ALICE COOPER Part 1 – Thoughts On An Artist / Alice Is A Band

At the beginning, Alice Cooper was both a man and a band. Today many fans think of Alice Cooper as the singer with the ghoulish makeup and the crazy macabre stage antics, but over the course of their first seven studio albums the man formerly known as Vincent Furnier was the vocalist & front man for the Alice Cooper band, which also included guitarists Glen Buxton & Michael Bruce, bassist Dennis Dunaway and drummer Neil Smith. I will discuss these albums here and in my next post before moving on to the remainder of the Alice Cooper “solo” discography over the next couple of months. So I’ll be referring to Alice as “he” or “they” depending on the reference, or simply as “Alice.” My earliest memory of Alice’s music goes back to 1976 when my father brought home a copy of the Welcome To My Nightmare LP. At the time I was obsessed with the band Kiss (as was seemingly everyone in my age range), and I kept hearing how Alice was Kiss’ biggest influence. I played that album frequently whenever I wasn’t listening to Kiss, and there’s even a recording of me singing the title track, a capella, at 10 years old. I might feature that rarely heard performance when I write about that album. I also knew their song “Public Animal #9” from a Warner Brothers various-artists sampler, and that’s where I could really hear the Kiss connection.

For a number of years, through the late-‘90s, that was the extent of my Alice Cooper knowledge. Of course I knew his/their radio hits like “I’m Eighteen,” “School’s Out,” “No More Mr. Nice Guy,” “Poison” and “Feed My Frankenstein,” and loved his appearance in the first Wayne’s World movie, but it wasn’t until I got a copy of 1999’s career-spanning 4-CD box set, The Life And Crimes Of Alice Cooper, that I finally started realizing what a great…and diverse…catalog Alice has amassed. A few years later I shared an office with a huge Alice fan who tried to convince me that his new stuff was worth hearing. At first I scoffed, but after reading some stellar reviews for 2003’s The Eyes Of Alice Cooper I had to check it out for myself, and I was blown away. That’s where I went from casual fan to someone who needed to own every official release, and although there are peaks & valleys throughout the Alice discography, it’s worth sifting through them to discover all the gems. For some reason I never bought any Alice live albums. However, recently I borrowed a number of them from a friend & made digital copies for myself, and I will listen to them for the first time as I proceed through this series.

The Alice Cooper band didn’t get off to an auspicious start with their debut album, Pretties For You (1969). Released on Frank Zappa’s Straight Records, it showcases an anglophile band enamored of early Pink Floyd’s psychedelic excursions and Nuggets-style garage rock. Although several tracks are simply experimental and not terribly memorable, there are a number of noteworthy songs that don’t necessarily display their future musical direction. “Sing Low, Sweet Cheerio” rolls along with chugging drums, and finds Alice affecting a British singing style amid some climbing lead guitar runs. It features cryptic psychedelic lyrics like, “But this story starring me had already begun, ‘cuz I had some vision in my sight on the journey to be one,” owing a debt to late-60s San Francisco jam bands. I like the fast waltz section with harmonica & lead guitar. “Living” is a big splashy rocker that recalls The Beatles’ “Tomorrow Never Knows” without all the studio effects. In addition to the excellent guitar solo, I really like the melody at, “I’m sure that you’re knowing you’re growing…and it’s you.”

[Alice Cooper - "Living"]

“Fields Of Regret” is the longest song, at nearly 5:40, which allows the band to stretch out amid its quirky arrangement. The bass line deserves special mention. “Reflected” is a precursor to their 1973 hit single, “Elected.” It’s not as fully formed as that later song yet it’s still a winner. Featuring fantastic drumming and shredding lead guitar, there are hints of the louder side of Pink Floyd, and most importantly it’s super catchy, especially at “You will be reflected.” “Apple Bush” has a slightly swinging 6/8 feel with excellent jazzy drumming from Smith. Not sure about the lyrics (“Apple bush, apple tree, back to e-ternity, cut you a path with a chance you may fall”), but the music is excellent. “Earwigs To Eternity” has a boom-chick rhythm with various stops & starts and off-kilter yet catchy singing (“All of the time we have, all of the time we have you”). “Changing Arranging” closes the album with hints of their hard rockin’ music to come, but it’s still rooted in the psychedelic ‘60s with the fuzzy guitar tone and splashy/jazzy arrangement. Once again, what’s up with the lyrics: “I like the pie and I sweat all I see, it’s a carbon copy image of me”? The rest of the album often shows how much they love the Syd Barrett era of Pink Floyd. I’m a big fan as well, but they weren’t at the songwriting level of their British counterparts just yet. It’s a hit-and-miss debut that’s really for completists. Still, I’m glad I finally gave it some serious attention.

They didn’t have to worry about a sophomore slump, and so Easy Action (1970) finds them tightening things up with a nine-song collection (vs. the debut’s 13 freewheeling tracks) recorded by longtime Neil Young producer David Briggs. Apparently he & the band did not see eye to eye, but even though it lacks the punch of their subsequent releases, there are a number of excellent songs with only a few throwbacks to the aimless psych-rock that weighed down the debut. The cleverly titled “Mr. & Misdemeanor” is a bluesy midtempo shuffle with a slight show tune vibe. The raspy voice that would grace many future Alice classics reveals itself here. Highlights for me include the weepy guitar tone and various tempo shifts, making it a memorable album opener. “Shoe Salesman” is surprisingly light & bouncy, even though I believe it’s about a heroin addict, with lovely acoustic & electric guitar and a thick bass line. It’s very melodic with clear nods to The Beatles, especially at “Winking, she pokes me in the side, well we could go for a ride” and “I did not know what to say, do you think those freckles will stay.”

“Return Of The Spiders” chugs along like a train barreling down the track. Alice’s vocals display his soon-to-be-trademark sneer, offsetting the twin lead guitars (one stabbing & the other soloing). The lyrics are simplistic but this one’s all about the relentless music. “Laughing At Me” is a brief, subtly infectious song with circular lyrics (“So I started to end the beginning to end, then I ended the end, yes I ended the end”). I love the lilting melody and subtle instrumentation (notably the jazzy bass & Flamenco-esque guitar). “Beautiful Flyaway” is a pretty piano-led tune that brings to mind Paul McCartney. Even Alice’s low-key vocal delivery recalls McCartney’s early solo work (“Haven’t we always been here sharing one love and one fear? Someday you’ll know that life is really all about you”). “Lay Down And Die, Goodbye” is mostly instrumental psychedelic hard rock, with an emphasis on “hard.” Its extended free-form section shows their label “boss” Frank Zappa’s influence, and at 7-1/2 minutes it’s perfectly placed at the end of the record. These first two albums seem to be overlooked by most fans, critics and even the band, who apparently stopped playing any songs from these records as soon as they had their commercial breakthrough the following year. I wouldn’t consider them lost classics, but listeners with patience and an open mind will find a lot to like.

Their first acknowledged classic, Love It To Death (1971), earned its reputation, thanks in large part to co-producer Bob Ezrin (who would go on to work with huge artists like Pink Floyd, Lou Reed & Kiss, as well as several more Alice Cooper albums). Ezrin and Jack Richardson brought out the super-tight hard rock band that had been lurking just below the surface on the first two records, allowing the stellar musicianship to shine through while also adding some unique production touches that set the album apart from its contemporaries. Other than the relatively minor & generic “Caught In A Dream” (a Stones-y riff-oriented rocker that opens the album) and “Second Coming” (its tasteful drumming & wonderful guitar work not amounting to much), the other seven songs all made a big impact on me. Their first hit single was the brooding yet anthemic “I’m Eighteen.” The arrangement is airtight (I never noticed the harmonica before) and the lyrics perfectly capture teenage angst (“I got a baby’s brain & an old man’s heart”). “Long Way To Go” is a fast-driving rocker in the vein of T. Rex. The chorus of “We still got a long way to go” seems to be aimed at our society, and that sentiment still applies four decades later. “Black Juju” is not for the faint of heart. Over its 9+ minutes it moves from moody tribal drums that slowly build during the extended percussion intro through an homage to Pink Floyd’s “Set The Controls For The Heart Of The Sun,” adding hints of Doors-like intensity and even the melodic flair of The Zombies’ “Time Of The Season.” They show a great sense of dynamics throughout, as whisper quiet passages give way to big blasts of sound.

“Is It My Body” is slinky riff rock with a sparse production that brings to mind Lou Reed & The Velvet Underground. In addition to the biting lead guitar, there’s a great hook during the stop-start “Have you got the time to find out…who I really am?” section. “Hallowed Be My Name” is short & powerful; a driving rocker with heavy organ doubling the guitar riff, and another killer hook at “Cursing their lovers, cursing the bible” and “Yelling at fathers, screaming at mothers.”

[Alice Cooper - "Hallowed Be My Name"]

“Ballad Of Dwight Fry” covers a lot of ground over its 6-1/2 minutes, from the sweet piano intro with a child speaking a few lines through some acoustic strumming and into a brooding, intense section between 4:15 & 5:00 that might be my favorite part of the song. With lyrics about a father who’s in a mental hospital, either missing his family or (more likely) driven there by his family (“See my lonely life unfold, I see it every day”). The album closes with “Sun Arise,” an early ‘60s hit for Australian singer Rolf Harris. I love the big percussion (like a less sparkly Gary Glitter) and mantra-like vocals (“Sun arise…come every morning”). The hippie optimism is unexpected but welcome, and ends things on a positive note. Love It To Death shows that they were well on their way to being one of the best bands of their time.

Richardson & Ezrin returned to produce their fourth album, Killer (1971). Releasing a second album in under a year, you would expect a drop in quality, but other than the fact that there wasn’t a big hit single like “I’m Eighteen,” they solidified their status as a great hard rock band with a collection of eight mostly raunchy, stomping rock songs. “Under My Wheels” has them chugging along with Alice’s sneering vocals, and features an awesome opening line: “The telephone is ringing, you got me on the run. I’m driving in my car now, anticipating fun.” The addition of horns is a nice touch, and the whole tune is just a big blast of fun. “Be My Lover” has a stomping, “Sweet Jane”-type feel in the verses and opens up in the chorus.” Clearly about hooking up with a groupie, Alice slyly delivers lines like, “She asked me why the singer’s name was Alice, I said ‘Listen baby, you really wouldn’t understand’.” “Halo Of Flies” is the longest song, at over 8 minutes, and shows the band flexing their compositional muscles. It’s heavy progressive rock with various stops, starts, tempo shifts, guitar & synth effects and a nearly 2-minute instrumental intro that covers a lot of ground. I like how they sneak in a reference to The Sound Of Music’s “My Favorite Things” at “Daggers and contacts and bright shiny limos,” proudly displaying their love of show tunes.

There are a couple of lesser songs, at least to my ears, in “Desperado” and “You Drive Me Nervous.” The former is their tribute to Jim Morrison, with Alice singing/speaking in The Doors’ singer’s husky tone. Although it alternates between two distinct sections (acoustic & rock) and has a cool string interlude before the final rock section, I never fully embraced it. The latter song is simplistic but cool, with a great attitude, but it’s quickly forgotten. Things pick up again for “Yeah, Yeah, Yeah,” finding them in power-pop territory (think The Raspberries, Badfinger & Big Star) and somehow turning that simple title into a legitimate chorus. It also features great lines like, “You could be the devil, you could be the savior, well I really can’t tell by the way of your behavior.”

“Dead Babies” is dark & mysterious; a bass-driven tune with controversial subject matter (“Dead babies can’t take care of themselves”). For the band’s detractors it probably sounded like they were encouraging child abuse & neglect, but it’s clear that they’re shining a light on the topic as a plea for help. The great heavy guitar riff is not far from Black Sabbath territory, and the horns near the end add a nice, Beatle-y touch. The 7-minute album closer “Killer” has a finger-snapping swing with a groovy bass line and tom-heavy syncopated drums. At first his voice is cleaner & huskier, perhaps another nod to Jim Morrison, but he blasts into a higher register at “I came into this life…” Like “Halo Of Flies,” they’re showing off their prog-rock chops, yet it never comes across as contrived or pretentious. I love the twin lead guitars in the jammy & jazzy instrumental section, and the various sound effects were early signs of a distinct Bob Ezrin production touch. The very end of the song sounds like a swarm of bees. It’s unsettling, but I wouldn’t expect anything less on an album called Killer. Their next few albums would take them to greater commercial heights, which I’ll discuss in my next post, but these early records (especially the last two discussed here) are an integral part of their discography and shouldn’t be overlooked.

Compilation Or Catalog? – ECHO & THE BUNNYMEN

[A brief explanation of my Compilation Or Catalog? series: Although I tend to be a completist, owning everything an artist has released, occasionally the only album I own is a compilation. This can often be a stepping-stone to exploring more of their work, but sometimes a “Best Of” or “Greatest Hits” is the only thing I’ve heard. With this series I ask my readers to let me know if the compilation I have is sufficient or if there are specific albums I should check out. Normally I revisit the entire recorded output of a particular artist over numerous posts, which is the main purpose of this blog, but this gives me an opportunity to learn more about some lesser-known & less-explored artists in my collection]

Echo & The Bunnymen was a group I knew about in the ‘80s but never investigated their music. As a fan of guitar-oriented rock music back then, I lumped them in with the more synth-based British bands of the era like Depeche Mode, New Order, Psychedelic Furs, Simple Minds, The Cure, etc. I did enjoy some songs by those artists, as well as Howard Jones, Nik Kershaw, Spandau Ballet & others, but by 1983 I was enthralled by a triumvirate of new guitar rock bands: U2, The Alarm and Big Country. It wasn’t until sometime in the ‘90s that I decided to check out Echo & The Bunnymen, and the obvious entry into their catalog was the single-disc compilation Song To Learn & Sing (1985). This collection includes 11 songs recorded between 1980 & 1985, covering highlights of their first four albums with a few singles and b-sides thrown in. The lineup during this time was Ian McCulloch (vocals & guitar), Will Sergeant (lead guitar), Les Pattinson (bass) and Pete de Freitas (drums), and I really came to appreciate their musicianship the more I played this CD. I also realized that they’re nearly as much of a guitar band as the others I mentioned, and I wish I had given them a chance back then.

“Rescue” has a great chiming guitar pattern and over-enunciated vocals that point to U2 and The Alarm (a comparison that applies to many of the songs here). I love the way it opens up for the chorus (“Won’t you come on down to my…rescue?”) and the confessional lyrics (“Things are going wrong, can you tell that in a song?”). “The Puppet” has a driving, propulsive rhythm with more chiming guitar and a great chorus (“You knew about this with your head in your hands, all along I was the puppet”). Pattinson’s bass line and Sergeant’s guitar tone are the highlights of the instrumental section.

Two songs didn’t make as much of an impression on me as the others, but they’re still notable. “Do It Clean” has a garage rock looseness with a lot of energy. I just didn’t find it terribly catchy. “A Promise” has McCulloch delivering some over-the-top whiny vocals, a la The Cure’s Robert Smith, atop an REM-esque jangly pop arrangement. The big chorus, where he shouts the title, was made for arenas & stadiums. “The Back of Love” has that classic ‘80s production sound, with big echo-y drums and synth strings. I love the stabbing staccato guitar pattern and the melody at “When you say it’s love, d’you mean the back of love?” “The Cutter” is a highlight among highlights. The middle-eastern melody (on guitar? synth?) in the intro & instrumental sections immediately caught my attention. The melody in the chorus is super-catchy (“spare us the cutter, spare us the cutter, couldn’t cut the mustard”), and they introduce a Celtic vibe after the second time he sings, “not just another drop in the ocean.”

[Echo & The Bunnymen - "The Cutter"]

I love the 3-note synth bubbles that float above the insistent strings & steady beat of “Never Stop.” It sounds like an update of early Roxy Music, with an extended instrumental intro and an instantly memorable chorus (“Measure by measure, drop by drop…the love you found must never stop”). “The Killing Moon” is slower & moodier, with a haunting melody and husky vocals. The arrangement is simply perfect, with piano, acoustic guitar, various effects and powerful vocals. The chorus is another instant classic (“Fate, up against your will, through thick and thin…”). The sweeping strings on “Silver” add a dramatic effect to this epic love song (“Just look at you with burning lips, you’re living proof at my fingertips”). The guitar solo (on 12-string, I believe) has a jangly, Roger McGuinn sound. “Seven Seas” is driven by a pulsating, walking bass line, and features another 12-string guitar solo. It’s a wonderful song with an amazing chorus (“Seven seas…swimming them so well”).

“Bring On The Dancing Horses” was the only new song on this collection, having been written specifically for the John Hughes film, Pretty In Pink. I wasn’t a huge fan of Hughes’ “Brat Pack” films, even though I saw most of them when they were released, so I never had a connection to any of the music in the movies or on the soundtracks. Even without any emotional ties to this song, I quickly latched onto it. It’s moody and melodic at the same time, with a steady programmed beat and shimmering synth. There’s a great hook at, “first I’m gonna make it, then I’m gonna break it ‘til it falls apart,” and it’s hard to believe this was just a minor hit for them.

The only other Echo & The Bunnymen song I’m familiar with is “Lips Like Sugar,” which appeared on the studio album released immediately after Songs To Learn & Sing. Having heard it a number of times recently at the gym, it was probably my initial impetus for revisiting this compilation. Now that I’ve given it a number of listens and fallen in love with most of the songs, I’m asking my readers to let me know what else I should check out from their discography. Their first five albums are available in a reasonably priced mini-box called Original Album Series, which packages five CDs in replica mini-LP sleeves, but doesn’t include any liner notes, lyrics or bonus tracks. Those albums have also been expanded & remastered, but collecting them individually would cost more than the mini box set. They’ve released six albums since their ‘80s heyday, one of which featured a different singer after McCulloch left the band, before he reunited with Sergeant as Echo & The Bunnymen in the late-‘90s. Are any of those records worth checking out? There’s also a deluxe, career-spanning 4-CD box set called Crystal Days: 1979-1999,which could be a good option if you think I’m better off with a broad overview instead of purchasing specific albums. I’m pleasantly surprised at how much I’ve enjoyed their music this past week, and I look forward to hearing more. Your feedback will be very helpful in deciding how deeply I dive into their catalog. Thanks for your assistance.

Compilation Or Catalog? – JIMMY BUFFETT

[A brief explanation of my Compilation Or Catalog? series: Although I tend to be a completist, owning everything an artist has released, occasionally the only album I own is a compilation. This can often be a stepping-stone to exploring more of their work, but sometimes a “Best Of” or “Greatest Hits” is the only thing I’ve heard. With this series I ask my readers to let me know if the compilation I have is sufficient or if there are specific albums I should check out. Normally I revisit the entire recorded output of a particular artist over numerous posts, which is the main purpose of this blog, but this gives me an opportunity to learn more about some lesser-known & less-explored artists in my collection]

 

Jimmy Buffett might be the most successful one-hit-wonder artist in the history of recorded music. I’m not disparaging him by using that term, since he cleverly named his original best-of compilation Songs You Know By Heart – Jimmy Buffett’s Greatest Hit(s) (1985). Although he’s a successful businessman, author and concert attraction, he’ll always be best known for the ubiquitous 1977 hit, “Margaritaville.” Having heard the song countless times during my high school & college years and at every bar throughout young adulthood & beyond, I didn’t think I ever needed to hear it again. Sure, it’s a catchy song that immediately evokes the feeling of guzzling tropical drinks at a beach resort, but after drunkenly singing it with friends throughout my early 20s I felt like I had exhausted my interest in the song. I bought Songs You Know By Heart on CD in the late-‘80s so I could check out the rest of his “best,” yet it’s probably been sitting on the shelf for more than 20 years since the last time I gave it a spin. Last week I heard “Margaritaville” on the radio while I was shaving and found myself enthusiastically singing along (thankfully without any nicks or cuts), so it seemed like the perfect time to revisit this compilation and see how it holds up. I’ve played it a number of times since then and was pleasantly surprised by how much I enjoyed it. There are several songs that capture a similar laid-back tropical island vibe to his most popular number, but a lot of the songs made much more of an impact on me than I had expected.

“He Went To Paris” is a folky, early-‘70s singer-songwriter tune that could be Kris Kristofferson with a smooth voice. Steel guitar gives it a country twang, and the melancholy music & lyrics (about an old man looking back on a life where “some of it’s magic, some of it’s tragic, but I had a good life all the way”) could work in a number of genres. “Son Of A Son Of A Sailor” has a similar feel with more melancholy lyrics, and the various sound effects and lyrical content display the nautical theme that runs through much of his music. “A Pirate Looks At Forty” is a country-tinged ballad with hints of James Taylor’s soft-rock style. I like the way the music slowly builds while maintaining a subdued atmosphere that perfectly suits the lyrics about a sailing man who wishes he had lived in pirate times. Fans of the upbeat yet laid-back style of his biggest hit are probably drawn to “Cheeseburger In Paradise” and “Fins.” The former has funny lyrics about his love for “a big warm bun and a huge hunk of meat…that American creation on which I feed.” I especially like the percussion/handclap section (“I like mine with lettuce & tomato…”). The latter has cute lyrics equating sharks with men circling a single woman at a bar. The rockin’ harmonica solo would’ve fit nicely on an early Huey Lewis record.

“Come Monday” is one of my new favorites: a country-ish ballad with sweet strings & steel guitar. The melody at “I spent four lonely days in a brown LA haze & I just want you back by my side” is gorgeous, as is the bridge (“I can’t help it honey you’re that much a part of me now”). This could’ve been a hit for Glen Campbell during his commercial peak. “Changes In Latitudes, Changes In Attitudes” is another fun, peppy song, displaying a humor through life’s ups & downs (“If we couldn’t laugh we would all go insane”). The country shuffle of “Why Don’t We Get Drunk” (“and screw”) is a blast if you’re drunk at a bar or seeing Jimmy Buffett in concert, but its appeal is limited on record after the first couple of listens…even though the musicianship is fantastic. “Pencil Thin Mustache” is a super catchy little tune that sounds like a cross between Arlo Guthrie’s “Alice’s Restaurant” and Leon Redbone.

“Grapefruit – Juicy Fruit” shows a bluesy/jazzy side of Buffett’s personality that I hadn’t expected, especially at “And oh it gets so damn lonely when you’re on a plane alone.” The music really swings in the instrumental section. The last two songs here, “Boat Drinks” and “Volcano,” are a blast even if they’re minor when compared to the other 11 songs. The former has a Caribbean vibe blended with a melody that recalls The Archies’ “Sugar Sugar,” while the latter’s calypso feel and goofy, sing-along arrangement could pass for a kids’ song.

All of the songs on this compilation come from six of the seven albums he released between 1973 & 1979. The ones that had the biggest impact on me were mostly from the earlier records, but there was plenty of enjoyable music from the latter records as well. Looking at his discography is a bit intimidating, as he has released more than two dozen studio albums and another dozen live recordings. I’m not sure I’ll ever be a “Parrot Head” (the affectionate description used to describe his most ardent fans), but I’m sure there are plenty of other Jimmy Buffett songs I would enjoy. This is where I’m asking my readers to help me out. Are there any particular albums that are essential/definitive? If not, which are the strongest that I can use as a starting point? Perhaps the 4-CD box set from 1992, Boats Beaches Bars & Ballads, would be a sufficient summary of his career for me? Based on some reviews I’ve read, it’s a well-chosen collection that covers all of his best material, broken down into the four themes described in the album title. I’m sure there are fans who think everything he’s released is great, while others probably think Songs You Know By Heart is more than enough. Whatever your level of interest or knowledge of his catalog may be, I’d love to hear from you so I can decide what my next Jimmy Buffet purchase should be. I’m eager to hear your thoughts on the 13 songs discussed here, and I look forward to your feedback on the rest of his catalog. Thank you.

NEIL YOUNG Part 10 – Walking Like A Giant / In Conclusion

Not many recording artists are fortunate to have a career that lasts four decades or more, and even fewer are willing to explore new musical territories after so many years. Neil Young is one of those rare artists. Throughout the 1990’s and the early part of the 21^st century, he alternated between his hard rock side (often with longtime backing band Crazy Horse) and his acoustic folk-based singer-songwriter side, with a handful of minor variations in between. With Le Noise (2010) he decided to try something different, working with producer/sonic architect Daniel Lanois to shape solo performances into something darker and more mysterious than anything he had previously done. There were times when I was waiting/hoping for a band to join in, but mostly I enjoyed the unique mood conjured up by the two of them. “Walk With Me” features heavy guitar sounds, chugging along & bouncing off one another. The romantic yet simplistic lyrics didn’t make much of an impact, but this song is all about texture and setting the mood for the rest of the record. “Sign Of Love” could be a Crazy Horse song with that super heavy riff, and I love how he addresses aging with a sense of humor (“It’s a sign of love, when we both have silver hair and a little less time, but there still are roses on the vine”). The stuttering, echo-y effect on the vocals sounds like something you’d hear from Radiohead.

[Neil Young - "Sign Of Love"]

“Love And War” is a haunting, powerful & dark folk song with nice fingerpicked acoustic guitar that recalls Richard Thompson at his most traditionally folky. It’s one of the highlights of the album for me, featuring lyrics about the futility of war and the toll it takes on soldiers & their loved ones. “The Hitchhiker” is autobiographical, as he takes us from Toronto to California to his early fame to paranoia (and references to various “substances”) to “living in the country” to survival after living his life on the road (“I don’t know how I’m standing here living my life, I’m thankful for my children and my faithful wife”). He also references his earlier song “Like An Inca” (originally on the Trans LP), both melodically & lyrically. This brings up one of the joys of revisiting full artist catalogs & writing about them here, since I wouldn’t have made the connection between these two songs prior to spending time with that earlier album. “Angry World” has one of the nastiest guitar sounds I’ve heard from him: super raw & distorted. There’s not a lot to the song other than its attitude, and I was surprised to learn that it won the Grammy for Best Rock Song. “Peaceful Valley Boulevard” is a brooding acoustic tune that stands apart from the rest of the album with stark lyrics and powerful vocals. The melody never fully grabbed me and it does go on a little too long at 7+ minutes, but I really enjoyed his acoustic guitar work. Album closer “Rumblin’” is another of his eco-conscious songs that finds him singing about our planet in a lower voice (“I feel the rumblin’ in her ground”; “When will I learn how to give back?”). The electronic textures at the beginning are a nice touch. Le Noise (a play on the producer’s last name, I believe, but also a fitting description of the guitar tone on many songs) sets itself apart from the rest of his discography, and even though only about half the songs are truly memorable, I enjoyed the one-of-a-kind ride it took me on and I’ll be revisiting it frequently.

The third & final Archives release I own is A Treasure (2011), which was recorded with a band he dubbed International Harvesters prior to the release of his traditional country album, Old Ways. Of the 12 songs included on this disc, five were previously unreleased and one was a cover version, so I was only familiar with half of the album. “Amber Jean” is upbeat, old-school country featuring fiddle and high harmonies. “Let Your Fingers Do The Walking” is a slightly bouncy acoustic tune with Neil playing the unlucky-in-love protagonist waiting for a phone call (“I can’t reach out & touch you, you’re hung up on the line, I’m your disconnected number now & you’re a private line”). His old Buffalo Springfield song “Flying On The Ground Is Wrong” is the highlight of the album for me. It’s super slow & melancholy, and the melody has been stuck in my head for days (“Then I’m sorry to let you down, but you’re from…my side of town…and I’ll miss you”). It sounds like a cross between a Willie Nelson ballad and Roy Orbison’s “Blue Bayou.”

“Soul Of A Woman” is a blues shuffle, but Rufus Thibodeaux’s fiddle adds a country element. In a slightly different arrangement it wouldn’t have been out of place on his This Note’s For You album. One of my favorite songs from Re-ac-tor, “Southern Pacific,” works even better here. The train whistle sound of the fiddle and Anthony Crawford’s plucked banjo keep the song chugging along. Neil also rips a fantastic guitar solo. “Nothing Is Perfect” (“in God’s perfect plan”) is a lovely country gospel song that’s unlike anything else here. The album ends with the more rockin’ “Grey Riders,” a bouncy tune with playful piano and a raw guitar instrumental interlude after each chorus. Two songs I already knew, “Are You Ready For The Country?” and “Motor City” (with its “Who’s driving my car now?” refrain), offer few surprises but benefit from these twangier arrangements. The one cover song, “It Might Have Been,” is an old-time country shuffle that reminded me of Hank Williams’ “You Win Again.” As I mentioned in my discussion of Old Ways, I’ve been a fan of traditional country music for many years, and Neil’s take on this genre is legitimate. If country isn’t your thing, I don’t think this album will change your mind, but I really enjoyed it and consider A Treasure one of his best live albums.

When Americana (2012) was released, I read a lot of negative reviews and, like many fans, I questioned Neil’s decision to record mostly traditional folk songs that are often associated with children’s sing-alongs. Many artists release “covers” albums & collections of old folk songs, and often they indicate a lack of songwriting inspiration. It took one listen to dismiss that theory, as Neil and Crazy Horse (Billy Talbot, Frank Sampedro & Ralph Molina) offer up unique performances of these standards (on their first album together since 2003), often using lyrics that have been omitted from the more well-known kid-friendly versions. It also sounds like they had a hell of a good time in the studio. The Stephen Foster classic, “Oh Susannah,” has a cha-cha rhythm and cool group vocals when they sing the title, as well as a memorable hook at “’Cause I come from Alabama with my b-a-n-j-o on my knee.” According to the liner notes, this is based on Tim Rose’s version from the ‘60s. “Clementine,” as in “Oh my darling Clementine,” is pretty far from a children’s song, with a thunderous drumbeat, fuzzy guitar, and lyrics about a girl who drowned, narrated either by her father or boyfriend, depending on your interpretation. I loved this version the first time I played it, and it’s still a lot of fun after numerous listens.

[Neil Young - "Clementine"]

“Gallow’s Pole” is a very old song that’s been performed in various guises by Odetta (whose version was their inspiration), Leadbelly, Bob Dylan, Led Zeppelin and many others. I love the bouncy feel and the group vocals at “hangman, hangman, slack your rope.” “Travel On” is based on a British folk song about a man who’s constantly on the move. It’s upbeat & super catchy with a great melody, and I love the vocals at, “And I feel like I’ve gotta travel on.” I previously knew “High Flyin’ Bird” via Richie Havens’ version. This one’s not as good, but it does sound like a typical midtempo Crazy Horse rocker that could easily fit on most of their records. “Wayfarin’ Stranger” stands out as the most subdued song here, and its haunting power comes from the simple & sparse arrangement. Neil based it on Burl Ives’ version of this 19^th century folk song. The rest of the album has its moments, but the songs aren’t as unique as the ones I’ve already discussed. I like the swinging “sha-na-na-na-na” doo-wop arrangement of “Get A Job,” originally a #1 Pop and R&B hit for the Silhouettes in the late-‘50s. Unfortunately, the loose vocal performance doesn’t work for this type of song. Their take on “Jesus’ Chariot” (a.k.a. “She’ll Be Comin ‘Round The Mountain”) shifts from dark & foreboding to a lighter feel in each verse, and I really like the group vocals at “When she comes.” The album ends with a stomping sing-along rock version of “God Save The Queen,” which incorporates “My Country ‘Tis Of Thee.” There’s nothing terribly noteworthy about it, but it does conclude the album on an upbeat, patriotic note. I’m surprised to say that Americana is one of the most enjoyable Neil Young & Crazy Horse albums, and in spite of the fact that there are no original songs, they prove themselves to still be a vital rock band, a point they confirmed on their next album.

His most recent album, Psychedelic Pill (2012), is another collaboration with Crazy Horse, and it’s also a 2-CD set that’s the longest studio album of Neil’s career. With 9 songs totaling nearly 90 minutes you know there will be some extended jamming, but nothing can prepare you for the 27+ minute album opener, “Driftin’ Back.” He doesn’t break any new ground but still manages to keep things interesting. From the simple guitar strumming in the intro to the steady midtempo groove that continues through most of the song, he moves from wistful nostalgia (“Dreaming about the way you feel now when you hear my song”) to cranky old man, as he complains about the culture of downloading music (“When you hear my song now you only get five percent”). More than half the song is filled with instrumental passages that showcase his guitar work while also creating a mantra-like, hypnotic Krautrock feel. By comparison, the nearly 17-minute “Ramada Inn” seems like a concise pop song, even though it takes us on another long journey. The guitar washes over the standard Crazy Horse rhythm track, and there are wonderful vocal melodies, most notably at,” Every morning comes the sun, and they both rise into the day, holding on to what they’ve done.” This song features my favorite guitar work on the album, including some amazing melodic & soaring soloing.

“Walk Like A Giant” is aptly titled, as it’s nearly as long as “Ramada Inn” while introducing an instantly memorable whistling melody that sits atop the fuzzy groove. Also, the 4-minute outro sounds like a giant stomping & crushing the landscape. Lyrically he’s addressing the failure of his generation’s hippie dream, and musically it’s got his most raw & fiery guitar performances, at times recalling “Like A Hurricane” or his electric guitar sound on Live Rust. At 8-1/2 minutes, “She’s Always Dancing” doesn’t use its length as effectively as the other songs I’ve mentioned, with only the group harmony vocals at the start (“She wants to live without ties to bind her down…”) & the stinging lead guitar making an impact on me. He’s in a nostalgic mood again on “Twisted Road,” a slightly bouncy little song where he recalls the “first time I heard ‘Like A Rolling Stone’” and describes Bob Dylan as being “like Hank Williams chewin’ bubble gum” (can’t argue with that). He also mentions Roy (Orbison, I assume) and The Dead. “Psychedelic Pill” appears in two versions. The first has a distracting flanger effect that undermines the track, while the “Alternate Mix” is much more listenable. It’s a relatively minor song that’s short & sweet, and ends the album on a positive note. Psychedelic Pill is dominated by those three incredibly long songs, and fortunately they’re all worthy of multiple listens even though they consume a lot of time. This album is clearly geared toward his most devoted fans, since the average listener most likely wouldn’t have the patience to sit through such a long record. It’s hit-and-miss like many of his albums, but after nearly 45 years it’s amazing that he can still create such significant & timeless music.

That wraps up the Neil Young discography. Over the last 2 months I’ve revisited 45 albums, following the various twists & turns in his career, from acoustic singer/songwriter to fuzzed-out guitar hero, from troubled troubadour to country-rock hitmaker, from the underrated Geffen years to Crazy Horse ringleader, from his resurrection as grunge-era inspiration to creator of concept albums…and numerous points in between. He may have repeated himself a number of times but he’s never failed to surprise & delight, and I’m sure that will continue for as long as he’s with us. It’s hard to believe that there are still several Neil Young records I haven’t heard, and I’ve been told that there are a plethora of unreleased albums that can be found by resourceful fans. After I’ve taken a well-earned break from his music, I will seek out some of this material with fresh ears, and I may have to re-open this series to discuss those records along with anything else he releases in the future. For now, I thank you for joining me on this “journey through the past” as I finally got to delve into these albums that have been sitting on a shelf for such a long time. I hope I helped you re-ignite your passion for his music, and possibly discover something you didn’t already know. Your feedback is greatly appreciated, as one of the main purposes of this blog is to chat with other fans. Please share this series with any like-minded people, and stop by soon to find out about my next artist. Thanks again.

NEIL YOUNG Part 9 – Wind, Chrome And A Lincoln Continental Hybrid

As I’ve gotten deep into Neil Young’s discography, I’m discovering that I prefer the more acoustic side of his musical output in recent years. In that setting, the melodies seem to have more impact, and I respond to the melancholy & nostalgic nature of his music & lyrics as he reached his 50s & 60s. For Prairie Wind (2005), he brought together frequent collaborators like Ben Keith, Spooner Oldham, Rick Rosas, Chad Cromwell and others who provide sympathetic musicianship to this collection of 10 wonderful songs (more than half of which made a lasting impression on me this past week). “The Painter” is a gorgeous folk-tinged country song with weeping steel guitar and strong melodies (“It’s a long road behind me, it’s a long road ahead, if you follow every dream you might get lost”). He’s addressing the passing of time and the friends he’s lost along the way (“Some of them are with me now, some of them can’t be found”). “No Wonder” features fantastic guitar work (both acoustic & electric) and subtle harmonies from Emmylou Harris. I would describe it as muted Americana, and it has a rocking intensity despite the quiet production. I especially love the hushed vocals in the chorus (“Tick…tock…the clock on the wall, no wonder we’re losin’ time”). “Far From Home” is driving & bluesy with horns & harmonica propelling the music. Ben Keith plays some stellar dobro, and the rootsy instrumentation deftly links country with blues and R&B.

The highlight of the album for me is “It’s A Dream,” a stunning piano-based ballad with an amazing, emotive vocal melody. The strings add sweetness without being sugary, especially at “And it’s fading now, fading away.” It’s one of those special songs that’s sad & uplifting at the same time. “Prairie Wind” is a back porch country shuffle with the surprisingly successful addition of a horn section, making for a cool combination of sounds. I love the sweet harmony vocals at “Prairie wind blowin’ through my head, tryin’ to remember what daddy said.” “He Was The King” is a fun & groovy tribute to Elvis Presley with great slide guitar. It has a similar groove to the Stealer’s Wheel song “Stuck In The Middle With You” and Sheryl Crow’s later sound-alike, “All I Wanna Do.” I’m not sure how I feel about album closer “When God Made Me,” but it’s worth mentioning as it stands out from the rest of the record. Featuring the Fisk University Jubilee Choir, it’s pretty much straight-up gospel, also bearing similarities to early Elton John and The Beatles’ “Hey Jude.” This song finds him raising questions about God, racism, war, love, and other big themes without providing the answers, allowing the listener to come to his/her own conclusions. It’s pretty but I don’t know if I will come back to it frequently. The remaining songs didn’t stand out as much, but they’re all very good and make for an enjoyable listen. In the liner notes it reads, “For Daddy,” and many of the songs have a feeling of loss, either pending or experienced. It had me wondering if Neil’s father was ill at the time, or if he had passed away: if that was the case, belated sympathies to Neil & his family. Despite this, it’s not a somber album, and I enjoyed it as much as his other primarily acoustic records like Comes A Time, Harvest Moon and Silver & Gold.

His next studio album was 2006’s Living With The War. I only heard it via a streaming website when it was released and didn’t like it enough to purchase the CD, so I won’t be discussing it here. If any of my readers feel that it was an essential addition to his catalog, I’ll make it a point to get a copy after I’ve wrapped up this series. Otherwise, my opinion will be based on that single listen back in ’06.

Chrome Dreams II (2007) is a sequel of sorts to an unreleased ‘70s album called Chrome Dreams whose songs ended up on subsequent releases. I believe Neil’s intention for this follow-up was to gather recent songs covering various styles and see how they fit together. Instead of a solid collection covering disparate genres like 1989’s Freedom, which has been one of the most pleasant surprises in his catalog so far, Chrome Dreams II doesn’t hold together nearly as well. I enjoyed it the first time I played it again last week, but with each subsequent spin I became less enamored with it. It’s not that any of the songs are bad, but many are simply ordinary. There are, however, a handful of highlights which I really enjoyed. The 18+ minutes of “Ordinary People” starts off as a Crazy Horse-esque midtempo epic, but goes through various shifts in mood throughout its extended running time while essentially maintaining one steady beat. Instead of being solely a showcase for Neil’s blistering guitar work (which is definitely on display), it focuses more on the groove as the band vamps along (especially through the lengthy outro). I love the loose, ragged, occasionally off-beat backing vocals, and the piano-and-vibe sound gives off a cinematic Bruce Springsteen vibe at times. “The Believer” is a cute little song that got better each time I played it. It’s one of his most lighthearted, upbeat songs that has a sparse arrangement but doesn’t feel empty. I really like those “I believe in you” backing vocals.

[Neil Young - "The Believer"]

“Spirit Road” is a driving rocker that sounds like a slightly tighter version of Crazy Horse. The melody never grabbed me, other than during the chorus, but I love the fuzzy guitar, harmony vocals and the bouncy groove. “No Hidden Path” is another long song (14-1/2 minutes) that gets by on its combination of groove, swing & rock ‘n’ roll. There’s a great hook at “Show me the way and I’ll follow you today,” as well as lots of typically tasty guitar work. It might have had more impact in a shorter version, but I never tired of the fantastic groove, even if it gets a bit repetitive. That’s it for truly noteworthy tracks on this album, even though there are some very nice performances among the remaining songs. The banjo work on “Boxcar” sets this subtle tune apart. The album ends with “The Way,” an interesting whimsical waltz featuring The Young People’s Chorus Of New York City, who sound almost like angels singing to people as they arrive in heaven (“The way, we know the way, we’ve seen the way, we’ll show the way to get you back home…to the peace where you belong”). It may not be one of my favorites, but the melody & performances stuck with me, so on that level it was successful. In the end, Chrome Dreams II turns out to be a minor disappointment.

Neil had one thing in mind when he recorded Fork In The Road (2009): automobiles. More specifically, he was obsessed with his LincVolt, a 1959 Lincoln Continental converted with hybrid technology. This allowed him to focus on his passions like the environment, clean energy, ending our dependence on foreign oil and, of course, cruising down the road in his favorite car. Unlike the previous album’s numerous stylistic shifts, this one is mostly straight ahead rock. Album opener “When Worlds Collide” features a crunchy 3-note guitar riff and a punchy rhythm section that has a Rolling Stones-y swagger. It sets the tone of driving down the road, and I like the way it opens up at the chorus (“Strange things happen when worlds collide”). “Just Singing A Song” is a Crazy Horse-esque midtempo rocker with soaring guitar and memorable melodies at “Send this song to a distant star while the rhythm explodes” and “Just singing a song won’t change the world.” “Cough Up The Bucks” is a repetitive, almost monotonous tune with simplistic lyrics (“It’s all about my car…and my girl…it’s all about my world, my world”) that somehow became the high point of the album for me. I love his deadpan vocals when he repeats the title throughout the song, and that scratchy, metallic guitar sound is unlike anything I’ve heard from him.

[Neil Young - "Cough Up The Bucks"]

“Get Behind The Wheel” has a swinging feel that recalls his earlier This Note’s For You album. It’s a cool bluesy rocker with solid guitar work, and the “Get behind the wheel in the morning and drive” refrain must be an homage to Tom Waits’ “Get Behind The Mule” (“in the morning and plow”). He shifts gears for “Off The Road,” a slow & intense number with a sparse arrangement and great tight harmonies at “You go-o-o-o” and “Off the ro-o-o-o-oad.” The music has a sleepy quality that matches the lyrics. “Light A Candle” sounds like an old-time folk song, with strummed guitar, sweet pedal steel & soft vocals. Some of the other songs have elements I really enjoyed, even if they’re minor entries in his catalog. “Fuel Line” is a fun but dumb rocker about his LincVolt (“The awesome power of electricity stored for you in a giant battery”). “Johnny Magic” is super catchy at “In the form of a heavy metal Continental, she was born to run on a proud highway,” while the high-pitched harmonies at “Johnny Magic” sound like a throwback to the “Johnny Rotten, Rotten Johnny” vocals in his ’79 classic, “Hey Hey, My My (Into The Black).” “Hit The Road” has a funky & ragged Joe Walsh quality, and it’s filled with double entendres (“She looks so beautiful with her top down”; “Just jump inside & turn the key, your satisfaction in guaranteed”). “Fork In The Road” is a political commentary with the sing-along refrain of “There’s a bailout coming but it’s not for me.” This album may not be a major accomplishment in his career, but it’s a rollicking good time and the fact that it’s mercifully brief (less than 39 minutes) makes it an easy & enjoyable listen.

During the period covered in this post, Neil finally began releasing rare studio & live recordings as part of his Archives series, something he had been promising for nearly two decades. To date this series includes five previously unreleased live CD’s as well as a massive box set called The Archives Vol. 1 1963–1972. I haven’t gotten my hands on the box set yet, but I do own three of the other five releases (two of which I’ll discuss here while the other one will be included in my next post). Eventually I’d like to hear them all.

Live At Massey Hall 1971 (2007) captures an incredible solo performance from early in his career. Recorded a year before the release of his fourth album, Harvest, but featuring five songs from that album (two as part of a medley) as well as another five that were completely new to the audience, it showcases an artist who was rapidly evolving and not worried about giving his fans what they wanted. Of course, this would become a trademark throughout his career, and the crowd seems enthusiastic through the entire show, so maybe they got what they wanted after all. Of the songs included on existing solo albums and with Buffalo Springfield and Crosby Stills Nash & Young, these are all captivating…and in most cases seminal…versions. From CSNY’s “Helpless” & “Ohio” to recent solo classics like “Cowgirl In The Sand,” “Don’t Let It Bring You Down” & “Down By The River” and on to Buffalo Springfield’s “I Am A Child” and “On The Way Home,” the then 25-year-old delivers them with the authority of a much more seasoned performer. Even “See The Sky About To Rain,” which wouldn’t appear on record until 1974, shows up in a powerful piano version. The aforementioned “On The Way Home” was a highlight, with its great pop melody and his voice high & pure. At times it reminded me of Joni Mitchell and Todd Rundgren.

Many of the other songs were as new to me as they were to the audience that night, while a few I might have heard but then forgotten about. The piano ballad “Journey Through The Past” is musically similar to “After The Gold Rush” and features surprisingly nostalgic lyrics for such a young man (“Will your restless heart come back to mine on a journey through the past? Will I still be in your eyes and on your mind?”). “Love In Mind” is a short, sad piano ballad sung by a man who feels lost in the world (“I’ve got nothing to lose, I can’t get back again…what am I doing here?”). The commanding performance of “A Man Needs A Maid” (coupled here with “Heart Of Gold”) is even more powerful than its studio counterpart. The original lyrics in the first verse (“Afraid…a man feels afraid”) give the song a vulnerability that didn’t appear on the album version. “Bad Fog Of Loneliness” sounds a bit like its follow-up song, “The Needle And The Damage Done,” but doesn’t have that song’s emotional heft. “Dance Dance Dance,” which showed up on the first non-Neil Crazy Horse album, appears here in a loudly strummed acoustic version that had me thinking of John Denver’s “Thank God I’m A Country Boy” (I’ll let you decide if that’s a good or bad thing). I have nothing but praise for this album and can’t recommend it highly enough. From start to finish it’s as enjoyable as anything he’s released.

Dreamin’ Man Live ’92 (2009) is simply a collection of solo acoustic versions of all ten songs from 1992’s Harvest Moon, performed on six different dates (all but two prior to that album’s release). The sequence is different from the studio album, and Neil is the only performer (on guitar, piano, harmonica & banjo). There’s not a lot to say about this release except, if you’re as big a fan of Harvest Moon as I am, you will likely love this as well. The songs retain their beauty & intensity even in this intimate setting. For my thoughts on the songs, please revisit my post on the original album. It’s not worth reiterating those comments here as there are no drastic differences. In the future when I’m in the mood to hear Harvest Moon, I will alternate between the two albums and will always enjoy either version.

I’ve already listened once to the remainder of his catalog, or at least the portion that I own (three studio albums and one Archives release), and will continue playing them over the next several days. In my next (and final) post, I will share my impressions on these records as well as my final thoughts on Neil’s sizeable discography.

NEIL YOUNG Part 8 – Daddy Went Walkin’ On The Devil’s Sidewalk

The latest batch of Neil Young albums I revisited this week was an interesting one, including two live albums and three studio releases that couldn’t be more sonically or thematically different. I began with Year Of The Horse (1996), 2 CD’s of live recordings with Crazy Horse (Ralph Molina, Billy Talbot & Frank Sampedro), which coincided with a concert film of the same name by director Jim Jarmusch. Following the live Weld album by only five years, the world probably didn’t need another concert recording of Neil & “The Horse,” but I found it to be more enjoyable than that previous album as it covered more diverse musical territory while always showcasing the talents of his longtime backing band. He certainly gave fans their money’s worth, with 12 songs across 84 minutes on a “Specially Priced 2 Disc Set” (as the sticker on the shrinkwrap read). I was pleasantly surprised by how much I enjoyed the versions of songs from 1996’s Broken Arrow, my least favorite of his albums to date. “Big Time” still has the excellent chorus from the original, and Neil delivers some top-notch guitar solos over a standard Crazy Horse rhythm. “Slip Away” might meander a bit over its 11 minute running time, but Neil’s guitar work can be described as fluid, melodic & fierce. The song itself may not be memorable, but the musicianship is. “Scattered,” with its lovely sentiment of “Let’s think about livin’, let’s think about life” is short & sweet, and the melody (“I’m a little bit high, I’m a little bit low…”) packs more punch than its studio counterpart.

Many older songs show up in stellar versions: “When You Dance” (more fuzzy & stomping than the original), “Barstool Blues” (three times its original length; it’s got a four-on-the-floor beat but still grooves), “When Your Lonely Heart Breaks” (an intense take on this Life song; I just wish they had avoided the echo-y snare drum sound), “Mr. Soul” (a full-sounding unplugged version with great harmonica), “Pocahontas” (his voice has a snarling quality; it’s not revelatory but I’m always happy to hear this song), “Danger Bird” (“slow as molasses” as I described it in my appraisal of Zuma, it’s slow, epic & massive), “Prisoners” (still a dumb but fun song, with some demonic guitar shredding) and “Sedan Delivery” (a classic Crazy Horse performance, and I love Neil’s “Smell ‘The Horse’ on this one” intro). It’s not an earth-shattering concert recording like his earlier Live Rust, but it’s a more than solid representation of a group still in its prime.

His next studio album wouldn’t appear for another four years, but it was worth the wait for fans of his quieter side, as Silver & Gold (2000) is a triumph. Like his other mostly acoustic releases (Comes A Time, Harvest Moon) that are too easily compared to his landmark 1972 album, Harvest, but really only capture a fraction of that earlier classic, Silver & Gold recalls the peace & serenity of earlier standards like “Heart Of Gold” and “Old Man” with the added nostalgia of a man in his mid-50s. “Good To See You” is a simple acoustic song that sets an upbeat tone for much of the album, both musically & lyrically. “Silver & Gold,” which was written in 1982, reminds me of early James Taylor, with just Neil on guitar & harmonica, singing about domestic bliss (“Our kind of love never seems to get old, it’s better than silver & gold”). “Daddy Went Walkin’” directly references his earlier hit, with “Old man crossin’ the road, you gotta let him go/he’s feelin’ fine.” I like the various tempo changes and emotive harmonica playing. This song gets better with each successive listen. He’s never sounded more nostalgic than on “Buffalo Springfield Again,” where he surprises his fans and probably his old bandmates by suggesting a reunion with that group (which would actually happen a decade later). It’s a catchy country-rock song with cool guitar runs in the stop-start section after the chorus.

“Razor Love,” which was written in 1987, is the longest song here at nearly 6-1/2 minutes, and it’s also the highlight of this record for me. The subtle instrumentation is perfect against his emotive vocals (“I got faith in you, it’s a razor love that cuts clean through”), and there’s a wonderful little ascending melody at “Silhouettes…on the win-dow.” “Horseshoe Man” has an absolutely gorgeous haunting piano melody, and great call-and-response between the vocals & pedal steel guitar in the chorus (“Love…how could they know love?”). It’s one of the few somber songs here, with the titular character bringing heartbreak “because love is everywhere.” “Distant Camera” sounds a bit like “Old Man” at a faster tempo, and I love how it goes from melancholy to bliss (“Life is changing everywhere I go, new things and old both disappear”; “All I want is a song of love…to sing for you”). The three songs I haven’t mentioned are all very good but not quite at the level of the 7 other wonderful songs already discussed. I think I’ll be returning to this album frequently in the future, as it’s one of the most pleasant surprises in his catalog…especially coming so many years into his career.

Neil must have had such a good time recording & touring the Silver & Gold album that he decided to release a live recording from that tour. Road Rock Vol. 1 – Friends & Relatives (2000) features longtime collaborators Ben Keith, Spooner Oldham, Duck Dunn, Jim Keltner and Pegi & Astrid Young (his wife & half-sister, respectively) on a collection of 8 songs that mostly come from earlier in his career. Starting things off with an 18-minute version (wow!) of “Cowgirl In The Sand” makes it clear that this album was aimed at his most loyal fans. It has a similar vibe to the Crazy Horse original but this band makes it more musically meticulous. “Walk On” has a nice loose groove, and it’s a joy to hear this one (originally from On The Beach) played live. “Peace Of Mind,” a song I didn’t mention in my discussion of Comes A Time, is very pretty with a sparse arrangement featuring a weeping steel guitar. I love the melody at “You know it takes a long long time.” The 11-minute take of “Words” is a searing epic rendition of this Harvest masterpiece. “Motorcyle Mama” is an excellent choice to follow that extended guitar workout; a short, fun little number with a great rhythm and some belted Linda Ronstadt-esque vocals (not sure if that’s Pegi or Astrid). This version of “Tonight’s The Night” might be my favorite since the original, played at a perfect slow tempo with an ominous undertone and tight harmonies. Album closer “All Along The Watchtower” features The Pretenders’ Chrissie Hynde and was recorded in her home state of Ohio (Cleveland to be exact). This version of the Bob Dylan song owes more to Jimi Hendrix’s definitive interpretation, but Neil’s inspired (and inimitable) guitar work makes the song his own. I can’t say this is a great live album, and it’s certainly not essential, but it’s nice to have a document of Neil in concert with a band other than Crazy Horse for a change.

Are You Passionate? (2002) is an interesting album. It has a number of excellent songs but it doesn’t hold together as a satisfying whole. It features members of Stax soul legends Booker T. & The MG’s (Booker T. Jones, Donald “Duck” Dunn and Steve Potts) along with other Neil regulars like Frank Sampedro and Pegi & Astrid Young, and one song with Crazy Horse. One of my main complaints is that 8 of the 11 songs clock in at 5+ minutes, and the 65-minute album overstays its welcome. Since it’s essentially “Neil Young & The MG’s,” I’m not surprised that the majority of songs fall under the Southern Soul genre, and in many cases it’s easy to draw comparisons to well-known soul and R&B songs. “You’re My Girl” combines the funky bouncing bass line of “Green Onions” with Neil’s distinctive guitar tone & style. Here he’s singing to his daughter who’s growing up in front of his eyes (“Please don’t tell me that you’re leaving me just yet ‘cause I know I gotta let you go…”). I love the occasional group response vocals. “Mr. Disappointment” was an immediate highlight; a melancholy midtempo song with an emotional lead guitar melody that’s repeated in the chorus (“I’d like to shake your hand, Disappointment”). I like how Neil sings in a huskier, raspier voice than usual, sounding similar to Robbie Robertson.

[Neil Young - "Mr. Disappointment"]

“Let’s Roll” is his tribute to the passengers who fought back the hijackers on 9/11. It begins with an ominous intro that leads into a chunky, funky groove with a big guitar riff. I really enjoy the high vocals in the bridge (“No one has the answer but one thing is true, you got to turn on evil when it’s comin’ after you”). “Goin’ Home” is the one song with Crazy Horse; the heavy, pummeling music gives that away. It definitely has more punch than anything on their last album together, Broken Arrow. “When I Hold You In My Arms” swings like Smokey Robinson & The Miracles’ “You Really Got A Hold On Me” with a light 6/8 (or is that 3/4?) feel. Lyrically, he’s back to the domestic tranquility of Silver & Gold, and his bluesy guitar is highlighted along with Booker T.’s one-of-a-kind organ sound.  “Be With You” sounds a lot like The Four Tops’ “It’s The Same Old Song,” and it’s hard not to smile at this ‘60s Motown throwback. It’s a minor song but a whole lot of fun. The rest of the album often falls into the MOR (Middle Of The Road) category, with slick production and by-the-numbers instrumentation that recalls Eric Clapton at his most banal, or later songs like John Mayer’s “Waiting On The World To Change.” I often enjoy this type of recording in small doses, but there’s a little too much of it here and it quickly wears thin. Album closer, “She’s A Healer,” though, is a rare extended Neil Young jam that’s more groove-oriented as opposed to his usual guitar freakout. Are You Passionate? isn’t a terrible album by any means, but it’s also not terribly memorable. As always, I give him credit for exploring new territories, and at least half the songs are worth repeated listens.

I have mixed feelings about Greendale (2003), a convoluted 78-minute concept album with Crazy Horse (minus Frank Sampedro this time) about a small town & its citizens, a murdered police officer, the devil living in the town jail and a young girl named Sun Green who connects with a man named Earth Brown (turning the whole thing into a parable about respecting our planet and its natural resources…or something like that). I read Neil’s rambling liner notes for each song, and even he seems confused by his own story. The bonus DVD, which includes a solo acoustic performance where he attempts to explain the story between songs, is harder to get through. It would be more enjoyable to just see & hear him play the songs without all the preambles. Also, 9 of the 10 songs exceed the 5-minute mark, with 3 exceeding 10 minutes, and they don’t really lend themselves to extended instrumental passages. Even the most diehard Neil Young fan had to feel that their patience was being tested the first time they played it. Now with all those negative comments out of the way, I should say that I did find a lot to enjoy here & about half the songs work well on their own. It just took some extra time & effort.

“Double E” is a down & dirty blues shuffle with a great guitar melody and biting lead guitar. It’s relatively brief, at just over 5 minutes, and there’s a great hook at “Back in the day, livin’ in the summer of love.” “Devil’s Sidewalk” is a bouncy 4/4 blues with fuzzy guitar that maintains a steady groove from start to finish. I really like the “Green-daaaale” backing vocals by The Mountainettes (Pegi Young, Nancy Hall, Twink Brewer & Sue Hall).

[Neil Young - "Devil's Sidewalk"]

“Leave The Driving” sounds like an old folk song updated for a rock band, with Neil playing some excellent raw harmonica, and it’s one of the darkest tracks on the album. It tells the tale of how Sun’s cousin Jed murders a cop named Carmichael after the officer stops him on his way out of town (his car was full of drugs). “Carmichael” recounts the story of the murdered cop, the fight he had with his wife that morning, and the secret he was hiding from her. It has a steady, subdued groove with subtle guitar runs over its 10+ minutes. “Sun Green” is a stomping blues rocker with a wonderful lead harmonica melody. It seems to be about youthful idealism, and pits the innocent young woman against authority figures as she repeatedly shouts, “Hey Mr. Clean, you’re dirty now too” through a megaphone. I had some issues with the Rent-style Broadway feel to album closer “Be The Rain,” but it’s hard to find fault with the music and the repeated refrain of “Save the planet for another day.” The rest of the songs have elements I enjoy (like the way “Grandpa’s Interview” reminds me of James Taylor’s “Handy Man,” the rattling guitar strings in “Bandit” and how the music in “Falling From Above” sounds like something Lou Reed might have written) but they don’t hold my interest all the way through. I remember liking all of Greendale when I first bought it a decade ago, but it obviously hasn’t held up well for me. I’m curious to find out if other fans are more receptive to the whole concept and not just individual songs.

Next up will be a few more studio albums he recorded in the first decade of the new millennium, as well as a handful of archive live releases. I’m approaching the finish line in his discography but there’s still a lot more music to explore over the next couple of weeks. I continue to be impressed by his work ethic and his stubborn refusal to repeat himself from album to album.

NEIL YOUNG Part 7 – A Dreamin’ Man In The Prime Of Life

Last week, as I approached the latest batch of Neil Young albums I would be revisiting, I knew there was at least one record that would stand the test of time and one very good live recording, but the others were more of a mystery to me: albums I probably listened to a couple of times and then filed away. After giving them a number of listens this past week, I found a lot to like…and a lot of forgettable music as well. They can’t all be winners, but at least I started off with one of his best. I still remember the first time I heard Harvest Moon (1992): in the passenger seat of a friend’s car late at night, returning from a long road trip. The album is so quiet & mellow that I should’ve drifted off, but the songs were immediately captivating and I found myself mesmerized from start to finish. I bought my own copy as soon as I could. In title, mood and participating musicians, it’s a sequel to his classic 1972 release, Harvest, although Harvest Moon maintains a particular atmosphere while the earlier record covered a wider variety of musical territory. They’re both among his all-time best, so I’ll leave the comparisons behind & focus on what’s important: the fact that the majority of its songs are career highlights.

“Unknown Legend” is a melancholy tune with a great guitar tone, excellent harmonies from Linda Ronstadt and a number of melodic hooks like the one at “Somewhere on a desert highway she rides a Harley-Davidson…” “Harvest Moon” slowly lopes along as it’s nudged forward by subtle brushwork on the snare drum, and Ronstadt’s vocals are sublime. “War Of Man” is more intense than the majority of the songs here. It has a Joni Mitchell vibe, especially with the alternate guitar tuning (at least, that’s how it sounds to these ears). There are nice shifts from sparse acoustic to the steady beat with a fretless bass line pushing it forward. It also features haunting vocals by Ronstadt, James Taylor & Nicolette Larson (“No one wins…it’s a war of man”). “You And Me” features only Neil on acoustic guitar & vocals, with Larson on harmonies. I occasionally hear hints of Neil’s classic, “Old Man,” and there are a couple of wonderful melodies (“I was thinkin’ ‘bout you and me”; “Open up your eyes, see how lifetime flies, open up & let the light back in”). One song, however, towers over the rest: “From Hank To Hendrix.” It struck a chord with me the first time I heard it, and it’s been a favorite ever since. Neil narrates the tale of a long relationship slowly coming to an end (“Can we get it together, can we still stand side by side?”), referencing Hank Williams & Jimi Hendrix (obviously) as well as Marilyn Monroe & Madonna. His sweet yet melancholy harmonica and the fantastic harmonies from Ronstadt & Taylor make this one of his most emotionally powerful songs.

[Neil Young - "From Hank To Hendrix"]

“One Of These Days” is a muted country-folk tune with tasty pedal steel guitar and a lilting melody (“One of these days, one of these dayyyys”). Like most of the songs here, he seems uncharacteristically nostalgic for old times, old friends and old lovers. In this case, he’s thinking about contacting long-lost friends and colleagues to thank them &/or apologize because “I know I let some good things go.” “Old King” is a hokey but fun banjo-plucked back porch song about “the best old hound dog I ever did know.” You can feel the love he had for his departed dog, even when he sings “Old King sure meant a lot to me, but that hound dog is his-to-ry.” “Dreamin’ Man” is a pleasant acoustic song with nice harmonies by Larson and Neil’s half-sister, Astrid Young. For me the best part is the instrumental break after each chorus. The lyrics are interesting, seemingly sung from the perspective of a homeless man living out of his car and dreaming of a woman he sees passing by every day. It’s possible I’ve completely misinterpreted it, though. The other two songs I haven’t mentioned aren’t quite filler, but they weren’t on the same level as the eight wonderful tracks I’ve already discussed. My instincts were correct, and this album that I loved so much when I first heard it over 2 decades ago still has the same impact after all this time.

His next release, Unplugged (1993), is both a great live album and a missed opportunity, in equal measure. Recorded for MTV’s show of the same name, if I recall correctly he was unhappy with the first recording attempt, so he tried again weeks or months later and the second time was the charm. With 14 well-chosen songs from throughout his career, it’s hard to argue that it’s a very enjoyable performance and one of his most accessible releases. However, I always thought that the concept of an “unplugged” performance was to re-work songs that are best known in a more electric setting, giving fans an alternate viewpoint. Since a large portion of Neil’s catalog was already acoustic, including most of the songs he chose for this album, there are far fewer surprises than I would have liked to hear. With that minor criticism out of the way, there are a handful of wonderful surprises. The solo acoustic take on “The Old Laughing Lady,” originally from his debut album, has more of an impact than the studio version. “Mr. Soul” is given a haunting & mysterious setting, highlighted by his dark harmonica playing. The only previously unreleased song here is “Stringman,” a simple piano ballad from 1976 that reminds me of Jackson Browne. The two highlights for me are “Like A Hurricane” and “Transformer Man.” The former is an amazing re-working of a classic, sounding like a church hymnal with Neil on pump organ. The latter takes a formerly futuristic song and brings it to life in an organic setting with pretty backing vocals. The other songs sound exactly as you would expect them to, which can be interpreted as praise or critique, depending on your expectations. There’s no denying, though, that’s it’s a thoroughly enjoyable listen.

He reconvened Crazy Horse for Sleeps With Angels (1994), a more dark & subdued collection of songs than we had come to expect from Neil & his hard rockin’ cohorts. The title track was a tribute to the recently departed Kurt Cobain, and although the album has a reputation as an homage to the late Nirvana frontman, much of the music had already been recorded and it’s a coincidence that the mood and lyrical content address aging, loss and death. It took a number of listens for me to start appreciating this record and it was worth the effort, as at least half of the 12 songs made a lasting impression. The tack piano (or is that harpsichord?) on “My Heart” sets a cool mood to start the album, and I love Neil’s high vocals and the tight harmonies. This is a real standout in his catalog; it’s pretty & interesting, with a super catchy melody at “Somewhere, somewhere, I’ve got to get somewhere” and “My heart, my heart, I’ve got to keep my heart.” “Western Hero” and “Train Of Love” share the same backing track, so only the lyrics are different (not sure why he decided to do that, but who’s going to question Neil at this point in his career?). Both songs are simple, hushed & elegant, and wouldn’t have been out of place on Harvest Moon. The former is about a hero general who’s been forgotten over the years, or possibly about America’s stature in the world (“Through the years he changed somehow, he’s different now”). The latter is more about lost-love but it’s just as effective as the story in “Western Hero,” with a memorable melody and soft harmonies.

[Neil Young - "Prime Of Life"]

One of my favorite tracks is “Prime Of Life.” What initially sounds like a flute is probably a recorder, which provides a slightly ragged but instantly identifiable hook that reminded me of the intro to Mary Well’s Motown classic, “My Guy.” The music is propulsive yet subdued, and I love the “prime of life” backing vocals. The centerpiece of the album has to be the nearly 15-minute long “Change Your Mind,” which stands proudly among his best epics. Unlike some of those earlier songs, this isn’t merely a loose framework for Neil to explode on guitar. In edited form, it could’ve easily been a hit single. Naturally it features great guitar work, but it’s the melodies that make it special, especially the pre-chorus (“Don’t let another day go by…without the magic touch”) and the chorus (“Distracting you/change your mind, Embracing you/change your mind”). He never quite goes into overdrive in any of his solos, giving the song an amazing tension throughout its extended running time. “Trans Am” finds him in half-talking Bob Dylan mode, with a series of similar verses and a simple chorus of “Trans Am” backing vocals. The remaining songs didn’t have the same impact on me, except for the negative impact of “Piece Of Crap,” which is accurately named. The repeated bass note in “Safeway Cart” reminds me of The Eagles’ “One Of These Nights,” and I love the yelping harmonica. Album closer “A Dream That Can Last” returns to the sound of “My Heart,” giving this mostly dark album two lighthearted bookends. All in all, Sleeps With Angels is a standout in his catalog, and one of his finest with Crazy Horse. Newcomers should be willing to give it some time to sink in.

Neil teamed up with Pearl Jam for Mirror Ball (1995). I’ve never been a fan of theirs, mostly because I don’t like Eddie Vedder’s voice. Friends have chastised me for this, but I’m not saying he has a bad voice; I just don’t like listening to it, which is a shame because all the members of Pearl Jam are great musicians. I kept an open mind as I played it several times this past week, but other than a handful of notable songs it’s done in by a muddy production and vocals that are buried in the mix. I would describe album opener “Song X” as a “sea shanty waltz,” and the “Hey ho, away we go” backing vocals contribute to the pirates-at-sea vibe. It has a different feel than I would’ve expected, but the typically crunchy guitars and fiery solos were not surprising. “Big Green Country” sounds like an early Foo Fighters song: super melodic, loud & raucous. There’s a manic yet controlled off-kilter guitar solo, and a recurring melody reminds me of The Moody Blues’ “The Story In Your Eyes.” The big guitar riff that starts off “Downtown” continues through the song, a groovy & fun tune with playful lyrics. Normally this might seem like a dumb, by-the-numbers rocker, but it’s a real standout here. It has a loose, Rolling Stones vibe, and it was nice to hear Neil referencing Led Zeppelin and Jimi Hendrix in the final verse.

My favorite song is “Throw Your Hatred Down,” a propulsive & driving melodic rocker. It’s similar to another song here, “I’m The Ocean,” which never shifts gears over its 7+ minutes, while “Throw Your Hatred Down” tosses in some twists & turns, as well as a melodic chorus where the piano gives it an E Street Band vibe. The anti-hatred message is a strong one (“Children in the schoolyard finish choosing teams, divided by their dreams, while a TV screams”), and the raw & ragged guitar solos give off a sense of urgency. “Scenery” is the longest song, at nearly 9 minutes, and it might have been more effective in edited form. It’s big & loud with a soaring lead guitar, and lyrics that appear to address the pitfalls of stardom (“You sell your heart but that’s not the price of freedom, where things are useful only when you need them”). Album closer “Fallen Angel” is more of a song fragment at just over 1 minute, with Neil alone on pump organ singing about a dead artist (Cobain again?) and how his music & image are being posthumously treated (“Hungry people move like waves behind the beat”; “Fallen angel, who’s your saviour tonight?”). I doubt I’ll be coming back to Mirror Ball too often in the future, as only 1 or 2 songs would make the cut on a hypothetical career-spanning anthology of Neil’s work. I’m sure this album speaks to a lot of fans, but clearly I’m not one of them. Maybe a remix would help, but I’m sure this is exactly the way he wanted it to sound.

Neil followed up Mirror Ball with an album that was even less memorable, Broken Arrow (1996). Recording again with Crazy Horse, there seems to be no purpose to this album other than to give the record company more product to sell. It’s by no means terrible, but it’s certainly unnecessary. The only truly noteworthy song for me is “Loose Change,” which has a nice harmonica line & is instantly catchy at “I built a house of cards, built a house of rain, built a house of love, it’s hard to build again.” Over its 9+ minutes there’s a slow-but-swinging groove, but it’s more of a “long song” than an epic, and occasionally sounds like a jam or a work-in-progress. And that’s the one true highlight on this album.

“Big Time” has a pretty good framework for Neil’s guitar heroics and a very good chorus (“I’m still living the dream we had, for me it’s not over”). After another extended song that doesn’t do much for me (“Slip Away”), the next four songs are at least mercifully shorter.  Of these, only “Changing Highways” (a short honky-tonk song with loud electric guitar) and “Music Arcade” (an acoustic song with the great line, “Have you ever been lost, have you ever been found out?”) made any kind of impression, and they’re forgotten pretty quickly. Why he chose to end the album with a bootleg quality recording of the ‘50s Jimmy Reed song “Baby What You Want Me To Do” is beyond comprehension. It’s a slow, down-and-dirty blues shuffle with great musicianship, but sonically & stylistically it sounds like a poorly selected bonus track. This is an album that should’ve remained in the vaults, and considering he has a number of unreleased albums which fans claim are as good as anything in his catalog, he would’ve been better off allowing one of those to finally see the light of day.

Well, that wasn’t a very good album on which to end this post, although I’m glad I gave it a few listens to confirm my initial impressions. The highlights of this batch are clearly Harvest Moon and Sleeps With Angels. I look forward to hearing your thoughts on this period of his career. Now it’s time for me to move on to his next 4-5 albums, which include a couple of live releases (with and without Crazy Horse) and a few studio albums I don’t know much about (as with a lot of his records, I probably played them twice and quickly forgot them). I’ll start listening this weekend and will share my thoughts on them after I’ve given them ample playing time. Thanks for stopping by.