Neil Young's Crew: With A Little Help From His Friends

Neil Young, guitar technician Bob Rice (right), Roadie (left). Waldbühne Berlin, 21 July 2016.
Photo (c) Wolfgang Immigrather

From Rusted Moon, some info on Neil Young's crew.

Bob Rice cares on the "Rebel Content Tour" to Neil Young's guitar, harmonica and the keyboard. The California native learned his craft with Frank Zappa, for whom he worked as a programmer and sound engineer. With his company NGP Mastering in Culver City, he is active in mastering, audio restoration and music production.

As tour technician he was previously, among others, Roger Waters and his "Dark Side of the Moon" tour go, went with "Little Feat", Bonnie Raitt, Chick Corea and Simon & Garfunkel on trips and took care of the keybord of Lyle Mays in the "Pat Metheny Group."Bob Rice plays himself several instruments and composed.

More on latest concert tour of Neil Young & Promise Of The Real - 2016.

Also, see “To all the good friends I've known”.

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David Briggs Interview: WHFS Radio - 1977

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David Briggs was a record producer best known for his work with Neil Young. He also worked on albums with: Spirit, Tom Rush, Nils Lofgren, Steve Young, Nick Cave and the Bad Seeds, and Royal Trux.

Originally broadcast in November of 1977 on WHFS 102.3 FM (Bethesda, MD) program "Aircheck", from the Thom Grooms show. This is an over-the-air broadcast that was recorded (static can be heard). The music from this original broadcast has been removed per the Digital Millennium Copyright Act, however, the interview in it's entirety, and the original WHFS 102.3 FM commercials remain intact.

Also, see Friends of Neil: David Briggs, David Briggs in Memorium , and David Briggs Obituary - NY Times, 12/3/1995.

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Lineup Announced: 2016 30th Annual Bridge School Benefit Concert

Here is the 2016 30th Annual Bridge School Benefit Concert Lineup:

• Neil Young + Promise of the Real
• Metallica
• Roger Waters
• Dave Matthews
• case/lang/veirs
• Willie Nelson
• My Morning Jacket
• Norah Jones
• Cage The Elephant
• Nils Lofgren

The 30th Annual Bridge School Benefit Concert will be on October 22 & October 23, 2016.


More on last year's 2015 Bridge School Benefit Concert (reviews, photos, videos, etc.).


Neil Young @ 2011 Bridge School Benefit Concert
PHOTO BY Misha Vladimirskiy | SPIN.com
Also, see The Essence of Bridge School Benefit Concerts.

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REVIEW + CONTEST: The Music of Neil Young by Chris Wade

THE MUSIC OF NEIL YOUNG
by Chris Wade
(Click photo to enlarge)

There is a new book on Neil Young that has been published recently titled THE MUSIC OF NEIL YOUNG by Chris Wade. And thanks to the good folks at Wisdom Twins Publishing, we have a copy to giveaway in a contest. Details below.

Writer and musician Chris Wade (of acclaimed music project Dodson and Fogg) looks at the career of one of the greatest musical artists of all time, Neil Young. Charting his career from his early Squires days in Canada, through his stints with Buffalo Springfield and CSNY, to his remarkable and daring solo work, Wade looks at every phase of Young's recording and performance career. As well as delving deep into the albums, from Harvest and After the Gold Rush to Storytone and Earth, he also interviews key collaborators such as Anthony Crawford, Carole Mayedo, John Fumo, Robin Lane, Steve Potts, Astrid Young, Gail Davies and Niko Bolas, who share memories of working with Young.

We just finished up the 242 page book with lots of new interviews and photos and enjoyed quite a bit.

Here is a chapter excerpt below.

ANTHONY CRAWFORD INTERVIEW: "I AM A PART OF THE NEIL YOUNG LEGACY..."

Anthony Crawford & Neil Young

Anthony Crawford has worked with Neil on and off over the years, starting with the Everybody's Rockin' album in 1983. Here he discusses his memories.
Chris Wade: The first album of his you were on was Everybody's Rockin'. How did you come to be on it and what are your memories of recording it?

Anthony Crawford: I was 25 years old at the time and I got a call from Elliot Mazer asking me to show up at noon to the studio in Nashville called the House of David. I had always been a fan of Neil's music so naturally I was excited to meet him. Within an hour of being in the studio I was singing on the same microphone with him in a vocal booth on one of the songs that he wrote for his son called My Boy. The original recordings of Old Ways were before he started Everybody's Rockin' and the Shocking Pink's tour and album; however it was all around the same time frame. He was in the middle of a dispute with Geffen records about not sounding like Neil Young as I recall and I remember hearing some heated conversations to which I agree with Neil, yet strangely enough I understand why the record company wanted something that sounded like classic Neil Young. This would prove to be a bad move to ever tell Neil Young what he needs to sound like... just my opinion.

Did you enjoy the tours with him from 83 to 85. What were some of the best gigs?

I very much enjoyed the tours early on with Neil. Everybody was young and had a lot of energy. Every show was great, it's hard to pick just one. Neil let us all loose to be spontaneous and jam. All the musicians were incredible.  Some memorable venues were Austin City Limits, Nikon at Jones Beach Theater in New York, the CNE Grandstand in Canada, and Billy Bob’s in Texas. There was also a string of northern California bar gigs that we did where we performed a warm up tour. We played to only 200-300 people. That was rabid.

What was it like playing on the stage with Neil back then? Did you always know where it was gonna go?

It was like mainlining pure energy. Of course it was a lot of fun to be on stage with Neil Young. There were periods where we could all just really stretch out musically in the early days. The set list however had structure to it and it was always the same. Of course, we would change a song from time to time in the set but the songs were performed in the same way every night.

What are you memories of making Old Ways?

There are two different Old Ways recording sessions. One was with the band that was later to be known as the International Harvester's and then there was another session with Nashville musicians at The Castle in Franklin, Tennessee. The first Old Ways session I remember being very intimate. The sessions were at the House of David studio on Music Row. It felt more like a close family gathering. These were the musicians who actually went on the road. The other Old Ways session... Well, Neil seemed to have all the big name country artists of the time; Waylon Jennings, Marty Stuart, and many others. To me, it felt like it was more of an attempt to associate with these people in order to be taken in by the Nashville community to find validity which never happened. Let’s face it, he IS Neil Young, the Godfather of Grunge. So it never happened. Neil was too country for country. People wanted classic Neil. But it was great music and I loved it. I think it was some of the best music he has made and he sounded great doing it. The International Harversters were an all-star band of misfits.  

What's it like working with Neil? Is it possible to describe the way he works on a record?

His intensity drills to the core of your musical abilities. He has historically been able to pull the best from the best thus the reason he has so many memorable moments on records. All of it is recorded with the band members in the same room like being on a stage playing a live show with floor monitors. Very few overdubs. And magical performances because of the atmosphere that he created along with all the booze and smoke that gets people in the mood. It was not business for Neil, it was art.  He allowed people to get buzzed to the moment.

You didn't record or play with Neil for a few years, then he got back in touch. What was it like recording Prairie Wind?

Prairie Wind was the first time I had seen Neil in 15 years. I got a call from Elliot Roberts, Neil's manager (while sitting on a bus in the middle of a tour with country group Blackhawk), who asked me to be at rehearsals that week. I made a great effort to be there. When I first walked in  I was talking to a couple of musicians when Neil yelled across the room “Hey Crawford, don't think you can just come in here and wing it”. I’ll never forget that. His energy was very abrupt, at least towards me, which took me by surprise. I mean, come on, I haven't seen him in 15 years... what, no hello? No how are you? You can imagine my thoughts when the last time I had seen him, he had told me that he always wanted me in his band. 15 years later... this. Something about me or him was not grooving. However, probably because of my brotherhood with Ben Keith, I went on to be in the 2007 to 2010 Neil Young bands that toured the US and Europe.

You were featured on Fork in the Road. What are your memories of that recording?

Fork in the Road was written and rehearsed while on the road in Europe. He would write a song and show it to us at sound check and we would learn it and then play it that night or the next night. The whole album was composed on the road.

Heart of Gold movie is just a brilliant film. Was that a good experience? Did they feel like special gigs?

The Heart of Gold movie, yes, it is brilliant. Fun is not the adjective I would use to describe it. It was intense. We all got Manuel suits or dresses, it was a production and Jonathan Demme did a fantastic job capturing that time. Certainly we all knew it was a special time.

I love A Treasure too as an album. Did you have a good time during that somewhat lost era?

A Treasure is my favourite music released by Neil Young that I was a part of because it is live recordings from the tours in the 83 to 85 time. Talk about brilliant, that was brilliant. I think we all felt like rebels bucking the system. Neil had left Geffen and was doing the music he wanted to do. I think it was liberating to him and we were all just lucky to be a part of that time. Neil was really using my abilities back then... I played banjo, mandolin, guitar, background vocals.  I enjoyed those days.

What are your personal favourite Neil songs?

My favourite Neil Young songs are Expecting to Fly, After the Gold Rush and Broken Arrow. These songs are like movies to me. The string arrangements from the great Jack Nitzche would be the reason for this. Not to take away from Neil’s brilliant song writing, but again, the people he surrounds himself with is what all great leaders seem to do. He is a great leader.

What have you learned from working with him?

I have learned everything from Neil Young and the brilliant people he surrounds himself with. It is what shaped me to be the person I am today. On a music level, I respect the man as much as I have ever respected anybody. I am privileged to know what went on in those recording studios. I am able to take that knowledge and use it in my own career as a performer.

What are some of the stand out memories for you looking back, proud moments with him and things you treasure?

The most standout memory I have would be a funny moment after smoking a joint with Willie Nelson and playing the Willie picnic, nobody knew who Neil Young was. The blue hairs were in control, they all wanted Willie. The look on Neil's face was priceless.

Another great memory was performing at Hyde Park and playing Paul McCartney’s part on the piano for A Day in the Life. The band didn’t know Paul was coming out on stage during that song. It was surreal. I spoke with Sir Paul backstage and he has the kind of energy that is paralysing. I have always been an admirer of Paul’s writing and so the moment was big for me. He is a kind and gentle giant. What do I treasure? Well, just being a part of the legacy I guess. There aren’t a whole lot of people who can say they played with Neil Young, especially that are still here on this Earth. I have a lot of great memories in my vault as well as many photos and video footage through the years that I hope to release at some point in the future. I was lucky enough to take the album cover for Chrome Dreams II. Let’s face it, after 700 shows with him, I am a part of the legacy of Neil Young.

For more on THE MUSIC OF NEIL YOUNG by Chris Wade.

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The Music of Neil Young by Chris Wade

A lucky Thrasher's Wheat supporters will be eligible to win a copy of The Music of Neil Young by Chris Wade. We truly appreciate being able to do what we do here at TW, and we love being able to give something back in return.

To enter the contest, follow these steps:

#1) Subscribe (or be already subscribed) to one of our blogfeed channels either via Facebook Page (LIKE us), Twitter (FOLLOW us), YouTube Channel (SUBSCRIBE), Google + (PLUS us) and/or subscribe to our email list.

2) Then just email us (thrasher@thrasherswheat.org) Also, include which blogfeed channel you signed up for (Facebook, Twitter, YouTube or email list options noted above in Step #1). *Be sure to include your complete Facebook ID or Twitter handle or YouTube ID or email address.*

Include your name, postal mailing address, including *COUNTRY*.

Entries must be emailed to thrasher@thrasherswheat.org with SUBJECT line: CONTEST - The Music of Neil Young by Chris Wade

Deadline: Friday, Sept 9, 5PM EST

We'll then randomly select Thrasher's Wheat readers as winners.

Don't Be Denied!

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UPDATE - ROUND #2: Thrasher's Wheat 20th Anniversary T-Shirts + ATTENTION: Richie Walker

Thrasher's Wheat 20th Anniversary: 1996 - 2016
Design by Silver Moon Art & Design
(Click photo to enlarge)

Thanks again to all who have supported the Thrasher's Wheat 20th Anniversary T-Shirts campaigns.

For those placing orders in Round #2, we have been hoping to complete shipments in the month of August, however it does not look like that will happen, unfortunately.

At this point, we are still awaiting the arrival of the 2nd batch of shirts here at TW International Headquarters. But rest assured, once they arrive we will begin the shipping process in earnest.

In our last correspondence with the Maui Tie Dye Team, we learned that the production pace has been a little slow this time around. Maybe shirt burnout?! Even designer Geoff has been involved in the production process getting his hands stained, as well. We understand that the shirts will be shipped no later than early September. So hopefully, everyone will have by end of September.

We hope for sooner order completion because we know folks would like to have for Farm Aid, Telluride concerts, Desert Jam and Bridge.

So fear not. Your Thrasher's Wheat 20th Anniversary T-Shirts will definitely arrive before Neil Young's Archives #2. :)

And thanks again to all who wore the shirts on the Europe 2016 Tour Concert of Neil Young & Promise Of The Real this summer! We love to see folks letting their freak flags fly. Also, we would like to do a photo gallery of all the photos sent. Maybe someday in our spare time we can make that happen.

ps - Richie Walker - please check your email and/or SPAM folder for latest correspondence. If you don't see it, drop a comment below and we'll respond.

TW Tie Dye Crew
Nate & Karen & Geoff Flying Thrasher's Wheat 20th Anniversary Shirts
Maui, Hawaii
(Click photo to enlarge)Here

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Comment of the Moment: Releasing "Time Fades Away" on CD - Does It Really Matter Anymore?

"It's like stashing Mona Lisa in the basement."
Petition Signature Signer #6628 by Gareth D.
The Comment of the Moment is regarding the viability of vinyl vs CDs on the post Neil Young's "Ditch Quadrilogy" Re-Re-Release Coming by rkennke:

I find this whole discussion about hires audio formats rather religious than anything else. Sure you get tons more information in 192KHz/24bits depth, but IMO it's all useless. It's pretty much proven that humans cannot hear anything beyond 20-22Khz. Most people fail to hear anything around 15Khz already. Try it out yourself. As per the Nyquist theorem (https://en.wikipedia.org/wiki/Nyquist%E2%80%93Shannon_sampling_theorem), a sampling freq of 44Khz is about perfect. Hence the 44Khz of regular CDs. Remains the discussion about dynamic depth of 16 bits. This could be debated, but I haven't heard of a single double-blind study yet that conclusively proves it makes a difference to anybody.

I believe the notion of CD quality being inferior stems from badly mastered CDs. Back in the 80s and into the 90s, equipment for CD mastering and engineering experience hasn't been as good as it is now. We really got lots of badly mastered CDs, and Neil Young's catalogue is no exception, sadly. And we still do, nowadays CDs are often mastered too loud. But it's not a failure of the format, it's a failure of proper mastering. Some records are just superb (e.g. the remastered 1st 4 from Neil Young), especially in recent years, there are many excellent CD quality records out there.

As for vinyl records. I love them. But I do not love them for their superior sound quality. I love them for the improved artwork. I love them for the ritualistic putting record on the turntable, then placing the needle on the record, later, turning the record around, heck even the slightly romantic crackling of dust. Sound quality? Well... for one, the dynamic range is fairly limited on a record. The groove can give you just so much. Especially in the lower ranges, the range is so limited that records are mastered with lower frequencies turned down, and the playback equipment required to amplify it back up (https://en.wikipedia.org/wiki/RIAA_equalization). The 'sampling frequency' is fairly limited too: vinyl consists of crystals, and you just don't get infinite many crystals (e.g. samples) within a groove. Then there's the issue that 'outer grooves' have a better quality then 'inner grooves', that's because the stylus has a higher effective speed over the vinyl at the outer edge than it has at the middle (kindof like higher sampling frequency). That's one of the reasons why often you find quieter songs at the end of one LP side. A well mastered LP will leave a lot of empty space in the middle for that reason. There are some terrible LPs (take NYs Freedom) that squeeze 30minutes+ on each side. Modern well mastered LPs only take up 12-20 minutes per side. And real hi-fidelity pressings even come in 45rpm (as some of Radiohead's records do, for example). LPs are really not that great, sound-quality wise.

I hope that Neil makes up his mind and re-releases TFA, TTN and Zuma (On The Beach is fine as it is) on CD. It's still the most common format, even though declining, and no, neither MP3 nor PONO is for me. LP with CD quality download seems ok. (Will the re-releases come with such download option?) In the meantime, find the pulled TFA HDCD master from the 90s out there.. it's great (better than any LP rip).

Thanks rkennke for the comment. Provocative.

So. Does releasing Neil Young's "Time Fades Away" on CD... does it really matter anymore? Or can we just retire the petition and be done with and move along?

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