American Stars 'n Bars
American Stars'n Bars is the eighth studio album by Canadian musician 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 received a RIAA gold certification. In the summer of 1976, Young rekindled his partnership with Stephen Stills, resulting in a tour that ended abruptly and an album, he embarked on his second tour of the year with Crazy Horse, but spent the first half of 1977 off the road. His previous album had been issued in November 1975; the April 1977 sessions featured Crazy Horse augmented by an ephemeral conglomeration dubbed "The Bullets": pedal steel guitarist and longtime Young collaborator Ben Keith, violinist Carole Mayedo and backing vocalists Linda Ronstadt and Nicolette Larson. "Homegrown" and "Star of Bethlehem" had been slated for his unreleased LP Homegrown. Both of those songs, along with "Like a Hurricane," "Hold Back the Tears" and "Will to Love," had been slated for yet another unreleased Young album project, Chrome Dreams.
Seven of the nine tracks feature his regular backing band Crazy Horse, another features country music star Emmylou Harris. Songs from the April 1977 sessions are all in a country-styled vein; the album cover was designed by actor and Young's close friend Dean Stockwell, who had written the screenplay that inspired After the Gold Rush. It features Connie Moskos the girlfriend of producer David Briggs, drooping with a bottle of Canadian whisky in her hand and an intoxicated Young with his face pressed against the glass floor. Receiving favorable reviews, the album was described as a "sampler...of Young's various styles" a "hodgepodge." Paul Nelson, reviewing the album for Rolling Stone commented on the mixed selection of songs and styles, praising the "gale-force guitar playing" on "Like a Hurricane": The album can be taken as a sampler, but not a summation, of Young's various styles from After the Gold Rush and Harvest through On the Beach to Zuma with a lot of overlap within the songs. According to William Ruhlmann, in a review for Allmusic,Neil Young made a point of listing the recording dates of the songs on American Stars'n Bars.
They revealed that the songs had been cut at four different sessions dating back to 1974. But without such documentation, it would have been easy to tell that the album was a stylistic hodgepodge, its first side consisting of country-tinged material featuring steel guitar and fiddle, plus backup vocals from Linda Ronstadt and then-unknown Nicolette Larson, while the four songs on the second side varied from acoustic solo numbers like "Will to Love" to raging rockers such as "Like a Hurricane." "Will to Love" is a spooky and ambitious piece, extending the romantic metaphor of a salmon swimming upstream across seven minutes. The album's centerpiece however, is "Like a Hurricane," one of Young's classic hard rock songs and guitar workouts, a perpetual concert favorite, it was released on compact disc, as an HDCD, on August 19, 2003, as part of the Neil Young Digital Masterpiece Series along with On the Beach, Hawks & Doves, Re-ac-tor. Performed by Neil Young, Crazy Horse and the Bullets. All tracks written except where noted.
Performed by Neil Young and Crazy Horse. Neil Young — vocals, guitars.
After the Gold Rush
After the Gold Rush is the third studio album by Canadian musician Neil Young, released in September 1970 on Reprise Records. It is one of four high-profile albums released by each member of folk rock collective Crosby, Nash & Young in the wake of their chart-topping 1970 album Déjà Vu. Gold Rush consists of country folk music, along with the rocking "Southern Man", inspired by the Dean Stockwell-Herb Bermann screenplay After the Gold Rush. After the Gold Rush peaked at number eight on the Billboard Top Pop Albums chart. Despite a mixed initial reaction, it has since appeared on a number of "greatest albums" lists. Initial sessions were conducted with backing band Crazy Horse at Sunset Sound Studios in Los Angeles amid a short winter 1970 tour that included a well-received engagement with Steve Miller and Miles Davis at the Fillmore East. Despite the deteriorating health of rhythm guitarist Danny Whitten, the sessions yielded two released tracks, "I Believe In You" and "Oh, Lonesome Me." Most of the album was recorded at a makeshift basement studio in Young's Topanga Canyon home during the spring with Crosby, Nash, & Young 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: Lofgren had not played keyboards on a regular basis prior to the sessions.. The Young biography Shakey claims 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 cover art is a solarized image of Young, walking past the New York University School of Law campus, passing an old woman. The picture was taken by photographer Joel Bernstein and was out of focus, it was. The photo is cropped. Songs on the album were inspired by the Dean Stockwell-Herb Bermann screenplay for the unmade film After the Gold Rush. Young asked Stockwell if he could produce the soundtrack. Tracks that Young recalls as being written for the film are "After the Gold Rush" and "Cripple Creek Ferry." The script has since been lost, though has been described as "sort of an end-of-the-world movie." Stockwell said of it, "I was gonna write a movie, personal, a Jungian self-discovery of the gnosis... it involved the Kabala, it involved a lot of arcane stuff."According to the Neil Young Archives, After the Gold Rush was released on September 19, 1970.
Critics were not impressed. Village Voice critic Robert Christgau was more enthusiastic, saying: "While David Crosby yowls about assassinations, Young divulges darker agonies without 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 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."Critical reaction has improved with time. After the Gold Rush has appeared on a number of greatest albums lists. In 1998 Q magazine readers voted After the Gold Rush the 89th greatest album of all time, it was ranked 92nd in a 2005 survey held by British television's Channel 4 to determine the 100 greatest albums of all time. In 2003, Rolling Stone named the album the 71st greatest album of all time, his highest ranking on this list.
Pitchfork listed it 99th on their 2004 list of the "Top 100 Albums of the 1970s". In 2006, Time Magazine listed it as one of the'All-TIME 100 Albums', it was ranked third in Bob Mersereau's 2007 book The Top 100 Canadian Albums. Its follow-up album, was named the greatest Canadian album of all time in that book. In 2005, Chart Magazine readers placed it fifth on a poll of the best Canadian Albums. In 2002, Blender Magazine named it the 86th greatest "American" album. New Musical Express named it the 80th greatest album of all time in 2003; the album was included in the book 1001 Albums You Must Hear Before You Die. After the Gold Rush was remastered and released on HDCD-encoded CD and digital download on July 14, 2009 as part of the Neil Young Archives Original Release Series; the remaster has been released on vinyl and a high-resolution digital version on Blu-ray disc is planned although a release date for this format has not yet been announced. All tracks written except where noted. Neil Young – guitar, harmonica, lead vocals Danny Whitten – guitar, vocals Nils Lofgren – guitar, vocals Jack Nitzsche – piano Billy Talbot – bass Greg Reeves – bass Ralph Molina – drums, vocals Stephen Stills – vocals Bill Peterson – flugelhorn
Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California in 1967 by Jann Wenner, still the magazine's publisher, the music critic Ralph J. Gleason, it was first known for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a younger readership interested in youth-oriented television shows, film actors, popular music. In recent years, it has resumed its traditional mix of content. Rolling Stone Press is the magazine's associated book publishing imprint. Straight Arrow Press was the magazine's associated book publishing imprint, Straight Arrow Publishing Co. Inc. was the publishing company that published Rolling Stone. Rolling Stone magazine was founded in San Francisco in 1967 by Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim; the first issue carried a cover date of November 9, 1967, was in newspaper format with a lead article on the Monterey Pop Festival.
The cover price was 25¢. In the first issue, Wenner explained that the title of the magazine referred to the 1950 blues song "Rollin' Stone", recorded by Muddy Waters, Bob Dylan's hit single "Like a Rolling Stone": You're wondering what we're trying to do. It's hard to say: sort of a sort of a newspaper; the name of it is Rolling Stone which comes from an old saying, "A rolling stone gathers no moss." Muddy Waters used the name for a song. The Rolling Stones took their name from Muddy's song. "Like a Rolling Stone" was the title of Bob Dylan's first rock and roll record. We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll."—Jann Wenner, Rolling Stone, November 9, 1967, p. 2 Some authors have attributed the name to Dylan's hit single: "At Gleason's suggestion, Wenner named his magazine after a Bob Dylan song." Rolling Stone identified with and reported the hippie counterculture of the era. However, it distanced itself from the underground newspapers of the time, such as Berkeley Barb, embracing more traditional journalistic standards and avoiding the radical politics of the underground press.
In the first edition, Wenner wrote that Rolling Stone "is not just about the music, but about the things and attitudes that music embraces". In the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazine's political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine helped launch the careers of many prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Ben Fong-Torres, Patti Smith and P. J. O'Rourke, it was at this point that the magazine ran some of its most famous stories, including that of the Patty Hearst abduction odyssey. One interviewer, speaking for a large number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus, describing it as a "rite of passage".
In 1977, the magazine moved its headquarters from San Francisco to New York City. Editor Jann Wenner said San Francisco had become "a cultural backwater". During the 1980s, the magazine began to shift towards being a general "entertainment" magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television and the pop culture of the day; the magazine initiated its annual "Hot Issue" during this time. Rolling Stone was known for its musical coverage and for Thompson's political reporting. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors and popular music; this led to criticism. In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories, it has expanded content to include coverage of financial and banking issues. As a result, the magazine has seen its circulation increase and its reporters invited as experts to network television programs of note.
The printed format has gone through several changes. The first publications, in 1967–72, were in folded tabloid newspaper format, with no staples, black ink text, a single color highlight that changed each edition. From 1973 onwards, editions were produced on a four-color press with a different newsprint paper size. In 1979, the bar code appeared. In 1980, it became a large format magazine; as of edition of October 30, 2008, Rolling Stone has had a smaller, standard-format magazine size. After years of declining readership, the magazine experienced a major resurgence of interest and relevance with the work of two young journalists in the late 2000s, Michael Hastings and Matt Taibbi. In 2005, Dana Leslie Fields, former publisher of Rolling Stone, who had worked at the magazine for 17 years, was an inaugural inductee into the Magazine Hall of Fame. In 2009, Taibbi unleashed an acclaimed series of scathing reports on the financial meltdown of the time, he famously described Goldman Sachs as "a great vampire squid".
Bigger headlines came at the end of June 2010. Rolling Stone caused a controversy in the White House by publishing in the July issue an article by journalist Michael Hastings entitled, "The Runaway General", quoting criticism by General Stanley A. McChrystal, commander of the International Security Assistance Force and U. S. Forces-Afghanistan commander, about Vice President Joe Biden and oth
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particularly in the United Kingdom and in the United States. It has its roots in 1940s and 1950s rock and roll, a style which drew on the genres of blues and blues, from country music. Rock music drew on a number of other genres such as electric blues and folk, incorporated influences from jazz and other musical styles. Musically, rock has centered on the electric guitar as part of a rock group with electric bass and one or more singers. Rock is song-based music with a 4/4 time signature using a verse–chorus form, but the genre has become diverse. Like pop music, lyrics stress romantic love but address a wide variety of other themes that are social or political. By the late 1960s "classic rock" period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern rock, raga rock, jazz-rock, many of which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene.
New genres that emerged included progressive rock. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and alternative rock. From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge and indie rock. Further fusion subgenres have since emerged, including pop punk, electronic rock, rap rock, rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk and techno-pop revivals at the beginning of the 2000s. Rock music has embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and the hippie counterculture that spread out from San Francisco in the US in the 1960s. 1970s punk culture spawned the goth and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as well as changes in social attitudes to race and drug use, is seen as an expression of youth revolt against adult consumerism and conformity.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was influenced by the sounds of electric blues guitarists; the sound of an electric guitar in rock music is supported by an electric bass guitar, which pioneered in jazz music in the same era, percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has been complemented by the inclusion of other instruments keyboards such as the piano, the Hammond organ, the synthesizer; the basic rock instrumentation was derived from the basic blues band instrumentation. A group of musicians performing rock music is termed as a rock group. Furthermore, it consists of between three and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist and keyboard player or other instrumentalist. Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four.
Melodies originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late 1950s and from the mid 1960s onwards, rock music used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock; because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, rebellion against "The Establishment", social concerns, life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, rhythm and blues.
Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, asserts that rock's primary "function" "pertains to music, or, more noise." The predominance of white and middle class musicians in rock music has been noted, rock has been seen as an appropriation of black musical forms for a young and male audience. As a result, it has been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll implies an identification of male sexuality and aggression". Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has been contrasted with pop music, with which it has shared many characteristics, but from wh
Zuma is the seventh studio album by Canadian musician Neil Young, released on Reprise Records in November 1975. Co-credited to Crazy Horse, it includes "Cortez the Killer," one of Young's best-known songs. Upon release, it peaked at #25 on the Billboard 200. In 1997, the album received a RIAA gold certification; the death of guitarist and bandmate Danny Whitten from a drug overdose in 1972 affected Young and left the Crazy Horse band without its leader and songwriter. Young went out on tour in late 1973 with a band dubbed the Santa Monica Flyers, composed of the Crazy Horse rhythm section of bassist Billy Talbot and drummer Ralph Molina along with guitarist Nils Lofgren, who had played on Crazy Horse's debut album, multi-instrumentalist Ben Keith, this group recording most of the tracks for what would be his Tonight's the Night album. After the 1974 stadium tour with Crosby, Stills & Nash and another abandoned attempt at the second CSNY studio album, Young formed a new version of Crazy Horse in 1975 with guitarist Frank Sampedro slotted in alongside Talbot and Molina.
This line-up first appeared on this album, has remained stable to the present day. Zuma was the first album released after the famed Ditch Trilogy, comprising the albums Time Fades Away, On the Beach, Tonight's the Night. Young wrote most of the songs in Zuma during his time living on Sea Level Drive in Malibu, California. Though "Through My Sails," entitled "Sailboat Song," derives from the spring 1974 rehearsals with CSNY, featuring the quartet on vocals and "Pardon My Heart" was recorded around the same period intended to be released as part of Homegrown; the melody and lyrics of "Don't Cry No Tears" are derived from "I Wonder", a song Young wrote in high school which appeared in his Archives in 2009. Young has claimed during a show in 1996 that he'd written "Cortez the Killer" in high school while suffering "Montezuma's Revenge." The song ends with a fade out because the original cut stopped abruptly due to a power surge, a final verse Young had written was not recorded. Young's reaction to hearing of this was, "I never liked that verse anyway", it has never been performed live."Danger Bird" interpolates sections of an unreleased song relating to Young's breakup with Carrie Snodgress called "L.
A. Girls and Ocean Boys" the line "'Cause you've been with another man / there you are and here I am." Lou Reed once told an interviewer that he felt Young had become a "great guitarist" during this period citing "Danger Bird" as an example. All tracks written by Neil Young. Neil Young – vocals, pianoCrazy Horse Frank Sampedro – rhythm guitar all tracks except "Pardon My Heart" and "Through My Sails" Billy Talbot – bass all tracks except "Pardon My Heart" and "Through My Sails". Discogs. Zuma at Myspace