To kick off my celebration of all things Shakey, I'll begin with the song that started it all for me. Here's Neil performing "Helpless" with The Band at The Last Waltz. From their ragged-but-right barbershop harmonies to the ethereal counterpoint of Joni Mitchell from behind the scrim, it's nothing but pure magic from start to finish. Favorite moment: At 4:04, when Neil saunters over and joins Rick and Robbie on their mic.
My favorite album of Neil's is Harvest Moon. I've raised a few eyebrows among fellow Neilers with that choice, but I stand by it. I don't say it's his best; I say it's my favorite - there's a difference. Harvest Moon has a romance to it - a gentle, disarming sweetness, and a depth of feeling, that I find utterly irresistible.
Here's a lovely performance of "Harvest Moon" from the concert film Neil Young: Heart Of Gold (now apparently out of print), filmed at Nashville's Ryman Auditorium during the 2005 Prairie Wind concerts. Dig the harmony vocals of Neil's wife Pegi and the ever-flawless Emmylou Harris, as well as that broom action.
As Neil's fans know, he can turn on a dime. For every album of mellow country-rock, he's got another full of electric fire and brimstone. Here's Neil with Crazy Horse Live At The Fillmore 1970, performing "Down By The River." I'm not one usually for extended guitar jams, but I never tire of listening to the dueling axes of Neil and Danny Whitten. Neil once said: "Hey, every musician has one guy on the planet that he can play with better than anyone else. You only get one guy. My guy was Danny Whitten" (Shakey, p. 389). Listen and hear why.
Neil's restless pursuit of his muse is what I find most fascinating about him; he can sing about loving his baby one minute, and shooting her the next - and there's something about that quavering, fragile tenor of his that makes you believe him, no matter what he's singing about. We human beings are nothing if not in a constant state of change, and more than anyone else Neil's music brings that home for me.
His latest album is the Daniel Lanois-produced Le Noise, and for my money it's the best thing he's done in years. It's just Neil alone with a guitar, and was recorded inside Lanois' L.A. mansion. As simple as that sounds, don't be deceived (or denied!) - it's anything but simple. At an age when many of his contemporaries are content to rest on their laurels, Neil is still seeking, still searching, still asking questions, still willing to try new things. Because of this he is still creating exciting music, and this particular record is one of the most moving and powerful I've ever heard - from anyone.
In the following video, Lanois discusses the album's genesis and his work process at length. Besides working his sonic wizardry on the songs after they were recorded, he used the structure of the house itself to help create and shape their sound. Fascinating stuff. (Mr. Lanois, if you are reading this and are in need of an apprentice, I am available and willing to relocate!)
Le Noise: The Film is the visual equivalent of the sound on the album - expansive yet intimate, and shot through with an aura of light.
This year's Bridge School Benefit Concert was especially noteworthy for the reunion of the surviving members of Buffalo Springfield (which I mentioned in my very first blog posting). In recent interviews Richie Furay has hinted that we may see more of "Buffalo Springfield Again," and Rick Rosas has also expressed hope that this will happen. Keeping my fingers crossed over here, guys!
Here's one of my favorite videos from the reunion - Neil singing "I Am A Child," followed by Richie on "Kind Woman."
For all of its highs and joys, 2010 has also been a tough year for Neil. He lost two of his dearest friends and collaborators, L. A. Johnson and Ben Keith, and just this week his electric car project LincVolt was badly damaged in a three-alarm warehouse fire in San Carlos, California. Neil, if you see this, I'd just like to say that "what we lose in the fire is never gone," and the thoughts and prayers of many are with you - on your birthday and always.
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