Gold9472
06-24-2006, 09:56 PM
Neil Young, from Nixon to Bush
http://arts.guardian.co.uk/features/story/0,,1805195,00.html
Southern Man
Click Here (http://www.yourbbsucks.com/forum/southernman.mp3)
Sean O'Hagan
Sunday June 25, 2006
The Observer
A big black vintage Buick stands, gleaming and immaculate, in the empty car park of an otherwise nondescript studio complex on the southern outskirts of San Francisco. The car's owner, who drove here this morning from his 180-acre ranch in nearby San Mateo county, is of a similar vintage, but looks altogether less well-tended. His 60-year-old frame, once impossibly gangly, has filled out, and is clothed in a faded cotton shirt, ill-fitting denim jacket and baggy, khaki-coloured trousers that give way to white socks and scuffed trekking sandals. The thrift shop-meets-great outdoors look is topped off by a battered safari hat of dubious provenance which sits atop a straggly mess of long, greying hair. Everything about him looks slightly faded, windblown, weatherbeaten.
And yet this ageing unkempt figure exudes a timeless cool, a languorous, dishevelled grace that only those who truly don't give a hoot what the world thinks of them exude. Despite what style magazines might tell you, it is a look that cannot be bought or styled. It takes a lifetime of not caring to perfect, and if you were to ask Neil Young about it he would look at you like you were mad, and maybe fix you with that gimlet stare of his that has chilled many an interviewer's soul.
'People were always afraid of Neil,' his long-time manager Elliot Roberts once remarked when asked about his charge's legendary hair-trigger temperament, 'but he was actually very frail. He sort of glared at people and they'd freeze. He was so intense, nothing was casual.'
The glint in his eye is still there but today, at least, it seems more mischievous than malevolent. And Neil Young, though he has had a recent brush with mortality, no longer appears frail, but robust and hearty. When he finally ambles into the back room of the studio he seems relaxed and affable, and, despite his longstanding aversion to interviews, comes across initially as shy rather than wary.
'I'm doin' good,' he says, grinning, when I tell him how well he looks. Last year he underwent brain surgery to remove an aneurism that had gone undetected for years, and there were some unspecified post-operative complications he is loth to talk about. 'I've come though, and I feel kind of blessed.'
There is no evidence to suggest that this recent illness has made him ease up on his relentless work schedule. If anything, the opposite is the case. He recently released Living With War, hismost controversial album to date. It signals another major change of direction, both musically and politically, the abrasive sound matched by lyrics that pull no punches in their anti-war, anti-Bush message. 'Let's impeach the President for lyin'.' runs one song, 'and misleading our country into war/Abusing all the power that we gave him,/And shipping all our money out the door.'
He cut the album in a couple of weeks and initially released it on the internet. It followed close on the heels of last year's wistful and reflective Prairie Wind, several songs of which were written and recorded in the fortnight between the diagnosis and the removal of his aneurism. 'I had to wait a few weeks because the doctor wasn't available to do the operation,' he says matter of factly, 'so I just headed up to Nashville and started working.'
Last year, too, he played a pair of intimate shows in Nashville which form the core of new concert film, Heart of Gold, directed by his friend Jonathan Demme and due for release here in August. There is also a late summer stadium tour scheduled where he will once again be reunited with the equally grizzled Crosby, Stills & Nash with whom he has conducted a fitful and often fraught working relationship. 'When we were younger we fought like brothers,' he says, 'but we've got some history on that now.' One wonders, though, what's in it for him; as a rueful David Crosby once remarked, 'Neil needs the three of us like a stag needs a hat rack.'
In the meantime, in this very studio, he is overseeing the final stages of an exhaustive - and, among fans, semi-mythical - archival project which will culminate in the release of a series of CDs of unreleased material spanning his 40-year career. 'I've be en real busy this year, even by my standards,' he laughs. 'I kind of picked up a head of steam back there after the illness, and I just went with it. Plus,' he says, without a discernible trace of irony, 'I reckon I'm finally getting pretty good at what I do.'
What can you say to that? I just grin back at him and shake my head. If truth be told I'm feeling slightly nervous-going-on-starstruck in his presence. Journalistic objectivity be damned, I'm just grateful to be meeting the great man. We go back a long way, Neil and me, back to my teenage years in the early to mid-Seventies when his songs as well as his high prairie voice and his brooding outsider persona held me in their sway like nothing since.
For a long time back there, like many closet romantics, I was mesmerised by the very notion of Neil Young, and by the promise his songs carried of another altogether more gilded life among the impossibly bohemian denizens of America's fabled West Coast. A life lived in thrall to the highway and the desert and spent in the blissful company of all those dreamy sunkissed Laurel Canyon ladies. A life where you simply hung out and got high and wrote song after song about the heartbreak and despair of unrequited love. What could be finer?
Back then, in the grey, rain-drenched dreariness of small-town Northern Ireland, I listened to Neil Young's albums incessantly, poring over the sleeves, the credits, the lyrics. I even had my mother sew patches of an old rug on the backside of my Wranglers in homage to that photograph of Neil's jeans on the back of After the Goldrush. He was the brooding West Coast-rock troubadour par excellence. And wherever Neil went I journeyed with him, even along the druggy, desolate back roads he travelled on the ragged masterpiece that was Tonight's the Night, even across the remote, whacked-out terrain he was stranded in on On the Beach
Not even the great punk purge of the late Seventies, which consigned most of his complacent contemporaries to the dustbin of musical history, could shake my faith in the man or his music. I stuck by Neil and he responded accordingly, releasing the magnificently twisted Rust Never Sleeps, the album that bequeathed us his most infamous and oft-quoted line: 'It's better to burn out than to fade away'. Fifteen years later that same line would come back to haunt him when the dismal Kurt Cobain, much to Young's dismay, scrawled it on his suicide note.
But to everyone's surprise, including his own, Young neither burnt out nor faded away. To paraphrase Bob Dylan, it seemed like the only thing he knew how to do was to keep on keeping on. It's been quite a journey. Or, as Elliot Roberts once put it: 'It's not like the art is separate from the life, it's one and the same with Neil.' Only Dylan, indeed, has walked that line with the same kind of devil-may-care determination and utter disregard for the vagaries of musical taste. Only Dylan walks on to a stage trailing such a mythology, such a surfeit of startling songs, such a devoted to-the-point-of- obsessive following. Put simply, Neil Young is one of the last great maverick geniuses of rock, and bone fide living legend to boot. Not that he gives a hoot about that either.
'It's strange but I now have the kind of fame that comes with just being around so long,' he says. 'I have all the people who have been with me for a long time, and know my work, and have made the journey with me. But I also have all these other people who know who Neil Young is but don't really know shit about me. It all gets kind of strange sometimes.'
We are gathered here ostensibly to talk about his latest album, Living With War, a bunch of what he calls 'rough and ready, simple, straight-ahead folk songs about the war in Iraq'. In typically perverse fashion he has set those songs to storming electric guitar riffs and employed a 100-piece choir to ram home the anti-Bush message. The whole album, he tells me proudly, was recorded 'live and fast and with no overdubs'. The most catchy, and controversial, song is called 'Let's Impeach the President', which I can't imagine has received much mainstream radio play in America.
'More than you'd think, actually,' he says, eyes glinting. 'Which surprised me, too. A big part of what this record is about is just getting the information out there that Americans have a conscience about what's happening, too. There's a lot of people in America who didn't want this war to happen, who just want to be able to express themselves about this situation, but for various reasons they are not being heard. In a way this record is not for me, it's for them.'
Why, though, did he make a 'metal-folk' record that's heavier on the metal than the folk - and then bring a choir on board? 'Well I just went with my instincts as always. I was trying for a sound that really resonates so that's why the choir's on there. I wanted something so utterly simple and unarranged that people could sing along with it and play along with it, just like those old stirring folk songs. So when we play them live, anyone can get on board. There's no arrangements to learn, no fancy harmonies. It's stripped-down folk really, but I wanted it to sound angry and agitated and raw, too. My voice, and what I think as an individual, is much less important on this project. It's the project itself that's the important thing. It's about making yourself heard.'
Living With War is indeed an angry record but one that manages to sound somehow patriotic, too. Young says he waited a long time to make it because he was hoping that 'maybe a younger artist would stand up and write these kinds of songs'. That never happened, or at least not in the high-profile way he thought it would. 'For a while, you know, I didn't feel it was my place. Being 60 years old, and being who I am, it just didn't feel appropriate,' he continues, getting into his stride. 'Plus, after 9/11, we were told by the government that expressing dissent was not patriotic. I mean, I trusted the government back then. I was one of those guys who thought the Patriot Act was an OK idea when it first came out. I got behind it.' He shakes his head at his own folly. What, I ask, changed his mind? 'Bush did. The government did. We need a leader who's more cautious, not so reckless with things they don't understand. Other cultures need to be respected. Culture itself needs to be respected. I mean, I feel Saddam was bad and had to be overthrown, but are we smart or are we stupid? At this point in our evolution, with all the technology that we have, there has to be a better way of doing this than bombing a country into oblivion.'
End Part I
http://arts.guardian.co.uk/features/story/0,,1805195,00.html
Southern Man
Click Here (http://www.yourbbsucks.com/forum/southernman.mp3)
Sean O'Hagan
Sunday June 25, 2006
The Observer
A big black vintage Buick stands, gleaming and immaculate, in the empty car park of an otherwise nondescript studio complex on the southern outskirts of San Francisco. The car's owner, who drove here this morning from his 180-acre ranch in nearby San Mateo county, is of a similar vintage, but looks altogether less well-tended. His 60-year-old frame, once impossibly gangly, has filled out, and is clothed in a faded cotton shirt, ill-fitting denim jacket and baggy, khaki-coloured trousers that give way to white socks and scuffed trekking sandals. The thrift shop-meets-great outdoors look is topped off by a battered safari hat of dubious provenance which sits atop a straggly mess of long, greying hair. Everything about him looks slightly faded, windblown, weatherbeaten.
And yet this ageing unkempt figure exudes a timeless cool, a languorous, dishevelled grace that only those who truly don't give a hoot what the world thinks of them exude. Despite what style magazines might tell you, it is a look that cannot be bought or styled. It takes a lifetime of not caring to perfect, and if you were to ask Neil Young about it he would look at you like you were mad, and maybe fix you with that gimlet stare of his that has chilled many an interviewer's soul.
'People were always afraid of Neil,' his long-time manager Elliot Roberts once remarked when asked about his charge's legendary hair-trigger temperament, 'but he was actually very frail. He sort of glared at people and they'd freeze. He was so intense, nothing was casual.'
The glint in his eye is still there but today, at least, it seems more mischievous than malevolent. And Neil Young, though he has had a recent brush with mortality, no longer appears frail, but robust and hearty. When he finally ambles into the back room of the studio he seems relaxed and affable, and, despite his longstanding aversion to interviews, comes across initially as shy rather than wary.
'I'm doin' good,' he says, grinning, when I tell him how well he looks. Last year he underwent brain surgery to remove an aneurism that had gone undetected for years, and there were some unspecified post-operative complications he is loth to talk about. 'I've come though, and I feel kind of blessed.'
There is no evidence to suggest that this recent illness has made him ease up on his relentless work schedule. If anything, the opposite is the case. He recently released Living With War, hismost controversial album to date. It signals another major change of direction, both musically and politically, the abrasive sound matched by lyrics that pull no punches in their anti-war, anti-Bush message. 'Let's impeach the President for lyin'.' runs one song, 'and misleading our country into war/Abusing all the power that we gave him,/And shipping all our money out the door.'
He cut the album in a couple of weeks and initially released it on the internet. It followed close on the heels of last year's wistful and reflective Prairie Wind, several songs of which were written and recorded in the fortnight between the diagnosis and the removal of his aneurism. 'I had to wait a few weeks because the doctor wasn't available to do the operation,' he says matter of factly, 'so I just headed up to Nashville and started working.'
Last year, too, he played a pair of intimate shows in Nashville which form the core of new concert film, Heart of Gold, directed by his friend Jonathan Demme and due for release here in August. There is also a late summer stadium tour scheduled where he will once again be reunited with the equally grizzled Crosby, Stills & Nash with whom he has conducted a fitful and often fraught working relationship. 'When we were younger we fought like brothers,' he says, 'but we've got some history on that now.' One wonders, though, what's in it for him; as a rueful David Crosby once remarked, 'Neil needs the three of us like a stag needs a hat rack.'
In the meantime, in this very studio, he is overseeing the final stages of an exhaustive - and, among fans, semi-mythical - archival project which will culminate in the release of a series of CDs of unreleased material spanning his 40-year career. 'I've be en real busy this year, even by my standards,' he laughs. 'I kind of picked up a head of steam back there after the illness, and I just went with it. Plus,' he says, without a discernible trace of irony, 'I reckon I'm finally getting pretty good at what I do.'
What can you say to that? I just grin back at him and shake my head. If truth be told I'm feeling slightly nervous-going-on-starstruck in his presence. Journalistic objectivity be damned, I'm just grateful to be meeting the great man. We go back a long way, Neil and me, back to my teenage years in the early to mid-Seventies when his songs as well as his high prairie voice and his brooding outsider persona held me in their sway like nothing since.
For a long time back there, like many closet romantics, I was mesmerised by the very notion of Neil Young, and by the promise his songs carried of another altogether more gilded life among the impossibly bohemian denizens of America's fabled West Coast. A life lived in thrall to the highway and the desert and spent in the blissful company of all those dreamy sunkissed Laurel Canyon ladies. A life where you simply hung out and got high and wrote song after song about the heartbreak and despair of unrequited love. What could be finer?
Back then, in the grey, rain-drenched dreariness of small-town Northern Ireland, I listened to Neil Young's albums incessantly, poring over the sleeves, the credits, the lyrics. I even had my mother sew patches of an old rug on the backside of my Wranglers in homage to that photograph of Neil's jeans on the back of After the Goldrush. He was the brooding West Coast-rock troubadour par excellence. And wherever Neil went I journeyed with him, even along the druggy, desolate back roads he travelled on the ragged masterpiece that was Tonight's the Night, even across the remote, whacked-out terrain he was stranded in on On the Beach
Not even the great punk purge of the late Seventies, which consigned most of his complacent contemporaries to the dustbin of musical history, could shake my faith in the man or his music. I stuck by Neil and he responded accordingly, releasing the magnificently twisted Rust Never Sleeps, the album that bequeathed us his most infamous and oft-quoted line: 'It's better to burn out than to fade away'. Fifteen years later that same line would come back to haunt him when the dismal Kurt Cobain, much to Young's dismay, scrawled it on his suicide note.
But to everyone's surprise, including his own, Young neither burnt out nor faded away. To paraphrase Bob Dylan, it seemed like the only thing he knew how to do was to keep on keeping on. It's been quite a journey. Or, as Elliot Roberts once put it: 'It's not like the art is separate from the life, it's one and the same with Neil.' Only Dylan, indeed, has walked that line with the same kind of devil-may-care determination and utter disregard for the vagaries of musical taste. Only Dylan walks on to a stage trailing such a mythology, such a surfeit of startling songs, such a devoted to-the-point-of- obsessive following. Put simply, Neil Young is one of the last great maverick geniuses of rock, and bone fide living legend to boot. Not that he gives a hoot about that either.
'It's strange but I now have the kind of fame that comes with just being around so long,' he says. 'I have all the people who have been with me for a long time, and know my work, and have made the journey with me. But I also have all these other people who know who Neil Young is but don't really know shit about me. It all gets kind of strange sometimes.'
We are gathered here ostensibly to talk about his latest album, Living With War, a bunch of what he calls 'rough and ready, simple, straight-ahead folk songs about the war in Iraq'. In typically perverse fashion he has set those songs to storming electric guitar riffs and employed a 100-piece choir to ram home the anti-Bush message. The whole album, he tells me proudly, was recorded 'live and fast and with no overdubs'. The most catchy, and controversial, song is called 'Let's Impeach the President', which I can't imagine has received much mainstream radio play in America.
'More than you'd think, actually,' he says, eyes glinting. 'Which surprised me, too. A big part of what this record is about is just getting the information out there that Americans have a conscience about what's happening, too. There's a lot of people in America who didn't want this war to happen, who just want to be able to express themselves about this situation, but for various reasons they are not being heard. In a way this record is not for me, it's for them.'
Why, though, did he make a 'metal-folk' record that's heavier on the metal than the folk - and then bring a choir on board? 'Well I just went with my instincts as always. I was trying for a sound that really resonates so that's why the choir's on there. I wanted something so utterly simple and unarranged that people could sing along with it and play along with it, just like those old stirring folk songs. So when we play them live, anyone can get on board. There's no arrangements to learn, no fancy harmonies. It's stripped-down folk really, but I wanted it to sound angry and agitated and raw, too. My voice, and what I think as an individual, is much less important on this project. It's the project itself that's the important thing. It's about making yourself heard.'
Living With War is indeed an angry record but one that manages to sound somehow patriotic, too. Young says he waited a long time to make it because he was hoping that 'maybe a younger artist would stand up and write these kinds of songs'. That never happened, or at least not in the high-profile way he thought it would. 'For a while, you know, I didn't feel it was my place. Being 60 years old, and being who I am, it just didn't feel appropriate,' he continues, getting into his stride. 'Plus, after 9/11, we were told by the government that expressing dissent was not patriotic. I mean, I trusted the government back then. I was one of those guys who thought the Patriot Act was an OK idea when it first came out. I got behind it.' He shakes his head at his own folly. What, I ask, changed his mind? 'Bush did. The government did. We need a leader who's more cautious, not so reckless with things they don't understand. Other cultures need to be respected. Culture itself needs to be respected. I mean, I feel Saddam was bad and had to be overthrown, but are we smart or are we stupid? At this point in our evolution, with all the technology that we have, there has to be a better way of doing this than bombing a country into oblivion.'
End Part I