Celebrating the many achievements of Neil Young’s discography with a contemporary re-recording from various artists is a no-brainer. Just look at the strengths of new voices, the thrills of experiencing familiar art through a new vision. That should have been the case for Heart of Gold: The Songs of Neil Young, Volume I, but it could not be further from this. Between a Mumford and Sons appearance and The Doobie Brothers hamming it up, the words “various artists” appears to mean “anyone free at the time.” A hodgepodge collection of songwriters, performers and musicians appear on this compilation paying tribute to Harvest, hits, and more. Phenomenal pieces of work which cannot be bettered by The Lumineers. Heart of Gold tries. It fails in extraordinary ways, even with brief, hopeful moments.
Fiona Apple is usually a source of brilliance, as is the case for her cover of the title song. Preceding her is Brandi Carlile, whose frequency of working with or around the subject of legends, be it Elton John or Joni Mitchell, now feels like a gimmick to back her lack of original qualities. Every second of Heart of Gold must answer the obvious. Why would anyone listen to a tribute when the real deal is still available? Who knows. A lacking, modern summary of Young’s finest hour. Each artist provides a cover of replaceable quality. Carlile’s opener is an inevitable, heartstring-tugging slog which avoids the purpose of those countrified tones on the original song, Philadelphia. Follow-up Heart of Gold is a tad better, though this improvement is through percussion, rather than performance. There will be those of weak heart and mind, who believe Mumford and Sons provide a worthy cover of Harvest.
The trouble here, not just for Mumford and Sons, is every song is a stripped-back occurrence, as though instrumental warmth and depth are what prevent a listener from reaching the core of these classics. Most of the musicians included believe the focus should be on their voice, not the lyrics or instrumentals. There is the problem. Each musician is too scared of any major change. There is no daring suggestion, not a sense of pursuing a fresh instrumental style for the sake of reimagining the song. Every piece of Heart of Gold, no matter how listenable, lacks the bravery which defines worthy cover work. Stephen Marley is a shining light on Heart of Gold. He does not bend to the instrumental style which made the original famous but incorporates the words into new instrumental beds. Such is a cover’s purpose. Old Man is all the better for this change.
Tame is never a word to use in the same sentence as the name Neil Young, yet Heart of Gold makes it possible. Relatively flavourless, countrified additions which showcase a lack of spark in the musicians at hand. Timid offerings at the best of times with a few standout moments, fading from memory just as quick as they appeared. Anders Osborne gets close, too, to the sincerity of a strong cover. Heart of Gold is passive at the best of times, though. A sense that many of these artists are looking to coast on the longevity of Young’s music. Failing to add much of their own stylings to the song is a grave letdown. Most of the songs covered here are simple changes to the tempo, marked by instrumental changes. A drifting and conventional set of recordings which find no life or love for the source material. Heart of Gold is more a broken-hearted experience for fans of Young than anything.
