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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.
Worthy of a Grammy nomination in itself, archivist/photographer Joel
Bernstein's clear-headed combination of prose and photos in the
hardbound five-inch square fifty-six pages, combined with the images of
Hendry Diltz and others), reveals at least some of the details of the
period. Young himself did not divulge much of the kind till years later:
serious back issues and treatment with medication thereof prevented him
from playing too much electric guitar the way he usually did—there is a
photo of him in traction on page eight —which may also account for the
turgid motion that so often prevails throughout the LP.
In
contrast to the commanding combination of fragility and resolute
strength so evident on the BBC solo footage (where the audio is oddly
muffled at certain points), "Words" simply plods on, much like "Old Man"
from the album proper. In stark contrast, the nuances of the latter's
gorgeous melody, like that of "Out On The Weekend," become resplendent
when Young plays them solo on acoustic guitar in a circle-in- the-round
setting captured by the BBC.
Meanwhile, "Are You Ready for the
Country?" lacks a genuinely spry bounce despite the presence of savvy
Nashville sessioneer drummer Kenny Buttrey. And, contemporary political
correctitude aside, as with the social diatribe that is "Alabama"—a
sequel to the similarly simplistic thinking at the heart of "Southern
Man"—"A Man Needs A Maid" doesn't benefit from the heavily-orchestrated
arrangement much more than "There's A World."
In comparison, a
solo performance recorded live of "The Needle and The Damage Done" is
the best composition to find its way to this release. There were some
others of equal and arguably greater quality that unfortunately did not
become final inclusions either, but in light of how Young cobbled
together other albums from a variety of sources—American Stars 'n Bars
(Reprise, 1977) is just one—it's reasonable to suggest some of these
live cuts, plus the outtakes, would make for a better album than Harvest (the forced rhymes of which song might compel another name for that LP).
Arguably
superior to anything on the album as it was eventually released, "Bad
Fog of Loneliness" is among the three included on a woefully-short
(seven-minute nine-second) CD labeled 'Harvest Outtakes" (considering
the time available on a disc, they might have been included with the
LP's ten cuts). It swings unlike most of the band tracks on the album
proper and although "Dance Dance Dance" is proportionately slight
compared to the aforementioned song, its upbeat air, thanks no doubt in
part to the presence of Tony Joe White on electric guitar, would
effectively lighten the mood in juxtaposition with "Journey Through The
Past.''
Went Sunday afternoon to "Harvest Time" in North Carolina and the 92 seat theater was also pretty full. I'd guess about 70 people of various ages.
I thought it was great and was surprised how quickly it went. Was thinking the film was heading to Nashville toward the end but then it didn't go there.
Sat in the front row so I could think about what was going on. When you sit close to the screen your eyes have to interact with what is going on so at movies it is important to sit close. (Words of wisdom from the film master who warned of
entrainment further back in the theater. Robert Altman taught me that trick over breakfast when I was a young lad during a propaganda discussion and his film work for the government on Lookout Mountain in Laural Canyon.)
Did the idea to film start after Johnny Cash show and recording that night with Linda and James?
Guess this HQ recording of the Johnny Cash show appearance linked below could be considered an outtake of the movie but it also when the birth of the "Harvest" sessions, right?
Did the Stray Gators first get together on February 6, 1971?
The Johnny Cash Show aired on February 17th, 1971 but was recorded ten days earlier on the 7th in Nashville according to Sugar Mountain.
In the NYA files it says "Old Man" and "Bad Fog of Loneliness" were recorded on the 6th with James/Linda on both, "Dance, Dance, Dance" recorded on the 7th, "Heart of Gold" was recorded on the 8th again with James/Linda.
Wonder if the band did the basic tracks on the 6th and then vocal overdubs were done by James/Linda on the 8th?
Loved all the piano close-ups with Jack and Neil in the movie. Wish they would have interviewed the LSO musicians as they left the session to see what they thought of the song and the rich hippie who played with them.
While watching the movie was thinking I wish they would have done a concert film, like Red Rocks, for the Grey Riders with Hargus "Pig" Robbins. Anyone who saw that tour knows what I'm talking about. Hargus didn't take the emotional level of songs up just a notch, it was several notches, to the point that Neil hasn't released the good stuff yet he did with him. Having seen the Grey Riders three weeks before the first Farm Aid I was ticked that they cut away from the show for "This Old House."
Whenever I talked with Neil Young one to one he always looked directly unflinchingly into my eyes the whole time while giving thoughtful answers. It was interesting what he said disliking fame in the movie and he could see that weird vibe the way people acted and in their eyes.
[Full disclosure: I was an employee of weekly Variety from 1979 to 1992 ]
My roommate produced an Altman film series and had guests each week.
This was while I was working evenings at a hospital. I'd wake up and in
the kitchen would be director Robert Altman, actor Elliott Gould or
screenwriter/director Joan Tewkesbury in the midst of having a fantastic
breakfast. I'd brush my teeth, grab some coffee and join in bright and
early for me.
Regrettably I didn't put what I
learned from my roommate to work and have a Neil Young Festival. Man,
that would have been fun...I would have had both David Briggs (LA and
Nashville) one week, Joel Bernstein another, Elliott Roberts, maybe Ben
Keith for the musician side, Ron Stone and maybe Elliott Mazer.
Thanks Jim. Yes, a really delightful Neil experience, made even more special by his absence from the stage for over 3 years now. I think were all pretty thrilled to see Neil these days even if its from 50 years ago.
So many highlights for us...
Neil, Stills & Nash all jamming on separate pianos in the studio
The jeep ride thru the Redwoods trees
Neil kissing Carrie delicately
Elliot telling a poor taste joke
Drummond's pump pipe scene
seeing the young L.A. Johnson recording sound
But missed Bruce Berry scene somehow? Anyone recall where BB shows up?
Film Review: Neil Young's 'Harvest Time' | Variety
Neil Young's 'Harvest Time' (Click photo to enlarge)
Today, December 1, Neil Young's documentary film 'Harvest Time' will be screening.
Here is a film review of Neil Young's 'Harvest Time' in Variety by Jem Aswad:
While much of the footage is fascinating, the admitted absence of a
plan comes across in the final product: It’s two full hours of Young
rehearsing, recording and hanging out for long stretches of time with
the newly formed Stray Gators backing band, along with vignettes of him
recording backing vocals with sometime-bandmates Stephen Stills and
David Crosby in California and Stills and Graham Nash in New York;
working up “A Man Needs a Maid” with the London Symphony Orchestra (Glyn
Johns, of “Get Back” fame, appears in several scenes); giving stellar
solo performances of “Heart of Gold” and “Old Man”; and working through
several songs with the band in the legendary barn at the ranch,
surrounded by bales of hay and the dry, dry hills of Northern
California, complete with grazing cows. He also performs some
contemporaneous songs that didn’t make the album, like “Journey Through
the Past” and “Bad Fog of Loneliness” (a 50th anniversary boxed set of
the album, due Friday, includes three outtakes and Young’s fantastic
1971 solo concert for the BBC — marking a fifth 1971 solo concert release.)
Also appearing are Young’s partner at the time, actor Carrie Snodgress;
musicians Jack Nitzsche (who would later take up with Snodgress and be
arrested for threatening her), Tim Drummond, Ben Keith and Kenny
Buttrey; managers Elliott Roberts and Ron Stone; photographer Joel
Bernstein, roadie Bruce Berry (who would die of a drug overdose within a
few months and be immortalized in Young’s song “Tonight’s the Night”)
and others. A sobering number of them are now deceased.
We see many of the classic songs from the album come to life, with
plenty of closeups on the 25-year-old, stringy-haired Young, who seems
impossibly young and earnest, yet still iconic and iconoclastic.
Conversely, we see the bro-chemistry between him, Crosby, Stills and
Nash; and watch him interact with the unexpectedly cool conductor of a
rather fussy-looking London Symphony Orchestra — a reminder of how much
of the 1971 world was still, in the parlance of the era, “square.”
On that note, simply seeing the clothes — the flared jeans, patterned
shirts, boots and big belt buckles — the haircuts and the attitudes is a
head-spinning throwback: They’re drinking beer in the middle of the day
and smoking weed out of some insane contraption (Nitzsche declines
twice); at one point Young calls himself a “rich hippie,” which he
probably still does. In the Nashville studio, the camera pans across a
room in the Nashville studio with dark wood paneling, an electric
typewriter and paper datebook on the desk and Rod Stewart’s “Maggie May”
playing on the radio — it just doesn’t get more peak 1971 than that.
To
wit: “I feel more free now than I’ve ever felt before,” Young says.
“So
it’s groovy, y’know, I can dig it.”
Full review of Neil Young's 'Harvest Time' @ Variety by Jem Aswad.
Ahh, Northern California ranch country. So beautiful and serene w/
Neil's Alabama bouncing off the barn walls into the valleys and across
the Pacific.
Here is a preview trailer for the film documentary Neil Young: Harvest Time.
The upcoming Harvest box set commemorates the 50th anniversary of the album's release.
Harvest 50th Anniversary Edition Deluxe LP Box Set
Release Date: 12/02/2022
(Click photo to enlarge)
The documentary filmNeil Young: Harvest Time“takes viewers on an intimate
journey to Young’s Broken Arrow Ranch in Northern California for the
‘Harvest Barn’ sessions, to London for an iconic performance with the
London Symphony Orchestra, and to Nashville where the then 20-something
Neil Young worked on various tracks of this signature album,” according
to the distributor, Trafalgar Releasing.
The film, shot between January and September 1971, includes footage of Young creating and recording Harvest classics like “Old Man” and “Heart of Gold,” as well as other songs from the RIAA-certified four-times Platinum album. You can watch a clip from the film now.
“I was 24, maybe 23 and this album made a big difference in my life,” Young says of Harvest.
“I had a great time and now when I listen to it, I think I was really
just lucky to be there. I hope you enjoy this story, which is Harvest Time, and which talks about everything that happened.”
Neil Young: Harvest Time will debut December 1 in select
theaters worldwide, with an encore presentation on December 4. Tickets
go on sale November 10 at NeilYoungHarvestTime.com.
"For some reason I have been getting asked in a multitude of places, from
emails, to the basketball court at Sunset Sound, and even up here at
The Surf Shack, “why do you wear ties on sessions?” "
In a followup posting, Neil Young described the recording sessions with Crazy Horse as " nine new songs" recorded in a new barn studio in the Colorado Rockies as "RISING WITH THE MOON" plus references to "The Ghost of Elliot Roberts".
"Crazy Horse recording is under way. The Horse is back in the barn now, shaking off the rust," to quote Neil Young from his archive page.
And the Neil news gets even better -- if that's even possible -- given "The Streak" he's been on over past 16 months or so.
Today Neil informs on A Message From Neil: RISING WITH THE MOON | T-C | NYA| that The Horse is "definitely kickin’. Billy
Ralph, Nils and I are enjoying these sessions. It’s been so long without" while in The Barn.
Neil writes:
The music lives. We have recorded nine new songs. Some are already to
mix or add chorus vocals to, as we love to do. That is probably next.
The moon is full. We are about to turn to mixing and post production of
these songs. A few linger, saying they could be better played, but we
have not listened back to anything. Listening opens the door to
post-production and we are still rising with the moon. It’s too soon.
Today we will play again.
Other details:
One song, ‘Welcome Back’, was played last night at sunset, with alpen
glow bathing the barn. It is magic. Alpen glow is Daryl’s favorite
time. One other song was recorded in Canada solo, but we still did it
again and we will listen and decide which one makes the album. ‘Song of
the Seasons’ is its name. Of the other seven new songs, today we will
feel out which ones to play again. We talk it over, go with the songs
that we know we felt heavily while they were going down. We have to
review those. That means listening. Listening impacts your feelings for
the song when you next play it, so we have to be careful what we listen
to. But not quite yet. No listening yet. While the rising continues, we
will feel out what we are about to do. We will know when to stop and
listen.
I saw Elliot yesterday in the room with us, as clear as light. That was a great sign.
Neil goes on to highlight each crew member by name, their role and a personal thanks.
Again, quite reassuring and gratifying news and somewhat of a relief
for many. to hear that these 2020 themes will have a soundtrack by Neil
& The Horse.
"Crazy Horse recording is under way. The Horse is back in the barn now, shaking off the rust," says Neil Young on his archive page.
Neil continues:
"We are so happy to be back in the barn, a barn built to replace the
1850s barn that had collapsed in exactly the same place, high in the
mountains of Colorado! It’s an exact replica of the original, built with
Ponderosa pines by Ted Moews and his great crew of artisans. It is
magic inside."
Mark Humphries is handling monitors and -- in a big surprise -- Technician legend Larry Cragg "The Welder", is handling the guitars and amplifiers again.
But for those that missed this video with unseen footage, here's a recap and commentary.
With a running time of 1hr, 17min, Le Noise Sessions was produced by Daniel Lanois and filmed by CK Vollick. The newly released video contains unseen footage from Le Noise recording sessions in 2010.
The Le Noise Sessions features the eight songs of the album, plus four "Le Noise" outtakes. Daniel Lanois had already mentioned "You Never Call" and "For The Love of Man" in interviews in 2010. While "You Never Call" remains unreleased, "For The Love of Man" appears on "Psychedelic Pill" with Crazy Horse. Neil reveals in the video that he had already recorded "Twisted Road" and "Born In Ontario" with Daniel Lanois. These two songs did not make it to "Le Noise" and were also included in 2012 on "Psychedelic Pill".
Listening to these fascinating outtakes, with all the alternate songs, arrangements and production styles that were tried out, it's clear that Neil and Daniel Lanois had experimented with enough material to tell any number of different musical stories on Le Noise. So it's a mystery how they managed to conclude with something as dull as the finished album.
The main thing I notice is that they abandoned most of the best songs. So chilling, sparsely-produced gems like For The Love Of Man and You Never Call (a revelation on organ) are swapped out for Angry World.
And yes, Angry World has a great guitar tone. But For The Love Of Man is a great song. So there's no contest, really.
That's what Le Noise has a lack of: great songs. And the trademark Lanois production, as exciting as it is, does little to disguise that. Whereas the sparser-sounding outtakes, beautifully captured on film, come across wonderfully: emotional, unpretentious and moving.
Every cloud has a silver lining, of course. And by bypassing For The Love Of Man on Le Noise, it was free to become an integral part of Psychedelic Pill. Where it works brilliantly as a prologue to Walk Like A Giant. So the lesson I'm taking from that is not to decide too quickly whether something is a positive or negative. Or as Rick Danko said, "thank God for time". Though sometimes, of course, we'd all like it to go a bit slower, or sometimes a bit faster.
Anyway! The real cause for celebration is that Young and Co. are finally starting to upload some extra stuff to the website, some rare footage and outtake gems, rather than the same old stuff anyone using the website already owns already. That's what a proper Archive is, isn't it? The cobwebbed-covered stuff that was hidden away behind the mixing desk ("Where's the tape of LA Sports Arena 1991, or Cal Expo 1996, or Hollywood 2014? That's what I wanna hear. And I'll pay extra for it, too").
And it's also exactly the sort of thing the website needs to create a bit of a buzz, a bit of excitement and word-of-mouth. And in the internet age, it needs to happen often. I'll be arguing in favour of them adding more exciting stuff very soon, rather than retreating to the 90's strategy of releasing one album every 16 years.
And the fanbase needs to respond to their generosity by watching and listening, by enjoying and sharing. That's how the word spreads, and that's how the website finds a route to on-going success.
Scotsman.
Thanks so much for the Comment of the Moment Scotsman.
When we were putting this up the other day while watching and listening and multi-tasking away, we were pretty floored realizing this came out way back in 2010?! Almost 10 years ago?! Seems like the day before yesterday, practically. So here's a look back at some Le Noise memories -- which were quite fond of pleased to recall. We look forward to the return of Le Noise Sessions!
Le Noise by Neil Young
(Click to Zoom Cover)
Release Date: September 28, 2010
Fast forward to the September 28, 2010 release of Le Noise and listeners are just now hearing the "sonics" which Producer Daniel Lanois has introduced in the post-production process. So naturally, for those of us lucky to have experienced the raw and stripped down Le Noise tracks performed live, it is quite an exhilarating experience to re-discover so quickly the song's treatments with Lanois' studio touches.
Much, much, much has been made of this collaboration between Young and Producer Lanois. While it seems clear that the partnership works on many levels -- as evidenced not only by the results which speak for itself -- one can not help but plainly sense the apparent comfort and palpable mutual respect on display in their numerous joint interviews.
So did Neil Young found his new David Briggs? Or was Lanois now Young's "Rick Rubin" with the magic touch?
The other fascinating aspect of Le Noise was the reaction of critics who suddenly now were waxing rhapsodic in their reviews over the latest Neil Young release.
Reading some of the latest reviews, we find ourselves shaking our heads at critics (and even some "fair weather fans" too) for re-discovering Neil Young's unique charms and peculiar fondness for turning expectations on their heads. As if, lo and behold, Young has somehow re-emerged from the shadows of creativity and returned once again to form.
Le Noise is a special Neil release unlike anything he has ever given us.
And as a guitar player who also loves raw tones, gritty production and 'real' playing, there is a lot to love. From the insane overdriven electric of Walk With Me to the gorgeous acoustic tone of Peaceful Valley Boulevard, Neil hits this one so far out of the park, the ball is the next county.
I'm listening to the full album for the first time right now.
I'd be surprised if Le Noise wasn't listed in many critics' year-end best of lists. It's that kind of album. It takes risks and sounds ugly (depending on one's perspective). I think this was the right album for Neil to make. He could have done something familiar, but he chose not to, and that's why he's still relevant.
That said, it's a challenging album simply because the sounds aren't friendly or inviting (like Harvest Moon or Ragged Glory for instance). The lack of traditional instrumentation will prevent it from gaining wide acceptance. Neil has put out other challenging albums of course. Some have ultimately rewarded over time, others haven't so much. I won't even dare to speculate where Le Noise will fall. I think Fork In The Road is challenging as well, and I also think it's really good.
Le Noise, however, is something entirely different.
Beyond the sonics which add richness and verve, the songs are excellent ... somehow I keep coming back to love and war which for me feels like an enduring classic ... originally I thought he'd put out a dark album to mourn the losses of LA and Ben, ... I've come around to thinking he's left that sadness off the album and instead, both on the album and in the interviews, is expressing, among other things, themes of resiliency and continuity, and within that he seems as vibrant, relevant, and fresh as he ever has. He also seems relaxed, at peace, and comfortable with himself and his scene.
These days fewer and fewer artists seem to actually have something to say, and of those that do, not many are saying something worth hearing. Pop has never been so pop. But what do we do than when we, the all-consuming music-buying public, want to hear something tangible? Something personal.
Something that makes a statement – and no, not a fashion statement…we have plenty enough of that already. Something real. It’s a mission to find a contemporary artist whose music really has a voice and that thing called soul – there are some of course, but most of them are hiding away in obscurity and poverty, far removed from the sales charts. Leave it to the epitomist Neil Young to come along with a new album that delivers something that is both very real and very much worth listening to.
The anti-pop star has created his ultimate anti-pop record.
But wait. Who's ever heard of Music Vice and what does a blog's opinion matter anyway?
How about the elite professional music critics (as compiled by Metacritic)?
From Chicago Tribune:
The album is full of those kind of unexpected juxtapositions, a stunning statement from an artist who shows no signs of slowing down.
Los Angeles Times:
Le Noise is not an epic -– if it were a book, you could read it in an afternoon -– but it's statement enough from a man who's already said so much.
Rolling Stone:
Le Noise is also the most intimate and natural-sounding album Young has made in a long time: just a songwriter making his way through a vividly rendered chaos of memoir, affection and fear.
Boston Globe:
It builds a rich sonic arch around Young's voice and guitar, bottling the essence of what makes him such a compelling singer-songwriter at 64.
The Guardian:
Le Noise demands more effort than some listeners might be willing to put in, but at its best, it repays that effort pretty handsomely. In that sense at least, it pretty much sums up Neil Young's entire career.
But the most personal thing about Le Noise is the sense of a restless master caught in the pursuit of ideas, shaping their expression. 'Peaceful Valley Boulevard,' one of two acoustic-guitar songs, is a detailed American history lesson from Indian wars to electric cars. Yet in one line ('A mother screamed, and every soul was lost'), Young's voice cracks on the peak note — an impulsive, moving flaw.
And in 'Love and War,' Young — his creaky whisper and acoustic guitar buoyed by Lanois' watery treatments — confesses an uncertainty hard to believe in one of rock's most driven stars: 'When I sing about love and war/I don't really know what I'm saying.' But then the conviction comes back. He only has that one way forward, through the music: 'I sang in anger, hit another bad chord/But I still try to sing about love and war.' Le Noise is, ultimately, an extreme simplicity: the sound of a man who won't give up.
Producer Daniel Lanois, on making of the track "Walk With Me"
It’s not an easy listen, obviously, but acclimatisation to the unfamiliar, monochromatic sound of such raw electric guitar brings with it the ability to recognise that Young’s songwriting skills haven’t dulled with age. Examined as a part of his overall body of work, furthermore, it’s amongst the more fascinating left turns he’s made, and once again confirms the evergreen restlessness of this gnarly and frequently inspiring Canadian.
Once again, he’s not let us down.
In a way, Le Noise should feel like a cheap attempt to reach out to young people.
The album was promoted on Facebook, Young debuted videos on Pitchfork and Stereogum, and the record is being released as an iPad and iPhone app. It sounds like a cheap marketing ploy. Apps? Social media? Hip music sites? He’s a Twitter account away from covering all the buzzword bases. But, in reality, this is one of Young’s best albums in years, so the Internet-wide promotion is well worth the effort. With just a guitar and some fine studio work by Lanois, the soundscape here is huge and mystifying.
Not since he first recorded “Cortez the Killer” has a Young album been so full of mystique.
It’s as nakedly personal as anything Young has written since the Ditch Trilogy. The first several verses are straight autobiography, a laundry list of drugs, infidelities, and other transgressions. About four minutes in, it takes a turn for the surreal: “I thought I was an Aztec / Or a runner in Peru.” Young has previously said that his songs often don’t have literal meanings, so much as connotative meanings arising from words and dreamlike images. But coming after verses with such clear autobiographical content, and relying on such well-worn Young tropes as time travel and indigenous peoples, it’s hard not to see this as some sort of commentary on Young’s songwriting, perhaps as a vehicle for escape. After that verse, the song ends abruptly on a more direct and sobering note:
I tried to leave my past behind
But it’s catching up with me …
I don’t know how I’m standing here
Living in my life
I’m thankful for my children
And my faithful wife
The juxtaposition of the Incan fantasy and this conclusion seems to present an intriguing dilemma: disappear into art and fiction (and drugs), or take a chance on real-world redemption, which carries with it the inescapable fact of past mistakes? “Hitchhiker” also casts some previous songs in a new light, perhaps revealing the source of some of the frustration in “Angry World”, and amplifying the reflective tone of “Love and War”. In short, it’s exactly the sort of song you’d hope to hear from an elder statesman of rock and roll: mature, with wisdom and perspective, but still vital and rebellious.
Neil Young’s bulletproof status as the other ’60s rock icon you can still depend on—take a bow, Bob Dylan—has become increasingly reliant on albums boasting catchier concepts than songwriting. It’s easy to praise Young for getting fired up about the environment (Greendale), the war in Iraq (Living With War), and electric cars (Fork In The Road), but when it comes to songs, he’s been penning iffy lyrics and recycling the same by-the-numbers guitar-rumble for years. Young’s cultural engagement makes him impervious to charges of coasting, but with Le Noise, he’s once again made an album that sounds better on paper than through speakers.
But to wrap things up quietly on Le Noise (incidentally the albums name is a pun on the producer's last name which we'd be re-miss to point out since every review does as well), from Culture Belly by Chris DeLine:
Young, yourself, all of us: who knows how long any of us are meant for this world?
In all honesty, we’re all just a fluke aneurysm away from calling it a day. I can’t speak for the man, but I imagine that Neil Young doesn’t want to die—I know that I most certainly don’t want to die—and it’s my hope that you don’t want to die. And if there’s one thing that I know I can rely on while I’m still on this side of the grave it’s the perspective I gained in part from “Ordinary People”. This is why I think the song is important when thinking about Le Noise: Even if you’re riding a series of thoughts and emotions that touch on the darkest parts of the human experience, you have to do your damnedest to keep that positive outlook and sense of humanity in mind, and remind yourself of what exactly it is you’re still thankful for.
Like Young, if you have children and a wife, I hope you’re thankful for them. If you have a husband, I hope you’re thankful for him. If you have parents or friends or siblings or an annoying little bijon shih tzu that refuses to stop barking at all hours of the morning: I hope you’re thankful for each and every one of ‘em. That’s what I’m taking away from Le Noise.
Neil Young and Producer Daniel Lanois with Le Noise crew
>> Pre-Order on Amazon.com << 
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