Hi Neil and dhlove,
I hope all is well in life and with loved ones.
I have just read the member Tom Hambleton’s submitted story (Feb 27, 2026) about the ‘Old Princeton Landing’ shows in June of 1996—what a special way to see you and the Horse. It got me thinking of one of my favourite albums from that era—“Broken Arrow”—and was wondering if we will see a high res version in NYA V. 4, as it was recorded A’A’ HDCD so there must be analog tapes in the archives.
Peter
Peter If it is possible it will be hi res.
LOVE
be well
neil
There is a very good article today on the Members Page by Tom Hambleton. He takes us back to the Old Princeton Landing shows in 1996 with a story accompanied by pictures taken by Richie Hand.
Is there a chance that you could find one of those shows and post it as a Timeline Concert?
Harris
Harris
We have a lot of info for that. I will be working that out when i get back to the archives, as I am woking on our new studio album now.
Thanks
LOVE
Neil
Hello Neil and Archivist—
I noticed you are currently implementing “Alternate Versions” in the NYA file cabinet. Excellent. I just want to offer a guiding principle. Please think of the file cabinet as an organisation of “basic track takes.” If you have two different takes of a song in NYA, then each gets its own infocard in the file cabinet. Alternate mixes and masters including different overdubs should be hidden in the file cabinet so they do not “auto play” when playing through the file cabinet. But rather they can be found using your “alternate versions” link.
The original version/mix/master is a good one to make visible in the file cabinet. But that can be your artistic decision.
As an example, consider Pocahontas. Just have the version from Hitchhiker visible in the file cabinet. From here, you can navigate to the “Alternate Tracks” menu where you can find links to the master from Chrome Dreams and the mixes from Oceanside-Countryside and Rust Never Sleeps.
Another example: Pardon My Heart. The version on Zuma would be hidden in “Alternate Tracks.”
Another: Sample And Hold, the LP Mix could be in the file cabinet and the CD Mix and extended Lucky13 Mix could be the “Alternate Versions.”
Through My Sails would have two different File Cabinet entries because they are two different takes done on different days.
Final Suggestion. Instead of calling it “Alternate Versions,” maybe be specific and call it “Alternate Mixes/Masters.” “Version” is a loose term which could even imply alternate takes.
NYA is well set up for this now. Over the years the track infocards have gotten quite a bit better at accurately denoting the overdub dates. As a rule of thumb it makes sense to place them in the cabinet with the original tracking date as the sorting order instead of the overdub date.
Cheers, Omar
Thanks Omar
WE ARE ON THAT
LOVE
Neil
#69502C
Hey Neil, Haven’t written in a long time … just saw new Wings documentary and wondered if Paul had ever visited your ranch or vice versa, you his farm in Scotland. Seems to be a lot of similarities.…
Thanks,
John in FL
John
Paul and I have a lot in common and we are in touch.
LOVE Neil
Be well
Dear Shakey,
I was talking to the guy who mows my wife’s grass and he told me that—according to the kid who’s been graffitiing his mother-in-law’s 1992 Chevy Astro—that there exists a Spook-o-Meter whereby one can accurately measure the “Spook” of any band’s attempt to perform a Crazy Horse song. Initially, I doubted the veracity of this claim, but the existence of the Spook-o-Meter stills eats away at my thoughts and haunts me in my dreams.
Therefore, I respectfully submit the following cover of F##in’ Up performed by Joe Russo’s Almost Dead (the bass player is in my dart league) in May of 2021. Note that I am linking both a partial video performance and a full audio performance of the song (the entire show, actually) for your consideration.
If in fact the Spook-o-Meter exists, would you be so kind to use it to rate the Spook of this performance. For what it’s worth, based on my own rudimentary calculations, I have scored it a 6 mainly because these guys obviously took music lessons whereas Ralph and Billy learned to play with pots, pans and dental floss—at least this is what the guy whose car I just ran into is telling me as we swap insurance info.
Respectfully,
Billy
Thanks Billy
i have not listened yet, as my days are full of music from the new studio album….BUT FOLKS HERE CAN!
LOVE
NEIL
Hey Neil,
Just unwrapped and I’m listening to CSNY Live At Fillmore East 1969.
Wow! What an album, sounds so good on vinyl blasting out of my speakers.
You guys really had something going—your vocals, your guitar playing soaring through the air like an Albatross over the waves.
Thoroughly enjoying it and I’m playing it back to back.
All the best my friend
Love
Darren Russell
The Land Down Under
Thanks Darren
ENJOY the vinyl We made it from the analog master!
I know Down by the River is one of the best live versions.
LOVE
BE WELL
Neil
Is Earth’s biodiversity really in peril?
Repeated headlines exclaim the majority of Earth’s species are declining and at such a dire level that conservation efforts are too late. In essence, we’ve broken the boundaries for saving nature. A new paper published on the 25th February** in Science Advances, by a team of authors led by Professor Stuart Pimm of Duke University argues that two widely used global biodiversity indicators—the Living Planet Index (LPI) and the concept of planetary boundaries for biodiversity (or “biosphere integrity”)—are misleading, poorly grounded in empirical evidence, and potentially harmful to effective conservation.
Although biodiversity loss is real and serious, the authors contend that alarmist claims of global, catastrophic wildlife collapse and imminent ecological tipping points are not supported by the data and distract from practical, evidence-based conservation action.
Professor Stuart Pimm explains, ”These claims may be effective fund-raising tools for their authors, but they confound efforts to solve difficult, practical efforts in conservation.”
The LPI reports a 73% average decline in monitored vertebrate populations globally over the past 50 years, a figure often presented as evidence that Earth has exceeded a “safe operating space” for biodiversity. Similarly, planetary boundary frameworks argue that transgressing thresholds of biosphere integrity risks irreversible ecosystem collapse. These ideas have become influential in international policy mandates such as the influential Convention on Biological Diversity and the Kunming–Montreal Global Biodiversity Framework. However, the authors stress that both metrics rest on shifting definitions, theoretical assumptions, and methodological weaknesses that undermine their credibility.
The paper focuses on sub-Saharan Africa as a critical test case. Africa has experienced rapid human population growth, extensive land-use change, and strong pressures from globalization, making it a region where biodiversity collapse should be most evident if planetary boundaries have indeed been crossed. Moreover, Africa hosts many large, iconic vertebrates that are relatively well monitored, providing unusually good population data.
Reanalyzing African LPI data using more appropriate statistical methods, the paper finds little evidence for continent-wide catastrophic declines. Most African population time series are short and sparse, which inflates apparent variability and exaggerates declines. When datasets include seven or more population counts, average trends are stable or positive, not sharply negative. These trends are far above the roughly 3% annual decline required to produce a 73% loss over 50 years.
For the 14 mammal species with robust long-term data across multiple populations, only the black rhino shows consistent declines, largely due to intense poaching. Other species show mixed or stable trends. Detailed case studies of savannah elephants and three zebra species—despite their IUCN threat listings—demonstrate that population fluctuations often reflect counting errors rather than real collapses. Independent analyses show that elephant populations in much of southern Africa have increased over the past 25 years, in some areas to levels that now create management challenges.
Professor John Gittleman, a coauthor at Duke University and University of Georgia, concludes “If biodiversity tipping points had been crossed globally, such effects should be well evident in African wildlife populations—but they are not. Instead, where direct pressures such as poaching and habitat loss are controlled, populations often stabilize or recover, even for long-lived, extinction-prone species.”
The paper warns that catastrophism based on weak global indicators risks undermining conservation science, offering ammunition to critics while diverting attention from proven, on-the-ground solutions. Real problems—habitat loss, shrinking species ranges, and uneven management success—remain urgent. Effective conservation depends not on abstract global thresholds and single value percentages summarizing the state of the planet, but on learning from cases where management works and applying those lessons to species that are legitimately in need.
My opinion on this is limited. My knowledge of this is not enough for me to voice an opinion here.
LOVE
BE WELL
NEIL
Dear Mr. Young,
My name is Jenna Fisher, and I am the mother of a beautiful five-year-old girl who lives with severe quadriplegic cerebral palsy. I recently learned about the The Bridge School and felt something that can be rare for parents like me—hope. While I have come to accept many of my daughter’s physical limitations, I still hold onto the dream that one day we might have a conversation. Discovering your work reminded me that possibility can exist even when the world says otherwise.
My family and I own a luxury camping and wilderness resort about one hour south of the Kawarthas called Whispering Springs. A few years ago we hosted an event called Camp Moonlight, where we welcomed twenty families from across Canada and the United States—all raising children with severe physical disabilities—to stay at our resort free of charge. We wanted to create a space where families who often feel isolated could feel understood, supported, and connected. That weekend changed us forever. It inspired us to start a nonprofit so we can host more Camp Moonlight experiences and raise funds to support children with disabilities and their families.
I am sorry to bother you, and I know you likely have people asking things of you all the time. I just want you to know—from a parent who is still very early in this journey—how deeply I appreciate the work you have done before us to make the world more accessible and accepting. Until just a few days ago, I had no idea a place like The Bridge School existed. Now I find myself thinking constantly about how I might one day make it possible for my daughter to be there.
On May 31st, we will be hosting a fundraising event at our resort to help make another Camp Moonlight possible, called An Evening Under the Moon (there is a full moon that night). It would mean more than I can fully express if you might consider attending as our guest, though we completely understand if that is not possible. We actually have a luxury safari tent named Harvest Moon—after my mother’s favourite song—that we would love to host you in. We would also be so grateful if you might share the name of someone at The Bridge School whom I could contact regarding fundraising or collaboration opportunities between their work & our resort and Camp Moonlight. And if you ever wished to host a musical event in Canada to raise funds for The Bridge School, we would be honoured to offer our property free of charge.
Thank you for taking the time to read this, and for all the light and hope you have brought into the world through your music and your advocacy.
With heartfelt gratitude,
Jenna Fisher
Here is a link if you are interested in learning more about Camp Moonlight.
Jenna
Rocco at the bridge school in Hillsborough California may be able to give you some information.
Good luck!
LOVE
Neil
Saw you both Boarding House shows may 28, 1978.
“SHOTS”needs to be heard loud, live & electric, at least one more time, especially now!
Fireside Session?
Thanks
LOVE Neil
be well
Heya Neil,
I’m writing this under the light of a full moon, looking through the branches of a cherry tree from the porch of my yellow hippie clubhouse Victorian I’ve dubbed Villa Villekula (like from Pippi Longstocking). I’m getting this in under the wire because my “Free Rust” trial expires in a WEEK and the cabinet door will lock. Peace and Love to Greenland for their free year, kudos to you for your WAY coolie cool move … but us authentic “pikers” in your own backyard are hitting a paywall just to share how your life’s work has made our lives better.
I have to tell you the story I never told you: “Powderfinger” literally saved my life. When I was 27, sitting at a red arrow in California after band practice just minding my own beeswax listening to the radio, I was watching a live-action shootout through my windshield. A cop and a suspect shot at each other simultaneously. I witnessed them pointing guns on each other and when you sang “… red means RUN, son,” I took it as a forensic omen. I noped the fuck out of there so fast I left the “Club 27” in the rearview mirror. I’m only here because I listened to YOU. It was fucking surreal, man.
Maybe you remember my other emails I sent last month—I’m the hippie chick who died in that freak VW Bus accident in 1969 (I joked that cats were driving because I was so high 😹). I also share a September 10th birthday with Rick Rosas whose spirit is still around you, very much so, I feel. I am an intuitive soul. I’m a retired nurse and a “Sweetheart of the Rodeo” soul who has been harmonizing with you since 1970. Your music has been a HUGE influence.
The Music:
I’ve linked the acoustic videos and “plugged-in” versions of a couple of my songs below. “Back to California” is the funnier one—you can watch my hair heckle me at the end. The electric versions were worked on by my Canadian support animal/partner Jeff. He’s a power pop master, but it’s driving me out of my goddamn tree because I feel the songs need to be Laurel Canyon-ized. They need to live in that space BETWEEN the two—that desert-folk magic where the acoustic guitar is the anchor but the spirit is electric. Hope that makes sense.
Back To California (Acoustic/Hair Heckle) video of me on My Gibson Custom Koa ‘Bird. Back To California (Electric): track / Riding Marijuana (Acoustic): Video / Riding Marijuana (Electric): track / Born Too Late (The “Man on the Moon” Link): track
The “For Tax” Bonus:
In “Born Too Late,” I want to highlight one lyric: 🎶 “…does he know he’s the Man on the Moon…” 🎶. I wrote this song eons ago about YOU and shared it on your Facebook page long before the movie Paradox ever came out. I’ve been waiting to meet ya since I was 18. 🙂
Intrusively,
Wingchick Windy Warren from the Wilds of Wisconsin
PEACE!! ✌🏻☮️❤️🎶
Hey Windy! Thanks!
LOVE
Neil
be well
Hey Neil
Concert films such as Red Rocks Friends & Relatives and the Jonathan Demme Heart of Gold, can we have the full audio as soundtrack albums?
Thanks!
Could be.
We are looking at a series of SOUNDTRACKS
Thanks
LOVE Neil
Be Well
Hi Neil!!!
Hope you’re thriving out there!!
My name is Liam and I’m a really big fan!
I have two questions:
First, was part of your live album “WELD” recorded in Pittsburgh PA?
Second, have you ever recorded anything with Bob Dylan, Released or Unreleased?
hope you bring the Chrome Hearts to Pittsburgh sometime soon!
-Liam
Thanks LIAM
I have not recorded with Bob…?? maybe something from KEZAR stadium IN THE 70S.
and…..
WELD NOT IN PITTSBURGH
LOVE Neil
be well
It’s late, I’ve just finished work and I the early hours of a chilly, foggy Thursday I’m sitting here, wondering about some of the sadness and frustration that came with the cancellation of the European tour and what it means for the concert goers across our continent…
… first & foremost, it’s heartening to read that you put your health first, you listened to your body. You have to. Everyone understands and respects that. The proposed European tour schedule was pretty rigorous again, 14 shows in a month, covering a lot of ground and, with buses and trains being the ground transport of choice, I’m sure it would have been another tiring trek for everyone concerned. If the time isn’t right, then the time isn’t right.
Decision made, it gives you studio time for the new record, hone the contents of Archives V4 and delve deep into that long list of projects in the works. You may even decide to hit the road in North America in the summer….
But here, it feels as if that might be it for European fans and seeing you perform here—perhaps it is, perhaps it isn’t—but should you think that you’re ready again to cross the Atlantic, would you consider an easier (last?) run of shows, staged at a small number of single venues—say, three nights in London, three nights in Berlin, three nights in Rome.
Your commitment to outdoor venues means it could only be late spring through summer of course, but there are venues you’ve played before, like Dalhalla and Burg Klam, that are unusual, picturesque & soulful & way better than a sad, soulless open-air field somewhere.
The European promoters seemed intent on many large(r) venues again this time around, when smaller venues—such as Eden Project—would have been the perfect size to host everyone wanting to see you and the Chrome Hearts make some of that exceptional music you made through last summer again & in a location that would wow everyone.
Do you think that Europe is still viable for you as a touring artist?
If the Paris (indoor!) arena show was the last tango, then what a way to bid farewell to Europe. A sensational gig, one that’s worthy of a Timeline appearance sometime.
As ever, grateful thanks to you & the NYA staffers….
With all best wishes,
Respectfully,
Mark
Norfolk, UK.
Mark
Everything is still on the table.
LOVE
Neil
be well
Hey Neil,
I just watched your Silver & Gold concert film for the first time last night. great show! Daddy Went Walkin’ was the highlight to me; you knocked that one out of the park that night. Watching it made me think … maybe another solo tour soon? Just throwing it out there. Thanks for the songs man hope you and yours are doing well.
Noah
Thanks NOAH
My old friend Larry Johnson made that movie!
LOVE Neil
be well
Hello Neil,
I am a 35 year old filmmaker that grew up on Harvest. My father would play that album on repeat every day to and from school.
I am currently writing a screenplay which would take place between 1969–1972, focusing on your life during this time, the ups and downs, and the making of Harvest.
Would you ever be interested in producing a narrative biopic or even just “allow” one, as far as music rights of having the songs in the film, etc.?
Love your music. Currently listening to Harvest on repeat once again, celebrating its 54th anniversary.
-Mike
Thanks Mike
Let us at LOOKOUT MANAGEMENT know how u r doing.
LOVE
Neil
be well