Neil Young - Sugar Mountain-Live At Canterbury House 1968 (CD/DVD-A)
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Music CD Cover
Artist: Neil YoungBrand: YOUNG,NEIL
Edition: Music CD
Audio: English (Unknown); English (Original Language)
CD Release Date: 2008-12-02
Music Label: Reprise Records
Product features:
- YOUNG NEIL SUGAR MOUNTAIN-LIVE AT CANTERBURY-CD+DVD
Music CD 1
- [Emcee Intro]
- On The Way Home
- Songwriting Rap
- Mr. Soul
- Recording Rap
- Expecting To Fly
- The Last Trip To Tulsa
- Bookstore Rap
- The Loner
- "I Used To..." Rap
- Birds
- Winterlong [Excerpt] & Out Of My Mind - Intro.
- Out Of My Mind
- If I Could Have Her Tonight
- Classical Gas Rap
- Sugar Mountain - Intro.
- Sugar Mountain
- I've Been Waiting For You
- Songs Rap
- Nowadays Clancy Can't Even Sing
- Tuning Rap & The Old Laughing Lady - Intro.
- The Old Laughing Lady
- Broken Arrow
- "I Used To..." Rap (DVD-A)
- Birds (DVD-A)
- Winterlong [Excerpt] & Out Of My Mind - Intro. (DVD-A)
- Out Of My Mind (DVD-A)
- If I Could Have Her Tonight (DVD-A)
- Classical Gas Rap (DVD-A)
- Sugar Mountain - Intro. (DVD-A)
- Sugar Mountain (DVD-A)
- I've Been Waiting For You (DVD-A)
- Songs Rap (DVD-A)
- Nowadays Clancy Can't Even Sing (DVD-A)
- Tuning Rap & The Old Laughing Lady - Intro. (DVD-A)
- The Old Laughing Lady (DVD-A)
- Broken Arrow (DVD-A)
- Neil Young Vol. 1 Archives Trailer (DVD-A)
Free Music Notes for Sugar Mountain-Live At Canterbury House 1968 (CD/DVD-A)
Free Music Review: Superb Early Acoustic Neil... Marred by Misleading Negative Reviews, Unfortunately
Hit: 5 Stars
I hadn't actually thought to review "Sugar Mountain", nor any of the Archives releases thus far, until I read through the other reviews. The bottom line is that this is a superb, historical performance; most people seem to agree on this. It is a shame, however, about the misleading reviews which give low-ratings because of the DVD-audio feature. Anyone who expected a film of the performance had the right to do so; and they certainly have a right to be disappointed that they didn't get one. But no one considering this release should be mislead into thinking they're being ripped off on the DVD front. The DVD that comes with this album is not a conventional DVD video, but rather an example of something called DVD-Audio. (Actually, it's really using a regularly encoded DVD for the DVD-A purpose, which means, obviously, that you don't need a special DVD-A machine to play the disc--but I digress) Neil is something of an audiophile, as I am sure many fans are aware, and the idea is that DVD-Audio gives the listener the best available sound quality, that is to say, better than a regular audio CD. So no one's trying to scam anyone; it's just that the creator's intention is different from what may consumers expected to get, and thought they were getting. That is just an unfortunate and understandably frustrating misunderstanding.
So one more time: you are *not* getting ripped off if you buy this album. Well, other than through the fact that if you don't acquire this release in one form or another, you are missing out on some first-rate music:
The set, actually a combination of two shows performed at Canterbury House on November 9th and 10th, 1968, when Neil was only a few days short of 23, is entirely acoustic: Neil and his guitar, and nothing else. There is something eminently pleasing to me about recordings of performances, like this before small audiences. There is a warm, intimate feel to the proceedings. The audience is appreciative, but not making so much so much noise that I can't enjoy the music. In fact, this audience is pleasantly and respectfully silent during the performances, offering their applause appropriately enough between numbers. (The one flaw in the other wise excellent Massey Hall set released prior to this one being the high volume of crowd noise. Crowd noise is not something that usually bothers me too much, personally, but I did find myself annoyed by the apparently uncut sections of the Massey Hall crowd calling for Neil's encores after a while. That's really a shame as the music on *that* album is the best to come out of the Archives project so far. I'm sure I'll be giving it five stars anyway. But back to the album I'm supposed to be reviewing.)
As I mentioned previously, the set has a very intimate feeling to it. It is also feels very authentic to what one would expect being at such a show would be like. Included are the emcee's introduction (noting that the audience for that evening was *much* larger than expected), and Neil's charming and witty chatter between songs. Some have complained about the large amount of between-song talking, but I usually find that Neil talking is often as interesting as Neil singing and playing. Neil's story about his two weeks' work for a Toronto bookstore, before being fire for "irregularity", is a particular highlight. The centerpiece of a musical performance should obviously be just that--the music. The music should speak. But talking isn't outlawed or necessarily a bad thing. It can help to clarify the performer's personality, increase interaction with the audience, and give the songs background and context. It's not the main attraction or the show--but a supplement to enhance and further humanize the experience. It admittedly is probably more to do with nerves than anything else in this case, but nonetheless Neil comes off as quite the live wire; very witty and talkative, displaying a good sense of humor throughout. But, as said, this is a nice supplement to the main program: the music is the "thing" of course.
The set starts with a rendition of the Buffalo Springfield number "On the Way Home." Although written by Young, this was originally sung by Ritchie Furray for the album "Last Time Around." The performances on this and the Massey Hall album prove how it *should* have been done, however. With the Springfield, the number was turned into light pop, which worked on its own. The reality, however, is that the song is quite a a bit deeper than this, the lyric poetic and often multi-layered. It works well as an opening number. Neil sounds charmingly timid as he begins to sing, although, as with many numbers throughout the set, he gains confidence as as he continues the vocal and no one starts throwing any rotten fruit at him.
The show carries on with an all-acoustic version of "Mr. Soul", not unlike the fine 1993 "Unplugged" rendition. It's a rather interesting version of the great song, thanks mainly to the first of several aggressive guitar performances by Neil. It is also the first of several well-known Buffalo Springfield numbers to be played. At different points in the show, Neil also performs "Broken Arrow" and "Expecting to Fly." The latter is a particular gem, equally passionate and gripping without the orchestral arrangement present on the original recording. That was good too, but this alternate take is really worth hearing; just Neil's voice ringing out against his acoustic guitar, which really draws more attention to the heartbreaking lyric. The same passion can be heard on this version of "Broken Arrow", quite different and much more to-the-point without the complex production of the studio version. There is more emotion in Young's delivery here than in the Springfield version. Both are classics.
Elsewhere, "Nowadays Clancy Can't Even Sing", from the first Springfield album, is rescued. This is now the only version of "Clancy" I like to listen to. Furray clearly had no idea what he was saying--or singing rather--when he recorded the lead vocal for the original version of this song. Thankfully we this version which, with its sparsity of production and Neil's vocal really resonates a lot more.
But perhaps the most interesting recordings are the rendering of several songs from Neil's underrated self-titled solo debut: "The Loner" is just as strong a number without Jack NItzche's production. "I've Been Waiting for You" has always been rather underrated. The original recording was positively electrifying. I love it. The message of the song is not at all diminished by the performance here. "Old Laughing Lady", stripped of the Laughing Female Soul Singers who can be found on the original, is perhaps the strongest performance of the evening in terms of the guitar. Without the Nitzche production, and with only the acoustic guitar, some beautiful chord changes are revealed alongside the interesting lyric (the song seems to be about addiction.) Neil shows his chops, even without amplifiers and distortion, in banging every ounce of soul out of the countermelody in the absence of the aforementioned vocalists. For lack of a better word, it's stunning to hear. "Passion" is a word that comes up a lot when I talk about Neil Young, but I assure you every use of it in this review is well warranted.
"Last Trip to Tulsa" is also given an airing. I have to say that its inclusion here has given me something of a new appreciation for it. It is the last song on Neil's solo debut, I can say I've ever really enjoyed in the past, and given its position in the album's sequence, it is a simple enough matter to shut off the stereo before the it comes on. But here it is smack in the middle of the show, where one feels obliged to listen to it rather than hit the "skip" button. So I did. I still don't love it; it's long and sometimes feels long. But while it isn't always a great lyric, it does have some clever lines. I particularly like the talk of "unlocking [your mind", men eating pennies, and the gas station with yellow employees and green gas. It's creative imagery. The last verse, as Neil's sends a tree crashing down on his friend's back, is biting. You may find it cropping up in your head long after listening. That, of course, is a symptom common to listening to most of Neil's work.
Performance-wise, the above indicated are just about the highlights. Interestingly, the fine rendition of the enduring classic, "Sugar Mountain", included here is the same one that can be found on "Decade." Prior to that, Neil had already used the recording as a b-side on several occasions. He was right to think it was worthy of release, then and now. Also of interest, "Birds" is performed here. A warm and very pretty tune, it was originally released on "After the Goldrush", which was several years in the future at the time of this performance. So it is a bit surprising, but not unpleasant, to hear it on this album. Another song apparently in its genesis at this point is previewed, quite literally: Neil plays the audience the opening riff from "Winterlong", yet another of his many underrated numbers, claiming it to to be a melody he was working on at the time...
Lastly, although I don't usually make a point of talking about album covers in my reviews, the photo of Neil on the sleeve is quite striking: huge, intense dark eyes staring out at you with a backdrop of long, thick-looking black hair. It just dares you to play thing every time you see it on your shelf.
Especially if you are a fan, you must acquire the material on these Archives discs one way or another. This, along with the Massey Hall release, is absolutely excellent, essential for the fan of "acoustic mode" Neil. Be forewarned, however, that this isn't Crazy Horse Neil. So if that's the only Neil you listen to, I wouldn't bother. Personally, I think acoustic Neil is better than Crazy Horse Neil in many respects. More of Neil's personality comes through. The whole affair seems much more intimate and personal. This is the side of Neil *I* like most when it comes down to it.
Sugar Mountain-Live At Canterbury House 1968 (CD/DVD-A) Poster
Now greet the arrival of 'Sugar Mountain- Live At Canterbury House 1968,' another singular installment in the continuing Neil Young Archives Performance Series. On this CD+DVD set, recorded in Ann Arbor, MI, November 9-10, just days before the release of Young's self titled solo debut, one of the greatest singer-songwriters in rock history is heard solo and acoustic at the height of one of the must tumultuous and creative periods ever experienced both in music and culture. This set contains a CD featuring 14 tracks, a DVD disc including a high resolution audio mix of the album plus a 5 minute trailer for the archives set.Folk Music CDs
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