Neil Young - Archives, Vol. 2: Disc 9 - Look Out For My Love (1975-1976)

Reprise Records: 2020

Full confession: the period between Zuma and Rust Never Sleeps is mostly a blank for yours truly. Granted, only two albums came out in that time (well, two and a half, but I'll get to that), with only two songs from them considered 'Essential Rustie Material'. One of them is the guitar epic Like A Hurricane, which I already have on the live album Weld, so no point in getting the scattershot American Stars 'n Bars just for that. The other is the country-leaning Comes A Time, from the album of the same name. I don't have that, but am not in any real hurry to ever get it. The tune's fine, just not on my 'must have' list, much less the record it comes from.

Disc nine of Archives, Vol. 2 doesn't reach quite that far though, capping this collection off in 1976. The first few tunes that open things are more Crazy Horse songs that likely would have featured on the vaporware album Chrome Dreams, including Like A Hurricane. Following that are two love songs, Lotta Love, and Look Out For My Love. The most surprising thing about these, at least for me, is they actually sound different from each other, Lotta Love more a loungy tune while Look Out For My Love inching closer to country.

Actually-actually, what's really surprising is Look Out For My Love was chosen for the title of this disc, and not just because Like A Hurricane is the more obvious choice. No, it's odd because this disc heavily features songs from the short-lived pairing between him and Stephen Stills, The Stills-Young Band.

Yep, despite quite the on-again, off-again musical relationship, the former Buffalo Springfield lads decided to give it another go in the studio. Story goes Mr. Stills was already in the works with a solo joint of his own, then had Neil over to hear some of the songs. Neil apparently got quite inspired with the tunes, such that he abandoned a tour with Crazy Horse to work with Stephen. Harsh, bro, but hey, maybe some truly kinetic jams would emerge from these sessions to rival even their work with Crosby and Nash. They even brought them in for some backing tracks, perhaps leading to a full-on CSNY reunion, but it was not to be, Stills and Young scrubbing their voices from the finished product. Harsh, bro, but hey, at least the forthcoming tour featuring Stephen and Neil would lead to some dynamite guitar action to hear. Except in typical Neil fashion, he flaked on his friend mid-tour, with one of the most classic kiss-off notes left behind. HARSH, bro!

As for the resultant songs, they're mostly pleasant rock, some leaning blues, some leaning country, but all sounding quite clean and polished compared to most of Neil's body of work. So much so, that songs like Ocean Girl and Midnight On The Bay could even be considered... *sigh* Yacht Rock. Of course Neil did a Yacht Rock.

Neil Young - Archives, Vol. 2: Disc 7 - Homegrown (1974-1975)

Reprise Records: 2020

This album was pencilled in for a release after On The Beach. Pre-hype from those who'd heard it thought it would be just the record to resuscitate Neil's career back to his Harvest glory. Bold claims, and maybe words that should have been left unspoken in Mr. Young's presence, as at the eleventh hour, he pulled it from publication, going with the two-year old Tonight's The Night instead.

The long-held reasoning behind this is due to the fact both were played back-to-back off the same reel of tape. Comparing the two, Neil felt Tonight's The Night was the stronger collection of songs, and perhaps he's right in that regard. As time's passed, however, with more music from this era of his career emerging, a clearer picture's formed. As the previous disc in this Archives collection can attest, Neil's relationship woes were at an all-time low, songs almost exclusively being written about his feelings over Carrie Snodgress' absence. Some of these were strong enough to consider studio time with, with a backing band, proper LP roll-out, and everything.

Swell beans, but gosh, these are still quite personal and emotionally raw, aren't they? Like, at least the songs in Tonight's The Night also dealt with broader topics of living life on the skids, not just about the tragic deaths of friends. Maybe best to shelve Homegrown for a little while longer, let it sit while those emotional wounds heal some. See if you're feeling the same after, and if it's really such a good idea to let the world get this close to one's broken heart. And wait... and wait... and, oh, hi, fine lady, your name's Pegi, you say? Life moves on.

Still, it's undeniable that Homegrown would have made for a fascinating companion piece to Harvest, had it been released back when. Heck, it still could serve as such, should you choose to listen to them back to back. With songs like Out On The Weekend, Harvest, Heart Of Gold, and A Man Needs A Maid, you can glean a sense of growing puppy-love from Neil, a whirlwind relationship on the rise. Homegrown, meanwhile, is the inevitable break-up, bitter and despondent. I didn't say it was a happy companion piece.

Musically, we're in familiar territory as Harvest, with slide-guitarist Ben Keith and bassist Tim Drummond from The Stray Gators on hand. There's a couple more rocky country jams on here (Vacancy), some talking about weed (We Don't Smoke It No More, the titular cut ...yeah man, feckin' 'home-grown' *anxious pat of the head*). Elsewhere, White Line, a song that remained unpublished until 1990's Ragged Glory, is given the gentle acoustic go here, while Star Of Bethlehem with Emmylou Harris would appear much sooner on American Stars 'n Bars. And smack in the middle is Florida, an... abstract spoken-word bit? Huh, just when you thought you'd heard Neil Young do every style of music under the sun (and beyond!), he throws in something leftfield like this. What's next, Yacht Rock?

Neil Young with The Stray Gators - Archives, Vol. 2: Disc 2 - Tuscaloosa (1973)

Reprise Records: 2019/2020

The Archives series is a continuous project, segments coming out with great frequency. In typical Neil Young fashion though, it remains an erratic one. Instead of a steady, chronological re-telling of his discography, it's made massive time-jumps with each release of the Performance Series. Confounding things further are additional items released after they should have been properly sequenced, relegating them to x.5 in their numerical order.

Example: Live At The Cellar Door, a show recorded between the Live At The Fillmore East and Live At Massey Hall sessions, is designated PS02.5. This is all very dorky, OCD-levels of going about re-issuing one's discography, but it does leave some tantalizing hints of what else might come out, especially when there's a six volume gap between Live At Massey Hall and A Treasure (the country shindiggin' tour of Old Ways).

Cagey marketing aside, there's a more practical reason why some of these archival performances come out in non-chronological order: they're harder to resuscitate than others. Or put another way, even though Tuscaloosa (1973) was always intended to be volume four of the Performance Series, getting a good remastering of those recordings was apparently a herculean effort.

This is from the Harvest tour with The Stray Gators that went down as one of the most disastrous tours from Neil's long career, one that started on a rather bleak note when their practice sessions with Crazy Horse guitarist Danny Whitten wasn't turning out, got sent home and promptly overdosed. Those arenas were already sold out though, folks eager to hear hits like Heart Of Gold live. So hit the road Neil and the Gators did, though not before financial wrangling added even more sourness to the proceedings. Throw in Mr. Young's insistence at playing new material over Harvest songs as the tour progressed, and it lurched to an unsatisfying end once the American portion was completed, a European stretch cancelled.

As fascinating as it would be to hear those shows, Tuscaloosa wisely gives us a glimpse of the tour in its earlier days, when things hadn't quite gone to such shite. Even then, there was only so much audio they could cobble, portions of it apparently going unrecorded.

So we get a couple solo acoustic numbers to open up, then it's right into the Harvest tunes with the Gators. The opening salvo of Out On The Weekend and Harvest sound great, the live energy vastly improved over the studio versions. Old Man and Heart Of Gold are as they are, but it soon settles in that, as professional as the Gators are as a backing band, that's all they are. Neil really wants to coax a little Crazy Horse out of these Nashville pros, but it just isn't happening.

The set ends off with Don't Be Denied, somewhat of a harbinger of things to come. Neil goes autobiographical, his voice gets harrowed and raw, and the music fades away, in doing so jettisoning the traditional post-song applause of a live album, the audience disappearing before us.

Neil Young - Archives, Vol. 2: Disc 1 - Everybody's Alone (1972-1973)

Reprise Records: 2020

Aw shit, here we go again...

Like, you knew this was inevitable. It was only a matter of time before Neil Young put out another Archives collection. It's why, despite the various, unearthed items that had recently come out from this period of his career, I let them pass by, fully expecting them to appear within this box-set. And for sure I'm gonna' review Every. Single. CD. that's included here, mwa-ha-hah! Okay, I'll probably skip on discs that are heavy on material from the albums I've already reviewed (Tonight's The Night, On The Beach, Zuma), because who needs redundant reviews like that? There's already ten discs on Archives Vol. 2 - gotta' cut corners wherever I can.

That all sorted? Good. Now, where were we? Ah yes, Mr. Young had just released Harvest, achieving a fame and fortune few could have dreamed of ten years deep into a music career, much less ol' Neil. In fact, he was so flustered with all the success that he kept trying to run away from it, which seemed to have the opposite effect. Part of a break-out rock band? Break away and do folksy solo stuff for a while. Get popular enough to join a super-group and play to crowds of thousands? Buy a ranch to get away from it all. Feel so inspired by your surroundings that you write some of your most heart-felt tunes yet, leading to chart topping albums and tours in sold-out arenas? Well, now things are just getting ridiculous. What must one do to get away from all this success? Drown yourself in a ditch?

That's jumping ahead a little though. Archives, Vol. 2 instead kicks things off in the immediate aftermath of Harvest. Titled Everybody's Alone (1972-1973), it's a sort of mish-mash of demo recordings and previously unreleased material of Neil trying out new and old songs with The Stray Gators, his backing band of Nashville session musicians (save an original recording of future tune Human Highway with Crosby, Stills, & Nash). Some of these would end up on the album Time Fades Away, including previously unreleased versions of The Bridge, L.A., and Time Fades Away (a right hootenanny of a tune!). In fact, I think the only tune that appears as on this disc that also does on that album is Yonder Stands The Sinner.

And you may wonder, why not just include the actual Time Fades Away songs, remastered, like as done on the previous Archives collection? To which I respond, “Have you actually heard the quality of those recordings?” They're not good, infamously recorded as performed live, with little in the way of proper studio tapes or mixing console used in the process. It remains one of the only Neil Young albums to never see an official CD re-issue, Neil either unable or unwilling to polish it for modern ears. It has finally found its way onto streaming services if you're insatiably curious, but you're probably better off with the versions as heard here.

Creedence Clearwater Revival - The Best Of CCR

Polytel: 1993

According to Lord Discogs, this was the most comprehensive collection of Creedence Clearwater Revival ever released to that point. For sure there'd been multiple 'best of's and 'greatest hits' albums following the band's break-up, 1976's Chronicle, Vol. 1 the definitive one for many years (with John Fogerty bellowing into a microphone on the cover). That one alone contained twenty of their songs, some of which you haven't even heard! Okay, you probably have, but didn't quite register like their stone-cold classics like Bad Moon Rising or Fortunate Son or Run Through The Jungle or Lookin' Out My Back Door or... a whole lot others you may not recognize by song-title alone, but instantly do the moment you hear a specific guitar chord and vocal.

For most, twenty chart toppers was plenty, but throughout the '80s, more and more 'best of's made their way to the markets, squeezing more songs in thanks to the additional space the burgeoning CD market offered. Eventually it seemed twenty-four to twenty-six songs became the gold standard of just how much CCR folks were willing to indulge in, but it's never enough for the record labels eager for another round of recycling.

Thus along came this double-disc Canadian collection in 1993, featuring twenty-eight songs in total. That's all of Chronicle, Vol. 1, seven tunes from Chronicle, Vol. 2 (which focused on the band's best non-charting songs), plus the song Bootleg (or as John says it, “Boo-lay, boo-lay-ay!”). Then a couple years later, the Pacifica nations got a whopping thirty-four song collection called Keep On Chooglin', while the European nations upped the ante with thirty-six songs with CCR Forever. Geez'it, did the band even have that many in their whole discography to warrant this?

Barely. True, seven albums in a half-decade of activity ain't nothing to scoff at, though their final record Mardis Gras barely counts (John Fogerty certainly doesn't, though the few songs songs he did write for that disaster made the cut here; the cover of Gene Pitney's Hello Marry Lou too). By the time we've finally gotten to Fortunate Son deep into CD2 though, I'm feeling well tapped-out on CCR. Yet one disc isn't enough either. Yeah, we get the full eleven-minute version of I Heard It Through The Grapevine there, one of the few recorded instance of hearing this band jam in an era when jams were all the jam, man. CD1 ends though, and you realize you haven't heard Born On The Bayou yet, or Walk On The Water, or I Put A Spell On You... Guess this needed the 2CD treatment after all.

What, a review of the actual music? Oh come on, you know how all this goes! CCR have been classic rock staples since there were classic rock stations. For sure their unique brand of 'swamp rock' stands out from the crowd, but you already know that because you've had their songs swirling in your head the moment you read those song titles. Truly timeless tunes.

Various - Sounds Of The Seventies: The Late '70s

Time Life Music: 1993

This was volume thirty-four out of a series of thirty-seven, and don't this come off like the crusty teat of a withered cow. Sounds Of The Seventies had already given the late '70s ample representation with two rounds of yearly spotlights. Following that, titles such as Seventies Top Forty, Guitar Power, Dance Fever, Punk & New Wave, plus several featured looks into FM Rock and AM Pop rounded up the stragglers, plus three more CDs of AM Nuggets after this. No other compilation in this series highlighted such nebulous ideas like “early '70s” or “mid-'70s”. What gives?

Time Life Music gives their reasoning as thus: “The late '70s was a schizophrenic time for pop music.” Basically, this CD is intended to showcase the myriad genres hitting the airwaves, much of which had little to do with each other. When your opening three songs include Donna Summer's true-disco hit Last Dance, The Village People's camp-disco hit In The Navy, and Boston's silly rock anthem More Than A Feeling, it does impart a sense that things were going a little kooky towards the end of that decade. America, if you thought that was weird, you should have heard the synthy sounds emanating from Europe and Asia too!

Seriously though, there are some interesting contrasts on this CD. The theme to Happy Days is on here, and that's followed by the MTV defining Video Killed The Radio Star from The Buggles, which I always assumed was a 1980 tune because of MTV. Nope, 1979 was when it was released, a technicality but still fits with a Late '70s theme. Punk gets a look-in by way of Blondie's Dreaming, which is followed upon by the... country soft rock (?) of Dave Mason's We Just Disagree. The sultry side of funk-n-soul gets repped by Marvin Gaye's I Want You and The Manhattans' Kiss And Say Goodbye, and rockier outings from John Stewart's Gold, Andrew Gold's Lonely Boy, and Bob Welch's Ebony Eyes show up. Um, yeah, most of the kick-ass rock tunes were already used up in prior Sounds Of The Seventies CDs.

That's one thing I'll give some props to this series though, always featuring fresh tunes with each volume. I sifted through each one, and didn't spot a single repeat, a remarkable feat considering not one instance of Neil Young showing up (da'fuq!??), not to mention nearly no synth music included – Hot Butter's Popcorn did show up though, because how could it not? I suppose there's a couple examples of synth on this CD too, like The Buggles, and the Moog solo on Alan O'Day's Undercover Angel. And let's not forget Minnie Riperton's Lovin' You! While that tune's about as un-electronic as it gets, it found a new generation of interest after The Orb sampled it in their breakout A Huge Ever Growing Pulsating Brain That you know the rest of it. So in true 'begging-chosing' fashion, rave music finally gets its nod in Sounds Of The Seventies.

Neil Young - Unplugged

Reprise Records: 1993

Oh hey, Neil. Sure don’t talk about you as often these days, do I? I’ve gone through nearly every album I own of yours now, is why, a smattering of stragglers all that’s left in my collection. Maybe I’ll beef it up some more down the line, but honestly, twenty-five albums from a single artist is quite a bit for any fan of a musician. I’m not sure how hardcore followers of Frank Zappa or Merzbow survive without going insane.

And strangely, what I’m reviewing today is only partially a Neil Young album. This particular live performance was produced in conjunction with MTV Unplugged, the Grammy winning series that featured famous musicians playing acoustic concerts, often emphasizing those with careers defined by loud rock or synthy pop (and a little rap on the side). The series first started in 1989, with acts like Aerosmith, Elton John, Paul McCartney, Stevie Ray Vaughan, R.E.M., The Cure, and, um, Ratt, all scoring gigs. Things rapidly changed for MTV Unplugged though, when Eric Clapton scored a huge commercial and critical hit with his 1992 effort, the series suddenly propelled into the spotlight as an outlet for all manner of musicians looking for a little extra prestige in their resumes. The series’ reputation only solidified when Nirvana did their acoustic performance twenty-two months later. Between those two critical peaks in MTV Unplugged’s legacy, ol’ Shakey did an unplugged set of his own.

Already a darling with the MTV sect, the Godfather Of Grunge was an obvious choice for this concert concept. What joy could we have hearing stripped-down renditions of such classic rockers like Cinnamon Girl, Cowgirl In The Sand, and Like A Hurricane. Or even newer classics like Rockin’ In The Free World, This Note’s For You, and Harvest Moon. Wait, that one’s already rather acoustic to begin with. In fact, three tracks from that ultra-mellow album appear on Unplugged, plus a number of older folksy material too. There’s Pocahontas, The Needle And The Damage Done, Long May You Run, Helpless, and Look Out For My Love. Basically half of this live acoustic album features songs that were already acoustic in the first place. Eh, well, it’s nonetheless amusing that he’d play them for the MTV generation.

Still, the ‘unplugged’ renditions of the other tunes are worth the listen in. For instance, Transformer Man is on here! Yeah, didn’t think ol’ Shakey would ever dust off that synth-pop tune, much less for an acoustic version. The guitar epic Like A Hurricane does appear here, but performed solo on a pump organ, of all things (think mini pipe organ) – though really, it’s about the only ‘acoustic’ instrument that could capture the same grandeur as the original. A couple other way-oldies in rocker Mr. Soul and the originally over-dubbed The Old Laughing Lady also feature, plus an unreleased song in Stringman from the original Chrome Dreams sessions. Guess that about covers it for your typically esoteric Neil Young concert track list. Only thing missing would be something from Old Ways.

Neil Young - Tonight's The Night

Reprise Records: 1975

This is Neil Young dead centre in the ditch; or the middle album of his acclaimed Ditch Trilogy. Though released as the third album of the three, it was recorded between the live Time Fades Away and comedown blues of On The Beach. It also features one of his most ragged collections of tunes ever, perhaps only topped by the impossibly fun-n-sloppy Re-Ac-Ter down the road. This was seen as a revelation for many a critic, a resounding triumph of back-to-basics grubby rock by one of the scene’s veterans, delivered at a time when many rockers had grown fat and content on their earlier commercial successes. Not this Young fellah’ though! He saw that fame, lived that dream, got all that paper, bought that ranch, and got super-depressed over it, beating Roger Waters’ infamous crisis of faith by a few years.

Naturally, none of this was planned on Young’s part. Rather, compounding issues like testy tours, fears of creative stagnation, and dying friends all led to Tonight’s The Night. As the story goes, the double-whammy drug deaths of Crazy Horse leader Danny Whitten and roadie pal Bruce Berry got Neil off the road and seeking some good ol’ camaraderie from his closest musical friends. No, not Crosby, Stills and Nash, the ‘supergroup’ still in a state of mutual ‘frenemy’ flux. Rather, he hooked back up with the remaining Crazy Horse members, plus wonderkid guitarist Nils Lofgren, Harvest’s ace pedal steel guitarist Ben Keith, and producer pal Jack Nitzsche for a session at brother-of-Bruce's ramshackle studio. An all-star line-up of Young’s ‘raw’ repertoire, then!

They basically all got drunk, got stoned, played billiards, and played music late into the night, their recording time an extended wake for their departed comrades. Music quite literally about Bruce Berry the man (Tonight’s The Night), about the pitfalls of the druggie lifestyle (Speakin’ Out, Tired Eyes, Lookout Joe), some lighter moments (Roll Another Number), but generally everything just going to shit (World On A String, Albuquerque, Mellow My Mind). Tunes mostly stick to stoner blues, though with a little rock and country thrown in for good measure.

It’s also very unpolished material, about as ‘live’ sounding as a studio session can get, and hardly of quality label heads figured someone with Young’s fame could conceivably want out on the market. Following the equally unprofessional and commercial letdown that was Time Fades Away, you bet Reprise Records was leery about releasing this album as was. Another contentious tour playing the album in its entirety, well before any singles or records were pressed, only made frustrated fans more irate with Young’s increasingly agitating antics. Tonight’s The Night was thus shelved, perhaps indefinitely, yet another ‘lost classic’ in the annals of rock history.

Then, a couple years later, while going through some demos of new material, Young played the Tonight’s The Night sessions as a point of comparison. He instantly thought, “Hey, this is some raw, real stuff. Let’s go with this instead.” And he done did.

Neil Young & Crazy Horse - Ragged Glory

Reprise Records: 1990

This album took me from “Yeah, Neil Young's got some nice music, I guess.” to “Neil is God!” That might not be as impressive as it seems, despite Ragged Glory being the second record I picked up from Mr. Shakey (and first with the Crazy Horses). Had I nabbed one of his early efforts like Rust Never Sleeps or After The Goldrush before this, it’s probable I'd fall sway to his musical allure just the same. I can't even remember why I took the plunge on this one in particular, since all I really knew of his output was the Harvest Moon folksy material (Rockin' In The Free World notwithstanding). I'd heard good things about Ragged Glory, sure, but nothing that suggested it was a life-changing album or the like. Took that plunge I did though, after which I was compelled to consume all that Mr. Young had released. Fortunately for my bank account, the country hoe-down Old Ways was my follow-up, quickly instilling some caution in any further explorations of Neil's discography.

For all intents, there isn't anything about Ragged Glory that should have had the impact on me that it did. It’s a great rock album, no doubt, but it’s not reinventing the wheel or leading the charge of a new, unique scene. The music is catchy and unchallenging, with guitar riffs going down easy and sweet vocal harmonies that’ll lodge themselves in your brain without ever overstaying their welcome. The lyrics have little nuggets of aging wisdom about them (or, in the case of Farmer John, are just sloppy good fun), though seem written as mere service to the music performed. At most, Ragged Glory serves as a definitive statement for aging rockers that one not need fade away like so much bad ‘80s hair. Unlike many of his fellow ‘60s and ‘70s alum, he found kinship with the new generation of alt-rock and grunge bands emerging from the underground, and was fearless in joining their ranks. If his prior album Freedom was a rebirth of sorts, then Ragged Glory finds Neil full of fire and flying high above his contemporaries.

I can’t say any of you will have the same notions about this album should you hear it, especially as you’re reading this on an electronic music blog (mang, crunchy guitar solos are totally electronic!). I guess in my case, Ragged Glory represented the sort of rock that I always imagined rock music should sound like, but seldom heard performed. Believe me, with all the garage bands I’ve been exposed to over the years, none had such a rugged edge while retaining bar-blues affability and dismissing arrogant posturing. Young’s solos here are wild and messy, yet I hang on each chord, eagerly anticipating which unpredictable direction he’ll go in next, always reassured he’ll find his way back to Crazy Horse’s steadying rhythm. I imagine, had I heard Ragged Glory before ‘techno’ seduced me, I’d have picked up that damn guitar like my old man always hoped I would.

Sykonee Surveys Spotify's Senseless Suggestions: Round 2

Spotify sure likes sending me suggestions more often than I anticipated. I think its best that I save my surveys until I clear batches of my review backlog, lest they impede my regular progress. I already make enough tangents these days, and I’ve some large bulks to plow through. Just look how many ‘O’s I reviewed, and that’s traditionally one of the ‘lesser’ letters to name your album with!

So last round’s recommendations leaned way heavy on the rock side of things, and not even rock I care much for. I’m giving Spotify the benefit of the doubt on its erroneous assumptions of my musical tastes, what with having so little time to get acquainted an all. It’ll have to butter me up better if it wants me to take its suggestions seriously going forward though. Let’s find out what Round 2 offers.

Kenny Chesney - 1. American Kids / 2. Somewhere With You

Oh for… Spotify, you couldn’t be more off if you tried. This is full-on modern country, which I absolutely, positively never-in-a-zillion years go out of my way to listen to. I don’t hate the stuff, but I’ve no reason to bother with that field of music in my life either. Chesney’s apparently one of the bigger names to emerge from country’s renewed dominance with youthful, tailgating demographics, and I’m quite thankful these two tracks don’t tread anywhere near the Georgia Straight Line dirt road of ‘bro-country’ (yes, this is a thing, and yes, it’s as awful as you’re imagining), but… yeah. This is just one big “NOPE” from me.

Odds I’ll Listen Again: 0/5

Radiohead - 3. Karma Police / 4. Paranoid Android

Come on, are you even trying, Spotify? You suggested these guys in the last email. Is Radiohead just a generic, go-to band to name drop? Are you trolling Thom Yorke’s anti-Spotify stance? Also, I’m somewhat disappointed that the next two tracks in this list are more from OK Computer. It’s clear the Top 5 has nothing to do with actual plays, as No Suprises from the last round lags well behind Karma Police by some seven million hits. If this is the case, why not feature more songs from their other albums, mix things up for the newbie Radiohead listener? Ah well, despite Spotify’s insistence at gumming the stats, my Odds score stands with this band.

Odds I’ll Listen Again: 3/5

Wu-Tang Clan - 1. C.R.E.A.M. / 2. Wu-Tang Clan Ain’t Nuthing Ta F’ Wit

I take it all back. Spotify, you totally get me. How’d you know I’d absolutely be down for some Wu-Tang Clan? Sure, I’ve Playlisted Raekwon, U-God, Masta Killa, and Ghostface Killah, but you figured out I might like the Clan having not played anything from RZA, GZA, Ol’ Dirty BZA, Method MZA, or Inspectah DZA (yet). Seriously, this couldn’t have been a more obvious recommendation than suggesting N.W.A. because I played some Dr. Dre or Ice Cube. Yeah, I’m gonna’ listen to the Wu again – they’ll be eventually in an ACE TRACKS Playlist after all – but it would have been nice for Spotify to show a little more intuition than this.

Odds I’ll Listen Again: 5/5

Mayday Parade - 3. Oh Well, Oh Well / 4. You’re Dead Wrong

I wasn’t terribly enthused by all the rock recommendations in Round 1, but I at least enjoyed the process of discovering a few new bands, some of which I’ll likely dabble in later on. Mayday Parade was not one of them, got’dang it. Seriously, I gave them an Odds score of 1/5 - I can’t even remember what I wrote about them, so off base with my tastes they were. These two songs are more of the same ‘arena-emo-rock-punk’ style I heard from the their first two, so it’s safe to say that’s the Mayday Parade stylee. No more for me, thanks.

Odds I’ll Listen Again: 0/5

Kid Cudi - 1. Pursuit Of Happiness (Extended Steve Aoki Remix) / 2. Just What I Am

I’m assuming I’m getting a Cudi suggestion for the prior hip-hop I’ve listened to, and not because Spotify thinks I’d be down for an Aoki remix or that I might like MGMT (because Radiohead, obviously). I’m honestly surprised to see that track as the first one, as it’s little more than your standard modern-day anthem house rub – there’s thousands of tracks like this one out the. The second track has some cool ambient-electro vibe going for it, but the lyrics are just wack ‘get-wrecked’ party-hop nonsense. He doesn’t even sound that sincere, simply catering to the festival kids. Or maybe that Aoki impression’s still lingering. Will have to hear more of his material for a better idea, and I suspect Spotify will force upon me at that.

Odds I’ll Listen Again: 2/5

Weezer - 1. Island In The Sun / 2. Say It Ain’t So

Well sure, may as well get these guys in there at some point. Like many of my teenaged era, I enjoyed their Blue Album, then promptly stopped giving a shit. Okay, that’s not entirely accurate – the ongoing drama of Weezer’s rise-fall-rise-fall-rise-fall in the world of pop is its own unique brand of fascinating for any music enthusiast. The last song I heard from them was the “we’re all on drugs” one, whatever it was called, and I can’t say I’m in a hurry to check out their back catalog. Although, hearing these two songs, especially Say It Ain’t So again, sure does tug at my nostalgic centre. Maybe I ought to finally check out that Pinkerton LP…

Odds I’ll Listen Again: 3/5

Pye Corner Audio - 1. Perfect Secrecy Forever / 2. Sleep Games

Ah, finally something that looks new and interesting. I’ve never heard of this guy before (Martin Jenkins), but he’s been quite busy on the digital release realm, putting out quite a few Black Mill Tapes between albums – he even offered them in tape formats! I should also mention these two tracks aren’t the first pair of suggestions at Spotify, but since the proper first two are both on the John Talbot DJ-Kicks mix, I figured these are more representative of what Pye’s all about. Perfect Secrecy Forever, which came out this year, has a chill-trance New Beat thing going for it, which has been seeing something of a minor bump in interest of late. Sleep Games, the older cut, has a similar sluggish rhythm, though has more of a classic EBM menace about it. I like it. The world could use more New Beat.

Odds I’ll Listen Again: 4/5

Grateful Dead - 3. Touch Of Grey / 4. Truckin’

Another repeat. But wait, this Grateful Dead has a different picture. Maybe it’s a different Grateful Dead, one that- (*clicks link*) Nope, still the same ol’ Dead. What’s funny is Touch Of Grey is about the only Dead song I know off hand, and only because it was so ubiquitous on classic rock stations. I also didn’t know it was a Dead song because it sounds so bloody ‘80s, and that’s the last era of music I’d associate with the band, despite their activity lasting well into that decade. Truckin’ is more what you’d expect from a ‘60s hippie jam band. Nothing else to say here that I didn’t say in Round 1.

Odds I’ll Listen Again: 3/5

will.i.am - 1. Scream & Shout / 2. Feelin’ Myself



Odds I’ll Listen Again: 0/5

Hybrid Minds - 3. Fade / 4. Trauma

Finally… finally, a repeat I was looking forward to. Only took you four tries to get that right, Spotify. These songs are also from two more different singles, so mixing things up too. I just might not give up on you after all, Spotify Suggestions. Fade and Trauma stick to the same smooth, jazzy liquid-funk vibe that’s given Hybrid Minds props within the jungle scene. Getting more of their tunes just became higher.

Odds I’ll Listen Again: 4/5


This Survey was even more erratic than the last one, yet somehow comes away with a near-identical final tally of 24/50. If this feature’s supposed to improve with the more data it gathers on my listening habits, this is actually a worse result than before. I can’t imagine the Artist Suggestions getting any lower than will.i.am though. It just can’t…

Neil Young - Archives, Vol. 1: Disc 8 - North Country (1971-1972)

Reprise Records: 2009

“Mr. Young, you've achieved fame and fortune before your Thirties, have achieved more in a decade's worth of music than most could hope for in a lifetime, performed with a multitude of talented musicians covering a wide range of rock, country, folk, and even a God damned symphony while in London. What do you plan on doing next?”

“I'm gonna' get me a ranch, and get away from all you spazzes.”

Well, okay, he didn't say exactly that, but he was inching ever closer to diving “for the ditch”, as Young so eloquently put it in a few short years. The final music disc of Archive, Vol. 1 is almost bittersweet in how it caps off the box-set at the absolute peak of ol' Shakey's commercial success, most of his material from Harvest accounted for. That's another album I've already reviewed, so check that one out for the particular details of how his most popular record came into being. The only additions from the Stray Gators sessions that didn't appear on Harvest include Bad Fog Of Loneliness, Journey Through The Past, and an extended take of Words (Between The Lines Of Age). I think this material was featured in Young's movie soundtrack, but I never bought that, despite the allure of having Young and a rare-ish Beach Boys tune on the same record!

Another live recording of Heart Of Gold starts out North Country (1971-1972), included as evidence for his admittance at having little prior experience using a mounted harmonica (I guess). The back end of Disc 8 includes a couple more examples of Neil’s “heavy political material” in Soldier and War Song with Graham Nash (what, no Crosby or Stills?). And that’s it, the end of Archives, Vol. 1. We’re done, over, finished. Boy, that week blew by fast. Thank God though, as I couldn’t take much more Neil in such a single sitting again. I enjoy his music, but not that I must hear it all the time.

Is this where I absolutely, definitely, positively recommend this box set? No, of course not - only a hardcore Rustie should bother with Archives, Vol. 1. If you do intend to take the plunge based on hearing a few songs from this era, I still wouldn’t recommend it much as an exploratory dive-in point – checking out the albums is a safer bet. That said, Archives, Vol. 1 is handy in gathering all his disparate output into one, tidy package, and the sound quality can’t be beat if you spring for the DVD or Blu-Ray bundle. Plus, every track has a different custom ‘video’ crafted for it, a short film of either a record (official release), reel-to-reel (previously unreleased material), or other medium (cassette tape, 8-track (lol)) playing in a unique setting surrounded by pertinent memorabilia – yes, even for minute-long ditties like Cripple Creek Ferry. With one-hundred twenty-eight tracks total, that’s a remarkable amount of affection and care given in presenting Young’s material. Would any self-respecting Rustie expect less?

Neil Young - Archives, Vol. 1: Disc 6 - Topanga 3 (1970)

Reprise Records: 2009

Despite taking a step back from the limelight, Neil Young once again found himself a very important person in the world of American rock. It'd only been half-a-decade since he sought music fortune in Los Angeles, and he'd accomplished more commercially and creatively than most could have ever hoped for in that time, even for the fruitful '60s. What else could he do beyond being part of Crosby, Stills, Nash & Young, one of the country's most popular bands?

“How about scoring a movie?” suggested Young's Topanga neighbour Dean Stockwell. Yes, that Dean Stockwell, who'd been interested in scripting and filming a movie called After The Goldrush. It piqued ol' Shakey's interest enough to start writing a few tunes for it, and though the film never materialized, some of the intended music turned out to be some of the highlights of Young's album of the same name (Tell Me Why, After The Goldrush, Don’t Let It Bring You Down). It also sparked his creativity ever further, vivid lyrics compared to songs past, and unafraid at stretching his limited vocal range into areas yet attempted. You can really hear him crackling the high notes in After The Goldrush for the first time, exposing a naked sincerity to his music.

The other two standouts from these sessions are Southern Man and When You Dance, I Can Really Love, capturing Young and his Crazy Horse band in full-on swagger musically. Added to the mix is seventeen year old Nils Lofgren, a budding guitarist that’d been something of an understudy to Young. In what had to been either crazy brilliant or brilliantly crazy, Neil suggested Nils play piano for these songs, an instrument lil’ Lofgren had no prior experience with. The kid fuckin’ smashed it! That’s Mr. Young for you though, so often bringing the best out of those around him.

Also, something must have lit a bug up his ass, because Young got incredibly political at this point in his career – post hippie activism, I guess. Southern Man was already an incendiary condemnation of, well, southern redneck ‘justice’ and treatment of African-Americans. Then the Kent State shooting occurred, and within days, Young was calling upon his super-group brothers-in-arms Crosby, Stills, and Nash, ready to unleash an incendiary attack on Nixon for the travesty (Ohio). After all, if you’re being billed a very important rock band, might as well use that platform to get a very important message out there too. It’s a trick the group would do again while touring together as Young was promoting his Living With War album during Bush Jr.’s administration.

Some live stuff from CSNY round out the rest of Topanga 3 (1970), including a bit of silly stage banter while struggling with a bass guitar set-up. After fuffing about, Neil says, “We’d like to do a serious song now.” “Some of our heavy political material,” Stills deadpans. “This song of Neil’s got us thrown right out of Kuwait.” Ohio? Nope, Tell Me Why. Oh, those jokers.

Neil Young - Archives, Vol. 1: Disc 4 - Topanga 2 (1969-1970)

Reprise Records: 2009

Having gotten the solo stylee out of his system, Neil Young finished off his modest first tour and high-tailed it back to Topanga. He had unfinished business with that Crazy Horse trio of Danny Whitten, Ralph Molina, and Billy Talbot he stole from The Rockets, an album with them to complete after enjoying such an invigorating first session that saw Down By The River and Cowgirl In The Sand emerge. Having spent some time properly preparing for new recordings, the songs written were far shorter, less about extended rock jams and such. The big tune off this outing was Cinnamon Girl, and if you’ve still yet to hear it after I explicitly told you to in the Everybody Knows This Is Nowhere review… Well, now you have no excuse. Ignore my recommendation once, shame on you, ignore my recommendation twice, double-shame on you!

This second recording session included a few more songs that ended up on the group’s first album, plus a handful more that would fill out Young’s second solo outing After The Goldrush. Crazy Horse were also working on their own album, which would have the fun country-stomp romp of Dance Dance Dance as a highlight even though Young often played it solo too. On Disc 4 is a ridiculously charming drunken hoe-down version – what’s even going on with those hi-hats? Love it!

While back in Topanga, his old musical comrade/nemesis Stephen Stills from the Springfield got in touch with Neil about joining his current band, Crosby, Stills & Nash, the idea they’d become an American super-rock group that could creatively rival anyone from the UK. Okay, maybe it’s just my being of a totally younger generation, but really? Neil Young’s awesome, no doubt, and Stills plus David Crosby were undeniably at the height of their musical potential in the late ‘60s, but I’ve a difficult time believing this group was anything close to The Beatles or The Who. Then again, Stills and Young did have the same creative synergy going for them that Lennon and McCartney had, so who knows, maybe they were onto something after all.

The other half of Topanga 2 (1969-1970) mostly features tunes recorded in anticipation for the first CSNY tour, including their performance of Sea Of Madness at Woodstock. Oh yeah, Young was at Woodstock, because of course he would be, though he mostly kept out of sight even when on stage. Guess he hadn’t gotten over that ‘too big an audience’ hang-up he had that led him to playing coffee houses in the first place. Dammit, he wouldn’t have this problem if he would just stop making great music, but Young never lets his creativity sit fallow for long.

Anyhow, the CSNY tunes on Topanga 2 are nice, vastly more studio polished compared to the Crazy Horse stuff. Can’t say I’m much of a fan of this super-group, at least with the songs Young initially contributed. Shortly though, he’d kick out one of their all-time classics.

Neil Young - Live At Massey Hall 1971

Reprise Records: 2007

The idea of resurrecting old live gigs was definitely tantalizing to Neil Young fans, given the rumours of how much mint material remained untapped and unheard by public ears in decades. Yet while the first release of this series, Live At The Fillmore East, was cool for what it was, it still felt slight, barely a cursory glance of those particular shows. While I doubt folks would be disappointed if the Performance Series carried on that way, some had to wonder if the format could be improved upon.

Whether by coincidence or design, they got their answer in the second volume, Live At Massey Hall. This show was deemed so good by Young’s long-time producer David Briggs that he pleaded it be released rather than Harvest. Young decided against it, but considering how popular that album went on to be, the Massey Hall recordings must have been incredible. Yeah, it is, though in an unexpected way.

Despite having an established career playing acoustic rock and folk, there’d only been sporadic official live album of this side of Young, and even then with backing musicians. This was the first full concert album of Neil playing just by himself, nothing more than an acoustic guitar and a piano in his arsenal – not even a harmonica shows up!

Such a stripped back performance works well enough for small, intimate venues like coffee houses and cellars, which Young had toured in for some time when he first went solo. By 1971, however, he’d become quite the star, and small, intimate venues were a thing of his past. Yet here he is in Massey Hall playing his music for a large, at times rowdy audience, and treating it as though it was for a group of fifty.

Therein lies Live At Massey Hall’s magic. There’s a real sense of stage isolation while listening to this, Young retreating into his own space as he sings. At times, when he belts out the high notes of Old Man and Down By The River, his voice echoes across the hall, further adding to that sense of remoteness. You can easily picture him surrounded by darkness up there, a single spotlight glowing from above keeping him from disappearing altogether. Despondent songs like Bad Fog Of Loneliness, Tell Me Why, A Man Needs A Maid, and even Cowgirl In The Sand completes the picture, even without the DVD aid of concert footage.

And yet, this all creates a stronger connection to him as a performer, where he’s allowing us into his private domain. It helps that he has a very respectful audience (mostly hippies his age, apparently), enthusiastic between songs, and remarkably quiet when Young sings. Maybe it was unfamiliarity with the music he debuted at this concert (“Heart Of Gold? Never heard of it.”), or maybe it was the Toronto crowd welcoming back a native son. Whichever the case, Live At Massey Hall was an early highlight of the Performance Series, one that’s yet to be repeated.