For fans of indie music from the ’90s, revisiting Neil Young’s 1970s records feels like slipping into an old, comfortable shirt. He was a major influence in grunge and a staple at parties where singalongs often featured hits like “Only Love Can Break Your Heart” or “Hey Hey, My My.” Young’s blend of soft acoustic melodies and sharp electric riffs gave us permission to both dream and critique our flower power past.
Now, with the release of his new album featuring “lost” recordings, we wonder if it’s a treat for fans or just a cash grab. Just as he teased fans about possibly performing at Glastonbury, he drops an album filled with familiar tunes—no new material here. These ten tracks have enjoyed previous releases across various formats, frustrating some loyal collectors who feel Young is testing their patience.
For those less familiar, these songs were recorded in 1977, intended for a full album that never came to be. The first half was recorded in Florida, with Young handling most instruments himself, while the second half was laid down with a full band in Nashville. This release provides an excellent chance for newer fans to dive into classics like “Sail Away” and “Goin’ Back.” “Pocahontas,” which has appeared in several forms before, is presented here with a sharper mix, deepening Young’s haunting narrative about Native American struggles against colonization.
What makes this collection special is that it features the original mixes from 1977, a must-have for die-hard fans. You can almost hear the nostalgia in the crackle of the recordings. Young’s voice sounds raw and vibrant, as if he’s performing outdoors, invoking images of nature and reflection. The lesser-known track “The Old Homestead” stands out, with its eerie theremin enhancing Young’s ghostly campfire tale of escape from danger.
One notable track, “It Might Have Been,” showcases a full band sound with a warm, country vibe, combining heartfelt lyrics about longing and lost chances. The fiddle adds a playful touch, making you feel the joy and sorrow in each note. Young sings about making things right, emphasizing hope amidst regret.
However, there is a sense that Young is eager to capitalize on every note in his archive. “Oceanside Countryside” will be available in both clear and black vinyl, which raises eyebrows given his long-standing criticism of environmental issues. Despite this, I still plan to catch his Glastonbury performance. I’ll likely don one of my vintage shirts and find it in my heart to overlook the commercial side of things—at least until the next release, perhaps “Live at Glastonbury 2025!”
