Speaking of Neil Young | Chris Nelson
As a junior in high school I found myself humming along to Neil Young’s “Old Man” and “Heart of Gold” whenever the local classic rock station decided to take a break from Aerosmith or Boston or AC/ DC. Senior year I’d take the scenic route home from football practice while blaring Harvest Moon in the used Mustang I shared with my older brother, driving past the cornfields just as the setting sun made them glow and feeling nostalgic for the innocence I had yet to lose. First semester of college I was getting high to his 1969 self-titled solo debut, and by spring I waited for rainy days to wallow in my loneliness with the haunting On the Beach, playing it over and over on an old turntable of my father’s that I had restored.
In accordance with the natural progression of other Neil faithfuls, it wasn’t until I had exhausted this mostly acoustic, more accessible singer/songwriter side of Neil Young that I was able to graduate to an appreciation of his electric work—the highest and most challenging level a Neil faithful can reach. And it took me even longer to fall in love with it. Only recently have I begun to figure out why: his style of playing, with its wailings and repetitions and clutter and incoherence, is my style of speaking. Like his guitar, I stutter.
Chris Nelson is a writer living in New York City.