Neil Young & Crazy Horse - Psychedelic Pill, Oct. 2012

god who cares

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Foster The People shout-out reminds me of when the shakey author gets butthurt that Neil was praising human league and flock of seagulls circa trans

all the little babies down by the river
better run from my gun
faster than my bullet

best if you imagine neil singing it like the o'jays

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can't believe neil didn't answer my question! COME ON.

anyway, about the new record- Ramada Inn and Giant are probably the best songs on it.

I refuse to believe that Neil means most of these answers, especially Foster the People. Bad taste or no, I will not believe that.

― grandavis, Wednesday, October 24, 2012 4:15 PM (38 minutes ago) Bookmark Flag Post Permalink

Why? he's just a guy

with bad taste

/unfunny

still holding off on listening to the new one. i don't know why! is the PONO available yet?
but i can recommend this
http://media.tumblr.com/tumblr_mcezdxRJLD1qzvt8k.jpg
http://sweetblahg.tumblr.com/post/34248881523/oct-2012-week-of-the-horse

damn awesome tyler
what's "Singer without a song"?

another new one? apparently co-written with willie nelson's son. of all things.

hahaha wtf
i'm not going to allow myself to listen to any of the songs that are on psychedelic pill

Whoa folks, take it easy. I was mainly kidding, though I can imagine endless answers to that question that are more fun/exciting than Foster the People, so yeah, wish he had said something else. The "refuse to believe" was in jest though. Got no problem with The Human League or Flock of Seagulls though, Neil otm.

apparently co-written with willie nelson's son.Assuming this is Lukas. Singer-songwriter-lead-guitarist-bandleader, his quirks are his own and often well-turned.

yeah lukas nelson. it's pretty good, one of the better recent piano neil songs, i think.

this is awesome. a really pleasant surprise. best neil album since ragged glory, or at least silver and gold?

"Driftin' Back" may be up there (down there?) with the least justified epics on "Re*ac*tor" and "Broken Arrow." But then the album takes off, so good for the misdirection.

lol at the alternate mix of Psychedelic Pill basically being "we didn't feed the entire track through the phaser"

not really feeling "driftin' back" except for the part at the beginning with the driftin' backs and the band fading in out of of sync, which made me stop what i was doing and think "wow this is cool"

Driftin' Back isn't so good, yeah.
and it's a shame for an almost 30 minutes track.

"the part at the beginning with the driftin' backs and the band fading in out of of sync":
it's like "let's do the driftin' back thing in the production too!" - it's kinda pathetic imo. like those sound effect on Psychedlic Pill (the song - kinda embarrassing.

there are some good songs in here, but the rest is somewhat superficial.

you're crazy, bro

Made it almost all the way through this monster slab today...and I'm really disappointed. I wanted it to be Ragged Glory 2: Ragged-er & Glorious-er, but it's really not. The lyrics to the first song, "Driftin' Back," are so bad you figure it's gotta be uphill from there, but then you get to songs like "Born in Ontario" and "Twisted Road," and you think, "Oh, OK, this one's a concept album, too, except the concept is 'Neil Young is a wheezing old fuck looking back on his life, only he can barely manage to string a rudimentary rhyme together since he stopped smoking pot.'" The long songs - "Driftin' Back," "Ramada Inn" (the only song on here that's not first-person grumping and whining; it's about an old married couple, and I actually think he could do a hell of a job on a solo acoustic version) and "Walk Like a Giant" - have plenty of big stomping guitar stuff, but even that's kinda reined in from where it was 20 years ago. I mean, there were moments on Ragged Glory and especially Arc/Weld that you could have put up against Fushitsusha, almost, but these days the Horse is just a caveman garage rock band. I really thought I was gonna download this record, listen to it a few times, and then go pay cash money for a physical copy on Tuesday, but I am officially un-sold. Neil is now 100 percent one of those guys who, when I hear people praising his new work, I feel like they're just listening to their memories and not the actual sounds coming out of the speakers.

The second disc isn't impressive apart from "Twisted Road" and the title track. "Walk Like a Giant" boasts good off-key Horse call and response vocals but you can hum "Like a Hurricane" over them.

What was the last great song Neil wrote, opinions

I'm fond of "Fork of the Road" although I'm not going to bother distinguishing between good and great.

Fork IN the Road obv

fixed, 46:06

A
1. Ramada Inn (16:51)
2. She's Always Dancing (8:33)

B
1. For The Love Of Man (4:15)
2. Walk Like A Giant (16:29)

See, I don't like "For the Love of Man" - I'd swap in "Born in Ontario," because as dumb as the lyrics are, at least the riff is solid.

OTM
xpost

Your right, it's a better tune but I can't get past the inanity.

I think "Walk Like a Giant" is all-time.

I do like all the different sides to Crazy Horse. There's the loud stuff captured on "Weld" and "Ragged Glory" and "Rust," but there's also the moodier stuff of "Broken Arrow" and "Sleeps With Angels." This is in between, though with weaker songs than "Sleeps" but better songs than "Broken Arrow." And really, when this immediately follows "Americana," one of the most batshit things he's done, I don't know what kind of expectations you (xpost) have, really. Heard Tyler's crazy "Walk Like a Giant" feedback mix?

xpost YOU'RE

I really don't mind the nostalgia trips...I guess the thing that most bums me out is the recurrent aching for the summer-of-love thing, I prefer Woodstock-bashing proto-punk Neil

I guess the thing that most bums me out is the recurrent aching for the summer-of-love thing

This x1000. Between this album and that song about John Lennon on the new Bob Dylan record, there's a big part of me that's inwardly screaming "JUST DIE ALREADY."

lol

Although I did dig his Jimmy Page shout-outs from whenever that was

were you guys expecting Young to remember that glorious summer he read Buddenbrooks for the first time

Yeah, is ironic that Neil waited until nobody wanted or needed hippie Neil to revert to that form. And after he stopped smoking pot, too!

xpost Ha no but it would be cool if he could touch on these things a little more artfully or obliquely, not just "Oh I remember Wavy Gravy/He was a funny guy/and he made us smile"

Also: "We came so close!" w/r/t sixties is just completely idiotic

Neil has never gone deep. He runs on instinct.

which kinda failed him now

"Oh I remember Wavy Gravy/He was a funny guy/and he made us smile"

If that's an actual lyric on this record, I'm cancelling my order.

americana was so fun i hoped this would be too, but nothing here suggests that's the case

this is a great record. don't know what you people are (or aren't) smoking

about 2/3rds through my inaugural listen to "walk like a giant" and yeah neil hasn't tossed off a solo like this for a while, but that lyric...yeah, no

"instead of free associating like i used to, maybe this time i'll just say 'riding the desert wind' a couple times cuz man that shit is profound"

i've never heard Dear heather, but the songs i've heard from pill are reminding of xgau's dear heather review

Dear Heather [Columbia, 2004]
I know it's hard to get a grip on, kids, but people keep getting older. They don't just reach some inconceivable benchmark--50 or, God, 60--and stop, Old in some absolute sense. The bones, the joints, the genitals, the juices, the delivery systems, and eventually the mind continue to break down, at an unpredictable pace in unpredictable ways. Leonard Cohen has had No Voice since he began recording at 33. But he has more No Voice today, at 70, than he did on Ten New Songs, at 67--the tenderness in his husky whisper of 2001, tenderness the way steak is tender, has dried up in his whispered husk of 2004, rendering his traditional dependence on the female backups who love him more grotesque. Nor does noblesse oblige underlie all the adaptations and settings--Lord Byron, Patti Page, a Quebecois folk song, various dead Canadian poets, himself. Rather they reflect the same diminished inspiration that makes you wonder whether his 9/11 song is enigmatic or merely inconclusive. Not only do I like the guy, I'm Old enough to identify with him. But I doubt I'll ever be Old enough to identify with this. On her deathbed, my 96-year-old mother-in-law was still relying on Willie Nelson's Stardust. That's more like it. B