I’m going to put together some Record Guides for some of my favorite artists from time to time for you here. As true fans of the album format continue to dwindle in our ADD digital music age, it is important to still be able to look at an artist’s entire catalogue of records, not just random songs. It is funny that we think we have progressed, yet we are back to where we were in the 1950’s: disposable pop once again rules the airwaves and it is all about the singles. OK, off my soapbox.
Appropriately, I’ll start with the #1 slot on my relatively recent favorite artists list, Neil Young. I say “appropriately” in part because cranky Uncle Neil has been a leading critic of all things digital in music. I will focus on his rather large solo discography, so his work with Buffalo Springfield and Crosby, Stills, Nash & Young is not here. Neil’s discography is extensive, so it will be divided into two posts. This first one will cover his most important period, 1968-79. Part II will cover the other three decades.
Recall a discussion we have had here several times regarding a statement made by JMW that rock/pop artists generally have a decade, give or take, to really make their mark and most vital work. I believe that JMW has since backed away from that theory, but he shouldn’t. I subscribe to it. I think that Neil has proven the exception to the rule, but undeniably, his most important period is 1968-79. He has finally started releasing shows and compilations of rarities (in his Archives series) after talking about doing it for about 20 years. I have included the Archives releases where the material chronologically would go, but also noting the year of actual release (such as 1968/2008 for Sugar Mountain). As with my Five Star Album list from awhile back, I will do my best keep commentary for each record to one sentence only. The ratings are on a scale of * to *****, as usual.
• Neil Young (1968) ***
Lush, overproduced debut finds an uncharacteristically tentative Neil not straying too far from his countrified/slightly psychedelic Buffalo Springfield roots, although it does contain some keepers (“The Loner,” “Old Laughing Lady” and “I’ve Been Waiting For You”).
• Sugar Mountain - Live at Canterbury House 1968 (live) (1968/2008 Archives series) **
Interesting early, loose solo acoustic set, but for diehards only. And I don’t even pop it in much.
• Everybody Knows This Is Nowhere (with Crazy Horse) (1969) *****
Neil’s first outing with his ultimate garage band Crazy Horse contains some of his most enduring songs, like tight rocker “Cinnamon Girl” and the feverish sprawl of “Down By the River” and “Cowgirl in the Sand”…God I wish Danny Whitten had lived longer.
• Live at the Fillmore East (live, with Crazy Horse) (1970/2006 Archives series) ****
What is here is raw, early Crazy Horse at its best, but for some unfathomable reason it is only one disc and not near to a whole show, so it is no better than an appetizer that leaves you wanting the meal; 16-minute “Cowgirl in the Sand” is a keeper and leaves the studio version in the dust…err, sand.
* Live at the Cellar Door (live) (1970/2013 Archives Series) ***
Another very good acoustic set from the Archives series. I don't rate it higher simply because I think Massey Hall (see below) covers very similar ground better.
• After the Goldrush (1970) ****
A favorite amongst fans and critics alike, and it is certainly eclectic, but I just have never connected with it very strongly. I am certainly in the minority on that sentiment (best track: “Don’t Let It Bring You Down.”)
• Live at Massey Hall 1971 (live) (1971/2007 Archives series) *****
For what this is, it is absolutely perfect: an intimate solo acoustic show from Neil at an early peak, he is loose and often banters hilariously with the audience as he casually previews songs that will eventually become the core of Harvest.
• ‘Journey Through the Past’ soundtrack (1972) **
This is a really strange release (and has still not been put out on CD, although I’ve got the LP), comprised of drastically alternate takes of some familiars, jams, Buffalo Springfield and CSNY live cuts and some new songs (plus some Handel and Beach Boys); the best moments are available elsewhere (like the haunting “Soldier”).
• Harvest (with Stray Gators) (1972) *****
Neil throws out his back and has to remain seated for six months, goes to Nashville and hires slick session musicians, and records a folk rock classic and commercial hit (the type of album most musicians would then have made a career out of replicating and one that his record company begged him to repeat), but one that he would spend the rest of the decade running away from.
• The Archives vol. 1, 1963-72 (compilation of hits, album tracks, alternate takes, rarities, live shows) (1963-72/2009 Archives series) ****
Exhaustive and for the diehard only, this 8-disc extravaganza delivers what is promised, but it could be distilled down to about two discs worth of killer rarities.
• Time Fades Away (live, new material) (1973) ***
For some ridiculous reason Neil refuses to issue this on CD or in digital form, and that is a shame, as it is a wonderful, drunken, rambling live set that makes the first entry in his famed ‘Ditch Trilogy’; also features two gorgeous largely unheard piano tunes (“Love In Mind,” “Journey Through the Past.”) He promises this will be included in its entirety in Archives, vol. 2, whenever that comes out.
• On the Beach (1974) ****
Neil is bummed and burned out, but that is often the best Neil; a biting record about violent hippies, environmental decay, disintegrating relationships and L.A. weariness.
• Tonight’s the Night (1975) *****
The ditch masterpiece, Neil at his most despairing and in career-suicide mode, where he of course makes one of the most acclaimed records of the 70’s (in retrospect; his record company refused to release it for two years), all while singing and playing horribly out of tune on songs of delicate beauty and rawness, songs that sound like they will fall apart any second (typical perverse decision: hire young guitar stud Nils Lofgren to be in the band, but tell him he can only play piano, an instrument he had never played before).
• Zuma (with Crazy Horse) (1975) ****
Out of the ditch and back with his Crazy Horse stalwarts, they make a straight rock record that is lighter than his ditch period (how could it not be?) and full of hooks and melodies, and includes his greatest guitar song, “Cortez the Killer” (even if the lyrics are historically inaccurate).
• Long May You Run (with Stephen Stills as Stills-Young Band) (1976) *
Bad. Neil isn’t into it and only offers leftovers not good enough for his own records (with the beautiful exception of the title track), and Stills is too wasted by this point to really produce much of note.
• American Stars ‘n Bars (1977) ***
An odds ‘n sods-type placeholder of sorts, but its lack of cohesion is its charm; includes two stunners in the beautiful quiet epic “Will To Love” and the roaring “Like a Hurricane.”
• Decade (compilation) (1977) *****
The perfect entry point into Neilworld, including his best known hits, worthy rarities, and essential tracks from his Buffalo Springfield and CSNY days, covering '67-'77. This is one of those rare almost perfect compilations that gives you more than a mere taste, but really gives you an accurate portrait of an artist up to that point (originally on three LPs, now two CDs).
• Comes a Time (1978) ***
The album his record company wished had followed Harvest, it is Neil as The Eagles; a slick country/folk rock record this is just OK (the wonderful title track is better on Live Rust.)
• Rust Never Sleeps (part live, with Crazy Horse) (1979) *****
On some days, I think this is his best record from start to finish.
• Live Rust (live, with Crazy Horse) (1979) *****
Critically derided at the time as a money grab, in hindsight it serves as a perfect Neil Young mid to late 70’s primer, split evenly between engaging acoustic numbers and raging rockers. If you want to get a decent portrait without spending too much cash, you can't go wrong buying Decade and Live Rust to start.
Disagree with some of these ratings? Then screw you. No, kidding. Please comment and we can get into some great music discussions. Coming soon…part two of the NY record guide.
3 comments:
I like these capsule reviews. And I didn't mean to entirely back off my 10-year theory. I think it's pretty true. I might have just noted possible exceptions or something?
Thanks. I always wonder whether anyone actually reads/uses them, but I love writing them. It is part of my obsessive-compulsive desire to rank, order and list things. But I always hope they can spark some discussion/debate, or even better, be useful to someone. I actually enjoy commenting on the crap releases more than the great ones. Trying to keep the commentary down to a sentence or two is fun and challenging, as I tend to lean in the other direction.
Sure there are always exceptions to rules, but your 10-Years of Relevance Rule is pretty solid. And I mean real relevance. Springsteen, for instance, still gets lots of critical praise and press, but its 1972-85 that really matters for him. But I find that Neil Young is one of the only true exception in rock. I know ANCIANT insists on Bowie, but not really. It does not mean they did not do great work at other times, but I mean 10 years to make music that is really influential and can change the landscape in some way.
I have not forgotten your suggestion for rtanking Bond Girls. Oh yes, that is coming. I need to work out certain criteria for a composite scoring system, though. Hotness, of course. But also helplessness vs. resourcefulness need to be considered, some points would need to be taken off if they do not survive to the end of the film, etc. Working on it.
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