After Neil Young left the Californian folk-rock band Buffalo Springfield in 1968, he slowly established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. Young's body of work ranks second only to Bob Dylan in terms of depth, and he was able to sustain his critical reputation, as well as record sales, for a longer period of time than Dylan, partially because of his willfully perverse work ethic. From the beginning of his solo career in the late '60s until the late '90s, he never stopped writing, recording, and performing; his official catalog only represented a portion of his work, since he kept countless tapes of unreleased songs in his vaults. Just as importantly, Young continually explored new musical ... Read More...
01.Country Home 02.White Line 03.F*!#In' Up 04.Over and Over 05.Love to Burn 06.Farmer John 07.Mansion on the Hil l08.Days That Used to Be 09.Love and Only Love 10.Mother Earth (Natural Anthem)
Having re-established his reputation with the musically varied, lyrically enraged Freedom, Neil Young returned to being the lead guitarist of Crazy Horse for the musically homogenous, lyrically hopeful Ragged Glory. The album's dominant sound was made by Young's noisy guitar, which bordered on and sometimes slipped over into distortion, while Crazy Horse kept up the songs' bright tempos. Despite the volume, the tunes were catchy, with strong melodies and good choruses, and they were given over to love, humor, and warm reminiscence. They were also platforms for often extended guitar excursions: "Love to Burn" and "Love and Only Love" ran over ten minutes each, and the album as a whole lasted nearly 63 minutes with only ten songs. Much about the record had a retrospective feel — the first two tracks, "Country Home" and "White Line," were newly recorded versions of songs Young had played with Crazy Horse but never released in the '70s; "Mansion on the Hill," the album's most accessible track, celebrated a place where "psychedelic music fills the air" and "peace and love live there still"; there was a cover of the Premiers' garage rock oldie "Farmer John"; and "Days That Used to Be," in addition to its backward-looking theme, borrowed the melody from Bob Dylan's "My Back Pages" (by way of the Byrds' arrangement), while "Mother Earth (Natural Anthem)" was the folk standard "The Water Is Wide" with new, environmentally aware lyrics. Young was not generally known as an artist who evoked the past this much, but if he could extend his creative rebirth with music this exhilarating, no one was likely to complain.