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None of the Band's previous work gave much of a clue about
how they would sound when they released their first album in July
1968. As it was, Music from Big Pink came as a surprise. At first
blush, the group seemed to affect the sound of a loose jam session,
alternating emphasis on different instruments, while the lead and
harmony vocals passed back and forth as if the singers were making
up their blend on the spot. In retrospect, especially as the lyrics
sank in, the arrangements seemed far more considered and crafted to
support a group of songs that took family, faith, and rural life as
their subjects and proceeded to imbue their values with
uncertainty. Some songs took on the theme of declining institutions
less clearly than others, but the points were made musically as
much as lyrically. Tenor Richard Manuel's haunting, lonely voice
gave the album much of its frightening aspect, while Rick Danko's
and Levon Helm's rough-hewn styles reinforced the songs' rustic
fervor. The dominant instrument was Garth Hudson's often icy and
majestic organ, while Robbie Robertson's unusual guitar work
further destabilized the sound. The result was an album that
reflected the turmoil of the late '60s in a way that emphasized the
tragedy inherent in the conflicts. Music from Big Pink came off as
a shockingly divergent musical statement only a year after the
ornate productions of Sgt. Pepper, and initially attracted
attention because of the three songs Bob Dylan had either written
or co-written. However, as soon as &doublequote;The
Weight&doublequote; became a minor singles chart entry, the
album and the group made their own impact, influencing a movement
toward roots styles and country elements in rock. Over time, Music
from Big Pink came to be regarded as a watershed work in the
history of rock, one that introduced new tones and approaches to
the constantly evolving genre. William Ruhlmann