Roger Daltrey covers "Rockin in the Free World" by Neil Young - 8-24-26
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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.
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1. "in the nineteen seventies" changed to "in the twentieth century."2. "And I felt like getting high" changed to "And I felt like I could cry.""getting high"
(Quoting Wikipedia: "Parton also released a solo version of the song in 1996, though her version altered the line 'I felt like getting high' to 'I felt like I could cry' with the permission of Neil Young.")
Rich Bailey: I remember when you appeared with her on Letterman and you discussed the Armonica a bit. How was that?Dennis James: Well, it was a great surprise. A sort of unspoken message in the air to me before the broadcast was "Do not say anything on the air!”. After all, these things are Linda's appearances. When David L. leaned over his desk and directed a question to me I simply froze- on playback of the dub I can see myself caught and unable to speak. I received a glance from Linda that said to me it was OK and so when he tried again I called back a flip one liner and on things went from there.
Dolly Parton, Emmylou Harris, and Linda Ronstadt Perform “After the Gold Rush” by Neil Young. 💘 pic.twitter.com/e79XSOPi99
— Dina Shakti 🇬🇧 🇱🇰 (@Dina_Shakti) August 27, 2026
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I have been away for a really long time here. The reasons are multilayered and difficult to summarize here. But I couldn’t possibly not post about this new song from Neil.
My first reaction was an unmistakable feeling of comfort and reassurance. I fell under the spell of a road trip out to Neil’s ranch. Now; I don’t typically like music videos, but I make an exception in this case, because it truly serves the song. But as usual with Neil, the lyrics are really the focus here.
Neil has always had this tendency to write lyrics that feel more like a stream of consciousness, rather than a specific thing. In this case it plays to the strength of the musical tone of this song.
What it created here for me was a sense of nostalgia and purpose. Combining both without contradicting either one. Yet at the end of the song there’s a message that may seem contradictory. I’m not sure how else to explain it really. It may well be the point of the song to be unresolved in the end. Or perhaps just an open question left for each person to ponder.
All I know for sure is this Second Song affected me in a most profound way. I was drawn into that world, and it touched my spirit in an unexpected way. I felt his presence within the song. It wasn’t just him singing it, he was literally inside of it. And I was privileged enough to be invited in on his journey.
I was transported out of my current situation and spent just over eleven minutes somewhere I wish I could take up permanent residence. A place where perfect is a myth, and possibilities are infinite.
The word masterpiece has become a cliche. But if such a thing is still possible….this would be it.
Peace to All 🙏

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Neil Young Solo: Auditorium Theater, Chicago, Il - June 30, 2018
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This early digital biosphere named Hyperrust was my entrance gate to the Neil Young underworld.I remember being a digester and lurker for a long time until I dared to contribute something myself. There were "Rusties of the month", a crown was sent around, a "More Barn" banner, too. People reminded each other that there was a "pledge of peace and rust" and commented on "flaming wars" elsewehere.I was lucky to get in touch with rusties in the Netherlands, completists apparently, who generously shared what before existed as very expensive vinyl bootlegs beyond my financial means. I was aware of "Broken Arrow" and NYAS at the time, but did not have any spare money to spend on a membership or subscription.Much later on and out of curiosity I bought a few copies at Ebay. Being a user of digital technology since 1987 currently I am weeding out a lot of digital surrogates and junk (replacing CDs by Vinyl again, being tired of of these gazillions of photos made with my mobile phone, therefore re-activating my analog cameras).But decades ago, Hyperrust was something when the internet was young, a promise somehow, not that the world's a village, but being online was somehow like being on a journey, meeting like-minded humans. This being an illusion I learnt here on TW.Not that there are no like-minded humans or humans who are differently minded to learn from, but...
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There's a really good interview with Mick Jagger in the New York Times that was posted this week (https://www.nytimes.com/2026/Thanks for the comment Knowledge Nomad. That's two CotM's in the past week, so congratulations. We very appreciate the thoughtful observations here on TW. Especially on one of our long running topics -- Politics in Music.07/11/magazine/mick-jagger- interview.html) Definitely worth a listen. But, for the purposes of Neil Young fans, there's a few times when he mentions that getting political in your songs is probably best dropping hints at and being tangential to your writing because the public doesn't want to hear it.
"Interviewer: I want to put the question in slightly different terms. There’s a movie performance of yours that I love, in “The Man From Elysian Fields.” You play a middle-aged man who runs an escort service. That performance has a lot of regret in it, and I assume that you wouldn’t have been able to give a performance like that earlier in your life. So, similarly, are there things that you can do in a song or did on the new album that make you think, Oh, I wasn’t capable of inhabiting that lyric earlier?
Mick: That’s a good question. It requires a lot of thought to give a good answer. I wouldn’t have written any of these songs when I was 30, honestly. And I’ve also gotten into this habit of doing songs that are about personal relationships and then I throw a verse about politics in there. That’s a trick that I’ve learned from other songwriters, because nobody wants to hear a whole song about politics or social comment. A blues song like “Rough and Twisted,” you talk about women and everything, but then you throw in stuff that’s obviously political: “The only club was called conspiracy.” “What they wanted was tyranny.” So you find yourself using these tricks."
And again:
"Interview: There are a handful of political lines sprinkled throughout the new record. You sing about scuttling billionaires “scrambling to their bolt-holes in the sky,” about dirty rat autocrats and rubber-stamping judges. I find it heartening to know that Mick Jagger sees the same problems as the rest of us. Can you tell me more about what you’re seeing when you look around the world?
Mick: It’s not the first time I’ve done songs with social comment. I like doing it, but in small doses. It’s pop music, you know. “Ringing Hollow” is completely social comment. But even then, I had two songs that were on the same subject, which is my love of America."
So, clearly Neil takes a different approach. As do many other great musicians both contemporary and historically. But, does Mick have a point? Certainly the formula that has worked for the Stones is to eschew much social commentary, and Mick, at least, is aware enough [how many rock stars have attended the London School of Economics and Political Science and read Kant?] that he most certainly could do more social commentary.
My own take is, which isn't particularly deep, there is indeed an audience for music with social commentary, but also that it's understandable that even those with a taste for social commentary in their music also like music that doesn't fit that description. I've got room in my collection for the Stones, Neil, Nina, Jesse Welles, Shinyribs, etc.
Mick Jagger Says It’s Not His Job to Lecture Rolling Stones’ Fans on Politics
— Chief Nerd (@TheChiefNerd) July 11, 2026
NYT: “Bruce Springsteen clearly sees his job as engaging in a meaningful back and forth.”
MICK JAGGER: “My job in the live music world is for those people that come to have the best time … And you… pic.twitter.com/PmNaTgLjs7