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The Bridge, A Tribute to Neil Young

Although he had only sporadically left traces of his genius in the 80s, Neil Young was still an essential reference point at the end of that decade. The best minds in American rock paid tribute to the Canadian in 1989 with this album, and the timing was no coincidence. American alternative music was experiencing a moment of feverish inspiration, and the homage to the Canadian was a testament to Young's putative role - who would soon rise again with the excellent “Freedom” - in that season.
In truth, the pool of artists participating in the project (conceived for charitable purposes: The Bridge is the name of the foundation created by Neil to raise funds in the fight against brain diseases) was far broader – from Nick Cave to Henry Kaiser. The Ink King does not disappoint, wrapping “Helpless” in excellent gothic inlays along with the loyal Bad Seeds.

But it is indeed the champions of American alternative who deliver the most spectacular covers. Sonic Youth provides a version worthy of applause of “Computer Age”, a classic Neil penned in the controversial electronic album “Trans”. Ranaldo and company bring out those riffs that in the original version were buried beneath the vocoder, enhancing them in their unmistakable guitar whirlwind à la “Daydream Nation”. This very transformation of a track, adapting it to the style of the band that reinterprets it, without betraying its spirit, is the common thread of much of “The Bridge”. The Pixies exemplify this approach, with their version of “Winterlong” immersed in the melodic fragmentation typical of the Boston sprites, amid the ecstatic vocals of Kim Deal and Francis and the stinging solos of Joey Santiago. The Flaming Lips are also excellent, with their “After The Gold Rush” alternating feverish delirium with dreamy psychedelic parts, and Dinosaur Jr, who transfigure the classic country “Lotta Love” into a devastating hardcore ride.

The rest of the album slips away in a couple of unoriginal tributes (for example, the academic Soul Asylum on “Barstool Blues”). Definitely better is Victoria Williams in a touching “Don’t Let It Bring You Down”, or the deconstructed electronics that Bongwater presents on “Mr.Soul”, or once again an inspired Henry Kaiser on the piano in “The Needle and The Damage Done”.

Forever Young!