The romantic numbers were carefully and sincerely written.
While one might argue that this variety meant few Young fans would be completely pleased with the album, what made it all work was that Young had once again written a great bunch of songs. There was even a trunk (or, more precisely, a drunk) song, "Too Far Gone," which dated from Young's inebriated Stars 'n Bars period in the '70s. Third, there were tracks that harked back to acoustic-based, country-tinged albums like Harvest and Comes a Time, including "Hangin' on a Limb" and "The Ways of Love," two songs on which Young dueted with Linda Ronstadt. They were back on "Crime in the City" and "Someday," though these lengthy songs, each of which contained a series of seemingly unrelated, mood-setting verses, were more reminiscent of songs like Bob Dylan's "All Along the Watchtower" than of the soul standards that inspired the earlier album. Second was a follow-up to Young's previous album, This Note's for You, which had featured a six-piece horn section.
On these songs - especially "Don't Cry," which sounded like a song about divorce, and a cover of the old Drifters hit "On Broadway" that he concluded by raving about crack - Young played distorted electric guitar over a rhythm section in an even more raucous fashion than that heard on his Crazy Horse records. First and foremost was a hard rock album like the material heard on Young's recent EP, Eldorado (released only in the Far East), several of whose tracks were repeated on Freedom. Freedom, which was a major critical and commercial comeback after a decade that had confused reviewers and fans, seemed to be a selection of the best tracks from several different unissued Young projects. Neil Young is famous for scrapping completed albums and substituting hastily recorded ones in radically different styles.
0 kommentar(er)
