disliked the moniker, but eventually they grew to like it, thinking it both humble and presumptuous. In 1969, Rolling Stone referred to them as "the band from Big Pink". Their first album, Music from Big Pink (1968) was widely acclaimed. The album included three songs written or co-written by Dylan ("This Wheel's on Fire", "Tears of Rage", and "I Shall Be Released") as well as "The Weight", which was used in the film Easy Rider, making it one of their best-known songs. While a continuity ran through the music, the style varied by song. In early 1969, after the success of Music from Big Pink, the Band went on tour, starting with an appearance at Winterland Ballroom. They performed at the Woodstock Festival (their performance was not included in the famed Woodstock film because of legal complications), and later that year they performed with Dylan at the UK Isle of Wight Festival (several songs from which were subsequently included on Dylan's Self Portrait album). That same year, they left for Los Angeles to record their follow-up, The Band (1969). From their rustic appearance on the cover to the songs and arrangements within, the album stood in contrast to other popular music of the day. (Several other artists made similar stylistic moves about the same time, notably Dylan, on John Wesley Harding, which was written during the Basement Tapes sessions, and the Byrds, on Sweetheart of the Rodeo, which featured two Basement Tapes covers.) The Band featured songs that evoked old-time rural America, from the Civil War in "The Night They Drove Old Dixie Down" to the unionization of farm workers in "King Harvest (Has Surely Come)". These first two records were produced by John Simon, who was practically a group member: he aided in arrangements in addition to playing occasional piano and tuba. Simon reported that he was often asked about the distinctive horn sections featured so effectively on the first two albums: people wanted to know how they had achieved such memorable sounds. Simon stated that, besides Hudson (an accomplished saxophonist), the others had only rudimentary horn skills, and achieved their sound simply by creatively using their limited technique. Rolling Stone lavished praise on the Band in this era, giving them more attention than perhaps any other group in the magazine's history; Greil Marcus's articles contributed to the Band's mystique. The Band was also featured on the cover of