Neil Young's new release ""World Record" w/ Crazy Horse is now available for pre-order. Order here (Please shop locally & independently. But if you can't, we appreciate your supporting Thrasher's Wheat by clicking this link
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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.
1. Love And Only Love
2. Powderfinger
3. Born In Ontario
4. Walk Like A Giant
5. Hole In The Sky*
6. Heart Of Gold
7. Twisted Road
8. Singer Without A Song
9. Ramada Inn
10. F*!#in' Up
11. Cinnamon Girl
12. Mr. Soul
13. Hey Hey, My My (Into The Black)
---
14. Roll Another Number
"That left the slightly bruised audience in no doubt that they had witnessed one of rock's most sturdy , most forceful , most earthly performance in some time."
~REVIEW: Neil Young with Crazy Horse - The West Australian by RAY PURVIS
Here's an interview with Nicolette Larson from thirty years ago in 1983 when she was playing a concert in Vancouver.
Nicolette Larson sang on Neil Young's 1977 album, American Stars 'n Bars, with Linda Ronstadt on the tracks "Old Country Waltz", "Saddle Up the Palomino", "Bite the Bullet", "Hold Back the Tears", and "Hey Babe".
Nicolette Larson:When he did American Stars 'n Bars his initial concept was to get two unknown singers and do the album with them, but he tried that and it didn't work at all. And then he decided to take the other route and get Emmylou and Linda, but Emmylou wasn't available to do it, so she and Linda recommended me. Neil kind of functions on cosmic operations, you know, and that was cosmic enough for him. If everyone had recommended me then I was supposed to work with him. So Linda and I went up to his ranch and sang backups on that album, and then when he did Comes a Time he called me again to come and sing on it.
Did you release your own version of "Lotta Love" before he did his?
Nicolette Larson:Well, this is what happened. He recorded it first, and I heard it and said "Gee that's great. How come you don't put that song out?". And he goes, "Oh, do you want it? It's yours." That was what he said with every song of his that I admired. It was kind of like, "Don't ask me why I don't put this out. You want to put it out, you put it out." So I recorded it, and got it all ready to put out, then at the very last minute he changed his mind on Comes a Time and put it on that. So we both released it the very same day, actually. I changed it around quite a lot from Neil's version. His is a lot different with all the "la la la la's" at the beginning.
Liverpool - NEW Europe Date for Neil Young & Crazy Horse Announced
A new Europe date for the Neil Young & Crazy Horse tour has been announced for Echo Arena Liverpool on 18 August. This show will also be the opening concert for the Liverpool International Music Festival.
Priority booking begins tomorrow at 9am, Tuesday 26 February. Quote promo code NY13STAND (standing) or NY13SEAT (seating) when prompted. Offer available online only.
Both
Neil Young's "Philadelphia" received an Academy Award nomination in 1994 and he performed the song during the Oscar ceremony. Young's wife Pegi and sister Astrid sang on background vocals.
Bruce Springsteen won the Oscar award for his song "Streets of Philadelphia". In his acceptance speech, Springsteen acknowledged Young and said that the award really deserved to be shared by the other nominee's song.
Another sidenote. When Jonathan Demme first heard Neil Young's score for the movie "Philadelphia" while driving, he was so overcome with emotion that he had to pull over to the side of the road to recover.
"Here's the final heart breaking scene as it plays over the "family movies" of the characters as children. If anyone can watch that scene with this song playing over it and now be moved...well. you just don't have a heart." (Thanks for link El.)
A new and pretty comprehensive interview conducted with Nils Lofgren, current guitarist in Bruce Springsteen's E Street Band and former member of Neil Young's band. In the interview he talks a lot about working with Neil on After the Gold Rush and Tonight's the Night, some funny anecdotes and lots of inside info.
Iconic Axes:To go back in time a bit, you got your start in a lot of way working with Neil Young on the albums After the Gold Rush and Tonight’s the Night. How did that opportunity come about, and what were those sessions like?
Nils Lofgren: I met Neil when I was seventeen when my band Grin was headed out to L.A. I did the After the Gold Rush album when I was eighteen, mostly playing piano, a little acoustic guitar and some singing. That was all pretty much done live in the studio, those sessions, with Greg Reeves on bass and Ralphie Molina, the Crazy Horse drummer and I. We did it all up at Neil’s home with a remote truck. They were great sessions, very earthy. Neil was always singing live with us in the studio, a tiny room in his home. We would take breaks and have a sandwich on his deck overlooking Topanga Canyon.
It was a very beautiful project to be a part of. Tonight’s the Night was kind of an antithesis to production. There was no overdubbing, we all did everything live, it was always a live take on a song. Neil didn’t even want us to know the songs very well; he wanted to get a very powerful, emotional performance before the musicians had time to really craft parts, which happens inevitably if you work on a song long enough. It was kind of a theme record, kind of a wake for our friends that we had lost, Danny Whitten and Bruce Barry. They were just historic records that I was very honored to be a part of.
Iconic Axes: Neil in his new autobiography Waging Heavy Peace has said that when you arrived to L.A. from Washington you actually walked fifteen miles from the airport to his house in Topanga, is that true?
Nils Lofgren: Yeah, that was kind of crazy. I had met him three weeks earlier, he was very kind and supportive and said come up to L.A. and eventually turned me on to his producer David Briggs so I moved in with Dave and I got to know both of them pretty well. But, the day I landed in L.A. I dragged a giant suitcase, and of course I tried to hitchhike, but no one would pick me up so I ended up dragging this thing. It took me all day long, I got there early in the day and I didn’t get to Neil’s house until mid-afternoon; it was hours and hours of dragging this suitcase.
So then I got to Topanga Canyon and I dragged it into the middle of Topanga, and I didn’t have any idea of where he lived. It was weird it was like a Mission Impossible Force. I kept asking people and trying to assure them that I meant him no harm, of course I was just seventeen and a tiny teenager so it wasn’t like I was threatening.
Iconic Axes: Both Neil and Bruce are incredible songwriters, what are some of the similarities and differences you’ve noticed between them, and what have you personally learned from them?
Nils Lofgren: Not to get too analytical about it, they’re both at the top of the list of songwriters. I think really you’ve got Dylan, and Bruce, and Neil Young, The Beatles and the Stones; I think those are the top five bodies of work in popular music history. There’s a lot in common with Neil and Bruce in the sense that they kind of leave you alone to your own instincts. While they’re working on their stuff they give you some rope to find something that feels right for you to add, and it usually works. Just to be around them is inspiring, you don’t analyze it too much you just work with them and watch how they tweak their songs.
Thanks for revisiting the SAD video. I must have missed the 11/16 spat on this blog [ed - see here and there], and reading it now, I'm more than a little surprised, not that there is some criticism, but that the "reviews" of the song and video come off like something out of my local high school weekly newspaper.
Both I and my wife loved the video, and have watched it and discussed it many many times.
By the way, we are both progressive activists, which matters not one bit except that politics seems to be a big issue with the bloggers on 11/16 [ed - see here]. Neil by using movie clips from a bygone era suggests that women - and perhaps the women in his life, the most important people to him by far - love to dance. He suggests that this is timeless. Neil both admires this and is mystified by this in women:
She wants to live without ties to bind her down
She wants to dance with her body left at ground
She wants to spin, and she lives in her own world
She wants to dream like she was a little girl
Dancing for women is a pure expression of freedom, of living in a dream.
The men in the video, for the most part, come across as sleazy, pathetic, slightly stupid, and even cruel. Yet the women won't let that inhibit their love of dancing. Do they want to be watched?
In many cases yes, but that's hardly their main impetus for loving to dance, for expressing themselves in a way that men, or at least Neil, can barely begin to grasp. The first man seen may love dancing, and dances beautifully, but he turns it into dehumanizing judgement, something that the women depicted would never consider. The next segment at the drive-in, the women in spite of the foul men in their cars and stiff suits, choose just to enjoy themselves and be happy and carefree, without a thought that the situation is beyond creepy.
When Neil almost cries "She loves to burn", he does so with a longing for the kind of passion that men can only consider a mystery, like that of the later dancers in the vid. Neil's most recent writing, from No Hidden Path to the final verse of Hitchhiker to Ramada Inn, is more and more about his respect and adoration for women, particularly the women in his life; wife, daughter, sister, perhaps - that he feels have saved him. Maybe he puts women up on too high a pedestal, maybe that can seem unhealthy to some. But who can argue that the peace in Neil's life that women have brought to him has produced a level of creativity that is extraordinary for a rocker in is late sixties.
"When you dance, I can really love"
Thanks ahpost! Great comment and appreciated.
Absolutely agree... "When you dance, I can really love".
VIDEO FLASHBACK: "She's Always Dancing" - Neil Young & Crazy Horse
Last year during the rush of excitement during "Rock-tober 2012" -- when we had Neil Young albums, books and concerts coming fast furious -- the official video dropped for song "She's Always Dancing" by Neil Young & Crazy Horse from their new album, "Psychedelic Pill".
We'll just say that given that the video in question uses stock footage from another time and place, we're not sure how much we can project into today's context.
As we mused this past weekend on Thrasher's Wheat Radio, the "Born In The USA" irony when completely unremarked -- even up in Canada where we thought someone would've gotten all righteous.
Is it too far a stretch to suggest a connection between Neil Young's iconic -- and misunderstood -- "Rockin' in the Free World" and Bruce Springsteen's iconic -- and misunderstood "Born In The USA"?
So what was the deal with those "The Signing Cheerleaders"?
Afterall, just last year Neil Young & Crazy Horse released a song "Born In Ontario" on the album "Psychedelic Pill".
Say whatever you will about Facebook, it can be amusing and delightful -- at times.
So here's something amusing and delightful -- Neil Young, Stephen Stills & David Crosby out riding their motorcycles. Which prompts the question: So where was Graham Nash? At a Yoga Class?
Well, wherever Graham is, guys, please wear a helmet while out on the Peaceful Valley Boulevard.
Interview with Elliot Mazer - Neil Young's Producer & Engineer
Elliot Mazer - Producer & Engineer
24 channels at 192kHz, Levon Helm's snare, The Green Board
[Neil Young's famous Universal Audio 610 console used to record among other's the Elliot Mazer-produced Harvest].
(Click photo to enlarge)
If you enjoyed those postings, you'll definitely enjoy this one also.
Elliot Mazer's long working relationship with Neil Young and his many projects is impressive -- Grammy-award-winning Record Producer, Studio Owner, Recording Engineer, Inventor, Professor, and more, Elliot has worked with Janis Joplin, Santana, Sinatra, The Who, and most famously Neil Young. He has also been involved in the developmental phases of the digital technologies of our time including work at Stanford University’s Computer Center for Research in Music and Acoustics (CCRMA), building what is regarded as the first all-digital recording studio, and more recently working with the Warner Music Group on their Archive Project, and consulting to OraStream and Pono.
AudioStream: You have worked with Neil Young for decades, producing among others his classic Harvest album. Mr. Young has made the headlines lately with his Pono technology and he is helping to raise awareness for HD downloads and continues to be one a few voices for better sound quality overall. Do you think hi-rez PCM, DSD, and/or Pono have a chance to become the norm for music distribution?
Elliot Mazer: Pono will be a success to a smaller audience.
Steve Jobs had a fantastic stereo system at home while his business sold bad sounding AAC files for iPods. I am sure Steve would love Pono and subscribe. I hope Pono offers a wide array of good music. That would be the best way to make it a success.
Elliot Mazer: That UA Green Board is similar to boards I used in Nashville and LA. The mike preamps that UA sells today are from that design. The Green Board was simple, sounded great and was (is) extremely reliable. I have 3 610 mike preamps here. Many of the studios in Nashville, Memphis and Muscle Shoals used UA boars with the same preamps. Neil's board came from Wally Heider Recording. I used that very board to record Ball and Chain (Janis Joplin and Big Brother and the Holding Company) at Winterland and a Richie Havens album we recorded in the Santa Monica Civic Auditorium.
Interview with “Young Neil” author Sharry Wilson « HH.org
Sharry Wilson, “Young Neil” author
An exclusive interview with author Sharry Wilson about her upcoming book “Young Neil” (working title) over on The Human Highway.
In the interview, Sharry discusses how she discovered Neil Young and what led to her writing the book “Young Neil”. ECW Press in Toronto purchased her book in January and anticipated publication date is sometime in 2014.
Don't be denied a ride on The Human Highway with rustie-zuman author Sharry Wilson.
Best of luck on the publication Sharry, Up in T.O. keepin' jive alive!
Journeys Through the Past is a blog about the recorded output of Neil Young and the first review is of Neil's self titled first album Neil Young (1968).
Plagued by technical problems and performance issues, it is a wonder that this self-titled debut sounds as good as it does. However, in the grand scheme of things, this marks the end of Neil Young’s early, more derivative work before his more distinctive and unique sound erupts on Everybody Knows This Is Nowhere which would be released some months later. Neil Young follows the same style of writing and performance that Young had been employing both as a solo artist in local clubs and coffee houses and with the band Buffalo Springfield (more on them in later posts). There is a debt to the production standards set by The Beatles but, underneath it all, there is something awkward about many of these particular songs which suggests that despite Young’s love of the Fab Four, this was not a method of working that he was overly comfortable with. Considering The Beatles released the epic and exhilarating “white” album at the same time as Young released this album, it was obvious that they were still upping the ante when it came to studio albums and everyone was still playing catch up.
"Everything In Its Right Place
"I Might Be Wrong"
"There There"
"Lucky"
"After the Gold Rush" @ ``17:00
"Morning Bell"
"Nice Dream"
"True Love Waits"
"Paranoid Android"
It's been 40 years now since "Heart of Gold" entered our lives, and we'd like to wish that every day could be Valentine's Day.
And no Neil Young song seems to say Happy Valentine's Day more than "Harvest Moon" it would seem by gauging the song's popularity as a "First Dance" song.
Often, we've found ourselves trying to explain Neil Young's music to others with varying degrees of success. In the end, we find that his music isn't really something that can be explained.
While we've expended quite a few words on this blog making an attempt, it really is the stories of others which transcend the gap much better.
Lincvolt is back at AVL US in Orange County for final calibrating and some work on the instrument panel to show the state of charge and real time use of power. This is the last phase before Lincvolt hits the road with Shakey Pictures for a shakedown cruise. We are all eagerly anticipating this moment that has evaded us for so long. There may be a surprise showing of Lincvolt at an upcoming musical event, demonstrating the breakthrough sound of PONO 21st Century Digital from a PONO system that is now installed in the car. Thanks for staying with us.
As you can see by the recent history of the webcam, the car is looking great. We will have the webcam up again soon at AVL for you to view the progress.
Thanks for your support.
NY
So might the "upcoming musical event" have been this weekend's Grammy Awards in Los Angeles, near Orange County, CA? If so, we haven't seen any firm news reports or sightings.
"Two sign-language interpreters dressed as cheerleaders"
Young shut down the pre-Springsteen portion of the evening with a "Born in the USA" that included two sign-language interpreters dressed as cheerleaders signing along to the lyrics.
"John Legend made me sound like Gershwin," Springsteen said. "I love that. Neil Young made me sound like the Sex Pistols. I love that. What an evening."
Bruce Springsteen MusiCares Setlist
via Neil Young FAQ
(Click photo to enlarge)
MusiCares Set List:
Alabama Shakes, "Adam Raised a Cain"
Patti Smith, "Because the Night"
Ben Harper, Natalie Maines, Charlie Musselwhite - "Atlantic City"
Ken Casey (Dropkick Murphys), "American Land"
Zac Brown and Mavis Staples, "My City in Ruin"
Mumford and Sons, "I'm on Fire"
Jackson Browne and Tom Morello, "41 Shots (American Skin)"
Emmylou Harris, "My Hometown"
Kenny Chesney, "One Step Up"
Elton John, "Streets of Philadelphia"
Juanes, "Hungry Heart"
Jim James and Tom Morello, "Ghost of Tom Joad"
John Legend, "Dancing in the Dark"
Sting, "Lonesome Day"
Neil Young and Crazy Horse, "Born in the USA"
Bruce Springsteen, "We Take Care of Our Own," "Death to My Hometown," "Thunder Road," "Born to Run"
Ensemble, "Glory Days"
Wow @neilyoung's soundcheck just unveiled dreams from my childhood & hopes for my future! Thx @springsteen for inspiring legends! #MusiCares
We received a note from Dave Zimmer, an esteemed chronicler of CROSBY, STILLS & NASH: The Biography, as well as, numerous other publications. Dave mentioned that his TFA copy had a photo insert which we were unfamiliar with. Most are familiar with the full lyrics sheet insert (see below) but not the photo of Neil Young holding a rose carnation included in some early copies of TFA.
The first pressing did not include the word "stereo" on the labels, later pressings did.
This recording was mastered 16-track direct to disc by computer - Aug. 22 & 23, 1973
MS 2151 on spine and record label.
Matrix / Runout (A): MS 2151 31632-RE-2M
Matrix / Runout (B): MS 2151 31633-RE-2E
I don't have a copy of TFA that comes with a large poster of Neil. Never have seen it. I do have a copy with a pictured inner sleeve. One side has Neil with flying V and band. the other side just Neil with Gretch and song/ recording information. Also have the first US pressing and there's only the lyric sheet.
Time Fades Away Artwork Proof
Photo by ecordmecca
(Click photo to enlarge)
And then there's the whole story on the rejected TFA cover (see above) with the full color inner sleeves that were later used for a German pressing.
Then, there's the story of the scene from Cameron Crowe's film "Almost Famous", which re-creates the Time Fades Away album.
"Almost Famous" Film Scene "Time Fades Away" by Neil Young
"You know, the difference between the greatness of Bruce Springsteen and that of Neil Young as someone once explained to me back in college: Bruce makes you think you, too, can be as great as he is; Neil makes you think he is really no better than you are to begin with. Remember that." Dr. Eric Alterman - Altercation
So how does the Canadian Young become labeled an American treasure? From On Milwaukee by Bill Zaferos on Neil Young's place in American music:
"Other than, say, Bruce Springsteen, who else has better expressed the late 20th and early 21st century American experience? Whether it was "Ohio" or "Rockin' in the Free World," or "Southern Man" or "Unknown Legend" or even "Old King," Young has always given voice to the meaning of life among the amber waves of grain, the crack-laden neighborhoods or the romantic longing of an American heart."
For many, Springsteen brings a rare combination of complex singer-songwriting and entertaining showman together in ways that Bob Dylan or Neil Young failed to achieve. From the U.K.'s Telegraph
by Neil McCormick on arguably the greatest solo performer of all time:
"Springsteen is both the most populist and (in terms of sales and live audience) the most popular. His songs spring out of the American maverick tradition with echoes of Steinbeck, Kerouac, Ginsberg and (in his new collection) Cormac McCarthy. His music has the blood of tradition in its veins and high art in its sights.
Yet unlike many of his singer-songwriting peers, Springsteen does not neglect his role as an entertainer. With the E Street Band, he comes from the American school of road-tested rock and roll that has, in lesser hands, given us so many efficient but essentially soulless showbands.
Springsteen combines the best of two very different worlds, the highly personal songwriter and the crowd-pleasing entertainer. He is, in effect, Bob Dylan and Elton John rolled into one. It is an unusual but compelling combination that makes him arguably the greatest solo performer of all time."
"Neil Young constitutes with Bob Dylan and Bruce Springsteen the great triad of 'moral' voices of American popular music.
As is the case with the other two, Young's art is, first and foremost, a fusion of music and words that identifies with his era's zeitgeist. Unlike the others, though, Young is unique in targeting the inner chaos of the individual that followed the outer chaos of society. While Dylan 'transfers' his era's events into a metaphysical universe, and Springsteen relates the epic sense of ordinary life, Young carries out a more complex psychological operation that, basically, bridges the idealism of the hippy communes and the neuroses of the urban population. His voice, his lyrics, his melodies and his guitar style compose a message of suffering and redemption that, at its best, transcends in hallucination, mystical vision, philosophical enlightenment, while still grounded in a context that is fundamentally a hell on earth."
"I actually found one comment interesting...and that was the one about comparing Bruce fans who miss the E Street Band to the way Neil fans miss Crazy Horse.
Not the same at all.
Neil has carved out a very effective "duality" in my view.
The quiet, accoustic Neil resonates every bit as effectively as the cranked up to eleven Neil does.
When Neil is doing his full on, cranked up to eleven electric thing, it's more about Neil's guitar playing than it is about the band (Crazy Horse)."
"Bruce, regrettably, cares a little too much about letting his fans down. He needs to take more chances, not less. Neil doesn't care whether or not the fans get cranky, as evidenced on the Greendale tour and what happened with the audience reaction there. Neil just GOES. They are wildly divergent personality types and you might as well compare Springsteen to Sinatra."
"Even Bruce dropped in..."
Bruce Springsteen & Neil Young - Sydney, Australia
March 22, 1985
Photo from Thrasher's Archives
On March 22, 1985 in Sydney, Australia, Bruce Springsteen joined Neil onstage for an encore performance of "Down By The River". Bruce had performed the night before at Sydney's Entertainment Centre (3/21) and performed again the next night (3/23). In between Bruce's two concerts, Neil Young was scheduled to headline the Benefit for the Australian Cerebral Palsy Association concert. As noted in poster above, Neil's entire 1985 Australia tour was "ALL SOLD OUT".
Nils Lofgren, touring with Springsteen, joined Young onstage for several songs, including "Comes A Time" and "Helpless". At the conclusion of the 28 song setlist, Young invited Springsteen on stage. Bruce sang vocals on an amazing 20 minute version of "Down By The River".
Neil & Bruce
Bridge School Benefit Concert - October 13, 1986
"Helpless" - Neil Young with Bruce Springsteen
Neil Young invited Bruce Springsteen at the first annual Bridge School Benefit Concert in California in 1986. They performed Young's "Helpless" together. (Thanks Mike for reminder!)
Bruce & Neil
Jones Beach, New York on June 14, 1989
Springsteen joined Neil for an encore of "Down By The River" at Jones Beach, New York on June 14, 1989. Bruce is virtually inaudible on the tapes of the show. If Thrasher had not seen the video of the performance, it would have been hard to believe both Neil and Bruce sang at the mic.
Bruce Springsteen and Neil Young's music and careers have as many similarities as dissimilarities. Neil Young's "Rockin' in the Free World", has been compared with Bruce Springsteen's "Born in the USA," due to "the anthemic use of this song was based on largely ignoring the verses, which evoke social problems and implicitly criticize American government policies." (1) Neither artist has sold their songs for use as commercials, leaving them among a small handful not to do so.
Another Bruce and Neil connection occurred at the Academy Awards on March 21, 1994. Coincidentally, both Springsteen and Young were both nominated for Best Song in a Movie -- and in the same film -- Jonathan Demme's "Philadelphia". Bruce's nominated song was the film opening "Streets of Philadelphia" and Neil's was the closing title track "Philadelphia".
Bruce Springsteen won the Oscar award for his song "Streets of Philadelphia". In his acceptance speech, Springsteen acknowledged Young and said that the award really deserved to be shared by the other nominee's song.
In 1994, Bruce Springsteen, Bob Dylan and Neil Young joined on stage at the Roseland in New York City to perform 'Rainy Day Woman' and 'Highway 61 Revisited'.
At the 1995 Bridge School Benefit Concert, Springsteen joined Young for an encore of 'Down by the River'. Young remarked: "Bruce says he doesn't have any more songs, so we'll do one of mine".
But not all are totally impressed with this juncture in Springsteen's and Young's careers. From Nude as the News: review of both Springsteen's Devils and Dust and Young's Prairie Wind by Ben French:
"Bruce Springsteen and Neil Young have both been playing this sort of acoustic, singer/songwriter-type music for more than 30 years, so it’s not a crime if they repeat themselves from time to time. On the other hand, it surprises me when other writers blatantly ignore the fact that none of this is worth listening to more than a couple times – especially if you already own the artists’ older albums. UK writers always have a flare for the dramatic, but I think Guardian pushes the limits by calling Prairie Wind, “one of Shakey’s best.” Outrageous. Rolling Stone gave Devils & Dust 4 ½ stars, which seems incredibly polite."
As for reviewer Ben French's comments above, we're looking forward to Springsteen's upcoming Seeger Sessions and the crimes of artists repeating themselves from time to time.
"Springsteen, because he has maintained a consistently high level of commercial success over the years, is a sell-out, and a manufactured creation of his manager. Whereas someone like Neil Young, because he hasn't been ashamed to release some real crap, is an artist of integrity, who won't give in to crass commercialism, by always giving his fans music that they will actually enjoy."
And it was the final stop in Fairfax where all the magic of the Arkansas Girls came together perfectly that night -- right before an audience of 10,000.
In a very, very rare moment, Neil Young stopped the concert to directly acknowledge the Arkansas Girls and to say "We love you, too." You can see this in the first two minutes below during the "Analog Time Machine" dialog and just before launching into "Cinnamon Girl".
After listening to hundreds and hundreds of Neil Young concert recordings over the years, we know that what happened that night was startling and special. We tried to recall when Neil ever spoke directly to specific audience members with anything comparable -- no other examples come to mind. Neil has called out specific audience members for rude behavior or acknowledged a shouted request. But he has never told anyone that Crazy Horse loves them too.
So tune in next weekend, Saturday February 2 at 9P EST on Thrasher's Wheat Radio on WBKM.org for our exclusive interview with the Arkansas Cowgirls. Many, many thanks Tami & Sandy. Long may you both run.
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Human Highway
Concert Review of the Moment
This Land is My Land
FREEDOM In A New Year
*Thanks Neil!*
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The Unbearable Lightness of Being Neil Young
Pardon My Heart
"We're The Ones 
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