Music Times ranks Neil Young’s “Dead Man” music score number 2 out of 7 top rock music scores of all time.
Guess which one is number 1#.
The publication writes:
“Neil Young’s score for Jim Jarmusch’s western Dead Man wasn’t actually composed. Rather, Young stood in a recording studio with some instruments and simply improvised music while watching a cut of the film. The resulting music is at times atmospheric and chaotic.”
A Greenpeace movie that Neil Young will present during the week’s concerts at Honor-The-Treaties. Neil said “Petropolis” was “probably the most devastating thing you will ever see.”
A trailer and more info can be found here:
Shot primarily from a helicopter, filmmaker Peter Mettler’s “Petropolis: Aerial Perspectives on the Alberta Tar Sands” offers an unparalleled view of the world’s largest industrial, capital and energy project.
Canada’s tar sands are an oil reserve the size of England. Extracting the crude oil called bitumen from underneath unspoiled wilderness requires a massive industrialized effort with far-reaching impacts on the land, air, water, and climate.
It’s an extraordinary spectacle, whose scope can only be understood from far above. In a hypnotic flight of image and sound, one machine’s perspective upon the choreography of others, suggests a dehumanized world where petroleum’s power is supreme.
The October 2013 issue of Uncut features a DVD review of Jim Jarmusch concert documentary “Year of the Horse” shot in 1996.
They write: “This isn’t older musicians trying to sustain some delusion of youthful potency; this is a bunch of middle-aged men, led by a surly, stomping guitarist in baggy knee-length shorts and a nondescript T-shirt.
” But the very lack of self-conscious stagecraft carries with it the implication that what you’re being given is something purely musical, unmediated by modern digital strategies that demand everything be a multi-platform, multi-media, interactive experience. It’s pure rock’n’roll, as the introductory tagline explain:
“Made loud to be played loud. CRANK IT UP!”.
It’s far from the ideal Neil and Crazy Horse setlist, Uncut opines, with only a handful of classics – including a version of “Tonight’s The Night” following a segment about the deaths of Danny Whitten and Bruce Berry – sprinkled parsimoniously through the show.
But it barely matters: as Young maintains, “It’s all one song,” an ongoing flow of music hewn into eight-to ten-minute chunks. And any technical effects are kept to a minimum, and used subtly, as when stage footage of the band playing “Slips Away” is blended with a tour bus shot of passing sky and landscape.
Neil Young Films Alchemy Concert Movie In Melbourne, Australia
by Paul Cashmere on March 14, 2013
With a capacity of 5000, tonight’s Neil Young & Crazy Horse at Melbourne’s Plenary Hall was the smallest room Young has ever played in Australia.
Tonight, Neil Young fans got to see him up close and personal for one of his most ferocious shows ever, with thanks to his band of pitbulls, Crazy Horse. I challenge any musician even two thirds younger than 67-year old Neil Young to go a few rounds with him on stage. He would destroy you musically.
I’ve seen Neil Young on every one of his Australian tours and by far this was his most powerful. In total, three hours from head to toe. Neil Young & Crazy Horse were like a hurricane this evening. Tonight he was totally switched to 11.
For members of Costco (warehouse store), you probably saw the interview with Neil in their monthly magazine (I’m guessing Costco is selling his autobiography).
Costco Connection: Are there things still left on your ‘bucket list’? Still things you’d like to try but haven’t had time to get to?
Neil: These days it’s all about closure of this and that for me. I have too many things to finish. How can I move on until I clean that slate? My film Human Highway [made in 1982] is one of those things. It should be available to the public. Dean Stockwell and Russell Tamblyn, my old friends from Topanga Canyon, and Dennis Hopper, a good old friend, were in this movie with me, and we wrote the dialogue as we went along. It is the dorkiest damn movie ever, and it walks a very fine line right on the edge of being too dorky. Some may say it falls over that line. The film was never put to rest to my satisfaction.
When I finish something, I want it to be right, or as right as it can