Customer Reviews

Sugar Mountain - Live At Canterbury House 1968

5 star:		(61)
4 star:		(28)
3 star:		(16)
2 star:		(9)
1 star:		(19)

 

 

As the current Chaplain of Canterbury House, I can offer a little bit of history on this performance.

Canterbury House was then and is now the Episcopal campus ministry at the University of Michigan. In 1968 the Chaplains were the Revs. Dan Burke and Martin Bell, and the student House Manager was Ed Reynolds. These three remarkable persons turned Canterbury House into an innovative coffee house ministry, oriented toward those who were turned off to all things establishment, including main-line churches. The stellar musicians who performed here included Joni Mitchell, Richie Havens, Odetta, Tom Rush, Gordon Lightfoot, the Byrds, and Janis Joplin. Many of these concerts were recorded, and the tapes given to the artists. The venue was intimate, as can clearly be heard on this recording of Neil Young's performance here on Saturday, 9 November 1968. This was his first performance as a solo artist after the breakup of Buffalo Springfield, and indeed this recording includes many of the songs that were hits for the group, including "On The Way Home," "Mr. Soul" and "Broken Arrow." All of the songs on this album, stripped to the bare essentials of voice and guitar, demonstrate the purity and simplicity that has made Neil Young a wonderful songwriter for decades. The dialogue on the recording demonstrates a youthful shyness and a natural ability to connect with his audience.

Canterbury House remains to this day a venue for prophetic music. Our concert series features primarily jazz and experimental idioms. Those of us who were young people in 1968, Neil Young included, "can't be twenty on Sugar Mountain" any more; but it's nice to know Sugar Mountain is still there.

Better Get It In Your Soul: What Liturgists Can Learn from Jazz

The sweet sounds of Neil Young.

I am blown away by this cd. Neil's songs are always so deeply personal and this recording is no different. It's just Neil and a guitar singing from the heart and playing so soulfully. This is so well engineered and produced that I can imagine myself there in the audience in an intimate setting with Neil and a few friends.

The recording was made after the breakup of The Buffalo Springfield. There is some Springfield stuff here as well as some songs that would make it on to his first solo album like Last trip to Tulsa. The last trip to Tulsa is every bit as good live here as the studio recording. The acoustic Mr. Soul has a very different feel here. Expecting to fly is also every bit as beautiful and pleasing to listen to as the Buffalo Springfield studio version.

There is some funny and interesting banter between the songs along with Neil making some anecdotal comments about the songs. At one point he takes requests from the audience. With the CD you get to hear the entire show from beginning to end.

The DVD is only so-so. It does contain the entire audio track of the CD but other then that It's mostly just short clips and an advertisement for his upcoming anthology (archives). I too wish the DVD concert footage, that was part of my expectation when I bought the CD\DVD but the reality is that this concert probably wasn't video taped.

The sound is very good for 1968. While it is a live recording there is very little crowd noise. There is also a little hiss but it doesn't distract from the listening pleasure.

The time is a little more then 70 minutes........... but it's easy to lose track of time while listening to the CD because it totally immerses the listener in the beauty of Neil's voice, song writing and performance. Find the one you love, put on the cd, turn the lights down low and have an introspective, romantic evening courtesy of Neil Young.

If you are a Neil Young fan my advice is not to hesitate in buying this. Granted it is not as an assured a performance as Massey Hall but as a historical document of one of the most important artists of the 20th Century it is essential. This is Neil Young as a shy unsure 22 year old stepping out of the shadow of Stephen Stills in his first solo concert since the break up with the Buffalo Springfield, It's fantastically intimate with a lot of amusing anecdotes and stories even taking requests at one point. He audibly displays a nervousness in his ability that no release has ever highlighted, it is utterly compelling. The material is taken mostly from his first solo album but includes his best known Springfield tracks (a lot of which were sung by Richie Furay and not Neil) also includes Birds which was re-recorded for After the Goldrush and Sugar Mountain the same version which was included on Decade.
A word of warning....the DVD is a DVD-Audio disc (commonly abbreviated as DVD-A) and is a digital format for delivering very high-fidelity audio content on a DVD. DVD-Audio is not intended to be a video delivery format and should not be confused with video DVDs containing concerts and music videos. In saying this it's actually very good value for money and gives you the same material on 2 different formats. If you don't have a DVD-Audio player then play the CD, as someone who has a DVD-A player I have the CD to enjoy in the car.

I hadn't actually thought to review "Sugar Mountain", nor any of the Archives releases thus far, until I read through the other reviews. The bottom line is that this is a superb, historical performance; most people seem to agree on this. It is a shame, however, about the misleading reviews which give low-ratings because of the DVD-audio feature. Anyone who expected a film of the performance had the right to do so; and they certainly have a right to be disappointed that they didn't get one. But no one considering this release should be mislead into thinking they're being ripped off on the DVD front. The DVD that comes with this album is not a conventional DVD video, but rather an example of something called DVD-Audio. (Actually, it's really using a regularly encoded DVD for the DVD-A purpose, which means, obviously, that you don't need a special DVD-A machine to play the disc--but I digress) Neil is something of an audiophile, as I am sure many fans are aware, and the idea is that DVD-Audio gives the listener the best available sound quality, that is to say, better than a regular audio CD. So no one's trying to scam anyone; it's just that the creator's intention is different from what may consumers expected to get, and thought they were getting. That is just an unfortunate and understandably frustrating misunderstanding.

So one more time: you are *not* getting ripped off if you buy this album. Well, other than through the fact that if you don't acquire this release in one form or another, you are missing out on some first-rate music:

The set, actually a combination of two shows performed at Canterbury House on November 9th and 10th, 1968, when Neil was only a few days short of 23, is entirely acoustic: Neil and his guitar, and nothing else. There is something eminently pleasing to me about recordings of performances, like this before small audiences. There is a warm, intimate feel to the proceedings. The audience is appreciative, but not making so much so much noise that I can't enjoy the music. In fact, this audience is pleasantly and respectfully silent during the performances, offering their applause appropriately enough between numbers. (The one flaw in the other wise excellent Massey Hall set released prior to this one being the high volume of crowd noise. Crowd noise is not something that usually bothers me too much, personally, but I did find myself annoyed by the apparently uncut sections of the Massey Hall crowd calling for Neil's encores after a while. That's really a shame as the music on *that* album is the best to come out of the Archives project so far. I'm sure I'll be giving it five stars anyway. But back to the album I'm supposed to be reviewing.)

As I mentioned previously, the set has a very intimate feeling to it. It is also feels very authentic to what one would expect being at such a show would be like. Included are the emcee's introduction (noting that the audience for that evening was *much* larger than expected), and Neil's charming and witty chatter between songs. Some have complained about the large amount of between-song talking, but I usually find that Neil talking is often as interesting as Neil singing and playing. Neil's story about his two weeks' work for a Toronto bookstore, before being fire for "irregularity", is a particular highlight. The centerpiece of a musical performance should obviously be just that--the music. The music should speak. But talking isn't outlawed or necessarily a bad thing. It can help to clarify the performer's personality, increase interaction with the audience, and give the songs background and context. It's not the main attraction or the show--but a supplement to enhance and further humanize the experience. It admittedly is probably more to do with nerves than anything else in this case, but nonetheless Neil comes off as quite the live wire; very witty and talkative, displaying a good sense of humor throughout. But, as said, this is a nice supplement to the main program: the music is the "thing" of course.

The set starts with a rendition of the Buffalo Springfield number "On the Way Home." Although written by Young, this was originally sung by Ritchie Furray for the album "Last Time Around." The performances on this and the Massey Hall album prove how it *should* have been done, however. With the Springfield, the number was turned into light pop, which worked on its own. The reality, however, is that the song is quite a a bit deeper than this, the lyric poetic and often multi-layered. It works well as an opening number. Neil sounds charmingly timid as he begins to sing, although, as with many numbers throughout the set, he gains confidence as as he continues the vocal and no one starts throwing any rotten fruit at him.

The show carries on with an all-acoustic version of "Mr. Soul", not unlike the fine 1993 "Unplugged" rendition. It's a rather interesting version of the great song, thanks mainly to the first of several aggressive guitar performances by Neil. It is also the first of several well-known Buffalo Springfield numbers to be played. At different points in the show, Neil also performs "Broken Arrow" and "Expecting to Fly." The latter is a particular gem, equally passionate and gripping without the orchestral arrangement present on the original recording. That was good too, but this alternate take is really worth hearing; just Neil's voice ringing out against his acoustic guitar, which really draws more attention to the heartbreaking lyric. The same passion can be heard on this version of "Broken Arrow", quite different and much more to-the-point without the complex production of the studio version. There is more emotion in Young's delivery here than in the Springfield version. Both are classics.

Elsewhere, "Nowadays Clancy Can't Even Sing", from the first Springfield album, is rescued. This is now the only version of "Clancy" I like to listen to. Furray clearly had no idea what he was saying--or singing rather--when he recorded the lead vocal for the original version of this song. Thankfully we this version which, with its sparsity of production and Neil's vocal really resonates a lot more.

But perhaps the most interesting recordings are the rendering of several songs from Neil's underrated self-titled solo debut: "The Loner" is just as strong a number without Jack NItzche's production. "I've Been Waiting for You" has always been rather underrated. The original recording was positively electrifying. I love it. The message of the song is not at all diminished by the performance here. "Old Laughing Lady", stripped of the Laughing Female Soul Singers who can be found on the original, is perhaps the strongest performance of the evening in terms of the guitar. Without the Nitzche production, and with only the acoustic guitar, some beautiful chord changes are revealed alongside the interesting lyric (the song seems to be about addiction.) Neil shows his chops, even without amplifiers and distortion, in banging every ounce of soul out of the countermelody in the absence of the aforementioned vocalists. For lack of a better word, it's stunning to hear. "Passion" is a word that comes up a lot when I talk about Neil Young, but I assure you every use of it in this review is well warranted.

"Last Trip to Tulsa" is also given an airing. I have to say that its inclusion here has given me something of a new appreciation for it. It is the last song on Neil's solo debut, I can say I've ever really enjoyed in the past, and given its position in the album's sequence, it is a simple enough matter to shut off the stereo before the it comes on. But here it is smack in the middle of the show, where one feels obliged to listen to it rather than hit the "skip" button. So I did. I still don't love it; it's long and sometimes feels long. But while it isn't always a great lyric, it does have some clever lines. I particularly like the talk of "unlocking [your mind", men eating pennies, and the gas station with yellow employees and green gas. It's creative imagery. The last verse, as Neil's sends a tree crashing down on his friend's back, is biting. You may find it cropping up in your head long after listening. That, of course, is a symptom common to listening to most of Neil's work.

Performance-wise, the above indicated are just about the highlights. Interestingly, the fine rendition of the enduring classic, "Sugar Mountain", included here is the same one that can be found on "Decade." Prior to that, Neil had already used the recording as a b-side on several occasions. He was right to think it was worthy of release, then and now. Also of interest, "Birds" is performed here. A warm and very pretty tune, it was originally released on "After the Goldrush", which was several years in the future at the time of this performance. So it is a bit surprising, but not unpleasant, to hear it on this album. Another song apparently in its genesis at this point is previewed, quite literally: Neil plays the audience the opening riff from "Winterlong", yet another of his many underrated numbers, claiming it to to be a melody he was working on at the time...

Lastly, although I don't usually make a point of talking about album covers in my reviews, the photo of Neil on the sleeve is quite striking: huge, intense dark eyes staring out at you with a backdrop of long, thick-looking black hair. It just dares you to play thing every time you see it on your shelf.

Especially if you are a fan, you must acquire the material on these Archives discs one way or another. This, along with the Massey Hall release, is absolutely excellent, essential for the fan of "acoustic mode" Neil. Be forewarned, however, that this isn't Crazy Horse Neil. So if that's the only Neil you listen to, I wouldn't bother. Personally, I think acoustic Neil is better than Crazy Horse Neil in many respects. More of Neil's personality comes through. The whole affair seems much more intimate and personal. This is the side of Neil *I* like most when it comes down to it.

I picked up my copy at Best Buy on December 2nd - the sticker price was $19.99, but it rang up for $14.99 - I would have paid the higher price. Like most fans, I was hoping for some video content, but I do appreciate that as an artist Neil respects his fans and his music enough to give the option of a better sounding alternative for free.

If you are a fan, then you already have your copy or it is on your Christmas list.

As to the recording, I was intrigued by the venue, the place in time, and the song selection. A little disappointed with the hiss - it is audible on the first few tracks afterwhich I must just get used to it or I tune it out.

Out of 70 minutes, 16 minutes of it is Neil talking. I am a little mixed on my feelings here - sometimes the less we know the better. Plus he sounded very nervous/shy and in need of the audience acceptance. He even made excuses for his songs being too down. Just not the take-no-prisoners Neil I was expecting. But it was early days for him, and he was out on his own after the breakup of Buffalo Springfiled. In the end, I really didn't learn anything other than Mr. Soul took 5 minutes to write and he once worked in a bookstore for 2 weeks before popping pills and getting fired.

As to the 54 minutes of music, well, it is bare bones - a guitar and a voice, but it works. Certainly a little more instrumentation would have been welcome, but that's not really the point. The point is that we get to hear and unfortunately not see Neil perform some very enduring classic songs at the valley between the peak of Buffalo Springfiled and the peak of Neil Young the solo artist with or without Crazy Horse.

Sugar Mountain is a piece of history, essential for any Neil Young fan. Listen to this recording and then listen to Massey Hall recorded 3 years later and hear how much Neil's guitar playing has developed.I found it fascinating, listening to his youthfull,funny and open onstage patter and interaction with the audience.

Recorded at a time when the 21 year old Young was striking out on his own, after leaving Buffalo Springfield, and just prior to the release of his first solo album. Young, his record company and the venue itself were unsure how popular Young's performance would be, listen to the MC as he introduces Young,expressing surprise at the size of the audience. Hear Buffalo Springfield songs and songs from Neil's forthcoming album.

The CD/DVD was recorded over the two night engagement and sound quality is good,although there is some tape hiss.Given the length of time since it was recorded and equipment available it is not surprising.

The DVD is not a video. It is for sound quality i.e.5.1 surround sound which is excellent if you have the equipment.

Another priceless gem in the continuing Neil Young Archive Series.

There is a school of thought among rock journalists (and rock fans) that Neil Young did the right thing by going solo right after the demise of the Buffalo Springfield instead of forming another group like Stephen Stills did.He was one of the first artists signed to Frank Sinatra's Reprise label.The rest,as they say, is history.There was no such term as a "singer-songwriter" in 1968.Dylan,Freddy Neil,Richie Havens and other songsmiths of the times were still being called "folk singers";Jimmy Webb was writing NOT singing and James Taylor was still an unknown commodity. Enter Neil Young...twenty two years old and armed with only a Martin acoustic guitar. Despite the fact that this recording is over forty years old,the songs hold up.If you know Neil Young,you already know these songs.This is THE birth of a solo career that has kept him and us "forever Young".1969 was just around the corner and Neil was just a few months away of joining the biggest group in the world. Cherish the fact that these recordings are still around for us to savor and enjoy...1968 was truly an eventful year in the history of our planet and this man's music helped dispel some of the darkness.An awesome preservation...and yes,Rassy,he did kinda look like a dark John Davidson in those days.

In recent years we've had several new live albums released by Neil Young. All but one of these records has been solo-acoustic. A hardcore fan may go out and buy all of these records, but for us regular joes you might be asking... "Should I be getting any of these live albums? Are they really good or are they just also-rans in Neil's vast collection? Which one is the best?" I'm here to tell you that if you only buy one of the new acoustic live shows from Neil Young, Canterbury House 1968 is the one you need to get.

Much ado is made about the 1971 Massey Hall show which was also released. Granted, that show does present pristine, vital performances of some of Neil's most loved songs, plus the added novelty of hearing Neil perform before an audience who has never heard of "Heart Of Gold" and would rather hear "Broken Arrow" (as Harvest had yet to be released at that time) -- the complete reversal of just about every Neil Young concert since.

But Canterbury House is truly the most notable of these acoustic performances. It's novelty is off the charts, what with it being the first show Neil Young performed after the final breakup of Buffalo Springfield, and for capturing certain material from Buffalo Springfield and Neil Young's oft-overlooked debut record which would be all but stricken from his setlists for the rest of eternity.

More importantly, what we have here is Neil Young at his uttermost youthful, with spry and daring flourishes that can only be born of genuine naiveté. Make no mistake, I mean that in the absolute best way possible. I've never heard a more sincerely candid performance from a major artist. To hear this album is to witness Neil Young exploring this new realm of solo performance and being a solo artist. Neil Young is an artist who would later become infamous for refusing to play the material that the audience wants to hear. But at Canterbury House he literally asks the audience what they want to hear and then plays the request, because that's just how candid and off the cuff this performance is. Listen as Neil chats with the audience like a close friend, describing (in the most intriguing "rap" titled 'Bookstore rap') a bookstore job he had where his drug use made him alternate between completely useless and epically competent. He even queries the audience to make sure there are no cops present before launching into his story... When I say it's a candid show, I mean it's a bloody candid show!

What we have here is, in my mind, the closest thing to a Crazy Horse gig that I've heard Neil Young play solo-acoustically. That may sound weird, but what I mean is that the guitar parts here are at their most raw and fluid. In the midst of tunes like The Last Trip To Tulsa and The Old Laughing Lady, Neil drifts off into tangential territory, absent-mindedly transversing whatever cosmic planes are reachable with a lone acoustic guitar. As time would pass his guitar chops would improve somewhat but they would lose some of their ragged glory, presented here in full force, half-way between stunningly virtuosic and rather rudimentary.

In conclusion... Massey Hall is quite good as well, but if you've been a Neil fan for quite some time, and are already acquainted with records such as 4 Way Street and Live Rust, Canterbury House is the record that will provide you with the most unique and meaningful experience.

Neil is in top form in this intimate setting that sounds like it could have been recorded in a large living room. As a result he engages the audience in a very personal way, stopping on a couple of occasions to ask for requests. Highlights include Neil's introduction of an "oldie" which turns out to be the classic title tune "Sugar Mountain" and his version of the first Springfield single "Nowadays Clancy Can't Even Sing", originally performed by Richie Furay. Pay the extra $4.00 for the DVD--it's well worth the added price to get a piece of rock history.

Forty years after its initial recording, `Sugar Mountain - Live At Canterbury House 1968' gets an official release. The performance achieved notoriety because of the single version of "Sugar Mountain" which appeared first as a B-Side to the 1970 single, "The Loner." It reappeared as a B-Side to "Cinnamon Girl" in 1970 and then on the double disc greatest hits `Decade.' Surviving as a bootleg for years, this album presents the entire concert with the omnipresent stage banter by Neil Young.

The performances throughout this concert are jaw-droppingly earnest and endearing. This set seems a lot more intimate than the previously reissued "Massey Hall" recording. It has been written that Neil had to be coaxed out of his hotel bed to perform that night. His stage dialog is an indication of his nervousness, as he rambles on about everything from working in a bookstore to an impromptu mystery music quiz surrounding "Classical Gas."

Young's work with Buffalo Springfield is well represented; he performs "Mr. Soul," "Expecting To Fly," "Broken Arrow" and gives "Nowadays Clancy Can't Even Sing" a goose bump-inducing read. The majority of the performance is dedicated to material that would later appear on his S/T debut and subsequent releases such as `After The Gold Rush' (Birds). `Neil Young - Live At Canterbury House' depicts a young artist at the precipice of greatness and is definitely worth a listen.