Similar artists

Albums

Rock - Released December 3, 2013 | Reprise

Distinctions 4F de Télérama
In late 1970, Neil Young was coming down from a bustling stretch of touring with the immensely popular Crosby, Stills, Nash & Young and had just released his third solo album, After the Goldrush. That album, lodged between the jammy country rock of 1969's Crazy Horse-aided Everybody Knows This Is Nowhere and the hushed, hermetic folk of 1972's Harvest, found an ethereal and otherworldly middle ground for Young's rapidly developing songwriting voice. Live at the Cellar Door finds a solo Young just a few months after the release of After the Goldrush, playing a six-show stint at the tiny Washington D.C. club, running through a set heavy on the relatively new material from Gold Rush, but also getting into songs that wouldn't see album release for a few more records yet. It would have been impossible to gauge at the time of the performance, but the set list of Live at the Cellar Door is a non-stop string of what would become some of Young's many timeless classics, punctuated by the sound of the unthinkably small audience clapping politely as he wove through 15 magical compositions on spare acoustic guitar and occasional piano. Not just heavy on highlights, this is a rare live recording that lacks any duds or missteps at all. Apart from near-perfect selections from After the Goldrush like its fever-dream title track, the heartbreaking "Birds," or the long look at growing up in "Tell Me Why," Young debuts future hit "Old Man" as well as the On the Beach piano dirge "See the Sky About to Rain." He also offers up a piano-only reading of "Cinnamon Girl," announcing "That's the first time I ever did that one on piano." Part of an ongoing archival series of key live dates from Young's massive career, Live at the Cellar Door includes snippets of the usual between-song banter, but a noticeably tired Young is more subdued even when making dry jokes. Sticking mostly to focused readings of his then-brand-new songs, he cultivates a somber mood, tapping into all the sorrow, wonder, and wistfulness of his early solo material as well as a few Buffalo Springfield tunes. These tracks feel much more like an album of alternate versions than a typical live recording. The intimacy and raw beauty of Live at the Cellar Door makes it not just a must for super fans, but a valuable companion piece to any of Young's early studio output. ~ Fred Thomas

Rock - Released June 24, 2003 | Reprise

Distinctions The Unusual Suspects
Following the 1973 Time Fades Away tour, Neil Young wrote and recorded an Irish wake of a record called Tonight's the Night and went on the road drunkenly playing its songs to uncomprehending listeners and hostile reviewers. Reprise rejected the record, and Young went right back and made On the Beach, which shares some of the ragged style of its two predecessors. But where Time was embattled and Tonight mournful, On the Beach was savage and, ultimately, triumphant. "I'm a vampire, babe," Young sang, and he proceeded to take bites out of various subjects: threatening the lives of the stars who lived in L.A.'s Laurel Canyon ("Revolution Blues"); answering back to Lynyrd Skynyrd, whose "Sweet Home Alabama" had taken him to task for his criticisms of the South in "Southern Man" and "Alabama" ("Walk On"); and rejecting the critics ("Ambulance Blues"). But the barbs were mixed with humor and even affection, as Young seemed to be emerging from the grief and self-abuse that had plagued him for two years. But the album was so spare and under-produced, its lyrics so harrowing, that it was easy to miss Young's conclusion: he was saying goodbye to despair, not being overwhelmed by it. ~ William Ruhlmann

Rock - Released September 1, 1977 | Reprise

Distinctions The Qobuz Ideal Discography
Neil Young's most popular album, Harvest benefited from the delay in its release (it took 18 months to complete due to Young's back injury), which whetted his audience's appetite, the disintegration of Crosby, Stills, Nash & Young (Young's three erstwhile partners sang on the album, along with Linda Ronstadt and James Taylor), and most of all, a hit single. "Heart of Gold," released a month before Harvest, was already in the Top 40 when the LP hit the stores, and it soon topped the charts. It's fair to say, too, that Young simply was all-pervasive by this time: "Heart of Gold" was succeeded at number one by "A Horse with No Name" by America, which was a Young soundalike record. But successful as Harvest was (and it was the best-selling album of 1972), it has suffered critically from reviewers who see it as an uneven album on which Young repeats himself. Certainly, Harvest employs a number of jarringly different styles. Much of it is country-tinged, with Young backed by a new group dubbed the Stray Gators who prominently feature steel guitarist Ben Keith, though there is also an acoustic track, a couple of electric guitar-drenched rock performances, and two songs on which Young is accompanied by the London Symphony Orchestra. But the album does have an overall mood and an overall lyric content, and they conflict with each other: The mood is melancholic, but the songs mostly describe the longing for and fulfillment of new love. Young is perhaps most explicit about this on the controversial "A Man Needs a Maid," which is often condemned as sexist by people judging it on the basis of its title. In fact, the song contrasts the fears of committing to a relationship with simply living alone and hiring help, and it contains some of Young's most autobiographical writing. Unfortunately, like "There's a World," the song is engulfed in a portentous orchestration. Over and over, Young sings of the need for love in such songs as "Out on the Weekend," "Heart of Gold," and "Old Man" (a Top 40 hit), and the songs are unusually melodic and accessible. The rock numbers, "Are You Ready for the Country" and "Alabama," are in Young's familiar style and unremarkable, and "There's a World" and "Words (Between the Lines of Age)" are the most ponderous and overdone Young songs since "The Last Trip to Tulsa." But the love songs and the harrowing portrait of a friend's descent into heroin addiction, "The Needle and the Damage Done," remain among Young's most affecting and memorable songs. ~ William Ruhlmann

Rock - Released June 1, 1975 | Rhino

Distinctions The Qobuz Ideal Discography
Written and recorded in 1973 shortly after the death of roadie Bruce Berry, Neil Young's second close associate to die of a heroin overdose in six months (the first was Crazy Horse guitarist Danny Whitten), Tonight's the Night was Young's musical expression of grief, combined with his rejection of the stardom he had achieved in the late '60s and early '70s. The title track, performed twice, was a direct narrative about Berry: "Bruce Berry was a working man/He used to load that Econoline van." Whitten was heard singing "Come On Baby Let's Go Downtown," a live track recorded years earlier. Elsewhere, Young frequently referred to drug use and used phrases that might have described his friends, such as the chorus of "Tired Eyes," "He tried to do his best, but he could not." Performing with the remains of Crazy Horse, bassist Billy Talbot and drummer Ralph Molina, along with Nils Lofgren (guitar and piano) and Ben Keith (steel guitar), Young performed in the ragged manner familiar from Time Fades Away -- his voice was often hoarse and he strained to reach high notes, while the playing was loose, with mistakes and shifting tempos. But the style worked perfectly for the material, emphasizing the emotional tone of Young's mourning and contrasting with the polished sound of CSNY and Harvest that Young also disparaged. He remained unimpressed with his commercial success, noting in "World on a String," "The world on a string/Doesn't mean anything." In "Roll Another Number," he said he was "a million miles away/From that helicopter day" when he and CSN had played Woodstock. And in "Albuquerque," he said he had been "starvin' to be alone/Independent from the scene that I've known" and spoke of his desire to "find somewhere where they don't care who I am." Songs like "Speakin' Out" and "New Mama" seemed to find some hope in family life, but Tonight's the Night did not offer solutions to the personal and professional problems it posed. It was the work of a man trying to turn his torment into art and doing so unflinchingly. Depending on which story you believe, Reprise Records rejected it or Young withdrew it from its scheduled release at the start of 1974 after touring with the material in the U.S. and Europe. In 1975, after a massive CSNY tour, Young at the last minute dumped a newly recorded album and finally put Tonight's the Night out instead. Though it did not become one of his bigger commercial successes, the album immediately was recognized as a unique masterpiece by critics, and it has continued to be ranked as one of the greatest rock & roll albums ever made. ~ William Ruhlmann

Rock - Released August 31, 1970 | Reprise

Distinctions The Qobuz Ideal Discography
In the 15 months between the release of Everybody Knows This Is Nowhere and After the Gold Rush, Neil Young issued a series of recordings in different styles that could have prepared his listeners for the differences between the two LPs. His two compositions on the Crosby, Stills, Nash & Young album Déjà Vu, "Helpless" and "Country Girl," returned him to the folk and country styles he had pursued before delving into the hard rock of Everybody Knows; two other singles, "Sugar Mountain" and "Oh, Lonesome Me," also emphasized those roots. But "Ohio," a CSNY single, rocked as hard as anything on the second album. After the Gold Rush was recorded with the aid of Nils Lofgren, a 17-year-old unknown whose piano was a major instrument, turning one of the few real rockers, "Southern Man" (which had unsparing protest lyrics typical of Phil Ochs), into a more stately effort than anything on the previous album and giving a classic tone to the title track, a mystical ballad that featured some of Young's most imaginative lyrics and became one of his most memorable songs. But much of After the Gold Rush consisted of country-folk love songs, which consolidated the audience Young had earned through his tours and recordings with CSNY; its dark yet hopeful tone matched the tenor of the times in 1970, making it one of the definitive singer/songwriter albums, and it has remained among Young's major achievements. ~ William Ruhlmann

Rock - Released September 24, 2010 | Warner Brothers - Reprise

Booklet Distinctions 4F de Télérama
The old conventional wisdom on Neil Young used to be that he alternated between acoustic folk and full-on guitar skronk with every other album, but 2010’s Le Noise -- the French affection in its title a tongue-in-cheek tip of the beret to his producer Daniel Lanois -- melds the two extremes. At its core, it’s a singer/songwriter album, a collection of reflections and ruminations about life and loss in the modern world, war imagery rubbing against battered memories and tattered autobiography, the songs leisurely following their own winding path, but it’s produced loudly, with Neil supporting himself with only his electric guitar for all but two tracks, where he switches the Les Paul for an acoustic. He’s not in Crazy Horse mode, spitting out chunky garage rock riffs, but strumming his overdriven electric, with Lanois tweaking the results, accentuating the ambience in post-production. To say the least, this results in a distinctive album, but it plays differently than it reads, sounding not too dissimilar from the Bush-era laments of Freedom. If Le Noise isn’t as galvanizing as Freedom, it’s because it’s created on a considerably smaller scale, its eight songs containing no masterpieces and Lanois’ moody noir production reining in Young’s messy signature. So, Le Noise winds up as something elusive and intriguing, a minor mood piece that seems to promise more than it actually delivers. ~ Stephen Thomas Erlewine

Rock - Released September 1, 1977 | Warner Brothers - Rhino

Distinctions The Qobuz Ideal Discography
Neil Young's most popular album, Harvest benefited from the delay in its release (it took 18 months to complete due to Young's back injury), which whetted his audience's appetite, the disintegration of Crosby, Stills, Nash & Young (Young's three erstwhile partners sang on the album, along with Linda Ronstadt and James Taylor), and most of all, a hit single. "Heart of Gold," released a month before Harvest, was already in the Top 40 when the LP hit the stores, and it soon topped the charts. It's fair to say, too, that Young simply was all-pervasive by this time: "Heart of Gold" was succeeded at number one by "A Horse with No Name" by America, which was a Young soundalike record. But successful as Harvest was (and it was the best-selling album of 1972), it has suffered critically from reviewers who see it as an uneven album on which Young repeats himself. Certainly, Harvest employs a number of jarringly different styles. Much of it is country-tinged, with Young backed by a new group dubbed the Stray Gators who prominently feature steel guitarist Ben Keith, though there is also an acoustic track, a couple of electric guitar-drenched rock performances, and two songs on which Young is accompanied by the London Symphony Orchestra. But the album does have an overall mood and an overall lyric content, and they conflict with each other: The mood is melancholic, but the songs mostly describe the longing for and fulfillment of new love. Young is perhaps most explicit about this on the controversial "A Man Needs a Maid," which is often condemned as sexist by people judging it on the basis of its title. In fact, the song contrasts the fears of committing to a relationship with simply living alone and hiring help, and it contains some of Young's most autobiographical writing. Unfortunately, like "There's a World," the song is engulfed in a portentous orchestration. Over and over, Young sings of the need for love in such songs as "Out on the Weekend," "Heart of Gold," and "Old Man" (a Top 40 hit), and the songs are unusually melodic and accessible. The rock numbers, "Are You Ready for the Country" and "Alabama," are in Young's familiar style and unremarkable, and "There's a World" and "Words (Between the Lines of Age)" are the most ponderous and overdone Young songs since "The Last Trip to Tulsa." But the love songs and the harrowing portrait of a friend's descent into heroin addiction, "The Needle and the Damage Done," remain among Young's most affecting and memorable songs. ~ William Ruhlmann
£14.99
£12.99

Rock - Released November 4, 2016 | Reprise

Hi-Res Distinctions 4F de Télérama
£14.99
£12.99

Rock - Released November 4, 2016 | Reprise

Hi-Res Distinctions The Qobuz Ideal Discography
£14.99
£12.99

Rock - Released November 4, 2016 | Reprise

Hi-Res Distinctions 4F de Télérama
£14.99
£12.99

Rock - Released November 4, 2016 | Reprise

Hi-Res Distinctions The Qobuz Ideal Discography
£14.99
£12.99

Rock - Released November 4, 2016 | Reprise

Hi-Res Distinctions The Qobuz Ideal Discography

Rock - Released November 4, 2016 | Reprise

Distinctions The Qobuz Ideal Discography

Rock - Released November 4, 2016 | Reprise

Distinctions The Qobuz Ideal Discography

Rock - Released June 26, 2015 | Reprise

Video Distinctions 4F de Télérama