never do it as well as Robertson. As it stands, I could never see myself turning to drugs so long as music like this exists in the world.