Forget about Madonna, Neil Young is the true master of musical reinvention. Throughout his 36-year career, Young has released albums rooted in folk, country, rockabilly and blues, all without feeling the need to change his name. His musical explorations have also pushed him into such disparate territories as electronica and hard rock (who could forget “Rockin’ in the Free World”?). With that in mind, his latest album, “Prairie Wind,” is a return to form of sorts for Young, revisiting the acoustic-based folk rock that he is perhaps best known for.
“Prairie Wind” is a collection of 10 country-tinged roots rock songs that bristle with a sentimental, reflective quality that is probably a result of his father’s recent passing and the fact that Young himself suffered a brain aneurysm during the recording of the album. One might expect that an artist with a career as long and prolific as Young’s would be content to merely rest on his laurels and put out mediocre albums, if not retire altogether. But when listening through “Prairie Wind,” it never becomes obvious that it is Young’s 38th (or so) album. Instead it shows a veteran master songwriter at the top of his game.
Although “Prairie Wind” marks a return for Young to the style that made him famous on albums like “Harvest” and “After the Gold Rush,” it never seems that Young is just rehashing old ideas. All of the songs have an earnest, heartfelt edge to them that makes them fresh and moving with the confidence of a man playing to his strengths.
Of course, it doesn’t hurt that he is backed up by a talented group of session musicians. In addition to Young’s guitar and distinctive vocals, “Prairie Wind” features guitarists Ben Keith and Grant Boatwright, keyboardist Spooner Oldham, bassist Rick Rosas, and drummers Karl Himmel and Chad Cromwell. Together the musicians create a lush, warm soundscape resplendent with acoustic and clean guitars being strummed over a laid-back rhythm section. Young is in no way in a hurry, with five of the songs going over the five-minute mark, instead allowing the songs to flow and meander, but without ever losing focus.
The appearance of several traditional instruments such as the dobro, harmonica, slide guitar, and Hammond organ also add to the mellow, deliberate “country” feel of the album, doing an excellent job of creating a comfortable atmosphere. Ben Keith and Young’s production is almost too slick for an album that feels so spontaneous (the dialogue before the beginning of “He Was the King” suggests that the song was initially a run-through but was kept as the master take), but the album on the whole sounds excellent, with each instrument (even when competing with horns, strings, and backup singers) given room to breathe.
“Prairie Wind” opens with the excellent “The Painter,” featuring Young’s road-worn acoustic strumming and wistful slide guitar courtesy of Ben Keith, which lead to an unforgettable chorus that you’ll be humming in no time. “Falling Off the Face of the Earth” continues in much the same way, being very relaxing and bittersweet without seeming tacky. The plodding “This Old Guitar” features Emmylou Harris on backing vocals, adding emotional and sonic depth to a sweet, gentle song. “When God Made Me” is supremely moving, consisting only of a piano and Young’s voice backed by a gospel choir. The addition of the choir could have been overbearing, but instead is very understated and classy, giving the track a sense of reverence, making for a very effective closer.
None of this means that the album is perfect. Some of Young’s lyrics can seem a bit simplistic (see his direct references to 9/11 and Chris Rock in “No Wonder”) and the tribute to Elvis in “He Was the King” seems slightly out of place amongst the weightier material. And sure, his voice is pretty nasal and totally misses more notes than it hits. But despite these minor complaints, no one can deny the album’s emotion or authenticity; and if nothing else, it is unmistakably Neil Young.
Anyone who is remotely a fan of Young’s or of acoustic-oriented rock in general would be doing themselves a huge favor by picking this up. All of the songs are strong, and the fact that Young was able to create an album in this style without it sounding boring or dated is truly a testament to his abilities as a songwriter and performer. The sentimental, introspective nature and layered instrumentation of the album also gives the album a certain depth that requires the listener to give it a few spins to truly appreciate all that it has to offer, and it is a truly rewarding listen for those willing to let the songs grow on them.
