Stream on Demand: "Harvest Time" & "Weld: Buffalo" | Neil Young Archives
via Neil Young Archives
From Neil Young Archives comes news that Harvest Time and Weld: Buffalo are now in MovieTone to stream on demand for Rust & Patron subscribers.
Back in 2020, Neil Young announced a new "Weld Series" planned for Neil Young Archives and the full concert of Neil Young & Crazy Horse in Buffalo, 1991 is now streaming on demand on MovieTone | NYA

"LIKE A HURRICANE" (encore) by Neil Young & Crazy Horse
Memorial Auditorium, Buffalo, New York - 1991-02-16
frame via Hearse Theater | NYA
1991
Buffalo's "LIKE A HURRICANE" 12+ minute encore and considered
to be "Mind Blowing" -- even by Neil himself. Be sure to watch last few seconds of the encore
from the CRAZY HORSE - BUFFALO WAR MEMORIAL film with a very
special treat for those with eyes open to see for. HINT: It shows the calm in the eye after the storm and will break every rusties heart.
Two recordings from Buffalo concert are on the live album "WELD" -- the "stunning towering majesty" of an electric Bob Dylan cover of "Blowin 'In The Wind" and the "Mind Blowing" encore of "Like A Hurricane".
Rolling Stone's Andy Greene writes: "It’s Young at his Godfather of Grunge prime and a great gift for fans stuck in their homes."
The following comment was posted by the ever so faithful and fearless Scotsman:
The long-awaited video of Like A Hurricane from Weld is now streaming on NYA.
One of the greatest Crazy Horse live performances ever (admittedly there are a fair few others, maybe several thousand).
If (for some strange reason) I had to pick just one officially released Crazy Horse track, this would be it.
It really is an incredible performance that just builds up to an outrageous level of intensity. Set aside 13 minutes this evening and watch it; then set aside an hour to get your breath back.
The complete Buffalo 1991 show is set for its premiere on Sunday. Stay home and enjoy it.
Scotsman.
Previously, a "blistering" 8 minute+ "Crime in The City" version by Neil Young & Crazy Horse was screened.
As mentioned, the 1st release from the "Weld Series" will be from Memorial Auditorium, Buffalo, New York, on 1991-02-16. A preview clip was posted on NYA of "Campaigner" from Buffalo which indicates that this will be a performance oriented release concert as opposed to the original WELD release which contained vast amounts of audience reaction. Apparently, Manager Elliot Roberts was quite opposed to the WELD editing that favored audience over band. Neil seems to be correcting this decision by saying: "Well Elliot, you got it. Better late than never my old friend."

"Crime in The City" by Neil Young &Crazy Horse
Memorial Auditorium, Buffalo, New York - 1991-02-16
frame via Hearse Theater | NYA
(See NOW PLAYING: A "Blistering" Version of "Crime in The City" by Neil Young & Crazy Horse - Buffalo, 1991)

"How many roads must a man walk down
Before you call him a man?
Yes, 'n' how many seas must a white dove sail
Before she sleeps in the sand?
Yes, 'n' how many times must the cannon balls fly
Before they're forever banned?
The answer, my friend, is blowin' in the wind,
The answer is blowin' in the wind."
Labels: @CrazyHorse4HoF, @NeilYoungNYA, #CrazyHorse4HOF, #DontSpookTheHorse, #MayTheHorseBeWithYou, #MoreBarn, #NeilYoung, neil young, neil young archives, song, weld










































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Thoughts on World Record (unsure where to post at this stage, so they end up here).
After finally having the chance for uninterrupted, close listening, I find Dan's initial take right on. Funnily enough, I last listened to the album while dog-walking, inadvertently mirroring Neil's theme of creating the music while walking. Maybe this is the best way to experience the album, while on the move. Admittedly, this means one doesn't necessarily have access to hi-fi audio equipment while listening. Nonetheless--if FITR is driving music, these are walking songs.
I doubt anyone can add much to scotzman's account of Chevrolet. For me, however, the first nine songs fit together so completely, so organically and symmetrically, as a unit of music that by the time we get to Chevrolet, my most powerful impression of the album has already occurred. Much as Chevrolet is a creature unto itself, side by side by side with the rest of World Record, it feels like icing on the cake, gilding the lily--in the best possible way.
Although the 3LP/2CD configuration is questionable on a couple of levels, my assumption is that Neil (for sound artistic reasons) wanted Chevrolet to stand on its own. That is certainly the effect of putting it on a separate disc, especially when the preceding songs fit together in such an organic way. (One or two indy bands have curated music this way and called it a "double EP", incidentally.)
As usually seems to be the case for me, there are a couple of particularly wonderful songs that others are inclined to overlook. I'm thinking of Overhead and The World (is in Trouble Now). The former is a pure burst of sunny enthusiasm of the soul. The latter, with its shuffling rhythms and bluesy, lurching pump organ, has a different kind of immediacy, an earthy, angsty jumble of impressions that ends up wrestling with existential fears and fundamental questions:
"Because the earth has held me so, I never will let go--I never will let go..." I interpret this as the will to live, the desire to act, even in the face of the inevitable. Songs like this one, Break the Chain, and I Walk with You (Earth Ringtone) deal with liminal spaces between life and death. I Walk with You is the most refined, but The World (is in Trouble Now) is my favorite, perhaps because of its precipitous rawness.
On I Walk with You, for instance, I don't know how anyone can listen to the lumbering, swampy, sawing guitars and not feel the weight of the song. That's without even getting into the words, which should speak for themselves (the mix does occasionally bury vocals but when in doubt, the lyric sheet is your friend).
"Walk with me now to the ends of the earth and you'll see what the damage can be... the end of wars/the price of life/the cost of care/the toll of strife."
The best moments of World Record, like this one, show a mutuality between words and music, where each component makes the most of the other to create a meaningful whole. At the least, I challenge anyone to really pay attention to the words without concluding that some major statements are being made. The primary one being to "love earth and your love comes back to you."
Lastly, despite some comments to the contrary, I don't think it takes special effort to get this experience out of Neil's recent music. At least, no more effort than is required to listen to any music closely, with attention to the whole as well as individual parts.