Everybody Knows This is Nowhere - Neil Young, with Crazy Horse

Neil Young's album Everybody Knows This Is Nowhere, issued in 1969, had drifted in my affections in recent years, my attention tending to focus on the material which was released by the Canadian singer-songwriter in the mid-to-late 70s.  Part of the reason for this may be down to an (erroneous) perception that the sophomore record is unduly dominated by the two "epic" tracks, "Down By The River" and "Cowgirl in The Sand".

Closer and honest inspection, however, underlines the overall quality and depth of Everybody Knows This Is Nowhere. It certainly exudes more bite and energy than the artist's debut album. This record is a showcase for the harder-edged dimension of the Young repertoire, though balanced out by some mellower and more melodic fare.  The LP introduces us to the inimitable and idiosyncratic Crazy Horse groove.

"Cinnamon Girl" is a concise and accessible interpretation of the Crazy Horse pattern. The title track combines the gritty guitar sound with a melodic country-rock atmosphere - a pleasing and satisfying blend.

The overall mood of this work is one of introspection and melancholy, although the odd slice of qualified optimism does strive to break through.

"Round and Round (It Won't Be Long)" has a genuinely hypnotic quality, and it harks back in tone and style to the first album, to my ears at least. In truth the song goes on for too long, although I'm not usually someone who complains about such things. It is easy to begin to lose interest just after the halfway mark.

One of the centrepieces of the record, "Down By The River" has that insistent groove, the instrumentation managing to ally minimalism with vitality, especially during the soloing. The fine vocal harmonies nicely embellish the track.

"The Losing End (When You're On)" is mournful and likeable, if rather lightweight. It doesn't exactly constitute light relief, but it is a nice contrast to the other numbers. Again, tinges of country-rock, with added punch.

The next song, "Running Dry (Requiem for the Rockets)" has more substance, a distinctive ambience, largely supplied by the haunting violin. My reaction when listening to this one is to liken it to a traditional folk song. Neil's vocal here is very restrained, but intimate and effective. The guitar textures help to create an affecting mood.

The second of the "epics" is "Cowgirl In The Sand", with enigmatic lyrics which may or may not be about some mystical or idealized woman. This one has a real energy and verve, partly due to the "shuffling" rhythm and some unusually prominent bass. Another noticeable feature is the "separation" between the lead and rhythm guitars,

So to summarize, when listened to closely this album reveals itself as very organic and powerful, and one of Neil Young's strongest and most consistent artistic statements, containing very little in the way of filler. Unsettling and haunting in places, but beautifully crafted and quite absorbing and atmospheric.

Tonight's The Night - Neil Young - album review

Every so often, artists or groups opt to take what is perceived as a diversion in their career path, but sometimes this is quite calculating, and intended merely to enhance their degree of "hipness" and mainstream success.

In the case of Neil Young, following the colossal success of 1972's Harvest, he deliberately took a detour, not for any other reason but to explore new territory and escape the treadmill.  Perhaps the most authentic and compelling product of that decision was Tonight's The Night, recorded mostly in 1973, but not released until 1975.

In addition to a conscious desire to defy stagnation and convention, the music which Neil Young wrote and recorded around this time also clearly addresses the fall-out from the era just past, and its impact on rock culture. The deaths of Crazy Horse guitarist Danny Whitten and roadie Bruce Berry cast a shadow over this album in particular.

Throughout Tonight's The Night, the arrangements and performances are ragged and almost disjointed, contrasting sharply with much of the singer-songwriter's previous work.  As well as signifying an intentional stylistic departure, the basic bluesy approach perfectly complements the lyrical subject matter.

The instrumental hallmarks of the album are also fundamental to its artistic success.  Nils Lofgren's brittle but superbly evocative guitar work is often to the fore, as is the weeping pedal steel guitar of Ben Keith.  The latter, and Young's harmonica are, essential to the subdued mood of several tracks.  These element are supported by the redoubtable Crazy Horse rhythm section.

Neil Young's vocals are as ragged as the backing tracks, sloppy and haphazard, or more accurately perhaps a natural consequence of the turmoil contained in the words of the songs themselves. The croakier, harsher Young voice proves perfectly expressive here, and in keeping with the uncompromising central thrust of the work.  It is safe to assume that very few overdubs were performed during the sessions.  What would normally be seen as mistakes and blemishes were left in....

Despite the melancholy and often rancorous vibes, there is kind of nobility and defiance about Tonight's The Night, which for me is central to its appeal - a "ragged glory", to borrow from one of Neil's later album titles.  Some of the dark humour contained in the lyrics helps to encourage this feeling.

Three of the tracks, "Mellow My Mind", "Albuquerque" and "Tired Eyes", are quite similar in style and melody and, astutely separated, constitute the emotional backbone of the album, together with the bookends of the title track and its reprise.

For the unwary I would expect that Tonight's The Night is an awkward listen at first, and in this and other respects there are parallels with the Stones' Exile On Main Street.  However, as a snapshot of an artist's state of mind, and as a slice of raw emotional candour, this album has few equals in rock music.