RADIO HANNIBAL

The Neil Young discography - Shakey II, part 23

This discograpjhy analysis is written by contributor JT of Perth, Australia.  Follow him at @thesonofnoone on Twitter.

Neil Young
Dead Man (1996) Spotify

TRACKS:

1) 'Guitar Solo #1'
2) 'The Round Stones Beneath the Earth'
3) 'Guitar Solo #2'
4) 'Why Does Thou Hide Thyself, Clouds...'
5) 'Organ Solo'
6) 'Do You Know How to Use This Weapon?'
7) 'Guitar Solo #3'
8) 'Nobody's Story'
9) 'Guitar Solo #4'
10) 'Stupid White Men'
11) 'Guitar Solo #5'
12) 'Time For You to Leave, William Blake'
13) 'Guitar Solo #6'

ALBUM RATING: 7.0

VERDICT: OK, so this is a different kind of review. I'm not going to do a track-by-track rundown because, as Neil would say in a live album to be released a year from then, "It's all one song". Some people I know seem to think this is slight in some way, some seem to think that it is only a curio and others think it's just useless.

I'm not one of those people.

Here's where I might get controversial. Neil's most adventurous playing, somewhat unlike the Neil Young we've gotten to know, is found here on this soundtrack. One of these days I might go as so far as to say that this album contains the best guitar playing of Neil's career. It certainly contains one of his best guitar passages, and that's the main riff which winds its way through the album. One can only think and wonder how awesome this could've been for Neil to take the inspiration he had here and put it on a 'normal' Neil Young album (if such a thing has ever existed).

As it is, it's great, but not something I reach for very often. But that doesn't mean I don't cherish the listens when I let it ring out from my speakers.

Neil Young & Crazy Horse
Broken Arrow (1996) Spotify

TRACKS:

1) 'Big Time' - Masterpiece #37. I love this song for the groove, for the melody, for the fact that Neil's back with the Horse. I love it for the sentiment, for the great guitar playing and for the line "dancing in the sunset hues". I love the chorus and I love the fact that hardly anyone rates this album at all. Fine, you go ahead and think that. The lucky few of us who think this is criminally underrated can sit here and drive along the coast, windows down with this song blaring forth. "I'm still living the dream we had, for me it's not over". How can you not love this song? 10.0

2) 'Loose Change' - Crazy Horse turned up to the max, with Neil blowin' on the ol' harmonica? Fantastic. This lumbering song never fails to make smile. The second of three epics that open the album, this is the least known of the three. Hardly played live, and that's a shame. I can picture it as a show opener - completely different to the way 'Hey Hey, My My (Into the Black)' has been used (which is like a powerful punch to the stomach)... this one could've been the loose opener used to get everyone (band, audience) in their groove. Pity, because Neil will never play this again live. 8.0

3) 'Slip Away' - The last of the three lengthy tracks that open us up, and my least favourite. Not sure why, but this has never gelled with me the way 'Bit Time' and 'Loose Change' have. Kudos for Neil trying something different (it's unlike any other Crazy Horse song), but to me it just doesn't get where it wants to go. Neil obviously thought so, because he played it throughout his 1996 tours with Crazy Horse. 6.5

4) 'Changing Highways' - Neil puttin' on his train conductor's hat again! Seriously, Ralph's insistent beat is as high in the mix as anything Jack Irons did on Mirror Ball, but such is the song - it works. At only two minutes (and change), this is short but fun. 6.0

5) 'Scattered (Let's Think About Livin')' - The true forgotten song from this album. At least it would appear onYear of the Horse. Neil reaches out and grabs the tone from Dead Man, taking on us on a pretty cool trip. "I'm a little bit high, I'm a little bit low... hear your name wherever I go". If I were in a Neil Young cover band, I'd insist this were on the setlist each and every night. Not because I think it can compete with 'Revolution Blues' (another must-play) or anything like that, but mainly because I'd want as many people as possible to hear it and think it was as cool as I do. 8.5

6) 'This Town' - Not the best song on the album. Sounds like the fragment of what could become a very good song, but Neil really doesn't go too far with it. Interesting guitar solo (read: different for Crazy Horse, but good), but not much else to write home about. 5.0

7) 'Music Arcade' - Wow. In four minutes and one second, Neil manages to capture everything that he would fail to capture in Silver & Gold, and that's the quiet, hushed acoustic sound. Sounding as though he's almost not trying, Neil proves to us that the true inspiration comes when you're not trying to write your greatest song, not trying to capture a particular sound. All you need is to sit down alone at the end of the day and sing what comes from your heart. Neil's great, lost acoustic track. 9.0

8) 'Baby, What You Want Me to Do?' - Any song where Poncho gets to take a solo is OK in my book. Sounds worse than some of the bootlegs I have, but that's not too bad, considering the noisy bar atmosphere suits the song and the performance (which isn't going to win awards). Not sure what Neil was trying to do by putting this here, especially as the album closer, but no one ever said the man was routine. 5.5

ALBUM RATING: 7.5

VERDICT: Neil's last very good studio album. There are a couple of slight things here, and the Jimmy Reed cover is bizarre, but the album works. Feels like more of a cohesive album than some of his more lauded works. Also, shows that Neil's production skills with the Horse were up to the challenge after Briggs' death. Pity he hasn't chased this sound since. One of Neil's last masterpieces opens the album, and there's some sorely missed gems throughout as well. No idea how this got the bad reputation that it's gotten. But then again, that just makes me think that people haven't 'gotten' the album yet and it's only a matter of time.

NEXT: And the winner is... Favorite Trick!!

 

Bulletin: Cleveland's new radio station, WLFM, needs Radio Hannibal

For years now I've been rallying for a station like this here in Cleveland. I have many great ideas for the new WLFM, the Cleveland radio station talked about in today's Plain Dealer, New Cleveland radio station to aim for hyper-local approach.

So I'm asking my readers to help get me on the air.  I knew Tom Embrescia, Tom Wilson and Chris Maduri during my short stint in radio sales at WWWE in the late 80s.  I don't know them as well as some of you might though.

If you have their ear let them know about me.  Even if you don't know them please spread the word.  Let's go viral.

That's it, a viral campaign to get John "Radio" Hannibal on WLFM.  All I'm asking them is for an interview. 

Thanks in advance my friends. 

 

My 2012 mid year top 10

After some chastising from the readers I've been chided into giving you a list of some of my favorite music of 2012 thus far.  So here's my top 10.

1.  Father John Misty - Fear Fun

2.  Jack White - Blunderbuss

3.  Alabama Shakes - Boys & Girls

4.  Alejandro Escovedo - Big Station

5.  Saint Etienne - Words And Music By Saint Etienne

6.  Hot Chip - In Our Heads

7.  Richard Hawley - Standing At The Sky's Edge

8.  Sonny & The Sunsets - Longtime Companion

9.  Best Coast - The Only Place

10. Beach House - Bloom

Best of 2012 mid year lists

I love putting together music lists as much as any other music geek.  I draw the line at mid year lists though.  I can wait until year's end to compile the list of my favorite music of the year.  That's not the case for music critics, especially ones who have shows they need to fill with content. 

Here's two of my favorite weekly podcasts and their best of the year thus far shows. 

All Songs Considered

Sound Opinions

 

Cool photos of the day

The Rolling Stones

The New York Dolls

U2

Nirvana

Anthony Kiedis, David Grohl and Flea

 

Feeling like a new man on the internet

I'm flattered that so many had asked where I'd been the past week as I'd neglected my blogs and much of my online presence.  On Father's Day I was given a new iMac.  That day I abandoned the familiar world of Windows for the exotic, yet somewhat foreign, Mac world. It had it's painful moments with more to come I'm sure.  I'm writing about it in my AV Adviser blog. 

It was about midweek when I awoke and felt like a Mac guy.  I'd made the leap and am loving it.  Music files that start up instantly, a bloated iTunes that doesn't seem so clunky in it's native environment and YouTube videos that don't hiccup.  I'm not saying a Windows PC can't do that, but my rather old machine was on its last legs and I felt the time was right to bite into the Apple. 

At nearly the same time I decided to finally sign up for SiriusXM satellite radio.  I don't know why I had held out for so many years. 

The idea was to just subscribe to the internet version so I could listen on my iPhone or my new iMac.  That would run $15.95 per month.  Then I realized I could have the service in my car and get the internet access for free for $18.95 per month.  In my mind that was like getting SiriusXM in my car for three bucks a month.  Done deal. 

I'm really enjoying the programming and have to eat a little crow as I've dissed satellite radio over the years, mostly for the idea of narrowcasting.  Meaning I'm not particularly a fan of a constant diet of the same genre of music.  I don't know why it didn't occur to me that I could simply change the station if I tired of, say, reggae on the Joint.  The beauty of SiriusXM radio is that there's always a good song playing somewhere on the expansive dial.

My current favorite, though, is the Loft, a station that is freeform, playing all sorts of genres.  In particular is David Johansen's show.  I'd heard encore presentations in the mornings last week as they served as fill in for the regular weekday morning show.  One day he played nothing but piano concertos and doo wop songs, alternating between the two.  Yesterday must have been a live show as the three hour set dealt with summer and the heat.  Johansen is a musicologist and his song selections are a joy and revelatory at times. 

So here I sit in front of my new iMac with it's compact and sleek untethered keyboard, listening to the Symphony Hall channel on SiriusXM.  And I feel rejuvenated, as if I've truly entered a new, fresh, creative chapter in my life.

The Neil Young discography - Shakey II, part 22

This discography analysis is written by contributer JT of Perth, Australia (follow him at @thesonofnoone on Twitter).

Neil Young & Crazy Horse
Sleeps With Angels (1994) Spotify

TRACKS:

1) 'My Heart' - Hang on, the cover said Crazy Horse. Where's the Horse? What, this is them? OK then. This is actually a pretty sweet little song and a damn interesting way to start the album. The harmonies are perfect and Neil seemingly takes more risks in presenting this song as the album opener than he has in the 14 years that have passed since its release. I love this song. 9.0

2) 'Prime of Life' - Masterpiece #35. I'm convinced the reason this isn't Neil's best-known album is because (as Bob said), Crazy Horse are here, but it's not normal Crazy Horse. But people aren't hearing the songs. Crazy Horse are there and they're doing what they've always done, except here they've bought their A-game. Bringing it, however, isn't the only thing. Neil needs to bring the songs. And he more than does that with 'Prime of Life'. Singing in a softer, more hushed voice than normal (well, it wasn't normal back then as it is now), he doesn't overpower this song, and although the song doesn't really kick up any extra gears from the start - it more than grows on you. I've often said the best things turn out to be the things that don't register to begin with, and this song is a perfect example. Why can't I describe my feelings for this song any better?? Well, that doesn't matter - all you need to know is that I think it's a masterpiece, and an underrated one at that. It's not alone in that regard. 10.0

3) 'Drive By' - Masterpiece #36. You don't have to believe me, but please trust me when I say that this is one of Neil Young's finest songs. I'm not making this shit up for controversy, I honestly believe this to be true. Drums, Bass, Acoustic Guitar, Piano. It's a different Crazy Horse, but it's no less brilliant than the screaming guitars fromRagged Glory. This song truly begins to soar when Neil sings "now she's gone like a shooting star". Some of the most believable singing of Neil's career is found right here on this very track. Not saying it's his best, but there's a lot of soul to be found. Ol' Neil really felt it when he sang this gem. Ralph, Billy and Poncho are understated, never over-imposing themselves, and their weary backing vocals (however minimal they may be) show that technical excellence is nothing when you've got heart. 10.0

4) 'Sleeps With Angels' - So close to another masterpiece, but there's something not there that's keeping it from reaching the plateau. And you know what it is? I don't think this song's angry enough, not brutal enough, doesn't aim to make our ears bleed while at the same time making our eyes weep. There's a 20-minute version that was apparently cut, and I want to hear it NOW. As it is, I think the song strives for greatness and just as they're about to shake hands, the song backs off. I don't know if this is making sense, but this song is about a feeling of being let down, and although that's not exactly how I feel about the song I do feel that although it's brilliant, it could've been so much more. And maybe that was Neil's point. 9.0

5) 'Western Hero' - At one time I would've thrown the 10's the way of this song, but not today. Not anymore. Still, this is gorgeous. I feel that Neil's being trying to write a lot of similar songs to this in recent years, but missing the mark. There's no need to emulate this - it stands fine on its own (or alongside it and its twin, 'Train of Love'). Again, the restrained awesomeness of Crazy Horse is a wonder to behold. Anyone who thinks these guys only know one way to play really haven't had their ears open for a long time. 8.0

6) 'Change Your Mind' - Wow. Is this Neil trying to copy the blueprint for past epics, or is this Neil just letting flow in the best tradition that he knows how? Either or, he succeeds in giving us a simply brilliant track. As has been the way since I started this thread, I listen to the tracks as I write about them (sometimes more than once), and I've been absorbed in this song for 8 and a half minutes now with over six to go and I'm in heaven. I don't care if someone thinks this is a 'Cowgirl in the Sand'/'Down By the River' knock-off. If it is, then it's the best damn knock-off Neil's ever done. Great lyrics, great singing and the Horse are the Horse. No one else could've played this song. Love how Poncho just disappears during solos, knowing there's nothing that needs to be done. 9.5

7) 'Blue Eden' - That was one helluva first half to the album, and I feel as though I'm dissing the second half when I don't listen to it as often as I should. Because it's fine... very good in fact. But the reality is that it can't match the first six songs on this album, which is as good a run as on any previous Neil album. So how can I describe this song? Well, at times it sounds like it's Neil and Crazy Horse recording a jingle for a mens-only steakhouse. As it is, it's merely a six minute segue from 'Change Your Mind' to the rest of the album. Good, but not great. 6.5

8) 'Safeway Cart' - You can just tell Neil has recorded this as a solo, acoustic song somewhere. You can also tell that if it were released, it would be just as good. As a result, this doesn't soar. This is just one side of the coin, not the whole picture. Billy Talbot owns this song though. Sometimes I listen to this and all I hear is his bass, and at no time have I been dismayed by that. 7.5

9) 'Train of Love' - Only Neil. 'Tonight's the Night' (2 versions), 'My My, Hey Hey (Out of the Blue)' and 'Hey Hey, My My (Into the Black)', acoustic and electric versions of 'Rockin' in the Free World'. And now - 'Western Hero' and 'Train of Love'. Same songs, different lyrics. Yet, here's where my insanity comes in - I much prefer 'Western Hero'. This sounds like a Harvest Moon recap (which is likely since this was played live on the 1992 solo tour), and if you don't know my feelings on that album, scroll back a few pages. Having said that - this would've been a standout on that album (after 'Natural Beauty' obviously). 7.0

10) 'Trans Am' - Greendale, nine years prior? This is Neil's electric western... 'Albuquerque' for the modern day - except not up to that quality. I can't really say much about this song, but that doesn't mean I don't like it. Just can't muster up enough to wax on about it. Maybe someone else can do it for me. 7.5

11) 'Piece of Crap' - The twin to 'Prisoners of Rock and Roll'. Except that was Arnold Schwarzenegger, this is Danny DeVito (those crazy twins!). Still not a bad song, but I get disheartened when I realise that with 45 plays, this song has been played live more than the rest of the album combined. Doesn't exactly live up to its title, nor can we shorten its title by two words. But this ain't 'The Losing End (When You're On)' folks. This is a lightweight, but a fun lightweight. 6.5

12) 'A Dream That Can Last' - Beautiful song to end the album on. Sounds like it should've been on Life, but I'm not denying it's place here. This is a completely unique song in the Neil Young catalogue. What else can you say about it? This song is the perfect example of why Neil Young is the fuckin' king. That he can take his most popular band (one not known exactly for diversity) and have them sing on a song that's just drums, harmonica and an old arcade piano is, well I wouldn't call it a masterstroke, I'd probably say it's unexpected - and that's exactly what we expect him to do. 8.0

ALBUM RATING: 9.0

VERDICT: Neil's never been this good again. Well, not on this scale. This is a fantastic album that polarises quite a few people. Re-writing the rulebook as to what a Crazy Horse album should sound like, it's such a pity that they haven't explored this sound since. The first half of this album in particular is flawless, and one can only imagine what esteem the album would be held in if he'd managed to keep the quality up for the entire album. As I said, he's never been this good again - not for so many songs on the one album.

Neil Young
Mirror Ball (1995) Spotify

TRACKS:

1) 'Song X' - "Hey ho, away we go... we're on the road to never". Boy, more prophetic words have never been spoke. But more of that later. This interesting little sea shanty opens up the album and announces from the start that this is Neil out of his comfort zone. Some many not agree, but I just can't shake the impression that this is a Pearl Jam album, except with Neil singing and writing the songs. Sure, Old Black gets to wail, but Brendan O'Brien's production never lets you forget that although the band aren't credited on the album, they're definitely the ones in the studio. And I don't know... even as a Pearl Jam fan, that doesn't sit too well with me. But I suppose this isn't a bad song to start the album on. 6.0

2) 'Act of Love' - Better. More dirty than the opener and Neil's delivery (can't tell whether it's double-tracked vocals or not) is spot on. Whether or not the song's about abortion, Neil's lyrics are fantastic. In particular, the "you know I'll always help you baby, but I just can't do that. I know I said I'd help you baby, here's my wallet... call me sometime" verse just gets me - if you know what I mean. 8.0

3) 'I'm the Ocean' - Some claim this to be a masterpiece of a song, and although I don't fall into that camp - I think it's a fine song and possibly the finest on the whole album. I'm a little put off by Jack Irons' drumming - not just on this song, but the whole album. But here it is a mammoth distraction that in order to absorb the song I have to really listen to the tune and do my best to mix the song in my head, pushing the drums down. And that's such a pity because, as fans of the song will attest, it's brilliant. If I wasn't so put off by the drumming, I'd be tempted to say it was one of the finest songs of the decade, as it is it has to settle with being one of the finest of the album. But enough of the downside - for a song I like it's too long to focus on the negative (no matter how much it irks me). This is a great song, and Neil seems to be loving every minute of it. And that's enough for me.9.0

4) 'Big Green Country' - I suppose my big concern with the album, as already stated, is that the band is too prominent (especially the drumming). This song feel simply like they let Jack Irons drum away and the rest just rolled from 'I'm the Ocean' through to this. Let me make this point clear - at no stage on a Neil Young album should Neil Young be made to feel equal or inferior to anyone else on the album. He's the man, he's the star of the show. Pearl Jam or not (he could have Townshend, Moon and Entwhistle backing him up for all I care), don't ever let me forget that this is a Neil Young album. But as always, Neil manages to come through. When he lets rip with his guitar solo (kind of what I'd expect a 'Ride My Llama' solo to sound like), Old Black indulges us with a sound that hasn't been heard since he and Crazy Horse cut 'Like a Hurricane'. That glorious but brief bit of time makes me think that I'm being hard on the album. It's put a smile on my face at least. 7.5

5) 'Truth Be Known' - OK, so slow it down a bit. Although this song makes me pine for Crazy Horse, this sounds great. Kind of a precursor to Broken Arrow (hopefully I'm not the only one who thinks this would've made a great fit there), and again... Old Black is the star of the show. 6.5

6) 'Downtown' - God, I used to hate this song. But that was before I was Neil Young fan and I simply didn't 'get' him. Now? I like it - but not enough to spend hours waxing about its brilliance. Every time I listen to the song, I keep waiting for the song to kick up into this extra gear that I hope it finds somewhere, but it never does. That's a shame because it would've made the song amazing. At the moment, it's simply very good. Bonus points for the Jimmy Page reference. Goofy fun. 7.0

7) 'What Happened Yesterday' - Is it wrong to like this simply for the fact that there's no Jack Irons? Anyway, a brief little ditty that will never make a Greatest Hits. Someone help me out though... the vocal melody here is the same as parts of 'Big Green Country' and is the same as something else from Neil's catalogue. What the fuck am I thinking of?? 4.0

8) 'Peace and Love' - Again, not a bad song, but not great. The only thing that makes me want to speak in glowing terms is again, Neil's guitar work. Old Black certainly earns its MVP status on this album. But then again, having Old Black as the album's shining light is more that can be said about some of the albums to come. 6.0

9) 'Throw Your Hatred Down' - One of my favourites on the album. Again, Jack Irons' drums are prominent (almost too much so), but they drive the song far better than they do on any drum-heavy song that precedes it on the album. I'm not sure what else makes me rate this more highly than say, 'Big Green Country'. I mean, some of the lyrics are clunky and some lines are packed with too many syllables, but I think that the song is almost a call to arms and is so joyous makes me think that this can join the ranks of the great, underplayed Neil Young songs. 9.0

10) 'Scenery' - This song soars. It sounds just like a Crazy Horse song and to me, that's always a good thing. Great guitar work here, Mike McCready gets to show that he can sit in with the big boys and not be put to shame, and Neil matches it with some dirty, dark Old Black grooves. Best song on the album (IMHO - obviously).9.0

11) 'Fallen Angel' - Bringing back the 'I'm the Ocean' melody to end the album on a slight, weird, but effecting note. If only the album had more moments of heart and soul such as this. 5.5

ALBUM RATING: 7.0

VERDICT: What could have been... Potentially a great matchup. Energetic, young and prominent band hooking up in the studio with the rock god who seems to 'get' what they're doing. Unfortunately it's a case of potential being better than the eventual product. This album just never gets off the ground enough for it to be able to sit comfortably with Ragged Glory and Sleeps With Angels, Neil's great albums of the previous years. There's some great songs here, but they're buried in an album that feels less of a Neil Young album since anything put out since Old Ways in 1985. Not saying it's a bad album, but I'm saying it could've been a whole lot more. At least one thing's clear... Brendan O'Brien is no David Briggs. One can only assume what Briggs could've made from this pairing. Oh well. (R.I.P David, who died three months after the album's release).

NEXT: Neil goes all Randy Newman on us... soundtrack time!!

Radio Hannibal under construction

No post today kids. We're under construction. Want to know more? Read my post today on my other blog, www.avadviser.com.

The Neil Young discography - Shakey II, part 21

This discography analysis is written by contributer JT of Perth, Australia (follow him at @thesonofnoone on Twitter).

Neil Young & Crazy Horse
Arc (1991) Spotify

TRACKS:

1) 'Arc' - Here's the deal if you don't know. One album, live. One track, long. One collage, lots of feedback. Basically this is a mesh together of the feedback drenched codas of many of the songs from the Weld tour. There's lots of drums and general Crazy Horse shenanigans, and of the many criticisms I could level towards this album, the over-riding one is that it isn't long enough. That's right - you heard me correctly. This doesn't go for long enough. Not saying that this 35 minute track is too short, but there are definite times where you want it to lead back into 'Like a Hurricane', and just kick up that extra gear. As it is, this can't be taken too seriously and is no more than a curio. But remember to crank up the speakers every April Fool's Day and let this baby ring, because April 1 is 'Arc Day'. And I can't think of a more appropriate time to let this puppy ring out.

ALBUM RATING: 3.5

VERDICT: Said it in my 'track' review.

Neil Young
Unplugged (1993) Spotify

TRACKS:

1) 'The Old Laughing Lady' - OK. Unplugged, time to pull out those songs you'd never thought you'd hear in the acoustic arena. Time for Neil to find another audience and time for Neil to pull out his most beloved song and butcher it in acoustic form that will seemingly make radio stations forget the original and infinitely superior version even exists (Hi, Eric... Hi 'Layla'). But Neil seems to play it safe here. OK - so this isn't his most well-known song, but he doesn't go for any of that 'reinterpretation' claptrap. Still not my favourite song at all, but at least the mid-song vocal breakdown is missing. On the other hand, Neil sounds like he would rather be somewhere else. Not a fabulous start. 5.0

2) 'Mr. Soul' - Well, this is a bit better. Neil turns this into something very dark indeed, that bluesy harp work helps out with the doom and gloom. But still, for all the darkness and stripping of the song to its core - Neil still seems to be elsewhere, as though this is merely a run-through for the real thing the next night. Do you think they released the wrong night??6.0

3) 'World on a String' - Not bad. Maybe Neil isn't playing it safe after all? I'm going to try and stop mentioning how lacklustre Neil is, because it will get to be like a broken record. Would've loved a different song from Tonight's the Night, 'Albuquerque' perhaps, but I'm just nitpicking. This here's not too bad. It suffers when compared to the original because it's almost played too well, and the drunken backing vocals are missing, but it's still a step in the right direction. 6.5

4) 'Pocahontas' - Right-e-o! Here's the song I was waiting for, one of my favourites - a masterpiece if you will. Unfortunately, this isn't a 10.0 performance. Again, Neil seems disinterested and when we're talking about one of my favourite songs, that tends to greatly disappoint. But still, the greatness of the song shines through and still amounts to the best thing on the album so far. 8.0

5) 'Stringman' - Wow, Neil and the piano - it's been a long time between drinks. And cranking out a previously unreleased tune? That's what I like to hear. Apparently this is about Stills and how he 'lost it', turning himself from someone destined to be one of the greats into someone who was good for a couple of years once. Not sure which seventies album it would've fit on, but it's still a very good song. 8.0

6) 'Like a Hurricane' - Damn, I hate that fuckin' pump organ. I really do - but here it somehow works. Could be that the song he's playing it on is completely unfuckwithable, but props for trying something a little different. Makes you wish for a screaming Old Black though. 8.0

7) 'The Needle & the Damage Done' - Pointless, really. Neil can perform this as often as he likes, but is there a real reason as to why he keeps releasing lives versions of essentially what is the very same performance (albeit a few years apart)? Sooner or later it all gets boring, walk on. 6.0

8) 'Helpless' - 'Helpless' at the piano? Full band? Sweet. Pity my criticism of the performance is going to sound like a broken record. It's just not happening for ol' Neil. The best versions of the song are where Neil is practically pleading when he sings. Needless to say - that isn't happening here. 6.5

9) 'Harvest Moon' - Did someone just put the Harvest Moon album on? I'd swear they did - I can even hear the fuckin' broom! Not sure what the point of this performance is - as fine as it is. It just seems a bit pointless to pretty much duplicate the album version only a year after its release. Oh well. It's not a bad performance at all - far from it. This just seems a waste, that's all. 7.0

10) 'Transformer Man' - OK, so you probably already know that this is the highlight of the album. For many, this was the first time they actually listened to this song, and they realised how sweet a song it was. For once, Neil sounds like he gives a damn, and the band actually know when to provide that perfect kick to the song. Just as good as the original version, and I doubt I can say that about anything else on this album. 9.0

11) 'Unknown Legend' - See 'Harvest Moon', excluding the broom comment. 7.0

12) 'Look Out For My Love' - Great song. Always has been, probably always will be. Neil actually puts everything into this. I miss the simplicity of Crazy Horse on the song, but this band does their best. Goes a long way to redeeming the album just that little bit, offering up another reason to listen to it once 'Transformer Man' has finished. 8.0

13) 'Long May You Run' - aka 'Unnecessary Renditions #10'. Or maybe not! This is actually very good. Slows the tempo down a fraction and the band find the groove nicely. Was never my favourite song to begin with, but this isn't bad at all. 7.5

14) 'From Hank to Hendrix' - See 'Unknown Legend'. 7.5

ALBUM RATING: 6.5

VERDICT: At times inspired, but for the most part uninspiring, Unplugged is not only a missed opportunity, you can easily call it a waste. There are glimpses of brilliance here, but the overall impression I get is that it's Neil just cruising in about 3rd gear, never really wanting to offer up too much. His song selection is baffling also. Do we honestly need another live version of 'The Needle & the Damage Done' (our third)? Do we really need versions of 'Harvest Moon', 'Unknown Legend' and 'From Hank to Hendrix' that are no different to the album versions which were released only a year earlier? Kudos for pulling 'Stringman' out and obviously any rendition of 'Transformer Man' is going to be appreciated. But apart from the latter two tracks - where's the soul? When Neil's uninterested, then you know we're in trouble.

NEXT: Too late, too soon.

Cleveland's Bobby Womack is resurrected

We've seen R&B singers have comebacks before.  Gil Scott-Heron and Solomon Burke, both now deceased, come to mind.  But I'm pleasantly surprised to see Bobby Womack, born and raised in Cleveland, now counted as another one. 

The comeback can be credited to British musician Damon Albarn who selected him to sing a song on the last Gorillaz album.  This led to Albarn producing a new album for Womack, The Bravest Man In The Universe, released on Tuesday. 

Music from the album is already charting in the UK where, it seems, many a forgotten US soul singer goes to rejuvenate their career. 

This is not standard R&B fare but rather uses modern glitch tracks and electronica more often than not.  It's also given modern cred with a duet by Lana Del Ray. 

Womack's voice is in fine form and the result is a winner of an album.  Whether this will translate into sales or a successful tour here in the US remains to be seen, but the critics are on board. 

Artist:  Bobby Womack

Album:  The Bravest Man In The Universe

Review:  Entertainment Weekly

Listen to it on Spotify