Product Description
As New! Rare & Highly Regarded Reissue Of The Fantastic Fifth Neil Young LP On Quality Vinyl. “Wallpaper” Cover (The Umbrella Floral Design Printed Inside The Sleeve). Includes Inner Sleeve.
Neil Young Archives Official Release Series – NYA ORS 06. Remastered for vinyl from the original master tapes by Chris Bellman at Bernie Grundman Mastering, Hollywood CA.
Condition – Vinyl: NEAR MINT! Appears to have never been played.
Condition – Cover: EXCELLENT! Some creasing.
Side 1:
Walk On
See The Sky About To Rain
Revolution Blues
For The Turnstiles
Vampire Blues
Side 2:
On The Beach
Motion Pictures
Ambulance Blues
Geoff –
Easily one of Neil Young’s BEST albums, the BRILLIANT ‘On the Beach’ is bluesy & dark, it's Neil wailing from the soul with his voice and guitar! Easily one of Neil Young’s BEST albums, I play the BRILLIANT ‘On the Beach’ very regularly! It's bluesy, it's dark, it's Neil wailing from the soul with renewed strength in his voice, while stretching out on guitar! For decades, Young blocked the LP from being released on CD, as he didn't feel the format captured the live, open sound of the vinyl. ‘On the Beach’ is a holy grail in the extensive Neil Young catalogue and is well worth seeking out!
AMG –
On the Beach was savage and, ultimately triumphant, with it’s own ragged style… Following the 1973 Time Fades Away tour, Neil Young wrote and recorded an Irish wake of a record called Tonight's the Night and went on the road drunkenly playing its songs to uncomprehending listeners and hostile reviewers. Reprise rejected the record, and Young went right back and made On the Beach, which shares some of the ragged style of its two predecessors. But where Time was embattled and Tonight mournful, On the Beach was savage and, ultimately, triumphant. "I'm a vampire, babe," Young sang, and he proceeded to take bites out of various subjects: threatening the lives of the stars who lived in L.A.'s Laurel Canyon ("Revolution Blues"); answering back to Lynyrd Skynyrd, whose "Sweet Home Alabama" had taken him to task for his criticisms of the South in "Southern Man" and "Alabama" ("Walk On"); and rejecting the critics ("Ambulance Blues"). But the barbs were mixed with humor and even affection, as Young seemed to be emerging from the grief and self-abuse that had plagued him for two years. But the album was so spare and under-produced, its lyrics so harrowing, that it was easy to miss Young's conclusion: he was saying goodbye to despair, not being overwhelmed by it.