Neil Young With Crazy Horse/Rhett Miller

Neil Young With Crazy Horse: Americana (Reprise)

Crazy Horse yam what they yam. You don't like them, take a hike. For all its evocation of war-dance tom-toms, Ralph Molina's thudding beat could just as easily have inspired Young's endnote about the civilization their namesake "detested": "the footsteps of the white man stamped more and more across the land." In this they resemble, of all things, the United States of America, which has been steamrollering its own past for as long as there've been steamrollers. In vivid contrast to the sanctimonious musicianly overkill of Springsteen's Pete Seeger tribute, Young's overkill leads with its middle finger by ignoring the catchiest tune of the 19th century, the traditional melody of "Oh Susannah." But read Young's annotations and learn that this rewrite was itself concocted 50 years ago by forgotten folkie Tim Rose‑-and then wake up the next morning to learn that it has staying power of its own. Almost every song messes with you that way because almost every song is messed with and almost every song renewed. "This Land Is Your Land" advocates trespassing. "Get a Job" is accounted "a genuine folk song with all of the true characteristics." "God Save the Queen" rhymes "politics" and "dirty tricks." Boom, boom, boom, boom. Sha-na-na-na-na. A

Rhett Miller: The Dreamer (Maximum Sunshine)

Miller fashions his excellent tunes within such a narrow melodic compass that it always takes too long for the new ones to get sorted, and the Nashville-trad self-production on his fourth solo album doesn't sharpen their outlines much. But as usual the songs come clear eventually, starting with a Ben Kweller collab bearing the aptly ominous title "Lost Without You." It's not the winner here because the lyric could be stronger, which cannot be said of "Complicated Man" or "As Close as I Came to Being Right," not to mention the miserable "Out of Love." Consider those titles. That's why I said ominous. B PLUS