After the Gold Rush is the third studio album by the Canadian-American musician Neil Young, released in September 1970 on Reprise Records. It is one of four high-profile solo albums released by the members of folk rock group Crosby, Stills, Nash & Young in the wake of their chart-topping 1970 album Déjà Vu. Young's album consists mainly of country folk music along with several rock tracks, including "Southern Man".[3] The material was inspired by the unproduced Dean Stockwell-Herb Bermann screenplay After the Gold Rush.
After the Gold Rush entered Billboard Top Pop Albums chart on September 19, and peaked at number eight in October.[7] the two singles taken from the album, "Only Love Can Break Your Heart" and "When You Dance I Can Really Love", made it to number 33 and number 93 respectively on the Billboard Hot 100. Despite a mixed initial reaction, the album has since appeared on a number of greatest albums of all time lists.
Young recorded the album while living in Topanga Canyon, an artistic community in Southern California, and was largely recorded in his home studio there. Songs on the album were influenced by people he met while living there, including producer David Briggs, his then wife, Susan Acevedo, and actor Dean Stockwell, whom he met through Susan. The album was recorded with members of both of his associated groups at the time, Crazy Horse and Crosby, Stills, Nash & Young, as well as the first appearance by long-time collaborator Nils Lofgren. By the time the album was released, however, Young had split with Susan and had moved to his Broken Arrow Ranch in Northern California, where he would record many of his subsequent albums.[9]
Writing
Songs on the album were inspired by a screenplay written by Dean Stockwell and Herb Bermann also titled After the Gold Rush. The screenplay's plot involves an apocalyptic ecological disaster that washes away the Topanga Canyon hippie community. Stockwell, a lifelong friend of Young, was also part of the Topanga Canyon artist culture of the time. Mutual friend Dennis Hopper encouraged Stockwell to write his own screenplay in wake of Hopper's success with Easy Rider. Stockwell recalls writing the script:
Dennis very strongly urged me to write a screenplay, and he would get it produced. I came back home to Topanga Canyon and wrote After The Gold Rush. Neil was living in Topanga then too, and a copy of it somehow got to him. He had had writer's block for months, and his record company was after him. And after he read this screenplay, he wrote the After the Gold Rush album in three weeks.[10]
Young recalls coming in contact with the script in his 2012 memoir Waging Heavy Peace:
When I returned to Topanga, Dean Stockwell came by the house with a screenplay called After the Gold Rush. He had cowritten it with Herb Bermann and wanted to know if I could do the music for it. I read the screenplay and kept it around for a while. I was writing a lot of songs at the time, and some of them seemed like they would fit right in with this story. The song "After the Gold Rush" was written to go along with the story’s main character as he carried the tree of life through Topanga Canyon to the ocean. One day Dean brought an executive from Universal Studios to my house to meet me. It looked like the project was going to happen, and I thought it would really be a good movie. It was a little off-the-wall and not a normal type of Hollywood story. I was really into it. Apparently the studio wasn't, because nothing more ever happened.[11]
In Young's biography Shakey, the script, now lost, is described as an end of the world movie which culminates in a tidal wave crashing into local music venue and hangout The Topanga Corral. Stockwell explains, "I was gonna write a movie that was personal, a Jungian self-discovery of the gnosis. It involved the Kabala; it involved a lot of arcane stuff."[9] In a December 1995 interview with Nick Kent for Mojo Magazine, Young recalls:
It was all about the day of the great earthquake in Topanga Canyon when a great wave of water flooded the place. It was a pretty 'off-the-wall' concept, they tried to get some money from Universal Pictures. But that fell through because it was too much of an 'art' project. I think, had it been made, it would stand as a contemporary to Easy Rider and it would have had a similar effect. The script itself was full of imagery, 'change'. It was very unique actually. I really wish that movie had been made, because it could have really defined an important moment in the culture.[12]
Ultimately, only two songs on the album were directly influenced by or had been intended for use in the film: "After the Goldrush" and "Cripple Creek Ferry".[9] The lyrics to "After the Gold Rush" were inspired by a dream[13] and consider a future when mankind uses space travel to perpetuate the species in wake of environmental destruction.
The chorus of "Tell Me Why" features the memorable chorus question Tell me why/ Is it hard to make arrangements with yourself/ When you're old enough to repay/ But young enough to sell? Young shares in a June 1988 interview for Spin Magazine that the lyrics lost meaning for him over time, and made it difficult to sing the song live:
That's a hell of a question, isn't it? I don't understand it. It sounds like gibberish to me. I stopped singing that song because when I get to that line I go, what the fuck am I talking about? You know, I don't edit my songs. I knew something was happening at the time that I wrote it to make that right, but I can't remember what it is and it doesn't apply to what I'm doing now. "I Am a Child" is like that. What is the color when black is burnt? It's a charcoal kind of color, I guess, but what the fuck does that mean? I ask myself over and over, what the fuck am I talking about?[14]
The song "Only Love Can Break Your Heart" was written for Graham Nash in the aftermath of his breakup with Joni Mitchell.[15][16] Nash would tell Constant Meijers in September 1974: "I'd broken up with Joni and Neil came to me and said he'd written a song for me, because he knew exactly how I felt. Joni is one of those people who can't make a good relationship last. When we were doing alright, she quit."[17]
The lyrics to "Southern Man" address slavery and segregation. The intensity of the song was influenced by conflict with Young's then wife, Susan Acevedo: "'Southern Man' was an angry song. I wrote 'Southern Man' in my studio in Topanga. Susan was angry at me for some reason."[9] "Those girls always get jealous when you're working on something with great intensity. Susan, who was a lot older than me, was very jealous. One morning, I got up early to work on 'Southern Man' in the studio, she threw breakfast against the door. When I opened the door to see what was going on, she threw the coffee at me."[18]
"Oh Lonesome Me" is a cover of the 1957 Don Gibson song, recorded in a somber and radically different arrangement than the original. Young's arrangement dates from his coffeehouse folk days in Toronto in late 1965:[9] "I wanted to give the acoustic solo thing a try in the Village (Yorkville). I took my acoustic twelve-string to a few gigs and got some bad reviews. I had an arrangement of 'Oh Lonesome Me' that I really liked, and people laughed at it, thinking it was a parody or something. I used it on 'After the Gold Rush', and that worked."[11] The song is the first recording by Young to feature harmonica, as well as the first song Young recorded that he didn't write himself. The song was released as a single in advance of the album in February 1970.[19]
The lyrics to "Don't Let It Bring You Down" deal with falling into depression, and how new experiences or acquaintances can snap you back out. Young explains to Spin in 1988: "Every once in awhile something could happen, especially when I was younger, that would get me really depressed, then I would run into somebody and forget about it, just because I got into an another thing. People are wonderful that way; the presence of another human being can be so strong that it’ll change your whole outlook."[14] Young wrote the song during his first transatlantic trip, while touring with CSNY.[20] On the album 4 Way Street, Young jokes as he introduces the song: "Here is a new song. It's guaranteed to bring you right down. It's called 'Don't Let It Bring You Down'. It sort of starts off real slow and then it fizzles out all together."
"Birds" dates from at least 1968. Young attempted recording the song several times before the take featured on After the Gold Rush. One attempt, available on his Archives website, was recorded as a duet with new bandmate Graham Nash. Its lyrics concern a breakup, using bird imagery as metaphor.
"I Believe in You" is a somber ode to abandoned love. Young describes the song in a June 1988 Spin interview:
Now that you made yourself love me, do you think I can change it in a day? That's a heavy one. That song has the most haunting lyrics. Am I lying to you when I say I believe in you? That's the difference between the song and the poem. The song makes you think of the hook, and the hook is I believe in you, but the rest of it is in a whole other place. That song I can hardly talk about. That one is too deep. I think I only sang it live two or three times, and only in the studio two or three times, so I may have only sung that song six times total.[14]
Recording
Young would once again employ David Briggs as producer for the sessions, as he did for first two albums. Sessions took place over the course of a year, from August 1969 to June 1970 and were held at both professional recording studios and at a recently built studio in Young's Topanga Canyon home. During the recording of the album, Young toured with both Crazy Horse and Crosby, Stills and Nash, and made solo concert appearances. Sessions also overlapped with sessions for Déjà Vu, to which Young contributed the songs "Helpless" and "Country Girl".
Initial sessions were conducted with backing band Crazy Horse at Sunset Sound Studios in August 1969. The sessions followed the band's tour of North America in support of Everybody Knows This Is Nowhere from February to June of that year. Although progress was hampered by the deteriorating health of rhythm guitarist Danny Whitten, the sessions yielded two album tracks, "I Believe In You" and "Oh, Lonesome Me". Songs "Everybody's Alone", "Wonderin'" and an alternate take of "Birds" were also recorded but not used for the album. The sessions coincided with rehearsals for Crosby, Stills and Nash's tour in support of their debut album. Young was asked to join the group to facilitate performing the group's material in a live setting.[21] Young would explain to author Nick Kent:
See, the way I used to work then, this would be the summer of 1969 we're talking about now, I'd usually go in and record with Crazy Horse at Sunset Sound Studios every morning. Then I'd go to CSN&Y rehearsal in the afternoon through to the evening. Then I'd go home, crash out, get up the next morning and do the same routine all over again. That's when "I Believe In You", "Oh, Lonesome Me", "Wonderin'", a couple of others on After the Gold Rush, all those songs were conceived there and recorded there. That's where I first cut "Helpless," by the way, and the only reason the Crazy Horse version didn't come out is because the engineer didn't record the perfect take, so, bam, that was lost.[22]
After the sessions, Young embarked on a tour of the US with Crosby, Stills, Nash & Young that would include their now-famous appearance at Woodstock. The band would also make appearances at the Big Sur Folk Festival and on American television. In October, Young would again resume sessions with Crazy Horse at Sunset Sound and Larrabee Sound Studios, recording Whitten's "Look at All the Things" and Young's "Dance, Dance, Dance" and "Winterlong," each of which would go unused. In November, Young booked time with CSNY at Wally Heider Studios to record Déjà Vu before resuming their tour of North America followed by January appearances in Europe. In February and March, Young toured North America with Crazy Horse, performing the shows that would later see release on Live at the Fillmore East. Young's split attention between Crazy Horse and CSNY would result in some resentment from the latter band:
Crazy Horse was hard for anybody to understand when I was in CSNY. CSN couldn't understand. "What the fuck do you need Crazy Horse for?" There was very little understanding of what the hell was I doing with these people. Why would I waste my time? CSN were fulfilled with what they were doing, and I guess they couldn't understand why I wasn't. But I had already had this other thing going before and I wasn't gonna give it up. I had to keep going. I liked it. Everybody Knows was good, because even though CSN thought it was no good—it wasn't, like, theirs, it wasn't CSN—in the long run, it hung in there. It stayed on the charts. It was like, you know, a constant reminder to them. All the different ways that I could express myself with all these different groups of people. I had twice as many possibilities as the other guys.[9]
The bulk of the album was recorded in mid-March 1970 in Young's home studio in Topanga Canyon, dubbed "Redwood Studios". Young recalls building the studio in the liner notes to Decade: "I put the wood on the walls myself and loved that feeling. My house was on a steep hill overlooking the canyon. The French horn player ran out of breath on my steep driveway." Musicians for these sessions generally feature CSNY bassist Greg Reeves, Crazy Horse drummer Ralph Molina and burgeoning eighteen-year-old musical prodigy Nils Lofgren of the Washington, D.C.-based band Grin on piano. The incorporation of Lofgren was a characteristically idiosyncratic decision by Young, as Lofgren had not played keyboards on a regular basis prior to the sessions.[23] Along with Jack Nitzsche, Lofgren would join an augmented Crazy Horse sans Young before enjoying success with his own group as well as solo cult success and membership in Bruce Springsteen's E Street Band. Biographer Jimmy McDonough has asserted[24] that Young was intentionally trying to combine Crazy Horse and CSNY on this release, with members of the former band appearing alongside Stephen Stills and Reeves. The album features several song where Young performs on piano as the primary instrument; "Oh, Lonesome Me" also features his first use of harmonica on record.
The April session for "When You Dance, I Can Really Love" at Young's Topanga home studio marks the last time Crazy Horse played together with Danny Whitten. Young remembers in a post on his website: "Danny Whitten could not make the sessions but he did come in at the end and recorded with us, doing a lot of chorus singing on many songs and playing on one song, "When You Dance I Can Really Love". Jack Nitzsche was there on a wild piano. Billy Talbot on bass. What a memory that is! Ralph Molina played drums on every track."[25] He continues in his memoir:
We had finished a lot of the recording when word came through Billy that Danny had cleaned up. He came out and we played "When You Dance I Can Really Love" with him, Billy, and Jack. Crazy Horse was back together again. We rerecorded a lot of the chorus vocals with Danny singing, and they were a lot better than what we had before. It was great having Danny back! It really made the record better, and it felt so good to play with Danny again. Jack, too! Jack's piano on that track is unreal. We were really soaring! But that was it for the original Crazy Horse with Danny and Jack.[11]
He further reminisces in Shakey:
'When You Dance' is a funky record. Me and Billy and Ralph and Danny and Jack. They were all crazy. Jack plays great: I was pushing him. A lotta leakage, boy. That's a unique take, 'cause that's the only take ever done in the studio by the Horse with Jack playing. That group actually didn't work as well as I would've liked. It was nice havin' Jack with us, but some of the stuff, he was in the way tonally. Crazy Horse was so good with the two guitars, bass and drums it didn't need anything else. 'When You Dance' is probably the last record with Danny that we played together on. That was done near the end of the sessions. When I did all the other stuff, Danny wasn't on it; Nils, Ralph and I did the singing. Stills came up and sang, but I didn't like those vocals, so I re-did them all with Danny. Danny kinda got himself together, did the overdubs. He wasn't lookin' too good at that point.[9]
The final session for the album produced the song "Birds." "Birds" was recorded on June 30, 1970, at Sound City Studios during a break in CSNY's summer tour. Young had made several previous attempts to record the song. The first attempt was in August 1968 with Jim Messina on bass and George Grantham on drums for Young's debut album. During the August 1969 Sunset Sound sessions, Young recorded a version featuring vibes with Crazy Horse that was erroneously released as the b-side to "Only Love Can Break Your Heart." The version lacks the second verse. Young explains in the biography Shakey: "The electric version of "Birds" with vibes turned out to be great, but it was only half the song. After the first verse I stopped. Forgot the second verse."[9] Later that month during a break in CSNY's first tour, Young recorded a duet version on acoustic guitar with Graham Nash on vocals. The final take used on the album features Young on solo piano accompanied by members of Crazy Horse on vocals.
Album cover
The album cover was designed by art director Gary Burden, who would go on to work with Young on his album covers until his death in 2018. Young describes the relationship in his memoir, Waging Heavy Peace:
I first met Gary Burden while shooting the CSNY cover for Déjà Vu, my initial album with CSN. Gary and I became good friends and we immediately worked together on the album cover for After the Gold Rush. I loved what he did with the photographs. Gary and I have been working together since that time, and I have done the great majority of my album art, my ads, and my songbooks with him. He is one of my closest compadres. Gary and his wife, Jenice, still work with me on every album cover. We are doing our life's work together.[11]
The cover art is a solarized image of Young passing an old woman at the New York University School of Law campus in the Greenwich Village district of New York City. The picture was taken by photographer Joel Bernstein and was reportedly out of focus. It was because of this he decided to mask the blurred face by solarizing the image.[26] The photo is cropped; the original image included Young's friend and CSNY bandmate Graham Nash.[27]
The back cover features a picture of the back of a pair of Young's jeans with several patches. His wife at the time, Susan Acevedo, would patch his jeans using her own hair as thread. Young explains in Waging Heavy Peace:
Susan, my first wife, made all those cool patches I wore back in the day when even I was fashionable. The pants on the back cover of After the Gold Rush were Susan's work. She was very artistic and put so much of her love into it. She even made me a beautiful patchwork vest with a blue velvet back. She sewed the patches on with some strands of her own hair. After we broke up, I wanted to keep it carefully tucked away forever. It was beautiful. I wanted to always remember her by it.[11]
Release
After the Gold Rush was originally released on vinyl by Reprise on September 19, 1970.[28] It was subsequently reissued on CD in 1986.[29]
Lead single "Only Love Can Break Your Heart" entered the Billboard Hot 100 chart on October 24, 1970.[5] An outtake version of "Birds" recorded at the initial Sunset Sound sessions has now been added to the album on the Neil Young Archives website, as have two versions of the song "Wonderin'". The Sunset Sound "Birds" was first released, accidentally, as the B-Side of the "Only Love Can Break Your Heart" single.[9]
A remastered version was released on HDCD-encoded CD and digital download on July 14, 2009, as part of the Neil Young Archives Original Release Series. The remastered CD exists both as a standalone album and as Disc 3 of a 4-CD box set Official Release Series Discs 1-4, released in the US in 2009 and Europe in 2012.[30]
To mark its 50th anniversary, a CD version of the album was re-released by Reprise on December 11, 2020, as After The Gold Rush 50th Anniversary Edition, the original cover having been enhanced with a 50 below its title. A limited edition vinyl box set came out on March 19, 2021. The re-release includes two different versions of the song "Wonderin'" – on the CD as two extra tracks and in the vinyl box set as a 45rpm single in a picture sleeve. Side A, originally included on the Topanga 3 disc in The Archives Vol. 1: 1963-1972, was recorded in Topanga, California, in March 1970; Side B is a previously unreleased version recorded at Sunset Sound in Hollywood in August 1969.
Digital high-resolution files of the album are also available via the Neil Young Archives website, including a longer 3:36 outtake of "Birds" recorded at the same Sunset Sound sessions as "Wonderin'".
Critics were not immediately impressed; the 1970 review in Rolling Stone magazine by Langdon Winner was negative, with Winner feeling that, "none of the songs here rise above the uniformly dull surface."[35]Village Voice critic Robert Christgau was more enthusiastic, saying: "While David Crosby yowls about assassinations, Young divulges darker agonies without even bothering to make them explicit. Here the gaunt pain of Everybody Knows This Is Nowhere fills out a little—the voice softer, the jangling guitar muted behind a piano. Young's melodies—every one of them—are impossible to dismiss. He can write 'poetic' lyrics without falling flat on his metaphor even when the subject is ecology or crumbling empire. And despite his acoustic tenor, he rocks plenty. A real rarity: pleasant and hard at the same time."[31]
Critical reaction has improved with time; by 1975, Rolling Stone was referring to the album as a "masterpiece",[36] and Gold Rush is now considered a classic album in Young's recording career.[37]
Neil Young – guitar, vocal; Nils Lofgren – piano, vocal; Greg Reeves – bass; Ralph Molina – drums, vocal; Danny Whitten – vocal
Recorded at Home Studio, Topanga, CA, 3/19/1970. Produced by David Briggs & Neil Young.
"Till the Morning Comes" (1:17)
Neil Young – piano, vocal; Danny Whitten – guitar, vocal; Greg Reeves – bass; Ralph Molina – drums, vocal; Stephen Stills – vocal; Bill Peterson – flugelhorn
Recorded at Home Studio, Topanga, CA, 3/19/1970. Produced by David Briggs & Neil Young.
Neil Young – guitar, vibes, vocal; Danny Whitten – acoustic guitar, vocal; Billy Talbot – bass; Ralph Molina – drums, vocal
Recorded at Sunset Sound, Hollywood, 8/5/1969. Produced by David Briggs & Neil Young.
"Wonderin'" (2:12)
Neil Young – guitar, vocal; Nils Lofgren – piano, vocal; Greg Reeves – bass; Ralph Molina – drums, vocal
Recorded at Home Studio, Topanga, CA, 3/15/1970. Produced by David Briggs & Neil Young.
Neil Young Archives website outtake
"Birds" (Alternate version) (3:36)
Neil Young – guitar, piano, vibes, vocal; Danny Whitten – acoustic guitar, vocal; Billy Talbot – bass; Ralph Molina – drums, vocal
Recorded at Sunset Sound, Hollywood, 8/3/1969. Produced by David Briggs & Neil Young.
Note
"When You Dance, I Can Really Love" was incorrectly listed as "When You Dance You Can Really Love" on both the back cover and the disc label of the first CD issue by Reprise (catalogue number 2283-2).[46] This was corrected in the 2009 Original Release Series remaster.
Decade is a compilation album by Canadian–American musician Neil Young, originally released in 1977 as a triple album and later issued on two compact discs. It contains 35 of Young's songs recorded between 1966 and 1976, among them five tracks that had been unreleased up to that point. It peaked at No. 43 on the Billboard Top Pop Albums chart, and was certified platinum by the RIAA in 1986.
Crosby, Stills & Nash (CSN) was a folk-rock supergroup made up of the American singer-songwriters David Crosby and Stephen Stills and the English singer-songwriter Graham Nash. When joined by the Canadian singer-songwriter Neil Young, they were called Crosby, Stills, Nash & Young (CSNY). They are noted for their intricate vocal harmonies and lasting influence on American music and culture, their political activism and their tumultuous relationships.
Tonight's the Night is the sixth studio album by Canadian / American songwriter Neil Young. It was recorded in August–September 1973, mostly on August 26, but its release was delayed until June 1975. It peaked at No. 25 on the Billboard 200. The album is the third and final of the so-called "Ditch Trilogy" of albums that Young released following the major success of 1972's Harvest, whereupon the scope of his success and acclaim became so difficult for Young to handle that he subsequently experienced alienation from his music and career.
Crazy Horse is an American rock band best known for their association with Neil Young. Beginning in 1969 and continuing to the present day, they have been co-credited on a number of Young's albums, with 15 studio albums and numerous live albums being billed as by Neil Young and Crazy Horse. They have also released six studio albums of their own, issued between 1971 and 2009.
Everybody Knows This Is Nowhere is the second studio album by Canadian-American musician Neil Young, released in May 1969 on Reprise Records, catalogue number RS 6349. His first with longtime backing band Crazy Horse, it emerged as a sleeper hit amid Young's contemporaneous success with Crosby, Stills, Nash & Young, ultimately peaking at number 34 on the US Billboard 200 in August 1970 during a 98-week chart stay. It has been certified platinum by the RIAA.
American Stars 'n Bars is the eighth studio album by Canadian folk rock songwriter Neil Young, released on Reprise Records in 1977. Compiled from recording sessions scattered over a 29-month period, it includes "Like a Hurricane", one of Young's best-known songs. It peaked at #21 on the Billboard 200 and received a RIAA gold certification.
On the Beach is the fifth studio album by Canadian-American musician Neil Young, released by Reprise Records in July 1974. The album is the second of the so-called "Ditch Trilogy" of albums that Young recorded following the major success of 1972's Harvest, whereupon the scope of his success and acclaim became apparent; On the Beach was inspired by his feelings of retreat, alienation, and melancholy in response to this success.
Comes a Time is the ninth studio album by Canadian singer-songwriter Neil Young, released by Reprise Records in October 1978. The album is largely performed in a quiet folk and country style. It features backing harmonies sung by Nicolette Larson and additional accompaniment by musicians that had accompanied Young on his commercial pinnacle, Harvest. Like Harvest, the lyrics to many of its songs are inspired by relationships. In his memoir, Waging Heavy Peace, Young describes Comes a Time as one of his best albums ever.
Neil Young is the debut studio album by Canadian/American musician Neil Young following his departure from Buffalo Springfield in 1968, issued on Reprise Records, catalogue number RS 6317. The album was first released on November 12, 1968, in the so-called 'CSG mix'. It was then partially remixed and re-released in late summer 1969, but at no time has the album ever charted on the Billboard 200.
Danny Ray Whitten was an American guitarist and songwriter, best known for his work with Neil Young's backing band Crazy Horse, and for the song "I Don't Want to Talk About It", a hit for Rod Stewart and Everything but the Girl.
Long May You Run is a studio album credited to the Stills–Young Band, a collaboration between Stephen Stills and Neil Young, released in 1976 on Reprise Records. It peaked at #26 on the Billboard 200 and was certified gold in the United States by the RIAA. The album is the sole studio release by Stills and Young as a duo.
"Down by the River" is a song composed by Neil Young. It was first released on his 1969 album with Crazy Horse, Everybody Knows This Is Nowhere. Young explained the context of the story in the liner notes of his 1977 anthology album Decade, stating that he wrote "Down by the River," "Cinnamon Girl" and "Cowgirl in the Sand" while delirious in bed in Topanga Canyon with a 103 °F (39 °C) fever.
Zuma, the seventh studio album by Canadian/American musician Neil Young, was released on Reprise Records in November 1975. Co-credited to Crazy Horse, it includes "Cortez the Killer", one of Young's best-known songs.
The Rockets is the sole release by the Rockets in 1968. Selling only about 5,000 copies, it was far from a success. Nevertheless, the album found among its fans Canadian singer-songwriter Neil Young, who would soon take rhythm guitarist/lead vocalist Danny Whitten, bassist Billy Talbot and drummer Ralph Molina for his backing band on the album Everybody Knows This Is Nowhere. They first dubbed themselves War Babies, but Young renamed them Crazy Horse, a name that would stick. The Rockets soon folded due to Young's insistence on having Whitten, Talbot and Molina keep to a strict practice schedule. Talbot and Molina have remained as part of Crazy Horse to this day, and all of the other Rockets, except for Leon Whitsell, would eventually collaborate with Young.
Crazy Horse is the debut album by Crazy Horse, released in 1971 by Reprise Records. It is the only album by the band to feature Danny Whitten recorded without Neil Young, and it peaked at No. 84 on the Billboard 200 album chart.
Live at the Fillmore East is a live album by Neil Young and Crazy Horse featuring guitarist Danny Whitten, released in 2006. It also has the distinction of being the first album released as part of the Neil Young Archives series of archival recordings.
Grin is a 1971 album by Grin, featuring songs by their guitarist Nils Lofgren. As well as being an album in its own right, this was released by CBS in the UK as part of a 1976 double album set along with its successor 1+1. In 2005, it was issued on CD in remastered form, with the addition of two more tracks from the original sessions. The album was dedicated to Roy Buchanan with "special thanks" to Neil Young and Crazy Horse.
Neil Young Archives Vol. 1: 1963–1972 is the first in a planned series of box sets of archival material by Canadian-American musician Neil Young. It was released on June 2, 2009, in three different formats - a set of 10 Blu-ray discs in order to present high resolution audio as well as accompanying visual documentation, a set of 10 DVDs and a more basic 8-CD set. Covering Young's early years with The Squires and Buffalo Springfield, it also includes various demos, outtakes and alternate versions of songs from his albums Neil Young, Everybody Knows This Is Nowhere, After the Gold Rush, and Harvest, as well as tracks he recorded with Crazy Horse and Crosby, Stills, Nash & Young during this time. Also included in the set are several live discs, as well as a copy of the long out-of-print film Journey Through the Past, directed by Young in the early 1970s.
"Tired Eyes" is a song written by Neil Young that was first released on his 1975 album Tonight's the Night.
Neil Young Archives Volume II: 1972–1976 is a 10-CD box set from American-Canadian folk rock musician Neil Young that was initially released in a limited deluxe box set on November 20, 2020. The release is the second box set in his Neil Young Archives series, following 2009's The Archives Vol. 1 1963–1972, and covers a three-and-a-half-year period from 1972–1976. The track list was officially announced on the Neil Young Archives site on September 20, 2020, with the first single, "Come Along and Say You Will", being posted to the site as the Song of the Day on October 14. The set then went up for pre-order on October 16, 2020, as an exclusive release to his online store, with only 3,000 copies being initially made available worldwide. After selling out the following day, Young announced several weeks later that a general retail version, as well as a second pressing of the deluxe box set, is expected to be released to market on March 5, 2021. This was followed by the release of a second single, "Homefires", on October 21, and a third, an alternate version of "Powderfinger", on November 3.
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