Chrome Dreams (2023)

There’s an alternate reality where Neil Young released Chrome Dreams in 1977 instead of American Stars ‘n Bars. This album would have changed the course of his career, fundamentally transforming what would be his next couple albums. Five songs from American Stars ‘n Bars appear in some form on Chrome Dreams. Three songs from Rust Never Sleeps. One from Comes a Time. And that’s just the albums Neil released. There are also three songs from Hitchhiker and two from Homegrown. If either of those last two albums had been released, it would have further changed subsequent albums. And the changes would last for decades: there’s a song that wouldn’t make it to a studio album until Freedom and one song that was never put on a studio album (appearing on Unplugged). Visit this great breakdown by Rolling Stone for more details. Suffice it to say that Chrome Dreams is an important artifact even aside from the quality of the music it contains.

The title Chrome Dreams appeared in November 1976, but by January 1977 it was suddenly announced that the project was delayed and being retitled as American Stars ‘n Bars. From the quote I cited in my look at American Stars ‘n Bars, it seems that the title change had to do with a narrowing of thematic scope. Or perhaps it was just him changing his mind, as happens often. The timing and intention of everything between these two albums is extremely murky in any case. Three months later, he was in the studio to record the entire first side of that album. Most confusingly one song included here (“Hold Back the Tears”) on the now officially released Chrome Dreams was recorded one month after the title change was announced. A different version appears on American Stars ‘n Bars.

The vast majority of these songs have already been released on official albums and archival releases. We only get two previously unreleased versions of songs we already know. I’ll be focusing on those new treasures and the overall context of the album. It’s quite a strong album, filled with songs cherished by fans. When put altogether on one album, I have to wonder about several things. Would this album have changed Neil’s popularity due to how strong the songs are? Or would it have lessened the impact of several songs that go on to be standouts when placed on different albums? In his own words, he explained abandoning Chrome Dreams in response to Carole King’s harsh response (a response definitely at odds with how Neil’s fans look on his material, favoring unique and rough performances to the polished efforts). It’s telling that his next move was to record four songs with a full band and backup singers.

If Chrome Dreams had been released like this, we would have got the unvarnished Hitchhiker version of “Pocahontas” (minus the “Ready, Briggs?” intro), which right away makes this a worthy album. But then Rust Never Sleeps would have been changed, altering one of the pivotal moments in Neil’s career. Next comes three songs that would make up most of American Stars ‘n Bars second side and it’s here that the cracks start to show a little bit. “Will to Love” coming after “Pocahontas” is very jarring. It’s such a strange and unique song, it works better later on in an album instead of as the second song. “Like a Hurricane” blasts out the end of a gentle song (“Star of Bethlehem” here) much the way it does on American Stars ‘n Bars. I still feel this song is out of place and that it should have been on Zuma or Rust Never Sleeps. That guitar tone just doesn’t fit on this album. To that point, “Too Far Gone” appears next with Poncho on mandolin (this version was previously released on Neil Young Archives Vol. 2), which would have altered one of the best moments of Freedom.

The first truly new song we hear is a solo version of “Hold Back the Tears,” that is like Alice going through the looking glass in how it makes you feel. A totally different experience than the bar band feel of the American Stars ‘n Bars’ version, it actually has most in common with the surreal “Will to Love” in this incarnation. A somewhat high sounding Neil finds him harmonizing with himself, as well as overdubbing himself on different instruments, with a lot of room sound. If you listen closely, you can hear Neil talking to himself between verses. I think I prefer this version, as the gentler take feels more fitting. The great Crazy Horse version of “Homegrown” comes next before Hawks & Doves’ best song, “Captain Kennedy.” After that is the same version of “Stringman” from Neil Young Archives Vol. 2. This song would never get a studio recording (this is taken from the 1976 UK tour) and would take until Unplugged to get an official release. It’s a lovely lament for the hippie era and would surely be a highlight if it had been released on this album in 1977.

The next “through the looking glass” moment comes with a slow rendition of “Sedan Delivery.” When it eventually appeared on Rust Never Sleeps, Neil had had his punk revelation, pursuing the idea he had to change things up to keep from going stale (rusting). When it hit that tour, it was ramped up and raucous. This studio version is sludgy and a bit sleazier, as befitting its subject matter. I’ve never been a big fan of this song, but listening to it now in this languid version, I’m digging it much more. I feel like I better get the vibe of it and Neil’s guitar is more psychedelic, especially in the solo. It’s like a drug trip, getting across the themes in music as well as lyrics. The gorgeous acoustic “Powderfinger” follows this up and I still love it ever slightly more than it’s electric version. Chrome Dreams ends on a slightly different mix of “Look Out For My Love” but it’s largely the same song (still good).

In the end, Chrome Dreams is an archival artifact moreso than a lost masterpiece. The sequencing is really jarring, sandwiching gorgeous acoustic and piano pieces between big Crazy Horse guitar songs. Neil doesn’t tend to do that in his live shows or albums, so it’s strange to hear it here. Perhaps when he cut the acetate of this and listened back, that was one of the reasons it was shelved. Of course, we live in the age of playlists, so an interesting experiment will be to resequence this into more of a gradual build-up to the Crazy Horse stuff. Despite my feelings on the track sequencing, Chrome Dreams contains some of Neil’s strongest songs. This would have become his most popular album since Harvest, a status that Comes a Time would come along and achieve instead. That latter album’s success directly influenced Rust Never Sleeps. What if that success came a year before? I guess we can never know, but it’s fun to speculate about, right?

If this had come out before Hitchhiker and Homegrown, it would have been much more impactful, despite still being half released on other albums. It’s best viewed from that “what if?” lens then. Would we still have gotten the concept of Rust Never Sleeps just with different songs? For me, that’s the fulcrum this album rests on. Rust Never Sleeps was an important moment not just for Neil, but for the future of music. For Neil, it was him melding his love of music and his love of film into one complete, personal concept. For music, it was absolutely essential to the future grunge era, cited by many as a chief influence. And, timing wise, Rust Never Sleeps came right before Neil spent the 80s experimenting in different styles so as not to rust before our eyes. Whatever people say about his 80s era (and I’ve said a lot myself), it was perfectly understandable given his career long effort to not repeat himself endlessly in a desire to be popular. So was it best to parcel these songs out instead of putting out another hit album hitting on his strengths? Given what came next, I’d argue yes. Still, it’s nice to have an official Chrome Dreams to examine.

Instead of a Top 3, I’m going to suggest a track listing that may work better:

1. Pocahontas
2. Powderfinger
3. Captain Kennedy
4. Star of Bethlehem
5. Too Far Gone
6. Stringman
7. Will to Love
8. Hold Back the Tears
9. Lookout For My Love
10. Homegrown
11. Sedan Delivery
12. Like a Hurricane

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