Since he was a young child growing up on Long Island, NY, Andrew has always loved writing and collecting physical music. Present-day, Andrew is proud to share his love of music with the world through his writing, and the result is nothing short of beautiful: articles and interviews written by a music addict for fellow music addicts. Andrew lives on Long Island and works as a Horticultural Operations Manager by day and runs the Vinyl Writer Music website by night.
There is something truly special about listening to a legendary artist hit their absolute creative peak. Pumping out quality music seamlessly, in a manner that makes it seen almost too easy. It’s not easy however. Last week (read here) I wrote about one of these artists in Bob Dylan, who is seemingly at his best when the world is at its worst. This week I will be focusing on one of his contemporaries in none other than Neil Young.
Neil Young has had a long and eventful career. He’s achieved fantastic success, and also experienced significant lows, both professionally and personally. It seems that Neil Young is a man who also is at his best in times of turmoil, particularly during times of personal turmoil. With that in mind, I wanted to focus on one of the of the best and most fascinating periods of Neil Young’s career. A time of tremendous unrest in his life, which eventually manifested what is known as the “Ditch Trilogy.” A trio of albums, Time Fades Away, On the Beach, and Tonight’s the Night. These three albums would be go on to become three consecutive massive critical, and commercial failures. At the time they were seen as more challenging expressions of Young’s inner conflicts on achieving success, while also expressing his personal struggles of losing friends, himself and the general decay of his generation in post-Vietnam War America.
The first of the “Ditch Trilogy” was Time Fades Away, which was released in 1973. An album of all new material, that Young had oddly chosen to take on the road with a completely new and unfamiliar band, without recording any of it in the studio first. Following the success of Harvest, young became extremely disillusioned with the music industry, and the world in general. He disbanded his backing band, Crazy Horse, and formed an entirely new band called The Stray Gators, and set out on tour. The tour was an unmitigated disaster from the start, with confused audiences expecting to hear Young play his hits, but instead were treated to loud, and depressing songs, played by a band who barely knew one another. In the midst of this, his good friend and long-time collaborator, Danny Whitten, died of a drug overdose. Shortly thereafter, on the same tour, long time friend and roadie, Bruce Berry, also died of an apparent drug overdose. At the same time Young was also battling his own personal demons with depression, substance abuse, as well as physical issues with his singing voice. Time Fades Away was recorded during this tour, with the new music being presented via the live setting, in this extremely convoluted context. Fans, like they had been during the tour, came away confused by the record, and it also flopped.
Young was so deeply affected by the drug induced deaths of his friends that he proceeded record an album to specifically chronical and deal with the incidents in his own classic round about way. The result was Tonight’s the Night, which was eventually released in 1975, but recorded in late 1973 into early 1974. The extremely dark tone of the album lead Young’s record label, Reprise Records, to shelve the record in hopes that Young would find himself and record something more positive, or at least something that had selling potential. Young’s response to this was two-fold. First, he recorded and proceeded to release what would become the second album in the “Ditch Trilogy”, On the Beach, in 1974. While on the Beach presented as a more melodic and sweetly acoustic album, the album itself dealt with the same dark themes as his previous failed records. Ideas centering around the collapse of 1960’s flower power ideology, his own personal downward spiral in the wake of success, the dark underbelly of the seedy LA lifestyle, and of course death and despair. It goes without saying that like Time Fades Away, On the Beach flopped. Young remained in the ditch.
Next, after the release of On the Beach, Young’s record label, was still stalling on the release of the depressing Tonight’s the Night, and so Young went back into the studio, and recorded an album called Homegrown. Now, if you know anything about Neil Young, you know that he is a man of his own principals, who will fight tooth and nail to do things his way, and maintain absolute artistic integrity along the way, and so Neil Young stuck his middle finger in the face of both Reprise Records, and the general record buying public, and recorded yet another depressing album. Homegrown focused mostly on the on Young’s failed relationship with Carrie Snodgress, but it was comparatively sunny compared to Tonight’s the Night. After the recording of Homegrown was complete, Young held a listening party at his home in California. During the party, Young played both Homegrown and the still unreleased Tonight’s the Night with the intent to hand Homegrown over to Reprise, and release it as his next album.
After the playback of both albums had finished, Young had a sudden change of heart and instead insisted that Reprise finally release Tonight’s the Night to the general public. At the time Young stated his reasons were that after listening to Tonight’s the Night again he found that, “It’s overall strength in performance and feeling trumped that of Homegrown.” Retrospectively Young admitted in regards to Homegrown, “It was a little too personal…it scared me.” Regardless of his reasons, Young did have his way, and in 1975 Tonight’s the Night finally got the wide release it deserved, and it just as had been the case with his previous two records, it flopped. At the time, Young said that the album was “The closest I ever came to art.” As for Homegrown, the reel to reel was canned, and it was stuck in a vault somewhere for the next 45 years.
There a lot of Neil Young fans out there. Some love him for his long standing “fuck you” attitude. Other’s love him for his music. Some for both. Those of you that don’t know Neil Young and his music are by now probably extremely confused as to why I called what I’ve just chronicled “One of the best and most fascinating times in his career.” Especially considering I then proceeded to tell you about the cascading mega failure it all was. Well, perspective is everything, and sometimes time really does heal all wounds. As the years wore on, Neil Young continued to do what Neil Young does, which is release music on his own terms. Whenever he felt like it. In whichever way he felt like it. Some of it was successful. Some of it wasn’t. I can tell you this, without a shadow of a doubt – all of it is good. Damn good. Music journalists and fans alike began to revisit the “Ditch Trilogy”, and they began to change their tune. As time passed the albums began to garner five star reviews, and developed a devout cult-like following, and by the turn of the century the “Ditch Trilogy” went from being regarded as the proverbial sewer of Young’s work, to being revered as his best, with critics going so far as to add them to their “best of all time” lists.
Still, it begs the question – what is that really all worth? These albums were just as good then as they are now. What changed? The answer is two-fold. Once you do something a certain way, people expect you to keep doing it the same way over and over and over ad-nauseam. Secondly, there is an over-reliance on critics to tell us what’s good and what’s not good. People don’t think for themselves. They’re sheep to be herded about. It was that way in 1975 and it is sadly still that way in 2020. Regardless of which, Neil Young doesn’t give a fuck. He didn’t in 1975 and he doesn’t in 2020. I know what you’re probably thinking – what about Homegrown? Well, Neil Young had another “fuck you” up his sleeve. Just when critics and fans alike began to revere the “Ditch Trilogy” and see it as the masterwork that it always was, Young decided to pull Homegrown out of the vault, dust it off and drop it on the unsuspecting public just as it was in 1975. Completely untouched. So, what now? The “Ditch Quadrilogy?”
Neil Young doesn’t do gimmicks. He doesn’t care if you like him. He doesn’t give a shit if you listen to his music. He would be the first to tell Rolling Stone, Spin Magazine, Pitchfork and anyone else to take their review, and stuff it. That’s just who he is. At any given point in the last 45 years he could have released Homegrown, but he chose not to. He once opined that the songs on the album were “Great songs that I can live without.” Listening to the album you cannot help but revel in how great it truly is. What you’re hearing is a seminal artist at the height of his creativity, while at the same time being mired in the worst possible headspace a human being could find themselves in. This entire period of Young’s highly interesting career is a truly fascinating case study on success, excess, life, death and most importantly artistic integrity.
The album itself may be the best of the bunch recorded during this “Ditch” era. Listening to Homegrown, one feels like the missing piece of a puzzle has been found. A puzzle we didn’t even know was incomplete. It’s a true “a-ha!” moment. Hearing these songs 45 years on, between these four albums we finally see Young run the full gamut of his emotional turmoil. We are seeing the full picture of his depressing, yet grand artistic vision. One cannot help but wonder how things may have changed for Young during that time had he chose to release Homegrown instead of Tonight’s the Night, or even alongside it. At the end of the day however, that is not what happened, and that is by Neil Young‘s design. Neil Young only plays by one set of rules, and that is his own. What other artist can hold a truly great album in their hands, spit on it, and instead choose to release an album they knew would flop for no other reason than to make a statement, and to tell the story of his dead friends. At the end of the day in 2020 we get both. Things all played out exactly as Young intended. His intent can be summed up by the cryptic message included in the liner notes of the original vinyl release of Tonight’s the Night, which was written by Young himself, “I’m sorry. You don’t know these people. This means nothing to you.” Well, 45 years on, we get it Neil. We finally get it.
Dig this article? Check out the full archives of Stories from the Stacks, by Andrew Daly, here: www.vinylwritermusic.com/stories-from-the-stacks-archives/