World Record (2022)

Quite unprecedentedly, Neil recorded a third album in a row with Crazy Horse. There have usually been gaps between Crazy Horse albums, but I can imagine that as they are all getting older, Neil wants to spend time with his close friends and bandmates. World Record is quite different sounding from Colorado and Barn, but very similar in theme: the climate and love. For awhile now, these have been the twin focuses in Neil’s music and life. For this third salvo, Neil and Horse went back to Malibu (site of many a Briggs’ production) and recorded with Rick Rubin at the legendary Shangri-la Studios. Built by The Band, it is now owned by Rubin. Obviously, Rubin has quite a reputation as a producer. Volume wars, brickwalled soundwaves, reports he doesn’t do much, that recent interview where he claimed he has no idea how to use a mixing console, etc. One thing that can’t be denied is that he’s behind many amazing sounding albums and seems to have a knack for coaxing a unique, spare sound from venerable legends (ex: Johnny Cash). In a lot of ways, he’s the producer Neil needed for this atypical sounding album.

According to Neil, many of these songs were written while he was walking his dogs. He would record them as whistles on his flip phone video camera. With Nils on lap steel and Neil on upright and “kick tub” (literally kicking a tub against a tree stump), opening song “Love Earth” is a good example of a song you can imagine humming on a hike and taking in some beautiful (or ruined) nature scenes. It’s catchy and simple and the organic feel of the song is reflective of the topic Neil is talking about. Is this what I want from Neil? Maybe not, but its a good song nonetheless.

Something I’ve been thinking about is how Mike Hsu from the Long May You Young podcast always talk about how Neil music is good for driving. But Neil has been slowly veering away from his car enthusiasm as he embraces the need for alternative fuels (most pointedly talked about on behemoth Horse monster “Chevrolet” later on in the album). He walks a lot and that difference in rhythm and pace has effected this album. It just sounds different and part of that is the cadence is different. I’m not a big fan of “Overhead.” There’s something a bit too awkward about it’s take on honkey tonk that makes Neil’s vocals in particular sound weak to my ears. I feel like this is a song that the Stray Gators era of Neil would have slayed, though. By contrast with Barn, I feel like the band is showing their age on World Record and this song is a good example of that.

On the other hand, one of the coolest songs on the album is “I Walk With You (Earth Ringtone).” The kick tub is back, but more importantly Old Black is laying down a really cool texture reminiscent of Le Noise. I swear I read or saw that Neil based the melody on the stock ringtone of his flip phone, hence the title. There’s something anthemic about this song that really works for me. “This Old Planet (Changing Days)” is a weaker retread of “Love Earth” so it doesn’t leave much of an impression. “This World (Is In Trouble Now)” is another somewhat awkward song, but I do appreciate the bizarre use of pump organ in a funk influenced song. James Brown did some killer stuff on organ and I could see this sort of in that same vein, but the cadence is a little too strange for it to work well.

Old Black is back on a song the band forgot to record for Barn, the raucous “Break the Chain.” This song feels in line with the overdriven workouts like “Sedan Delivery” and “Welfare Mothers.” I was never a big fan of those last two, but “Break the Chain” is a lumbering beast of a song. Love the way it starts up like an engine, a slow menacing growl. That growl persists for the entire song before stuttering close with some astounded comments from the band and Rubin. “Making the console smoke” indeed. I’m undecided on “The Long Day Before.” Sometimes I really love it and sometimes it seems a bit dramatic. Neil’s vocal and those huge harmonies really sell the lyrics. There’s something to be said for just letting these guys harmonize to carry a song that doesn’t have much to begin with. “Walkin’ On The Road (To The Future)” is another instance of being a weaker version of another song on the album (in this case, I prefer the similar “The Long Day Before” by a long shot). We are back to the pump organ funk for “The Wonder Won’t Wait” and it’s fun but again there is some fire missing from this.

The song from World Record that has commanded the most attention is the 15 minute “Chevrolet,” a Crazy Horse epic and Old Black showcase. It’s very good but I’m not sure its up there with the classics. It has most in common with the superior “Ramada Inn.” The most notable thing here is Neil’s extended thoughts on how to reconcile his love of cars and his love of the environment. Going back to what I said earlier, this is the song on the album that does (fittingly) sound like a driving song. The pace is relentless, the guitar soars, and you can get lost in the solos. Perhaps the only knock is that it’s not necessarily a notable melody or chorus. It’s also too purposely messy. These epics always turn into messy jams live, but the studio versions have a little restraint that let the the words and melodies shine through. Aside from being “a long Neil and the Horse feedback song,” I’m not reaching for this over “Ramada Inn” or “Like a Hurricane.”

A short reprise of “This Old Planet” closes out the album and leaves me wondering a bit if this is a good “album” or a collection of songs that don’t really hang together aside from theme. I’d almost consider dividing the songs into the pump organ heavy ones and everything else. The pump is such a unique but overwhelming sound, it interferes in some of the subtler moments for me. That said, I’d take World Record over a lot of music these days and I’m frankly astounded and happy that Neil is still putting out songs like “I Walk With You” or “Chevrolet” this late in his career.

Top 3:

1. I Walk With You (Earth Ringtone)
2. Chevrolet
3. The Long Day Before

Cut song: This Old Planet (Changing Days)

There’s a pretty cool making of doc for World Record that unfortunately uses a lot of pixelated in studio footage. The real draw is seeing the environment and moments of banter with the band and with Rubin. No great revelations but seeing Neil create some of these songs with the band is always a treat.

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