neil young

I love "Revolution Blues" and "For the Turnstiles"...don't think I singled those out.

I know. I'm defending OTB, which to my ears, based on these songs and Side Two, is his best album since Everyone Knows....

"Walk On" sounds exactly what I'd expect a revenge song directed at Crosby, Stills, and Nash to sound like--it's a little tepid.

I think I'd have to paraphrase your own incredulity there, Alfred: Am I reading you correctly? After the Gold Rush is inferior to On the Beach?

To my ears, yeah. Several classics, some meh stuff, but it's his vocal choices that put me off more than the songwriting.

So I may join you in obloquy here.

all Neil Young records are special

Hang on while I look up "obloquy."

(45 seconds later.) You may, yes. I count one mediocrity ("I Believe in You"), one song overplayed-into-nullity ("Southern Man"), and the rest perfection, and sometimes better than perfection (the rest of side one), even though better than perfection is theoretically not possible.

"Birds" man...."Birds"

“Birds” is almost too much after everything else on that album. Heart wrenching.

If we're playing Crazy Opinions, I think "I Believe in You" is the best song on After the Gold Rush, and certainly All Time Top-20 Neil.
It's so strange to me that people can agree that an artist is great and each have upside down evaluations of what's good. First time that really struck me was Chris O'Leary's Bowie blog, where he said his favourite Bowie song is "Queen Bitch", which I'd call maybe seventh-best song on Hunky Dory alone.

Always liked the Meters' version of "Birds," and the 1972 album it's from, Cabbage Alley.

https://www.youtube.com/watch?v=Y8o0_qug_mE

I think that probably is an unusual choice, Halfway. But that's fine--I think "Ocean Girl" and "Country Girl" are two of his 10 greatest, and I don't think I've ever come across anyone who agrees with me on either.

I count one mediocrity ("I Believe in You")

How could you.

“Birds” is almost too much after everything else on that album. Heart wrenching.

It's over. It's o-o-o-ver.

That Meters cover is great stuff

Yeah, thanks. New to me.

As much as I'd hate to be without "Ambulance Blues," I'd also take Harvest over On the Beach if I could only have one. I think Harvest is underrated to about the same degree that On the Beach is overrated--in part because of Neil's own putdown of the album in Decade's liner notes.

I waded through Christgau's thing...mind wandered, but I agree with him about how good Time Fades Away is.

I'm supplying in a kindergarten class today--I'll ask them what they think about On the Beach, bring some closure to this.

I entered junior kindergarten in 1976, when Mrs. Grasser put on side two of On the Beach it always meant naptime.

Only kindergarten class that ever had "dune buggy" as one of their 'd' words in their alphabet books.

start 'em Young

I'm always astonished to hear people bag on "See the Sky About to Rain", Jimmy McDonough even circles back to it more than once in Shakey to dismiss it, one of Neil's perfect songs imo. Especially when the only & obvious clunker on that record is sitting there in plain sight at the end of side 1:

https://i.imgur.com/j8cDEP0.jpg

His only experiment with 12-bar blues, right? Meh.

vampire is my least favorite on the album as well. it's not bad by any means, and i do like the "good times are coming, i hear it everywhere i go, but they sure are coming" refrain - i missed living in the 70s (so that I could instead focus more time on living through this hell-saga), but that line instantly brings me to the mood of post-60s hippy dream dead recession oil crisis

"good times are coming, i hear it everywhere i go, but they sure are coming

...slow."

This Note's for You must have some 12-bar blues on it? And "Cry, Cry, Cry" from Everybody's Rockin'?

...and "We Don't Smoke It No More"?

"birds" and all of after the gold rush really are such a great example of how sharp neil used to be as a lyricist. for such a loud rock kind of guy he was so insightful when it came to love and relationships. a little bit of chauvinism lurking around the corners, more as a fact of things and less as an aggressive stance, but you can't have it all.

Young strikes me as a songwriter for whom the self comes first. He keeps an eye on his moods, cultivating a state of interiority that has made him just generous enough to accept women without aggression ("Stupid Girl" an exception, and the same album has "Lookin' for a Love," which suggests the former as a bro's drunken frustration gotten out of his system).

"stupid girl" is a little tricky but ultimately i think it's more generous than it seems to be because it's calling someone out for their behavior and the gender is descriptive. whether or not that behavior is an accurate read, maybe there's something a little deeper going on and less "relating to me, neil, and how i feel about women and relationships" is another question.

i think there's some truth to him being self-centered. at his best though he gestures toward what's mysterious and unknowable about love and life. like, for all of his inability to see past himself, he knows what love is, or at least used to. as the decades wore on he lost that impulse i think. now it's all just nostalgia and second-hand political boomer cliches afaict.

maybe ultimately he just transferred all his love to guitars since that's the only convincing thing going on in his recent work from my pov lol

at least his love for guitars is of the platonic kind, rather than what roger taylor does to the car of "i'm in love with my car"

Roger Taylor didn't write a whole album about his car, though.

he gestures toward what's mysterious and unknowable about love and life.

i generally cringe at the whole "i'm just channelling these songs from the cosmos" stuff about songwriting, but there's a quality to neil's best songs that i do wonder if he even knows what they are about

"It's all the same song!"

I love the line “I saw you at Mercedes Benz practicing self defense” for some reason

like where does...cortez the killer come from? who sits down and writes that? dylan you can always see his mind at work, neil comes up with this imagery that is very dreamlike

Or those careening narratives on RNS?

XP Neil's claimed it came from eating too many hamburgers one night in high school.

“They came dancing across the water” is straight up bone chilling

"they carried them to the flatlands/but they died along the way"

that song is much more about what people in modern times long for when they think about the past, rather than any serious look into pre-conquistador aztec culture, or the conquering of it. it's a paean for meaning and unity that's been lost, vanquished by the man in the form of the conquistador. a distinctly peaceful version of it, true, but still kinda fascistic imo. i prefer "pocahontas" because it's more fun, more honest and self-conscious about being a fantasy. of course instrumentally cortez is peak neil.

i think "powderfinger" is one of the most powerful depictions of a young life cut short i've ever encountered. the combination of happenstance details of the events, the kid and his little corner of the world, along with the glimpse into his character and his will to live, driving to the flash in the sky, and then the dedication, and all of it being so ragged and raw - like, as an artistically rendered experience of being affected directly by someone's death i can't think of anything i've run across that hits me so hard. but maybe there's an element to it that's also a little sentimental, idk.

“and they built up with their bare hands/what we still can’t do today”

questioned much of what I’ve accomplished in my lifetime just from those lines, tbh.

and "Thrasher" has some of the best lyrics I've heard in a pop song: evocative and mysterious yet scalpel-sharp.

xp yeah I love that line too

“Powderfinger” really gets to me too - the vagueness of the setting, the feeling that there’s not enough time left in his life to tell everything that he needs to explain, the sense that his doing the brave and noble thing is somehow the wrong choice, even though he’s clearly doomed from the moment the song begins.

I think I said this on another thread but it’s hilarious to me how on “Thrasher” the line “how I lost my friends I still don’t understand” is followed by a couple verses absolutely going in on Crosby Stills & Nash.

I think there is something about "Cortez," as written and performed, that can be self-revealing: the killer man, "dancing across the water," bad man, but then I lean in for thee killer guitar---how aware was he of this possible effect---? Maybe it doesn't matter, but, in any case, well-played, sir.

"Cortez" has always felt to me like daydreaming about something and falling fully into the dream, a very visceral recreation of that feeling. i heard randy newman once explain his song "yellow man" as "a pinhead's view of china", and I kind experience "Cortez" as a version of that, like a stoner's fantasy about aztecs, and some of what he imagines is wrong bc hes not an expert, and also as he drifts deeper into the reverie the dream-logic takes over and it starts to become its own weird fantasy.

The slightly inferior sequel is after all titled "Like an Inca."