New Song - "Get behind the wheel"
Neil Young and his Electric band - Get behind the wheel - (This is a Love Song) - Madison Square Garden -15-12-2008
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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.
















The launching our our new Archives website has been delayed, but is looking very cool, with lots of details and information. Please stand by.
NY Archives Vo1. 1 is scheduled to be released in the following formats:
* Blu-ray, DVD, CD, Digital Download
notes-
* the CD edition does not include the Hidden Tracks that are found on the BD and DVD editions.
* the Digital Download edition's track list is the same as the CD edition.


"At 63 Mr. Young is a figure of blunt efficiency himself, and a man comfortable with his own contradictions. Here in the first of two tour-ending New York shows, he presented himself not only as a stubbornly craggy survivor but also as an avid early adapter, a holdout hippie idealist, an evenhanded pragmatist and a sharp-eyed cynic."
"At 63, his raw onstage energy is striking. Strapped into his guitar, Young writhes like a Pentecostal snake handler - head banging, hair flying and his already ugly kisser as distorted as the notes he plays when he gets lost in a musical trance."
"Arena concerts aren’t necessarily my thing. But when Neil Young plays Madison Square Garden, and has Wilco open up for him, I try to buck up. So, for the past two nights, I’ve stood, or sat, in the “world’s most famous arena,” listening to what is arguably some of the best rock n’ roll music being played today."
"The floor of the Garden was almost completely cleared of seats to accommodate a standing audience, and the thousand fans who were devoted enough to stand for four hours straight were rewarded with an experience so intimate it seemed unreal. When Young finally took the stage in a paint-splattered blazer and Frank Zappa [ED: Emiliano Zapata] t-shirt, diving immediately into a fuzzed-out, energized of 'Love and Only Love,' it felt like being transported back in time to a crowded club."
"Pity the bros stuck in the assigned seats 'cause down on the Madison Square Garden floor, it was a real rock show. While Neil Young shredded and warbled for two-and-a-half hours, dudes passed out down there (one during the stoner-doom jam of 'Cortez the Killer') and security guards sang along. Also Pity the bros confined comatosely to their chairs because the pace of Young's night--silver shrapnel jams from an eight-foot (!) Magnatone amp, classic strums, and long stretches of plodding songs about fuel-efficient cars--was well-served by being able to wander. That's exactly what Young did musically with his non-Crazy Horse combo."
"Needless to say, Young didn’t skimp on the classics during his protean three-hour set. (“We went long, but that’s O.K.,” he said toward the end. Tomorrow morning’s coming and there’s nothing we can do about it.”) Sticking mainly with Old Black, his beloved 1953 Les Paul, and playing through an amp the size of a small building, he blasted through “Powderfinger” and “Hey Hey, My My (Into the Black)” in all their crunching glory and summoned hypnotizing sequences of bent and serrated notes on solo-heavy jams like “Cortez the Killer” and “Cowgirl in the Sand.” For anyone who has ever picked up a guitar, it was a seminar in how to combine technical prowess with the loose-muscled spontaneity that keeps rock ‘n’ roll from ever dying."

Time has taken nothing from the feisty Canadian. Numerous times during Monday night's show, Young bounded away from the microphone and careened across the stage, his guitar going through wild tremors as if trying to escape his grasp. No one would ever mistake Young’s voice for another but his incisive and defiant guitar style can be heard constantly in the artists that followed him. On “Cinnamon Girl,” “Cortez The Killer” and “Powderfinger,” Young reestablished himself as the Godfather of Grunge and the ancestor that atop the family trees of bands like My Morning Jacket and Dead Confederate.
Young has always been able to find beauty in the noise and he’s never flinched at the prospect of commercial or critical failure. That reckless spirit still lives within Young. To close the night, Young and his band tackled the nearly The Beatles’ nearly uncoverable “A Day In The Life,” finishing the song with a wall of feedback that became a backdrop for a revival of the song’s dreamy harmonies as a psychedelic peyote chant. Even when venturing into sacred and familiar ground, Young continues to find a way to transform it into his own inimitable style.
"I think a lot about the fact that Neil’s one of those people that I will just go see no matter what I think about their particular recorded output of the moment. That he has put out some, well, albums of dubious quality, and I still went (although I deeply regret passing on going to see Trans at MSG with the stoner guys from Bayside that were in my ethics class at Fordham and had an extra ticket. They did not know what the hell to make of the show the next day).
We were talking at dinner before the first show and referred to one album as the “I almost died” album, and it’s not funny to say that, because in this case, it happens to be true. But the thing with Neil Young is that he is still a cantankerous, obnoxious and overwhelmingly powerful force to be reckoned with. We saw Ray Davies two days before Neil and all I could think was how utterly fragile he seemed - yes, he was always a glorified stick figure and he looks great and has tons of energy but the fragility came through stronger than anything else.
But not Neil."
"Look, you don't need me to gas on about the restorative, stupendously surly power of "Hey Hey, My My" or "Cowgirl in the Sand," grouchy and brutal under the expert care of Neil and his pummeling electric band, his wife Pegi's cooing backing vocals the only point of warming light. His own guitar solos are luridly violent affairs—he staggers crazily about like an enraged fisherman who doesn't realize he's hooked the seat of his own pants, his spastic jerks and lurches somehow not corresponding to any sound anyone is making, including him. The effect is profoundly ugly and equally mesmerizing, and initially, it enthralls even when the set list turns away from The Beloved Neil Young Canon: "Spirit Road," off last year's Chrome Dreams II, indulges in bald-tires open-road cliché ("There's a long highway in your mind"), but plays up the horror rather than the romance: The way an endless, inviting horizon dwarfs and overwhelms all who gaze upon it can make you feel like "A speck of dust in a giant world," as he snarls tonight. Somehow it's a fitting ode to the impending death of the American auto industry. But, ah, Neil's made this connection, too, and tonight, amid luscious dips into The Beloved Neil Young Canon, we are also graced/terrorized with multiple cuts from what would seem to be an impending concept album about eco-friendly cars."
"In between Wilco and Neil, I took advantage of all the people scrambling and moved from the 200 level down to a third row seat right at stage right. I was about 100 feet from Neil. The magnetic pull was trying to take me right on stage but metal bars blocked the way. Luckily, Neil must of felt the magnetic pull. During Cinnamon Girl, he came over to the side of the stage and rocked out the ending screaching notes of cinnamon girl. The couple of people in front of me didnt even bother to get up as I stood up and just got pulled towards old black. I just gave every ounce of energy I had as I slipped into a surreal mental state. My arms started doing these helicopter spins and my eyes were just popping out of my eyes. It did not take long for Neil to spot me and once he saw I was giving him everything I had he gave everything he had right back. His eyes locked in on me he just kept feeding the high pitched solo to me right in front of me. My arms kept just kept revolving at the speed of light as I signaled to Neil to keep it coming. I can't really compare the experience to anything that I have ever experienced before."


From http://www.AltCountryTab.ca a concert review of Neil Young @ Toronto's Air Canada Centre, December 4, 2008 by Jules:
Ragged Glory Never Sleeps
Neil Young was in both his hard-rocking and acoustic folksinger modes on the first of two sold out shows at the Air Canada Centre. Fueled from last year’s successful Chrome Dreams Continental tour, where his shows started with an acoustic set, followed by a short intermission, and finishing with an electric set, tonight’s show was Crazy Horse-like from beginning to end, the intermission scrapped liked rusted metal.
Wearing a black paint-spattered jacket, white t-shirt and blue jeans, Neil took to an identical Massey Hall stage (of last December), a stage littered with standing lights, a wooden Indian to the left side and an old neon marquee filled with letters hanging above. This was vintage Neil, in that trance-like state, swaying back and forth. A rousing applause greeted Neil and his noisy Gibson Les Paul as he opened with “Love and Only Love” from 1990’s remarkable Ragged Glory. The music was absolutely exhilarating and you can see the intensity in the face of this ageless music icon as he continued with “Hey Hey, My My (Into the Black)”. With Young rocking back and forth and fans singing along to this classic, he purposely stuttered the line about it being better to burn out than to "fa-fa-fade away".
Neil Young was illuminated all night long. It was like having a trouble light hanging from the underside of his aging two-tonne Lincoln hood, casting a light down on him, His Electric Band in the shadows. It was after “Spirit Road” that Neil would say “How you doing Toronto. Thanks for being here. It’s nice to be here.” before continuing with “Cortez The Killer” and singing “And I know she’s living there / And she loves me to this day” as he turned his head back, smiling at his wife Pegi.
The mellower side of Neil would bring loud cheers, especially with the first sounds of his harmonica, singing “Everybody’s goin’ out and havin’ fun / I’m a fool for stayin’ home and havin’ none,” in his morose version of Don Gibson’s “Oh, Lonesome Me”, a song he first performed in the thick haze of cigarette smoke at the Bohemian Embassy coffee house in the ’60s. Sitting at a pipe organ at the back of the stage, Neil’s harmonica would start off “Mother Earth” before continuing on the keys. Now, alone on stage with his acoustic, “The Needle And The Damage Done” sounded exactly like it first appeared on 1972’s Harvest. The band would return, and a new song, “Light A Candle” would be played, before finishing with “Unknown Legend”, “Heart Of Gold” (with everyone singing along) and “Old Man” (Neil on acoustic and longtime roadie Larry Cragg on banjo).
The night would end in absolute mayhem with “Rockin' In The Free World” and a feedback-heavy cover of the Beatles’ “A Day In The Life” that concluded with Young ripping all the strings of his famous Old Black.
From National Post "The quiet and the damage done: Being tongue-tied with Neil Young is something I may not live down" by Jian Ghomeshi:
"Last Friday I met Neil Young. It was a disaster. Not for him. He probably doesn't even remember meeting me. At least, let's hope he doesn't. If he does remember, Neil might recall it as an encounter with a mute. An awkward mute. An awkward smiling mute, inexplicably introduced to him as a broadcaster. I had so much to say to Neil. And given this outstanding opportunity, I seized the moment by saying ... nothing. I choked like the 2006 Ottawa Senators. Or the 2007 Ottawa Senators. Or the 2008 ... anyway, you get the idea. Not good. Disaster."
From NoDepression.com a very interesting article by Paul Cantin on the Neil Young Archives:
Obsessives typically don't play well together. Whether on the battlefield, the football gridiron or a backyard drinking party, when two hard-headed, determined, focused types come into conflict, like the old songs says, something's gotta give.
A similar musical tilt has been playing out in recent weeks, although the antagonists may surprise you.
In this corner, a fervid, loyal, vocal sector of Neil Young's fan base.
In the other corner, Neil Young.

"And, thanks to both the passion of the performances (I've never seen Young deliver more fiery guitar outside of his legendary garage band Crazy Horse) and his refusal ever to solely pander to expectations (the more-than-two-hour show also included a hefty chunk of still-unrecorded new material), it never seemed a bit like nostalgia or witnessing anything other than a musician still at the peak of his creative powers."

It’s impossible to fully articulate how huge Neil Young is for me. Besides having been one of my very favourite artists from the very start of my “musical awakening” some 17 years ago, it’s also not an exaggeration to say that if I were to draw a single common thread through all the bands I love or the styles of music they play, it would be him. Some may owe larger debts than others, but whether they dwell in the folkier end of the spectrum or the noisy, one way or another, they’re in the shadow of Neil.
So when the man comes home for a show - yes, he began his career up in Winnipeg but the man’s birth certificate says “Toronto” - it’s going to be a special occasion. And when he does so with one of your very favourite bands in the world as support, as he did this time with Wilco, then the phrase “must-see” just seems woefully inadequate.

From Oakland Press By GARY GRAFF:
Young came out the gunslinger, with "Love and Only Love" setting both a lyrical and instrumental tone as he crouched low over his black Les Paul, playing guitar solos like spraying so much electric buckshot around the stage. And after making highly critical remarks of the Detroit auto industry, Young -- who was briefly signed to Motown in the mid-'60s with his band the Mynah Birds -- appeared anxious to affirm his ultimate solidarity; in "Hey Hey, My My" (Into the Black)" he changed the lyric to "Detroit City will never die," and he also shouted "Motor City!" repeatedly during "Rockin' in the Free World."

"Well it turns out that my prediction that Friday night's Neil Young show at the ACC would be the concert event of the year was 100% accurate as both Neil and Wilco put on a show that will go down in the annals of personal concert going history as nothing short of legendary.
Although he was quite far away from me, the unmistakable frame of Mr. Young was obvious, and as he wailed away to Love And Only Love on, what I believe was his classic Les Paul, I knew that this night was going to be special. Prior to this show, I only half understood why the term 'Godfather of Grunge' had been appointed to him. However, seeing him rock out all hunched over while his guitar made that familiar high pitched whirr that will forever be associated with only this one man made it obvious to me as to how he has been able to influence an entire generation of plaid wearing angsters. The level of hard rockin' euphoria continued to escalate with each passing song, culminating in Cortez The Killer and Cinnamon Girl, which had even the people in my crappy section plugging in their air guitars and putting on a little performance of their own. Cortez The Killer was the best performance of the night in my opinion; chill inducing to say the least."
The Neil Young Concert Review of the Moment is from Ottawa, Ontario on 12/2/08 by Tony C.:
Neil came on around ten past 9 to thunderous applause. And right from the first notes of his magnificent sounding guitar he was brilliant. When for his second song the opening notes of My My, Hey Hey blasted the rafters there was no holding the crowd. Everybody knew why they were here and were just wallowing in the gorgeousness of what Neil has made timeless.
This is a man of 63 who suffered a brain aneurysm in 2005, has had diabetes since childhood and walks with a limp from polio. Yet this is the best I have ever seen him perform and with such energy. His famous never-ending final chords were well represented. Half way through he took a walk up a ramp to a portable pipe organ, seemed to assume a new persona, and sang (with harmonica accompaniment) what I always call #89 in the green hymn book: "As longs the heart". This was Mother Earth (Natural Anthem), with his words replacing the many other versions. Wonderful.
Unlike most big name concerts I have seen in the last decade, Neil's performances and the support from the marvellous musicians including his wife Pegi Young were far better than the versions on disk, adding musical quality, spontaneity, excitement, dynamic range and visual excellence. And so the evening progressed through his acoustic classics from his After the Goldrush era always returning to the seminal rock numbers that he has contributed to the genre that will never die.
And then came the end - or was it. After several minutes of audience roar he came back to do . . . wait for it . . . "A Day in the Life."
I suffered pangs of pleasure as he recreated a masterpiece cover complete with both orchestral build-ups and the final chord that sufficed us for the evening and made us all proud and joyful and happy to be Canadian with him.
- Tony C.
OK, folks seem to be getting a real kick out of this EdgeGirl YouTube video so we're re-posting by popular demand from the Neil Young in Toronto, Ontario Concert Reviews: 12/4 & 5/08.
There appears to be a super secret hidden "hidden" track on Sugar Mountain.
In a recent interview with Rolling Stone, Neil Young is quoted as saying “There’ll never be another Crazy Horse”.