A Statement Of A Single Man

by John Morthland

Review of Contra Costa Junior College Gym show, March 13, 1970 (with Crazy Horse)

Everything about Neil Young's approach to music has become so highly personalized that when he performs, he seems at first to be oblivious of his audience. That impression is a superficial one, though, for his music demands rapt attention, and he quickly establishes such an intimate relationship to the audience that even a college gym seems like a cozy little club.

That's what he did here, at the Contra Costa Junior College gym, across the Bay Bridge from San Francisco. And the word from other cities along this, their first tour together, is that wherever he and Crazy Horse went, they won over the crowds in no time. Young is finally getting the recognition he has deserved ever since those frustrating days with Buffalo Springfield.

Like a Crosby, Stills, Nash and Young concert, a Neil Young concert begins with an acoustic set. Young plays acoustic in a hard, percussive manner, while still keeping intact his captivating melodies, like the tender "I Am A Child." He also does "Broken Arrow," the electronic collage from Buffalo Springfield Again, as a solo number now. And he closed out the acoustic set with "The Loner," on which he stretched out the lyrics in a Dylanesque manner: "Knohohoh when you see hiiiiimmm / Nuuuthiiiing can freeeee hiiiiimmm / Step aside / Open wide / It's the Lohohohohnerrrrr." it was as powerful a statement as a single man can make.

Crazy Horse - guitarist Dan Whitten, bassist Billy Talbot, drummer Ralph Molina, and electric pianist Jack Nitzsche - joined for the rest of the set. Crazy Horse is a strong band that gives Young all the support he needs. They opened with "Everybody Knows This Is Nowhere," did a new one, and then went into "Down By The River."

That was the one the crowd had been waiting for, the one they knew best. With Crazy Horse rolling along steadily behind him, Young displayed amazing virtuosity. Pacing the stage in his patched blue jeans, his head jerking up and down with the music, he picked guitar lines seemingly out of nowhere, piling them up one staccato note on top of another, never once letting you forget those lyrics. "I shot my baby!"

Between songs he charmed the audience with stories about near-accidents and observations on grass, his voice taking on the inflections of the fall guy in a comedy team. They responded by applauding each song with the first few chords, even the new ones that they didn't recognize.

The set clamed down slightly with another new song, "Wondering," and Whitten's "Come On Baby, Let's Go Downtown." (A whole album of songs written by Crazy Horse members is in the works.) Then it started building again with "Cinnamon Girl," which won a standing ovation even though it wasn't the last song. "Cowgirl In The Sand," Young's most romantic and most fully realized performance thus far, was the finale, and it gave Young another vehicle for long screaming improvisations.

Part of Young's power rests in his imagery, which, while sometimes strange, is almost always rich and evocative. Another asset is his high quivering voice, which is also unique. He seems most at ease with Crazy Horse, and they in turn fit his style better than any of the other bands he's worked with. On this night they could do no wrong anyhow, and, on leaving the gym, I noticed that most everyone was going home happy. It's easy to see why.