It's a waste of time to critique an article that's 25 years old. The author has had time to reevaluate his views, and it's ultimately meaningless. Nevertheless, Dave Marsh's putdown of Neil Young for a 1979 Rolling Stone book ticked me off so much that I wrote a pedantic letter to Diane about it, which I reproduce here for no particular reason.
The chapter's here:
http://www.thrasherswheat.org/tfa/marshbookchapter.htm
Points to make:
"Bob Dylan changed rock fundamentally. He gave it a sense of tradition, rooted in white folk music and high culture. He showed a distrust for the very technology it exploited, a disdain for conventional celebrity, a brooding lyrical seriousness and a yearning for high art credibility. "
Having learned more about Dylan, do you agree with this? I certainly don't: when Dylan went electric, there was as much black as white in the music; mentioning Beethoven does not "high culture" make; I don't get what that "technology" crap is about; I don't buy the celebrity thing -- an icon disappears if it doesn't stay mysterious, no? It still doesn't stop it from being famous and worshipped; and "brooding lyrical seriousness" is about the antithesis of 'Blonde on Blonde'. I don't contest the last one. What it comes down to for both Dylan and Young is that they're ruthless, talented assholes who insist on controlling how they're perceived -- and succeed. Dylan at his best beats Young's best lyrics, but Young's most wrenching guitar tone eats Dylan's alive and makes damn good coffee afterwards, IYKWIM.
"by emphasizing certain highlights and disregarding the rest, Young has managed to avoid close analysis, leaving most critics gaping in awe of an image greater than the work that supports it--the ultimate Dylanesque trick."
Do Dylan's musical abilities or lyric-writing skills stand up to "close analysis"? I don't think so. I don't think the great majority of pop music does. (The Beatles and Radiohead stand up to close musical analysis. Lyrical -- well, I don't feel most great opera does, so my standards are probably too high.)
"Young's role was to play lead guitar, write a few songs (most notably "Mr.Soul") and conduct a few experiments in recording montage ("Expecting to Fly" and "Broken Arrow")."
Wow, that's condescending. I'm no big fan of Springfield, I admit, but Young's work with them smashes what I've heard from the rest of them (grudgingly excepting FWIW). Who denies that Broken Arrow is a great song? I think "Expecting to Fly" is a great song, too, and easily Young's most successful experiment with orchestral backing.
"But Harvest was pure formula product, the kind of commercially conservative record that came to characterize too much of California pop rock in the Seventies. "
My good lord. Harvest may be terminally overrated, but I'm betting Marsh has only heard the tracks from Decade. Why? Well, you've heard the album: "Words" and "There's a World" are not commercially conservative. Shit they may be, but they're not "typical of James Taylor and Joni Mitchell" or any other singer-songwriters of the period.
His perception of Journey Thru the Past is pretty accurate. He gets Time Fades Away wrong (calling it a "live album" is deceptive, and misses the real problem with the album -- the lack of interaction between the band), and then really plunges into crap with his treatment of the rest of the Doom Trilogy.
To neglect TtT, are "recycled riffs ... from Buffalo Springfield and ['Everybody knows this is nowhere']" really the substance of On the Beach? Does Young mention Indians? Most irritating is the sentence "But [the net effect of the music] can also be simply silly, especially in the quasi-apocalyptic "Revolution Blues" from OTB, where Armageddon arrives by dune buggy." Marsh somehow manages to miss the whole Manson thing entirely and grossly exaggerates the "armageddon" part. I don't think that's a good-faith mistake -- it seems intentional.
Next is 'American Stars and Bars' -- is "Like a Hurricane" bathetic country pop, or "stunted"? He then confuses "Homegrown" (an admittedly idiotic pot ditty; I blame CSN) with "Roll Another Number" (a blackhearted tune from 'Tonight's the Night') -- another indication that he probably DIDN'T ACTUALLY LISTEN TO THE ALBUMS.
Marsh then tries to tie it together with a sad psychological analysis: "Rather it is symptomatic of that refusal to commit himself fully, which is the bane of everything he's ever created. Instead of a unified body of work, Neil Young has forged only a series of fragments, some relatively inspired, some absolutely awful. "
*cough* 'Nashville Skyline'? Dylan's *entire 80s work*? 'Self fucking Portrait'?
"Yet if there is a major difference between Bob Dylan and Neil Young, it is that Dylan has always managed to make each of his shifting perspectives seem final and irrevocable, while Young makes each seem tentative and equivocal."
Perhaps this seems more ridiculous with hindsight; it was written in '79, after all. But the real tempest -- Young's 80s work -- was still to come -- as were both Young's and Dylan's renaissances in the 90s. For my money, Neil Young's career seems more coherent, more internally consistent, and more meaningful than Dylan's periodic bops between styles. IMO, even if Marsh's comment ever was true, they've traded places now.
In closing, and this may be a low blow, I'll take Sun Green over Jakob Dylan anyday.