on life, music etc beyond mainstream

2014 8 Nov

Acht Elf Vierzehn

von: Uwe Meilchen Filed under: Blog | TB | 2 Comments

Heute morgen, beim ersten morgendlichen Kaffee zu Hause, hat mich das neue NEIL YOUNG Album etwas ratlos zurueckgelassen. Habe seit gestern die DCD Version zu Hause, d.h. auf der ersten CD die „normalen“ Songfassungen; auf der zweiten CD dann die mit einem Orchester „angereichteten“ Fassungen der von CD 1 bekannten Songs.

Ganz verwegen heute morgen natuerlich nicht die CD 1 eingelegt, neinein: die CD 2 with added orchestra in den Player !

Nun ja. Ob sich Neil Young mit dieser mit voller Kraft begleitenden Orchesterbegleitung, fuer mich teilweise nahe am Rande des Hollywoodfilm einen guten Dienst erwiesen hat ?

Ein zweites und drittes Anhoeren am morgigen Sonntag, inbesondere der „normalen“ Songfassungen von denen ich mir dann doch etwas mehr verspreche…, aber soviel als erster Eindruck.

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  1. Uwe Meilchen:

    Charlie Rose in conversation with Neil Young about his album „Storytone“ and second memoir, Super Deluxe.

  2. Michael Engelbrecht:

    A short comment from my side:

    “Let us not be strangers if we come to know / Things about each other that come and they go / As friendship is everything as love is to last / And I have my guard down, and love passes fast”. Neil Young’s new record about lost and found love will raise eyebrows.

    Polemics will be on the agenda , as will be thumbs-down. And, no doubt about it, that eco-song is naive from start to end. On the other hand (the one I take) it is not so difficult to realize that an area of strong and often contrasting emotions push you into a zone where a 92-piece orchestra working within the parameters of old time-strings and some jazzy-brassy vibes can be more cathartic than hiding oneself in a wood of metaphors and some guitar-feedback drones.

    Everybody has his Sinatra-moments. Young is able to let some leftfield harshness enter the field. Well-hidden, yes, even cleaned up a bit too well in ultra-conservative Hollywood string skies. Sometimes it makes you strangely vulnerable playing on safe ground. It just may seem a bit ridiculous and child-like. But, so what?

    The fool dancing on the cliffs often has a much more easy game with the audience. Neil Young – in all his career moves – never cared about his audience. All in all, marginal, decent, fun, nothing essential, too many cars, preaching to the converted, precious moments, three stars.

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