Journey Through the Past: Live Neil Young Albums Through The Ages
From the bottom-of-the-ocean depression of "Tonight's The Night" to the timeless singer-songwriter nostalgia of "After the Gold Rush", it's really no secret that Neil Young's lengthy careet (more like Neil Old! LOLZZZ!!!!!) produced some of the finest records of the twentieth century. However, any big Neil fan (I'm only about 120 pounds myself) can attest to the fact that much of his best (and worst) work stems form pure spontaneity - a recent example would be "Living With War", his 2006 protest album, written, recorded and released within a month, with the simplest of lyrics and melodies. Thus, it's really no surprise that so many of his greatest accomplishments can be found on his many, many live albums (often with the mighty Crazy Horse). In honor of his most recent archives release, "Live at Massey Hall", I present to you a look at some of his greatest and most essential live recordings.
-"Time Fades Away" (1973) Despite the internet petitions circulating around, Neil's first, and long out-of-print live album has, to this date, never been released on CD. (Thank you, dad's vinyl collection!) When one listens to the album (on that handy-dandy family turntable, of course), it's really no wonder ol' Shakey refuses to give in, considering the memories this much bring back for the guy. "Time Fades Away" is generally regarded as the lost installment in the Ditch Trilogy; if "Tonight's the Night" is the fuckig Irish Wake funeral of an album, expelling all the demons, and "On The Beach" is the worn-out comedown (no doubt, aided by the presence of one Rusty Kershaw), then "Time Fades Away" is the descent into the ditch: a documentation of Neil's depression and frustration during the disastrous tour following the deaths of Horse guitarist Danny Whitten and roadie Bruce Berry. In his own words:
"My least favorite record is "Time Fades Away". I think it's the worst record I ever made - but as a documentary of what was happening to me, it was a great record. I was onstage and I was playing all these songs that nboody heard before, recording them, and I didn't have the right band."
I'd say this is one of those albums where the tension, the bad vibes, the mood, the out-of-place backup vocals - it all fits and becomes something bigger than the sum of its parts. In 35 minutes, it's an album of true rawness and frustration that still sounds relevant in 2007. In a typical "fuck you" to the fans waiting for "Heart of Gold", Neil begins with the title track. We get our rock and rollin` piano and polka-ish rhythm, as Neil drunkenly moans about "14 junkies too weak to work." "Yonder Stands the Sinner" is a similar blues-rocker ("This will be kinda experimental..."). The album also includes the autobiographical "Don't Be Denied", three lovely ballads ("Love In Mind", "The Bridge" and "Journey Through the Past") and the epic closer "Last Dance", which just seems to epitomize the burnt-out mood, as Neil just sounds more and more fucked-off and apathetic at the bitter climax ("Monday morning, wake up, wake up, wake up! It's time to go to work! No, no, no! No, no, no!") It's not an easy listen, but it's an essential document in this madman career. (For those who haven't heard it, and obviously ain't gonna find it at their local Walmart, I'd be glad to upload the album. Just ask.)
"Rust Never Sleeps" (1979): A stunning return to form (though it's not like he went anywhere...). Total perfection, this is. "Rust Never Sleeps" is in the same format as Dylan before him, with an acoustic and electric side, yet somehow it's even better. It's bookended by dual versions of "My My, Hey Hey"/"Hey Hey, My My", both classic rock staples, quoted in Cobain's suicide note. Side one also boasts the gorgeous and reflective "Thrasher", the catchy Napoleon Dynamite theme song "Ride My Llama", and Native American tribute "Pocahontas". On Side Two, Crazy Mothafuckin` Horse turns the distortion up to ten.
"And I just turned 22. I was wondering what to do. The closer they got, the more those feelings grew."
"Powderfinger" is a brilliant amalgamation of storytelling lyrics, fuzz gee-tar, and "oooooooooohhhhhhh" backing vocals. "Welfare Mothers" rocks with the swagger of a war protester on crystal meth, with bonus handclaps. "Sedan Delivery" is better than you. I apologize for over-using the word "brilliant". Everyone should own this album.
-"Weld" (1991): Alright, flash back to 1991. The gulf war is ragin`, The `Horse is touring behind "Ragged Glory" (a rockin` return to droney, beautiful guitar jams) and I'm rolling around my crib in a wet diaper. But can you name another rock `n roller in his mid `40's who's released a live album this intense, noisy and flat-out badass? I dare you to try. Can ya? All two hours of this double disc are, in a word, relentless. Full-on sonic assault for the Crazy Horse fanatics out there. On the political side of the spectrum, there's even a distortion-laden cover of "Blowing in the Wind", with bomb sound effects. For shits `n giggles, check out the blissfully profane "Fuckin` Up". And then there's the stunning rendition of "Cortez the Killer", a 9:46 lesson in all that can be done with that magnificent six-stringed instrument. "Like A Hurricane" is every bit as triumphant as it sounds in your dreams. "Tonight's the Night" and "Roll Another Number" bring us back to the hazy, fucked-up Ditch trilogy vibe.
But my favorite song on this glorious package? Check out the punkish intensity of "Welfare Mothers". Fast forward 3-4 minutes, the solo comes to a close (how does this guy noodle around with the distortion and yet it never gets boring?). The song descends into a noisy bass drone, as Neil and Billy scream at each other through the racket.
"PUT THE KIDS IN THE STATION WAGON, YOU MOTHERFUCKER!"
-"HEY MOM!!! I'M HUNGRY"
This leads into a psychotic moaning chant: "Welfare mothers! Make better lovers! Aaaaaaaaahhhh!" Pound the overdrive! Swallow the noise! Bite into the chicken leg! Argh.
"Live At Massey Hall 1971" (2007) This brings us to the newest release in his archive project, a concert recording from 2007. Neil has regarded this as a missing link between "After the Gold Rush" and "Harvest", as Neil performs an intimate solo set including many tracks from both albums, and a ton of other songs to appear in new forms on his later albums. Backed with only an acoustic guitar or piano, Mr. Young converses with the crowd pleasantly and plays a 67 minute set of much richness and beauty. Check out the rare acoustic version of "Down by the River" and "Cowgirl in the Sand" (acoustic? Naw!). Listen to his awkward photographer-scolding at the beginning of "Old Man". Opener "On The Way Home" introduces the to that high, shakey voice and haunting melodic tendency. Even two of "Time Fade Away"'s mellow tunes make an appearance, along with an early version of vaguely mysognist anthem "A Man Needs A Maid", with different lyrics. The special edition comes with a DVD bonus, fo` yo` info`mation.
Also recommended:
"Live Rust": "When I get big, I'm gonna get an electric guitar. When I get real big."
"Live at the Fillmore East": Crazy Horses' smokey 2006 archive offering, smothered in Danny Whitten's unique presence.
"Unplugged" Acoustic re-interpretations of electric chargers, or familiar versions of familiar songs, it's all good.
Good night.
-"Time Fades Away" (1973) Despite the internet petitions circulating around, Neil's first, and long out-of-print live album has, to this date, never been released on CD. (Thank you, dad's vinyl collection!) When one listens to the album (on that handy-dandy family turntable, of course), it's really no wonder ol' Shakey refuses to give in, considering the memories this much bring back for the guy. "Time Fades Away" is generally regarded as the lost installment in the Ditch Trilogy; if "Tonight's the Night" is the fuckig Irish Wake funeral of an album, expelling all the demons, and "On The Beach" is the worn-out comedown (no doubt, aided by the presence of one Rusty Kershaw), then "Time Fades Away" is the descent into the ditch: a documentation of Neil's depression and frustration during the disastrous tour following the deaths of Horse guitarist Danny Whitten and roadie Bruce Berry. In his own words:
"My least favorite record is "Time Fades Away". I think it's the worst record I ever made - but as a documentary of what was happening to me, it was a great record. I was onstage and I was playing all these songs that nboody heard before, recording them, and I didn't have the right band."
I'd say this is one of those albums where the tension, the bad vibes, the mood, the out-of-place backup vocals - it all fits and becomes something bigger than the sum of its parts. In 35 minutes, it's an album of true rawness and frustration that still sounds relevant in 2007. In a typical "fuck you" to the fans waiting for "Heart of Gold", Neil begins with the title track. We get our rock and rollin` piano and polka-ish rhythm, as Neil drunkenly moans about "14 junkies too weak to work." "Yonder Stands the Sinner" is a similar blues-rocker ("This will be kinda experimental..."). The album also includes the autobiographical "Don't Be Denied", three lovely ballads ("Love In Mind", "The Bridge" and "Journey Through the Past") and the epic closer "Last Dance", which just seems to epitomize the burnt-out mood, as Neil just sounds more and more fucked-off and apathetic at the bitter climax ("Monday morning, wake up, wake up, wake up! It's time to go to work! No, no, no! No, no, no!") It's not an easy listen, but it's an essential document in this madman career. (For those who haven't heard it, and obviously ain't gonna find it at their local Walmart, I'd be glad to upload the album. Just ask.)
"Rust Never Sleeps" (1979): A stunning return to form (though it's not like he went anywhere...). Total perfection, this is. "Rust Never Sleeps" is in the same format as Dylan before him, with an acoustic and electric side, yet somehow it's even better. It's bookended by dual versions of "My My, Hey Hey"/"Hey Hey, My My", both classic rock staples, quoted in Cobain's suicide note. Side one also boasts the gorgeous and reflective "Thrasher", the catchy Napoleon Dynamite theme song "Ride My Llama", and Native American tribute "Pocahontas". On Side Two, Crazy Mothafuckin` Horse turns the distortion up to ten.
"And I just turned 22. I was wondering what to do. The closer they got, the more those feelings grew."
"Powderfinger" is a brilliant amalgamation of storytelling lyrics, fuzz gee-tar, and "oooooooooohhhhhhh" backing vocals. "Welfare Mothers" rocks with the swagger of a war protester on crystal meth, with bonus handclaps. "Sedan Delivery" is better than you. I apologize for over-using the word "brilliant". Everyone should own this album.
-"Weld" (1991): Alright, flash back to 1991. The gulf war is ragin`, The `Horse is touring behind "Ragged Glory" (a rockin` return to droney, beautiful guitar jams) and I'm rolling around my crib in a wet diaper. But can you name another rock `n roller in his mid `40's who's released a live album this intense, noisy and flat-out badass? I dare you to try. Can ya? All two hours of this double disc are, in a word, relentless. Full-on sonic assault for the Crazy Horse fanatics out there. On the political side of the spectrum, there's even a distortion-laden cover of "Blowing in the Wind", with bomb sound effects. For shits `n giggles, check out the blissfully profane "Fuckin` Up". And then there's the stunning rendition of "Cortez the Killer", a 9:46 lesson in all that can be done with that magnificent six-stringed instrument. "Like A Hurricane" is every bit as triumphant as it sounds in your dreams. "Tonight's the Night" and "Roll Another Number" bring us back to the hazy, fucked-up Ditch trilogy vibe.
But my favorite song on this glorious package? Check out the punkish intensity of "Welfare Mothers". Fast forward 3-4 minutes, the solo comes to a close (how does this guy noodle around with the distortion and yet it never gets boring?). The song descends into a noisy bass drone, as Neil and Billy scream at each other through the racket.
"PUT THE KIDS IN THE STATION WAGON, YOU MOTHERFUCKER!"
-"HEY MOM!!! I'M HUNGRY"
This leads into a psychotic moaning chant: "Welfare mothers! Make better lovers! Aaaaaaaaahhhh!" Pound the overdrive! Swallow the noise! Bite into the chicken leg! Argh.
"Live At Massey Hall 1971" (2007) This brings us to the newest release in his archive project, a concert recording from 2007. Neil has regarded this as a missing link between "After the Gold Rush" and "Harvest", as Neil performs an intimate solo set including many tracks from both albums, and a ton of other songs to appear in new forms on his later albums. Backed with only an acoustic guitar or piano, Mr. Young converses with the crowd pleasantly and plays a 67 minute set of much richness and beauty. Check out the rare acoustic version of "Down by the River" and "Cowgirl in the Sand" (acoustic? Naw!). Listen to his awkward photographer-scolding at the beginning of "Old Man". Opener "On The Way Home" introduces the to that high, shakey voice and haunting melodic tendency. Even two of "Time Fade Away"'s mellow tunes make an appearance, along with an early version of vaguely mysognist anthem "A Man Needs A Maid", with different lyrics. The special edition comes with a DVD bonus, fo` yo` info`mation.
Also recommended:
"Live Rust": "When I get big, I'm gonna get an electric guitar. When I get real big."
"Live at the Fillmore East": Crazy Horses' smokey 2006 archive offering, smothered in Danny Whitten's unique presence.
"Unplugged" Acoustic re-interpretations of electric chargers, or familiar versions of familiar songs, it's all good.
Good night.
Labels: Neil Young
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