Neil Young & Crazy Horse
Life

In 1987, this 'Life' was released, which many consider the most inspired of the controversial decade (Freedom excluded, of course). At the time, it was definitely a success with both the public and critics. It is also the last work with Geffen, after which our artist was finally able to break free from the contract and return to Reprise.

The faithful Crazy Horse are back, absent since the days of 'Re-ac-tor', although synthesizers (and other equipment used in recent years) have not disappeared despite this, although used in a more subdued manner compared to, for example, the previous 'Landing On Water'. An attempt is made at a compromise between Young's classic style and his band and new technologies. Successful combination...?

I've also read that the album is being compared to a sort of new Zuma, twelve years later, but I wouldn’t be so sure. Let's now look at the tracks in detail. It starts with Mideast Vacation, full of slight electronic noises in the background with a "Trans" aftertaste. The song is a strong critique of U.S. foreign policy; keep in mind that Young had openly supported President Reagan during those years. Here, he responds to those who accused him of this, in my opinion, he shared some values proposed by the Republicans (such as respect for traditions, see Old Ways) but certainly not these. The same concept will be reiterated by Long Walk Home (and a few years later by the famous Rockin In The Free World). Quoting from the excellent (like the previous) lyrics: "From Vietnam to old Beirut/If we are searching for the truth - We balance the power/From hour to hour - America, America/Where have we gone?" The track starts with the harmonica but it's not the usual folk rock; rather, the structure is operatic with the piano and solemn voice and some strange effects of gunshots. Around The World is a pseudo Hard-Rock with stadium chants, furthermore interspersed with a stanza ("Fashion change, style change") of pure synth-pop worthy of the best Duran Duran (!). It is an experimental style like Pink Floyd's The Wall: it can even be entertaining. The lyrics talk about the chaos of the global village. Too Lonely is an honest rock, with some choruses, without the frills of the other tracks or the distortions of other works by the Canadian.

Prisoners Of Rock 'n' Roll is essentially Adult Oriented Rock, with a somewhat unclear instrumental ending. The lyrics are a venomous irony against patron David Geffen, who temporarily blocked the release of the album: "We never listen to the record company man/They try to change us and ruin our band/ That's why we don't wanna be good". Amusing but weak in structure. Cryin' Eyes, somewhat tasteless, follows the style of 80s rock, amidst plasticized distortions and fast solos. It doesn't say much. When Your Lonely Heart Breaks, a ballad with an almost R&B flavor with syncopated percussion (also used elsewhere in this work). It evokes certain aspects of contemporary Dylan, who, incidentally, was also not very phased out during that period. Synth sighs open We Never Danced, which closes everything. It's Neil Young in a new romantic version, both this one and the previous one are at least enjoyable. Fortunately, there's Inca Queen, the pearl of the album. A new chapter of the epic, after Like An Inca (of which it seems to be a boosted version). This time the usual acoustic guitars accompanying the long track are cleaner and embellished with effects such as the sounds of exotic animals, giving an environmental atmosphere of jungle and relaxation.

In short, "Life" is a mediocre album, some parts may appeal, it's a matter of taste. Certainly, conservative fans will disdain it. I don't understand why it has been highlighted this way; perhaps it was well-aligned with the trend of the time. In comparison, the much-criticized "Trans" or "Re-ac-tor" are far more appreciable.