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An unofficial news blog for Neil Young fans from Thrasher's Wheat with concert and album updates, reviews, analysis, and other Rock & Roll ramblings. Separating the wheat from the chaff since 1996.
Neil Young is recording another album in the studio, this time with his latest new band The Chrome Hearts.
Per producer and sound engineer John Hanlon's Instagram (via Rusted Moon Rusted Moon), Neil Young is at Rick Rubin's Shangri-La Studio in Malibu. From photo caption, the recording is analog 16 track direct to vinyl.
Shangri-La Studio is where Neil Young recorded his last studio album "World Record" with Crazy Horse in 2022. The last full moon was on November 15th, so presumably the recording was around that time. Rick Ruben does not seem to appear in the photo so presumably Neil and Hanlon produced the album.
"No review’s going to do this justice, so let’s just get this out the way. Neil Young was just phenomenal.
Michael Eavis has tried and failed four times previously to get Neil Young to play at his little party down on Worthy Farm dating right back to the days when local stores would put ‘No Hippies Allowed’ on their windows.
Why Old Farmer Eavis has been so determined to book him is apparent from the moment Neil Young hits the stage. There’s no farting about, his trusty scarred Gibson Les Paul, Old Black, comes straight out and he clangs straight into My My Hey Hey. Seldom has the lyric “better to burn out than fade away” been more pertinent than the day after the death of a King. But also because at this festival of legends there are some here who have faded beyond repair. What this set proved more than anything is that Neil Young isn’t among their number."
It appears that a Neil Young & The Chrome Hearts Europe Summer 2025 concert tour is in the works.
Per a "Message From Neil" posted onNeil Young Archives - Nov. 15, 2024, a tour plan that has already been submitted will be revised again.Instead of touring indoor halls and theaters, Neil Young only wants to perform in open-air arenas. (Thanks RoadDawg Mike!)
"Indoor concerts could be too risky for health reasons and we don't want to have to cancel any concerts next summer for health reasons."
Neil Young first performed with the "Chrome Hearts" at Farm Aid in September and played two indoor concerts in the Capitol Theater in Port Chester, New York.
Additional Chrome Hearts concerts never were scheduled despite a tour announcement.
Neil Young only played two concerts with the "Chrome Hearts" in Port Chester, marking the "beginning of a new era".The band consists of Micah Nelson (guitar), Corey McCormick (bass), Anthony Logerfreo (drums) and Spooner Oldham (keyboards).
There is one aspect of “Cinnamon Girl” that remains overlooked: the last 20 seconds.
“Cinnamon Girl” is powered by a riff that launched a thousand ships
as countless bands and Young himself have adopted the same crunchy,
guitar-based template. A heckler once yelled at Young that all of his
songs sounded the same and Young famously responded: “It’s all one
song.” There’s a strong argument that “Cinnamon Girl” is in fact that
one song, serving as an urtext for grunge and indie rock for generations
to come.
Young plays the song in a drop-D tuning, meaning that he starts with a
guitar’s standard tuning and lowers the low and high E strings to D
notes. Young had employed the tuning before on Buffalo Springfield’s “Mr. Soul,”
but it is in “Cinnamon Girl” that he grasps the true power of this
technique, providing Young with a low drone, whether heard or implied,
that permeates the song with a deep intensity and weight.
The drone is heard plainly at the 2:37 mark of “Cinnamon Girl” as
Young and Crazy Horse finish playing the central riff of the song one
last time. Young holds the low D after the other guitar and bass fade
out. The last 20 seconds of the recorded time of “Cinnamon Girl” acts as
the coda of the song. In music theory, a coda is a concluding statement
within a song or larger movement. It’s a wrap-up and usually serves as
an addition or extension of the principle motif or arrangement of the
piece. In this coda, Young plays a flurry of notes by hammering the
strings on the fretboard of the guitar to produce the sound rather than
using a pick. Over the course of these 20 seconds, he plays 11 different
flurries, each a variation on a theme. It’s not the central riff of
“Cinnamon Girl” anymore, but this new theme feels connected and even an
enhancement on the song’s main riff. This outbreak of notes played by
Young in the coda is tumultuous and frenzied and then suddenly finishes
as Young lets the sustained drone of the low D ring out. As the drone
continues towards its vanishing point, Young hits natural harmonics on
the guitar twice just before the song ends, providing a twisted high
complement to the drone.
With that, the music fades out, ending the coda
and “Cinnamon Girl.”