Neil Young's latest studio record, his first with Crazy Horse in nine years, isn't so much a covers collection as it is a concept album in the vein of Nick Cave's Murder Ballads.
Neil Young's legend has essentially been built through obfuscation; he's accumulated one of the most celebrated yet byzantine songbooks in rock by impulsively shifting course album to album, whether it means periodically alienating fans, band mates, and record labels alike.
But when it comes to covering other people's songs, he's an unabashed populist. Instead, true to his utilitarian ethos, he's more interested in transforming the mythical into the practical, reclaiming once-vital songs that have essentially been overplayed into Muzak and investing them with a new sense of purpose.
In Young's hands, the most totemic songs in pop history become more flawed and, as a result, more down to Earth. For this latest studio album-- the first with Crazy Horse in nine years-- Young applies that logic across an entire record.
And we're not talking about mere golden oldies here, but ancient public-domain standards that predate the existence of pop radio and the music industry entirely: 'Clementine', 'She'll Be Coming Round the Mountain', 'Oh Susannah', and the like. These aren't songs anyone really listens to anymore, because we don't need to.
They're practically part of our collective DNA: songs that you whistle while you work or use to sing your baby to sleep or to entertain impatient kids sitting around a campfire. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses.
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