Sitting on a mountain of materials that would later make up contemporary releases is a stroke of genius by Neil Young. Instead of a slump and lull in creative output, he has the likes of Chrome Dreams and the upcoming Oceanside Countryside to rely on. The former a sought-after bootleg now officially released and thankfully so, the latter set to be another showcase of Young in a period of creative clarity. A defiant songwriter at the best of times, Field of Opportunity is filled with promise, a hectic brilliance which washes over the song and recontextualises its appearance on Comes a Time. Identical, even. Original mixes ripped from their time of recording and pieced together, like any quality archive release. We can rely on Young and the quality to come with those interpretations, and Field of Opportunity feels like another late-stage punch from the legendary songwriter.
Original mixes give dedicated listeners a subtle difference from the finished release, and for Field of Opportunity, it rides or dies on this interest. Extra vocal duties from Nicolette Larson, heard on the final version of the song, are absent here. Fiddle work, the fields of opportunity and those country fundamentals punch through a little firmer on this earlier mix – though not because of Larson’s absence. That titular opportunity sounds a little more focused on Young and his experiences on this new mix. His vocals are given a new platform, a louder purpose, so slightly noticeable if your tinnitus is not acting up. What a morning to listen to Field of Opportunity, then. Quality releases from the archives can, as they do hear and as they did on Early Daze, recontextualise a song without shifting from the period.
Young may be covering a few pieces here or there with a rejuvenated Crazy Horse but the bulk of these studio efforts are from decades before, when the concept of the song was a pressing moment, not one for reflection. Field of Opportunity is kept refreshed this way. An exciting song still, one of reminiscence and also of loss, where the possibilities of a generation, the one after it too, are lost forever. Field of Opportunity does not maintain itself as this biting, angry song, but as a piece which has accepted the shortcomings, the lack of land promised by the American Dream of the 1930s. An early version of Field of Opportunity presents little more than a chance to hear the song before the finishing touches were put on.
But there is much to love about an artist willing to compile these earlier versions, just in case dedicated listeners can figure something out, some major change or development hidden from a passive listener. Fresh mixes on classic recordings. Call it what you want. A so-called “lost” album, a remastering of some twisted manner, whatever the case it is more material from Young and fresh enough, different enough, to warrant a listen. Larson’s absence from this earlier work is felt but it adds a slightly softer touch to the lyrical points, poignant as they are on the originally released track. Never a bad time when listening to Young, at least not when listening to stripped-down versions of his classics. Field of Opportunity sounds great, remains great, and a new version of it isn’t half bad.
