Feel the Blues with all that Jazz
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Strona Główna Rock, Metal Neil Young Neil Young - On The Beach (1974)

Neil Young - On The Beach (1974)

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Neil Young - On The Beach (1974)

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1.   "Walk On" – 2:42
2.   "See the Sky About to Rain" – 5:02
3.   "Revolution Blues" – 4:03
4.   "For the Turnstiles" – 3:15
5.   "Vampire Blues" – 4:14
6.   "On the Beach" – 6:59
7.   "Motion Pictures" – 4:23
8.   "Ambulance Blues" – 8:56

 Neil Young – guitar on 1 3 5 6 7 8, vocal, Wurlitzer electric piano on 2, banjo on 4,
 harmonica on 7 8
Ben Keith – slide guitar on 1, vocal on 1 4, steel guitar on 2, Dobro on 4, Wurlitzer
 electric piano on 3, organ on 5, hand drums on 6, bass on 7 8
 Tim Drummond – bass on 2 5 6, percussion on 5
 Ralph Molina – drums on 1 5 6, vocal on 1, hand drums on 7 8
    Billy Talbot – bass on 1
    Levon Helm – drums on 2 3
    Joe Yankee – harp on 2, electric tambourine on 8
    David Crosby – guitar on 3
    Rick Danko – bass on 3
    George Whitsell – guitar on 5
    Graham Nash – Wurlitzer electric piano on 6
    Rusty Kershaw – slide guitar on 7, fiddle on 8


Following the 1973 Time Fades Away tour, Neil Young wrote and recorded an Irish wake of a record called Tonight's the Night and went on the road drunkenly playing its songs to uncomprehending listeners and hostile reviewers. Reprise rejected the record, and Young went right back and made On the Beach, which shares some of the ragged style of its two predecessors. But where Time was embattled and Tonight mournful, On the Beach was savage and, ultimately, triumphant. "I'm a vampire, babe," Young sang, and he proceeded to take bites out of various subjects: threatening the lives of the stars who lived in L.A.'s Laurel Canyon ("Revolution Blues"); answering back to Lynyrd Skynyrd, whose "Sweet Home Alabama" had taken him to task for his criticisms of the South in "Southern Man" and "Alabama" ("Walk On"); and rejecting the critics ("Ambulance Blues"). But the barbs were mixed with humor and even affection, as Young seemed to be emerging from the grief and self-abuse that had plagued him for two years. But the album was so spare and under-produced, its lyrics so harrowing, that it was easy to miss Young's conclusion: he was saying goodbye to despair, not being overwhelmed by it. --- William Ruhlmann, allmusic.com

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