Featuring such Young staples as “Cinnamon Girl” and “Down by the River,” the album went gold. The rockabilly of Everybody’s Rockin’ (1983) was equally scorned, and Young soon settled into a cult audience for the mid-’80s.
neil young songs – Neil Young Net Worth
Chrome Dreams II is the 28th studio album by Canadian musician Neil Young. Both Journey Through the Past and Time Fades Away signaled that Young was entering a dark period in his life, but they only scratched the surface of his anguish. Inspired by the overdose deaths of Danny Whitten in 1972 and his roadie Bruce Berry the following year, Young wrote and recorded the bleak, druggy Tonight’s the Night late in 1973, but declined to release it at the time. Instead, he released On the Beach , which was nearly as harrowing, in 1974; Tonight’s the Night finally appeared in the spring of 1975. By the time of its release, Young had recovered, as indicated by the record’s hard-rocking follow-up, Zuma , an album recorded with Crazy Horse and released later that year.
Since the late ’60s, Young has released over 35 studio albums, exploring such diverse genres as country-folk, pop, noise, punk, and electronica. He’s best known, however, for his iconic folk rock songwriting, popularized by his hugely successful collaborations with Crazy Horse and supergroup Crosby, Stills, Nash & Young. Never content to rest on his laurels, Young has remained musically prolific and sonically experimental, earning rave reviews for his 2012 double-LP release Psychedelic Pill.
Answer – The primary goal of Thrasher’s Wheat is to help all people become better Neil-seekers in a real-time boots-on-the-ground fashion. This is for the purpose of learning to listen and think critically, discovering the truth of music from within—not just listening to music blindly because it came from an “authoritative voice” like a Bob Dylan or Neil Young. Instead of telling you what the truth is, we share information from many sources so that you can disCERN it for yourself. We focus on teaching you the tools to become your own authority on the truth of music, gaining self-mastery, sovereignty, and freedom in the process. We want each of you to become your own leaders and masters of personal disCERNment, and as such, all information should be vetted, analyzed and disCERNed at a personal level. We also encourage you to discuss your thoughts in the comments section of this site to engage in a group disCERNment process.
During this period, Young also published his frank autobiography, Waging Heavy Peace, and despite stating in the intro that he needed to take a break from touring, the longtime musician had already returned to the stage by the time of the book’s release. He and continues to perform on a regular basis.
50. In the ‘80s, Neil was sued by his own label, Geffen Records, accusing him of violating his contract for releasing albums unrepresentative” of his past work. In other words, Neil was sued for not being himself.
However, the sonic texture of Pearl Jam is still different from Crazy Horse. For one thing, there are two guitarists out there (and Eddie Vedder isn’t one of them), and with Neil, that makes up to three guitars on almost every song. And the Pearl Jam guitarists are given much more space to shine than that sole Crazy Horse guy, and in the end it all comes down to a dense, thick-as-a-brick sound which is actually much more murky than the one on Ragged Glory. This doesn’t always work well because sometimes the melodies just become shit altogether due to too much feedback on every part. But usually it works, and another benefit is that they seem to all be taking turns soloing, so you get the usual ear-destructive crunchy riffs-as-solos from Neil and then you get more melodic soloing from the Pearl Jam guys, not necessarily in that order, and that’s positive.
No orchestration, no ambivalent ultra-pretentious lyrics, and no blatant commercialism. No obvious conceptual unity either: on here, Neil is ready to take on just about everything. So On The Beach turns out to be one of his most diverse records so far; all it lacks is a superb grinding rocker like ‘Like A Hurricane’ to fully write out the picture. That said, Neil takes this opportunity to lay down some of the most hard-hitting “minimalist” guitar tracks he’s ever recorded, and besides, considering how ‘uncomfy’ ‘Like A Hurricane’ actually sits on his 1977 record, among all the country-western send-ups, maybe depriving On The Beach of a jarring metal monster wasn’t a bad idea.
The electric sessions produced the songs Alabama, Are You Ready For The Country and the album’s grand finale Words (Between the Lines and Age). Backing vocals were overdubbed by Young’s old bandmates Crosby, Still and Nash by Mazer in New York.
The last six songs, however, just mix up in one enormous inseparable blob in my head, no matter what I do about it. Haven’t I heard ‘The Great Divide’ earlier? Where? Somewhere, I don’t remember. ‘Horseshoe Man’ and ‘Red Sun’ drag along like wounded turtles – granted, loving and caring turtles, but turtles all the same, and I don’t need to have them anywhere near me. Only ‘Razor Love’ seems fit for inclusion on Harvest Moon, with a slightly more profound sound to it, and with actual rises and falls of the vocal melody, spilling heavy aching nostalgia all over the place.
Born in Toronto, Canada, Neil Young moved to Winnipeg with his mother following her divorce from his sports journalist father. Young began playing music in high school. Not only did he play in garage rock outfits like the Squires , but he also played in local folk clubs and coffeehouses, where he eventually met Joni Mitchell and Stephen Stills During the mid-’60s, he returned to Toronto, where he played as a solo folk act. By 1966, he joined the Mynah Birds , which also featured bassist Bruce Palmer and Rick James The group recorded an album’s worth of material for Motown, none of which was released at the time. Frustrated by his lack of success, Young moved to Los Angeles in his Pontiac hearse, taking Palmer along as support. Shortly after they arrived in L.A., they happened to meet Stills , and they formed Buffalo Springfield , who quickly became one of the leaders of the California folk-rock scene.
But as his record company began plotting out a lucrative career as sensitive singer- songwriter, Young was already headed for the ditch. His bleak post-Harvest albums and a renewed acquaintance with old buddies Crazy Horse, marked by howling guitars and distorted feedback, proved he was a force that was impossible to tame.
IN THE SPRING OF 1975, DAYLIGHT seemed to be breaking through on Neil Young’s artful decline. He recovered the missing Les Paul played on Everybody Knows This Is Nowhere and Billy Talbot called to say he might have finally found a Crazy Horse guitarist worthy of Danny Whitten. Young turned up at Talbot’s Silver Lake home with guitar in hand and heard Frank Sampedro for the first time. Staying for a week, Young played with the refurbished Crazy Horse and wrote material for Zuma.
Earlier this year, Neil Young and Crazy Horse gathered at Studio in the Clouds near Telluride, Colorado, to record their first album since 2012’s Psychedelic Pill. The new lineup of the group had played a handful of theater shows since guitarist Frank Poncho” Sampedro stepped aside and was replaced by long-time Young collaborator Nils Lofgren, but this was their first time attempting to record anything new.
The real lyrical hook comes when the major chords switch to minor in the chorus, with the “happy” part of ‘you are like a hurricane, there’s calm in your eye’ replaced by the ominous part of ‘I wanna love you, but I’m getting blown away’ – that’s a hell of a hook, if you ask me. And then, of course, the solos – Neil really lets rip with a rapid sequence of several solos, slowly pumping out the feedback quota with every next tact until the final several bars have the guitar nearly choking from excessive distortion. One can only imagine all the heat and rage and catharsis a live performance of the song can generate (and actually does generate): like I said, the only songs I know that can give it some competition in the “broken heart expressed through a wild guitar solo” department are ‘Layla’ and ‘Why Does Love Got To Be So Sad’. Oh, of course then there’s Motorhead’s ‘Love Me Like A Reptile’, too, but that kinda goes without saying.
Young’s first solo album after hooking up with CS&N placed him somewhere between wistful acoustic balladeer and eco-mystic. Inspired by actor Dean Stockwell’s green-themed film script of the same name, After The Gold Rush was evocative and achingly beautiful.
to us. Then he invited us to go to his studio and master our record, Wasted, and do it at a high resolution. So we went to the studio, which was at his ranch at the time, and we worked, and he didn’t even show up, which I thought was really respectful. He just let us do our thing, he didn’t come in and try to say anything.
Young purchased his Californian ranch Broken Arrow in 1970. The thousand acre property was paid for in cash follwing the commercial successes of Crosby, Stills, Nash and Young, and After The Gold Rush. He had planned to set up a studio, however was held back due to touring and a debilitating back injury for which he required surgery.
Neither was Stephen Stills, who had meanwhile teamed with David Crosby and Graham Nash to record Crosby, Stills & Nash. When the trio finished their album and realized they needed another guitarist to hold up the instrumental end of things on the road, Stills visited Neil Young. Just beginning his career with Crazy Horse, Young knew he had a decision to make.
The return of Lofgren is inspired and Crazy Horse sound better than they have since ‘Greendale’ in 2003. The guitars feel tighter and have more bite. Young sounds invigorated but comfortable. In all fairness ‘Colorado’ isn’t going to join the pantheon of classic Neil Young albums, but few of his recent releases will, ‘Le Noise’ being the last that came close, but ‘Colorado’ is still a very good album.
Earlier this year, we posted a cover of Neil Young’s “Heart of Gold” by the Canadian band Midnight Shine. Neil had released two solo albums and three albums with Buffalo Springfield when he joined the band Crosby, Stills & Nash in 1969.
Young has recorded with Crazy Horse for half a century, returning to the band every few years. But some critics have found fault with the band’s musicianship, or said the band just isn’t worthy of Young’s time.
The 80s found Young in his own peculiar wilderness, producing a series of increasingly ‘difficult’ albums that tested the patience of diehard fans and confounded his record label, Geffen. In retrospect some of the bizarre experiments with electro-pop (Trans) could be forgiven once Young explained it was his way of communicating with his son, stricken with cerebral palsy. But it wasn’t until the early 90s, when he returned to the polarities of his best work (acoustic and raw electric) that he finally sealed the iconic status he enjoys today.
In his prolific nature , Young had been constantly writing while on tour. Near the start of the show he told the audience, I’ve written so many new ones that I can’t think of anything else to do with them other than sing them.” Needless to say, the punters did not protest. He proceeded to deliver his new songs to the awestruck spectators, a potent combination of the now-classics, Heart of Gold and Needle and the Damage Done, amongst others.
One of Young’s long-standing jokes is that he’s saving his best material for his Bus Crash” album. The few who have heard samplings of Young’s tape vaults – songs that didn’t fit into the flow of his albums, entire unreleased works, live tapes, Buffalo Springfield tapes – agree that some of his most compelling performances are among the unreleased material.
Anyway, let me just tell you what the whole hoopla’s about. Harvest was a patchy affair, with Young not bothering to write solid melodies and bogging it all down, down and further down in sloppy, rambling, slow arrangements, orchestration and all. Here, Neil is really careful enough not to repeat the same mistake. Not that the melodies strain too far from each other: it’s still the same country-folkish sound, but it’s chained down by a steady, bouncy rhythm section, and there’s enough hooks to hold your attention throughout. Even more important, I can identify with many of the songs – and considering my general anti-Neil attitude, it’s a rare, rare chance. Don’t be confused by the Biblical album cover – Neil doesn’t really present himself as a prophet or a sage on this record, although a couple of more pompous tracks come close (‘War Of Man’; the closing epic ‘Natural Beauty’).
The documentary — directed by Young under his nom de film Bernard Shakey — offers a rough and often-profane behind-the-scenes look at the recording of Colorado” at the high-altitude studio. Young has billed the film as an extremely unfiltered look” at his creative process, and it’s certainly that, spotlighting the artistic tension that arises as the 73-year-old rocker tries to capture the sound he’s looking for — and at the ear-splitting volume he craves.
He already had his bag full of new songs and had been considering a place to record his next album, so it didn’t take him much convincing when Mazer offered his newly furbished Quadrophonic Sound Studio. A converted Victorian-era house, the space was cosy and homey, utilising its living room for recording.
By the mid-1960s, Young moved to the United States where he formed a band called Buffalo Springfield. Although the group only lasted two years, it released three albums, for which it was inducted into the Rock and Roll Hall of Fame in 1997. Going solo, Young joined former Springfield member, Stephen Stills, along with David Crosby and Graham Nash to form Crosby, Stills, Nash and Young in 1969. The group was invited to perform at the famous Woodstock festival, then being referred to as the American Beatles.” Going solo once more, backed by the band Crazy Horse, Young released several albums, including Harvest in 1972 which contains the song Heart of Gold” his only No. 1 song of his career.
There have been a number of unofficial recreations of Chrome Dreams. Three of the songs featured on Chrome Dreams were officially released in September 2017 on Hitchhiker. On October 23, 2007, Neil Young released a new album entitled Chrome Dreams II.
Probably the most depressing album I’ve made,” was Young’s assessment of the follow-up to the consumer-friendly Harvest. Certainly it polarised opinion enough for the NME to print two separate reviews, with Ian MacDonald defending it from charges of self-pity brought by fellow hack Steve Clarke.
Young’s passion for environmental causes also informed his next album, 2015’s The Monsanto Years, in which he took on the issues of genetically modified crops and agribusiness; the album found him backed by Promise of the Real, a band led by Lukas Nelson , son of outlaw country icon and Young’s close friend Willie Nelson Young and Promise of the Real supported The Monsanto Years with a tour, which became the basis for the 2016 live double album Earth. Just after the June release of Earth, Young wrote and recorded the protest album Peace Trail, which appeared in December 2016.
In 2005, Neil was diagnosed with a brain aneurysm and underwent surgery for its removal. He had planned to keep this quiet but post-surgery complications affected some work commitments and so made this impossible. He postponed surgery to record Prairie Wind in Nashville, which was thematically similar to his Harvest album, and regained a lot of his old fans. But in a typical move, he divided his fan base with his next album, the politically charged Living With War , and with songs like “Let’s Impeach the President”, it’s not difficult to see why. He has been in a retrospective mood in 2006-07, releasing archival live recordings Crazy Horse at the Fillmore 1970 & Live at Massey Hall 1971 and two songs from Chrome Dreams II date from the late ’80s. In 2009 he released a 8-disc box set of archival material, Neil Young Archives Vol. 1 (1963-1972) , spanning the first ten years of his career with more sets promised.
So many questions, and so few answers. Oh, well. If by any chance you like this album, I’d like to reassure you saying that it gets a very very very very high eight. Almost a nine. But not enough for a nine. Well, maybe a ve-e-ery weak nine on a particularly good day, especially if we put it on after Phil Collins’ Face Value and definitely not after one of Neil’s own better albums. And if you’re not a purist or anything, this is probably not the last record to acquire for your Young collection. Frankly speaking, if most of Eighties’ synth-pop sounded like this album, I’d possibly have to revise my conception of popular music in the twentieth century. At least a little bit. In some ways.
Call it uncanny circumstances that lead to the release of a song from Adrian Sutherland (of Midnight Shine). Uncanny timing, too, considering the song’s name, and the fact there’s a federal election just around the corner. Jump ahead to August, when co-writing sessions with musical brothers sparked a song that was important, timely, and totally kickass. One day in September, that song came to life in a recording studio. By the first week of October, a filmmaker was adding his keen artistic eye to the message behind the music.
The NYA Times-Contrarian describes Colorado” as a double album (three sides plus a two-sided, 7-inch exclusive single) and a documentary, called Mountaintop Sessions,” which follows the creation of the Rocky Mountain jam session.
Lukas was a noted songwriter by then, too. He landed a few songs on his dad’s albums in the early 2000s, including the surprisingly heartbroken You Were It,” written at age 10, and Over You Again,” a collaboration with his younger brother Micah, who now tours with his own band, the Particle Kid.
Yep, Neil Young as I love him and as I seriously don’t just about totally arrives on this record. It’s also the first of his numerous collaborations with whippin’ boys Crazy Horse (oops, I meant “backing” boys, actually), and thus, quite heavy in its own way. In fact, while the debut did have a few hints at what was lying in store for us guitar-lovers, mainly in the shape of these poorly heard guitar assaults in the background, it’s this album that fully establishes the classic “Angry Neil Young” style. Mean, distorted, crunchy guitars, played as unprofessionally as possible yet as emotionally as possible – which even leads to some people calling this the first ever grunge album. Maybe not quite, though; these guitars are nowhere near as aggressive and ass-kickin’ as your typical grunge assault. In fact, I’d go as far as to say they don’t really “kick ass” at all, but wait up on that.
Everybody Knows This Is Nowhere – still Neil Young’s favorite of all his albums – was finished in two weeks. He and his new band toured small halls as Neil Young and Crazy Horse, and together they built a lasting reputation for hard, metallic rock. Young would spin off on searing guitar solos during which he wildly tipped back and forth on his heels. Because he acted so quickly, Young was never considered as a leftover piece of the Buffalo Springfield for long.