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Old 08-14-2004, 04:20 PM   #1
BeardofPants
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A biography that I wrote ...

I wrote this for a music site (link in sig). It's a rather lengthy Neil Young biography. Feedback welcome. Some expletives.

Neil Young – a waffly biography of sorts.

"**** reviews. Reviews don't really matter. You can't believe 'em when they ****in' praise you, and you can't believe 'em when they criticize you." -- Neil Young

I have been a devoted fan of Neil Young’s unique style for quite some time – ever since I first heard bits and pieces of the After the Gold Rush album after the other half’s uncle ripped a CD for me. I say ‘bits and pieces’ because, this uncle, who shall be forthwith known as Bob, has this crazy inclination to only burn half the songs off an album. Songs, I might add, that only HE likes. In other words, songs that can only really be appreciated AFTER 50 years of listening to ‘em. I hesitate to impart the rest of the story because I know that many music fans will read these words with horror. I know that they will get the same sense of quivering shock from this tale that I did when I first entered into Bob’s study, and saw rows and rows of ripped CDs with nary a vinyl collection in sight. It was like a tale of horror imparted by Poe; a universe crafted by HP Lovecraft; a meandering sense of undeniable horror penned by Stephen King. Just replace homicidal pepper-shakers with rows and rows of ripped half-complete CDs, and you’ll get the picture. It wasn’t pretty. Not satisfied with mangling the odd record, this mad man did this to his entire collection, burning half of the more obscure songs (and avoiding the popular “hooks”). Once this had been completed to his satisfaction, he then proceeded to flog off his collection, and keep the ripped CDs… and this was my first introduction to Neil Young. Not the best foot forward by any means, and it would be a couple of years before I revisited him properly.

I don’t even remember the first song I listened to now. I know that it was off the aforementioned album (After the Gold Rush), because that is what my gut tells me. What my gut is doing talking to me, I don’t know. I reckon it may have something to do with eating muesli, which has this way of giving me diarrhoea … whoops, that was prolly too much info. *BoP ponders on whether to make a clever joke regarding the title of the CD and the stomach affliction, but decides against it* ….

To this day, I still haven’t gotten me arse around to buying the full album. I have a little bit more than the few sparse crumbs that ‘Bob’ threw my way now thanks to certain music programs that shall not be named, but it is still as mangled as when I first received it. And for all that, it remains one of my favourite Neil Young albums – a testament to how earth-shattering this album is. I need not mention here that I have a few other “mangled” albums given to me by the mad uncle (including Get Yer Ya Yas Out by The Rolling Stones, minus… yep, you guessed it, Jumping Jack Flash), because that is not necessary to this particular tale, which has its unremarkable beginnings in Toronto, Canada.

Now, I should add that this will not be so much a review, as a lengthy, waffly bio, so you have been warned: turn away now, and save yourself getting bogged down with excessive detail! That being said, let’s head back to 1945, to a little backwards place called Canada…. where a stork would deliver Neil to two Young parents on November 12th, one of who happened to be a sports writer (Scott Young of Toronto Sun fame). The marriage was not to last, with his parents soon divorcing, and Neil and his mother moving to Winnipeg. It was here that Neil first joined several high-school bands, and started to exhibit a taste for all things musical – a last remaining relic of his parents marriage, when his father gave him a banjo. One of the bands – the Esquires – (a garage rock band) even managed to achieve a local hit with the song, The Sultan’, and Neil, already a poor student, dropped out of high school to pursue the rock dream. It was during his duration at Winnipeg, and later Toronto, that he started hanging around in folk lounges, doing the odd performance, and meeting up with fellow musicians, Joni Mitchell, and Stephen Stills. It is interesting to note that even at this stage in his career, Neil was a music whore, cycling through several different bands, leaving some in the lurch mid-way through commitments, with other relationships disintegrating apart like a naked hippy in a post-apocalyptic cold winter’s day; this was, it seemed, to be something that would characterise his lengthy career in the music industry.

In 1965 Neil split off from the Squires (previously the Esquires), and moved back to Toronto, forming another band by the name of the Mynah Birds. Neil toured briefly with the Mynahs, but there was the growing realisation that if they were to have a chance at ‘making it’, they would have to re-locate to Los Angeles. However, the Mynahs were doomed to be short-lived, and only half moved to LA. Neil soon reformed with another band called Buffalo Springfield, with fellow bandmates, Stills (vocals, 2nd lead guitar), Furay (vocals, rhythm guitar), Palmer (bass), and Dewey Martin (vocals, drums), with Neil being on vocals, piano, lead guitar. From this liaison, three albums were released, and a handful of tours were arranged. The stage was set, the band was ripe, groupies may or may not have been in abundance. However, three short years later, the karma was to kick in again, and the band busted up not long after one of the band member’s had been busted, and deported back to Canada for drugs. Things had been disintegrating for a while, and Neil had already had creative differences leading to his withdrawal from the band. Such, it seems, is to be the fate of a rock band clutching to the coat-tails of Neil Young.

This brings us forward to a year that would change music forever. The year was 1968. The place: Babylon 5… er, wrong script. Heh. Flying on the wings of the Summer of Love, Sgt Pepper had taught us well, and there were spotty teenagers aplenty getting higher than the hair on Bon Jovi. This was the year that Neil decided to clip his wings and go solo. His first solo album (the first of many) was released in early 1969, and the year was initiated with Neil touring around Canada. It was also at this time that Neil acquired Joni Mitchell’s manager. The album was not a spectacular success and was compiled mostly of folk-country tunes. With the intention of looking for a harder rock sound, Neil met, and attempted to recruit three of the individuals traveling around under the banner of The Rockets. They were: Danny Whitten (guitar), Billy Talbot (bass) and Ralph Molina (drums). They soon joined Young, and renamed their band Crazy Horse, leaving the shattered remnants of their old band in the wayside to rust like an unwanted automobile. Still in early 1969, Neil and the Crazy Horses released their first album, the ‘edgy’ Everybody Knows This is Nowhere. It included the hits, Cinnamon Girl, and Down By the River (both ostensibly written in one day when Neil was struck down by the flu’), and had a harder, heavier rock edge than Neil’s previous country-influenced album. It also has one of my favourite Neil Young tracks, Round and Round (it won’t be long), which is characterised by Neil’s unique high-pitched melodic singing voice, and flavoured by strong acoustic influences.

Round and round and round we spin,
To weave a wall to hem us in,
It won't be long, it won't be long
How slow and slow and slow it goes,
To mend the tear that always shows.
It won't be long, it won't be long…..
[end part one]
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Old 08-14-2004, 04:22 PM   #2
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I still find it remarkable that, at this early stage in his career, Neil released an album (recorded in only two weeks!) that was to become an essential part of any music collection (including a certain mad uncle with a propensity for half-complete albums).

By 1970, Crazy Horse was touring the East Coast, coasting on their success as a band, with their album going gold (later to become platinum). Over the years, they would release several albums with Neil, each varying in success, with perhaps the most popular being Harvest and Rust. However, Neil was what some would call a free-spirit, a will o’ wisp, or maybe just a plain asshole, and yet again, his feet led him to join another band; this time linking forces with Stills, Crosby & Nash. Subsequently, Neil would divide his time between Crazy Horse, and Stills, et al., and it was Neil’s almost ruthless association with Stills, et al. that would lead to his next Crazy Horse album’s success, and rocket Neil forever into the ranks of the Rock Gods, stepping over the heads of Stills, Nash & Crosby, and trampling over Crazy Horse. This particular album was entitled After The Goldrush (1970), which included the quintessential Neil Young hits, Southern Man (which dealt with redneck racism, and spawned Lynyrd Skynyrd’s reply, Sweet Home Alabama), After The Goldrush, and Only Love Can Break Your Heart. This album dealt with issues such as love, racism, environmentalism, and sentimentalism – issues that pervaded the consciousness of a generation of youth, and Neil was the perfect mouthpiece. It would set the tone for some of his later work that would be used as an antithesis of the Vietnam War.

This time period is characterised by a spate of albums being released by Neil and his associated bands. Neil provided a much-needed foil to Stills at Woodstock, and toured predominantly with Stills, et al. over that year. With Stills, et al, two albums were released that would leave After the Gold Rush in the dust: Déj* vu in 1970, and Four Way Street in 1971. However, the creative mood of this period was, like many things in Neil’s career, doomed to be only transitory… only this time, it was not Neil’s fickle nature that was to be the kicker. The break-up of Stills, Crosby & Nash was a fate, that had it been written in the stars, would probably have been seen from the opposite side of the galaxy without the aid of a telescope by even the most myopic; such was the volatile nature of the band.

The group split up acrimoniously, and once the ties had been disintegrated, Neil moved on to new pastures with another band called the Stray Gators, a term which, if one felt unkind, could be used to apply to Neil… It was whilst with the ’gators, that Neil attained his first number one album, the country-rock Harvest, in 1972, which would become the highest grossing Neil Young album. This had many outstanding tracks on it, including Heart of Gold, and the foreshadowing The Needle and the Damage Done, which chronicled a fellow band member’s descent into drug addiction. With things apparently spiraling out of control, somewhat mirroring the downward spiral of drug oblivion, and bloated boredom, came the hugely unsuccessful movie and associated soundtrack of Journey Through the Past, which critics panned. Another panned album followed, entitled the live Time Fades Away.

"This song put me in the middle of the road. Traveling there soon became a bore so I headed for the ditch. A rougher ride but I saw more interesting people there." – Neil Young commenting on the success of ‘Heart of Gold’


Meanwhile, Neil may have had his only number one hit in Heart of Gold, but with Danny Whitten’s death from a drug overdose, and the combined successes of the Harvest album, Neil decided to spurn what he perceived to be an increasingly middle-of-the-road approach, and moved on to form The Santa Monica Flyers, borrowing the talented Lofgren from Crazy Horse to supplement the rhythm sections on the guitar. Apparently emotionally scarred from the drug-induced deaths of his band mate, and a roadie, the next album was the deeply depressing Tonight’s the Night recorded in 1973. This was to be a heavily unhinged blues-focused, deeply maudlin effort of out-of-tune ballads, which Neil’s label did not see fit to release until two years later. By this time, he had released yet another harrowing album, On the Beach in 1974. Although both albums sold poorly at the time, they have been considered by some to be critical favourites that showcase Neil’s raw talent. Both albums, however, were a mere reflection of the dark alcohol driven moods that were to pervade over the associated tour for Tonight’s the Night; a time heralded by drunken, rambling, lunatic ravings, and a divided fan-base.

[end part two]
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Old 08-14-2004, 04:24 PM   #3
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By the following year, Neil appeared to have pulled out of his slump with the release of the hard-rockin’ Zuma recorded after a reunion with Crazy Horse. This was to be a return to form for Neil Young, and reflected the style of the earlier album released with Crazy Horse, Everybody Knows this is Nowhere. This album included the notoriously banned, lyrical Cortez the Killer, which re-told the conquest of the virgin New World by the Spaniards through the point of view of the indigenous Aztecs (and Montezuma).
He came dancing across the water
With his galleons and guns
Looking for the new world
And a palace in the sun.
1976 was the year that saw Neil return well and truly to his fun lovin’ whorin’ form. An album released with Stills was followed by the aborted Long May You Run tour, which contained the sweetly nostalgic song, similarly entitled, Long May You Run. Whilst this album went gold, Neil subsequently abandoned Stills mid-way through, leaving him in the lurch: “Funny how some things that start spontaneously end that way. Eat a peach, -- Neil.”

Neil followed up in 1977 with the solo effort, Stars ‘n Bars, collaborating with his protégé Nicolette Larson on the back-up vocals. This album was more readily accessible than his most recent releases, and was more folk-country in form. Following this was the compilation album, Decade, and the 1978 folk album, Comes a Time which again featured Larson on back-up vocals, and would subsequently go gold. Around this time, Neil also scrapped the country follow-up to Harvest, which was to have been released prior to Comes a Time.

The Rust Never Sleeps tour was a ground-breaking separation from his previous tour (and work), and was an effort to show-case some of his newer material, interspersed with classic Neil Young pieces. The show was to be half solo, with largely acoustic acts, and half collaborative, heavier rock with Crazy Horse, and was so hugely successful, that it spawned one of the most popular Neil Young albums ever. The album was a nod to the rising punk movement, and proved that Neil could not only keep up with new musical trends, but also acknowledge old influences, hatching the baby, Hey, Hey, My, My; a song that fare-welled the King (Elvis), and hailed Johnny Rotten from the Sex Pistols.
The king is gone but he’s not forgotten
Is this the story of johnny rotten?
It’s better to burn out ‘cause rust never sleeps
The king is gone but he’s not forgotten.


It is better to burn out than fade away… Foreshadowing words that would later haunt Neil Young… born from a song that hearkened in a new movement of music, and a new age. Nevertheless, Neil endured a level of success with the release of both Rust, and Live Rust that was not to be followed with his immediate releases, and saw the turn of the decade that heralded in the eighties, which was marked by a new level of erratic-ness even by Neil’s standards. This was to be a period of lean times for Neil who, like most rock stars of the sixties, and seventies, did not make the transition smoothly. His perversity kicked in yet again, and he spurned the successes of Rust by releasing the sub-par Hawks & Doves, which show-cased a surprising compilation of conservative, right-wing politics, and it was also at this time that Neil supported Ronald Reagan as a political candidate. The following year, he released the heavy Re-act-or, which was panned at the time by critics, but has since received critical review.

In 1982, he was lured over to Geffen records with the promise of more money, and artistic freedom, and with his first album on that label he endured criticism for what many would consider to be a terrible piece of work, while yet others (retrospectively) would hail him for originality. His release of Trans was a heavily electronica induced album, that is by far, the most interesting, and innovative Neil Young album to date. Notable hits include, We R In Control, and Transformer Man, and were a not so subtle rip-off of the style of the Germanic Kraftwerk.
"Trans signified the end of one sound and era and the beginning of another era, where I was indecipherable and no one could understand what I was saying." – Neil Young.
Subsequently, he toured after the release of this album performing old favourites, and employing ‘Neil 2’ – a vocoderised version of his voice – to back him up on tour. The following album was the equally panned, rockabilly Everybody’s Rockin’ (1983) performed with The Shocking Pinks, which, combined with the preceding album, Trans, would lead ultimately to his label suing him for being ‘un-representative’ – a bit unfair, really, since Neil’s style had danced around all over the place over the previous decade. That being said, his next few albums were allegedly designed to piss off his new label, and were largely unsuccessful, with Old Ways (1985) being a collaborative effort with country greats such as Willie Nelson, and Waylon Jennings. Landing on Water was a disastrous amalgamation of old style country-rock, and synthesised ‘new-wave’ experimentation, while Life (1987) reunited Neil with Crazy Horse, but was considered to be significantly below form. However, having fulfilled his obligations to his label, this was the excuse that Neil was looking for, and he decided that it was time for him to move on to another label. He subsequently signed back up with his old label, Reprise in 1988.

[end part three]
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Old 08-14-2004, 04:26 PM   #4
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His next step was to release a harshly satirical album, This Note’s For You, with the self-same jazzy/bluesy song becoming Neil’s biggest hit in a long time. The song was a cutting parody of artists such as Michael Jackson, who had “sold out” to commercial rock, and were prostituting themselves to the corporate giants, e.g., Coke and Pepsi. This song was initially banned on MTV (****ing crock of bastards), but the Canadian music channel cheekily played it anyway, and MTV soon came around, and hypocritically rewarded what would become one of their more heavily rotated songs. (Of course, while Neil was rabidly against selling out to corporate entities, he obviously wasn’t above selling out to politicians, as evidenced by his support of Ronald Reagan, and the release of the conservative album, Hawks & Doves…) The end of the year saw a reunion with Stills, Nash & Crosby, and although it was rather limply received, Neil provided the few high points to the release of their collaboration, American Dream.

The last year of the eighties would see Neil being raised back into the ranks of the demi-gods, leaving behind his recent erratic, somewhat limp contributions. 1989’s Freedom was both a critical and commercial success, and once more, Neil Young was considered to be hip ‘n happening amongst the indie set. Rocking in the Free World from this album would become an unofficial anthem of a generation during the fall of the Berlin Wall, repeating his earlier successes for being the voice of a peacenik generation during the Vietnam War. That year he also became the subject of a tribute album titled The Bridge (the name of the organisation that he founded with his wife to deal with children with learning difficulties), which featured greats such as The Pixies, and Sonic Youth, with the proceeds from the album went towards the school.

The nineties consecrated a short-lived new style of music called ‘grunge’, and one of its founding fathers, Kurt Cobain, cited Neil Young as one of his chief influences, leading to Neil being dubiously dubbed the, ‘the granddaddy of grunge’. However, the release of his new album, Ragged Glory, showed that there was some justification of these words. The reunion with Crazy Horse, combined with the crazy, heavy power-guitar riffs and feedback driven sounds showed that Neil Young still had ‘it’ with the album’s unique grunge-rockabilly sound. A subsequent tour was opened for Neil by the acts, Sonic Youth, and Social Distortion, and his far-reaching influence also spun out over acts such as Soul Asylum, and Dinosaur Jnr. . This sound was immortalised in the live album, Weld, and the howlin’ feedback bonus CD EP Arc, but it would be short-lived…

In traditional Neil Young perversity, his next move was to reunite with the ‘gators, and the album released was the long-awaited sequel country-rock to the Harvest album (also recorded with the ‘gators), entitled, Harvest Moon, which was released in 1992. Despite (or in spite of!) his perversity, and being yet again out of fashion with the music industry, the album was a hit, rocketing Neil into the top-20 charts for the first time in years. Due to Harvest Moon’s success, Neil premiered on MTV unplugged, which eventually led to another album being spawned following the performance, and covered material from his early days in Buffalo Springfield, as well as early solo material, the heavily critiqued Trans period, and the more recent Harvest Moon collection. The same year saw him lose out to Bruce Springsteen for an academy award for his contribution to the movie soundtrack for “Philadelphia” (which the Boss had also contributed to). As well as gallivanting around on MTV, Neil also wheeled out another hugely successful tour, working in partnership with Booker T. and the MGs. More than a few of these shows were rounded off with a performance of Rocking in the Free World with fellow musicians, Pearl Jam.

In 1993, Geffen released a rarities collection entitled Lucky Thirteen, and the following year saw the release of the critically acclaimed, bittersweet Sleeps With Angels, which included the title track, a nod towards Nirvana’s Kurt Cobain, who had used a Neil Young lyric in his suicide note (It is better to burn out than fade away…). A collaborative effort with Pearl Jam soon followed in 1995, with the release of Mirror Ball. Unfortunately, legal entanglements with Pearl Jam meant that the album could not feature their name on the cover, and the album failed to become the commercial success it was touted to be.

With the summer wind blowin’ in, in late ’96, Neil reunited again with Crazy Horse, to release disjointed Broken Arrow (must be something about that name, cos the movie stunk as well), as well as partaking in a brief tour, which would be the first time he’d toured with Crazy Horse for nearly a quarter of a century. The tour was ostensibly prompted by the death of a long time friend, and mentor, David Briggs, and was subsequently documented in Jim Jarmusch’s (“Dead Man” (1995)) Year of the Horse documentary, and a live double album soon followed (1997). There was another reunion with Stills, Nash and Crosby in ’99, for the Looking Forward tour, which was another lackluster, disappointing effort, ‘though it marked at least a decade since their previous collaborative efforts.

Silver and Gold (2000) was a return to the nostalgic for Neil, with a solo effort that was heavily focused on gentle, acoustic melodies that expressed a more personal, older, wiser reflection of the artist. Whilst it wasn’t a critical success, it did bring favourable reviews for its subtle, understated flavour. That same year saw the release of Road Rock, Vol. 1, a live rock album that followed a spectacular two-night performance at the Red Rocks Amphitheater in Morrison, CO. This was a highlight of a summer tour across the US, and along with Neil’s usual cohorts, also featured Chrissie Hynde from the Pretenders as an opening act, as well as his wife, Pegi, and half-sister Astrid, on back-up vocals. Neil’s most recent contribution was 2002’s Are You Passionate? , a somewhat bland album of love songs devoted to his wife, Pegi. It also included a touching tribute to the 2001 World Trade Center victims in the song, Let’s Roll.
I know I said I love you,
I know you know it's true,
I got to put the phone down,
And do what we gotta do.
One's standing in the aisle way,
Two more at the door,
We got to get inside there,
Before they kill some more.
Time is runnin' out, let's roll.
Time is runnin' out, let's roll.
Neil was inducted into the Canadian Music Hall of Fame in 1982 and into the Rock and Roll Hall of Fame in 1995 for his solo work and in 1997 as a member of the Buffalo Springfield. His work out-put is second only to Bob Dylan (something I wished I’d
thought about before deciding to churn out of Neil Young bio!), although he has experienced a more consistent level of success in the charts. He has also turned his hand to directing with a significantly lesser degree of success. With his wife, Pegi, he co-founded the Bridge School for Handicapped Children in San Francisco.

“I've been first and last
Look at how the time goes past.
But I'm all alone at last.
Rolling home to you…”
[end part four]
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Old 08-14-2004, 08:09 PM   #5
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Wow! That was very good BoP...I did start skimming towards the end, I'm so lazy! I'm a little busy with dinner right now though, I'll read it more carefully later on.
I lived through all those times, and sold many of those LP's at my old job. I remember seeing Neil in (about) 1972 or3, on a bill with Linda Rondstadt. She had just broke out with her stuff, and I think Neil was coming off of Harvest or something.
I might have missed it, but did you talk about Neil's (IMO ) abrasive guitar work? His solos get on my nerves pretty darn fast! I remember the year Farm Aid played Indiana...I decided I didn't want to attend because I wasn't up for hearing long, loud, overly simplistic Neil on guitar! I guess I was already "old" by then.
I also like/admire Neil Young because he has a handicapped son about the same age as my daughter. Makes him "real" to me! I thought "Trans" was somewhat inspired by Neil's frustration trying to communicate with his son through mechanical devices. Neil is also (or was?) a part owner in a toy train company (Lionel?) because that is one thing he and his son have really enjoyed doing together. Of course, Neil, being the rich rock star, probably has a pretty cool train track set up in the "rec room". I love neil....except for the guitar solos!
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Old 08-14-2004, 08:37 PM   #6
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I'm sure I've seen this before somewhere
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Old 08-15-2004, 12:56 AM   #7
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Yeah, Liz, I did see that floating around with regards to Neil using trans to communicate with his song, but since it didn't appear to be verifiable, I left it out....
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