As Rolling Stone Magazine continues its countdown of the Top Live Albums of All Time, landing at number 22 is The Band’s Rock of Ages, recorded in 1972. While The Last Waltz is often hailed as The Band’s most famous live album—celebrated for its star-studded lineup, poignant end-of-an-era atmosphere, and Martin Scorsese’s iconic film—Rock of Ages is regarded by many as the band’s best live recording.
Captured during a series of performances at New York’s Academy of Music, Rock of Ages showcases one of rock’s greatest live acts at their peak. From the moment they launch into a spirited cover of Marvin Gaye’s “Don’t Do It,” highlighted by Rick Danko’s infectious low-end groove, it’s clear that the band is on fire. The energy continues with tight renditions of deep cuts like “The W.S. Walcott Medicine Show,” “King Harvest (Has Surely Come),” and “The Unfaithful Servant,” many featuring impressive horn arrangements by the legendary Allen Toussaint.
One of the standout moments is organist Garth Hudson’s epic jam on “The Genetic Method,” seamlessly transitioning into “Chest Fever.” This nearly side-long performance has become the stuff of psychedelic roots-rock legend, exemplifying the band’s musical prowess and telepathic sync before the pressures of fame began to take their toll.
While The Last Waltz offers a grand narrative of the band’s journey and includes various guest artists, Rock of Ages immerses listeners in the raw, electrifying experience of The Band live in concert. It’s a testament to their exceptional musicianship and the chemistry that made them a defining force in rock history. In essence, The Last Waltz tells you that The Band was great; Rock of Ages shows you.
The Last Waltz is the Band’s most famous live album — it’s the one with the big-name guests, the end-of-an-era gravitas and the Scorsese film. But it’s not the Band’s best live album. That would be Rock of Ages, recorded four years earlier in New York, capturing one of rock’s greatest live acts at their peak. They’re on fire from the opening cover of Marvin Gaye’s “Don’t Do It” (a showcase for Rick Danko’s sly low-end groove-itude) through ridiculously tight deep cuts like “The W.S. Walcott Medicine Show,” “King Harvest (Has Surely Come)” and “The Unfaithful Servant,” many of them featuring horn arrangements by Allen Toussaint. Organist Garth Hudson’s mad jam on “The Genetic Method” into “Chest Fever,” taking up nearly an entire side of the double LP, is the stuff of psychedelic roots-rock legend. This is the sound of five guys in telepathic sync, before they got jaded. The Last Waltz tells you that the Band were great; Rock of Ages shows you. Simon Vozick-Levinson