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| 1. Made in Heaven Director: Alan Rudolph | |
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Reviews (30)
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| 2. MTV Unplugged: Neil Young | |
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Amazon.com The second half of the show finds a few other musicians strolling in,including Young's old ally, Nils Lofgren, with accordian, guitar, andharmonies at the ready. Young's unequivocally nongrungy sister, Astrid, andthe late Nicolette Larson sweeten the vocals and add warmth to theinstant-community atmosphere. Together, everyone reshapes thenever-quite-on-the-money CSN&Y classic "Helpless" into a taut, privateprayer, teases the tenderness and fun out of "Transformer Man," and makes"Harvest Moon" sound so delicate that anything else on the radio seemsslightly obscene. The program ends with an encore performance of "From Hankto Hendrix," which, in this MTV context, comes across as a nonsubtle pleafrom a rock godfather to beware the momentum of time and change on popularmusic, to "still get it together" despite the pressures of fashion. A verysatisfying experience all around. --Tom Keogh Reviews (2)
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| 3. Year of the Horse Director: Jim Jarmusch | |
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Album Description Reviews (26)
This is an avant garde film of working-man rockers and it shows what 30 years together means to these men ... if only by scratching the surface. Neil & Frank (Pancho) come across as very human and, quite frankly, I believe that this film contains about as much information about their lives and personal business that anybody outside the group ought to have access to. I know that these men have worked hard to stay honest to their muse, they don't back down from nobody and they do get up in the morning.
As for the "documentary" side of things, the interviews between the songs tend to quickly become dull. Fans will learn nothing new, and casual viewers may be confused as to who these people are that are being referred to. The guitarist Poncho states snidely (and I am paraphrasing here), "You think you can learn everything about this band from this short documentary?" Then the camera cuts away leaving the viewer with nothing at all. Later in the film, he says almost the exact same line to the camera, perhaps forgetting that he said it before. The answer clearly is, "No, I won't learn very much at all from this documentary." A saving grace for the video comes in a few short clips of documentary footage from the '70's and '80's. These clips show the band sometimes unaware of the camera, sometimes hamming it up. They're a great depiction of Neil Young and his band in their prime. They also represent everything a documentary film should be. Sadly, there are too few of these moments in this film. The director does manage to sneak himself into the picture several times, along with the name of his production company (I think they're even in the trailer.) This should make it easier to avoid his documentaries in the future. Buy the DVD "Rust Never Sleeps" if you want a concert movie, or buy the album "Year of the Horse" to get the music from this film instead.
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| 4. Neil Young & Crazy Horse: Rust Never Sleeps Director: Neil Young | |
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Reviews (33)
Neil's idea of having roadies as 'road eyes' and sound technicians dressed as 'doctors' pottering around the stage during set breaks, while original themes from the 1969 Woodstock are being played really shows a lot of natural talent went into the whole concept. While Neil starts off the show looking rather small against the enormous backdrops of illusive amplifiers and roadie cases, it's hard to comprehend that the power of his soft vocals and overtones of the harmonica will push you back into your seat as he bellows out some classic acoustic numbers like 'COMES A TIME', 'THRASHER' and 'THE NEEDLE AND THE DAMAGE DONE'. The first set that contains some of Neil's best songs comprising of both acoustic, harmonica and piano is like an elaborate lead up to the stage enterance of his long time friends and band members. Their flowing musicianship literally makes me 'RUST' back into my chair 'NEVER' wanting to 'SLEEP' while they are playing and it takes me to a place far removed from this western society that we scratch around in. The Bishop on the keyboards is a real buzz too!! If you've seen Pink Floyd's 'THE WALL' or Led Zeppelin's 'THE SONG REMAINS THE SAME' and so on, then this DVD is a must see.
Unfortunately, this video is the definition of pretentious. All the "Road-Eyes" and giant representation of stage gear is rediculous, and Young actually seems really serious about all of it. So, in conclusion, this is a great collection of songs and has great performances. Just make sure to keep your fast forward button handy. Or, alternately, you could buy the album Live Rust, which is the same concert on CD without all the crap.
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| 5. Made in Heaven Director: Alan Rudolph | |
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Amazon.com Reviews (30)
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| 6. Neil Young: Human Highway Director: Neil Young, Dean Stockwell | |
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Amazon.com Reviews (17)
It's just a quiet day in a little one horse town, occupied for the most part by the workings of the diner, the garage and the thermonuclear power plant on the hill. Something goes wrong at the diner, the mechanic has a personality crisis triggered by a head trauma, and ... oh, yeah ... there's a leak at the power plant. "Barrel go boom," as the power plant worker so succinctly puts it. "Human Highway" is NOT a laugh-a-minute. It really only seems to "work" on repeated viewing. The satire of the rock music scene is as funny as the goof on nuclear power. The psychedelic flashback segment is done with affection. Though the film introduces Neil's music into a DEVO-esque scenario, and includes songs from different points in his career, this is NOT a "rock and roll" movie per se. The traditional folk song "It Takes a Worried Man (to Sing a Worried Song)" appears twice in the movie, and is really what sets the tone. The DEVO take on Dylan's "Blowin' In the Wind" has me in stitches each time I hear it. Overall, I think you should give this strange little film a chance. Neil fans can add a star. Hardcore DEVO fans can add to stars. It really DOES take a worried man!
There is some twisted satire in this film.. some funny hidden comedy by Neil, Dennis Hopper and Dean Stockwell. I think this movie is best watched more than once. I truly appreciated the dream sequence..when Neil's character, Lionel Switch (what a name huh?) dreamed of being a rock star.. then suddenly it diverts to a strange camping/outing/POW WOW scene.. with the background music of "Going Back.." from his "Come A Time" album.. it's done in pyschedelic/neo-80 sytle that truly, in my opinion, is beautiful.. I've always appreciated Neil's interest and concern of the Native American welfare.. this movie touches on that too.. No, this movie is not "Saving Private Ryan" and it wasn't made for film recognition or Oscar awards.. it's done in the name of fun and to perhaps convey a message. And.. you know what? Perhaps I'm a little biased (being such a big Neil fan and all) but Neil came across as a pretty good actor too.. Rent it.. add it to your collection.. and enjoy the music..again, particularly the dream sequence... I hope Neil relives his Bernard Shakey director pseudo-role and comes out with another film.. He always keeps things interesting!
The pieces of this movie don't hang together well. It's like there were two different films and someone just mashed them together with no regard for whether or not they would fit. On one side we have the somewhat didactic Devo pieces, with Booji Boy in a role similar to the chorus in a Greek play; he's like a court jester, who gets away with speaking ugly truths because he's too silly to take seriously. On the other side we have Neil Young's surreal pseudo-story. Despite some interesting snippets of dialog, no particular thread is developed far enough to inspire any real interest in the story, and no character is developed enough to make us care what happens to them. Which, in a way, is probably Young's point - the tiny events of our little lives just aren't as interesting as we think they are, and they don't matter. But that doesn't make for engaging storytelling. But, between Devo's solid personification of doom and Young's dreamlike depiction of everyday life, there is one amazing performance which, in my opinion, redeems the movie. It's their joint rendition of "Hey Hey My My." This lengthy, frenzied, and apparently spontaneous studio session is the only honest moment in the entire movie. All the campiness, tongue-in-cheek lecturing, and coyness that candy-coats the film's depiction of our shallow, ugly civilization is put aside for a straightforward primal scream. The speeches and the dreamy videos are nice, but the wailing fury of this number is a catharsis of disgust, contempt, and disillusionment. Young and Devo work together as if in a trance, and no one seems to want to break the spell. It's genuine and moving.
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| 7. Love at Large Director: Alan Rudolph | |
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Reviews (2)
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| 8. The Last Waltz Director: Martin Scorsese | |
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Amazon.com Reviews (144)
A few highlights; 1. Rick Danko's soulful and honest singing of "It Makes No Difference", "Stagefright" and many others. God bless his soul. 2. Levon Helm's "americana personified" singing on "The Night They Drove Ole Dixie Down" and his perfect drumming. 3. Dylan's God-like presence and powerful performance. 4. Vann Morrison's deep and electrifying performance that raised the hair on my arms. 5. Neil Young's sincerity with a haunting behind the scenes Joni Mitchell singing "Helpless, Helpless". 6. Clapton showing his usual class by letting Robbie outduel him in their guitar solos. 7. Robbie Robertson's guitar on Van's song "Caravan" and many others. 8. Garth Hudson's unique keyboards and Richard Manuel's spirited piano and singing. [Forget] the imperfections, this is a musical masterpiece, showcasing many of the greatest musical talents of the last 40 years. The Band are simply one of the greats of all time. John X. Condos
Even the guests, such as Bob Dylan, seemed to use their worst voice. Only Eric Clapton was really any good, though Van Morrison was acceptable. Otherwise, fairly embarrassing musical performances. At the end, *everybody* is onstage singing "I Shall Be Released" - killing an otherwise nice song. Obviously Scorsese got all the good film people and photographers to work on the project, and it was well done. So well done that the presentation outshines the music. There are some nice extras, including multiple commentaries. Hard to recommend it unless you are truly a Band fan.
To celebrate that they were quitting the 'god---n impossible' life on the road after 16 years, The Band gave a farewell concert in San Francisco, on Thanksgiving Day, 1976. To join them, they invited artists who represented the rich and varied array of styles that went into their musical melting pot: Rock'n' Roll, Blues, Folk, New Orleans R'n'B, Country, Gospel, Rockabilly ... who would sing their own numbers backed up by them. They, noblesse oblige, brought in their first mentor, Ronnie Hawkings, a man who sure knows how to entice a teenager into joining a rock'n'roll band, and Bob Dylan, of course, (who had just released Blood on the Tracks and Desire), Joni Mitchell (The Hissing of Summer Lawns and Hejira her most recent albums), Neil Young (Tonight's the Night and Zuma were his latest solo efforts), Muddy Waters (who would release Hard Again, his best late day work the following year), and many, many more I have no space here to mention. All top-notch and in their musical prime. Well, and Neil Diamond. The result was a concert that can only be described as dazzling and magical. The Band do ecstatic versions of some of their best songs and the guest appereances are also amazing, Van Morrison does what's probably the best version ever of Caravan, Muddy Waters proves why he is the M-A-N, chile, The Staple Singers send a shiver up your spine that can rend you comatose for life, and Robbie Robertson and Eric Clapton bring the house down with their scorching six-strings and then they burn the ruins to ashes. All this just to quote a few. But I have a minor complaint here, the movie only features one song (The Shape I'm in) sung by Richard Manuel, one of the most soulful and moving singers that ever walked the face of the earth. This gives the newcomer a somewhat off-balanced account of how vocal duties were shared in The Band, as one can deduct that Levon Helm sang almost everything with a little help from his friends Rick and Richard. And Levon is darn good, but Richard is the shhh ....sheer top of the heap. Casting these trifles aside, the movie is a masterpiece. Direcrted by a Martin Scorsese in a state of grace (those were the days of Taxi Driver and Raging Bull), and beautifully darkly photographed by Michael Chapman (Taxi Driver, Raging Bull), Michael W. Watkins (later X-Files direcror and producer), and Vilmos Zsigmond (Close Encounters of the Third Kind, The Deer Hunter, Heaven's Gate), this was to be more than your average rock concert documentary. The filmmakers were set on an ambitious goal, to show what it is and what does it feel to play great music. And they achieved it in such a way that we mere mortals get to feel what it is to be up there on the stage, enraptured, playing that great music to an enthusiastic and receptive crowd. The featurette that is one of the DVD bonus add-ons shows how Scorsese had these sheets of paper with the lyrics of each song to be played written down in one column, the main moments of each performance in another (when a singer would join in the chorus, or the guitar solo was to begin, or a special part of the lyric would be sung, etc), and the camera shots and movements for each moment in a third column. This is called making the best of the means of your art instead of just doing anything that would do, and it shows on the screen in a way that leaves you breathless. Watching Scorsese frantically directing the movie like a tightrope walker with no net to fall down on must've been worth another documentary. They had only one take for everything, mind that, and I guess that's what might have attracted such a brave and audacious director as Scorsese: Jumping into the unstopping swirling midst of life and trying to extract art out of it with just spotlights and cameras. Souns enticing, isnt't it? And for no money nor any promises of getting more you-know-what than Frank Sinatra. ... Read more | |
| 9. Neil Young & Crazy Horse: Weld | |
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Amazon.com Young and Crazy Horse instantly get down to business, however, with one oftheir searing takes on "Hey Hey My My (Into the Black)," followed by amuscular "Crime in the City" and a cover of Bob Dylan's "Blowin' in theWind." The latter, a haunting, (mostly) solo performance by Young, soundslike the echo of a long-ago clarion call from the optimistic 1960s, and itgoes a long way toward refining this show's unspoken theme: building atemporary bridge to a ghostly past. Young and the band do just that,repeatedly and in different ways as the concert progresses from a strangelyfragile but exuberant performance of Young's early hit, "Cinnamon Girl," tothe mirage-like "Cortez the Killer" and its layered elegy for the Woodstockgeneration, to the shatteringly beautiful ode to a forgotten young man'sultimate sacrifice in "Powderfinger." By the time Young brings us back to thethen-reality of the Bush years in "Rockin' in the Free World," one can't helpbut feel robbed by the cruel vicissitudes of history. --Tom Keogh Reviews (5)
The video was shot at the same time as the CD was recorded. The music is great - Young at his electric best, but surely better to see him stretching the srtings, teasing the harmonics or cranking out those rocking rhythms rather than long shots of matchstick men or the crowd mouthing the words. We all know the words but we've paid to see Neil play.
All the music is electric and justifies why Neil is called the godfather of grunge by many people. There is a lot of juicy distortion. The album features many classic Neil tunes such as "Hey Hey My My", "Welfare Mothers", "Cortez The Killer", "Powderfinger", "Tonight's The Night" and "Roll another Number for The Road". There are also newer classics such as the ultimate rendition of "Rockin' In The Free World" (forget Pearl Jam's!) Obviously the music sounds better from a CD-quality recording than a VHS tape. It's very enjoyable to watch Neil and the Horse play, especially on his rampaging solos and thrashing of his guitar. My only complaint is that the camera focuses too much on the audience and there are some real freaks in there!
No Acoustic numbers on this one....feedback galore and power from the first note to the last... ... Read more | |
| 10. Neil Young & Crazy Horse: Ragged Glory | |
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Amazon.com Reviews (3)
I've been a fan since '66 and this video is very disappointing , especially if you have seen "Rust.." and "Year of the Horse"
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| 11. Neil Young: Freedom Alive - Acoustic Concert | |
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| 12. Neil Young and Crazy Horse: The Complex Sessions Director: Jonathan Demme | |
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| 13. Neil Young In Berlin | |
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Product Description Reviews (16)
The sound quality is excellent, while the film quality is very good... spoiled by today's standard, you will notice times when the filming blurs a bit, or the camera moves too fast to manage the light. Nevertheless, there are several stunning images captured that more than make up for the deficiencies of 1980's technology. In particular is a hypnotic 'drummers-eye-view' scene during 'Hey Hey My My', looking out over Neil's back as the audience throbs to the numbers incessant driving beat. Neil's personal appearance is as 'clean-cut' as you will ever see him... quite a contrast to his overriding 'Grandfather of Grunge' image. The personnel surrounding Young, and the song selection make this video quite unique. Nils Lofgren brings an unbridled energy to the visual performance that is simply priceless. Ralph Molina, Bruce Palmer and Joe Lala are an unassuming, solid backbone of rhythm for Lofgren, Ben Keith and Neil as they trade places on a variety of instruments. Larry Cragg offers an understated banjo on 'Old Man', while Joel Bernstein adeptly manages the vocoder and synthesizer. The hard rock numbers, 'Cinnamon Girl', 'Like a Hurricane', and 'Hey Hey My My' manage to sound simultaneously clean n' dirty in classic Young style. If there is any weakness in the show, it would have to be the acoustic renditions of Needle and the Damage Done and After the Goldrush, which feel a bit strained and plodding. The cuts taken from Trans, 'Computer Age', 'Transformer Man', and 'Sample and Hold', produce a compelling flashback as we witness Young perceptively addressing the embryonic advance of digital technology into Western culture which is rapidly becoming our second nature. 'Computer Age' and 'Sample and Hold' rock out, while 'Tranformer Man' is thoughtful, and features some theatrical miming from both Young and Lofgren. Another Trans cut, 'A Little Thing Called Love', is a bouncy, effortless foray that seems out of character for the Trans LP, but nicely supplements the overall song selection for this video. The concert, and the tour, is capped off with the completely appropriate 'After Berlin', seemingly written for the moment of its performance, and not performed since. It's the only blues-rock number in the set, and Young's guitar is crisp and wailing throughout. Seeing this rare performance was worth the price of admission for the fortunate few in Berlin, and owning it is well worth the price of the video or DVD for the rest of us.
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| 14. Neil Young - Silver and Gold | |
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Amazon.com A video companion to the CD of thesame name, Silver & Gold isactually a longer, fuller experience of Young's stirring acoustic concertsthan the album represents. The hushed intimacy of Young's playing andsinging, sans backup, in such a setting can be unforgettable, and thiswidescreen presentation captures that delicate beauty. While the play list has its share of familiar gems, the emphasis is on a groupof thematically and musically related songs Young had been arranging justprior to the CSNY reunion. Among them are gentle,double-edged reflections on childhood ("Daddy Went Walkin'"), elemental odesto mature love ("Silver & Gold"), and richly imagistic allusions to lossand rediscovered innocence.These and a number of other new titles are largely of a piece, 30 yearslater, with After the Gold Rush and its blend of melancholystateliness, crosscurrents of pure emotion, and touches of the mystical. Thedifference is in the experience of time: After the Gold Rush confirmsthe shifting, glorious colors of a sensitive young man's constant immediacy,while the new material on Silver & Gold blurs all boundaries betweenpast and present. Young doesn't fail to stoke our affection with his absent-mindedstrolls and sloppy prepping of his instruments, but hisemotional concentration on standards such as "City of BrotherlyLove," "Harvest Moon," and "Long May You Run" (played on pipe organ andsounding like the church hymn it was meant to be) is something tobehold. --Tom Keogh Reviews (23)
Videophiles may be annoyed by the blue and pink shadows (especially distracting on the DVD) that fall over Neil's face during several of the piano and organ numbers, but the music is just fine. One particular standout is a pump organ version of "Long May You Run," reminiscent of UNPLUGGED's "Like a Hurricane." A definite recommended buy for any Neil Young fan and a must-have for those thrilled by the latest album, SILVER & GOLD.
These recordings are gleaned from Young's May 29, 1999 solo appearance at the 2,000 seat Bass Concert Hall on the campus of the University of Texas. The filming has a very simplistic and classy feel to it... Neil surrounded by a crescent of acoustic guitars, a pump organ and piano. A trio of lights illuminate the performer, and the camera's provide only close-ups, and direct and angled shots from the foot of the stage. Young appears to be creating a set list from the seat of his pants, and this prompts numerous requests from the crowd... that is until a lone and timely "SHUT-UP" is reinforced by crowd applause, and an already reserved audience becomes reverant. Suffice it to say that the 'atmosphere' of the concert is a joy to behold in this age of "I paid, I can yell whenever and whatever I want" mentality. The entire setlist for this particular concert can be viewed on the Sugar Mountain web site. Looking over that list, there are a few numbers I sure would have liked to hear in an acoustic mode, such as 'Powderfinger' and 'Southern Pacific', but I'm sure Neil would tell me to buy a ticket. There is really only one classic tune resurrected from the complete concert, that being the pump organ (yes, pump organ) rendition of 'Long May You Run'. While I suspect there has never been a poor rendition of this wonderful song about Neil's Hearst, this version is my least favorite. The solo acoustic version from 'Unplugged' and of course the original Stills-Young Band recording outdo this performance, but it's still a pleasure to hear. 'Harvest Moon' is included, although the studio track and the 'Red Rocks' video version are superior. A rare recording of 'Philadelphia' from the 1994 movie soundtrack is offered as well. The remainder of the songs are chosen from the October 1999 Crosby, Stills, Nash and Young 'Looking Forward' reunion disc, and of course the 'Silver and Gold' audio CD. The two opening numbers, 'Looking Forward' and 'Out of Control' and a later track, 'Slowpoke' appear on the CSNY CD. From 'Silver and Gold' we have 'Good To See You', 'Daddy Went Walking', 'Buffalo Springfield Again', 'The Great Divide', 'Red Sun' and 'Distant Camera'. Two of these songs, 'Daddy Went Walking' and 'Buffalo Springfield Again' also appear on the 'Red Rocks' tape, and sound better with full instrumental backing. 'Good To See You', 'Distant Camera', and 'Slowpoke' are my personal favorites. The video ends with a studio recording of Neil performing 'Silver and Gold' in 1997. It's a bit grainy and Neil rolls the credits over it, so it has a throw-away feel to it. Only Neil would do it this way. Nothing's good unless it's imperfect. Ya gotta love the guy. There isn't a bad song in the bunch, and mercilessly, MERCILESSLY, while the audience is audible at times, they are completely invisible to the camera, and there are none of the dreaded audience sing-alongs. Neil's voice is at times strained by that insidious Mother Nature, but these recordings reinforce the reality of Young's continued musical relevance. Only a handful of performers, among them Bob Dylan and Eric Clapton, have managed to do what Neil has done... not only survived, but thrived in both the 1960's and the 1990's, and every decade in between. Thank You, Neil. You've help make it a wonderful trip.
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| 15. 68 Director: Steven Kovacs | |
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| 17. Young:In Berlin | |
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Reviews (7)
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| 18. Neil Young - Friends & Relatives | |