On The Beach

Not shore about this one

I don't know what it is about Neil Young - his songs are not that complicated, the playing is not that flashy, his voice wavers and is almost whiny...but somehow it works. This album is captivating and every track is fantastic. I never heard any of these songs or this album before today, but every song pulled me in. Walk On was a good basic intro, but the Sky About to Rain was the first song to "hit me" - I really liked the Wurlitzer on that track. Revolution Blues had a good, driving theme. I even liked the banjo in For the Turnstiles. Vampire Blues was a very cool track and it was about this point that I said to myself "This is an excellent album"...then I got to On the Beach. It really amazes me how Neil Young can write such a straightforward song yet it carries such powerful emotion. Part of it is clearly his lyrics and vocal style, which is so raw, but it amazes me how much this song pulled me in. Motion Pictures (for Carrie) was another straightforward but captivating song. Finally, I found myself lost in Ambulance Blues. When it was over, I just felt the need to sit in silence. Wow, what a great album.

I’m so glad Neil Young isn’t on Spotify because this is now the fourth Neil Young album that this list has generated for me and I do not want him showing up in my Spotify Wrapped as my most listened to artist of the year because he’s trash and I think the only reason that four of his albums could possibly be on this list is simply that the creator of 1001 Albums has a huge crush on him. Should I be expecting more Neil Young in the future? If so, I’m going to need at least 3-5 days notice to prepare my ear holes.

10 Albums You Actually Need to Hear Before You Die Chapter 2: Neil Young - “On the Beach” Getting this record recommend to me and being able to push a button and listen to it is nothing short of a miracle in my mind. I was a Neil Young fan for over a decade before I was even able to listen to this record. It was so out of print from the mid 80’s until the early aughts that unless you could find a vinyl copy or a bootleg cd recorded from vinyl, you were out of luck. On the Beach, at that point, had obtained a mythical status, “the greatest Neil Young album”, a “lost masterpiece”. When it was first released on CD in 2003, and I finally got to hear it, it lived up to the hype and then some. It is easily my favorite Neil Young record, a definite candidate for his best album and one of the five best records of the 1970’s. Every song on “On the Beach” is a Neil Young classic. “Walk On” kicks things off with an upbeat (by comparison to the rest of the record) southern rock feeling. The stunning, Wurlitzer driven second track, “See the Sky About to Rain” is one of Young’s most beautiful tunes, a mournful yet psychedelic exercise. Aided by Honey Slides, an edible, highly potent, marijuana/honey amalgamation created by Neil and his band, Neil turns in one of the greatest psychedelic songs in his entire catalog on “See the Sky about to Rain”. Rick Danko and Levon Helm of The Band (along with more honey slides) provide a thundering rhythm section on “Revolution Blues”, a noisy rock stomper about the Manson murders. “Well, I hear that Laurel Canyon is full of famous stars, but I hate them worse than lepers and I’ll kill them in their cars,” Young sings before launching into the second of two blistering guitar solos in the song. Young is at his most aggressive, maybe ever, on Revolution Blues. It’s a track that seethes with white-hot hostility. Even if David Crosby guests on rhythm guitar, Revolution Blues couldn’t be further from the pacifist hippy mentality that CSNY, Young’s side hustle, would typically traffic in. Revolution Blues is a goddamn masterpiece and what I wouldn’t give for a full album the band that recorded it: Young on Lead guitar and vocals, David Crosby on rhythm guitar, Ben Kieth on Wurlitzer, Danko on Bass and Levon on drums…now *that’s* a supergroup. We’ll call them Neil Young and the Honey Slides. I fucking love that song. “For the Turnstiles”, a plucky banjo and dobro duet between Young and Ben Keith, calms the storm a bit, if only temporarily, as “Vampire Blues” (the only one of three songs with “Blues” in the title that actually resembles the blues) lumbers in. It’s a disillusioned meditation on the state of the world in in 1974: a dire warning about our reliance on fossil fuels spurred on by the gas crisis and poor economy…”Good times are coming, but they’re sure coming slow” - if you can’t relate to that in 2023, it’s time to pull your head out of the sand. Neil Young’s world was falling apart in 1973-74, with friends dying of heroin overdoses, a relationship on the rocks and he could see the end coming. “The world is turning, I hope it doesn’t turn away,” he sings on the title track, a slow burning, introspective rumination on fame and his current state of affairs. “Motion Pictures” mines similar territory: Young’s disenchantment with fame and (possibly) his relationship with actress Carrie Snodgress. Sometimes it’s all futile, you can try your best to stop the world from turning, but you just can’t stop the tide: “…there ain’t nothing like a friend who can tell you you’re just pissing in the wind”. We all need that friend who can tell us when we’re wasting our time and energy, and here, on “Ambulance Blues”, Neil Young seems to be acting as that friend not only to himself, but also to the listener. “On the Beach” is the highest of several high watermarks in Young’s impressive 1970’s output: a raw, introspective and often bleak record; a record that is completely authentic and doesn’t hold anything back. It’s a masterpiece from start to finish and is unequivocally my favorite album of all time. If it’s not yours, that’s cool…but it really should be. [Postscript: I just finished watching the season finale of Poker Face, the excellent Natasha Lyonne whodunnit, and what song played at the end of the episode? “Walk On”. The matrix is real, everything is connected, we live in a simulation…What are the odds of that? I spend all day listening to and reviewing On the Beach and the only television show I tune into today ends with an song from On the Beach? Are you fucking kidding me? Holy fuck, unbelievable. Look at the date stamp on my review, then Google the airdate for S1E10 of Poker Face…I’m going to start a religion, The Church of the Honey Slides. We meet on Sundays, imbibe of the holy honey slides and crank Time Fades Away, On the Beach, Tonight’s the Night and Zuma. Long Live Neil Young.]

I wanted to like this. Opened well, but 'For the Turnstiles' broke me, awful voice. I really don't know what I would have listened to in the late 60's/early 70's. All this country tinged folk with horrible singers.

That’s ENOUGH

This fucker wants his music off Spotify and now I have to jump through hoops to try and find his old ass album? No thanks. Just like people who complain about piracy, if you make it difficult for people to find your content, they either won't or they will pirate. I can't even be bothered to pirate this guy. I don't pay for all these music services so you get a 1-star for being a tool.

The best sort of "lost classic", i.e. the one that actually lives up to the legend. Fantastic stuff. Neil keeping it off the market for so long only demonstrates how much of a dick he can be as a person whatever his musical gifts.

Starts with one of my all time favorites and somehow gets better. Neil Young is one of my all time favorites and this album is exactly why. I love the soft twang and the modulating energy and mood of this album in particular. Light, sunny, and fluffy songs like For the Turnstiles into the haunt of On the Beach. Good stuff.

He really is one of the best. Something so mysterious and unconventional about his voice - seems like it should be grating and annoying but it never is. Vampire Blues is such an excellent song.

Following the commercial success of his most accessible album (Harvest), Neil Young stated that he felt like he was in the "middle of the road" and wanted to head toward "the ditch." This album is his first step in that direction, and it's a good one. There are some really clever musical moves (listen to Revolution Blues and On the Beach back to back for an example) and some very dark, instrospective lyrics. This album doesn't contain any of my favorite NY tracks, but it might be my favorite of his anyway. Best track: Walk On

I loved it! A pleasant surprise

"You go to a supermarket, and you see a faggot behind the fuckin’ cash register; you don’t want him to handle your potatoes.” - Neil Young

Did he get whinier? I can't imagine a less beachy album than this.

Love this Album. What a journey. Walk On is the perfect starter and so many gems in here (Rev Blues, For the Turnstiles, Vampire Blues, On The Beach). As an album though, it's pretty bloody close to perfection. Those strings on Ambulance Blues! So beautiful and a great finisher to an incredible album.

On the Beach starts off very well for me. Walk On is pure psych, very little of the folk that pervades the songs as the listen continues. It’s one of my favorites for this reason, as Neil’s voice here sounds awesome and super clean, with nice background elements to support him. See the Sky About Rain is the continuer, and it certainly is great, but a step-down from the intro. It feels more folky which increasingly becomes my main gripe with every additional song on this album. Its not that folk isn’t or can’t be good, it’s just harder for me to find a song or album that I can enjoy that is structured in this singer songwriter format. That being said, On the Beach was still a good song as well, surprised me mid listen. All in all, I liked On the Beach, its a good album, but the contrasting genres that fought for prevalence in most songs held it back. Best Song: Walk On Worst Song: Motion Pictures (For Carrie)

It's a tough thing to have a world view and to weave that into music in a way that doesn't feel heavy handed or is off putting. I think Neil Young does that well. I can't say I'm a big fan of his music, or this album, but I appreciate his willingness to take a stand, given it can easily up-end his career. Even to this day, with his most recent stance to pull his music from Spotify in response to their support of podcasts that give a platform to disseminating misinformation, Neil is demonstrating that there is value in, and values around, his artform that he is willing to defend. That principle of integrity and willingness to take a stand, is something we all need to hear. For that, I think this album is worthy of being on the list, if for nothing else than the reminder it provides. Music is far more than just audio decoration, filling in the background of our lives.

This album wasn't widely available until right about the time when I left Lawrence for Providence and I remember it had a certain mystique amongst my friends because of this. We must have been listening to vinyl rips from napster or kazaa or something. I remember my friend's band Ghosty even did a cover of Vampire Blues at a show once that was pretty fun. Production is definitely not smooth but not necessarily lo-fi. I find it very approachable, vulnerable even. I feel like it loses steam a little on the second half, especially with the last track, but all still prime Neil. Great album cover too.

Mellow stuff, I'd imagine it would be great on a fall day when you're longing for the summer just past.

A few great songs, but overall okay.

Giving dad rock, some nice depressing rock progressions here and there. His voice is kinda bland but its higher pitched which creates some nice contrast between the instruments, though there isn't generally much emphasis on the low end for it to have a big effect.

The instruments and sound are good. Neil’s voice is okay but get’s on my nerves at times.

I already know this is gonna be a 3. I don't think it's gonna be something I'll remember, but the instrumentals will be solid and I'm not a flagrant hater of Neil Young's voice like some people (it's max brodsky, the people I am talking about is actually one man and that man is max brodsky, he currently resides on cranberry lane and has somehow roped 3-4 individuals into a 3 year commitment of album listening and we can't escape, if you're reading this, send help. The 3-4 of us have become appreciators of each others' wit and music taste but we can't escape, we can never escape, oh god he's coming, I can already see the texts I'll receive, oh god what have I done. Have mercy on my soul.) it was a 3 I was right (I enjoy being a part of this album review process and was not forced to say this at gunpoint while my future wife is being made to watch a neil young biopic)

On the Beach by Neil Young (1974) I’ve always been a fan of Neil Young, but I’ve never heard this album, which is shame, because it’s really good, if understandably unpopular. This is music that would have helped at times when tough decisions had to be made. Young does despair with panache, and causes the listener to take a deep breath, turn in the right direction and “Walk On”. The hope is but implicit (except the last line of this otherwise unpolitical record—take that, Nixon! [The headline on the 3/20/74 newspaper in the cover photo reads: “Sen. Buckley Calls On Nixon To Resign”. Three weeks after the release of this album, he did]). The Wurlitzer electric piano with its sometimes weirdly exaggerated tremolo spoils the dreary mood on several of these tracks (2, 3, 6). But the mournful slide guitar (Ben Keith) and Young’s uniquely forlorn voice fittingly provide the dark atmosphere for these compositions. Young explores the lower end of his vocal range on “On the Beach”, “Motion Pictures”, and “Ambulance Blues”. For those of you who don’t like his singing, you should listen to these three tracks before writing him off. This is music for a cold, blustery autumn day, when you’d like some good news, but there probably ain’t any. 3/5

In his higher register, his voice is grating to me. Lower, like in Ambulance Blues, he's in John Prine mode and totally listenable. A good album, but not great. Not added.

Nothing life changing or remarkable for me.

2+ Stars (6/15)

I don't really care for Neil young that much. But I liked the way this album started out. But then the middle and end was a return to form. No thanks.

I like some Neil Young, but this album was a bit sleepy for my tastes.

Nothing extraordinary, surprised it was on Spotify.

Not the best Neil Young album.

Neil young just sounds like a whiny bitch but I liked this one more than the last one

kinda bland for neil young

Bland and dragging. I had to check that speed was actually at x1. No energy, no soul in there.

Perfectly acceptable background music, and not much more than that

Usually like Neil Young, but couldn't really get into this one.

Twang-plank-plank. Whine-whine. For 38 minutes. No good songs, just a snoozefest.

I suppose these “classic rock” albums had a new and exciting sound in the late 60’s/early 70’s, but after over 50 years of truly innovative music, they just don’t hold up. Not a bad album per se, but definitely not a great or even really good one either. Meh.

I liked the first few songs on this album, and then the super long ones started and it fell into an inescapable ditch.

As another reviewer pointed out he definitely has a wavering whiny voice. I would rather be on the beach than listening to this album right now and I really just don't find the attraction to Neil Young's music.

Thought this was pretty great. He really cannot sing, but there is something about his voice that is really appealing regardless. This was possibly more bluesy than other albums we'd had. The opening few of tracks were great, as was on the beach and ambulance blues Listened again.... Not sure if it just caught me on the right day, but I think this is my favorite album of his we've had (we've had 5!). 4.5

Maybe his best album. Like every song on here.

Eines der besten Alben. Ich höre es immer wieder gerne.

This is my revisiting of the record for the group after I already had this rolled as my first album. I understand this record much better after experiencing Harvest and seeing Neil Young's character in more detail. A picture could not be any clearer: a loner, a rebel with a cause, brought down by depression and looming existential fears. The fact that he wrote music like this in his twenties makes both Harvest and On the Beach much more relatable to me. Even though I'm definitely not as famous as he was, I know what existential dread is like. His progressive politics also resonate with me quite a lot. Young's style of lyricism is also much clearer to me now. His writing is best perceived as short poetry, something that doesn't take up much space, yet entertains the thoughts and subtly yields the emotions out of the listener. It helps that Young's singing is very passionate and sells the emotional moments very well. Repost of the original review in case it gets overwritten: Immediate impression is that the album is quite well-named, even if it might be for the title track. Its vibe, despite it being rather downer and melancholic for most of the runtime, is quite beachy, and I think the dissonance works really well. The album cover illustrates this dissonance pretty well, depicting the weather on the beach Neil is standing on as rather gray and overcast. The instrumentation is masterfully crafted, and speaks a lot of the talent and coordination of all the musicians involved. The lyricism, however, is something rather jarring to me as someone who's not very familiar with this era of music. It's simplistic but a bit opaque at times, and it takes some extra commitment to understand the meaning of some of the short passages that permeate through the album. I typically think of great lyrics as something with many layers that has a lot to digest, but manages accessibility without compromising the core, so this rather sparse writing caught me by surprise. When I heard that Young is an acclaimed lyricist, I did not expect to hear the songs I could easily summarize with a single sentence. Not to say that I hate it, though. The lack of understanding of certain moments that got me to google more it's kind of a "me" problem, as events he touches on, such as Watergate and the presence of Charles Manson in popular culture, are not something that's ever been contemporary to me. Moreover, when I accepted the songs for what they are, their intricacies did show up on me, especially on the more emotionally charged moments like Walk On, where he brazenly states that he cannot appease the shit talkers, and the final three-track song run, where Neil laments on his self-perception of waning relevancy and the world being in such a continuous movement it feels like it is leaving him behind. What prevails in the lyricism isn't so much the substance itself as it is the tone it's delivered in. The emotion leaves a more lasting experience than the lyrics themselves. I had a great time with this album overall, and it did raise my appetite both for the folk and country music, as well as other albums in Neil Young's discography. Actual rating is 9/10, or 4.5/5.

Neil Young is always one of my favorate songwriters. His lyrics are poetic, and his music makes me feel, how to say...calm? A sense of serenity. It's not complicated or rushing, has no intention to arouse your excitement, he just pace steadily, and that brings some kind of integrity. On The Beach is not my favorate album, but it's still an esay 5/5. See The Sky About To Rain is one of the best.

Before today, I'm not sure I knew this album even existed. Man, I'm glad I know now. A little of the acoustic stuff and a little of the heavier stuff, this album works from start to end.

This is an amazing album, for so long unavailable but I think it is Neil Young’s finest

My favourite Neil Young album. His best album. An all time favourite. It’s getting 5 Best track - Walk On

An unanticipated masterpiece. Just when my mind starts to wander, he brings me back. Loved the whole album, even the cover artwork is mesmerising.

If Neil Young didn't have such a ridiculously large catalogue I would dive in deeper, because everything we have done by him slaps, this included.

One of my favourite albums.

I'm just finding out that this is part of Neil's "Ditch Trilogy", so I decided to listen to this (already one of my favorite Neil Young albums) in sequence with the other two: Time Fades Away > On The Beach > Tonight's The Night. I'm so happy I did. What a follow-up to the comparatively schmaltzy Harvest! (Harvest is still a great album, but one of my least favorite of his from that era) Don't let the album's title fool you, for even a short glance at the album art will clue you in on what's to come. On The Beach has it all: a catchy rock tune to start it all off followed by seven tunes that drag you through the ditch with him, three of which are titled "___ Blues". I love that he essentially did all of this just to shake off the the expectation that came with the success of Heart of Gold.

he might be a bit of an acquired taste for some people but when you get it, it's so so good

Top 10 material

I've literally never listened to Neil Young before, and man what a good introduction. This album rocks. I wanted to give this a 4, but on reflection, this album has no skips, no bad points, no downsides, and at no point was I uninterested or felt like this could be better. Honestly, this album is fucking good and I can't wait to listen to more Neil Young in the future if this is what's in store for me. Highlights: Revolution Blues, Vampire Blues, On the Beach, Motion Pictures, Ambulance Blues. Basically the whole album. Light 5.

So I really liked everything about this album. I don’t know if this list gave me some kind of Stockholm about Neil Young or what, but I didn’t mind his voice at all, either. Short and sweet. I don’t have anything to criticize.

Impossible to overstate how golden a period was the early to mid 70s for Young. So good.

Thinking fondly about when Neil Young released the Pono, a $400 FLAC device shaped like a prism to listen to his music at the highest possible fidelity as I rock this album on my iPhone speaker in a loaner beater that’s vibrating so hard that it can travel across dimensions. Five stars.

I love Neil Young. It just works.

Lovely follow up to Harvest. Witty, soulful and well crafted country rock tunes.

**On the Beach** is Neil Young’s fifth studio album, released in July 1974. This album represents a critical point in Young’s career, offering a stark, intimate look into his psyche during a turbulent period marked by personal loss, disillusionment, and reflection. It is often hailed as one of his most uncompromising and powerful works, balancing raw emotion with experimental production techniques. Below is an in-depth analysis of the album, focusing on its lyrics, music, production, themes, and influence, along with a balanced overview of its strengths and weaknesses. ### Lyrics The lyrics of **On the Beach** are some of Young’s most personal and introspective. Each song delves into themes of alienation, loss, despair, and the quest for meaning amidst chaos. The album opens with "Walk On," a deceptively upbeat track that addresses critics and the aftermath of Young’s recent turmoil, including the deaths of bandmates Danny Whitten and Bruce Berry. Here, Young blends his characteristic honesty with a sense of defiance, suggesting resilience against the judgment and criticism he faced. In "See the Sky About to Rain," Young's poetic imagery comes to the fore. He uses weather metaphors to convey feelings of impending sadness and melancholy. The line "See the sky about to rain, broken clouds and rain" evokes a sense of foreboding, mirroring Young's inner emotional landscape. "For the Turnstiles" is a more cryptic piece, featuring a stark, almost minimalist folk arrangement with banjo and dobro. The lyrics explore themes of betrayal and survival in the music industry, encapsulated in lines like "All the sailors with their seasick mamas / Hear the sirens on the shore." The song captures Young’s cynicism about fame and the pressures of the entertainment business. The title track, "On the Beach," is one of the album's emotional peaks. Its lyrics are a mix of self-pity, sarcasm, and brutal honesty: "I need a crowd of people, but I can't face them day to day." Young reflects on his loneliness and detachment from society, offering no clear resolution, only a stark acknowledgment of his emotional reality. "Motion Pictures (For Carrie)" serves as a love letter to Young's then-girlfriend Carrie Snodgress, but even here, the tone is tinged with regret and a sense of fleeting happiness. "Ambulance Blues," the album’s final track, is a sprawling, nine-minute reflection on the cultural and political disillusionment of the early 1970s. It's a song that weaves personal narrative with biting social commentary, targeting figures like Richard Nixon while lamenting the fading ideals of the 1960s counterculture. ### Music Musically, **On the Beach** is diverse yet cohesive. The album moves fluidly between different styles, from the raw, bluesy rock of "Walk On" to the country-folk simplicity of "For the Turnstiles" and the languid, melancholic tones of "See the Sky About to Rain." Young's use of unconventional song structures and his willingness to let songs breathe and evolve over extended lengths are crucial to the album’s impact. The use of sparse instrumentation allows the lyrics and mood to take center stage. "Revolution Blues" features a menacing guitar riff, with a rhythmic intensity that mirrors the paranoid undertones of the lyrics. This track, inspired by Charles Manson, has a relentless, almost claustrophobic feel, enhanced by the propulsive bass and tight drum patterns. "On the Beach" and "Ambulance Blues" are characterized by their mellow, hypnotic grooves, created by the interplay of guitars, bass, and drums. Young’s lead guitar work, often drenched in reverb, adds an ethereal quality to these tracks, creating a dreamlike, contemplative atmosphere. The banjo and dobro on "For the Turnstiles" lend a rustic, old-time feel, contrasting sharply with the electric guitar-heavy tracks. The minimalist production approach allows the music’s raw emotional core to come through. Young’s voice, often described as high-pitched and vulnerable, becomes a central instrument in conveying the album’s themes. His delivery ranges from mournful and contemplative in "On the Beach" to almost detached and observational in "Walk On." ### Production The production of **On the Beach** was handled by Neil Young, David Briggs, Mark Harman, and Al Schmidt. The album was recorded at Sunset Sound Recorders in Los Angeles and Young's Broken Arrow Ranch in California. The production is deliberately unpolished, embracing a "lo-fi" aesthetic that emphasizes rawness and immediacy. This approach aligns with the album's themes, providing a stark, intimate listening experience. One of the standout production choices is the use of natural reverb and echo, particularly on Young's vocals and lead guitar. This creates a spacious, almost haunting atmosphere, particularly noticeable on tracks like "On the Beach" and "Ambulance Blues." The mix is sparse but balanced, allowing each instrument room to breathe, and enhancing the album's introspective, melancholic feel. The production also utilizes a range of unconventional recording techniques. For instance, on "Ambulance Blues," Young’s voice was recorded in a single take, capturing a sense of immediacy and emotional rawness that might have been lost with multiple takes or overdubs. The use of vintage microphones and analog equipment gives the album a warm, organic sound that contrasts sharply with the more polished, overproduced records of the time. ### Themes **On the Beach** is rich with themes of disillusionment, isolation, and existential reflection. The album reflects Young's state of mind in the early 1970s, a period marked by personal loss, political turmoil, and the fading ideals of the 1960s. There is a pervasive sense of disillusionment with the counterculture movement, particularly evident in "Ambulance Blues," where Young reflects on the failure of the movement to bring about meaningful change. Alienation is another dominant theme. Throughout the album, Young grapples with his sense of detachment from the world around him. In "On the Beach," he admits, "Though my problems are meaningless, that don't make them go away." This line captures the tension between personal suffering and the larger socio-political disillusionment that characterized the post-60s era. There is also an undercurrent of survival and resilience. Despite the melancholic tone, songs like "Walk On" suggest a determination to move forward, to "walk on" despite the pain and criticism. This theme of endurance in the face of hardship is woven throughout the album, providing a counterbalance to its darker elements. ### Influence **On the Beach** was not a commercial success upon its release, and it received mixed reviews from critics. However, over time, it has been reassessed and is now considered one of Young's greatest works, a masterpiece of 1970s rock. Its raw emotional honesty and unorthodox production have influenced countless artists across genres. The album's influence can be seen in the work of alternative and indie rock musicians who value authenticity and emotional directness over commercial appeal. Artists such as Jeff Tweedy of Wilco, Conor Oberst of Bright Eyes, and Kurt Vile have cited **On the Beach** as a significant influence. Its minimalist, lo-fi production style and its blending of folk, rock, and blues elements laid the groundwork for the Americana and alt-country movements of the 1980s and 1990s. ### Pros 1. **Emotional Depth**: The album is one of Neil Young’s most introspective works, offering an unflinching look into his psyche. This emotional honesty has a powerful impact on listeners. 2. **Lyricism**: Young’s lyrics are poetic and evocative, using vivid imagery and metaphors to convey complex emotions and themes. The songs resonate deeply on both a personal and universal level. 3. **Diverse Musical Styles**: The album seamlessly blends rock, folk, country, and blues, showcasing Young’s versatility as a musician and songwriter. This diversity keeps the listener engaged throughout. 4. **Atmospheric Production**: The lo-fi, raw production enhances the album's mood, creating a sense of intimacy and immediacy. The use of natural reverb and echo adds to the haunting quality of the music. 5. **Influence and Legacy**: Despite its initial commercial underperformance, **On the Beach** has become a seminal album, influencing a wide range of artists and contributing significantly to the development of alternative and indie rock. ### Cons 1. **Bleakness**: The album’s pervasive sense of melancholy and disillusionment can be overwhelming for some listeners. Its themes of isolation and despair may not appeal to those looking for more uplifting music. 2. **Unconventional Production Choices**: The raw, unpolished production may come across as too rough or amateurish to listeners accustomed to more polished recordings. The lo-fi aesthetic, while artistically effective, might detract from the listening experience for some. 3. **Inconsistent Pacing**: The album’s pacing can feel uneven, with slower, more contemplative tracks like "See the Sky About to Rain" and "Motion Pictures" potentially dragging for listeners who prefer more dynamic compositions. 4. **Lyrical Obscurity**: Some of the lyrics are cryptic and open to interpretation, which may frustrate listeners looking for clearer narratives or messages. Songs like "For the Turnstiles" and "Ambulance Blues" can be enigmatic and challenging to decode. ### Conclusion **On the Beach** is a complex, emotionally rich album that showcases Neil Young at his most vulnerable and introspective. Its raw production, diverse musical styles, and powerful lyricism make it a standout in his discography. While the album's bleakness and unconventional production choices may not appeal to all listeners, its emotional honesty and influence on subsequent generations of musicians are undeniable. Ultimately, **On the Beach** remains a compelling exploration of personal and societal disillusionment, and a testament to Young's willingness to push artistic boundaries in pursuit of authenticity.

neil young fucking rules

Ah, the first of SEVEN Neil Young albums, nine when counting his memberships in other bands. Well, I like this. The whole concept of Neil Young, sort of. But whenever I dug into his oeuvre after say, Old Man, Needle And The Damage Done or this album's title song, I found a lot of country and blues rock with capital Rock that I, at this point of life, probably will never really get into. Some of that present here. Young's is on the good side of that, however. If music can sound honest, it's his. But there's the melancholic, folksy Young: ❤, usually. So this album? A 4 for sure, 2nd side, the honey slides one, is beautiful. Might sit down with the lyrics and give it another listen later.

Блюзовый, спокойный и мелодичный, песни Motion Picture и Ambulance Blues заставили меня задуматься о проблеме и всё об думать, песня Vampire blues шикарная как и Walk On , Альбом прекрасный 9/10

A very good album throughout. 5 stars or A-.

May be my favourite of all Neil young so far.

Ist ein echter Klassiker von Neil Young im Stile von Harvest. Jeder Song eine Perle, erzeugt eine entspannte Stimmung, zum mitsummen und mitsingen.

Another good album by Neil Young. I liked See The Sky About To Rain and On The Beach.

All time.

Rusty’s violin on ambulance blues is a 5 by itself. The rest of this honeyslide-infused depression album only makes it better

My favourite Neil Young record!

Enjoyed my Neil young day

The weather was just right, my feelings were just right, everything was just right - 5/5

Really great album. Not sure how I missed this one before. Listened to it a couple times and it got better as it went along.

I'm entering my Dad rock phase for giving this 5 stars. Oh well, off to grill something, I guess.

Neil Young may not be the greatest singer, but he's one of the best songwriters and nobody can play guitar like him. The vulnerability and rawness in his music pulls me in every time.

I liked this better than Harvest? That was very unexpected for me. I think I actually loved every song on here except “For the Turnstiles” and “Vampire Blues.” But everything else? Stunning and moody in the best way. I was expecting to be ambivalent about this album, but it truly blew me away.

Cool

Probably my favourite Neil Young album, and many other people's. Sometimes I prefer After The Goldrush. The easiest star rating so far. I choose to believe that car's still there.

Went in blind for this one. I spent the first few songs thinking this might be a 4 star for me because I was digging the sound. As the album went on I just was more and more into it. By the end I just sat in silence for a bit and then went in for the second listen. Definitely 5 star...wow.

Amazing album

Neil Young records are always perfect. Nothing more to say

New to me; very cool vibe

One of the fun (?) aspects of digging in the ditch is, presumably, finding nuggets of gold. Which wasn't a problem for Neil Young as he would come up with gold constantly during that time but it would become a problem for fans as this particular nugget would prove elusive to seek over the coming decades. Listening to the music on On the Beach ensures that such a thought comes as no surprise. This album is chock full of venom and contemplation, the kind one would have while having seen the desolation atop the mountain. It is little to no wonder why On the Beach has the mythos that it has, for the amount of time spent in the ditch makes someone see and think ferocious things. Alas, all one has to do is move forward and walk on.

I loved this album. It was imperfect in such a charming way. The music was light and fun, super enjoyable, instrumentation was great, totally would listen again.

This might be the definitive Neil Young album. I would give this 7 out of 5.

I guess it was just 'more Neil Young' but this did stand out as a particularly good Neil Young album. I didn't know it before and was really good, it seemed to bridge the line between just hardcore guitar solos and pure folky songs. Really nice bluesy sounds.

Amazing - Neil Young at his best. Perfect mix of slow and folky, and lovely musically guitar etc

The best part was realizing Neil young is back on Spotify

Que pedazo de disco por favor! Tiene todo... blues, folk, rock. Tremendo.

Wow. Pleased to see this deep cut from Neil on the list. This almost makes up for Fiona Apple . A+ album cover. Raw performances of some seriously dark and unsparingly depressing songs. The sound of a hippy waking up and realizing they failed to stop a war or any violence, really, their friends od'd, and the world went to shit. For some reason, these kinds of songs make me feel good. I guess misery really does love company. The second guitar solo on the title track literally took my breath away. Neil is a unique guitar stylist: quasi-competent, cliche-free, crushingly honest, if I can say that, and this album has some of my favorite playing of his.

He really is one of the best. Something so mysterious and unconventional about his voice

A master piece

This is the first one it generated and it’s literally my favourite album

There is something about neil young albums that seems to make them greater than the sum of the parts. Not a great singing voice, slow folksy guitar brought together with great lyrics. I hadn't heard this album but really enjoyed it. 5 stars from me. Highlights were See the sky about to rain, On the Beach.

I already did this one

This is the sound of Neil Young "heading for the ditch" after the huge success of *Harvest*. *On The Beach* is consequently a less immediate, more "understated" affair, but it's heartfelt, moody and endearing all the way through. It has clear highlights, and they are the self-assured rocker "Walk On", elegiac "See The Sky About To Rain", drowsy and floating "On The Beach", and stern-yet-elated closer "Ambulance Blues". Yet as noticeable as those songs are, the whole album flows from one song to the next without a bump--just like a cloudy yet still warm afternoon at the beach draws on, eliciting nostalgic memories about the summer about to end. The "summer" is here a metaphor for youth and optimism, of course. And because all things end, all you have left with you is memories of those things, eventually. Those memories could even be about that already old "summer of love" a few years back, tragically concluding with the senseless murders commited by Charles Manson and his "family", personified and even given a "voice" during that snarling and yet instrumentally lively "Revolution Blues". Different sort of shudders here, in keeping with other spooky overtones heard elsewhere in this album, as in a paranoid "Vampire Blues" inspired by the shady dealings of the oil industry... As dark as those passing moments are, the whole mood of this LP is still rather soothing, and even epicurean. Exploring the "ditch" also means you can savour all the little pleasures music can offer, as in "For The Turnstiles", a banjo-driven deep cut that foretells the minimalistic illuminations of a later song such as "Captain Kennedy". Epicurean, and also stoic at times, as in that non-confrontational break-up song that "Motion Pictures" is... But whatever Neil's philosophy really is, and as blurry as it is ("honey slides" enhancing the drug-induced feeling), that unnamed, ambiguous ethos here exemplified through those tunes informs everything that the Canadian singer and guitar player does on this record, as if he was constantly building an ephemeral castle in the sand. And as for all castles in the sand, it's the little details that make such an endeavor endearing--a shell placed on top of a derelict crenellated tower, a little tunnel slowly crumbling under the weight of the miniature sandy edifice above, a seagull's feather planted in the middle of a small yard... Here, those details are all those discreet yet enchanting instrumental arrangements: the fingerpicking on the acoustic guitar, the delicate and frail suspensions during the electrical guitar solos, or those manifold small flourishes played on hamonica, banjo or violin... Waves of oblivion constantly threaten to engulf those endearing details in your mind. Yet they can resurface again on each listen. *On The Beach* is that sort of record that does not merely "evoke" melancholy and longing for ages past. It actually *reenacts* that movement in time, through compositions sufficiently striking to make you gape at their inner beauty, and yet never forceful enough to leave a clear mark in your memory--therefore becoming new again each time you play them. You feel like those songs have been heard by countless other listeners before, though--only not by *you*. Neil Young's album plays with your memory, thwarts it, jogs it at other times, and then erases its own input as soon as the needle hits the circled groove. Its music seems to be about the act of remembering itself, uncovering feelings, discovering things long buried in the sand. Until the sand covers everything again. "Under the paving stones, the beach" said an old revolutionary slogan during the May 1968 Paris student riots. Far from Paris, in California, a Canadian rock singer-songwriter who had been there long enough to feel disillusioned after everything he had seen unwittingly found a new, personal meaning to this slogan. With this record, Neil Young indeed accomplished his own private and near-mute, unobtrusive revolution as an artist, and paved the way for his long and unpredictable career to come. He would never be bound by any shackle from this point on. He would be a free man, for better or for worse. In front of him, the waves lap up each moment of his past, and also each moment to come. 4.5/5, rounded up to 5. Number of albums left to review: 226 Number of albums from the list I find relevant enough to be mandatory listens: 334 (including this one) Albums from the list I *might* include in mine later on: 197 Albums from the list I won't include in mine: 250

My whole family knows who Neil Young is, but yet, has not heard about this album. I thought this album was perfect from the title, and cover because it’s almost Summer. When I listened to it, the first thing I noticed is the voice of Neil Young. He has one of the best voices in the music industry. My favorite songs from the album were Motion Pictures, On The Beach, and See the Sky about to Rain. It was hard to chose favorites on this album meaning I liked every song. That’s why I am rating this album a 5/5.

Look I’m a Neil Young stan. His stretch of early solo records is just great. You have to like proto-grungey guitar that sometimes devolves into ponderous nonsense- which is something I’m here for. On the Beach isn’t among his most well known records and doesn’t necessarily have any hits on it. But it slaps.

Peak Neil Young, plain and simple