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29 of 31 people found the following review helpful:
5.0 out of 5 stars
man.y de.ci.bels, May 10, 2004
There is a certain segment of Neil Young's fan base that is in it primarily for the decibels. They want to hear "Hey Hey My My", not "My My Hey Hey". They want Crazy Horse, and it better not be `Greendale'. While I share their passion, I do have a corresponding affinity for much of Young's kinder and gentler fare, such as `Comes a Time'. There does come a time, however, when the mood strikes for something striking, and nothing can strike that chord like Neil's `re.ac.tor'. In that sense, this may well be Neil's most underrated effort. Indeed, it is not difficult to find people who would place this disc in an inferno, creating a disc.oh! in.fer.no!`re.ac.tor' is an explosive chain reaction (since there is no song called `re.ac.tor' on the disc, one must speculate on the significance of the title, including it's syllabled graphic style, and absence of capital letters, which may symbolize being broken down to essential elements; the song titles receive the same curious treatment). The cover is odd and striking, a bold red sideways pyramid flanked top and bottom by black panels. I suppose it conveys contained, yet invasive heat, another good analogy for the aural content within. The 1981 release of `re.ac.tor' followed the 1980 release of Young's `Hawks and Doves' almost one year to the day, another album with a similarly simple yet symbolic cover, a large white star surrounded by blue background. While `Hawks and Doves' embraced a patriotic theme, `re.ac.tor' embraces everything hedonistic. Drugs and rock open things up in `op.er.a star'; "women", "booze" and "a pleasure cruise" are the tangible elements in `surf.er joe and moe the sleaze'; `t-bone' is a rambunctious 9 minute raging blues on having what you need, but not all you want (for some odd reason Neil decided to print all 6 verses from `t-bone' in the liner notes, all consisting of "Got mashed potatoes. Ain't got no T-bone"); `south.ern pac.i.fic', `mo.tor city', `rap.id tran.sit' and `shots' are angry rants on aging, Japanese imports (Neil really has a thing for cars, especially old ones, eh?), New Wave rock, and war, respectively. Even though I'm from the `mo.tor city', my favorite in the bunch is the wildly entertaining `rap.id tran.sit'. Funny how a `60's rocker put together the best New Wave song the New Wave ever spawned. You don't have to be a hedonist (in most respects) to enjoy this album. You do have to be motivated to indulge in loud, bare bones rock and roll, however. In the middle of the set Young offers `get back on it', a fast paced two minute ditty that serves as a bit of a respite from the aural assault blasting out on either side of it. Yet it still captures other elements of the disc... it's rather irrelevant lyrics pass the time as Young just has fun with the music. He sings, "I might be late comin' though. I got some things I gotta do". We know, Neil. Nice to hear you getting it out of your system. Now get back on it!
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11 of 12 people found the following review helpful:
5.0 out of 5 stars
Heavy, January 12, 2005
HeavyHeavyHeavyHeavyHeavy.
Yikes. This is Neil's heaviest record ever, and that says a bit, considering Rust Never Sleeps, and Live Rust, Ragged Glory, and Weld, and a *lot* of other stuff. Critics hated it, my Omnibus Complete Guide says it's Young "with his emotional shutters locked tight." Even Neil himself says he wasn't paying attention and he ain't sure how good it is. But they're all wrong; this is the indispensable spuzz.
"Shots," "T-Bone" and "Opera Star" would be classics in a better universe, but every song is great; every song except "Get Back On It" features buzzsaw, slicing, dicing guitars.
And like the music, the lyrics are seriously under-rated. If you're considering that emotional shutters statement, check out the lyrics to "Shots." And if you think that the lyrics to "surfer joe" or "t-bone" or "opera star" are bad, consider AC/DC, heavy metal masters of the ironic look at their own silliness. I mean, this isn't gonna save the world, folks, and you might as well admit it. "t-bone" is hilarious, and so are the lines
"You were born to rock/You'll never be an opera star"
And is it just me, or did Neil make up the word "garfong?"
This is Neil in his idiot savant mode, firmly in the tradition initiated by AC/DC's "Rock and Roll Ain't Noise Pollution." Anything this funny can't be bad.
Anyway, you need to tread carefully with Young's '80's output; I wouldn't say it was overall as bad as some might say, but you do need to leave your preconceptions at the door AND forgive a clunker here and there. No such caveats need apply to this, the second album Young released in the 1980's. You like rock and roll, you like heavy guitar, no questions asked, buy it.
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11 of 12 people found the following review helpful:
4.0 out of 5 stars
Highly underrated, August 25, 2003
This one never really got the respect it deserved, but in 1981, it was all about the synth (which makes a couple of appearances here, mostly as atmospheric filler amongst the familiar chaos of guitars, drums and bass).It's a big, sludgy mess, of course, which is why it's so delicious. "Opera Star" is hysterically funny, because it's just so damn STOOPID. "Surfer Joe and Moe the Sleaze" carries a serious wallop, a killer riff, and not much more. "T-bone" gets even more granular: one huge riff pounded into oblivion for nine-plus minutes, while Neil laments the fact that he's "got mashed potatoes, ain't got no T-bone" over and over and over. "Get Back On It" isn't gonna make things any harder for you: over one of the most basic of 'oldies rock' structures, Neil and Horse muse on the virtues and pitfalls of getting back on the road. Do they miss some of the simplest chord changes in rock history, more than once? Do they sound like a bunch of drunks trying to remember a Little Richard song on barely-adequate equipment? Oh yes they do, and it's a joy. NOBODY makes looseness sound quite this... uh... loose. It just goes from there. Neil sounds like he's having a total blast on this one. Is it essential Neil Young? Probably not. Neil has written some tremendously insightful, thoughtful songs. He's written some fierce, timeless rock anthems. He's experimented with electronics and bluegrass and old-school country. Don't look for anything like that here. This is the Neil Young you know from side two of RUST NEVER SLEEPS. This is the Neil Young of SLEEPS WITH ANGELS' 'Trans Am'. This is the 'whoo' thrown off before the solo in 'Cinnamon Girl'. It's just good ol' fashioned blast-in-the-car riffage. Take as needed.
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