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When I started Journey Through the Past, I remember wanting to do something other than records and touring. I was sure that spending time away would be good for my music. I think it was.

Actually, making JTTP was a pure joy for me. I was not trying to impress anyone with my film making prowess and I succeeded. Filmed with David Meyers as Director of Photography, it was a joy! I was just trying to paint a picture, a non linear expression with my friends, Larry Johnson, Jeanne Field, Mazzeo, McCracken and others. Carrie Snodgress , my partner, was supportive as ever and we were not trying to do anything other than follow the muse - exactly what I had always tried to do with my music.

Nothing was off limits. My own imagination was the guide, just as with my songwriting. I was not aware that I had opened myself up to criticism any more than I had with my songs. It just didn’t matter. I was new then and nobody really knew me. I had not been analyzed and pontificated upon. I was just doing what came naturally - having a great time with my friends, spending my own money because I had no script and did not want to present my ideas to anyone for approval. I was never at that stage.

Film making for me was just another form of expression, another way to pass the time in the vibrancy of my young and innocent life. I put it all in, everything that mattered to me, with no attempt to judge or manipulate to tell a story.

‘Journey through the Past’ will screen in the Hearse Theater


Hoping to Journey Through the Past again!

It's been almost 30 years since I've seen this, so my memories are very foggy. It's comprised of lots of footage of Neil Young and band members (including Crosby, Stills and Nash) in concert and rehearsing (I can clearly remember them rehearsing the song "Alabama" in a barn somewhere in Alabama). But the film is mostly a cornucopia of Neil Young's eye view of the rural South circa 1972. Lots of rainy footage from the band's bus: that sort of thing. There's footage of an American Legion meeting with a rather healthy, corn-fed, white audience singing "God Bless America". That's interspersed with footage of the poverty-ridden conditions of the neighboring black towns (the South was still very segregated, and there were still significant numbers of people living in what was akin to Third World living conditions). There are two other scenes that I can recall. One is a scene with Neil and his wife (girlfriend?) eating strawberries, which is only memorable because it's so lonnnnng! The other scene is a very trippy one, with guys dressed up as Ku Klux Klan members riding on horses on a beach, while the soundtrack from "King of Kings" is playing. Outrageous and fantastic! As memory serves, I don't think it was a great film, but it was a rare opportunity to see glimpses of America not shown by Hollywood or on television. And if you're a fan of Neil Young, it's a chance to see him performing relatively early in his career. I think the film would be more essential to audiences today, because while the new young generation is always putting down on the "hippie" generation of the sixties, they've no idea what it REALLY was like, and how much it has changed - thanks to activists who fought the system and demanded change.

I had the soundtrack record to this back in the seventies. It was quite good! It's a shame it was never released on CD. A CD of that, and a DVD of this film is long overdue!

Any fan of Young's artistic waywardness will find this enjoyable.

Having been a fan of Neil Young for several years, I never thought I'd get the opportunity to see this rare film. However - a bit of online sifting is all it takes nowadays, and Journey Through The Past is out there as a BitTorrent. Not sure if this is something IMDb condone, but I'm sure they'll let me know by deciding whether to post that or not! The copy I've found is clearly from an nth generation videotape (how it found its way on to any videotape I'm sure is a story in itself, as the film never found commercial release outside of the few cinemas that showed it) and the picture is washed-out, occasionally wobbly but essentially watchable. Basically no worse than finding a vintage first-issue Chainsaw Massacre tape, or any video nasty of a similar age.

The film itself has had a reputation over the years for being poorly conceived and poorly received; an incoherent navel-gazing exercise that probably didn't even make much sense to Young once the pot wore off. What must be considered, though, is that much the same was said of Young's '73-'75 album releases in their day, and much of his music from that "Dark Period" is now held to be among his strongest work. Hence my summary headline above; if you appreciate the myriad tangents that Young went off on during his 1970s recorded work, then you'll at least know where this film's coming from.

In more detail then, Journey Through The Past is part-documentary of Young's first five-six years as a recording, touring artist; and smaller parts road movie and surrealist fantasy. If you consider these three aspects together, you might get a sense of why this film reminds me on more than one occasion of Werner Herzog's late 60s-early 70s work, particularly Fata Morgana (there's even some brief desert scenes here among the fantasy sequences). That is, of course, if Herzog suffered a serious whack on the head and lost all of his directorial and editorial talent in a month-long amnesia; Young was no great movie-maker at this early stage in his career (and judging by Human Highway a decade later, probably wouldn't learn much more).

But therein lies a lot of the film's charm; when you hold this up against, say, Led Zeppelin's rather pompous Song Remains The Same, Journey Through The Past does have a lot going for it in its homespun unpretentiousness and intimacy. The countercultural-political sequence of the film, about 45 minutes in, might be clumsily handled, but you kind of get the idea. There's a fair amount of goofy comedic material here too, from a grinning Buffalo Springfield camping it up in a TV spot, to Graham Nash in a dapper gold waistcoat calling for the legalization of marijuana (after identifying a drummer-rolled joint at first sight), to a hard-hatted Young clambering around in a scrapyard then later giving some Jesus Freaks a pricelessly deadpan baiting.

And of course, if you want some electrifying footage of early CSN&Y, it's here providing arguably the highlight of the movie; you'll wish this footage went on for much longer. Much proof is provided that Stephen Stills was possibly the coolest human being in the universe during the early 70s. The 'Harvest' rehearsals do drag on a bit (thankfully not to the sheer tedium that they went to on the soundtrack album) but are still an interesting snapshot of Young's work-in-progress at the time. And if you're left bemused by the bearded wanderer/junkie, black hooded Klansmen, and the bishop, the general and their chauffeur in the fantasy sequences, I wouldn't take it too seriously. Young did pass it off as "No plot. No stars". Enjoy this film primarily as a great rock documentary. Seek it out!

Early Neil Young as Reality TV

This is an odd film to digest. Fans of Neil Young will appreciate it for its historical value, but it's very mundane in parts. It actually has the feel of Reality TV, but of a mostly wordless variety.

The camera follows a very long-haired Neil Young and his band riding an elevator, it shows them walking around in hallways, it shows them talking with sound-engineers. You see him walking around a junk-yard. You get to see Neil park his car and sit on the front-fender with a woman smoking a cigarette and eating berries and not talking for at least 10 minutes, just staring at the countryside. For some reason you also see Richard Nixon speaking at a Billy Graham Crusade.

Then again, you also see him playing some great early live concerts with Crosby, Stills & Nash, which is reason enough to see this film. But then the film becomes sort of a music-video, showing what appear to be black-robed Klansmen riding horses on the beach, and then what looks like a red-robed Catholic Cardinal riding in a limousine, all of which apparently has zero connection with the rest of the film. It's all edited together in a sort of stream-of-consciousness, which is perhaps the whole point, as that style of narrative was common in the early 70's.

If you can find it, view it for the concert-footage plus an example of Neil's fascination with disjointed imagery which sometimes flows together like a visual non sequitur.

For hardcore Neil Young fans only

As much as I've always enjoyed the music of Neil Young (starting with his stint in Buffalo Springfield, thru C.S.N.Y & (most)of his solo out put, I found this curious little film a head scratcher. It seems to start out as a documentary, Neil Young in various phases of his career. Starting with some blurry video footage of Buffalo Springfield, in a television appearance, thru some sparse footage of Crosby, Stills, Nash & Young (gee...who would have thought?). If this film had pretty much stuck to this premise, it would have made for a satisfactory documentary. The problem is that Neil opted to let his film go totally out of control, careening into some abstract episodes that even most midnight movie fans would have found utterly confusing (no matter how much Marijuana they're behind). Now, don't get me wrong. If you think I'm some typical old fart that can't deal with anything out of the ordinary (I list films such as Eraserhead & El Topo as personal head movie favourites), guess again. Part of the problem of personal vision films is that sometimes the vision is so personal, the only ones that could grasp the message is the artists themselves. I'm not saying 'Journey Through The Past' is unwatchable, it's just that there is a treasure trove of much better stuff out there. It's still worth at least one look (for those who were not born yet & want to get a better idea what the 1960's & 1970's Hippie counter culture was all about). Originally slapped with an R-rating by the MPAA, this film contains much pot smoking & salty language. Pretty tame by today's standards.

Not made to watch under the influence

Yes, about 30 years since I've seen this film but some images from that night in Knoxville, Tennessee are crystal clear. My crowd and I had driven the 3.5 hours to Knoxville from Nashville (on other business) and had partied all the way. So, when somebody suggested we go check out this flick, the group was rather pliant.

If memory serves, it opens oddly enough with CSNY doing an in-studio, call-in interview at, I believe, WMC in Nashville. Trippy. Other random images, drawn through the years from a night of robust teenage drug experimentation:

Neil and somebody else sitting on the fender of an old, old car deep in the woods on a summer night right in front of an ancient country bridge. I seem to recall they were drinking moonshine from a jug and the headlights of the car were on, providing the only illumination. Looked like a good way to spend some time.

A close-up of a man's feet walking on a sidewalk, which went on interminably. Then, the film reverses and the feet walk backwards for a long time. THEN, the camera inverts and we see the feet walking backwards and upside down. Not good visual stimulation for anyone under the influence of hallucinogens. I remember we almost cried.

All these years I've wondered what it would be like to see the film again and with a clear mind. If you're a CSNY fan like me, it would be worth it. But, at the time, it was rather hard to stay awake, as I really had no business even attempting to watch anything that required something more than infantile concentration. The film turbocharged our stupor.

Deadman in the South

Given how brilliant this film could have been, Neil - as Bernard Shakey - is about as exciting as watching Bob Dylan tune a guitar (which doesn't want to be tuned) between songs and, eventually, Mr Dylan in/with/directing one of his own movies.

"Greendale", the DVD of Neil in Ireland presenting his acoustic interpretation of the work/text, shows just how amazing his talent is. However, brilliance aside, being stoned and self-congratulatory about CSN&Y (which at the time wasn't happening) does not forgive this almost illusive, unintelligible, allusion (for so it is) to the South that he hates - "Alabama" is a paean to this. All must be forgiven when Lynyrd Skynyrd reply most sincerely to his claims.

And yet, one wonders what would have happened had Jimi Hendrix taken Neil and the boys through the same landscape. Even with Stephen Stills as escort, the geography of the "Chitlin' Circuit" would have been alien to say the least. Still, long-haired hippies and weird musicians wasn't the way to go. There is a sense that the whole thing was set up as a battleground that really didn't happen.

Bernard has done much better things than this. Consider, for instance, the soundtrack to "Deadman". Then, perhaps, listen to the soundtrack and watch "Journey Into The Past" at the same time. It's surely better than watching paint dry. Hmmm... almost. 'Course I love Neil and Johnny both. Next!

Saw original print back in 1974

Was discussing the film this afternoon with a friend who hadn't seen it. I told him I was in a slightly altered state of mind when I saw it, and that it was the kind of film that you think afterwards you might have better understood with a clear mind. Not necessarily and probably unlikely. Our college film club was showing it on a Saturday night. It wasn't the sort of movie you'd see at the local theatre. The fact remains that one particular remark Neil made somewhere during the film hit me like a divine revelation. It totally changed my understanding of reality.

Might sound pretty far out, but I've often wondered about that film. Couldn't remember the title. If anyone tracks a copy down, put me on your list of people who are interested in seeing it again.

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We are all very happy here at Shakey Pictures to have these two films showing in Japan. I hope all of our Japanese friends enjoy them. Hopefully, we will be sharing many more movies with you all in the future.

爆音上映15年記念  ニールヤング監督作 『ジャーニー・スルー・ザ・パスト』 『マディ・トラック』 伝説の二作が日本初爆音上映決定!

1月10日 大阪 梅田クアトロ( 1月15日 東京 渋谷クアトロ(

一般販売:12月26日 チケットぴあ、 ローソンチケット、e+, 渋谷・梅田クアトロ店頭にて販売 いまや全国各地で開催され、多くのいまや全国各地で開催され、多くのファンを抱える“爆音映画祭”。その誕生のきっかけとなったのが2003年11月のニール・ヤング来日だった。来日を記念して吉祥寺バウスシアターで行われたニール・ヤングのライヴ・ドキュメンタリー『イヤー・オブ・ザ・ホース』(ジム・ジャームッシュ監督)のライヴ用音響システムを使った上映企画、その発展形として翌2014年5月に生まれたのが“爆音上映”である。その後、“爆音上映”は“爆音映画祭”へと発展し、多くの映画ファン・音楽ファンを魅了してきた。いまや全国各地で開催され、多くのファンを抱える“爆音映画祭”。その誕生のきっかけとなったのが2003年11月のニール・ヤング来日だった。来日を記念して吉祥寺バウスシアターで行われたニール・ヤングのライヴ・ドキュメンタリー『イヤー・オブ・ザ・ホース』(ジム・ジャームッシュ監督)のライヴ用音響システムを使った上映企画、その発展形として翌2014年5月に生まれたのが“爆音上映”である。その後、“爆音上映”は“爆音映画祭”へと発展し、多くの映画ファン・音楽ファンを魅了してきた。

この度、爆音上映の15周年を記念して、ニール・ヤングによる伝説の監督作『ジャーニー・スルー・ザ・パスト』、『マディ・トラック』(いずれもバーナード・シェイキー名義で発表)二作の日本初上映となる爆音上映イベントが開催決定した。 今回はいずれも日本語字幕を付けての上映となり、梅田クラブクアトロ、渋谷クラブクアトロを皮切りに全国を爆音上映で巡回予定だ。 boid主宰 樋口泰人

Commemorating the 15th anniversary of Bakuon (Roar) Film Festival with Japan’s first Bakuon premier of 2 legendary films, “Journey Through The Past” & “Muddy Track” directed by Neil Young

Jan 10 Umeda Quattro, Osaka Jan 15 Shibuya Quattro, Tokyo

Ticket Pia, Lawson Ticket, e+, Shibuya/Umeda Quattro

Bakuon film festival, held throughout Japan, started back in Nov 2003 when Neil Young came to Japan for Greendale tour. We organized an obscenely loud film screening of “Year of the House“ by Jim Jarmusch with real concert speakers in Kichijyouji Baus movie theatre. The program developed into “Bakuon Film festival” and attracted so many cinema and music fans changing how we experience cinema.

Commemorating 15th years of Bakuon, We are proud to present two of the legendary films directed by Bernard Shakey for the first time in Japan.

Both films will be subtitled in Japanese and expected to tour the whole country in 2019 after Umeda & Shibuya Quattro show.

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Hearse Theater

Every chapter of the Greendale tale will be seen sequentially over the next few weeks, running for a few days each as the story of ‘Sun Green’ unfolds in all of its super eight CRAZY HORSE glory. Larry Johnson and I shot this back in the early part of this century and we had the time of our lives! Shakey Pictures hopes you enjoy the show!

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Subscriber News

New Stuff For Ya

  • The video logs on a handful of Live Rust cuts—the lucky few that were performed at the Cow Palace, San Francisco—have tantalizing tastes of a RUST NEVER SLEEPS movie night just around the bend.

  • Neil sang a “Hymn for Canada” Mother Earth, in Calgary, Alberta during his 2014 cross-Canada Honour The Treaties Tour—now you can see that performance alongside Neil’s public statement for the Honour The Treaties Campaign, found on the Timeline.

  • It’s a 3 Rail World; That’s where we found Clyde Coil in 1995. Poke around on the Timeline to join Clyde & Co. as they await the 2341 Jersey Central FM Locomotive. It’s all shot on A LIONEL train layout that Neil, Ben and Zeke enjoyed over many years.

The Archives Team

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We’re stoked to start off this week’s Subscriber’s News with the announcement of a brand new feature here at the Archives: Curated Playlists! Every once in a while somebody special is gonna drop in and take you on a personal tour of the music here on NYA, write a little something about their history with Neil’s music, and pick out tunes that’re near and dear and they want you to hear.

We’re especially thrilled to introduce our flagship playlist-auteur, Kurt Vile, whose latest record Bottle It In has been in such heavy rotation in the Archives office that it’s crept into at least one archivist’s dreams. Kurt has been an NYA member from the jump—and we’ve been fans of his since 2008’s Constant Hitmaker—so we figured he’d be the perfect person to kick off this new feature and we were thrilled that he was as into the idea as we were. Kurt is currently on tour with Toronto, Canada's own The Sadies - so check 'em out.

Head on over to those front few folders in the Filing Cabinet to listen to “stumblin’ with Neil...” and read Kurt’s thoughts on the playlist in the description tab. We’re just about as new to this playlist concept as you are, so we’re not sure how often playlists will rotate or how long “stumblin’ with Neil…” will be available—you best get while the gettin’s good.

*please note: playlist's only available from your desktop computer.

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Attn. NYA Subscriber: longmayyouruncover1408 Long May You Run in Hi-Res

What’s that sweet sound you hear coming in over the tannoy? Could it be? It is!

As promised by John Hanlon in his article to the right: We’re streaming the 192/24 audio for Long May You Run at long last.

A keen-eared NYA member called the lack of Hi-Res audio to our attention and John realized it must have fallen through the cracks somewhere between the remastering studio and your ears—but it’s down there under the floorboards no longer!

Head on over to *Long May You Run* to enjoy that smooth, deep Hi-Res—George Perry’s bass on Midnight On The Bay is really carrying us through this Friday morning in the Archives.

The Archives Team

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A panful of recently added archival gold you might not have sifted out of the river yet.

  • You can find official music videos for Big Time and This Town—from the album Broken Arrow—on their infocard video logs.
  • We don’t know how rusty your German might be, but if it needs a polishing head on over to Comes A Time where you can read Michael Schlüter’s review of what he calls “ein klassisches Neil Young-Album, für eines seiner besten überhaupt.”
  • If you’re in a less international mood, why not check out Neil performing From Hank to Hendrix at the Deer Creek Music Center in Noblesville, IN, on his Dreamin’ Man Live ‘92 tour.
  • Not sure how y’all haven’t picked up on the clues we’ve been dropping, but only a handful of NYA users have found the videos on the film infocard for Human Highway—including Devo’s life-ruiningly catchy rendition of Woody Guthrie’s Worried Man and an unhinged Neil-Devo thrash through Hey Hey, My My... And watch this space, because we’re working on something special to add to this card.

-The Archives Team

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Here are a few recently added items for your enjoyment.

  • Videos from the Letter Home sessions at Jack White’s Third Man Records in Nashville, TN.
  • In case you didn’t follow the clues last week: we’ve added a bunch of great photos of the International Harvesters playing in the Harvest Barn to the tracks on A Treasure, and a video of Neil talking about the Harvesters and the music they made together in the album More tab.
  • Official music videos have been added to tracks on Americana, Fork In The Road, and Landing On Water.
  • Videos from the feature film Greendale have been added to the info cards for each song on that record.
  • Neil’s tour pass for the Rust Never Sleeps tour is up alongside a pass for his faithful sidekick Seth.
  • Check Depression Blues, Mansion On The Hill, and Horseshoe Man if you’re wanting to see some original lyrics manuscripts.
  • And, last thing on your agenda for this week: if you needed an excuse to listen to Songs For Judy for the twentieth time in the last month, go check out the phenomenal performance photos by Henry Diltz.

-The Archives Team

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An Introduction to Subscriber News

Since subscriptions went live we’ve been getting a lot of letters asking us to point you in the direction of all the new archival material that’s been added to the site.

We’ve been processing and releasing new archival photos, documents, memorabilia, and videos more or less as quickly as we can and while we don’t want to ruin the fun of exploration and discovery, we also don’t want hidden gems to remain hidden forever.

In order to give some direction to your deep dives into NYA we’ll be highlighting content here, in the Subscriber News section of the NYA Times-Contrarian.

Here are a few of our personal favorites that have made it to the site since subscriptions launched, alongside some hints for areas you might want to examine for some lightly-hidden Treasures:

  • A cool-as-hell excerpt of Michael Lindsay-Hogg’s Neil Young In Berlin has been added to the video-log for Sample And Hold—but it’s not the only feature film from which we’ve added new content.
  • There’s a charming photo by Sal Trentino on the info-card for Rapid Transit.
  • Rockin’ In The Free World has some new documents, including a very brief setlist from Neil’s appearance on Saturday Night Live in 1989.
  • One of the songs on Ragged Glory—I’m not gonna f*%$in’ tell you which—has got some great photos by Larry Cragg.
  • There’s a manuscript newly added to the infocard for Touch The Night, and I imagine you might find other new treasures if you took the time to poke around on that record, and maybe a couple others nearby on the timeline.

The Archives Team

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Crazy Horse’s ‘Ragged Glory’ album will be twice the size in its next release. J. Hanlon has found more of the Crazy Horse album from 1990. Listening to these tracks is a real head scratcher. They are equal to anything on the existing record, maybe better. Possibly, the thought at the time was to have a single album and not include the songs from the last half of the unique ‘set oriented’ recording sessions.

Those sessions were unique because the band played a set of songs twice a day at Plywood Analog for a couple of weeks, then went back, listened and chose best tracks after the two weeks were up. The Ragged Glory was picked from those tracks. The same tracks were never repeated in a recording set, played only once as set. . . . and the band moved right on to the next song. No repeats. This approach took ‘analysis’ out of the game during the sessions, allowing the Horse to not think; thinking is deadly for the Horse.

After the songs were played enough so that the band was sure they must have the takes, the Horse, having a great time, kept playing other songs. . . Five songs, with two versions of one, and one long extended take of another, yielded another 38 minutes of Crazy Horse classics, mostly undiscovered and unheard before.

Ragged Glory II, the double album, will be announced as a stand alone LP in vinyl, CD and High resolution digital, probably released in 2019 and possibly delaying release of other announced projects.


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Ahead Of Schedule!

Our official launch date and public announcement will take place very soon, but for those of you who visit us daily we are giving you a jump on subscriptions. You can now officially purchase your very own NYA-Unlimited monthly or yearly subscription.

With NYA-Unlimited comes a nice selection of new features and content:

  • Playlists
  • Chronological autoplay. Press play on any info card in the file cabinet and let it run.
  • Record store search, powered by our friends at Find your local record store and go there!
  • Hi-Res track purchase . Buy Hi-Res @ low res prices. $1.29/track (minimum of five tracks required) Albums cost $1.29 x # of tracks on the album.
  • 177 content additions - videos, photographs, manuscripts, memorabilia, & press. With a ton more on the way!

*Subscribe and also get a FREE DOWNLOAD.

Already in NYA’s short history we have given you three new stellar releases from the vault.

Tonight’s the Night ‘Live at The Roxy’, ‘Hitchhiker’. and ‘Songs For Judy’, all heard first at NYA!

And as our first subscribers we hope you will send along feedback in ‘Letters to the Editor’!

Thank You!
The Archivist

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Terms & Conditions Privacy Policy

With our subscriptions comes updated Terms & Conditions & Privacy Policy. Please review these links. You can always find links at the bottom of the file cabinet door.

It's important to us at NYA that we be transparent about how we handle your data. This is why we have added the ability for you to see what info we store about your account. You can find this information on the My Data page of the account panel.

The Archivist

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Dec 1 marked one free year of NYA!

Because this is our home and our music, everything we offer is the best you will ever find. We appreciate you and you deserve the very best.

We offer all kinds of info for every recording we have; music, movies and video, books and photos, manuscripts and press.

This is a life’s work and it will never be finished. If you want to follow along with our progress, when we officially announce subscriptions and our new APP, please subscribe.

Presale concert tickets will be available exclusively to our subscribers. No inflated prices, middlemen, or scalpers! Just fellow NYA music lovers occupying the best seats in the house.

NYA Unlimited:

  • Complete Neil Young High Res catalogue streaming for you in Xstream by NYA
  • Pre-sale concert tickets for yearly subscribers - the best available seats in the house.
  • Exclusive live concert streams at the Hearse Theater.
  • NYA Times-Contrarian Newspaper (new articles written by NY and our Times- Contrarian staff writers added regularly).
  • Previously unreleased albums, songs and videos premiered here for you first.
  • Unreleased archival video content made available to you first.
  • Info cards for each song contain lyrics, credits, photos, memorabilia and documents.
  • First Buy Discounts at NYA’s Greedy Hand store / vinyl / CDs / files / swag & more.
  • For those who want to own their music collections, we offer Hi Res at low res prices. $1.29 per High Res Track downloads from the Xstream by NYA store (powered by Orastream) minimum 5 tracks per order. Albums too. (no minimum).
  • Browse the NYA File Cabinet and Info Cards.
  • Cruise the NYA Timeline and see how it all unfolded and continues to grow.

For our subscribers who want to buy ad collect their music:
We are digital. We sell High Res and CDs too.

We are Vinyl. We connect you to the nearest brick and mortar record store in your area. We make great vinyl. Check out J. Hanlon’s notebook in the Times-Contrarian to learn more about the process of making NY vinyl.

We live-stream too.
Select NYA shows for subscribers at our Hearse Theater.

We screen Shakey Pictures movies, live interviews and podcasts for subscribers.

Many parts of NYA will still be available free, including :

  • Unlimited browsing.
  • Featured album playback.
  • Song of the Day, playback.
  • NYA Times-Contrarian.

Music Archive and Time Machine.
The high resolution audio here is the best digital sound on the planet- Xstream by NYA.

“Here at NYA, we care for every song I’ve ever released. This is where the songs live and are heard at their finest. Every album. Singles. All the artwork. Many of the manuscripts. It’s all here for you to hear”
Thanks for listening!

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updated 12-16-18
We’ve been free for a year! Now we are asking you to pay for NYA. Although it will be a very low amount-$1.99 a month or $19.99 a year, I want you to know it is important to all of us as a measuring stick for how much you like what we are doing, and it will go a long way to deferring our costs.

NYA is long term and eventually we will need to have enough subscribers to carry the load. We love what we are doing. Our Archivist is so hard working, keeping the Archives growing, helping supply her valuable input and corresponding with our tech partner ADE every time we add something to the way the site functions. We are constantly trying to improve NYA!

Our archivist now has a section of The Times-Contrarian dedicated to Subscriber News. Here, she will be able to do things that will greatly enhance your experience. News of additions to our service, big and small, new songs, albums, memorabilia, films, videos, etc will be available there regularly.

We value your support. It really means a lot to us. We hope for a big response to our official subscription offer when it arrives soon. Thanks to our many early adopters!

Thanks for listening!

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Updated 12-16-18

We are listening to your requests. NYA has an app for smart phone users in final release stages now. We are working with APPLE to bring you this app asap.

It is greatly simplified from the NYA website, but will still be the perfect way to get all the great sound of High Resolution streaming from Xstream by NYA while you are on the move.

We will show you how to use phones with the NYA app, and the right earphones/buds and outboard DACs to use to feel our stunning sound in the highest resolution possible, not dummied down to the feeble standard used by old streaming services.

The NYA App will have a timeline with every album in the Neil Young Archive and information about an album’s music, art work and overall credits will be featured, not the feeble meta data available at old streaming services. We want you to know all about this music. To learn every detail, is the place for you to go. It's deeper and heavier. The NYA app is light and fast.

The technology of Orastream, combined with Xstream by NYA, presenting the NYA TIMELINE library will be the largest feature of this, the world’s first and best portable high resolution adaptive bitrate music streaming player. You will hear how adaptive bitrate streaming gets the best sound available at your current location as you move around the planet using all the bandwidth you desire.

Really what this means is the best sound you have ever heard or will ever hear from your phone! Enjoy your music more.

Thanks for listening!



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Every time you play the song of the day, we are connected. Each evening I choose a song. One that just comes to my head. We just sit and listen. If it moves me, it’s the song of the day for tomorrow and I send it in. It’s a little thing, but somehow I hope it works to make this a little more personal. A little more human. Enjoy the song of the day, every day you can, with me.

It’s more than that. It is a reflection of personal feelings, of life. The choice of which song should be the song of the day is a big deal to me. I try to make sure of one thing.....does it feel right?

Sometimes, not often, I just can’t do it for various reasons. On those times, we automatically go to the next song on whatever album the previous song of the day appeared.


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IMG 4800 970

Covering the news like a blanket….

Toby Huss, our first, only and best NYA correspondent for the NYA Livestream ‘Out of the Barn’, did a fine job. He told the truth and there was not a trace of fake news.

NYA is honored to be on the forefront of the True News Movement (TNM), a return to journalism. Founded in 2018, TNM’s headquarters is Flint Michigan, the clean water capital of the United States of America. Designated as a model for environmental stewardship by the president, Flint Michigan stands alone in its fight for clean water and is thankful for the border guards stopping dirty water coming in from Canada.


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J. Hanlon's Notebook


Dear readers,
Regarding the upcoming TUSCALOOSA live album from the February 5, 1973 concert in Alabama; mastering for vinyl and hi-res is now underway at Bernie Grundman Mastering in Hollywood.

I mixed the album in Studio 2 at East West in Hollywood over the Christmas and New Year’s holidays from analog 16 track 2” masters to ¼” 30ips tape, sending my mixes daily to Neil in Colorado to listen to. Then Neil would send his comments to me live as he listened. Suggested changes made, I then assembled the final mixes for three master album reels for three sides of vinyl, based on sequencing done previously with Neil in the digital realm. During the sequencing, two songs, “ON THE WAY HOME” AND “THE LONER” were dropped. ‘On the way Home’ has already appeared on many live records. ‘The Loner’ was out of tune.

It was analog to analog all the way around for TUSCALOOSA, the next upcoming live record by Neil and the Stray Gators, (unless something else happens to change that). The 192/24 master for NYA will be generated from the analog mastering, directly from the master tapes through Grundman Mastering’s great console.

Happy listening, John Hanlon

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Dear readers,
A query came to the editors recently concerning several of Neil’s albums from the Geffen era, specifically two from the mid ‘80s titled OLD WAYS and LANDING ON WATER. The question asked was how did the hi-res 192/24 digital audio of these two albums come to be?

The original releases of these two records, OLD WAYS in 1985 and LANDING ON WATER in 1986 were on vinyl, and then CD.

The NYA website release of these same records is at 192/24 hi-res digital audio.

The albums originally were mastered for the vinyl releases from the analog master tapes. OLD WAYS was mixed to ¼” tape and LANDING ON WATER was mixed to ½” tape. The mastering would have been A to A (analog to analog) for these LP records.

The hi-res digital audio that is streamed on the NYA website was mastered from the A:D (analog to digital) tape transfers done by John Nowland at Redwood Digital for both albums at a 192k sample rate and 24 bit depth and from the very same master tapes used for the vinyl decades earlier.

In the case of OLD WAYS, the record was digitally mastered in 192/24 at Georgetown Mastering in Nashville where the original vinyl album was mastered.

Similarly LANDING ON WATER also came from the Nowland A:D tape transfers. Then Niko Bolas, who originally engineered the record, had Richard Dodd master the album in Nashville to generate that hi-res audio for Neil’s website.

Neither album was ever upsampled to create 192/24 audio. Whenever we have analog album assemblies we strive to master from that tape source whether in the mastering studio directly or from the original Redwood Digital capture from tape to digital hi-res audio.

Happy listening, John Hanlon

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a letter referred to J Hanlon

Hi there,
First of all, I wanted to write how amazing the NYA is, and how it is a really great thing for Neil's music lovers like myself and others.

My question is: Why albums like "4 Way Street" and "Long May You Run”, which were recorded on analog tapes (I assume), only get CD audio quality (16Bit/44kHz) and not higher audio quality, on NYA?

Thanks again for all your effort,
Eran Raz

Hi Eran,
Good catch on your part. I missed this one on the hi-res 192/24 delivery from the mastering house to the record company in December of 2016.

The "Long May You Run" album had been cut for vinyl from the original master analog tapes earlier in the fall of 2016. Neil decided to add this album to his third boxed set of ORS (Original Release Series) albums comprised of American Stars ‘N Bars, Comes A Time, Rust Never Sleeps and Live Rust so that set would in fact be a five album boxed set with Long May You Run leading the pack as they are the next albums in chronological order after the second set ending with Zuma.

The CD masters were cut and delivered next – also mastered directly from the analog tapes. However the hi-res 192/24 on three of the albums and American Stars ‘N Bars in 176.4/24 had been delivered in October 2014 for Pono hi-res releases from Warner Brothers Records to offer the first 12 albums of Neil’s catalog in hi-res digital audio to be available for the Pono Player at that time. This work had been done by Tim Mulligan at Redwood Digital back in that period. That same audio has since been made available to the NYA website for streaming and downloads.

The hi-res 192/24 audio of Long May You Run had not been formed when the original first 12 Neil Young albums had been delivered as that title hadn’t been remastered or offered in anything but the original CD format of 44.1/16 currently in print at WBR. When I remastered that album I cut a 192/24 digital file at Grundman Mastering in Hollywood and since that was late December of 2016, it fell through the cracks. I must have been thinking about a Christmas turkey dinner instead! I knew we already had hi-res digital audio available on all the other titles from several years prior. Thanks for bringing this to our attention.

Since your letter, I have directed Grundman’s to get the hi-res files to WBR and subsequently to the company that uploads the hi-res audio for Neil’s NYA website. It should be up, and will replace the CD quality 44.1/16 audio, in several days.


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Mastering the LP Odeon Budokan

Dear readers,
Apologies for not lending an ear to your queries earlier but there has been a tear in the fabric at ye old homestead. I am reporting post fire from Malibu.

The act of staying with one’s house and home through the apocalyptic fires that raged here three weeks ago tonight was unsettling at the least.

Suffice it to say, I saved my house, or, it was spared by the capricious nature of this beast that roared out of the northern parts of this Los Angeles County that the Native Americans so aptly called “Valley of Many Smokes”. And I don’t think they were referring to personal use. Now to the business at hand.

Progress is being made on mastering the Odeon Budokan album for vinyl from the original ¼” mix tapes. This is one of Mr. Briggs conceptualized records, pulled together in 1976 from the Neil Young & Crazy Horse tour of the Orient and Europe, comprised of concerts at Odeon Hammersmith in London and Budokan Hall in Tokyo Japan from March of that year.

We also have the Tim Mulligan mastered hi-res digital of this album at 176/24 of the project that will possibly be utilized for the NYA website timeline.

We always listen and determine whether the website digital audio sounds better coming straight from Mr. Mulligan’s digital mastering, so it would be D-D whereas the vinyl might or might not sound better coming A-A directly mastered in Analog from the master tapes. Every project is different.

There is no formula as to formats being digital or analog in terms of mix sources. We use the best we have always. We leave no stone unturned unless it weighs several tons, meaning if there is a tremendous amount of editing to be done or there are second and third generation master tape copies that are worn out and suffering sonically, or a given project was never really assembled in a viable analog domain – only then do we decide which to master from in terms of a given release format such as vinyl records, CDs, hi-res digital for streaming etc.

Each different release format, along with the project audio source, can dictate how we choose.

The vinyl can be mastered from digital 192/24, 176.4/24, even 44.1/24 as in the case of Deadman and 44.1/16 for Harvest Moon. That’s obviously because they were the only mix masters that existed for those particular two albums. That is just one example.

There will be many more as all Neil’s catalog gets re-released for vinyl as well as higher resolution digital down the road.

Next up is Tuscaloosa, (under the radar monster) a previously and only partially mined album project from early in the 1973 Time Fades Away tour of the US by Neil & The Stray Gators. . . . .It’s a “good un” as John Lee Hooker would say. “Pots on, gas on high” as he also wrote in one of his songs. ‘Tuscaloosa’ was a particularly potent lineup of great musicians at the zenith of their brotherhood. Ben Keith, Jack Nitzche, Tim Drummond, Kenny Buttrey and Neil.

More to report here soon, as we undertake mixing from the original master 2” analog 16 track tapes and review in Colorado during the next several weeks.

John Hanlon

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Mastering the LP, Songs for Judy

There is something magical about dropping the needle on a record. It draws you into a listening experience that cannot be captured in the playback of any other form or medium of music. Be it CD, an I-Phone, laptop computer, with or without earbuds, even a cassette tape for those old enough to know, it all pales next to playing an LP vinyl record. You actually have to do something and drop a tone-arm and cartridge onto the lead in groove, preferably without screwing yourself and sending it flying across the disc. The quiet thump one hears and feels when having successfully mastered the mating of stylus to grooved plastic is a glory to behold. It never gets old. It signifies the start of a musical experience that engages you in a way that no other can. You actually have to sit and listen. The record demands it.

This is especially rewarding when the music emanating from the near field speakers has something special to convey.

This is exactly the case with Neil’s new album ‘Songs for Judy’ that I am evaluating. I have been listening to the reference lacquers of our mastering work at Bernie Grundman Mastering in Hollywood as captured by Chris Bellman in the cutting room. Tim Mulligan, Neil’s longtime mastering engineer had already mastered this collection of 23 songs that had been recorded during Neil’s solo tour in November of 1976. Most of these songs came originally from Joel Bernstein’s audio cassette recordings in the hall as Neil performed with just an acoustic guitar, piano or banjo. Occasionally a 12-string guitar or Stringman synthesizer would make an appearance.

Tim did all of his work in the digital domain at a sample rate of 176.4K and a word depth of 24 bits after converting the analog cassette tapes to digital for assembly, audience crossfades, level matching etc.

My and Chris’s job was to get it from Tim’s digital files to four sides of vinyl and not get in the way by “fixing” things or smoothing the rawness out of the music recordings as is so oft the case in today’s world of cutting edge digital crap. Don’t get me wrong, digital is great, but for me it’s a tool to be taken advantage of and a means to an end result, not the ends itself, especially with the making of vinyl records. In mastering for the vinyl, we use Lavry DB gold converters that are modified insofar as the power supply circuitry by Beno May the chief engineer and tech at Grundman’s. Nothing, absolutely nothing, is stock. The mastering consoles are all analog. They sound better and it sounds musical, period.

The vinyl we cut in that room has an analog path derived from the output of the Lavry D/A converter through the analog mastering console and on out to the lathe. When my source is an actual analog tape, the vinyl reference lacquer is cut from a purely analog path. It never goes to digital. That said, I usually do a test mastering from the tape through an A/D converter so I can experiment with song gaps, levels, EQ if necessary without playing the master tape needlessly. Once my decisions are final after listening at home or with Neil, then I go back in and cut that EQ, level changes and add or subtract leader from the tapes as needed to accommodate my notes from the hi-res digital playback for mastering evaluation, in order to then cut the reference lacquers only once.

Sibilance from the lead vocal can cause distortion on the record that would not be present on the digital CD or hi-res digital audio on the timeline. On this record there were several places where Chris had to employ a de-esser in the audio chain but it’s only introduced for the areas that need it. Otherwise it is hard bypassed.

The ‘Songs for Judy’ album is a double album, with four sides of audio. I approved the reference lacquers of this knowing that since I listened, Tim Mulligan found two songs with a mic stand hit by Neil during the recordings when he re-proofed the files he had sent me. We will replace Tim’s digitally fixed files into the cutting session source when the Master lacquers are cut to be delivered to the plant. The rest of Chris Bellman’s previous EQ and level changes will carry across seamlessly since Tim was working in digital and files are exactly the same except for the several frame fixes.

After that, the plant will send me test pressings of the album. It is then that I will get to hear how well that LP was manufactured. I will have Chris Bellman’s reference lacquers to compare to in order to troubleshoot the source to be corrected if there is any problem or discrepancy found. The quality should be identical if the vinyl itself is clean. The master lacquers that Grundman’s sends to the plant are the same type that I get when we master onto the lathe in the cutting room initially. Mine will be played, whereas the ones sent to the pressing plant will go right into plating. After I approve the test pressings the record will go into production and you will all get to hear what I experienced as well.

Long live vinyl and good listening!

Senior Chief

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When we make a vinyl record, it is always taken from the master tapes. We get the best sound possible and it usually sounds better than the original vinyl. So many advances have been made in the technology of vinyl and we are taking advantage of them all. Re-mastering is supervised by John Hanlon and we use the very best mastering procedures and facilities available. Because of the care we take to check every one for flaws, our vinyl records are the closest you can get to the original master tapes.

There is always a source guide on our vinyl re-releases to tell you where the music came from. A lot of record companies use their CD masters for vinyl. Rest assured, we do not do that unless that is all we have and there are very few NY records that are CD masters. Harvest Moon is an example of one of those. We went back to the original SONY 1630 digital machine that CD was mixed to and made our vinyl from that master. Of the 50 plus records NY has made, there are only a handful that were made to CD masters. Most of these come from the late eighties and early nineties.

The greatest sounding vinyl releases, such as ‘ROXY Tonight’s the Night Live,’ our next release, are made from the original analog master mixes. That record sounds vibrant on a big system and brings back memories, not only of the great gig we had opening the Roxy, but of the beautiful sound of all releases from the original analog masters. Those who missed that and earlier records made that way when they first came out, may have missed the renaissance of recorded music.

When you listen to our vinyl, you are hearing the best we can make for you and we hope you enjoy each one as much as we do. We are proud of our quality. John Hanlon does a great job, usually working with Chris Bellman at Grundman Mastering in Los Angeles California.

Enjoy your vinyl records on a good record player. Do not use one that has Bluetooth or some other digital component because all of our hard work will be ruined by that inferior sound. You don’t need to be listening through that crap.

In addition, remember that new record players are almost always better than old ones because manufacturing tolerances have generally improved and the specs are tighter with most of the new players. Take the time to make sure you are listening to an all analog system with your vinyl. Don’t let anything in your system sample it and dummy it down from its original greatness. On old records that came from analog master tapes, nothing beats vinyl. There is a lot of junk out there. Spotify and the rest are trashing what you hear, and all the music ever made. Convenient? Yes. Good? NO.

Enjoy your music the way it was made.


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