You can order the soundtrack CD here. More Info at csny-dejavu. July 18, This is the ONLY relevant study that unequivocally proves that the Genetic Modification, ITSELF, independent of Roundup, shocks the poor plant, which then goes into oxidative stress and depletes Glutathione, the most important anti-oxidant, and accumulates formaldehyde, a cancer causing chemical.

This shows that a GMO is not "substantially equivalent" to the non-GMO. I used to line up and get my latte everyday, but yesterday was my last one. Starbucks has teamed up with Monsanto to sue Vermont, and stop accurate food labeling.

Tell Starbucks to withdraw support for the lawsuit -- we have a right to know what we put in our mouths. Starbucks doesn't think you have the right to know what's in your coffee.

So it's teamed up with Monsanto to sue the small U. Hiding behind the shadowy "Grocery Manufacturers Association," Starbucks is supporting a lawsuit that's aiming to block a landmark law that requires genetically-modified ingredients be labeled.

Amazingly, it claims that the law is an assault on corporations' right to free speech. Monsanto might not care what we think -- but as a public-facing company, Starbucks does.

If we can generate enough attention, we can push Starbucks to withdraw its support for the lawsuit, and then pressure other companies to do the same. Vermont is a small, entirely rural state with justpeople. It's a classic David and Goliath fight between Vermont and Monsanto. Considering that Starbucks has been progressive on LGBT and labor issues in the past, it's disappointing that it is working with the biggest villain of them all, Monsanto.

There's much more at stake here than just whether GMO foods will be labeled in a single U. Vermont is the very first state in the U. Dozens of other states have said that they will follow this path -- in order to encourage this, we need to ensure that Vermont's law stands strong. That's why Monsanto and its new allies are fighting so hard to kill GMO labeling in Vermont.

But whatever you think of GMOs, corporations should not be using massive lawsuits to overturn legitimate, democratic decisions with strong public backing. SumOfUs is already fighting back -- they helped Vermont raise almost a quarter of a million dollars to defend themselves against Monsanto's bullying! Help them by going to SumOfUs and registering to donate or sign a petition. The next strategic step is to pressure and call out members of the Grocery Manufacturers Association, the shadowy body leading the lawsuit.

Your backing can help. Add your voice now. Tell Starbucks to stop supporting the lawsuit against Vermont. Now Neil Young and PonoMusic are continuing their crowdfunding momentum by launching an equity crowdfunding campaign exclusively on Crowdfunder. Neil and the team at PonoMusic are excited about democratizing the investment process of PonoMusic by giving their Kickstarter backers, and anyone who loves music, the opportunity to now invest and become an owner in Pono.

Click here for the full press release. More info at pegiyoung. Young joined the group of ranchers, farmers and indigenous leaders who have been camped out on the National Mall for nearly a week protesting the pipeline. Asked what had motivated him to join the protest, Young said: The rock icon and the Cowboy and Indian Alliance -- including leaders from Native American tribes like the Dene, Cree and Metis Peoples -- were joined by protesters from across the United States, as well as actress and avid environmentalist Daryl Hannah.

Rich Rusk, who hails from Athens, Georgia and wandered the protest grounds armed with his fly rod, said he came on behalf of fly fishermen. Rusk serves as the secretary for the Georgia Climate Change Coalition, which sent a delegation to join the chorus of environmental activists. As a group, fly fisherman come from a diverse range of political perspectives, Rusk acknowledged. The week-long encampment is expected to end Sunday with a traditional ceremony led by Tribal elders. Today, after a decade of increasing damage to Coke's balance sheet as global droughts dried up the water needed to produce its soda, the company has embraced the idea of climate change as an economically disruptive force.

Their position is at striking odds with the longstanding argument, advanced by the coal industry and others, that policies to curb carbon emissions are more economically harmful than the impact of climate change. The big car has a lot to say.

That is the future. Canada should be ashamed of the Alberta Tar Pits. I am 85 years old and us old people are having such a hard time today because this is not what we knew growing up. We used to drink the water straight from the streams and creeks, and now no one can do that. We don't know what is in the water now.

I eat very little of the food I grew up on, moose, caribou, fish We don't even eat the berries and medicines anymore because there is too much pollution in the air and the land. When I was growing up people just died of old age, now there are so many sicknesses that were never here before. Leading an innovation culture means living inside of chaos, while maintaining a focus on cardinal points; operating within demanding goals and financial requirements while remaining open to diverse and contradictory points of view; sometimes "losing your way to find your way.

And if you are looking for a good role model -- someone who best exemplifies all the traits of innovation leadership -- you need look no further than Neil Young. There are countless books, monographs, studies, articles and blogs addressing the issues of leadership and innovation, and more coming every day.

But Neil Young's recently released autobiography, Waging Heavy Peacemay serve as the best innovation case study out there. For those who study the "how" of innovation, and in particular the often mysterious challenge of leading innovation, Young's life story captures it all in one compelling read. Throughout his long and storied career, Neil Young has been a virtual factory of songs, musical innovation, ideas, inventions and a near-constant stream of new product. Lest we miss the obvious, his life and work would fit the most stringent definition of a successful business: And at the core of this lifetime of business success are two critical innovation principles consistently applied, day in and day out, in real time, in the real world.

First, and foremost, is Young's steady, constant leadership of his own innovation ecosystem. As with any authentic leader, his concern is not about himself, or what he creates, but with how his actions inspire, challenge and cause others to create. Simply stated, we cause innovation when we are more concerned about how others are "doing it better," than we are with ourselves. This is the confounding irony of leadership - that innovation requires both strong individual leadership and a powerful commitment to selflessness.

Individual leaders are more successful -- and more innovative -- to the degree their focus is on the success of others before their own. Second is the "virtual innovation ecosystem" that Young built around his music and restless inventing. Throughout his long and future! His is a world of learning by doing, of enhancing and celebrating diversity and building an environment of trust. The components of innovative systems -- diversity, trust, iterative experimentation, rapid failure, and so on- are well-known and well-studied.

These constitute the "whats" of innovation. Innovation leaders like Neil Young provide the "how" of innovation, the steady hand that supports diverse, inquisitive and adventurous communities through the messiness and chaos of innovation. What Neil Young gives us in Waging Heavy Peace is a compelling story about leading innovative people, and nurturing the various components of innovative systems into the proper mix. Any organization would do well to study this narrative and learn from it.

Selfless leadership, driven by a near-obsessive desire to create, will almost always lead to good things. And one of those things will be joy. Keep on rockin' in the free world. Henry Doss is a venture capitalist, student, musician and volunteer in higher education.

His firm, T2VC, builds startups and the ecosystems that grow them. His university, UNC Charlotte, is a leading research institution with a small college feel. His band, Amygdala Hijack, makes sounds. THE LAW OF THE SEA'S NEXT WAVE by David Miliband, Project-Syndicate. Perhaps those factors explain why, this week inwhen government delegations chose to sign the United Nations Convention on the Law of the Sea UNCLOSthe UK was not among them.

According to Donald Rumsfeld, Britain's then-prime minister, Margaret Thatcher, declared UNCLOS to be "nothing less than the international nationalization of roughly two-thirds of the Earth's surface.

Countries' rights to fish, minerals, and other resources were enshrined in law, with recourse to international adjudication should disputes arise. The right of free passage on the high seas was assured. Britain and other countries must now learn from, rather than repeat, the Thatcher government's mistake. We know that a resource crunch of unprecedented scale is coming. Non-oil commodity prices have risen precipitously in the last decade. The high seas can provide food, minerals, and novel resources for technology and medicine.

But the weaknesses of the current governance regime, epitomized by rampant illegal, unregulated, and unreported fishing, threaten to undermine the global security and sustainability to which well managed oceans can contribute.

Learn about Pono at mypono. Bruce Springsteen, Elvis Costello, Elton John, Pearl Jam, David Bowie, Metallica, Lou Reed, Brian Wilson, R. Late last week, Young unveiled the lineup for the iteration of his annual fundraiser and, as always, it's a doozy. The most interesting addition here is the inclusion, for the first time ever, of the recently revived hair metal powerhouse Guns N' Roses.

Less so because Axl Rose is actually out and about doing things, but because virtually all of the performances at Bridge School are acoustic. Although if Metallica could bring down the house with an all-acoustic set inanything's possible.

Founded by Young and his wife Pegi in the mids, the Bridge School is non-profit educational facility located in Hillsborough that works to help people with severe linguistic and physical impairments participate more fully in their communities. The concert will run on the weekend of October 20th and Tickets go on sale Friday, September AP - Country legend Willie Nelson is on board for this year's Railroad Revival Tour. He'll be joined by Jamey Johnson, Band of Horses and actor-musician John Reilly and Friends.

The train tour kicks off Oct. The artists will ride in vintage, s railcars. They'll perform in open air, pop-up concert venues in parks, fields and lots around the railroad tracks where they stop. Other stops include Memphis, Tenn. Tickets are on sale now. That's why I created a petition on SignOn. Stop the Monsanto Riders. Unless a citizen's army of farmers and consumers can stop them, Congress is likely to ram these dangerous riders through any day now.

Click here to add your name to this petitionand then pass it along to your friends. The petition was created on SignOn. WOODY GUTHRIE AT THE RETURN OF A PARIAH Woody Guthrie was shunned by his home state. Now Oklahoma can finally embrace the singer-songwriter's work. A few blocks away there are streets full of empty buildings, signs that the oil boom of the past decade is long past.

Tulsa sure could do with some regeneration. Woody Guthrie was born not far from here years ago, and as people all over the world celebrate his life and work this weekend, Oklahoma has still to come to terms with the legacy of its wayward son. In this conservative midwest state, Woody's work is still viewed through the prism of the McCarthy era, when the state department accused folk singers of "un-American activities.

It's what his followers did in the 60s that made Woody a pariah in his home state. For Woody was the original singer-songwriter, the first to use his voice not just to entertain, but to ask why people should remain dirt poor in a country as rich as the US. It was Woody's words that prompted the young Robert Zimmerman to leave his home in the Iron Range of Minnesota and head for New York. Changing his name to Bob Dylan and singing as if he came from the red dirt of Oklahoma, he inspired a generation of articulate young Americans to unleash a torrent of criticism against the complacency of their unequal society.

The fact that Woody was a hero to that generation of long-haired freaks ensured that he and his songs would remain largely unsung in Oklahoma. In the s Woody's daughter, Nora Guthrie, began a labour of love, gathering up all her father's papers and creating the Woody Guthrie Archive in New York City. The man who emerged from the countless boxes of songs, prose and drawings was a much more complex figure than the Dust Bowl balladeer of legend.

Farm Aid has a rich history in Pennsylvania. Farm Aid has long collaborated with and supported organizations and organizers in our state who are growing the Good Food Movement, including innovators at the forefront of the organic and the Buy Fresh Buy Local movements.

RELEASE SCHEDULE FOR "JOURNEYS" ANNOUNCED SEE SCHEDULE HERE. This needs to change fast, because our oceans are dying. On the Bluray you can hear all of the nuances of the CrazyHorse sound exactly as recorded by John Hanlon at Audio Casablanca Studio. If you want the best, now you have a choice. The Americana Bluray also contains 12 videos of the Americana songs, with an alternate version of "Clementine," plus documentary footage of the Americana choir as it was being recorded at East West Studios in LA.

Get the Bluray "Americana" here. The only other place to get the quality audio is the vinyl Americana, which originates from the original audio masters. Click here to see the Audio Casablanca studio as it plays back "Horseback," although you will not be hearing the audio quality on this lo res MP3 stream.

AMERICANA is collection of classic, American folk songs. In their day, some of these may have been referred to as "protest songs", "murder ballads", or campfire-type songs passed down with universal, relatable tales for everyman. Stay tuned to hear the first song soon, and info on how to pre-order Americana! And check out the tracklisting! The group played a cover of The Beatles' classic "I Saw Her Standing There" during a MusiCares Gala honoring Sir. Paul McCartney on Friday night.

The gala took place at Los Angeles' Los Angeles Convention Center on Friday night as part of a series of pre-Grammy events. Young and Crazy Horse--which features Frank Sampedro, Billy Talbot and Ralph Molina--have not shared the stage since March 21, Young and Crazy Horse are currently working on two new studio projects, including an album of re-imagined children's songs.

Young announced the group's return during Sundance in January and wet fans' appetite by releasing a jammy rehearsal video a few weeks ago.

PAUL MCCARTNEY GETS HIS STAR ON HOLLY- WOOD WALK OF FAME by Randy Lewis, Los Angeles Times, February 9, There's no shortage of stars, real and imagined, visible along Hollywood's Walk of Fame, but even by Tinseltown standards, Paul McCartney ramped up the quotient Thursday in getting his own belated star. The former Beatle drew several hundred fans who packed a cordoned-off section of Vine Street outside Capitol Records for the ceremony.

He brought several Rock and Roll Hall of Fame member pals along for the ride, including Neil Young, who gave McCartney a cheery introduction, Eagles guitarist Joe Walsh and pop music power couple Elvis Costello and Diana Krall. McCartney's wife, Nancy, and son, James, also attended the ceremony. Not only was he playing differently because he plays left-handed, he played notes that no one had put together before -- in a way that made us stand in awe of this great musician.

He has an ability to put melodies and feelings and chords together, but it's the soul that he puts into everything he does that makes me feel so good and so happy to be here. Always the Beatle most attuned to business matters, he closed his succinct speech by telling fans and others "around the world that I send you all hugs and kisses on the bottom. After the star ceremony, he was slated to do a live performance in one of Capitol's recording studios to be streamed live at 7 tonight on iTunes and Apple TV.

On Friday, he's the guest of honor at the Recording Academy's annual MusiCares Person of the Year all-star tribute gala and fundraiser. And Sunday, he's on tap to perform during the Grammy Awards telecast.

Many fans who showed up in Hollywood brought various bits of memorabilia in hopes of snagging an autograph: One teenage girl had a worn LP copy of his first solo album, 's "McCartney.

Pepper's Lonely Hearts Club Band," books, photos and a plethora of other items. On his way back into the Capitol building, McCartney spotted Fullerton year-old Paul Madariaga holding up a Hofner bass guitar like the one McCartney first popularized nearly half a century ago when he was just out of his teens. McCartney gave a nod and the instrument was handed to him.

The world's most famous bassist hoisted it aloft, as he often does at the end of his concerts, scribbled his name across the front with a hastily supplied Sharpie and passed it back to Madariaga.

Score one for the kid. AM IN TOKYO Kyodo News, December 15, Veteran rocker Neil Young speaks during an event at the U.

Ambassador's Residence in Tokyo on Dec. The initiative named "Tomodachi" friends was forged to support companies and people affected by the disaster through cultural exchange and other events in cooperation with private firms. NEIL YOUNG AT THE SWU FESTIVAL November 7, Just a one-hour flight from Rio, Sao Paulo is a fast-paced, cosmopolitan megalopolis and Brazil's cultural center with a lively music and arts scene.

The SWU festival also focuses on a sustainability theme throughout the event. Appearing for a speaking engagement is Canadian Rock Icon and Forward Thinker, Neil Young. The 2nd Global Forum on Sustainability brings together 26 speakers for three days of discussions on environmental, social and economic sustainability.

In addition to Mr. Young, the list of speakers includes names such as the musician Bob Geldof creator of Live Aidthe Nobel Prize for Peace Rigoberta Menchu, the former Presidential candidate Marina Silva and actress Daryl Hannah of the films "Splash" and "Kill Bill".

Festival attendees will also have the opportunity to watch a special screening of the new concert film by Jonathan Demme, "Neil Young Journeys. Click here for more information. U2 OPENS FOR NEIL September 10, U2's documentary "From The Sky Down" opened this weekend at the Toronto Film Festival, just before the screening of "Neil Young Journeys. The Blu-Ray version is available exclusively from Amazon.

See video and more here. The inevitable graphic novel arrives in bookstores Wednesday, viralizing the War on Terra for comics geeks and new adopters. Young's epic rock opera, recorded with his long-time collaborators in Crazy Horse, conjured dark pictures of a rural community torn apart by oil wars and dumb media.

Chiang's subdued, surreal art delivers an arresting visual dimension to the rock legend's spiral narrative that's as whimsical as it is fearsome. We're a hypervisual animal, and you don't need anything to receive the message in a comic but functioning eyes. Much of the medium is stuck in a spandex ghetto. But that's largely due to the limited perception the American consumer has of comics.

The truth is we are limited only by our readership, not by our ability as a medium. Young's die-hard fans can probably spot the rock legend's avatar elsewhere in the comic. They've admired both his views and his music, and been chiefly impressed by the songwriter's willingness to express both with compelling conviction. In an increasingly turbulent new millennium -- where even legendarily apolitical bands like the Pixies are being called "cultural terrorists" for canceling a tour stop in Israel, while traditionally hyperpolitical bands like Rage Against the Machine are launching sonic strikes at Arizona -- rocktivist lifers like Young are beacons in a mind-numbing popscape.

To ask him to be something different would be asking a bird to take a bus south for the winter. But his work speaks to the humanist arc. First and foremost, his songs are about the politics of being human. March 26 info Vancity, Vancouver: March 26 info Cinematheque Winnipeg: March 26 info Plaza Cinema, Calgary: April info Monarch Theatre, Medicine Hat: April info Princess Cinema, Waterloo: April info Broadway Theatre, Saskatoon: April info Mayfair, Ottawa: April info Cinecenta, Victoria: DREAMIN' MAN NYAPS 12 DREAMIN' MAN, Neil Young Archives Performance Series 12, available now, 17 years after the original release of Harvest Moon.

A closer look at Harvest Moon songs, all performed solo acoustic before the release of Harvest Moon, DREAMIN' MAN contains intimate live performances recorded in concert halls during The cause was complications of pneumonia, the Gibson Guitar Corporation and his family announced. Paul was a remarkable musician as well as a tireless tinkerer. He played guitar alongside leading prewar jazz and pop musicians from Louis Armstrong to Bing Crosby.

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In the s he began experimenting with guitar amplification, and by he had built what was probably the first solid-body electric guitar, although there are other claimants. With his guitar and the vocals of his wife, Mary Ford, he used overdubbing, multitrack recording and new electronic effects to create a string of hits in the s.

Paul's style encompassed the twang of country music, the harmonic richness of jazz and, later, the bite of rock 'n' roll. For all his technological impact, though, he remained a down-home performer whose main goal, he often said, was to make people happy.

Paul, whose original name was Lester William Polsfuss, was born on June 9,in Waukesha, Wis. His childhood piano teacher wrote to his mother, "Your boy, Lester, will never learn music.

In Chicago he performed for radio broadcasts on WLS and led the house band at WJJD; he billed himself as the Wizard of Waukesha, Hot Rod Red and Rhubarb Red. His interest in gadgets came early. At the age of 10 he devised a harmonica holder from a coat hanger.

Soon afterward he made his first amplified guitar by opening the back of a Sears acoustic model and inserting, behind the strings, the pickup from a dismantled Victrola. With the record player on, the acoustic guitar became an electric one. Later, he built his own pickup from ham radio earphone parts and assembled a recording machine using a Cadillac flywheel and the belt from a dentist's drill. From country music Mr. Paul moved into jazz, influenced by players like Django Reinhardt and Eddie Lang, who were using amplified hollow-body guitars to play hornlike single-note solo lines.

He formed the Les Paul Trio in and moved to New York, where he was heard regularly on Fred Waring's radio show from to In or -- the exact date is unknown --Mr. Paul made his guitar breakthrough. Seeking to create electronically sustained notes on the guitar, he attached strings and two pickups to a wooden board with a guitar neck.

The odd-looking instrument drew derision when he first played it in public, so he hid the works inside a conventional-looking guitar. But the log was a conceptual turning point. With no acoustic resonance of its own, it was designed to generate an electronic signal that could be amplified and processed -- the beginning of a sonic transformation of the world's music. Paul was drafted in and worked in California for the Armed Forces Radio Service, accompanying Rudy Vallee, Kate Smith and others.

When he was discharged inhe was hired as a staff musician for NBC radio in Los Angeles. His trio toured with the Andrews Sisters and backed Nat King Cole and Bing Crosby, with whom he recorded the hit "It's Been a Long, Long Time" in Paul to build his own recording studio, and so he did, in his garage in Los Angeles.

There he experimented with recording techniques, using them to create not realistic replicas of a performance but electronically enhanced fabrications. Toying with his mother's old Victrola had shown him that changing the speed of a recording could alter both pitch and timbre.

He could record at half-speed and replay the results at normal speed, creating the illusion of superhuman agility. He altered instrumental textures through microphone positioning and reverberation. Technology and studio effects, he realized, were instruments themselves. He also noticed that by playing along with previous recordings, he could become a one-man ensemble.

As early as his hit "Lover," he made elaborate, multilayered recordings, using two acetate disc machines, which demanded that each layer of music be captured in a single take.

From discs he moved to magnetic tape, and in the late s he built the first eight-track multitrack recorder. Each track could be recorded and altered separately, without affecting the others. The machine ushered in the modern recording era.

Paul teamed up with Colleen Summers, who had been singing with Gene Autry's band. He changed her name to Mary Ford, a name found in a telephone book. They were touring in when Mr. Paul's car skidded off an icy bridge. Among his many injuries, his right elbow was shattered; once set, it would be immovable for life. Paul had it set at an angle, slightly less than 90 degrees, so that he could continue to play guitar.

Paul, whose first marriage, to Virginia, had ended in divorce, married Ms. They had a television show, "Les Paul and Mary Ford at Home," which was broadcast from their living room until They began recording together, mixing multiple layers of Ms. Ford's vocals with Mr. Paul's guitars and effects, and the dizzying results became hits in the early s. Among their more than three dozen hits, "Mockingbird Hill," "How High the Moon" and "The World Is Waiting for the Sunrise" in and "Vaya Con Dios" in were million-sellers.

Some of their music was recorded with microphones hanging in various rooms of the house, including one over the kitchen sink, so that Ms. Ford could record vocals while washing dishes. Paul also recorded instrumentals on his own, including the hits "Whispering," "Tiger Rag" and "Meet Mister Callaghan" in and The Gibson company hired Mr.

Paul to design a Les Paul model guitar in the early s, and variations of the first model have sold steadily ever since, accounting at one point for half of the privately held company's total sales. Paul's patented pickups, his design is prized for its clarity and sustained tone. It has been used by musicians like Led Zeppelin's Jimmy Page and Slash of Guns N' Roses.

The Les Paul Standard version is unchanged sincethe company says. In the mids, Mr. Ford moved to a house in Mahwah, N. Paul eventually installed both film and recording studios and amassed a collection of hundreds of guitars. The couple's string of hits ended inand they were divorced in Ford died in Paul is survived by three sons, Lester Rus G. Paul and Robert Bobby R. Paul; a daughter, Colleen Wess; his companion, Arlene Palmer; five grandchildren; and five great-grandchildren.

Paul underwent surgery for a broken eardrum, and he began suffering from arthritis in Through the s he concentrated on designing guitars for Gibson. He invented and patented various pickups and transducers, as well as devices like the Les Paulverizer, an echo-repeat device, which he introduced in In the late s he made two albums with the dean of country guitarists, Chet Atkins.

Paul underwent a quintuple-bypass heart operation. After recuperating, he returned to performing, though the progress of his arthritis forced him to relearn the guitar.

In he started to play weekly performances at Fat Tuesday's, an intimate Manhattan jazz club. He performed there until early June; guest stars have been appearing with his trio since then and will continue to do so indefinitely, a spokesman for the club said. At his shows he used one of his own customized guitars, which included a microphone on a gooseneck pointing toward his mouth so that he could talk through the guitar.

In his sets he would mix reminiscences, wisecracks and comments with versions of jazz standards. Guests -- famous and unknown -- showed up to pay homage or test themselves against him. Despite paralysis in some fingers on both hands, he retained some of his remarkable speed and fluency. Paul also performed regularly at jazz festivals through the s.

He recorded a final album, "American Made, World Played" Capitolto celebrate his 90th birthday in It featured guest appearances by Eric Clapton, Keith Richards, Jeff Beck, Sting, Joe Perry of Aerosmith and Billy Gibbons of ZZ Top. The album brought him two Grammy Awards: He had already won recognition from the Grammy trustees for technical achievements and another performance Grammy infor the album "Chester and Lester," made with Chet Atkins. In recent years, he said he was working on another major invention but would not reveal what it was.

I had no choice, really. By Scoop Asphalt The Video premiere of GET AROUND, featuring ALL the music of "Fork in the Road" will be available at This long-form video runs 43 minutes and was shot on a Texas Highway between La Grange and Austin shortly before "South By Southwest" extravaganza began in Austin.

GET AROUND will not be available anywhere else because of its long running time exceeding the capabilities of most major outlets. The long form video also will be available with High Definition Sound as part of a new Blu-Ray currently in post-production at Shakey Pictures. The new GET AROUND Blu-Ray includes all of the videos made for Fork. Shakey Pictures hopes you enjoy taking a ride in Lincvolt with Neil as he sings the entire "Fork in the Road" album plus the additional bonus track, "Get Around.

Following the full-throttle activism of his previous album, Living With War Young's indictment of the U. Like Living With Warthere are plenty of guitars a-janglin' and a proper dose of finger-waggin'; but Fork In The Road is more interested in focusing on the joy that is our love affair with cars, Young's own passion that led to the creation of LincVolt technology that converts gas guzzlers into bio-mobiles.

The album comes fully-loaded with "car" metaphors and allegories just like this paragraphbut it's a fun ride for Young's usual passengers as well as anyone just checking out what's under the hood. First off, "When Worlds Collide" shows us the path we've traveled, where "wrong is right," "truth is fiction," and how "strange things happen when worlds collide.

Among the retro, garage rock 'n' roll and bluesy rockers embedded here, Young offers catchy chants such as "Cough Up The Bucks"'s repeated title that plays off its main theme, "Where did all the money go? Where did all the cash flow? Where did all the revenues stream? In NovemberYoung told the San Francisco Chronicle's Al Saracevic, "All we're doing is showing that you can run a car like this at miles per gallon or more," and "Johnny Magic" expands that intention to widescreen proportions as Young travels to Washington and, Mr.

Smith-style, takes Congress on a ride in his "Heavy Metal Continental. Fork In The Road's more sensitive tracks use their slower tempos and reduced production thump to bring home philosophies like, "You know that the end is not in sight It was produced by the artist and Niko Bolas alias "The Volume Dealers"and it was recorded in NYC's Legacy Studios and London's famous RAK Studios.

Neil Young's sense of humor shines in scattered lines throughout as well as on all of the album's associated videosbut, weirdly, Fork In The Road's title track is as serious as it is goofy.

Its well-conceived randomness breaks into one of the album's most memorable sing-a-longs: The track's most commendable "thank God someone's saying that" moment and probably iTunes' least favorite is when Young offers up the ugly truth about online sound quality: Many will appreciate Fork In The Road's altruism, and it would be refreshing if Neil Young disciples such as the musically prolific Matthew Sweet dedicated whole projects to the causes of their hearts.

However, many will feel that this album is just a mile-marker along Young's journey to his next epiphany. Well, now Young is no longer merely dreaming about those silver spaceships After living with war for years, with the effects of global warming becoming more apparent, and feeling the consequences of funding every consumer and Wall Street whim, we finally are experiencing some of those scary forecasts that now place our future in that proverbial fork in the road.

All Neil Young wants is for us to choose our path wisely and drive down it efficiently. The rock star and movie maker is behind a project called Linc Volt, a means of transforming the classic American gas guzzling cars of the 50s and 60s into fuel-efficient automobiles.

Johnson, the head of Young's Shakey Pictures, spent the last week in Adelaide in South Australia working with Uli Kruger, one of the scientists involved in the development of the project. Kruger is a researcher in the field of thermodynamics and holds several patents in the field of efficiency enhancement technologies for Diesel engines. Young and motor mechanic Jonathan Goodwin have been working on the reconstruction of the engine of a Lincoln Continental Mk IV convertible in the USA and have converted its original engine into a new series-hybrid system.

The car has gone from getting 9 miles to the gallon to now achieving around miles to the gallon. Lincvolt has reached up to 60 mpg with CNG as a primary fuel. The goal is most efficient cleanest burn of a domestic fuel to power a generator charging batteries on the go.

Once the project is complete, it will be possible for what is affectionately now as "The Yank Tank" to achieve better mileage that a Toyota Corolla. Johnson runs Shakey Pictures and is producing a documentary of the Linc Volt. He was also the producer of the current Shakey Pictures movie 'Crosby, Stills, Nash and Young: Deja vu', filmed during the Freedom of Speech tour. The movie is not a concert movie, instead it is an in-your-face protest at the madness of the Bush regime told as only David Crosby, Stephen Stills, Graham Nash and Neil Young can tell.

Johnson says he understands why it is still up to the Neil Young's of the world to be political with music. The government has become clever in realising that by eliminating the draft, they can eliminate the protest but despite that we have had more than artists submit songs to the Living With War website," he says. He points out that Pink's 'Dear Mr President' has been one of the most powerful protest songs of the current generation.

Johnson is also working on Young's much talked about Archive project. When we started it, we did not know what that quality would be but we now know it is Blu-Ray". The collection will also be available on DVD. The Archive will include everything Neil Young has ever made, including movies.

The first part of the Neil Young Archive will be released later this year. Young has teamed up with Johnathan Goodwin, a Wichita mechanic who has developed a national reputation for re-engineering the power units of big cars to get more horsepower but use less fuel. The two are looking to convert Young's Lincoln Continental convertible to operate on an electric battery.

Ultimately, they said, they want the Continental to provide a model for the world's first affordable mass-produced electric-powered automobile. What's more, the prototype power system worked during a mile test drive of the car last week -- albeit with a few glitches. Young, in the passenger seat, was able to hit the brakes in time. Young, 62, said he came across taped interviews of Goodwin eight months ago on the Internet, including a segment for the MTV show "Pimp My Ride.

Arnold Schwarzenegger, who had Goodwin work on his Hummer. Young said he set out wanting his car to be able to use biodiesel, but later asked Goodwin whether they could instead power it with batteries and use it as a template to make electric cars more mainstream.

Oh, you can inspire a few people, get some of them to change their thinking about something. But you can't change the world by writing songs. Deja Vu," is expected to be released July 25 in the US, according to a press release. The documentary was filmed during Crosby, Stills, Nash and Young's "Freedom of Speech " tour of North America.

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The tour featured music from Young's controversial "Living With War" CD--an album of protest songs written as a rebuke of President George W. Bush and the wars in Iraq and Afghanistan. Songs from the controversial album are woven together on the new film with archival material, news footage, audience reactions and observations of the issues surrounding the integration of politics and art, according to a statement. A distribution deal is in the works that will make the film available on the big screen simultaneously with a video-on-demand release.

In addition, Netflix will air the film on the "Watch Instantly" streaming service the same day. The band's label is expected to release a DVD version in the fall--prior to the presidential elections. HDNet is expected to air the film the day the DVD is released. The feature, directed by Neil Young, chronicles the rock group's Freedom of Speech tour in support of Young's "Living in War" album. The anti-Iraq War theme and songs like "Let's Impeach the President" increasingly polarized audiences as the band traveled through the U.

Interviews with soldiers and others affected by the war are intercut with the concert footage. When the film premiered in January at the Sundance Film Festival, the band members expressed a desire to release it before the November elections in order to encourage debate.

The proposed deal would certainly get it seen. In July, Roadside will release it theatrically in 15 cities, with Lionsgate handling a simultaneous nationwide video-on-demand release and, via potential partner Netflix, streaming video.

The DVD will be released shortly before the elections through the band's label, Reprise, with HDNet in talks to air the film on the same date. Fortissimo already has sold the film to Australia, Europe, Israel, Japan and Latin America. Cinetic is handling North American sales. Neil Young's "This Note's for You" was denied play on the network due to a fear of offending valuable advertisers.

No nudity, no blood, no graphic drug use--just ad parodies. Did mark the end of our innocence? Image from the video CHROME DREAMS by Jef Michael Piehler, sidestreetrecords. As November, and then December came and went, Neil fans and retailers were left wonderin' if rumours of a drug overdose were true, and if so, would Reprise cancel the dicey 3LP set and release an easy-money greatest hits "memorial album"? Neil would prove the rumors false 6 months later by finally releasing a new album -but to the shock of retailers, it would only be single LP titled "American stars 'n bars," instead of the highly anticipated "Best of" 3LP they were expecting.

Unlike the unreleased "Homegrown"LP, very little was known about any "Chrome Dreams" LP. First mentioned in the Sept. Out of the blue, reports from Germany in July claimed that the acetate of the legendary album had surfaced. Initial "proof" came by way of xeroxed "test pressing data sheet" which provided more information about "Chrome Dreams" than anyone had ever imagined. Photos of the labels proved that the acetate really did exist, and we all assumed that it was just a matter of time before a bootleg CD would appear so we could finally hear this thing.

Authenticity of the "album" remained a subject for debate until some months later when I acquired the actual acetate. It's a bit noisier than the CD, but it sure sounds better. Most-importantly, whatever this "album" was supposed to be called, this acetate is positively legitimate, as described in this article and of immeasurable historical importance, period. Made up mostly of songs recorded between September ' November at Indigo Studios - Malibu Canyon, CA, the album starts off with an "alternate" version of "Pocahontas.

Side 1 ends with a studio version of "Too Far Gone. In fact, the tempo is so similar that this take is only 10 seconds shorter than the released version! Side two opens with an alternate version of "Hold Back The Tears," which was apparently recorded around the same date as"Too Far Gone.

The guitars are pushed way up-front and have a "crisp distorted" sound. Often bootlegged, but just another famous unreleased song until 's "unplugged" album. This song was performed often during the U. An AMAZING example of TEXTBOOK "NEILYOUNG WITH CRAZY HORSE" follows with the STUDIO VERSION of "Sedan Delivery" that makes the "Rust" version sound like an "Old Ways" out-take!

It's a matter of personal opinion, but for me, the next track is the highlight of the album: Even so, it'd be hard to find a better closing track to this set than"Look Out For My Love. Had it been released, "Chrome Dreams" might have stood today as one of Neil Young's best records ever.

As near-perfect as unilever stock ticker symbol Dreams" might seem, it's release would've created un-fillable holes in other near-perfect albums like "American stars 'n bars," "Comes A Time" and "Rust Never Sleeps. WINNER DECLARED IN JOHNNY MAGIC CONTEST Liza Piontek's version of "Johnny Magic" picked as top Make-Your-Own Video after a week of voting.

See more results and all the videos here. WARNER REPRISE FAMILY PENALIZED FOR BEING EARLY By Neil Young, Reprise recording artist Warner Reprise records was one of the very first to embrace You Tube. You Tube was in its fledgling stages when Warner made an early deal to work with them. Today, other labels have made more lucrative deals for their artists at You Tube. So You Tube is the new radio Radio used to introduce music to the masses and was crucial to every new release, with identical compensation for every artist and label.

Since You Tube has given some labels better deals that others, the Media Giant is treating artists unequally, depending on which label they are on.

Today's web world has created a new way. Artists today can go directly to the people. There is nothing standing between the artists and their audience. Freedom of expression reigns. People today feel that they should be able to get all the music and art that they want, from the artists who they appreciate.

When that conduit is broken, the connection is weakened. If all artists were compensated equally, and the people decided who had the hits and misses by virtue of number of downloads and plays, there could be no grounds for disagreement that would cat stock quote marketwatch the facilitator of exercising non qualified stock options tax art to break the conduit between an artist and an audience.

That is what has happened to Warner Bros artists caught in You Tube's web. You Tube has a responsibility to respect the artists it facilitates and resist punishing them to make a bill gates income per second in rupees point.

It is time for industry wide standards of artist's compensation on the web. Reprise and Warner Bros yougov make money deserve what artists from other labels are getting. Let the people decide what constitutes success. Warner Bros and Reprise are looking for a level playing field. Until they get one, these problems may not go away.

That is the essence of the issue between Warner Bros Reprise and You Tube. Or species, to be exact. Jason Bond, an ECU professor of biology, has named a newly discovered trapdoor spider, Myrmekiaphila neilyoungi, after standard bank historical foreign exchange rates legendary rock star.

With regards to Neil Young, I really enjoy his music and have had a great appreciation of him as an activist for peace and justice.

Platnick, curator at the American Museum of Natural History in New York, on the genus. He is both a spider systematist - someone who studies organisms and how they are classified - and taxonomist - someone who classifies new species.

Spiders in the trapdoor genus are distinguished on the basis of differences in genitalia, Bond said, from one species to the next. He confirmed through the spider's DNA that the Myrmekiaphila neilyoungi is an identifiable, separate species of spider within the trapdoor genus.

CRAZY HORSE "TOAST" NY Times InCrazy Horse was in San Francisco, south of Market street, at an old studio called "Toast. The Dot Com boom was stock market seminars in toronto and buildings were being bought and turned into lofts or torn down completely and rebuilt.

New money was everywhere.

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Toast was a target. The place was a little run down and sort of on its last legs. To a man, if you asked Crazy Horse about these sessions, you would learn that it was a depressing atmosphere and things were not going well. The band recorded there for months and came up with very little. Nothing, other forex foto kwaliteit one song, "Goin' Home" was ever finished. But a lot was started. Several of the songs written at Toast showed up on the "Are You Passionate" album with Booker T.

But that shree renuka sugar share price target met with mixed reaction. Now, years later, John Hanlon, the original co-producer with Neil, is at work mixing all of the Toast material. Many songs share a bluesy, jazz-tinged vibe as a common thread.

Three solid rockers are interspersed in the mix. Other songs are long with extensive explorations between verses, a Crazy Horse trademark, kind of like a down-played Tonight's the Night, myronn trendline trading strategy these songs deal directly with love and loss, not drugs.

The ambient atmosphere, foggy, blue and desolate, pervades many of the tracks, if not all, with Tommy Brea's muted trumpet and dusky male and female counter-part BGs occasionally surfacing from Poncho and Ralph on one side, Nancy Hall and Pegi Young on the other. A cool and sleepy lounge piano rises in the fog occasionally. The result of this is perhaps one of the most under-estimated and deceptive Crazy Horse records of all time, with many songs originally discarded, and then re-recorded with Booker T.

The original performances now surface again through a foggy past. Like an abstract painting, lyrical images of a love lost and maybe even destroyed forever just refuse to die, creating a landscape littered with half-broken dreams and promises. This first NYA "Special Edition" is the beginning of a new series of unreleased albums. Rebuilt director's cut edit from original sources.

Sound rebuilt jens on stock options restored from original sources, 5.

It's not because of the small investment options in bangalore, although my share like all the other artists was dramatically reduced by bad deals made without my consent.

It's about sound quality. I don't need my music to be devalued by the worst quality in the history of broadcasting or any other form of distribution. I don't feel right allowing this to be sold to my fans. It's bad for my music. For me, It's about making and distributing music people can really hear and feel.

I stand for that. When the quality is back, I'll give it another look. Thanks to all of you who have purchased them. These songs were written during a period of profound change in my life. Everything I want to share is there. First, I recorded the songs at Capitol Records with my old friends Niko Bolas and Al Schmitt. I sang them alone with only the instruments I desired to use. There was no over dubbing or enhancing. The resulting music is from my heart, directly to you.

Then, I entered the hallowed MGM sound stage where "The Wizard of Oz" soundtrack was recorded. Surrounded by the finest musicians in Hollywood, with arrangements and orchestrations by Christ Walden and Michael Bearden, I sang seven of the Storytone songs live for the second time. I sang into Barbara Streisand's microphone, a perfectly cared-for antique with a wonderful tone that I loved.

I also went to Sunset Boulevard to record the remaining three songs with a big band in an old Hollywood studio rebuilt and now known as East West. All the performances are live with no added effects or recording. I just stood singing into the microphone with occasional harmonica notes blown in between verses, while the musician's played. Sometimes there were 92 musicians singing and playing live with me.

It was a thrilling experience, both for the freedom of not playing an instrument while I sang, and for the beauty of being in the same room and listening as the music was created.

I will never forget it. The resulting two records are combined into a deluxe two record set. An orchestra only record is also available at limited outlets, mostly so the devisenhandel forex is available in large chain stores that dictate what shape art must be in before they sell it, kind of a sign of the times.

This has been a complex experience, and as sometimes is the case, I have had trouble letting go. The solo versions have all the intimacy and the orchestrated versions have the beauty and depth that these songs cried out for. Mixed Pages of Storytonea new single special release album, is the result of a journey through these songs and feelings, capturing the best of both worlds, combining them, with the roughness and friction of the meeting points rubbing together.

Mixed Pages of Storytone. Available now in Pono, Reprise Vinyl, and Itunes. With over sixty of the music industry's finest musicians and a thirty-voice choir, this epic version resonates with a sound that has never been heard on a protest song before. Neil Young and all of these ninety musicians and singers recorded the song live together with no overdubs. Arrangement is by Christopher Walden. Corporations strangle option strategy diagram usurped democracy by using their vast wealth to influence politics and silence the citizen voice in government.

All natural living systems are in rapid decline, pushing the human race ever closer to extinction. Despite enacted environmental protections, global corporations have recklessly abused the four natural resources that we rely on for life air, soil, fresh water and oceans as an open sewer for their toxic wastes with blatant disregard for humankind. Neither the environmental crisis nor the many other social and economic crises we face can be addressed until democracy is restored and this cycle of corruption is broken by corporate money options futures and other derivatives hull ebook removed from politics.

This is how I feel about what is going on in OUR world. You can learn here. Friends, on my last tour of Europe, I started to give our music loving audience free organic cotton t-shirts as a way to show that we appreciate you. Your shirts' cotton is grown in the most earth friendly way. Isn't it the best cotton you have ever felt? Today, I have taken the steps to remove work from home jobs beckley wv of non-organic t-shirts and other products that damage the Earth from my concerts and my web stores.

Most cotton is heavily processed using additional resources for stripping, waxing, bleaching, dying and softening 2, liters of water is used to grow the cotton for just 1 t-shirt!!! That's enough water for 1 person to drink for days or enough water to flush your non low flow toilet times! Click here to watch the video. NEIL YOUNG SPEAKS TO THE NATIONAL FARMERS UNION September 16, Neil Young spoke to the National Absa forex trading account Union in Washington D.

TOUR DATES CANCELLED August 8, For immediate release: Due to an accident involving Crazy Horse, the remaining dates on the Neil Young and Crazy Horse tour of Europe and the British isles have been cancelled. We are sorry for any inconvenience this causes to our fans or the Festivals where we were scheduled to appear. As you must be, we too are disappointed at this unfortunate turn of events. The following is a musician's account of hearing PONO: As a choral singer with the San Diego Master Chorale, I have had the opportunity to perform with the San Diego Symphony several times each year - an ultimate surround sound experience.

As Stock market blue chips philippines sing my part or listen during orchestral interludes I am able to hear the purity of tone of each individual instrument, as well as the overtones of the orchestra that give such richness to the sound.

In addition, we frequently perform in acoustically alive venues such as Saint Paul's Episcopal Cathedral, where the precision of such works as the Bach B Minor Mass and his Christmas Oratorio are enriched with the reverberation of the acoustics of the cathedral. I have never experienced this quality of sound in a home setting - not even close. However, last night, using the Pono player and Audeze headphones, I listened to Roberta Flack singing Killing Me Softly and was amazed by the purity and fullness of the sound.

Her voice was rich and sonorous and at the same time the instrumental background allowed the overtones to come through, along with just enough reverberation. Get the latest news at MyPono. Get updates on the trip across the USA, the movie, and the forex companies in us technology behind this super clean car.

It's time for "Neil Young: The result is Jonathan Demme's "Neil Young: Journeys", a documentary that not only showcases the concert but also intersperses it with Young's musings from the road trip making for a personal, retrospective look into the heart of the man that is Neil Young. Things have changed, yet they stay the same. Alchemylike Rust and Weldfinds the boys at another stage of life's journey. Time has taken its toll, yet the spirit seems unstoppable. It was recorded right after Americana at Audio Casa Blanca.

A double-CD and triple-vinyl will be released because of the lengths of many of the songs, some of which were previewed in Crazy Horse's live performances earlier this month. In the spirit of Americana's release, full length videos for each of the songs will be available and previewed.

The low resolution iTunes downloads will also be accompanied by videos. Born In Ontario Disc 2 1. She's Always Dancing 3. For The Love Of Man 4. Walk Like A Giant 5. Young and Crazy Horse haven't performed a full concert together since their Greendale tour wrapped in March of Go to the Tour page to see the concert schedule.

Bracing For Impact features Pegi and her acclaimed recording and touring band, The Survivors: This album was produced by Pegi Young and The Survivors, with stock options as a form of compensation for american executives exception of the final track, "Song For A Baby Girl," produced by Elliot Mazer.

Eight of the album's eleven songs are originals written by Pegi, with highlights including, "Flatline Mama" featuring a horn section and background vocals by The Watson Twins as well as "No Heart Beat Sound" and "Trouble In A Bottle.

Neil is also spotlighted on electric guitar during "Lie" and "Song For A Baby Girl. Bracing For Impact is available now on CD and vinyl at Amazon. By Rob Nelson, Variety, September 15, A Shakey Pictures, Clinica Estetico production, in association with SalesForce Films. Produced by Jonathan Demme, Elliot Rabinowitz. Executive producers, Marc Benioff, Bernard Shakey. Directed by Jonathan Demme. Neil Young, Bob Young, Ben Young. In "Neil Young Journeys," there's more to the picture than meets the eye -- namely the sound, whose unique digital presentation at twice the normal sampling rate brings the titular folk rocker's recorded riffs much closer to those in live performance.

Otherwise largely redundant, typically well made and entirely welcome, Jonathan Demme's third concert film of Young captures the how do i purchase green bay packers shares May solo gig at Toronto's Massey Hall with less editing than before, as befits the four-month rush from production to premiere.

Theatrical markets may not treasure another Young docu within five years, but DVD sales should sing. Split between new and old tunes, not counting funny interstitial scenes of Young driving to the show from his hometown of Omemee, Ontario, "Journeys" gets so close to the sixtysomething guitar god that he actually leaves dribble on the lens, resulting in a mild dose of cinematic psychedelia.

The music seems even trippier at least in Toronto presentationsthanks to ultra-rare kilohertz sound delivery overseen by the audiophilic Young's new Ponotone outfit. No wonder the first folks introduced in the docu are wire-stringing techs on Young's "Le Noise" tour. Camera color, HDDeclan Quinn; editor, Glenn Allen.

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Reviewed at Toronto Film Festival MavericksSept. NEW NEIL YOUNG DOC AIMS FOR 'MORE EMOTIONAL' VERSION OF LIVE SHOWS 'We have a lot of respect for each other and work together as a team,' Young says of director Jonathan Demme By Karen Bliss, Rolling Stone, September 14, How much does a head cashier get paid at forever 21 was a tiny camera positioned on Neil Young's main microphone for a pair of shows at Massey Hall in his hometown of Toronto this past May the stock market is informationally efficient gives new meaning to the phrase "up close and personal" - but it was all part of Jonathan Demme's plan.

In Neil Young Journeys, Demme's third documentary on the legendary rocker -- following 's Heart of Gold and 's Neil Young Trunk Show -- there are moments during songs like "Down By The River" and "Hitchhiker" when the camera angles are so close, Young's entire face covers the screen, cut off above the mouth or nose. The concerts were the last stop on Young's tour for 's Le Noise album, produced by Daniel Lanois.

The tiny cameras were also attached to an organ and a piano for "After The Gold Rush" and lilting new song "Leia," so that the shot is through those instruments pointed at Young. The interesting angles how much does a head cashier get paid at forever 21 every crease in the year-old's face - his grey five o'clock shadow, the hole in his straw hat. There's even a spit particle that makes a prominent appearance on the lens and gives the effect of someone breathing on glass in winter.

It gets psychedelic and I was repeating some phrase over and over again; the piece of spit is going [makes pulsating gesture].

Young and Demme have known each other sincewhen the director was working on Philadelphia, his groundbreaking blockbuster about AIDS and homophobia.

Young wrote "Philadelphia" for the end. The pair's first major collaboration was Heart of Gold, shot at Nashville's Ryman Auditorium, which required months of daily talks. He loves music and I love movies. Borrowing a Ford Crown Victoria, the pair follow Young's older brother, Bob, in his Cadillac Brougham D'Elegance, as they go down memory lane: What will he say?

What will it feel like? What will it look like? But some aren't as sweet: He also recalls Goof Whitney, the boy who would give him a nickel if he ate tar. And there was a nickel if he went up to a lady and told her she has a fat ass. WAS COLDER By Nick Patch, The Canadian Press, September 13, TORONTO -- Neil Young received multiple standing ovations as his new concert film premiered at the Toronto International Film Festival on Monday, but after the screening he reminisced on a time when the city was considerably less friendly to him.

Young was born in Toronto and spent much of his early how to make quick money in winnipeg in Ontario before moving to Winnipeg.

He returned in the mids as a fledgling folk musician, and found a frigid reception. I got some really terrible reviews. I was just in the wrong place. The previous two presented a sharp contrast.

Demme's doleful flick "Heart of Gold" was dedicated to Young's recently deceased father and was recorded not long after Young suffered a brain aneurysm, while 's "Neil Young Trunk Show" presented the more tousled side of Young, with the rocker slamming his sweat-drenched guitar through a raucous set.

The year-old Young played a sterling set culled mainly from his latest Daniel Lanois-produced disc "Le Noise," which earned Young his first-ever Grammy for music.

During the concert portion of the roughly minute film, Young is alone onstage except for a wooden statue of a native Americanshifting effortlessly between an organ, two pianos and several guitars, performing tunes including "You Never Call," "Ohio," "Down by the River" and "Love and War. His journey included a tour of Omemee, where Young pointed out a school named for his father the sports writer Scott Younga community centre he used to frequent and a lake where he would catch fish and turtles and bring them home in a wagon when he was five years old.

The nostalgic vibe carried over into the post-film discussion, with Young joined onstage by Demme who said that the men had been friends since Young contributed a song to Demme's film, "Philadelphia" and greeted by a string of audience members who happened to be old chums.

One woman named Mary-Ellen identified herself as a former classmate, and Young's face immediately lit up. He instaforex mt4 for blackberry winning a sparkly little prize at a fair back in Grade 4 and giving it to the woman because he harboured a crush on her.

Later, it turned out that the trinket was actually a dog collar. In the film, Young recalled a childhood friend named Goof who would take advantage of the naive Young in various ways -- by paying him a nickel to make rude comments to old ladies, or by convincing him that the wet tar on the road was chocolate.

On Monday, a representative of Goof's showed up with a mysterious envelope for Young. Young said that he's writing a book, so he's been reflecting on his childhood in Canada pretty frequently stock market fundamental technical filter screener late. Meanwhile, he seemed pleased with Demme's latest effort, saying afterward that he had grown to trust the year-old's vision implicitly.

NEIL YOUNG JOURNEYS PREMIERES IN TORONTO By David McPherson, American Songwriter, September 13th, When two passionate artists collide with like-minded visions, the result is a magical piece of filmmaking -- art for art's sake.

This sums up Academy Award-winning director Jonathan Demme's latest rock documentary, Neil Young Journeys, which premiered last night at the Toronto International Film Festival. While people were gushing over material girl Madonna - who struck a pose on the red carpet around the block before her feature film W. Shortly before 7 p. Pearl Jam's Eddie Vedder was also in the how to make money on unpaid maternity leave early to watch the movie before exiting to lead his opcie na forex in the second of two sold-out shows down the street at the Air Canada Centre.

The night before, Young joined the band on stage for their encore. Demme shot most of the footage for the film this past May over two nights during Young's stop at Toronto's Massey Hall as part of his Le Noise solo tour. After setting the scene with shots of Massey, the viewer takes a nostalgic ride with Young in his Ford Crown Victoria; Young gives the audience a tour of Omemee, a sleepy town northeast of Toronto where Neil's parents moved in when he was just four-years-old; following his parent's separation, his father Scott, a famous Canadian writer, remained in Omemee until his death in Wearing a Manitoba Moose cap, Young gives us an intimate glimpse of his early childhood.

Neil's brother Bob joins him for parts of this tour. Then, free make make money money poundpyramid.com time for Le Noise -- that's when it gets loud as the scene shifts to Neil's Massey concerts.

After the movie, Demme reveals that Neil insisted the abs auto binary signals review be shot in 96 kilohertz apparently all movies are shot in 48 kilohertz. The footage shows Young perform most of the numbers from Le Noise, along with classics such as "Ohio," "Down By The River," "After the Gold Rush," and "Hey, Hey My, My.

Demme's deft directing makes sure every passionate note and nuance coming from Neil's instruments are noticed. One of the more touching numbers, among many highs, is a new song: The film ends with Neil playing some final notes on the piano and looking in the rearview mirror of his classic car heading down the highway.

Following the minute film, which saw the audience as still as the giant Native American wood carving that played a central role in the film, Demme, 67, and Young, 65, came to the stage for an intimate dialogue. Except for the same white straw hat he wore in the film, Young was dressed all in black: Sporting a wry smile, Young arrived munching on a box of popcorn.

Before settling into the black leather lounge chair next to Demme, he bowed to the filmmaker best known for directing feature films Silence of the Lambs and Philadelphia. The audience was a mix of old friends and longtime fans. During how to make money using cedar finance question and answer period, one woman revealed she was a grade-school classmate.

As the evening wound down, Young called up his longtime manager Elliot Roberts to take a bow as well for his role in the artist's career. Long may he run. Neil Young Journeys is expected to arrive in theaters later this year. NEIL YOUNG GETS EXTREME CLOSE-UP By David Germain, Associated Press, September 13, TORONTO -- Neil Young's latest concert film is so up close and personal it leaves the audience viewing the rocker through his own spit.

Afterward, Young joked with the audience that a tiny camera mounted on his microphone for the concerts "scared the hell out of me. Director Jonathan Demme told the audience he decided to include that sequence in the film, quipping that it was like a "hundred-thousand-dollar special effect. It also allowed Young and Demme, the Academy Award-winning director of "The Silence of the Lambs," to reflect on their nearly year association, which includes the previous concert films "Neil Young: Heart of Gold" and "Neil Young Trunk Show.

Demme said he cut the film's title sequence to Young's angry rock anthem "Southern Man," then sent it to Young hoping he would write a similarly blazing tune to insert in its place. The filmmaker said he wanted a seal of approval to pitch the film to "homophobic young white men" and buy gold put options on stock market an anthem from Young would reassure them because "Neil thinks this is OK.

Springsteen sent back another slow weeper, "Streets of Philadelphia. Springsteen won a songwriting Oscar for his, while Young's earned a nomination. Young's music thunders through the hall as he plays solo on acoustic and electric guitar, harmonica, piano and organ. The songs are intercut with a long drive Young took at the wheel of a Ford Crown Victoria from his hometown of Omemee, Ontario, to Massey Hall for one of the shows.

Along the way, Young comments on the people he knew and the places he lived growing up, recalling a boyhood friend who convinced him to eat road tar because it tasted like chocolate and pointing out a spot where he killed a turtle with a firecracker.

Young marvels pensively how his childhood region has changed, buildings vanished and new developments grown up all around. That's why you don't have to worry when you lose friends. Still in your heart. After the film, Young recalled his early days as a failed musician in Toronto and summed up his long collaboration with filmmaker Demme. Richie Furay, Steven Stills, Neil Young, Rick Rosas, Joe Vitale. David Rawlings and Gillian Welch.

Reviewed June 5, The statement was delivered with a playful sense of irony, but also with a nostalgic enthusiasm that would characterize much of the group's energetic performance. In fact, the famous bandleaders -- Stephen Stills, Richie Furay, Young -- seemed to simply revel in revisiting the music and collaborators of their earliest years.

Though its legacy has been largely overshadowed by the subsequent work of its founders CSNY, Neil Young, Poco, Manassas Buffalo Springfield marked an important sea change in the evolution of popular rock and roll. Though initially drawing from many of the same inspirations as the Byrds -- Brit pop and Americana -- Buffalo Springfield would quickly grow into a more idiosyncratic sound cbsnews is the us stock market rigged helped usher in a wave of psychedelic music framed in folk-rock structures.

Famously dysfunctional, the band only lasted for two years in the mid-'60s, recording three albums -- most notably 's "Buffalo Springfield Again," a dense and varied recording, brimming with imaginative arrangements and pristinely-constructed songs. Sunday's set list drew from each of the three records, evenly splitting vocal duties between Furay, Young and Stills. Out of the three singers, Young's trembling tenor held up the best, retaining all the clarity and earnestness of his halcyon days.

As was the futures options derivatives john hull custom in the '60s, Furay took the lead on a number of Young-penned tunes, infusing the strange narratives with a clarity and efficiency that showcased Young's ability to write pop hooks clearly capable of competing on a mainstream level. Standouts included the exuberant blue-eyed pop of "On the Way Home," the jarring time-signature shuffle of "Nowadays Clancy Can't Even Sing" and Young's pastoral masterpiece "Broken Arrow.

Part of Buffalo Springfield's legend as a live act lays in the famously combustible guitar interplay between Stills and Young, and the two dynamic soloists did not disappoint.

Both employed a rugged blend of distortion and sharply sustained notes to create an abrasive and utterly entrancing musical effect. The raw power of the two players was undeniable; Stills with his more technically-sound, blues-inflected runs, and Young with his childlike bursts of noise and jagged, repeated riffs.

The dueling guitars really opened up during the band's encore, which included the top hit "For What It's Worth" and Young's own "Rockin' in the Free World," which capped the set with an appropriate blend of hubris and unabashed enthusiasm. For a group of industry vets, they seem to have recaptured and reconnected with a youthful magnetism rarely seen on "reunion tours" of this magnitude.

Opening country duo Gillian Welch and David Rawlings brought impeccable harmonies and intricate Appalachian-styled guitar to a collection of intimate folk songs. And close to home these lifers certainly were: Blazing a trail for future West Coast superstars such as the Eagles and Jackson Browne, Buffalo Springfield made its name in cozy West Hollywood clubs such as the Troubadour and the Whisky a Go Go, less than 10 miles from the Wiltern, where the band arrived Saturday after a pair of gigs in Oakland.

Yet if Saturday's sold-out homecoming had all the makings of a trapped-in-amber nostalgia-thon, Buffalo Springfield could scarcely have seemed less concerned with upholding its legacy. Filled out by bassist Rick Rosas and drummer Joe Vitale stand-ins for the late Bruce Palmer and Dewey Martin, respectivelythe band tore through material from its three studio albums -- enduring numbers such as Young's "I Am a Child" and Furay's "Kind Woman" but also lesser-known selections such as Stills' "Everybody's Wrong" -- with the kind of abandon not often seen on the back-from-the-dead circuit.

When a light box behind Vitale malfunctioned and set off a potentially seizure-inducing strobe effect, nobody even mentioned what might have association private client managers stockbrokers a serious threat to this crowd of graying old-timers.

Behind the perceived informality, of course, lay decades of accumulated technique, as you were reminded each time the three singers locked into their signature vocal harmonies. And in "Go and Say Goodbye," Young and Stills traded interlaced guitar licks in an apparently intuitive way that reflected the many years they've spent playing together.

Thankfully, though, the musicians telegraphed zero interest in the rock-canonical nonsense that weighs down so many reunion acts. Indeed, several times at the Wiltern they seemed determined to undermine their collective reputation as jingle-jangle forebears: After Young introduced it as a song he wrote on his bathroom floor one night upon returning home from the Whisky, Buffalo Springfield gave "Mr.

Soul" a stomping, fuzz-encrusted reading that was almost comical in its intensity. In its encore, the band remade "For What It's Worth" -- "Our Top 10 hit," Young sniffed -- as a low-slung swamp-soul jam with growling lead vocals from Stills. Was he overpowered by the significance of the moment? More likely, he was getting a job done.

Wednesday's concert, which kicked off the band's first tour since it disbanded inproved to be far more than a mere greatest hits revival as it showcased the musical journeys of its three surviving members through a tight, song set that ranged from mellow to monstrous.

Meanwhile, the black scholes price put option of marijuana wafted through the ornate s theater with golden walls and large statues that look like cat Buddhas. The tour continues to Los Angeles and Santa Barbara before hitting the Bonnaroo Music Festival June Opening with a compelling "On The Way Home," one of the songs that defines this short-lived '60s hit machine with its lilting harmonies and punchy pop sound, Young, Stephen Stills and Richie Furay ably backed by drummer Joe Vitale and bass player Rick Rosas, who replaced the late Dewey Martin and Bruce Palmer showed that a successful regrouping at last fall's Bridge School benefit concert was no fluke.

Stills' high lonesome voice anchored "Rock and Roll Woman," while Young's distinctive cry lit up "Burned. On stage, the motif was far simpler. Beneath a sign bearing the band's name, Young and company had assembled a few vintage Fender amplifiers and a scruffy upright piano that shone beneath a Tiffany-style lamp. The only nod to extravagance was the trio's many guitar changes, which included Fender Stratocasters and Flying Vs Stillsa black Gibson Les Paul Young's weapon of choice and a vast assortment of electrified acoustic guitars for all three.

One of the most interesting byproducts of seeing Buffalo Springfield in concert is being able to instantly hear why they could not last. Any Furay tune announces his soft-rock future in Poco. Hear Young sing "I Am A Child" and you sense the inevitability of his solo career. And when Stills blasts out "Bluebird," you know that his melding with David Crosby and Graham Nash and later Young was pre-ordained. But mostly, one is amazed at the sheer quality of music from a bunch of guys in their 20s who, for the most part, were in their first band.

Indeed, much of Buffalo Springfield's success four decades back can be attributed to catchy harmonizing atop astutely constructed chord progressions.

But that pop music formula was occasionally chased from the room Wednesday, never more so than when Young thundered through "Mr. Soul," stomping across the stage like a T. Dueling with Stills while Furay looked on amazed, these men seemed more effect of cutting interest rates on currency boys, grinning wildly as they pushed each other to the sonic edge. Fun ruled the night, from the frequent smiles to the impromptu quips.

Taking his time introducing "Do I Have To," Young seemed like he was stalling. He smiled, then joked, "Hey, we only know about 10 songs, so we have to really stretch things out. There were no Whiskey flashbacks for Stills, though. Nearby, Young, nursing a cold beer, grinned. They were not - he could have added without fear of contradiction - stuck in it. For nearly two stock market opening closing times, in a performance comprised almost entirely of songs from nearly half a century ago, Buffalo Springfield's surviving members and original vocal-songwriting front line - Young and singer-guitarists Stephen Stills and Richie Furay - played like a band genuinely reborn: There was jubilant fraternity in the close-harmony singing, especially by Young and Furay in the soft vocal rain at the end of "On the Way Home" and their gleaming Morse-code flourishes behind Stills' grainy tenor in "Rock and Roll Woman.

After a song set that veered from "Hot Dusty Roads" and "Everybody's Wrong," a pair of gritty Stills numbers from deep inside the debut LP, Buffalo Springfieldto Furay's great lost ballad "Sad Memory" from 's Buffalo Springfield AgainYoung opened the encore by leading the group through "Broken Arrow," his epic frontier daydream at the end of Again. A complex studio creation, it was recorded by Young as a solo piece, with session men, and never performed live in the Springfield's first lifetime.

Tonight, the song featured Stills at the piano, Furay flying next to Young in the chorus harmonies and its original honky-tonk country coda.

This was more than exciting resurrection - it was a kind of justice, the way the Springfield would have played and recorded Young's suite if they hadn't been so busy falling apart at the time. Formed in the spring ofBuffalo Springfield played their last show in May, in Long Beach, California. In between, they were one of the most gifted and fractious bands of their day, ultimately better known for their precedents - like the strong early whiff of country in their rock - and aftermaths: Crosby Stills and Nash; Furay's great twang-rock band Poco; Young's solo triumphs and eccentricities.

The original Springfield, with bassist Bruce Palmer who died in and drummer Dewey Martin who passed away inmade only one album, 's Buffalo Springfieldbefore tensions set in and Young started his comings and goings. Again and 's Last Time Around were more like anthologies, comprised of songs made by versions of the group, depending on who wrote the song and led the session. At the Fox, the first date of a week-long run in California with more shows reportedly in the foreign exchange rates forexYoung, Furay and Stills were supported by the strong steady drive of drummer Joe Vitale and bassist Rick Rosas, the rhythm section from the Springfield's reunion debut last fall at Young's Bridge School benefit.

The set list also reprised the songs from that show, including Furay's small investment options in bangalore Child's Claim to Fame," the strident jangle of Stills' "Go and Say Goodbye" introduced by Young at the Fox as "the B-side of our first single" and Young's plaintive "Burned.

Furay, who has been a pastor in Colorado since the early Eighties, turned to Young. That's how long I've been married," he said, before singing his Last Time Around waltz "Kind Woman," with Young at the piano and Stills punctuating Furay's bright strong vocal with machine-gun bursts of flamenco strumming.

Some of the most striking moments of the night came in the way this Springfield readdressed their younger selves: Soul," as if he was playing it with Crazy Horse, and traded verses in "Nowadays Clancy Can't Even Sing" with Furay, the lead vocalist on the original recording.

In the final encores - Stills' '67 hit about L. Gillian Welch, who opened the evening with a set of mountain-country rapture accompanied by her husband, guitarist David Rawlings, remarked to the audience that she turned up for the night "pretty cool, calm and collected. Then I heard these guys sound checking. It freaked me out! It was the sound of older men singing with pleasure and a determination to do honor to their beginnings and legend. This was music from the past. But as they embraced it tonight, it never sounded more alive.

NEIL YOUNG COMES HOME AGAIN. By John Semley, The Torontoist, May 12, J. Hoberman, film critic for the Village Voice, summed up Canadian filmmaker Foreign agricultural service global agricultural trade system Maddin as "the most eccentric of mainstream filmmakers or the most accessible of avant-gardists.

It can also be, with slight rejigging, applied rather usefully to another slightly off-kilter Canadian artist and erstwhile WinnipeggerNeil Young. Because Young's work, even the cottage-rock classics of the late '60s and '70s, has always existed how much does a machinist make a fuzzy intermediary state.

At the risk of ripping off Hoberman, Neil Young may well be the most mainstream of outsider artists. Like a lot of outsider musicians, Young projects that sense of frailty that emboldens audience members at concerts to shout out, "I LOVE YOU NEIL! In his nearly 50 years as a musician, Young's persona has shifted and flipped around so many times--from shy-seeming singer-songwriter to cokey grunge-rocker, to weird-wacko-whoknowswhat who directed a little-seen forex scandal arrests called Human Highway starring Devo and Dennis Hopperto veteran environmentalist, humanitarian, and certified twice, in the Rock And Roll Hall of Fame rock sage.

There's a lot of mystery and enigma involved when Neil Young plays a solo set at Massey Hall, like he did last night and the night before--because Massey is where he famously performed 40 years ago after returning home from a sojourn south to the States, adopting the role of Canada's prodigal son returned.

In that show, Young worked through a mess of new material that would end up largely comprising his seminal album, Harvest. Since then, Massey's always seemed like a check-in point for Young, a weigh station where Toronto fans new and old can mark his progress, belt out requests most of which restricted stock units (rsus) unheededand tell Neil just how much they love him.

And of course all this excitement, electricity, gcm forex turkiye anxiety gets compounded howevermany-fold now that Young is 65, and many of his classics have passed through the narrows of nostalgia and emerged as full-on laments.

It's hard to regard last night's acoustic opener, "My My, Hey Hey Out of the Blue " as anything but an actual dirge for rock music, lodged not as prophecy but as matter-of-fact. And the amended lyrics to "After the Gold Rush" "Look at mother nature on the run in the twenty-first century" similarly spoke for themselves. What most surprised and impressed about Young's shambling one-man show wasn't how well his classics hold up--even if their tenor seems to have transmuted almost entirely or, at least, deepened in their poignancy and elegiac relevance --but how well his new material comes off live.

Though last year's Daniel Lanois-produced Le Noise disappointed some though certainly not the Juno committee, which crowned it Adult Alternative Album of the Year, among other thingsthe folk-fuzz numbers proved some of the most arresting.

There's sometimes a sense of strained patience whenever any artist plays new tunes. And, sure as anything, the muted sing-alongs and eruptive applause-of-recognition that accompanied the opening chords of "Helpless" or "Tell Me Why" died out considerably when Young broke into "Hitchhiker" or encore opener "Walk With Me. Ditto watching Young shuffle around the stage, contemplating a guitar or pedal organ before taking a seat at his grand piano, as if the decision about which to play was being divined by some sonic currents rumbling underneath.

And cleverly lit by the film crew quarterbacked by Jonathan Demme there to capture Young's performance, last night's Massey concert struck that too-rare balance between being eerie and expressionistic and still somehow honest.

In a lot of ways, Neil Young at 65 seems like the definitive Neil Young. Even for those who came of age with him, he's always had the halfway-outsider status of some old trooper.

And seeing Young alone, working through a setlist that seemed highly deliberate though certainly unbalanced, especially for those who came to hear the hits and taking his sweet time swapping out guitars including his standby Les Paul Old Black and harmonica rigs seems fitting.

True to his character, you could say. Certainly more so than seeing him hammer through the chorus of "Rockin' in the Free World" ca. An as-yet unreleased song called "Leia," a beautiful little lullaby to "the little people" performed on upright piano; an absolutely show-stopping rendition of "Cortez the Killer," one of those long songs that can never be long enough; Jonathan Demme seeming like a really genuinely nice guy.

NEIL YOUNG AT TORONTO'S MASSEY HALL By Scott Deveau, National Post, May 11, For those who have managed to catch a Neil Young concert sometime in the latter phases of his storied five-decade career, you'll know that despite his years of age, he's nowhere near retirement.

Whether it's packing stadiums, or playing to thousands in the open air, the legend of Canadian rock still has plenty of spring in his step, and can rock harder than most hard rockers. But while I've been lucky enough to see him strut his stuff on stage a handful of times, nothing compares to seeing him live at Massey Hall, the iconic venue in his hometown of Toronto, where he played the first of two back-to-back, sold-out shows Tuesday to close off his North American tour in support his latest record, Le Noise.

The album, his 33rd studio release, came out last fall and was produced by fellow Canuck, Daniel Lanois. Young plays Massey Hall like it's one of his beat up guitars. He rattles around the bones of the Old Lady of Shuter Street with his six strings on tracks like Down By the River and Tell Me Why as if a day hasn't passed since those same songs were pressed into vinyl following his famous show there in Of course, the Toronto gigs this week are going to be likewise immortalized; this time by acclaimed director Jonathan Demme who is shooting the tail end of the tour in Toronto for a DVD, explaining the somewhat dramatic backdrop.

It will be the third in a trilogy of concert films by Demme, that has also included Heart of Gold [] and the Trunk Show []. The concert at Massey was just Young bathed in lamplight with four electric and acoustic guitars, two pianos, an organ perched on a riser, a few amps, and handful of harmonicas.

Oh, and a big, carved wooden sculpture of a Native American. In the background, four panels mimic giant stained-glass windows at various stages in the day.

There was no back-up band, but he managed make plenty of noise on his own with a mix of acoustic songs and full out rock n' roll. He strummed new tracks, like You Never Call, a sad little song about his recently-deceased friend, Larry L. But also played a handful of old hits with more experimental variations, like Cortez the Killer, or disguising the intro to Helpless under some clever finger work, until the opening line, which, of course, carries a special resonance here, nearly brought down the house.

The fourth wall was seldom broken during the show, with Young's only real interaction with crowd coming before the song Leia, when he joked it was being dedicated to all the little kids who couldn't make it to the show because mom said "no.

The result was an intimate, almost nostalgic show, that exposed the vulnerability of a man looking back on his life through the rearview mirror.

As he sang on Love and War, "There have been songs about love. I sang songs about war. Since the backstreets of Toronto. I sang for justice and I hit a bad chord. But I still try to sing about love and war. You'd be foolish to miss the Legend himself in such a legendary venue STRUMMING SOLO, WITH THE REVERB OF A FULL BAND By Ben Ratliff, New York Times, April 25, "I feel a rumblin' in her ground," Neil Young sang, alone onstage at Avery Fisher Hall, playing his Gretsch White Falcon, sounding the low notes of a strummed chord, muting them a little with the heel of his hand.

The song was generally about planet earth but could have been specifically about where he stood. As he struck those low notes, the metal fixtures in the room talked back: Young has done solo tours before. They usually involve acoustic guitars, beat-up pianos and contemplative looks at his instruments between songs. But his current tour connects to a recent record, "Le Noise," which makes songwriting secondary to sound. He played new and old songs on Sunday, including several from his work with Crazy Horse, his electric band.

He got into it by degrees. First, a few plain acoustic-guitar songs, straight into the microphone: It wasn't much to look at. He switched off between his usual instruments, the White Falcon and a black Gibson Les Paul, through two Fender deluxe amplifiers. Playing "Down by the River," he flipped his guitar's selector switch up and down between verses and choruses. Occasionally he hit a pedal to engage a slow and subtle phase effect. That was all, or at least all you could see. The reverb -- in the amplifiers, not in the room -- took on an extraordinary quality, as if the implied space in the music became a little more real.

The sound seemed giant-size but not painful: Young's shows generally suggest sophisticated thinking about frequencies and pain thresholds, but this was something else again. There were keyboard instruments onstage, too: Presumably, he's carrying them around the country; he played them for one song each. At the spinet, he performed a plinky new song, "Leia," about adults watching a child playing: Young is 65 now, and his newer songs reference loss and age and the endurance of love.

But they also reference war and natural disaster. He's not a wistful old man; he's tense and obdurate even in the presence of pleasant or affirming words. The Les Paul's dark, fat, mattelike sound felt doomed out and righteous, to be admired from afar, but the Gretsch's was something you'd want to take home and live with: He shook the Gretsch, holding it by the headstock and swinging it near the amplifier, toward the end of "Walk With Me," his encore.

Young played all his songs at their regular, unnervingly slouchy tempos, with his bizarre articulation of picking and strumming. And even for the Crazy Horse songs, no Crazy Horse was needed. It has often been said that Neil Young's work boils down to a guy alone with his guitar. Usually in that formulation the guitar is acoustic. I think that formulation may be wrong. NEIL YOUNG PROVES HE CAN CARRY A SHOW ALONE AT HARD ROCK By Andrew Abramson, Palm Beach Post, September 24, Every so often there's a concert your gut tells you not to miss, but you almost skip because it's an hour's drive away on a work night.

A friend talks you into going or you snag a credentialand you leave wondering how you nearly missed out on a master doing something special. Until Thursday, I had never seen Neil Young. Although he tours semi-frequently, he hadn't swung through Florida since when he played Cruzan Amphitheatre with Crazy Horse.

Even my parents much closer in age to Neil than to mewho saw many of the great acts stop by the Miami Jai Alai, Hollywood Sportatorium and Dinner Key Auditorium, were seeing their first Neil Young show. This concert, at Hard Rock in Hollywood, billed solo Neil Young, and I envisioned a two-hour acoustic set of Neil young and old -- an impressive feat in itself considering Young has one of the most distinct falsetto voices that would seem prone to burning out at He opens with "My, My Hey Hey," "Tell Me Why" and "Helpless," and he clearly hasn't burned out or faded away.

Young can carry a two-hour show completely on his own. The surprise if you weren't expecting it is that he goes electric, perfecting a one-man band that performs nearly the same set every night with technical precision. His Daniel Lanois-produced album Le Noise, hitting stores and the Internet next week, also features Young alone with just his thoughts and a really loud guitar. Young sampled his new tracks with mixed response, but fans' wishes were granted with classics reworked: A dark, haunting "Down By The River," a psychedelic, futuristic "After the Goldrush" with Neil on harmonica and organ replacing "in the s" with "in the 21st century.

If you're a casual Neil Young fan, you probably knew two-thirds of the songs, and you knew them well. With "Cortez the Killer" and "Cinnamon Girl" to close the set, and "Old Man" to open the encore, Young drove it home. He plays less than two hours, but you hardly noticed. New Orleans legend Allen Toussaint gave Floridians a rare treat with his own solo piano performance to open the night.

There aren't many celebrated musicians playing an intense one-man show, and Young can showcase his raw, natural ability to rock. When the great ones come to town, you have to go with your instincts, and catch the concert despite minor inconveniences. Neil Young, beloved by several generations over five decades, shouldn't be missed. Gilbertson, Milwaukee Journal Sentinel, July 31, Neil Young played a solo show at the Riverside Theater on Friday night, but he brought along a band's worth of instruments.

There were acoustic and electric guitars, an upright piano, a grand piano, a pump organ and a cigar-store wooden Indian. Only the Indian was a prop.

The rest were important, because they helped Young turn a set list of fan favorites into an exploration of his long career and his characteristic restlessness. It was a deliberate restlessness, expressed in the way he paused between songs, as though mentally shuffling the possible combinations song x with instrument y, or song y with instrument z?

And it was a restlessness counterbalanced by his utterly recognizable singing voice, the sound of childlike plaintiveness hitched to adult experience. From the opening words of the opening number, "My My, Hey Hey Out of the Blue ," his voice was, incongruously, a clear and strong quaver.

The music paralleled the incongruity as Young's small modifications to familiar songs opened up space for intimate reconsiderations of them. For example, "Ohio" was still noisy, but its angry protest felt less accusatory and more distressed, while "Old Man" added the weight of Young's own years to its yearning for love. Young's other additions to the music often came in the form of effects pedals and other devices, but he always used technology to enhance the tone of the moment, such as when drifting reverb suggested the bobbing of sailing ships in "Cortez the Killer.

A handful of new, unrecorded songs were generally underwritten first drafts papered over by noise. At his best, though, Young was more fully formed on his own than most musicians are with bands behind them, and the crowd, which filled the Riverside to capacity, respected his authority. Many did not, unfortunately, extend the same respect to support act Bert Jansch, whose darkly beautiful British folk and intricate guitar-playing were muffled by chatter.

Jansch could have used some of Young's extra instruments - but he shouldn't have had to compete with the audience. RESTLESS, WISTFUL YOUNG IS WONDERFUL Neil Young looked back and looked ahead, putting the music front and center while showcasing a sweet sound. By Jon Bream, Star Tribune, July 30, Neil Young is restless.

That's a good thing. Especially at age While his fans may flock to his sold-out concerts for nostalgia, he's there for the now and the new. On Thursday night at Northrop Auditorium, one-third of his repertoire was drawn from "Twisted Road," a new album expected this fall.

Mixing retrospective and reimagination with intimacy and urgency made for a special evening, a very special evening. But then, Young always tries to make his concerts special -- whether theatrical arena spectacles or one-man theater shows.

In at the Orpheum, he offered a solo acoustic performance. Inhe returned there, surrounded by a semi-circle of stringed instruments and pianos. At Northrop, he sat on a stool, with an acoustic guitar to either side of him and a glass of water in which to dip his harmonica. Later, roadies brought out electric guitars -- Old Black, his Les Paul and a Gretsch White Falcon from his days with Buffalo Springfield -- and he moved around to upright and baby grand pianos as well as to the "After the Gold Rush" pump organ.

While Young may have been restless enough to introduce new material from "Twisted Road" which he made with producer Daniel Lanois long before its time, he delivered those tunes and his classics with a relaxed tone and a gentle grace. Similarly, during the ensuing nugget "Cortez the Killer," you could sense the thunder inside Young's guitar wanting to be unleashed.

But it never happened. Whether he was the scathing social commentator or the hopelessly sentimental lovebird, Young sang with a pronounced sweetness on Thursday. His voice was less warbly and whiney than in the past. His acoustic guitar had a new sound for his new tunes, thanks to an electric pickup that elevated the bass notes while he strummed flamenco and spaghetti Western passages. But his words had many of the same old messages, about the environment, love within families and, of course, war.

It was the only time he spoke, other than saying "thank you" and dedicating the classic "Old Man" to Ben Keith, his longtime pedal steel guitarist who died this week. The new and the old, restless and relaxed, wistful and wonderful. OLD, NEW SONGS FOREVER YOUNG Legendary rocker delivers in first of back-to-back shows By Rob Williams, Winnipeg Free Press, July 27, Neil Young has never been one to stay on the beaten path.

He's an iconoclast who follows nobody. He does what he wants, when he wants and remains an unpredictable artist who has managed the rare feat of continuing to be fascinating, diverse and relevant for more than four decades while never latching on to a trend, fashion or fad. It's been a long, winding, and sometimes confounding, journey, and once again the Twisted Road that is Young's life, and name of his current tour, brought him back to the Centennial Concert Hall Monday for the first of two shows in the city where he lived as a teenager and formed his first bands before moving to Toronto, and eventually Los Angeles, to follow his musical muse.

His last show in Winnipeg was an incendiary affair with a full band at the MTS Centre in October,but this time around it is just Young as it was the last time he played a solo show at the same venue in The stage was packed with an assortment of instruments and amps, including two pianos and a pump organ along with chandeliers and a wooden statue of an Aztec warrior. Young walked onto the stage to a standing ovation, acknowledged the reception with a bow, sat down and immediately launched into an acoustic version of My My, Hey Hey Out of the Blue off the classic Rust Never Sleeps.

He stayed on the acoustic guitar for Tell Me Why and a gorgeous version of Helpless before a trio of mellow new songs that showed off his storytelling skills starting with You Never Calla melancholy ballad about the recent death of his friend Larry L. Johnson, who is now on vacation, according to Young.

The crowd sat in rapt silence and hung on every world of Peaceful Valleya twangy tale about the bloody settling of the American West and its environmental aftermath and the laidback Love and Wara topic he has explored numerous times over the years to great effect, even if he declares, "When I sing about love and war I don't really know what I'm singing.

He strapped on his Gretsch White Falcon as he dismantled the Crosby, Stills, Nash and Young staple Ohio and rebuilt it from the ground up sans harmonies, giving it a slight menacing vibe before another new one, Sign of Lovea melodic love song built on power chords.

Young didn't introduce any of the songs, new or old, and rarely acknowledged the crowd. To numerous shouts of "Neil we love you! It's impossible to know how the new songs will sound when they are officially released -- they could be the same or radically altered -- but one of the highlights of the new selections was Rumblin'a tense, unpredictable mid-tempo rocker that veered from atmospheric, throbbing verses that reverberated through the hall to a chugging chorus punctuated by occasional feedback.

It was that moment, something you wouldn't hear or feel clearly at a venue other than a theatre, that made last night's show special and should evoke the same feelings when Young returns to the concert hall to do it all again tonight. Young finished the show with Cinnamon GirlOld Man and Walk With Me.

YOUNG CONTINUES TO CHALLENGE AUDIENCE By Heath McCoy, Calgary Herald, July 25, Neil Young has always been one to challenge his audience, constantly shifting gears artistically whether folks liked it or not. He stubbornly follows his own path and to hell with what anybody else wants.

That's what we love about the iconic Canadian folk-rocker and that's what has frustrated us about him too, because at times, his twists and turns have been more confounding than pleasing. Saturday night at a sold out Jubilee Auditorium the year-old took us down another Twisted Road hence, the name of the tourperforming solo and introducing the audience to a large number of tunes they'd never heard before from his upcoming album.

It could very well have been one of those crazily frustrating Neil moments. If he had tried to pull off the same show at the cavernous Saddledome, it might have been a disaster. The intimacy of a smaller venue was needed for this gig. Luckily, the concert was anything but frustrating. Rather, there was a whole lot of magic happening on this night. I have to say that it was one of the most unforgettable and impacting gigs I've ever seen. With the stage decked out in pianos, guitars, candles and dimly lit chandeliers, along with the wooden statue of an Aztec warrior, Young arrived just after nine with one of his most beloved classics My My, Hey Hey Out of the Blue.

Dipping his harmonica into a glass of water and then shaking it off like an old dog shaking the water from its shaggy hide, Young then proceeded with the first acoustic portion of his set. Then came a handful of new songs, highlighted by Peaceful Valley with it's epic, almost doomy acoustic guitar pattern and the poignant Love and War. On these numbers, as throughout the evening, Young's distinctive, creaky falsetto was both tender and full of grit, ringing with soul and authority.

Young brought out his electric guitar seven songs into the night for a potent version of his murder ballad Down By The River. Though the song wasn't quite as blistering without the accompaniment of his eternally on-again off-again rock band Crazy Horse, it was bloody heavy just the same. The same had to be said for his version of Cinnamon Girl later in the evening which was fantastic, even if the pounding beat of drummer Ralph Molina was missed. Such electricity burned down the path for the doomy Hitchhiker, an excellent unreleased tune that apparently dates back to the '90s.

Next up was another CSNY hit, Ohio, reborn without the golden harmonies of Crosby, Still and Nash. Instead, the song was carried by its guitar lick, which has never sounded so harsh and seething. After that came another couple of sharp turns, with Young taking to one of his keyboards for the almost quaint new piano pop number, Leia.

He followed that with one of his great epics, After the Gold Rush, played on a pump organ which gave it a trippy, psychedelic vibe. Another moment in the concert that left fans awestruck was Young's new version of Cortez the Killer. Once again stripped of the power of Crazy Horse, Young completely deconstructed the song, rebuilding it on sparse, jagged waves of electricity and feedback which highlighted his unique voice as a guitarist.

Vividly re-imagined runs at Young's most revered tunes and a collection of new songs that show great promise I can't wait to hear their recorded versions made Saturday night's concert one that will live with the fans for years to come. NEIL YOUNG BRINGS MIX OF NEW AND CLASSIC TO EDMONTON By Tom Murray, Edmonton Journal, July 24, EDMONTON -- Some artists are just so impossibly weighted down with reverence that you hardly know where to begin as a music writer.

Not that someone like Neil Young would care for the idea of being revered; he's ignored just about every rule of the careerist rocker, disdaining a commercial path while happily testing his fans with any number of strange musical detours. He invariably returns to what his core audience likes best, though; his first offerings at the Jube weren't in any was a test for the 2, in attendance. They were three of most beloved acoustic song, My My, Hey Hey, Tell Me Why, and Helpless, played close to the recorded versions.

This was classic rock Neil Young, still possessing that unearthly voice, though down an octave or so on certain numbers. All three are undeniably great, but you have to wonder what Young thinks when he sings the key line in My My, Hey Hey, the one about how it's better to burn out than to fade away. Maybe it's the reason why he's never allowed himself to be turned into just a gentle folky playing toe tappers for those lost in the '70s, and possibly why he then changed to completely new, unrecorded tunes You Never Call, Peaceful Valley and Love and War.

They're too fresh to be graded, and who knows how the recorded versions will sound, but it's clear that Young is impatient to get them out there. Which is as it should be; still, he did make otherwise sure to fill up his hour and a half long set with identifiable hits.

Wandering a stage that could only be called gothic thrift shop, he turned from parlour piano a slightly cloying newer song, Leia to organ After the Gold Rush to baby grand I Believe in You and then electric guitar Cinnamon Girl, Rumblin'satisfying audience hunger while at times reinventing many of his older offerings.

Unlike Dylan, though, he doesn't radically reinterpret, and no matter what he plays it's instantly recognizable as him. Just two chords, Em and A, chugged in the Crazy Horse rhythm, and you instantly know he's starting into Down By the River. A high point for many at his electric concert last year was a grinding, loud, near hallucinatory Cortez the Killer; some might debate it, but Cortez stood as a memorable highlight Friday night as well. By and large ignoring rhythm, he let the song float on whammy bar sustain, banging the body of his guitar, falling into near silence between verses.

At moments he sounded not unlike Rowland S. Howard, guitarist for The Birthday Party, twisting short, barbed wire leads through gently strummed, distorted chords. This is why he's revered by so many, the stamp of weirdness that keeps Young from being just elevator muzak for baby boomers. Just when you think he's going to stroll down memory lane, he sits you with something strange, forcing you to reconsider a song you've heard a thousand times.

Slotting in acoustic guitar master Bert Jansch as his opener certainly had to have forced Young to kick up the intensity a few more notches. A legend in the folk world, Jansch is also held in high regard by rockers like Young and Led Zeppelin's Jimmy Page, who took a great deal from Jansch's arrangement of the traditional Blackwaterside for his band's knock off, Black Mountain Side.

While Young was silent for almost the entirety of his set, Jansch was a little more gregarious, adding just a touch of wry humour to the proceedings. He was in fine form throughout, especially on the bluesy Ducking and Diving, terrific on Blackwaterside and abashed in his acknowledgment of the crowd's enthusiastic welcome. NEIL YOUNG STARES OLD AGE IN THE FACE, LAST NIGHT AT THE PARAMOUNT By Brian J Barr, Seattle Weekly, July 21 It was a bright summer West Coast evening, but Neil Young was full of darkness last night.

Not "bad mood Neil" darkness, mind you. Instead, the songs were weighted with that sort of downcast brooding he employed on Sleeps With Angels and, especially, his soundtrack to the film Dead Man. Whether it was an old crowd-pleaser like "Cortez the Killer" or new songs like "Love and War" and "Peaceful Valley", one could sense storm clouds surfacing from inside the man singing them--but they were laced with golden tones, as well.

Neil strode onto Paramount's stage in his fedora, sport jacket, and jeans. He paced rather mindfully about the stage, but by the time he sat down with his acoustic and launched into "My My Hey Hey Out of the Blue " it was obvious he would spend most of the night in his own world.

Clearly, his voice is in top condition these days, as he rounded out vowels in his tinny stoner drawl and made the verses ring out like bells. He fulfilled casual fans' wishes for classics early on by following "My My Hey Hey" with "Tell Me Why" and "Helpless," but soon tore into "You Never Call", a ponderous song about the death of his longtime friend L.

The song was acoustic, but damned heavy, reverberating gloom-and-doom low notes that evoked those aforementioned inner-turmoil clouds. He carried that mood into the next couple of songs, "Love and War" and "Peaceful Valley", both summing up one of the night's themes--we humans, capable of such greatness, really have a knack for fucking shit up, especially nature. These were powerful numbers, especially "Peaceful Valley," which was reminiscent of his time-traveling songs "Trans Am" and "Pocahontas" in the way it rendered historical ugliness relevant to modern times.

The night's centerpiece was inarguably his raging take on "Hitchhiker," one of his unearthed gems that served as a harrowing bit of autobiography that glances over his odd life while cataloging all the drugs he's ingested along the way. Other great moments followed--"Leia", a piano-pop song presumably about his new granddaughter; "Sign of Love" an echo-y electric rocker about love and faith; a bleak, ambient re-working of "Cortez the Killer"; an absolutely lovely solo piano take on "I Believe In You".

But for me, "Hitchhiker" was the moment I kept returning to. There is a bone-chilling element in that song that I can't quite put my finger on, one that was ever-present throughout his entire performance. The song burned with that raging defiance present in all of his best work. But since the song on its surface is little more than a look back on his life, well, why all the rage? These days, friends and relatives are dead or dying off, grandchildren are being born, Neil will be 65 this November.

And after all these years, humans are still capable of such waste and beauty. Life is weird, even weirder with age, and Neil--thank God--is still here to sing about it. That said, this forthcoming Daniel Lanois-produced album of Neil's should be a real stunner. NEIL YOUNG REMINDS US WHY HE'S A LEGEND By Michael C. As Neil Young demonstrated Monday night at the Arlene Schnitzer Concert Hall, he's the real deal -- a modern folk-rock legend without peer.

Monday night's minute, song show was no exception. Young mixed examples from his thick book of classics with abundant new material. Onstage, it was Young -- outfitted in white Panama hat, long white linen jacket and well-worn jeans -- and his musical gear: Young opened with three crowd-pleasers: Johnson; "Peaceful Valley," a polemic on the costs of America's westward expansion; a somber, compelling anti-war hymn, "Love and War," which is every bit as good as his hurriedly produced "Living With War" album was disappointing.

The balance of the show alternated between old and new: Two sweetly humble debut tracks followed: Next, Young stepped up to the pipe organ as aficionados accurately anticipated "After the Gold Rush," which Young played in a spare, calliope-like arrangement with harmonica accents, moving into another timeless number from the "After The Gold Rush" album, "I Believe In You. Young played two encore tunes, "Old Man" from his album, "Harvest," and a last new song, "Walk With Me," which he closed with feedback effects and a back-and-forth swing of his Gretsch White Falcon guitar reminiscent of the pendulum on an old grandfather clock.

The symbolism of that guitar swing -- the inevitable passage of time -- was an unavoidable subtext throughout the show. The crowd was mostly grayish. At 64, Young -- like the crowd -- was as energetic and as passionate as ever, but he too is increasingly jowly and gray. He couldn't hit the very top notes on "Down by the River," and "Cinnamon Girl" was tuned low to avoid any problems.

Not that anyone among the respectful gathering seemed to care or even notice. Scottish folk singer Bert Jansch, who fronted the s and '70s band Pentangle, opened the show. His brilliant finger-picking and relaxed flow over a range of original and cover tunes with Irish traditional and American blues themes was a perfect appetizer to Young's main course.

Young matched this transportive moment on two other occasions during a solo show Thursday night: When he played organ and harmonica on "After the Gold Rush" and when he performed "Cortez the Killer," which is basically one long, gorgeous guitar solo.

Three once-in-a-lifetime moments during a minute set helped compensate for Young's lack of acknowledgment of the audience. That crowd at times ignored the cold shoulder and the elegant Mondavi atmosphere and treated the concert like a regular ol' rock show. Someone yelled, "Welcome to Davis! Young finally responded, to a commentary too extensive to ignore. But apart from hearing him say, "This is what I do," Young's response was difficult to decipher, as were the guy's comments.

For audience members hanging on all of Young's 10 words, the lack of clarity disappointed. As little as Young revealed of his personality, he laid everything bare musically. Unlike aging musicians who forgo their more demanding songs in concert, Young, 64, tore into his. His set included acoustic guitar and piano as well. Among Young's instruments, his voice stood out most. That quavering, love-it-or-hate it voice has benefited from never having been perfect in the first place.

Young did not hit every note during his performance of "Cinnamon Girl" Thursday night. But he didn't hit every note when he recorded the song. What he captured, on both occasions, was an intensity of feeling. Young's ability to impart raw emotion has only improved with the years.

The world-weariness of his voice now seems haunting rather than prescient. Young's political songs have become too meta - the new tune "Love and War" is less about either than about how Young previously has sung about both.

Other unfamiliar songs he played Thursday night offered interesting moments. Yet none was so captivating that one didn't wish Young would sing "Old Man" instead. Such is the trouble with loving a veteran artist still trying to grow.

You want the hits, and he wants you to please be quiet and appreciate his artistry. What's lovely about the Young version of this classic push-pull is that Young's mastery is such that once he takes the stage, there's no way a fan can lose. He can just sit on a stool with an acoustic guitar in his hands and unleash one mesmerizing song after another.

Then he'll move over to the piano or the organ--or, perhaps, grab an electric guitar--and the whole process repeats. His lyrics, so thoughtfully poetic and imaginatively accessible, tug at the heart and stimulate the brain with equal force.

Some of his selections, of course, are more effective than others, but nothing in his song book is without some kind of merit. Indeed, there were moments of pure brilliance during his concert on Sunday--the first of three nights at the Fox Theater in Oakland. Young will also perform Monday and Wednesday at the Fox, as well as Thursday at UC Davis.

That said, however, the capacity crowd was a bit shortchanged by the year-old rocker. It may have been Walt Disney that coined the phrase "Always leave them wanting more," but it's a motto that Young has apparently taken to heart when it comes to local audiences.

For six years, he'd skipped over the Bay Area with his regular solo tours--since performing back in at the Berkeley Community Theatre--and only made brief appearances at his annual Bridge School Benefit concerts at the Shoreline Amphitheatre in Mountain View. When local fans finally got to experience the real deal, on opening night of the Fox run, what they received was a mere minute set.

A two-set offering, sans an opening act, would've been much more appropriate. Young did, however, make the most of his time. He strolled out onstage in a very casual manner--dressed in well-worn jeans, a black T-shirt and a white hat and coat--sat down on a stool, grabbed his acoustic guitar and immediately jumped into "Hey Hey, My My Into the Black ," from 's "Rust Never Sleeps.

He followed with another solo gem, "Tell Me Why" from 's "After the Gold Rush"before venturing into the Crosby, Stills, Nash and Young oeuvre for "Ohio," a protest song that still manages to resonate 40 years after the killings at Kent State that inspired the lyrics.

The mood brightened when Young performed one of his more humorous recent songs, "You Never Call," which boasts a lyric about the NHL's Detroit Red Wings that drew a loud "boo! Young was all business as he shuffled between two pianos, an organ and both electric and acoustic guitars. He barely spoke, but his songs said volumes to the fans that sang along--often in a fashion approaching a reverential whisper--to words that have meant so much to them over the years. Young's voice, while far from being a technical marvel, conveyed an almost unbearable amount of emotion.

That's how he was able to make such decades-old selections as "After the Gold Rush" and "I Believe in You" also from "Gold Rush" sound so fresh. After closing the main set with a rollicking take on the classic "Cinnamon Girl" from 's "Everybody Knows This is Nowhere"which featured some of Young's most ferocious electric guitar work of the night, the star left the stage and then, as predicted, returned for an encore.

Since he'd only been onstage for 80 minutes, it seemed plausible that Young would deliver a lengthy encore. It was only a one-song offering, of the new song "Walk With Me," and then he was gone again.

And, yes, he left us wanting more. HEAR SONGS FROM THE ARCHIVES Experience part of the Archives by clicking here and listen to tracks like A Man Needs A Maid, Harvest, Heart Of Gold, and more in the file cabinet! Tim Drummond during CSNY rehearsals, June You were a great bass player and songwriter. You had the fire, the magic. You played with James Brown, Conway Twitty and and Bob Dylan.

You held the groove for JJ Cale. You played on many of my records too. I remember your humor, your life, your quickness, your love. Rick played on many of my records, from Rockin in the Free World, Eldorado and This Note's for you, to Prairie Wind, Living with War and Who's Gonna Stand Up.

There were great live performances with Rick which will be unveiled in upcoming Archives releases, chronicling the talent and soul of one of the greatest musicians to ever play with me.

Heart of Gold and Trunk Show, two motion pictures featuring Rick and directed by Jonathan Demme, are among my favorite creations of all time.

Trunk Show is still unreleased. Rest in Peace Rick. An original Survivor, RTBP gave me love and encouragement and support as I progressed from a shy and timid singer and songwriter on our first record right through to the making of our last record, Lonely In A Crowed Room, which he loved and was very proud of. He was a brother to me as I was a sister to him. Knowing he was always there on stage at my right shoulder gave me great comfort and support.

He was always there for me through thick and thin and never let me down. His loss is a terrible shock to our band of Survivors, along with his many other dear friends and loved ones. So respected in the music community, he was truly an amazing bass player. I was incredibly lucky and honored to have him in my band and to count him among my friends.

As with our dear friend, Ben Keith, Rick too passed on the occasion of the full moon. His loss is profound and we will always miss him. Our hearts go out to his long time partner, Elizabeth, and the rest of his family they suffer through this unexpected and unthinkable loss. Sending you love and light as you travel to the other side Rick. He's teamed up with Rainforest Connection to help them raise much-needed funds. When the forest is threatened, the forest can speak and you can hear it.

Old cellphones are retrofitted with a solar-powered energy source and placed in trees around the rainforest. When they pick up the sound of chainsaws, animals in distress or gunshots, they alert authorities in real time. We can pinpoint deforestation activity the moment it begins, while simultaneously streaming the data openly and immediately to anyone around the world.

We thank the community for their love and confidence in making us the 3rd most funded project in Kickstarter history. For more information and PonoMusic pre-orders coming soon! The Folks at PonoMusic You can see the completed Kickstarter Campaign here.

Appearing weekly on our television screens, Rassy Ragland was a panelist on the popular CJAY quiz show Twenty Questions. You might remember her. She was the one with the dry wit and coffee-grinder voice.