DISC 1
01. Hey Hey, My My (Into The Black)
02. Crime In the City
03. Blowin' In The Wind
04. Welfare Mothers
05. Love To Burn
06. Cinnamon Girl		play
07. Mansion On The Hill
08. F!#*in Up

DISC 2
01. Cortez The Killer
02. Powderfinger
03. Love And Only Love
04. Rockin' In The Free World
05. Like A Hurricane
06. Farmer John		play
07. Tonight's The Night
08. Roll Another Number

Musicians:
Neil Young (vocals, guitar); 
Frank "Poncho" Sampedro (guitar);
Billy Talbot (bass); 
Ralph Molina (drums).

Weld, Neil Young's two-hour-plus double-CD chronicle of his 1991 Ragged Glory/Smell the Horse Tour with Crazy Horse, was received with only mild enthusiasm from Young's fans and rock critics, perhaps because it seemed redundant. Such warhorses as "Like a Hurricane" and "Cortez the Killer" were making their fourth appearances on a Young album, and the five songs from the Ragged Glory album were basically unchanged from their studio versions. Containing only 16 tracks, the album's songs averaged over seven and a half minutes in length, and that length was given over to extended guitar improvisations, which often were filled with feedback and distortion. Where Young's previous double live album, Live Rust, which bore some similarities to this one, was a career retrospective including some acoustic numbers, Weld was all electric rock with Crazy Horse. The one previously unreleased song was a Gulf War-era cover of Bob Dylan's "Blowin' in the Wind," complete with gunshots and exploding bombs. In retrospect, Weld seems like an excellent expression of one part of Young's musical persona, putting some of his best hard rock material onto one album. [Initially, Weld was released in a 25,000 copy limited-edition called Arc Weld (Reprise 26746) containing a third disc made up of guitar feedback and called "Arc."] ---William Ruhlmann, AllMusic Review

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1 - A Letter Home Intro 2:17
2 - Changes 3:56
3 - Girl From The North Country 3:31
4 - Needle Of Death 4:57
5 - Early Morning Rain 4:26
6 - Crazy 2:20
7 - Reason To Believe 2:49
8 - On The Road Again 2:23
9 - If You Could Read My Mind 4:04
10 - Since I Meet You Baby 2:13
11 - My Hometown 4:08
12 - I Wonder If I Care As Much 2:32

Neil Young - Guitar, Harmonica, Piano, Vocals
Jack White - Guitar, Piano, Vocals
Bob Ludwig – Mastering

During the 2014 promo campaign for Pono, his high-end digital audio device, Neil Young called his forthcoming album A Letter Home "an art project," which is an appropriate term for this curious collection of covers from his contemporaries. It's not so much that the choice of songs is unusual -- nearly all of them are from the '60s and '70s, years when Young was also active, but a handful ("Crazy," "Since I Met You Baby," "I Wonder If I Care as Much") date from the late '50s or early '60s -- but the recording method. Young headed down to Jack White's Third Man Records in Nashville where Jack installed a refurbished Voice-O-Graph booth, a device designed to allow a user to "Make Your Own Record" by cutting a song or message directly to vinyl. These contraptions were designed in 1947 and were once a common sight in arcades and fairs but they died away in the '70s, turning into an artifact of a weird old Americana beloved by both Young and White. Neil decided to use the Voice-O-Graph to record a full album, an experiment that's strictly about the method of recording, not the music itself. By design, the Voice-O-Graph allows for no overdubs -- it captures everything that happens in the booth and nothing more -- so the performances are intimate and sometimes rushed, qualities that are alternately enhanced and undercut by the thin, crackly recording. This aural affectation can be affecting -- in particular, his readings of Gordon Lightfoot's "Early Morning Rain" and "If You Can Read My Mind" are quite sweet, as is Bob Dylan's "Girl from the North Country," while there's a genuine pang of pathos lying in Bert Jansch's "Needle of Death" -- but the trebly, wavy audio can also seem cacophonous, whether it's capturing Neil alone (Bruce Springsteen's "My Hometown") or in tandem with White (a version of Willie Nelson's "On the Road Again" that always seems just on the verge of falling apart, which could be perceived as a compliment depending on your view). Usually, the flaws of A Letter Home can be pegged on the archaic recording technology -- only a couple of performances feel shambolic -- but Young is also having fun with what the Voice-O-Graph meant, opening the album with a wry, winding spoken letter to his departed mother and then addressing another missive to her later on the record. These words are simultaneously sentimental and impish, a wink to the audience that Young is in on the joke but also doesn't quite consider A Letter Home a joke. Sure, there's artifice and humor here, but there's also heart, and this blend of emotions is what makes A Letter Home one of Neil Young's quintessential, endearingly odd records. --- Stephen Thomas Erlewine, allmusic.com

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1. When Worlds Collide 
2. Fuel Line 
3. Just Singing A Song 
4. Johnny Magic 
5. Cough Up The Bucks 
6. Behind The Wheel 
7. Off The Road 
8. Hit The Road 
9. Light A Candle 
10. Fork In The Road

Personnel: 
Neil Young - electric and acoustic guitar, vocals; 
Ben Keith - lap steel guitar, electric guitar, Hammond B-3 organ, vocals; 
Anthony Crawford - electric and acoustic guitar, piano, Hammond B-3 organ; vocals; 
Pegi Young - vibes, acoustic guitar, vocals; 
Rick Pasos - bass; 
Chad Cromwell - drums.

It's been almost forty five years since Neil Young's first solo tour began one of the most remarkable careers in modern music. From a Woodstock-era folk-rock icon and introspective songwriter, to inimitable electric guitarist and godfather of grunge, few artists can match Young's substantial body of work for energy and quality. His live shows, whether with Crazy Horse, or solo, have always been electric, and his 2009 tour to promote Fork in the Road is proving that, at 64, he is as big a draw as ever.

This, Young's thirty fourth studio release, is an almost entirely electric affair and, at just under forty minutes, one of the shortest in his discography. Absent are the extended jams that have been a feature of much of his electric work since the '90s, nor are there any of the searing, fuzz and feedback solos which made him one of the most original of guitarists. Instead, there are ten short and punchy riff-based songs which jab an accusing finger at the greed of the financial institutions and the tunnel vision of the fuel and automobile companies; songs which above all, sound the need for change.

There is less of Young the story teller in this collection, though everyday people and their concerns are still central to most of the songs. Young sings of redundancies and repossession through the eyes of a pot bellied rig driver on the title track that "there's a bailout coming but it's not for me." After all these years Young's sense of injustice and defiance has not dimmed. His own optimism is most clearly heard on "Light a Candle," the album's only acoustic track, and perhaps the weakest here; it sounds like a '60s folk rally piece, but Fork in the Road is not an exercise in nostalgia, and any of that era's paisley-tinted idealism is tempered by the realism of "Just Singing a Song," as recognized in the verse "just singing a song won't change the world." Young's much publicized conversion of his old Lincoln Continental to use alternative energy, provided much of the inspiration for this album, as the heard in the lyrics, "...you can sing about change while you're makin' your own." ---Ian Patterson, allaboutjazz.com

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1. Down By The River 
2. Cowgirl In The Sand 
3. Cinnamon Girl 
4. C.S.N.Y.: Helpless 
5. After The Gold Rush 
6. Only Love Can Break Your Heart 
7. Southern Man 
8. CSNY: Ohio 
9. The Needle and the Damage Done 
10. Old Man 
11. Heart Of Gold 
12. Like A Hurricane (oryginalna 8 mintuowa wersja studyjna) 
13. Comes A Time 
14. Hey Hey, My My (Into The Black) 
15. Rockin' In The Free World 
16. Harvest Moon

One question would be: What took him so long? After all, a contemporary like Van Morrison has sold boatloads of his single-disc best-of set to buyers wary of diving into that deep catalog without a primer to get them started. So three and a half decades into his solo career, Neil Young finally delivers his version of that most modest of albums--the pre-holiday "hits" overview. What's surprising, coming from such a proud maverick, is its conventionality. Granted, the original master mixes are a boon for fans, but otherwise, there's not much here for loyalists who quite likely already possess the original "Like a Hurricane" on a couple of albums, as well as a handful of live interpretations scanning the years. Since Young cracked the Top 10 only once (1972's "Heart of Gold"), this set is built around concert staples as "Cinnamon Girl," "Rockin' in the Free World," and "Hey, Hey, My My" rather than chart favorites. Despite Young's honorable standing as a still-vital graybeard, the disc is skewed heavily toward his early work, shortchanging some mighty productive recent years. Peripheral fans may find this set of interest, but faithful followers are better advised to investigate the DVD version, which, at least, includes videos, photos, lyrics, and Web links. ---Steven Stolder, Editorial Reviews

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1. For What It's Worth/mr Soul
2. Rock & Roll Woman
3. Find The Cost Of Freedom
4. Ohio
5. Southern Man
6. Are You Ready For The Country ?
7. Let Me Call You Sweetheart
8. Alabama
9. Words
10. Relativity Invitation
11. Handel's Messiah
12. King Of Kings
13. Soldier
14. Let's Go Away For A Chile

Neil Young - Guitar, Harmonica, Primary Artist, Vocals
Buffalo Springfield - Guest Artist

Most soundtrack albums don't really contain the soundtracks to movies as they sound and as they are edited for the screen -- a song heard in a snippet on a car radio in the film, for example, will be presented in its entirety and with good sound on the album. But the soundtrack to Neil Young's fantasy/documentary Journey Through the Past does contain an audio record of what's onscreen: songs are cut off or fade out, to be replaced by fragments of something else, and the sound is not improved. So, Journey Through the Past doesn't work as well apart from the film as most soundtracks do. But the main problem with it is the same one that the film suffers: it doesn't make much sense. A mixture of TV footage of the Springfield, live footage of Crosby, Stills, Nash & Young, rehearsal footage of the Harvest sessions, and news footage, it doesn't coalesce into a coherent movie or a coherent record; if some of this material were used as part of a box set, it would have historical value and be interesting to fans, but in this context it was baffling. --- William Ruhlmann, allmusic.com

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1. Walk With Me 
2. Sign Of Love    play
3. Someone's Gonna Rescue You   play
4. Love And War 
5. Angry World 
6. Hitchhiker 
7. Peaceful Valley Boulevard 
8. Rumblin'

Guitar, Vocals – Neil Young 

The old conventional wisdom on Neil Young used to be that he alternated between acoustic folk and full-on guitar skronk with every other album, but 2010’s Le Noise -- the French affection in its title a tongue-in-cheek tip of the beret to his producer Daniel Lanois -- melds the two extremes. At its core, it’s a singer/songwriter album, a collection of reflections and ruminations about life and loss in the modern world, war imagery rubbing against battered memories and tattered autobiography, the songs leisurely following their own winding path, but it’s produced loudly, with Neil supporting himself with only his electric guitar for all but two tracks, where he switches the Les Paul for an acoustic. He’s not in Crazy Horse mode, spitting out chunky garage rock riffs, but strumming his overdriven electric, with Lanois tweaking the results, accentuating the ambience in post-production. To say the least, this results in a distinctive album, but it plays differently than it reads, sounding not too dissimilar from the Bush-era laments of Freedom. If Le Noise isn’t as galvanizing as Freedom, it’s because it’s created on a considerably smaller scale, its eight songs containing no masterpieces and Lanois’ moody noir production reining in Young’s messy signature. So, Le Noise winds up as something elusive and intriguing, a minor mood piece that seems to promise more than it actually delivers. ---Stephen Thomas Erlewine, AllMusic Review

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1.   "Walk On" – 2:42
2.   "See the Sky About to Rain" – 5:02
3.   "Revolution Blues" – 4:03
4.   "For the Turnstiles" – 3:15
5.   "Vampire Blues" – 4:14
6.   "On the Beach" – 6:59
7.   "Motion Pictures" – 4:23
8.   "Ambulance Blues" – 8:56

Personnel:
 Neil Young – guitar on 1 3 5 6 7 8, vocal, Wurlitzer electric piano on 2, banjo on 4,
 harmonica on 7 8
Ben Keith – slide guitar on 1, vocal on 1 4, steel guitar on 2, Dobro on 4, Wurlitzer
 electric piano on 3, organ on 5, hand drums on 6, bass on 7 8
 Tim Drummond – bass on 2 5 6, percussion on 5
 Ralph Molina – drums on 1 5 6, vocal on 1, hand drums on 7 8
+
    Billy Talbot – bass on 1
    Levon Helm – drums on 2 3
    Joe Yankee – harp on 2, electric tambourine on 8
    David Crosby – guitar on 3
    Rick Danko – bass on 3
    George Whitsell – guitar on 5
    Graham Nash – Wurlitzer electric piano on 6
    Rusty Kershaw – slide guitar on 7, fiddle on 8

Following the 1973 Time Fades Away tour, Neil Young wrote and recorded an Irish wake of a record called Tonight's the Night and went on the road drunkenly playing its songs to uncomprehending listeners and hostile reviewers. Reprise rejected the record, and Young went right back and made On the Beach, which shares some of the ragged style of its two predecessors. But where Time was embattled and Tonight mournful, On the Beach was savage and, ultimately, triumphant. "I'm a vampire, babe," Young sang, and he proceeded to take bites out of various subjects: threatening the lives of the stars who lived in L.A.'s Laurel Canyon ("Revolution Blues"); answering back to Lynyrd Skynyrd, whose "Sweet Home Alabama" had taken him to task for his criticisms of the South in "Southern Man" and "Alabama" ("Walk On"); and rejecting the critics ("Ambulance Blues"). But the barbs were mixed with humor and even affection, as Young seemed to be emerging from the grief and self-abuse that had plagued him for two years. But the album was so spare and under-produced, its lyrics so harrowing, that it was easy to miss Young's conclusion: he was saying goodbye to despair, not being overwhelmed by it. --- William Ruhlmann, allmusic.com

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01. Peace Trail 5:32
02. Can't Stop Workin' 2:45
03. Indian Givers 5:41
04. Show Me 4:02
05. Texas Rangers 2:30
06. Terrorist Suicide Hang Gliders 3:17
07. John Oaks 5:12
08. My Pledge 3:54
09. Glass Accident 2:53
10. My New Robot 2:33

Paul Bushnell - Bass, Vocals
Jim Keltner - Drums
Micah Nelson - Vocals
Bob Rice - Keyboard Technician, Vocoder
Joe Yankee - Electric Harp, Pump Organ
Neil Young - Guitar, Vocals

The 21st century revived Neil Young's radical spirit and, along with it, his sense of musical adventure. These two strands converge on Peace Trail, a rickety record written and cut in the wake of his 2016 live album, Earth. Neil wrote Peace Trail quickly and recorded it even faster, pushing through ten songs in four days with the support of ace drummer Jim Keltner and bassist Paul Bushnell. According to Bushnell, most of the album consists of first or second takes but Peace Trail sounds like it entirely comprises rehearsal tapes, with the rhythm section lagging behind as they follow Young's basic chord changes. In form, almost all of the ten songs are folky protest numbers but Neil slashes through his hippie haze with shards of overamplified harmonica, guitar squalls, and vocoders, the modern world intruding on his melancholy reveries and subdued anger. It's interesting aesthetically, but the problem with Peace Trail isn't the concept, it's the execution. Intended as a musical bulletin à la "Ohio" or Living with War, Peace Trail is filled with songs about its precise moment in time -- "Indian Givers" is about the protests at the Dakota Access Pipeline, "Terrorist Suicide Hang Gliders" concerns rampant xenophobia -- but the execution is so artless it veers toward indifference. Young's songs are so simple they feel jejune and the performances are intentionally ragged, with Keltner and Bushnell stumbling through rhythms as if they're learning the songs as they're being recorded. To compound the oddness, the production by Young and John Hanlon is deliberately scattered with sound effects, displaying a flair assembled with more care than either the album's composition or recording. All this adds up to one of Neil Young's genuinely strange albums, a record that's compelling in its series of increasingly bad decisions. --- Stephen Thomas Erlewine, AllMusic Review

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01. Amber Jean 03:17
02. Are You Ready For The Country? 03:39
03. It Might Have Been 02:43		play
04. Bound For Glory 05:59
05. Let Your Fingers Do The Walking 03:03
06. Flying On The Ground Is Wrong 04:48
07. Motor City 03:22
08. Soul Of A Woman 04:28
09. Get Back To The Country 02:31		play
10. Southern Pacific 07:53
11. Nothing Is Perfect 05:02
12. Grey Riders 05:58

Personnel: 
Neil Young (vocals, guitar); 
Anthony Crawford (vocals, guitar, banjo); 
Ben Keith (vocals, pedal steel guitar); 
Rufus Thibodeaux (fiddle); 
Spooner Oldham (piano);
Karl T. Kimmel (drums).

Volume 9 of Neil Young's long-delayed, suddenly prodigious Archives series, A Treasure chronicles Neil’s 1984-1985 tour with the International Harvesters, a crackerjack assemblage of country pros featuring guitarist Ben Keith, pianist Hargus “Pig” Robbins, fiddler Rufus Thibodeaux, and Spooner Oldham. This is one of Young's famous left turns, as he abandoned the tightly wound electro of Trans and the hipster rockabilly of Everybody’s Rockin’ for a trip back to the country, cutting Old Ways then hitting the road with the International Harvesters. Old Ways was a little stilted but the same can’t be said of A Treasure: this is vivid and alive, pulsating with a palpable joy. Their energy boosts the Old Ways material, giving it welcome blood and muscle, but A Treasure runs far broader than that one album. Young overhauls two cuts from Re*Ac*Tor, turning “Motor City” and “Southern Pacific” into a honky tonk stomp and a chugging country ballad, respectively, reworks Buffalo Springfield's “Flying on the Ground Is Wrong,” covers Joe London's country chestnut “It Might Have Been” and, most significantly for the hardcore, there are five unreleased Young originals here: a sweetly rambling ode to his daughter “Amber Jean,” an excellent slice of Texan honky tonk with “Let Your Fingers Do the Walking,” the rowdy barroom blues of “Soul of a Woman,” the working man protest of “Nothing Is Perfect,” and Crazy Horse stomp “Grey Riders.” The unheard tunes are all first-rate, but what’s really notable about A Treasure is that it offers a compelling document of how good the International Harvesters were and, in turn, makes sense of a somewhat murky period for Neil Young. ---Stephen Thomas Erlewine, AllMusic Review

Kolejna pozycja w wydłużającym się cyklu archiwalnych koncertowych albumów Neila Younga okazała się być jedną z najciekawszych w zestawie – dokument ten pochodzi z połowy lat 80., a więc z okresu słabo reprezentowanego, jeśli chodzi o płyty koncertowe (jedynie „Life” – całkowicie premierowy album nagrany na żywo), do tego w karierze Younga stanowiącego szaloną sinusoidę, kalejdoskop zupełnie różnych stylów i brzmień.

O tym, że Neil Young chętnie czerpie inspirację z muzyki country, było wiadomo tak na dobrą sprawę już od czasów Buffalo Springfield. Chętnie nagrywał płyty inspirowane country, ciekawie adaptujące elementy tego stylu do klimatu swojej solowej twórczości; ma też na koncie czysto country’owy, „korzenny” album – „Old Ways” z roku 1985. W tym czasie chętnie grał też country na żywo wraz z grupą The International Harvesters (sami starzy znajomi – Ben Keith, Spooner Oldham, sekcja Drummond-Himmel, znany z płyty „Comes A Time” skrzypek Rufus Thibodeaux). I właśnie nagrania z koncertów wypełniły kolejny archiwalny album koncertowy Neila.

Wszystko jest tu bardzo stylowe, z miękkimi, łkającymi dźwiękami gitary pedal steel, ciepłymi zawodzeniami smyczków i miękkim brzmieniem gitar. Nawet gdy pojawi się wyeksponowana partia fortepianu, czy mocniejsze gitary (jak w finałowym „Grey Riders”), zaraz równoważą je ludowe skrzypki. Oprócz będących dość oczywistym wyborem folkowo-country’owych piosenek, tak znanych („Get Back To The Country”), jak i premierowych (w tym radosnej, wręcz tanecznej „Amber Jean”, poświęconej córce Neila) znajdują się tu nowe odczytania „Flying On The Ground Is Wrong” (które już w oryginale z czasów Buffalo Springfield nie wyrzekało się country’owych korzeni; tu po prostu nieco je podkreślono) i mocno przerobionych „Motor City” i „Southern Pacific” (to ostatnie na płycie „Re-Ac-Tor” miało zdecydowanie gitarowe brzmienie; okazało się, że wystarczy zmodyfikować instrumentarium i nagle wyszło Nashville pełną gębą; swoją drogą to świetny przykład, jak bardzo Neil Young – także ten zdecydowanie rockowy, hałaśliwy – inspirował się country). Całość zagrana jest żywo, z jajem – czuć, że panowie lubią ze sobą grać, że, tak po prostu, wspólne muzykowanie sprawia im radość. Nie ma tu może jakichś szalonych wzlotów wykonawczych, ale płyta jako całość wypada interesująco, ciekawie uzupełnia obraz Neila Younga na żywo.

Archiwalna płyta z muzyką country nie była jedynym hołdem złożonym amerykańskiej tradycji muzycznej, jaki w tym czasie popełnił Neil Young. Postanowił on bowiem zagłębić się w tą właśnie tradycję dużo głębiej i pełniej, niż kiedykolwiek wcześniej. A co z tego wyszło – o tym w odcinku LI: Tajemniczy sklep ze starociami (The Mystery Of The Old Curio Shop). ---Piotr „Strzyż” Strzyżowski, artrock.pl

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1. Oh Susannah (5:03)
2. Clementine (5:42)
3. Tom Dula (8:13)
4. Gallows Pole (4:15)
5. Get a Job (3:01)
6. Travel On (6:47)
7. High Flyin' Bird (5:30)
8. Jesus' Chariot (She'll Be Coming Round the Mountain) (5:38)
9. This Land Is Your Land (5:26)
10. Wayfarin' Stranger (3:07)
11. God Save the Queen (4:08)

Personnel:
    Neil Young - vocals, guitar
    Billy Talbot - bass, vocals
    Ralph Molina - drums
    Frank "Poncho" Sampedro – guitar

Neil Young and Crazy Horse will release their new LP Americana on June 5th. It's their first album together since Greendale in 2003, and their first album with the full Crazy Horse line-up of Billy Talbot, Ralph Molina and Frank "Poncho" Sampedro since Broken Arrow in 1996. The songs on Americana are all classic American folk songs, including "This Land Is Your Land," "Gallows Pole," "Tom Dooley" and "Clementine."

At the Slamdance Film Festival earlier this year, Young talked about the album. "A very young choir of children plays with Crazy Horse [on the album,]" he said. "They're songs we all know from kindergarden, but Crazy Horse has rearranged them, and they now belong to us."

"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 disc was recorded at Audio Casa Blanca and was produced by Neil Young and John Hanlon with Mark Humphreys.

Neil Young and Crazy Horse made their first live appearance since 2004 last month at the MusicCares tribute to Paul McCartney in Los Angeles. They played "I Saw Her Standing There" that many critics called a highlight of the star-studded show, though the band has released no touring plans. "I honestly have not heard a solitary thing about touring," Crazy Horse drummer Ralph Molina wrote on his Facebook page last month. ---Andy Greene, rollingstone.com

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