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Thread: Neil Young song draft

  1. #691
    Quote Originally Posted by Erik View Post
    So I guess you haven't heard Are You Passionate or Storytone.
    Storytone was the other one I'd have competing for the bottom. Are You Passionate got ripped pretty badly, but I just don't consider it anywhere near as bad as the other two. What really galled me about Long May You Run is that it sure seems like Neil just mailed it in on that most or all of that album.
    I'm just here for the baseball.

  2. #692
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    Quote Originally Posted by chancellor View Post
    Storytone was the other one I'd have competing for the bottom. Are You Passionate got ripped pretty badly, but I just don't consider it anywhere near as bad as the other two. What really galled me about Long May You Run is that it sure seems like Neil just mailed it in on that most or all of that album.
    I wouldn't argue "all" but I can see the case for "most." No one was thinking clearly during those sessions -- I presume you've heard the story about how they fucked Crosby and Nash over?

    AYP has no reason to exist and Storytone is a massive failure of execution. I don't think LMYR fits either of those descriptions.
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    We pinch ran for Altuve specifically to screw over Mith's fantasy team.

  3. #693
    Quote Originally Posted by Erik View Post
    I wouldn't argue "all" but I can see the case for "most." No one was thinking clearly during those sessions -- I presume you've heard the story about how they fucked Crosby and Nash over?
    Given Crosby's arrogance, pigheadedness, and general difficulty to work with, I'd have said "rightfully excluded"
    I'm just here for the baseball.

  4. #694
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    64. Days That Used to Be (Ragged Glory, 1990; written and first performed in 1988)
    Days That Used to Be is one of the few songs on Ragged Glory that would sound at home on almost any of Neil's albums. It's a folk-rock song amidst a sea of garage rock. Written in 1988 on the same boat trip that produced Sixty to Zero (which evolved into Crime in the City) and another tune I'll get to later, this one finds Neil in wistful mode, pondering the human costs of his dogged pursuit of his musical vision and navigation of the industry that made him famous. Its early performance history is a testament to its versatility; it debuted with the Bluenotes, then appeared in the acoustic sets of some of his early 1989 shows with The Restless (the Bluenotes without the horns), then was heard in the warmup shows for what would become known as the Weld tour, as well as in some of the early shows on that tour, including the one I saw (2/5/91 in Philly). Then it remained dormant until the 2014 Crazy Horse tour, a testament to the breadth of material Neil has to draw from.

    Quote Originally Posted by Kevin Seitzer View Post
    We pinch ran for Altuve specifically to screw over Mith's fantasy team.

  5. #695
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    Quote Originally Posted by chancellor View Post
    Given Crosby's arrogance, pigheadedness, and general difficulty to work with, I'd have said "rightfully excluded"
    I'm sure there was some of that, as Crosby was deep into his coke addiction by then.

    Stills and Young began recording the duo album, then decided to turn it into a CSNY album and asked Crosby and Nash to come down to Miami. They did, interrupting sessions for their own duo album (which would become their third, Whistling Down the Wire). C&N added harmonies to what S&Y had already done, and recorded a few of their songs, including "Taken at All," which showed up on the CSN box set in 1991 and is about Nash's reservations over whether a reunion could work. But Crosby was not a prolific writer and was short on material, so S&Y sent C&N away so Crosby could write another song or two for the quartet album. While they were gone, S&Y (probably during another coke binge) decided they wanted to go back to the duo album idea, so they wiped C&N's vocals from their songs and told C&N not to come back. C&N were furious but ended up working together again with Stills the following year because money. C&N ended up including a duo version of "Taken at All" on Whistling Down the Wire.
    Quote Originally Posted by Kevin Seitzer View Post
    We pinch ran for Altuve specifically to screw over Mith's fantasy team.

  6. #696
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    I forgot to include Landing on Water in the discussion of worst Neil albums. Talk about a project where no one seemed to care.
    Quote Originally Posted by Kevin Seitzer View Post
    We pinch ran for Altuve specifically to screw over Mith's fantasy team.

  7. #697
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    63. New Mama (Tonight's the Night, 1975; written and first performed in 1973)
    This is the one ray of hope on Neil's bleakest album. This brief, gorgeous tune appears to be about the birth of his oldest son, but Neil grouped it with songs he wrote around the same time about death and societal decay for the original 1973 version of Tonight's the Night (though it debuted earlier, first seeing live performance on the early 1973 tour that produced Time Fades Away). Neil also brought it to CSNY reunion rehearsals, which likely led to Stephen Stills covering it on one of his solo albums. The final line, "I'm livin' in a dreamland", takes on an entirely different context when surrounded by the other TTN songs, indicating this bliss isn't going to last.

    Quote Originally Posted by Kevin Seitzer View Post
    We pinch ran for Altuve specifically to screw over Mith's fantasy team.

  8. #698
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    62. Wrecking Ball (Freedom, 1989)
    The last four tracks of Freedom is one of the best four-song sequences on a Neil album -- and the four songs, all of which will appear here, could not possibly be any more different from one another. If that doesn't speak to Neil's massive talents, I don't know what does.
    One of Neil's best piano ballads -- it puts that one on Harvest to shame -- this is a lovely meditation on being loved despite all your flaws. "My life's an open book, you read it on the radio," indeed. Bonus points for a fantastic cover by Emmylou Harris.

    Quote Originally Posted by Kevin Seitzer View Post
    We pinch ran for Altuve specifically to screw over Mith's fantasy team.

  9. #699
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    61. Shots (Re*ac*tor, 1981; written and first performed in 1978)
    Re*ac*tor is loud and noisy like many Neil albums, but much more staccato and repetitive. We learned many years later that this was on purpose, reflecting the training Neil and his wife had to do with their son who was born with severe cerebral palsy. This track is where the approach works best. It sounds like machine guns are firing, in tune with the lyrical theme. Neil didn't tour between 1978 and 1982, so this album wasn't promoted much and this song's genius went mostly unnoticed.
    You'd think the song was always meant to sound that way, but it debuted in 1978 as an acoustic tune, on the same tour from which Rust Never Sleeps and Live Rust were taken. That was a hell of a batch of songs.

    Quote Originally Posted by Kevin Seitzer View Post
    We pinch ran for Altuve specifically to screw over Mith's fantasy team.

  10. #700
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    60. Scenery (Mirror Ball, 1995)
    Cortez the Killer is such an influential song that it has been used as a template by numerous bands. So we can't blame Neil for doing that himself. This, the final and best track of his collaboration with Pearl Jam, is the best example of Neil repurposing CtK into something that kicks ass on its own. That his voice becomes wobblier as the song's narrator gets angrier is a great touch.

    Quote Originally Posted by Kevin Seitzer View Post
    We pinch ran for Altuve specifically to screw over Mith's fantasy team.

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