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Post by sloopjohnc on Jun 19, 2020 17:18:41 GMT
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Post by sloopjohnc on Jun 19, 2020 17:19:40 GMT
Listened to it this morning. Reminded me of Harvest, Old Ways, and that ilk of albums. Less produced than Old Ways. Like Yves and I were discussing on Facebook, I didn't like Florida, but the rest of the songs are pretty good.
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Post by Sneelock on Jun 19, 2020 17:30:10 GMT
I'm a little startled by how "Harvest 2" it sounds. I think I like it.
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god
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Post by ~ / % ? * on Jun 19, 2020 17:41:06 GMT
Is this an album of current new songs or one of his archival digs?
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Post by Charlie O. on Jun 19, 2020 17:47:07 GMT
Is this an album of current new songs or one of his archival digs? Archival. It was scheduled for release in '75, but Neil decided to release Tonight's The Night (recorded in '73) instead.
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Post by ~ / % ? * on Jun 19, 2020 17:48:27 GMT
Is this an album of current new songs or one of his archival digs? Archival. It was scheduled for release in '75, but Neil decided to release Tonight's The Night (recorded in '73) instead. Thanks! Does that mean it's live or studio ? Is this stray gators ?
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Post by Charlie O. on Jun 19, 2020 17:53:21 GMT
Studio, backed by a mix of people.
Curiously, Levon Helm, Robbie Robertson, and Stan Szelest - all members of the early '60s Hawks - play on it... but not on the same songs.
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Post by Charlie O. on Jun 19, 2020 17:53:48 GMT
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Post by ~ / % ? * on Jun 19, 2020 18:07:12 GMT
I have a real ambivalent "don't call me" relationship with neil. Right now I have On the Beach playing. For me Neil works best solo acoustically, lots of nice modal stuff. He tends to be rhythmically inert, particularly when electric with a band, lots of mid tempo, drag drop beats. I have long viewed his hippy prophet status with possible fans liking to be stoned. I do love Rust Never Sleeps and Decade usually fits the bill, but Time and Tonight are too mid tempo plodfests. I do like the idea of his archival excavations, and they seem to show his creativity.
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Post by Sneelock on Jun 19, 2020 18:13:19 GMT
...and his affinity for mid-tempo plod fests!
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Post by Reactionary Rage on Jul 3, 2020 13:46:01 GMT
Some great stuff, some not so great stuff but it's great that this material is available.
I've created my own Homegrown that emphasises the end-of-a-reLationship frazzled heartbreak Young talked about around that time.
Ergo, so long a couple of tracks and hello Hawaii and Give Me Strength (wonderful) from the recent Hitchhiker set.
I also added Campaigner cos I'm a bad man but the loneliness in that song and heightened empathy feels thematically not too dissimilar.
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Post by Deleted on Jul 3, 2020 17:48:54 GMT
I have a real ambivalent "don't call me" relationship with neil. Right now I have On the Beach playing. For me Neil works best solo acoustically, lots of nice modal stuff. He tends to be rhythmically inert, particularly when electric with a band, lots of mid tempo, drag drop beats. I have long viewed his hippy prophet status with possible fans liking to be stoned. I do love Rust Never Sleeps and Decade usually fits the bill, but Time and Tonight are too mid tempo plodfests. I do like the idea of his archival excavations, and they seem to show his creativity. I'll always be a bit mystified how he has the reputation he has. Plodfest is a good description of much of his songwriting, he's got very little affinity with complex melody. At his best he does have a heartfelt quality though.
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god
disambiguating goat herder
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Post by ~ / % ? * on Jul 3, 2020 18:12:27 GMT
I have a real ambivalent "don't call me" relationship with neil. Right now I have On the Beach playing. For me Neil works best solo acoustically, lots of nice modal stuff. He tends to be rhythmically inert, particularly when electric with a band, lots of mid tempo, drag drop beats. I have long viewed his hippy prophet status with possible fans liking to be stoned. I do love Rust Never Sleeps and Decade usually fits the bill, but Time and Tonight are too mid tempo plodfests. I do like the idea of his archival excavations, and they seem to show his creativity. I'll always be a bit mystified how he has the reputation he has. Plodfest is a good description of much of his songwriting, he's got very little affinity with complex melody. At his best he does have a heartfelt quality though. Yeah, the heartfelt part is worth something, he had a certain look/charm during the 70s that gave him credibility with the heavier crowd (Zeppelin, Sabs, etc.,) and the rootsier crowd (dead, allmans, outlaw country, etc.,) both strong live/stoner audience crowds, which he seemed to be able to court. His 80s were a mess that would have destroyed most careers, but some how he survived and "cameback' to warble another day, to increased but limited adulation.
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