Approximate historical map of the spread of the chariot, 2000–500 BC

The chariot is a type of horse carriage used in both peace and war as the chief vehicle of many ancient peoples. Ox carts, proto-chariots, were built by the Proto-Indo-Europeans^{[citation needed]} and were also built in Mesopotamia as early as 3000 BC. The original chariot was a fast, light, open, two-wheeled conveyance drawn by two or more horses that were hitched side by side. The car was little more than a floor with a waist-high semicircular guard in front. The chariot, driven by a charioteer, was used for ancient warfare during the bronze and the iron ages. Armor was limited to a shield. The vehicle was used for travel and in processions, games, and races after it had been superseded by other vehicles for military purposes.

The word "chariot" comes from Latin carrus, which was a loan from Gaulish. A chariot of war or of triumph was called a car. In ancient Rome and other ancient Mediterranean countries a biga required two horses, a triga three, and a quadriga required four horses abreast. Obsolete terms for chariot include chair, charet and wain.

The critical invention that allowed the construction of light, horse-drawn chariots for use in battle was the spoked wheel.

The earliest spoke-wheeled chariots date to ca. 2000 BC and their use peaked around 1300 BC (see Battle of Kadesh). Chariots ceased to have military importance in the 4th century BC, but chariot races continued to be popular in Constantinople until the 6th century AD.

Early wheeled vehicles in Sumer[link]

Relief of early war wagons on the Standard of Ur, c. 2500 BC

The horse drawn wheeled vehicle probably originated in Mesopotamia about 3000 BC. The earliest depiction of vehicles in the context of warfare is on the Standard of Ur in southern Mesopotamia, c. 2500 BC. These are more properly called wagons or carts and were still double-axled and pulled by oxen or tamed asses before the introduction of horses c. 2000 BC. Although sometimes carrying a spearman along with the charioteer (driver), such heavy proto-chariots, borne on solid wooden wheels and covered with skins, may have been part of the baggage train (e.g., during royal funeral processions) rather than vehicles of battle in themselves^{[citation needed]}. The Sumerians had also a lighter, two-wheeled type of cart, pulled by four asses, but still with solid wheels. The spoked wheel did not appear in Mesopotamia until the mid-2000s BC.

Area of spoke-wheeled chariot finds within Sintashta-Petrovka Proto-Indo-Iranian culture (in purple)

Early Indo-Iranians[link]

The earliest fully developed true chariots known are from the chariot burials of the Andronovo (Timber-Grave) sites of the Sintashta-Petrovka Proto-Indo-Iranian culture in modern Russia and Kazakhstan from around 2000 BC. This culture is at least partially derived from the earlier Yamna culture. It built heavily fortified settlements, engaged in bronze metallurgy on an industrial scale and practiced complex burial rituals reminiscent of rituals known from the Rigveda and the Avesta. The Sintashta-Petrovka chariot burials yield the earliest spoke-wheeled true chariots. The Andronovo culture over the next few centuries spread across the steppes from the Urals to the Tien Shan, likely corresponding to early Indo-Iranian cultures.

Chariots figure prominently in Indo-Iranian mythology. Chariots are also important in Hindu and Persian mythologies, in which deities are portrayed as charioteers. The Sanskrit word for chariot is ratha; a collective Proto-Indo-European word is *rot-o- for "wheel", from *ret-h- 'to run', that also resulted in Latin rota and is found in Germanic, Celtic and Baltic.

Ancient Near East[link]

Some scholars argue that the chariot was most likely a product of the ancient Near East early in the 2nd millennium BC.^[1]

Hittites[link]

Hittite chariot (drawing of an Egyptian relief)

The oldest testimony of chariot warfare in the ancient Near East is the Old Hittite Anitta text (18th century BC), which mentions 40 teams of horses (40 ?Í-IM-DÌ ANŠE.KUR.RA^?I.A) at the siege of Salatiwara. Since the text mentions teams rather than chariots, the existence of chariots in the 18th century BC is uncertain. The first certain attestation of chariots in the Hittite empire dates to the late 17th century BC (Hattusili I). A Hittite horse-training text is attributed to Kikkuli the Mitanni (15th century BC).

The Hittites were renowned charioteers. They developed a new chariot design that had lighter wheels, with four spokes rather than eight, and that held three rather than two warriors. It could hold three warriors because the wheel was placed in the middle of the chariot and not at the back as in the Egyptian chariots. Hittite prosperity largely depended on Hittite control of trade routes and natural resources, specifically metals. As the Hittites gained dominion over Mesopotamia, tensions flared among the neighboring Assyrians, Hurrians, and Egyptians. Under Suppiluliuma I, the Hittites conquered Kadesh and, eventually, the whole of Syria. The Battle of Kadesh in 1274 BC is likely to have been the largest chariot battle ever fought, involving some five thousand chariots.

Egypt[link]

Ramses II fighting from a chariot at the Battle of Kadesh with two archers, one with the reins tied around the waist to free both hands (relief from Abu Simbel)

The chariot and horse were introduced to Egypt by the Hyksos invaders in the 16th century BC and undoubtedly contributed to the military success of the Egyptians. In the remains of Egyptian and Assyrian art, there are numerous representations of chariots, which display rich ornamentation. The chariots of the Egyptians and Assyrians, with whom the bow was the principal arm of attack, were richly mounted with quivers full of arrows. The Egyptians invented the yoke saddle for their chariot horses in c. 1500 BC. The best preserved examples of Egyptian chariots are the four specimens from the tomb of Tutankhamun.

Persia[link]

The Persians succeeded Elam in the mid 1st millennium. They may have been the first to yoke four horses (rather than two) to their chariots. They also used scythed chariots. Cyrus the Younger employed these chariots in large numbers.

A golden chariot made during Achaemenid Empire (550–330 BC)

Herodotus mentions that the Libyans and the Indus satrapy supplied cavalry and chariots to Xerxes the Great's army. However, by this time cavalry was far more effective and agile than the chariot, and the defeat of Darius III at the Battle of Gaugamela (331 BC), where the army of Alexander simply opened their lines and let the chariots pass and attacked them from behind, marked the end of the era of chariot warfare.

Chariots in the Bible[link]

See also Merkabah.

Chariots are frequently mentioned in the Old Testament, particularly by the prophets, as instruments of war or as symbols of power or glory. First mentioned in the story of Joseph (Genesis 50:9), "Iron chariots" are mentioned also in Joshua (17:16,18) and Judges (1:19,4:3,13) as weapons of the Canaanites. 1 Samuel 13:5 mentions chariots of the Philistines, who are sometimes identified with the Sea Peoples or early Greeks. Such examples from the KJV here include:

• 2 Chronicles 1:14 And Solomon gathered chariots and horsemen: and he had a thousand and four hundred chariots, and twelve thousand horsemen, which he placed in the chariot cities, and with the king at Jerusalem.
• Judges 1:19 And the LORD was with Judah; and he drave out the inhabitants of the mountain; but could not drive out the inhabitants of the valley, because they had chariots of iron.
• Song of Solomon 1:9 I have compared thee, O my love, to a company of horses in Pharaoh's chariots.
• Ezekiel 26:10 By reason of the abundance of his horses their dust shall cover thee: thy walls shall shake at the noise of the horsemen, and of the wheels, and of the chariots, when he shall enter into thy gates, as men enter into a city wherein is made a breach.
• Isaiah 2:7 Their land also is full of silver and gold, neither is there any end of their treasures; their land is also full of horses, neither is there any end of their chariots.
• Jeremiah 4:13 Behold, he shall come up as clouds, and his chariots shall be as a whirlwind: his horses are swifter than eagles. Woe unto us! for we are ruined.
• Acts 8:37-38 Then Philip said, "If you believe with all your heart, you may." And he answered and said, "I believe that Jesus Christ is the Son of God." So he commanded the chariot to stand still. And both Philip and the eunuch went down into the water, and he baptized him.

Jezreel (city) has been identified as the chariot base of King Ahab.^[2] And the decorated lynchpin of Sisera's chariot was identified at a site identified as his fortress Harosheth Haggoyim.^[3]

India[link]

Horse-drawn chariot carved onto the mandapam of Airavateswarar temple, Darasuram, c. 12th century AD (left). The chariot and its wheel (right) are sculpted with fine details
Horse-drawn chariot carved onto the mandapam of Airavateswarar temple, Darasuram, c. 12th century AD (left). The chariot and its wheel (right) are sculpted with fine details

Chariots figure prominently in the Rigveda, evidencing their presence in India in the 2nd millennium BC. Among Rigvedic deities, notably Ushas (the dawn) rides in a chariot, as well as Agni in his function as a messenger between gods and men.

There are some depictions of chariots among the petroglyphs in the sandstone of the Vindhya range. Two depictions of chariots are found in Morhana Pahar, Mirzapur district. One depicts a biga and the head of the driver. The second depicts a quadriga, with six-spoked wheels, and a driver standing up in a large chariot box. This chariot is being attacked. One figure, who is armed with a shield and a mace, stands in the chariot's path; another figure, who is armed with bow and arrow, threatens the right flank. It has been suggested that the drawings record a story, most probably dating to the early centuries BC, from some center in the area of the Ganges–Yamuna plain into the territory of still Neolithic hunting tribes.^[4] The drawings would then be a representation of foreign technology, comparable to the Arnhem Land Aboriginal rock paintings depicting Westerners. The very realistic chariots carved into the Sanchi stupas are dated to roughly the 1st century.

The scythed chariot was invented by the King of Magadha, Ajatashatru around 475 BC. He used these chariots against the Licchavis.^{[citation needed]} A scythed war chariot had a sharp, sickle-shaped blade or blades mounted on each end of the axle. The blades, used as weapons, extended horizontally for a metre on the sides of the chariot.

China[link]

Powerful landlord in chariot (Eastern Han, 25–220 AD, Anping, Hebei)

The earliest archaeological evidence of chariots in China, a chariot burial site discovered in 1933 at Hougang, Anyang in Henan province, dates to the rule of King Wu Ding of the late Shang Dynasty (c. 1200 BC). Oracle bone inscriptions suggest that the western enemies of the Shang used limited numbers of chariots in battle, but the Shang themselves used them only as mobile command vehicles and in royal hunts.^[5]

Bronze Chinese charioteer from the Warring States Period (403–221 BC)

During the Shang Dynasty, members of the royal family were buried with a complete household and servants, including a chariot, horses, and a charioteer. A Shang chariot was often drawn by two horses, but four-horse variants are occasionally found in burials.

Jacques Gernet claims that the Zhou dynasty, which conquered the Shang, made more use of the chariot than did the Shang and "invented a new kind of harness with four horses abreast".^[6] The crew consisted of an archer, a driver, and sometimes a third warrior who was armed with a spear or dagger-axe. From the 8th to 5th centuries BC, the Chinese use of chariots reached its peak. Although chariots appeared in greater numbers, infantry often defeated charioteers in battle.

Massed chariot warfare became all but obsolete after the Warring-States Period (476–221 BC). The main reasons were increased use of the crossbow, the adoption of standard cavalry units, and the adaptation of nomadic-cavalry (mounted archery), which were more effective. Chariots would continue to serve as command posts for officers during the Qin and Han dynasties, while armored chariots were also used during the Han Dynasty against the Xiongnu Confederation in the Sino-Xiongnu War, specifically at the Battle of Mobei.

Europe[link]

Eastern Europe[link]

The domestication of the horse was an important step toward civilization, and the clearest evidence of early use of the horse as a means of transport is from chariot burials dated c. 2000 BC. An increasing amount of evidence supports the hypothesis that horses were domesticated in the Eurasian Steppes (Dereivka centered in Ukraine) approximately 4000-3500 BC.^[7][8][9] Also, the invention of the wheel most likely took place in Europe: evidence of wheeled vehicles appears from the mid 4th millennium BC, near-simultaneously in the Northern Caucasus (Maykop culture) Central Europe and Mesopotamia. The earliest depiction of a wheeled vehicle (here, a wagon with two axles and four wheels), is on the Bronocice pot, a ca. 3500–3350 BC clay pot excavated in a funnelbeaker settlement in southern Poland.^[10] In the Armenian Kingdom of Van (Urartu), the chariot was used by both the nobility and the military. In Erebuni (Yerevan), Armenia King Argishti of Urartu is depicted riding on a chariot which is dragged by two horses. The chariot has two wheels and each wheel has about eight spokes. This type of chariot was used around 800 BC.

A petroglyph in a double burial, c. 1000 BC (the Nordic Bronze Age)

Northern Europe[link]

The Trundholm sun chariot is dated to c. 1400 BC (see Nordic Bronze Age). The horse drawing the solar disk runs on four wheels, and the Sun itself on two. All wheels have four spokes. The "chariot" comprises the solar disk, the axle, and the wheels, and it is unclear whether the sun is depicted as the chariot or as the passenger. Nevertheless, the presence of a model of a horse-drawn vehicle on two spoked wheels in Northern Europe at such an early time is astonishing.

In addition to the Trundholm chariot, there are numerous petroglyphs, from the Nordic Bronze Age, that depict chariots. One petroglyph, drawn on a stone slab in a double burial from c. 1000 BC, depicts a biga with two four-spoked wheels.

The use of the composite bow in chariot warfare is not attested in northern Europe.

Central Europe and Britain and Ireland[link]

The Celts were famous chariot makers, and the English word car is believed to be derived, via Latin carrum, from Gaulish karros (the English chariot is derived from the 13th century French charriote). Some 20 iron-aged chariot burials have been excavated in Britain, roughly dating from between 500 BC and 100 BC. Virtually all of them were found in East Yorkshire, with the exception of one find in 2001 in Newbridge, 10 km west of Edinburgh.

The Celtic chariot, which may have been called carpentom was a biga that measured approximately 2 m (6.56 ft) in width and 4 m (13 ft) in length. The one-piece iron rim was probably a Celtic innovation. Apart from the iron rims and iron hub fittings, the chariot was constructed from wood and wicker. In some instances, iron rings reinforced the joints. Another Celtic innovation was the free-hanging axle, suspended from the platform with rope. This resulted in a much more comfortable ride on bumpy terrain. Gallic coins offer evidence of a leather 'suspension' system for the central box and a complex, knotted-cord system for the box's attachment; this has informed recent working reconstructions by archaeologists.

British chariots were open in front. Julius Caesar provides the only significant eyewitness report of British chariot warfare:

Their mode of fighting with their chariots is this: firstly, they drive about in all directions and throw their weapons and generally break the ranks of the enemy with the very dread of their horses and the noise of their wheels; and when they have worked themselves in between the troops of horse, leap from their chariots and engage on foot. The charioteers in the meantime withdraw some little distance from the battle, and so place themselves with the chariots that, if their masters are overpowered by the number of the enemy, they may have a ready retreat to their own troops. Thus they display in battle the speed of horse, [together with] the firmness of infantry; and by daily practice and exercise attain to such expertness that they are accustomed, even on a declining and steep place, to check their horses at full speed, and manage and turn them in an instant and run along the pole, and stand on the yoke, and thence betake themselves with the greatest celerity to their chariots again.^[11]

Chariots play an important role in Irish mythology surrounding the hero Cú Chulainn.

Procession of chariots and warriors on the Vix krater (c. 510), a vessel of Archaic Greek workmanship found in a Gallic burial

Chariots could also be used for ceremonial purposes. According to Tacitus (Annals 14.35), Boudica, queen of the Iceni and a number of other tribes in a formidable uprising against the occupying Roman forces, addressed her troops from a chariot in AD 61:

"Boudicca curru filias prae se vehens, ut quamque nationem accesserat, solitum quidem Britannis feminarum ductu bellare testabatur"

Boudicca, with her daughters before her in a chariot, went up to tribe after tribe, protesting that it was indeed usual for Britons to fight under the leadership of women.

The last mention of chariot use in battle seems to be at the Battle of Mons Graupius, somewhere in modern Scotland, in AD 84. From Tacitus (Agricola 1.35 -36) "The plain between resounded with the noise and with the rapid movements of chariots and cavalry." The chariots did not win even their initial engagement with the Roman auxiliaries: "Meantime the enemy's cavalry had fled, and the charioteers had mingled in the engagement of the infantry."

Southern Europe[link]

Detail of the Monteleone Chariot at the Met (c. 530 BC)

The earliest records of chariots are the arsenal inventories of the Mycenaean palaces, as described in Linear B tablets from the 15th-14th centuries BC. The tablets distinguish between "assembled" and "disassembled" chariots.

Herodotus reports that chariots were widely used in the Pontic-Caspian steppe by the Sigynnae.

The only intact Etruscan chariot dates to c. 530 BC and was uncovered as part of a chariot burial at Monteleone di Spoleto. Currently in the collection of the Metropolitan Museum of Art,^[12] it is decorated with bronze plates decorated with detailed low-relief scenes, commonly interpreted as depicting episodes from the life of Achilles.^[13] Possibly unique to Etruscan chariots, the Monteleone chariot's wheels have nine spokes. As part of a chariot burial, the Monteleone chariot may have been intended primarily for ceremonial use and may not be representative of Etruscan chariots in general.

Greece[link]

The classical Greeks had a (still not very effective) cavalry arm, and the rocky terrain of the Greek mainland was unsuited for wheeled vehicles. Consequently, in historical Greece the chariot was never used to any extent in war. Nevertheless, the chariot retained a high status and memories of its era were handed down in epic poetry. Linear B tablets from Mycenaean palaces record large inventories of chariots, sometimes with specific details as to how many chariots were assembled or not (i.e. stored in modular form). Later the vehicles were used in games and processions, notably for races at the Olympic and Panathenaic Games and other public festivals in ancient Greece, in hippodromes and in contests called agons. They were also used in ceremonial functions, as when a paranymph, or friend of a bridegroom, went with him in a chariot to fetch the bride home.

Procession of chariots on a Late Geometric amphora from Athens (ca. 720–700 BC)

Greek chariots were made to be drawn by two horses attached to a central pole. If two additional horses were added, they were attached on each side of the main pair by a single bar or trace fastened to the front or prow of the chariot, as may be seen on two prize vases in the British Museum from the Panathenaic Games at Athens, Greece, in which the driver is seated with feet resting on a board hanging down in front close to the legs of the horses. The biga itself consists of a seat resting on the axle, with a rail at each side to protect the driver from the wheels. Greek chariots appear to have lacked any other attachment for the horses, which would have made turning difficult.

The body or basket of the chariot rested directly on the axle (called beam) connecting the two wheels. There was no suspension, making this an uncomfortable form of transport. At the front and sides of the basket was a semicircular guard about 3 ft (1 m) high, to give some protection from enemy attack. At the back the basket was open, making it easy to mount and dismount. There was no seat, and generally only enough room for the driver and one passenger.

The Charioteer of Delphi was dedicated to the god Apollo in 474 BC by the tyrant of Gela in commemoration of a Pythian racing victory at Delphi

The central pole was probably attached to the middle of the axle, though it appears to spring from the front of the basket. At the end of the pole was the yoke, which consisted of two small saddles fitting the necks of the horses, and fastened by broad bands round the chest. Besides this the harness of each horse consisted of a bridle and a pair of reins.

The reins were mostly the same as those in use in the 19th century, and were made of leather and ornamented with studs of ivory or metal. The reins were passed through rings attached to the collar bands or yoke, and were long enough to be tied round the waist of the charioteer to allow for defence.

The wheels and basket of the chariot were usually of wood, strengthened in places with bronze or iron. They had from four to eight spokes and tires of bronze or iron. Most other nations of this time had chariots of similar design to the Greeks, the chief differences being the mountings.

According to Greek mythology the chariot was invented by Erichthonius of Athens to conceal his feet, which were those of a dragon.^[14]

The most notable appearance of the chariot in Greek mythology occurs when Phaëton, the son of Helios, in an attempt to drive the chariot of the sun, managed to set the earth on fire. This story led to the archaic meaning of a phaeton as one who drives a chariot or coach, especially at a reckless or dangerous speed. Plato, in his Chariot Allegory, depicted a chariot drawn by two horses, one well behaved and the other troublesome, representing opposite impulses of human nature; the task of the charioteer, representing reason, was to stop the horses from going different ways and to guide them towards enlightenment.

The Greek word for chariot, ἅρμα, hárma, is also used nowadays to denote a tank, properly called άρμα μάχης, árma mákhēs, literally a "combat chariot".

Rome[link]

A winner of a Roman chariot race

The Romans probably borrowed chariot racing from the Etruscans, who would themselves have borrowed it either from the Celts or from the Greeks, but the Romans were also influenced directly by the Greeks especially after they conquered mainland Greece in 146 BC. In the Roman Empire, chariots were not used for warfare, but for chariot racing, especially in circi, or for triumphal processions, when they could be drawn by as many as ten horses or even by dogs, tigers, or ostriches. There were four divisions, or factiones, of charioteers, distinguished by the colour of their costumes: the red, blue, green and white teams. The main centre of chariot racing was the Circus Maximus,^[15] situated in the valley between the Palatine and Aventine Hills in Rome. The track could hold 12 chariots, and the two sides of the track were separated by a raised median termed the spina. Chariot races continued to enjoy great popularity in Byzantine times, in the Hippodrome of Constantinople, even after the Olympic Games had been disbanded, until their decline after the Nika riots in the 6th century. The starting gates were known as the Carceres.

An ancient Roman car or chariot drawn by four horses abreast together with the horses drawing it was called a Quadriga, from the Latin quadrijugi (of a team of four). The term sometimes meant instead the four horses without the chariot or the chariot alone. A three-horse chariot, or the three-horse team drawing it, was a triga, from trijugi (of a team of three).

See also[link]

• Chariot burial
• Chariot racing
• Chariot tactics
• Merkaba
• Ratha Sanskrit name for chariot
• Tachanka
• Tanks
• Temple car
• War Wagon

Notes[link]

References[link]

• Anthony, D. W., & Vinogradov, N. B., Birth of the Chariot, Archaeology vol.48, no.2, Mar & April 1995, 36-41
• Anthony, David W., 1995, Horse, wagon & chariot: Indo-European languages and archaeology, Antiquity Sept/1995
• Di Cosmo, Nicolo, The Northern Frontier in Pre-Imperial China, Cambridge History of Ancient China ch. 13 (pp. 885–966).
• Litauer, M.A., & Grouwel, J.H., The Origin of the True Chariot', "Antiquity" vol.70, No.270, December 1996, 934-939.
• Sparreboom, M., Chariots in the Veda, Leiden (1985).

Further reading[link]

• Anthony, David W. The Horse, The Wheel and Language: How Bronze-Age Riders from the Eurasian Steppes Shaped the Modern World Princeton: Princeton University Press, 2007 (ISBN 9780691058870).
• Chamberlin, J. Edward. Horse: How the horse has shaped civilizations. N.Y.: United Tribes Media Inc., 2006 (ISBN 0-9742405-9-1).
• Cotterell, Arthur. Chariot: From chariot to tank, the astounding rise and fall of the world's first war machine. Woodstock & New York: The Overlook Press, 2005 (ISBN 1-58567-667-5).
• Crouwel, Joost H. Chariots and other means of land transport in Bronze Age Greece (Allard Pierson Series, 3). Amsterdam: Allard Pierson Museum, 1981 (ISBN 90-71211-03-7).
• Crouwel, Joost H. Chariots and other wheeled vehicles in Iron Age Greece (Allard Pierson Series, 9). Amsterdam: Allard Pierson Museum:, 1993 (ISBN 90-71211-21-5).
• Drews, Robert. The coming of the Greeks: Indo-European conquests in the Aegean and the Near East. Princeton: Princeton University Press, 1988 (hardcover, ISBN 0-691-03592-X); 1989 (paperback, ISBN 0-691-02951-2).
• Drews, Robert. The end of the Bronze Age: Changes in warfare and the catastrophe ca. 1200 B.C. Princeton: Princeton University Press, 1993 (hardcover, ISBN 0-691-04811-8); 1995 (paperback, ISBN 0-691-02591-6).
• Drews, Robert. Early riders: The beginnings of mounted warfare in Asia and Europe. N.Y.: Routledge, 2004 (ISBN 0-415-32624-9).
• Lee-Stecum, Parshia (October 2006). "Dangerous Reputations: Charioteers and Magic in Fourth-Century Rome". Greece & Rome 53 (2): 224–234. DOI:10.1017/S0017383506000295. ISSN 0017-3835. 
• Fields, Nic; Brian Delf (illustrator). Bronze Age War Chariots (New Vanguard). Oxford; New York: Osprey Publishing, 2006 (ISBN 978-1841769448).
• Greenhalg, P A L. Early Greek warfare; horsemen and chariots in the Homeric and Archaic Ages. Cambridge University Press, 1973. (ISBN 9780521200561).
• Kulkarni, Raghunatha Purushottama. Visvakarmiya Rathalaksanam: Study of Ancient Indian Chariots: with a historical note, references, Sanskrit text, and translation in English. Delhi: Kanishka Publishing House, 1994 (ISBN 978-8173-91004-3)
• Littauer, Mary A.; Crouwel, Joost H. Chariots and related equipment from the tomb of Tutankhamun (Tutankhamun's Tomb Series, 8). Oxford: The Griffith Institute, 1985 (ISBN 0-900416-39-4).
• Littauer, Mary A.; Crouwel, Joost H.; Raulwing, Peter (Editor). Selected writings on chariots and other early vehicles, riding and harness (Culture and history of the ancient Near East, 6). Leiden: Brill Academic Publishers, 2002 (ISBN 90-04-11799-7).
• Moorey, P.R.S. "The Emergence of the Light, Horse-Drawn Chariot in the Near-East c. 2000–1500 B.C.", World Archaeology, Vol. 18, No. 2. (1986), pp. 196–215.
• Piggot, Stuart. The earliest wheeled transport from the Atlantic Coast to the Caspian Sea. Ithaca, NY: Cornell University Press, 1983 (ISBN 0-8014-1604-3).
• Piggot, Stuart. Wagon, chariot and carriage: Symbol and status in the history of transport. London: Thames & Hudson, 1992 (ISBN 0-500-25114-2).
• Pogrebova M. The emergence of chariots and riding in the South Caucasus in Oxford Journal of Archaeology, Volume 22, Number 4, November 2003, pp. 397–409.
• Raulwing, Peter. Horses, Chariots and Indo-Europeans: Foundations and Methods of Chariotry Research from the Viewpoint of Comparative Indo-European Linguistics. Budapest: Archaeolingua, 2000 (ISBN 9638046260).
• Sandor, Bela I. The rise and decline of the Tutankhamun-class chariot in Oxford Journal of Archaeology, Volume 23, Number 2, May 2004, pp. 153–175.
• Sandor, Bela I. Tutankhamun's chariots: Secret treasures of engineering mechanics in Fatigue & Fracture of Engineering Materials & Structures, Volume 27, Number 7, July 2004, pp. 637–646.
• Sparreboom M. Chariots in the Veda (Memoirs of the Kern Institute, Leiden, 3). Leiden: Brill Academic Publishers, 1985 (ISBN 90-04-07590-9).

External links[link]

• Ancient Egyptian chariots: history, design, use. Ancient Egypt: an introduction to its history and culture.
• Chariot Usage in Greek Dark Age Warfare, by Carolyn Nicole Conter: Title page for Electronic Theses and Dissertations ETD etd-11152003-164515. Florida State University ETD Collection.
• Chariots in Greece. Hellenica - Michael Lahanas.
• Kamat Research Database - Prehistoric Carts. Varieties of Carts and Chariots in prehistoric cave shelter paintings found in Central India. Kamat's Potpourri – The History, Mystery, and Diversity of India.
• Ludi circenses (longer version). SocietasViaRomana.net.
• Remaking the Wheel: Evolution of the Chariot - New York Times. February 22, 1994.

Gavin DeGraw
DeGraw in March 2012
Background information
Birth name	Gavin Shane DeGraw
Born	(1977-02-04) February 4, 1977 (age 35) South Fallsburg, New York, United States
Genres	Blue-eyed soul, pop rock, rock
Occupations	Musician and singer-songwriter
Instruments	Vocals, piano, guitar
Years active	2000–Present
Labels	RCA Records
Website	gavindegraw.com

Gavin Shane DeGraw (born February 4, 1977) is an American musician and singer-songwriter. He is known for his songs "Chariot", "Follow Through", "I Don't Want to Be" (which has been featured as the theme song for the television drama series, One Tree Hill since 2003), "In Love with a Girl", and "Not Over You".

Early life[link]

DeGraw grew up in the Catskills in South Fallsburg, New York.^[1] His mother, Lynne (Krieger), was a detox specialist, and his father, Wayne DeGraw, was a prison guard;^[2] he referenced his father's occupation in the song "I Don't Want to Be".^[3] His father is of Irish descent and his mother's family was of Russian ancestry.^[4] DeGraw began singing and playing piano at the age of eight. He also has two siblings, both older, named Neeka and Joey (born August 1973). It was at his brother's advice that he began writing his own songs.^[5] Joey DeGraw is a musician as well, currently touring to promote his own music.^[6]

Career[link]

DeGraw rose to fame in 2003 when "I Don't Want to Be" was chosen as the theme song for teen drama One Tree Hill.^[7] The song has also been performed on American Idol^[8] and Idol Sweden^[9] by various contestants during different seasons.

DeGraw released his debut album, Chariot on July 22, 2003 under J Records.^[10] Chariot was recorded at Los Angeles' music studios, Sunset Sound and produced by Mark Endert.^[1] Chariot sold over a million copies and earned platinum certification.^[11] The album also featured three of DeGraw's singles: "I Don’t Want To Be", "Follow Through" and "Chariot".^[11] He then went on to release an acoustic version of the album called Chariot Stripped in 2004. Chariot Stripped contains a cover version of Sam Cooke's "A Change Is Gonna Come".^[12]

DeGraw performing in Georgia, 2005

DeGraw's second album, self-titled Gavin DeGraw was released on May 6, 2008.^[10] The first single, "In Love with a Girl" was released on February 12, 2008. The second U.S. single "Cheated On Me" was released in the US on September 30, 2008. This was followed by the Live From Soho album, released on Nov 7 2008, featuring mostly tracks from Gavin DeGraw.^[13] Gavin DeGraw debuted at No. 1 on the digital sales chart and ranked at No. 7 on Billboard’s Top 200 album chart.^[11]

Gavin Degraw's third album, Free was released March 31, 2009.^[14] DeGraw made Free in less than two weeks at the Brooklyn studio of his producer Camus Celli. DeGraw included some songs on the album that he wrote very early in his career and that have evolved over time, songs such as "Dancing Shoes" and "Glass".^[1] The debut single from the album, "Stay", was released on March 11, 2009.^[15] FREE has been described as "recorded versions of his live favourites".^[11]

DeGraw's fourth, and most recent album, Sweeter was set to release on August 9, 2011 but got pushed back to September 20, 2011.^[16] The album features many tracks co-written with other artists. The first single "Not Over You" was released on iTunes in June.^[17] The track was co-written and produced by Ryan Tedder and was said to be inspired by Kyle Craig. "Not Over You" is his first song to reach the top spot on the Adult Pop Songs.^[18] Sweeter contains collaborations from producers including Butch Walker, Eric Rosse, and Ron Aniello; alongside another co-written title track, "Sweeter" with Andrew Frampton. The album was recorded in many locations including Blackbird Studios in Nashville, Walker’s Space in Venice and the Henson Recording Studios.^[11]

Sweeter is DeGraw's first album released under RCA Records, all three of his previous albums were released under J Records. DeGraw went on to release an acoustic album based mostly on songs from Sweeter. The iTunes Session album features seven tracks and a 30 minute interview.^[19]

Appearances[link]

Alongside DeGraw's musical career he has also performed on multiple TV shows and his songs can be heard across TV and film.

TV appearances[link]

DeGraw made his first TV appearance on Real Magic TV. He then went on to appear on: The Sharon Osbourne Show, Late Night with Conan O'Brien, American Dreams, Total Request Live and Rove Live. During Macy's Thanksgiving Day Parade in 2004, DeGraw is credited as a performer. After this, he was seen on What I Like About You alongside Dutch TV shows Barend & Van Dorp and Clement Behrendt Kjersgaard. DeGraw performed "I Don't Want to Be" during the 2005 Radio Music Awards. He was also a musical guest on The VIP, Jensen!, New York 360º and Entertainment Tonight. DeGraw has appeared on multiple episodes of The Ellen DeGeneres Show, the Late Show with David Letterman, The Tonight Show with Jay Leno, Live! with Kelly, Jimmy Kimmel Live! and Last Call with Carson Daly, performing tracks from whichever album he was promoting. DeGraw is credited as a presenter for the 2011 American Music Awards and can mostly be seen presenting footage from backstage. Recently he appeared during an episode of Conan; the episode was aired on January 9, 2012.^[6] On April 4, 2012 DeGraw performed on the final episode of One Tree Hill following his heavy connection with the show throughout its nine seasons. ^[20]

DeGraw was a contestant on ABC's season 14 of Dancing With the Stars which premiered on Monday March 19, 2012. DeGraw and his partner Karina Smirnoff were eliminated from the competition during week 5, following a Dance Duel with cast-mate Jaleel White and his partner Kym Johnson. ^[21]

Soundtrack credits[link]

DeGraw's songs have been played on twelve different titles across both TV and film.

"Follow Through" was part of the soundtrack for 2004 film Laws of Attraction and an episode of Scrubs called My Self-Examination, aired on 27 April 2004. The song has also been featured on One Tree Hill and on British and Italian TV advertisements for Carte D'or.^[6]

"Chariot" features as an uncredited part of the soundtrack for the American-Canadian TV series Dead Like Me. The song features in a 2004 episode called Always and is portrayed by DeGraw. DeGraw plays a non-recurring small role as street singer, Pete Anderson. The song also features on the TV series Boston Legal in a 2006 episode named Helping Hands, it is played during Denise and Daniel's dinner. The song can also be heard during a 2007 episode of Cold Case called Knuckle Up.^[6]

His song "We Belong Together" was also featured in the 2006 film Tristan and Isolde.^[22]

DeGraw has performed a cover of Smokey Robinson's love ballad, "The Tracks of My Tears", which is played during Chaos Theory, an episode of The Cleaner aired on August 5 2008.^[6]

During a Christmas special of TV series House called "Joy to the World", a cover of The Christmas Song performed by DeGraw was played.^[6]

TV dance competition and reality show So You Think You Can Dance utilised three of DeGraw's tracks across four shows and also features a cover performed by DeGraw. "Belief", "More Then Anyone" and "We Belong Together" are used as background tracks across the 2006, 2008 and 2009 series respectively. During the first part of the 2007 finale, a cover of "We Are the Champions", performed by DeGraw, is used.^[6]

DeGraw's songs are contained in the soundtracks of eleven episodes of One Tree Hill. Throughout he is uncredited. However, tracks such as "Belief", "More Than Anyone", "Chariot", "We Belong Together" and "Jealous Guy" all feature in the show. During the second season of the show, an unreleased live version of "Chariot" is played during the episode "Something I Can Never Have".^[6]

During a special of the TV show The Bachelor called The Bachelor: Jason & Molly's Wedding, DeGraw's song "Follow Through" is played.^[6]

Acting credits[link]

He has appeared in an on-screen role in three One Tree Hill episodes. His first appearance was in 2004, during You Gotta Go There to Come Back; he was seen singing "I Don't Want to Be" and "Chariot" at Karen's Cafe. His second appearance was at the beginning of 2008 episode, What Comes After the Blues where he was seen singing "I Don't Want to Be" with Jackson Brundage and performs in the series final episode.^[6]

Other[link]

DeGraw has released a number of music videos as well, including "I Don't Want to Be", "Follow Through" and "Chariot". The latter was directed by Zach Braff, who also directed music videos for Joshua Radin.^[6]

DeGraw's song "More Than Anyone" was selected by fans of One Tree Hill through a Cingular Wireless contest as the first wedding dance song for Nathan & Haley in the 3rd season finale "The Show Must Go On."^[23]

At the Des Moines Arts Festival on 27 June 2009

He and his brother opened The National Underground in December 2007, a New York City music venue that is a roots rock Americana music bar located in Manhattan's Lower East Side, at 159 East Houston Street between Allen Street and Eldridge Street.^[24] The venue offers music, food, and drink.^[25][26][27] The idea for the venue came about because the brothers wanted a place where they could hang out on a regular basis, and where other musicians could come in and listen and learn.^[28] "We were picky about the quality of musicians that played there," Gavin DeGraw says. "We wanted a place where the players were so good, other musicians were like, 'Wow! I really respect what they're doing.'"^[29]

Personal life[link]

On August 8, 2011, DeGraw was hospitalized after being assaulted by several people in New York City. Police said a group of men attacked DeGraw early Sunday morning at 6th Street and First Avenue in the East Village, near The National Underground. He suffered a broken nose, a concussion, two black eyes and lacerations to his face. Only minutes after the attack, DeGraw was then struck by a taxi. He was admitted to Manhattan's Bellevue Hospital Center for treatment. He had to cancel his scheduled August 9 performance at the Saratoga Performing Arts Center, located in Saratoga, New York.^[30]

DeGraw has said that his ultimate goal is "to leave this world a better person, and for me to not be the only one who knows it."^[6]

Band members[link]

Current[link]

Billy Norris – guitar, background vocals (since 2009) Ian O'Neill – drums, background vocals (since 2011) Ben Mars- Bass (Started on summer tour of 2012) Jimmy Wallace – keyboards, acoustic guitar, vocals (2007–2008, since 2011)

Previous[link]

Johnny "Tsunami" Andrews – guitar, background vocals Joey DeGraw – guitar, background vocals Brian Dennis – guitar, background vocals Matt Flynn – drums Jose Barrera – Guitar and musical composition Joey "Coach" Hanna – drums, background vocals

Rodney Howard – drums Whynot Jansveld – bass, background vocals Alvin Moody – bass, background vocals Casey Twist – bass, background vocals Tony Tino - Bass

Discography[link]

Studio[link]

Title	Album details	Peak chart positions[31][32]									Certifications (sales thresholds)
		US	CAN	DEN	NED	FIN	ITA	SWI	SWE	NOR
Chariot	Release date: July 22, 2003 Label: J	56	—	1	6	23	43	48	21	2	US: Platinum[33]
Gavin DeGraw	Release date: May 6, 2008 Label: J	7	21	3	8	36	44	23	13	35
Free	Release date: March 31, 2009 Label: J	19	—	29	76	—	—	96	—	—
Sweeter	Release date: September 20, 2011 Label: RCA	8	41	6	6	—	—	19	29	25

EPs[link]

Title	Album details	Peak chart positions[34]
		US
iTunes: Live from Soho	Release date: 2008	167

Other albums[link]

• 2001: Gavin Live

Singles[link]

Year	Title	Chart positions[31][32]												Certifications (sales thresholds)	Album
		US	US Adult	US Pop	CAN	UK	IRE	AUS	NZ	NED	ITA	NOR	SWE
2004	"I Don't Want to Be"	10	9	1	—	27	25	19	30	13	—	6	15	US: Platinum[35]	Chariot
2005	"Chariot"	30	5	17	—	—	—	—	—	12	27	19	—	US: Gold[35]
	"Follow Through"	111	22	33	—	—	—	—	—	13	—	12	—	US: Gold[33]
2006	"Just Friends"	—	—	—	—	—	—	—	—	26	—	—	—
	"We Belong Together"	26	—	—	—	—	—	—	—	—	—	—	—	US: Gold[33]	Gavin DeGraw
2008	"In Love with a Girl"	24	5	10	32	—	—	—	—	22	—	—	73
	"She Holds a Key"	—	—	—	—	—	—	—	—	29	—	—	—
	"Cheated on Me"	—	30	—	—	—	—	—	—	—	—	—	—
2009	"I Have You to Thank"	—	—	—	—	—	—	—	—	—	—	—	—
	"Stay"	—	—	—	—	—	—	—	—	—	—	—	—		Free
	"Dancing Shoes"	—	—	—	—	—	—	—	—	—	—	—	—
2011	"Not Over You"	18	1	9	23	—	—	37	8	13	—	—	—	US: Platinum[33] NZ: Gold[36] AUS: Platinum[37]	Sweeter
	"Soldier"	—	—	—	—	59	—	—	—	14	—	—	—
	"Sweeter"	—	17	—	—	—	—	—	—	25	—	—	—

Awards and nominations[link]

Year	Award
2005	Billboard Music Award nomination for Top Soundtrack Single of the Year ("I Don't Want to Be")
2005	Radio Music Award nomination for Song of the Year/Mainstream Top 40 Radio ("I Don't Want to Be")

See also[link]

	Biography portal
	Music portal

List of Berklee College of Music alumni List of Ithaca College alumni

List of people from New York List of singer-songwriters

References[link]

1. ^ ^{a b c} "Gavin DeGraw Biography". Gavin DeGraw US. http://gavindegraw.us/biography.html. Retrieved 25 January 2012. 
2. ^ "More Than a Memory - The Official Gavin DeGraw fan site: Articles & Interviews". Gavindegraw.us. 2005-04-29. http://gavindegraw.us/articles/timesheraldrecord05april29.html. Retrieved 2012-05-09. 
3. ^ "I Don't Want To Be Lyrics". Lyrics On Demand. http://www.lyricsondemand.com/g/gavindegrawlyrics/idontwanttobelyrics.html. Retrieved 25 January 2012. 
4. ^ Staff (February 3, 2005). "Gavin DeGraw Speaks Out on Life and Music – His 'I Don’t Want To Be' Is the Theme Song for the Teen Soap 'One Tree Hill'. Associated Press (via MSNBC). Retrieved August 8, 2011.
5. ^ "Gavin DeGraw". Bonnaroo Music and Arts Festival. http://www.bonnaroo.com/artists/gavin-degraw.aspx. 
6. ^ ^{a b c d e f g h i j k l} "Gavin DeGraw IMDB page". IMDB. http://www.imdb.com/name/nm1501113/. Retrieved 25 January 2012. 
7. ^ "One Tree Hill IMDB page". IMDB. http://www.imdb.com/title/tt0368530/. Retrieved 25 January 2012. 
8. ^ "'American Idol' Needs To Retire 'I Don't Want To Be,' Whitney Houston And Heart". MTV Website. MTV. http://newsroom.mtv.com/2010/03/03/american-idol-i-dont-want-to-be/. Retrieved 25 January 2012. 
9. ^ "YouTube Video: Guy singing I Don't Want To Be in Idol 2009". YouTube. Google. http://www.youtube.com/watch?v=e43QQdO_OJY. Retrieved 25 January 2012. 
10. ^ ^{a b} "Amazon: Chariot Gavin DeGraw | Format: Audio CD". Amazon Retail. http://www.amazon.com/Chariot-Gavin-Degraw/dp/B00009V8Z9. Retrieved 25 January 2012. 
11. ^ ^{a b c d e} "Gavin DeGraw Official Bio". Gavin DeGraw Official Website. http://www.gavindegraw.com/bio. Retrieved 28 January 2012. 
12. ^ "Amazon: Chariot Stripped (Bonus CD) Gavin DeGraw | Format: Audio CD". Amazon Retail. http://www.amazon.com/Chariot-Stripped-Bonus-Gavin-Degraw/dp/B0002IQJUK/ref=sr_1_1?s=music&ie=UTF8&qid=1327522439&sr=1-1. Retrieved 25 January 2012. 
13. ^ "Gavin DeGraw Discography". Gavin DeGraw Website. http://www.gavindegraw.us/discography.html. Retrieved 25 January 2012. 
14. ^ "Amazon: FREE Gavin DeGraw | Format: Audio CD". Amazon Retail. http://www.amazon.co.uk/FREE-Gavin-DeGraw/dp/B001T4MT64. Retrieved 25 January 2012. 
15. ^ "iTunes Single - Stay". iTunes. http://itunes.apple.com/us/album/stay-single/id308873888. Retrieved 25 January 2012. 
16. ^ "Gavin DeGraw Blog". Gavin DeGraw Blog. Gavin DeGraw. http://www.gavindegraw.us/. Retrieved 29 January 2012. 
17. ^ "Gavin DeGraw Website - Not Over You Release". Gavin DeGraw Website. http://www.gavindegraw.com/music/not-over-you-single. Retrieved 25 January 2012. 
18. ^ Trust, Gary (26 January 2012). "Weekly Chart Notes: Adele, Kelly Clarkson, Gavin DeGraw". Billboard. http://www.billboard.com/column/chartbeat/weekly-chart-notes-adele-kelly-clarkson-1005994562.story#/column/chartbeat/weekly-chart-notes-adele-kelly-clarkson-1005994562.story?page=2. Retrieved 28 January 2012. 
19. ^ "iTunes Session Gavin DeGraw". iTunes. http://itunes.apple.com/us/album/itunes-session/id480772033?ign-mpt=uo%3D4. Retrieved 25 January 2012. 
20. ^ "ABC.com - Dancing with the Stars - Dancing with the Stars 2012 Cast Announcement - Season 14". Abc.go.com. http://abc.go.com/shows/dancing-with-the-stars/cast-announcement. Retrieved 2012-05-09. 
21. ^ 04/18/2012 (2012-04-18). "'Dancing with the Stars' ('DWTS') 2012: Gavin DeGraw Booted After Showdown | Video - ABC News". Abcnews.go.com. http://abcnews.go.com/GMA/video/dancing-stars-dwts-2012-gavin-degraw-booted-showdown-16161893. Retrieved 2012-05-09. 
22. ^ "Gavin Degraw Discography". Gavin DeGraw. http://gavindegraw.us/discography.html. Retrieved 25 January 2012. 
23. ^ "Tree Hill Memories: 322 THE SHOW MUST GO ON". Tree Hill Memories. http://www.freewebs.com/treehillmemories/s322.html. Retrieved 29 January 2012. 
24. ^ "About Us". The National Underground Official website. Accessed October 5, 2010. http://www.thenationalunderground.com/aboutus.html. 
25. ^ Carlson, Erin (May 8, 2008). "Gavin DeGraw Doesn't Wanna Be Another Singer-Songwriter". The Decatur Daily. http://www.decaturdaily.com/stories/Gavin-DeGraw-doesnt-want-to-be-another-singer-songwriter,11132. 
26. ^ Friedman, Roger (March 6, 2008). "Patrick Swayze Slammed by National Enquirer". Fox News. http://www.foxnews.com/story/0,2933,335432,00.html. 
27. ^ "Soul of the City: New York City". Glide Magazine. August 29, 2008. http://www.glidemagazine.com/hiddentrack/soul-of-the-city-new-york-city/. 
28. ^ Adams, Patty (July 27, 2008). "Six Seconds with: Gavin DeGraw". New York Post. http://www.nypost.com/pagesixmag/issues/20080727/Six+Seconds+Gavin+DeGraw. 
29. ^ Tomcho, Sandy (August 15, 2008). "Gavin DeGraw Performs at Monticello Gaming & Raceway". Times Herald-Record. http://www.recordonline.com/apps/pbcs.dll/article?AID=/20080815/ENTERTAIN/808150350. 
30. ^ "Gavin DeGraw released from hospital after attack, doesn’t remember much". The Washington Post. 10 August 2011. http://www.washingtonpost.com/blogs/celebritology/post/gavin-degraw-released-from-hospital-after-attack-doesnt-remember-much/2011/08/10/gIQAICCP6I_blog.html. Retrieved 21 September 2011. 
31. ^ ^{a b} Gavin DeGraw. Billboard
32. ^ ^{a b} "Gavin Degraw – Music Charts". Acharts.us. http://acharts.us/performer/gavin_degraw. Retrieved 2011-11-02. 
33. ^ ^{a b c d} "Gavin Degraw RIAA album certifications". RIAA. http://riaa.com/goldandplatinumdata.php?resultpage=1&table=SEARCH_RESULTS&action=&title=&artist=Gavin%20DeGraw%&format=album&debutLP=&category=&sex=&releaseDate=&requestNo=&type=&level=&label=&company=&certificationDate=&awardDescription=&catalogNo=&aSex=&rec_id=&charField=&gold=&platinum=&multiPlat=&level2=&certDate=&album=&id=&after=&before=&startMonth=1&endMonth=1&startYear=1958&endYear=2010&sort=CertificationDate&perPage=50. Retrieved 2011-10-02. 
34. ^ "iTunes Live from Soho – Gavin DeGraw". AllMusic. http://www.allmusic.com/album/itunes-live-from-soho-r1462791/charts-awards. Retrieved 2011-11-02. 
35. ^ ^{a b} "Gavin DeGraw: Timeline". Rock On The Net. http://www.rockonthenet.com/artists-d/gavindegraw.htm. 
36. ^ "RIANZ". Recording Industry Association of New Zealand. http://www.rianz.org.nz/rianz/chart_facts.asp. Retrieved 2010-08-07. 
37. ^ "http://www.aria.com.au/pages/httpwww.aria.com.auSINGLEaccreds2011.htm". Aria.com.au. 2011-12-31. http://www.aria.com.au/pages/httpwww.aria.com.aupageshttpwww.aria.com.auSINGLEaccreds2011.htm. Retrieved 2012-05-09. 

• Billboard Artist Chart History – retrieved March 15, 2009.

External links[link]

Wikimedia Commons has media related to: Gavin DeGraw

• gavindegraw.com, DeGraw's official website
• Gavin DeGraw at the Internet Movie Database
• Gavin DeGraw collection at the Internet Archive's live music archive
• Music videos at AOL Video
• Exclusive Gavin DeGraw Interviews at OurStage.com

v t e Gavin DeGraw Albums Chariot Gavin DeGraw Free Sweeter Singles "I Don't Want to Be" "Chariot" "Follow Through" "In Love with a Girl" "Cheated on Me" "Not Over You" "Soldier" "Sweeter" Related articles RCA Records

v t e Dancing with the Stars (U.S. season 14) Donald Driver Katherine Jenkins William Levy Maria Menounos Melissa Gilbert Roshon Fegan Jaleel White Gladys Knight Gavin DeGraw Sherri Shepherd Jack Wagner Martina Navratilova

Persondata
Name	Degraw, Gavin
Alternative names
Short description
Date of birth	February 4, 1977
Place of birth	South Fallsburg, New York, United States
Date of death
Place of death

Neil Young
Young performing in Oslo, Norway, in 2009.
Background information
Birth name	Neil Percival Young
Also known as	Bernard Shakey,[1] Phil Perspective, Shakey Deal, Clyde Coil, Ol' Neil, Joe Canuck, Joe Yankee,[1] Marc Lynch,[1] Pinecone Young[2]
Born	(1945-11-12) November 12, 1945 (age 66) Toronto, Ontario, Canada
Origin	Winnipeg, Manitoba, Canada
Genres	Rock, folk rock, country rock, experimental rock, hard rock
Occupations	Musician, songwriter, producer, director, screenwriter
Instruments	Guitar, vocals, harmonica, piano, keyboards, banjo, ukulele
Years active	1960–present
Labels	Reprise, Motown, Geffen
Associated acts	The Squires, The Mynah Birds, Buffalo Springfield, Crosby, Stills, Nash & Young, Crazy Horse, The Stray Gators, The Stills-Young Band, The Ducks, Northern Lights, Pearl Jam, Booker T. Jones, Leon Russell, Elton John
Website	neilyoung.com
Notable instruments
"Old Black" Martin D-45 "Hank" Gretsch White Falcon

Neil Percival Young,^[3] OC,^[4] OM^[5] (born November 12, 1945) is a Canadian singer-songwriter who is widely regarded as one of the most influential musicians of his generation.^[6]

Young began performing as a solo artist in Canada in 1960, before moving to California in 1966, where he co-founded the band Buffalo Springfield along with Stephen Stills and Richie Furay, and later joined Crosby, Stills & Nash as a fourth member in 1969. He forged a successful and acclaimed solo career, releasing his first album in 1968; his career has since spanned over 40 years and 34 studio albums, with a continual and uncompromising exploration of musical styles.^[6] The Rock and Roll Hall of Fame website describes Young as "one of rock and roll’s greatest songwriters and performers".^[7] He has been inducted into the Hall of Fame twice: first as a solo artist in 1995, and second as a member of Buffalo Springfield in 1997.^[8]

Young's work is characterized by his distinctive guitar work, deeply personal lyrics^[9][10][11] and signature alto or high tenor singing voice.^[12][13] Although he accompanies himself on several different instruments, including piano and harmonica, his idiosyncratic electric and clawhammer acoustic guitar playing are the defining characteristics of a varyingly ragged and melodic sound. While Young has experimented with differing music styles, including swing and electronic music throughout a varied career, his best known work usually falls into two primary styles: acoustic (folk and country rock) and electric (amplified hard rock, very often in collaboration with the band Crazy Horse). Young has also adopted elements from newer styles such as alternative rock and grunge. His influence on the latter caused some to dub him the "Godfather of Grunge".^[14]

Young has directed (or co-directed) a number of films using the pseudonym Bernard Shakey, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), and CSNY/Déjà Vu (2008). He is currently working on a documentary about electric car technology, tentatively titled Linc/Volt. The project involves a 1959 Lincoln Continental converted to hybrid technology, which Young plans to drive to Washington, D.C. as an environmentalist example to lawmakers there.^[15]

Young is an outspoken advocate for environmental issues and the welfare of small farmers, having co-founded in 1985 the benefit concert Farm Aid. In 1986, Young helped found The Bridge School,^[16] an educational organization for children with severe verbal and physical disabilities, and its annual supporting Bridge School Benefit concerts, together with his wife Pegi Young (née Morton). Young has three children: sons Zeke (born during his relationship with actress Carrie Snodgress) and Ben, who were diagnosed with cerebral palsy, and daughter Amber Jean who, like Young himself, has epilepsy. Young lives on his ranch in La Honda, California. Although he has lived in northern California since the 1970s and sings as frequently about U.S. themes and subjects as he does about his native country, he retains Canadian citizenship, having no desire to relinquish it.^[17] On July 14, 2006, Young was awarded the Order of Manitoba,^[5] and on December 30, 2009, was made an Officer of the Order of Canada.^[4]

Life and career[link]

Early years (1945–1966)[link]

Neil Percival Young was born in Toronto General Hospital, Toronto, Ontario, at 6:45 am on 12 November 1945. His father, Scott Alexander Young (1918–2005), was a journalist and sportswriter who would later rise to prominence in Canada for his work.^[18] His mother, Edna Blow Ragland "Rassy" Young (1918–1990), was of American, French, and Irish ancestry, and a "member of the Daughters of the American Revolution".^[19] They married in 1940 in Winnipeg, Manitoba, with their first son, Robert 'Bob' Young, being born in 1942.

Shortly after Neil's birth in 1945, the family decided to move to the rural town of Omemee, Ontario, which Neil would later fondly describe as a "sleepy little place".^[20] Omemee later established the Youngtown Museum in tribute to Young.^[21] Young was diagnosed with diabetes as a child,^[22] and also suffered from a bout of polio in 1951, in what was the last major outbreak of the disease in Ontario.^[23] This was in fact the same epidemic in which singer-songwriter Joni Mitchell, then aged nine, also contracted the virus.^[24]

Following his recovery, the Young family went on holiday to Florida in the United States in 1952, and upon returning to Canada soon decided to move away from Omemee and into the city of Toronto, before relocating to Pickering, which was just east of Toronto, and then again to north Toronto soon afterward. It was during this period that Young began to take an interest in popular music that he heard on the radio, and also began to rear chickens in order to sell their eggs.^[25]

When Neil was twelve, his father, who had been having a number of extra-marital affairs, left his mother, and she subsequently asked for, and received, a divorce some years later, in 1960. Due to the breakup of the family, Neil went to live with his mother, who moved back to Winnipeg, Manitoba, while his brother Bob stayed with his father in Toronto.^[26]

During the mid-fifties, at around the age of ten or eleven, Young was drawn to a variety of musical genres including rock and roll, rockabilly, doo-wop, R&B, country, and western pop. He would listen to pop music broadcast on the CHUM radio station via his transistor radio.^[28] Young has stated in interviews that growing up he idolized Elvis Presley and strived to be just like him, later referencing him in a number of his lyrics.^[29] Other early musical influences included Chuck Berry, Little Richard, Fats Domino, The Chantels, The Monotones, Ronnie Self, The Fleetwoods, Jerry Lee Lewis, Johnny Cash, and Gogi Grant.^[30] He first began to play music himself on a plastic ukulele, before, as he would later relate, going on to "a better ukulele to a banjo ukulele to a baritone ukulele – everything but a guitar."^[31]

Neil and his mother settled into the working class area of Fort Rouge, Winnipeg where the shy, dry-humoured youth enrolled at Earl Grey Junior High School. It was there that he formed his first band, The Jades, and met Ken Koblun, later to join him in The Squires. While attending Kelvin High School in Winnipeg, he played in several instrumental rock bands. Young's first stable band was called The Squires, with Ken Koblun, Jeff Wuckert and Bill Edmondson on drums, who had a local hit called "The Sultan." Young dropped out of high school^[32] and also played in Fort William (now part of the city of Thunder Bay, Ontario), where they recorded a series of demos produced by a local producer named Ray Dee, whom Young called "the original Briggs."^[33] While there, Young first encountered Stephen Stills. In the 2006 film Heart of Gold, Young relates how he used to spend time as a teenager at Falcon Lake, Manitoba, where he would endlessly plug coins into the jukebox to hear Ian Tyson's "Four Strong Winds".

After leaving the Squires, Neil worked folk clubs in Winnipeg, where he first met Joni Mitchell.^[34] Mitchell recalls Young as having been highly influenced by Bob Dylan at the time.^[35] Here he wrote some of his earliest and most enduring folk songs such as "Sugar Mountain", about lost youth. Mitchell wrote "The Circle Game" in response.^[36] Winnipeg band The Guess Who (Randy Bachman being their lead guitarist) had a Top 40 Canadian hit with Young's "Flying on the Ground is Wrong", which was Young's first major hit as a songwriter.

In 1965 Young toured Canada as a solo artist. In 1966, while in Toronto, he joined the Rick James-fronted Mynah Birds. The band managed to secure a record deal with the Motown label, but as their first album was being recorded, James was arrested for being AWOL from the Naval Reserve.^[37] After the Mynah Birds disbanded, Young and bass player Bruce Palmer relocated to Los Angeles. Young admitted in a 2009 interview that he was in the United States illegally until receiving a green card in 1970.^[38]

Buffalo Springfield (1966–1968)[link]

Once they reached Los Angeles, Young and Palmer met up with Stephen Stills, Richie Furay, and Dewey Martin to form Buffalo Springfield. A mixture of folk, country, psychedelia, and rock, lent a hard edge by the twin lead guitars of Stills and Young, made Buffalo Springfield a critical success, and their first record Buffalo Springfield (1966) sold well after Stills' topical song "For What It's Worth" became a hit, aided by Young's melodic harmonics played on electric guitar.

Distrust of their management, as well as the arrest and deportation of Palmer, exacerbated the already strained relations among the group members and led to Buffalo Springfield's demise. A second album, Buffalo Springfield Again, was released in late 1967, but two of Young’s three contributions were solo tracks recorded apart from the rest of the group.

In many ways, these three songs on Buffalo Springfield Again, "Mr. Soul", "Expecting To Fly", and "Broken Arrow", are harbingers of much of Young's later work in that, although they all share deeply personal, almost idiosyncratic lyrics, they also present three very different musical approaches to the arrangement of what is essentially an original folk song. "Mr Soul" is the only Young song of the three that all five members of the group performed together. In contrast, "Broken Arrow" was confessional folk-rock of a kind that would characterize much of the music that emerged from the singer-songwriter movement. Young’s experimental production intersperses each verse with snippets of sound from other sources, including opening the song with a sound bite of Dewey Martin singing "Mr. Soul" and closing it with the thumping of a heartbeat. "Expecting to Fly" was a lushly produced ballad similar to the baroque pop of the mid-1960s, featured a string arrangement that Young's co-producer for the track, Jack Nitzsche, would dub "symphonic pop."

In May 1968, the band split up for good, but in order to fulfill a contractual obligation, a final album Last Time Around was released, primarily from recordings made earlier that year. Young contributed the songs "On the Way Home" and "I Am a Child", singing lead on the latter. In 1997, the band was inducted into the Rock & Roll Hall of Fame; Young did not appear at the ceremony. The three surviving members, Furay, Stills and Young, appeared together as Buffalo Springfield at Young's annual Bridge School Benefit on 23–24 October 2010 and are planning a reunion tour for early 2012.

Going solo, Crazy Horse & CSNY (1968–1970)[link]

Main articles: Crosby, Stills, Nash & Young and Crazy Horse

Crosby, Stills, Nash & Young (center right) perform at the PNC Arts Center, August 2006.

After the breakup of Buffalo Springfield, Young signed a solo deal with Reprise Records, home of his colleague and friend Joni Mitchell, with whom he shared a manager, Elliot Roberts, who manages Young to this day. Young and Roberts immediately began work on Young's first solo record, Neil Young (November 1968), which received mixed reviews. In a 1970 interview,^[39] Young deprecated the album as being "overdubbed rather than played," and the quest for music that expresses the spontaneity of the moment has long been a feature of his career. Nevertheless, the album contains some songs that remain a staple of his live shows, most notably "The Loner".

For his next album, Young recruited three musicians from a band called The Rockets: Danny Whitten on guitar, Billy Talbot on bass guitar, and Ralph Molina on drums. These three took the name Crazy Horse (after the historical figure of the same name), and Everybody Knows This Is Nowhere (May 1969), is credited to "Neil Young with Crazy Horse." Recorded in just two weeks, the album opens with one of Young's most familiar songs, "Cinnamon Girl," and is dominated by two more, "Cowgirl in the Sand" and "Down by the River," that feature lengthy jams showcasing Young's idiosyncratic guitar soloing accompanied sympathetically by Crazy Horse. Young reportedly wrote all three songs on the same day, while nursing a high fever of 103 °F (39 °C) in bed.^[40]

Shortly after the release of Everybody Knows This Is Nowhere, Young reunited with Stephen Stills by joining Crosby, Stills, & Nash, who had already released one album as a trio. Young was originally offered a position as a sideman, but agreed to join only if he received full membership, and the group – winners of the 1969 "Best New Artist" Grammy Award – was renamed Crosby, Stills, Nash & Young.^[41] The quartet debuted in Chicago on August 16, 1969, and later performed at the famous Woodstock Festival, during which Young skipped the acoustic set and refused to be filmed during the electric set, even telling the cameramen: "One of you fuckin' guys comes near me and I'm gonna fuckin' hit you with my guitar".^[42] During the making of their first album, Déjà Vu, the musicians frequently argued, particularly Young and Stills, who both fought for control. Stills continued throughout their lifelong relationship to criticize Young, saying that he "wanted to play folk music in a rock band".^[43] Despite the tension, Young's tenure with CSN&Y coincided with the band's most creative and successful period, and greatly contributed to his subsequent success as a solo artist.

"Ohio" was written following the Kent State massacre on May 4, 1970, and was a staple of anti-war rallies in the 1970s. The song was quickly recorded by CSNY and immediately released as a single, even though CSNY's "Teach Your Children" was still climbing the singles charts. In the late 1970s and for much of the 1980s, Young refrained from performing "Ohio" live, as he considered the song to be dated. In the wake of the 1989 Tiananmen Square massacre, Young revived the song in concert, often dedicating it to the Chinese students who were killed in the massacre. Crosby, Stills & Nash, as a trio, also returned the song to their live repertoire around the same time, even though Young had provided the lead vocals on the original recording.

[edit] After the Gold Rush, acoustic tour and Harvest (1970-1972)

Later in the year, Young released his third solo album, After the Gold Rush (1970), which featured, among others, a young Nils Lofgren, Stephen Stills, and CSNY bassist Greg Reeves. Young also recorded some tracks with Crazy Horse, but dismissed them early in the sessions. The eventual recording was less amplified than Everybody Knows This is Nowhere, with a wider range of sounds. Young's newfound fame with CSNY made the album his commercial breakthrough as a solo artist, and it contains some of his best known work, including "Tell Me Why" and "Don't Let It Bring You Down," the country-influenced singles "Only Love Can Break Your Heart" and "When You Dance," and the title track, played on piano, with dream-like lyrics that ran a gamut of subjects from drugs and interpersonal relationships to environmental concerns. Young’s bitter condemnation of racism in the heavy blues rock song "Southern Man" (along with a later song entitled "Alabama") was also controversial with southerners in an era of desegregation, prompting Lynyrd Skynyrd to decry Young by name in the lyrics to their hit "Sweet Home Alabama". However, Young said he was a fan of Skynyrd's music, and the band's front man Ronnie Van Zant was later photographed wearing a Tonight's the Night T-shirt on the cover of an album.

In the autumn of 1970, Young began a solo acoustic tour of North America, during which he played a variety of his Buffalo Springfield and CSNY songs on guitar and piano, along with material from his solo albums and a number of new songs. Some songs premiered by Young on the tour, like "Journey through the Past", would never find a home on a studio album, while other songs, like "See the Sky About to Rain", would only be released in coming years. With CSNY splitting up and Crazy Horse having signed their own record deal, Young's tour, now entitled "Journey Through the Past", continued into early 1971, and its focus shifted more to newer songs he had been writing; he famously remarked that having written so many, he could not think of anything to do but play them. Many gigs were sold out, including concerts at Carnegie Hall and a pair of acclaimed hometown shows at Toronto's Massey Hall, which were taped for a planned live album. The show became legendary among Young fans, and the recordings were officially released nearly 40 years later as an official bootleg in Young's Archive series.

Near the end of his tour, Young performed one of the new acoustic songs on the Johnny Cash on Campus TV show. "The Needle and the Damage Done", a somber lament on the pain caused by heroin addiction, had been inspired in part by the heavy heroin use of Crazy Horse member Danny Whitten, who eventually died of an overdose.^[44][45] While in Nashville for the Cash taping, Young made a sudden connection with a new group of country-music session musicians, whom he christened The Stray Gators, and began playing with them; Linda Ronstadt and James Taylor also began to work with the group. Against the advice of his producer David Briggs, he scrapped plans for the imminent release of the live acoustic recording and quickly recorded much of his new material with the Stray Gators in Nashville, later adding two recordings made with an orchestra in London. The result was Young's fourth album, Harvest (1972), which would prove to be a massive hit. The only remnant left of the original concept was the album's live acoustic performance of the harrowing "Needle."

Young's more settled personal life was reflected in the rest of the Harvest album's mellow, pastoral tone. After his success with CSNY, Young had been able to purchase a ranch in rural Northern California (where he has lived since), writing the song "Old Man" in honor of the land's longtime caretaker, Louis Avila. On September 8, 1972, the actress Carrie Snodgress, with whom he had been living, gave birth to Neil Young's first child. (The boy, Zeke, was later diagnosed with cerebral palsy.) Young fell in love with Snodgress after seeing her in a movie, Diary of a Mad Housewife; Young wrote about this experience in the song "A Man Needs a Maid". Originally, for example in his Massey Hall concert, Young had played a fragment of another new song, "Heart of Gold," as part of "A Man Needs a Maid," but eventually, he separated the songs. "Heart of Gold," now played on guitar and harmonica, was released as the first single from Harvest, became a US number one single and remains the only No. 1 hit in his long career. "Old Man" was also immensely popular.

The album's recording had been almost accidental. Its mainstream success caught Young off guard, and his first instinct was to back away from stardom. In the Decade compilation, Young chose to include his greatest hits from the period, but his handwritten liner notes famously described "Heart of Gold" as the song that "put me in the middle of the road. Traveling there soon became a bore, so I headed for the ditch. A rougher ride but I saw more interesting people there."

The "Ditch" Trilogy and personal struggles (1972–1974)[link]

Although a new tour had been planned to follow up on the success of Harvest, it became apparent during rehearsals that Danny Whitten could not function due to drug abuse. On November 18, 1972, shortly after he was fired from the tour preparations, Whitten was found dead of an overdose. Young described the incident to Rolling Stone’s Cameron Crowe in 1975:^[46] "[We] were rehearsing with him and he just couldn't cut it. He couldn't remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. 'It's not happening, man. You're not together enough.' He just said, 'I've got nowhere else to go, man. How am I gonna tell my friends?' And he split. That night the coroner called me from L.A. and told me he'd OD'd. That blew my mind. I loved Danny. I felt responsible. And from there, I had to go right out on this huge tour of huge arenas. I was very nervous and ... insecure."

On the tour, Young struggled with his voice and with the constantly changing band lineups, and called David Crosby and Graham Nash to help perform some of the music. The album assembled in the aftermath of this incident, Time Fades Away (1973), has often been described by Young as "[his] least favorite record," and it is one of only two of Young’s early recordings that has yet to be officially re-released on CD (the other being the soundtrack album Journey Through the Past). Nevertheless, Young and his band tried several new musical approaches in this period. Time Fades Away, for instance, was recorded live, although it was an album of new material, an approach Young would repeat with more success later on. Time was the first of three consecutive commercial failures which would later become known collectively to fans as the "Ditch Trilogy", as contrasted with the more middle-of-the-road pop of Harvest. These subsequent albums were seen as more challenging expressions of Young's inner conflicts on achieving success, expressing both the specific struggles of his friends and himself, and the decaying idealism of his generation in America at the time.

In the second half of 1973, Young formed The Santa Monica Flyers, with Crazy Horse's rhythm section augmented by Nils Lofgren on guitar. Deeply affected by the drug-induced deaths of Whitten and roadie Bruce Berry, Young recorded an album specifically inspired by the incidents, Tonight's the Night. The album's dark tone and rawness led Reprise to delay and Young had to pressure them for two years before they would release it.^[47] While his record company delayed the release, Young recorded another album, On the Beach (1974), which presented a more melodic, acoustic sound at times, including a recording of the older song "See the Sky About to Rain", but dealt with similarly dark themes such as the collapse of 1960s folk ideals, the downside of success and the underbelly of the Californian lifestyle. Like Time Fades Away, it sold poorly but eventually became a critical favorite, presenting some of Young's most original work. A review of the 2003 re-release on CD of On the Beach described the music as "mesmerizing, harrowing, lucid, and bleary".^[48]

After completing On the Beach, Young reunited with Harvest producer Elliot Mazer to record another acoustic album, Homegrown. Most of the songs were written after Young's breakup with Carrie Snodgress, and thus the tone of the album was somewhat dark. Though Homegrown was reportedly entirely complete, Young decided, not for the first or last time in his career, to drop it and release something else instead, in this case, Tonight's the Night, at the suggestion of Band bassist Rick Danko.^[49] Young further explained his move by saying: "It was a little too personal ... it scared me".^[49] Most of the songs from Homegrown were later incorporated into other Young albums, but the original album never surfaced. Tonight's the Night, when finally released in 1975, sold poorly, as had the previous albums of the "ditch" trilogy, and received mixed reviews at the time, but is now regarded as a landmark album. In Young's own opinion, it was the closest he ever came to art.^[50]

Young in Austin, Texas, on November 9, 1976. Photo: David Gans

[edit] Reunions, retrospectives and Rust Never Sleeps (1975–1979)

Young reformed Crazy Horse with Frank Sampedro on guitar as his backup band for his eighth album, Zuma (1975). Many of the songs are overtly concerned with failed relationships, and even the epic "Cortez the Killer", a retelling of the Spanish conquest of Mexico from the viewpoint of the Aztecs, may also be heard as an allegory of love lost. The song's deeply emotional lyrics and searing guitar solos made it one of Young's most enduring songs in concert over the next several decades. Zuma's closing track, "Through My Sails," was the only released fragment from aborted sessions with Crosby, Stills and Nash for another group album. The following year, Young reunited with Stephen Stills for the album Long May You Run (1976), credited to The Stills-Young Band; the follow-up tour was ended midway through by Young, who sent Stills a telegram that read: "Funny how some things that start spontaneously end that way. Eat a peach, Neil."^[51]

The Last Waltz, Young (center on left microphone) performing with Bob Dylan and The Band, among others in 1976.

In 1976, Young performed with Bob Dylan, Joni Mitchell, and numerous other rock musicians in the high profile all-star concert The Last Waltz, the final performance by The Band. The release of Martin Scorsese's movie of the concert was delayed while Scorsese unwillingly re-edited it to obscure the lump of cocaine that was clearly visible hanging from Young's nose during his performance of "Helpless."^[52] American Stars 'N Bars (1977) contained two songs originally recorded for the Homegrown album, "Homegrown" and "Star of Bethlehem," as well as newer material, including the future concert staple "Like a Hurricane". Performers on the record included Linda Ronstadt, Emmylou Harris and Young protégé Nicolette Larson along with Crazy Horse. In 1977, Young also released the compilation Decade, a personally selected set of songs spanning every aspect of his work, including a handful of previously unreleased songs. The record's sequencing, unusually for the time, resembled a live setlist and included less commercial album favorites alongside Young's greatest radio hits.

Comes a Time (1978), Young's first entirely new solo recording since the mid 1970s, also featured Nicolette Larson and Crazy Horse and became Young's most commercially accessible album in quite some time, marked by a return to Young's folk roots, including a cover of Ian Tyson's "Four Strong Winds," a song Young associated with his childhood in Canada. In 1978 much of the filming was done for Young's film Human Highway, which took its name from one of the album's songs. Over four years Young would spend US$3,000,000 of his own money on production. This also marked the beginning of his brief collaboration with the post-punk band Devo, whose members appeared in the film.^[53]

Young set out in 1978 on the lengthy "Rust Never Sleeps" tour, in which he played a wealth of new material. Each concert was divided into a solo acoustic set and an electric set with Crazy Horse. The electric sets, more furiously distorted than Young's work in the past, were later seen as a response to punk rock. One new song, "Hey Hey, My My (Into the Black)", was a centerpiece of the new material, and Young played it in both acoustic and electric renditions. Its blunt, but cryptic, lyrics have been among Young's most widely quoted ever since, addressing fame, commerce and rock n' roll, which according to Young's opening lines, "can never die." Young also compared the rise of Johnny Rotten with that of the recently deceased "King" Elvis Presley, who himself had once been disparaged as a dangerous influence only to later become an icon. Rotten returned the favour by playing one of Young's records on a London radio show, an early sign of Young's eventual embrace by a number of punk-influenced alternative musicians.

Young's two accompanying albums Rust Never Sleeps (new material, culled from live recordings, but featuring studio overdubs) and Live Rust (a mixture of old and new, and a genuine concert recording) captured the two sides of the concerts, with solo acoustic songs on side A, and fierce, uptempo, electric songs on side B. A movie version of the concerts, also called Rust Never Sleeps (1979), was directed by Young under the pseudonym Bernard Shakey. Young worked with rock artist Jim Evans to create the poster art for the film, using the "Star Wars" Jawas as a theme. Young's work since Harvest had alternated between being rejected by mass audiences and being seen as backward-looking by critics, sometimes both at once, and now he was suddenly viewed as relevant by a new generation, who began to discover his earlier work. Readers and critics of Rolling Stone voted him Artist of the Year for 1979 (along with The Who), selected Rust Never Sleeps as Album Of The Year, and voted him Male Vocalist of the Year as well. The Village Voice named Rust Never Sleeps as the year's winner in the Pazz & Jop Poll, a survey of nationwide critics, and honored Young as the Artist of the Decade.

Experimental years (1980–1988)[link]

The 1980s were often difficult times for Young, both personally and professionally. At the start of the decade, distracted by domestic medical concerns relating to his second disabled son, Ben, Young had little time to spend on writing and recording.^[54] After providing the incidental music to a 1980 biopic of Hunter S. Thompson entitled Where the Buffalo Roam, Young released Hawks & Doves, a short record pieced together from sessions going back to 1974.^[54] 1981's Re-ac-tor, an electric album recorded with Crazy Horse, also included material from the 1970s.^[55] Young did not tour in support of either album; in total, he played only one show, a set at the 1980 Bread and Roses Festival in Berkeley,^[56] between the end of his 1978 tour with Crazy Horse and the start of his tour with the Trans Band in mid-1982.

The 1982 album Trans, which incorporated vocoders, synthesizers, and electronic beats, was Young's first for new label Geffen Records (distributed at the time by Warner Bros. Records, whose parent Warner Music Group owns most of Young's solo and band catalog) and represented a distinct stylistic departure. Young later revealed that an inspiration for the album was the theme of technology and communication with his son Ben, who has severe cerebral palsy and cannot speak.^[58] An extensive tour preceded the release of the album, and was documented by the video Neil Young in Berlin, which saw release in 1986. MTV played the video for "Sample and Hold" in light rotation. The entire song contained "robot vocals" by Neil and Nils Lofgren of the E-Street Band.

Young's next album, 1983's Everybody's Rockin', included several rockabilly covers and clocked in at less than twenty-five minutes in length. Young was backed by the Shocking Pinks for the supporting U.S. tour. Trans had already drawn the ire of label head David Geffen for its lack of commercial appeal, and with Everybody's Rockin' following only seven months later, Geffen Records sued Young for making music "unrepresentative" of himself.^[59] The album was also notable as the first for which Young made commercial music videos – Tim Pope directed the videos for "Wonderin'" and "Cry, Cry, Cry". Also premiered in 1983, though little seen, was the eclectic full-length comedy film Human Highway, co-directed and co-written by Young, and starring Young, Dean Stockwell, Russ Tamblyn, Dennis Hopper and members of Devo.

1984 was the first year without a Neil Young album since the start of Young's musical career with Buffalo Springfield in 1966. Young's lack of productivity was largely due to the ongoing legal battle with Geffen, although he was also frustrated that the label had rejected his 1982 country album Old Ways.^[60] It was also the year when Young's third child, his second with wife Pegi, was born: his daughter Amber Jean, a child who was later diagnosed with inherited epilepsy. Young spent most of 1984 and all of 1985 touring for Old Ways with his country band, the International Harvesters. The album was finally released in an altered form midway through 1985. Young also appeared at that year's Live Aid concert in Philadelphia, collaborating with Crosby, Stills and Nash for the quartet's first performance for a paying audience in over ten years.

Young's last two albums for Geffen were more conventional in genre, although they incorporated production techniques like synthesizers and echoing drums that were previously uncommon in Young's music. Young recorded 1986's Landing on Water without Crazy Horse, but reunited with the band for the subsequent year-long tour and final Geffen album, Life, which emerged in 1987. Young's album sales dwindled steadily throughout the eighties; today Life remains his all-time-least successful studio album, with an estimated four hundred thousand sales worldwide.^[61]

Switching back to his old label Reprise Records, Young continued to tour relentlessly, assembling a new blues band called The Bluenotes in mid-1987 (a legal dispute with musician Harold Melvin forced the eventual rechristening of the band as Ten Men Working midway through the tour). The addition of a brass section provided a new jazzier sound, and the title track of 1988's This Note's For You became Young's first hit single of the decade. Accompanied by a video that parodied corporate rock, the pretensions of advertising, and Michael Jackson, the song was initially unofficially banned by MTV for mentioning the brand names of some of their sponsors. Young wrote an open letter, "What does the M in MTV stand for: music or money?" Despite this, the video was eventually named best video of the year by the network in 1989.^[62] By comparison, the major music cable network of Young's home nation, Muchmusic, ran the video immediately.

Young reunited with Crosby, Stills and Nash to record the 1988 album American Dream and play two benefit concerts late in the year, but the group did not embark upon a full tour. The album was only the second-ever studio record for the quartet.

Return to prominence (1989–1999)[link]

Young performing in 1996 in Turku, Finland

Young's 1989 single "Rockin' in the Free World", which hit #2 on the U.S. mainstream-rock charts, and accompanying album, Freedom, rocketed him back into the popular consciousness after a decade of sometimes-difficult genre experiments. The album's lyrics were often overtly political; "Rockin' in the Free World" deals with homelessness, terrorism, and environmental degradation, implicitly criticizing the government policies of President George H.W. Bush.^[63]

The use of heavy feedback and distortion on several Freedom tracks was reminiscent of the Rust Never Sleeps album, and foreshadowed the imminent rise of grunge. The rising stars of the genre, including Nirvana's Kurt Cobain and Pearl Jam's Eddie Vedder, frequently cited Young as a major influence, contributing to his popular revival. A tribute album called The Bridge: A Tribute to Neil Young was released in 1989, featuring covers by alternative and grunge acts including Sonic Youth, Nick Cave, Soul Asylum, Dinosaur Jr, and the Pixies.

Young's 1990 album Ragged Glory, recorded with Crazy Horse in a barn on his Northern California ranch, continued this distortion-heavy aesthetic. Young toured for the album with Orange County, California country-punk band Social Distortion and alternative rock pioneers Sonic Youth as support, much to the consternation of many of his old fans.^[64] Weld, a two-disc live album documenting the tour, was released in 1991.^[64] Sonic Youth's influence was most evident on Arc, a 35-minute collage of feedback and distortion spliced together at the suggestion of Sonic Youth's Thurston Moore and originally packaged with some versions of Weld.^[64]

1992's Harvest Moon marked an abrupt return to the country and folk-rock stylings of Harvest and reunited him with some of the musicians from that album, including singers Linda Ronstadt and James Taylor. The title track was a minor hit and the record was well received by critics, winning the Juno Award for Album of the Year in 1994. Young also contributed to Randy Bachman's nostalgic 1992 tune "Prairie Town," and garnered a 1993 Academy Award nomination for his song "Philadelphia", from the soundtrack of the Jonathan Demme movie of the same name. An MTV Unplugged performance and album emerged in 1993. Later that year, Young collaborated with Booker T. and the M.G.s for a summer tour of Europe and North America. Some European shows ended with a rendition of "Rockin' in the Free World" played with Pearl Jam, foreshadowing their eventual full-scale collaboration two years later.

In 1994 Young again collaborated with Crazy Horse for Sleeps with Angels, a record whose dark, sombre mood was influenced by Kurt Cobain's death earlier that year: the title track in particular dealt with Cobain's life and death, without mentioning him by name. Cobain had quoted Young's lyric "It's better to burn out than fade away" (a line from "My My, Hey Hey") in his suicide note. Young had reportedly made repeated attempts to contact Cobain prior to his death.^[65] Still enamored with the grunge scene, Young reconnected with Pearl Jam in 1995 for the live-in-the-studio album Mirror Ball and a tour of Europe with the band and producer Brendan O'Brien backing Young. 1995 also marked Young's induction into the Rock and Roll Hall of Fame, where he was inducted by Eddie Vedder.

"Young has consistently demonstrated the unbridled passion of an artist who understands that self-renewal is the only way to avoid burning out. For this reason, he has remained one of the most significant artists of the rock and roll era." – Rock and Roll Hall of Fame website.^[66]

Young's next collaborative partner was filmmaker Jim Jarmusch, who asked Young to compose a soundtrack to his 1995 black and white western film Dead Man. Young's instrumental soundtrack was improvised while he watched the film alone in a studio. The death of longtime mentor, friend, and producer David Briggs in late 1995 prompted Young to reconnect with Crazy Horse the following year for the album and tour Broken Arrow. A Jarmusch-directed concert film and live album of the tour, Year of the Horse, emerged in 1997. From 1996–97 Young and Crazy Horse toured extensively throughout Europe and North America, including a stint as part of the H.O.R.D.E. Festival's sixth annual tour.

In 1998, Young renewed his collaboration with the rock band Phish, sharing the stage at the annual Farm Aid concert and then at Young's Bridge School Benefit, where he joined headliners Phish for renditions of "Helpless" and "I Shall Be Released."^[67] Phish declined Young's later invitation to be his backing band on his 1999 North American tour.

The decade ended with the release in late 1999 of Looking Forward, another reunion with Crosby, Stills and Nash. The subsequent tour of the United States and Canada with the reformed super quartet earned US$42.1 million, making it the eighth largest grossing tour of 2000.

Renewed activism and brush with death (2000s)[link]

Neil Young continued to release new material at a rapid pace through the first decade of the new millennium. The studio album Silver & Gold and live album Road Rock Vol. 1 were released in 2000 and were both accompanied by live concert films. His 2001 single "Let's Roll" was a tribute to the victims of the September 11 attacks, and the effective action taken by the passengers and crew on Flight 93 in particular.^[68] At the "America: A Tribute to Heroes" benefit concert for the victims of the attacks, Young performed John Lennon's "Imagine" and accompanied Eddie Vedder and Mike McCready on "Long Road", a Pearl Jam song that was written with Young during the Mirrorball sessions. "Let's Roll" was included on 2002's Are You Passionate?, an album mostly composed of mellow love songs dedicated to Young's wife, Pegi, backed by Booker T & the MGs.

In 2003, Young released Greendale, a concept album recorded with Crazy Horse members Billy Talbot and Ralph Molina. The songs loosely revolved around the murder of a police officer in a small town in California and its effects on the town's inhabitants.^[69] Under the pseudonym "Bernard Shakey", Young directed an accompanying film of the same name, featuring actors lip-synching to the music from the album. He toured extensively with the Greendale material throughout 2003 and 2004, first with a solo, acoustic version in Europe, then with a full-cast stage show in North America, Japan, and Australia. Young began using biodiesel on the 2004 Greendale tour, powering his trucks and tour buses with the fuel. "Our Greendale tour is now ozone friendly," he said. "I plan to continue to use this government approved and regulated fuel exclusively from now on to prove that it is possible to deliver the goods anywhere in North America without using foreign oil, while being environmentally responsible."^[70] Young spent the latter portion of 2004 giving a series of intimate acoustic concerts in various cities with his wife, who is a trained vocalist and guitar player.

In March 2005, while working on the Prairie Wind album in Nashville, Young was diagnosed with a brain aneurysm. He was treated successfully with a minimally invasive neuroradiological procedure, performed in a New York hospital on March 29,^[71] but two days afterwards he passed out on a New York street from bleeding from the femoral artery, which surgeons had used to access the aneurysm.^[72] The complication forced Young to cancel his scheduled appearance at the Juno Awards telecast in Winnipeg, but within months he was back on stage, appearing at the close of the Live 8 concert in Barrie, Ontario, on July 2. During the performance, he debuted a new song, a soft hymn called "When God Made Me". Young's brush with death influenced Prairie Wind's themes of retrospection and mortality.^[73] The album's live premiere in Nashville was immortalized by filmmaker Jonathan Demme in the 2006 film Neil Young: Heart of Gold.

Young's renewed activism manifested itself in the 2006 album Living With War, which like the much earlier song "Ohio," was recorded and released in less than a month as a direct result of current events.^[74] In early 2006, three years after the US invasion of Iraq, the sectarian war and casualties there were escalating. While doing errands on a visit to his daughter, Young had seen a newspaper photo of wounded US veterans on a transport plane to Germany, and noticing that the same paper devoted little actual coverage to the story, he was unable to get the image out of his head, realizing the suffering caused to families by the war had not truly registered to him and most Americans who were not directly affected by it. Young broke down crying, and immediately got his guitar out and began to write multiple songs at once. Within a few days he had completed work and assembled a band. He later said he had restrained himself for a long time from writing any protest songs, waiting for someone younger, with a different perspective, but no one seemed to be saying anything.

Most of the album's songs rebuked the Bush administration's policy of war by examining its human costs to soldiers, their loved ones, and civilians, but Young also included a few songs on other themes, and an outright protest titled, "Let's Impeach the President",^[75] in which he stated that Bush had lied to lead the country into war. Young's lyrics in another song named Illinois Senator Barack Obama, who had not declared any intention to run for president at the time and was widely unexpected to be able to win either the Democratic Party nomination or a general election, as potentially a replacement for Bush. That summer, Crosby, Stills, Nash & Young reunited for the supporting "Freedom Of Speech Tour '06", in which they played Young's new protest songs alongside the group's older material, meeting with both enthusiasm and anger from different fans, some of whom were supportive of Bush politically. CSNY Déjà Vu, a concert film of the tour directed by Young himself, was released in 2008, along with an accompanying live album.

While Young had never been a stranger to eco-friendly lyrics, themes of environmentalist spirituality and activism became increasingly prominent in his work throughout the 1990s and 2000s, especially on Greendale^[76] and Living With War.^[77] The trend continued on 2007's Chrome Dreams II, with lyrics exploring Young's personal eco-spirituality.^[78] Also in 2007, Young accepted an invitation to participate in Goin' Home: A Tribute to Fats Domino, contributing his version of "Walking to New Orleans".

In 2008, Young revealed his latest project, the production of a hybrid-engine 1959 Lincoln called Lincvolt.^[79] A new album loosely based on the Lincvolt project, Fork in the Road, was released on April 7, 2009.^[80] The album, partly composed of love songs to the car, also commented on the economic crisis, with one narrator attacking the Wall Street bailouts enacted in late 2008. Unfortunately, the car caught fire in November 2010, in a California warehouse, and along the way it burned an estimated US$850,000 worth of Young's rock and roll memorabilia collection. Initial reports suggest the fire might have been triggered by an error in the vehicle's plug-in charging system. Young blamed the fire on human error and said he and his team were committed to rebuilding the car. "The wall charging system was not completely tested and had never been left unattended. A mistake was made. It was not the fault of the car", he said.

Young performing in Nottingham, England, on June 23, 2009.

A Jonathan Demme concert film from a 2007 concert at the Tower Theater in Upper Darby, Pennsylvania, called the Neil Young Trunk Show premiered on March 21, 2009, at the South by Southwest (SXSW) Film Conference and Festival in Austin, Texas. It was featured at the Cannes Film Festival on May 17, 2009 and was released in the US on March 19, 2010^[81] to critical acclaim.^[82][83][84]

Young's most recent album appearance was on the album Potato Hole, released on April 21, 2009 by Memphis organ player Booker T. Jones, of Booker T. & the MGs fame. Young plays guitar on nine of the album's ten instrumental tracks, alongside Drive-By Truckers, who already had three guitar players, giving some songs on the album a total of five guitar tracks. Jones contributed guitars on a couple of tracks.

Young continues to tour extensively. In 2009, he headlined the Glastonbury Festival in Pilton, England,^[85] at Hard Rock Calling in London (where he was joined onstage by Paul McCartney for a rendition of "A Day in the Life") and, after years of unsuccessful booking attempts, the Isle of Wight Festival^[86] in addition to performances at the Big Day Out festival in New Zealand and Australia and the Primavera Sound Festival in Barcelona.

New performances (2010s)[link]

On January 22, 2010, Young performed "Long May You Run" on the final episode of The Tonight Show with Conan O'Brien. On the same night, he and Dave Matthews performed the Hank Williams song "Alone and Forsaken", for the Hope for Haiti Now: A Global Benefit for Earthquake Relief charity telethon, in response to the 2010 Haiti earthquake. Young also performed "Long May You Run" at the closing ceremony of the 2010 Olympic winter games in Vancouver, British Columbia, Canada. In May 2010, it was revealed Young had begun working on a new studio album produced by Daniel Lanois. This was announced by David Crosby, who said that the album "will be a very heartfelt record. I expect it will be a very special record."^[87] On May 18, 2010, Young embarked upon a North American solo tour to promote his then upcoming album, Le Noise, playing a mix of older songs and new material. Although billed as a solo acoustic tour, Young also played some songs on electric guitars, including Old Black.^[88] Young continued his Twisted Road tour with a short East Coast venture during spring 2011. Young also contributed vocals to the Elton John–Leon Russell album The Union, singing the second stanza on the track "Gone to Shiloh" and providing backing vocals.

In September 2011, Jonathan Demme's third documentary film on the singer songwriter, Neil Young Journeys, premiered at the Toronto International Film Festival.^[89] Like Demme's earlier work with Young, most of the film consists of a simply filmed live performance, in this case, Young's homecoming show in May 2011 at Toronto's Massey Hall, four decades after he first played at the iconic venue. Playing old songs, as well as new ones from Le Noise, Young performs solo on both electric and acoustic instruments. His performance is a counterpoint to Demme's footage of Young's return to Omemee, Ontario, the small town near Toronto where he grew up, which has now become physically unrecognizable, though he vividly recalls events from his childhood there.

Young currently lives near^[90] La Honda, California, on his Broken Arrow Ranch, named after one of his early Buffalo Springfield songs.^[91] The original 140-acre (0.57 km²) parcel was purchased in 1970 for US$350,000 cash^[92] and has grown to thousands of acres.^[93][94][95]

On January 22, 2012, the Master Class at Slamdance Festival featured Coffee with Neil Young & Jonathan Demme for their new film Journeys. A report from the event by Bob & Kim C. revealed that Neil Young has been recording with Crazy Horse. One album is complete and they are working on another.

Neil Young and Crazy Horse performed a full-on grunge version of the Beatles' "I Saw Her Standing There" for Paul McCartney's MusiCares Person of the Year dinner on February 10, 2012, in Hollywood.^[96]

Neil Young & Crazy Horse released the album Americana . Its release is scheduled for June 5, 2012.This will be Young's first collaboration with Crazy Horse since the Greendale album and tour in 2003 and 2004. The record is a tribute to national anthems that jumps from "This Land Is Your Land" to "Clementine" ^[97]

Archives project[link]

As far back as 1988, Young spoke in interviews of his efforts to compile his unreleased material and to remaster his existing catalog. The collection was eventually titled the Neil Young Archives Series. The first installment, entitled The Archives Vol. 1 1963–1972, was originally planned for a 2007 release but was delayed, and released on June 2, 2009.

Three performances from the Performance Series of the archives were released individually before The Archives Vol. 1. Live at the Fillmore East, a selection of songs from a 1970 gig with Crazy Horse, was released in 2006. Live at Massey Hall 1971, a solo acoustic set from Toronto's Massey Hall, saw release in 2007. Sugar Mountain - Live At Canterbury House 1968, an early solo performance and, chronologically, the first disc in the performance series, emerged late in 2008.

In an interview in 2008, Neil Young discussed Toast, an album originally recorded with Crazy Horse in San Francisco in 2000 but never released.^[98] The album will be part of the Special Edition Series of the Archives. No release date currently exists for Toast. The album A Treasure, with live tracks from 1985 sessions with the International Harvesters, during a time when he was being sued by Geffen Records, was released in June 2011.

On July 14, 2009, Young's first four solo albums were reissued as remastered HDCD discs and digital downloads as discs 1–4 of the Original Release Series of the Archives.

Awards and recognitions[link]

• 2011 Juno Awards Artist of the Year, Adult Alternative Album of the Year, and Allan Waters Humanitarian Award
• 2011 Grammy Awards Best Rock Song "Angry World" – Neil Young, songwriter
• 2010 Grammy Awards Best Art Direction On A Boxed/Special Limited Edition Package "Archives Volume One 1963-1973" – Neil Young, Gary Burden, Jenice Heo
• Canadian Music Hall of Fame, 1982
• Rock and Roll Hall of Fame He has been inducted into the Rock and Roll Hall of Fame twice. First in 1995 for his solo work, with an induction speech given by Eddie Vedder, and again in 1997 as a member of Buffalo Springfield.

As one of the original founders of Farm Aid, he remains an active member of the board of directors. For one weekend each October, in Mountain View, California, he and his wife host the Bridge School Concerts, which have been drawing international talent and sell-out crowds for nearly two decades with some of the biggest names in rock having performed at the event including Tom Petty and the Heartbreakers, Bruce Springsteen, David Bowie, The Who, Red Hot Chili Peppers, Trent Reznor of Nine Inch Nails, Tom Waits, Thom Yorke of Radiohead, R.E.M, Foo Fighters, Metallica, Pearl Jam, Sonic Youth, The Smashing Pumpkins, Paul McCartney and Dave Matthews. The concerts are a benefit for the Bridge School, which develops and uses advanced technologies to aid in the instruction of children with disabilities. Young's involvement stems at least partially from the fact that both of his sons have cerebral palsy and his daughter, like Young himself, has epilepsy.

Young was nominated for an Oscar in 1994 for his song "Philadelphia" from the film Philadelphia. Bruce Springsteen won the award for his song "Streets of Philadelphia" from the same film. In his acceptance speech, Springsteen said that "the award really deserved to be shared by the other nominee's song." That same night, Tom Hanks accepted the Oscar for Best Actor and gave credit for his inspiration to the song "Philadelphia".

He was part owner of Lionel, LLC, a company that makes toy trains and model railroad accessories.^[99] In 2008 Lionel emerged from bankruptcy and his shares of the company were wiped out. At this time his status with Lionel is unknown, according to Lionel CEO Jerry Calabrese he is still a consultant for Lionel. He was instrumental in the design of the Lionel Legacy control system for model trains^[99] and it is believed he will continue to develop the system. Young has been named as co-inventor on seven U.S. Patents related to model trains.^[100]

Young has twice received honorary doctorates. He received an Honorary Doctorate of Music from Lakehead University in Thunder Bay, Ontario in 1992, and an Honorary Doctorate of Humane Letters from San Francisco State University in 2006. The latter honour was shared with his wife Pegi for their creation of the Bridge School. In 2006, Young was given Manitoba's highest civilian honour, when he was appointed to the Order of Manitoba. In 2009, he was then given Canada's highest civilian honour, when he was appointed to the Order of Canada.

Rolling Stone magazine in 2000, ranked Young thirty-fourth in its list of the 100 greatest artists of all time,^[101] and in 2003, included five of his albums in its list of 500 greatest albums of all time.^[102] In 2000, Young was inducted into Canada's Walk of Fame.^[103] In 2006, Paste magazine compiled a "Greatest Living Songwriters" list; Young was ranked second behind Bob Dylan. (While Young and Dylan have occasionally played together in concert, they have never collaborated on a song together, or played on each others' records). He ranked thirty-ninth on VH1's 100 Greatest Artist of Hard Rock that same year. The Rock and Roll Hall of Fame explained that while Young has "avoided sticking to one style for very long, the unifying factors throughout Young’s peripatetic musical journey have been his unmistakable voice, his raw and expressive guitar playing, and his consummate songwriting skill."^[7]

Young's political outspokenness and social awareness influenced artists such as Blind Melon, Phish, Pearl Jam, and Nirvana. Young is referred to as "the Godfather of Grunge" because of the influence he had on Kurt Cobain and Eddie Vedder and the entire grunge movement. Eddie Vedder of Pearl Jam inducted Young into the Rock and Roll Hall of Fame in 1995, citing him as a huge influence. Young is cited as being a significant influence on experimental rock artists Sonic Youth, Jesse Marchant,^[104] and Thom Yorke of Radiohead. Yorke recounted of first hearing Young after sending a demo tape into a magazine when he was 16, who favourably compared his singing voice to Young's. Unaware of Young at that time, he bought After the Gold Rush, and "immediately fell in love" with his work, calling it "extraordinary".^[105] Dave Matthews lists Neil Young as one of his favorite and most inspirational songwriters and covers his songs on occasion. The British Indie band The Bluetones named their number one debut album after the song "Expecting to Fly" (written by Young when still with Buffalo Springfield) and have covered the song while touring. Young also inspired Oasis singer-songwriter Noel Gallagher, with Gallagher covering "My My, Hey Hey (Into the Black)" on the live album Familiar to Millions.

The Australian rock group Powderfinger named themselves after Young's song "Powderfinger" from Rust Never Sleeps. The members of the Constantines have occasionally played Neil Young tribute shows under the name Horsey Craze.^[106] While in Winnipeg on November 2, 2008 during the Canadian leg of his tour, Bob Dylan visited Young's former home in River Heights, where Young spent his teenage years. Dylan was interested in seeing the room where some of Young's first songs were composed.

Jason Bond, an East Carolina University biologist, discovered a new species of trapdoor spider in 2007 and named it Myrmekiaphila neilyoungi after Young,^[107] his favorite singer.^[108]

In 2001, Young was awarded the Spirit of Liberty award from the civil liberties group People for the American Way. Young was honored as the MusiCares Person of the Year on January 29, 2010, two nights prior to the 52nd Annual Grammy Awards. He was also nominated for two Grammy Awards: Best Solo Rock Vocal Performance for "Fork In The Road" and Best Boxed or Special Limited Edition Package for "Neil Young Archives Vol. I (1963–1972)". Young won the latter Grammy Award. In 2010, he was ranked #26 in Gibson.com’s Top 50 Guitarists of All Time.^[109]

Juno Awards[link]

Instruments[link]

Young in 2008, in Florence, Italy

Guitars[link]

In 2003, Rolling Stone listed Young as eighty-third in its ranking of "The 100 Greatest Guitarists of All Time" (although in a more recent version of the list, he has been moved up to seventeenth place), describing him as a "restless experimenter...who transform[s] the most obvious music into something revelatory."^[110] Young is a collector of second-hand guitars, but in recording and performing, he frequently uses just a few instruments, as is explained by his longtime guitar technician Larry Cragg in the film Neil Young: Heart of Gold. They include:

• 1953 Gibson Les Paul Goldtop. Nicknamed "Old Black", this is Young's primary electric guitar and is featured on Rust Never Sleeps and other albums. Old Black got its name from an amateur paintjob applied to the originally gold body of the instrument, sometime before Neil acquired the guitar in the late 1960s. In 1972, a mini humbucker pickup from a Gibson Firebird was installed in the lead/treble position. This pickup, severely microphonic, is considered a crucial component of Neil's sound. A Bigsby vibrato tailpiece was installed as early as 1969, and can be heard during the opening of "Cowgirl in the Sand" from Everybody Knows This Is Nowhere.
• Martin D-45. His primary steel-string acoustic guitar, used to write "Old Man" and many other songs. It was one of four instruments bought by Stephen Stills for himself and his band-mates in CSNY in order to celebrate their first full concert at the Greek Theater in 1969.
• Martin D-28. Nicknamed "Hank" after its previous owner, Hank Williams. Hank Williams, Jr., had traded it for some shotguns; it went through a succession of other owners until it was located by Young's longtime friend Grant Boatwright. The guitar was purchased by Young from Tut Taylor. Young has toured with it for over 30 years. A story about the guitar and the song it inspired, "This Old Guitar," can be seen about 50 minutes into the film Neil Young: Heart of Gold. It is Young's primary guitar for Prairie Wind.
• Vintage Martin D-18: Young used an old D-18 throughout his early days performing in coffee houses in Canada and on some early Buffalo Springfield work, before he received the D-45 from Stills. It can also be seen on unreleased footage from the Woodstock documentary, particularly on an exceptional acoustic duet of the Buffalo Springfield track "Mr. Soul" with Stills. The guitar has often been used to carry "dropped standard tuning" (DGCFAD) which Young often uses in concert. This allowed him to perform songs such as "Ambulance Blues" and "Don't let it Bring You Down" live without having to tune all 6 strings onstage.

Other notable (or odd) instruments played by Young include:

• Taylor 855 12-string, used in the first half of Rust Never Sleeps.
• 1927 Gibson Mastertone, a six-string banjo tuned like a guitar, used on many recordings and played by James Taylor on "Old Man."
• Gretsch 6120 (Chet Atkins model). Before Young bought Old Black, this was his primary electric guitar during his Buffalo Springfield days.
• Gretsch White Falcon. Young purchased a late 1950s model near the end of the Buffalo Springfield era; in 1969 he bought a stereo version of the same vintage guitar from Stephen Stills, and this instrument is featured prominently during Young's early 1970s period, and can be heard on tracks like "Ohio," "Southern Man," "Alabama," "Words (Between the Lines of Age)," and "L.A.". It was Young's primary electric guitar during the Harvest era, since Young's deteriorating back condition (eventually fixed with surgery) made playing the much heavier Les Paul difficult.^[111] This particular White Falcon is the stereo 6137, in which the signal from the three bass strings is separated from the signal from the three treble strings. Young typically plays this guitar in this stereo mode, sending the separate signals to two different amps, a Fender Deluxe and either a Fender Tremolux or a low-powered Tweed Fender Twin. The separation of the signals is most prominently heard on the Harvest song "Words."
• Gibson Flying V, on the Time Fades Away tour.
• Fender Broadcaster, on the Tonight's the Night album and tour.

Reed organ[link]

Young owns an Estey reed organ, serial number 167272, dating from 1885, which he frequently plays in concert and which was recently restored. The instrument and its restoration are documented in The Reed Society Quarterly (30.1: 6ff); a photograph of the instrument is on the cover.

Amplification[link]

Young uses various vintage Fender Tweed Deluxe amplifiers. His preferred amplifier for electric guitar is the Fender Deluxe, specifically a Tweed-era model from 1959. He purchased his first vintage Deluxe in 1967 for US$50 from the drummer of Crazy Horse, Ralph Molina, and has since acquired nearly 450 different examples, all from the same era, but he maintains that it is the original model that sounds superior and is crucial to his trademark sound.

The Tweed Deluxe is almost always used in conjunction with a late-1950s Magnatone 280 (similar to the amplifier used by Lonnie Mack and Buddy Holly). The Magnatone and the Deluxe are paired together in a most unusual manner: the external speaker jack from the Deluxe sends the amped signal through a volume potentiometer and directly into the input of the Magnatone. The Magnatone is notable for its true pitch-bending vibrato capabilities, which can be heard as an electric piano amplifier on "See the Sky About to Rain". A notable and unique accessory to Young's Deluxe is the Whizzer, a device created specifically for Young, which physically changes the amplifier's settings to pre-set combinations. This device is connected to footswitches operable by Young onstage in the manner of an effects pedal.^[112]

Discography[link]

See also the discographies for Buffalo Springfield and Crosby, Stills, Nash & Young

See also[link]

	Neil Young portal
32x28px	Music of Canada portal

• Music of Canada
• Canadian rock

Notes[link]