donjunio

To be honest, this cover is not among my favorites by Neil, but it certainly represents the fiery and genuine character of "freedom."

uhm the previous comment, not authenticated, is from one of my clones... but the thought is not very different from mine: although I am not interested in this controversy. Everyone is free to write whatever they want. If anyone has something to object to regarding what I wrote about Neil Young, they are welcome.

Probably those who drool over The Strokes, Arctic Monkeys, and all that crap that is passed off as rock and roll have never listened to this album....

Well done, really a crucial recovery.

I forgot how to cry / I forgot I could die / And I'm so sick of what I need / I could close my eyes and fall / If I think, I think of you....

lemur, the combination is undoubtedly emotional, but there is a precise stylistic foundation. The music of Air is definitely "cinematic," and Godin himself has often cited Morricone or John Barry as inspirations. There's nothing wrong with seeing one of their suites in this or that film.

Luca, I haven't seen the DVD, but I've talked about Rattle and Hum and the general regard that album has. Get the version of "All Along the Watchtower" done by Hendrix and maybe you'll understand what I meant by trivial. Anyway, you wrote a nice review; I'll try to get the DVD. Bye.

In all honesty: "Rattle and Hum" is one of the most overrated albums of all time. The intent was quite presumptuous: to represent—goodness!—a journey in search of the roots of rock. Too bad that this itinerary hits well-trodden stops (phrases like "Ok Edge: play the blues!" or Bono's already mentioned rhetoric about Manson are enlightening in this regard), translating into a series of rather embarrassing clichés, starting with the duet with BB King and continuing with the covers of "Helter Skelter" and "All along the watchtower": true examples of how one can cover a legendary piece, stripping it of any urgency, eliminating all its edges, and turning it into a palatable radio product. "Desire" and "Angel of Harlem" are then archetypes of all the syrupy, homogenized singles they would push on us for many years to come. Better to remain silent about Edge's embarrassing vocalizations in "Van Diemen's Land." "All I Want is You" and "Heartland" are probably outtakes from "The Joshua Tree," but they save the album from total shipwreck. The U2 themselves realized they had ended up in a dead end, as they would radically change their musical spectrum with "Achtung Baby," which is indeed a great album and likely their artistic swan song.

"Landing on water" for me is an album without infamy and without praise, even though I've always liked "hippie dream." It did something different, experimenting with new paths: not fully succeeding, but that's another story. If I had to review it, I would give it 2.5.

I think Young deliberately made those records in the 80s. With "Rust never sleeps" he had reached the peak of his career. He was mentally and physically exhausted, with other things on his mind. And he started making music freely just for fun, not caring about anything else. Re-ac-tor is hilarious for that. A piece like t-bone is clearly a jokey take. It's a good record, especially in tracks like shots and surfer joe and moe the sleaze. But aside from the John Denver-style country of "old ways," Neil really didn’t release anything that horrible.