J. R. 'Robbie' Robertson, who 'turned old American folklore into modern myths' with The Band and others, dies at 80

Robertson at his Santa Monica studio in 2019. (Photo by Carolyn Cole, L.A. Times)

Robbie Robertson, a native Canadian who helped create the muscal genre Americana or "roots music," did Wednesday in Los Angeles. He was 80.

James Royal Robertson was lead songwriter and guitarist of The Band, which started out as The Hawks, often a backup group for rockabilly singer Ronnie Hawkins and Bob Dylan, and "ended up as The Band — a conceit their fans would say they earned — because people would point to them when they were with Dylan and refer to them as 'the band'," writes Hillel Italie of The Associated Press. "The Band profoundly influenced popular music in the 1960s and ‘70s, first by literally amplifying Dylan’s polarizing transition from folk artist to rock star and then by absorbing the works of Dylan and Dylan’s influences as they fashioned a new sound immersed in the American past. . . . They remain defined by their first two albums, 'Music from Big Pink' and 'The Band,' both released in the late 1960s." Robertson's works "offered a rustic vision of America that seemed at once mythic and authentic," writes Jim Farber of The New York Times.

Robertson "had the knack of making everything he recorded sound fashioned by hand, produced in a barn and played from the heart," Ty Burr writes for The Washington Post. "But his influences and inspirations came from all over the map: the lost colony of Acadia and Louisiana’s Cajun diaspora, deep-blues juke joints in the Mississippi Delta and rockabilly rave-ups at a Midwest county fair. There was jazz in there, and folk music and country; there was a lot of backwoods front-porch hootenanny. There were the atmospheric orchestrations of modern film scoring, too, and underneath it all and increasingly on the surface there was Robertson’s birthright: the sounds of Ontario’s Six Nations people and, by extension, the indigenous tribes of an entire continent — the roots music whose roots go deepest of all. Robbie Robertson didn’t make Americana. He made North American music."

The Band's songs, sung by drummer Levon Helm, keyboardist Richard Manuel and bassist Rick Danko, "were unlike anything on the AM or FM dial — older, wiser, sadder and friskier, with bones that went back to a time before electricity," Burr writes. "Parables like 'The Weight,' which straddled the Bible and the tall tale; 'The Night They Drove Old Dixie Down,' which sounded like it really was sung by a defeated Confederate soldier in 1865; ''King Harvest Has Surely Come', a busted Depression-era farmer’s lament; 'Up On Cripple Creek,' a truck driver coming home to Bessie in 'Lake Charles, Looozeyana'. . . . Like Dylan, Robertson was a self-taught musicologist and storyteller influenced by everything American from the novels of William Faulkner to the scorching blues of Howlin’ Wolf to the gospel harmonies of the Swan Silvertones." Farber says Robertson's lyrics "conjured a wild place, often centered in the South, peopled by rough-hewed characters," such as "the shady creatures in 'Life Is a Carnival'."

In death, Robertson has a final hit: His 2017 memoir Testimony "has returned to the top of the bestseller lists," Variety reports. Here are "15 essential Robbie Robertson songs," from the Los Angeles Times, whose Stephen Thomas Erlewine says "Robertson turned old American folklore into modern myths" and "acted as the ringleader in 'The Last Waltz,' widely regarded as one of the greatest concert films ever made." Erlewine reports on Robertson's later work and notes, "In lieu of flowers, the family has asked that donations be made to the Six Nations of the Grand River to support a new Woodland Cultural Center."