Neil Young- 1976 Tokyo Japan

Neil Young & Crazy Horse
1976-03-11
Live at Budokan Hall, Tokyo, Japan
'Arena Of Gold' [Tarantura]
Master Audience recording, very good quality
mp3 @ 192

Although no soundboard recordings have surfaced from these shows (Perhaps Neil is still holding these for future release in the Archives series?), this is one of the best audience recordings of these Japan shows, the final night in Tokyo, at Budokan Hall. As was the composition of Young’s shows at the time, the first set was solo Neil Young with acoustic guitar or piano. And as usual, he unveiled several 'new' songs on this tour, including 'Too Far Gone', 'Let It Shine', 'Lotta Love', and 'No One Seems to Know'. The second (electric) set brought on Crazy Horse, and featured the first live versions of the recently released 'Zuma' classics 'Like a Hurricane', 'Cortez the Killer', and 'Drive Back' , as well as searing versions of 'Southern Man', 'Cowgirl in the Sand', 'Cinnamon Girl', and others. It is a delight to hear this period of Young’s career when there is such a sense of tension, freshness, surprise and a certain desperation to these songs.

Disc 1: Neil Solo acoustic
01. Tell Me Why (5.8MB)
02. Mellow My Mind (5.0MB)
03. After The Gold Rush (6.1MB)
04. Too Far Gone (4.4MB)
05. Only Love Can Break Your Heart (4.8MB)
06. Let It Shine [released on Stills-Young Band’s Long May You Run album] (6.5MB)
07. A Man Needs A Maid (5.4MB)
08. No One Seems To Know [unreleased] (4.8MB)
09. Heart Of Gold (5.7MB)

Disc 2: w/Crazy Horse (electric)
01. Intermission
02. Country Home
03. Don’t Cry No Tears
04. Cowgirl In The Sand
05. Lotta Love
06. Like A Hurricane
07. The Losing End
08. Drive Back
09. Southern Man
Encore
10. Cortez The Killer
11. Cinnamon Girl

Lineup
Neil Young - guitar, vocals
Billy Talbot - bass
Frank Sampedro - guitar
Ralph Molina - drums

disc 1: http://www.megaupload.com/?d=2IH68QRK
disc 2: http://www.megaupload.com/?d=AAMIH83N



Bob Dylan-Planet Waves

While on sabbatical from Columbia, Dylan played with The Band and "Planet Waves" appeared in very early 1974. Some rather exciting things followed. Dylan, in seclusion for years, toured for the first time since 1966 (and with the very same band). So, once again, fans had yet another "comeback" on their hands (1970's "New Morning" was also called a "comeback" as well as 1975's "Blood On The Tracks"; this speaks volumes about Dylan's repertoire). But this time the tour wouldn't stop. "The neverending tour" continues unabated to the present day.

On its appearance, "Planet Waves" divided fans and critics, and continues to do so. Some listeners outright hate it, calling it "rushed", "sloppy", and "obsessive". Others hail it as a hugely underrated masterpiece, calling it "edgy", "rough", "personal", or "from the heart". Most would probably agree that it isn't one of his worst, while conceding that it stands a little distant from his absolute best work.

A number of moods pervade "Planet Waves". The bouncy opener "On a Night Like This" will cause all still feet to twirl with glee. But the suicidal follow-up, "Going Going Gone" will plant those feet in concrete while perking up ears and brains. And then the very heavy and sandpaper rough "Tough Mama" (with the classic line "Today on the countryside it was hotter than a crotch") kicks the tempo up again, but in a very different way than "On a Night Like This." The album appears uneven but it actually conjures up a collective mood after repeated listenings. A straight reading of the lyrics reveals obsessions with love, death, the past, and youth. Dylan pleads with countless lovers on this album: "Tough Mama", "Hazel", "You Angel You", "Never Say Goodbye", "Wedding Song". Arguably, the songs on "Planet Waves" may explore the complicated dimensions of his deep love for Sara, his ex-wife. Perhaps all of the referents point to one person? After all, who hasn't felt both a deep passionate love and a self-deprecating hatred for the same person? "Dirge" demonstrates the latter, spewing invective such as "I hate myself for loving you." This intense love finally gets fed steroids on "Wedding Song". Here Dylan turns the phrase "I love you" into a dizzying mantra. And it's obvious by this point that he's hurting. Thematically, "Planet Waves" sits comfortably in front of, and in the shadow of, "Blood on the Tracks". That album also explored the many aspects of emotional and existential love (though "Planet Waves" arguably showcases more of the physical side).

Of course one exception shouts out: "Forever Young". And why do two versions sit side by side on this album? Apparently some friends of Dylan made fun of the slow version, and he decided to keep it off the album. But the engineer loved it and insisted that it remain. So maybe the two versions remained a compromise? Also, side one of the original vinyl lp ended with the first "Forever Young", so the CD somewhat ruins the affect of flipping sides. In any case, "Forever Young" has joined the ranks of classic Dylan.

"Planet Waves" stands as yet another complicated, sophisticated, and stratified Dylan project. His work always invites heaps of discussion that, for some people, never ceases. Not only that, "Planet Waves" was Dylan's first number one record (which seems impossible), though sales weren't as impressive as expectations. Though Dylan never regained the heights he attained in the 1960s, it doesn't seem like he really wanted to. In "Wedding Song" he sings "It's never been my duty to remake the world at large, Nor is it my intention to sound a battle charge." Dylan had openly abdicated the throne imposed on him by some of his fans. He instead retreated into the personal and complex world that "Planet Waves" continued to explore. And he kept going going. 



Just Us-Marshall Tucker Band

JUST US was Marshall Tucker's illustrious followup to the miserable TUCKERIZED, but, unfortunately, its last great album until 2004. This time the band produced itself, and blind keyboardist Ronnie Godfrey, now fully integrated into the band, proved that his blindness was no handicap, contributing greatly to the writing here. You would think that Godfrey would spur the band on to further masterpieces, but unfortunately, the group hit a slide immediately afterwards from which it would not recover until the astonishing BEYOND THE HORIZON, a problem caused by the departure of all but two of the band's members. Nevertheless, you shouldn't pass this CD up.



Midnight Moonlight- New Riders of the Purple Sage

Over the years the New Riders have put out a lot of music and influenced many other musicians. They started out as a country/bluegrass off-shoot of the Grateful Dead, then went on to develope their own legacy as the ultimate Cosmic Country Rock band. In the early 1980s, several key members of the band left, and many fans never took the time to listen to how good the lineup sounded. This album shows off the best of the later editions of the New Riders of The Purple Sage. No longer a "country rock" outfit, this is pure "unplugged" music.... folk festival music, living room music. The musicianship is superb, the vocals delightfull, the song writing the very best the band ever put out in their illustrius career. The remakes of the earlier chestnuts like "Glendale Train", "Lonesome LA Cowboy", and "Louisiana Lady" make your hair stand up. "Change In The Weather" makes me want to go back to an earlier, more idealistic era. When I first bought this album, I listened to it over and over, then bought a bunch of copies for friends who claimed that it had the same addictive appeal to them.
If you liked EmmyLou Harris live at the Ryman, or the Dead's Reckoning you will love and treasure this album.......peace
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This 1992 CD features original member John "Marmaduke" Dawson along with a couple other guitarists and various backing musicians. This is a very different group than the legendary 1970's version. However, take it for what it is, and it's a pleasant listen. Essentially, the group reworks a few classics, and plays a few standards and originals. However, the remakes do not measure up to the originals, in this fan's opinion. (The change of lyrics in "Lonesome LA Cowboy" doesn't work for me, for example). Still, "Midnight Moonlight" is a great song, no matter who's playing it, and the bagpipes on "Sutter's Mill" are neat. The musicianship is also top notch. This is not a disappointing CD, unless you are expecting the original group. Enjoy it if you are a fan of the NRPS. But if you are not familiar with this group, try one of their early albums first.

Chris Hillman-Slipping away

Chris Hillman never seems to get his due. His band mates and collaborators always seems to get more acclaim than he does, despite almost 40 years of creating excellent American music. This 1977 album came after Hillman, J.D. Souther, and Richie Furay failed to become the new Eagles and is one of the strongest outings of his career. That is saying a lot as Hillman was a key part of the Byrds "Sweetheart of the Rodeo," the Flying Burrito Brothers "Gilded House of Sin," and "Manassas" with Stephen Stills. Yet Gram Parsons, Roger McGuinn, Emmy Lou Harris, David Crosby, and Stills sport stronger reputations than Hillman in the eyes and ears of many music critics. Maybe Hillman is just too nice a guy. Whatever, this solo album (the first of his career) features several great songs in the 1970s Southern California singer-songwriter mold. If the Eagles had covered "Slippin' Away," it would be in constant rotation today on classic rock radio. "Step on Out" is a great opener and later a country hit for the Oak Ridge Boys. "Love is the Sweetest Amnesty" is as sweet as its' title and "(Take Me In Your) Lifeboat" is a rousing gospel closer. Hillman is a fine singer, deft Mandolin and bass player, and a strong songwriter. His recent work with Herb Pederson and with Larry and Tony Rice is rich and rewarding. This album got lost in the country rock glut of the mid-1970s, but it stands out nicely today as one of the best solo efforts from a former Byrd.