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Shakey: Neil Young's Biography
Neil Young is one of rock and roll’s most important and enigmatic figures, a legend from the sixties who is still hugely influential today. He has never granted a writer access to his inner life – until now. Based on six years of interviews with more than three hundred of Young’s associates, and on more than fifty hours of interviews with Young himself, Shakey is a fascinating, prodigious account of the singer’s life and career. Jimmy McDonough follows Young from his childhood in Canada to his cofounding of Buffalo Springfield to the huge success of Crosby, Stills, Nash and Young to his comeback in the nineties. Filled with never-before-published words directly from the artist himself, Shakey is an essential addition to the top shelf of rock biographies.
818 pages, Kindle Edition
First published May 1, 2002
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Displaying 1 - 30 of 303 reviews
July 16, 2008
I'd started out with this in a state of exhilaration, and found myself carrying it in airports, reading it in cabs and generally just gripped by Young's story, but it began to fade for me, just like Young's music can. There was a stretch in his career when I found that every side he laid down was essential stuff, then, like Dylan, he went through a prolonged drought, then he bounced back, and was essential again. Some time ago (six years ago, thereabouts) I cracked that if we were going to have a Bush in the White House we could take consolation in the fact that at least we'd get some decent music out of Neil Young-- unfortunately it hasn't happened yet.
I was surprised at how much I knew about Young, and how much I'd known but forgotten. Part of the initial rush of the book came from seeing this enigmatic figure come into focus-- and part of the letdown came from the fact that once he is in focus, it is clear that he is really kind of a jerk. In fairness to Young, McDonough's portrait injects a great deal of McDonough into the process, and McDonough seems pretty burnt out about Neil Young by the time Young is into his fourth or fifth renaissance. At first McDonough's strategy of injecting himself into the narrative seems brilliant. He often starts chapters about a portion of Young's life off by describing his contemporary impression of some person who was important to Young at some time in the past. He then weaves that individual's recollection into a narrative that also includes excerpts from his interviews with Young conducted over the course of the project, other third party accounts, and omniscient narrative drawn from other sources. This works well for a while, but gradually McDonough becomes a more and more important character, and we find that we are reading more about McDonough's impressions of a particular gig or recording than we are about anyone else. Since these impressions are frequently negative, the appeal of reading them pales pretty quickly.
Another problem is that quite a few people who you'd think would be important to talk to declined to be interviewed. Bob Dylan might or might not have something interesting to say. Stephen Stills would certainly. Robbie Robertson. John Lyndon. Young's wife Pegi is virtually absent-- McDonough cites her desire for privacy, then moves on, and we are left with a void. David Geffen is not heard from. McDonough provides a list of these and others, and probably anyone who is interested enough in the subject could supplement the list themselves. (Where's Bill Graham, for example?) Not too many people come off well. Nils Lofgren does, which makes the absence of his Spindizzy catalogue from print feel all the more painful. (My copies reside in the Antipodes, except for Nils' final Grin album, "Gone Crazy", recorded at about the same time as "Tonight's the Night" and concerning more or less the same things.) Stills comes off badly, hardly a surprise. David Crosby is not particularly vivid-- I get the sense that he was pretty strung out when most of this was written, but it is just as likely that he is a self-absorbed jerk. Graham Nash is a wimp-- but that is hardly stop the presses stuff. Jack Nitzsche seems distant and dangerous, also hardly a surprise.
Young's first wife, Carrie Snodgrass, (who died last year)comes off as a sad case-- a bright, talented and attractive person who got sucked into the worst of the Sixties. Young divorced her because he felt she was unfaithful, she denies it, weakly, and Young's infidelities are glossed over-- hey, that's rock'n'roll, baby.
Similarly, the incredible amount of drug use is just staggering. It is not glamorized, particularly, but it is plain that the drugs took their toll on everyone. Norman Mailer talks about how drugs affected his creative process in "Advertisements for Myself" in a knowing way, essentially concluding that drug use is borrowing from the future at a high rate of interest. It isn't hard to conclude that the same conclusion can be drawn with Young, but McDonough doesn't draw it-- or any other real conclusion, for that matter.
Finally, how a book like this can exist without even a stab at a discography is a mystery. For that matter, very little effort is put into noting what the critical response to particular albums was, which would have been interesting. "Shakey" will be a good starting place for the definitive Neil Young bio, but that book is a long way from being written.
I was surprised at how much I knew about Young, and how much I'd known but forgotten. Part of the initial rush of the book came from seeing this enigmatic figure come into focus-- and part of the letdown came from the fact that once he is in focus, it is clear that he is really kind of a jerk. In fairness to Young, McDonough's portrait injects a great deal of McDonough into the process, and McDonough seems pretty burnt out about Neil Young by the time Young is into his fourth or fifth renaissance. At first McDonough's strategy of injecting himself into the narrative seems brilliant. He often starts chapters about a portion of Young's life off by describing his contemporary impression of some person who was important to Young at some time in the past. He then weaves that individual's recollection into a narrative that also includes excerpts from his interviews with Young conducted over the course of the project, other third party accounts, and omniscient narrative drawn from other sources. This works well for a while, but gradually McDonough becomes a more and more important character, and we find that we are reading more about McDonough's impressions of a particular gig or recording than we are about anyone else. Since these impressions are frequently negative, the appeal of reading them pales pretty quickly.
Another problem is that quite a few people who you'd think would be important to talk to declined to be interviewed. Bob Dylan might or might not have something interesting to say. Stephen Stills would certainly. Robbie Robertson. John Lyndon. Young's wife Pegi is virtually absent-- McDonough cites her desire for privacy, then moves on, and we are left with a void. David Geffen is not heard from. McDonough provides a list of these and others, and probably anyone who is interested enough in the subject could supplement the list themselves. (Where's Bill Graham, for example?) Not too many people come off well. Nils Lofgren does, which makes the absence of his Spindizzy catalogue from print feel all the more painful. (My copies reside in the Antipodes, except for Nils' final Grin album, "Gone Crazy", recorded at about the same time as "Tonight's the Night" and concerning more or less the same things.) Stills comes off badly, hardly a surprise. David Crosby is not particularly vivid-- I get the sense that he was pretty strung out when most of this was written, but it is just as likely that he is a self-absorbed jerk. Graham Nash is a wimp-- but that is hardly stop the presses stuff. Jack Nitzsche seems distant and dangerous, also hardly a surprise.
Young's first wife, Carrie Snodgrass, (who died last year)comes off as a sad case-- a bright, talented and attractive person who got sucked into the worst of the Sixties. Young divorced her because he felt she was unfaithful, she denies it, weakly, and Young's infidelities are glossed over-- hey, that's rock'n'roll, baby.
Similarly, the incredible amount of drug use is just staggering. It is not glamorized, particularly, but it is plain that the drugs took their toll on everyone. Norman Mailer talks about how drugs affected his creative process in "Advertisements for Myself" in a knowing way, essentially concluding that drug use is borrowing from the future at a high rate of interest. It isn't hard to conclude that the same conclusion can be drawn with Young, but McDonough doesn't draw it-- or any other real conclusion, for that matter.
Finally, how a book like this can exist without even a stab at a discography is a mystery. For that matter, very little effort is put into noting what the critical response to particular albums was, which would have been interesting. "Shakey" will be a good starting place for the definitive Neil Young bio, but that book is a long way from being written.
March 20, 2017
Pretty inneresting stuff y'know - heh heh heh...
Shakey, aptly named after one of Neil Young's many aliases "Bernard Shakey", is the most comprehensive book ever written, and most likely will ever be written, about the enigma that is Neil Young - the definitive book, if you will, about this Canadian singer/songwriter. Perhaps in an ironic way, the book itself is a literary epitome and reflection of Young's music: it's way too long, has its own ups and downs, mostly repetitive and raises questions more than it answers.
Reading this book fifteen years after its publishing, with the hindsight about everything that has changed in Young's life (including his recent separation with Pegi, the love of his life during the writing of the book) and knowing that he has recorded fifteen more albums since then (almost equal to the studio catalog discussed in this book) only adds up to the impenetrable, mysterious character of Young - whom I finally had the chance of seeing live on 2014, with his band of misfits Crazy Horse. Up until that time Neil Young was my musical hero, and I guess he still is even though some of the things about him that were unbeknownst to me (like his support for Reagan or his comments on gay community during his full "redneck" period) frustrated and disappointed me to a great extent. But overall impression of the book, and the message that it conveys (providing it has one), is that anger and resentment towards Neil would be redundant as you will never know which Neil Young is the real one as he is capable of changing constantly and shifting from one character to another to the detriment of people who are close to him. So, even though this might be the only book that will ever come close to revealing the true nature of Young - since nobody will ever show the patience author Jimmy McDonough has displayed with Young's twist and turns - it still falls short in terms of "peeling the onion" of Neil Young. Fully aware of his frustration and shortcomings, even McDonough finds it reasonable to plea Bob Dylan, who is as enigmatic and tough as Neil Young, to solve the mystery.
Not that Neil Young consciously tries to make it harder. You can see during the transcript of his interviews that he really tries hard to bare his soul and that it takes its toll on him. It must be difficult for him that his 1979 line "it's better to burn out than to fade away", featured in his mega-hit "My My, Hey Hey" and, ironically, in Kurt Cobain's suicide note, still taunts him today - giving that he remains the only survivor in a cut-throat business who claimed lives much younger than his. In 2017, Young still goes on strong, releasing new stuff almost at the pace of Buckethead. And I am glad that he is because I know I will be heartbroken like never before when he is gone.
I could have gone forever on Neil Young and his music but at this point I would like to share some notes on the book itself for future readers. Roland Barthes once said "If one looks at the normal practice of music criticism (or, which is often the same thing, of conversations 'on' music) it can readily be seen that a work (or its performance) is only ever translated into the poorest of linguistic categories: the adjective", and I tend to agree. It was personally annoying whenever I saw the author strived to characterise an inconsequential Neil Young performance and inserted his subjective opinions on Neil Young's work. I mean, how can one really downplay the music on Harvest. I understand that after listening to all these bootlegs from long-forgotten shows at somewhere in Midwest in sometime, makes one feel compelled to comment on them but you have to distinguish between being a rock critic and writing on Spin magazine and writing and interpreting an actual, objective autobiographical data. I don't care how the author and other rock critic cronies like Richard Meltzer feel about the state of rock in late-nineties and how they feel Neil Young tanked this album or how they put down Pearl Jam - and, frankly, it comes across little pretentious and arrogant, like Pearl Jam is phony but they are the real deal. I would much rather read ten chapters like the one on Young's model-train hobby than reading another word about how Young's performance on one song was terrible because the former actually pertains to the actual life of Young and not about a live song he didn't even released.
Having said that (a segway a-la-Jerry Seinfeld), author McDonough's research on Young's life is impeccable. He had talked with every person that had been close to Young at some time or another and he discussed every theme imaginable to bring both the best and worst of Neil Young. And it was quite nice that this project went hand-in-hand with Joel Bernstein's Archives effort because both projects celebrate the good times and bad times of Young's life without leaving anything out in two different mediums. Yet, whether you listen to him on tape or read on a book, Neil Young continues to remain as a mystery. A mystery that is better left unraveled as this is the driving force and modus operandi of Young's art.
Shakey, aptly named after one of Neil Young's many aliases "Bernard Shakey", is the most comprehensive book ever written, and most likely will ever be written, about the enigma that is Neil Young - the definitive book, if you will, about this Canadian singer/songwriter. Perhaps in an ironic way, the book itself is a literary epitome and reflection of Young's music: it's way too long, has its own ups and downs, mostly repetitive and raises questions more than it answers.
Reading this book fifteen years after its publishing, with the hindsight about everything that has changed in Young's life (including his recent separation with Pegi, the love of his life during the writing of the book) and knowing that he has recorded fifteen more albums since then (almost equal to the studio catalog discussed in this book) only adds up to the impenetrable, mysterious character of Young - whom I finally had the chance of seeing live on 2014, with his band of misfits Crazy Horse. Up until that time Neil Young was my musical hero, and I guess he still is even though some of the things about him that were unbeknownst to me (like his support for Reagan or his comments on gay community during his full "redneck" period) frustrated and disappointed me to a great extent. But overall impression of the book, and the message that it conveys (providing it has one), is that anger and resentment towards Neil would be redundant as you will never know which Neil Young is the real one as he is capable of changing constantly and shifting from one character to another to the detriment of people who are close to him. So, even though this might be the only book that will ever come close to revealing the true nature of Young - since nobody will ever show the patience author Jimmy McDonough has displayed with Young's twist and turns - it still falls short in terms of "peeling the onion" of Neil Young. Fully aware of his frustration and shortcomings, even McDonough finds it reasonable to plea Bob Dylan, who is as enigmatic and tough as Neil Young, to solve the mystery.
Not that Neil Young consciously tries to make it harder. You can see during the transcript of his interviews that he really tries hard to bare his soul and that it takes its toll on him. It must be difficult for him that his 1979 line "it's better to burn out than to fade away", featured in his mega-hit "My My, Hey Hey" and, ironically, in Kurt Cobain's suicide note, still taunts him today - giving that he remains the only survivor in a cut-throat business who claimed lives much younger than his. In 2017, Young still goes on strong, releasing new stuff almost at the pace of Buckethead. And I am glad that he is because I know I will be heartbroken like never before when he is gone.
I could have gone forever on Neil Young and his music but at this point I would like to share some notes on the book itself for future readers. Roland Barthes once said "If one looks at the normal practice of music criticism (or, which is often the same thing, of conversations 'on' music) it can readily be seen that a work (or its performance) is only ever translated into the poorest of linguistic categories: the adjective", and I tend to agree. It was personally annoying whenever I saw the author strived to characterise an inconsequential Neil Young performance and inserted his subjective opinions on Neil Young's work. I mean, how can one really downplay the music on Harvest. I understand that after listening to all these bootlegs from long-forgotten shows at somewhere in Midwest in sometime, makes one feel compelled to comment on them but you have to distinguish between being a rock critic and writing on Spin magazine and writing and interpreting an actual, objective autobiographical data. I don't care how the author and other rock critic cronies like Richard Meltzer feel about the state of rock in late-nineties and how they feel Neil Young tanked this album or how they put down Pearl Jam - and, frankly, it comes across little pretentious and arrogant, like Pearl Jam is phony but they are the real deal. I would much rather read ten chapters like the one on Young's model-train hobby than reading another word about how Young's performance on one song was terrible because the former actually pertains to the actual life of Young and not about a live song he didn't even released.
Having said that (a segway a-la-Jerry Seinfeld), author McDonough's research on Young's life is impeccable. He had talked with every person that had been close to Young at some time or another and he discussed every theme imaginable to bring both the best and worst of Neil Young. And it was quite nice that this project went hand-in-hand with Joel Bernstein's Archives effort because both projects celebrate the good times and bad times of Young's life without leaving anything out in two different mediums. Yet, whether you listen to him on tape or read on a book, Neil Young continues to remain as a mystery. A mystery that is better left unraveled as this is the driving force and modus operandi of Young's art.
February 25, 2013
I really wanted to like this book, and for the first third of it, I really did. The problem is McDonough is about my age, so by the early 70's he's reviewing the music and putting his personal context on it, instead of putting in a biographical context only.
Eventually it starts to read like a book written by Comic Book Guy on The Simpsons. Albums he likes, a qualified okay. Albums he doesn't like (hint; anything to do with CSNY, or just S) Worst. Album. Ever. The best tracks from one period? Unreleased and only available as a bootleg 'Homegrown'. The best tracks recorded with a pretty good album (American Stars 'N' Bars)? Never released, again except on bootleg.His first live album? Live Rust. A little surprising to hear after reading a couple of hundred pages about the dark period from 1972 to 1975 of 'Time Fades Away' (ahem, a live album), 'On the Beach' and 'Tonight's the Night' and the deaths of Danny Whitten and Bruce Berry. The best music he did in 1992? On someone else's album. Who cares that you bought Zuma just because of the cover?
He also holds back on the tough questions; when Young's second son was born with severe CP he disappeared for almost two years to be a dad and raise a young child with serious health problems and told no one outside his immediate circle why. An admirable decision for anyone, for someone in the music industry, really brave. So when the first album after that period comes out is Trans, and you re-surface to tour and promote it, it's a little odd to say 'Fuck you' to people who don't get that some of the songs are a tribute to your son. We're supposed to understand the connection to something you have gone out of your way to keep private? Maybe you could have asked him about that Jimmy.
All in all, some interesting insights into Young, but too much of a piece of work by a fanboy who starts to think his idol take his opinion as seriously as people he has worked with for 30 years.
Eventually it starts to read like a book written by Comic Book Guy on The Simpsons. Albums he likes, a qualified okay. Albums he doesn't like (hint; anything to do with CSNY, or just S) Worst. Album. Ever. The best tracks from one period? Unreleased and only available as a bootleg 'Homegrown'. The best tracks recorded with a pretty good album (American Stars 'N' Bars)? Never released, again except on bootleg.His first live album? Live Rust. A little surprising to hear after reading a couple of hundred pages about the dark period from 1972 to 1975 of 'Time Fades Away' (ahem, a live album), 'On the Beach' and 'Tonight's the Night' and the deaths of Danny Whitten and Bruce Berry. The best music he did in 1992? On someone else's album. Who cares that you bought Zuma just because of the cover?
He also holds back on the tough questions; when Young's second son was born with severe CP he disappeared for almost two years to be a dad and raise a young child with serious health problems and told no one outside his immediate circle why. An admirable decision for anyone, for someone in the music industry, really brave. So when the first album after that period comes out is Trans, and you re-surface to tour and promote it, it's a little odd to say 'Fuck you' to people who don't get that some of the songs are a tribute to your son. We're supposed to understand the connection to something you have gone out of your way to keep private? Maybe you could have asked him about that Jimmy.
All in all, some interesting insights into Young, but too much of a piece of work by a fanboy who starts to think his idol take his opinion as seriously as people he has worked with for 30 years.
July 8, 2010
Neil Young deserves a better biography than this massive piece of shit. The obnoxious author insists on inserting himself and his less than insightful critical assessments into every step of Neil Young's life. The man possess not one ounce of objectivity. While I have a lot of respect for Neil Young and love many of his earlier songs (which constitute much of what I have heard of him), I have never been a fanatic. This lack of fanaticism has limited my degree of fascination with his musical journey and I must admit that the book would be more compelling if I were a devotee. However, I suspect that even if I were one of the major Neil Young fans on the planet, I would be disappointed in this book. It contains some interesting biographical information and it illuminated my lack of knowledge of most things Young. That, coupled with my stubborn insistence not to give up on any book once I get past the half-way point, is the primary reason I plowed through to the end. This author is entitled to his opinion (which includes a dismissal of virtually all of Crosby, Stills & Nash's work together and with Young, not to mention considering their own solo work inconsequential) but his arrogance not only regarding Young's contemporaries but also Young himself is truly repellent. The book possesses a journeyman prose style and a Gonzo-like "Aren't I hip?" self-consciousness that prompts one to seek someone with a more reasonable, even-handed assessment. I recommend the book only for those who really want to know the essential facts of Neil Young's life although, to be honest, one could save time and suffer negligible lack of insight into what makes Young tick, by consulting a Wikipedia article.
June 15, 2019
If you're a music fanatic there's something about a well written artist biography - you're already familiar with the music and seeing the human side of the artist come through gives you a great deal of insight into your own mental attitudes that can't quite be put into words. The feeling of the music is there. Then you see the human that created it - really see him through good writing. To me all music is highly spiritual. Maybe that's corny but that's the way I've always felt and the love of music as a fan and what it's meant to me as a career has been hugely foundational to how I experience life.
There's so much of Young's music I haven't even fully digested and I've known his music for decades. He's one of a handful of the type of prolific artist that I wonder might be a thing of the past. Of [North] Americans only Bob Dylan comes close among the living and I think Young might even be more prolific and consistent than Dylan. These guys fill the role that the great poets would have in past centuries. And as rock bios go the writing in this one is outstanding with the bonus of being told from a true fan's perspective.
There's so much of Young's music I haven't even fully digested and I've known his music for decades. He's one of a handful of the type of prolific artist that I wonder might be a thing of the past. Of [North] Americans only Bob Dylan comes close among the living and I think Young might even be more prolific and consistent than Dylan. These guys fill the role that the great poets would have in past centuries. And as rock bios go the writing in this one is outstanding with the bonus of being told from a true fan's perspective.
May 16, 2025
Jimmy McDonough does an amazing job going through the ups and downs of a very complicated and unpredictable artist. A good book enthralls you with it's story, while a great book truly inspires you...SHAKEY is a great book, It delves so deep into Neil Young's persona that you truly believe you know him like you know yourself.
My understanding and appreciation of Young's music is now not only enhanced, but ingrained in my system. Even the structure of McDonough's book is a knockout. In each chapter, the author goes into detail about various events in Neil Young's professional and personal life...from The Squires and The Mynah Birds, to Buffalo Springfield and Crosby, Stills, Nash & Young to Crazy Horse and to the many solo albums.
Yet just when you think the story can't get any more compelling than it already is...we hear from Neil Young himself, in conversation with the author, commenting on his actions...and inactions. What's also great, is that Jimmy McDonough is a true fan of Young's music...yet also is Young's biggest critic, and often challenges Young directly if he feels Young's music, or performance is below par.
I was sad finishing the book. Who knew? I mean...I've never been a big Neil Young fan in the past. I had one or two of his records when I was a teenager, I think. Being a concert whore in my younger years...I first saw Young perform at Live Aid in 1985, then attended three Neil Young concerts in 1986, 1988 & 1991. Plus I saw him perform at the Bob Dylan 30th Anniversary show in 1992. Last time I saw him was 9 years ago at a Crosby, Stills, Nash & Young concert in Los Angeles (which sadly was an extremely unpleasant experience for me, due to a disruptive audience).
At the start of 2009, I owned a total of two Neil Young CDs...and only one of them I bought for Neil Young's sake: the 1970 classic AFTER THE GOLDRUSH. The other CD, MIRRORBALL, I only bought because it featured Pearl Jam as Neil's backing band on the entire album. What changed? Books!
I'd been trying to change my reading habits for years. I'd been very attached to a series of small, pocket books called 33 1/3...a series of books focusing on individual records, by a variety of musicians and bands. I've read over 30 of these books...everything from The Beatles LET IT BE to David Bowie's LOW to Guns N' Roses USE YOUR ILLUSION 1&2. Granted, not all of the books are good, and some are just plain awful (Jethro Tull AQUALUNG is among the worst).
Despite this, I love these books so much...and have even been inspired to buy an album, just so I can read the 33 1/3 book. My rule is...I won't read a 33 1/3 book unless I have the album. So, with that in mind...I bought Neil Young's HARVEST album (which is great)...as well as the 33 1/3 book. The book, by Sam Inglis, was just okay...hampered by the fact that Inglis didn't seem to like the album very much...making a point to let people know that TONIGHT'S THE NIGHT is Neil Young greatest album.
Nonetheless, the book got me thinking about Neil Young...and soon enough, I bought a few more Neil Young albums. Which lead me to picking up SHAKEY (on a whim) at a Borders book store in Century City...which lead to even more albums. I now have close to 20 Neil Young albums, and counting. So in essence...the music inspired the books, which inspired the music. Who knew reading could be so much fun!
My understanding and appreciation of Young's music is now not only enhanced, but ingrained in my system. Even the structure of McDonough's book is a knockout. In each chapter, the author goes into detail about various events in Neil Young's professional and personal life...from The Squires and The Mynah Birds, to Buffalo Springfield and Crosby, Stills, Nash & Young to Crazy Horse and to the many solo albums.
Yet just when you think the story can't get any more compelling than it already is...we hear from Neil Young himself, in conversation with the author, commenting on his actions...and inactions. What's also great, is that Jimmy McDonough is a true fan of Young's music...yet also is Young's biggest critic, and often challenges Young directly if he feels Young's music, or performance is below par.
I was sad finishing the book. Who knew? I mean...I've never been a big Neil Young fan in the past. I had one or two of his records when I was a teenager, I think. Being a concert whore in my younger years...I first saw Young perform at Live Aid in 1985, then attended three Neil Young concerts in 1986, 1988 & 1991. Plus I saw him perform at the Bob Dylan 30th Anniversary show in 1992. Last time I saw him was 9 years ago at a Crosby, Stills, Nash & Young concert in Los Angeles (which sadly was an extremely unpleasant experience for me, due to a disruptive audience).
At the start of 2009, I owned a total of two Neil Young CDs...and only one of them I bought for Neil Young's sake: the 1970 classic AFTER THE GOLDRUSH. The other CD, MIRRORBALL, I only bought because it featured Pearl Jam as Neil's backing band on the entire album. What changed? Books!
I'd been trying to change my reading habits for years. I'd been very attached to a series of small, pocket books called 33 1/3...a series of books focusing on individual records, by a variety of musicians and bands. I've read over 30 of these books...everything from The Beatles LET IT BE to David Bowie's LOW to Guns N' Roses USE YOUR ILLUSION 1&2. Granted, not all of the books are good, and some are just plain awful (Jethro Tull AQUALUNG is among the worst).
Despite this, I love these books so much...and have even been inspired to buy an album, just so I can read the 33 1/3 book. My rule is...I won't read a 33 1/3 book unless I have the album. So, with that in mind...I bought Neil Young's HARVEST album (which is great)...as well as the 33 1/3 book. The book, by Sam Inglis, was just okay...hampered by the fact that Inglis didn't seem to like the album very much...making a point to let people know that TONIGHT'S THE NIGHT is Neil Young greatest album.
Nonetheless, the book got me thinking about Neil Young...and soon enough, I bought a few more Neil Young albums. Which lead me to picking up SHAKEY (on a whim) at a Borders book store in Century City...which lead to even more albums. I now have close to 20 Neil Young albums, and counting. So in essence...the music inspired the books, which inspired the music. Who knew reading could be so much fun!
Read
July 31, 2025Had a great time reading this. Overblown gonzo rock journalism at its most excessive and entertaining. Reads like the Hollywood movie version of itself (positive). Kind of fizzles out by the last hundred pages but I tore through this thing in no time. To whoever picked the copy I left at the Barbican centre: I hope you enjoy it.
August 29, 2020
Sometimes when I write GoodReads book review, I jot some paragraphs of random reflections down and then try to edit it into a cohesive statement. For this book/review, I have decided to skip the editing process. Mainly because I think the chaos of my reflections perfectly reflect the jumble of this book. As you will see from my last paragraph, hopefully my messy review will add up to something, just like this book somehow did.
So here we go…
It is so hard to review this book.
I told a friend who is a die-hard NY fan that I was reading it - and he texted back, “never read it - heard it was horribly written.”
I am not even sure what “horribly written” means - sentence structure? story telling? - but I think i know why someone told my friend that!
As with many books - I got a ton out of it - so although i can list a million flaws, I am glad I read the book.
Neil Young is a complex figure. One can figure that out just by listening to his music over the years. Impeccably crafted while often revelling in its spontaneity and often sloppy performance. This is what Neil Young has always been selling. Art at its most honest. Bare and raw emotionally but simultaneously cryptic and deep.
At times, tho inconsistently, the author is trying to present Neil’s story in the same manner. And I fear this was not deliberate.
As with all Rock Books - the endless tales of how “fucked up we all were”, the incessant coke binges, heroin tragedies, braggadocio of pot potency are tedious and exhausting. I know they are a crucial part of the stories, but it doesn’t mean I have to find any entertainment in it!
Shakey is an authorized biography. Neil Young, always a controlling figure musically, read drafts and undoubtedly insisted on edits. At the same time, one of the more effective techniques in the book is that many critical anecdotes from other people are appended by a long commentary from Neil Young, either elaborating on the story or clarifying the details. Documentary-style. Hearing the subject’s voice reacting to the author’s story-telling is fascinating - often reflecting on some of the less flattering moments in his life - and thankfully almost always owning them.
Stretches of oral history, musical criticism (really could do without most of this), …
Documentary in written form.
But like Neil Young’s musical ouevre, there are huge sloppy holes throughout the book. Paragraphs that don’t make any sense. Stories that go nowhere. Characters that pop in and pop out without a proper introduction, or in reverse, excessive introduction without a pay-off. And critical scenes that never get told or questions posed without answers.
Exasperating.
And much like NY’s career. The book gets messier and less focused and satisfying as it goes along. After 200 pages, I was in love with this book - by 400, I was praying it would end, it was so tedious. If the author wrote it in order, he clearly was losing his passion for the subject - and even shows a certain irritation that he has to keep writing.
So - the book is like Neil’s career. Highs. Lows. Wallowing in messy. Yet when I put it down, I feel that the mission was accomplished. I have a deep understanding of an extremely complex mind - an accomplishment that in retrospect should have been impossible, but is actually achieved.
So here we go…
It is so hard to review this book.
I told a friend who is a die-hard NY fan that I was reading it - and he texted back, “never read it - heard it was horribly written.”
I am not even sure what “horribly written” means - sentence structure? story telling? - but I think i know why someone told my friend that!
As with many books - I got a ton out of it - so although i can list a million flaws, I am glad I read the book.
Neil Young is a complex figure. One can figure that out just by listening to his music over the years. Impeccably crafted while often revelling in its spontaneity and often sloppy performance. This is what Neil Young has always been selling. Art at its most honest. Bare and raw emotionally but simultaneously cryptic and deep.
At times, tho inconsistently, the author is trying to present Neil’s story in the same manner. And I fear this was not deliberate.
As with all Rock Books - the endless tales of how “fucked up we all were”, the incessant coke binges, heroin tragedies, braggadocio of pot potency are tedious and exhausting. I know they are a crucial part of the stories, but it doesn’t mean I have to find any entertainment in it!
Shakey is an authorized biography. Neil Young, always a controlling figure musically, read drafts and undoubtedly insisted on edits. At the same time, one of the more effective techniques in the book is that many critical anecdotes from other people are appended by a long commentary from Neil Young, either elaborating on the story or clarifying the details. Documentary-style. Hearing the subject’s voice reacting to the author’s story-telling is fascinating - often reflecting on some of the less flattering moments in his life - and thankfully almost always owning them.
Stretches of oral history, musical criticism (really could do without most of this), …
Documentary in written form.
But like Neil Young’s musical ouevre, there are huge sloppy holes throughout the book. Paragraphs that don’t make any sense. Stories that go nowhere. Characters that pop in and pop out without a proper introduction, or in reverse, excessive introduction without a pay-off. And critical scenes that never get told or questions posed without answers.
Exasperating.
And much like NY’s career. The book gets messier and less focused and satisfying as it goes along. After 200 pages, I was in love with this book - by 400, I was praying it would end, it was so tedious. If the author wrote it in order, he clearly was losing his passion for the subject - and even shows a certain irritation that he has to keep writing.
So - the book is like Neil’s career. Highs. Lows. Wallowing in messy. Yet when I put it down, I feel that the mission was accomplished. I have a deep understanding of an extremely complex mind - an accomplishment that in retrospect should have been impossible, but is actually achieved.
September 26, 2025
Incredibly gripping, I fell in love with this sprawling portrait of Neil Young.
At 750 pages, its greatest strength is its intimacy, as you slowly sink deeper into the throes of his life. The drawback are the less exciting periods of his life. It takes 200 pages to even reach his Buffalo Springfield era, while the 80s is equally a drag.
That being said, McDonough writes a spellbinding biography, if not a little self-inserty in places, as well as the unnecessary bitterness towards Neil’s output later in life.
At 750 pages, its greatest strength is its intimacy, as you slowly sink deeper into the throes of his life. The drawback are the less exciting periods of his life. It takes 200 pages to even reach his Buffalo Springfield era, while the 80s is equally a drag.
That being said, McDonough writes a spellbinding biography, if not a little self-inserty in places, as well as the unnecessary bitterness towards Neil’s output later in life.
March 9, 2018
I started reading this book; I found a lot of interesting material here as I read about the life of Neil Young. Unfortunately, despite the good material, this book just goes on and on and on, with the meanderings of an obvious fanboy who really needs the services of a good editor.
The book would probably be really interesting at about half its length, but even though reading a biography implies that you're looking for information about the subject, this one really goes into the stage of TMI to the point of becoming tiring and not enjoyable.
The book would probably be really interesting at about half its length, but even though reading a biography implies that you're looking for information about the subject, this one really goes into the stage of TMI to the point of becoming tiring and not enjoyable.
May 17, 2025
It’s hard to put a star rating on this, because how can you rate the meticulously researched truth? The feeling I get most after finishing this 800-page monster is that sometimes you don’t want to know who your idols really are.
Knowing that behind the songs was someone coked out of his mind, whose every whim was catered to by his lackeys, cruising around Malibu and living a life without responsibility – it kind of devalues the music.
Frustratingly, Young gets it: great songs are those where you don’t imagine the artist speaking, but yourself. I love his music, I always knew there was debauchery involved, but this book made it seem at once banal and distant instead of something that speaks directly to you and is yours in your heart.
Content-wise, the book gets really repetitive with a neverending list of who mixed what recording and where, who argued about the mix, what deal they made with the record company, etc, plus the lurid details of who did what drugs and who screwed over whom over how much money on what tour. Plus, McDonough's posturing as Young's tough-love confidant was particularly cringe-worthy.
In between the lines, there emerges an alternate history of a dominating, unpredictable and egocentric individual who's more than a little lost. You gotta admire the chutzpah he had in his early days, though – goes to show if you’re cocky enough, you can make anything happen.
Reading this made me realize the pointlessness of trying to get into an artist’s head when relating to a song – I can’t relate to their lifestyle. If anything, *they* should be trying to relate to *me* (which, to be fair, Young tries).
This made me appreciate the rambling, honest and unusual Waging Heavy Peace: A Hippie Dream even more, although now that I think about it – is it a whitewashed portrait of Young in his best light, leaving out most of the story? Absolutely. So here I am thinking – why read artist biographies at all?
tl;dr I’m going to pretend I never read this to continue to enjoy his music.
Knowing that behind the songs was someone coked out of his mind, whose every whim was catered to by his lackeys, cruising around Malibu and living a life without responsibility – it kind of devalues the music.
Frustratingly, Young gets it: great songs are those where you don’t imagine the artist speaking, but yourself. I love his music, I always knew there was debauchery involved, but this book made it seem at once banal and distant instead of something that speaks directly to you and is yours in your heart.
Content-wise, the book gets really repetitive with a neverending list of who mixed what recording and where, who argued about the mix, what deal they made with the record company, etc, plus the lurid details of who did what drugs and who screwed over whom over how much money on what tour. Plus, McDonough's posturing as Young's tough-love confidant was particularly cringe-worthy.
In between the lines, there emerges an alternate history of a dominating, unpredictable and egocentric individual who's more than a little lost. You gotta admire the chutzpah he had in his early days, though – goes to show if you’re cocky enough, you can make anything happen.
Reading this made me realize the pointlessness of trying to get into an artist’s head when relating to a song – I can’t relate to their lifestyle. If anything, *they* should be trying to relate to *me* (which, to be fair, Young tries).
This made me appreciate the rambling, honest and unusual Waging Heavy Peace: A Hippie Dream even more, although now that I think about it – is it a whitewashed portrait of Young in his best light, leaving out most of the story? Absolutely. So here I am thinking – why read artist biographies at all?
tl;dr I’m going to pretend I never read this to continue to enjoy his music.
November 28, 2020
the best rock bio i've ever read by a mile, and i read a lot of that kind of junk
October 2, 2021
Ok, I'll give it four stars, since the whole star system is ridiculous.
That said, this isn't really a book - not in the sense that Greil Marcus makes sense of rock and roll, and relates it to a larger culture - and it isn't a great standard rock bio (Ratso Sloman's "On Road with Bob Dylan,''about Dylan's infamous Rolling Thunder tour is more entertaining, if idolatrous.)
It's a bunch of pasted together pages, including sometimes interesting interviews with Neil, his longtime producer David Briggs, and others - along with disquisitions, arguments with Neil by the author about whether he's selling out (Young handles them with uncharacteristic humor and aplomb) and side interviews with random Neil Young fans. Also: disquisitions about long-forgotten minor works in the ouevre and the merits of different live performances and back up groups . (McDonough likes Crazy Horse, so do I and, more importantly, Neil.) It's uneven, something I guess can also be said about Young's extensive discography, but unlike the best of Neil's work, it doesn't really amount to anything transcendent, or inspiring.
And, just to keep the Good Reads tradition of snarkery, which I usually try to eschew, alive, I really could have done without the whole segment of the author hanging out in the barn where Neil keeps his Lionel trains.
Having said all that...I finished it, and enjoyed it in spots. A case study in getting too close to the subject, and getting lost in the material, but...
That said, this isn't really a book - not in the sense that Greil Marcus makes sense of rock and roll, and relates it to a larger culture - and it isn't a great standard rock bio (Ratso Sloman's "On Road with Bob Dylan,''about Dylan's infamous Rolling Thunder tour is more entertaining, if idolatrous.)
It's a bunch of pasted together pages, including sometimes interesting interviews with Neil, his longtime producer David Briggs, and others - along with disquisitions, arguments with Neil by the author about whether he's selling out (Young handles them with uncharacteristic humor and aplomb) and side interviews with random Neil Young fans. Also: disquisitions about long-forgotten minor works in the ouevre and the merits of different live performances and back up groups . (McDonough likes Crazy Horse, so do I and, more importantly, Neil.) It's uneven, something I guess can also be said about Young's extensive discography, but unlike the best of Neil's work, it doesn't really amount to anything transcendent, or inspiring.
And, just to keep the Good Reads tradition of snarkery, which I usually try to eschew, alive, I really could have done without the whole segment of the author hanging out in the barn where Neil keeps his Lionel trains.
Having said all that...I finished it, and enjoyed it in spots. A case study in getting too close to the subject, and getting lost in the material, but...
November 14, 2014
Suffice it to say, Neil Young is a complex and complicated artist. His body of musical work is varied and extensive, ground-breaking in some cases, and disappointing in others. His fan following is broad and his peer regard significant.
This book,however, allows the reader to meet him, overhear what others have said about him, and track the path of his career. What is unique here is the juxtaposition of the author's description of events with direct quotes about those same events from Young. Although reluctant and even resistant to having his biography written, he still spent hours and hours being taped in one-on-one interviews in all kinds of places with the author.
The reader is let in on what Young intends in his often enigmatic song-writing (he just wants to convey a feeling, not tell a story.) We learn about his incredible shyness coupled with an overtly fierce defense of his music and inflexibility about recording. We come to understand the physical, emotional, and attitudinal aspects of Young as well as his relationships, good and bad, with family, band members, and friends.
This book is packed with insights into Young's music and his way. If you have any interest in the full circle of impacts on an artist and his music, this book is for you.
This book,however, allows the reader to meet him, overhear what others have said about him, and track the path of his career. What is unique here is the juxtaposition of the author's description of events with direct quotes about those same events from Young. Although reluctant and even resistant to having his biography written, he still spent hours and hours being taped in one-on-one interviews in all kinds of places with the author.
The reader is let in on what Young intends in his often enigmatic song-writing (he just wants to convey a feeling, not tell a story.) We learn about his incredible shyness coupled with an overtly fierce defense of his music and inflexibility about recording. We come to understand the physical, emotional, and attitudinal aspects of Young as well as his relationships, good and bad, with family, band members, and friends.
This book is packed with insights into Young's music and his way. If you have any interest in the full circle of impacts on an artist and his music, this book is for you.
September 11, 2007
if you have any interest in the history of, fate of, or reason for american music in any sense, then you should pick this book up. even if you aren't an obsessive fan of ned young, this is a fascinating insight into a driven maniacs passive aggressive propulsion into super-fame. shakey (n. young's nickname) made moves that alienated him from his fans and friends alike, perhaps not even knowing that he hurt anyone in the process, and came out one of the most respected and admired american musicians ever. even if you're just curious about what it feels like to drink tequila for two months straight from morning till morning, all the while taking speed and doing a thing called "honey slides"- (burnt weed mixed with honey). and if you are a songwriter that likes to mentally and verbally abuse the musicians that he works with, this book will probably make you feel better about yourself.
March 7, 2013
Gave up on page 559. I only persevered that far because I'm a Neil Young fan. Love the music. The book doesn't describe him as a very likeable character, which from all the interviews and such I've read over the years on Young, collectively paints a better and more accurate overview of the man's character as an artist and a person.
A book of this length, 778 pages, had to give some interesting details, if one wants to wade through it.
A book of this length, 778 pages, had to give some interesting details, if one wants to wade through it.
June 29, 2017
Being a huge fan of Neil Young, someday I am going to return to this book.
This is an enjoyable biography of a true musical master and one not necessarily required for just fans. Though, a fan's appreciation of Young will increase after reading this biography.
The book details everything from Young's incredible hearing to his infuriating behavior toward his fellow musicians.
This is an enjoyable biography of a true musical master and one not necessarily required for just fans. Though, a fan's appreciation of Young will increase after reading this biography.
The book details everything from Young's incredible hearing to his infuriating behavior toward his fellow musicians.
February 28, 2022
Lots of great stuff here. Especially early on. Takes a turn for the worse once the Author meets Neil in real life and decides that that portion of the book needs to be filled with his personal opinions on Neil.
March 5, 2013
I didn't finish. I've decided, for now,he's better left a mystery.
Currently reading
August 10, 2025Only at page 60, but what great book to exist!I've been a fan since I first heard of him in high school in the 70s, and remained true all my life, although my interest wavered some after the century turned over a bit, knew very little of his real life, other than the most obvious that a rock obsessed wanna-be musician would know: bands and leaving of bands, marriages to Carrie Snodgress and Pegi, two kids with cerebral palsy, his Canadian roots, California ranch, political and charitable inputs. Knew he was a tech geek due to seeing his SOLO Trans show, one of 3-4 times I saw him live plus the movies.
But what most kept me keeping on with Neil was HIM, his dry, unpredictable, and wonky take on life--he somehow seemed to have the key to how to live. I admired his style, his dark and stormy sense of humor that came through in his lyrics, the rare interviews I could find, and his stage presence.
And already, by page 60, I am now admiring Jimmy McDonough's deep capture of that presence. To give you an idea, by page 60, Neil is still a Canadian kid with white bucks who still doesn't own a guitar. Early chapters do deep submergence, with much appreciated original quotes!, into his family and upbringing--what a bunch of characters. Rassy, his colorful mother, and Scott, his well-known writer father...Neil doesn't spring from nothing, but you still get the feeling he rose whole from this environment a separate entity. Rassy, mouthy and tomboyish, says her favorite song is "Sedan Delivery": she used to sneak over to a neighbor's to play piano when her mother forbade her because of some personal piccadillo. Scott was , surprising maybe to Neil fans, sports enthusiast and sports writer (Neil preferred fishing and turtles?) , who traveled a lot, was charming, ambitious and logical. He sold gopher tails to make money as a kid. And the biographer even goes back another generation or two in the families. These are just the kind of things I needed to know about Neil, even though I wouldn't have been able to say so beforehand.
But what most kept me keeping on with Neil was HIM, his dry, unpredictable, and wonky take on life--he somehow seemed to have the key to how to live. I admired his style, his dark and stormy sense of humor that came through in his lyrics, the rare interviews I could find, and his stage presence.
And already, by page 60, I am now admiring Jimmy McDonough's deep capture of that presence. To give you an idea, by page 60, Neil is still a Canadian kid with white bucks who still doesn't own a guitar. Early chapters do deep submergence, with much appreciated original quotes!, into his family and upbringing--what a bunch of characters. Rassy, his colorful mother, and Scott, his well-known writer father...Neil doesn't spring from nothing, but you still get the feeling he rose whole from this environment a separate entity. Rassy, mouthy and tomboyish, says her favorite song is "Sedan Delivery": she used to sneak over to a neighbor's to play piano when her mother forbade her because of some personal piccadillo. Scott was , surprising maybe to Neil fans, sports enthusiast and sports writer (Neil preferred fishing and turtles?) , who traveled a lot, was charming, ambitious and logical. He sold gopher tails to make money as a kid. And the biographer even goes back another generation or two in the families. These are just the kind of things I needed to know about Neil, even though I wouldn't have been able to say so beforehand.
July 26, 2024
Okay so that was a lot for me. This book (in conjunction to Neil Young in general) has completely enveloped my entire life this year..... It feels like basically the most important read of my entire life despite me having extremely mixed views on this book. To be honest my biggest problems are with the author's opinions that I don't agree with, like his obvious beef with CSN.... but I guess besides that it was an extremely enlightening look into Neil Young as a person. I read a few reviews before reading that talked about even after almost 800 pages about him Neil is still an extremely elusive figure and they were right. I am unhealthily obsessed with the man and constantly trying to understand everything I can about his mind and thought process and anything about him as a person I can from reading about him and watching stuff about him but it's pretty impossible to understand him... I mean the people closest to him don't even understand him so why would I? Anyways I would only recommend this book if you're fixated on this man to a deranged level like me.
June 22, 2021
Maybe the best music biography or autobiography I've read - or at least tied with Keith Richard's Life. The style is fun, with the author cutting in interviews with Neil and others, as he moves through chronologically. Neil's 70's "high" period is full of tons of detail, and his body of work (albums and shows) is well-scrutinized by McDonough - a real fan of when Neil is playing out on the edge. He's not afraid to call out Neil when he's just phoning it in or the work isn't working, sometimes to his face in interviews.
November 18, 2021
“Innaresting”
December 6, 2020
Ik zou mezelf geen Neil Young-fan noemen. En toch vind ik veel van zijn muziek goed tot zeer goed. Of althans, het werk tot eind jaren 70. Daarna haak ik steeds vaker af.
Het begon met de geijkte platen: Harvest, After the Gold Rush, Déjà Vu natuurlijk (samen met met Crosby, Stills en Nash). Daarna kwamen cultplaten als On the Beach en Tonight's the Night. Groeibriljanten die verder de diepte ingaan. Ik leerde de elektrische Young kennen met Crazy Horse en de begindagen van Buffalo Springfield. Toch niet eerder eraan toegekomen om het standaardwerk over hem te lezen: Shakey. Producer Jan S vertelde onlangs tijdens de plaatopnamen van broer Joosts band Tupperwr3 zo onder de indruk van het boek te zijn.
Geen spijt van dit vuistdikke werk, een paar weken met volle teugen genoten van een van de beste muziekbiografieën die ik tot nog toe heb gelezen.
Een rijk en diepgravend levensverhaal van Jimmy McDonough die hem de gehele jaren 90 (soms tegen en wil en dank) gevolgd heeft.
Was bepaald geen sinecure om in de buurt van Young te komen, de eigengereide loner. Toch volgehouden en eigenlijk door gewoon te zijn blijven hangen en altijd en overal aanwezig te zijn heeft hij dit werk weten te schrijven. Het begint bij het begin, de jeugd in Canada. Daarna de verhuizing naar Californië. Alle bands komen langs, van schoolband The Squires, Buffalo Springfield samen met o.a. Stephen Stills, CSNY, solo, met en zonder Crazy Horse, tot aan eind jaren 90, een periode waarin het op dat moment weer even bergafwaarts gaat.
Een van de sterkste punten van het boek is dat het niet koste wat het kost een rooskleurig beeld wil schetsen van de gevierde rock 'n roll-ster zoals in muziekbiografieën nogal eens het geval wil zijn.
Het laat zeker ook de schaduwzijden zien en de mindere kanten van Neils persoonlijkheid. Hoe ontzettend moeilijk hij was voor de naasten in zijn omgeving. Altijd maar zijn eigen zin willen doordrukken ten koste van alles. Het perfectionistische. Tot in het extreme aan toe; als je niet de ideale modeltrein voor je zieke zoon kunt vinden, waarom niet zelf een bedrijf oprichten en je eigen treinen ontwikkelen en vervolmaken?
Aan de andere kant is hij ook heel loyaal, eerlijk en recht door zee. Trouw naar vrienden. Er is geen ruimte voor bullshit. Hij komt het liefst zo snel mogelijk tot de kern van de zaak. Iets wat je ook absoluut terugziet in alle opnameprocessen door de decennia heen.
Een rode draad in het leven van Neil: hij is altijd een loner/outsider geweest. Mensen in z’n omgeving zijn haast bang door z’n uitstraling en indringende blik. Zoals Clint Eastwood: not to fuck with. Manager Roberts is er duidelijk over: dit komt de relatie met Rassy, z’n moeder, een sleutelfiguur in zijn leven. Een zeer dominante vrouw en continu (op de achtergrond) aanwezig.
Een andere belangrijke leidraad is Neils zwakke fysieke gesteldheid (o.a. zware polio op jonge leeftijd) en z’n gevoelige karakter. Hij is makkelijk te raken, zeker tijdens de beginjaren van z'n carrière. Je moet oppassen met je woorden.
Begeleidingsband Crazy Horse in al zijn facetten komt uitgebreid aan bod. Ze zijn voor Young wat The Band was voor Dylan. Ze brengen een bepaald soort losheid qua spelen en opnemen. Frivool, spontaan en toch groovend en soulful. Beide bands wisten de meesters tot grote hoogten te drijven. Hoewel Crazy Horse het bij Young weliswaar een stuk langer zou volhouden. Het is altijd een haat-liefdeverhouding geweest tussen Young en band. Toch zijn ze een constante gebleken. Af en aan verschijnen er platen na vele uitstapjes tussendoor van de immer veranderende en grillige Young.
Het is een diepgravend werk. Biograaf McDonough heeft zichzelf bijna tien jaar obsessief vastgebeten in het leven van Neil.
Hij kent na afloop Neil beter dan hijzelf in sommige opzichten. Of waarom hij bijvoorbeeld bepaalde nummers heeft geschreven. En nog steeds blijft Neil voor hem het onopgeloste mysterie, het enigma, zoals dat bij Dylan ook het geval is. Telkens als je denkt hem door te hebben, word je weer verrast. Als een ui: als je er een laag afpelt, komt er een nieuwe tevoorschijn.
Het voert te ver om het hele levensverhaal in een paar zinnen samen te vatten, maar het is een machtig boek, geschreven met veel vaart, humor, eindeloos veel mooie verhalen en bovenal een indringend levensverhaal.
Daarnaast schetst het en passant een fraai beeld van de roerige periode eind jaren zestig, begin jaren zeventig, met name in de eerste paar honderd bladzijden. Los Angeles en San Francisco waren het middelpunt van de psychedelische en even later de singer-songwriter-scene. Alle belangwekkende namen uit die regio komen voorbij. Van Hendrix tot Joni Mitchell, van Love tot Jefferson Airplane, van The Byrds tot The Doors en vele anderen.
Hieronder verdere details voor latere naslag.
********************
Neil groeit op in Canada. Het mooiste, meest onbezorgde deel van de kindertijd is in Omemee, op het platteland van Ontario. Vader Scott is journalist en schrijver. Altijd een lastige, wat afstandelijke relatie tussen Neil en z’n vader. Neil krijgt nooit de erkenning waarnaar hij op zoek is. Met moeder Rassy is het twee handen op een buik. Uitgesproken figuur met een duidelijke mening. Het huwelijk tussen Scott en Rassy loopt op de klippen en Neil gaat met z’n moeder in Winnipeg wonen. Broer Bob, later succesvol golfer, blijft bij vader Scott.
Tijdens z’n puberteit raakt Neil steeds meer geïnteresseerd in muziek. Op fanatieke, haast maniakale wijze. Hij is een onzekere jongen, een loner. Mede door de polio die hij als kind heeft gehad, is hij onzeker over z’n lichaam. Ook de scheiding van z’n ouders heeft erin gehakt. Overigens wel geliefd bij de meisjes, door zijn indringende ogen en bijzondere, afwijkende manier van kleden (invloed van z'n moeder). En altijd galant. Hele dagen speelt hij gitaar en volgt alles wat er uitkomt; vroege rock ‘n roll, doo wop, rockabilly. Hij richt de eerste band op, The Squires, dan een jaar of 16. Een geluid dat sterk geënt is op artiesten uit die tijd als The Shadows (van Cliff Richard) en The Ventures. Af en toe een optreden voor een handvol mensen.
Joni Mitchell, ook een loner en ook zij is op jonge leeftijd getroffen door polio. Eveneens een unieke, creatieve ziel. Neil en zij ontmoeten elkaar als Neil zo goed als klaar is met the Squires. Beatles hebben hun intrede gedaan in Canada, Neil heeft Bob Dylan ontdekt en schuift langzaam op van de rock ‘n roll naar de folk-kant.
Fort William, hier treden the Squires op, meer en meer. Hier komt Neil voor het eerst Stephen Stills tegen met z’n groep the Au Go-Go Singers. Een rocker, maar ook een folkie, uit de Greenwich Village scene in New York (vroege Dylan e.a.) en met een funky, bijna zwarte stem. Gevoel voor harmonieën. Muzikale klik.
Kort daarna gaat Neil er vandoor. Hij laat de boel de boel, vertrekt zonder iets te zeggen naar Toronto. Anno ‘65. Met name de wijk Yorkville, met z’n beatnik en folk scene. Artiesten als Gordon Lightfoot en Ronnie Hawkins and the Hawks (ja, gepikt door Dylan en zou later The Band gaan heten). Neil als folkie: werkt niet, slaat niet aan. Wil ook geen werk van anderen coveren.
Neil speelt plots ook nog een blauwe maandag bij The Mynah Birds, een Canadese witte Motown-groep met de zwarte zanger Rick James (niet die ene).
Neil lijkt al met al een beetje de boot te missen met de hausse aan groepen die uit de grond schieten als The Byrds, Lovin’ Spoonful en met name natuurlijk Dylan die het allemaal aanzwengelt, “elektrisch” gaat en steeds groter wordt. De explosie in ‘65 na Like a Rolling Stone met het bijbehorende verguisd worden door de folk scene (“Judas!”, tijdens het befaamde Newport Folk Festival).
Dylan is de grootste volgens Neil.
“I think I liked Bob’s music so much that at one point I actually had to consciously not listen to it because it affected me so much.”
Aangetrokken door de folkrock van The Byrds, komt het impulsieve besluit om in de auto te stappen en van Toronto naar LA te rijden, vastberaden om daar een doorbraak te forceren.
Tussendoor, over drugsgebruik: merendeel wiet. Korte periodes van uitproberen amfetamine. Tijdens de rit naar het zuiden: aan de downers/prescription drugs. Vermoedelijk ook om de mood swings / wankele zenuwsysteem van Neil wat te dempen. En wellicht de epilepsie die hij lijkt te hebben/ontwikkelen.
April ‘66 begint het avontuur. Buffalo Springfield (eigenlijk een tractor-merk) wordt gevormd met o.a. Neil, Stephen Stills en rot Dewey Martin (Patsy Cline, Roy Orbison) in de gelederen. Eerste optreden vermoedelijk in april in de legendarische Troubadour.
The Byrds zijn dan de absolute spil in de LA scene met bassist Chris Hillman en vooral de rebelse David Crosby die zich suf rookt aan de wiet. Aan de Byrds kleeft echter nog steeds een stevige folk-lucht ondanks hun verwoede pogingen om elektrisch te gaan (zie Eight Miles High). Buffalo Springfield heeft dat euvel minder door de samenstelling en achtergrond van de band. Steviger. Daarnaast waren the Byrds een echte studio-band. Live zakte het hopeloos in elkaar door clashende ego’s en te veel drugs.
LA, ook de stad van the Doors. Ze traden veel op met Springfield in de Whisky a Go-Go. En verder natuurlijk Love, met de briljante frontman Arthur Lee. Bekend van meesterwerken Forever Changes en Da Capo. Tegendraads en niet kenmerkend voor de latere summer of love. Beach Boys, met geflipt genie Brian Wilson, hingen daar ook rond.
Young en Stills lopen al vrij snel uit elkaar qua mening. Stills wil zijn eigen songs voortdurend erdoor drukken en is op weg naar fan-dom. Ziet het als z’n eigen band. Geen bandgevoel, almaar een samenraapsel van individuele nummers.
Neils epilepsieaanvallen worden verder steeds frequenter. Productie van het eerste Springfield-album blijkt een fiasco. Ene bij elkaar geraapt zooitje. Bij lange na niet een benadering van hun fameuze liveoptredens.
Neil hangt niet rond met de groupies met het toenemende succes van Springfield. Hij heeft twee vriendinnen met wie hij onafscheidelijk is. Niet de standaard popster die met dames het bed in duikt. Atypisch en wat fragiel ogend, verlegen.
Neil gaat afgelegen wonen in Laurel Canyon, buiten LA, op een wat lugubere plek. Eigenaar van het stuk grond is Kiyo Hodell, een astroloog annex heks die een soort buffer wordt tussen Neil en de buitenwereld.
Los van de epilepsieaanvallen krijgt Neil ook (doods)angstaanvallen. Zo ondernemen allerlei inmiddels in onbruik geraakte technieken om z’n hersenen te onderzoeken, o.a. een gaatje in z’n hersenpan en allerlei scans. LSD is uit den boze voor hem volgens de artsen. Al deze misère leidt uiteindelijk tot het geweldige Mr. Soul met z’n duistere ondertoon, alternatieve stemming (D modal) en Satisfacton-achtige riffje.
Neils twee vriendinnen vertrekken plots naar San Francisco, in een huis op Asbury Heights, inwonend in een soort commune bij het net gevormde Jefferson Airplane. Grateful Dead hing daar ook rond. Neil er achteraan en kort daarna Stills en de rest van de band. Spanningen tussen Stills en Young lopen steeds verder op. Botert niet echt met de bands uit Frisco, behalve met Moby Grape. Zelfde idee, drie songwriters, drie elektrische gitaren, drie zangers.
Terug in LA steeds meer een aflopende zaak. For What It’s Worth wordt nog op de valreep hun grootste hit, maar kort daarna, in het voorjaar van 67, stapt Neil uit de band, met name omdat Stills Mr Soul niet wil hebben uitgebracht. Dat betekent geen Monterey, geen Newport en niet bij Johnny Carson op tv.
Op de vraag of er iemand uit de tijd in LA is die Neil op enige manier is die hem beïnvloed heeft, duikt er slechts een naam op: Jack Nitzsche. Die is altijd in Neils muziek blijven geloven en hem het zetje richting een solocarrière gegeven. Nitzsche was een befaamd producer, arrangeur, saxofonist, toetsenist (o.a. bij de Stones), maker van filmmuziek en ooit rechterhand van Phil Spector, de opper-producer. Maakte ook een paar bijzondere soloplaten. Unieke, creatieve geest.
Pet Sounds (Beach Boys) en Sgt Pepper (Beatles) zijn inmiddels uit en hebben de popmuziek op hun kop gezet, met name qua productietechnieken. Alles kan, alles mag, hoe meer toeters en bellen, hoe beter.
Met hulp van Nitzsche komt Expecting to Fly tot stand. Formeel nog een Springfield-nummer, maar eigenlijk de eerste echte springplank naar de solocarrière. Wekenlang doen ze over de opnamen, tot het perfect is, inclusief koortjes van soulzangeressen Gloria Jones (Tainted Love), Merry Clayton (befaamde sessiezangeres, zie Gimme Shelter) en de zusjes Holloway.
Graham Nash (dan nog bij The Hollies) belt Nitzsche op om te zeggen dat hij onder de indruk is.
Expecting to Fly leunt meer richting Pet Sounds dan Sgt Pepper. Hoewel het volgende kunststukje Broken Arrow met al z’n toeters en bellen onmiskenbaar een Pepper-invloed kent. Qua productie was het tweede album al met al een stuk geslaagder.
Toch zou de live-magie nooit op plaat gevangen worden door ontbreken van een echt goede producer. Er zat geen idee achter en het ging te veel alle kanten op.
1968 is het klaar met Springfield. Politiek wordt het grimmiger. Robert Kennedy, Martin Luther King, Andy Warhol, allemaal vermoord. Vietnamoorlog komt tot een kookpunt. Stills zal verder gaan met Crosby en Nash.
Nieuw hoofdstuk. Twee belangrijke figuren worden geïntroduceerd in het leven van Neil die zijn solocarrière zullen bepalen: de zeer eigengereide manager Elliott Roberts, net zo’n outsider als Neil. En producer David Briggs.
Roberts zit ook in de scene van Buffy Sainte-Marie en de opkomende, wat verlegen Joni Mitchell (die tussendoor ook nog een affaire krijgt met enfant terrible Crosby die later uit the Byrds getrapt zou worden) die hij erg graag wil managen. Mitchell zou later verliefd worden op de wat meer brave, timide Nash wanneer hij met Crosby en Stills CSN vormt. Stills heeft dan een affaire met Judy Collins, folkzangeres en close met Leonard Cohen.
Crosby is de leider binnen CSN, Stills zet de muzikale lijnen uit, is de productionele wizard/perfectionist en Nash is de regelaar, de CEO. Alle drie houden ze overigens van een flinke lijn cocaïne.
Neil zou slechts een passant blijken en CSNY maar een korte zijtak van de CSN-trein.
David Briggs, de enige producer voor Neil. Ook iets onheilspellends, onvoorspelbaars. Woede-uitbarstingen. Het schijnt dat hij een keer woedend is geworden op Charles Manson in Topanga Canyon toen die z’n pick-up truck wilde hebben. Samen met Neil tijdens de opnamen versterkten de twee elkaar en brachten ze het beste in elkaar naar boven. Briggs heeft eenzelfde moeilijke jeugd had gehad vanwege het ontbreken van een vaderfiguur als Young en Stills. Zij hadden in ieder geval nog een vader, Briggs kende z’n vader überhaupt niet.
Crosby, Stills & Nash: puur vakmanschap. Harmonieën, fraai gecomponeerd, samenzang. Aan de andere kant van het spectrum heb je The Rockets (wat later Crazy Horse zou worden). Drie gasten die amper kunnen spelen en een soort rauwe R&B spelen (maar wel een groove hebben zoals Young dat omschrijft). David Crosby kon lange tirades afsteken over hoe slecht ze waren.
Hoe dan ook, Neil zou beide processen verstoren, maar ook beide bands tot grote hoogten stuwen. CSNY werd wereldberoemd, mede dankzij Roberts en Briggs zou cohesie aanbrengen in de groepsdynamiek van Crazy Horse, waarmee Neil zijn elektrische solokant later zou ontwikkelen.
Neil krijgt voorschot via Warner Bros om een huis te kopen in Topanga Canyon. Onmogelijk huis bovenop een steile klif. Trouwt met eerste vrouw Susan, wat uiteindelijk geen lang leven beschoren zou zijn. Een echt hippie-huwelijk. Ontmoette nooit Neils moeder, wat voor beide partijen waarschijnlijk beter was. Via Susan komt Neil in aanraking met de kunstscene van Topanga. Onder meer de kleurrijke figuur Dean Stockwell, acteur en muziekliefhebber.
Samen met Briggs neemt Neil in ‘68 z’n eerste titelloze soloplaat op. Een fragiele, maar soms (dankzij Nietzsche) rijk georkestreerde plaat met de nodige gitaarerupties.
Dan stuit Neil op The Rockets op hun hoofdkwartier in Laurel Canyon. Flink wat gejam. De eerste plaat die samen met hen zou uitkomen, was het ijzersterke Everybody Knows This Is Nowhere, in een zucht en een steun opgenomen. The Rockets, algauw omgedoopt tot Crazy Horse, zijn geen geweldige muzikanten, maar bezorgen Neil wel het funky, groovy, spontane bandgeluid waar hij naar op zoek is, met ruimte voor messcherpe solo’s.
Voor het eerst Neils vintage zware rock n roul-sound. Gewapend met z’n Old Black, een ‘53 Les Paul in een ‘59 Fender Deluxe amp. Een gitaar niet mee te werken voor de meesten. Zwabbert aan alle kanten, hevige feedback.
Enorme energie tijdens de opnamen. Alsof het laatste dag is. Geen gedraal, vol erin, vol urgentie. Klassieke nummers ontstaan als Down by the River, Cowgirl in the Sand en het titelnummer. Het is een soort garage-country-geluid. Fraaie beeldspraak: Neil deed met z’n gitaar wat Dylan deed met z’n stem”.
In de tussentijd hebben Crosby, Stills & Nash hun titelloze debuut uitgebracht. Door de vele overdubs van eenmansband Stills is het optreden live uiteindelijk beperkt tot een akoestische setting. Prima voor Crosby en Nash, Stills wil ook erg graag de elektrische kant. Voor de hand liggende keuze...oud-Springfield-collega Young erbij trekken. Enter supergroep CSNY.
Voor Young win-win. Live profijt trekken van succesplaat CSN waar hij niet eens aanwezig was bij de opnamen en daarnaast een veel groter publiek aantrekken voor zijn solo-materiaal. Uiteindelijk wordt het echter nooit een echte band. Young voelt zich overbodig in een groep die het moet hebben van de harmonieën en de samenzang. De vier vormen geen echte eenheid, ook al werkt het tot op zekere hoogte op het podium. De hype draaide in ieder geval op volle toeren en een jaar later in ‘70 stonden ze als een van de grootste namen op Woodstock en speelden ze onder meer het titelnummer (van Joni Mitchell) van het festival.
Eind ‘69 hebben ze dan al het fameuze Déjà Vu opgenomen. Geen sinecure. De helft van de mannen zit te mokken met liefdesverdriet (Stills zonder Judy Collins en Nash zonder Joni Mitchell) en Crosby’s vriendin is omgekomen in een auto-ongeluk. Young overdubt al zijn eigen nummers, dus de stemming zit er goed in. Alleen Almost Cut My Hair heeft nog iets van een live-gevoel. Helpless is een van de mooie, verstilde Young-bijdragen die hij met Crazy Horse al vaker speelde, maar niet eerder opnam. Plaat is wellicht een groter commercieel dan artistiek succes (minder verfijnd en afgerond dan CSN). Het maakt ze op dat moment voor even wel de grootste en rijkste band ter wereld.
Danny Whitten, gitarist van de Crazy Horse, altijd in de schaduw van Young. Voelt zich miskend. Raakt van de gebruikelijke drugs meer en meer aan de heroïne. Betekent een voorlopig einde van Crazy Horse.
In Topanga Canyon komt After the Gold Rush tot stand. Samengeraapte band. Grotendeels live opgenomen, bij Neil thuis in de kelder. Young neemt een jong broekie van de oostkust onder zijn hoede, een zekere Nils Lofgren (enkele jaren later bekender bij Springsteen’s E-Street Band), als tweede gitarist. Toch werd ie min of meer gedwongen ritmepiano te spelen, wat goed uitpakte.
Overall een kaal opgenomen plaat in piepkleine studio. Weinig echo. Back to basic. De mellow kant van Young. Liedje centraal. Hij speelt voornamelijk akoestische gitaar, ritme en melodie. Plaat blijkt een groot succes en met een heuse hit, Only love can break your heart, over de split tussen Nash en Mitchell.
Kort erop een uitgebreide Déjà Vu-tour, wat op weinig uitdraait. Veel gezeik onderling, Stills aan de heroïne. Wel een live-plaat, 4 Way Street, die heet erg goed doet. Tot grote ergernis achteraf van Stills. Gold Rush voorbij, CSNY-tour voorbij. Sowieso is er een hoop gebeurd in slechts enkele jaren. Young verhuist naar San Francisco. Huwelijk met Susan loopt op de klippen. -> ruimte Goodreads vol, zie verder mail.
Het begon met de geijkte platen: Harvest, After the Gold Rush, Déjà Vu natuurlijk (samen met met Crosby, Stills en Nash). Daarna kwamen cultplaten als On the Beach en Tonight's the Night. Groeibriljanten die verder de diepte ingaan. Ik leerde de elektrische Young kennen met Crazy Horse en de begindagen van Buffalo Springfield. Toch niet eerder eraan toegekomen om het standaardwerk over hem te lezen: Shakey. Producer Jan S vertelde onlangs tijdens de plaatopnamen van broer Joosts band Tupperwr3 zo onder de indruk van het boek te zijn.
Geen spijt van dit vuistdikke werk, een paar weken met volle teugen genoten van een van de beste muziekbiografieën die ik tot nog toe heb gelezen.
Een rijk en diepgravend levensverhaal van Jimmy McDonough die hem de gehele jaren 90 (soms tegen en wil en dank) gevolgd heeft.
Was bepaald geen sinecure om in de buurt van Young te komen, de eigengereide loner. Toch volgehouden en eigenlijk door gewoon te zijn blijven hangen en altijd en overal aanwezig te zijn heeft hij dit werk weten te schrijven. Het begint bij het begin, de jeugd in Canada. Daarna de verhuizing naar Californië. Alle bands komen langs, van schoolband The Squires, Buffalo Springfield samen met o.a. Stephen Stills, CSNY, solo, met en zonder Crazy Horse, tot aan eind jaren 90, een periode waarin het op dat moment weer even bergafwaarts gaat.
Een van de sterkste punten van het boek is dat het niet koste wat het kost een rooskleurig beeld wil schetsen van de gevierde rock 'n roll-ster zoals in muziekbiografieën nogal eens het geval wil zijn.
Het laat zeker ook de schaduwzijden zien en de mindere kanten van Neils persoonlijkheid. Hoe ontzettend moeilijk hij was voor de naasten in zijn omgeving. Altijd maar zijn eigen zin willen doordrukken ten koste van alles. Het perfectionistische. Tot in het extreme aan toe; als je niet de ideale modeltrein voor je zieke zoon kunt vinden, waarom niet zelf een bedrijf oprichten en je eigen treinen ontwikkelen en vervolmaken?
Aan de andere kant is hij ook heel loyaal, eerlijk en recht door zee. Trouw naar vrienden. Er is geen ruimte voor bullshit. Hij komt het liefst zo snel mogelijk tot de kern van de zaak. Iets wat je ook absoluut terugziet in alle opnameprocessen door de decennia heen.
Een rode draad in het leven van Neil: hij is altijd een loner/outsider geweest. Mensen in z’n omgeving zijn haast bang door z’n uitstraling en indringende blik. Zoals Clint Eastwood: not to fuck with. Manager Roberts is er duidelijk over: dit komt de relatie met Rassy, z’n moeder, een sleutelfiguur in zijn leven. Een zeer dominante vrouw en continu (op de achtergrond) aanwezig.
Een andere belangrijke leidraad is Neils zwakke fysieke gesteldheid (o.a. zware polio op jonge leeftijd) en z’n gevoelige karakter. Hij is makkelijk te raken, zeker tijdens de beginjaren van z'n carrière. Je moet oppassen met je woorden.
Begeleidingsband Crazy Horse in al zijn facetten komt uitgebreid aan bod. Ze zijn voor Young wat The Band was voor Dylan. Ze brengen een bepaald soort losheid qua spelen en opnemen. Frivool, spontaan en toch groovend en soulful. Beide bands wisten de meesters tot grote hoogten te drijven. Hoewel Crazy Horse het bij Young weliswaar een stuk langer zou volhouden. Het is altijd een haat-liefdeverhouding geweest tussen Young en band. Toch zijn ze een constante gebleken. Af en aan verschijnen er platen na vele uitstapjes tussendoor van de immer veranderende en grillige Young.
Het is een diepgravend werk. Biograaf McDonough heeft zichzelf bijna tien jaar obsessief vastgebeten in het leven van Neil.
Hij kent na afloop Neil beter dan hijzelf in sommige opzichten. Of waarom hij bijvoorbeeld bepaalde nummers heeft geschreven. En nog steeds blijft Neil voor hem het onopgeloste mysterie, het enigma, zoals dat bij Dylan ook het geval is. Telkens als je denkt hem door te hebben, word je weer verrast. Als een ui: als je er een laag afpelt, komt er een nieuwe tevoorschijn.
Het voert te ver om het hele levensverhaal in een paar zinnen samen te vatten, maar het is een machtig boek, geschreven met veel vaart, humor, eindeloos veel mooie verhalen en bovenal een indringend levensverhaal.
Daarnaast schetst het en passant een fraai beeld van de roerige periode eind jaren zestig, begin jaren zeventig, met name in de eerste paar honderd bladzijden. Los Angeles en San Francisco waren het middelpunt van de psychedelische en even later de singer-songwriter-scene. Alle belangwekkende namen uit die regio komen voorbij. Van Hendrix tot Joni Mitchell, van Love tot Jefferson Airplane, van The Byrds tot The Doors en vele anderen.
Hieronder verdere details voor latere naslag.
********************
Neil groeit op in Canada. Het mooiste, meest onbezorgde deel van de kindertijd is in Omemee, op het platteland van Ontario. Vader Scott is journalist en schrijver. Altijd een lastige, wat afstandelijke relatie tussen Neil en z’n vader. Neil krijgt nooit de erkenning waarnaar hij op zoek is. Met moeder Rassy is het twee handen op een buik. Uitgesproken figuur met een duidelijke mening. Het huwelijk tussen Scott en Rassy loopt op de klippen en Neil gaat met z’n moeder in Winnipeg wonen. Broer Bob, later succesvol golfer, blijft bij vader Scott.
Tijdens z’n puberteit raakt Neil steeds meer geïnteresseerd in muziek. Op fanatieke, haast maniakale wijze. Hij is een onzekere jongen, een loner. Mede door de polio die hij als kind heeft gehad, is hij onzeker over z’n lichaam. Ook de scheiding van z’n ouders heeft erin gehakt. Overigens wel geliefd bij de meisjes, door zijn indringende ogen en bijzondere, afwijkende manier van kleden (invloed van z'n moeder). En altijd galant. Hele dagen speelt hij gitaar en volgt alles wat er uitkomt; vroege rock ‘n roll, doo wop, rockabilly. Hij richt de eerste band op, The Squires, dan een jaar of 16. Een geluid dat sterk geënt is op artiesten uit die tijd als The Shadows (van Cliff Richard) en The Ventures. Af en toe een optreden voor een handvol mensen.
Joni Mitchell, ook een loner en ook zij is op jonge leeftijd getroffen door polio. Eveneens een unieke, creatieve ziel. Neil en zij ontmoeten elkaar als Neil zo goed als klaar is met the Squires. Beatles hebben hun intrede gedaan in Canada, Neil heeft Bob Dylan ontdekt en schuift langzaam op van de rock ‘n roll naar de folk-kant.
Fort William, hier treden the Squires op, meer en meer. Hier komt Neil voor het eerst Stephen Stills tegen met z’n groep the Au Go-Go Singers. Een rocker, maar ook een folkie, uit de Greenwich Village scene in New York (vroege Dylan e.a.) en met een funky, bijna zwarte stem. Gevoel voor harmonieën. Muzikale klik.
Kort daarna gaat Neil er vandoor. Hij laat de boel de boel, vertrekt zonder iets te zeggen naar Toronto. Anno ‘65. Met name de wijk Yorkville, met z’n beatnik en folk scene. Artiesten als Gordon Lightfoot en Ronnie Hawkins and the Hawks (ja, gepikt door Dylan en zou later The Band gaan heten). Neil als folkie: werkt niet, slaat niet aan. Wil ook geen werk van anderen coveren.
Neil speelt plots ook nog een blauwe maandag bij The Mynah Birds, een Canadese witte Motown-groep met de zwarte zanger Rick James (niet die ene).
Neil lijkt al met al een beetje de boot te missen met de hausse aan groepen die uit de grond schieten als The Byrds, Lovin’ Spoonful en met name natuurlijk Dylan die het allemaal aanzwengelt, “elektrisch” gaat en steeds groter wordt. De explosie in ‘65 na Like a Rolling Stone met het bijbehorende verguisd worden door de folk scene (“Judas!”, tijdens het befaamde Newport Folk Festival).
Dylan is de grootste volgens Neil.
“I think I liked Bob’s music so much that at one point I actually had to consciously not listen to it because it affected me so much.”
Aangetrokken door de folkrock van The Byrds, komt het impulsieve besluit om in de auto te stappen en van Toronto naar LA te rijden, vastberaden om daar een doorbraak te forceren.
Tussendoor, over drugsgebruik: merendeel wiet. Korte periodes van uitproberen amfetamine. Tijdens de rit naar het zuiden: aan de downers/prescription drugs. Vermoedelijk ook om de mood swings / wankele zenuwsysteem van Neil wat te dempen. En wellicht de epilepsie die hij lijkt te hebben/ontwikkelen.
April ‘66 begint het avontuur. Buffalo Springfield (eigenlijk een tractor-merk) wordt gevormd met o.a. Neil, Stephen Stills en rot Dewey Martin (Patsy Cline, Roy Orbison) in de gelederen. Eerste optreden vermoedelijk in april in de legendarische Troubadour.
The Byrds zijn dan de absolute spil in de LA scene met bassist Chris Hillman en vooral de rebelse David Crosby die zich suf rookt aan de wiet. Aan de Byrds kleeft echter nog steeds een stevige folk-lucht ondanks hun verwoede pogingen om elektrisch te gaan (zie Eight Miles High). Buffalo Springfield heeft dat euvel minder door de samenstelling en achtergrond van de band. Steviger. Daarnaast waren the Byrds een echte studio-band. Live zakte het hopeloos in elkaar door clashende ego’s en te veel drugs.
LA, ook de stad van the Doors. Ze traden veel op met Springfield in de Whisky a Go-Go. En verder natuurlijk Love, met de briljante frontman Arthur Lee. Bekend van meesterwerken Forever Changes en Da Capo. Tegendraads en niet kenmerkend voor de latere summer of love. Beach Boys, met geflipt genie Brian Wilson, hingen daar ook rond.
Young en Stills lopen al vrij snel uit elkaar qua mening. Stills wil zijn eigen songs voortdurend erdoor drukken en is op weg naar fan-dom. Ziet het als z’n eigen band. Geen bandgevoel, almaar een samenraapsel van individuele nummers.
Neils epilepsieaanvallen worden verder steeds frequenter. Productie van het eerste Springfield-album blijkt een fiasco. Ene bij elkaar geraapt zooitje. Bij lange na niet een benadering van hun fameuze liveoptredens.
Neil hangt niet rond met de groupies met het toenemende succes van Springfield. Hij heeft twee vriendinnen met wie hij onafscheidelijk is. Niet de standaard popster die met dames het bed in duikt. Atypisch en wat fragiel ogend, verlegen.
Neil gaat afgelegen wonen in Laurel Canyon, buiten LA, op een wat lugubere plek. Eigenaar van het stuk grond is Kiyo Hodell, een astroloog annex heks die een soort buffer wordt tussen Neil en de buitenwereld.
Los van de epilepsieaanvallen krijgt Neil ook (doods)angstaanvallen. Zo ondernemen allerlei inmiddels in onbruik geraakte technieken om z’n hersenen te onderzoeken, o.a. een gaatje in z’n hersenpan en allerlei scans. LSD is uit den boze voor hem volgens de artsen. Al deze misère leidt uiteindelijk tot het geweldige Mr. Soul met z’n duistere ondertoon, alternatieve stemming (D modal) en Satisfacton-achtige riffje.
Neils twee vriendinnen vertrekken plots naar San Francisco, in een huis op Asbury Heights, inwonend in een soort commune bij het net gevormde Jefferson Airplane. Grateful Dead hing daar ook rond. Neil er achteraan en kort daarna Stills en de rest van de band. Spanningen tussen Stills en Young lopen steeds verder op. Botert niet echt met de bands uit Frisco, behalve met Moby Grape. Zelfde idee, drie songwriters, drie elektrische gitaren, drie zangers.
Terug in LA steeds meer een aflopende zaak. For What It’s Worth wordt nog op de valreep hun grootste hit, maar kort daarna, in het voorjaar van 67, stapt Neil uit de band, met name omdat Stills Mr Soul niet wil hebben uitgebracht. Dat betekent geen Monterey, geen Newport en niet bij Johnny Carson op tv.
Op de vraag of er iemand uit de tijd in LA is die Neil op enige manier is die hem beïnvloed heeft, duikt er slechts een naam op: Jack Nitzsche. Die is altijd in Neils muziek blijven geloven en hem het zetje richting een solocarrière gegeven. Nitzsche was een befaamd producer, arrangeur, saxofonist, toetsenist (o.a. bij de Stones), maker van filmmuziek en ooit rechterhand van Phil Spector, de opper-producer. Maakte ook een paar bijzondere soloplaten. Unieke, creatieve geest.
Pet Sounds (Beach Boys) en Sgt Pepper (Beatles) zijn inmiddels uit en hebben de popmuziek op hun kop gezet, met name qua productietechnieken. Alles kan, alles mag, hoe meer toeters en bellen, hoe beter.
Met hulp van Nitzsche komt Expecting to Fly tot stand. Formeel nog een Springfield-nummer, maar eigenlijk de eerste echte springplank naar de solocarrière. Wekenlang doen ze over de opnamen, tot het perfect is, inclusief koortjes van soulzangeressen Gloria Jones (Tainted Love), Merry Clayton (befaamde sessiezangeres, zie Gimme Shelter) en de zusjes Holloway.
Graham Nash (dan nog bij The Hollies) belt Nitzsche op om te zeggen dat hij onder de indruk is.
Expecting to Fly leunt meer richting Pet Sounds dan Sgt Pepper. Hoewel het volgende kunststukje Broken Arrow met al z’n toeters en bellen onmiskenbaar een Pepper-invloed kent. Qua productie was het tweede album al met al een stuk geslaagder.
Toch zou de live-magie nooit op plaat gevangen worden door ontbreken van een echt goede producer. Er zat geen idee achter en het ging te veel alle kanten op.
1968 is het klaar met Springfield. Politiek wordt het grimmiger. Robert Kennedy, Martin Luther King, Andy Warhol, allemaal vermoord. Vietnamoorlog komt tot een kookpunt. Stills zal verder gaan met Crosby en Nash.
Nieuw hoofdstuk. Twee belangrijke figuren worden geïntroduceerd in het leven van Neil die zijn solocarrière zullen bepalen: de zeer eigengereide manager Elliott Roberts, net zo’n outsider als Neil. En producer David Briggs.
Roberts zit ook in de scene van Buffy Sainte-Marie en de opkomende, wat verlegen Joni Mitchell (die tussendoor ook nog een affaire krijgt met enfant terrible Crosby die later uit the Byrds getrapt zou worden) die hij erg graag wil managen. Mitchell zou later verliefd worden op de wat meer brave, timide Nash wanneer hij met Crosby en Stills CSN vormt. Stills heeft dan een affaire met Judy Collins, folkzangeres en close met Leonard Cohen.
Crosby is de leider binnen CSN, Stills zet de muzikale lijnen uit, is de productionele wizard/perfectionist en Nash is de regelaar, de CEO. Alle drie houden ze overigens van een flinke lijn cocaïne.
Neil zou slechts een passant blijken en CSNY maar een korte zijtak van de CSN-trein.
David Briggs, de enige producer voor Neil. Ook iets onheilspellends, onvoorspelbaars. Woede-uitbarstingen. Het schijnt dat hij een keer woedend is geworden op Charles Manson in Topanga Canyon toen die z’n pick-up truck wilde hebben. Samen met Neil tijdens de opnamen versterkten de twee elkaar en brachten ze het beste in elkaar naar boven. Briggs heeft eenzelfde moeilijke jeugd had gehad vanwege het ontbreken van een vaderfiguur als Young en Stills. Zij hadden in ieder geval nog een vader, Briggs kende z’n vader überhaupt niet.
Crosby, Stills & Nash: puur vakmanschap. Harmonieën, fraai gecomponeerd, samenzang. Aan de andere kant van het spectrum heb je The Rockets (wat later Crazy Horse zou worden). Drie gasten die amper kunnen spelen en een soort rauwe R&B spelen (maar wel een groove hebben zoals Young dat omschrijft). David Crosby kon lange tirades afsteken over hoe slecht ze waren.
Hoe dan ook, Neil zou beide processen verstoren, maar ook beide bands tot grote hoogten stuwen. CSNY werd wereldberoemd, mede dankzij Roberts en Briggs zou cohesie aanbrengen in de groepsdynamiek van Crazy Horse, waarmee Neil zijn elektrische solokant later zou ontwikkelen.
Neil krijgt voorschot via Warner Bros om een huis te kopen in Topanga Canyon. Onmogelijk huis bovenop een steile klif. Trouwt met eerste vrouw Susan, wat uiteindelijk geen lang leven beschoren zou zijn. Een echt hippie-huwelijk. Ontmoette nooit Neils moeder, wat voor beide partijen waarschijnlijk beter was. Via Susan komt Neil in aanraking met de kunstscene van Topanga. Onder meer de kleurrijke figuur Dean Stockwell, acteur en muziekliefhebber.
Samen met Briggs neemt Neil in ‘68 z’n eerste titelloze soloplaat op. Een fragiele, maar soms (dankzij Nietzsche) rijk georkestreerde plaat met de nodige gitaarerupties.
Dan stuit Neil op The Rockets op hun hoofdkwartier in Laurel Canyon. Flink wat gejam. De eerste plaat die samen met hen zou uitkomen, was het ijzersterke Everybody Knows This Is Nowhere, in een zucht en een steun opgenomen. The Rockets, algauw omgedoopt tot Crazy Horse, zijn geen geweldige muzikanten, maar bezorgen Neil wel het funky, groovy, spontane bandgeluid waar hij naar op zoek is, met ruimte voor messcherpe solo’s.
Voor het eerst Neils vintage zware rock n roul-sound. Gewapend met z’n Old Black, een ‘53 Les Paul in een ‘59 Fender Deluxe amp. Een gitaar niet mee te werken voor de meesten. Zwabbert aan alle kanten, hevige feedback.
Enorme energie tijdens de opnamen. Alsof het laatste dag is. Geen gedraal, vol erin, vol urgentie. Klassieke nummers ontstaan als Down by the River, Cowgirl in the Sand en het titelnummer. Het is een soort garage-country-geluid. Fraaie beeldspraak: Neil deed met z’n gitaar wat Dylan deed met z’n stem”.
In de tussentijd hebben Crosby, Stills & Nash hun titelloze debuut uitgebracht. Door de vele overdubs van eenmansband Stills is het optreden live uiteindelijk beperkt tot een akoestische setting. Prima voor Crosby en Nash, Stills wil ook erg graag de elektrische kant. Voor de hand liggende keuze...oud-Springfield-collega Young erbij trekken. Enter supergroep CSNY.
Voor Young win-win. Live profijt trekken van succesplaat CSN waar hij niet eens aanwezig was bij de opnamen en daarnaast een veel groter publiek aantrekken voor zijn solo-materiaal. Uiteindelijk wordt het echter nooit een echte band. Young voelt zich overbodig in een groep die het moet hebben van de harmonieën en de samenzang. De vier vormen geen echte eenheid, ook al werkt het tot op zekere hoogte op het podium. De hype draaide in ieder geval op volle toeren en een jaar later in ‘70 stonden ze als een van de grootste namen op Woodstock en speelden ze onder meer het titelnummer (van Joni Mitchell) van het festival.
Eind ‘69 hebben ze dan al het fameuze Déjà Vu opgenomen. Geen sinecure. De helft van de mannen zit te mokken met liefdesverdriet (Stills zonder Judy Collins en Nash zonder Joni Mitchell) en Crosby’s vriendin is omgekomen in een auto-ongeluk. Young overdubt al zijn eigen nummers, dus de stemming zit er goed in. Alleen Almost Cut My Hair heeft nog iets van een live-gevoel. Helpless is een van de mooie, verstilde Young-bijdragen die hij met Crazy Horse al vaker speelde, maar niet eerder opnam. Plaat is wellicht een groter commercieel dan artistiek succes (minder verfijnd en afgerond dan CSN). Het maakt ze op dat moment voor even wel de grootste en rijkste band ter wereld.
Danny Whitten, gitarist van de Crazy Horse, altijd in de schaduw van Young. Voelt zich miskend. Raakt van de gebruikelijke drugs meer en meer aan de heroïne. Betekent een voorlopig einde van Crazy Horse.
In Topanga Canyon komt After the Gold Rush tot stand. Samengeraapte band. Grotendeels live opgenomen, bij Neil thuis in de kelder. Young neemt een jong broekie van de oostkust onder zijn hoede, een zekere Nils Lofgren (enkele jaren later bekender bij Springsteen’s E-Street Band), als tweede gitarist. Toch werd ie min of meer gedwongen ritmepiano te spelen, wat goed uitpakte.
Overall een kaal opgenomen plaat in piepkleine studio. Weinig echo. Back to basic. De mellow kant van Young. Liedje centraal. Hij speelt voornamelijk akoestische gitaar, ritme en melodie. Plaat blijkt een groot succes en met een heuse hit, Only love can break your heart, over de split tussen Nash en Mitchell.
Kort erop een uitgebreide Déjà Vu-tour, wat op weinig uitdraait. Veel gezeik onderling, Stills aan de heroïne. Wel een live-plaat, 4 Way Street, die heet erg goed doet. Tot grote ergernis achteraf van Stills. Gold Rush voorbij, CSNY-tour voorbij. Sowieso is er een hoop gebeurd in slechts enkele jaren. Young verhuist naar San Francisco. Huwelijk met Susan loopt op de klippen. -> ruimte Goodreads vol, zie verder mail.
June 27, 2024
Would’ve been 5 stars if not for the 40 pages about model trains
August 11, 2022
Loved this book. Definitely flawed, but kinda sad I'm done with it's almost 800 pages. Ends with the end of 90's, so could use an update. Great insight into an iconic artist. Reading this has gotten me on a Neil Young binge, so many recent archival releases are out there I need to explore.
September 16, 2025
Tidenes beste biografi?
August 6, 2012
Some really interesting stuff here but sometimes the structure is a little loose. Like when McDonough asks interview questions and simply records pages and pages of responses. He also sometimes goes a bit too far out of topic. Still I am learning so much about NY. It's amazing to see what he had to overcome to get where he is. His first band in L.A.(Buffalo Springfield--or Stephen Stills in particular)would not let him sing his own songs because his voice was too weird. I am glued to it in fascination except for the times my eyes glaze over when McDonough name drops record execs and hangers on for pages at a time that I know nothing about and care even less. Just give me Neil! He's hilarious (there is also extensive quotation from him and his voice is incredible) and such a survivor.
May be spoilers...
So many things I thought I knew were wrong. He talked about Southern Man and Alabama, also Sweet Home Alabama. He loved the line "I hope Neil Young will remember, southern man don't need him around anyhow." Here I spent years indignant whenever I heard that song and Neil says it's a better song than Southern Man. He apparently does a mash up of the two songs live. He admired
Lynryd Skynerd and heard that when one member died he was buried in an old Neil Young concert t-shirt he loved.
I love all that insider stuff. It's called "Shakey" because of Neil's epilepsy, another thing I did not know about him. When he was in Buffalo Springfield, he'd invariably have a fit during their closing song and someone would have to hustle him off the stage. Strobe lights could also set off a fit. He is a weird character but in a really interesting way. I do hate "A Man Needs a Maid" (So does a woman, Neil), and "Down by the River"--I always thought that was an old blues song so I let Neil off the hook. But nope he wrote it. And he says it is not about murder but a break up.
"Dead, I shot her dead" is apparently a metaphor. (Way to go with imagery, Neil!)
He took far less dope than his cronies and never did heroine, while I thought he'd been a junkie for a while. We find out who he was referring to in "The Needle & The Damage Done."
Lots more to come. I'm not even half way in.
At about 80% this book is becoming a bit of a slog for me, mostly because Young is so prolific that there is a lot of his music I didn't even know about. I really wanted to know how Rust Never Sleeps came about and that was a great section with some real insights but now I'm onto a period of the "Country" Neil, his fights with Geffen Records, his love/hate relationship with CSN, Crosby's drug issues. Stills' drug issues. Neil's flirtation with cocaine and tequila which didn't last too long. There is some interesting stuff (or as Young would say) "innaresting" about Young's reaction to his two sons from two different women being born with cerebal palsy, all he went through, the dark nights of the soul, and just the heavy sadness of that. Young's wife Pegi seems to be (finally) the "one" but other reports of Young go from sweetest/meanest guy in the world. He could be a real jerk, and he could be a real sweetheart. Let's just call him human.
I think in the end, I will be glad I read this book, even though it is really for more hard core fans than I am...that or else it could have used a good edit and cut of about 25%. Young, however, never likes to cut out anything. He likes rough drafts, he likes leaving in the mistakes, and although he is not the author of this book, it is very much in his style. Much to my dismay. And yet I read on because I want to know what happens next. Where I'm at now he has done 4-6 bad projects in a row, so I want to get to the Silver & Gold times:)
The book ends abruptly sometime in the 90s before Neil's "Silver & Gold" album or tour when his wife Pegi joined the band! In the end, I liked it very much despite that. I feel like I know Young inside and out. As for the writer's structure, it is much like Young's career with its ups and downs.
May be spoilers...
So many things I thought I knew were wrong. He talked about Southern Man and Alabama, also Sweet Home Alabama. He loved the line "I hope Neil Young will remember, southern man don't need him around anyhow." Here I spent years indignant whenever I heard that song and Neil says it's a better song than Southern Man. He apparently does a mash up of the two songs live. He admired
Lynryd Skynerd and heard that when one member died he was buried in an old Neil Young concert t-shirt he loved.
I love all that insider stuff. It's called "Shakey" because of Neil's epilepsy, another thing I did not know about him. When he was in Buffalo Springfield, he'd invariably have a fit during their closing song and someone would have to hustle him off the stage. Strobe lights could also set off a fit. He is a weird character but in a really interesting way. I do hate "A Man Needs a Maid" (So does a woman, Neil), and "Down by the River"--I always thought that was an old blues song so I let Neil off the hook. But nope he wrote it. And he says it is not about murder but a break up.
"Dead, I shot her dead" is apparently a metaphor. (Way to go with imagery, Neil!)
He took far less dope than his cronies and never did heroine, while I thought he'd been a junkie for a while. We find out who he was referring to in "The Needle & The Damage Done."
Lots more to come. I'm not even half way in.
At about 80% this book is becoming a bit of a slog for me, mostly because Young is so prolific that there is a lot of his music I didn't even know about. I really wanted to know how Rust Never Sleeps came about and that was a great section with some real insights but now I'm onto a period of the "Country" Neil, his fights with Geffen Records, his love/hate relationship with CSN, Crosby's drug issues. Stills' drug issues. Neil's flirtation with cocaine and tequila which didn't last too long. There is some interesting stuff (or as Young would say) "innaresting" about Young's reaction to his two sons from two different women being born with cerebal palsy, all he went through, the dark nights of the soul, and just the heavy sadness of that. Young's wife Pegi seems to be (finally) the "one" but other reports of Young go from sweetest/meanest guy in the world. He could be a real jerk, and he could be a real sweetheart. Let's just call him human.
I think in the end, I will be glad I read this book, even though it is really for more hard core fans than I am...that or else it could have used a good edit and cut of about 25%. Young, however, never likes to cut out anything. He likes rough drafts, he likes leaving in the mistakes, and although he is not the author of this book, it is very much in his style. Much to my dismay. And yet I read on because I want to know what happens next. Where I'm at now he has done 4-6 bad projects in a row, so I want to get to the Silver & Gold times:)
The book ends abruptly sometime in the 90s before Neil's "Silver & Gold" album or tour when his wife Pegi joined the band! In the end, I liked it very much despite that. I feel like I know Young inside and out. As for the writer's structure, it is much like Young's career with its ups and downs.
February 9, 2021
an interesting and somehow saddening book.
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