Richard Manuel
Richard George Manuel was a Canadian musician, singer, and songwriter, best known as a pianist and one of three lead singers in the Band, for which he was posthumously inducted into the Rock and Roll Hall of Fame in 1994.
Manuel's singing alternated between a soul-influenced baritone that drew frequent comparisons to Ray Charles and a delicate falsetto. Though The Band had three vocalists sharing lead and harmony parts, Manuel was sometimes seen as the group's primary vocalist.
Biography
Early life and career
Manuel was born in Stratford, Ontario, Canada. His father, Ed, was a mechanic employed at a Chrysler dealership, and his mother was a schoolteacher. He was raised with his three brothers, and the four sang in the church choir. Manuel took piano lessons beginning when he was nine, and enjoyed playing piano and rehearsing with friends at home. Some of his childhood influences were Ray Charles, Bobby Bland, Jimmy Reed and Otis Rush.Around 1957, Manuel joined The Rebels, a local Stratford band featuring guitarist John Till. With Manuel on piano and vocals and his friend Jimmy Winkler on drums, the band was rounded out by bass player Ken Kalmusky. In short order, the group changed its name to the Revols, in deference to Duane Eddy and the Rebels. Although Richard was the primary vocalist, the line up expanded to include original singer Doug 'Bo' Rhodes. Guitarist Till would later be replaced by Garth Pictot.
Manuel first became acquainted with Ronnie Hawkins and the Hawks in the summer of 1960 when the Revols opened for them at Pop Ivy's in Port Dover, Ontario. According to Levon Helm, Hawkins remarked to him about Manuel: "See that kid playing piano? He's got more talent than Van Cliburn." The following spring, Hawkins found himself opening for The Revols at Stratford Coliseum. After the show, he offered to manage the band, and sent them to play at one of his clubs, The Rockwood, in Fayetteville, Arkansas. In mid-September 1961, after the Revols returned from their southern journey, Hawkins recruited Manuel to his backing band The Hawks, replacing piano player Stan Szelest.
The Hawks
Manuel was 18 when he joined Hawkins's backing group, the Hawks. At this time the band already consisted of 21-year-old Levon Helm on drums, 17-year-old Robbie Robertson on guitar and 17-year-old Rick Danko on bass; 24-year-old organist Garth Hudson joined that Christmas, followed by two temporary members. Increasingly antagonized by Hawkins's disdain for marijuana and contemporary music trends, the group left the singer's employ in 1964. Initially, they were known as the Levon Helm Sextet before changing their name to the Canadian Squires and then to Levon and the Hawks. With Helm serving as nominal leader because of his longevity with the Hawkins group, it was Manuel who sang most of the songs in the group's repertoire. It was as Levon and the Hawks, after the departure of Penfound and Bruno, that they introduced themselves to their blues hero, Sonny Boy Williamson. They planned a collaboration with Williamson, but he died before their plans could be realized.In 1965, Helm, Hudson, and Robertson helped back American bluesman John Hammond on his album So Many Roads. Hammond recommended the Hawks to Bob Dylan, who tapped them to serve as his backing band when he switched to an electric sound; through 1966, they toured Europe and the United States with Dylan, enduring the ire of Dylan's folk fans, who subjected the group to hissing and booing.
The Band
Big Pink
In 1967, while Dylan recovered from a motorcycle accident at his home in Woodstock, New York, the group moved there also, renting a house clad in pink-painted asbestos siding, which became known as "Big Pink", located on at 2188 Stoll Road in nearby West Saugerties, New York. Supported by a retainer from Dylan, they were able to experiment with a new sound garnered from the country, soul, rhythm and blues, gospel and rockabilly music that they loved. As Helm had been temporarily absent from the group since late 1965, Manuel taught himself to play drums during the hiatus. In the Band era he would occasionally assume the drummer's stool when Helm played mandolin or guitar. His loose, improvisatory drumming style was notably different from Helm's taut, soul-influenced approach, as exemplified by his unique performances on "Rag Mama Rag" and "Evangeline".The early months in Woodstock also allowed Manuel and Robertson to develop as songwriters. After recording numerous demos and signing with Albert Grossman, they secured a 10-album contract with Capitol Records in early 1968. They originally signed as "The Crackers". Helm rejoined the fold as sessions got under way for the recording of their debut album, Music from Big Pink. The group proceeded to take what they had learned with Dylan and used one of his songs in the process. They combined it with their idea of the perfect album, switching solos, and singing harmonies modeled after the gospel sound of their musical heroes The Staple Singers. Manuel stated,
"During the conception of Big Pink, we discovered a whole vocal thing that we weren't aware that we'd even had before, and I remember listening to playbacks after the sessions of songs and thinking, "I really like this stuff, and I don't have anything to compare it to, but I really like it, and I hope everybody else does, but I really think this is strong."
Manuel and Robertson each contributed four songs; among Manuel's contributions was "Tears of Rage," which he co-wrote with Dylan. Recordings of the country ballad "Long Black Veil" and Dylan's "I Shall Be Released" and the Danko–Dylan collaboration "This Wheel's on Fire" rounded out the album. Music from Big Pink was released with the group name given as simply "The Band." This would be their name for the rest of the group's existence. While reaching only No. 30 on the Billboard charts, the album would have a profound influence on the nascent country rock and roots rock movements. Shortly after the release of the album, the newly financially secure Manuel married his girlfriend, Jane Kristiansen, a model from Toronto, whom he had dated intermittently since the Hawks days. They would become the parents of two children.
Movie role, substance abuse, move to Malibu
In 1970, Manuel acted in the Warner Bros. film Eliza's Horoscope, an independently distributed Canadian drama written and directed by Gordon Sheppard. He portrayed "the bearded composer," performing alongside Tommy Lee Jones, former Playboy Bunny Elizabeth Moorman, and Lila Kedrova; Robertson appeared as an extra. Taking four years to complete, it was not released until 1975.During this period, Manuel's songs were widely recorded. "Blues for Breakfast" was performed by Cass Elliot on Dream a Little Dream ; shortly thereafter, Joan Baez performed an a cappella arrangement of "Tears of Rage" on Any Day Now, Blood, Sweat & Tears included a big band-inflected arrangement of "Lonesome Suzie" on Blood, Sweat & Tears 3 and Karen Dalton included her rendition of "In a Station" on In My Own Time. He was credited with writing only three songs on The Band and two on Stage Fright ; all of these songs were credited as collaborations with Robertson, who had assumed dominance in the group's affairs with Grossman.
By Cahoots, producer John Simon observed that "Robbie didn't... consciously intimidate him... but when you met Robbie he was so smooth and urbane and witty, whereas Richard was such a gee-golly-gosh kind of guy." The influence of Manuel's increasing use of heroin may have also contributed to the diminution of his songwriting abilities.
Throughout 1972, Manuel's alcoholism was one of a variety of factors that began to impede The Band's recording and performance schedule. Years later, Robertson said that Manuel "scared us to death... we didn't know what the next day might bring, what would come out of this monster that had seeped out of the woodwork." Although Jane Manuel lamented that "people thought it was amusing to watch this guy drowning," the Manuels briefly separated during this period but reconciled before the impending birth of their second child, Josh. According to Mason Hoffenberg, Manuel had "stopped and got into this drinking thing... I'm supposed to head off all the juvenile dope dealers up here who hang around rock stars. So I answer the phone and say Richard's not here... But if they actually come over to the house, he can't say no. He's brilliant, that guy. An incredible composer... The four other guys in the Band are serious about working and he's really hanging them up. They can't work without him and there's no way to get him off his ass. He feels bad about it, he's just strung out."
In 1973, the group once again followed the lead of Dylan by relocating to Malibu, California. Before leaving the Hudson Valley, they convened at Bearsville Studios to record an album of vintage rock and roll songs entitled Moondog Matinee, in homage to Alan Freed's radio show. Although Manuel was initially reluctant to perform, the album elicited some of his finest vocal performances, including renditions of the Bobby "Blue" Bland R&B standard "Share Your Love with Me," The Platters's "The Great Pretender," and Jerry Leiber and Mike Stoller's tongue-in-cheek gospel song "Saved". Helm had this to say about Manuel during this period: "e was drinking pretty hard, but once he got started, man: drums, piano, play it all, sing, do a lead in one of them high, hard-assed keys to sing in. Richard just knew how a song was supposed to go. Structure, melody; he understood it."
Back with Dylan
The Band gradually resurfaced on the live circuit. Following a warmup show in Osaka, Japan, in July 1973, they played to receptive audiences at the Summer Jam at Watkins Glen and on a double bill with the Grateful Dead at Jersey City's Roosevelt Stadium two days later. In the autumn, the group backed up Dylan on Planet Waves, his first full album of original songs since 1970, before serving as his backup group on his first tour in nearly eight years.The 40 concerts of the Bob Dylan and the Band 1974 Tour, from January 3 to February 14, 1974, were meandering musical marathons featuring two sets of Dylan backed by The Band, two Band sets, and a Dylan acoustic set. The ensuing live album from the tour, Before the Flood, reveals that Manuel was still capable of reaching the falsetto on "I Shall Be Released".