An AWESOME piece of RnR history!

I was hesitant to buy this disc knowing that it was done in a quasi-documentary fashion. I don't particularly care for this format, although a commentary track that you can opt to view or not isn't a bad thing. But finally, I could hold out no longer, mainly because of the awesome collection of hits this disc contains. To my surprise, I found the interview material was kept to a minimum and not too distracting. Although this film was produced many years ago, I was amazed at the quality of the video and audio tracks; not exactly reference quality, but very nicely done just the same. The Band and all their guest artists were at the top of their game. This disc is now one of my all time favorite DVD concert and holds an honored spot in my collection. Don't be like me, don't deny yourself the pleasure of owning this exceptional piece of RnR history any longer.

Not What I Was Expecting Exactly.

This music collage is definitely misnamed. After Martin Scorsese produced this 1976 San Francisco filming of the concert, he added interviews with the young members of the Band who accompanied the varied '70s "stars." It was good to see the young men's hair styles back then, as I had two teenage sons thirty years ago.

The best I can say about this production is that it was weird. Something similar takes place in this backward town at an old church building converted to Laurel Theater (on Laurel Ave.). Nowadays, they call it bluegrass and traditional, but I have never liked country and it may be rock'n'roll, but not in the sense of Buddy Holley and that gang from the Fifties.

The only waltz was at the opening credits, thereby giving the film its name. The music is as far from a waltz as classical is from hillbilly. The young performers talked of getting drunk on corn liquor, laid by 'ladies of the night,' and stoned. The whole music scene back then as lived out in front of the camera was smoking, drinking, pill popping and sex. You'd think it was Woodstock all over again; I'm glad I missed it.

Neil Diamond has moved up the ladder since then and the only 'real' star in this whole show. He was absolutely marvelous in THE JAZZ SINGER and sang his own music throughout the beautiful JONATHAN LIVINGSTON SEAGULL. Scorsese started with sordidness, two hours of noise. Now I understand why his rather lengthy masterpiece, THE AVIATOR, dealt mostly with the sleazy part of Howard Hughes' life. He should have left the demented man's spirit in peace, wherever he went.

Where's The Bass?!

Watched this using the 5.1 audio tracks last night and was quite perturbed not to hear the majority of Rick Danko's frantic bass playing (and yes, my subwoofer was on!). What happened in the mix? Everything else is stellar (nice separations, a not-too-intrusive audience, etc.) but it was strange to watch RD work the neck so expertly but not be able to hear it. Anyone know what gives?