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Buffalo Springfield (1966): Tinny production and the band's own tentativeness mar this set. That said, there are several very fine moments--Neil's "Out of My Mind," "Burned" and especially "Flying on the Ground Is Wrong" are light years beyond his band mates' contributions on the original (mono) portion of the set. That's not to negate the other songs, mind you, but ... there's good and then there's good. As if taking the bait, Stephen Stills's "For What It's Worth"--added after it became a hit, and included in the "stereo" version here--is as perfect a "protest" song ever recorded, transcending its origins (the Sunset Strip riots) by never saying what it is that's going down. Of note, the mono set restores the much-bootlegged "Baby Don't Scold Me" to its proper place (it was dropped in favor of "For What It's Worth" after that single became a hit). (B)
Buffalo Springfield/Again (1967): A classic. Stills' is in top form with the potent "Rock 'n' Roll Woman" and "Bluebird," the latter featuring a cacophony of 11,000 chiming guitars wafting from the speakers. Likewise, Richie Furay shows his strength with the beautiful "Sad Memory," a song that's as haunting as any I've ever heard. And Neil? The Stones-ish "Mr. Soul" captures the uncertainty of fame and all that that entails; the Beach Boy/Spector-esque "Expecting to Fly" glides above the squabbles then encompassing the Springfield; and "Broken Arrow" is, like Neil, layered, incomprehensible and one of a kind. (A+)
Buffalo Springfield/Last Time Around (1968): Patched together by Springfield latecomer Jim Messina after the band had broken up, this is still worth tracking down--for Stills' compositions, which dominate the set. "Special Care" smokes; the draft-dodger lament, "Four Days Gone," is powerful; and the hard-rockin' "Questions" does just that: it rocks. Neil checks in with two tunes: the transcendent "I Am a Child" and "On the Way Home," which finds Richie Furay handling lead vocals. Docked a grade for the insipid "In the Hour of Not Quite Rain," which features lyrics penned by the winner of a radio contest. (B)
Retrospective: The Best of Buffalo Springfield (1969): Lives up to its title--but if you have the Buffalo Springfield albums, there's no need for it. Nothing new or unusual here. (A)
Neil Young (1969): Fresh from the breakup of the Buffalo Springfield, Neil teamed with David Briggs and former Phil Spector-sideman Jack Nitzche for this tentative, but interesting attempt to use the recording studio as a canvas for a sound painting. In interviews, Neil described how part of a track might be recorded in one studio while the guitar solo was recorded at a different studio, a studio with a slightly different "sound." The end result is a tentative, but interesting collection of songs. Highlights include the haunting "The Old Laughing Lady," "The Loner" and the Dylanesque "The Last Trip to Tulsa." (B)
Everybody Knows This Is Nowhere (1969): "Cinnamon Girl." "Everybody Knows This Is Nowhere." "Down by the River." "Cowgirl in the Sand." 'Nuff said. (A+)
After the Gold Rush (1970): Written to be a soundtrack for a never-realized movie, this album includes many classic Neil songs, including the title tune, "When You Dance I Can Really Love," Don't Let It Bring You Down," "Southern Man" and more. One of those albums that demands repeated listens--and then some! (A)
CSNY/Deja Vu (1970): A very good, but not great, first outing by America's answer to the Beatles. The highlights of the set: David Crosby's powerful "Almost Cut My Hair," which ranks with my fave songs of all time; and Neil's "Helpless," as moving a song as he's ever written. Stills is in good form, too, with "Carry On" (tho' the tag of "Questions" is, uh, questionable). His "4+20," on the other hand, is haunting and strong. Nash's "Our House" - well, I like the bit about "two cats in the yard," but ... I don't know. The fact that it ended up in an underwear commercial sorta says it all, in my book. And Nash's "Teach Your Children"--a fun song to sing along to in concert, perhaps--and the group's cover of Joni Mitchell's "Woodstock," both creak with age. And the less said about Neil's "Country Girl" and the Neil/Stills collaboration "Everybody I Love You," the better. (B)
CSNY/4 Way Street (1971): A two-album/two-CD set that puts forth ample evidence of the band's strengths and weaknesses. The first disc, an acoustic set, is little more than a series of solo showcases, with the ebb and flow depending upon who takes center stage. Crosby is in peak form, with ethereal renditions of "Lee Shore" and "Triad" (tho' the latter is no match for the Jefferson Airplane's version, sung by Grace Slick); Nash, too, intros some good songs--"Right Between the Eyes," for example. Stills, however, shows himself not to be as cool as his comrades--the CD comes with bonus tracks, and one of them is an excruciatingly awful version of "Black Queen." Take my advice: program around it and his "49 Bye-Byes," which is marred by the very out-dated "For What It's Worth" update, "America's Children." (If you choose to listen, be prepared to laugh!) Neil, of course, is Neil--solo or surrounded by others, on stage he's in full command: and the addition of the "bonus" 9-minute medley of "The Loner/Cinnamon Girl/Down by the River" just about makes this set worth it all by itself. The other reason? The second, electric disc. Granted, the playing does devolve into sloppiness, at times, but the playing is ferocious on "Southern Man" and "Ohio." (B)
Harvest (1972): Even when Neil travels the middle of the road, he does it well--as typified by this, his best-selling album. Includes the chart-topper "Heart of Gold" as well as one of The Old Grey Cat's favorite Neil songs, "Old Man," which Neil has said was written for the caretaker of his ranch. But is that the truth? At that juncture, the parallels between Neil's and his father's lives were very similar. But, be that as it may, it really doesn't matter who or what inspired the song--or any song, for that matter. What matters is the impact is has on the listener(s). . . if you've visited these pages before, you'll notice that I upped the grade a few notches--that's the thing about critiques. They're rarely written in stone and almost always subject to change! (B)
Journey Through the Past (1972): One of the "Missing Six," this two-LP soundtrack to Neil's first feature film is a mish-mash of studio out-takes and live performances. Not as awful a collection as critics contended at the time, but not Neil at his finest, either. Interestingly, the song "Journey Through the Past" is not included. (C)
Time Fades Away (1973): Another of the "Missing Six." Definitely worth seeking out on vinyl, this rough-hewn album contains the classic "Journey Through the Past" and "Don't Be Denied," as well as one of Neil's most gorgeous songs, "Love in Mind." Why it's not on CD is simply mystifying. (A)
CSNY/So Far (1974): A questionably programmed best-of put out by Atlantic to capitalize on the boys' "Doom" tour. (B)
On the Beach (1974): Another of "The Missing Six" and, like Time Fades Away, another necessity. Although the second entry in the TFA - OTB - TTN arc, it's actually the third, and final, chapter (TTN was recorded in '73 but shelved 'til '75). The first track, "Walk On," offers a sober insight into the crap Neil had dealt with since Danny Whitten's death in Nov. 1972. In the end, one does have to walk on. Granted, the album is far from a joyous exercise--it's more of a grim realization (or is that acceptance) of life, circa 1974. One of Neil's finest efforts. (A+)
Tonight's the Night (1975): Neil's eulogy to fallen comrades Danny Whitten and Bruce Berry, this album is his most intense—and one of his best, too. In addition to the harrowing title song, it includes the equally haunting "Borrowed Tune," a song with a stolen melody that best sums Neil's strengths even as it wallows in admitted "weaknesses" [i.e., drugs and booze]. If you're interested in Neil, you cannot not have this album. (A+)
Zuma (1975): Neil reunites with Crazy Horse. Includes the guitar workouts "Cortez the Killer" and "Dangerbird," which Lou Reed has labeled as one of his favorite Neil songs. Another favorite track of the Old Grey Cat's is "Through My Sails." It's a bit disconcerting following "Cortez," but. . . damn, the harmonies supplied by Crosby, Stills & Nash are the audio equivalent of a honey-slide. (A)
Long May You Run (1976): w/Stephen Stills. Aside from Neil's classic title song, this album is pure piffle. Crosby & Nash should be thankful that their vocal contributions were erased. (D)
American Stars 'n' Bars (1977): The LP which introduced the classic "Like a Hurricane" is a somewhat haphazard, sloppy affair, though it does contain a few memorable tunes in addition to "Like a Hurricane." "Star of Bethlehem" and "Will to Love," for example, are both gorgeous outings, while "Bite the Bullet" and "Homegrown" are quite enjoyable. (B)
Decade (1977): An excellent retrospective that includes great liner notes by Neil. If you have no Neil CDs, this is a great starting point. (A+)
Comes a Time (1978): Neil mellows the mind with this acoustic set. Besides the title track, another highlight is the Nicolette Larson-charged "Motorcycle Mama" and Neil's rendition of "Lotta Love," a Neil-written song Nicolette took to the top of the charts. (B)
Rust Never Sleeps (1979): Hey hey, my my, here's one of the best rock albums of all time. What else can be said about an album that includes these killer tracks: the acoustic and electric "My My, Hey Hey" and "Hey Hey, My My," "Thrasher," "Pocahontas," the incredible "Powderfinger" (one of Neil's best-ever songs), "Welfare Mothers" and "Sedan Delivery." There's not a weak track on it. (A+)
Live Rust (1979): A solid, live review of Neil's career. Docked a notch for the infusion of reggae into "Cortez the Killer" but, even give that, wonderful moments do abound. The version of "Like a Hurricane" present here is one; "Tonight's the Night" is another. Both shatter the soul ... to say nothing of "Powderfinger." "The powers that be left me here to do the thinking ..." (A-)
Hawks & Doves (1980): Another of the "Missing Six," this is a somewhat slight affair, consisting of a mish-mash of tracks, some of which date to the mid-'70s. Still, it features one of Neil's most finest, and most delicate, vocals: "Little Wing." It's a song that haunts the soul long after the LP itself is finished. Another excellent moment is "Captain Kennedy," a story-song of a sailor who died at sea. (B)
re*ac*tor (1981): The last of the "Missing Six." Listened to 18 years after its release, the fact of the matter is that it's a good, nay great album. "I was born to rock, I'll never be an opera star," Neil whines in the opening cut while a symphonic swell of harsh metallic guitars wails in the background. The final cut, "Shots," is a masterpiece on a par with Neil's best--rock critic Johnny Rogan has written that the acoustic take (from the 1978 "World Tour" at the San Francisco Boarding House) is the superior version, but I would say otherwise. THIS is the definitive version. It blows through the soul, and that's no lie. (A)
Trans (1982): Available as an import, this is another love-it-or-hate-it affair due to Neil's reliance on synthesizers and his distorted vocals. But if you can listen past the surface, you'll hear a strong heartbeat--and many treasures. Also features the mini-epic "Like an Inca," which includes this couplet from its last verse that may well sum up Neil's '80s career path: "There's a bridge across the river/that I have to cross alone." (A-)
Everybody's Rockin' (1983): I still remember buying this the day it came out, putting it on the turntable and going, "What the fuck?!" I get the same reaction from it today, tho' it does have a few decent tunes--"Payola Blues" and "Wonderin'." In short, rockabilly-styled throwaways that was more fun seen live than experienced via vinyl (or so I've been told. and told. and told...) For fans only. (D)
Old Ways (1985): A "country" excursion featuring guest turns from "outlaws" Willie Nelson and Waylon Jennings. This is a very strong collection of songs that, while framed within country music conventions (fiddles, steel guitars, etc.), transcend category--specifically the touching "My Boy" and the sublime closing duet with Waylon, "Bound for Glory." Due to the fact that this is a Mobile Fidelity Gold CD, the sound, too, is excellent; if you close your eyes, you'll swear you're in the studio with Neil and the band. (B+)
Landing on Water (1986): Although it contains the memorable "Hippie Dream" ("wooden ships capsized in excess"), cheesy synths and drum machines just about make this collection unlistenable. The case could be made that, indeed, Neil capsized in excess himself here. His worst recorded effort. (F)
Life (1987): An overlooked gem, lost in part due to Neil's conflict with Geffen, this includes several near-classic songs. The political fire of "Around the World" crackles; and "Prisoners of Rock 'n' Roll" is pure garage-rock that hints at Neil's turn to grunge. (B+)
CSNY/American Dream (1988): Suffice it to say, before Crosby, Stills, Nash and Young joined forces for this one-off project, fans were clamoring for a reunion. After? They pleaded for them to disband!!! (At least, this fan did.) Aside from Neil's title tune and Crosby's "Compass," this is pretty damned bad. Part of that is due to the sterile production by "Volume Dealers" Neil Young and Niko Bolas, who polished the soul from the songs; but, then, the songs--save for the two I mentioned-- are ... did I say "pretty damned bad" already? (D)
This Note's for You (1988): Perhaps Neil's most successful '80s "guise" albums, this jazz/blues excursion features "This Note's for You" as well as "Coupe de Ville," a haunting song that ranks with Neil's best. Its only drawback? Perhaps its due to the relatively early "digital age" mix, but at times the music sounds flat and cold. A much better investment, for those who wish to explore this phase of Neil's career, is the double-CD bootleg Blue Notes. (B)
El Dorado (1989): A fierce, five-song e.p. that features "Cocaine Eyes," an anti-drug song that scorches the soul. (A+)
Freedom (1989): When all is said and done, Neil is the one. This so-called "comeback" album proves it, too. After nearly a decade of trading in various guises and styles, Neil decided that the time was right for "a Neil Young" album. The result? One of his best ever. Framed by acoustic and electric versions of "Rockin' in the Free World," the album details the grim state of America at the end of the 1980s--thus the inclusion of the classic song "On Broadway," but with the additional lyrics of "gimme that crack!" It serves as an ample motif. Aside from the socio-political themes (which, in actual fact, have always been a constant in Neil's work, the '80s included), Neil also turns inward--the result of which are several classic, acoustic songs. The delicate "Hangin' on the Limb" features gorgeous harmonies from Linda Ronstadt; and, as Emmylou Harris has shown with her version, "Wrecking Ball" is a true cross-platform song. (A+)
Ragged Glory (1990): Neil & Crazy Horse deliver a VERY electric set of songs. Includes the profane but glorious "F*!#in' Up" as well as some glorious guitar workouts, most notably "Love to Burn." Beneath the cacophony, however, lies an aching heart. . . check out "Mansion on the Hill" and "Days That Used to Be" for that. They're not about romantic love, obviously, but love of another stripe, another type, a longing for an era that's passed and been replaced with. . . the '90s. It ain't the '60s upside down, folks. (A)
Weld (1991): Live, few bands rock as hard--or as well--as Neil & Crazy Horse. Want proof? Plug this two-CD set into your CD changer and, borrowing from the Year of the Horse promotion, crank it up! This blows through the soul like a proverbial hurricane. . . small wonder, then, that it includes the definitive (13+ minutes) version of "Like a Hurricane." Other highlights include a stunning take on Bob Dylan's "Blowing in the Wind." and an electrified "Crime in the City" that is far, far better than the acoustic take found on Freedom (which ain't all that bad itself, I should add). (A+)
Arc (1991): For the hearing impaired only? Perhaps. This is a love-it-or-hate-it sound collage constructed from feedback; interesting for a one- or two-time listen, but little else. Maybe you had to be there, huh? (C)
Harvest Moon (1992): Neil turns down the volume and comes up with a "sequel" to 1972's Harvest that's far better than the original. Why? He paints vivid portraits ("The Unknown Legend," "From Hank to Hendrix") that mix brush-strokes of reality amongst the hues of his heart. (A+)
Lucky 13 (1993): A solid collection of Neil's 1980s output ... that said, it does miss one of his greatest tracks from the period, "Like an Inca" from Trans. (B)
Unplugged (1993): An excellent sampling of Neil's acoustic side that includes the previously unreleased "Stringman," a powerful, haunting song dating from 1976 that was allegedly written for Stephen Stills. (A-)
Sleeps with Angels (1994): With Crazy Horse. Neil's response to Kurt Cobain's suicide, as well as several tragedies which touched the lives of Neil and his friends, this is a Tonight's the Night for the 1990s. Looking outward (for the most part), Neil documents the grim realities that haunt America on the eve of the millennium. Features the impassioned title tune as well as such incisive tracks as "Prime of Life," "Drive-by" and "Change Your Mind," an epic that echoes the guitar jam classics "Cowgirl in the Sand" and "Down by the River." This ranks with his best-ever. (A+)
Mirror Ball (1995): Recorded with Pearl Jam, this energetic excursion features several excellent Neil songs ("I'm the Ocean," "Peace and Love"). Overall, though, the songs sound too rushed--and the lyrics unfinished. (B-)
Dead Man (1996): The soundtrack to the film of the same name, this works as an atmospheric exploration. Call it metal muzak. (C)
Broken Arrow (1996): First listen: Long, loping songs ("Big Time," "Loose Change," "Slip Away") with thick guitars reverberating ad infinitum, seemingly nothing more than retreads of themes previously visited on numerous Neil & CH classics. Throw in shorter tunes ("Scattered," "This Town," "Music Arcade") that, again, echo past classics and even previous tracks, plus a conclusion (a cover of Jimmy Reed's "Baby What You Want Me To Do") that sounds like it was copped from a bad-sounding bootleg. Short and sweet review: Mediocre.
Second listen: Gets better. The long, loping songs are still long and, yes, they still lope. But "Big Time," "Slip Away," "Loose Change" and "Scattered" possess hypnotic, near narcotic qualities that circulate and percolate through the mind long after the music has stopped. Lyrically, the songs make a fitting tribute to the late David Briggs, Neil's longtime producer and friend: "I'm still living the dream we had/for me it's not over."
Third, then fourth, fifth and sixth listens, all played LOUD: The chords cleanse the soul. In the months since its release last summer (1996), ":Music Arcade" has proven itself an acoustic gem that serves as this album's piece de resistance, featuring an impassioned, hushed vocal: "I was walking down Main Street/Not the sidewalk but Main Street/Dodgin' traffic with flyin' feet/That's how good I felt...." And that bad-sounding, bootleg-esque ending? Guess what? It works. After a while you forgive the bad sound and just get into the groove...and, man, what a groove! (A)
Year of the Horse (1997): I'll pass on a track-by-track analysis of Year of the Horse. Why? As Neil says at the start of this double-CD live set, "it's all one song." In other words: Although there are 12 nominal beginnings and ends, in truth, the spirit which flows forth from each specific track is part of the larger whole.
Picking up on both the mood and sound of Broken Arrow, the music stretches but never breaks, with ample room left for Neil to groove on lead guitar. And, like that album, the mood isn't jovial--if anything, it's downbeat, the elongated instrumental passages the escape verbalized in "Slip Away." Escape from what? "I'm still living the dream we had/for me it's not over," from "Big Time" hints at it, as does "Barstool Blues" ("I saw you in my nightmares, but I'll see you in my dreams") when placed into the same context which fueled those Broken Arrow songs--David Briggs' death. That's not to say every song is about Briggs or even death per se; but a cloud does hover over this set of songs. . . until the music comes and takes us away. "Let's talk about living," Neil insists on "Scattered," the third BA track included here, "let's talk about life." It's as if he's trying to convince himself, and that song's brief, lyrical guitar solo accents the mood while hinting at what's next to come: "Danger Bird."
Of course, some people may have quibbles--with the song selection, the set's relative shortness (each disc weighs in at around 40 minutes). . . but, for The Old Grey Cat, those arguments are moot. Year of the Horse? Ain't it the truth, I say. (A+)
CSNY/Looking Forward (1999): I liked this. A lot. Still do. See my review at the time of its release by clicking here. (A+)
Silver & Gold (2000): Honestly, this bored me stiff. Minus the songs Neil "borrowed" for the CSNY reunion Looking Forward, it's little more than a sleeping aid that leaves few ill effects the morning after. Sure, there's a few gems - "Razor Love" comes to mind - but, by and large, it's a slumberous affair. (Okay - maybe it's not that bad. But it sure ain't where I'm at, these days.) (C)
Road Rock, Vol. I (2000): A mixed-on-the fly, sloppy yet enthralling live album that harkens back to Time Fades Away in spirit, much as Broken Arrow and Year of the Horse did Everybody Knows This Is Nowhere. We get one new song, "Fool for Your Love"; sounds like a leftover from the Blue Notes to these ears; all that's missing are the horns. Also: "Cowgirl in the Sand." "Words." "All Along the Watchtower," with none other than Chrissie Hynde trading off on the verses. "Tonight's the Night." Crazy Horse is missed; no offense to the "Family & Friends" band intended, but they lack the brutal grace of the Horse. (B+)
Buffalo Springfield Box Set (2001): I was, and remain, pissed-off about this four-CD box set. Why? Well, the fourth disc contains the first two Springfield albums. Now, let's ponder that factoid for a moment ... Who's going to buy this set? Fans. And this being released in 2001, the odds are damned good said fans already own the first two Springfield albums on CD. By my calculations, I've bought the original LPs; the original issue CDs; and the re-mastered, re-issued CDs. Do I really need FOUR, count 'em, FOUR copies of 'em, classic tho' they may be? No. And neither do you. BUT you may well need the rarities/treats that make up the first three CDs--especially if you're a Springfield nut. It's just a shame that Neil--who, if one believes the press accounts, decided the make-up of the set--deemed fit to rip off the fans. Next thing you know he'll be charging $200 for a concert ticket ... (B)
Are You Passionate? (2002): Subtitle this "the Stax Sessions." Neil's muted, poignant guitar leads Crazy Horse's Frank "Poncho" Sampedro and legendary Stax stars Booker T., Duck Dunn and Steve Potts through his most soulful set of songs yet. In many ways, it's the flip side of Broken Arrow (the album, not the song), reaffirming and celebrating life, family and friends. And the lone Crazy Horse-backed track, "Going Home"--it simply doesn't get better than that! I could, and maybe one day will, go on and on about how wonderful a recording this is, but perhaps this will suffice: this is the audio equivalent of a honey-slide. Warm, tasty and ... yeah. It takes you there, wherever there is. "She's a Healer," "Two Old Friends," "Mr. Disappointment." Potent songs, all. (A+)
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