Rust Never Sleeps (1979)
This is a seminal moment in Neil’s discography that encompasses a few releases so I’m going to outline it a little for some perspective to start:
1976 - “Pocahontas” is recorded at the Hitchhiker sessions August 11, 1976. It will appear on Rust Never Sleeps with some overdubs (and then later without on Hitchhiker)
1977 - “Sail Away” is recorded during the Comes a Time sessions in 1977.
1978 - “My, My, Hey, Hey (Out of the Blue),” “Thrasher,” and “Ride My Llama” are recorded live at The Boarding House in San Francisco, May 1978. Side B (the electric side) was all recorded live later in 1978 at different venues during the tour.
1979 June - Rust Never Sleeps is released.
1979 August - Rust Never Sleeps, a film recorded in October ‘78 in SF, is released.
1979 November - Live Rust, a live album comprised of recordings from the late 1978 tour, is released.
So this period resulted in three separate releases and most of it was recorded live. This is something that Neil does more and more, recording live vs using lots of overdubs. Rust Never Sleeps is an interesting document in that way. There is occasionally crowd noise but it’s mostly removed so as to appear closer to a studio album. That said, two of the songs were recorded in a studio and later added to with overdubs.
The version of “Pocahontas” is the same recording as Hitchhiker, but with some additional instrument and vocal overdubs. I really love that unembellished recording and the overdubs rob it a little of the fragility of the original. There’s something about Neil and his acoustic playing that just gets to me. Likewise, I prefer the acoustic opening number “My My, Hey Hey (Out of the Blue) to it’s electrified big brother “Hey Hey, My My (Into the Black)” that bookends this album. The wistfulness in this ode to rock ‘n’ roll in the changing landscape is more powerful with Neil alone. However, the electric finale is a statement of intent for sure. Neil is still here and has things to say.
The seldom heard “Thrasher” is a lovely melody. This veiled meditation on Neil’s relationship with CSNY is filled with deep metaphors and amazing imagery. It’s too bad it doesn’t get more play over the years, although I believe he brought it back into live shows in later tours. “Sail Away” is lovely but a bit too much of a ballad for me, personally. It’s a good denouement for the acoustic side, though. Because once the electric side starts, this album takes on a very different feel.
“Powderfinger” is one of those songs where I’ve come to prefer the Hitchhiker solo acoustic version despite having many fond memories of its Crazy Horse renditions. Whereas the acoustic version is sad and contemplative, the electric version enhances the desperation of the narrator to great effect. I have to admit I’m not a fan of either “Welfare Mothers” (catchy but a somewhat embarrassing and derogatory sentiment) nor “Sedan Delivery” (it feels overstuffed as a song, maybe it’s the quicker pace).
By the time we get to the distortion drenched monster of “Hey Hey, My My (Into the Black),” we start to get Neil’s purpose with this album and its acoustic/electric split (which mirrors his live shows at the time). A meditation on the changing landscape of rock music at the time, he shows that he will never stop pushing the boundaries of his craft, never stop being relevant. But he also won’t stop being true to himself. While the acoustic companion is mournful, almost lamenting the death of folk, this other side is basically a warning as rock enters a new age. This is a perennial live favorite, but I have to stay this version is a bit stiff compared to other recordings I’ve heard (like Weld).
I’ve been listening to a lot of Long May You Young podcast and they do something I’m going to adopt (no, not that) in this new Substack era:
Top 3
- Thrasher
- My My, Hey Hey (Out of the Blue)
- Hey Hey, My My (Into the Black)
(Despite my fondness for “Pocahontas,” I vastly prefer the Hitchhiker version)
Cut song: Welfare Mothers. I just dislike it.
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