Artist: Neil Young and Crazy Horse
Released: October 25th, 2019
Highlights: Olden Days, Green Is Blue, Milky Way, I Do
Fifty years separate “Everybody Knows This Is Nowhere”, the first album Neil Young ever recorded alongside what would go on to become his signature backing band, Crazy Horse, and “Colorado”, his 2019 release that has the singer-songwriter reuniting with the band for the first time since 2012’s “Psychedelic Pill”. It goes without saying that the five decades that stand between “Everybody Knows This Is Nowhere” and “Colorado” have seen the world go through many changes; however, as every Neil Young fan ought to know, Crazy Horse has stood immune to it all, aware that as their leader went through a myriad of musical experiments and different sets of musicians, he would always eventually feel like returning to the comfort of the band that is so firmly attached to his legacy.
And so, following a stint of six years during which the ever prolific Young produced five albums with collaborators that ranged from Promise of the Real to Jack White, the old man opens the doors of the barn to take the horse for yet another spin. For fans, that is a move which always brings, with it, both excitement and hope; but this time around, it seems the two feelings come in extra intensity. For in addition to, naturally, rejoining Neil Young with the filthy and spooky plod of Crazy Horse, the reunion that gives birth to “Colorado” also comes amidst a series of irregular albums and a creative streak – including a lengthy tour – in which Young’s enthusiasm with the youth of Promise of the Real at times made it seem like his collaboration with Crazy Horse was done.
As it turns out, it was not, and with guitarist Frank Sampedro being replaced by Nils Lofgren, who records his first studio album with Crazy Horse since 1982’s “Trans”, the trio which is complemented by Ralph Molina and Billy Tabot answers the calling of Neil Young. Unsurprisingly, “Colorado” has all the makings of a record put together by that historical collaboration. As the perfect accompaniment to the singer and his usual stylistic explorations, Crazy Horse knows how to get nasty and throw themselves in the mud by using rough guttural guitar distortions that are employed to build mid-tempo songs while simultaneously succeeding in conjuring beauty via sweet harmonizations when the tunes ask for it. And it is out of these pieces that “Colorado” is mostly made of.
At times, these elements appear separately. The traditional harmonies are used to bring an extra layer of smoothness to tracks that, leaning to a softer side, venture into the mixture of folk and country that Neil Young showcased in albums such as “Harvest”; meanwhile, the bellowing guitars and the trudging rhythm that is so peculiar some – as it happens in pretty much all Crazy Horse records – will call it amateurish and dull, are the backbone of earth-shattering hard rock cuts. More often than not, though, those pieces will appear together, unlocking a sound that, nearly exclusive to the collaboration, manages to be instinctive and primitive at its core whilst exposing an aura that is delicate and sentimental. “Colorado” thrives because of that nature, which ought to make all fans happy with the fact Neil Young and Crazy Horse are still going; the album, however, cannot escape some of the problems that have afflicted the songwriter’s output as of late.
Firstly, there is the matter of the lyrics, which suffer not just because Neil Young has turned a bit mono-thematic in recent years, with the focus of the old hippie shifting to environmental problems and politics, but also because he seemingly cannot tackle those topics with poetry, relying on direct wording that results in oddities like “I saw mother nature pushing Earth in a baby carriage”. Secondly, there is the songwriting itself, which has simply become irregular. Finally, and probably greatly contributing to the prior item, there is how Neil Young is now way too devoted to his ever-standing belief that working too much on songs erodes their quality, a philosophy that did wonders to his discography when he was in his artistic prime but that, lately, has caused more harm than good, as the tunes are sometimes not developed with the due care and the takes that make it to the album sound a bit premature.
The tracks that are damaged because of those problems are many. “She Showed Me Love”, which at thirteen minutes should theoretically qualify as the tasty Crazy Horse jam of the album, is actually a disappointment as a consequence of bad lyrics, an uninspired melody, and a lack of musical ideas to justify its length. Both “Help Me Lose My Mind” and “Shut It Down”, although passable, have Young ranting over solid hard rock groves that are broken up by harmonized choruses; an idea that he has explored way too frequently in his latest works. And “Rainbow of Colors”, borrowing the melody from Bob Dylan’s “With God on Our Side”, is a shot at a sing-a-long rock anthem that praises the different kinds of people who live in the United States; despite its good intentions, the result is lackluster and partially embarrassing, with its only saving grace being that it is not half as bad as “Children of Destiny”, the song from 2017’s “The Visitor” in which Young used the same recipe.
Still, amidst the mistakes, and appearing like proof that Neil Young is an incredibly talented individual who, past the age of 70, is still working hard and sharing his gift, “Colorado” also happens to hold some gems. “Think of Me” is a beautiful and positive acoustic song that – with drums, a piano, a harmonica, and plenty of harmonies – could be a missing track from the excellent “Prairie Wind”. “Olden Days” is a gorgeous reflection on the loneliness of old age, and thanks to a heart-touching guitar lick by Nils and an unexpected falsetto by Young, it gains a lot of emotional resonance. “Green Is Blue”, led by a piano and complemented by gentle guitars, is a great environmental tale that stands shoulder to shoulder with the classic “After the Goldrush”. “Milky Way” is such a slow and precariously loose Crazy Horse jam that it continuously threatens to break down. “Eternity” is simple and playful thanks to its unusual backing vocals. And closer “I Do” is an introspective acoustic number that, in a rare turn for late-career Neil Young, operates lyrically on many levels.
Therefore, the reconnection between Neil Young and Crazy Horse ends up being only half of a victory, because as great as that match may be, it is simply not enough to allow the former to escape the habits that have plagued him in recent years. In many cases, “Colorado” displays a Neil Young that packs all of those problems into the same version of himself, and even if that person in question is a beloved old man fighting a very worthy fight in the best possible way, the music he produces can be poor. Still, Neil Young is just too good to fail completely, and with Crazy Horse by his side he actually produces a work that is decent, sinking to notable lows in numerous cuts, but coming across multiple successes that should make all listeners that sit down with “Colorado” happy that Neil is active and pumping out records.