![]() But a certain tentativeness is evident on Glory songs like “Fuckin’ Up” and “Mansion on the Hill,” which would tighten up on the road “Farmer John” sounds especially, shall we say, liquored up. ![]() ![]() What we’re hearing is the musicians feeling their way - for only the second time onstage - through the new material from the just-out Ragged Glory. The must-plays, like “Cinnamon Girl,” get by through sheer musical memory. They’re not yet the smooth-galloping machine they would become on the full-blown tour, though. (Young must have a fondness for that venue, since he had also played there, somewhat incognito with the Ducks, over a decade before.)Īs on Weld, Way Down in the Rust Bucket showcases a reconvened band that sounds newly motivated after increasingly sluggish and creaky shows in the Eighties. To warm up for the 1991 arena tour heard on Weld and its noise-mayhem sibling Arc, the band played two club shows in Northern California, and this long-bootlegged tape, from the 800-seat Catalyst in the fall of 1990, documents one of them. Next to those projects, Way Down in the Rust Bucket isn’t especially revelatory, nor does it shed new rays of gleaming light on an under-documented part of the saga. We can now hear Young and the band in its early, funky, Danny Whitten days ( Live at the Fillmore East), breaking in Whitten replacement Frank “Poncho” Sampedro (the often breathtaking Japanese 1976 show included on last year’s Archives Volume II), thundering in arenas not long after that ( Live Rust), flexing their newly revitalized muscles in the early Nineties ( Weld), and showing the flannel-shirt crowd a thing or two about endurance and longevity in the mid Nineties ( Year of the Horse). Between vintage concert albums and recent ones excavated from archival tapes, it’s become easier than ever to track the onstage history of Neil Young and Crazy Horse.
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