The worst year in rock music caught Neil Young engaging, respectively, in the worst sub-category of rock music: generic synth-pop. That Neil, he's really a freaked out one... 'Scattered' is countryish, too, though not as joyful or fast paced, but not a clone of the Great Album Opening Mess, either, as it has a clearly defined riff and vocal melody, and some autobiographic lyrics in 'I'm a little bit here/I'm a little bit there/I'm a little scattered everywhere'. Neil Young - Everybody Knows This Is Nowhere Chords. We'll sit and talk of Hollywood. Although I certainly wouldn't want to cut the length down through the most obvious choice - the fourteen-minute long album centerpiece, 'Change Your Mind'. G D C La la la la la la la G D C La la la la la la la 4x. Apparently, a big bunch of these songs were older outtakes from various jam sessions, some dating to as far back as 1974.
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I wish I was a trapper. Just don't feel right. Unfortunately, even the ballads are hit and miss: 'Coupe De Ville' is fine for the first time around, but when several songs later it returns to you in a recycled form in 'Can't Believe Your Lyin', you might actually repent in having just been so overemotional. The magic just seems to happen.
'My My Hey Hey' goes off splendidly, with a very Dylanesque harmonica solo and vocals that are undoubtedly heartfelt and, this time around, fully convincing - after all, Neil is just defending himself, and he stands the test. Well, so 'Twilight' is very good; I do get the feeling that the 'midnight saxophone atmosphere' banalizes the song, and I could easily do without the brass on it, but otherwise, it's a soulful, nearly tear-inducing love ballad that gotta rank together with Neil's best stuff. This (I'm going from memry here, but I think this is it). At least 'The Losing End' has some kind of rhythm to it, which doesn't make it a particularly good country-rock song either, and 'Running Dry (Requiem For The Rockets)' has that plaintive violin and all - for Heaven's sake, they look gorgeous compared to 'Round And Round', because if you're just picking up an acoustic to play your song, you'd better be goddamn good at that acoustic. But his strength - the strength that picks him out of the roots-rock crowd and elevates to God status - lies primarily in his cleverly constructed image, and not in his composing talents. Hereafter, an always-fascinating mix of success and failure would define Young's career, and along the way he'd make some pretty lousy records along with the great ones. I'm [C]trying to get away from the[C/B] day to day running [Am7]around. I would give a thousand pelts. From Marilyn to Madonna, I always loved your smile, Now we're headed for the big divorce, California style. Neil was probably the first guy to include that kind of guitar playing as an essential part of the composition itself. But we haven't made it yet. Neil Young & Crazy Horse take another trip to Tulsa. There, I've made my serious artistic statement. Frankly speaking, if most of Eighties' synth-pop sounded like this album, I'd possibly have to revise my conception of popular music in the twentieth century. Well, thanks anyway - after all, it was nobody's merit but his that he managed to save Déjà Vu from utter ruin. )
Everybody Knows This Is Nowhere
Namely, the album begins with three lengthy epics - 'Big Time' (7:24), 'Loose Change' (9:49) and 'Slip Away' (8:36) - which all sound the same: the band crashes and bashes at more or less the same, rather slow, tempo, Neil mumbles some lyrics which are absolutely impossible to hear as the recording's quality does not top the most mediocre of bootlegs, and most of the time is given to sloppy, messy, feedbacky solos. You have to throw in a couple really sensitive love ballads so as not to get scolded for lack of diverse ideas. When you could be takin' me for a ride, Bm. By this logic, they were making music on the level of Sticky Fingers from the jump. There's just about a couple high-nose ditties, like 'Field Of Opportunity', and even they are rather harmless - especially because of an absolute lack of bombast. Everybody knows this is nowhere. If you selected -1 Semitone for score originally in C, transposition into B would be made. I'm specially pre-packaged for five-star reviews! Not only has this record been hailed by critics - both conventional and amateurish - the 'prototypical' Neil Young album, it also seems to embrace everything that I and people like me love and hate about Neil.
I could just as well skip this material and listen to introspective Russian "bards" as well - you know, put three chords together, get a battered acoustic, and sing something really really "deep" and "philosophical", looking as serious as possible, as if it's God who's singing through you. "We just want to play with the feeling. Somebody put a stop to that. Anyway, let me just tell you what the whole hoopla's about. My advice to Neil, however, would be to make his new studio release as gimmickless as possible: it's obvious that the guy is far from spent, but if he keeps abusing his listeners' patience like that, well, I'll just have to stop bothering about the sucker. Everybody knows this is nowhere youtube. In place of the guitar solo.
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Notations: Styles: Country-Rock. I was talking about the ballads, right? So forget it and better pay some more attention to 'Don't Let It Bring You Down', a ballad similar in tone but slightly more emotionally resonant. It is his Born In The USA, to be sure, and with but a little twitch here and there and a bit of 'muscular attachment' you could picture Bruce on the front cover instead.
Everybody [C]knows this is [G]nowhere. As on the 'long may you run' album, with extra chorus, and an extra harp solo. Man, I'd take Dylan's Selfportrait over this stuff any time of day. And the Pearl Jam guitarists are given much more space to shine than that sole Crazy Horse guy, and in the end it all comes down to a dense, thick-as-a-brick sound which is actually much more murky than the one on Ragged Glory. Everybody knows this is nowhere release date. A thing which I already complained about when discussing Frank Zappa; however, I consider Zappa to be a much more interesting musician and performer than Neil, all points taken). Of course, the fact that pretty much NONE of the lyrics ever amount to something more than the tritest love cliches, helps a lot.
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