The Weight

[Circa 1824]

The great Robbie Robertson, composer of The Weight, just died of prostrate cancer. I am not quite sure what this song is about, but it is an awesome classic by The Band.

However, The Supremes and Temptations duet version is horrible. Diana’s vocal seems to be in the wrong key, and quite frankly the rock/folk song is out of her element. Paul’s vocal part is also hard on the ears. Why on earth was it released as a single? Does anyone find it listenable?

[lucky2012]

The great Robbie Robertson, composer of The Weight, just died of prostrate cancer. I am not quite sure what this song is about, but it is an awesome classic by The Band.

However, The Supremes and Temptations duet version is horrible. Diana’s vocal seems to be in the wrong key, and quite frankly the rock/folk song is out of her element. Paul’s vocal part is also hard on the ears. Why on earth was it released as a single? Does anyone find it listenable?

This was a puzzling release for me, too. I guess Motown was just trying to stay current, but it seemed out-of-place on the album. Motown songs were always straightforward about love, life and even social issues. In folk/rock, the meanings are often up to the listener interpret or relate to. I don't think this recording is unlistenable, but I don't ever listen to it.

[BayouMotownMan]

It was not only a terrible choice for the first single, but it's failure contributed to the lp's poor showing. Ross sounds strained and it would appear she was dubbed over a track intended for the Tempts. Usually Diana had much more input on duet tracks than this. It would appear Motown was attempting to maybe go a little more country with this outing but it is easily the worst track on the Together lp

[reese]

The Supremes/ Tempts version of THE WEIGHT is a poor imitation of Aretha's hit version from earlier the same year.

I have no idea why Motown chose it as a single when superior tracks like WHY [[MUST WE FALL IN LOVE) and STUBBORN KIND OF FELLOW could have been issued instead.

I guess this appearance with Leslie Uggams was some bit of promo.

[Boogiedown]

oh my reese I don't think I've ever read you so opinionated !!

So looking at that segment you provided... it looks like Leslie saw it as an opportunity to show how"Aretha" she could be ....

IF this appearance proceeded the single release, maybe Motown decided it was an avenue to promote the song so why not release it as a single ....

https://www.youtube.com/results?sear...weight+aretha+


[Aretha's hurting my ears here ,,,,must be the Youtube volume]

try this one

[Motown Eddie]

The great Robbie Robertson, composer of The Weight, just died of prostrate cancer. I am not quite sure what this song is about, but it is an awesome classic by The Band.

However, The Supremes and Temptations duet version is horrible. Diana’s vocal seems to be in the wrong key, and quite frankly the rock/folk song is out of her element. Paul’s vocal part is also hard on the ears. Why on earth was it released as a single? Does anyone find it listenable?

I prefer the B-Side of "The Weight". "For Better Or Worse" has a quasi-mainstream pop feel to it which is more in line with Diana Ross' comfort zone. Anyways, Motown was probably influenced by the cover versions of "The Weight" by Aretha Franklin, Rotary Connection and others to give The Supremes and Temptations a run at the song.

RIP Jamie "Robbie" Robertson

[reese]

oh my reese I don't think I've ever read you so opinionated !!

So looking at that segment you provided... it looks like Leslie saw it as an opportunity to show how"Aretha" she could be ....

IF this appearance proceeded the single release, maybe Motown decided it was an avenue to promote the song so why not release it as a single ....

https://www.youtube.com/results?sear...weight+aretha+


[Aretha's hurting my ears here ,,,,must be the Youtube volume]

try this one

The airdate of this appearance was December of 1969 so unfortunately it was too late to help the single. But I have no idea of the taping date.

I would have preferred a Leslie/Tempts duet on I'M GONNA MAKE YOU LOVE ME.

I had no idea of Robbie Robertson or the Band when I was a kid. Aretha's was the first version I ever heard and its ok. Even she admitted she had no idea what the lyric was about. I much prefer the flip side, a version of TRACKS OF MY TEARS.

[gman]

THE WEIGHT grew on me...big time...I love it today....[[this version is missing a verse...but no big deal...it's the one about Chester and the dog...wouldn't fit either group...but it was OK and fit well in the Bands folksy blusey version)....the Together LP has too many older Jobete property covers...and they are nowhere near as good as the ones on JOIN...the only Motown cover I like is WHY?...another duet fav for me...that would have been the smartest single from this bunch...Other than WHY and The Weight, the only song I really like on the Lp is Sly's SING A SIMPLE SONG....got a great DR cat wail in there...
I wasn't listening to FM rock yet...I was 10...so I wasn't aware of The Band...I do like them...Levon Helm's version is great...I haven't heard Aretha's in years, only heard it a time or 2 and like her Gentle On My Mind, I didn't care for it...
The Staples performed a mixed version along with the Band in the concert film THE LAST WALTZ....[[It is on YT...and the soundtrack LP/CD) that one trumps every version I've heard so far...Mavis and Pop's get the prize.

[Circa 1824]

Could someone please upload the definitive version, the original, by The Band. There is a great remastered 2000 version. I don’t know what the heck the song means, but I’m rockin’ and singin’ to it.

[reese]

Could someone please upload the definitive version, the original, by The Band. There is a great remastered 2000 version. I don’t know what the heck the song means, but I’m rockin’ and singin’ to it.

[Spreadinglove21]

Another definitive version--The Band and The Staples Singers joining forces in the film the Last Waltz:

https://www.youtube.com/watch?v=ccJTFXvkXkA

[Ollie9]

Overly optimistic choice for a single, but i think the Tempts and especially Diana do a really good job in creating the right atmosphere for the song. Different strokes for different folks.

[sup_fan]

haha see i don't think it's all that bad. i listen to it and include it more on playlists than I'll Try Something New. I hated that bizarre vibe intro to Try. while I'll agree that The Weight isn't top notch magic and agree it probably wasn't best as a single, I think it fits the lp fine. although that's not saying much. most of the Temp/Sup duets are really just dregs.

[gman]

I just heard the other day on the radio when they were discussing Robbie's passing that he wrote the song while traveling on a overnight stop in Nazareth PA...

[jobeterob]

I just heard the other day on the radio when they were discussing Robbie's passing that he wrote the song while traveling on a overnight stop in Nazareth PA...

The Weight is not one of my favourite songs - not by the Band, less by Aretha and even less by Ross and Supremes and Tempts.

However I think it really suited the times - flower power and hippies etc.

Why Must We Fall in Love is much better. Maybe they should have released Can’t Take My Eyes Off You? I think it would have charted and maybe made Mary feel better given what was in the wind.

Wasn’t Together just a bunch of outtakes?

[bradsupremes]

The Weight is not one of my favourite songs - not by the Band, less by Aretha and even less by Ross and Supremes and Tempts.

However I think it really suited the times - flower power and hippies etc.

Why Must We Fall in Love is much better. Maybe they should have released Can’t Take My Eyes Off You? I think it would have charted and maybe made Mary feel better given what was in the wind.

Wasn’t Together just a bunch of outtakes?

With the exception “My Guy, My Girl” which was a leftover track from the Join sessions, Together was all new recordings. In fact, I think they were some of the last sessions Diana did as a Supreme. There were vaulted tracks Motown could have pulled for this album but ultimately went with new tracks.

It took a long time for the Sups/Temps version of “The Weight” to grow on me. I enjoy it, but it definitely wasn’t a single. The original by The Band is one of my all-time favorite songs so no cover comes anywhere close. Motown should have gone with “Why” as the lead single. It would have gone top 20 although I don’t think it would have reached the heights of “I’m Gonna Make You Love Me.”

[WaitingWatchingLookingForAChance]

This can be viewed as nothing more than taking up tons of valuable real estate...or, for anyone who really wants to know what this song means:

The Weight Meaning

The song The Weight tells the story of a boy who visits Nazareth, where his friend Fanny asks him to visit several of her friends. The Weight [[his burden) is all these strange people that he promised he would visit.
Robbie Robertson claims that this song was influenced by the work of Luis Buñuel, a Spanish director who made some of the first films dealing with surrealism. Robertson was intrigued by the characters in his movies, who were often good people doing bad things.

Its lyrical composition is exciting in itself, as it is set in a place called Nazareth, where the singer meets a series of colorful characters on his quest to basically find a place to sleep.

Nazareth, as we all know, is the name of an ancient city where Jesus once resided. There are several references that read as if they were biblical in nature and, as such, have a deeper meaning than what is presented on the surface.
But in reality, they actually point to aspects of the artists’ current lives [[at the time of the track’s release), including a number of shout-outs to people and places they’re familiar with.
It has nothing to do with religion, although there are indirect biblical references scattered everywhere, to make it sound deeper and perhaps make it more appealing.

This song tells the sorrows of a guy whose girlfriend dies, and the burden that this leaves him [[the weight) in this life. Miss Moses may be Anna-Lee’s mother. This Luke is in the same situation as the narrator of the song and asks him to take care of what could be his daughter.

In the part that talks about the crazy Chester, when he asks him to take care of his dog, the narrator misunderstands him. He thinks that Chester wants him to kill the dog and says that he is a peaceful man.
But Chester just wants him to take care of the dog and answers “ok, feed him when you can”. It’s meant to be a slightly comedic scene.

When he says “catch the cannonball now to take me down the line”, he is referring to a route on the way to the final judgment. This could be translated into taking the train there, if we move it to the current context.

It is worth noting that Nazareth does not refer to the city of Israel. According to singer Robbie Robertson, it refers to a city in Pennsylvania, USA, where the Martin guitar factory is located.

The Weight is a cryptic song that addresses in surreal elements about sin, death, the devil, and the weight of guilt in its lyrics. These topics were all very abundant in the beatnik literature of the time and in the different folklores of the American prairie.

Robbie Robertson, established as the author of the lyrics [[although he eventually had to settle this issue in court), openly recounted the surrealist influences of the Spanish filmmaker Luis Buñuel and his aesthetic and vital contributions.

However, owing to numerous double and triple meanings, the music is of an almost unnerving subtlety.

https://musicaroo.com/the-weight-lyr...20its%20lyrics.

[Ollie9]

This can be viewed as nothing more than taking up tons of valuable real estate...or, for anyone who really wants to know what this song means:

The Weight Meaning

The song The Weight tells the story of a boy who visits Nazareth, where his friend Fanny asks him to visit several of her friends. The Weight [[his burden) is all these strange people that he promised he would visit.
Robbie Robertson claims that this song was influenced by the work of Luis Buñuel, a Spanish director who made some of the first films dealing with surrealism. Robertson was intrigued by the characters in his movies, who were often good people doing bad things.

Its lyrical composition is exciting in itself, as it is set in a place called Nazareth, where the singer meets a series of colorful characters on his quest to basically find a place to sleep.

Nazareth, as we all know, is the name of an ancient city where Jesus once resided. There are several references that read as if they were biblical in nature and, as such, have a deeper meaning than what is presented on the surface.
But in reality, they actually point to aspects of the artists’ current lives [[at the time of the track’s release), including a number of shout-outs to people and places they’re familiar with.
It has nothing to do with religion, although there are indirect biblical references scattered everywhere, to make it sound deeper and perhaps make it more appealing.

This song tells the sorrows of a guy whose girlfriend dies, and the burden that this leaves him [[the weight) in this life. Miss Moses may be Anna-Lee’s mother. This Luke is in the same situation as the narrator of the song and asks him to take care of what could be his daughter.

In the part that talks about the crazy Chester, when he asks him to take care of his dog, the narrator misunderstands him. He thinks that Chester wants him to kill the dog and says that he is a peaceful man.
But Chester just wants him to take care of the dog and answers “ok, feed him when you can”. It’s meant to be a slightly comedic scene.

When he says “catch the cannonball now to take me down the line”, he is referring to a route on the way to the final judgment. This could be translated into taking the train there, if we move it to the current context.

It is worth noting that Nazareth does not refer to the city of Israel. According to singer Robbie Robertson, it refers to a city in Pennsylvania, USA, where the Martin guitar factory is located.

The Weight is a cryptic song that addresses in surreal elements about sin, death, the devil, and the weight of guilt in its lyrics. These topics were all very abundant in the beatnik literature of the time and in the different folklores of the American prairie.

Robbie Robertson, established as the author of the lyrics [[although he eventually had to settle this issue in court), openly recounted the surrealist influences of the Spanish filmmaker Luis Buñuel and his aesthetic and vital contributions.

However, owing to numerous double and triple meanings, the music is of an almost unnerving subtlety.

https://musicaroo.com/the-weight-lyr...20its%20lyrics.

Thank you so much for posting this as i have always been rather puzzled by much of the songs lyrics. A lot to digest here, and a rather different twist to the familiar theme of boy meets girl.

[Ollie9]

Motown should have gone with “Why” as the lead single. It would have gone top 20 although I don’t think it would have reached the heights of “I’m Gonna Make You Love Me.”

Diana’s vocal on “Why” is outstanding. For me it’s her voice that sells the song with the listener believing every passionate word she trills. I always thought it sounded top ten, though was a modest hit in the UK when released far too late in 1970.

[mysterysinger]

The great Robbie Robertson, composer of The Weight, just died of prostrate cancer. I am not quite sure what this song is about, but it is an awesome classic by The Band.

There's only one R in prostate.

Prostrate means either lying stretched out on the ground with one's face downwards OR completely overcome or helpless, especially with distress or exhaustion - probably from listening to the DRATS&Tempts version of "The Weight".

[Circa 1824]

There's only one R in prostate.

Prostrate means either lying stretched out on the ground with one's face downwards OR completely overcome or helpless, especially with distress or exhaustion - probably from listening to the DRATS&Tempts version of "The Weight".

thank you Mystery. Listening to that version might give you prostate problems which would then land you smack-dab prostrate on the ground.

[jobucats]

Diana’s vocal on “Why” is outstanding. For me it’s her voice that sells the song with the listener believing every passionate word she trills. I always thought it sounded top ten, though was a modest hit in the UK when released far too late in 1970.

Yes, "Why" was indeed a wonderful song, and Diana's vocal lines are so pleading in her delivery. From what I remember reading on either this or some other forum, the problem with the album that we bought back in the day was that there was a lot of distortion on that particular cut. I believe one of the factors may have been that it was the last song on one of the sides coupled with a faulty master having made it to its release.

[reese]

Yes, "Why" was indeed a wonderful song, and Diana's vocal lines are so pleading in her delivery. From what I remember reading on either this or some other forum, the problem with the album that we bought back in the day was that there was a lot of distortion on that particular cut. I believe one of the factors may have been that it was the last song on one of the sides coupled with a faulty master having made it to its release.

For some reason, there is a lot of distortion after the modulation on the original album. I think they fixed it on the recent JOINED TOGETHER cd.

[jobucats]

For some reason, there is a lot of distortion after the modulation on the original album. I think they fixed it on the recent JOINED TOGETHER cd.

Yes, they sure did fix it when it was released on cd, and I was glad! Such a great song.

[Ollie9]

Yes, "Why" was indeed a wonderful song, and Diana's vocal lines are so pleading in her delivery. From what I remember reading on either this or some other forum, the problem with the album that we bought back in the day was that there was a lot of distortion on that particular cut. I believe one of the factors may have been that it was the last song on one of the sides coupled with a faulty master having made it to its release.

Well remembered. The memories come flooding back at listening to the album as a kid in my bedroom and hearing the distortion towards the end of the song with the two competing voices.
I particularly love the part where Diana sings “Into the night you walked away with my life”. Still sends chills.

[jobucats]

Well remembered. The memories come flooding back at listening to the album as a kid in my bedroom and hearing the distortion towards the end of the song with the two competing voices.
I particularly love the part where Diana sings “Into the night you walked away with my life”. Still sends chills.

That's the exact line I love!!!

[sup_fan]

Well remembered. The memories come flooding back at listening to the album as a kid in my bedroom and hearing the distortion towards the end of the song with the two competing voices.
I particularly love the part where Diana sings “Into the night you walked away with my life”. Still sends chills.

it's a great song but i wonder if the unusual intro prevented it from being considered for a single or if station programmers weren't interested

[jobucats]

it's a great song but i wonder if the unusual intro prevented it from being considered for a single or if station programmers weren't interested

Yeah, that might have been it. "Why" comes across as being a very intricate composition in its arrangement with all that's going on it from the instrumentation to the vocals. Sometimes, I believe songs like this and "You Keep Running Away", "Seven Rooms of Gloom" were just somewhat not in synch with what the public really wanted to hear in the pop music world. Too sophisticated. But I loved them.

[Ollie9]

it's a great song but i wonder if the unusual intro prevented it from being considered for a single or if station programmers weren't interested

Personally i don't think so, but as jobucats points out it is a very intricate song that becomes a little muddled with so many voices to be heard.
For me Diana’s vocal performance remains the highlight of the song. I think had it been released as a Diana Ross & Supremes single it might have faired better with just her voice out front. It certainly contains relatable lyrics and a memorable chorus.

[kenneth]

What an interesting thread! I never liked this song when I was younger, although the album was already out a while before I knew of it. But like many of my changing tastes, over the years I have come to really like it. I agree that, yes, Diane's voice does sound strained and it really isn't her type of song but I don't consider it as far out there for her style as, say, "No Matter What Sign You Are."

But like many [[most?) I've never known what the song was really about so I will be reading that article. Then maybe we can discuss the Shorty Long version of "A Whiter Shade of Pale," [[and seriously, I love his version) for another pretty oblique song!

[Ollie9]

What an interesting thread! I never liked this song when I was younger, although the album was already out a while before I knew of it. But like many of my changing tastes, over the years I have come to really like it. I agree that, yes, Diane's voice does sound strained and it really isn't her type of song but I don't consider it as far out there for her style as, say, "No Matter What Sign You Are."

But like many [[most?) I've never known what the song was really about so I will be reading that article. Then maybe we can discuss the Shorty Long version of "A Whiter Shade of Pale," [[and seriously, I love his version) for another pretty oblique song!

Until this thread i always considered the song to be about slavery, so it’s been interesting to learn otherwise. I have always thought it a good version, though seem to be in the minority lol.
I will now take a listen to Shorty Long.