Forever Young # 25: "Lightning in a Bottle"

Song:  Like a Hurricane

Album:  American Stars ‘n Bars
Released:  June, 1977

I’ve never been one for the standout lead guitar.  I do recognize the talent in many cases, and cannot deny that songs associated with a brilliant lead have made their way to my top-tier favorites, but when it comes to a single instrument consistently dominating a band’s sound, I rarely if ever dive deep into their catalog.  And so, Led Zeppelin, Van Halen, the Yardbirds,  Santana, even the Grateful Dead are all of interest to varying degrees, but none will catch my imagination in the way that bands do with a guitarist who is settled more into the mix.  I’m not really sure why this is, but I believe it has something to do with the concept of the whole being better than the sum of its parts.  My own life experiences have proven this:  The most creative of environments emerge out of teamwork.

The one exception to this, from that music interest, is Neil Young.  I’ve always been bowled over by his often-overwhelming guitar contribution to songs.  Again, I can’t quite figure it out, even after writing about the man for the past 6 months.  Some of it definitely has to do with Crazy Horse, the most generous of rhythm sections, who lay out the perfect palette upon which the guitarist can paint his portraits.  But I’ve seen Neil Young play with Booker T and the MGs, and with the Bluenotes, and with other assemblages, and in each of these cases, I could not get enough of that screaming guitar sound.  Why is this?

Like a Hurricane alone may be able to decipher my unique affinity with Neil Young’s lead guitar playing.  For starters, the song captures just about everything that Young is about, which may explain why he has played it live more than any other tune in his repertoire.  It connects with both the ideal of rock ‘n rolls reckless abandon and its poetic longing, single-handedly revealing why Neil Young audiences are so diverse.   The lead vocals on the studio version are pretty subdued for a hard edged song, but this helps to balance things out as well. 

But more than anything, it’s the guitar that makes Like a Hurricane so compelling.  Neil Young w/Crazy-Horse guitar-centered jams are extensions of the lyrics, taking the listener deeper into the songs.  The jams give us all breathing room, a chance to explore further into our newly stirred-up thoughts and images as the music engulfs you (the Grateful Dead did this for me too, but not to the degree of Neil and company).  I’ve come to expect this recipe playing out over the years, and as I blasted Like a Hurricane this week on my car stereo, I once again was not left disappointed.  In the past, my thought progression with Like a Hurricane was connected primarily to live albums and live events, with the song pretty much standing on its own in my thoughts.  This time around however, my thinking evolved within the context of the album that Like a Hurricane was originally released on.

‘American Stars ‘n Bars’ is aptly named.  It may be a concept album, though it’s never been described as such to my knowledge.  Yet the out-and-about town feel is pervasive throughout.  Problems and solutions all seem to be posed from the seat of a barstool or on the hood of a parked car under the night sky.  The cover is a classic; probably Neil Young’s best, depicting the man himself passed out on the floor of a tavern.  It’s the perspective that makes the scene memorable though:  This being a glass floor, the view is from below looking up at Neil’s flattened face.  Regardless, the cover is another clue that there is a storyline here centered on a long-weekend bender.

The first cut, The Old Country Waltz, describes a down-and-outer in a bar who has just lost his lover – and now is most likely on the cusp of that bender - as the small-stage band plays a waltz in recognition of the loss.  This is followed by Saddle Up the Palomino, which comes with a devil-may-care attitude about the consequences of said bender.    Later we have a drowning of sorrows in Hold Back the Tears, and a bar hall queen with a short term solution in Bite the Bullet.  Side two begins with Star of Bethlehem, which may have been an inspiration of Bruce Springsteen’s Glory Days (another barstool lament).  The majestic Will to Love describes the not-easily attainable solution to the problem. 

 And then comes Like a Hurricane (https://www.youtube.com/watch?v=-yxiu1o63CA).

Every so often you come across an album that contains a centerpiece, which is the case here.  Like a Hurricane pulls everything on ‘Stars ‘n Bars’ together.  It makes the album coherent, which I do not believe it would be otherwise.  If the concept here is indeed a love-lost-fueled weekend bender, the aftereffect of what transpires in Like a Hurricane - that being renewed passion - makes it all worthwhile.  The most obvious cause is the focus of the singer’s desires, the woman he meets at the bar – the eye of the hurricane so to speak.  But there are other positive spinoffs as well.  One stanza in the song is particularly poignant.  It’s the concept of the singer escaping to “somewhere safer where the feeling stays”.  I believe this is a songwriter’s declaration…. to hold on to these emotions inside so you can find a way to express them before losing the intensity of it all.  It’s actually the goal of any artist.

And oh boy does Neil Young express these emotions, which is almost entirely through the guitar.  The story goes that he did rush to a friend’s home later on the evening after the encounter with that hurricane of a woman and immediately began pounding away on a piano for hours on end.  His focus was soon transferred to the guitar.  Not everyone is geared to interpret music in the way Neil Young produces it, but this song is an opportunity for these types to gain insight to just what it is that those of find fascinating with this musician.  It’s about as clairvoyant as he gets, even with the emotions being primarily spoken through the guitar.

As with any great song, there are mysteries to Like a Hurricane.  The big one for me are the diametrically opposed lyrics “I am just a dreamer, but you are just a dream” early in the song, and then later “You are just a dreamer and I am just a dream”.  I believe this has something to do with Young seizing the moment:  In relation to the first line, he is overwhelmed by the situation, yet by the second line, he’s come to grips through expression in song.  It’s Dylanesque, something many rock and folk musicians aspire to, yet few achieve.

For a kid in his early 20s, which I was when I first witnessed the performance of Like a Hurricane, the experience was primarily a visceral one.  I’m already convinced that this was the ideal experience.  But a visceral reality is very difficult to convey in words.  Yet I’ve come to the realization that it’s worth trying.  Neil Young makes it easier with songs like this one.  He captured a visceral experience and ran with it.  Like a Hurricane is lightning in a bottle.

-          Pete

Forever Young # 24: "Deep Cuts (of the music-video variety)"

Song:  People in the Street
Album:  Landing on Water
Released:  July, 1986

 Well, I’ve bounced all around Neil Young’s discography for this blog, excepting for an 8-album stretch covering that bizarre decade we all know as the 80s.  This was a truly outlandish period for Young and many other musicians.  Was it John Lennon’s death in December, 1980 that initiated the whole scene?  Was it the election of a former Hollywood actor to the presidency of the United States during that very same time period?  Though each was quite the jolt, I think not.  The biggest culprit was most likely MTV, which became immediately popular upon its launch in August of 1981. Suddenly, a shift occurred.  Appearance and cleverness rose to the level of musical quality and performance.  The wave in the hair lick now equated with the mastery of the guitar lick.  Other performing arts succumbed to this new world of style over substance, but none to the level of pop music.  This is not to say that Neil Young was a victim of this new compromise.  But critiquing his output during this period, there can be little doubt Young was affected by it all. 

In the upcoming months, I’ll be making the occasional foray into this period in the career of Neil Young.  I can’t say I’ll be doing it consistently.  I’m pretty sure even Mr. Young wouldn’t risk such a venture.  There’s just too much baggage there.  But it is worth a revisit; intangibles that deserve some fleshing out.  There’s plenty to weave through, although I anticipate the inspirations are likely to be few and far between.  Yet, I relate it to making your way through your grandparent’s attic.  Most boxes contain artifacts beyond your understanding or interest.  And then you open up a chest and there’s that gem of a photograph or a family heirloom, or a collectible. 

I’ll start here with People in the Street off the 1986 album ‘Landing on Water’.  Years ago, before YouTube, I stumbled across this video on the internet (https://www.youtube.com/watch?v=QOVkzZn48vo).  The song is about the plight of the homeless, and yet the upbeat bop/techno/new wave mood of the music in People in the Street, which is reflected in the video, betrays the empathetic lyrics.  Strangely enough, however, I found myself drawn to this video.  Why?

I do admit to having a weak spot for new wave/techno music.  Not much of one, but it’s there.  In high school, I was not only listening to old Beatles and Stones.  I was also tuned into the music coming out at that time:  the Cars (I still believe ‘Candy-O’ to be underrated), Joe Jackson, Supertramp and even Gary Numan and the Knack.  Most of this music was late 70s and so I pretty much had my fill by the time techno music took full effect in the 80s, which again was fuelled by MTV.  By that time I was full scale into the Who, which pretty much saved me from 80s limbo: There are times where it can be said being stuck in the past is a good thing.

There’s more to my connecting to this video than the music, however.  Watching it reminds me a bit of the movie ‘Cabaret’, which approaches the rise of Nazi Germany in the early 30s from the perspective of the passive world of cabaret performances in Berlin.  At the beginning of the movie, Nazi youths are treated with scorn in the back alleys, but by the end of the movie the entire audience at the cabarets are brownshirts and the ominous amoral emcee carries on, intrigued by the developments from a devilish point of view.   The key to the movie are the musical stage performances, which are upbeat.  But every song drives home a point, underscored by the scary developments happening on the streets outside.  Like 'Cabaret', People in the Street drives home a point, in an offbeat sort of way. 

 Finally, I’m impressed with the musician himself.  Neil Young showed a penchant for not following established rules in the 80s.  I mean, can you picture David Crosby doing a song/video like this, or Lou Reed, or any iconic 60s rock musician?  There’s something to be said for breaking the mold.  This approach to life refreshes you.  It revitalizes you, and it matters not if what you do is a setback really.  What really matters is that you did it!  I believe that by taking high risks in the 80s, Neil Young made it possible to do what he did in the 90s.  And ya know what?  ….I think he knew this all along.

There’s humor in this video, in the form of dog shit.  Young hilariously steps over it at the 0:19 minute mark of the attached link, and then inadvertently steps into it at the 0:42 (which he does not notice until the 0:53 mark).  At the end of the video, one of his sidekick’s slips in more dog shit (4:17).  And what’s with the ever-present white car driving back and forth between the 1:18 and 1:32 marks and appearing in several other scenes (including with a sailor standing at the drivers-side door at the 3:10 mark)?  Or the cheering crowd at 3:43?  I love it all…. the feel of going off script.  Just the way Neil Young has produced much of his great music over the decades. 

But there’s serious stuff in this video too.  Neil Young looks out at a battleship at one point, no doubt making the point that the money spent on it is lost on the homeless (taking me back to that sailor by the white car observation).  And of course there are the ever-present lyrics:  There’s no glossing over anything there.  Here’s one line:

There's a muffled scream
from the alley scene
From the alley scene
comes a muffled scream
And the siren wails
while the system fails
In the steaming heat
people walk in the street
People can't run and hide
If you want to feel good then
you gotta feel good inside.

 From a topical standpoint, ‘Landing on Water’ is not a lightweight album.  Far from it!  The titles to the songs alone bear this out: Weight of the World, Violent Side, Pressure, Hard Luck Stories, Bad News Beat, and Drifter to name a majority.  Touch the Night appears to be about the feeling of losing a loved one in a car accident (with the protagonist as the hard luck driver no less).  Hippie Dream appears to be about CSN and Young’s disillusionment with their loss of idealism.  Pressure is just downright depressing.  In a lyrical context this album ranks up there with ‘Tonight’s the Night’ and ‘Sleeps with Angels’ as one of Young’s heaviest.

 I have to hand it to the Neil Young fan who stuck with him in the 80s.  Were there many?  I equate it to sticking with Pete Townshend thru ‘All the Best Cowboys Have Chinese Eyes’, ‘White City’ and ‘Iron Man’ or the Rolling Stones thru ‘Undercover’, ‘Dirty Work’ and ‘Steel Wheels’.  In Young’s case, however, it was an 8 album stretch!  That’s a long time to hang in there.  I picked up bits and pieces through this period during the time, which I’ll be addressing soon enough.  For now, however, I’ll just reconnect with this relatively unknown video, which I truly believe has its place in the grand scheme of things.

 -          Pete

Forever Young # 23: "The Journey"

Title: The Journey

 Song:  Ride My Llama

Album:  Rust Never Sleeps
Released:  July, 1979

I have had the fortune of travelling to a number of amazing destinations in the course of my life.   In the process, I’ve come away with several key insights to enhance the travel experience which I have tried to instill on my children:  Know your history, know the cultures you are visiting, and develop a strong sense of place.  The more you can identify with this type of knowledge, the better the venture will be.  You’ll find the ability to immerse yourself in your surroundings no matter the locale.  Your travel mates will appreciate it, the locals will appreciate it, and most importantly, you will appreciate it.

There is another part of the puzzle, however, which for me has always been assumed:  Try to make the journey itself a part of the story, so that in the end, getting there is at least as adventurous as being there.   Looking back, some of my top travel memories were while en route.  Perhaps it’s because these moments are when you have the best chance to bond with whoever it is you are with.  Perhaps, if you are alone, it’s the most likely chance you have to connect with your own thoughts.  Perhaps you will learn that the journey is far more than a geographic one. 

When I read Neil Young’  ‘Waging Heavy Peace’ a year or so ago, one of the take-home messages was how much he values the journey.   If there’s a rock and roll musician who embodies the spirit of Thoreau and Kerouac, it is Neil Young.  I’m willing to bet that few have crisscrossed the continent as frequently the past 30 years as he.  From all appearances, Young minimizes air travel, taking in America and Canada one pit stop after another.  It appears to be a key factor in his ability to stave off the rust.

Two weeks ago, I had the opportunity to go on a rust-free journey with my Dad.  And what a journey it was.  As with many great road trips, it turned out there was no ultimate destination, just a series of stops along the way.  In such cases, I usually refer to the farthest point as the ‘destination’, so in this case that would be the Saguenay River region in Quebec, a large tributary to the St. Lawrence River several hundred miles north of Quebec City.  With its fjords, wilderness and beluga whales, it was quite the end game; a never-to-be-forgotten hidden jewel of Atlantic America.  

But it was just part of the story.

First off, there were the pit stops.  There was ‘The Basin’ in the Franconia Notch section of the Green Mountains with its water-eroded, smooth, circular, cave-like formations, frequently visited by Mom and Dad.  Next, West Glover in the majestic “Northeast Kingdom” of Vermont and a panoramic view on an isolated hilltop, which just happens to be the idyllic home of a bighearted friend of mine at USGS, Don, who has always insisted I make myself at home on my travels through the region.  Then it was on to Sherbrooke, Quebec - a city I have had the pleasure to visit on a handful of work trips in recent years - for a sun-drenched lunch on the balcony of an Irish pub (my only regret on the trip was not stopping by the offices of Natural Resources Canada to introduce Dad to my gracious French friends there).  There were the immense Montmorency Falls the following day and later a revisit to La Malbaie, a Saint Lawrence River community that I had last crossed paths with on a family vacation in the summer of 1979.  Still later, there was the highway-interrupted ferry crossing to Tadoussac which had us in the realization that we were blazing into virgin northern territory.  Every pit stop was an experience with Dad, be it a gas station, a general store, a roadside diner, or an information center (one of which included a bee-swarm escape).

Then there were the people. Dad can make memorable connections with anyone and everyone in one way or another.  A vast majority of folks in this world deserve the recognition for which they are, and Dad makes this happen.  He draws people out of their shell, and it matter not the language barrier.  Witnessing this is a journey in and of itself for anyone with the privilege to have a day with my Dad.  It is a sight to behold, which Mom could certainly attest to.  Where I may tend to ease someone in to my realm, Dad hits people hard, quick, and direct.  I have to say it’s a brilliant trait, one I do not possess.  And it works.   I saw it play out everywhere we stopped, from the Parker Pie in West Glover (a favorite haunt of mine at the bottom of that hill with the panoramic view), where Dad kibitzed with the manager about the beauty of the area.  To the horse rider who stopped to hear Dad’s funny take on Don’s mule who we had just visited.  There was Dad’s humorous exchange with the front-desk clerk in the Chicoutimi Hotel after a long day of driving, and the hilarious back and forth with the French waitress at the Irish Pub in Sherbrooke, and the borderline confrontation with the boisterous ferry conductor (our boat ride back across the St. Lawrence River) who just happened to be a staunch Montreal Canadiens fan that wanted to rub a few comments regarding the Bs/Cs series into our still-open wounds (eventually Dad got the best of him). There was our waitress at the fantastic steak dinner restaurant (2 hour wait) in Chicoutimi on the Saguenay, and the ladies who serviced us at the lunch stop in Les Escoumins (Dad had them smirking with his repeated "C'est si bon!" exclamations).   Dad got to meet some of my fellow workers – Karen, Mike, and Kim - in Fredericton, New Brunswick later, and had them all in stitches.   The gas attendant, the park ranger, the church lady, the scaffold guys, the store clerk, even border patrol …… everyone got a kick out of Dad, and most spoke broken English at best.  With practically anyone else, many of these brief episodes on the road would have been rather ordinary, forgettable affairs.  With Dad they became extraordinary. 

Then there were the big moments; the highlights so to speak (as old friend Bob would call them).  First there was Quebec City for an overnight.  Mom and Dad have had many memorable moments there, including their honeymoon, and Dad knew the walled city well.  For me the memories in Quebec City included Winter Carnival, Nancy and Bonham.  We walked up and down and all around the lower and upper sections as well as the edges of the Plains of Abraham, with the best food in North America wafting through the air around us.  Finally we settled down for an exquisite French meal and then to top it off we trekked to a pub to watch the New York Rangers put the finishing touches on the Habs as we devoured peanuts mercilessly.  Being in Quebec City for this occasion was different than say, being in Montreal.  Quebec wants its Nordiques back.  The Canadiens could soon be mortal enemies once again, so two Bruins fan in the midst was no big deal.  Our next big moment was the awe-inspiring Sainte-Anne-de-Beaupré Basilica and some more revisited memories for Dad.  Spend an hour inside and you cannot help but be moved by the splendor and glory of it all.  The next day was another big highlight:  A whale/fjord cruise along the St Lawrence and Saguenay Rivers: Humpback, Minke and Beluga Whales, 1000 foot depths, waterfalls, splendor of a different variety.

Finally, the crème de la crème of the journey were the one on ones, including a campfire, two spontaneous and scenic picnic lunches, the boat cruise, the drives, and the dinners.  We toasted everything and everyone from Orr and Esposito to ‘The New Yorker’ to Arthur Fiedler to Johnny Rotten to Eddie Shack to the Saint Lawrence River to snowshoe hares to Ginger, to the Torans, and of course our families.  We discussed the past, present, and future.  Religion, politics and money were not off limits; nothing has ever been with Dad.  These were the moments when I realized just how much the term ‘journey’ can mean. 

Each and every day on the road, Dad gets up at the break of dawn and takes an early morning jaunt around the vicinity of his stay.  It does not matter the location.  On this trip, Dad’s 4 early morning excursions included Quebec City, and 3 majestic rivers: The Saguenay, the Saint Lawrence, and the Saint John.  This past week, as I listened to the album ‘Rust Never Sleeps’, I thought about what these moments do for him.  After all, the ritual has been there as long as I can remember, so there must be something deep to it.   Two songs off the album emerged from the pack as I pieced together thoughts related to Dad’s morning sojourns and our journey in general:  Thrasher and Ride My Llama.  They both equally explain Dad’s passion for the road and his morning routine, but in entirely different ways.  Thrasher is about sticking with your core values, with an emphasis on the effort and the sacrifice.  I’m sure I have more to say about this than what I can pull off now, and so I’ll save it for another day.  Ride My Llama (  http://www.youtube.com/watch?v=3aYTWv2rhDA ) is a bit more specific to the value of the journey (and after all, we came close to riding a mule in West Glover.  In hindsight, I believe that was what Don's mule was asking us to do when he greeted us).  I’ll run with that.  It’s a musical and lyrical testament to 4 days on the road with my Father.

Happy Father’s Day, Dad!  Thank you for an amazing journey.

 -          Pete

Forever Young # 22: "Bridging the Generational Divide"

Song:  Prime of Life
Album:  Sleeps with Angels
Released:  August, 1994

In the late 80s and early 90s, Friday’s Boston Globe Sports section would take second fiddle for me to rock critic Steve Morse’s column in the Arts and Entertainment pages.  Morse knew his music, and was a great source for getting the inside scoop on upcoming shows in the region.  One big reason why I found myself in many-a-long lines at the box office (including a few overnighters) was Steve Morse. 

 When Neil Young hit a new creative surge during this time period, Morse was one of the first to recognize how important it was.  Young had not burned out, and now he was proving that he would not fade away either.  In the process, Neil Young was connecting with rockers far younger than he, not only because his new music was relevant, but also because he was reaching out to this emerging generation in ways few elder rock statesmen do when several decades removed from their own prime.  Steve Morse was impressed by all this.  So was I.

 The seeds for staying connected to younger generations were already sown many years earlier.  1979s ‘Rust Never Sleeps’ was a call out to the punk movement (in similar fashion to the Who’s ‘Who Are You’ from the same period).  And when I first saw Neil Young perform live in 1986 (as the “Third Best Garage Band in the World” with Crazy Horse) a video montage showcased numerous rock musicians, past and (then) present.   This was the first time I’d ever seen anyone in Rock close ranks with other musicians to this degree.  And it did not escape me that in doing so, Young was also closing ranks with these musicians’ fans.  Judging from the band’s performance in front of that video screen that day, he meant all of it too. 

 I reflect on these thoughts now, primarily because I listened to ‘Sleeps with Angels’ much of last week, arguably Neil Young’s most consistent album (yes, I’m a week removed from Young’s music due to travels with Dad, who I figured may not have been keen on listening to grunge on the car ride to and from Quebec).  The only other time I passed this way for this blog was back in August, 2008 (Gem Music Video of the Week # 32).  That was my first Neil Young entry.  The song I connected with for that entry was Change Your Mind ( https://www.youtube.com/watch?v=45qX1VYONds ). It’s my favorite Neil Young recording; the penultimate cornerstone of an exquisite masterwork.  However Change Your Mind gets help from its surroundings, hence this revisit. 

 ‘Sleeps with Angels’ is Exhibit A of Neil Young’s solidarity with Generation X (‘Mirror Ball’ and “Ragged Glory” being Exhibit’s B and C respectively).  The most common review topic in relation to this atmospheric album is in regards to the title track, which is about the struggles and resulting suicidal death of Kurt Cobain (which I have also written about in these pages:  See GMVW # 95, October 2009).  But there is so much more here, not the least of which is some of Young’s best vocals and guitar work.  This album has empathy with humanity that is on par with Pink Floyd’s ‘The Wall’ and ‘Dark Side of the Moon’.  It’s that deep, but has not been recognized as such - as of yet.

 My daughter Charlotte was born the same week that ‘Sleeps with Angels’ was released.  I was hitting a new phase in my life at that time; as a Dad.  It was a strange period for me in relation to rock music.  My interest in staying on top of developments in this sphere had waned somewhat.  I let my Rolling Stone Magazine subscription lapse after 10 years of faithful monthly reading.   I attended fewer concerts.  I frequented fewer record stores.  New albums like ‘Sleeps with Angels’ crept in here and there, but I was not immersed in them as I was with albums released in years prior (like ‘Freedom’).  My focus had changed.  All the great music that came beforehand factored in my new fatherly role for sure, but for all intents and purposes, I had become dormant with new interests.

 Later, when I got my legs back, I tried to backfill the missing time.  I’ve got a long way to go, but listening intensely to the music on ‘Sleeps with Angels’ is a big step in the right direction.  This album is a revelation to me for many reasons.  First off, Neil Young was about the same age I am now at the time of ‘Sleeps with Angels’ release.  From this perspective, the album means more to me.  Young was well into his parental role in 1994 (as I am now).  He was able to look at the struggle of youth in a different light.  Where in the mid 70’s he was dealing with the death of Danny Whitten and other friends (epitomized in the epic ‘Tonight’s the Night’), now he was coming at Kurt Cobain’s plight from a far wiser vantage point.   Cobain’s contemporaries were listening.  They needed to hear this.  There were no elder statesmen to make a similar point for Neil Young when Whitten died.  There was now.  He was it, and it made a boatload of difference. 

 ‘Sleeps with Angels’ can teach us all a lesson.  Wisdom is meant to be passed from one generation to the next.  This can only happen if the elder generation is willing to open up and work with what they see coming down the pike.  It’s not an easy proposition:  Many of us create an illusion of our past for our kids, glossing over the troublesome memories or even worse outright lying about them.  In the process, we inadvertently build a façade around who we truly are.  We forgot what we hungered for in our own youth:  Honesty.  This is not to say we need to volunteer information, but when an inquiring young mind needs to hear the truth we need to be ready to break down barriers and reveal that we are not all that different.  We were once them.  Neil Young makes this brutally clear on ‘Sleeps with Angels’. 

On track two, Prime of Life (https://www.youtube.com/watch?v=UQmHHttYX0U ), Young brings us back to our glory days, when life was innocent and carefree, and the world was at our fingertips.  But there is a hint of a reality of sorts kicking in here, the notion that these days are ephemeral and so easily lost through compromise.  It’s a story that has been told often before, starting with Adam and Eve, and that would be told again (i.e. Green Day’s ‘American Idiot’).  This particular narrative is unique in representing the period it was written, unfortunately not in time for Kurt Cobain, but I’m guessing it got across to many others of like mind, ilk and age in the mid-90s.   To my knowledge, Neil Young has never talked at length about ‘Sleeps with Angels’, but my guess is that the album was jarred out of him.  There is little hint of self-reflection, as there is on many of his other albums.  And like ‘Tonight’s the Night’, much if not all of it appears to have been written on the spot.  You can hear it in the music.

 I’d like to think songs like these can help bring some of that prime of life back. It’s certainly a key reason to why I’m writing this blog.  Perhaps this was at the core of Young’s intentions in ‘Sleeps with Angels’:  To bring us closer to that period “when the mirror showed both ways”.   Steve Morse had it spot on with his glowing reviews of Neil Young albums in the early to mid-90s.  Honesty and insight in music (and elsewhere) touches the critic and fan alike. 

-          Pete

Forever Young # 21: "Rural Rejuvenation"

Song:  Country Home
Album:  Ragged Glory
Released:  September, 1990

Old friend Bouv and I used to joke around that the members of Crazy Horse would wait at their phones with bated breath for the moment Neil Young finally came calling.  Unfortunately for them, there have been stretches when that call would take quite some time (most recently a decade), seeing as Young has explored many other musical options in his career.  Inevitably, however, Crazy Horse has been welcomed back into the fold, and all was right again with the world. 

One of those gaps came before that period in the late 80s/early 90s when Neil Young got his 2^nd wind.  This rebirth was kicked into high gear with the release of his solo album ‘Freedom’ in 1989.  To sustain this new burst of creativity, Young must have realized that he needed to reunite with his old reliable jam band, and so his next album, ‘Ragged Glory’, was a Crazy Horse album.  Grunge was the sound of the youth movement of those times, and Young was aptly dubbed its Godfather (surprisingly, the 3 members of Crazy Horse did not in turn inherit the names Sonny, Fredo and Michael).  Nancy and I got to see Neil Young w/Crazy Horse perform that year at the old Boston Garden.  The opening acts were Social Distortion and Sonic Youth.  The entire event was omnipotent.  All 3 bands were on fire.  My ears rang for a day or two after; always a good indicator.

 ‘Ragged Glory’ is the kind of album that sneaks up on you.  At first listen, it comes across as not nearly as strong as its predecessor ‘Freedom’, but there is depth here, mostly when soaked in as a collective sum of parts.  There may even be a coherent concept.  I don’t often come to this conclusion.  I did here, and it was a concept I certainly could relate to.

 There are very few musicians I connect with who have a similar appreciation for rural America as I.  Most have been urban dwellers:  Townshend, Lennon, Reed, Bowie, Jagger, Davies, etc.  This is not to say the city does not have its allure:  I’ve had my fair share of great times in Boston, New York, Montreal, Chicago, Brussels, Copenhagen, Paris, Austin, Vancouver and other high-rise metropolises.  But if I had to choose, I’d take the country, and leave the city in the dust (and even more so, suburbia). 

 I believe Neil Young would too.  His love of the country is the overarching concept that I’m thinking plays out on ‘Ragged Glory’, which opens with this week’s gem, Country Home, and culminates with the closing track, Mother Earth (Natural Anthem).  This love of the rural realm is not a novel concept per se.  Many have focused on this theme, from John Mellencamp to John Denver to Gordon Lightfoot to Joni Mitchell.  But the fascination here is in the details (not to mention how hard this album rocks). 

 I thought some this week about how it was that Neil Young might have initially rolled his thoughts out to Messrs. Talbot, Molina, and San Pedro (Crazy Horse) as they prepared to cut ‘Ragged Glory’.  Here’s my take:

 Young:  “Ok, so this album will be centered on our God-given connection with the natural world, how we lose that connection, and what it takes to get it back.  The album will open and close with songs directly linked to this concept.  Most everything else will be cause and effect related to losing our way, but very little of it will be overtly obvious to the main theme.  It will be about how we compromise ourselves through life, lose our moral compass, and the risks we need to take to break away from that spiral and connect back with who we really are.”

 If I was in a band, and a member came at me with a proposal like that, I’d consider it an inspiration and a challenge.  Then I’d hone in and get to work.  Perhaps Neil Young said something like this, perhaps not, but there has to be something more behind what it is that makes this band gel so well together than what most of us know.

 The opening number, Country Home, is a perfect launch off point for ‘Ragged Glory’.  The song sets my imagination off to jamming in a barn somewhere here in my hometown of rural Pepperrell….someday perhaps.  It’s one of a handful of songs that had me picking up the bass guitar 2 years ago (yet another attempt to get good at it, this time with a lot more effort than previous attempts). The opening 14 notes to Country Home are about as upbeat as you are going to get on this album ( https://www.youtube.com/watch?v=Oms2qp4zCGU ).  The lyrics are as simple as the title hints at, but as with most of Neil Young’s tracks, the depth is in the music.  I loved this song the minute I heard it.  Take a ride on a country road with this song wailing on the stereo system.  I think you’ll get my point.

 The connections for me to Country Home (and ‘Ragged Glory in general) are in the past (Franklin) and present (Pepperell).   Franklin was a small town when my parents moved there in 1960.  They got their milk from the family-owned Brett Farm down the road on Mill Street and their eggs from “Gooey Louie” less than a mile away.   Behind our home was a chunk of woods Joe and I called “the lost forest” because of its sheer size.  Tree climbing was a routine part of the day, and on weekends Dad would occasionally take us on hikes up on “Joe’s Hill”, which was also very close.  Later when we moved closer to downtown, there were jaunts to the “Mountain” and the train tracks, both locales which I have written about on these blogs. 

I’m thankful to have something similar to old Franklin now.  Pepperell may be the closest town to Boston without a set of traffic lights.  If you head Northwest from here, you will not connect with a major highway until you get to route 91 in Vermont over 60 miles to the west or route 89, over 80 miles to the north.  In between there are over 40 towns in Southwest New Hampshire that do not border a highway.  If you are out and about early enough it is likely you’ll encounter more dogs than people, as there is no leash law.  The woods are still bountiful here, and the small town feel is everywhere. 

And yet there is a part of me that still yearns for the yesteryear that was small-town Franklin.  But that’s something that is far more difficult to go back to than simply finding a rural locale.  It’s achievable though, and I do it in bits and starts.  The visionary ‘Ragged Glory’ most definitely helps:  A masterful road map for bringing it all back home.

 -          Pete

Forever Young # 20: "Softball"

Song:  Horseshoe Man
Album:  Silver and Gold
Released:  April, 2000

 In a recent interview, Paul Simon made the self-aware observation that his singing talents are restricted to soft vocals that set a melancholy or romantic mood, while lamenting that he has never been able to growl, howl, sneer or scowl in his music.  Simon can’t begrudge his own success, but there is a risk to having soft vocals in that a musician can easily sound syrupy or corny.   Paul Simon has rarely been guilty of this, though many others with similar limitations have fallen into that trap.   

 Neil Young is far more flexible with his vocals, but he has been known to take the soft path at times, including the whole of his Y2K album ‘Silver and Gold’.  It’s hard to pinpoint how it is that musicians like Simon and Young can overcome the stigma that can often be associated with a soft touch.  In my ‘Forever Young’ explorations this year, I came across a review of a Crosby Stills Nash and Young album that made the astute observation that CS&N need Young to avoid the risk of sounding corny and syrupy .  The amazing thing about this is that when composing and performing with CS&N, Young himself frequently goes into soft mode, and yet somehow, in the process, he’s able to bring the type of edge to this band’s music that they rarely achieve independently. 

 I thought often all week about this ability of Neil Young’s to buck the ‘softie’ odds as I listened to the tracks on ‘Silver and Gold’.  It’s a gift for sure, this ability, but I think it’s more than that. I believe a lot of it has to do with maintaining one’s integrity.  Neil Young and many other successful musicians started their careers with integrity, but few have been able to prolong it in the way Young has.  This maintenance, however achieved, has put Neil Young into the upper-echelon tier of his contemporaries, and it’s a main reason why he’s been signaled out in this blog series as a deep well source for intensive and extensive reflection on my own part.  The integrity of others inspires such thoughts.

 ‘Silver and Gold’ brought me back this week, back to 10 years ago when my family and I moved to Pepperell.  It was not the easiest of transitions; few moves are.  If there ever is a silver (and gold) lining in such times though, it is that your senses go into overdrive, allowing you to connect better with your past, present and future. 

It was precisely this state of mind that I was in one deep-into-winter morning that first year in Pepperell when I slipped ‘Silver and Gold’ into my car’s cd player for a drive to a meeting in Amherst, Massachusetts.  It was still dark out when I headed west out of town, through Townsend, then up into the hills of Ashby on rte. 119; a stretch of road that reminds me of the Mohawk Trail further west in the Berkshires.  In no time I was crossing the border into Rindge, New Hampshire on a 10 mile or so stretch of rte. 119 that arches in the Northwesterly direction before intersecting with rte. 202, which would take me south, back across the Massachusetts border, through the Quabbin Reservoir watershed, and the Connecticut River Valley lowlands beyond. 

 As I made the arch into New Hampshire, I entered a large tract of forested land that surrounds Mount Watatic.  In the ensuing years, I would be discovering the great trail system in this region, which I have often hiked with friends, family, or alone, but at the time, this was all new to me.   I was not far from the more renowned Mount Monadnock region, and I took comfort in the thought that we now lived so close to all of this.  It felt relatively remote and inaccessible for the heavily populated East Coast (in general) and Boston suburbia (in particular).  This was what I was looking for as a connection for Charlotte and Peter to first make and then experience routinely while still in their younger grade-school years.

 Upon entering New Hampshire, the abundant stars above faded in the dawn light.  It was a cloudless winter morning and I could now see that there was plenty of snow on and around Mount Watatic.  It was cold out, which was made all the more obvious as I observed the frozen wetlands I was driving through.  Everything was still, a freeze frame of life, ‘Silver and Gold’ offering a perfect soundtrack to the moment. 

 I rounded a bend in the road and made a glance into the frozen wetland to my right, just as the sun’s dappling rays were catching the same location.  I was astounded to what I saw.  There on the edge of the ice was a full-racked bull moose carcass, and feeding off it was a large coyote resembling more of a wolf than the scraggly species he belonged to; at least in relation to the individuals many of us are used to seeing in New England.  I caught the coyote unaware of my presence - or more likely believing he was still shrouded in darkness -but in the blink of an eye that changed.  He looked up at me, startled for a second or two, and finally scampered into the underbrush.  The scene had me feeling as if I were much farther North, the tundra around Hudson Bay perhaps, which added considerably to that freeze frame moment, now entering the indelible portion of my mind where it has remained ever since. 

 The remainder of the trek to Amherst was a blur of Neil Young sound, along with some treacherous icy conditions just west of the Quabbin Reservoir.  I was thinking of my Uncle Bill who had recently passed away, including the last conversation I had with him a few months earlier.  I thought of my childhood memories at his home in Framingham with my cousins’ Jack and Tom, and all those Fourth of Julys.  While listening to the song Daddy Went Walkin’ I recall now the images it conjured for me at the time of the afterlife, spurred I am sure by my reflections of my uncle as well as my maternal grandfather.  I was also thinking about Pepperell; this strange woodsy world that was an adjustment for us all in terms of a location to actually reside but that eventually became our home.  Looking back now, it seems long ago, both that period of my life and the sensation of sensory overload. 

 There are 2 idyllic tracks on ‘Silver and Gold’:  Razor Love and Horseshoe Man ( https://www.youtube.com/watch?v=JnvQcPQzx88 ).  They are both about devotion, and the necessity of rebuilding and refocusing oneself to make something good last.  Last night in Utah I stayed at the historic Peery Hotel in downtown Salt Lake City for a night, with its easy access to the airport after a week at a conference in the nearby mountains.  As I entered my room to retire for the evening, a newlywed couple was crossing the threshold into their room directly across the hall from me.  They were just starting a big adventure together, and it showed on their faces.  I wondered some about what was ahead for them; the joys and challenges. 

 Earlier in the week, I had missed a connecting flight in Denver.  With ‘standby’ my only option through to the next afternoon, and a presentation to make that day, I made the somewhat rash decision to rent a car and ended up driving over the continental divide to Salt Lake City.  ‘Silver and Gold’ was thrust yet again (and again) into the cd player for good chunks of the ride west.  It was a long trip, much of it in the snow, but it gave me the chance to flashback to that drive to Amherst 10 years earlier.   No moose or coyote this time around (though I would encounter another large coyote by mid-week) but other aspects of the two trips were remarkably similar, including the convergence of journey, music and memory. 

Sometimes an album comes along just at the right time.  So it has been for me with ‘Silver and Gold’. 

 -          Pete

Forever Young # 19: "Coping Mechanisms"

Song:  Ambulance Blues
Album:  On the Beach
Released:  July, 1974

 A month ago, my son Peter wrote a fantastic essay on the World War I book ‘All Quiet on the Western Front’ focusing on the stages of emotion that a German soldier, Paul Bäumer, goes through; from patriotism to disillusionment to despair.  Peter used song lyrics to get many of his points across (a requirement), primarily quoting the songs of Eminem.  I reviewed the essay before he handed it in and I must say it was a learning experience.  First off, Eminem is a bit deeper than I had given him credit (though unlike many of my contemporaries, I’d like to think I had some genuine respect already, based on both the movie ‘8 Mile’ and Peter’s admiration for this rapper’s music).  The bigger insight for me however was that, like myself, Peter was gaining valuable lessons in life through music.  Has he been reading my blog?

 It’s been a treat witnessing Peter connect with his musical interests beyond the superficial entry point.  I’ve never really pushed my own tastes on my children, although long drives on vacation trips and the like have called for us all to comprise and listen to one another’s selections on occasion.  Ultimately, however, music is specific to the times it was written and experiencing that period oneself (or experiencing the period soon after) is important to make the connection.  To expect another generation, before or after, to relate with the music of your times can be a futile quest.  Not impossible, mind you, but at the very least an uphill battle.  Besides, I believe what we really want to see is our kids making their own discoveries within the context of their times, no matter how great we think our music is.  That’s what Peter has done with Eminem and a handful of other musicians. 

 And yet, there are artistic statements out there that not only immerse themselves within the times they were created but also transcend beyond those times. These works, be they a book (i.e. ‘All Quiet on the Western Front’), a movie (i.e. ‘8 Mile’), or any other art form, are truly meant for any generation.  In these blog pages, I have made several attempts to explain the power of a great album in comparison to an individual song or a compilation of songs (i.e. “greatest hits”).  Albums are the only way a musician can achieve this lofty achievement of immersing within and transcending beyond a time period.  Songs are simply not all-encompassing enough, and compilations are often too contrived. 

 ‘On the Beach’ is one of these albums that can speak to all of us.  It is a period piece for sure, of the mid-70s, with references to Patty Hearst, Charles Manson and the Woodstock aftermath.  The general vibe is all 70s as well, including the powerful rhythm section of Levon Helm and Rick Danko on Revolution Blues (at their ‘Last Waltz’-period peak) and the album cover, one of Neil Young’s best; a beach scene full of symbolism, including a Cadillac supposedly having sunk deep in the sand (all that is exposed is the rear fin) and a newspaper with the headline “Sen Buckley calls for Nixon to resign”.  Yes, for those of us familiar with the 70s, this is the real deal.

But ‘On the Beach’ is not stuck in its times.  On the contrary, it is far reaching.  The album does this with an overriding theme:  That of coping - carrying on, dealing with difficulty, starting with the opening harbinger, Walk On.  We can all relate to these emotions.  One could argue Bob Dylan may have taken note with the release of ‘Blood on the Tracks’ just six months later, which dealt with similar themes.  Neil Young was turning a corner with this album.  ‘On the Beach’ has a feel that Young was in it for the long haul, albeit far removed from his 60s blind-faith glory days.  He comes to terms with this new reality here, but in doing so, he stands true to his principles.  After listening to this album again for this entire week, it is not surprising to me that Neil Young is one of the few 60’s musicians still creating in any meaningful way.  Read between the lines, with the knowledge we have now about this man’s career, and longevity is all over the place on ‘On the Beach’.

The central coping theme in the songs on this album is a response to personal loss and generational disillusionment, though it’s the latter that gets the mother lode of focus here.  But Young does not abandon his generation.  Rather he admits to being part of its failures and shows solidarity with his peers by rejecting the alternative paths of prior generations.  The final cut, Ambulance Blues collects all of this together – the times, the coping, the comparisons to other generational norms - in brilliant fashion.  One verse in the song is particularly poignant:

 

“You’re all just pissin’ in the wind

You don’t know it but you are

And there ain’t nothin’ like a friend

Who can tell you you’re just pissin’ in the wind”

Many have read into these lyrics.  From my perspective this is referring to a comment made by an elder Torontonian to Neil Young at a farmers market.  This catches Young at a low point, but other lyrics respond to this comment, including a seeming response to a first responder’s attitude toward hippies (at Woodstock perhaps?):  

“So all you critics sit alone

You’re no better than me for what you’ve shown

With your stomach pump and your hook and ladder dreams

We could get together for some scenes”

…and a reference to the Nixon scandals at the end of the song:

“I never knew a man could tell so many lies
He had a different story for every set of eyes
How can he remember who he's talking to?
Cause I know it ain't me, and hope it isn't you”

 Although Neil Young has moved on from certain songs in his vast catalog, he remains connected to this one despite its first-listen time stamp feel.  An outstanding rendition of Ambulance Blues is on the 2009 Neil Young documentary ‘Trunk’:  https://www.youtube.com/watch?v=F7LiA_rvemE

Reconnecting with my initial comments about Peter’s essay, there’s a link there to ‘On the Beach’.  Neil Young went through a transition from enthusiasm to disillusionment in the early 70s, but unlike some of his brethren (and the protagonist in ‘All Quiet on the Western Front’), he never succumbs to despair.  This speaks to a positive take from the 60s that lasts to this day: Openness.  The Beatles, Neil Young and others of that era showed us all that we could be far more transparent than earlier generations.  Perhaps there was more of a need for secrecy in the eras prior (i.e. WWII memories) but this did not have to carry over to the Baby Boomers and we made sure we broke the mold.  The 60s allowed the 70s and beyond to play out this way, and I personally benefitted from it.  Some of the highlight moments of my friendships over the years have been frank and open discussions on life, love and faith.  Heavy one-on-one conversations with Pat, Dave, Luc, Rocco, Kurt and others come to mind when I think of how I have been blessed by this generational characteristic.  I can thank the 60s era for this.

 With that said, what I really gained from that learning experience of reading Peter’s essay was a sense of a continuum that appears founded in the blues; from Bob Dylan to Neil Young to the Clash, to Nirvana to Green Day to Eminem.  Many rock and roll musicians espouse upon the influence of blues music to their own success.  For the longest time, I could not make the connection, but in recent years I’ve begun to see the light.  Blues music is rooted in bare-bones openness, no matter the revelation.  Ambulance Blues has this in spades.  It’s aptly named:  A raw, naked song that cuts straight to the soul.

 -          Pete