Levon Helm

Levon Helm was in the right place at the right time. He saw the birth of rock and roll and, though he was too much of a gentleman to say it, his role in helping to keep that rebellious child healthy was more than just instrumental. On May 26, 1940, Mark Lavon Helm was the second of four children born to Nell and Diamond Helm in Elaine, Arkansas. Diamond was a cotton farmer who entertained occasionally as a musician. The Helms loved music and often sang together. They listened to The Grand Ole Opry and Sonny Boy Williamson and his King Biscuit Entertainers regularly on the radio. A favorite family pastime was attending traveling music shows in the area. According to his 1993 autobiography, "This Wheel's On Fire", Levon recalled seeing his first live show, Bill Monroe and his Blue Grass Boys, at six years old. His description: "This really tattooed my brain. I've never forgotten it." Hearing performers like Monroe and Williamson on the radio was one thing; seeing them live made a huge impression. Levon's father bought him his first guitar at age nine. At ten and 11, whenever he wasn't in school or at work on the farm, the boy could be found at KFFA's broadcasting studio in Helena, Arkansas, watching Sonny Boy Williamson do his radio show, "King Biscuit Time". Helm made his younger sister Linda a string bass out of a washtub when he was 12 years old. She would play the bass while her brother slapped his thighs and played harmonica and guitar. They would sing songs learned at home and popular hits of the day, and billed themselves as "Lavon and Linda." Because of their fresh-faced good looks, obvious musical talent and Levon's natural ability to win an audience with sheer personality and infectious rhythms, the pair consistently won talent contests along the Arkansas 4-H Club circuit. In 1954 Levon was 14 years old when he saw Johnny Cash and Carl Perkins do a show at Helena. Also performing was a young Elvis Presley, with Scotty Moore on guitar, and Bill Black on stand-up bass. They did not have a drummer. The music was early jazz-fueled rockabilly, and the audience went wild. In 1955 he saw Elvis once more, before Presley's star exploded. This time Presley had D.J. Fontana with him on drums and Black was playing electric bass. Helm couldn't get over the difference and thought it was the best band he'd seen. The added instruments gave the music solidity and depth. People jumped out of their seats dancing to the thunderous, heart-pumping rhythms. The melting pot that was the Mississippi Delta had boiled over and evolved. Its magnificently rich blues was uniting with all the powerful, new, spicy-hot sounds and textures that became rock and roll. Natural progression led Levon to form his own rock band as a high-school junior, called The Jungle Bush Beaters. While Little Richard and Jerry Lee Lewis were making teens everywhere crazed, Levon would practice, play, watch and learn. After seeing Jerry Lee's drummer Jimmy Van Eaton, he seriously began thinking of playing the drums himself. Around this same time the 17-year-old musician was invited by Conway Twitty to share the stage with Twitty and his Rock Housers. He had met Twitty when "Lavon and Linda" opened for him at a previous show. Helm was a personable, polite teen who took his music seriously, so Twitty allowed him to sit in whenever the opportunity arose. Ronnie Hawkins came into Levon Helm's life in 1957. A charismatic entertainer and front-man, Hawkins was gathering musicians to tour Canada, where the shows and money were steady. He had a sharp eye for talent. He needed a drummer and Levon fit the bill. Fulfilling a promise to Nell and Diamond to finish high school, Levon joined Ronnie and his "Hawks" on the road. The young Arkansas farm boy, once a tractor driving champion, found himself driving Hawkins' Cadillac to gigs, happily aware that all the unknown adventures of rock and roll would soon be his destiny. In 1959 Ronnie got The Hawks signed to Roulette Records. They had two hits, "Forty Days" and "Mary Lou", sold 750,000 copies and appeared on Dick Clark's New American Bandstand 1965 (1952). Hawkins and Helm recruited four more talented Canadian musicians in the early 1960s--Richard Manuel, Rick Danko, Garth Hudson and Robbie Robertson. Under Ronnie's tutelage they would often perform until midnight and rehearse until four in the morning. Other bands began emulating their style; now they were the ones to watch and learn from. Eventually the students surpassed their teacher. Weary of Ronnie's strict regulations and eager to expand their own musical interests, the five decided to break from Hawkins. They called themselves "Levon and the Hawks." About 1965 Bob Dylan decided to change his sound. He was ready to "go electric" and wanted Levon and The Hawks to help him fire it up. The boys signed on to tour with Dylan, but unfortunately Dylan's die-hard folk fans resisted. Night after night of constant booing left Levon without the pleasure of seeing his audience enjoy themselves. He called his drummer's stool "the best seat in the house," because he could see his fellow musicians and his audience simultaneously. What pleased him most, always, was that his audience had a good time. He temporarily left the group and eventually landed back home in Arkansas. Dylan and the rest of the band took up residence in Woodstock, NY. They rented a large, pink house where they wrote and rehearsed new material. Danko called for Helm to join them when Capitol Records gave them a recording contract. Woodstock residents called them "the band," so they kept the moniker. The name The Band fit. The sound was no-frills rock-and-roll, but far from simplistic. They fused every musical influence they were exposed to over the years as individuals and as a unit. The result was brilliant. Their development as musicians was perfected by years of playing. Living together at "Big Pink" allowed complete collaboration of their artistic expression. Americana and…