Last Saturday, after much hemming and hawing, and having read more about cars in the past two months than during the past two decades, I traded in my 2010 Honda Civic – which had near 112,000 miles on it – and bought a 2018 Mazda3 hatchback. It was one of the last “new” ’18 3s still on the dealer’s lot. (Word to the wise: Last year’s model is always marked down.) It’s a good ride with an excellent Bose sound system that almost makes me yearn for my old commute just so I can listen longer.
(Note that I wrote “almost.”)
The tech upgrade has been a bit of a culture shock, however. The Honda included a CD player, AM-FM stereo with buttons, and an aux jack. The Mazda, on the other hand, features a 7-inch LCD screen with AM, FM, SiriusXM, Bluetooth and Apple CarPlay, plus an aux jack but no CD player; and, when you’re driving, everything is controlled by nobs located between the front seats.
I’ve primarily listened to Jade Bird’s and Molly Tuttle’s full-length debuts this week, but carved out time during my shorter commute to explore a bit of SiriusXM, as the car comes with a three-month trial. E Street Radio is, as expected, a joy, but the Outlaw Country and Bluegrass Junction channels sound good, too. (More to come on that, for sure.)
And, with that, here’s today’s Top 5: New Tracks & Videos
1) Bruce Springsteen – “Hello Sunshine.” I switched on E Street Radio, which is dedicated to all things Springsteen and band, on the ride home Thursday night and was surprised to hear thatBruce has a new album coming out. And then “Hello Sunshine” played. Wow. Just wow.
2) Neil Young – “Don’t Be Denied.” Neil says he’s saddled up the Horse and that (as of April 22nd) they’ve recorded eight songs for a new album. While we wait for that, there’s this, the first taste of the coming archival release Tuscaloosa, which features 11 tracks from a 1973 concert in Alabama.
3) Courtney Marie Andrews – Tiny Desk Concert. Courtney and band perform a stellar three-song set: “May Your Kindness Remain,” “Rough Around the Edges” and “This House.”
4) Jade Bird – “Side Effects.” Jade and band deliver a driving rendition of this “Springsteen-y” track, one of the highlights from her recent full-length debut.
5) Lucy Rose – “The Confines of This World.” A live rendition of one of the (11) standout tracks from Lucy’s recent No Words Left album. From the Union Chapel in London on April 9th of this year, it’s a mesmerizing performance.
And one bonus…
6) Molly Tuttle – “Helpless.” Molly Tuttle’s full-length debut is a velvety smooth (and addictive) blend of bluegrass, folk and pop, and conjures – for me, at least – Alison Krauss, Shawn Colvin and Kasey Chambers, among others. Here, she ends a show with a rendition of Neil Young’s classic ode to his Canadian home. (For those unfamiliar with Molly, she – like Kasey – began her career in a family band before branching off on her own. Since, she’s twice been named the International Bluegrass Music Association’s Guitarist of the Year.)
(As noted in my first Essentials entry, this is an occasional series in which I spotlight albums that, in my estimation, everyone should experience at least once.)
Following the success of the Harvest album and “Heart of Gold” single in 1972, Neil seemed sure to ascend to superstardom then and there. But, for reasons I partially covered on ROXY: Tonight’s the Night Live, it wasn’t to be – just yet. The self-mythologizing Journey Through the Past movie and soundtrack in late ‘72, and the ramshackle arena tour that followed in early ’73, left the MOR fans he’d just won over scratching their heads. And after those same fans plopped the rough-around-the-edges Time Fades Away LP, released on October 15, 1973, on their turntables? They probably didn’t buy another Neil album until he released the polished Harvest Moon some 20 years later, if at all.
Their loss.
Time Fades Away features eight “new” songs, and is relatively short at 35 minutes. (I put new in quotes because, although seven songs are drawn from the ’73 tour, “Love in Mind” dates to early ’71.) While the album lacks the polished sheen, and practiced precision, of Harvest, it packs a punch that, in some respects, is more powerful. It’s his primal-scream moment. It’s raw, ragged, and emotive. What else can be said about “Yonder Stands the Sinner” and the apocalyptic-themed “L.A.”?
Or the potent “Don’t Be Denied?”
Another high point: the nostalgic “Journey Through the Past.”
Both rate among his greatest songs – and among his most unknown. One reason: Most of the million-plus folks who bought the LP, cassette or 8-track tape in the early ‘70s likely listened to it once, maybe twice, and then moved on. It was too raw, too ragged. Another: His memories of the tour colored his opinion of the music. He didn’t include any TFA material on the Decade anthology, for example. And, after the music industry transitioned to shiny platters in the 1980s, he refused to reissue it on CD until 2017, when compact discs were all but anachronisms – and then only as part of a box set with Tonight’s the Night, On the Beach and Zuma.
No matter. It’s a great set. Shaky? Yes. If you go back to ’73, the odds seemed stacked against him – unknown songs performed in front of large audiences that would rather hear the known, and a backing band that’s not hitting on all cylinders. He pushes himself to the edge, time and again, and never falls into the abyss. It’s powerful stuff.
Anyway, I bought it on cassette about a decade after its release, on November 14, 1983, when I was a freshman in college. I played it to death that winter, and for the next few years. I even played “Journey Through the Past” on my old radio show, as the station had the LP in its massive library. Life being what it is, and like many other music fans, I eventually moved from analog to the aforementioned shiny platters. (It helped that I worked in a CD store for a time, and got an employee discount. My collection grew, and grew, and grew.) Fast forward a few decades and, perhaps as a Christmas gift to devoted fans, in late 2014 Neil released the album as a high-resolution FLAC download on his Pono store. While I haven’t played it to death in the years since – as my blog shows, I have a myriad of music interests – I’ve played it a lot.
It’s an essential. (And it’s also available to be streamed over at the Neil Young Archives.)
I’ve written before of Da Boot!, the fanzine I was involved with during the late 1990s, so I won’t go too deep into it here. Suffice it to say, however, that it was a good idea, but about a decade too late. If we’d launched it in, say, 1988, when the CD-bootleg boom was just beginning and the Internet had yet to become a threat to both newsprint and the music business, we would have had a nice decade-long run instead of two years. (My only complaint about it, now that my eyes are 20 years older, is the small type used to squish all the words onto the page. I find it hard to read.)
The issue, as the above cover shows, featured my freewheelin’ second interview with David Crosby, which occurred in his Atlantic City hotel suite when he, Stills and Nash were headlining one of the casinos. (The entire exchange can be found here.) The second story was related to the first, in a fashion: I turned a lengthy phone interview with guitarist Jeff Pevar (of Crosby’s other band at the time, CPR) into an “as-told-to” piece that charted his career. It meant not just transcribing our talk, but rearranging his remembrances so that everything flowed in chronological order, and then checking with him on the changes. (That article can be found here.) I was also proud of the accompanying graphic, which I created – I imposed a cut-out of the Peev over the artwork of the first CPR studio album.
I’m bypassing both of those interviews, however, and focusing on the reviews. So, without further adieu, here’s today’s Top 5: March-April 1999 (via Da Boot!):
1) Kelly Willis – “What I Deserve.” Diane tackles What I Deserve, the third long-player (and fourth overall release, as she’d also released an EP) from the Oklahoma-born, and North Carolina- and Virginia-raised country-flavored singer. “What Kelly Willis has long deserved is widespread recognition in the music world – and hopefully, the stripped-down production that allows you to hear Willis’ voice in all its glory combined with her usual excellent selection of songs will draw her closer to universal acclaim.”
If I recall correctly, we saw Kelly twice in the late ’90s – on a tour prior to What I Deserve, and then on the What I Deserve tour. And based on those shows, and this album, she definitely did deserve more…
2) Lone Justice – “Drugstore Cowboy.” I tackle a Maria McKee bootleg, Absolutely Barking, and the Lone Justice compilation This World Is Not My Home in a twin-spin of a review. Of the former, which featured a crystal-clear DAT recording of a London ’98 show, I wrote “Maria is in more than fine voice, she’s in total command. The as-yet-unreleased ‘Be My Joy’ is just one highlight. From the opening chant of ‘feed me, feed me, feed me, baby/need you, need you, need you, baby’ onward, you’re in the audience pushed to the edge of the stage and swaying side to side in time to the beat, experiencing sonic bliss.” Of the latter, after lavishing similar hyperbolic praise on the previously released Lone Justice songs, I wrote that “it’s the band’s previously unreleased demos that prove most earth-shattering. The Maria-penned “Drugstore Cowboy,” for example, is a shotgun blast of authentic cowpunk – and far, far more.” (If you squint real hard, you’ll see that I cribbed part of the review for use in my “Essentials” entry on the Lone Justice debut. I subscribe to recycling, don’tcha know.)
3) The Who – “Baba O’Riley.” Jim tackles the Who bootleg Always on Top by noting that it’s a copy of another bootleg, Who Put a Better Boot in 1976, and also listing where some of the content is legitimately available. He also notes that “[t]he performance is excellent throughout, with the usual over-the-top, maximum volume performance that the band was famous for. There are six songs from the rock opera Tommy included, as well as staples ‘Summertime Blues,’ ‘Baba O’Riley,’ and ‘Won’t Get Fooled Again.’ There is also some funny, between-song banter included as Keith Moon and Pete Townshend introduce the songs.”
4) Lucinda Williams – “Right in Time.” When Diane and I saw Lucinda in June ’98 at the TLA, she arrived late due to, I think, fog – her afternoon flight was waylaid to New York, forcing her to hop a train to Philly, and then pray the audience didn’t grow restless and leave. The opening act, Jim Lauderdale, went on a little after nine; and she didn’t hit the stage until a little after 10. But despite her travel nightmare, and the delayed start, she still clocked in a two-hour show that was everything Bruce describes in this write-up of Lucinda’s January 1999 concert at the John Harms Theater in North Jersey six months.
One difference: Bruce was “[e]quipped with a recordable Sony Mini Discman MRZ-50, 2 blank 74 minute discs and a AIWA microphone.” In today’s age, when many shows are lit up from a sea of cellphones (really, folks: dim your damn screens!), it may seem bizarre to young folks to learn this, but there was a time you could get tossed from a venue if you were caught recording. And you also had to make tough choices due to the technological limits of recording gear, as Bruce did this night when he chose not to capture opening act Patty Griffin’s “short and sparkling set.” Which makes this all the more remarkable: “An incredible version of ‘Joy’ developed into a fifteen minute guitar interplay jam that ended the first set at the 74 minute mark of the first disc!”
But because I used “Joy” in that prior Da Boot! piece, here’s another song from the night…
5) Bob Dylan – “The Death of Emmett Till.” In his take on The Third One Now, a three-CD set of unreleased Dylan gems, Jim chimes in on the freedoms – or lack thereof – afforded to American citizens in the 1950s. “Of the first seven songs on disc one, six are from what is referred to as the ‘Smith Home Tapes’ in 1962, and one track (actually two songs) is from the Oscar Brand Folk Festival from WNYC in New York in 1961. The sound is extraordinary on all of these and the performances are that of a budding musical genius finding his foothold and his confidence. Historically significant to be sure, but the subject matter of songs like ‘Death of Emmett Till,’ which deals with racism, is still significant all these years later.” (And almost 20 years on, it still remains relevant.)
And one bonus…
6) Neil Young – “Give Me Strength” (1976). The Neil Young bootleg Rolling Zuma Revue made me livid – and the review, honestly, makes me laugh. I write that “Wild Wolf, the ‘label’ behind this two-CD set should be skinned for its fur, with its carcass left for the maggots to infest.” I go on, and on, and use some profane language, while explaining that they coupled two 1976 shows – Chicago and Osaka – and arranged the tracks so that the Chicago songs opened each disc while the Osaka songs closed them. I.e., they split the shows in half. “What is this?” I ask. “Ring around the f-ng rosy?” I then go on to answer myself, and fill in readers: “the Chicago set offers stellar sound but the Osaka section sucks.” Which meant that if a fan did his or her due diligence, and asked the store proprietor to play a song or two on the in-house stereo system (as was common), he or she might be fooled into buying it.
In November 1972, Neil Young was gearing to go on the road for what should have been a celebratory tour – Harvest, his studio set from February, had hit No. 1 on the album charts and “Heart of Gold,” its first single, went to No. 1, as well. And it wasn’t just any tour, but his first non-CSNY headlining arena tour.
The band he built to support him included Ben Keith, Jack Nitzche, Tim Drummond and Kenny Buttrey, and was to have also included Crazy Horse guitarist Danny Whitten, who’d provided incendiary backing on Everybody Knows This Is Nowhere and the tours that preceded and followed that essential LP. “Backing” is a bit of a misnomer, however. At their zenith, their guitars intertwined to the point that they seemed and sounded almost as if they were one; and Whitten’s vocals provided a warm bed for Neil’s oft-reedy lead.
Danny was a junkie, however, and it quickly became apparent during rehearsals that he couldn’t keep up with the rest of the band. Neil sent him packing, reportedly giving him $50 and a plane ticket home. As Neil told Cameron Crowe in 1975, “He was too out of it. Too far gone. I had to tell him to go back to L.A. ‘It’s not happening, man. You’re not together enough.’ He just said, ‘I’ve got nowhere else to go, man. How am I gonna tell my friends?’ And he split. That night the coroner called me from L.A. and told me he’d ODed. That blew my mind. Fucking blew my mind. I loved Danny. I felt responsible.”
As documented by the Time Fades Away album, and a myriad of unofficial recordings, the tour that followed wasn’t Neil’s best. Some performances were good if not great, of course, but by and large most shows were perfunctory, if not pallid, affairs. It wasn’t just that he was grieving a friend. He blamed himself for what happened: if he hadn’t fired him, maybe Whitten would’ve lived. That guilt – misplaced though it was – weighed on him. (The reality is that the only person responsible for Danny’s death was Danny.) Fast-forward to June 1973, when another cohort – CSNY roadie Bruce Berry – died from a heroin overdose.
A few months later, Neil gathered a group of like-minded souls, aka the Santa Monica Flyers (Ben Keith, Nils Lofgren, and Crazy Horse’s Billy Talbot and Ralph Molina), at Studio Instrument Rentals, aka SIR, which was owned by Bruce’s brother Ken, and set out to eulogize his late friends while simultaneously exorcising his grief and guilt. Neil recalled in the Times-Contrarian, “We had nine songs and played them twice a night for a long time until we thought we had them.” Those tracks formed the heart of what became Neil’s most intense album, Tonight’s the Night, which was released in 1975. As he also told Crowe, “If you’re gonna put a record on at 11:00 in the morning, don’t put on Tonight’s the Night. Put on the Doobie Brothers.”
Which leads to ROXY: Tonight’s the Night Live. Neil explains in the liner notes that “We had finished recording and decided to celebrate with a gig at a new club opening on the Sunset Strip, the ROXY. We went there and recorded for a few nights, opening the ROXY. We really knew the Tonight’s the Night songs after playing them for a month, so we just played them again, the album, top to bottom, two sets a night for a few days. We had a great time.”
ROXY: Tonight’s the Night Live isn’t as intense as the Tonight’s the Night acetate or the 1975 album that many fans, including me, know like the back of our hands. It’s still a wake, still celebratory and sad at once, and still loose – but not quite as loose. (The tequila likely wasn’t flowing as freely.) “The faster you drink, the better we play,” quips someone – Nils Lofgren, maybe? – just prior to the band introductions, but it’s a misdirection. The band reaches for and hits every note and chord it’s supposed to, and does so with practiced precision.
One example: The opening “Tonight’s the Night.”
Another: “Speakin’ Out,” which features a great guitar solo from Nils Logren. The song is about seeking solace in the arms of another, and in a new life: “I’ve been a searcher/I’ve been a fool/But I’ve been a long time coming to you/I’m hoping for your love to carry me through/You’re holding my baby and I’m holding you/and it’s alright.”
“Albuquerque” is another highlight. The performance is less woozy and more meticulous than the TTN rendition, but no less powerful. Neil explains in the intro that he wrote it while on the Time Fades Away tour: “I’ve been flyin’/down the road/and I’ve been starvin’ to be alone/and independent from the scene/I’ve known.”
If you listened to any of those (official) YouTube clips, you’ll have heard the stellar audio of the recording. As someone who whiled away more time than I care to recall listening to umpteenth-generation tapes and audience recordings of shows from the Tonight’s the Night tour (including some that this set is drawn from) – wow. It’s astonishing how crystal clear everything is.
The set’s power also comes from Neil and the Santa Monica Flyers performing for an audience. At SIR, in a sense, they turned some songs into seances. But at the ROXY, they’re no longer trying to contact the dead. Instead, they’re doing what Neil sings about in “Speakin’ Out” – connecting with others. Sharing one’s grief helps to lessen one’s grief, oddly.
Anyway, if you’re a hardcore Neil fan, ROXY: Tonight’s the Night Live is a no-brainer. If you’re a casual fan who maybe found the boozy atmospherics of the Tonight’s the Night album a tad off-putting…give this one a go on Apple Music or Spotify, or even YouTube. It’s not as boozy, or woozy. It’s less a wake, now that I think about it, and more an acceptance of life in all its many facets – the good, the bad, and the in-betweens.
