How The Band ended up playing for Bob Dylan

The effect that word of mouth has had on music has been immeasurable. From contemporary acts such as Arctic Monkeys creating a buzz through this simple conduit to The Beatles creating a stir in Hamburg, it has always been one of the most effective, and authentic ways of expanding a brand. Another artist who benefited greatly from it when a young troubadour refreshing a stagnant folk in the spirit of his idol Woody Guthrie, was Bob Dylan. It wasn’t just him either, and fittingly, his definitive backing group, aptly named The Band, wouldn’t have become such an influential force without word of mouth.

Of course, things were different in the 1960s. There were no smartphones, internet or social media, so musicians had no other means of burnishing their craft and ‘making it’ than getting out there and playing. This led to a certain degree of authenticity, with practically every musician – apart from the label manufactured ones – pouring a hefty dose of grit and determination into their art, which was palpable at shows and key to attracting fans. 

Just as Bob Dylan cut his teeth playing across North America, so did The Band. In their early years, they were called The Hawks, due to being the backing group for Arkansas-born but Canada-based rocker, Ronnie Hawkins. Apart from drummer Levon Helm, who was hired by Hawkins when he was fresh out of high school in Arkansas and then accompanied him North of the border, the rest of the central members of The Hawks – Robbie Robertson, Rick Danko, Richard Manuel, and finally Garth Hudson – were all hired in Canada, with most of them cleverly plucked from Hawkins’ local rivals. 

Under the tutelage of the notorious taskmaster Hawkins – who would fine his young backing band if they brought girlfriends to shows or smoked mairjuana – The Hawks became a sonic force to be reckoned with. Before long, they had outgrown their master in talent, sound, and their broader artistic dreams. In 1963, they split with Hawkins, and were tired of repeatedly playing the same stagnant material, desperately desiring to perform exciting, original music. 

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The group had various names in the interim period, becoming The Levon Helm Sextet upon the inclusion of saxophonist Jerry Penfound, but became Levon and the Hawks after Penfound departed. Then, in 1965, they released the single ‘Leave Me Alone’ on Ware Records as The Canadian Squires, and then reverted to Levon and the Hawks for an Atco session later that year.  

1965 was the year for The Band. During those life-changing 12 months, they met the legendary blues singer and harmonica wizard Sonny Boy Williamson. They had planned on recording with him, even offering to be his backing group, but unfortunately, he died not long after their first introduction.  

As much of an undoubted tragedy that was, luckily, in the summer of 1965, Levon and the Hawks would be given the key to the rest of their lives, thanks to the age-old word of mouth. Just as Dylan was searching for a backing band for his first electric tour where he played his bravely era-defining pivot into rock, Bringing It All Back Home, they were recommended to him by bluesman John P. Hammond. He had recorded with members Helm, Hudson and Robertson on his album So Many Roads earlier that year, and knew precisely how colossal they were. 

Clearly, this convergence was meant to be. It wasn’t just Hammond who suggested them to ‘The Bard’. Mary Martin, a friend of The Hawks from Toronto, happened to be the secretary for Dylan’s manager, Albert Grossman, and implored the musician, “You gotta see these guys.”

That he did, at The Friar’s Tavern in Toronto. After watching them play, and meeting with Robertson, he initially invited both he and Helm to join his band. However, after just two shows the pair informed him that they were loyal to the rest of The Hawks, and would only continue to play with him if he hired all of them. He accepted, they became The Band, and, as they say, the rest is history. 

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