2008 Woodie Awards
Young's Fillmore Jive
Richard Hughes '09
Issue date: 11/17/06 Section: Entertainment
- Page 1 of 1
Sometimes to fully appreciate a work of art, we need to know the story that surrounds it. Live at the Fillmore East, 1970 is an archival release that is surrounded by a story that helps give context to the explosive night of music that was played so long ago. Neil Young and Crazy Horse sound grungy and raw on this night. After a solo acoustic set that did not make its way onto this release, Young shows his durability by playing hard rock.
In 1970, Young was recording with Crosby, Stills, and Nash. He was also working on After the Goldrush. These two projects show no distortion or eclectic jams. On this particular night at the Fillmore, Young was showing the side of him that he had just recorded for Everybody Knows this is Nowhere. No one else was making music like this. The Grateful Dead had been jamming just as long, but lacked the brute force that Young had with Crazy Horse. "Down by the River" on this live release goes over the 12-minute mark, but never treads into a spacey realm. Rather, the jam stays focused and aggressive.
The listener can concoct a story for the songs "Wonderin'" and "Winterlong". The band seems to be inspired by both. Why weren't they released for years after this show? Was Young being influenced on which direction to take with his career?
A story engulfs "Come on Baby Let's Go Downtown" for anybody that knows what happened to guitarist Danny Whitten. He sings lead vocals on this innocent rocker. Young's background singing can't help but sound ominous behind his fellow bandmate, who would die of a heroin overdose two years later. This event definitely shook Young and put him on a career path away from the mainstream Harvest era. Albums like Time Fades Away and Tonight's the Night ("Come on Baby Let's Go Downtown" is on it) would not have been made.
The closer, "Cowgirl in the Sand," has a story that can probably only be told by the fortunate ones that were able to witness it. Fierce playing rattles right before the "woman of my dreams" verse before orderly falling back into the song. It is a truly an incredible version, and is worlds better than its studio recording.
The release itself has had an epic journey. Young had been promising that he would dive into his archives for decades, and this release marks the first time he actually has. His original idea was to have a huge box set but it appears now that it will be a string of smaller releases. There is no doubt in anybody's mind that his vault is extensive and filled with songs that have never seen the light of day. Songs that were taken to the next level in a live performance and some sketches of song that will put the fan deeper in the mind of the creator can also be found in this mysterious archive.
In 1970, Young was recording with Crosby, Stills, and Nash. He was also working on After the Goldrush. These two projects show no distortion or eclectic jams. On this particular night at the Fillmore, Young was showing the side of him that he had just recorded for Everybody Knows this is Nowhere. No one else was making music like this. The Grateful Dead had been jamming just as long, but lacked the brute force that Young had with Crazy Horse. "Down by the River" on this live release goes over the 12-minute mark, but never treads into a spacey realm. Rather, the jam stays focused and aggressive.
The listener can concoct a story for the songs "Wonderin'" and "Winterlong". The band seems to be inspired by both. Why weren't they released for years after this show? Was Young being influenced on which direction to take with his career?
A story engulfs "Come on Baby Let's Go Downtown" for anybody that knows what happened to guitarist Danny Whitten. He sings lead vocals on this innocent rocker. Young's background singing can't help but sound ominous behind his fellow bandmate, who would die of a heroin overdose two years later. This event definitely shook Young and put him on a career path away from the mainstream Harvest era. Albums like Time Fades Away and Tonight's the Night ("Come on Baby Let's Go Downtown" is on it) would not have been made.
The closer, "Cowgirl in the Sand," has a story that can probably only be told by the fortunate ones that were able to witness it. Fierce playing rattles right before the "woman of my dreams" verse before orderly falling back into the song. It is a truly an incredible version, and is worlds better than its studio recording.
The release itself has had an epic journey. Young had been promising that he would dive into his archives for decades, and this release marks the first time he actually has. His original idea was to have a huge box set but it appears now that it will be a string of smaller releases. There is no doubt in anybody's mind that his vault is extensive and filled with songs that have never seen the light of day. Songs that were taken to the next level in a live performance and some sketches of song that will put the fan deeper in the mind of the creator can also be found in this mysterious archive.
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