Trans is a lot more interesting if you know the back story:
Young’s direction was influenced by the electronic experiments of the German band Kraftwerk, but more importantly he felt that distorting his voice reflected his attempts to communicate with his son. “At that time he was simply trying to find a way to talk, to communicate with other people. That’s what Trans is all about. And that’s why, on that record, you know I’m saying something but you can’t understand what it is. Well, that’s exactly the same feeling I was getting from my son.”
huh…interesting…didn’t know that. I realise NY is quite ‘eclectic’ (fuck I hate that word for some reason but couldn’t think how to re-word that), but that still surprises me was into Kraftwerk. I wonder if his son knows about the communication themes there, and his thoughts on the matter - if they helped in any way, or if he laughed at them, sorta like what I did when I heard those, uh, yeah: barf-laden effects again on NY’s voice in that link.
Regardless of the quite intriguing backstory, I’m feeling strong desires right now to devise a whack-a-Trans-CD fairway game.
Once heard an interview where the interviewer asked Young “Does anyone else in the band sing” and Young replied “Let’s get real - no one in my band can sing”. Oi, his voice is mediocre at best, but I like his music.
I think Neil Young is a terrific songwriter, and he has guitar chops that are unique and irresistible. And strangely, I only learned in the last few weeks that he wrote Nicolette Larson’s great 70s hit, “Lotta Love”.
Been trying to find out, unsuccessfully, why NY got his panties in a knot about being filmed at Woodstock.
“One of you fuckin’ [cameramen] comes near me and I’m gonna fuckin’ hit you with my guitar”.
:eek:
Other than that - quite disappointed with the discouraging dearth of cameo shots of the usually-glum-looking NY in the crowd at San Jose Sharks games in the past couple seasons.
I agree with this. I never found Neil’s voice particularly grating, but I like distinctive, non-generic voices when it comes to my vocalists. He sells his songs–they have a lot of character, style, and sincerity to them. That’s all that matters to me.
You’re upset because he’s a hockey fan? And isn’t living up to your expectations of how he should be appearing in the crowd? I’ve seen him there. He has regular season tickets and sits with regular Joes. Hell, I’d love to go to a hockey game and find myself plunked beside Neil.
The performance wasn’t so hot, there are some videos on YT. While CSNY studio work is usually high quality, they seemed to have a somewhat indifferent attitude generally towards rehearsal, and tuning up in particular.
No, he isn’t. He should have a Black Dahlia smile, constantly.
Actually I wasn’t trying to excoriate him over that.
Totally. He knows the game. I would get completely plastered, I think, if I had such an honour hangin with him for a game.
I like how NY’s solo in “Cinnamon Girl” is the same note (with the main riff snuck in the middle of it). Can’t think of anyone else trying that.
I found he’s great if one is learning guitar, he doesn’t get off in the weeds or anything, and most people probably like Neil if they are trying to learn acoustic anyway. He probably helped sell a gazillion guitars. But it’s really difficult to sound like Neil. The chords aren’t tough, but it’s a kind of hybrid palm-muting thing and a relentless right hand rhythm, like a metronome. He uses a fair amount of dropped and alternate tunings too (double drop D is common); but like a lot of good performers, he gets a lot of mileage out some simple chords. Dylan is about the only other songwriter/performer like that, and he’s fun to try to emulate too. It’s fun to play Neil songs, but the downside is then what - nobody else (usually) can sing them (or probably shouldn’t, anyway)
The appropriate response is to groan.
