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Archive for the ‘Crosby Stills Nash and Young’ Category

[ATTENDED: October 8, 2014] An Evening with Neil Young

2014-10-08 22.40.54 Sarah has wanted to see Neil Young for decades.  However, we’ve had bad luck (or high prices) with tickets so we never went.  But when I saw that he was performing in Philly for not too too expensive, it was time to get Sarah to see her man.

I myself have enjoyed Neil Young for a while too, so this wasn’t like a sacrifice or anything.  I had just never gotten around to seeing him either.  Over the years he has played with some amazing other bands (not to mention Crazy Horse), like Sonic Youth and Pearl Jam–two tours that I should have gone to but didn’t.  But this night was all about Neil.  It was just him and his guitar and his guitar and his guitar and his guitar and his guitar and his guitar and his guitar and his banjo and his piano and his piano and his organ and a bunch of harmonicas.  (He had about 8 guitars on stage and he played every one of them).

I don’t usually check setlist before shows because I like to be surprised, but with Neil, ever the curmudgeon, you never really know what you’ll get–perhaps he’ll do an all Trans night.  So I scanned a set, saw a few hits and felt secure in letting him give us whatever he wanted.

2014-10-08 19.42.37-1Outside the theater–the Academy of Music, to which I had never been–there was a big silver bus (not an Econoline van) with the license plate ZUMA, and we knew we were in the right place.  Then we entered the old building and went up the less than impressive stairs (it looked like a middle school stairwell).  And we proceeded to go up and up and up and up to our seats.  We were about ten rows from the top of this building.  And the theater was breathtaking (especially since we were out of breath from climbing 8 flights of stairs).

But it 2014-10-08 19.52.35was stunning to be eye to eye with a chandelier.  However, the building is not deep, so we weren’t that far from the stage.  Of course, mostly we saw the top of Neil’s head (and the top of his piano–which was cool).

Before the lights dimmed we got the great announcement to “please refrain from shouting out song titles,” which I loved–if only the latecomers had heard that message as well.

And then, lights went out, flashlights appeared and Neil shuffled on stage–in jeans, a T-shirt, a flannel type shirt over it–and sat down in the middle of the stage.  He picked up one of the guitars (he already had his harmonica clipped on) and busted out “From Hank to Hendrix.”

Okay, so I’ve been listening to Neil for a long time–I’ve gotten nearly all of his records, I’ve heard a bunch of live things, saw him recently on Jimmy Kimmel–nevertheless I was absolutely blown away by how good his voice sounded.  It was clear and strong and nothing like the 68 year old guy shuffling around on stage should be able to possess.  And his guitar playing sounded crisp and clean, his harmonica was spot on–it was so perfect sounding.  Perhaps it was the venue, but it was the purest sounding concert I may have ever heard.

When he finished the song, Sarah, overcome said, “Okay we can go now.”  That’s how good it was.  [You can read her review here].  But of course we didn’t go.  We sat, rapt as he picked guitars to play, “This one was a gift from Stephen Stills.” [Audience guy: How is he?] “He’s good.”  And on that guitar he played a Buffalo Springfield song.  Then he played “Only Love Can Break Your Heart.”  At this point I stopped trying to keep track of the guitars he played. (more…)

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burnoutSOUNDTRACK: “WEIRD AL” YANKOVIC-“Mission Statement” (2014).

missionThis was the final video pre-release from “Weird Al”‘s new album.  I’m not sure why he didn’t make videos for the other four songs, but whatever.

Man, do I love this song.  This is a style parody of Crosby, Stills, Nash (and Young, I guess).  It’s not exactly meant to be “Suite Judy Blue Eyes,” but that’s probably the biggest touchstone, especially after the middle and end parts kick in.  Aside from the music (and harmonies) being perfectly spot on what is so genius about this song is the lyrics.

The lyrics themselves are four and a half minutes of corporate mission statements.  I have been involved in two companies’ creation of mission statements, and while non has been as ponderous and jargony as this one (I haven’t actually tried to parse if there is actually anything being said at all here).  But to throw this corporate nonsense as a CSN&Y song is just outstanding.  If the hippies every sold out, this is what they would have made.  And it is stellar.  I hope he plays this live, because I can’t imagine how hard it would be to memorize these lyrics since they don’t actually say anything, but are actual English words.

I love the idea of CSN&Y harmonzing “monetize our assets.”

The video is a hand drawn (you can see the hand) hippie cartoon.  It’s funny and spot on to the theme of the song.

[READ: July 15, 2014] Burnout

This was one of my least favorite Minx books in the short series.  I was poisoned against it right from the start because I don’t particularly care for stories about, well, about divorced mothers getting mixed up with trashy/drunken men who abuse their sons and intimidate the divorced mom’s daughters.   I don’t know how common a trope that is, but this felt pretty story-of-the-week right from the get go.

Danni and her mom are moving to Elkridge, Oregon (pop. 460) to move in with her mom’s boyfriend.  As in all stories where the new boyfriend is a jerk, he’s a jerk right from the start (even yelling at her adorable dog) and the mom tries to convince Danni that he’s not so bad.  The one unexpected thing is that she is forced to share a room with the guy’s son.  (Given their ages, I wouldn’t think the mom would like that).

So the son is hot (in a Danzig sorta way) and has things up all over his room about the environmentalists who are waging war against the loggers.  He also has a locked chest full of stuff (inexplicably right in the center of the room).  That first night he sneaks out the window (on a grappling hook). Did any reader not see that he was doing anti-logging things?  Why can’t characters put two and tow together?  Anyhow, this part of the plot was interesting (even if it could have been handled better) and I was really surprised to have the story turn into a kind of discussion vis a vis the rights of loggers vs the rights of environmentalists. (more…)

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SOUNDTRACK: THE STILLS-YOUNG BAND: Long May You Run (1976).

I’ve known the song “Long May You Run” for a long time, but I never really realized it came from a non-Neil Young album.  The album is by The Stills-Young Band and the history of the album may be more interesting than the album itself (in sum: CSN&Y broke up, C&N made and album so S&Y made an album.  C&N were supposed to be on the S&Y album but they fought and S&Y removed their vocals).

So what we get is nine songs.  Five written by Neil Young and four by Stephen Stills.  The songs are played by Stills’ solo backing band and while the credits suggest that they played on each others’ songs, it doesn’t really seem like it.  It seems like you get 5 Neil Young solo songs and four Stephen Stills solo songs.

It’s also odd that the cover of the album shows buffalo running in the plains (nod to Buffalo Springfield, I’m sure) but so many of these songs are about water.  Maybe that disconnect feeds the whole thing.

By the way, “Long May You Run” is a catchy little country number that I never realized was about his car until recently.

Stephen Stills’ first song is the utterly unsubtle, possibly seductive in the 70s but hilariously outre in 2001 “Make Love to You.”  It’s full of 70s synths and has a very serious tone (despite the 70s synth).  And the lyrics, hoo boy:

Girl your body said everything and I know you knew/I wanna make love to you, make you feel all right/I wanna make love  to you, yes, it’ll take all night

Which is about as long as the shower you need to take after hearing that song.

“Midnight on the Bay” is a pleasant enough song from Neil.  It’s a bit too much into the 70’s-lite music genre for my liking, but it’s not too terrible.

The thing about Stephen Stills is I like his voice.  It’s unusual and unique and I like hearing him sing.  But man his lyrics are crazy.  I like the opening riff of “Black Coral” with its staccato piano.  Yet it seems like he’s got but one thing on his mind.  The song is ostensibly about being underwater:

Got to move slow/Take it easy down there/You’ve only so much air/When you get a little deeper/If you slow down/You might keep her/The sea, unforgiving and she’s hard/But she’ll make love to you/Show you glimpses of the stars.

But maybe that’s metaphorical.  Because when you go deeper, “I saw Jesus, and it made sense that he was there.”

“Ocean Girl” is sort of Neil’s answer to that song.  It’s got a very 70s wah wah sound and a very easy to sing chorus.  Consider it a catchy but inessential Neil song.  “Let It Shine” is also Neil’s song (and there’s more stuff about his cars here–so you know he’s really into it).  It’s a more substantial song than most of the rest although it has a very easy feel.

“12/8 Blues” (love the title) feels like an Eagles song (“Life in the Fast Lane” to be specific, although they both came out in the same year.  Hmm).  It’s fairly generic (like the title) but I like it (crazy time signatures are my thing, man).

“Fontainebleau” is an interesting angsty Neil song that I think would have done very well with CSN&Y.  I never really paid attention to the lyrics before, but it’s fairly interesting and the guitar solos are soft but cool.

The final song goes to Stills.  “Guardian Angel” feels like a combination of all of his other songs, and it’s probably his best on the disc.   It’s got the slinky 70s vibe of  the first song, the staccato piano and, interestingly a chorus that would sound great with the 4 part harmony of CSN&Y.  It also rocks harder than anything on the record (which isn’t saying all that much).  The end has a cool extended instrumental section which I rather like as well.

So this is a weird little hybrid record.  There’s some good stuff for Neil Young fans, although it’s far from essential.  I actually don’t know much about Stills’ solo work so I don’t know how this compares, but he does seem a little one-track here.

[READ: November 4, 2011] “He’ll Take El Alto”

I don’t read Gourmet magazine.  I’m not a foodie and it seems like it’s just a food magazine.  But here’s the second article in Gourmet by a writer that I really like.  The first of course would be David Foster Wallace’s “Consider the Lobster.”  Is Gourmet more than just recipes?  Does it often have contributions from respected authors?  Am I missing out?

This issue is the Latino issue, so it deals with food from Cuba, El Salvador, Puerto Rico and the Dominican Republic.  And Junot Díaz is our resident Dominican, so he’s given the task of talking up the cuisine.

Unlike Wallace’s essay, which was about a trip to the Maine Lobster Festival, Díaz’s essay is about how upper Manhattan (known as El Alto) has become a hotbed for Dominican food.

Díaz explains how when Dominicans first arrived in New York, there were no restaurants.  Dominicans had to eat Cuban food to approximate their home food.  But now that there are vast enclaves of Dominicans living in El Alto, there are excellent restaurants everywhere (the sure sign that a culture has made it is when you have people from other cultures as your waitstaff).

Díaz revel as his own and his friends’ and acquaintances’ preferences for favorite Dominican restaurants.  As this article is four years old and most of the places seem to be holes in the wall (which everyone knows serves the best food, even if they don’t last very long), I’m not going to bother saying which places they are or checking to see if they are still extant).  Okay, well, Malecon is still around, anyhow. (more…)

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