Neil Young Archive release Live At Cellar Door 1970

ça y est, c'est précommandé.
"Livraison garantie le jour de sa sortie, le lundi 9 décembre".

   

J'ai vraiment hâte qu'il sorte ce Cellar Door  

Mr. Soul a écrit:

J'ai vraiment hâte qu'il sorte ce Cellar Door  

Comme ça tu pourras t'entrainer à chanter sous la douche.

Ou à faire des joints  

Not to be a ungrateful grouch about this, but “Volume 02.5: Live At The Cellar Door” didn’t immediately look the most tantalising episode of Young’s ongoing retrospective project. Was it another of his digressive ruses to prolong the wait for Volume 2 of the Archives series proper (the one including, the more optimistic among us believe, all those unreleased albums from the mid-‘70s)? Why another solo set from the “After The Goldrush”/“Harvest” period – one recorded in Washington DC, in fact, only a month or two before the “Live At Massey Hall” set – instead of, say, the “Toast” Crazy Horse album that fell on and off the schedules a few years back?

Young’s thinking behind digging out “Live At The Cellar Door” is as oblique as ever (we’ll get round to some speculation later). But it transpires that the 13-track set, pasted together from six shows on the cusp of November and December 1970, is a valuable addition to the Young motherlode. Solo versions of “Down By The River”, “Don’t Let It Bring You Down”, “Bad Fog Of Loneliness” and so on are as good as you might expect, but the real gold here comes in the fact that six of the 13 tracks are solo piano pieces: “After The Gold Rush”, “Expecting To Fly”, “Birds”, “See The Sky About To Rain”, “Cinnamon Girl” and “Flying On The Ground Is Wrong”.

“I’ve been playing piano seriously for about a year,” he says before “Flying On The Ground Is Wrong”, “and I had it put in my contract that I would only play on a nine foot Steinway grand piano, just for a little eccentricity.” As he’s talking, Young is messing about with the piano strings, an apparently aimless fidgeting that, as he starts talking about getting high, reveals itself to be a kind of theatrically disorienting scene-setting.

Abruptly, the discordance stops and a beautiful version of “Flying On The Ground Is Wrong” emerges, with all its elegiac power intact. One of the great pleasures of “Live At The Cellar Door” is the way it illustrates how malleable Young’s songs can be. “Cinnamon Girl”, for instance, is hardly diminished by that lunging riff being replaced by a quasi-baroque flurry of notes. Listen out, especially, for a powerful moment when Young sings “Loves to dance/Loves to…” and allows himself to be overwhelmed as his playing suddenly shifts from tenderness to a new bluesy intensity. “That’s the first time I ever did that one on the piano,” he notes at the death, and I’m not sure he’s done it again many times since.

Best of all is the version of “Expecting To Fly”. The take on “Sugar Mountain - Live at Canterbury House 1968” shows how Young’s ornate studio confection could be potently reconfigured in a solo context. This piano study, though, is even better; crashing, plangent notes juxtaposed, with disingenuous artlessness, up against the fragility of his voice. Here, too, there’s an intimation of what is to come next, in 1971, as “Expecting To Fly”’s evolves to contain hints of “A Man Needs A Maid”. As is the case so often, it shows Young working over his past to find a lead to pursue into the future.

So, is that how we should understand the arrival of “Live At The Cellar Door” at this point in Young’s career? Will the Carnegie Hall shows in January, presumably solo, put the spotlight on the piano over the guitar? Can Young’s latest strategy to stretch himself be a solo piano album, as Crazy Horse are parked once more and his other band options appear limited following the death of Ben Keith? Or is this yet another bizarre, compelling false lead in a career that’s been full of such capricious swerves and dummies from its very beginning?

sweet sadness a écrit:

Not to be a ungrateful grouch about this, but “Volume 02.5: Live At The Cellar Door” didn’t immediately look the most tantalising episode of Young’s ongoing retrospective project. Was it another of his digressive ruses to prolong the wait for Volume 2 of the Archives series proper (the one including, the more optimistic among us believe, all those unreleased albums from the mid-‘70s)? Why another solo set from the “After The Goldrush”/“Harvest” period – one recorded in Washington DC, in fact, only a month or two before the “Live At Massey Hall” set – instead of, say, the “Toast” Crazy Horse album that fell on and off the schedules a few years back?

Young’s thinking behind digging out “Live At The Cellar Door” is as oblique as ever (we’ll get round to some speculation later). But it transpires that the 13-track set, pasted together from six shows on the cusp of November and December 1970, is a valuable addition to the Young motherlode. Solo versions of “Down By The River”, “Don’t Let It Bring You Down”, “Bad Fog Of Loneliness” and so on are as good as you might expect, but the real gold here comes in the fact that six of the 13 tracks are solo piano pieces: “After The Gold Rush”, “Expecting To Fly”, “Birds”, “See The Sky About To Rain”, “Cinnamon Girl” and “Flying On The Ground Is Wrong”.

“I’ve been playing piano seriously for about a year,” he says before “Flying On The Ground Is Wrong”, “and I had it put in my contract that I would only play on a nine foot Steinway grand piano, just for a little eccentricity.” As he’s talking, Young is messing about with the piano strings, an apparently aimless fidgeting that, as he starts talking about getting high, reveals itself to be a kind of theatrically disorienting scene-setting.

Abruptly, the discordance stops and a beautiful version of “Flying On The Ground Is Wrong” emerges, with all its elegiac power intact. One of the great pleasures of “Live At The Cellar Door” is the way it illustrates how malleable Young’s songs can be. “Cinnamon Girl”, for instance, is hardly diminished by that lunging riff being replaced by a quasi-baroque flurry of notes. Listen out, especially, for a powerful moment when Young sings “Loves to dance/Loves to…” and allows himself to be overwhelmed as his playing suddenly shifts from tenderness to a new bluesy intensity. “That’s the first time I ever did that one on the piano,” he notes at the death, and I’m not sure he’s done it again many times since.

Best of all is the version of “Expecting To Fly”. The take on “Sugar Mountain - Live at Canterbury House 1968” shows how Young’s ornate studio confection could be potently reconfigured in a solo context. This piano study, though, is even better; crashing, plangent notes juxtaposed, with disingenuous artlessness, up against the fragility of his voice. Here, too, there’s an intimation of what is to come next, in 1971, as “Expecting To Fly”’s evolves to contain hints of “A Man Needs A Maid”. As is the case so often, it shows Young working over his past to find a lead to pursue into the future.

So, is that how we should understand the arrival of “Live At The Cellar Door” at this point in Young’s career? Will the Carnegie Hall shows in January, presumably solo, put the spotlight on the piano over the guitar? Can Young’s latest strategy to stretch himself be a solo piano album, as Crazy Horse are parked once more and his other band options appear limited following the death of Ben Keith? Or is this yet another bizarre, compelling false lead in a career that’s been full of such capricious swerves and dummies from its very beginning?

trop d'anglais dans un texte trop long ....

to be or not toubib?

Crazy Bear a écrit:

sweet sadness a écrit:

Not to be a ungrateful grouch about this, but “Volume 02.5: Live At The Cellar Door” didn’t immediately look the most tantalising episode of Young’s ongoing retrospective project. Was it another of his digressive ruses to prolong the wait for Volume 2 of the Archives series proper (the one including, the more optimistic among us believe, all those unreleased albums from the mid-‘70s)? Why another solo set from the “After The Goldrush”/“Harvest” period – one recorded in Washington DC, in fact, only a month or two before the “Live At Massey Hall” set – instead of, say, the “Toast” Crazy Horse album that fell on and off the schedules a few years back?

Young’s thinking behind digging out “Live At The Cellar Door” is as oblique as ever (we’ll get round to some speculation later). But it transpires that the 13-track set, pasted together from six shows on the cusp of November and December 1970, is a valuable addition to the Young motherlode. Solo versions of “Down By The River”, “Don’t Let It Bring You Down”, “Bad Fog Of Loneliness” and so on are as good as you might expect, but the real gold here comes in the fact that six of the 13 tracks are solo piano pieces: “After The Gold Rush”, “Expecting To Fly”, “Birds”, “See The Sky About To Rain”, “Cinnamon Girl” and “Flying On The Ground Is Wrong”.

“I’ve been playing piano seriously for about a year,” he says before “Flying On The Ground Is Wrong”, “and I had it put in my contract that I would only play on a nine foot Steinway grand piano, just for a little eccentricity.” As he’s talking, Young is messing about with the piano strings, an apparently aimless fidgeting that, as he starts talking about getting high, reveals itself to be a kind of theatrically disorienting scene-setting.

Abruptly, the discordance stops and a beautiful version of “Flying On The Ground Is Wrong” emerges, with all its elegiac power intact. One of the great pleasures of “Live At The Cellar Door” is the way it illustrates how malleable Young’s songs can be. “Cinnamon Girl”, for instance, is hardly diminished by that lunging riff being replaced by a quasi-baroque flurry of notes. Listen out, especially, for a powerful moment when Young sings “Loves to dance/Loves to…” and allows himself to be overwhelmed as his playing suddenly shifts from tenderness to a new bluesy intensity. “That’s the first time I ever did that one on the piano,” he notes at the death, and I’m not sure he’s done it again many times since.

Best of all is the version of “Expecting To Fly”. The take on “Sugar Mountain - Live at Canterbury House 1968” shows how Young’s ornate studio confection could be potently reconfigured in a solo context. This piano study, though, is even better; crashing, plangent notes juxtaposed, with disingenuous artlessness, up against the fragility of his voice. Here, too, there’s an intimation of what is to come next, in 1971, as “Expecting To Fly”’s evolves to contain hints of “A Man Needs A Maid”. As is the case so often, it shows Young working over his past to find a lead to pursue into the future.

So, is that how we should understand the arrival of “Live At The Cellar Door” at this point in Young’s career? Will the Carnegie Hall shows in January, presumably solo, put the spotlight on the piano over the guitar? Can Young’s latest strategy to stretch himself be a solo piano album, as Crazy Horse are parked once more and his other band options appear limited following the death of Ben Keith? Or is this yet another bizarre, compelling false lead in a career that’s been full of such capricious swerves and dummies from its very beginning?

trop d'anglais dans un texte trop long ....

Pas mieux.

Il se pose la question à savoir l'interêt de sortir cet album alors que les archives 2 sont en cours.
D'aprés lui, le principal interêt justement ce sont les versions au piano, assez rares dans les lives accoustiques du Neil dans cette proportion
Mais je peux me gourer bien sur

Et ici vous pouvez streamer l'album en entier  

Tiens je ne connaissais pas ce site, merci Soul!

je vais attendre patiemment la sortie

duane1 a écrit:

je vais attendre patiemment la sortie

Yep! Tout pareil.

Esther a écrit:

duane1 a écrit:

je vais attendre patiemment la sortie

Yep! Tout pareil.

Idem, mais je trepigne  

J'espére juste qu'il sera livré le jour J !  

Moi je n'ai pas pu attendre bande de masos.
Je peux vous dire que c'est excellent, ceux qui doutaient de la pertinence de cet opus sont servis  

bon j'ai pas attendu !

ça tourne sur le pc de la maison, et c'est beau

Ce live claque  

Mr. Soul a écrit:

Ce live claque  

Mouais...

Esther a écrit:

Mr. Soul a écrit:

Ce live claque  

Mouais...

Parfaitement

Mr. Soul a écrit:

Esther a écrit:

Mr. Soul a écrit:

Ce live claque  

Mouais...

Parfaitement

On a rarement entendu Neil au piano de la sorte.

See the sky au piano, trop bon  

Esther a écrit:

Mr. Soul a écrit:

Ce live claque  

Mouais...

Comment ça "mouais" ??

Il n'empêche qu'il pourrait passer à la période 1973 - 1976