Category Archives: Neil Young

Video of the day: Almost cut my hair – CSNY

1974 (7 min.):

2009 (4 and a half minute), without Neil Young but good version, but those other guys also knows how to handle a guitar:

Both good, but the 1974 version is out of this world!

 

by Lindsay Planer
This David Crosby anthem of rebellion and personal freedom was recorded on January 9, 1970, at Wally Heider’s “Studio C” in San Francisco. It is likewise one of the few songs from Déjà Vu to have been recorded live by CSN&Y. The truly inspired interaction exhibits the raw and unabashed fury that became synonymous with the supergroup’s “electric” material with sizable instrumental contributions from all four. However, there is no doubt that it is Crosby who dominates the proceedings with perhaps the most impassioned lead vocal of his career. “Almost Cut My Hair” also amply demonstrates the three-way electric guitar “cross talk” between Crosby, Stephen Stills, and Neil Young. This is most prominent during the instrumental break prior to the “When I finally get myself together…” verse.

 

There is an extended and unedited version of this break included on the Crosby, Stills & Nash box set. This song is also notable for first popularizing the phrase “let[ting] my freak flag fly” — which took on new meaning in the late ’80s after Crosby served a year in a Texas prison. He began performing the song with a lyrical alteration to the line “…it increases my paranoia, like looking in my mirror and seeing a lit up Texas trooper.”
A blistering solo version featuring Black Crowes vocalist Chris Robinson can be heard on Crosby’s live release It’s All Coming Back to Me Now… (1994) (audio only):

Lyrics, Almost Cut My Hair:
Almost cut my hair
It happened just the other day
It was getting kind of long
I could have said it was in my way
But I didn’t and I wonder why
I feel like letting my freak flag fly
And I feel like I owe it to someone
Must be because I had the flu for Christmas
And I’m not feeling up to par
It increases my paranoia
Like looking into a mirror and seeing a police car
But I’m not giving in an inch to fear
Cos I promised myself this year
I feel like I owe it to someone
When I finally get myself together
I’m gonna get down in some of that sweet summer weather
I’m going to find a space inside to laugh
Separate the wheat from the chaff
Cos I feel like I owe it, yeah
Said I feel like I owe it, yeah
You know I feel—- like
I owe it yeah to someone

 
– Hallgeir

Video premiere: Clementine by Neil Young & Crazy Horse

photo: Pegi Young

Via Spinner.com:

For Americana, Neil Young’s first album with the band Crazy Horse in nearly nine years, the singer-songwriter revisits classic American folk songs and delivers the tunes, which encompass familiar protest songs, murder ballads and campfire songs, with electrifying ferocity. In spite of — or perhaps because of the approach, the universal appeal of the songs is neither lost nor diminished and they retain their relevance in these challenging times.

Wikipedia says of the history of the song:

The words are those of a bereaved lover singing about his darling, the daughter of a miner in the 1849 California Gold Rush. He loses her in a drowning accident, though he consoles himself towards the end of the song with Clementine’s “little sister”.

The verse about the little sister was often left out of folk song books intended for children, presumably because it seemed morally questionable.
Another theory is that the song is from the view of Clementine’s father, and not a lover.

Gerald Brenan attributes the melody to originally being an old Spanish ballad in his book South from Granada. It was made popular by Mexican miners during the Gold Rush. It was also given various English texts. No particular source is cited to verify that the song he used to hear in the 1920s in a remote Spanish village was not an old text with new music, but Brenan states in his preface that all facts mentioned in the book have been checked reasonably well. The song is using the melody placed on Romances, in particular the one of Romance del Conde Olinos o Niño, a sad love story very popular in the Spanish folk some of which were compiled at the court of Alfonso X and others like the Cancionero de Uppsala later by the House of Trastamara.

It is unclear when, where and by whom the song was first recorded in English for others to hear.

The video for “Clementine” as for all of the clips produced for Americana  is authentic found footage, adding a unique visual element to a project steeped in America’s rich, lyrical history.

Clementine:

Neil Young:

“The Americana arrangement extends the folk process using many of the original words and a new melody. The song tells the story of either a bereaved lover recalling his lost sweetheart, or a father missing his lost daughter. In both cases the daughter has drowned in an accident. The verse about Clementine’s sister has been omitted from most children’s versions. This verse has different meanings depending on whether the point of view of the singer is taken as the lover or the father.”

– Hallgeir

Video premiere: Jesus’ Chariot (she’ll be coming round the mountain) – Neil Young & Crazy Horse

From NPR:
You’ve never heard “She’ll Be Coming Round the Mountain” quite like this. For their first album together in nine years, Neil Young and Crazy Horse have taken classic American folk music and reinvigorated these songs with muscle, radiance and a whole lot of electric guitar.

head over to their website and read more

via NPR:

This song, as with all the songs on the record, have been paired up with archival footage. This footage is from an early scene in D.W. Griffith’s controversial 1915 film Birth of a Nation, in which the Southern Cameron family hosts a farewell ball for soldiers fighting for the Confederacy.

As for the song itself, Neil Young writes in the liner notes toAmericana:

Written in the 1800s based on an old Negro spiritual, this song refers to the second coming of Jesus, and “she” is the chariot Jesus is coming on. Some interpret this as the end of the world. Others have said that “she” refers to union organizer Mary Harris “Mother” Jones going to promote formation of labor unions in the Appalachian coal-mining camps. The Americana arrangement continues the folk process with a new melody, a new title and a combination of lyric sources.

– Hallgeir