Elliott provides an insightful commentary to the photographs throughout his book.

Elliott Landy: 'The first time I met Sara Dylan was on Easter Sunday, 1968, when I was at Big Pink to photograph The Band. I took some pictures on Saturday, and stayed overnight - crashing on the living room couch. The next day, Easter Sunday, they were invited to Bob's house but couldn't bring me. I was left at Big Pink with Levon's (Helm) girlfriend who wasn't in the mood to go. So we stayed at home, hung out and got stoned. I took some pictures of her and she of me. After a while, she wanted to find Levon, so we took my car and I drove along the Woodstock roads which were all new to me.'

Elliott Landy: 'When we arrived at Bob's house, we walked right into the living room, among all the people. I was quite nervous until Bob's wife Sara came over and asked me, very graciously and lovingly, if I wanted anything. She made me feel comfortable. I didn't see Bob, but he could have been there - I might not have recognised him. He was probably wearing his glasses and wouldn't have looked like his pictures. We were only there for a moment, because we did not find Levon. But I remember Sara coming to talk to us - she was stunningly beautiful, inside and out. That was our first brief meeting.'

Elliott Landy: 'My first photo session with Dylan was very casual, Al Aronowitz, the writer, who I knew through The Band, called me up and said, 'We need a picture of Bob for the cover of the Saturday Evening Post. Do you want to take it? It was natural that he should ask me to take the picture - I had become a trusted part of the Albert Grossman scene and was the only photographer in the crowd at the time. I was still living in New York City at the time. I rented a little Volkswagen Beatle and drove up to Woodstock. Aronowitz met me in town and led me up the winding mountain roads to Bob's house. He went inside and a moment later emerged with Bob, introduced us and drove off.'

Elliott Landy: 'The Band didn't want to be seen as anybody special; they just wanted people to listen to their music. So their album jacket was deliberately low key, seemingly without design. Bob's painting was the cover. The inside was very plain. The 'Next of Kin' picture I'd taken in Toronto was also nondescript. My photograph of the group said nothing under it. However, their names were listed in a column underneath a generic description 'The Band'. It was not meant to be their name but since it was the only phrase on the album jacket which described them, the record lable used it as their name on the spine of the album.'

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