Long Black Veil

The Band gave itself its name because the folks in it spent a lot of time being "The Band" for individuals like Ronny Hawkins and Bob Dylan. Particularly after spending time with the latter, they became very entrenched in the folk music tradition. "Long Black Veil" is a Music from Big Pink track that combines all of these qualities; it's a cover of a song written by Danny Dill and Marijohn Wilkin, originally recorded by William Orville "Lefty" Frizzell, and it certainly gives off country vibes.



Ten years ago on a cool dark night
There was someone killed 'neath the town hall light
There were few at the scene and they all did agree
That the man who ran looked a lot like me

The judge said "Son, what is your alibi?
If you were somewhere else then you won't have to die"
I spoke not a word although it meant my life
I had been in the arms of my best friend's wife

She walks these hills in a long black veil
She visits my grave where the night winds wail
Nobody knows, no, and nobody sees
Nobody knows but me

The scaffold was high and eternity neared
She stood in the crowd and shed not a tear
But sometimes at night when the cold wind moans
In a long black veil she cries over my bones

Chorus

From Peter Viney's article on the album:

Robbie Robertson:

"I just remembered the song somewhere back in my memory and sang it for Rick one day and he remembered it very well. It fit well with the other songs."

It’s also the song with the most obviously ‘country’ melody and lyric, and has a classic Americana sound and storyline. It is not an old country song at all, and maybe that was part of its appeal to The Band. The song - like much of their work - is a contemporary deliberate creation of a mythologically American piece. It was written by Nashville songwriters Danny Dill (composer of The Streets of Laredo) and Marijohn Wilkin (the writer of Jimmy Dean’s two hits, the JFK-mythologising P.T. Boat 109 and Big Bad John) in March 1959. The Long Black Veil (its full original title) was inspired by the real life murder of a New Jersey priest combined with newspaper accounts of a woman in a black veil who regularly visited Rudolph Valentino’s grave. Dill and Wilkin set out to make it sound like an old Appalachian ballad so as to hang onto the coat tails of the then burgeoning folk music revival. Within days of writing it, they got the then fast-fading country star Lefty Frizell to record the song in March 1959 (with a line-up that included Grady Martin and Harold Bradley on guitars and Marijohn Wilkin on piano). The result was released in May 1959 and the hit record revived Frizell’s career. Other artists have recorded the song, including Johnny Cash, Joan Baez and The Country Gentlemen, but The Band learned the song from Frizell’s original version. The song fits the mood of the album perfectly (it would have fit the next album too).

It’s instructive to compare their version with the Frizell version. Frizell sounds pure country. The accents are in completely different places, the beat is lilting, the drums are played with brushes, and a faint pedal steel plays around in the background. Every hick and hokey technique is on display, from hissing through the teeth on sibillants to a sincere gulp or two when the emotion of the words gets too much.

Then turn to The Band. The sound and words may be country, but on closer examination none of the instrumentation is. Levon slaps the drums with his classic hiccuping sound, this time with a tambourine fixed to the kit. Rick Danko takes the lead vocal with Levon echoing in behind then Richard adding a third layer on the chorus. The acoustic guitar is loud, the organ is prominent and high up, Richard Manuel holds the whole thing together with persistent Wurlitzer electric piano, then the whole thing is underpinned low down both by Danko’s melodic bass line and by John Simon on baritone horn. The instrumental track sounds like nothing except classic Band, but through it all the mood is still the country murder ballad. Danko takes the vocal with as much intensity as Frizell, but Danko is the more subtle actor, though maybe ‘kilt’ for ‘killed’ is over-playing it. He also likes to change voices for the judge’s immortal line, The judge said, "son what is your alibi, if you were someomewhere else then you won’t have to die."

One of Rick Danko’s personal specialities was country music send-ups, and there was always that edge of send-up in it:

Levon Helm:

"We knew it from Lefty Frizell’s version and liked the story of the young man who goes to the gallows for a murder he didn’t commit because his alibi was that he was 'in the arms of his best friend’s wife.' I guess we thought it was funny."

It was a favourite for the group during live performances, but my personal favourite rendition is this one from 1970's Festival Express tour.