Mystery surrounds the private show Neil Young and Promise of the Real performed in Paris the evening of Jan. 25, 2016.
According to UNCUT the event at Theatre Mogador was hosted by Carmignac, who describe themselves as “one of the leading asset managers in Europe” on their Twitter feed. And apparently billionaire Eduardo Carmignac joined Neil & musicians on stage.
Among the surprises in Young’s set the After the Goldrush track “Til the Morning Comes” made its live debut, 46 years after the album’s release.
Another cut from the same album, “Cripple Creek Ferry,” was played for the fourth time only, and the first time since 1997.
The set also included Edith Piaf’s “La Vie En Rose.”
Neil Young and Promise Of The Real have announced a batch of UK tour dates as part of their Rebel Content tour.
Young announced he would play Belfast (for the first time ever) and Dublin, as well as shows on mainland Europe – Leipzig on July 20 and Berlin on July 21.
The itinerary has now been expanded to take in Glasgow, Leeds and London.
To Zumans and Rusties and all who enjoy Neil Young’s music and his activism, as he tries to leave a lasting imprint on Mother Earth.
Let’s keep on rockin’ in the free world, and help others to do so as well.
“Went looking for faith on the forest floor, and it showed up everywhere. In the sun, and the water, and the falling leaves, the falling leaves of time.”
Rick Rosas, who plays Buster opposite Oscar winner Meryl Streep’s rocker character Ricki in the new movie “Ricki and the Flash” lost his battle with cancer in November (14), shortly after filming wrapped on the Jonathan Demme project and there’s a special tribute to him in the credits at the end of the movie.
Born in Los Angeles in 1949, Rosas also worked with Demme on 2006’s Neil Young: Heart of Gold documentary.
One of California’s most in-demand session musicians, he also worked with Joe Walsh, Crosby, Stills, Nash & Young, Jerry Lee Lewis, Ron Wood and Etta James.
He was the only bassist to have played in three of Neil Young’s bands – Buffalo Springfield, Crosby, Stills, Nash & Young and Crazy Horse.
The new film has other ties to Neil Young – the rocker taught Streep how to play guitar for the project.
Here is more about the guitar lessons from Entertainment:
Meryl Streep appeared on The Tonight Show Aug. 3 to promote her new movie Ricki and the Flash.
The actress, who plays a struggling musician trying to reconnect with her family in the movie, revealed to host Jimmy Fallon that she did not know how to play guitar prior to filming so director Jonathan Demme set up a meeting for her to meet Neil Young.
“My first lesson was 45 minutes with Neil,” Streep said. “He is amazing, it’s cool.”
When asked if she learned anything from the legendary rocker, Streep said Young told her: “’You see all the amplifiers and all the wires and you go ‘what is all this s–t?’” Young then told her to “crank it up to 11. You’ve got to turn it up, turn it up loud.”
Adrian Mack at the Georgia Straight writes about the Bernard Shakey Film Festival currently touring the country.
The latest showing was held July 31, Aug 1 – 4, 6 and 10, at the Cinematheque, a 194-seat theatre in the heart of Vancouver’s downtown.
Mack writes: “Musically speaking, we love it when the chaos of this singular singer-songwriter’s imagination coheres into something inexplicably moving—think of the bizarre imagery that gives ‘Powderfinger’ its unlikely force, or the silver spaceships of ‘After the Goldrush’—but we’re less forgiving when he applies the strategy to the seventh art.
“This movie was made up on the spot by punks, potheads, and former alcoholics,” is how Young described Human Highway, an improvised home movie self-financed over four years to the tune of three million bucks, and then released in 1983 to the same howls of derision that seemed to greet everything the musician did in the ‘80s.
Viewed now in its director’s cut, Human Highway is far more entertaining than its critics allowed, Mack said.
As for Young himself, Mack calls his uninhibited performance as uber-nerdy car mechanic Lionel a “true marvel.” What millionaire rock star has ever elected to make himself look this goofy? “Jerry Lewis movies, Japanese horror movies, The Wizard of Oz—it’s all in there,” was Young’s appraisal of this brazen and unapologetic mess; a vanity project perversely free of anything remotely vain.
According to the article:
Bernard Shakey’s first ever celluloid credit appeared nine years earlier with the infamous Journey Through the Past (1974). Young made the film as Harvest was turning him into the world’s shorthand for sensitiverustic hippie. Along with the album of the same name, it helped transform Shakey’s reputation as something quite different, raising its auteur’s gambit of not giving a shit to dizzying heights. Journey Through the Past obliterated everybody’s expectations, but if the subsequent panning of the album was understandable, the film deserved better.
If we see Shakey now as a man with a steadfast loyalty to his own muse, and a sincere indifference to your opinion, this movie clued us in 40 years ago. Its value as cinema, meanwhile, is best summed up by long-time collaborator Larry “LA” Johnson, who praised Young’s primitivism. “He will try stuff people more knowledgeable than him would never think of trying,” he said. “He’s the naïve explorer.”
The explorations of Muddy Track (1987) might provide this retrospective with its towering moment of dreadful inspiration. Young was in Europe with Crazy Horse when his entire world went into free fall, and his diary of that disastrous 1987 tour, captured with a video camera named Otto, is unmissable. “What I’m looking for is anything bad,” he tells a small crew at the beginning. “If people get uptight while you’re filming, don’t stop… Anything that happens that’s going wrong, I want it.”
Cue endless sheets of freezing European rain, riots, numerous cancelled shows, bad shows, worse shows, band fights, more band fights, painfully bad interviews, and the pitiful sight (and sound) of Crazy Horse drummer Ralph Molina trying to wrestle with synth-drums. Muddy Track is a terminal document from what should have been the end of Neil Young’s career. “It was a tour with a bunch of people that hated each other, hated what they were doing, and it showed,” said producer David Briggs.
Significantly, the gonzo humour is also still intact. In fact, Young is straight-up nuts in Solo Trans. “I got way into that guy,” he said, of the greaser Shocking Pinks persona he adopted at the time. “I was that guy for months. He was out there. It was a movie to me. Nobody saw it but me, but who gives a shit?”
“Nobody saw it but me, but who gives a shit?” What a great title for this must-see weekend of films.
Also Included: Rust Never Sleeps (1979), Neil Young Truck Show (2009, directed by Jonathan Demme), and Dead Man (1995, directed by Jim Jarmusch).
Better late than never, this Admin was on vacation in beautiful Oregon.
Carla Gillis of the online magazine Now reports on her experience at the Way Home Festival, a three-day music blitz held July 22, 23 and 24 at Burl’s Creek Event Grounds, Oro-Medonte, Ontario.
Gillis described the scene as tens of thousands of people spread out across the massive grounds.
Here is her review of Young’s performance, accompanied by Promise of the Real:
“We got three hours of him, backed by the flawless Promise of the Real, and every moment was glorious, even all those heavy-handed songs about Monsanto and Starbucks and GMOs and pesticides from his new Monsanto Years album. In a T-shirt that said ‘Earth,’ Young smartly waited for close to an hour before bringing them in, first serving up the perfect soundtrack to an outdoors concert under a half moon: heart-tugging renditions of Helpless, Winterlong, Out On The Weekend, Cowgirl In The Sand.
“And when the eco-crusade began, Young’s passion was so apparent, so genuine, that it made you think about how although his motivation for writing music may have shifted away from rustic love balladry over the last couple of decades, he’s always going to give us honest, stark and impassioned tunes about his current obsessions. And making the world a better place couldn’t be a more admirable one.
“Humour laced the set – ‘Your organic cherries are absolutely perfect'” he said, before throwing a bunch to the massive crowd – and his guitar solos were louder, wilder, more frequent and ferocious than I’ve ever witnessed, especially the epic roaring one that came at the set’s end, long after A New Day For Love, Down By The River, Everybody Knows This Is Nowhere, Rockin’ In The Free World. Pure magic.
“Young’s encore – Don’t Be Denied, Fuckin’ Up – ushered in midnight, just as Kaytranada’s bass-heavy hip-hop-disco-R&B-inspired beats started infiltrating the night. ‘Thank you, Ontario!’ Young shouted.”
“ My work with Crazy Horse stands alone, in its own way.
Sometimes it needs to be replenished,
sometimes it needs to be revisited, and
sometimes it needs to be left alone.” by -- Neil Young bh
Neil Young on Tour
Sugar Mountain setlists
Tom Hambleton provides BNB with setlists, thankfully. His website is the most comprehensive searchable archives on the Internets about anything Neil Young related setlists. Goto Sugar Mountain.
memphish on 
Albert Stromann on 
liza on 
Baz on 
