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Reviews Neil Young's Chrome Dreams II Tuesday, November 06, 2007 Could this be another Young classic? By Brian Wise.
CHROME DREAMS II
NEIL YOUNG
REPRISE
The relationship that musicians have with their past is often one of the factors that defines their career. Some can revisit that past and move on while others seem condemned to endlessly repeat history.
Of course, many jazz musicians have never suffered from the stultifying view that many rock fans impose on their idols by demanding they play the ‘hits’. Miles Davis and John Coltrane are just two of the giants who have been celebrated for their improvisation and vision. We are often less adventurous and appreciative when rock musicians adopt a similar approach.
Dylan seems to have had an uneasy relationship with his older songs and now frames them in entirely different musical contexts than their first reincarnations. Neil Young, on the other hand, is more likely to treat his older work with reverence while, like Dylan, still constantly moving forward. A few of their contemporaries, such as Joni Mitchell, could be added to the list here but so many are trapped by their own history.
The admirable, and inspiring, thing about both Young and Dylan - is their vision – a vision that ensures that everything they do is at least interesting, even if it is not always completely successful. Like painters, sculptors and novelists they are continually creating. This is why we refer to them as ‘artists’ (a tag so few deserve) not merely musicians.
The man who sang ‘it’s better to burn out than to fade away’ proves with Chrome Dreams II that he has done neither. He is still here and as vital as ever. This new album is, therefore, doubly interesting because by revisiting a part of his past, Young is also moving forward.
The story goes that the original version of the album Chrome Dreams contained the songs ‘Powderfinger’ and ‘Like A Hurricane.’ According to a recent interview, back in 1977 Young invited Carole King over to his house at Zuma Beach to listen to his new album. But after King offered the opinion that it was more like a demo he decided not to release it at all. (Well done, Carole!). It seems strange now that he would have taken any notice of outside advice but you have to remember that at the time King was enjoying her own phenomenal solo success and was already long-revered as a songwriter par excellence. You cannot imagine the same thing happening to Young these days.
So Chrome Dreams II is, in effect, the sequel to the original unreleased album. That is a weird concept in itself but perhaps Young wanted to tie up some loose ends.
One of my most memorable concert experiences was in April 1989 when Neil Young opened his Rod Laver Arena accompanied by The Lost Dogs with the completely new and stunning epic song ‘Ordinary People’ – the centrepiece of the new album and a song that was originally slated to appear in This Note’s For You.
As The Ghost recalled in his column last month we were amongst the few people who loved it. I was a little shaken at the time to hear so many people yelling out for songs from Harvest because I took the opening song to be a rare gift. Until now I had only ever heard it again on a live bootleg.
‘Ordinary People’ remains as relevant now in spirit, if not in all the lyrics, as when it was first written. The song features a horn section, a strident rhythm and lyrics that are as occasionally obtuse and as foreboding as those Dylan might have penned. The sheer length of the song ensures that you hear plenty of Young’s guitar.
The other epic, and a song that is possibly even more satisfying, is the fourteen and a half minute ‘No Hidden Path,’ which starts with a powerful guitar motif and features Young intoning ‘show me the way, I’ll follow you today.’ If you hadn’t already heard enough of Young’s electric guitar, the final five minutes provides some playing that is almost on par with ‘Hurricane’ and will no doubt thrill fans as the song rolls to a close.
However, those two monster tracks shouldn’t overshadow ‘Spirit Road’ which clocks in at a spritely six-and-a-half minutes but is more focussed and ‘Dirty Old Man,’ a slice of classic rocking Young crammed into less than three-and a half-minutes.
Elsewhere, you will hear the other side of Young’s musical persona. Those who annoyingly persist in yelling for Harvest will probably be pleased to know that at least half the songs on the album witness the reflective, introspective Young exploring some of the same subjects that he has done in the past. They will also be delighted with the lead off song, ‘Beautiful Bluebird’ (from 1985) with its harmonica, acoustic lead, harmony vocals and rustic imagery.
‘Boxcar,’ which he also performed at that 1989 Melbourne concert, features harmonica and acoustic lead. (The song was originally set to appear on another aborted album Times Square).
‘Shining Light’ is a sweet, soulful serenade while ‘The Believer’ is another of those acoustic loping ballads that Young seems to be able to pull out at random. ‘Ever After’ might have come from After The Goldrush.
Chrome Dreams II closes with ‘The Way,’ a gorgeous and optimistic song that features Young, augmented by a children’s choir. It is the perfect way to end what is yet another tour de force.
Young is assisted in translating his visions to disc by musicians with whom he has had a long-time empathy: Ben Keith on pedal steel guitar, dobro and other instruments; Ralph Molina on drums; and, Rick Rosas on bass. It should not be overlooked that it is this group of compatriots that help to give Young his distinctive sound as they move with ease from ballads to rockers.
Time will tell if this is a classic Neil Young album (it sure sounds like it to me) but the fact is that, at sixty-two years of age this month, Young can still stand and deliver with the best of them. This is why he is revered by audiences of all ages.
(By the way, we can also look forward to more releases in the Archives which are alleged to include five box sets of unreleased material, each containing eight CDs and DVDs!)
Brian Wise
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