Thursday, November 26, 2020

Superhits 1979, Week 39


By Curt Alliaume

Six top 20 songs this week, most of which you probably remember well, plus a bunch of near misses. It’s a great week.


Little River Band, “Lonesome Loser,” #6, 9/29/1979

Huge hit for the band, their fifth top 20 hit in a row in the United States. (I’m going to bring up the point now that Little River Band was always considerably more popular here than in their native Australia; the only three top 10 hits they had there were the #1 “Help Is on Its Way,” 1982’s “Down on the Border,” which had very specific Australia-centric lyrics, and 1988’s “Love Is a Bridge,” which was a couple of years after they stopped charting here in the States.) Anyway, this one was written by guitarist David Briggs, and emphasized guitars as if to say this was a rock band, not an AC band (as one might have thought from some of their previous songs). And even though no bands are touring right now, I’ll put in my usual warning that the current version of Little River Band contains nobody that was on this record, so save your money.

Nick Lowe, “Cruel to Be Kind,” #12, 9/29/1979

First US chart hit for Lowe, who had been around in the UK for a while, first with the pub rock band Brinsley Schwarz and then solo (he’d hit #7 in the UK in 1978 with “I Love the Sound of Breaking Glass,” from his solo debut Jesus of Cool, which was retitled Pure Pop for Now People in the US with a slightly altered track listing, presumably to avoiding offending people in the Bible belt). Even though Lowe was considered part of the British new wave, this is more power pop, with Lowe later noting he took inspiration for the song from Harold Melvin & The Blue Notes’ “The Love I Lost.” Lowe is backed here by Rockpile (Dave Edmunds, Billy Bremner, Terry Williams), an ad-hoc band that had worked together on and off for a few years. This video includes scenes from Lowe’s actual wedding to singer Carlene Carter (June Carter Cash’s daughter, Johnny Cash’s stepdaughter); Lowe was late to his own wedding due to the shoot running long.

Robert Palmer, “Bad Case of Loving You (Doctor, Doctor,” #14, 9/29/1979

Was rock and roll back this week or what? Palmer eschewed some of his blue-eyed soul affectations on this one, going for a power pop sound. Moon Martin wrote the song and released it first as a single in 1978, but it didn’t hit. Palmer’s name and performance made it work, however, and even though it was post-disco, it made for a great, short dance floor song. Warning: Palmer inexplicably remixed the song for his 1989 greatest hits set Addictions: Volume 1—I read somewhere the remix was more like what he originally had in mind, which either means he was way ahead of his time or he was full of crap, because it sounds exactly like “Addicted to Love” and “Simply Irresistible.” The original is on most other greatest hits sets, however, and I recommend sticking with that.

Sniff ‘n’ the Tears, “Driver’s Seat,” #15, 9/29/1979

One of the great genuine one-hit wonder songs—other than a #38 song in the Netherlands, this band never charted anywhere before or after this “let’s go out tonight and drive around” song. Sniff ‘n’ the Tears was a six-man band from London that had performed in various configurations over the years. (The original suggested band name was simply “The Tears,” but the band’s manager noticed leader Paul Roberts sniffed a lot due to hay fever, and added that on.) A top 20 hit in several territories, the song only peaked at #38 in the UK due to a record plant pressing issue after their Top of the Pops appearance made the vinyl version unavailable. Further releases were ineffectual, and the band broke up in 1983.

Patrick Hernandez, “Born to Be Alive,” #16, 9/29/1979

If you were going to make disco at this point, you made it pure, unapologetic disco. Despite his last name, Hernandez is French, and recorded this song in 1978 in Belgium. “Born to Be Alive,” a fun, brainless celebration of good times, hit #1 in seven countries over the first half of 1979. The United States was a little late to the party, but it did hit #1 on the Billboard dance chart, and Hernandez toured here (his backup dancers included a very young Madonna). He did have a few minor hits in other countries after this one, but remains a one-hit wonder in the States. Note: almost every video of this song shows Hernandez trying to make like Fred Astaire dancing (to make a long story short, he ain’t Astaire), and I didn’t recognize Madonna in any of them. So I’m using this “flash mob” video from a couple of years ago (I suspect it was actually for a sneaker commercial, and may not have even been to this song), which is at least more fun to watch.

Maureen McGovern, “Different Worlds,” #18, 9/29/1979

Hey, it’s another hit theme song from a failed TV series! This one was from Angie, a 1979-1980 sitcom where a poor young coffee shop waitress (Donna Pescow) meets and marries a pediatrician who’s secretly rich (Robert Hays). A few changes in arrangement and a couple of extra lyrics turned it into a single for McGovern—it would actually be her last chart hit (she’s toured singing primarily standards since). The show might have lasted longer had ABC not shuffled around its time slot a few times and the producers changed the backgrounds (Angie’s a coffee shop waitress and her mother’s runs a newsstand! No, now Brad bought Angie the coffee shop! Wait, let’s have them both sell the coffee shop and newsstand and run a beauty parlor instead!) and supporting cast (Angie’s best friend DiDi and her niece Hillary were both cut loose after the first season, with young Tammy Lauren going to the short-lived Out of the Blue). Pity, because the leads were charming enough to carry the show on their own—there are a few episodes on YouTube if you’re curious. Side note: Pescow and Hays are godparents to each other’s kids in real life. This is from the Season 1 credits; the actual record release had far fewer synthesizers.


Stephanie Mills, “What Cha Gonna Do With My Lovin’,” #22, 9/29/1979

Best known before this release for playing Dorothy in the Broadway musical The Wiz, Mills had been around for a while—she’d appeared in the flop musical Maggie Flynn in 1968 (alongside Irene Cara), and opened at one point for The Isley Brothers. But one album on ABC Records and a second on Motown (written entirely by Burt Bacharach and Hal David, which seems an odd grouping, but I’d love to hear it) hadn’t hit, and a second Motown album went unreleased. So when this 20th Century Fox release occurred, she was looking for a hit. (And remember 20th Century Fox wasn’t a big name in records at the time; the label would be sold to PolyGram a few years later.) But she got sympathetic production from James Mtume and Reggie Lucas, and this became the first of her 30 hits on the R&B charts.

Cheap Trick, “Ain’t That a Shame,” #35, 9/29/1979

I’m of the opinion that if the band and Epic Records had their way, “Surrender” would have been the second single release from Cheap Trick at Budokan—it was getting tons of radio airplay, and it’s a great song. But the studio version had been released off Heaven Tonight the year before (and peaked at #62), so they went to this remake of a Fats Domino classic instead. It’s definitely different than the original—Domino’s barrelhouse piano is traded for Rick Nielsen’s pyrotechnics—but it’s still pretty great. (Unfortunately, the single version itself comes in at 3:08, cutting over two minutes from the album version.) It’s not the highest-charting version—Pat Boone took his version (which he originally wanted to retitle “Isn’t That a Shame”) to #1 in 1955—but it was reputed to be Domino’s favorite.

Fern Kinney, “Groove Me,” #54, 9/29/1979

Kinney actually sang backing vocals on King Floyd’s original version of “Groove Me,” which became a #1 R&B hit and #6 pop hit in 1971. By 1979, Kinney was a housewife and was itching to get back in the game, so she picked up some of the reggae feel of the original (well, I guess that can be credited to producers Carson Whitsett, Wolf Stephenson, and Tommy Couch), and had a dance hit with some pop crossover success. Album releases in 1981 and 1982 failed to gain much of an audience, and that was it for Fern, who went back to backing vocals. Coincidentally, The Blues Brothers’ Briefcase Full of Blues album from 1978 also contained a “Groove Me” remake, with a lot more Jamaican reggae and some drug references.

Pat Travers, “Boom Boom (Out Go the Lights),” #56, 9/29/1979

First of two chart hits for Travers, a Canadian guitarist who’d been releasing music since 1976. Weirdly, Polygram couldn’t decide how to bill him—the parent album Live! Go for What You Know is credited to The Pat Travers Band, but this single just says “Pat Travers” on the label. Anyway, it’s a great blues/boogie workout taken from concerts the band had made earlier in 1979, marred only by some lyrics that sound threatening to women. (Note Travers didn’t write the song himself.) That might be the reason it isn’t heard much on the radio today.

Toby Beau, “Then You Can Tell Me Goodbye,” #57, 9/29/1979

Second chart single for this band, and it was a remake of the 1967 Casinos song (which itself was a throwback to the doo-wop era). The song itself has been remade by everyone from Eddy Arnold to James Brown, but this is the second-highest charting version as a standalone song (Glen Campbell brought it to #27 as a medley with Hamilton, Joe Frank, and Reynolds’ “Don’t Pull Your Love”). However, all was not well in Toby Beauville: this was one of several songs recorded with studio musicians after RCA Records was unhappy with the direction their album More Than a Love Song was taking; guitarist Danny McKenna, who had cowritten their big hit “My Angel Baby” from 1988, would bail out on the band because of this change before the completion of the album.

Dave Edmunds, “Girls Talk,” #65, 9/29/1979

Look, it’s two Rockpile songs in the same week! This was released under Edmunds’ name, but as with Nick Lowe’s “Cruel to Be Kind,” Rockpile is the band playing here. Edmunds was given the song by Elvis Costello, who said in the liner notes to his Get Happy!! album, "Perhaps I was careless to give this song away to Dave Edmunds as it became a top five hit for him in Britain.” Costello’s version became the B-side of “I Can’t Stand Up for Falling Down,” and was released on the now-out-of-print Taking Liberties album; it was added to expanded versions of Get Happy!! in 1994. (Linda Ronstadt also recorded the song for her 1980 album Mad Love.) It also became a top 20 hit in Australia, Canada, and Ireland. It’s a great rocker (although a little misogynistic) about gossiping women, although there a lots of double meanings throughout.

New England, “Hello, Hello, Hello,” #69, 9/29/1979

How did this band not hit the big time? Between this and “Don’t Ever Wanna Lose Ya,” they obviously had a way with a pop hook. Anyway, second and final chart hit from their self-titled debut album, which sank into the sunset when Infinity Records went out of business not long after. New England signed with Elektra Records and released Explorer Suite in 1980 and Walking Wild (produced by Todd Rundgren) in 1981, but neither went anywhere, and the band broke up afterward. They’ve done some occasional one-shot reunions since then, and all their albums are on Spotify.

Carolyne Mas, “Stillsane,” #71, 9/29/1979

Rocker that was christened “the female Bruce Springsteen” by some rock critics, and while she never made those heights, this is still a pretty solid rocker. Born in Bronxville, New York, she came up at the much-missed Cornelia Street Café in Manhattan (I used to live across the street, although not when she played there), and eventually got a contract with Mercury Records. This was her only American chart hit; her 1981 song “Quote Goodbye Quote” charted in Canada and the UK. Mas is now semiretired from the music business, but her web site says she’s working toward her master’s degree in medical nutrition at Arizona State University, due in 2021. And many of her albums are on Spotify.

Blue Oyster Cult, “In Thee,” #74, 9/29/1979

I guess I don’t know this band very well, because “In Thee” sounds nothing like their two best-known songs, “Don’t Fear the Reaper” and “Burning for You.” That’s probably because this album was intended to reach beyond their standard audience; toward that end Cheap Trick producer Tom Werman took the reins on this one. And “In Thee” sounds more like a Crosby, Stills & Nash outtake—harmonies galore (and no cowbell). The move backfired; Mirrors didn’t sell any better than their previous albums (in fact, it charted lower than their previous two studio albums), and Blue Oyster Cult went back to the darker music that made them famous.

Olivia Newton-John, “Dancin’ ‘Round and ‘Round,” #82, 9/29/1979

This gets my vote for Most Unnecessary Apostrophes in a Song Title for 1979. “Dancin’ ‘Round and ‘Round” is the B-side of “Totally Hot,” which peaked at #52 the month before. MCA hadn’t forgotten Newton-John’s country audience, seemingly left behind after Grease, but she had chalked up six country top 10 hits early in her career. This song made #29 there, and that seemed to make sense—it’s a ballad that’s well suited for Newton-John’s voice, about a woman forgetting about her troubles (mostly romantic) by going dancing at the local honky tonk (although the video doesn’t use this angle at all). This would be her last country hit; future releases aimed squarely at the pop market.



Wednesday, November 25, 2020

Superhits 1980, Week 7

By Curt Alliaume 

Short week, with a few interesting backstories.


The Captain and Tennille, “Do That to Me One More Time,” #1, 2/16/1980

The last top 40 hit for The Captain and Tennille was also one of their biggest. “Do That to Me One More Time” was also their first release on Casablanca Records, after spending their entire career on A&M. Tennille noted in her 2016 memoir it appeared A&M thought the duo’s chart run was nearing its end, based on releasing a greatest hits set after just three studio albums. Casablanca thought otherwise, and they made the switch to the then-hot label despite knowing its reputation for cocaine use. (Tennille: “Many of the Casablanca staff and executives were also flying high on something else, and I’m not talking about private planes.”) Tennille wrote the song (about longing for more affection from her husband), not expecting it would be considered a single, but Casablanca’s executives thought it would be great—and it’s probably the duo’s most-played song nowadays on oldies and AC radio. (“Love Will Keep Us Together” has a certain kitsch value, but hasn’t aged as well.)

Led Zeppelin, “Fool in the Rain,” #21, 2/16/1980

Last chart single for the band (drummer John Bonham died of pulmonary aspiration that September), and their first top 30 single since 1973’s “D’yer Mak’er,” off Houses for the Holy. In fairness, Zep wasn’t a band that particularly needed to release singles, since their songs didn’t get much top 40 airplay or didn’t work on AM radio (for example, “Stairway to Heaven” was never a single because of its length), and their legion of fans always bought their albums as soon as they were released (the song’s parent album In Through the Out Door was #1 for seven weeks in September and October 1979, before being replaced by the Eagles’ The Long Run). It’s not a particularly Zep-like song—most of the songwriting for the album was done by Robert Plant and John Paul Jones (Jimmy Page was battling drug problems), but Bonham’s drum parts really make it unique.

Bonnie Pointer, “I Can’t Help Myself (Sugar Pie, Honey Bunch),” #40, 2/16/1980

Pointer’s third solo chart hit, and last. Somebody at Motown Records (possibly her husband, producer Jeffrey Bowen) thought after the success of “Heaven Must Have Sent You” the previous year she should record lots of Motown remakes—so five of the six tracks (clocking in at 31:20—talk about skimpy) on the album are old Holland-Dozier-Holland songs (for which Motown owned the publishing rights). “I Can’t Help Myself” is a pretty good song (although I don’t know if the “Sugar Pie, Honey Bunch” chorus has stood the test of time), but enough already. And naming the second album Bonnie Pointer a year after the first album was also named Bonnie Pointer was just careless—if nothing else, it had to create lots of confusion at record stores. Pointer would release a hitless 1984 album on independent Private I Records, and another solo album, Like a Picasso, in 2011, but was also arrested for cocaine possession that year (of the four original Pointer Sisters, only Anita avoided cocaine problems). Bonnie and Anita recorded a tribute to June Pointer, “Feels Like June,” earlier this year, but Bonnie died of cardiac arrest June 8, age 69.


Tavares, “Bad Times,” #47, 2/16/1980

Twelfth Hot 100 hit for the five-brother band, all born in Providence, RI, but raised in nearby New Bedford, MA. “Bad Times” was their first chart hit since 1978’s “More Than a Woman” from the Saturday Night Fever soundtrack. Tavares was pretty dependent on outside songwriters—I looked through about six of their albums and only found a couple of songs written second-youngest brother Butch (one cowritten with his then-wife Lola Falana), and this was a move away from some of the disco-tinged music they’d been releasing for several years. Written by Gerard McMahon (who would later become a solo artist), it comes from the album Supercharged, and was produced by former Blood, Sweat & Tears drummer Bobby Colomby.

Mike Pinera, “Goodnight My Love,” #70, 2/16/1980

This is the same guy who cowrote and sang “Ride Captain Ride,” my first-ever favorite song on the radio? Wow, things changed. Pinera was with a number of bands—Blues Image, a latter-day version of Iron Butterfly, and New Cactus, as well as playing in Alice Cooper’s band from 1980 and 1982 (a low point for Cooper, not because of Pinera but because his alcoholism was so fierce he can’t even remember making the albums he was touring). “Goodnight My Love” comes from Pinera’s second solo LP, Forever, and it’s a gentle ballad that Pinera wrote himself. He now tours with The Classic Rock All-Stars, featuring former members of Sugarloaf, Grand Funk Railroad, Steppenwolf, and The Knack.


Twennynine With Lenny White, “Peanut Butter,” #83, 2/16/1980

Funk workout led by drummer White, once and future drummer for the jazz fusion band Return to Forever, led by Chick Corea and Stanley Clarke (their most recent album, The Mothership Returns, came out in 2012). Not to get up on the soapbox, but this demonstrates the huge gap at the time between the R&B and pop charts—this song peaked at #3 on Billboard’s R&B chart, but obviously came nowhere close to that level on the Hot 100. Anyway, White led the band through three albums with decreasing returns each time out, until they broke up in 1983. White now does session work and teaches at New York University-Steinhardt, and has released nine jazz albums under his own name.

April Wine, “I Like to Rock,” #86, 2/16/1980

Every rock band in the 1970s apparently needed an “ain’t rock and roll great?” anthem; this is April Wine’s. This was the second single from the band’s 1979 album Harder… Faster (hmmm?), following “Say Hello,” which hit #34 in their native Canada but did no better than Bubbling Under the Hot 100 in America at #104. It’s generally listed among the greatest Canadian rock songs of all time, but hasn’t had the same kind of accolated in the United States. The album did go gold in the US, however, which was the first time April Wine had hit that level.

Dana Valery, “I Don’t Want to Be Lonely,” #87, 2/16/1980

Second and final chart hit for Valery, who was originally better known as the younger sister of singer Sergio Franchi. (Among us game show fans, she’s better known for being an occasional panelist on What’s My Line in the 1970s—and she was pretty good at it, too.) Raised in South Africa, Valery recorded a few albums there in the 1960s before moving to the United States. Her first chart hit in 1976 was a remake of “Will You Love Me Tomorrow;” this orchestrated ballad appears to be a one-shot single release. (Side note: “Rainbow Connection” is on the flip side of the single; I suppose it’s possible that label Scotti Bros. intended it be the A-side until Kermit the Frog beat them to it.) Valery now lives in New York City with her husband Peter.

Other Superhits 1980 entries:
Weeks 1 and 2
Week 3
Week 4
Week 5
Week 6

Sunday, November 22, 2020

Neil Young Albums, Ranked


By Curt Alliaume

I was not into Neil Young growing up. I heard “Heart of Gold” regularly on WABC, and that was about it. (And I’m sure I heard “Ohio” there too, but I was seven at that point and way too young to understand who it was or what they were singing about.) By the time the late 1970s rolled around, there were plenty of Young fans at our high school (I took a poll of our high school for our student newspaper; Young and Rust Never Sleeps were incredibly popular), but CSNY’s harmonies annoyed me more than they should have, so I still avoided them. In college, I had a fraternity brother who was so into Young it basically turned me off of him for years (and he was going through a weak string of records at that point). But a roommate let me tape his copy of Decade in 1989, and Freedom and “Rockin’ in the Free World” started pulling me in, then Harvest Moon, which remains one of my favorite Neil Young records. So I started collecting.

Now it’s easier to list what I don’t have. Of the 43 studio albums below (this list doesn’t include anthologies, live albums, movie soundtracks, or anything done with Buffalo Springfield, CSNY, or the Stills-Young Band), I’m only missing six—three that have been issued in recent years, and three from the 1980s. For the uninitiated, though, it’s hard to tell what you’re going to get, because his catalogue is so varied and idiosyncratic. So as I did with Elton John last year, this entry averages out critics’ rankings and reviews of his albums, to give a general idea of what to get first, and what to get later on (or listen to once on Spotify). Young is incredibly prolific, and to some that might mean he’s released material he might have been better off keeping in the vault—but in contrast to, say, Don Henley (who’s released two solo albums in the past three decades) I’d rather have more than less. Of course, Young also repurposes material—he’s had albums he’s released years after originally recording, or songs that he decided weren’t right for a certain album but worked fine for another. And that also means lyrics and melody lines occasionally recur; I was listening to 2017’s The Visitor and one of the songs made me say, “This sounds almost exactly like ‘From Hank to Hendrix’” (from 1992’s Harvest Moon).

A warning: music critics usually prefer the old to the new. So even though Neil Young has been recording steadily since the mid-1960s, only one album issued in the last 25 years made the top 20. And another warning: unlike Elton John (who had 47 top 30 hits and is still played regularly on oldies, adult contemporary, and classic rock stations), Young has had one solo top 30 song his entire career (the #1 “Heart of Gold”), and a handful of solo songs that are played regularly on classic rock stations (let’s say “Cinnamon Girl,” “”Southern Man,” “Heart of Gold,” “Old Man,” “The Needle and the Damage Done,” “Like a Hurricane,” “Hey Hey My My (Out of the Blue Into the Black),” “Rockin’ in the Free World,” “Harvest Moon”). So there are a lot more Neil Young albums than Elton John albums, and a whole lot more Neil Young songs that I haven’t heard in years.

I’ve averaged the grades of the following books and web sites:
- Wilson & Alroy’s Record Reviews, which I recommend pretty highly, despite their dislike of Steely Dan and Bruce Springsteen

- this Ultimate Classic Rock, which was originally written in 2015 but has been updated to include his most recent releases

- Robert Christgau’s reviews, which I loved when I was a teenager and love less today,

- Musichound Rock: The Essential Album Guide, which came out sometime in the late 1990s (which means anything after that isn’t ranked)

- All Music Guide, because they review every album, even if the reviews are poorly constructed (Wilson & Alroy refer to AMG as “All Mushy Gibberish”),

- Stereogum’s rankings from 2013 (so several late-period albums are missing),

- Y42K, whoever they are,

- Rock Pasta,

- Tony’s Music Room (so all of them are ranked by Tony)

- Soundblab,

- And The Guardian, which issued their list just before I wrote this.

(Side note: these rankers and reviewers really need to double-check their lists. Some of the lists were written a long time ago and haven’t been updated, while others don’t claim to be all encompassing, but The Guardian missed The Visitor, Soundblab skipped Sleeps With Angels, Ultimate Classic Rock refuses to include Time Never Sleeps even though it’s now available again, and Musichound forgot to review re-ac-tor. If more than half of the sources didn’t review the album, I’ll make a note of it, because that can skew the averages.)

Also, I will occasionally refer to the Archives Series. Young has released a series of albums over the last 20 years that include live performances, albums he completed or came close to completing, and box sets including even more unreleased material as well as the aforementioned live and unfinished albums (the second one is due soon). None of those are included in these rankings, either.

Finally, I should note with such a huge catalog, I’m not terribly familiar with all of his music, especially many of the later albums. (I’d like to listen to them before bedtime, but my wife is emphatically not a fan.) I’ll make note of my opinions and whether they can be sustained by actually having, you know, listened to the albums carefully enough.


43. Peace Trail (2016) 
Young released a trio of angry albums between 2015 and 2017 (plus a live album, Earth) that celebrated nature and attacked corporate polluters (specifically Monsanto, but also governmental policies regarding the Standing Rock Indian Reservation in the Dakotas and the Trump administration); they’re all in the bottom 20 percent of this list. The general consensus seems to be along the lines of what Wilson and Alroy once said about Jackson Browne’s 1985 album Lives in the Balance about U.S. interference in Central America: “even when they’re dead right, it ain’t art.” I’ve listened to each a few times, and I don’t remember more than a few melodies and verses from any of them. (It doesn’t help that the sound quality of one of my CDs was pretty poor; the fact I can’t remember which of the three that was should tell you something.) This is the only one of the three albums (the others are The Monsanto Years and The Visitor) not recorded with Promise of the Real.

42. Storytone (2014)

Completely different from the aforementioned “angry” albums; this is a love letter to Daryl Hannah, whom Young had taken up with after being married to Pegi Young for 36 years. (This led to an angry split from Crosby, Stills, and Nash after David Crosby made some poorly-chosen comments about Hannah [he’s since apologized]; Pegi Young died of cancer in 2019.) Young recorded acoustic and orchestrated versions of all ten songs on the album; the deluxe version has both while the standard version has only the orchestrated ones (I own the deluxe version). It’s not bad by any means, but it’s not among his best. For some reason, I tend to lump it in with Robin Thicke’s desperate pleas to repair his marriage on his album Paula, which came out around the same time (those pleas didn’t work; they’re now divorced), as rock music isn’t usually that personal.

41. Are You Passionate? (2002)

None of Young’s albums from 2000-2009 rank among his very best, but this one seems to have gotten more negative reviews than the rest. It does include his post-9/11 anthem “Let’s Roll,” which was pretty much negated by his angry screed Living With War a few years later. Honestly, I’ve only listened to this album once in the last five years or so, and the only song that sticks with me even a little bit is “Let’s Roll.” Recorded with Booker T. Jones on keyboards and Donald “Duck” Dunn on bass, so it’s more R&B-oriented than much of his other material. “Gateway of Love” is listed on the album cover but isn’t actually on the album; apparently it was dropped late from the track listing (it’s not the only time Young has done that).

40. The Visitor (2017)

The last of the trilogy, which probably wasn’t planned; several of these songs have an anti-Donald Trump flavor, especially the lead track, “Already Great.” I’m totally sympathetic to his point of view, but it’s been a few years since I’ve listened to the album, and “Already Great” is about the only song that sticks with me. Recorded with Promise of the Real, which includes two of Willie Nelson’s sons, Lukas and Micah. Only five of the eleven critical sources actually reviewed the album (as noted previous, The Guardian inexplicably left it out of their rankings, even though later releases like Colorado and Homegrown are included), so be aware that may skew the final number a bit.

39. Everybody’s Rockin’ (1983)

The 1980s weren’t particularly kind to Neil Young (Freedom, from 1989, is a big exception), partially due to his switching labels from Reprise to Geffen. David Geffen had worked with Young for years as a manager (although his primary manager with Elliot Roberts), so Young probably thought the move would be beneficial for him; it wasn’t. His first album, Trans, was his electronics album (created as a way to communicate with his son Ben, who has cerebral palsy); Geffen demanded a “rock and roll” album next. So Young delivered this—a skimpy album (not even 25 minutes long, which was miniscule even by vinyl standards) of ‘50s rock and rockabilly pastiches. (Young wanted to record two additional songs, but a pissed-off Geffen cancelled the sessions; the songs later came out on Young’s Lucky Thirteen anthology.) Geffen wound up suing Young for making “unrepresentative” music, which he later conceded was a mistake. The lead single was “Wonderin’,” with an appropriate grainy video; the song had actually been written years before (it appears on his Archive Series album Live at the Fillmore 1970).

38. Old Ways (1985)

This was the album Young wanted to release after Trans, but Geffen rejected it. It’s really about the same in quality (although Everybody’s Rockin’ was willfully mediocre, by Young’s own admission), but this leans toward pure country music, with orchestration. Except for a remake of the old Gogi Grant chestnut “The Wayward Wind,” the songs themselves are okay, and there are several well-known names here (Waylon Jennings, Bela Fleck, Spooner Oldham, plus longtime Young compatriots Ben Keith and Tim Drummond), but it never quite coheres. Some of the stronger songs are available on the live Archives release A Treasure, which is far better.

37. Fork in the Road (2009)

Young’s album dedicated to his Lincoln Continental, which was reconfigured to run on alternate energy. (Left unattended in 2010, the car started a fire that caused significant damage to a warehouse full of Young’s property, but he attributed that to human error.) Anyway, Young’s a huge car fan (read his book Special Deluxe to find out more), and that comes across here. Unfortunately, if you’re not a big car fan it’s just not that exciting of an experience.

36. The Monsanto Years (2015)

First of what I’m going to call the Bitch Trilogy albums, along with Peace Trail and The Visitor. (Young’s three albums Time Fades Away, On the Beach¸ and Tonight’s the Night are famously referred to as the Ditch Trilogy after he wrote in the liner notes of Decade “’Heart of Gold’ put me in the middle of the road. Traveling there soon became a bore so I headed for the ditch. A rougher ride, but I saw more interesting people there.”) Anyway, this one was also made with Promise of the Real, and it’s a tough listen, but the music itself is somewhat better than Peace Trail and The Visitor. I would recommend listening to them in order, maybe with the live album Earth included (Earth has four songs from The Monsanto Years plus the otherwise unavailable “Seed Justice”).

35. Americana (2012)

Be prepared for very different versions of some familiar songs (“Oh Susanna,” “Clementine,” “This Land Is Your Land,” even “God Save the Queen”), as interpreted by Young and Crazy Horse, his on-and-off band (he’s worked with them since the late 1960s). I don’t love it, but I don’t hate it, either—it’s definitely interesting and worth a listen on Spotify at the least.

34. Landing on Water (1986)

Another not-particularly-well-reviewed 1980s album from Young. He apparently tried performing this at first with Crazy Horse, but the end results were so lousy that they were tossed (studio pros Steve Jordan and Danny Kortchmar played with Young instead; no bass player is listed; I guess either Young or Kortchmar created synthesized bass effects). I finally got around to listening to it before writing this, and I’m surprised the album didn’t come in lower. I thought it was a synthesizerfest with mostly weak songwriting, but some critics genuinely liked it (Wilson & Alroy gave it the same rating they gave Tonight’s the Night and Zuma).

33. Life (1987)

I don’t have this one at all, which may not be the worst thing. (I prefer getting my CDs and downloads cheap, and since none of Young’s albums are cheap to download—the only Young albums that are less than $7.99 on Amazon are this, Landing on Water, Everybody’s Rockin’, and the Archives Series album Live at the Fillmore East—it’s generally the used CD stores for me.) Anyway, this one was with Crazy Horse and was mostly recorded live in concert (two songs were done in the studio). Weirdly, there’s a fair amount of synth on this one, which is not something I’d usually associate with Young’s Crazy Horse albums; they’re generally done with guitars, bass, and drums only. I’ll have to try this one on Spotify.

32. Greendale (2003)

I’ve had this one for four years, and managed not to listen to it at all. (And yes, I started keeping track of how many times I’ve listened to my albums five years ago, but I didn’t start putting albums I’d just bought on the top of the priority stack until a year later. Don’t judge.) This is a concept album about a town in California, touching on some of Young’s pet subjects (environmentalism, corrupt politicians, etc.). Some copies came DVDs of either an acoustic performance of the songs or a making-of documentary; I can’t remember whether mine has either one (the physical disc is in storage). All of which is another way of saying I need to listen to it a few times.

31. Living With War (2006)

This gets wildly varying reviews among the critics used to compile these rankings—a few put it at the very bottom of their lists; a few put it in the upper middle. Basically, Young got pissed off at George W. Bush, wrote and recorded the album in a couple of weeks, overdubbed a 100-voice choir, and had Reprise rush release it. Obviously, any album with a lead single titled “Let’s Impeach the President” is an angry one, but there’s more here.

29. (tie) A Letter Home (2014)

Even among Young’s odder releases, this stands out. A Letter Home is all remakes of other singer/songwriters’ tunes (two songs each by Willie Nelson and Gordon Lightfoot, and one by Bruce Springsteen, Bob Dylan, Tim Hardin, and others), recorded in a 1947 Voice-o-Graph vinyl recording booth. Young is solo except with occasional piano by Jack White (who owned the booth). I don’t have the album, but I’m looking to add it to my collection.

29. (tie) Colorado (2019)

Young’s most recent recording (excluding Homegrown, which was recorded in 1975 but wasn’t released until this past June), and his most recent collaboration with Crazy Horse. There are only three reviews for this one, so the average is a little skewed, but the general consensus seems to be it’s better than the Bitch Trilogy, even though there’s still a lot of anger there. There are also hints that Crazy Horse’s musicians are getting older (bass player Billy Talbot and drummer Ralph Molina both turned 76 in 2019) and their playing may not be what it was in their youth, but if they’re close to retirement, this isn’t the worst way to go out. Haven’t heard this, but I’ve got a library copy waiting for me to give it a listen.

28. This Note’s for You (1988)

Young’s Chicago blues album recorded with an ad hoc backing band he dubbed The Bluenotes. (After Harold Melvin, whose vocal group was called The Blue Notes, instigated legal action, it was retitled a Neil Young solo album and the band was dubbed Ten Men Workin’.) Blues isn’t necessarily Young’s wheelhouse (but do recall that before the folk rock band Buffalo Springfield, Young was in a band called The Mynah Birds with future punk funk star Rick James, and they actually recorded a few unreleased single sides with Motown), but “This Note’s for You”—a snarky take on rock stars endorsing commercial products—is a keeper. The video was originally banned by MTV after Michael Jackson’s lawyers threatened legal action; the channel reversed itself and eventually awarded Young the Video Music Award for best video in 1989. Side note: this is Young’s first album back with Reprise after five albums with Geffen; none of those five albums rank higher on this list than #26.

27. Broken Arrow (1996)

This marked the end of a creative period running from 1989 to 1996, and another album with Crazy Horse. The Guardian offers the theory the death of frequent coproducer David Briggs in 1995 hurt the quality of Young’s output in that Briggs was occasionally able to rein in Young’s less worthy ideas, and I won’t argue the point: of the 43 albums on this list, only one released after Briggs’ death ranks in the top 20. Anyway, I’ve listened to this album a few times, but it’s typical of his work with Crazy Horse: jamming, occasionally disjointed, but without any standout tunes that stick in one’s head.

26. Trans (1982)

Young’s first album for Geffen, and it’s another weird one. Young had been trying to develop a communicating style with his son Ben, born with cerebral palsy, and using a vocoder and synthesized voice seemed to work. So two thirds of Trans consists of songs he’d recorded in the last couple of years of his Reprise contract that were primarily synthesized material (overdubbed material previously recorded with Crazy Horse), and the other three songs were from a false start album called Islands in the Sun, which had the tropics as its theme. (The track listing changed late; the original vinyl release had a sticker with the track listing dropped on the back cover, with “If You Got Love” pulled.) One of three I don’t have from the 1980s (the others are Life and Hawks & Doves) and haven’t heard other than the single, “Little Thing Called Love.”

25. Silver & Gold (2000)

I would say anything from here on up most listeners will at least like—no one will listen to anything here and say “Well, that sucked” unless they just don’t like Neil Young at all. Anyway, this is one of Young’s mellower albums, with a roster of players featuring Ben Keith, Donald “Duck” Dunn, and Spooner Oldham, plus Linda Ronstadt and Emmylou Harris on backing vocals. “Good to See You” and “Buffalo Springfield Again” (which obviously pleased fans of that short-lived band) were the most popular radio tracks. The title track had been written in the early 1980s; it had taken Young a long time to get it right.

24. Prairie Wind (2005)

Neil gets mellow, and gets rewarded (it’s his last release in the United States to sell 500,000 copies and go gold). This one was beloved by several critics when it first came out (Wilson & Alroy ranked it with Freedom and Rust Never Sleeps), but recent reviews have not been kind. I like it—“The Painter,” “He Was the King,” and “When God Gave Me” are especially good. Some of the same musicians on Silver & Gold are here, so if you like that one, this should be your next stop, and vice versa.

23. Psychedelic Pill (2012)

This was made with Crazy Horse, and it’s two CDs—although it’s only around 88 minutes long (editing the 27-minute “Driftin’ Back” would have made it work as a single disc, although “Driftin’ Back” is one of the strongest songs on the album). I haven’t listened to it in a few years, but I think I’d rank it a little higher than this. It’s a little more expensive than most Young albums (due to the extra disc, I guess), but it’s probably worth the extra money after you’ve gotten beyond the top-ranked discs.

22. Chrome Dreams II (2007)

Leave it to Young to release an album with “II” on the end without having a corresponding “I” volume. Chrome Dreams II refers to a 1977 Chrome Dreams album he recorded but never actually released (some of those songs would emerge on American Stars ‘n Bars, Rust Never Sleeps, and Freedom). Chrome Dreams II features Young regulars Ben Keith, producer Niko Bolas, and Crazy Horse drummer Ralph Molina, and includes songs that were originally intended for Old Ways and Freedom. It’s not among his best works, but it’s definitely worth a few spins.

21. Mirror Ball (1994)

The sobriquet “Godfather of Grunge” started to be hung on Young in the 1990s, and he embraced it—this album was recorded with Pearl Jam (although they’re not billed as such on the album cover; apparently their label, Epic Records, wasn’t happy about their presence on the disc). The general attitude among critics was “good, but could have been better.” This is one I need to listen to a few more times, especially since I like Pearl Jam very much. Produced by Brendan O’Brien, who had been Pearl Jam’s regular producer at that point, and later became Bruce Springsteen’s producer of choice in the 2000s.

19. (tie) Le Noise (2010)

Here it is: the highest-ranking album Young has release in the past 20 years. This one was produced by Daniel Lanois, best known for his work with U2. I’m beginning to think Young may be one of those artists that works better with a coproducer that can be strong enough to act as an editor and a check against his impulses; John Hanlon has been Young’s most frequent coproducer of late, and as he started out as an engineer that may mean Young may bulldoze his way through disagreements. (I’m just speculating.) Anyway, this is more tape loops and additional noise amongst the guitar feedback, which is something different and interesting.

19. (tie) re – ac – tor (1981)

Yet another album with Crazy Horse, produced with David Briggs and Tim Mulligan. This is the first of several albums Young would use synthesized sounds, which of course was his way of communicating with his son Ben. “Southern Pacific” was the single (it’s a pretty good one), and “Shots” is generally considered the best song (although “Surfer Joe and Moe the Sleaze” has its proponents. I’ve got no use for “T-Bone,” but that’s me. I only recently got this, and while it’s not among my all-time favorites I’d say it could be ranked over a few other albums above this.

18. Hawks & Doves (1980)

Such as this one. Hawks & Doves was pieced together from songs originally planned for a 1975 album Homegrown (it was finally released in its entirety earlier this year), along with a few songs Young wrote specifically for this release. The sound is country, the tone is conservative (which confused more than a few fans who were enamored by Rust Never Sleeps), and it clocks in at less than 30 minutes long—Young’s shortest album save Everybody’s Rockin’. (I have a real thing about very short albums.) Country music artists often released very short albums in this era, but they also released albums every six to nine months. I don’t actually own this one and haven’t heard it; I’ll get it when I see it cheap enough.

17. Hitchhiker (1976)

Well, recorded in 1976, anyway; the album wasn’t released until 2017. Most of the songs emerged in different forms on subsequent albums (everything from American Stars ‘n Bars to Hawks & Doves, although the title track was radically reworked and came out on 2010’s Le Noise). It’s all acoustic—just Young on acoustic guitar and harmonica. The plan was to release it as it was in 1976, but Reprise executives recommended he rerecord them with a band. From his book Special Deluxe: “It was a complete piece, although I was pretty stony on it, and you can hear it in my performances... I laid down all the songs in a row, pausing only for weed, beer, or coke.” I’ve got this, and it’s fine.

16. American Stars ‘n Bars (1977)

Almost every Young album I have is an actual physical copy, on compact disc. The only exceptions are the following: Time Fades Away (vinyl, because it was unavailable on CD until very, very recently; I also have Journey Through the Past, a two-LP soundtrack that has never been issued digitally, on vinyl for the same reason), Everybody’s Rockin’ and Old Ways (burned from library copies in the days I didn’t think that was such a bad thing—I will replace them with physical copies at some point), Live Rust and American Stars ‘n Bars (both legally downloaded). I’ve already paid for the album, so I don’t feel like I have to get a physical album other than to be completist, and I’m not sure it’s worth bothering. This is another album of songs that had been previously recorded between 1974 and 1976; “Like a Hurricane” is the key song here (and the version on Live Rust may be better).

15. Neil Young (1968)

His first solo album (although obviously he was known through Buffalo Springfield); the original LP release didn’t have any identification of who he was on the front cover, and used a technology for making vinyl albums compatible on stereo and mono players (remember when that was a thing? Me neither), but made the sound lousy. It was remixed and reissued with his name on it a year later, but never sold much. Also, this has his temporary compatriot Jack Nietzsche (who had worked frequently with Phil Spector) creating orchestration for a few songs. Key songs are “The Loner” and “The Old Laughing Lady.”

14. Sleeps With Angels (1994)

Fourth of four albums released between 1989 and 1994 that marked a creative renaissance for Young. This is another one with Crazy Horse, and stylewise it’s all over the map. Two songs stand out: the punk-influenced “Piece of Crap,” a consumer anthem (and something that hints at Young’s ongoing interest in Pono, a digital music format that’s considerably better than MP3s but hasn’t received mass acceptance), and the title track, written and recorded soon after Kurt Cobain’s suicide; Cobain mentioned Young’s “Hey Hey, My My (Out of the Blue Into the Black)” in his suicide note.

13. Harvest Moon (1992)

In the waning days when video music channels primarily played music videos, I was entranced by the title track of this album, played on both MTV and VH1. Clearly a love letter to then-wife Pegi, I suppose it was the first time it occurred to me that marriage should be forever. (I had gotten married myself the previous year.) As previously noted, Young is now married to Daryl Hannah, but it doesn’t take away from my fondness for this album, which recalls his 1972 LP Harvest (many of the same players returned). If anything, the songwriting is even better.

12. Ragged Glory (1991)

Made with Crazy Horse, so expect a loose, almost deliberately untidy feel (although the way the album was constructed was playing different sets of music every day for a few weeks, then picking the best takes). “Mansion on the Hill” was the single and is a pretty great song, and "F*!#in' Up" (the first word is pronounced the way you’d expect knowing the second, third, and fourth characters replaced the letters U, C, and K) is well remembered. There’s also a remake of the 1960s song “Farmer John,” and “Love and Only Love” has popped up on Young’s set list a few times.

11. Homegrown (1975)

This album was recorded in the 1970s and then set aside (it was released in its entirety this past June). Primarily written and performed after Young broke up with actress Carrie Snodgress, mother of his son Zeke. But Young decided it was too personal, and friends had been urging him to release Tonight’s the Night instead, so this was put in the vaults. (Some songs emerged over the years, with ”Love Is a Rose” the most prominent.) This is another album with only three reviews, so one review can skew the overall grade a bit more; since it’s not likely to be available cheaply for awhile (i.e. the download will be expensive and used copies aren’t likely to pop up), start elsewhere.

10. Time Fades Away (1973)

There are a lot of people who love this, and for the life of me I don’t know why. Recorded live on tour with the crowd noise mixed out after Harvest was released, and the songs are really more up Crazy Horse’s alley, but The Stray Gators were the band (Ben Keith, Tim Drummond, and John Barbata filling in for Kenny Buttrey, who had ticked off Young by demanding a huge salary for the tour), and they’re mostly studio pros that sound more professional and less loose than Crazy Horse. Anyway, Reprise, with Young’s urging, let this go out of print and made it unavailable on CD and digitally for decades (it’s now finally available). I have a vinyl copy, and I’m not impressed at all—there’s not a single song that sticks with me.

9. Comes a Time (1978)

My first exposure to Young other than “Heart of Gold,” as our local radio station played the title track and “Lotta Love” frequently. Somehow, they ignored the actual single from the album, “Four Strong Winds,” a remake of a classic Ian & Sylvia song that is almost a standard in Canada. Nicolette Larson, who sings harmony vocals on most of the songs, rerecorded “Lotta Love” solo and had a top 10 hit with it. There’s a variety of styles here, but it’s almost the follow up album Reprise might have liked to release after Harvest.

8. Freedom (1989)

After a ton of unsuccessful albums through the 1980s (the last album Young had hit the top 40 in Billboard’s album charts was with 1982’s Trans; his previous 13 solo albums had all hit that standard), Young delivered an album at the ‘80s end that compared to his 1970s decade closer Rust Never Sleeps. It’s angry, but in control, and “Rockin’ in the Free World” has become a (sometimes misunderstood) standard and a staple of AOR radio (although “No More” and “Crime in the City” also got a lot of radio play). As with Rust Never Sleeps, acoustic and electric versions of “Rockin’ in the Free World” bookend the album.

7. Harvest (1972)

Young’s biggest solo album, which yielded the #1 hit “Heart of Gold” and “Old Man.” It also includes “The Needle and the Damage Done,” written partly about the addiction issues of friends (including Danny Whitten), and “Alabama,” which yielded Lynyrd Skynyrd’s answer record “Sweet Home Alabama” (Young later wrote in his book Waging Heavy Peace his song “richly deserved the shot Lynyrd Skynyrd gave me”). Most critics loved this record, but not all; Robert Christgau ranked it a little below his best (which, given the two Jack Nitzsche orchestral pieces, I can understand), while The Guardian placed it below Le Noise and This Note’s for You (which makes me think they’re looking for an argument). I like Harvest Moon (in theory the sequel to this album) a lot better, but the high points here are fantastic.

6. Zuma (1975)

This is Young’s first album after the Ditch Trilogy, released just five months after Tonight’s the Night. He’s back with Crazy Horse, but it’s a lot more like Everybody Knows This Is Nowhere than some of the later Crazy Horse albums. The key songs here are “Cortez the Killer” (which apparently originally had an additional verse that was never recorded), and “Danger Bird,” about his breakup with Carrie Snodgress. I’m not as familiar with this album as I might wish—I usually try to listen to his albums in chronological order, and usually conk out around Time Fades Away—so I can say it’s certainly okay, but I can’t recommend it more than that.

5. On the Beach (1974)

I really have to listen to the Ditch Trilogy a few more times; the only one I really know well is Tonight’s the Night. This is, in effect, the middle album (although Tonight’s the Night was recorded earlier). Musichound is the only source that puts this outside their top 10; Stereogum ranks it first, with the notation “List my ten ‘desert island discs,’ you ask? On The Beach, and nine backup copies of On The Beach.” The most-played songs are “Walk On” and “For the Turnstiles,” but this seems like one of those albums that needs to be heard start to finish a few times.

4. Everybody Knows This Is Nowhere (1969)

One of my two personal favorite Young albums, along with Harvest Moon (I got this one a few months later, so perhaps why those two stick out). This includes my all-time favorite Young song, “Cinnamon Girl,” which remains a standard on classic rock radio despite never having come close to making the top 40 (it peaked at #55). It also has two great long songs, “Down by the River” and “Cowgirl in the Sand,” which revealed Young’s penchant for extended jams that’s lasted to this day. His first album with Crazy Horse, and one of just two albums in which Danny Whitten plays a significant role. Absolutely essential to me.

3. Tonight’s the Night (1975)

Young’s dark night of the soul album (well, his first one, anyway). Young wrote and performed this after the deaths of Danny Whitten (whose recording of “Come On Baby Let’s Go Downtown” is on the record, with Whitten on lead vocals) and roadie Bruce Berry (as noted in the title track). Young then put it aside to work on other projects, thinking it was too personal, but friends insisted it be released, and a reluctant Reprise Records acquiesced. Not an easy listen, even in Young’s opinion: “Sometimes it’s too intense. If you’re gonna put a record on at 11:00 in the morning, don’t put on Tonight’s the Night. Put on the Doobie Brothers.”

2. Rust Never Sleeps (1979)

A total turnaround after Comes a Time, Rust shows Young as pissed as he’s been in years. As with Time Fades Away, Young recorded these songs in concerts during late 1978 (although by that time Young’s fans knew to expect the unexpected, and were likely not as surprised as when he played Time Fades Away’s dour material during the Harvest tour). “Hey Hey My My (Into the Black)” continues to be played to this day, although no singles were actually released from Rust Never Sleeps (I only realized it a few years ago, but the version that hit the Billboard Hot 100 was actually from Live Rust, a two-LP set released five months later). “Pocahontas,” “Powderfinger,” “Sedan Delivery,” and “Welfare Mothers” are also essential Young songs.

1. After the Gold Rush (1970)

Maybe I don’t like this quite as much as Everybody Knows This Is Nowhere, but it’s deservedly beloved by nearly everyone. Young’s songwriting abilities are his absolute peak here (and remember 1970 is the same year CSNY released Déjà Vu and the single “Ohio,” which Young wrote immediately after the Kent State massacre). There are so many great songs here (“Only Love Can Break Your Heart,” “Southern Man,” “I Believe in You,” title track) it’s hard to know where to begin. Young also worked with a variety of musicians (Crazy Horse, Nils Lofgren, Stephen Stills, and others), but the sound is uniform. This one (like almost everything in the top 15) is a must own for any Young fan.