VIDEO

Neil Young: “I wrote that song out on the road. I really don't remember except I know I wrote it all on my bus. I thought of the first line, rocking in the free world, keep on rocking in the free world. I said, Oh God, that really says something but that's such a cliche, it's such a terrible..., it's such an obvious thing and then I knew I had to use it! Freedom to me is more of a personal thing. The freedom that I'm writing about is really a personal thing. It's based on people. People on the street, homeless people, rich people with problems, all kinds of people. Freedom is an abstract offshoot. You can't describe freedom. How can you describe it? I tried and I failed.” (Spotlight/Much Music)

Neil Young: "The lyrics are just a description of events going on every day in America. Sure I’m concerned for my children, particularly my eldest son, and he’s a Guns N’Roses fan. He has to face drugs every day in the school yard that are way stronger than anything I got offered in most of my years as a professional musician. This is like the Bible. It’s all completely out of control. The drugs are gonna be all over the streets of Europe. We’ve got a lot to deal with here. (intended to be a celebration or an indictment) Kinda both, you know? You asking the question means you got the song.” " (Nick Kent/Vox)
**KILL ME**

(Neil Young)

Neil Young – lead vocals, acoustic guitar, electric guitar, harmonica
Rick Rosas – bass
Chad Cromwell – drums
Ben Keith – keyboards
Frank "Poncho" Sampedro – backing vocals

Produced: Neil Young, Niko Bolas
Engineered: Niko Bolas
Recorded at: The Barn-Redwood Digital, Arrow Ranch, Woodside, California, USA

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VIDEO

Neil Young: “I’d happened to be in the right place at the right time to do a really mellow record that was really open because that’s where my life was at the time. I was in love when I made Harvest. So that was it. I was an in-love and on-top-of-the-world type of guy. Good thing I got past that stage. I thought the record was good. But I knew something else was dying.”

Neil Young: "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." (Decade liner notes)

Linda Ronstadt: "We were sat on the couch in the control room, but I had to get up on my knees to be on the same level as James because he's so tall. Then we sang all night, the highest notes I could sing. It was so hard, but nobody minded. It was dawn when we walked out of the studio." (Mojo)
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The melody was allegedly in spired by “Love Is Blue”, once recorded by Jeff Beck. After the basic track had been laid down, Taylor and Ronstadt then added harmony vocals, just as they did to “Old Man”. (Uncut)

The song, which features backup vocals of James Taylor and Linda Ronstadt, is one of a series of soft acoustic pieces which were written partly as a result of a back injury. Unable to stand for long periods of time, Young could not play his electric guitar and so returned to his acoustic guitar, which he could play sitting down. He also played his harmonica during the three instrumental portions, including the Introduction to the song.

"Heart of Gold" was taped during the initial sessions for Harvest in early 1971 at Quadrafonic Sound Studios in Nashville, Tennessee. Ronstadt (who herself would later cover Young's song "Love is a Rose") and Taylor were in Nashville at the time for an appearance on Johnny Cash's television program, and the album's producer Elliot Mazer arranged for them to sing backup for Young in the studio. (Wikipedia)
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(Neil Young)

Neil Young — lead vocals, acoustic guitar, harmonica
Teddy Irwin — guitar
Ben Keith — pedal steel guitar
Tim Drummond — bass
Kenny Buttrey — drums
James Taylor — backing vocals
Linda Ronstadt — backing vocals

Produced: Elliot Mazer, Neil Young
Engineered: ??
Recorded at: Quadrafonic Sound Studios, Nashville, Tennessee, USA, Feb 6–7, 1971
**KILL ME**

VIDEO

Neil Young: “When you look back at the old bands, they’re just not that funny. People want to have a good time. That’s why the punk thing is so good and healthy. People who make fun of the established rock scene, like Devo and The Ramones, are much more vital to my ears than what’s been happening in the last four or five years.” (LA radio interview)

Neil Young: “I was exactly 33 and a third when I wrote that so I was on long play. It wasn’t a literal thing. It was a spontaneous description of a feeling rather than endorsing a way of life. But what a line like that means changes every time you sing it, depending on what’s going on in the world. If you really believe in something when you write it or you’re open to some channel and things comes through you, then that’s going to happen. What you write will reapply itself to whatever’s happening around you. And that’s the fun of what I do.” (c2000:Uncut)

Neil Young: “It’s better to burn out than to fade away or rust because it makes a bigger flash in the sky.” (1979:radio interview)

Neil Young: “I called him (Blackburn) up after I’d written the song and said, ‘Hey, I used a line from your song. Want credit?”
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The song "Hey, Hey, My, My..." and the title phrase of the album, "rust never sleeps" on which it was featured sprang from Young's encounters with Devo and in particular Mark Mothersbaugh. Devo was asked by Young in 1977 to participate in the creating of his film Human Highway. A scene in the film shows Young playing the song in its entirety with Devo, who clearly want little to do with anything "radio-friendly" (of note is Mothersbaugh changing "Johnny Rotten" to "Johnny Spud"). While the famous line "It's better to burn out than it is to rust" is often credited to Young's friend Jeff Blackburn of The Ducks, its sentiment is also similar to an adage by President Millard Fillmore: "It is better to wear out than to rust out." (Wikipedia)
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(Neil Young, Jeff Blackburn)

Neil Young — lead vocals, guitars, harmonica, organ, percussion
Frank "Poncho" Sampedro — electric guitar, backing vocals
Billy Talbot — bass, backing vocals
Ralph Molina — drums, backing vocals

Produced: Neil Young, David Briggs, Tim Mulligan
Engineered: ??
Recorded at: The Boarding House, San Francisco, California, USA
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VIDEO

Neil Young: “Sometimes [when] I get sick, get a fever, it’s easy to write. Everything opens up. You don’t have any resistance. You just let things go.” (Uncut)

Neil Young: “Wrote this for a city girl on peeling pavement coming at me through Phil Ochs’ eyes playing finger cymbals. It was hard to explain to my wife.” (1977:Decade liner notes)

Neil Young: “We discovered this D modal tuning around the same time in 1966. That was when ragas were happening and D modal made it possible to have that droning sound going all the time. That’s where it started, only I took it to the next level, which is how ‘The Loner’ and ‘Cinnamon Girl’ happened.” (Uncut)

Neil Young: “The parts are switched (on the single), Danny is on the bottom and me on top. That was so you could hear my voice clearly, which Reprise wanted for the single. We left the album version alone because it was better and we knew it.” (Uncut)

Neil Young: "It's the same as it always was for me. It's the same thought. The song works for me now as well now as it did when I wrote it. It's got the same message. It's just now I'm 46 years old and I'm playing it. The thought is still there. My mom isn't there. So when I sing 'Ma send me money now' I know I'm not going to get it! I don't know if I'll find the cinnamon girl. I think I already did but I'm still singing, who knows. The beat's still there. The people are still there." (Spotlight/Much Music)
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That day when Young took to his bed in early January 1969 with a debilitating dose of flu turned out to be one of the most productive of his career. Lying in his Topanga Canyon house with his mind in an altered state due to a fever that rolled up to 103 degrees, and with scraps of paper covering the bed, he composed his third classic of the day – “Cinnamon Girl”.

Within days of his recovery, he was trying the songs out with Crazy Horse. “Cinnamon Girl” was the first one to be recorded, and the euphoric marriage of crunching riffs and sweet melody made a dramatic album opener. Again the dreamy lyrics reflected his feverish state. The guitar sound was based on an open tuning, which he had first used on Buffalo Springfield’s “Bluebird”.

This song displays the very prominent role played by Danny Whitten in the sound of Young's early recordings. The vocals are a duet, with Whitten singing the high harmony against Young's low harmony. (The 45 rpm single mix of the song, in addition to being in mono, features Whitten's vocal more prominently than the album version.) Young performed the song on his then-recently acquired Gibson Les Paul, "Old Black". (Wikipedia)
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(Neil Young)

Neil Young — lead vocals, guitar
Danny Whitten — co-lead vocal, guitar, harmony vocals
Billy Talbot — bass
Ralph Molina — drums, harmony vocals

Produced: Neil Young, David Briggs
Engineered: ??
Recorded at: Wally Heider Recording, Hollywood, California, USA, Mar 20, 1969
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VIDEO

Neil Young: “About that time when I wrote ("Heart of Gold"), and I was touring, I had also -- just, you know, being a rich hippie for the first time -- I had purchased a ranch, and I still live there today. And there was a couple living on it that were the caretakers, an old gentleman named Louis Avila and his wife Clara. And there was this old blue Jeep there, and Louis took me for a ride in this blue Jeep. He gets me up there on the top side of the place, and there's this lake up there that fed all the pastures, and he says, "Well, tell me, how does a young man like yourself have enough money to buy a place like this?" And I said, "Well, just lucky, Louie, just real lucky." And he said, "Well, that's the darndest thing I ever heard." And I wrote this song for him.” (Heart of Gold movie)

Neil Young: “When I bought the place there was this old man who was working there for the people I bought it from. He was about 70 years old. He was a cattleman and that’s like something that’s never going to happen again, so I wrote a song about it.” (Uncut)
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The song was written for the caretaker of the Northern California Broken Arrow Ranch, which Young purchased for $350,000 in 1970. The song compares a young man's life to an old man's and shows that the young man has, to some extent, the same needs as the old one. James Taylor played six-string banjo (tuned like a guitar) and sang on the song, and Linda Ronstadt also contributed vocals. ..... He tells a similar story when introducing the song at a February 23, 1971 performance broadcast by the BBC (in which he says that he purchased the ranch from "two lawyers"). (Wikipedia)
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(Neil Young)

Neil Young — lead vocals, guitar
Ben Keith — pedal steel guitar
Tim Drummond — bass
Kenny Buttrey — drums
James McMahon — piano
James Taylor — banjo guitar, backing vocals
Linda Ronstadt — backing vocals

Produced: Neil Young, Elliot Mazer
Engineered: ??
Recorded at: Quadrafonic Sound Studio, Nashville Tennessee, USA, Feb 6, 1971
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VIDEO

Neil Young: “This song could have been written on a civil rights march after stopping off to watch Gone With The Wind. ….. Actually, I think I wrote it in the Fillmore East dressing room in 1970.” ..... “Susan was angry at me for some reason, throwing things. They were crashing against the [studio] door. We fought a lot. There’s some reason for it, I’m sure. It was probably my fault.” ..... “I don’t feel like it’s particularly relevant. It’s not Southern Man. It’s White Man. It’s much bigger than Southern Man.” (Uncut)
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A scathing indictment of racism and bigotry, “Southern Man” had its roots in an incident that took place during a Buffalo Springfield tour of the Deep South with The Beach Boys in early 1968. Beating up longhairs was at the time a popular sport in certain parts of the South and, sitting in a diner one night with members of the tour retinue after a gig, Young heard a bunch of rednecks planning to attack them.

A quick phone call to summon reinforcements from the road crew prevented an Easy Rider-type scenario. But Young was left both angry and shaken by the event. ..... Even later, he told McDonough he had written it in his home studio in Topanga.

Certainly CSN&Y were playing it live by May of that year, and an epic version appears on Four Way Street. But the studio recording is more indignant and angry, although, according to Young, this had as much to do with marital strife with his wife Susan as his hatred of racism. ..... Young later announced that he had stopped singing the song. (Uncut)
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(Neil Young)

Neil Young — guitar, piano, harmonica, vibes, lead vocals
Danny Whitten — guitar, vocals
Nils Lofgren — guitar, piano, vocals
Jack Nitzsche — piano
Billy Talbot — bass
Greg Reeves — bass
Ralph Molina — drums, vocals
Stephen Stills — vocals
Bill Peterson — flugelhorn

Produced: David Briggs
Engineered: ??
Recorded at: Mar 19, 1970
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VIDEO

Neil Young: “This is a serious song I’d like to do about some people you know, some people I know and some people that neither one of us knows. It’s about heroin addiction. Somewhere in the universe there’s probably a place where all the great art is that didn’t get out. A museum of incredible lost art that didn’t get out because of heroin.” (1971:concert audience)

Neil Young: "Ever since I left Canada, about five years ago or so... and moved down south... found out a lot of things that I didn't know when I left. Some of 'em are good, and some of 'em are bad. Got to see a lot of great musicians before they happened... before they became famous... y'know, when they were just gigging. Five and six sets a night... things like that. And I got to see a lot of, um, great musicians who nobody ever got to see. For one reason or another. But... strangely enough, the real good ones... that you never got to see was... 'cause of, ahhm, heroin. An' that started happening over an' over. Then it happened to someone that everyone knew about. So I just wrote a little song." (1971:concert audience)
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"The Needle and the Damage Done" is a song by Neil Young that describes the destruction caused by the heroin addiction of musicians he knew. Though not specifically about him, the song was inspired by the heroin addiction of his friend and Crazy Horse bandmate Danny Whitten. It previews the theme of the Tonight's the Night album that reflects Young's grief over the heroin overdose and death of both Whitten and Bruce Berry, a roadie for Young and Crazy Horse. "The Needle and the Damage Done" first appeared on the Harvest album in 1972. Rather than rerecording it, he selected a live version from January 1971 that had him singing and playing acoustic guitar. It appeared on the compilation albums Decade and Greatest Hits. (Wikipedia)
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(Neil Young)

Neil Young — lead vocals, electric and acoustic guitars, piano, harmonica
Ben Keith — pedal steel guitar
Jack Nitzsche — piano, lap steel guitar
Tim Drummond — bass
Kenny Buttrey — drums

Produced: Neil Young, Henry Lewy
Engineered: ??
Recorded at: Royce Hall, UCLA, Los Angeles, California, USA, Jan 30, 1971
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VIDEO

In the offhandedly exquisite “Mansion on the Hill” – a country lope buried guitars – Young looks back on the guitars – Young looks back on the halcyon days of the Sixties as a youthful paradise frozen in time. But he’s no sap. He knows those days are irretrievable, at least for his generation. (The Beat Patrol)

Young dips back into the ramifications of hippie dreams in ''Mansion on the Hill". (1990: Boston Globe)
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(Neil Young)

Neil Young - lead vocals, guitar
Frank Sampedro - guitar, vocals
Billy Talbot - bass, vocals
Ralph Molina - drums, vocals

Produced: Neil Young, David Briggs
Recorded at: Plywood Digital, Woodside, California, USA, Apr 1990
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VIDEO

Taylor Phelps: (Young's neighbor) "Neil, Jim Russell, David Cline and I went to Venturi's in La Honda. We were really f--ked up. Neil had this amazing intense attraction to this particular woman named Gail - it didn't happen, he didn't go home with her. We go back to the ranch and Neil started playing. Young was completely possessed, pacing around the room, hunched over a Stringman keyboard pounding out the song." (Shakey biography)

Neil Young: (wrote it) "on a piece of newspaper in the back of (his friend) Taylor Phelps's 1950 DeSoto Suburban, a huge car that we all used to go to bars in. ... As was our habit between bars, we had stopped at Skeggs Point Scenic lookout on Skyline Boulevard up on the mountain to do a few lines of coke; I wrote Hurricane right there in the back of that giant old car. Then when I got home, I played the chords on this old Univox Stringman mounted in an old ornate pump-organ body set up in the living room. I played that damn thing through the night. ... I finished the melody in five minutes, but I was so jacked I couldn't stop playing." (Waging Heavy Peace autobiography)

Poncho Sampedro: "We kept playing it two guitars, bass, drums, but it wasn't in the pocket. Neil didn't have enough room to solo. He didn't like the rhythm I was playing on guitar. One day we were done recording and the Stringman was sitting there. I started diddling with it, just playing the chords simply, and Neil said, 'Y'know, maybe that's the way to do it - let's try it.' If you listen to the take on the record, there's no beginning, no count-off, it just goes woom! They just turned on the machines when they heard us playing again, 'cause we were done for the day. Neil goes, 'Yeah, I think that's how it goes. Just like that.' And that was the take. That's the only time we ever played it that way."

Neil Young: "It was a sketch. I went in and I sang both harmony parts, the low one and the high one - and that's the way the record is. It's all me singing."

Neil Young: "When 'Runaway' goes to 'I'm a walkin' in the rain,' those are the same chords in the bridge of 'Hurricane' - 'You are...' It opens up. So it's a minor descending thing that opens up - that's what they have in common. It's like 'Runaway' with the organ solo going on for 10 minutes." (Shakey biography)
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(Neil Young)

Neil Young – lead vocals, lead guitar
Frank "Poncho" Sampedro – Stringman synthesizer, background vocals
Billy Talbot – bass guitar, background vocals
Ralph Molina – drums, background vocals

Produced: Neil Young, David Briggs, Tim Mulligan
Recorded at: Broken Arrow Ranch, Woodside, California, USA, Nov 29, 1975
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VIDEO

This song is Neil Young's critique of artists who "sell out" and allow their songs to be used in commercials. It mentions Coke, Pepsi, Miller, and Bud. (Songfacts)
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(Neil Young)

Neil Young – lead vocals, guitar
Rick Rosas – bass
George Whitsell – bass
Chad Cromwell – drums
Frank Sampedro – keyboards
Steve Lawrence – lead tenor saxophone
Ben Keith – alto saxophone
Larry Cragg – baritone saxophone
Claude Cailliet – trombone
John Fumo – trumpet
Tom Bray – trumpet

Produced: Neil Young, Niko Bolas
Engineered: ??
Recorded at: Studio Instrument Rentals, Hollywood, California, USA
(personnel for album) **KILL ME**

VIDEO

This song is about Flight 93, the plane that was hijacked on September 11, 2001, but crashed in Pennsylvania before hitting the terrorists' target, which was probably a building in Washington, D.C.

Young wrote this after reading about Todd Beamer, one of the passengers who fought the hijackers and crashed the plane. Beamer called an Airfone operator to explain that they were going to rush the terrorists. Before he hung up, the operator heard him tell the other passengers, "Let's Roll." This conversation with the Airfone operator was the inspiration for the lyrics. "Let's Roll" was Beamer's favorite saying. He said it to his kids all the time. (Songfacts)
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Neil Young: "[Beamer's wife Lisa] was talking about how he always used to say that ("let's roll") with the kids when they'd go out and do something, that it's what he said a lot when he had a job to do. And it's just so poignant, and there's no more of a legendary, heroic act than what those people did. With no promise of martyrdom, no promise of any reward anywhere for this, other than just knowing that you did the right thing. And not even having a chance to think about it or plan it or do anything — just a gut reaction that was heroic and ultimately cost them all their lives. What more can you say? It was just so obvious that somebody had to write something or do something." (2002:Pulse Magazine)
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(Neil Young)

Neil Young - vocal, guitar, piano
Booker T. Jones - organ, vibes, backing vocals
Duck Dunn - bass
Steve Potts - drums, bongos, tambourine
Frank "Poncho" Sampedro - guitar, backing vocals
Tom Bray - trumpet
Pegi Young - backing vocals
Astrid Young - backing vocals

Produced: Neil Young, Booker T. Jones, Duck Dunn, Poncho Sampedro
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VIDEO

“Only Love Can Break Your Heart” might sound heart-breakingly self-confessional and have helped to cement the early-’70s image of Young as a forlorn, lovesick troubadour, but the song was actually written for Graham Nash, whose relationship with Joni Mitchell had just hit the rocks. (Uncut)

The song is the third track on Neil Young's album After the Gold Rush. The song was supposedly written for Graham Nash after Nash's split from Joni Mitchell, though Young in interviews has been somewhat tentative in admitting or remembering this. Released as a single in October 1970, it became Young's first top 40 hit as a solo artist, peaking at number 33 in the U.S. The single was issued with a Crazy Horse version of "Birds" (rather than the solo piano version of the album) on the B-side, apparently accidentally. The song is praised as a "seemingly simple song which display[s] considerable attention to detail in the deployment of instruments." (Wikipedia)
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(Neil Young)

Neil Young — guitar, piano, harmonica, vibes, lead vocals
Danny Whitten — guitar, vocals
Nils Lofgren — guitar, piano, vocals
Jack Nitzsche — piano
Billy Talbot — bass
Greg Reeves — bass
Ralph Molina — drums, vocals
Stephen Stills — vocals
Bill Peterson — flugelhorn

Produced: David Briggs, Neil Young
Recorded at: Sunset Sound, Hollywood, California, USA
and Sound City, Van Nuys, Los Angeles, California, USA
and Redwood Studios, Topanga, California, USA, Mar 15, 1970
(personnel and studios for album)
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VIDEO

Neil Young: (moon in general) "Before there was organized religion, there was the moon. The Indians knew about the moon. Pagans followed the moon. I've followed it for as long as I can remember, and that's just my religion. I'm not a practicing anything, I don't have a book that I have to read. It can be dangerous working in a full moon atmosphere, because if there are things that are going to go wrong, they can really go wrong. But that's great, especially for rock 'n' roll." (Harp)
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(Neil Young)

Neil Young — lead vocals, guitars, harmonica, banjo guitar, piano, pump organ, vibraphone
Ben Keith — pedal steel guitar, Dobro, bass marimba, backing vocals
Tim Drummond — bass, marimba, broom
Kenny Buttrey — drums
Spooner Oldham — piano, pump organ, keyboards

Produced: Neil Young, Ben Keith
Recorded at: Redwood Digital, Woodside, California, USA
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VIDEO

Young wrote this in response to Lynyrd Skynyrd's "Sweet Home Alabama," in which Young is told, "Southern man don't need him around anyhow." "Walk On" wasn't so much directed at the guys from Skynyrd (their feud was more good-natured than most people realize), but more towards the few southerners who felt some animosity towards Young for calling them on their inability to comply with the changing standards during the civil rights era.

This song functions as a wistful ode to how life never stops changing, so you might as well accept it and walk on (rather than dwell on small things like the hostile southerners). It's characteristic of the melancholy and pessimism that permeated Neil's work around that time, particularly On the Beach. (Songfacts)
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(Neil Young)

Neil Young — lead vocals, guitar
Billy Talbot — bass
Ralph Molina — drums, backing vocals
Ben Keith — backing vocals

Produced: Neil Young, David Briggs
Recorded at: Arrow Ranch, Woodside, California, USA
..... and Sunset Sound Recorders, Hollywood, California, USA
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VIDEO

Neil Young: "No, there’s no real murder in it. It’s about blowing your thing with a chick. It’s a plea, a desperation cry.”

Neil Young: "a guy who had a lot of trouble controlling himself. He reached down into his pocket and pulled a little revolver out and he said, ‘Honey, I hate to do this, but you’ve pushed me too far.’” (1984:New Orleans concert)

Neil Young: “Immediately, the entire room started to vibrate. I went, ‘Holy shit!’ I had to turn it halfway down before it stopped feeding back.”

Neil Young: “We got the vibe, but it was just too long and sometimes it fell apart, so we just took the shitty parts out. Made some radical cuts in there – I mean, you can hear ’em. Danny just played so cool on that. He was playing R’n’B kinda things. He made the whole band sound good.”

Billy Talbot: “At first we played it double-time, faster like the chorus is now. It was almost a jazz thing.”
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(Neil Young)

Neil Young – lead vocals, electric guitar, vocal
Danny Whitten – electric guitar, backing vocals
Billy Talbot – bass
Ralph Molina – drums, backing vocals

Produced: Neil Young, David Briggs
Recorded at: Wally Heider Recording, San Francisco, California, USA, Jan 17, 1969
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VIDEO

The song's lyrics are about a promiscuous woman, or perhaps three different women if each verse describes a different woman. (Wikipedia)
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Neil Young: “Nobody played guitar with me like that. That rhythm, when you listen to ‘Cowgirl In the Sand’, he keeps changing. Billy and Ralph will get into a groove and everything will be going along and all of a sudden Danny’ll start doing something else. He just led those guys from one groove to another, all within the same groove. So when I played those long guitar solos, it seemed like they weren’t all that long, that I was making all these changes, when in reality what was changing was not one thing but the whole band. Danny was the key. A really great second guitar player, the perfect counterpoint to everything else that was happening.”
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(Neil Young)

Neil Young – lead vocals, electric guitar, vocal
Danny Whitten – electric guitar, backing vocals
Billy Talbot – bass
Ralph Molina – drums, backing vocals

Produced: Neil Young, David Briggs
Recorded at: Wally Heider Recording, San Francisco, California, USA, Jan 17, 1969
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VIDEO

Tonight's the Night is a direct expression of grief. Crazy Horse guitarist Danny Whitten and Young's friend and roadie Bruce Berry had both died of drug overdoses in the months before the songs were written. The title track mentions Berry by name. (Wikipedia)
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(Neil Young)

Neil Young — lead vocals, piano
Nils Lofgren — guitar
Ben Keith — pedal steel guitar, backing vocals
Billy Talbot — bass
Ralph Molina — drums, backing vocals

Produced: David Briggs, Neil Young, Tim Mulligan
Recorded at: Studio Instrument Rentals, Hollywood, California, USA, 1973

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VIDEO

(Neil Young)

Neil Young – lead vocals, electric guitar, acoustic guitar, pump organ Jeff Ament – bass guitar**
Stone Gossard – electric guitar**
Jack Irons – drums**
Mike McCready – electric guitar**
Eddie Vedder – background vocals**

Produced: Neil Young, David Briggs
Recorded at: Plywood Digital, Woodside, California, USA, Apr 1990
(**Pearl Jam) **KILL ME**

VIDEO

Neil Young: "Still no latte's for me folks. I am not going to support a company that actively tries to defeat the will of the people by fighting their right to know what is in the food they eat. Contrary to the misleading information coming from Starbucks, the coffee company is in alliance with other Food Giants, including Monsanto, in suing the state of Vermont to overturn the GMO labeling laws voted for by the people." (Young's website)
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"A Rock Star Bucks a Coffee Shop" is a song recorded by Neil Young and Promise of the Real. It is a protest song aimed at Starbucks and Monsanto, and comes from The Monsanto Years, a concept album criticizing Monsanto. The song was released as a single in May 2015, the first from the album The Monsanto Years.[1][2] The song refers to the lawsuit by Monsanto against Vermont because of the state's attempt to pass a GMO labeling law. (Wikipedia)
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(Neil Young)

Neil Young – vocals, guitar
Lukas Nelson – guitar, backing vocals
Micah Nelson – electric guitar, electric charango, backing vocals
Anthony Logerfo – drums
Corey McCormick – bass guitar, backing vocals
Tato Melgar – percussion

Produced: Neil Young, John Hanlon
Engineered: Jeff Pinn
Recorded at: Teatro theater, Oxnard, California, USA, 2015
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VIDEO

The song considers environmental concerns using the form of a dream vision. The three verses move forward in time from the past, to the present, and, finally, the future. In addition to Young's vocals, two instruments are used in the song: a piano and a flugelhorn. (Wikipedia)
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(Neil Young)

Neil Young — lead vocals
Nils Lofgren — piano
Bill Peterson — flugelhorn

Produced: David Briggs
Engineered: ??
Recorded at: Mar 19, 1970
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