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43 of 47 people found the following review helpful:
5.0 out of 5 stars
An All-Time Great, June 23, 2000
The opening song is one of the top twenty-five singles ever written in over 45 years of rock: "The drummer relaxes and waits between shows for ... his Cinnamon Girl. A dreamer of pictures, a run in the night, You see us together chasing the moonlight, my cinnamon girl..." and, later: "Somehow I need another chance, I see your baby loves to dance... yeah, yeah, yeah..." followed by a guitar solo, that any fan of that period could recite note for note (although with Neil Young, that's not always too difficult, it's the intensity, precision, and minimalist power that one appreciates). An awesome combination of power guitar and sentimentality, fuzz and rock-country (with an emphasis on the rock), this was one of my first albums, and remains one of my favorites. The vinyl is great, of course, but I'm enjoying the CD as much (although you don't get as big a picture of the cover dog... one of the great dogs of rock covers!). I remember thinking "Round and Round (It Won't Be Long)" was too slow, but today it sounds very rich, revealing a quiet poignancy, and some of Neil's best straight-ahead singing. "The Losing End" is the most country-inflected song here, yet I still like its kickback sound and the blues-like lyrics. Play this for someone who likes the overrated slick sound of the Eagles; Neil is closer to the roots, and his biting guitar is incomparable. (This is probably unfair, as I basically could never stand the Eagles, but Young does "country-rock" better than most. Of course, this shouldn't be too surprising, considering his stint with Buffalo Springfield. "Down by the River" and the quintessentially-Young "Cowgirl in the Sand" remain deeply satisfying; it's unlikely you'll hear them on today's FM stations because of their length and age (and maybe for their slight misogyny, though that pales compared to Eminem et al.'s anti-women lyrics). Again, the songs are strung with Neil's trademark strong, repetitive licks, with nice over-dubbing, laid over an assertive bass line and surprisingly melodic compositions. This is also great garage music for aspiring guitarists, you can sound as terrible as you want and, most likely, it'll still sound acceptable. This album transcends time and musical fashion. Play it loud; play it often.
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