I love when a “new” Neil Young album comes out. Neil Young’s Live at The Cellar Door harkens me back to a time when Young was a the height of his power.  No I’m not talking about the 1970 period Live at Cellar Door represents, I’m talking about Neil Young’s Geffen Records years from 1982-1987. Many fans dismiss this period as when Young strayed from his base. Geffen Records eve sued Young claiming his albums where uncommercial. I contend Young was not content with plowing the same old road and made some challenging music during this period.

Chief on my list of Young albums during that time is the 1986 release, Landing On Water. Landing On Water resulted from a failed Young/Crazy Horse session where the guitarist felt Crazy Horse wasn’t playing the songs the way he heard them in his head. As a result, Young decided to go for a more modern sound and enlisted producer/guitarist Danny (Kootch) Kortchmar. Korthmar, known for his considerable guitar chops had also become a much sought after producer, working with the Fabulous Thunderbirds, Toto and  the first 3 Don Henley solo albums. Young also sought what a modern drum sound and asked Korthmar’s friend and ace drummer Steve Jordon to play on the project.

Forgoing a bass player ( Young, Korthmar and Jordan all played syth bass and keyboard parts) the three holed up in a L.A. studio and literally bashed out 10 songs. It is said that Young asked Jordan to repeatedly play louder and wanted Korthmar to get the biggest snare drum sound possible for the album. After completion of the album, Young is rumored to continued his electronic tinkering the enhance the drum sound and also added additional synthesizer parts.

The result are interesting. The song “Hippie Dream” ( an ode to David Crosby) is perhaps one of the most poignant songs in Young’s 80’s catalog. It’s almost an admission that his generations excesses and quest for enlightenment where for naught. The song, “Touch The Night” sounds as close to a song from a Crazy Horse album as anything here. Yet the synthesized children’s choir distracts from the impact of the song. “People On The Street” sounds downright funky and is enhances by Jordan’s and Korthmar’s vocals.

Young didn’t stay in the musical space for long however. He tour for the album with Crazy Horse and kept the electronic theme during the live shows. I still have images of the Crazy Horse boys punching out these songs on keyboards. It like watching John Wayne drive a Datsun.

Young’s catalog from this period of time is often and unfairly dismissed, but was essential for his artistic growth. If you are a fan of Young, Landing On Water is a must have. I’m also a big fan of Trans, but that’s a story for another time.