Neil Young

Silver & Gold

somewhat disappointing, from a master of rock

Review Score:

(6/10)
In today's music industry dominated by corporate greed, when bands are questing not for creativity but for the all-mighty buck, it's easy to forget that once upon a time there were artists who actually made music because they enjoy it. That's why it's refreshing to see a guy like Neil Young still around, still making music, still obviously enjoying himself. This is a man who exudes rock spirit: this older man with grungy gray hair hanging around his hard-edged face, defiantly bashing on a guitar and having a great time doing it. Which is why his latest, a mostly lackluster album of acoustic country-rock, is so disappointing.

Not because Neil is any less adept on acoustic guitar than on electric: he's one of the most innovative and enjoyable guitarists on both instruments. And it shouldn't come as a shock that this musician has multiple sides to his sound. He has switched styles often over the years, experimenting with folk, country, rockabilly, blues, ambient, and even techno. But always after a long period of experimentation he has returned to leading Crazy Horse into another lunatic assault of straight-ahead guitar rock.

Well, maybe next year... but for now, Neil fans have Silver & Gold, the follow-up to 1972's Harvest and 1992's Harvest Moon. It's hard to pinpoint exactly where and why Young went wrong on this album. Whatever the reason, nothing here is as strong as "Heart Of Gold" from Harvest, and overall the album leaves the listener somewhat disappointed.

There are some strong tracks here, of course, as on any Young release. "Buffalo Springfield Again" is an upbeat and surprisingly reminiscent look back on his former band, including the wish "I'd like to see those guys again/and give it a shot/...I'd just like to play for the fun of it." The opener "Good To See You" is equally happy and optimistic (a surprise from the usually-depressed Young), and it contains some typically excellent countrified guitar and harmonica from the singer. The lovely ballad "The Great Divide" ranks nicely alongside Young's best quieter material, continuing the optimistic message that much of this album features: "On the carousel/life is going well/Anyone can tell we're in love."

The title track is a pleasant and well-played track highlighted by Neil's distinctive croon and a delicate, plucking acoustic melody. "Horseshoe Man" is built around a tinkling piano melody, with layers of light acoustic guitar and delicate percussion, creating a beautiful and haunting song, although it does tend to drag on a bit after a few listens.

Despite a few standouts and some decent middle-of-the-road pieces, the rest of the album alternates between mediocre filler and some of the worst songs Neil has penned in years. "Distant Camera" is a boring and undistinguished entry into Neil's acoustic repertoire, also plagued by the trite lyrics that run rampant through this album. Neil really falls short with the bluegrass-flavored "Daddy Went Walkin'," which features the worst lyrics and most rudimentary instrumentation on the album, sounding almost like a Southern slave spiritual, and not at all at home on a Neil album.

"Without Rings"-a song leftover from Neil's solo sessions from 1997-is a pathetic love song featuring uncharacteristically low vocals over a repetitive and unchanging guitar line; a particularly unsatisfying album closer. On "Red Sun," Emmylou Harris' backing vocals, rather than complementing Neil's, merely distract and detract from what could otherwise have been a nice slow folk song. With the gently percussive "Razor Love," Neil could have had another great track, but instead the song merely drags on for its 6½-minute running time (the longest on the CD) and never picks up any momentum. That's the weakness of too many of these tracks: a good melody that just gets boring before half the song is over.

While longtime Neil fans will certainly want to pick this disc up--it does have its highlights--it is overall an incredibly unsatisfying trip. If you want a truly exciting Young album, pick up any of his previous work with Crazy Horse, or 1995's Mirror Ball, backed by Pearl Jam. If, however, you're in the mood for a 40-minute lullaby from one of the masters of rock, this is the album for you.

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