Neil Young/Chrome Dreams/Reprise
Four Out of Five Stars
Like many of his albums recorded and then abandoned, Chrome Dreams could have been/would have been one of Neil Young’s best albums of the ‘70s. Why he chose not to release it remains a bit of a mystery, but in fact, the majority of its songs ended up being available on other albums later on. That’s fortunate, because they show Young at the peak of his prowess, courtesy of the most moving and accessible offerings of his entire catalog.
The latest offering in Young’s Bootleg Series, Chrome Dreams, has previously been offered as an actual bootleg, but given its remastered sound and the nod from Young itself, it not only boasts a familiarity factor but the advantage of an official release that ought to make it truly mandatory as far as more rabid Young fans are concerned. Indeed, there are several early stabs at certain songs that only true Neil nerds will be able to differentiate from those versions released later on.
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For example — “Star of Bethlehem” was intended to be the closing track on Homegrown, another aborted album that was belatedly released in 2020. “Sedan Delivery” ruminates at a slower pace than the version shared on Rust Never Sleeps. ”Too Far Gone,” “Look Out For My Love” and “Look Out for My Love” were recorded in a bare-bones style at various sessions and revived later. The version of “Stringman” heard here was recorded live in concert.
While most of the songs are decidedly wistful and reflective in the style of Homegrown, Harvest Moon, and Comes a Time,“Like A Hurricane” becomes a notable exception. Later released on American Stars ’n Bars, the difference here is a slightly twangy and, at times, more caustic, guitar solo than on the later take. “Homegrown” becomes a folksy sing-along, while “Captain Kennedy” takes the form of a rambling historical narrative. “Sedan Delivery” takes the form of a ragged rocker. “Powderfinger,” rendered here in solo acoustic form, has never been more beautiful or, for that matter, more engaging.
Still, most of these tracks stand out on their own. “Pocahontas” rails against the White Man’s exploitation of Native Americans, name-checking Marlon Brando, who famously refused to accept his Oscar and sent a Native American in his place, much to the dismay of the assembled stars and producers.
The album also reproduces the same color art, credited here to Ron Wood and with a different running order, and in fact, some different songs. A fold-out poster bearing the lyrics is also included.
So can Chrome Dreams be considered essential? Of course! No self-respecting Neil Young fan can neglect or negate any Young release, especially those of historic relevance. And Chrome Dreams easily qualifies on that account. After all, some dreams — real or imagined — never die. Or, at the risk of contradicting the man himself — it’s also clear that time never fades away.
Photo by Daryl Hannah / Warner Records
