On Neil Young's latest album, "Are You Passionate?" the artist does not live up to the reputation that he had built for himself in the sixties. The album is a disappointment in that Young tries too hard to shake his hard rocker image.
"Passionate" is like a large spoonful of sentimental syrup -- it is hard to swallow. The opening track, "You're My Girl" is overly poppy and marks Young's futility in his vague attempt to write a love song. Despite the occasional electrified guitar rip, the song is reminiscent of combination folk/soft rock that emerged during the '50s.
Young continues his downward spiral on "Mr. Disappointment." The song opens up with heavy guitar rips and sounds promising as Young breaks out with raspy, Tom Waits-sounding vocals. While much of the track is a bluesy spoken word, the doo-wap falsetto background vocals unnerve the listener. As for the lyrics, they lack originality: "Let's say that love is blind. Let's say that time is kind. Let's say that it's not over 'til it's over." Full of meaningless metaphor and clich, the track lives up to its title.
"Differently," possesses an overall sound that is classic Neil Young. But the song is a cheesy plea for re-acceptance -- as things will be different in "This brand new day" -- the lyrics remain undeveloped and do not achieve their purport.
"Quit" is like an eighties hair band take on a power ballad minus the power: "Hey baby I'm your man, I know I treated you bad, but I'm doing the best I can." Without the lyrics, the music could stand on its own. But Young's proclamation of wrongdoing cannot support a successful album.
Clearly one of the two standout songs on the album is, "Let's Roll." The thick, substantial hook reels in the listener. The juxtaposition of gruff back up vocals with a fade out guitar solo cries passion. The song is enhanced by Young's traditionally whiny voice: "Let's roll for justice. Let's roll for truth. Let's not let our children grow up fearful in their youth."
"Are You Passionate?", the title track, is a weighty melody infused with jazz and blues. With each strike of the organ, a key change is introduced providing an interesting spin. The heartfelt vocals along with innocent and simple piano perfectly complement riffs in guitar playing. Additionally, the lyrics in the title track are somewhat more substantial than in the majority of other songs on the album.
Hard drums along with thick, strappy yet simultaneously delicate guitar enhance the ardor of "Goin' Home." The strain in Young's soothing vocals are standard as he tells the story of the loss of his love through historical anecdote. Through the story of Custer's last stand, Young expresses the strength of his woman's toughness.
"When I Hold You in My Arms" has the annoying irritation of '50s teen-idol pop music. Young's attempt to infuse organ with country 12-bar fails as he unsuccessfully reproduces The Grateful Dead's signature sound. The message is a little deeper as far as love songs go: "You gotta hold onto something in this life." Here, he speaks of a desire and yearning for constancy within love.
"Be With You" has a pronounced beat; it is uplifting in the corny Motown-era of music domination sort of way. The chipper tune possesses simplistic lyrics, "I got a love gonna fill you up; Take you to the Promised Land." While it is feel good music, it is too poppy for Neil Young to pull off.
"Two Old Friends" is a conversation between God and a preacher; the vocals here are haunting. The music lacks inventiveness; although, the soothing strumming presents a dark overtone that is Young's trademark. The album closes with a series of bland songs marred by flat lyrics.
Due to its uninspired lyrics, this album should be avoided. Go get yourself a Young classic and skip out on "Are You Passionate?"
