Back of the Shelf

Neil Young owes a thank you note to every single instrumentalist who sat through Storytone’s recording session because they all deserve so much better. His now legendary strained, speak-sing style of vocalization does not belong anywhere near a full orchestra or big band. Overly simplistic melodic lines and childish lyrics set to the full monty of a hundred year old legacy of musical excellence (read: full orchestra) does not cut it on Young’s new album, Storytone.

Where to begin. Young manages melodic lines with a very narrow vocal range moving primarily in stepwise motion, often monotonic in nature with little rhythmic imagination. Regardless of whether he uses a higher-pitched strangled tone or a lower-pitch strangled tone, this approach limits most of the melodies to sound almost identical from track to track. Hence why Young owes his instrumentalists thank you notes. Without them, there is no reason to listen to more than one song because they are all similar.

The orchestral arrangements sound straight out of a play-along accompaniment recording geared towards beginning students. It’s simple with instruments doubling the vocal melody to make sure the soloist doesn’t get lost. Perhaps it’s a weakness of arrangement, but anything more nuanced would put Young and his weak vocal chops so far out of place, it would be shameful.

Lyrically, Storytone seems outdated and hokey. “Who’s Gonna Stand Up” opens with the dramatic bravado of low strings, only to yield to: “Who’s gonna stand up and save the earth? / Who’s gonna say that she’s had enough? / Who’s gonna take on the big machine? / Who’s gonna stand up and save the earth? / This all starts with you and me.” Other helpful suggestions from this tune include, “Damn the dams, save the rivers” and “Ban fracking now, save the waters.” Props for being book report direct, but the lyrics are so corny, that it’s embarrassing. On the plus side, Young’s singing style makes it easy to understand the words.

Here’s the good news: whether it’s a gorgeous and dark flute solo on “Tumbleweed” or the killer horns and harmonica on tracks like “Like You Used to Do,” the supporting orchestra and bands are excellent. Backed by drums, guitar, horns, and harmonica, “I Want to Drive My Car” rocks along with foot-tapping satisfaction. “When I Watch You Sleeping” uses a hybrid ensemble of strings, guitar, harmonica, and drums–a combination which supports Young’s vocal style quite well. Too bad “When I Watch You Sleeping” and “All Those Dreams” sound strikingly similar.

Storytone shows off Young’s lack of vocal chops in glaring fashion. Without a full-bodied, flexible voice, Young was bound to sound like an amateur against a full orchestra or a big band, groups which require much stronger vocalists. Though there are a few worthwhile moments, it’s hard to get around the mismatch of singer and instrumentalists here. Coupled with trite, embarrassing lyrics, should probably make it’s way to the back of a shelf to collect dust. There are better Neil Young albums to listen to.