Neil Young: On the Beach at 50

Proof of purchase.  My 2003 digitally remastered CD.

Long-time readers know I am a huge fan of Neil Young, what is known as a Rustie (derived from his 1979 album entitled Rust Never Sleeps). A half century ago today he released one of his best albums, On the Beach. Though the album's contemplative strengths are obvious to me now, that wasn't the case to begin with. The first time I listened to it back in my college days, I didn't really care for it. Like many people before me, I was expecting something like 1972's massive hit Harvest. But, like a lot of Neil's work, repeat listenings and perhaps some maturity on my part have revealed so much about the music on this record that I now consider it in a far more positive light. Today, On the Beach is considered one of his most poignant and introspective works.

On the Beach was recorded after a particularly tumultuous period in Neil's life. He had experienced significant personal and professional upheavals, including the commercial success of Harvest (1972) and the deaths of Crazy Horse guitarist Danny Whitten and roadie Bruce Berry. These events deeply affected Neil and influenced his subsequent music. Three albums resulted from this period, collectively known to Rusties as “the Ditch Trilogy.” Psychologically, Neil was in the ditch, which is where he wanted to be after the sensational appeal of the songs “Old Man” and “Heart of Gold” put him “in the middle of the road” (and made him a very wealthy man).

The "Ditch Trilogy," includes the mediocre album Time Fades Away (1973) and another excellent album, Tonight's the Night (1975, but recorded in 1973). These albums marked a departure from the polished, accessible sound of Harvest and After the Gold Rush (1970) featuring a rawer, more unfiltered approach. On the Beach sits in the middle of this trilogy (though it was recorded last), bridging the live, chaotic sound of Time Fades Away and the darker, more somber, unpolished tone of Tonight's the Night.

The production of On the Beach was notably unconventional. Neil recorded the album at Sunset Sound in Hollywood and his ranch in Northern California. He utilized a stripped-down production style, often recording late at night to capture a more relaxed, intimate atmosphere. The album features a mix of session musicians and friends, including Ben Keith on pedal steel guitar, and Levon Helm and Rick Danko from The Band. CSNY's David Crosby and Graham Nash also pitch in on separate songs.

Neil's approach to recording the album was characterized by spontaneity and a preference for first takes so common to the Ditch Trilogy. He aimed to capture the immediacy and authenticity of live performances, which sometimes resulted in imperfections but also lent the album its distinctive character. This approach is evident in the loose, almost improvisational feel of many tracks.

The tone of On the Beach is predominantly somber and reflective. The album's lyrics explore themes of disillusionment, isolation, and existential angst, reflecting Neil's state of mind during its creation. Musically, it blends elements of folk, rock, and blues, with a raw, almost haunting quality. Songs like "Ambulance Blues" and the title track exemplify this mood, combining introspective lyrics with minimalistic arrangements.

The album explores his personal experiences and broader societal observations. The lyrics are often cryptic but reveal his disenchantment with the music industry, the counterculture movement, and his own life struggles. For example, "Revolution Blues" reflects Neil's growing cynicism towards the disillusioned and disaffected aspects of the 1960s counterculture, partly inspired by the Manson Family. While, "Vampire Blues" is a scathing commentary on the oil industry and environmental exploitation, reflecting Neil's emerging environmental consciousness.

Things actually kick off with an upbeat tune. "Walk On" is a track that's always struck me as kinda funky. It's got this driving rhythm and choppy guitar work that sets it apart from the rest of the album. The groove-oriented bass line, played by Billy Talbot, and Ben Keith's slide guitar really add to that funkadelic feel. Ralph Molina's drums provide a solid foundation, giving the song its infectious rhythm (Talbot and Molina are from Crazy Horse, of course). I appreciate how this track provides a bit of energy right at the start, before diving into the more introspective stuff. It's like Neil's saying, "Hey, it's not all doom and gloom." The lyrics, touching on criticism and staying true to oneself, set the tone for the album's themes of personal reflection and social commentary.

"See the Sky About to Rain" is a special track. It's poignant and unique, with that prominent piano part giving it a different feel from the guitar-heavy tracks. The Wurlitzer electric piano, played by Neil himself, and Ben Keith's pedal steel create this beautiful, melancholic atmosphere. This one features Tim Drummond on bass while The Band's Levon Helm handles the drums. There's a softness to it that I find really moving, and the abstract lyrics paint these vivid images in my mind. It's interesting to note that Neil had been performing this one live for a couple of years before recording it for the album. The song's gentle melancholy and sense of impending change create a poignant atmosphere that many listeners, including myself, find deeply moving.

With "Revolution Blues" we are treated to a truly awesome song, it shares “best track” designation with the title track. The studio version is intense, with its driving rhythm and those chilling lyrics inspired by the infamous Charles Manson murders. David Crosby (the C in CSNY) handles the prominent rhythm guitar here and the presence of The Band's Rick Danko on bass while Levon Helm is on drums again adds a distinctive feel to the track. But if you want to hear it really come alive, check out the live version on the CSNY 1974 Blu-ray release. The energy in that performance is just incredible. It's like the song was meant to be played live, with the interplay between the band members taking it to another level. Still, this studio version is outstanding even though the electric lead guitar is definitely restrained compared with the live version mentioned.

"For the Turnstiles" is this unique, slightly bluesy number where Neil plays the banjo. It's a real change-up, and I love how it showcases his versatility. The sparse arrangement, with just Neil on banjo and vocals and Ben Keith on dobro and backing vocals, really lets you focus on the lyrics and that raw vocal delivery. Neil's voice is particularly high and strained here, which adds to the emotional impact. The use of baseball metaphors to critique the music industry is clever and uniquely Neil. It's the most unpolished track on the album, but that raw simplicity is what makes it so powerful. There are no weak tracks on this album, despite what I thought in my twenties.

As alluded to earlier, "Vampire Blues" is an interesting tune. It's clearly about the corporate oil gig and the associated human greed, and while I wouldn't call it a standout track, it's definitely not filler either. The straightforward blues structure and repetitive lyrics drive home the point about the vampiric nature of the oil industry. “Suckin' blood from the Earth.” Neil's guitar work here is sharp and biting, perfectly matching the song's critical tone. It serves its purpose on the album, adding to the overall themes Neil's exploring and providing a stylistic counterpoint to some of the more folk-influenced tracks.

The title track, "On the Beach," has become a favorite Neil tune of mine over time. There's something strangely relaxing about it, even healing in a way, though the song is bitingly cynical. The steady rhythm, provided by Ralph Molina on drums, and Neil's almost detached vocal delivery create this hypnotic atmosphere that I find myself getting lost in. Graham Nash takes a turn at the Wurlitzer this time, marking the second appearance of a CSNY member on the album. The guitar work is subtle but effective, with Neil's lead parts weaving in and out of the relaxed mix. Ben Keith's hand drums lend the piece a delightful “beach music” type of feel, though things seem surreal overall. The lyrics about disillusionment and isolation really resonate with me now in a way they didn't initially. It's a great example of how Neil can create a mood that's both melancholic and oddly comforting. “Though my problems are meaningless, that don't make them go away,” is one of my all-time favorite Neil lyrics. In fact, this album might feature Neil's best lyrical work in his repertoire overall, another reason to enjoy it.

"Motion Pictures" is about as laid-back as you can get while still being melodic. It's almost dreamlike, apparently intended as a lament to Carrie Snodgress, an actress Neil broke up with around this same time. The gentle guitar strumming and soft vocals create this hazy, lazy, intimate atmosphere, delicate and beautiful, showing a softer side to his playing. Whatever the inspiration, it's a fine song that really captures a mood of reflection and longing. The lyrics reflecting on the challenges of maintaining a relationship while living a life in the public eye add a personal touch that makes the song even more poignant. This is another very strong track.

The album closes with "Ambulance Blues," which has this epic, philosophical ring to it. It's probably my third favorite track on the album after "Revolution Blues" and "On the Beach" itself. At nearly 9 minutes long, it gives Neil the space to really dig into some complex themes, and that fiddle part, played by Rusty Kershaw, adds so much to the song's rambling, folksy feel. The lyrics are packed with vivid imagery and cryptic references, touching on personal, political, and philosophical themes. Neil's harmonica adds another layer to the song's rich texture. It's a strong closer, summing up the album's introspective journey and leaving the listener with plenty to ponder. A fitting benediction to the record, this song has several memorable lyrics.

Looking at On the Beach in the context of Neil's career, along with Time Fades Away and Tonight's the Night, we find him moving away from the commercial sound of After the Gold Rush and Harvest and really following his artistic instincts. He famously said, "'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." The result is this raw, introspective album that might not have been as immediately accessible as his earlier work, but has so much depth to it.

Among Neil's many albums, this cover art might be the most iconic.

I can't discuss this album without mentioning that distinctive cover art. The yellow Cadillac tail fin half-buried in the sand, Neil with his back to us, sporting a yellow jacket, his boots to one side as if walking away from him, the yellow beach umbrella with empty wooden hanger tucked underneath and assorted matching floral patio furniture scattered about, the lone Coor's beer can (which is also yellow) on the table - it's surreal and totally captures the mood of the album. Gary Burden's design and Bob Seidemann's photography created an iconic image that's almost as thought-provoking as the music itself. The photo evokes a sense of isolation and abandonment, mirroring the themes of the album. The newspaper headline under the table reads “Sen. Buckley Calls For Nixon To Resign.” A second Coor's can sits in the sand next to it.

On the Beach received mixed reviews upon its release. Some critics praised its raw honesty and musical depth, while others found it too dark and introspective compared to Neil's earlier work. Rolling Stone classified it as “one of the most despairing albums of the decade” which actually fits because it is the middle album in the Ditch Trilogy. Some were puzzled by its bleak tone and lo-fi production, which contrasted sharply with the smoother, far more popular, sound of Harvest.  However, over the years, the album has been re-evaluated and is now considered one of Neil's masterpieces (Harvest still holds up well too, btw). Its honesty and emotional depth resonate with listeners, earning it a cultish following of which I am a member. As I said earlier, oddly enough given the rough edges, this might be Neil's most lyrical album as a whole. The words to these songs are often biting and yet poetically beautiful at the same time.

Commercially, the record was not a huge success, peaking at #16 on the Billboard Top LPs & Tapes chart before fading away. Over the past five decades the album's reputation has grown enormously. Critics and fans alike have come to recognize it as one of Neil's finest works and a fine artistic effort from the 1970s. Its themes of disillusionment and social critique have proved prescient, and its musical craftsmanship has stood the test of time. Today, On the Beach is widely cited as a high point in Neil's extensive catalog.

For many years, the album was difficult to find, as it was out of print and not available on CD until 2003 (digitally remastered). This scarcity contributed to its cult status, as fans sought out vinyl copies and bootleg recordings. When it was finally reissued, it was met with renewed interest and appreciation from both long-time fans and new listeners. I bought my copy at that time and the album finally found a home in my heart. It only took about 30 years to get there.

What started as an album I didn't really care for has become one of my favorites of Neil's work. It's a great example of how his music can grow with you over time, revealing new layers with each listen. The album's exploration of disillusionment, isolation, and social critique became recurring themes throughout Neil's later work, but rarely as effectively as here.

On the Beach stands as a testament to Neil's artistic integrity and his willingness to challenge both himself and his listeners (which he never stopped doing). It showcases his ability to create deeply personal, emotionally resonant work that doesn't sacrifice musical quality. It's not always an easy listen, but it's consistently rewarding. My initial dislike and uncertainty transformed through the years into a deep appreciation serves to reveal the album's complexity and its capacity to grow with the listener over time. It is definitely one of my Top 10 Neil albums.

On the Beach was released 50 years ago today.

(Written with assistance from ChatGPT and Claude.)