(NEIL YOUNG-American Stars & Bars)-"Like a Hurricane" a classic hard rock- G5-LP

	A$		40
	$		26

DESCRIPTION ITEM: VINYL LP 33 1/3RPM
ARTIST: NEIL YOUNG
TITLE: American Stars & Bars
COUNTRY PRINTED: OZ
COVER: (Grade at NEAR MINT-)
INNER COVER: (Grade at NEAR MINT+)
LABELS: (Grade at MINT-)
VINYL: (Grade at NEAR MINT+)
TRACKS:
Side one
No. Title Writer(s) Length
1. "The Old Country Waltz" (recorded April 1977) Neil Young 2:58
2. "Saddle Up the Palomino" (recorded April 1977) Neil Young, Tim Drummond, Bobby Charles 3:00
3. "Hey Babe" (recorded April 1977) Neil Young 3:35
4. "Hold Back the Tears" (recorded April 1977) Neil Young 4:18
5. "Bite the Bullet" (recorded April 1977) Neil Young 3:30

Side two
No. Title Writer(s) Length
1. "Star of Bethlehem" (recorded November 1974) Neil Young 2:42
2. "Will to Love" (recorded May 1976) Neil Young 7:11
3. "Like a Hurricane" (recorded November 1975) Neil Young 8:20
4. "Homegrown" (recorded November 1975) Neil Young 2:20
COMMENT:

Review: by Wikipedia
Initially receiving favorable reviews, the album was described as a "sampler...of Young's various styles",[8] even a "hodgepodge."[4] Paul Nelson, reviewing the album for Rolling Stone commented on the mixed selection of songs and styles, and praising the "gale-force guitar playing" on "Like a Hurricane":

The album can almost be taken as a sampler, but not a summation, of Young's various styles from After the Gold Rush and Harvest (much of the country rock) through On the Beach (the incredible "Will to Love") to Zuma ("Like a Hurricane" is a worthy successor to "Cortez the Killer" as a guitar showcase), with a lot of overlap within the songs.[8]

According to William Ruhlmann, in a review for Allmusic,

Neil Young made a point of listing the recording dates of the songs on American Stars 'n Bars; the dates even appeared on the LP labels. They revealed that the songs had been cut at four different sessions dating back to 1974. But even without such documentation, it would have been easy to tell that the album was a stylistic hodgepodge, its first side consisting of country-tinged material featuring steel guitar and fiddle, plus backup vocals from Linda Ronstadt and then-unknown Nicolette Larson, while the four songs on the second side varied from acoustic solo numbers like "Will to Love" to raging rockers such as "Like a Hurricane." "Will to Love" is a particularly spooky and ambitious piece, extending the romantic metaphor of a salmon swimming upstream across seven minutes. The album's centerpiece, however, is "Like a Hurricane," one of Young's classic hard rock songs and guitar workouts, and a perpetual concert favorite.[5]

Biography: by Stephen Thomas Erlewine
After Neil Young left the California folk-rock band Buffalo Springfield in 1968, he slowly established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. Young's body of work ranks second only to Bob Dylan in terms of depth, and he was able to sustain his critical reputation, as well as record sales, for a longer period of time than Dylan, partially because of his willfully perverse work ethic. From the beginning of his solo career in the late '60s until the late '90s, he never stopped writing, recording, and performing; his official catalog only represented a portion of his work, since he kept countless tapes of unreleased songs in his vaults.

Just as importantly, Young continually explored new musical territory, from rockabilly and the blues to electronic music. But these stylistic exercises only gained depth when compared to his two primary styles: gentle folk and country-rock, and crushingly loud electric guitar rock, which he frequently recorded with the Californian garage band Crazy Horse. Throughout his career, Young alternated between these two extremes, and both proved equally influential; there were just as many singer/songwriters as there were grunge and country-rock bands claiming to be influenced by Neil Young. Despite his enormous catalog and influence, Young continued to move forward, writing new songs and exploring new music. That restless spirit ensured that he was one of the few rock veterans as vital in his old age as he was in his youth.

VINYL GRADING SYSTEM

MINT:
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear.
NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear.
EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing.
VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine.
GOOD:
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour.
FAIR:
RECORD: Still just playable & exhibits considerable surface noise.
COVER: Major tears, wearing, splits & stains.
POOR:
RECORD: Will not play properly due to scratches etc.
COVER: Very badly damaged.
+(PLUS)/-(MINUS):
Slightly up or down in condition as appears in the comments above.
NOTE:
Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.

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