The Fat Angel Sings

Over the last ten years, The Lone Bellow has cast an indelible spell with their finespun songs of hard truth and redemptive beauty, faithfully delivered in hypnotic three-part harmony. In a departure from their past work with elite producers like Aaron Dessner of The National and eight-time Grammy-winner Dave Cobb, the Nashville-based trio struck out on their own for their album “Love Songs For Losers”, dreaming up a singular sound encompassing everything from arena-ready rock anthems to the gorgeously sprawling Americana tunes the band refers to as little redneck symphonies.

Though no stranger to delicate Americana heart-tugging music, on “Love Songs For Losers”, The Lone Bellow’s fifth LP and second in two years, the band once again traces scars of loneliness and hurt, but also offers some reflection on love and joy throughout making for one of their most eclectic albums yet, both musically and thematically.

The synth-heavy “Honey” – one of the album’s early singles, has all the hallmarks of The Lone Bellow, haunting but sweet vocals, delicate harmonies, and deeply informed lyrics.

But on the very next song, “Gold,” the band tackles opioid addiction and dying communities in first person – again relying heavily on synths, but for an entirely different vibe.  Elsewhere, “I’m In Love,” is anchored by electric guitars and a triumphant chorus, while “Dreaming” is a soft, languid piano ballad, but both songs are equally impressive. “Caught Me Thinking,” an R&B-inspired track complete with horns, is one of the band’s most ambitious songs yet and is pulled off flawlessly. 

While Zac Williams takes lead vocals on most tracks here, Kanene Donehey Pipkin, takes the mic on the dreamy “Cost Of Living”. Williams takes back lead vocals on “Unicorn,” a very public love letter to his wife who managed to recover from paralysis; “I was kind of thinking I could tell you my feelings, sit you down and wreck you with some words that are pretty, I could say ‘I love you’ but it’s such a bore, I think God made a unicorn”.

The Nashville based trio The Lone Bellow have shared another preview track from their upcoming album release, “Love Songs For Losers“. “Unicorn” is a beautiful new song that lead singer Zac Williams calls, “a stumbling, but honest love letter to my wife Stacy after her miraculous recovery from paralysis.”

“‘I was kind of thinking I could tell you my feelings / sit you down and wreck you with some words that are pretty / I could say I love you but it’s such a bore / I think God made a unicorn.’”

Throughout their lifespan as a band, The Lone Bellow have cast an indelible spell with their finespun songs of hard truth and unexpected beauty, frequently delivered in hypnotic three-part harmony. With “Love Songs for Losers”, they dreamt up a singular sound encompassing everything from arena-ready rock anthems to gorgeously sprawling Americana tunes. The result is an intimate meditation on the pain and joy and ineffable wonder of being human, at turns heartbreaking, irreverent, and sublimely transcendent.

After sketching the album’s 11 songs in a nearby church, the band holed up for eight weeks at Roy Orbison’s house on Old Hickory Lake along with long time bassist Jason Pipkin and drummer Julian Dorio. “Love Songs for Losers” also finds singer/multi-instrumentalist Kanene Donehey Pipkin taking the reins as vocal producer, expertly harnessing the rarefied vocal magic they’ve continually brought to stages around the world. The triumph of completing their first self-produced album marks the start of a thrilling new chapter in the band’s journey, newly emboldened to create without limits.

Though “Love Songs For Losers” has many of the familiar markings of the band, the album finds the trio at their most experimental, diverse in subjects and sound – all while still sounding very much like a Lone Bellow album.  

“Love Songs For Losers!” is set to be released November 4^th via Dualtone.

Nick Drake was the kind of musician other artists dream of being—and, in some ways, fear becoming. Largely unknown during his 26 years on this planet, Drake’s dark-yet-delicate music returned to public consciousness more than twenty-five years after his 1974 suicide, when the title track of his final record, “Pink Moon” (1972), was included in a dreamy 2000 Volkswagen commercial hawking the Cabrio convertible. Seventeen years later—and 50 years after “Pink Moon’s” release—a diverse cross-section of musicians are still citing Drake as an influence.

Every artist seems to have an album where they finally cut all the nerves and lay their bare soul out to the masses. For Nick Drake, “Pink Moon“ was his. And it is, without a doubt, one of the most honest albums from an artist struggling through their mental health issues. In listening to Nick’s two previous albums, he casts himself in the role of observer–watching and wondering about others. However, in “Pink Moon”, the tables turn: Nick is now the subject, and we, the listeners are the observers being held captive to his pleas for release from his suffering. I absolutely guarantee no other album will make you want to reach through your speakers and give the artist a long, comforting hug–as much as “Pink Moon” does.

In many ways, though his path was different than both of theirs, Drake was a kindred spirit to artists like Kurt Cobain and Elliott Smith (who also owes quite a bit of his spare, haunting sound to Drake). He was deeply in love with music, hungered for success, but, in many ways, shrank from the trappings of music stardom. As a result, he died “thinking he was a failure,” as his sister Gabrielle said in a 2015 interview.

Although today Drake’s fingerprints are all over popular music, when his records were first released, they hardly made a dent. Drake released two other albums before “Pink Moon”—”Five Leaves Left” (1969) and “Bryter Layter” (1971) —neither of which sold that well upon release. In fact, “Five Leaves Left” sold fewer than 3,000 copies during Drake’s lifetime, according to George Plasketes’ Please Allow Me to Introduce Myself: Essays on Debut Albums. Pink Moon fared about as well. The pensive British singer-songwriter’s downfall, in many ways, was due to his lack of confidence; he was not big on interviews and performances, a reticence that means there’s a dearth of live footage of Drake during his adult years.

“He sang away from the microphone, mumbled and whispered, all with a sense of precariousness and doom,” musician Brian Cullman recalls in the Trevor Dann’s Darker Than the Deepest Sea: The Search for Nick Drake. “It was like being at the bedside of a dying man who wants to tell you a secret, but who keeps changing his mind at the last minute.”

The album opens with the title track which is a short, sweet, and to the point song. In a spiritual sense, pink moons usually signify rebirth and a metamorphosis–as they are usually spotted in spring. Change of seasons is a motif that appears a lot in Nick’s work, seemingly fascinated by the cycle of life, death, and then rebirth. As such, it sets a good preview for the rest of the album.

“Pink Moon” gets us comfortable and settled in. However, “Place to Be” is where the emotional ride really starts. This song is a painfully beautiful ballad lamenting happier times, and an estrangement from a former self. Nick was at his creative and emotional height in the late sixties when he was attending Cambridge University. He surrounded himself with lots of friends, wrote lots of new songs, and was overall content with his place in the world. In this song, we see that Nick is recognizing he is no longer that happy, friendly figure. The lyrics are chilling and the melody is haunting.

The next highlight of the album is “Which Will”, a clear heartbreak song dwelling on rejection. Rejection from whom? It’s not exactly clear. A love interest? The music industry? The world? Though the song sounds peaceful and mellow–as most of Nick’s songs are–one can’t help but notice the restrained anger in his voice which certainly isn’t present in many other songs of his.

“Things Behind The Sun” is another song of restrained anger, and even paranoia about perceived manipulation and deceit–no doubt aimed at his producer, who still has a vivid memory of Nick angrily confronting him about his lack of success and insisting his producer had something to do with it. But the sad truth was, Nick’s music just wasn’t what the larger music press was into at the time. But the hurt from the rejection stung, and Nick wanted someone to blame. And that’s what we hear in this song. “Which Will” questions the rejection, and “Things Behind the Sun” accuses those who reject. On its surface, the song is still mellow and quiet. But, digging into the lyrics, we see someone who is truly hurt and struggling to grasp their rejection.

“Parasite”–which transcends the aforementioned self-deprecation found in Nick’s previous works, and instead devolves it into pure and outright self-loathing. Nobody compares themselves to an unwanted, life-sucking entity that is hard to get rid of–unless they truly hate themselves. And this is what we see in the song. Definitely the darkest song on an already pretty dark album. But like all other Nick Drake songs, the melody is beautiful and you still can’t help but love it.

The album closes with “From The Morning”, a surprisingly uplifting song about hope, resurrection, change–however one wishes to interpret it. The song is made sad only by the fact that its lyrics “Now we rise, and we are everywhere” are inscribed on Nick’s tombstone. It ends the album on a bittersweet note: We know of the pain that lingered in the soul of the artist, but the songs serves to remind that even in our darkest moments, we can have hope. And I think while the world experiences collective trauma right now–that is exactly what we all need to hear.

The secret hidden in his voice, however, was enough to draw people near—both back in the ‘70s and today. As his sister says in , “I think to really love Nick, you have to love the mystery of him as well.” There was something about his weeping-willow voice and careful, poetic phrasing that initially captured the attention of his first producer, Joe Boyd—and that weaves its way through the musician’s first two records, verdant orchestral affairs featuring the talents of Richard Thompson (Fairport Convention), John Cale and Drake’s former schoolmate Robert Kirby, among others. And there was something, too, that stood more starkly in “Pink Moon”—a precursor to the now omnipresent bedroom recording—which was recorded over the span of two days and featured only Drake on guitar and a sole piano overdub on the title track.

Clocking in at a scant 28 minutes, the spare “Pink Moon” received the usual cadre of mixed reviews that denote a classic. Jerry Gilbert wrote in Melody Maker: “Maybe it’s time Mr. Drake stopped acting so mysteriously and started getting something properly organized for himself.” Al Clark of Time Out, however, wrote: “Those who have tried their hand at his material haven’t even scratched the surface yet,” going on to bemoan, “Nick Drake is likely to remain in the shadows, the private troubadour of those who have been fortunate enough to catch an earful of his exquisite 3 a.m. introversions.” Clark ended up being more right than he bargained for. After lapsing into a deep depression, Drake died of an overdose of antidepressants only two years after “Pink Moon’s” release.

released in the UK by Island Records on 25th February 1972

Fourteen years ago, four young Atlanta women picked up instruments without any prior musical experience or lofty aspirations and decided that they were going to start a band so that they could play a friend’s party. The house-show led to more shows around town, and the fiery live sets of this feisty new band known as The Coathangers begat a self-titled album. Recorded during a single graveyard shift at a local studio and mixed the following night, The Coathangers was a raw, rowdy, and revelrous affair. What it lacked in polish it made up for in its undeniable energy and charisma. “We didn’t think anyone was going to listen to it,” says vocalist/guitarist Julia Kugel. “We knew our friends in Atlanta would get it, but we didn’t think it was going to go anywhere. We were just excited to make a record.” Little did Kugel or her bandmates—vocalist/drummer Stephanie Luke, bassist/vocalist Meredith Franco, and keyboardist Candice Jones—know that their scrappy house show-anthems would catch on, prompting years of international tours, a slew of excellent LPs and singles, and, eventually, a deluxe remastered version of their boisterous, long out-of-print debut, The Coathangers.

The first thing the listener hears when the needle drops on The Coathangers is a sample of a man’s voice asking, “Why this record? Why should you listen to a full-scale discussion of the magic of thinking big?” Given the band’s modest initial aspirations, the soundbite was obviously tongue-in-cheek, and yet given the triumphs and accolades bestowed upon the band in the thirteen years since the album’s initial release, there is something a little prescient in that opening statement.

Revisiting the album in hindsight, it’s surprising to hear both how little has changed and how much The Coathangers have grown. On the one hand, the band has always been multi-faceted, able to switch from their rousing rockers like album opener “Tonya Harding” to caustic no-wave scorchers like “Don’t Touch My Shit!” to Americana-tinged pop songs like “Buckhead Betty.” This diversity stems from having multiple songwriters in the band who each brought their own tastes and styles to the group. “It’s cool too to see how genre-fluid we‘ve always been,” Kugel says. “We got labeled as punk, and that was cool because that set us up as being against something, going against the grain. But it’s always been a weird dynamic of different tastes, and it still ultimately comes across as a bunch of girls having fun.”

Fun is key. While the mash-up of approaches continues to be a part of the band’s repertoire, there is a reckless abandon and irreverence to The Coathangers that was dialled back on subsequent albums. We live in difficult times, and there is a spontaneity and carefree spirit on “The Coathangers” debut that is as invigorating and inspiring now as it was thirteen years ago. The band may have merely been a vehicle for having a good time, but in the process of making music they made a space for friendship and laughter, created an environment for people to be free and independent, and helped foster a sense of community in the Atlanta music scene.

“We were just brash and making fun of things,” Kugel says. “We weren’t thinking about lyrics. We weren’t thinking about the industry. There was no thought about ‘making it’ or how people were gonna perceive it.” Consequently, the album was treated more as a private conversation between friends, full of various in-jokes and frivolities that reflected the group’s insular audience and casual approach. “With this band I’ve felt like we have to speak for all woman-kind and as the records went on it became more and more at the forefront,

This was The Coathangers at their most spontaneous and unfiltered. From the deliciously fractured kiss-off garage rocker “Shut the Fuck Up” to the jubilantly nasty “Nestle in My Boobies,” there’s a wild, untamed heart at the center of every track on the album. It’s a record that celebrates being young, independent, and full of life.

Ultimately, the eponymous debut album by The Coathangers is a whirlwind ride of a band at the most frenzied, celebratory, and free moment of their existence. As a standalone record, it’s a brash and bawdy rocker sure to please anyone who likes their rock n’ roll sweaty and messy. As a piece in the band’s legacy, it’s an exhilarating reminder of the band’s youthful carefree beginnings. Suicide Squeeze Records is proud to offer up the deluxe version of “The Coathangers” to the world.

This latest version of the album includes the bonus tracks “Wife Eyes” from the “Hard Candy” EP and the title track from the “Never Wanted You” EP. “The Coathangers” will be available on vinyl featuring expanded artwork with an initial pressing of 1000 copies (500 on Confetti Crush Splatter Vinyl, 500 on Neon Strawberry Banana Pinwheel Vinyl).

Originally released December 4th, 2020

If you can’t trust yourself, who can you trust? . This is the crucial question at the core of Julia, Julia, the moniker for Julia Kugel, founding member of garage punk icons The Coathangers and the dream pop duo Soft Palms. On her first solo full-length album “Derealization”, Kugel shifts her focus from collaboration and band dynamics towards a singular artistic vision and private self-discovery. Steeped in the beguiling pop elements of her past work, “Derealization” is a meditative deep dive into the mind of a person struggling to understand a crumbling internal and external world. The album traverses a landscape of ethereal folk, atmospheric deconstructed pop, and dubbed-out country ballads, all centered around straight forward and direct lyrics. This juxtaposition of nebulousness and lucidity gives the album a sense of clarity emerging from the haze, an apt reflection of Kugel’s personal growth and journey toward self-acceptance.

“Derealization” is based on weaving the unreal, unsaid, and unknown into an undulating sonic fabric. Vocal layering and abstract instrumentation convey a blurred desperation to connect to an emotional and psychological focal point. Moody, dark, and sumptuous, the record is a flow chart of Julia Kugel coming into herself as an artist and songwriter. The album finds Julia playing almost all the instruments and taking her first stab at engineering at COMA, her and her husband’s home recording studio in Long Beach, CA.

“You know how touring musicians often speak of whether home is real or tour is real? Well, it can lead you to lose grasp on ‘reality,’ especially when touring is taken away and you are left to wonder if anything was ever real, including yourself. Like you we’re just playing a character,” Kugel says of her headspace leading up to the creation of “Derealization”. “Honestly, I kinda lost it, and through making this record I made peace with it and reconciled myself as a real person. I forgave myself and in turn forgave those around me. The song ‘Forgive Me’ is the apology I wanted to say and to hear. I wrote every song from that place and gained the confidence I was pretending to possess.”

This raw and personal approach to the lyrics is present throughout “Derealization”. On the opening track “I Want You,” Kugel creates a woozy sense of space with reverb-soaked drums and spaghetti western guitars while she lists off her desires for a mysterious “you.” Is she actually listing off her desires for herself?

For the people around her? As she repeats “do you feel it?” in the song’s chorus, it feels as if she’s conjuring a magical thread by which we are all connected, showing us how our desires are all the same. On “Fever In My Heart” the listener is treated to a lush, acoustic techno track detailing the exhilarating madness of an emotional breakdown. Simple truths percolate to the surface on “Words Don’t Mean Much,” as if clearing away the murk of platitudes and empty gestures. The journey continues on the detached and conflicted “Do It Or Don’t,” an alluring walk through the winding road of lonely choices.

The name for the project—Julia, Julia—is a look in the mirror, a reflection of what is hidden and unanswered, of what is real and what is transient. The experience of living life not as you planned it but as it unfolded, and the mysterious, magical pain that creates meaning. Suicide Squeeze Records is proud to offer up Julia, Julia’s “Derealization” to the world on September 30, 2022. 

released September 30th, 2022

All Songs Written by JULIA KUGEL

After following this red-hot Los Angeles garage band since their 2014 debut LP “Street  Venom” hit me in the face to see the band live Death Vally Girls explode on stage, Are they that special I hear you ask. Absolutely. This crazed quartet combines the raw power of The Stooges‘, The Cramps‘ rockabilly lunacy, and Black Sabbath‘s metallic insanity and they inject their sonic havoc with a cool, dark sense of humour. Death Valley Girls’ ongoing mission is to use their scorching blend of garage punk, communal music, fiery riffage, and desert psychedelia as a vehicle for reconfiguring our perception and tapping into the beauty of the human experience. On their latest single, “It’s All Really Kind of Amazing,” Death Valley Girls continue their mystical quest for transcending the mire of our modern reality with divine rock n’ roll mantras, goosebump-inducing hooks, and Bonnie Bloomgarden’s impassioned vocal performances. While the band built their reputation on sweat-drenched, electrically charged anthems, “It’s All Really Kind of Amazing” delves into their more recent penchant for Larry Schemel’s chiming guitar chords, Bloomgarden’s nimble electric piano lines, big choral hooks, and intoxicating layers of instrumentation. Further bolstered by Rikki Styxx on drums, Emily Retsas on bass, and the gang vocals of Little Ghost, Pickle, and Kelsey Whatever NBD,

As expected the band’s ringleader Bonnie Bloomgarden led the rollicking troops last night. Intoxicating opener Abre Camino from new stirring album “Darkness Rains” set the heated tone of a stormy set instantly, with blazing bangers Death Valley Boogie, Disco, Electric High and the already classic stormer “Disaster (Is What Were’ After)” being the tumultuous highlights of a thunderous live show…

In between, ambiguous groove Gettin Hard, infectious poppy chant Pink Radiation
and organ injected swagger Wear Black showed their versatile songwriting caliber while Bonnie was wandering all over the place and hugged cracking bass player Pickle a couple
of times. She’s the charismatic eyecatcher of a hell-raising foursome that spoiled us all 

L.A. Witch’s eponymous debut album tapped into the allure of warm nights on the West Coast while hinting at the loneliness and lawlessness of living on the periphery of a country founded on a dark past. The three-piece composed of Sade Sanchez, Irita Pai, and Ellie English culled sounds from the outlaws of warmer climes, whether it was 13th Floor Elevators’ lysergic rock n’ roll or the cool hand fatalism by The Doors on songs like “The End”. It’s an album transmitting subdued revelry while also smirking at the inevitable consequences of the night.

There is no better season for these kinds of songs than the autumn, when the promises of summer have abated and the nights of reckoning grow longer. L.A. Witch seized the moment by revisiting some of their early tracks and reshaping them into “Octubre”, a five-song EP that delves deeper into their darker side. “Because these are old songs—we don’t play them live anymore but still wanted them to be heard—this was the perfect opportunity to get experimental with sounds and textures,” Sanchez says of the EP. Despite this new studio adventurism, the songs on “Octubre” stay true to L.A. Witch’s vintage starkness.

Originally released November 2nd, 2018

Greetings to The Hold Steady family,

There’s a lot of people who put in immeasurable effort behind the scenes to make the gears of The Hold Steady machine run well. If you’ve gone to any THS show since 2017, there has been one constant at each and every show weekend: our tour manager Dave Burton.

A few months ago Dave suffered a stroke while working with another artist at a music festival in Louisville. While the long-term prognosis for Dave’s recovery is encouraging, the short-term challenges are immense. To be a dedicated tour manager at the level Dave performs the job is a crazy, wild, supremely detailed action. All of the behind the scenes crew members who you might not see or notice at any show you attend work long hours, mostly driven by their love of music and the adventures the road life can bring. But the flip side of that is that many touring professionals do not have access to health care coverage.

In addition to our physical and emotional support, Burton is going to need access to financial resources far beyond the means of a tour manager. A number of different fundraising avenues will be coming over the next few months to assist Dave in returning to a normal life as quickly as possible. Until those avenues have been solidified and in place, The Hold Steady will be donating all proceeds from Bandcamp purchases towards Dave’s recovery resources. There will be other events in the coming months where THS will continue to donate earnings to Dave. We are also asking you to be an active participant to assist someone who’s done a massive part to help this community be able to thrive over the years.

Recorded live at Variety Playhouse in Atlanta, Georgia on June 4th, 2022.

First time in Atlanta in quite a while and it went so well we actually moved the show to a bigger venue. The remodeled Variety Playhouse is a fantastic venue and the crowd was top notch. We hit the stage and opened with Hornets, which always seems to set the tone. Later on we did DJs into Stay Positive (wth MPJ) and eventually Killer Parties wrapped the last show of a run that took us from Australia to Nashville to Atlanta. Amazing night. 

released November 4th, 2022

The Hold Steady are: Bobby Drake, Craig Finn, Tad Kubler, Franz Nicolay, Galen Polivka, Steve Selvidge

If naming is a form of claiming, of being claimed, how is one tethered to both the physical landscape that surrounds us, as well as our own internal emotional landscape—at times calm, at times turbulent, and ever changing? H.C. McEntire’s new album “Every Acre” grapples with those themes—themes that encompass grief, loss, and links to land and loved ones. And naming—claiming land, claiming self, being claimed by ancestry and heritage—permeates the hauntingly beautiful landscape that is this poignant collection of songs.

H.C. McEntire’s new album “Every Acre” is out in January, and the latest single is mid-tempo country/folk track “New View.” “Inspired by a late-night meditation under an October full moon, the lyrics for ‘New View’ were written from a place of possibility and promise – the feeling of falling in love, affirming its realness and rawness, committing to the openness and bravery required for it to fully emerge, being willing to let it lead,” H.C. says. “It is about leaning into the notion that what you seek is seeking you and making room for its manifestation. Musically, ‘New View’ is the most collaborative composition on “Every Acre”, an album that rejoices in creative partnership – Luke, Casey, Daniel, Missy, and myself. In many ways, it is a song that wrote itself, while the tape was rolling – five bodies in a room together, each willing to offer an unfiltered view from where they were standing.”

Performed by:
H.C. McEntire: vocals, electric guitar, field recordings
Luke Norton: electric and acoustic guitar, piano, Wurlitzer, pump organ
Casey Toll: upright and electric bass
Daniel Faust: drums, percussion
Missy Thangs: keys, Farfisa, Hammond, synthesizer
Amy Ray: backing vocals on “Turpentine” (appears courtesy of Daemon Records)
S.G. Goodman: backing vocals on “Shadows” (appears courtesy of Verve Records)

This album was written and recorded on traditional territory of the Eno, Lumbee, Occaneechi, Shakori, Saponi, Tuscarora, Catawba, Sissipahaw, Tutelo, Adshusheer, and Cheraw peoples.

We are so happy to finally share a newly recorded full-band version of “Ahimsa”, out now on Transgressive Records.

“Ahimsa” always felt like a simple song that could be interpreted in any number of styles, and as it’s made its way into our live shows over the years, I began to feel like it deserved an update. The original version appeared on my 2017 solo album “Impermanence” with a patient tempo, spare instrumentation and hypnotic circular delays. It was intended as a meditation on the Buddhist notion of “non-harming”, which is perhaps a better translation of the title than “non-violence”. 

Stemming from my wish for a tranquil day amidst turbulent health issues, my focus was on confronting my own ephemerality as inspiration toward greater compassion for those around me.

But in the years since its original release, I think the song has taken on a meaning closer to the immediacy of the chorus of “no violence”, and become a kind of hymn in opposition to the rampant turmoil and seemingly inescapable vitriol of the moment.

“Ahimsa” is an attempt to create a peaceful space within a violent world.

The scope is wider now, though the message remains the same: mortality is one of the few qualities we all share in common, and through recognizing this we may discover compassion for one another. This new version was recorded shortly before departing for our US tour this past Spring, and fittingly, it features the same players from those shows. Michael and I are joined by Paul Collins on a laidback bassline and Jared Van Fleet on an elegant piano, while Mike ‘Slo Mo’ Brenner provides the heavenly pedal steel.

In October Neil Young revealed plans to release the beloved 1972 album “Harvest” as a 50th Anniversary Edition Box Set on December 2nd via Reprise Records. Now the artist has followed up with news that the never-before-seen docu-film Neil Young: “Harvest Time” will be shown for one-day only in theatres on December 1st, with special encores slated for December. 4th. 

Neil Young: “Harvest Time” provides viewers with an inside look at the esteemed Canadian musician’s career between January and September 1971, with performance and rehearsal footage from the Harvest Barn sessions at his Broken Arrow Ranch in Northern California. 

Coupled with footage from The Ranch is a video from Young’s iconic concert with the London Symphony Orchestra and immaculately preserved memories from the Nashville studio where cherished numbers such as “Old Man,” “A Man Needs A Maid,” “Alabama” and more were tracked by the 20 something-year-old artist. 

The feature is a fan piece that has never been seen, and will begin with a personal introduction delivered on screen by Young. The video will also present views with rehearsal and performance content while weaving in aspects of storytelling to tell the take behind the favoured album.

For more information and showtimes, visit neilyoungharvesttime.com. Pre-order the 50th-Anniversary Edition of “Harvest” now.