Neil Young Never Sleeps

I just finished reading Neil Young’s autobiography, Waging Heavy Peace. I can’t say that it’s a great book — too many clichéd phrases and repetitive references to Neil’s various side projects  dampen the “wow factor” — but for any diehard Neil Young fan, it’s still a must read. Like the man’s music output, you never know what expect from one chapter to the next — and that’s part of the fun. If you can tolerate Neil’s copious references to his car collection and the “PureSound” audio project he is obsessed with launching, you’ll enjoy reading most of this book. It’s packed with fascinating anecdotes and honest recollections of his life, both inside and outside of music. Particularly touching are the passages in the book that reveal Neil’s love and devotion to his handicapped son Ben, and also to his wife, Pegi. At times I think this book could have used a strong editor, one who could have cut out some of the weaker and sillier parts, but then again those parts are just Neil being Neil, staying true to his soul, and this book gives the reader a better idea of what he thinks and cares about. And in that context, the book hits the mark.

 

Last year Neil released two excellent albums with his longtime band Crazy Horse. The first one, Americana, was billed as “a collection of classic American folk songs.” That may have been the case, but in the hands of Neil and his band, those songs were turned inside out and re-energized. The album included songs such as “Oh Susannah”, “Clementine”, “Tom Dooley”, “This Land is Your Land” and “Waywarin’ Stranger.” But these were definitely not laid back, traditional arrangements of these old songs. Each one was electrified and transported by Neil’s new arrangements and the presence of Crazy Horse. There was also a clear social and political slant to the song selection, all of which made the album even more of a vital listening experience. If that “comeback” (it was the first Neil Young and Crazy Horse album in nearly 9 years) wasn’t enough, Neil and the Horse returned later in the year with Psychedelic Pill, a two-CD set of all new material. Not only was this a double album, but the songs themselves were sprawling opus-like creations. The opening track, “Driftin’ Back” was 27-minutes of electric guitar bliss, enhanced by Neil’s wacky lyrics. Pure genius. There are several other tracks that break the 10-minute barrier, so don’t go expecting a bunch of short, sweet folk tunes or a reprise of Harvest. All in all, there is nothing ground breaking on Psychedelic Pill, following familiar Crazy Horse territory. But if you are a fan of Neil’s other Crazy Horse recordings, you’ll love this one too. The energy and raw power is both thrilling and comforting. These guys, even in their 60s, can still deliver the goods!

 

In addition to Neil Young’s Psychedelic Pill here are the other CDs I’ve been playing in heavy rotation lately:

 

George Jackson – Let the Best Man Win: The Fame Recordings Vol. 2

Todd Rundgren’s Utopia – Live at the Hammersmith Odeon ‘75

Jason Isbell and the 400 Unit – Live from Alabama

Various Artists – Titan: It’s All Pop

The Low Anthem – Smart Flesh

 

Daryl Hall – Sacred Songs

Lee Morgan – Lee-Way

Jim Boggia – Safety in Sound

UB 40 – Signing Off

Jackie Leven – For Peace Comes Dropping Slow

 

Ronnie Dyson – One Man Band

Roy Harper – Songs of Love and Loss

Miracle Fortress – Miracle Fortress

Alabama Shakes – Boys  & Girls

Fun. – Aim and Ignite

 

Aimee Mann – Charmer

Cannonball Adderley – Money in the Pocket

Cabaret Voltaire – The Original Sound of Sheffield: Best of 1983-87

Elvis Costello – Kojak Variety

Lyle Lovett – Release Me

 

Alphonse Mouzon – Mind Transplant

Robert Glasper – Black Radio

Larry Young – Locked Down

Dr. John – Unity

Etta James – Rocks the House

 

Various Artists – Eccentric Soul: Outskirts of Deep City

Freddie Hubbard – First Light

Bill Fay – Life is People

Groundhogs – Thank Christ for the Bomb

Augustus Pablo – Skanking Easy

 

Taj Mahal – Hidden Treasures: 1969-1973

Miles Davis – The Birth of the Cool

J. Tillman – Year in the Kingdom

Hank Crawford – Roadhouse Symphony

Dusty Springfield – A Very Fine Love

 

Chris Difford – Cashmere if You Can

Various Artists – Hip Hammond & Soulful Grooves

Eddie Money – No Control

Bloomfield/Kooper/Stills – Super Session

Ken Stringfellow – Danzig in the Moonlight

 

Neglected Southern Soul

Here are yet more examples of immensely talented soul singers who have mysteriously remained under the radar for far too many years. In the case of Candi Staton, she actually enjoyed a bit of success with the 1976 hit single “Young Hearts Run Free” (later covered by Rod Stewart, among others) but for most of her recording career she has been ignored by the titans of the music business. Part of that may be by choice — at one point Candi Staton dropped out of the pop world to record gospel music — but there’s no doubt that over the years, her labels dropped the ball in promoting her songs to the masses.

 

A few years back I picked up a copy of The Best of Candi Staton (part of the Warners Archive reissue series) that I found in the sale bin of a shop in Bangkok. That compilation contained “Young Hearts Run Free” along with 14 other tracks, including goodies such as “Six Nights and A Day” and “Victim.” The material on this album runs the gamut from sultry soul to funky disco. This is a strong collection of songs, mostly culled from her mid to late 1970s Warner Brothers period. But recently I bought a new Candi Staton compilation that is even more stunning; Evidence: The Complete Fame Records Masters. Spread out over two CDs are 48 tracks of heartfelt southern soul that she recorded in the 1960s and early 70s, songs positively dripping with love and heartache. In one review I read, her vocals were called “achingly vulnerable,” which I think is a very apt description. To my ears, Candi Staton’s voice sounds as soulful and powerful as that of Aretha Franklin. Really, she’s that damn good. Songs like “I’d Rather Be an Old Man’s Sweetheart (Than a Young Man’s Fool)” and “You Don’t Love Me No More”, as well as covers of famous tunes like “In the Ghetto” and “Stand By Your Man,” are nothing short of brilliant. If you like Aretha, Etta James, or southern soul in general, you should treat yourself to this CD. This set includes 12 previously unreleased tracks, and they are all strong ones. Another excellent reissue from the folks at Kent.

 

Many of the songs on Evidence were written by George Jackson, a very talented songwriter whose songs were covered by a staggering variety of rock, pop, and soul artists in the 60s, 70s, and 80s. Jackson also recorded some very fine albums of his own during those years. I recently found a copy of a George Jackson compilation called In Memphis: 1972-77. It was also compiled by Kent Records, so you can trust the quality is top-notch. But the songs themselves are what is worth raving about: 21 tracks of superb southern soul, ranging from smooth ballads to more funky numbers. I hear this album —as well as the Candi Staton compilation — and marvel at how music this amazing could have been ignored for so long. But hey, it’s never too late to discover incredible artists like these. Kent released another George Jackson collection late last year; Don’t Count on Me: the Fame Recordings. I’m already salivating just thinking about getting that one. Can’t get enough of that sweet soul music!