Neil Young

If Neil Young wants to release a concept album about eco-friendly cars, he sure as hell will—and over 40 years of artistic excellence means that people will listen, regardless of its merits. “Fork in the Road,” although appreciable for its grungy, hard-rocking feel and often hilarious, sometimes thought provoking lyrics, leaves the listener feeling unnoticed as Young continues to write songs that seem to serve the sole purpose of amusing himself for the moment.

Ever the “Godfather of Grunge,” Neil Young incorporates in his latest album sounds that are most reminiscent of his 1981 record “Re-Ac-Tor,” but at “Fork’s” best moments, one is reminded even of his 1975 “Zuma,” in its use of lyrical yet powerful riffs. “Fork in the Road” opens with “When Worlds Collide,” announced by sets of heavily distorted guitar chords, the garage-rock sound of which feels appropriate given the album’s focus on cars. Most of the songs feel like they should be played full-volume while driving with the sunroof down through deserted highways of the Mid-West, rocking some shades, all the while bobbing along to the rhythm.

This playfulness comes through in Young’s lyrics as well. The album’s title track, released in January this year with an accompanying video of Young playing air guitar to the song and wearing earphones that connect up to an apple—get it?—is a great example of his sense of humor. “Got a pot belly,” sings the musical legend, but he adds, “it’s not too big.” Nonetheless, when Young growls in the same song about getting his recently purchased flat screen “repo’d” and missing the Raider’s game, the listener is reminded that “there’s a bailout coming but it’s not for you / it’s for all those creeps hiding what they do.”

Though Young’s humor shines through at times, his intent throughout the album is mostly political. Like his 2006 record “Living With War,” the lyrics read as impassioned, sincere, but largely unpolished and impromptu ravings. Songs like “Johnny Magic” may have momentary relevance, but they sometimes seem like little more than soapbox speeches: “In the form of a heavy metal Continental / She was born to run a proud highway,” sings Young. The songs lack the timeless wisdom and emotional vulnerability that we know Young is capable of, and attempting to excuse superficiality by defending the album as a fun one is futile. There’s no fun in wondering, “Where did all the cash flow? / Where did all the money go?”

Nonetheless, listeners who yearn for the softer Neil Young can find solace in tracks like “Off the Road” and “Light a Candle.” Their lighter instrumentation, the latter featuring just Young and his acoustic, work to highlight the complex vocal harmonies that were present throughout the album. Young’s uniquely fragile and charming voice shines through, honorably affected by time.

Instances like this, in which Young exchanges nagging rhetoric for blunt vulnerability are rare, but rewarding. And though he has his heartfelt moments, it may not be enough to compensate for sitting through an album that seems to have largely ignored its audience’s desires—“Fork in the Road” notoriously postponed the much-awaited release of Young’s archival recordings among its other arguable faults.

But Neil Young has indeed attracted a fan base that will remain loyal to him no matter what sudden impulses he may follow. While Young’s latest “Fork in the Road” will not affect his career one way or another, it is unlikely to be a timeless benchmark in the Neil Young canon.