Comes a Time (1978)

The story of Comes a Time is the story of Nicolette Larson. When Neil was finishing work on the songs that would round out American Stars ‘n Bars, he was looking a singer to accompany him. After asking three different people and hearing her name from all three, he met her at Linda Ronstadt’s house. The three of them ran through a few songs together. Larson and Ronstadt would come to be the “Saddlebags” on American Stars ‘n Bars, but Comes a Time is where Larson would come to the front in what can only be described as duets. Not only that, but she and Neil would enter into a relationship during the course of recording, that would be finished by the time the album was actually released the following year.

Neil originally recorded Comes a Time as a strictly solo album but his label boss asked if he would try it with some rhythm backing. Strangely, Neil took this direction and decided to go to Nashville and overdub a whole host of musicians on to his bare acoustic tracks (that original version was apparently called Oceanside/Countryside and will get a release in the next volume of his Archives series. Enlisting an army of session players, including stalwarts Ben Keith and Tim Drummond and legends Karl Himmel, Spooner Oldham, Rufus Thibodeaux, and a barely there J.J. Cale, the album became lush and that no doubt contributed to it being his most successful album since Harvest.

Singing on the same mic like he does with Crazy Horse’s Billy Talbot, Larson’s contribution became essential. Ben Keith called her the best harmony singer he ever heard, tracking Neil perfectly. Of course, Neil doesn’t want perfect and would always throw a wrench into the final product:

“Neil’s got three faders of her. And he said ‘Now, Nicolette, this is the best vocal you did’ — pushes the fader up — ‘and now here’s the next best vocal you did’ — pushes that fader up — ‘but here’s the one we’re gonna use, ‘cause we like the feel.’” (Engineer Denny Purcell to Jimmy McDonough, Shakey)

The opening “Goin’ Back” has an undeniably great vibe, where everything is working in tandem to create this full musical experience. Nicolette, Neil’s 12-string, the solid rhythm section, and most of all, a deft orchestra that provides just the right amount of string accompaniment. It’s gorgeous. Which puts it a little at odds with the next track. “Comes a Time” is more of a stab at a popular country tune, complete with a very upfront fiddle by Thibodeaux. I’ve always loved this song, but know it primarily from the solo acoustic version on Live Rust. I like this full band version as well, although the fiddle is a little too much. The fiddle does it give it a little bit of a spinning feel to go along with the lyrics. You really get a sense of that perfectly tracked duet on this song. Neil and Nicolette sing so well together here.

What’s this? A stray Crazy Horse tune on this pleasant country orchestra album? Yep, “Look Out For My Love” is a full on Crazy Horse tune, but it’s one of their more subdued collaborations, with Neil on acoustic and electric guitars and Frank on piano. Neil does this incredible wiper sound when the lyrics mention window wipers. Big fan of this song and it’s nice to hear the Horse in the mix on this album. And we get two Horse songs in a row with “Lotta Love” following it. This song would go on to be a massive hit for Nicolette in a vastly different form. The story goes that she was in his car one day and found the tape of it on the floor. He told her she could have the song, despite it going on to appear on this album as well. I’ve never been too impressed with this song. I can see why it was such a pop hit for Nicolette, but for Neil, it feels kind of light.

The stately “Peace of Mind” doesn’t do much for me. It’s lovely like many of the songs here, but there’s something about its rhythm that never quite lifts off. However, I love “Human Highway” in pretty much any rendition. Neil has tried this song a few times and it nearly saw release on various albums up to this point (Hitchhiker, Chrome Dreams, and with CSNY for an album to be titled after it). This is a great version of it, with Neil’s banjo charmingly evoking the banjo from “Old Man.” I’m very fond of the fully banjo rendition on Songs for Judy, but hearing the harmonies on this one make it clear why Neil chose to make this official studio release of it. “Already One” is a very sweet song in both performance and content, but that unfortunately just doesn’t appeal to me. I can’t deny it’s good, but it’s perhaps a little too sweet. What can you say about a song about a child shared by two people who have separated?

“Field of Opportunity” feels a little hokey to me with it’s loping country rhythm, prominent fiddle once again, slide guitar, and a bit too much twang. I don’t like to criticize a song simply for it’s genre, but this song feels as much a parody as Old Ways to my ears. I’m also not a fan of “Motorcycle Mama” but man oh man, Nicolette’s soul singer breakdowns are incredible and shocking. Who knew this lovely harmony vocalist has so much sass available when let loose? Making it four in a row, “Four Strong Winds” closes the album with a song I’m not keen on. This Ian & Sylvia (Tyson) song is essentially the official song of Alberta and beloved by many Canadians. Neil has made it a point to sing it throughout his career, even in his most recent tour this year. It’s a good song, but it’s so clearly not a Neil Young composition, it hits a bit weird amongst his own songs.

Nicolette Larson would go on to perform with Neil a few more times after they broke up, notably on Harvest Moon and for the MTV Unplugged performance. Sadly she passed away in 1997 at the young age of 45.

Top 3:

1. Human Highway
2. Look Out for My Love
3. Comes a Time

Cut song: Field of Opportunity

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