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29 search results for: Neil Young

1

Neil Young Rewrites His “Looking for a Leader” Just When We Need it Most

Originally recorded on his 2004 protest album “Living with War,” Neil Young has now revised and recast “Looking for a Leader” for the age of Trump. As Neil, who is suing Trump to make him stop playing “Rockin’ in the Free World” at his rallies, has written on his youtube page,
“I invite the President to play this song at his next rally.”
This was published on youtube yesterday and already has more than 30,000 views.
As readers of this blog may recall, I’ve been a fan of Neil Young since my teens, and all my writing about him is gathered on this link here.

 

https://youtu.be/c0cOUDwKl9k

 

2

Forthcoming in March: Album of “Rediscovered” Neil Young Treasures

Announced at the website of Third Man Recordson Exclaim.ca

Third Man Records unearths NEIL YOUNG’s “A LETTER HOME”

An unheard collection of rediscovered songs from the past recorded on ancient electro-mechanical technology captures and unleashes the essence of something that could have been gone forever. — Homer Grosvenor

And Rolling Stone provides a brief Q&A with Neil himself in which he discusses his fondness for old microphones, his belief that “We’re entering a very good period for recorded sound” and calls the new album, due out in March, “one of the most low tech experiences I’ve ever had.”

Cross-posted at Honourary Canadian

3

Neil Young at Glastonbury Fest, 2009

Stunning video from BBC Four of Neil Young playing his song “Words (Between the Line of Age)” at the Glastonbury Festival in England, 2009. Pegi Young is singing backup, the late Ben Keith is on pedal steel, Chad Cromwell is drumming, Rick Rojas in playing bass, and someone I can’t ID is on keyboards. This song first appeared as the final cut on Neil’s album “Harvest,” in album in 1972. A number of songs from the festival are viewable via this youtube link. Enjoy!

4

Neil Young, K’Naan in Central Park for the Global Citizen Festival

Hadn’t realized until today that a big benefit concert’s going on today in Central Park. K’Naan, Band of Horses, Foo Fighters, Black Keys, and Neil Young with Crazy Horse are all playing on the Great Lawn. Might’ve tried to go, but I have other plans for the rest of the day. Some free tickets were drawn by lottery at teh site of the worthy organization coordinating this push to end “extreme poverty” worldwide. Many organizations like the Bill and Melinda Gates Foundation and the Earth Institute are coordinating to pull it all together, under the rubric of GlobalCitizen.org. So far, K’Naan has played, brilliantly. Also, Band of Horses, who were good too. It’s all being livestreamed at this link, and maybe cached there later, too. I hope so, because I’m going out in a few minutes, and would really love to see Neil and Crazy Horse. Meantime, here’s a photo I took of K’Naan in the livestream. He only played three songs, but he absolutely killed with those three, including with a rousing finale of his global hit, “Wavin’ Flag,’ telling the crowd he was at last reclaiming the song as his own, after seeing it used in so many different situations, like at the World Cup. He sang the personal passages in the lyrics, about leaving Somalia as a youngster, very quietly and intimately. He is a very inspirational figure.
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Got home just in time to hear Neil and Crazy Horse’s two closing songs, “Fucking Up” and “Keep on Rockin’ in the Free World,” on which the bands from earlier in the concert joined in. It’s been a Neil Young kind-of-weekend, with his new book, Waging Heavy Peace, one of my #FridayReads for this weekend.

5

#FridayReads, Sept. 28–Chris Bohjalian’s,”The Night Stranger” & Neil Young’s “Waging Heavy Peace”

#FridayReads, Sept. 28–The Night Stranger, Chris Bohjalian’s unusual haunted house novel, set in a town much like Franconia, New Hampshire, where I went to college. What does it mean that the number of passengers who died in a crashed airliner–thirty-nine–is the same as the number of bolts in a mysterious basement door? Though about mortality and  hidden things, the novel is told with an oddly calm narration that is all the more unsettling for it.

Also, just picking up Waging Heavy Peace, Neil Young’s long look back on nearly seven decades of living and music-making, a rock memoir written in a calm tone of voice and in a pensive and thoughtful frame of mind. With Neil so much a part of my life and musical DNA, I’d really been looking forward to this book, especially after hearing him in conversation with Patti Smith at BEA last June, and now that’s in my hands, I couldn’t be happier to be reading it, with the voice of Neil coming through on every page.

6

Neil Young to Patti Smith: Don’t Chase the Rabbit

June 12 Update: Happy to have had this post linked to by music writer Chad Childers, with the websites of radio stations like Kool 100 FM in Abilene, TX, and 98.3 FM in Twin Falls, ID, picking up his piece. It looks as if Childers’ piece is being syndicated on the Web. Childers reports on the conversation between Patti and Neil, quoting from my post below, and properly attributing it to this site. Childers also recently reported on a great performance by the Canadian band City and Colour, led by Dallas Green, who at this year’s Bonnaroo festival ended their performance with a scintillating performance of Neil’s, “Like a Hurricane,” which you can listen to via this link.

The BEA conversation between Patti Smith and Neil Young was one of the most anticipated events of this year’s convention, and I had previewed it with this blog post a few weeks ago, with a recollection of hearing Neil live when I was only fourteen years old. It turned out that last Wednesday’s program was not only a highlight of the convention, but a life highlight. The two artists shared a comfortable rapport and their dialogue reached a serious level about how songs are written, art is created, and artists and audiences connect in a reciprocal space where creative work flows.

Patti’s first remark, at seeing dozens of photographers below the stage snapping pictures of them was lighthearted: “I feel like Sophia Loren at the Milan airport.” Referring to Neil’s new album “Americana” and his forthcoming book–and her new album “Banga,” which David Shanks of Putnam, Neil’s publisher, had cited in his introduction–Patti said “all the things that one creates comes from the same soul, the same heart, the same hopes.” She asked Neil about a song he’d retitled for the new album, a cover of “She’ll Be Coming ‘Round the Mountain,” which he’s retitled “Jesus’ Chariot.” He chuckled and attributed this to “the folk process” and new understanding of the song he gained through working with it, in which he now sees an unknown composer’s long-submerged intimations of “the Second Coming and the end of time.” Patti marveled at how a song we’ve sung “since we were little kids by rote, with no emotion” is totally reimagined by Neil and Crazy Horse.

After about fifteen minutes, the event organizers finally remedied a low-volume mic that Neil had been equipped with, or that his serape was perhaps masking, which until then had left the more than one thousand bookpeople in attendance uneasy and dissatisfied, leading one person to call out “May we have more volume on Neil’s mic.”

Much of the rest of the talk has already been reported well and comprehensively, by John Mutter in Shelf Awareness, Claire Kirch in Publishers Weekly, and Bob Minzesheimer in USA TODAY, and yet even with bad audio at the outset these two consummate and uncompromising artists engaged in such a full and wide-ranging converation that there are a few aspects of it I want to emphasize in this space.

  • The first concerns Neil’s father, Scott Young. Judging by Patti’s first question on Waging Heavy Peace–about how his dad happened to call young Neil by the nickname “Windy”–Scott is an important figure in the book, and well he should be. It is too little known in this country that long before Neil became a musician and creative force, Scott was a prominent sportswriter and author in Canada, publishing bestselling books of fiction, nonfiction, and YA titles, and a member of the Hockey Hall of Fame (tantamount to a baseball writer in the States being inducted into Cooperstown). The book of his that I’ve read and treasure the most is Neil and Me, a heartfelt, double portrait that offers a mea culpa for the divorce and family break-up his constant travel as a working journalist caused, at least in part. Listening to Neil’s “Helpless” I hear echoes of that family pain. It’s a beautifully written book, as revealing as anything written about Neil, with the exception of Jimmy McDonough’s comprehensive Shakey. I recommend it highly.
  • The next was the discussion between Patti and Neil over the writing of “Ohio,” and how the song came forth from Neil unbidden as a spontaneous response to the cataclysmic events at Kent State. He explained how CSN&Y got into the studio within days to record it, and how they rushed acetate copies of it out to radio statios so disk jockeys could respond to the shock and outrage provoked among their listeners by the campus killings. Neil described this as “the social networking of the time” and added “you could only get seven or eight plays off” the acetates, which degraded quickly. The ephemeral quality of the recording materials prompted an unlikely association in my mind, but an apt one, I think.

I was reminded me of the samizdat editions that writers in the Soviet bloc produced of their work during the Cold War. Without access to printing presses, they would roll multiple sheets of carbon paper into their typewriters, and with each key struck they hammered another ringing blow for creative expression. The medium had limitations, however. A Czech writer and publisher I met in Prague in 1991–post-Cold War–Vladmir Pistorius of Mlada Fronta Publishers, showed me his samizdat editions and explained that a rebel author could only put about five sheets of carbon paper in their typewriter, inter-leaved with as many sheets of typing paper, because each succeeding copy became more faint and less readable. It was humbling then to see what writers had done to create and share their work.

The writing, production, and perforce distribution of “Ohio” also reminded me of the genre of the “instant paperback,” like the Watergate Hearings books published by mass-market publishers back in the day, Norton’s edition of the 9/11 Commission in more recent years, or The United States v. I. Lewis Libby, which I pulled together with reporter Murray Waas at Union Square Press in 2007, after Scooter Libby’s trial in the leaking of Valerie Plame’s CIA identity. Neil and his bandmates were responding authentically and spontaneously to events around them, and meeting their audience in the public square, much as publishers have long tried to do for their readers.

  • The last point is Neil’s discussion of how he never forces the writing of a song. Patti observed that Neil’s songs, “even ones produced from pain . . . seem so effortless, like they just came out of the wind, maybe that’s why your dad called you ‘Windy.'”

Neil answered, “Well, they do come that way. I don’t try to think of them. I wait till they come. A metaphor may be that if you’re trying to catch a rabbit, you don’t wait right by the hole. . . And then the rabbit comes out of the hole, he looks around. You start talking to the rabbit, but you’re not looking at it. Ultimately, the rabbit is friendly and the song is born. The idea is, he’s free to come, free to go. Who would want to intimidate or disrespect the source of the rabbit? And in that way if the song happens, it happens. If it doesn’t happen, it doesn’t happen. It doesn’t matter. That’s why I’ll write a lot of material and why I’ll suddenly not write any material. There’s no reason to write, it has to come to me, if it doesn’t come to me, I don’t want to have anything to do with it, I don’t want to see it, I don’t want to look for it. I really hate things that people work on. There’s nothing about music that should be working on it. There’s no reason to be something you’re not. Or trying to be somebody that you think is good.”

I am more eager than ever to read Neil’s book when Blue Rider Press publishes it in October. Patti and Neil seemed like old friends, to each other, and to us in the audience. It was a treat to hear them in conversation, a BEA moment I’ll treasure forever.  If you couldn’t be there I hope this report and the photos will make it come alive for you, and if you were in the hall, I hope I’ve lent some useful perspective on such a special occasion. / / More . . . please click through to see all photos.

7

The Soundtrack of My Teens–Hearing Neil Young Live in 1969

This is really exciting news. On June 6, to promote his forthcoming memoir Waging Heavy Peace, Neil Young will speak at BEA, the annual book industry convention. I’ve been attending BEA most years since I got started in the book biz in 1978, back when it was still called ABA, and have usually taken a pass on the guest speakers, but not this year. I am very eager to be there for Neil’s appearance and I’m sure lots of other book people will be there too. His publisher, the Blue Rider imprint of Penguin Putnam has put out this release along with the news, explaining that he will be interviewed by someone to be named later. [May 24 update: It’s been announced that Neil’s interlocutor will be Patti Smith.] Speaking of interviews, Jian Gomeshi of CBC Radio One’s “Q” program conducted a great interview last year with Neil, and Daniel Lanois, producer of Neil’s 2011 album “Le Noise.”

I’ve admired Neil since I was fourteen when I saw him perform in Cleveland. I went with my older brother Joel–with whom I would later operate our Cleveland bookstore Undercover Books–and despite my being way under-age, Joel, who would have just turned eighteen, somehow got me past the front door with him. Confirming my memories, Jimmy McDonough’s indispensable book Shakey describes the venue as “a tiny basement coffeehouse,” though I recall it also served liquor. I recall Neil played two consecutive nights, and we even went back for night #2. This was soon after Buffalo Springfield had split up around when his first solo album was released, and before Neil released “Everybody Knows This is Nowhere,” the first album with Crazy Horse.

Neil played solo acoustic sets both nights, but he also had a backing band that opened on its own and later played with him, a tight and country-tinged outfit called Natchez Trace, about whom I’ve found a faint trace online. From that source, a Buffalo Springfield fan site, I see that the shows were on Saturday, May 31 and Sunday, June 1. I recall that the club was not crowded either night. At some point during the two nights, Joel and I availed ourselves of the opportunity to go up and say hello to him. I extended a hand and shared a shake with Neil, then so young, and a bit shy in fringed buckskins and extremely thin, as he was not many years past the polio that had defined his early years, also chronicled in Shakey. When I hear Neil speak on June 6, I’ll be remembering those La Cave gigs and the early days of Neil’s career.