A Great (and Unknown) Neil Young Song: "Mr. Disappointment"

In this day of digital downloads, YouTube and music-sharing it seems the album (or "LP") has gone the way of the dinosaur. Music fans are simply scanning websites, cherry-picking their song selections and moving on to the next site before they even have a chance to listen to the tune they just downloaded. This revolutionary approach to obtaining music has replaced the days when music fans would purchase an album of typically ten to fourteen songs from a given artist and in the process uncover musical "gems" hiding somewhere in those tracks. "Mr. Disappointment", from Neil Young's 2002 release Are You Passionate? is one of these buried treasures.

Canadian Singer/Songwriter Neil Young made his initial splash with the bands Buffalo Springfield and Crosby, Stills, Nash and Young. Since setting out as a solo artist Young has made musical explorations into swing, electronic music, 50's style, and grunge (to name a few.) Young's 26th studio album Are You Passionate? represents his foray into soul music featuring Booker T and the MG's in addition to Young's band Crazy Horse. While many of the tracks are soul-inspired the tune "Mr. Disappointment" jumps off the collection as a Neil Young classic.

"Mr. Disappointment" opens with the slow 2/4 tempo ala by Bob Dylan on his recent work (i.e. "Mississippi", "Shooting Star".) This rhythmic "pocket" and groove is the perfect canvas for Neil's mellow, grunge-inspired electric guitar intro which we later learn is the melody for the song's chorus. But what is truly captivating is Young's vocal approach. Again, very reminiscent of recent Dylan as the song's verses are essentially spoken rather than sung. The opening line sets the mood and tone of the song: "Where did all the feelings go? What about that happy glow? Was that so long ago, when we were first in love? I didn't feel the change, everything was still the same. And when that moment came, I didn't know."

In the chorus Young changes from spoken-word to his trademark high, nasally, tenor singing voice and sadly sings: "I'd like to shake your hand, Disappointment. Looks like you win again, but this time might be the last..."

The song moves between verse and chorus juxtaposing the spoken-word with Young's singing and in-between lies Young's heart-breaking, Les Paul-toned guitar riffs. His guitar solo three quarters of the way into the piece is as beautiful as any solo Young has ever played.

From a songwriter's standpoint, Neil Young's "Mr. Disappointment" is among the most compelling and honest songs in Young's catalogue. However, it is Young's performance of this tune that makes it completely unforgettable. Surf on over to your favorite music website and check it out. But bring the Kleenex.

Kenn Morr http://www.kennmorr.com is an internationally acclaimed Singer/Songwriter, Performer, Producer and Author with six albums to his credit. Originally from Long Island, NY Kenn lives in the foothills of New England's Berkshire Mountains with his wife and two young sons.

Neil Young Songs: His Best Ever And Why

Without a doubt, Neil Young is one of the greatest songwriters of all time. As a solo singer-songwriter, and contributing member of some of the greatest bands ever, he has written some of the most honest, sincere, real music ever. His influence on popular music is undeniable. Personally, I am a huge fan of his music and when a pal posed the question recently "What are the best Neil Young songs of all time?" I had to really think it over.

Drum roll please...

1. Heart of Gold

Heart of Gold is his only number 1 song so far. It was written after a bad back injury that kept him from standing up to play the electric guitar. Lucky for us that resulted in him penning this gorgeous acoustic guitar-driven gem. He really has a gift of plain-spoken poetry and Heart of Gold nails it: "I want to live, I want to give. I've been a miner for a heart of gold." And... that harmonica solo is so distinctly Neil Young.

2. Southern Man

Southern Man is an example of his most vivid descriptive storytelling. In it he tells the story of a southern man (really, a symbol of the entire American south) and his mistreatment of his slaves. He gives an earnest, gritty performance. In the song he pleads "I saw cotton and I saw black, tall white mansions and little shacks. Southern Man, when will you pay them back?" It also prompted Lynyrd Skynyrd to write their response "Sweet Home Alabama." Funny... Neil Young often covers that song in his concerts.

3. Helpless

One of his most simple and direct songs written to date. But its the simplicity of it that I love. Its repetition in the chord changes and melody is lulling and his vocals are as sweet as ever. He's performed this with tons of folks. Perhaps the most famous is with The Band and Joni Mitchell on their 'Last Waltz.'

Whether you agree with my choices for the best Neil Young songs of all time or not, there's not disputing how great he is.

If you like Neil Young then you should check out Dean Fields. He's got a similar vibe, great lyrics, and beautiful voice. Click Here to get a copy of his latest single for free.

A Model Father - How Model Toy Trains Keep Neil Young and Son Ben on Track

No one would claim that model railroading is an easy hobby.

Creative, artistic, and a lot of fun, but certainly not easy. Assembling model toy trains by hand takes hours of pain-staking labour and a sharp attention to detail. Designing, building, and painting backgrounds demands not only good artistic focus but plenty of ingenuity; many model railroaders build their scenery from scrap material found in the garage or the basement. Add to that the challenges faced by anyone suffering with cerebral palsy, and you begin to understand what Neil Young was up against when he decided to share his love of model trains with his son, Ben.

The setup that Neil enjoys with Ben is incredible to see: a living system of moss and ferns, with stumps taken from the surrounding property acting as backdrop. A misting system waters the entire area in about 45 seconds, keeping the "hills" green and lush. Together, Ben and Neil keep the nearly 700 feet of track in good working order, making sure the trains always run on time. The complex is housed in a barn, nearly 2800 square feet dedicated to the love one man has for his hobby and his son. That love inspired Neil to create a special control that Ben can use, a paddle that responds to pressure, so that they can truly share in the trains that have fascinated Neil since he was a child.

Living with cerebral palsy isn't easy, and raising a son with the disorder would be hard on anybody. The illness, caused by a lack of oxygen or damage to the brain early in life, interferes with muscle control and motor skills, making it difficult for Ben to do many of the things that you or I take for granted. But Neil has made a commitment to his son, to keep him happy, engaged and achieving his full potential. Trains are a language by which two men can express their joy in each other's company, and two people can explore a little piece of paradise they've created together.

Model toy trains have provided people like Neil and Ben with memories they will have forever, building relationships along with railroads.

To learn more about high-quality model toy trains, visit ModelToyTrainsStore.com

Lesley Ananny

Editor

Model Toy Trains Store

[http://www.modeltoytrainsstore.com]

Out of the Blue (But Yet Not Into The Black)

Dear Neil Young - it's not better to burn out than it is to rust and you're a prime example of that.

Yes, you and I were part of the first generation of rock'n'roll. At that time, we didn't trust anyone over 40 and most of us thought we wouldn't live past age 35, myself included. Who didn't play in a rock band, however badly, but loudly, growing up?

If you told me when I was 18 whether I'd still be listening to the Beatles and the Rolling Stones when I'm nearing 60 years old, I would have told you that you're crazy. If you told me then that Keith Richards would still be alive and a house husband raising daughters to boot, I would have thought you had been inhaling too many of the same substances that Richards once did. And if you told me that the Stones were still touring around the world, I knew that you'd had a bad LSD trip that fried your brain along the way. Yet, many of the rock legends are still performing, making great music and selling out concerts around the world.

I saw Sting (a/k/a Gordon Summers) last night on the David Letterman show. Sting has come out with a box set retrospective of his 25 years of rock and popular music hits. Sting made a comment that took me by surprise. It's public knowledge about his lifestyle choices: yoga, Tantric sex, vegetarianism, which many of us tried - if only because it was the "in thing" to do at the time. Sting has just celebrated his 60th birthday and says that he feels better and is enjoying life now more than he ever did.

The once future of rock'n'roll, Bruce Springsteen, is 62 years old and is out on another worldwide tour. Springsteen was recently on the cover of a magazine for "senior citizens". Yes, Springsteen was on the cover of the American Association for Retired People magazine.

Mick Jagger is 68 years old. He's still the personification of cool - the band,Maroon 5, has a hit song idolizing him, "Move Like Jagger". He's formed a super-band, "SuperHeavy", featuring Joss Stone and Damian Marley, 40 and 35 years his junior. And the Stones constantly tour..

Paul McCartney is 69 YEARS OLD! And he's getting married again, this time to a woman almost 20 years younger. No, he's not living the life of "When I'm Sixty-Four".

Neil Young is 66 and still an angry social activist. And he's starting a new worldwide tour.

Sting said something on the Letterman Show that took me aback. He said he tries to enjoy his life more now that he has fewer days to be alive than he has lived previously. Thank you for stating the harsh reality, Mr. Summers.

Yes, me and my generation are rapidly becoming senior citizens, in age, but not in spirit. I still get up out of bed and think about getting ready for first period algebra class, until I hear my knees creak. But I'm comparatively much younger at this age than my parents, for which I owe them a huge debt of gratitude. My life has had its ups and downs, but whose life hasn't when you are over 50 years old? On the whole, my life is good. Certainly, not perfect, but good.

Maybe it's the spirit of rock'n'roll that has kept us all young and nations together. There was the recent revelation that the younger Soviet leaders listened to the Beatles and rock'n'roll in the Kremlin during the 60's. Who knew rock'n'roll may have had a greater impact on world peace than statesmanship? And it has spanned and brings together generations: the ageless wonder Tony Bennett has out an album of duets, one with Lady Gaga.

Hey, Hey. My, My. - Rock'n'roll will never die, even when Sting, Neil Young, and the rest of my generation does We will be out of the blue and into the black, but the music and the spirit that it has spawned will live on.

Michael Maynard is a columnist/journalist/social commentator living in Stow, Massachusetts.

Neil Young Did More Than Record Great Music

Believe it or not, grunge music had been available long before the end of the twentieth century. Most folks deem groups like Nirvana and Pearl Jam, clad in flannel and screaming about the wrongs of capitalism, to be grunge. Always shying away from the limelight and the corporate sponsors, grunge seemed to be the perfect cure for the former hair band years.

Did you realize that Neil Young is deemed the definitive "Godfather of Grunge"? That's correct, the same man from the old days. Young not only started Buffalo Springfield, he was an original member of what is now referred to as Crosby, Stills and Nash. Neil Young was struggling against the "Man" before Kurt Cobain knew what music was.

He was not into music for the money or fame. He was the epitome of a true sixties hippie. He made sure that he never sold out and never grew too famous.

It now seems wrong that Rolling Stone Magazine listed a Nirvana vinyl album in front of a Neil Young vinyl album in their best 100 albums of all time. Had the hero dropped below his fans? Even with the 20th anniversary of the classic Nirvana album, Nevermind, vinyl records will always rule supreme.

He was known for loathing the earliest compact discs from the beginning. He says that CD's are inadequate in sound quality and lose the intimacy between the artist and the listener. You can hear this in each Neil Young vinyl record ever done. Remember also that Neil Young has written a new album every year or so throughout his entire career. You can always be sure to find his new songs in many forms, including that of vinyl.

It is no surprise that Mr. Young is one of a few singers who have been inducted into the Rock Hall of Fame not just once, but two times. He was inducted first for his solo singing in 1995, then he was welcomed again with the group Buffalo Springfield in 1997.

There will never be another grunge hero in the history of music like Neil Young. Good luck on getting Vedder or Cobain in the Rock Hall of Fame more than once.

So, next time someone is preaching to you what a god Kurt Cobain was, try schooling them in the music of grunge. After all, Neil Young was Cobain's hero and the most influential singer that Kurt ever cited.

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Memories of Artist-Activist Neil Young

Neil Young is 64-years old and is the current MusiCares Person of the Year. I'm not surprised that Young received the honor given his decades of work with Farm Aid and Bridge School Concerts. Some of the biggest names in the business serenaded Young with his own songs: Elton John, James Taylor, Dave Matthews, Sheryl Crow Leon Russel, and Keith Russell. Young was quoted as saying that he'd forgotten how many songs he'd written.

How did Young hit retirement age? He's at the point in his life when he either 1) created so many songs he lost count or 2) really can't remember. This kind of thing happens when you're talented, successful and 64. Jack Black was the emcee at the event. Black talked about how the young singers on stage had been influenced by Young's unique style. How ironic! Black and the young'uns weren't even born when Young began his career. But I was, and I was in the audience at Young's debut all those years ago.

I was a student at New York University in NYC in 1971. I attended the Greenwich Village campus and got to take part in the Village life. Singers and dancers performed in the lofts and modest studios in every nook and cranny in the Village. Public concerts in the park were commonplace as were artist exhibiting their work on the sidewalk. The wild artistry of the sixties was still with us; the commercialized disco era wasn't yet launched.

I hung out with friends at the NYU radio station. We listened to Carol King, Carly Simon and James Taylor who were then emerging on the scene. So much social change was in the air, but not fully formed. A fellow student argued with me that women singers would never equal the fame of their male counterparts. I objected naming several famous women, and in a sign of the times, he said African American women didn't count.

One winter evening, the radio crowd decided to go to the debut concert of a new, unknown singer named Neil Young. I tagged along and found myself in a large, run-down studio with chairs set up theater style. The stage was slightly elevated in theater-in-the-round style. A long singer was seated on a wooden chair, playing his guitar and singing into a single microphone. Dressed unremarkably in jeans, Young's full head of dark hair obscured part of his face. It was vintage Village.

Young's haunting voice filled the room. The crowd was a well-educated group and well-behaved. We quietly listened, nodding to the words which could be clearly understood. Young's style was slightly reminiscent of Bob Dylan's thoughtful, folksy, nasal style. There were no back-up singers or flashy staging here.

Suddenly, a young couple appeared in the aisle. They danced to the music, gyrating in flashy moves that announced the arrival of disco. Totally at odds with the tone of the concert, they stood out unashamedly and, to most of us, jarringly. I turned to a friend and said, "Wow! They must be really moved by the music." The friend turned a jaded eye towards me and replied, "Don't get excited. They're dancers hired to by the studio to hype this guy. That's how a debut works."

I gazed back at the intense young man on stage and wondered how he kept a straight face with all that nonsense prancing around in front of him. It looked like he had his eyes closed as he sang 'A Horse with No Name.' Smart move. I did the same and said a silent prayer for his success. I figured he could a few words on his behalf with the Good Lord in his chosen profession.

It turned out that Young didn't need my prayers. He's had an incredibly rich,successful and long career. Reports are that when a balding, graying Neil Young took to the stage to thank everyone for the MusiCares Award, he announced that he was worn out by all the festivities. He said it was time to go home, but promised to keep going. He hoped his new songs would be as good as his early ones.

If you don't remember all you've written anymore, it's OK. Neither do I and it doesn't matter. You're a role model for young people beyond the impact of any particular song. Your integrity and good works have made their mark. Just close your eyes, play your guitar and sing, Neil.

Deborah Levine is a Diversity Expert with various diversity degrees and numerous awards. Brought up in British Bermuda, she was inserted into America in grade school. The coping skills of an immigrant are easy to spot, as is the island softness in her voice. Her varied background includes Harvard University, New York's garment district, dance troupe director, media liaison and urban planner. Based in Tennessee, Deborah is known internationally as a 'diversity pioneer' and mentors executives from around the world.

Deborah is an award-winning author whose work ranges from global leadership guides to diversity stories for children. Deborah is Editor of American Diversity Report which is read in 70 countries and features more than 50 veteran authors and new voices. Deborah's style is amusing and fair, as she believes in poking everyone equally.

http://www.americandiversityreport.com

The Key is Resolution

No matter what your instrument of choice might be, when writing songs one thing remains consistent, the need for resolution. Resolution is the technical term for musical progressions that sound complete. Consonance which means a pleasant and stable sound, walks hand in hand with resolution. For example, in the key of C, where C is the root note, D is the 2nd, E the 3rd, F the 4th, G the 5th, A the 6th, B the 7th, and C is 8th note or the octave, a riff or chord progression will be resolved if it ends on C(root or octave) or G(the fifth). A C major chord is built with C as the root, E as the third degree and G as the fifth degree. In the key of C, the notes C and G are perfect fifths(five whole scale degrees apart) are consonant and leave the ear satisfied. Try playing a progression in the key of C that ends for example on A(the sixth note), does your ear want more? One rare example of a song that ends unresolved is Neil Young's "Needle and the Damage Done." This song is written in the key of D minor and ends on B flat which is the 6th degree of the key, at the end of song the ear is left unsatisfied. Perhaps this was the intent of Neil Young as the song is about how drug addiction brings no satisfaction or resolution.

If a riff ends on a 2nd, 3rd , 4th, 6th, or 7th note of a scale it is unresolved and the basis for dissonance. Dissonance in music means that the ear is left ear unsatisfied and it is often used to build tension in a song. Metallica's "Enter Sandman" in the key of E minor is one such example. The beginning riff resolves by starting on a low E on the guitar and ending on the E note that is one octave higher.

Intro : 6x

|----------------------------------------------------------|

|----------------------------------------------------------|

|----------------------------------------------------------|

|-----------5-----------------------5----------------------|

|-------7-------------7---------7--------------7-----------|

|---0----------6---5--------0-----------6---5--------------|

The intro continues with the following riff:

|----------------------------------------------------------|

|----------------------------------------------------------|

|----------------------------------------------------------|

|----------------------------------------------------------|

|-2--2---5/7-------2--2--3-----2--2---5/7--------2--2--3---|

|-0--0-------6--5--0--0--1-----0--0--------6--5--0--0--1---|

This riff builds tension by ending on the F5 chord which is the flat 2 of E minor. The next riff leads into the verse of the song:

Main Riff : play twice

|-----------------------|----------------------------------|

|-----------------------|----------------------------------|

|-----------------------|----------------------------------|

|-----------------------|----------------------------------|

|-2----2-----7----------|-----5------4-------4---5---4-----|

|-0----0---------6----5-|-----3---0--2---0---2---3---2-----|

The first part of the riff ends on the 4th degree(the A note) and is repeated 3 times to build tension before releasing into G and resolving again at the root(E). Before the verse begins the listener is left with F#5(the second degree) wondering if they will ever have escape from frustration. The verse is a variation of the previous two riffs with pre chorus changing into F# minor:

|---------------------|---------------------------|

|---------------------|---------------------------|

|----------2----------|---------------------------|

|------4--------------|---------------------------|

|-------------3---2---|--4--4--4--4--2--3--4------|

|--2------------------|--2--2--2--2--0--1--2------|

The chorus remains in F# minor, resolves to E minor, and then back to F# minor

|---------------|-------------------------------------------|

|---------------|-------------------------------------------|

|---------------|-------------------------------------------|

|--------5----4-|---2---------------------------------------|

|---4----3----2-|---2---------------------------------------|

|---2-----------|---0---------------------------------------|

|-------------------------------|

|-------------------------------|

|-------------------------------|

|-------------------------------|

|---5------4-------4---5---4----|

|---3---0--2---0---2---3---2----|

|-----------------------|----------------------------------|

|-----------------------|----------------------------------|

|-----------------------|----------------------------------|

|-----------------------|----------------------------------|

|-2----2-----7----------|-----5------4-------4---5---4-----|

|-0----0---------6----5-|-----3---0--2---0---2---3---2-----|

The song modulates between the two key signatures heavy metal is most famous for E minor and F# minor.

Modulation is switching between two key signatures with a pivot chord(chord belonging to two different but similar key signatures) to create a change between a verse and a chorus, or a chorus and a bridge, to make a song more interesting. Where as a C major chord contains the G note, the F note is not part of the chord but is a perfect fourth which is consonant but to a lesser degree. Jazz, blues and popular music often use perfect fourths in modulation. Another example of modulation would be the Beatles, "I Want to Hold Your Hand", where the verse is in the key of C and the chorus changes to the key of F and resolves back to C to start the next verse.

The key to resolution is ending a progression on the root, fifth, or octave(consonant sound) of any given key signature. The element of dissonance, ending a riff on a 2nd, 3rd, 4th, 6th, or 7th note adds color, emotion, and tension to any musical composition. Ending on a dissonant chord can also be used for modulation between key signatures. As a general rule, a song should end resolved, however an exception can be created to accommodate a questioning audience.

Lori Mortimore

originally posted on http://www.musicxspot.com/

Lori Mortimore

More2moremusic

Best Neil Young Quotes Ever - And Why

No doubt, Neil Young has written some of the greatest song lyrics ever. But often, it is his interviews that hold some real treasures. For a quiet, introverted guy, his profession as a performer forces him into some great moments in interviews. I decided to compile as many as I could and come up with my favorites. So here they are... My favorite Neil Young quotes ever - and why.

"I don't like to be labeled, to be anything. I've made the mistake before myself of labeling my music, but it's counter-productive."

After decades of constantly changing and refining, and revisiting his sound, it really is difficult to describe his music. To be sure, Comes A Time, Harvest, Harvest Moon all have a similar vibe. But put those next to Freedom and Broken Arrow and it gets tougher to pinpoint what his label would really be. His breadth of work has at least accomplished that much.

"I feel like I could be likened to an old hound circling on a rug for the last five years."

Back in 1984. He was a rock and roll star who had grown weary of playing rock music. He had just finished touring with Willie Nelson, Waylon Jennings, and the Judds. His sound had definitely turned more in the country direction. He felt like he had finally found his place. Nevermind that by 1990 he put out Ragged Glory -a clear departure. But a great one.

"When the punk thing came along and I heard my friends saying, I hate these people with the pins in their ears. I said, Thank God, something got their attention."

Talking about Johnny Rotten and punk in a Boston Globe interview. Young was one of the only old guard rockers who took an interest in the punk movement. He was referring to the essence of punk music as a backlash against the polished, layered schlock rock that had taken hold of mainstream music at the time. At least, he thought, they were waking everyone up.

If you agree with my choices or not...You still cant help but listen when he's talking and you gotta agree that he makes great music!

If you dig Neil Young you might also check out Dean Fields. He's got a similar vibe and way with words.

Click Here to get a free copy of his latest single.

Review of the Neil Young CD Greendale

Not sure what's happening with me on this one, but it seems like the more I listen to it, the better Greendale gets. Greendale simply stated is one of Neil Young's best CDs to date.

This CD grabs your attention right from the very beginning with Falling From Above and doesn't let go until the very last note of the very last song Be The Rain, which is another great track by the way.

Greendale has a pleasantly varied, mix of 10 tracks that are very well written songs by this clearly superb artist. With many of the songs displaying a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are him own real life experiences. At different points touching on the most real emotions like love, heartbreak, pain, failed relationships and unattainable romance. They're all here.

I'm of the opinion that Greendale is certainly Neil Young's best work in a few years. A totally enjoyable CD and an outstanding release. What I call must have music. I give it two thumbs up because it's a collection that even the casual Rock fan can appreciate and enjoy.

While the entire CD is really very good the truly standout tunes are track 4 - Leave The Driving, track 8 - Bringin' Down Dinner, and track 10 - Be The Rain.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 - Falling From Above. It's a great track!

Greendale Release Notes:

Neil Young originally released Greendale on August 19, 2003 on the Reprise label.

CD Track List Follows:

1. Falling From Above 2. Double E 3. Devil's Sidewalk 4. Leave The Driving 5. Carmichael 6. Bandit 7. Grandpa's Interview 8. Bringin' Down Dinner 9. Sun Green 10. Be The Rain

Personnel: Neil Young (vocals, guitar, harmonica, organ); Billy Talbot (vocals, bass); Ralph Molina (vocals, drums). The Mountainettes: Pegi Young, Nancy Hall, Twink Brewer, Sue Hall.

My Blog [http://www.wam.umd.edu/~tlay1]

Best Neil Young Songs Of All Time - And Why

Without a doubt Neil Young is one of the greatest artists in American music of all time. His music, as well as his approach to music, has influenced millions of people and has helped shaped popular music as we know it today. I am personally a big fan of the man and his music. When the question of "what the best Neil Young songs of all time were," recently came up in conversation in a group of my friends, it got me thinking about it.

Here's what I came up with in my musing about it. Of course, I lean towards earlier Neil Young - my bias, what can I say? Not in any particular order:

1. Down By The River - When he rocked, he rocked! With Crazy Horse., his rockin' band. I still sing this song, when I least expect it (to my self). One of those I shot my baby songs, like Hey Joe. He pays for his crime though.

2. Heart Of Gold - How can I not include this one? I still play this once in a while. People still love it. Great lyrics:

Keep me searching

for a heart of gold

You keep me searching

for a heart of gold

And I'm growing old.

I've been a miner

for a heart of gold.

And I'm getting old too!

3. Harvest Moon - Nice romantic song. Cool lyrics:

Because I'm still in love with you

I want to see you dance again

Because I'm still in love with you

On this harvest moon.

Very visual lyrics. This might be a stretch, but it reminds me, lyrically of Creole

Belle by Mississippi John Hurt and later verses written by Taj Majal.

4. Old Man - A song about a son and his father and young and old. I love these songs about age. When I first listened to it I was a kid. It was poignant then and now that I'm an old man, it's even more applicable to me. "Old man look at my life, I'm a lot like you were." Twenty Four and so much more is a great lyric.

Simple, touching and insightful - When I was 24, I didn't particularly think about how much more living I had to do, especially compared with older people.

One more:

5. Rockin' In The Free World - This one acknowledges the political realities. I like that. It rocks, of course. It just seems to say what I would want to put in a song. It has it all. It's no wonder that so many artists have covered this song.

Whether you agree with my choices for the best Neil Young songs of all time, or not, There is no disputing that Neil Young is one of our best singer/songwriters of all time.

If you like Young, you might also check out Kenny Selcer

Click here to download a copy of his latest single for free.

Young Axl Rose Vs. Axl Rose Now

Many people counted Axl Rose out long ago. The "Appetite for Destruction"-era lineup of Guns 'n' Roses imploded, Nirvana changed the musical landscape and Rose took his sweet time premiering "Chinese Democracy", the first official release from the revamped Guns lineup. Over the last decade and a half, Rose's reputation as a reclusive, egotistical control freak has eclipsed his musical talents and accomplishments.

Even many of those who reserved judgement until the release of "Democracy" merely shrugged and moved on once the album finally saw the light of day.

In the past, I've argued for Rose's continuing contributions to the rock scene and praised "Chinese Democracy" as an underrated, sporadically brilliant album (though it's scattershot stylistic approach could certainly confuse and alienate a lot of listeners). That aside, however, how does the Axl Rose of today compare to the Axl Rose of yesteryear? Like other iconic rock frontmen from Iggy to Ozzy to Elvis, Axl has a pretty big set of shoes to fill every time he steps on stage, just trying to live up to his own legend. Has he succeeded?

The biggest thing I see missing from the new G'n'R compared to the earlier line-up is the sense of raw urgency (I hesitate to say "danger", though maybe that applies). The same can sort of be said for Rose himself. I think his voice still carries that edge, and his lyrics seem as pointedly honest and personal as on older recordings. Of course, the subject matter is different; certainly, Rose is no "urchin livin' under the street" these days. His problems nowadays are the problems that go along with wealth and fame, not the desperation of a starving artist immersed in the drug culture. He's not mixing it up with pimps, cops and street hustlers or even with other self-styled bad boy rockers like Motley Crue's Vince Neil; his fisticuffs in the new millennium are reserved for the likes of Tommy Hilfiger, it seems; hardly the kind of heavyweight bout people might clamor for. This is not an entirely recent change, either. By the time of '91's "Use Your Illusion" albums, the crazed paranoia of "Out Ta Get Me" from "Appetite" had given way to the more mundane griping of "Get in the Ring". The former paints a picture of substance-induced mania, of a half-crazed lunatic hiding in a dingy apartment or practice studio from the eyes of the police, the F.B.I., or somebody that got stiffed in a deal. The latter shows that same person hiding in a luxury palace from the intrusions of the paparazzi or the hurtful slings of the press. The first portrait could be Charlie Manson, the second one could be Paris Hilton.

This is all just perception, of course. There's no saying how well those lyrics (or my interpretation of them) represent Rose's reality in either case. Perception is what we're really talking about, though. For our purposes, it doesn't matter who or what Axl Rose really is (or was), but what he appears to be. Lyrically, and in the picture presented by the media, we are now seeing a much less dangerous person than the image presented to us in 1988.

This change is natural, of course. Most people mellow with age, and almost all people act out less when they have material wealth and abundance as opposed to struggling just to survive. It's only normal that Axl will seem less "dangerous" now; while it may be slightly less compelling, I'm glad he is honest enough to present himself this way in song rather than trying to fake the rebel yell of his earlier years. A manufactured facsimile of his younger, angrier self would be much less interesting than an honest look at where he is now.

I think another problem with trying to compare Rose with his younger self is the distinction between what he was always trying to accomplish (or seemed to be) and what fans responded to and wanted him to be.

I don't know how aware he was of the appeal of his anger or Guns' rawness, though I doubt he was oblivious to it. While I'm pretty sure he embraced that part of their style, his ambitions were always loftier. He seemed to be shooting for a timeless sort of rock with a great deal of diversity, modeled on the likes of Queen and Elton John. One doesn't need to maintain a sort of bogus street cred to create truly classic rock.

So, what then, is the answer to my question? I'd say that the answer is that, no, Rose isn't as intriguing a figure as he was in the late '80's, but that's a pretty unfair comparison. In terms of actual talent, for singing, songwriting or performing, he's probably actually grown since then. He certainly seems a more mature writer. The x-factor that drew a lot of people in, that reckless sense of desperation may not be what it was, but if he continues to express himself in an honest fashion rather than trying to turn back the clock, he can keep giving the music world the best he's got. And that beats an insincere copy of the guy he used to (seem to) be.

To hear one of my favorite bands of today, someone reminiscent of "Appetite"-era Guns, go HERE to download a free song from the Hard Ponys.