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In Reply to: Neil Young - Cowgirl in the Sand - help finding a good recording posted by snpower on September 12, 2006 at 12:35:49:
Do I remember that there is/was a version of Neil's first album with more string arrangements on and which was replaced at some point by a simpler version? A bit like the DEad's Aoxomoxoa was altered.
The lead-on question is, of course, is that version available anywhere?
Thanks in advance.
Follow Ups:
and Neil denied it. Jack Nitzsche's string arrangements on String Quartet and maybe others on that album set a tone that was later echoed thru many of Neil's albums. It was a nearly perfect initial release in it's day and still is on my top ten all time great records.
There are, of course, demo and rehearsal tapes that are in the archives. I do not think they were ever considered as the release version. I'd look for them on the first boxed archive set, promised for later this years, as it has been every year since we lived in caves.
I recall on some of Neil's West Coast Bar Tours that he would play some of those tunes with just his 6 string.This was when he would walk in unannounced and play at some of what I call seedy but homey types of places, with wooden bar tops and fireplace and a bar dog in residence.Some of the best gigs I ever went to. One New Years Eve he and Stills dropped into Alex's Mountain House on Skyline and devastated the crowd with a blistering drug crazed frenzy of axe work like you dream about.
Then, there were the Boots and Saddles bluegrass sessions.
... I was thinking about. Its a review from AllMusic... and the relevant part is down at the bottom.On his songs for Buffalo Springfield, Neil Young had demonstrated an eclecticism that ranged from the rock of "Mr. Soul" to the complicated, multi-part arrangement of "Broken Arrow." On his debut solo album, he continued to work with composer/arranger Jack Nitzsche, with whom he had made "Expecting to Fly" on the Buffalo Springfield Again album, and together the two recorded a restrained effort on which the folk-rock instrumentation, most of which was by Young, overdubbing himself, was augmented by discreet string parts. The country & western elements that had tinged the Springfield's sound were also present, notably on the leadoff track, "The Emperor of Wyoming," an instrumental that recalled the Springfield song "A Child's Claim to Fame." Still unsure of his voice, Young sang in a becalmed high tenor that could be haunting as often as it was listless and whining. He was at his least appealing on the nine-and-a-half-minute closing track, "The Last Trip to Tulsa," on which he accompanied himself with acoustic guitar, singing an impressionistic set of lyrics seemingly derived from Bob Dylan's Highway 61 Revisited. But double-tracking and the addition of a female backup chorus improved the singing elsewhere, and on "The Loner," the album's most memorable track, Young displayed some of the noisy electric guitar work that would characterize his recordings with Crazy Horse and reminded listeners of his ability to turn a phrase. Still, Neil Young made for an uneven, low-key introduction to Young's solo career, and when released it was a commercial flop, his only album not to make the charts. (Several months after the album's release, Young remixed it to bring out his vocals more and added some overdubs. This second version replaced the first in the U.S. from then on, though the original mix remained available overseas.)
on Ebay I imagine. I do not frequent the place though....
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