Neil Young: Freedom 30 Years On

It’s probably fair to say that Neil had a dodgy old 1980s; at least that’s the critical consensus.

In 1983, he was sued by Geffen for delivering ‘unrepresentative’ albums. But by 1988, he was back on his original label Reprise (Sinatra’s invention, natch) and had delivered This Note’s For You, ironically just the sort of record that had got him into such trouble at Geffen.

But it was the follow-up Freedom, released 30 years ago this week, that really got Neil back on track. He retained This Note’s fine rhythm section (drummer Chad Cromwell and bassist Rick Rojas) and co-producer (Niko Bolas) and delivered a dizzyingly diverse selection, by turns sweet and savage, mostly recorded live in the studio.

I don’t particularly dig country, but love ‘Hangin’ On A Limb’ and ‘The Ways Of Love’, simple heartfelt love songs (Linda Ronstadt’s contributions sure help). I don’t dig grunge, but I love ‘Don’t Cry’, ‘Rockin’ In The Free World and the raucous cover of Lieber and Stoller’s ‘On Broadway’.

So how does he do it? I’d cite four major differences between Young and the also-rans – intelligent lyrics, a great drummer, Neil’s sense of space and his lead guitar playing (‘Don’t Cry’ features a few of his most unhinged solos). Of the former, the album’s title seems to refer to a few tracks’ investigation of freedom in Reagan’s America, especially the scarily prescient ‘Rockin’ (‘There’s a lot of people sayin’ we’d be better off dead/Don’t feel like Satan/But I am to them‘), epic ‘Crime In The City’ and Peckinpahesque ‘Eldorado’. ‘Rockin’ could almost be Young’s ‘Born In The USA’.

The gentler tracks arguably take one back to the feeling of freedom long before Reagan was around. This Note’s For You outtake ‘Someday’ – complete with chain-gang chanting and tubular bells – and the gorgeous ‘Wrecking Ball’ still sound like timeless classics, both romantic and anthemic. Conversely, ‘Don’t Cry’ gives Lou Reed and Bret Easton Ellis a run for their money, a chilling, blanked-out vision of a love affair gone wrong (with closing gunshot?).

Freedom was a gamechanger for Young, a near-perfect distillation of styles that would see him through the ’90s and beyond. It’s still an absolutely essential work and rightly seen as one of his greatest albums. What a pleasure to revisit it this week.

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Marillion: Seasons End 30 Years On


Prog fans – perhaps understandably – are not generally known for their benevolence when a favourite band undergoes a personnel change.

Steve Howe has talked publicly about the poor reception Trevor Horn received when the latter made his debut as Yes’s new vocalist during their North American tour of 1980. Phil Collins still believes some Genesis fans were convinced he was scheming to take Peter Gabriel’s place as the band’s singer.

But Marillion fans seem a far more amiable bunch. When Steve Hogarth was installed as their new frontman in 1989, he seems to have been welcomed pretty much with open arms (if this superb televised gig from only his second UK tour is anything to go by).

Seasons End, (no apostrophe?), released 30 years ago this week, was a weirdly assured debut from Hogarth and easily this writer’s favourite Marillion album (1989 was a bit of a Year Zero for me in terms of the band, the Fish era barely appearing on my radar). Hogarth’s melodies are fresh and exciting and his vocals always strong.

It helped of course that Hogarth was a triple threat, a proven singer/songwriter with mid-’80s bands The Europeans and How We Live (though he was apparently eyeing a job as a milkman when the latter wound down in early 1988) and possessing some decent keyboard chops.

His natural magnetism as a frontman didn’t hurt too, and he even brought a few gimmicks to the party, like the magic gloves and musical cricket bat (a tribute to Ian Faith? Ed.).

So how does Seasons End stack up these days? Pretty well. The singles ‘Easter’ (UK #34), ‘The Uninvited Guest’ (UK #53) and ‘Hooks In You’ (UK #30) were distinctive, well-arranged and featured soaring guitar playing from Steve Rothery. Ian Mosley is that rare rock drummer, solid but expressive, and capable of great subtlety. Keyboardist Mark Kelly had become a superb builder of atmospheres and textures too, as demonstrated on the Steve Reich-esque second half of the title track, ‘Holloway Girl’ and ‘The Space’.

Marillion, Genesis and It Bites were flying the UK prog/pop flag at this point, and their late-’80s careers make for interesting comparison. As for Seasons End, it did very nicely, touching down at #7 in the UK album chart and ensuring a long, fruitful career for the band’s new line-up. Good guys, good record.

Cult-De-Sac: Miss World (1992)

There were a lot of good quiffs around in the ’80s. The rockabilly and psychobilly revivals certainly wouldn’t have been the same without them, but one of the best was sported by Jonathan Perkins, lead singer/songwriter of Miss World.

Though Miss World’s self-titled debut album came out in early ’90s, it seems very much informed by the music of the 1980s. It was released on David A Stewart’s Anxious Records, featured cameos from Pretenders drummer Martin Chambers and was very much under the influence of Iggy Pop’s Blah-Blah-Blah, INXS and Nick Cave, as well as Lou Reed, The Doors and Berlin-era Bowie.

I bought the first album after seeing their mightily impressive set supporting Shakespear’s Sister at the Hammersmith Odeon in summer 1992. An internet search of Perkins reveals very little, except that he was born in Swindon, was possibly an early member of XTC and probably later turned up in mid-’80s nearlymen Silver Spurs.

But whatever his pedigree, Perkins certainly seems to have a great record collection. Miss World opener ‘The First Female Serial Killer’ has a super-cool vocal delivery (is it about Aileen Wuornos?) while ‘Nine Steps To Nowhere’ sounds like Michael Hutchence fronting The Doors. ‘Watch That Man’ marries Iggy Pop’s ‘Isolation’ with Bowie’s ‘New Career In A New Town’ to superb effect.

‘Dead Flowers’ comes on a bit like Jim Morrison singing with The Clash, and then there are great, weirdo murder ballads ‘Highway Of Dead Roads’, ‘Thief Inside’ and ‘British Pharmaceuticals’. Lou Reed couldn’t have done a better job at covering ‘What A Wonderful World’. ‘Love Is The Whole Of The Law’ might be the best of the lot, the only co-write with Dave Stewart.

Perkins also has a great ear for a strong first line: ‘You make me act like a locust‘ (‘Nine Steps To Nowhere’), ‘I’m wasting away/The voices in my head have come out to play‘ (‘Highway Of Dead Roads’) and the Withnailesque ‘I was feeling very beautiful/Having taken pharmaceuticals‘. And – good news for us – the songs either seem to be about sex, drugs, death or religion, sometimes all of them.

Legendary recording engineer Phill Brown (Spirit Of Eden, Solid Air etc) gets a gorgeously uncluttered sound and then there’s the none-more-David-Lynchian cover image.

Not much has been heard from the band since this excellent debut, though some weird footage emerged a few years ago of a comeback gig with Perkins sporting a natty turban. And they seem to have some more recent tracks on streaming platforms. But they never quite caught on after this strong start, more’s the pity.

Neal Schon & Jan Hammer: Untold Passion/Here To Stay

The great jazz/rock pioneers of the early 1970s generally had a very mixed 1980s. But when keyboard genius Jan Hammer left the Mahavishnu Orchestra in 1973, no-one could have predicted that he’d become a bona fide pop star just over ten years later.

Two fascinating albums – originally on CBS, now re-released as a two-fer by BGO – trace Hammer’s early-1980s journey to ‘Miami Vice’, via a collaboration with Journey/Santana guitarist Neal Schon.

Of course Hammer had spent a few years in the late ’70s touring big venues with Jeff Beck and making ever-rockier solo albums. But Schon was probably a more successful musician than Hammer in 1981, if a more anonymous one – his playing has a lot of chops but isn’t particularly distinctive.

The first Schon/Hammer album, 1981’s Untold Passion, has a pleasingly dry, lo-fi quality, recorded solely at Hammer’s home studio in upstate New York, with the Czech genius also playing some great drums and engineering. The musicianship is exemplary and the sound has a real consistency. Unfortunately the same can’t always be said of the material.

Schon’s Phil Lynott-like vocals have some charm, particularly on the excellent ‘Hooked On Love’ and ‘I’m Talking To You’, but predictably it’s the three instrumentals that really do the business. ‘The Ride’ is a super-catchy Schon composition, while Hammer’s ‘On The Beach’ and the title track look forward to ‘Miami Vice’, the latter with a distinct Giorgio Moroder flavour and some kick-ass solos.

The second album, 1982’s Here To Stay, is less successful, adding a cameo from the other members of Journey and lots of stereotypical 1980s production values, and the duo are obviously making a far more concerted effort to get onto MTV. They made it with the crunching ‘No More Lies’, and almost grabbed a minor hit too. The hilariously ill-judged video is well worth a look:

Neither Untold Passion nor Here To Stay were big hits – the former stalled at #117 in the US album charts, the latter sunk without trace, but these are really interesting projects for Hammer fans. When they work, they really work, and there are some great instrumental duels between the two virtuosos.

And you can definitely hear Tubbs’ Cadillac revving up…

TACK>>HEAD: Friendly As A Hand Grenade 30 Years On

Tackhead have always been ahead of their time, but no one could have predicted quite how prescient their 1989 album Friendly As A Hand Grenade would prove.

When Trump became president in 2016, Gee Vaucher’s brilliant cover artwork went viral, though one wonders how many people knew the image’s origins.

In a way that’s a good metaphor for the band’s career. A supergroup of session players, and arguably the ultimate post-punk band in their effortless fusion of hip-hop, P-funk, agit-prop, dub, house, gospel, blues and industrial, Tackhead have never quite hit the mainstream, even while their respective careers flourished with other artists.

And that’s probably exactly how they like it. Tackhead has always been a kind of musical petri dish for each member’s explorations, kind of a funk version of 1980s King Crimson.

Bassist Doug Wimbish, drummer Keith LeBlanc and guitarist Skip McDonald had of course hooked up during their legendary sessions for Sugarhill Records, and vocalist Bernard Fowler was one of the great singers on the ’80s New York scene. Add London-based mixologist/dub innovator Adrian Sherwood and it was a whole new thang, mixing the latest sampling technology with classic funk-rhythm-section smarts.

And if their second album Friendly, released 30 years ago this weekend, hasn’t dated as well as hoped, that’s more down to its mastering limitations (not enough bottom end) and occasional dearth of quality original material. But when it works it really works, a thrilling mix of heavy guitar, funk basslines, tasty grooves, soulful vocals and scary samples, usually with a political element.

‘Mind And Movement’ steals a march on Heaven 17’s ‘We Don’t Need This Fascist Groove Thang’, a funky missive against Margaret Thatcher’s late-’80s policing policies. ‘Stealing’ is a grinding, gospel-tinged rail against TV evangelists. The two ska cameos are pure filler, but side two is much better, kicking off with the classic Tackhead theme tune ‘Airborne Ranger’, and gradually adding in elements of old-school hip-hop and early house.

Friendly was a hit, reaching #3 on the UK Indie album chart and reportedly selling over 100,000 worldwide. The majors smelt a hit; EMI subsidiary SBK came calling with a big advance and huge recording budget (LeBlanc puts it at around £250,000), resulting in the 1990 major-label debut Strange Things, which had some brilliant moments but has been been described by a few band members since as ‘crap’. Arguably the better follow-up to Friendly was the 1994 Strange Parcels album Disconnection, credited as a ‘A Tackhead Re-Duction’.

Elsewhere, Wimbish went on to great things with Living Colour, McDonald formed the potent Little Axe and Fowler became a key member of the Rolling Stones touring entourage. And they all continued to work with fascinating On-U Sound outliers Mark Stewart and Gary Clail.

But the ‘real’ Tackhead sound has probably never adequately been captured on record  – the gigs were (and are) where it’s at (and highly recommended is their live anthology Power Inc. Volume Three).

There was a memorable March 1989 show at London’s Town & Country Club, and I went to many great gigs in the capital during the early 1990s and beyond. The band’s fans were (and are) an incredibly disparate bunch, from Whirl-Y-Gig crusties to B-boys and musos.

And they’re still with us. Don’t miss them if they come to your town – they’re still doing some of the best stuff out there.

Prince: Batman Motion Picture Soundtrack 30 Years Old Today

At the beginning of 1989, the tabloids were full of rumours that Prince was in dire financial straits.

While that seems unlikely, with hindsight it does seem a curious decision for him to take on a soundtrack gig for such a huge mainstream movie, stepping right into the belly of the Warner Bros. beast.

But then it’s also not much of a surprise that he smashed Batman out of the park. On many levels, it was the perfect project for the time – the movie’s themes appealed to his post-Lovesexy spiritual concerns and also tapped into his own feelings about fatherhood. He explored those themes poignantly on ‘The Future’ and ‘Vicki Waiting’.

Musically, in the main he retreated from Lovesexy‘s album’s dense, complex, band-inspired sounds and went back to a minimalist approach, pushing his guitar right to the fore and making liberal use of samplers and a Fairlight.

But even though ‘The Future’, ‘Electric Chair’, ‘Partyman’, ‘Batdance’ and ‘Lemon Crush’ are essentially one-chord jams, Prince knows exactly how to hold the attention with false endings, escalating riffs, hysterical guitar solos and quirky chord voicings. The net result is a somewhat forbidding but still undeniably funky album.

Also he doesn’t scrimp on the dancefloor classics – put on ‘Partyman’, ‘Trust’ or ‘Batdance’ (a UK #2 and US #1) and to this day you’ll get any party started. Elsewhere, ‘Scandalous’ is a brilliantly-sung, sometimes funny seduction ballad in the tradition of ‘Do Me Baby’ and ‘International Lover’, while ‘The Arms Of Orion’ is a pretty – if somewhat trite – ballad.

The album was a smash hit, selling over a million copies in its first week of release and becoming his first US #1 album since Around The World In A Day. Prince was almost returning to his Purple Rain popularity, no doubt helped by the huge success of the movie too.

But this kind of mainstream success was short-lived. Something was eating him up inside – in typical form, he regrouped immediately and took on a deeply personal project, the doomed Graffiti Bridge movie/album.

It was a funny old end to the decade. But a totally Prince one. Probably his least-remembered album of the ’80s – though arguably the last great album he delivered – Batman is ripe for rediscovery as we reach more end-of-the-decade, spiritual/political uncertainty.