BOOK REVIEW: Neil Young: Art of Gold

Neil Young: Art of Gold
by Herman Verbeke

Just before Thanksgiving, we received a review copy of the new book Neil Young: Art of Gold by Herman Verbeke.

Over the years, we've reviewed quite a few books on Neil Young from biographies to song analysis, illustrated books, songbooks to comics. But we can tell you that this Neil Young book Art of Gold is unique, especially if you're drawn to the creative arts.

Belgian Herman Verbeke has collected more than 200 drawings, painting, cartoons, caricatures, murals, comics, sketches and other artworks about Neil Young. His compilation published this Fall by the publishing house Witsand Uitgevers, is a hardcover with 256 pages. Artists from all over the world brought their art and their love for Neil and his music to this brilliant collection. Each artist added his or her comment and tells us about the how, the why, the when & the where they created their piece.

In our correspondence with author Herman Verbeke, he relates that when so many artists paint, draw, cartoon or "mural" Neil Young's image, then "One must be great in what he does."

"Neil Young: Art of Gold", is Verbeke's proud tribute to Neil Young, as well as a tribute to the many visual artists who contributed to the project. Author Verbeke adds that he truly appreciates the artists sharing their art and talents free of charge. Incidentally, Verbeke did not receive a fee from the publisher of this book either.

Earlier this year, Herman sent a letter to Neil Young Archives, where the following was published:

Neil Young Archives | NYA

And here's a short movie of the book by one of the artists Kirk Andrews, who did a charcoal image on page 183.

I am honoured to have my Neil Young charcoal portrait included in this ace new book, Neil Young: Art of Gold by Herman Verbeke. Featuring work by artists from around the world it is a beautiful collector’s item for anyone who loves Neil Young and his music.#NeilYoung #art pic.twitter.com/Ff0yCwgrxp

— kirk andrews (@the_kirkinator) November 23, 2019

Herman Verbeke - Neil Young: Art of Gold
Publisher Witsand Uitgevers
ISBN 9789492934277
Hardcover, 196 pages, 24,99 Euro

via tweet by Andre Koekemoer | Twitter

Orders can be placed at bei Witsand and bol.com.

Also, in 2017 Herman Verbeke published the book Neil Young: En Ik (In Dutch of course), with 65 thoughts and musings about Neil by journalists, professors, theater people, writers, poets, and many others from Belgium and Holland).

Neil Young: En Ik
by Herman Verbeke

Author Herman Verbeke & Neil Young - 2009

---

---

"The role of the artist is to make revolution irresistible." - James Mazzeo Quoting* | NYA

"The role of the artist is to make revolution irresistible."
Artist Perspective | NYA

Posting on Artist Perspective | NYA, James Mazzeo quotes another artist Toni Cade Bambara: "The role of the artist is to make revolution irresistible."

James (Jim "Sandy") Mazzeo is well known as the artist for several Neil Young album covers, in particular - ZUMA.

"Deju Blue"
w/ James Mazzeo, ZUMA & Greendale Album Cover Artist
Remembering The Warmth & Love of Bridge School Concerts

James Mazzeo *quote by Toni Cade Bambara is inspiring to all of us -- whether or not artists -- with innate passions to communicate the truth and empower freedom messengers.

"The role of the artist is to make revolution irresistible."
by Toni Cade Bambara

Each day's latest news on the assault on Freedom of Speech -- such as Thrasher's Wheat impending de-platforming from YouTube (per latest change in ToS effective Dec. 10th) -- makes revolution more irresistible and inevitable.

Our battles here with Freedom of Speech are well documented over the decades. (See here, here, and here.) The clampdown on The Big Shift continues. And NO, the "The Big Shift" that we have been referring to here at TW for years has nothing whatsoever to do with with Adam Schiff and in no way shape or form, nor did we attempt to foreshadow his notoriety years ago. Hey, we're good at time travel through the looking glass, but not that good. :)

Thrasher's Wheat | Facebook
Banned Since July 2015, Accused of Being a "Fake" Profile

"First they came for Thrasher's Wheat,
and I didn’t speak up, because I wasn’t a Neil Young fan.

Then they came for Alex Jones,
and I didn’t speak up, because I wasn’t a white male conspiracy theorist.

Then they came for Oprah Winfrey,
and I didn’t speak up, because I wasn’t a black female social justice warrior.

Then they came for Neil Young,
and I didn’t speak up, because I was Donald Trump voter.

Then they came for me,
and by that time there was no one left to speak up for me."

MODIFIED ~~ Rev. Martin Niemoller, 1945

Open up the tired eyes. Eyes wide shut, we tried to lay it all out very specifically just prior to the 2016 election. And then clarified any mis-understandings shortly after the 2016 election. (More on Northern Man, Southern Man and The Un-Civil Wars of Donald Trump & Neil Young.)

There's corruption on the highest floor!
TW & Uwe "Computer Age" Singing Truth to Power
White House, Washington, DC
Photo by Hounds That Howell
Look, no one enjoys saying "we told you so." But just as Rev. Martin Niemoller proved to be prophetic, so will the words of "First they came for Thrasher's Wheat".

And recall the words of artist James Mazzeo. and JFK's.

"There's a field of green and an old *red* barn
!Deep! in the -valley- of >hearts<."
~~ "Don't Spook The Horse" by Neil Young

ps - why do we do what we do? because it's all about the Kids, the children of destiny ... of course.
peace

---

---

Art Inspired by Neil Young Album | David Lunney, Chrome Dreams Pallas Projects + Studios, Dublin, 5 April 2018 – 14 April 2018

Chrome Dreams by David Lunney

Can "chrome dreams" become real?

Read about how integral the frame is for the painting, photograph and sculpture of artist David Lunney, and why he's taking inspiration from a bootleg Neil Young album.

From David Lunney, Chrome Dreams | Pallas Projects + Studios, Dublin, 5 April 2018 – 14 April 2018 in CIRCA Art Magazine (CIRCA is an online magazine publishing reviews, essays and projects around the theory and practice of contemporary art in Ireland) by Aidan Kelly Murphy:

Chrome Dreams is the name given to a semi-fictional Neil Young album from 1977 that was finished but, according to lore, never released.

Young shelved it as he shifted direction and released another album. In the intervening decades this collection of songs has taken on mythological qualities far exceeding the individual merits of the songs; exiting the realm of truth into urban myth, new additional layers to the story have kept on developing. Some have said that an acetate version of the album was bootlegged and even included a booklet, others have dismissed these physical manifestations of the album as baseless rumours. Others still assert that Chrome Dreams is merely the name incorrectly attributed to a collection of recordings that were not released, but that these songs were later re-recorded in different styles and included on subsequent albums. Young himself played off the stories by releasing Chrome Dreams II in 2007. The clearest explanation he has given of Chrome Dreams is as follows:

“What Chrome Dreams really was, was a sketch that Briggs drew of a grille and front of a ’55 Chrysler, and if you turned it on its end, it was this beautiful chick…I called it Chrome Dreams.”

In essence Chrome Dreams is either a snapshot in time of something, a distinctive view that can later be replicated, albeit with a different take or viewpoint, or simply a fantasy state of mind that never existed. It is also the name that David Lunney has chosen for the opening show of Pallas Projects + Studios’ new series of short shows under the banner of ‘Artist-Initiated Projects’. Lunney plays on the mythology and the conflicting views of what Chrome Dreams is, reappropriating it for his latest body of work, which itself is an alternative view of the landscapes of the Dublin and Wicklow mountains. On a base level there are parallels with the reflective nature of the grille described by Young and the apparatuses Lunney uses to create his work. His practice, one which he himself describes as “undertaking [a number] of protracted art processes”, sees the artist create devices which he then brings to the Dublin and Wicklow mountains to photograph the landscape. These images are later rendered in paint or edited as photographs. The creation of these devices, which include mounts for cameras, is a protracted process in itself, with Lunney constructing each bespoke device from scratch in his studio.

Chrome Dreams by David Lunney

Chrome Dreams begins with a sculpture which is based around a sheet of ArtGlass™. This completely clear glass acts an invisible platform for a variety of reflective elements. This portable sculpture was brought to a forest in Ballyedmonduff (Dublin Mountains) where it was photographed in a variety of positions. Two of these photographs have been rendered as drawings. These strange and complex drawings are always the goal of this process; in a sense of reverse-engineering the imagery from the initial sculpture.

Full article David Lunney, Chrome Dreams | Pallas Projects + Studios, Dublin, 5 April 2018 – 14 April 2018 in CIRCA Art Magazine (CIRCA is an online magazine publishing reviews, essays and projects around the theory and practice of contemporary art in Ireland) by Aidan Kelly Murphy.

More on Art Influenced by Neil Young: Jenice Heo.


Rust Never Sleeps
Art Influenced by Neil Young: Jenice Heo

Neil Young - Chrome Dreams II album

More on Neil Young's released Chrome Dreams II (reviews) and un-released and Neil Young's 2007 Chrome Dreams Continental Concert Tour.

Neil Young - Chrome Dreams RUST Edition

Neil Young's 2007 Chrome Dreams Continental Concert Tour

---

---

INTERVIEW: Neil Young Talks Art, Algorithms, and Music Saving The World | Noisey

Here's an interview with Neil Young discussing art, algorithms, and the likelihood of music saving the world from "Smoke Some Weed, Take a Walk, and Read This Interview With Neil Young | Noisey by Andrea Domanick.

Noisey: You've recently gone back through your entire back catalog to create the Neil Young Archives. I wonder what it was like to return to all that and think of yourself as a younger man playing music, responding to a changing world.

Neil Young: You know, I don't think about it much. You'd think I'd think about it all the time by looking at the Archives, but really the Archives is just a chronicle, a platform to organize things that have already happened. All I'm really doing is now dealing with shit that I have, and putting it in place. Occasionally, I'll go round and get immersed in things that I've done and just... it's cool to be able to visit them. And it's really cool to be able to hear them, because I don't like to listen now because it sounds so bad. Music has suffered so much at the hands of big tech. Most of the listeners today don't even realize how deprived they are. They are getting music and they love music—that's good. But they're only getting five percent of the sound of the music—especially when you relate it to the classics from the '30s, '40s, '50s, '60s, '70s, '80s. These new mp3 copies, whatever the Hell they are, I know they're five percent or less. If I was a painter and now we're looking at a bad sepia tone of the full color picture—that's disturbing. That's my fuel. That's why I drive forward with the audio technology.

I'm coming from the past, and I'm saying there's a door that could open or a window that could open. And you guys all who love music and love the whole scene and love everything about it might hear something and feel something that you've never had a chance to. That's my approach now. I go to the record companies and I say: "Why should you restrict access to the golden gates of music—to the crown jewels, these recordings, these ancient fucking recordings of great stuff by Frank Sinatra, Cab Calloway, Jimmy Reed, Muddy Waters, Glenn Miller, anything. Why should you restrict all of the quality of that to five percent of what it was when it was made? What's the advantage?"

Noisey: How difficult is it for you, then, to feel optimism in your music and in your life when you have such a history of fighting against things like this?

Neil Young: Well, I'm very optimistic that the human spirit can overcome lots of things. I don't think that where we are now is a sign of where we're going. I think this is a low-point—the far end of the pendulum swing. It's not a good thing right now. But my biggest concern right now is not that the guy in charge has no balls and doesn't know how to say goodbye to people and he's a very poor model for our children. That really means a lot to me, but it doesn't mean anything to me compared to the damage he's doing to the environment. That is reckless. That bothers me.

This is all a very, very dark thing that's happening. And people are starting to feel it. I don't like people logging into me [the Archives] from Facebook. If they're going to log in from Facebook, I want to give them the option of reading something about Facebook when they arrive, so they know where they came from. And I still use Facebook because my users, my fans, people who want to know what we're doing, we tell them what we're doing. But you have to go to our place, and you don't have any of the rules, and we're not going to track you and use you. Once you leave that area, you're in a safe area, which is our place. So, we want people to know that we care about that. I mean, when you have algorithms that encourage children under 10 to be into porn...

Noisey: It's so terrifying and dystopian.

Neil Young: It's insane that that exists.It's a misuse of the technology. Technology's meant to make life better. The bad guys now can use the tools the good guy uses, that were made for the good guy. But the bad guy's got them, and the people who make them are very, very, very wrong in saying it's not their responsibility. It is their responsibility, but they don't want to police. They don't want to be that which they put down. But you have to realize there's a responsibility with having power. So you have to be able to let people know what's going on. Let them know.

Read full interview at "Smoke Some Weed, Take a Walk, and Read This Interview With Neil Young | Noisey by Andrea Domanick.

Also, see Neil Young: Tech Giants Rip Off Artists.

---

---

Neil Young's "On The Beach": The Images Behind The Album Cover

"The Drought" & "On The Beach"
Recently, we posted on Neil Young's Decade: The Images Behind The Album Cover , which brought on a discussion of the various fonts used on Neil Young's album cover art. (Thanks Mr Tew!)

Neil Young's "On The Beach" album cover is considered to be one of his most creative and intriguing designs in his vast catalog. Is that a rocket ship in the sand? Who drank the can of Coors? What's with the newspaper headline? And the cheesy floral-print matching the tawdry beach-furniture, printed on the INTERIOR of the cover sleeve? How cool was that?!

You've been invited by a guest (with his back to you) to sit at a table on the beach where the ocean vista is obscured from view. We're only permitted to hear the waves roaring but we can't see it.

While it would seem that many of Neil Young's album covers have a rather tossed off feel, that's certainly not the case with the elaborate "On The Beach". For example, the "Living With War" cover is literally stenciled letters on a brown paper bag. In contrast, "On The Beach" album is meticulously designed right down to the inside of the album jacket matching the pattern of the inside of the umbrella on the cover.

"On The Beach" -- the final link of Neil Young's Ditch Trilogy -- is considered by many fans to be one of his best and their most favorite of all Neil Young album covers and artwork. Designed by Gary Burden, photographed by Bob Seideman, and graphic lettering by Rick Griffin, the cover is quite enigmatic with a Cadillac car fin jutting from the sand like a crashed rocket being buried by time. A shoeless Neil stares out into the ocean near a forlorn potted palm. A jaunty yellow beach umbrella matches Neil's jacket. The yellow theme is even continued with a Coors beer can on the table. Inside the album, things become even more crpytic with the album's liner notes. Fans have poured over Rusty Kershaw's strange handwritten note for clues and meaning often to no avail. Apparently, the recording sessions' heavy use of Honey Slides took a toll ... possibly to the creative sides' benefit?


But probably the most significant item on the cover is the newspaper's headline "Senator Buckley Calls for Nixon to Resign". (Young and Nixon have had a bitter and strange relationship over the years. From "Ohio" 's lyrics "Tin soldiers and Nixon's coming" to "Campaigner's" lines "Even Richard Nixon has got soul", Neil has never made a secret of his feelings towards U.S. President Richard Nixon.)

Gary Burden
Apple Presentation
(Click photo to enlarge)
In an exclusive interview on Human Highway.org with Gary Burden of R.Twerk & Co., the artist, art director, and designer talks about his journey along the Human Highway. Here's an interesting snippet:

Q: Besides the archives, a favorite Neil album design of yours?

Gary Burden: My favorite album cover that I have made, ever, is Neil Young’s “On the Beach.” This cover is loaded with information! From the styles of clothing and objects to the Coors can to the headline of the newspaper of the day of the photo shoot.

My final “gift” to the viewer/consumer was printing the tacky floral designs inside the sleeve.

That one blew the mind of the record company. Not in a good way!

(Complete interview on Human Highway.org with Gary Burden.)

Which brings us to the rather fascinating article ON THE BEACH – Dali, Ballard, Neil Young and Cadillac Ranch | THE END OF BEING by James Reich.

The article brings together a series of unlikely events in 1974 between surrealist artist Salvador Dali, author J. G. Ballard, and musician Neil Young.

If you're unfamiliar with the post-nuclear apocalypse vision of Nevil Shute’s 1958 novel On The Beach (filmed by Stanley Kramer in 1959), than the article will help place Young's album in some perspective.

Ballard's followup novel The Drought was released in paperback in 1974 with David Pelham's cover art of the tail end of a yellow Cadillac part-submerged into the desert.

Salvador Dali - "Persistence of Memory"
James Reich analyzes the connections between the surrealism of Dali, Pelham & Griffin:

Uncannily, Pelham’s yellow Cadillac in the sand resurfaces in July 1974 in psychedelic poster artist Rick Griffin’s cover art for Neil Young’s album On The Beach.

Psychedelic art, even in a generalized sense, is indebted to surrealism, and this image makes specific use of its currency. The image and angle of the Cadillac tail in Griffin’s surreal photograph are strikingly close to Pelham’s illustration, and this is also the work that further binds Pelham’s work to Ballard’s fascination with Dali's The Persistence of Memory.

The melting watches and the dead tree of Dali’s 1931 painting are represented by the forlorn angle of a fringed beach umbrella over the disarray of a cocktail table that Young has abandoned to contemplate oblivion at the limit of the beach. The orange flowers printed on the fabric of the beach furniture, their particular shade and shape allude to Dali’s closed watch, swarmed with ants. The windblown newspaper wrapped about the base of the umbrella (headline calling for the resignation of Richard Nixon which would occur the following month) again marks the end of chronology. Dali’s Catalonian cliffs (absent from Pelham’s image for The Drought) are referenced in the indistinct coastline visible on the right of the record sleeve photograph.

Neil Young’s ragged hair replaces the pubic eyelashes of Dali’s abortive creature on the beach. Alienation and holocaust pervade the album from Young’s solitary abandonment during a radio interview in the title track, to the Manson Family allusions and autogeddon of Revolution Blues: “I got the revolution blues, I see bloody fountains, and ten million dune buggies comin’ down the mountains. Well, I hear that Laurel Canyon is full of famous stars, but I hate them worse than lepers and I’ll kill them in their cars.”

Check out ON THE BEACH – Dali, Ballard, Neil Young and Cadillac Ranch | THE END OF BEING by James Reich. (Thanks Roel!)


Art by Rick Griffin from Official "On The Beach" Songbook So how "surreal" is "On the Beach"? Is it the irrational arrangement or disconnection of objects, notes, and subject matter? As others have pointed out, sometimes the most beautiful melodies in the world emerges from the loneliness, rejection and despair. Neil's muse inspires beauty which can also be evil and conniving and tempting -- exactly as Rick Griffin's art demonstrates, i.e., that muse can be very destructive making the "experience" surreal.

Anyone recall the 1959 film "On The Beach"?

Poster for film "On The Beach"

With Gregory Peck, Ava Gardner, Fred Astaire and Tony Perkins in starring roles and direction by Stanley Kramer, the film is based on Nevil Shute's 1957 novel on the aftermath of nuclear war.

Fascinating how the film and album have similar trajectories. On the album, Neil Young sings as if he's devising his exit plan the entire time because he knows the destructive nature of the muse which is anlagous to the theme of the novel and film. And this post apocalyptic world view was presaged by "After The Goldrush" -- but that's another story.

The vibe of the album is bleakly dark ("Burn outs stub their toes on garbage pails/ Waitresses are cryin' in the rain"), resigned ("Though my problems are meaningless/ That don't make 'em go away"), sometimes apocalyptic ("The world is turning/ I hope it don't turn away", and the Manson line: "But I hate them worse than lepers/ And I'll kill them in their cars".) Neil's psyche in music and lyrics reveals a man going through transformation via his art.

Rare "On The Beach" Image with Neil facing cameraMore on Neil Young On The Beach reviews.

ps - Thanks for inspiration Father John Misty: "I think someone should start a website where they do modern-day music writing – the intersectional-virtue-warrior style of music writing – about old albums. With Neil Young's On The Beach it would be, “Oh, great. Another white man singing about how tough it is to be white.” "

pss - sooner or later it all gets surreal... or ... promise of the surREAL ...

---

---

Jenice Heo's Neil Young Series Revealed At Morrison Hotel Gallery

Where is the Highway Tonight?
by Jenice Heo
(Click photo to enlarge)


Jenice Heo's "Neil Young Series" will be at the Morrison Gallery in New York on view until December 31st, 2012.

Also, see photo gallery on huffingtonpost.com.

Morrison Gallery
124 Prince St, New York, NY 10012
info@morrisonhotelgallery.com | www.morrisonhotelgallery.com

---

---

Video & Comment of the Moment: Winnipeg, Nov 16, 2012

"Cinnamon Girl"
Neil Young & Crazy Horse
The MTS Centre, Winnipeg, Nov 16, 2012 The Video of the Moment is "Cinnamon Girl" by Neil Young & Crazy Horse at The MTS Centre, Winnipeg, Nov 16, 2012.

Followed by these Comments of the Moment by fan Ted St. Godard:

Let me start by saying I love NY, always have, always will. Seen him multiple times, multiple venues, multiple configurations. Last night it was Winnipeg, the Alchemy show.

Make no mistake, it was, as billed, a Crazy Horse show. There were some highs, not least of which was seeing Ben Young sitting at a Bridge School table. And the new songs, magnificent. Walk Like a Giant was terrific, and likewise Ramada Inn. The oldies were nice, especially Powderfinger.

Neil certainly appeared to be enjoying himself, and good for him, but, and here's the but: I'm sorry to say that there was just way too much self-indulgent choking of the proverbial chicken, not to mention every song included a belaboured circle jerk. We get it Neil, you like feedback, and you like making your guitar sound more like thunder than anything else. And when you ride the Horse you're playing to each other. We love that, but enough is enough.There's a great big stage, step away from Frank and Billy, you can stroke each other after.

When an album of song-ending feedback is offered, we can politely say "no thanks," but in live show, when we want more of what we know you've got, end the bloody tune, wipe your brow, smile for the nice people, and play on.

My 19 year old son hit it on the head when he leaned to me during another prolonged outro, and said, "he's beating a dead horse again."

That said, the encore of Roll Another Number, was magnificent, some of the vocal moments were Neil at his best (some would say weakest, but we who love him feel otherwise), and there were some beautiful, melodic solos, during which, for a minute or two, NY actually faced the audience. And they more than made up for the painful, and frankly, embarrassing parts. I'd go again tonight if I could.

Followed by reply from SD:

Neil is never going to please everyone.

The best you can do before going to a show is educate yourself about what the show is going to be like. We live in the internet/instant-access/youtube age - you have a wealth of information at your fingertips to help you decide what to spend your money on.

My only Neil experience has been with the Electric Band in 2009. It was awesome, but it wasn't Crazy Horse either. But I'm sure at that show other fans were even happier to hear the hits played - as was I, but I knew regardless that Crazy Horse would be the pinnacle of a live show.

It's the nature of the beast, and it's the reason why it is pointless to say things like "if only Neil would do this instead" to please you. It would be impossible for Neil to tailor his setlist to fan expectations or needs.

Who is the 'fan' he needs to tailor it to?

Should he be up there at 67 years old for 5 hours making sure each and every fan leaves happy? If he plays solely a 'greatest hits' list, what does he say to the hardcore who want to hear deep cuts? If he plays a lot of electric what does he say to the fans who want more acoustic? Vice versa? How does he reconcile recording new music, being into it fully, wanting to perform it live, with fans who complain about hearing too many new songs? How does he reconcile doing what he, as the artist who fans are paying to see, as the creator of the art they pay to see, wants to do with his art while he is on stage?

It's a lose-lose scenario - which is why the best way to view any show is to appreciate what you get to witness - whether it is perfect to your liking, or not. It's foolish to continually expect or search for perfection in an artist, and pointless to reduce your live experience to positives & negatives. The whole experience deserves more than that, and more than an endless search for what to critique and what to find fault in.

I thank my lucky stars I was able to see an artist who has impacted my life perform in a live setting, when so many others I will never get a chance to see.

It is and always will be different things to different people. We should be so lucky we get to enjoy a person who, at 67 years old, still elicits such emotions.

Many, many sincere thanks to both Ted & SD for their thoughtful comments.

To which we say, well ... Jack Black holding this sign kinda gets to the heart of the matter regarding freedom...


Neil said...
"Just do what you want to do
Don't listen to anyone else"
(Jack Black w/ sign)
Neil Young Honored As MusiCares Person Of The Year
Strange things -- indeed -- do happen when the worlds of art and commerce collide. Don't believe us? See for your self what can happen for the turnstiles or the value of artistic freedom, audience entitlement, and elite fan hypocrisy.

waging heavy wheat,
peace

ps - so what do you think?

---

---

ALBUM ART COVER: "Psychedelic Pill" by Neil Young & Crazy Horse

"Psychedelic Pill"
by Neil Young & Crazy Horse
(Click photo to enlarge)
Here's the album art cover for "Psychedelic Pill" by Neil Young & Crazy Horse.

Kinda trippy, eh?

If you enlarge artwork and look very closely, you can see various characters making up each letter of the album name. That should provide us with lots of fun until release. Also, look very, very closely at the pill in the center. You'll see a familiar logo. :)

The album is to be released on October 30th and is now up on Amazon.com for pre-orders.

"Psychedelic Pill" was produced by Neil Young with John Hanlon and Mark Humphreys and will be released as a double-CD, a triple-LP vinyl edition and Blu-Ray. Also, full-length videos for each of the songs are being produced for Blu-Ray edition.

So we'll have an 8 song double CD?! 4 songs per disc ... sounds like we're getting some long songs... especially the album opener "Driftin' Back" at over 27:00 minutes.

Disc One:
1 Driftin' Back (27:36)
2 Psychedelic Pill (3:26)
3 Ramada Inn (16:49)
4 Born In Ontario (3:49)

Disc Two:
1 Twisted Road (3:28)
2 She's Always Dancing (8:33)
3 For The Love Of Man (4:13)
4 Walk Like A Giant (16:27)

Bonus Track:
5 Psychedelic Pill (Alternate Mix)

More on Psychedelic Pill by Neil Young & Crazy Horse.

---

---