Neil Young
Live At The Cellar Door

THE REVIEW

The 1970s were a very important and busy year for Neil Young; the beginning of his fruitful solo career the previous year, the collaboration with Crosby, Stills, and Nash for the album "Deja Vu," a milestone in the history of American light music and beyond, the release of his second solo album, "After The Gold Rush," a beautiful album that preluded his most famous work, "Harvest." Not only personal satisfactions in the working field during those years, but also annoying health problems, persistent and continuous back pain, drug issues, the beginning of the troubled relationship with actress Carrie Snodgress, and a dependency on painkillers that undermined his physical and mental health.

Problematic but exciting years from a professional point of view, with splendid albums and important and beautiful concerts, like this "Live At The Cellar Door," which has emerged these days thanks to the fine archival work of the Canadian artist. The "Cellar Door" was a small and cramped venue in Georgetown, Washington DC, where in the autumn of '70, Young held four acoustic concerts, with just guitar and piano, the latter being an instrument the singer-songwriter himself admitted he had only recently started playing seriously. The venue, already famous for hosting concerts by Miles Davis and Richie Havens, was packed in every row those days; the opportunity to see an interesting musician like Neil Young was too tempting, and he certainly did not disappoint the audience's expectations.

The song that opens the concert is already a great classic, "Tell Me Why," a country-rock performed by our artist only with the aid of an acoustic guitar, a joyful and entertaining piece, yet performed with the classic "veil of melancholy" typical of his style. His voice is thin, at times it seems weak and seems to fade, only to recover and exalt in the chorus. It is followed by the beautiful "Only Love Can Break Your Heart," a classic from the album "After The Gold Rush," once again performed with the guitar; sweet and poignant performance followed by the audience in rigorous silence; there is not a sound, everyone is captivated by the poetry of the former Buffalo Springfield. "After The Gold Rush" sees Young tackling the Steinway piano present in the venue, and here too, the delicacy of the piece leaves everyone breathless, captivated by the pathos of the wonderful song. A performance worthy of applause, a sense of poignant melancholy engulfs the small audience in the hall. After the famous "Expecting To Fly" composed some years earlier and a staple of the Buffalo repertoire and the tranquil "Bad Fog Of Loneliness," Young tackles an unreleased piece, "Old Man," with the characteristic guitar rhythm that would make it famous in the masterpiece "Harvest." Also noteworthy is the exceptionally beautiful "Birds," always played on the piano, and an atypical but touching version of the famous "Cinnamon Girl," from the album "Everybody Knows This Is Nowhere." The studio version, electric and determined, gives way to a more delicate piano interpretation, highlighting the lyrics and harmony. For a novice on the piano, Young does very well, showcasing all his qualities as a musician.

There is also time for the famous "I'm A Child," again from the Buffalo repertoire, and for an acoustic reinterpretation of "Down By The River," another major piece by the Canadian, sung in a subtle and heartfelt manner, undoubtedly an excellent version. The album closes with a gem from Young's repertoire, "Flying On The Ground Is Wrong." Only before performing this last piece does the singer-songwriter engage in a few words with the audience, explaining that the song is about drugs (here an audience member applauds and lets out a hearty approving laugh), explaining that it deals with the difficult relationship between those who consume them and those who do not. While explaining the meaning of the piece to the audience, he amuses himself by making strange noises and sounds with the piano, provoking general laughter from those present in the hall. A soft, delicate piece with a melody that immediately sticks in your head, simple but effective.

An excellent testament to the singer-songwriter's great talent as both a singer and musician, capable of captivating the listening audience not only with his qualities but also with deep lyrics and great charisma, which will rightfully secure his place in rock history.