Comment of the Moment: Fans Pre-Judgement of Americana Continues

Neil Young & Crazy Horse - "Americana"
(Zoom Album Cover)


Only within the past few days when UNCUT Magazine published "First Listen" , has anyone actually listened to "Americana" and been able to comment based on more than hearsay, rumor, innuendo, and/or album cover, liner notes and lyrics.

Yet -- a surprising (or maybe not) volume of fan commentary on the upcoming album Americana by Neil Young & Crazy Horse -- even though no one had even heard a single note.

So, naturally, our Comment of the Moment concerns preconceptions on Americana by Neil Young & Crazy Horse by Matt L.:

Is it really Neil's, or any artist's "responsibility" to either the song, history or the music fan, to adhere to or at least reference or explain the original purpose of a piece of music, and the political, social or spiritual climate of its time, in some way, so that the authenticity and history of something isn't lost or disrespected?

Does he owe it to the song, the song's author or the music fan to prostrate himself before the energy that created that piece of music and deliver it into the 21st century in a way that retains, and even helps to convey or preserve a clear idea of the song and its history? Or, more importantly, to not undermine reality or contribute to confusing, or even rewriting, history?

This is definitely a very important topic, and I feel strongly about retaining the purity of historical accounting, but I would argue "no" to the question of Neil's responsibility as an artist toward either some kind of historical or social accuracy, or toward supporting a certain political identification, or simply toward NOT doing something that could be perceived as insulting to those of us with touchy emotional triggers about American Indians, the dark history of Colonial America, or the authenticity of music history.

Why?

Because that is the job of historians. It is the job of artists to paint the sky with beauty, not to write history books.

They are free to be as accurate as they wish, should they desire to do so, or feel a sense of personal responsibility, but they should not be required to do so.

Neil has already explored American History many times in his songs, and has as much (ore moreso) converted it into dreams that reflect his own inner reality as address the significance of the topic's outer significance.

Take Pocahontas, my favorite Neil Young song. A deeply touching, overflowing statement about reducing the living, flowing passions of a thriving culture into a dusty historical relic admired by the very people who destroyed that culture.

It's so beautiful, haunting, thoughtful, everything that makes a passionate song something to revere. But is it a historical document, or a voyage through the soul of Neil Young himself, and his own internal contradictions, feelings of loss and yearning, a sort of poetic emoting from the past that he's channeling through the paint brush of his own inner being, that emerges in a wholly unique form from being filtered through him?

Or Peaceful Valley Boulevard. A very similar lament to Pocahontas, but much broader in context, that explores the relationships between scenes of early American settlers, this time being attacked and massacred by Indians, and how the brutality of ignorance, selfishness and fear have translated from one time period to another. From the peaceful valley to Peaceful Valley Boulevard, again crass American materialism sucking the life out of something beautiful and natural and turning it into something lifeless, meaningless and culturally or spiritually dead.

But are either of these songs really "accurate" in some important historical sense? Certainly they make references to terrible things that happened, in a general way, in the history of early America, and convey very poignantly the sense of hopelessness as industry and materialism annihilate the beauty of the world, which is all very important and meaningful...

...but are not both of these songs simply avenues for Neil to explore the confused and intense feelings inside himself, and in essence capture and discuss the commonality of these feelings in a more universal way that speaks to the human condition itself?

In the end, does it have to be pedantically accurate, or contain a specific accounting of history that is responsible in the way a history book should be (should be) responsible, or should it be a free-flowing statement of art that cries out from the soul of humanity, and is evocative, and causes people to feel and explore their own intense emotions and internalized confusion about life??

No, and yes. Neil has played around with history before, and used it in a way that furthers the latter process.

So why does altering a photograph constitute some kind of slap-in-the-face to history when it is not a historical accounting, but an artistic statement?

Why is accurately and clearly explaining a song's origination necessary?

None of the inaccuracies or alterations that Neil either willfully chooses to do, or simply accidentally does out of his own ignorance, are important to the artistic explorations themselves.

Altering things is as much a part of art as anything else, and in fact, throughout history, art has served as a vehicle for re-imagining things. And while the artist has every right to be as accurate as he or she wants, the very nature of artistic license makes it unnecessary to do so.

It's just not the purpose or responsibility of art, and in fact, if we perceived art to have that kind of responsibility, it would serve only to undermine the very free-flowing expressions and nature of art itself.

That said, is it really necessary for an artist like Neil to cater to everyone’s sensitivities? Altering a historical photograph is an artistic statement, not a historical statement. Is it necessary for an artist to say, “This is Americana and that is not Americana” in some sort of agreed-upon way because of some kind of universal social agreement that we have? Neil is not a historian. If he says God Save the Queen and Gallows Pole are going to appear on his “Americana” album, then well, dammit, that’s what he’s gonna do. It doesn’t invalidate the record, the music, or anything he’s doing. At all.

And as far as bigotry goes, I think we can all pretty much see the reality that Oh Susanna is always going to exist. It is a part of the lexicon of music from which America was born. I’m not sure whether Neil has altered the lyrics or something, or simply left in the racist overtones, or what. But it’s his right. Neil does not have to answer to anyone else’s sensitivities, and that’s not only his right as an artist, but it’s absolutely necessary. If Neil gave in to everyone’s sensitivities throughout his career, would half of his music even exist, and would the other half be nearly as good?

Getting offended at Neil Young is a laughable, ridiculous thing to do.

Any Neil Young fan should know by now that Neil’s art, as well as his ACTIONS, ARE sometimes offensive to peoples’ sensibilities, but that they are obviously necessary in order for his art to retain its biting, courageous spirit and authenticity.

Thank you Matt! Well put. Appreciate yours -- and everyone's else's -- opinion of Americana.

As for us? We can't wait to actually hear for ourselves, naturally. We'll try and not let our "pre-judgement biases" of Americana get the best of us. So we're confident that we can maintain that profile for the next 2 months... or not. ;)

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FIRST LISTEN: "Americana" by Neil Young & Crazy Horse

Neil Young & Crazy Horse - "Americana"
(Zoom Album Cover)


A surprising about of commentary on the upcoming album Americana by Neil Young & Crazy Horse -- even though no one has even heard it -- yet.

The first listen of "Americana" by Neil Young & Crazy Horse is via Uncut.co.uk by John Mulvey:

It begins as you might imagine, with a guitarist who seems about to play a sputtering solo rather than start a song, a drummer trying to work out what time to keep and, gradually, a band lunging towards a tune: “Oh Susannah”.

After a minute or so, you can hear Neil Young shout “Oh Susannah” away from his mic, prompting a choir to start chanting the title. It is at this point that Crazy Horse locate the dogged, heroic sense of purpose that has sustained them, on and off, for a good four decades. They’re moving a fraction faster than usual, in truth: as my colleague John Robinson points out, the call-and-response interplay between Young and the backing singers, aligned to the inexorable “good groove” (as Young calls it in the fade-out), make it all oddly resemble Nick Cave & The Bad Seeds’ “Dig Lazarus Dig”.

This is the way “Americana” opens, the latest attempt by Neil Young to variously charm and confound his fans. For those of you who have become exasperated, one way or another, with the path Young has carved this past decade – quixotic, even by his standards – “Americana” may not be quite what you’re looking for. This is undoubtedly the Young who made “Living With War” and “Fork In The Road”, albeit backed by his most heroically truculent rhythm section; all of which is just fine with me.

More from the first listen of "Americana" by Neil Young & Crazy Horse on Uncut.co.uk by John Mulvey.

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Comment of the Moment: Americana by Neil Young & Crazy Horse

As we indicated yesterday, quite a bit of discussion surrounding the themes and interpretations of the upcoming album Americana.

Here is the Comment of the Moment on More Developments on New Album Americana by Neil Young & Crazy Horse by Greg "A Friend Of Yours":

I've studied mostly the big points of history, the back story behind the various versions of these songs, but never understood the songs beyond their surface interpretations. Truthfully, I don't even know most of these songs, and was relying on the liner notes, and Neil being Neil.

Thos makes a very good point when he says: "music takes on a life of its own, often at odds with its author's original intentions, and it is unfair to judge a singer covering a song today because of what that song meant to someone in the past, or because of the kind of person who wrote it." However, Mother Nature on the Run makes the perfect rejoinder with: when a major recording artist is compiling an album reflecting upon the significance of Americana music, I expect that the liner notes should at least be truthful about the songs origin." This is a legitimate point, and I agree with it.

This makes the whole subject of Americana that much more interesting, and makes me ask myself the questions that have gone unasked in all this discussion: why did Neil make this album in the first place? What is his intent? Some more questions are: is Neil aware of the original song lyrics? Did he simply set out to give a fresh treatment to songs he holds dear, that bring him back full circle to his early days in Canada and with the Squires? Or is he trying to make a larger point? Does he feel that he is just making a contribution to keeping the songs alive, with the added dynamic of taking his turn adding another turn of the screw to an ongoing fish story, in the tradition of folk music? There must be a lot more questions I'm not thinking about right now besides.

I think it is controversial, and worth raising objections, but assuming that Neil is in fact aware of the first origins of these songs, I think it is his prerogative as an artist to put it out there the way he sees it, although I agree with Mother Nature on the Run that at least a few explanatory lines would be both wise and fair.

In the light of all this, I hope Neil does some extended interviews exploring his understanding of the songs, and why he chose to treat them the way he did. And I hope he will share his perspective if he too comes to find that he was not aware of the songs true origins. This is as fascinating a subject as I can remember surrounding any of Neil’s albums, and maybe even more so. I hope this discussion doesn't end here on TW, but that we hear much more along these lines. I know I for one will never hear Oh Susanna quite the same way ever again. THANK you, MNOTR.

A Friend Of Yours

Thanks A Friend Of Yours, This, MNOTR and everyone else who jumped in the fray.

Americana promises to make for interesting listening -- at the least.

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Americana: As Told by Bruce Springsteen and Neil Young

"This Land Is Your Land" (Woody Guthrie cover)
Bruce Springsteen & The E Street Band w/
Arcade Fire, Tom Morello, Alejandro Escovedo, and more.
The Moody Theater, Austin, TX - SXSW 2012 - March 15, 2012

Quite a bit of commentary on the upcoming album Americana by Neil Young & Crazy Horse. Already. And release not set until June.

So could folks be most excited about the first full album recording by Neil Young & Crazy Horse in about 10 years?

Of course not.

Which reminds us of 2006 when Bruce Springsteen released We Shall Overcome: The Seeger Sessions. On The Seeger Sessions, Springsteen covers songs by "Americana folk music" icon Pete Seeger.

Bruce Springsteen - We Shall Overcome: The Seeger Sessions

Here's how blog critic and author of the upcoming Neil Young FAQ: Everything Left to Know About the Iconic and Mercurial Rocker Glen Boyd put it at the time (The Seeger Sessions? Say It Aint So Bruce - Blogcritics Music):

So The Seeger Sessions is finally out.

The album that has been front and center in the hearts and minds of Bruce Springsteen fans ever since it was first announced last February was finally released Tuesday. The debate among both fans and critics about this record has been an often intense one in the days between that announcement and yesterday's release.

Boyd went on to site a few grumblings such as not putting the E St. Band to its best use and calling it "something of a vanity project for Bruce... like the sort of thing Elvis Costello did with the Brodsky Quartet."

Since the time of the earliest rumblings of a new album of Bruce "Americana folk music" covers in 2006, critic Boyd and most of the Bruce fan naysayers quickly came around on the The Seeger Sessions and recognized the boldness and exuberant recklessness of Bruce's interpretations of Pete Seeger's rebel folk.

And so here we are.

In the video above with Bruce Springsteen & The E Street Band (and many, many others) covering Woody Guthrie's Americana classic "This Land Is Your Land" at SXSW 2012 Festival, we see a modern day American icon interpret what really was -- and still is -- a radical protest song. Guthrie saw an America in the crisis of the 1930's Dust Bowl era during the Great Depression, where the wealthy ruling elite could care less about the millions of starving, suffering poor folks.


Americana by Neil Young & Crazy Horse

Now along comes the soon to be released album by Neil Young & Crazy Horse of "Americana folk music" titled -- appropriately enough -- Americana.

Like Bruce above, Neil Young's newest album will also cover Woody Guthrie's Americana classic "This Land Is Your Land" . From the liner notes for Americana by Neil Young & Crazy Horse:

This Land Is Your Land

This folk song was written by Woody Guthrie in the 1940s to a pre-existing melody as a response to “God Bless America” which Guthrie was tired of hearing. The lyrics Guthrie sang varied over time, but the lyrics sung in the Americana version were in the original manuscript of the song.

As noted in the liner notes, "This Land Is Your Land" was written in response to Irving Berlin's "God Bless America" -- but not necessarily just because he was "tired of hearing" -- but more due to the hypocrisy of the ruling wealthy elites.

As I went walking, I saw a sign there,
And on the sign there, It said "no trespassing." [In another version, the sign reads "Private Property"]
But on the other side, it didn't say nothing!
That side was made for you and me.

In the squares of the city, In the shadow of a steeple;
By the relief office, I'd seen my people.
As they stood there hungry, I stood there asking,
Is this land made for you and me?

So far, so good, right? What could go wrong?

Well, it would seem in the eyes and ears of some Neil Young fans, what Neil is about to embark on is a big misguided desecration -- sort of like Bruce Springsteen with Seeger Sessions.

Here's how some of the fan commentary on the upcoming album Americana is going. Questions of authenticity, legitimacy, historical accuracy, political tone-deafness and unspoken social ramifications, and so on.

All subjects which should be up for debate.

And maybe that's why Bruce covered Pete and Neil is covering many great, classic "Americana folk music" songs? To spark a big, giant debate on where Americana is coming from and going? What could be more healthy and apropos?

So -- in conclusion -- just as critic Glen Boyd went out on a limb and pre-judged Springsteen's Seeger Sessions and turned out to be happily mistaken, we'll go out out on a limb and pre-judge Neil Young's Americana. Might Americana be the album Neil wished he released in 2006 instead of Living With War?

We can only imagine Neil and The Horse stompin' thru Woody's Americana classic "This Land Is Your Land" and totally -- yet respectfully -- shreddin' it.

We await the June 5 release... eagerly.

In the meantime, a happy 100th birthday to Oklahoma's favorite son, Woody!


Woody Guthrie - "This Land Is Your Land"

ps - What Would Woody Do? (Hint: Occupy the Music)

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PHOTO GALLERY: Neil Young Through the Years Pictures | Rolling Stone

CSNY Tour, Oakland, CA - 7/14/74
Photo by Gijsbert Hanekroot
(Click photo to enlarge)

A nice picture gallery from Rolling Stone: Neil Young Through the Years Pictures | Rolling Stone.

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Daniel Lanois on 'The Making Of' Neil Young's 'Le Noise'

Daniel Lanois on 'The Making Of' Neil Young's 'Le Noise'.



CBC RADIO 2 host Rich Terfry speaks with Daniel Lanois about Neil Young and "Le Noise".

Ahead of his induction into the Canadian Music Industry Hall of Fame, Lanois reflects on albums that he's worked on over his acclaimed career.

Also, see more on Daniel Lanois and Neil Young.

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Comments of the Moment: Americana by Neil Young & Crazy Horse

Crazy Horse
from album art for Americana by Neil Young & Crazy Horse
(Click photo to enlarge)


Frankly, after running Thrasher's Wheat for over 15 years and almost a lifetime of listening to Neil Young's music, there are two things which we have found universal: 1) Neil never ceases to surprise, amaze, and confound us and 2) Neil fans never cease to surprise, amaze, and confound us.

So quite a reaction thus far to an album that no one has heard yet -- out side the Ranch crowd.

And -- based on the enlightening liner notes for Americana by Neil Young & Crazy Horse -- Neil fans are all over the map in their anticipation of the new album being released in June.

First, a somewhat typical comment from the naysayers and doubters crowd by karate-chop yoda:

Neil wouldn't be making albums with a children's choir if he had a friend who could tell him when he's pissing in the wind.

Children's choir = no redeeming musical value.

Just not good. I won't be buying this album. What a waste of a good band.

Naturally, that's the sort of comment that can get Neil fans -- shall we say -- spooked.

A comment from Sandy H.:

I live in the Ozarks. The "passing down" of folk music is a time-honored tradition here. It is a way of life and a demonstration of respect. It is especially cool to hear these traditional songs infused with a more "modern" interpretation.

The songs are therefore timeless.

Each new generation is made aware of the existence of this music, which otherwise might be lost. I am beside myself with anticipation of this record. After hearing "Old Susannah", I was completely stunned, shell shocked.

I can't believe there are still NY fans who are surprised at the fact that he is willing to take a completely unexpected turn.

Your loss.

A comment from BIGCHIEF:

Sandy, thank you for the thought provoking, open minded post which is quite a departure from what I've been hearing of late from people who have already drawn conclusions of what this record is going to sound like based on an album cover and a song list.

This recording has generated more controversy based on such limited information then any other NY record at this stage of release. People are so hungry for what their own perceptions of the perfect Crazy Horse record should sound like that they are setting themselves up for a major disappointment, guaranteed!

This will not be 'Zuma' revisited nor will it be 'Rust Never Sleeps' or EBKTIN.

Would the feedback drenched Crazy Horse fans feel any better about this record had he recorded it with the 'Oak Ridge Boys'? Such a limited memory we have when we consider how diverse Crazy Horse can be. Look at the difference the sound is on 'Lotta Love' from Comes A time' compared to the same laid back 'mountain' version on 'Year of the Horse'.

As a follower of Neil's career and his many diverse styles through the years, it shouldn't be a big surprise that Neil would choose a new path while delivering some 'old' songs. The fact that they are all covers not penned by Neil himself should also not be that big of a stretch.

This is a 'concept album' in the purist sense of the word. And then to be accused of social injustice, bigotry, racism, gender inequity, and violence by an individual who claims to be a 'fan' and gets it? That individuals Neil cred got revealed for what it is based on those comments.

This isn't going to be the record that epitomizes Crazy Horses return to greatness. They've always been great. With Neil at the reigns, the Horse is capable of taking Neil where he want's to go. However, you wont recognize 'Like A Hurricane' or 'Powderfinger'. That was a different time. This is now and in the 'big picture', this record will be just as significant in Neil's cannon of artistic expression as the others.

Just keep in mind, it took nearly 30 years for TTN to be appreciated for it's artistic relevance between EKTIN and Zuma. At least wait until you hear the songs until you draw any conclusions. Trust me, at this stage of his career, I highly doubt if this negative reaction based on a list of unheard songs is going to cause Neil to shelve the record and go into seclusion.

All of Neil's records through out his career had elements of 'Americana' influence and roots. I think Eddie Vedder may have said it best during his speech while inducting Neil into the R&R Hall Of Fame when he quoted a description of Neil's music as 'Mountain Funk'. 'Running Dry', 'Cripple Creek Ferry', 'Human Highway', to list a few of Neil penned Americana rooted songs.

This record is merely a concept Album in it's purist form of a collection of songs that best represent the spirit of the genre. The fact that this will resonate with such a diverse audience could introduce our hero to a whole new generation of listeners which in itself isn't a bad thing. Trust me, those of you who are hungry for 'Zuma II' will have your day. Remember the impact that Hendrix's 'Star Spangled Banner' had on the music world at that time.

Americana?

A comment from Mr Henry:

I'll bet anything that Neil is getting a real charge out of all the consternation and conversation this new/old/new music is stirring up. Can't you just see him reading some of the comments and getting that funny smile?!

Another reason to kind of long for those good old days, back when you just bought the album and listened to it. But it is cool to know about this all ahead of time, and you can't put the genie back etc.

I am very psyched to hear this music and to hopefully hear some of it played live. Kind of Neil's version of the Harry Smith Anthology, with Crazy Horse as his band of choice. I'm sure that Harry would approve.

Liner notes are cool and should cause many to search further into the deep well of American music. Interesting mention of This Land Is Your Land and the "pre-existing melody" that Woody borrowed. It's from When The World's On Fire which is a Carter Family song. I always found it interesting that Woody took a song about end times redemption and used the melody to create a new national anthem.

The thought also occurred to me that Neil is going back further into the past, for both him and the music. And it is similar to what Dylan did and continues to do as he rediscovers and rejuvenates old music with new and new music with old.

So let's all just enjoy the new Spring and hope to see the tour date announcements that should be coming soon.

And I'll try somehow to get over my disappointment that no Dock Boggs songs were covered...maybe Americana II? I'll start working on the set list now....

Thanks Sandy, Big Chief, & Mr Henry for your comments.

As we said at the top, Neil fans never cease to amaze, delight and bring us joy.

For us, this looks to be another chapter in the journey thru the past.

We go forwards by looking back. With Americana, Neil has gone back to early Horse, early Stephen & early Squires.

It's all fascinating to watch unfold and we're just happy to be along for the ride.

peace

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Liner Notes for Americana by Neil Young & Crazy Horse

Americana by Neil Young & Crazy Horse

Quite a reaction thus far to an album that no one has heard yet -- out side the Ranch crowd.

Well, here's some more fodder for the naysayers and doubters to munch on.

Liner notes for Americana by Neil Young & Crazy Horse:

Oh, Susannah

This song written by Stephen Foster was originally performed on September 11, 1847. The Americana version was arranged with a new melody by Tim Rose and was originally performed by The Big Three in 1963, and updated by Tim Rose and the Thorns in 1964. This band did a lot of arrangements of folk songs that were changed to be rock and roll songs and called folk-rock. Tim Rose was one of the pioneers of folk- rock. Much of the music of Americana is based on this idea.

Clementine

This American folk ballad is believed to be based on “Down By The River Liv’d a Maiden” by H.S. Thompson 1863. However, it is usually credited to Percy Montrose, 1884 or Barker Bradford from about the same period. The Americana arrangement extends the folk process, using many of the original words and a new melody. The song tells the story of either a bereaved lover recalling his lost sweetheart, or a father missing his lost daughter. In both cases the daughter has drowned in an accident. The song is now famous as an American children’s song. The verse about Clementine’s sister has been omitted from most children’s versions. This verse has different meanings depending on whether the point of view of the singer is taken as the lover or the father.

Tom Dula

This folk song, writer unknown, is based on the 1866 murder of a woman named Laura Foster, who was stabbed to death with a knife in Wilkes County, North Carolina. Tom Dula, a confederate soldier returned from the war and Laura Foster's lover, was convicted of her murder and hanged May 1, 1868. Grayson, mentioned in the song, was instrumental in supplying information to the posse that eventually found Dula. Dula had another lover, prior to his leaving for the war, named Anne Melton. It was her comments that led to the discovery of Foster’s body. She was charged with murder but was acquitted based on Dula’s word. Dula’s last statement on the gallows was “Gentlemen, do you see this hand? I didn’t harm a hair on the girl’s head.” Anne Melton died insane a few years later. The Americana arrangement is from The Squires with a new melody and the original lyrics.

Gallows Pole

This centuries-old folk song, writer unknown, probably originates in Finland. It is about a woman condemned to die and telling the hangman to wait because someone was coming to rescue her with either money (gold) or information proving her innocence. The folk process enhanced this over the years and it has had many interpretations. The Americana arrangement, which assumes the condemned is a man, is based on Odetta’s interpretation, now an enduring American folk classic.

Get A Job


A song about a man who has not been able to find work, and is assumed lazy and a liar by his woman, “Get A Job” is included in Americana because it is a genuine folk song with all of the true characteristics. This song was written by Richard Lewis of the Silhouettes, although credit is shared with the whole group because they did the vocal arrangement. The hit recording performed by The Silhouettes was released in 1957. The Americana version follows the original arrangement.

Travel On

“Gotta Travel On”, adapted by Paul Clayton and others from a British folk tune, was recorded by Billy Grammer in 1958. His version is an American classic. The song tells of a man who has to keep moving for a variety of reasons, all common with American life. The Americana arrangement is based on Billy Grammer’s version with some lyric changes.

High Flyin’ Bird

Written by Billy Edd Wheeler, this is a folk song performed by The Company in 1964. Stephen Stills was the lead singer. The song is about freedom, life and death. The Americana arrangement is based on The Squires’ 1964 version.

Jesus’ Chariot (She’ll Be Coming Round The Mountain)

Written in the 1800s based on an old Negro spiritual, this song refers to the second coming of Jesus and “she” is the chariot Jesus is coming on. Some interpret this as the end of the world. Others have said that “she” refers to union organizer Mary Harris “Mother” Jones going to promote formation of labor unions in the Appalachian coal mining camps. The Americana arrangement continues the folk process with a new melody, a new title and a combination of lyric sources.

This Land Is Your Land

This folk song was written by Woody Guthrie in the 1940s to a pre-existing melody as a response to “God Bless America” which Guthrie was tired of hearing. The lyrics Guthrie sang varied over time, but the lyrics sung in the Americana version were in the original manuscript of the song.

Wayfarin’ Stranger

This 19th century folk song is about a soul traveling through life, perhaps envisioning the end approaching. The Americana arrangement is influenced by the Burl Ives 1944 recording, with the same words and melody.

God Save The Queen

Written in the 18th century with possible melodic roots in the 17th century, this anthem has been sung throughout the British Commonwealth and may have been sung in North America before the American Revolution and Declaration of Independence in 1776, which rejected British sovereignty. The Americana arrangement draws from the original melody and changes some melody and lyrics in the folk process, also adding lyrics of the same melody taken from “My Country ’Tis Of Thee”, in recognition of the war of Independence and America’s transition to freedom.

Also, More Developments on New Album Americana by Neil Young & Crazy Horse.

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All Neil All Night: Alberta, Canada on Sat., Mar. 24

Kit Johnson, lead singer for All Neil All Night

All Neil All Night will be performing at in Leduc, Alberta, Canada on Saturday, Mar. 24.

From Sounds of Neil Young coming to Maclab Centre via All Neil All Night - Leduc Representative - by Bobby Roy:

For Kit Johnson, being a musician for more than 30 years has allowed him to play with other greats, travel the world and do what he loves for a living.

“I haven’t made a cent from anything else. I’ve loved every moment of it and I wouldn’t trade it for anything else,” said Johnson of his life-long career as a musician.
...

One of the groups Johnson has been working with is All Neil All Night, a band that celebrates the music of the legendary Neil Young. The group’s success of performing Young’s songs comes from their recreation of not only his songs, but also the performance of them.

“We try our best to recreate the vibe and people have told us that is one of the aspects about our show they really like. We try to capture the whole spirit of Neil Young and that’s why we love doing it,” explained Johnson, whose voice shares an unmistakable resemblance to that of Young’s.

All Neil All Night will be performing at the Maclab Theatre for the Performing Arts, Leduc, Alberta, Canada on Saturday, Mar. 24 at 7:30 p.m

More at Sounds of Neil Young coming to Maclab Centre via All Neil All Night.

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Allman Brothers Band Cover "Southern Man", New York City - 3/17/2012

A very exciting - and smokin' -- cover of Neil Young's "Southern Man" by Allman Brothers Band at Beacon Theatre, New York City on 3/17/2012.

Grace Potter, James van der Bogert and Randall Bramblett join in.

More on bands covering Neil Young songs.

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More Developments on New Album Americana by Neil Young & Crazy Horse

Geronimo in a 1905 Locomobile Model C
Photo Wikipedia
(Click photo to enlarge)

Well, much discussion, anticipation and speculation regarding the news on the album cover art and track listing for Americana, the upcoming release by Neil Young & Crazy Horse.

The album cover design has a fascinating back story.

The Americana cover is based on a photograph of Geronimo driving a car on June 11, 1905, near Ponca City, Okla. The car is a Locomobile, and the Indian in full headdress to Geronimo's left is Edward Le Clair Sr., a Ponca Indian. When Geronimo died in 1909, he was buried in the vest.

Apparently, according to album notes, the Americana cover was rescued from the 2010 warehouse fire from an earlier design in 1975. The faces of Neil Young, Billy Talbot (Geronimo), Ralph Molina, & Poncho Sampedro were pasted over the original photo for a cover that was never used.

Americana by Neil Young & Crazy Horse

More from Neil Young's official website:

AMERICANA is collection of classic, American folk songs. In their day, some of these may have been referred to as "protest songs", "murder ballads", or campfire-type songs passed down with universal, relatable tales for everyman.

But -- without so much as a note being heard by anyone outside the Ranch crowd -- the album already seems to be coming under criticism:

• unoriginal, uninspiring Americana covers
• using a children's choir
• songs with titles like "God Save The Queen" smacking of "pro imperialism"
• exploitation of the Native American

A comment by thezumaband:

Seems a bit premature and in some cases ideologically biased to be judging something that hasn't been heard yet.

Lighten up, folks.

And take a listen to the acoustic version of "Oh Susannah" from the Bridge concert. He's doing a dramatically different take on these iconic songs of his/my/our 50s childhood. They should be particularly heavy given the electric treatment.

"Oh! Susanna" (Live) - Dave Matthews / Neil Young - Mtn. View, Shoreline - October 23, 2011


Neil Young wearing Geronimo T-shirt - 2004
"Geronimo - My Heroes have always Killed Cowboys"
(Click photo to enlarge)

More on album cover art and track listing for Americana.

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Album Cover Art & Track Listing: Americana - Neil Young & Crazy Horse

From Neil Young's official website, comes the album cover art for Americana, the upcoming release by Neil Young & Crazy Horse.

Here is the complete track-listing for Americana:

Oh Susannah
Clementine
Tom Dula
Gallows Pole
Get A Job
Travel On
HIgh Flyin' Bird
Jesus' Chariot
This Land Is Your Land
Wayfarin' Stranger
God Save The Queen

From Neil Young And Crazy Horse to Release New Album 'Americana' on June 5th | Music News | Rolling Stone By Andy Greene, the release date is June 5.

"What ties these songs together is the fact that while they may represent an America that may no longer exist," says a press release announcing the new album."The emotions and scenarios behind these songs still resonate with what’s going on in the country today with equal, if not greater impact nearly 200 years later. The lyrics reflect the same concerns and are still remarkably meaningful to a society going through economic and cultural upheaval, especially during an election year. They are just as poignant and powerful today as the day they were written."

The newest album with Crazy Horse is eagerly anticipated by fans.

Based on the reception of Crazy Horse at the Musicares Honors Paul McCartney event in February.

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"A Conversation with Neil Young": Discussion on Autobiography at BookExpo America

Neil Young @
2008 Berlin Film Festival
Photo by Markus Schreiber

The news that Neil Young was writing an autobiography took the publishing world by storm (to a degree) last year.

Likewise, Neil fans were somewhat divided on the effort titled "Waging Heavy Peace". Fan comments ranged from the book being a distraction from the music, to we'll never live to see it a la Archives delays, to this being another brick in the artistic creativity wall.

Now comes word from BookExpo America (BEA) announcing that Neil Young will be appearing at the annual book industry trade show where he will discuss his upcoming memoir, Waging Heavy Peace.

The book will be published in North America by Blue Rider Press, a member of Penguin Group (USA), in fall of 2012. BEA will take place in New York City at the Jacob Javits Center June 4 - 7, 2012 and Mr. Young is scheduled to speak on Wednesday, June 6 at 12 noon in the Special Events Hall. The program, which will be called "A Conversation with Neil Young", will follow an interview format and will be free to all convention attendees.

Mr. Young's interviewer will be named in the near future.

Waging Heavy Peace will be released on November 13, 2012.

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Americana: Possible New Album Art?

Americana - Neil Young & Crazy Horse
Neil Young Photos | Facebook
(Click photo to enlarge)

Recently, an interesting art piece showed up on Neil Young's Official Facebook page.

Spotted by Rustie extraordinaire HarryO, the posting has inspired much speculation, naturally.

Could this be art for the upcoming Neil Young & Crazy Horse Americana album that is so eagerly anticipated?

Well, who knows?

More questions with no answers...

• When will the album be released?
• What's up with the children's choir on Americana?
• When will Crazy Horse tour?
• What about the Horseback track getting an official release?
• When will Trunk Show be released?
• Will Neil's biography really ever be published?
• And what about NYA Vol #2?
• Or the release of TFA??
• How's LincVolt going?
• What happened to OccupyAudio?
• Will Neil ever really appear on Jimmy Fallon doing a Fallon impression?
• So what did Steve Jobs really think of MP3s & vinyl?
• Will Buffalo Springfield reunite again?
  
• And was Toast just a joke?

"Tell me lies later, come and see me, I'll be around for a while..."

More Neil Young mysteries to solve....

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"I Am Not Neil Young": The Musical

Well, another entry in the "Neil is everywhere" department.

Seems that there is a musical play titled "I Am Not Neil Young".

It's based on the true story of Frank Wilks’ amazing recovery from the highs and lows of rock and roll playing with/as Neil Young. Frank Wilks -- who led and played in the band "Buffalo Springfield Revisited" (which featured the late Bruce Palmer and Dewey Martin) -- performs as Neil Young.

Performing as Neil Young at Massey Hall, the work examines battles with fame and the more personal, ubiquitous problems many face with drugs and alcohol. The musical contains three motifs: first, the serendipity and insanity of becoming a rock star, second, the related descent into drugs and alcohol, heaven and hell with the climb back to redemption and third, living for a while under the shadow of a superstar like Neil Young and then moving on as Frank evolves into an artist and songwriter in his own right.

From I Am Not Neil Young-The Musical | Cashbox Magazine Canada by Lenny Stoute:

At the beginning, Frank and co-founder of ‘Buffalo Springfield Revisited’, Hall Of fame bassist Bruce Palmer are straight and sober. Frank delivers ‘The Needle and the Damage done’ as a cautionary tale of which he and Palmer take serious note.

Five years later, the walls came crumbling down and Steven Stills ‘4x20’ is used as mirror for Frank’s situations. Round about here is where the play shows its teeth, and Frank Wilks finds himself in a life or death struggle with drug and alcohol addictions. To his credit, while Wilks doesn’t shrink from laying out the gruesome details, this is no misery fest as the dude is now six years sober.

Instead, by the time he gets to the humorous and touching ‘No Drinking in NFLD’, the thing has become a sweet testament to one man’s triumph over the dark side. The whole thing is saved from going all preachy by the music and its place in the soundtrack of our lives. That, and the fact that Wilks never loses his innate likeability even when he’s talking about days into weeks in a crack house.

And that's a core part of the play’s appeal; that it goes from top to bottom in the key of bittersweet.

There were no firm tour dates but plans are afoot to put the show on the road this summer.

More on I Am Not Neil Young - Frank Wilks - The man, the band, the music.

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Comment of the Moment: 7th Anniversary of Release "Time Fades Away" Petition

RARE Yugoslavian 45RPM Single Picture Sleeve
TW TFA Archives

The Comment of the Moment is from 7th Anniversary of Release "Time Fades Away" Petition by Greg "A Friend Of Yours":

I love this album, so it's hard to pick a favorite, but I'd have to go with something from my “quiet triumvirate” (a term I just made up)- The Bridge, Love In Mind or Journey Trough The Past. The album is so hard driving, that by the time these three came along they always gave me a much needed chance to breathe a little. And they're so beautiful and poignant (“I will stay with you, if you’ll stay with me, said the fiddler to the drum”). But, if pressed I'd have to say The Bridge.

On the contrary, and it's really uncomfortable for me to talk like this, but I'd have to put Yonder Stands The Sinner at or very near the bottom of all of Neil's songs for me. Yeah, it has its moments, but ah, no, it just doesn't work for me. But it's a small price to pay for an incredible album.

BTW, it’s been mentioned here before, but I think it needs to be reiterated- can anyone think of another album or project that took such a risk in terms of its release following on the heels of a number one album? The uniqueness of a live album of previously unreleased material has already been mentioned too, and live albums are always a little rough, but unvarnished in all the ways TFA is?

I mean, I'm sure Neil didn't set out with this decision in mind, but when push came to shove he took a huge risk in his determination to be honest about what had just happened. I can't think of a similar comparison. And if Neil's penchant for willfulness was ever in doubt up until this point, TFA marks the first unambiguous sign of what was to come, not to mention how clear a statement it made in staking out the claim that the art and the artist are more important than the audience, or at the very least are the more crucial determining point in the whole process.

It's easy to say now how great an album this is, but when it first came out, trust me, the term great was not being thrown around by anyone. Really interesting stuff, surrounding a really interesting album- and on top of the whole mystery of Neil's stance toward it.

A Friend Of Yours

Thanks -- as always -- Greg "A Friend Of Yours"!

More on RARE Yugoslavian 45RPM Single Picture Sleeve and other TFA obscurities.

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Music Video: "Downtown" - Neil Young with Pearl Jam

Neil Young with Pearl Jam on "Downtown" in the music video on YouTube.

Pearl Jam and Neil Young have quite a long history dating back into the early 1990's. But the only recording Neil and Pearl Jam did together was the Mirror Ball and Merkin Ball albums.

From a Neil Young interview in MOJO Magazine with Nick Kent:

Q. This brings us neatly to the subject of Pearl Jam and Eddie Vedder.

I can't help wondering whether you truly sympathise with Vedder when he moans on and on about the price of fame. Doesn't it all come with the job?



Neil Young - The way most people seem to regard Eddie - it's a little out of perspective.

No matter what he says, it all gets taken down and quoted back at him.

Who else do you know who's his age and going through the things he's going through because he just wants to make music for a living and travel around a bit? Hopefully though, he'll get used to it. People will get used to him being around and they'll leave him alone a little more.



Recording Mirror Ball was like audio verite, just a snapshot of what's happening. Sometimes I didn't know who was playing. I was just conscious of this big smouldering mass of sound.



The whole record was recorded in four days and all the songs, barring Song X and Act Of Love, were written in that four day stretch. I played Act Of Love with Crazy Horse in January at The Rock'n'Roll Hall Of Fame.

Then, the following night, I played it with Pearl Jam at a Pro-Choice benefit concert and the version was so powerful I decided there and then to record it with them as soon as possible. On a purely musical level, this is the first time I've been in a band with three potential lead guitarists since The Buffalo Springfield. Plus there's Jack Irons, their drummer, who was just unbelievable. He just played his ass off on every take at every session.

I can't say enough good things about him.

I didn't even think about recording a whole album when we went in to cut Act of Love. I had two days with Pearl Jam initially. Two days and just two songs - that wasn't enough for me so I had five written by the time I went in. Recorded five of them, left one out. Then I came back for another two-day session with two more new songs. Plus I re-recorded the fifth one from the first session again. Then the day after that, I wrote another two new songs. Throw Your Weapons Down - maybe. Maybe not, tho' there's a large part of making this new album that's pretty foggy... (laughs)

Another musical connection on "Mirror Ball" involves Led Zeppelin which got us thinking recently with the photo of Jimmy Page and Neil Young in 1974. When Young was inducted into the Rock & Roll Hall of Fame on January 13, 1995 he joined Led Zeppelin onstage for an all out guitar duel with Jimmy Page. Performing a 10 minute "When The Levee's Gonna Break", Page and Young traded licks in what turned out to be a remarkable moment in TV rock. Later that year, Neil wrote the song "Downtown" about that historic night in New York City. From the lyrics "Downtown":

Jimi's playin' in the back room
Led Zeppelin on stage
There's a mirror ball twirlin'
And a note from Page

Like a water-washed diamond
In a river of sin
Goin' down like a whirlpool
When you get sucked in
Downtown
Let's go downtown

Which brings us to the downtown connection and Danny Whitten (1943 - 1972), who wrote the Crazy Horse song "C'mon Baby Let's Go Downtown".

But that's another story for another day...

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Broken Arrow Magazine: February 2012 - Win a Free Copy

Neil Young - Farm Aid 2011
Photo by Steve Cross

The latest issue of Broken Arrow Magazine, published by the Neil Young Appreciation Society recently hit the streets and we're now finishing up reading the issue. As always a nice read -- especially as we look back while looking ahead.

And -- thanks to the generous support of NYAS and editor Scott Sandie -- we're pleased to be able to offer a copy of the latest issue of Broken Arrow Magazine to a Thrasher's Wheat reader. Details follow below.

The latest issue of Broken Arrow Magazine – number 125 – is now out with another interesting mixture of articles and photographs. Included in this issue:

• An obituary for Allan Bates, one of the founder members of The Squires.
• The results of the BA Article Competition for NYA boxset.
• A picture special on the After The Gold Rush album location with some fascinating updates from the author.
• The story of a fan suing Neil after The 1973 Oakland Show.
• A Neil Spotted! from Brazil.
• Here I Am In The Years - a fan analyses why he doesn't feel as strongly about Neil's music now...
• An update on all the Tour Books out there.
• As well as lots more news, reviews and letters.

For more information and subscription information visit the Neil Young Appreciation Society or directly contact NYAS editor Scott Sandie at surfer-joe@nyas.org.uk

Don't be denied!

Thanks Scott and everyone who is supporting the NYAS & BA!

Thrasher - NYAS#2476


More on back issues of Broken Arrow magazine.

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HOW TO WIN A COPY OF LATEST ISSUE OF BROKEN ARROW MAGAZINE

One lucky Thrasher's Wheat supporter will win a free copy of the latest Broken Arrow Magazine. We truly appreciate being able to what we do here at TW, and we love being able to give something back in return.

All Thrasher's Wheat supporters between now and the end of the month will be automatically entered into the Broken Arrow Magazine drawing. (If you donated in the last 30 days you are automatically eligible and no further action is necessary).

Click below to send support now via Visa or Mastercard — or send support via Paypal.

If you're unable to send any support at this time, we understand. But we'd still like for you to be eligible to win a free copy of the latest issue of Broken Arrow Magazine. Here's how.

We'll randomly select a Thrasher's Wheat reader who subscribes to one of our feed channels either via Facebook (LIKE us), Twitter (FOLLOW us) and/or subscribe to our email list. Just email us (thrasher ATSIGN thrasherswheat.org) with your name, postal mailing address, and which communication channel you signed up for (Facebook, Twitter, email list). *Be sure to identify your complete Facebook ID, Twitter handle, or email address.*

Click here for other support options and to learn why we need our readers support to continue operating Thrasher's Wheat.

Thanks and Good Luck to everyone!

peace & love to all,
thrasher & thrashette

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Comment of the Moment: Remembering Ben Keith

Ben Keith as "Grandpa" in Greendale as filmed by Neil Young - 2002
(Eric Johnson as "Jed", center)

The Comment of the Moment is from Remembering Ben Keith by the always oh-so eloquent BIGCHIEF:

Word's fail to describe the beauty and grace that Ben's pedal steel contributed to the sound on the recordings and live performances associated with Neil Young.

Although 'country rock' was already a genre in progress, the success of 'Harvest' made it acceptable to combine the elements of country music with the ears of the rock-n-roll community during a period in which there were no established boundaries restricting artists to the confines of a creative 'box'. As long as an artist's creativity in deviating from the norm translated into album sales and success at the box office, the record company execs. didn't place any unnecessary 'barriers' restricting an artist from his or her's creative process.

Such was the case with Harvest.

Released on the heel's of the success of his prior release, After The Gold Rush, Neil had already established himself as an artist who wasn't easily confined to a particular style. His previous recordings dating back to his day's in the Buffalo Springfield had already fused elements of Folk and Rock along with obvious hints of country influence in his roots. It wasn't until the release of Harvest, however, with the addition of Ben Keith's masterful pedal steel guitar playing, that allowed Neil Young to express his country sentiments while at the same time not having to sacrifice his R-N-R edge.

Ben Keith completed Neil Young.

Although the many years that would follow the success of those Nashville sessions would find Neil changing musical directions as a moth in a lampshade, it was almost predictable that from time to time the 'muse' would summons Neil to call on 'Brother Ben' to get back to the country and make more of that sweet, familiar 'country flavored magic' that will forever be preserved in our hearts and minds by the 'tracks in the sound' they left for us.

In addition, I would add that the greatness of Ben Keith shouldn't cast a shadow on the other great players who have contributed to Neil's success over the years. When I think of the arsenal of musicians and producers that Neil has had the fortune of working with through the years, it's no small wonder what he has been able to achieve.

The frantic pace in which Neil is driven to create his art must surely place a heavy burden on those who are called upon to support him regardless of the manner in which they are compensated. It appears that loyalty even trumps musical abilities to remain a lifelong member in good standing as a part of Neil's camp. As Nils Lofgren would tell you , as an established guitarist called upon to play piano with little experience, you don't second guess the boss. Playing the role your called upon to do will usually result in being called upon again someday in Neil's world.

Most of his associates from before the Woodstock era are still with him to this day. The 'new guy' in Crazy Horse began some 38 years ago. While the loss of Ben Keith left a void unlikely to be filled, that still doesn't minimize the loss of other members of the 'family' along the way. The technical ability to play an instrument cannot replace the love, trust, and emotional experiences that develop over several years.

While there are plenty of Cajun Fiddlers around, you would be hard pressed to find one with the stage presence as Rufus Thibodeaux. It would be impossible to list those those who fell along the way 'laying their tracks in the sound' while accompanying Neil on his journey. While survival is mans basic instinct, the downside is that along the way there will be those who lose their place along this journey earlier than others. An unfortunate fact of life that we are reminded of each time we lose another one of those who gave us so much pleasure in the beautiful noise they shared with us.

As we grow older and hopefully wiser, we take those whom we care for less for granted, hopefully, and in the case of those who contributed their talents to the music we love so much, we have a document in sound of memories we can cherish forever.

Thanks -- as always -- BIGCHIEF for the Ben Keith tribute.

More on Remembering Ben Keith.

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SOLVED: Photo of the Moment - CSNY & Jimmy Page, 1974

Neil Young, Graham Nash, Stephen Stills & Jimmy Page
1974
Photo by Joseph Stevens
(Click photo to enlarge)

This past weekend, we posted a Photo of the Moment of Neil Young, Graham Nash, Stephen Stills & Jimmy Page.

Matt -- a longtime regular TW reader -- had earlier sent it along with a note to us asking if we knew anything about the photo.

It appeared to be from the time of the 1974 stadium tour in a nightclub somewhere. Given Jimmy Page was in the photo, it seemed possibly CSNY concert at Wembley Stadium, London, England, 1974-09-14?

And what's up with Neil playing a Rickenbacker guitar?! No one has ever seen that before???

So we "fan-sourced" the photo and lo & behold within a few hours we had our answer.

Syscrusher commented:

In my book "Neil Young: The Visual Documentary" by John Robertson it says that after the Wembley show, "CSNY attend a party at Quagliino's in Piccadilly, where Young and Stills jam with members of Led Zeppelin and The Band, performing Vampire Blues and On The Beach among other songs."

And Robert "Stringman" posted on our wall on Facebook | ThrashersWheatNeverSleeps (42):

From John Bonham's site 1974 14 September. John Bonham and Jimmy Page jam with Neil Young at Quaglilino's Restaurant in London after a show at Wembley Stadium featuring Joni Mitchell, C.S.N. & Y and The Band.

Stefano Frollano added:

This photo was shot by Joseph Stevens and it was first published back in 1978 in Carole Dufrechou book "Neil Young". The book has two editions with some slight differences.

Anonymous added:

And the date is listed in Ghosts On The Road by Pete Long. It was after the Wembley Gig. It´s a shame that you can´t see it on the photo but that´s John Bonham on drums!

Unfortunatly no tape from that performance is known to exist!

From comment by Surfer-Joe:

Later that same day the musicians turned up at a post-gig party in Quaglino’s. This most famous of London’s society restaurants had been opened by Giovanni Quaglino in the 1930s. It eventually closed in the 1980s and was subsequently rebuilt in 1993 by Terence Conran on the same location (16 Bury Street, St James’s Place).

Thanks Matt, Syscrusher, Stefano & Stringman! And thanks to all the TW readers and the excellent "fan-sourcing"! (See Crowdsourcing - Wikipedia, the free encyclopedia.)



Which reminds us of another time when Jimmy Page and Neil Young got together and jammed all night long...

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