Levon Helm was that iconic vocalist, able to connect the listener with those sepia-toned stories by Robbie Robertson, in the classic lineup of The Band. As the only American, he oozed credibility and knowledge of the southern experience that Robertson fixated upon as the foundation of the lyrical map of the group. The other members of the band had smoother, more melodic, more professional singing voices but Helm was often chosen to be the lead vocalist because of the authenticity of his tone. If that time of his life was his sole contribution to rock n’ roll it is enough for any Hall of Fame career. His output after the demise of The Band is meager but powerful, and 2007’s “Dirt Farmer” captures his strengths amid a family affair outing produced by daughter Amy Helm and the multi-talented Larry Campbell.
After a serious battle with throat cancer in the late 90’s, Helm believed he would never have his normal singing voice again. His daughter, Amy, convinced him over time to approach playing and recording with an acceptance of the changes time and illness had brought. “Dirt Farmer” was recorded at home surrounded by family and friends in a relaxed no-pressure environment.
Many of the tracks are traditional, passed down through the Helm family, and sung by grandparents, uncles, and aunts. The album opens with “False Hearted Lover Blues” with Levon drumming and wailing in an upbeat, acoustic stomper. “Take warning you young ladies”, pump organ and mandolin provide melodic color but the focus is all on the worn, engaging voice of Helm. “Poor Old Dirt Farmer” is in waltz time with accordion and fiddle leading us around the sawdust dancefloor. Backing vocals do call and response with Levon’s story about the farmer’s wife and children being “packed up and gone”. The farmer fell off his tractor and now “his head is shaped like a tread, but he ain’t quite dead”. It’s a light-hearted lament that fades out all too quickly. The third track is a dynamic reading of Steve Earle’s “The Mountain”. It is very hard indeed to better the original, but Helm’s version has such passion and a quivering perfection of production. Buddy & Julie Miller provide beautiful backing vocals, “I’ll die on this mountain, this mountain’s my home” is as real as music gets. “Little Birds” has a sustained fiddle drone, a touch of mandolin, and little else backing Helm’s fragile voice on the traditional ballad. “The Girl I Left Behind” is a rocking hoe-down that would have fit comfortably on early Band albums. A fiddle melody that hooks the ears and a rock drum paired with the acoustic instruments featuring a beautiful accordion from Brian Mitchell. It feels contemporary even though it is a traditional track. Side one concludes at “Calvary” with resonator guitar and drums powering a gospel lament. “There’s no running from your trouble….you will meet your destiny, take me down to Calvary.” Tasteful guitar work from Larry Campbell frames a heartfelt performance from Helm. The oft-covered “Anna Lee” opens side two with just vocals and fiddle. A simple circular motif of melody allows the attention to be on the vocal trio. No tricks, no distractions, just a straight reading of an ancient tale. “Got Me a Woman” is a light-hearted goof written by country artist Paul Kennerley, “we live with a monkey and a Chinese acrobat, she calls me Tex, makes me wear a cowboy hat, …. she shaves my beard and keeps my tractor clean, she burns my bread, makes me eat turnip greens.” The fun and playfulness jump out of the speakers. He is having a ball relating this nonsense song. “A Train Robbery”, again by Kennerley is a more somber tale of masked men threatening to “burn your train to cinders”. The production features a full palette of instruments and a bigger sound than most of the tracks. It may be a bit too cluttered. “Single Girl, Married Girl” is a piano-driven Carter Family track that has not aged well in this world, “a married girl just wears any old kind”. The single girl, of course, is always dressed so fine. “The Blind Child” is a lilting traditional sad tale with tender backing from fiddle and accordion weaving another waltz among the tears. The album’s penultimate track, the J.B. Lenoir blues “Feelin’ Good” ups the energy. Ringing acoustic guitar, forceful drums, and Amy Helm’s co-lead vocals all contribute to a strong performance. “All the money in the world spent on feelin’ good”. Buddy & Julie Miller contribute the heartfelt “Wide River to Cross” to close the album as Levon looks at his past, present, and future. Tender passion in the vocals allows for the less-than-it-was voice to convey more than you-expect power.
The positive reception to this record plus the family unity to rebuild Levon’s barn after a fire allowed the Rambles to continue in upstate New York, allowed Levon to tour in a limited manner, and allowed a little bit more recording before his passing. After the cancer, this part of his career seemed like a wonderful hidden track at the end of a classic album.
Charlotte County resident Stephen MacKnight works for Anglophone South & Working NB after a decade spent as a music teacher in the school system and twenty-five years in the music retail industry cycling through Sam the Record Man, Records on Wheels and CDPlus. There have been nominations from ECMA’s & Music NB as a band-member and songwriter. Passionate and opinionated about music Stephen loves when anyone wants to have a debate.
