Neil Young Triumphantly Returns To Boston

Solo set at Wang Theatre spans various decades

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“One of my first solo shows was in the Wang Theater, then called the Music Hall,” wrote Neil Young on his website in May, talking about his 2018 solo tour that officially ended last night with the second of two dates at the landmark venue in Boston’s Theatre District. “It’s a real beauty folks – a chapel of soul and music. I hope it still sounds as good as it did then and that I do too!” While I wasn’t around when Young played Music Hall in January 1971, I saw him at Wang Theatre on Wednesday night, the first of his two concerts there, and he surely sounded amazing to me!

Wang Theatre
View of Wang Theatre auditorium from stage

Young was right. The venue is pretty impressive. Take a closer look at the above photo, and you can see the rich ornaments and decorative painting. In addition to its looks, he certainly also well remembered the Wang Theatre’s acoustic, which was great.

While it must be about 40 years ago that Young entered my radar screen with Heart Of Gold, I had never been to one of his shows. When I read about his solo tour a few months ago and noticed it would bring him to Boston, it didn’t take long for me to decide that seeing him was worth a five-hour drive from my house, especially given the tour only had six dates: Two in each Chicago and Boston, and one in each Detroit and St. Louis.

Neil Young

But before I further get to Young, I’d like to acknowledge William Prince, a folk and country singer-songwriter, who like Young hails from Canada. Punctually at 8:00 PM, he walked on stage with just an acoustic guitar and opened the night. Prince is a member of the Pegius First Nation from Manitoba.

In 2015, he released his debut album Earthly Days, for which he won a Western Canadian Music Award for Aboriginal Artist of the Year in 2016 and the 2017 the Juno Award for  Contemporary Roots Album of the Year. From that album, here’s Breathless. The look and feel of the performance, which apparently was captured in December, is very similar to Wednesday night. I thought his voice and guitar-playing sounded really nice. Visit his website for more information.

And then it was time for Young. To get an idea what to expect, I checked the previous shows from the tour on setlist.fm. I noticed the sets were relatively constant and included a mix of well-known songs and other tunes that at least to me were deeper cuts. A friend of mine, who is a Neil Young connoisseur and the lead vocalist in an excellent Neil Young tribute band, thought it was a selection for longtime fans.

The stage setup looked a little like a music workshop. It featured areas with different instruments, including an array of acoustic guitars, a semi-hollow electric guitar, two grand pianos and two organs. Young also had multiple harmonicas on hand. During the show, he shared anecdotes about most of the instruments. For example, one of the grand pianos was from the 19th century, and the bottom had been burned during a fire. Young maintained this gave it a very unique sound, adding this tour was the first time he took it on the road. He also pointed to guitars that had once been owned by Stephen Stills and Hank Williams.

Time for some music. I tried capturing some of the songs, and while the audio came out okay, the quality of the video varies quite a bit. The latter was due to challenging lighting conditions and my seat up on the balcony in the back of the theater. There was also what looked like an illuminated stripe in the background above the stage. I’m wondering whether this may have been done on purpose to discourage taking videos, which officially was strictly forbidden.

While I get they don’t want flash photography, I generally find these “no video rules” complete nonsense. Unless you walk in with a professional camera that enables you to record footage you could sell, what damage are you going to do with clips taken with a smartphone? On the contrary, in my opinion, taking and posting such clips on Facebook or elsewhere actually helps promote the artist. Okay, I’m stopping going off on a tangent now. The following is a combination of my own clips and footage from other recent solo gigs.

First up: Pocahontas, a song by Young that first appeared on the Rust Never Sleeps live album from July 1979. Initially, he recorded a version of the tune in the mid-70s for Chrome Dreams, a then-planned but unreleased album.

Ohio was the only Crosby, Stills, Nash & Young tune Wednesday night and one of two songs Young played on the electric guitar. Written by him in the wake of the Kent State shootings on May 4, 1970, the track was released by CSNY as a single in June that year. It was also included on the band’s 4 Way Street live album from April 1971 and the studio compilation So Far, released in August 1974. The tune also appeared on Young’s solo compilation albums Decade (Oct 1977) and Greatest Hits (Nov 2004).

A highlight of the show and perhaps my favorite moment of the night was After The Gold Rush. Young played the title track of his third studio album from September 1970 on a pipe organ. The church-like sound was just incredible. He slightly updated the lyrics by singing, Look at mother nature on the run in the 21st century/Look at mother nature on the run in the 21st century. The performance was incredibly powerful and gave me the goosebumps!

Among Young’s more recent tunes was Love And War. He recorded the song for his 30th studio album Le Noise, which appeared in September 2010. This clip was captured at his June 28 show in St. Louis.

Young finished his regular set with two gems from Harvest, his fourth studio album released in February 1972: The Needle And The Damage Done and Heart Of Gold. Unfortunately, the following clip of Needle, shot in Chicago on July 1, is cut in the beginning but otherwise 10 times better than my attempt to film it.

Here’s the mighty Heart Of Gold. Young may be getting old (though he sounded great!), but not the song.

Young came back for one encore: Tumbleweed, a tune from the deluxe edition of his 34th studio album Storytone from November 2014. He performed it with a ukulele. This clip is from the above St. Louis clip.

For now, Young’s second gig in Boston last night marked the final show of his solo tour. In September, he is scheduled to perform back-to-back at Farm Aid (Hartfort, Conn., Sep 22) and, together with Promise Of The Real, at another Willie Nelson event (Saratoga, N.Y., Sep 23).

Sources: Wikipedia, Neil Young official website, William Prince official website, setlist.fm, YouTube

 

What I’ve Been Listening To: Crosby, Stills, Nash & Young/4 Way Street

As oftentimes seems to happen lately, this post was inspired by a coincidence – earlier this week, I spotted 4 Way Street by Crosby, Stills, Nash & Young in my Apple Music album suggestions. While I had been aware of the record (and somewhere still must have a taped recording on music cassette!), unlike Déjà Vu, it had pretty much exited my radar screen. But it didn’t even take the 34 seconds of the opener Suite: Judy Blue Eyes to remind me what a killer album it is. As such, it felt appropriate to dedicate the 50th installment of the What I’ve Been Listening To feature to this gem.

Originally released in April 1971 as a double LP, 4 Way Street captured music from a turbulent 1970 U.S. tour CSNY conducted after the release of Déjà Vu in March that year. It includes material from gigs at Fillmore East (New York, June 2-7), The Forum (Los Angeles, June 26-28) and Auditorium Theatre (Chicago, July 5). CSNY were at a peak both artistically and in terms of tensions between them. Unfortunately, the latter proved to be unsustainable, and they broke up right after the recording of the album.

CSNY 1970
From left to right: Graham Nash, David Crosby, Neil Young and Stephen Stills at Fillmore East, New York, 1970

Of course, CSNY never were a traditional band to begin with, but four exceptional singer-songwriters who ended up playing together, mostly as CSN, with Young becoming an occasional fourth member. Each already had established himself as a member of other prominent bands: Crosby with The Byrds, Stills and Young with Buffalo Springfield, and Nash with The Hollies. Additionally, Crosby had released his first solo album, while the prolific Young already had two solo records out – his eponymous debut and the first album with Crazy Horse.

Given their history and egos, it’s not a surprise that CSNY wasn’t meant to last. But while it was going on, it was sheer magic. Apart from Déjà Vu, I think this live album perfectly illustrates why, so let’s get to some music!

First up: Teach Your Children, undoubtedly one of the best known CSNY songs, first appeared on the Déjà Vu album. The tune was written by Nash when he was still with The Hollies.

Triad is a song Crosby wrote while working with The Byrds on their fifth studio album The Notorious Byrd Brothers. Although they recorded the song and performed it during a live gig in September 1967, it didn’t make the record. Crosby ended up giving it to Jefferson Airplane, and they included it on their fourth studio album Crown Of Creation from September 1968. Perhaps even more intriguing than the tune is listening to Crosby’s announcement.

Chicago is a song by Nash, which he dedicated to Richard Daley, who was then the city’s powerful mayor. It’s about anti-Vietnam war and counter-cultural protests around the 1968 Democratic National Convention in Chicago, and the ensuing federal charges against eight protesters who became known as the Chicago Eight for conspiracy to incite a riot. Nash also included the tune on his debut solo album Songs For Beginners, which was released in May 1971.

Cowgirl In The Sand is one of Young’s great early songs, which initially appeared on his second studio album Everybody Knows This Is Nowhere, the first of many he recorded with his backing band Crazy Horse. Songfacts points out the liner notes to Young’s 1977 compilation album Decade explain that he wrote Cowgirl In The Sand, together with Down By The River and Cinnamon Girl in a single afternoon while being sick with a 103 degree temperature – it’s quite amazing what a fever can do!

The last tune on the first LP of 4 Way Street is Still’s Love The One You’re With, which also concludes CSNY’s acoustic set. The song became the lead single to Stills’ eponymous debut album from November 1970. It climbed all the way to no. 14 on the Billboard Hot 100, making it his biggest hit single.

The second LP of 4 Way Street captures songs from CSNY’s electric rock-oriented set. Long Time Gone is a tune by Crosby, which was included on CSN’s eponymous studio debut from March 1969. Not that Déjà Vu would have needed any additional strong tunes, but it would have been a perfect fit for that album as well!

Southern Man is another classic by Young, which he included on his third studio album After The Gold Rush released in September 1970. Together with Alabama from his follow-on record Harvest, it triggered a response by Lynyrd Skynyrd with southern rock anthem Sweet Home Alabama. While that tune explicitly tells him to take a hike, the band and Young were actually mutual fans, and there never was a serious feud between them. Young in his 2012 autobiography Waging Heavy Peace: A Hippie Dream said his words in Southern Man were “accusatory and condescending, not fully thought out, and too easy to misconstrue.”

While with so much great material on the album I could easily go on and on calling out tunes, the last track I’d like to highlight is Carry On. Written by Stills, it’s another gem from Déjà Vu. Like Southern Man, the take of Carry On on 4 Way Street is an extended version.

4 Way Street’s musicians include Crosby (vocals, guitar), Stills (vocals, guitar, piano, organ), Nash (vocals, guitar, piano, organ), Young (vocals, guitar), Calvin “Fuzzy” Samuels (bass) and Johnny Barbata (drums). The album was produced by CSNY. In June 1992, an expanded CD version appeared, which was produced by Nash and included four solo acoustic performances, one by each artist.

Like Déjà Vu, the record topped the Billboard 200. It was certified Gold by RIAA just a few days after its release. On December 18, 1992, U.S. sales hit 4 million certified units, giving it 4X Multi-Platinum status. Unlike Déjà Vu, interestingly, the album didn’t make Rolling Stone magazine’s 500 Greatest Albums Of All Time.

Sources: Wikipedia, Songfacts, YouTube

My Longtime Favorite Albums

Ten records I continue to enjoy after more than three decades

Earlier this week, I got nominated on Facebook to name 10 music albums that have made an impact on me and that I continue to enjoy today. The task was to post one album cover daily, and each time when doing so to nominate somebody else to do the same. Usually, I don’t participate in these types of chain activities, so initially, I ignored it. But since it was a close relative, who had nominated me, and music is my passion after all, I decided to go along. The exercise of identifying the 10 records inspired this post.

Because I found it impossible to limit myself to just 10 albums, I decided to narrow the field to only those records I started listening to as a teenager and in my early 20s. This explains why some of my favorite artists like The Allman Brothers Band, Buddy Guy and even The Rolling Stones are “missing.” It was only later that I started exploring them and many other artists I like today in greater detail. Without further ado, here is the list in no particular order, together with one song from each album.

As frequent readers of the blog know, I’m a huge fan of The Beatles. Sgt. Pepper’s Lonely Hearts Club Band, their 8th studio album from May 1967, is my favorite among their records.

The Beatles_Sgt. Pepper

Here’s the great closer A Day In The Life, which except for the middle section was mainly written by John Lennon, though as usually was credited to him and Paul McCartney.

Tapestry by Carole King was one of the earliest albums I listened to when I was 10 years old or so. Back then, I didn’t understand the lyrics but liked the music. Today, I dig the record for both the music and the lyrics. There is a timeless beauty in King’s tunes, and to me Tapestry is perhaps the ultimate singer-songwriter record.

carole-king-tapestry

There are so many great songs on this gem from February 1971, so it’s hard to chose one. Here’s Way Over Yonder. King’s soulful singing and the saxophone solo are two of the tune’s features I’ve always liked.

The Eagles’ Hotel California is an album I’ve owned on vinyl since I guess the early ’80s. It was released in December 1976 as the band’s fifth studio record.

Eagles_Hotel California

Here’s a live version of the epic title song, which is included in the album’s 40th anniversary deluxe edition that appeared in November last year. The tune was co-written by Don Felder, Don Henley and Glenn Frey. The distinct extended guitar interplay at the end featured Felder and Joe Walsh. This tune just never gets boring!

It was the Born In The U.S.A. album from June 1984, which put Bruce Springsteen on my radar screen.

Bruce Springsteen_Born In The USA

Here’s Bobby Jean, one of the album’s few tunes that wasn’t also released separately as a single. On this one, I particularly love the saxophone solo by Clarence Clemons, who was such an ace player.

Deep Purple to this day remains my first choice when it comes to hard rock, and Machine Head from March 1972 is the crown jewel in their catalog. The band’s sixth studio album featured their best line-up that included Ian Gillan (vocals), Ritchie Blackmore (guitar), Jon Lord (keyboards), Roger Glover (bass) and Ian Paice (drums, percussion).

Deep Purple_Machine Head

Here’s Pictures Of Home, which like all tracks on the album were credited to all members of the band. In addition to Lord’s great keyboard work, one of the tune’s characteristic features is a cool bass solo by Glover (starting at 3:40 minutes).

My introduction to John Mellencamp was Scaregrow, his eighth studio album from August 1995, but it was the follow-up record The Lonesome Jubilee, released in August 1987, that turned me into a fan.

John Mellencamp_The Lonesome Jubilee

Here is the great opener Paper In Fire, which also became the album’s lead single. Like all tunes except one, it was written by Mellencamp.

While it was pretty clear to me that a Pink Floyd album needed to be among my longtime top 10 records, the decision which one to pick wasn’t easy. I decided to go with The Dark Side Of The Moon but also could have gone with Wish You Were Here. I started listening to both albums at around the same time during the second half of the ’70s.

Pink Floyd_The Dark Side Of The Moon

I’ve chosen to highlight The Great Gig In The Sky. I’ve always liked the incredible part by vocalist Clare Torry.

I believe the first Steely Dan song I ever heard was Do It Again on the radio. By the time I got to Aja, I already knew the band’s debut record Can’t Buy A Thrill and, because of Rikki Don’t Lose That Number, their third album Pretzel Logic. While I liked both of these records, the Aja album from September 1977 became my favorite, after a good friend had brought it to my attention.

Steely Dan_Aja

Here is Deacon Blues, which also was released separately as the album’s second single. Like all tunes on the record, it was co-written by Walter Becker and Donald Fagen.

I was hooked to Live Rust the very first time I listened to it. Neil Young’s album from November 1979 pretty much is a live compilation of his greatest ’70s hits.

Neil Young_Live Rust

My, My, Hey, Hey (Out Of The Blue) is among the record’s highlights. The song was co-written by Young and Jeff Blackburn.

Led Zeppelin wasn’t exactly love at first sight. My first exposure was Led Zeppelin IV, the band’s fourth studio album from November 1971. I bought the record because of Stairway To Heaven.

Led Zeppelin_Led Zeppelin IV

I had listened to Stairway on the radio where they always faded it out before the heavy rock section at the end of the tune. I still remember the shock when I listened to the song in its entirety for the first time. I had just started taking classic guitar lessons and was very much into acoustic guitar. I simply couldn’t understand how Zep could have “ruined” this beautiful song by giving it a heavy metal ending. Well, today it is exactly because of its build why this track has become one of my favorite tunes. But instead of Stairway, I’d like to finish this post with Going To California, a beautiful acoustic ballad co-written by Jimmy Page and Robert Plant.

Sources: Wikipedia, YouTube

Clips & Pix: Bob Dylan & The Band/I Shall Be Released

Yesterday (April 7) was the 40th anniversary of the release of The Last Waltz, the triple LP album by The Band and soundtrack to the 1978 concert film directed by Martin Scorsese. The album and picture document the group’s official farewell concert at the Winterland Ballroom in San Francisco on Thanksgiving Day in 1976.

The Bob Dylan tune I Shall Be Released was the closing number of the official show. In addition to Dylan and The Band, it featured other high caliber guests, who had performed earlier during the show, including Van Morrison, Neil Young, Joni Mitchell, Eric Clapton, Ringo Starr, Ronnie Wood, Ronnie Hawkins and Neil Diamond.

Many critics have called the film one of the best rock concert movies; however, not everybody agreed. Notably, The Band’s Levon Helm charged the film portrays The Band as sidemen of Robbie Robertson. He also called it “the biggest fuckin’ rip-off that ever happened to the Band,” adding he and the other group members Rick Danko, Garth Hudson and Richard Manuel didn’t earn a dime from the film and the soundtrack album.

Sources: Wikipedia, YouTube

On This Day In Rock & Roll History: March 11

1968: (Sittin’ On) The Dock Of The Bay by Otis Redding was certified Gold by the Recording Industry Association of America (RIAA). Co-written by Redding and Stax house band Booker T. & the M.G.’s guitarist Steve Cropper, the song had only been released as a single on January 8 that year, following Redding’s untimely death in a plane crash on December 10, 1967 at the age of 26. The tune, which topped the U.S. Billboard Hot 100 and climbed to no. 3 on the UK Singles Chart, became his biggest hit. As of December 13, 2017, it has reached 3x Multi-Platinum certification.

1970: The Beatles released Let It Be in the U.S., five days after the song had appeared in the UK, their last single prior to the announcement of their official breakup. Credited to John Lennon and Paul McCartney, the ballad was actually written by McCartney who also sang lead. Undoubtedly one of the best known Beatles songs to this day, Let It Be gave the band another no. 1 on the Billboard Hot 100 and peaked at no. 2 in the UK. Here’s a clip of an early take, which appeared on the third of the Anthology albums. In addition to the instrumentation, McCartney’s lyrics are slightly different than in the final version.

1970: Crosby, Stills, Nash & Young released Déjà Vu, the first studio album by the quartet and second studio record by Crosby, Stills & Nash. The record, which became the band’s most successful album, includes numerous gems like Carry On, Teach Your Children, Our House and the brilliant cover of Joni Mitchell’s Woodstock. The aforementioned songs also appeared as singles, and each charted in the Billboard Hot 100, with Woodstock reaching the highest position at no. 11. The album topped the Billboard 200 in May 1970 and stayed in the charts for 97 weeks. RIAA certified the record Gold on March 25, 1970, only two weeks after its release. As of November 4, 1992, Harvest has reached 7x Multi-Platinum certification, numbers that are unheard of these days. Here’s a clip of the mighty Woodstock.

1972: Neil Young’s fourth studio album Harvest hit no. 1 on the Billboard 200, staying in that position for two weeks. The record featured various notable guest vocalists, including David Crosby, Graham Nash, Linda Ronstadt, Stephen Hills and James Taylor. The album includes some of Young’s best known songs, such as Old Man, The Needle And The Damage Done and Heart Of Gold, his first and only no. 1 single on the Billboard Hot 100. That tune also topped the charts in Young’s native Canada, as did the record. Harvest was certified Gold by RIAA less than three weeks after its release and became the best selling album of 1972 in the U.S. As of June 27, 1994, the album has reached 4x Multi-Platinum status. Here’s a clip of The Needle And The Damage Done.

1975: English Art rockers 10cc came out with their third studio album The Original Soundtrack. The record is best known for I’m Not In Love, which was also released separately as a single on May 23, 1975. Co-written by Eric Stewart and Graham Gouldman, the ballad is one of the band’s most popular songs and enjoyed massive radio play. It became 10cc’s second of three chart-topping singles in the UK, and their best performing U.S. single, peaking at no. 2 on the Billboard Hot 100. The album’s lead single Life Is A Minestrone climbed to no. 7 on the UK Singles Chart but did not chart in the U.S.

Sources: Wikipedia, This Day In Music, The Beatles Bible, RIAA.com, Billboard Chart History, YouTube

On This Day In Rock History: February 18

1959: Ray Charles recorded What’d I Say at Atlantic Records in New York City. Written by Charles, the R&B classic evolved from an improvisation during a concert in December 1958. At the end of that show, Charles found himself with some time to fill and reportedly told his female backing vocalists The Raelettes, “Listen, I’m going to fool around and y’all just follow me.” Fooling around paid off nicely. Following its release in July that year, the tune became Charles’ first gold record. One of the challenges with the song was its original length of more than seven and a half minutes, far longer than the usual two-and-a-half-minute format for radio play. Recording engineer Tom Dowd came up with the idea to remove some parts and split up the song in two three-and-a-half-minute chunks: What’d I Say Part I and What’d I Say Part II. The division relied on a false ending after the orchestra had paused the music.

1965: Tired Of Waiting For You by The Kinks hit no. 1 on the UK Singles Chart. Written by Ray Davies, the tune was a single from the band’s second studio LP Kinda Kinks, which appeared in March that year. Notably, The Kinks only had two other chart-topping singles in the UK during their long career: You Really Got Me (1964) and Sunny Afternoon (1966). According to Songfacts, Davies wrote the tune while studying at Hornsey School of Art in London. Since by the time The Kinks went into the studio he couldn’t remember the lyrics, the band initially only recorded the backing track. Davies ended up writing the words on the train the following day while heading back to the studio.

1967: The Buckinghams topped the U.S. Billboard Hot 100 with Kind Of A Drag, the Chicago sunshine pop band’s only no. 1 hit. The tune was written by Jim Holway, who is  also best known for this accomplishment. The band, which had formed the previous year, became one of the top-selling acts in 1967, according to Wikipedia. But their chart success was short-lived and they disbanded in 1970, which I suppose is, well, kind of a drag! On a more cheerful note, they re-emerged in 1980 and apparently remain active to this day. Here’s a clip of the lovely tune.

1972: Neil Young’s fourth studio album Harvest was certified Gold by the Recording Industry Association of America (RIAA), only less than three weeks after its release on February 1. It features some of Young’s best known songs, including Heart Of Gold, Old Man and The Needle And The Damage Done. James Taylor, Linda Ronstadt, David Crosby, Stephen Stills and Graham Nash were among the impressive array of guest musicians. Harvest topped the Billboard 200 for two weeks and became the best-selling record of the year in the U.S. As of June 27, 1994, the album has 4x Multi-Platinum certification. Here’s a clip of The Needle And The Damage Done.

 

Sources: Wikipedia, This Day in Music.com, Songfacts Music History Calendar, YouTube

What I’ve Been Listening To: Neil Young & Promise Of The Real/ The Visitor

Not ready to fade away, Young is still feisty after more than five decades

Oftentimes, I enjoy blogging about music the most when it’s spontaneous! This morning, I had no idea I would end up writing about Neil Young’s latest studio album. While if anything I now dig the man more than ever, it’s probably fair to assume we’ve seen his finest work. I mean how can you possibly trump gems like Harvest, Live Rust and Harvest Moon, to name three of his albums that come to my mind right away?

So how the heck did I end up with The Visitor? While listening to The Rolling Stones’ Exit On Main Street during breakfast, which BTW is great music for waking up, I was looking at Facebook pictures from Decade, a Neil Young tribute band I really like. Readers of the blog will probably remember the name, since I’ve covered them on various previous occasions.

Decade had their first gig of the year last night, which I unfortunately missed. So I gave a thumbs-up to the nice photos and lead guitarist Joey Herr’s red SG, one of the coolest looking Gibson models, in my opinion. I also told them their Facebook post made me feel like putting on some Neil. And so I did. Blame Apple Music for showing me The Visitor first as the “Latest Release!”

Neil Young & Promise Of The Real

Leading up to the appearance of Young’s 39th studio album on December 1, 2017, I had casually listened to Already Great, one of two singles that came out prior to the record. While I didn’t think it was a bad tune, frankly, I wasn’t very impressed either. So when queuing up The Visitor after I was done with Exile this morning, I didn’t have particularly high expectations. To say it right upfront, the record isn’t on par with the above named albums. Yet, I was still pleasantly surprised that after 50-plus years in the music business, it’s obvious that Young has fire left in the belly!

The Visitor kicks off with the grungy sounding Already Great. When Young sings, Woke up this morning/Thinking ’bout you/And your new deal/(My American friend), there is no doubt who he is referring to. The song’s chorus also leaves no ambiguity how Young feels about the U.S.: Already great/You’re already great/You’re the promise land/You’re the helping hand. Credited to him and producer John Hanlon, it’s safe to assume the lyrics won’t endear him to all Americans, which is also true for the remainder of the record. But Young has always been outspoken (think Southern Man, for example), so I doubt he’ll get sleepless nights over it.

As I started listening to the acoustic Almost Always, I was like, ‘wait a minute, I know this melody.’ It didn’t take me long to figure it out: From Hank To Hendrix, one of my favorite tracks from the Harvest Moon album. And before I knew it, another piece from that record popped up: part of the guitar theme from Unknown Legend – kind of clever how Young mixed the two! Again, when it comes to the lyrics, it’s pretty clear what he is talking about: And I’m living with a gameshow host/Who has to brag and has to boast/’Bout tearing down/The things I hold dear.

Stand Tall is another grungy rocker. The lyrics take on the science deniers and the sad fact that their ignorance is now endorsed at the highest levels of power: Boy king don’t believe in science/It goes against the big money truth/This playpen is full of deniers/To flush our future down the tubes.

Perhaps the most peculiar track on the album is Carnival. It starts with Young laughing like he’s lost his mind. Then he describes what sounds like memories of a past visit to a carnival. Bongos and background vocalists singing carnival, carnival give the tune a Latin feel. Young also throws in elements of carnival music. It’s a somewhat weird and catchy tune at the same time. Listen for yourself!

And just when you think you’ve basically figured out the record, Young throws in a blues called Diggin’ A Hole.

The last track I’d like to call out is Children Of Destiny, the record’s lead single that was released on July 4, 2017. The timing certainly wasn’t a coincidence. It feels like a companion to Already Great and that Young essentially is saying it’s up to the young generation to keep the country that way: Stand up for what you believe/Resist the powers that be/Preserve the land and save the seas/For the children of destiny/The children of you and me.

Unlike the Shocking Pinks, a band made up for Young’s 1983 studio album Everybody’s Rockin’, Promise Of The Real is, well, a real band. Its members are Lukas Nelson (vocals/guitar), Anthony Logerfo (drums), Corey McCormick (bass) and Tato Melgar (percussion). Lukas is a son of Willie Nelson, the country music legend. Also playing on the album is Willie’s second son from his current marriage, Micah Nelson. Promise Of The Real also backed Young on his 36th studio album The Monsanto Years, which came out in 2015, and the tour that supported the record.

Is The Visitor likely to get Young new listeners? I doubt it – in fact, given how divided the country is, it may actually piss off some of the folks who have enjoyed listening to him in the past. While this album certainly feels more political than most of Young’s previous records, his true fans have always known that he doesn’t shy away from expressing his opinions. I’m definitely a part of that group. And I love the fact that Young still embraces these lines he composed many moons ago: My my, hey hey/Rock and roll is here to stay/It’s better to burn out/Than to fade away/My my, hey hey.

Sources: Wikipedia, YouTube