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Neil Young is the debut studio album by Canadian/American musician Neil Young following his departure from Buffalo Springfield in 1968, issued on Reprise Records, catalogue number RS 6317. The album was first released on November 12, 1968, in the so-called 'CSG mix'. It was then partially remixed and re-released in late summer 1969,[2] but at no time has the album ever charted on the Billboard 200.

The album is Young's first solo record after releasing three albums with Buffalo Springfield. After their final breakup, Young hired Joni Mitchell's manager Elliot Roberts to also manage his career. Roberts continue to serve as Young's manager until his passing in 2019. Roberts organized Young's first solo tour of coffeehouses and negotiated a record contract for Young with Reprise Records, a division of Warner.[3]

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The album also marks Young's first collaboration with record producer David Briggs. Young met Briggs in Topanga Canyon, then a nexus of music talent, while Briggs was living in Stephen Stills' old house. They met one day when Briggs offered Young a ride, and they quickly became friends. David Briggs would go on to produce the vast majority of Young's albums until his death in 1995.[4]

According to Young in his memoir Waging Heavy Peace, the songs on the album represent a variety of different themes. Some of the songs had been recently written, while others dated back to his time with Buffalo Springfield: .mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}

"The Loner" was released as a single. The guitar driven rock song employs D modal tuning, which Young learned alongside Stephen Stills, who used it on "Bluebird."[9] Stills would later cover the song on his 1976 album Illegal Stills. The track's guitar sound presages Young's work on his next album, Everybody Knows This Is Nowhere. Young acknowledges this in a 1973 radio interview: "On my first album, I like "The Loner." I felt like I was getting into something different there, starting to."[10] At the March 7, 1970 Fillmore concert with CSNY, Young remembers reading one early review of the song that wrote "this snappy little item should send Young rising Phoenix-like from the ashes of the Buffalo Springfield," which pleased Young and boosted his confidence in his solo career.

"The Last Trip to Tulsa" is a pot-inspired[13] stream of consciousness narrative that Young intended to be humorous. He explains in a 1995 interview: "I always thought there was a funny side to my music. But see, my sense of humor hadn't really been appreciated at that point in my career, it hadn't even been noticed. I mean, 'Last Trip to Tulsa,' that's my idea of a really funny song and that's just one of 'em."[14] Young thought of Tulsa as representative of the southern United States. "Tulsa really represents to me the United States...that feeling of being in the South. The song is sort of an adventure of me down there. The more you listen to it, depending on how much you've been through or what your experiences have been, you can take the verses...any way you want. But the thing is, when I wrote them, they all had a continuity to the way I thought. So I believe that if they had a continuity the way I put them together that they'll fit with any set of images and work all the way through."[15] In an April 1970 Rolling Stone interview, Young expressed regrets about the song: "After the album came out that's the one I really didn't like, you know, and I still don't, but a lot of people really dug that better than anything else on that whole album. See, it's strange. Just because it doesn't happen to be my favorite part, and I know a lot of people really didn't like it, you know, and I can dig why. Because it sounds overdone."[16] Young would later perform the song live with a full electric band in 1973 and release it as a B-side of the "Time Fades Away" single.

The bulk of the album's songs were recorded at various Los Angeles studios with David Briggs between August and October 1968. Songs "Everybody Knows This Is Nowhere" and "Birds" were also attempted during the sessions. Studios included Wally Heider Studios, TTG Studios and Sunset Sound Recorders. The organ on "I've Been Waiting for You" was recorded at a church in Glendale where Young would also later record organ for "Country Girl" on Dj Vu.[17]

Young recorded much of the album through overdubbing of individual instruments, a process he has largely rejected since, preferring live performances of all instruments at once. In an April 1970 interview with Elliot Blinder for Rolling Stone, he explains the difficulty of such a record-making method, and his satisfaction with the result in the case of "I've Been Waiting for You":

"All those things were played at different days, every instrument. On that cut, isn't it incredible? You see that's how it can work, every once in a while. Because when I put on the lead guitar I was really into it that day, you know, and all the moods I was in at all the times that I put those things on. See, what I do is, in the beginning, we put down acoustic guitar and bass and drums, that's the smallest track that I ever did, one guitar, bass and drums. And then the acoustic guitar had a bad sound and the bass wasn't playin' the right notes and was a little out of tune, so we did both of these over again; so then we have only one original thing that I'd done before and Jimmy Messina, who played the bass on it, played the bass part over, and then he made up a different bass part so we took off the first one completely and played a whole new one. And then we dropped the acoustic guitar, 'cause it didn't fit with the other things that I put on, so then there was nothing left except for the drums. The pipe organ was put on.... Part of these things were done in different cities. The vocal was done at a different studio. It does stick together though. It's very rare. It'd take you a long time to get a whole album of records like that, it's just not easy to do. I was satisfied with what I'd done, as much as I could be. But then when the mastering job came out on it, it blew my mind, because I couldn't hear what I'd done. But now it's been remastered and you can almost hear it. It was badly mixed."[18]

"Jack taught me a lot: I mean, he'd already worked as an arranger for Spector and had played piano on recording sessions with The Rolling Stones. I met him in a club in Hollywood right when the Springfield first started. We were introduced by Greene and Stone who were our managers then. We just liked each other and always had a great time together. I love listening to all his ideas. Plus I liked 'hanging out' with him because he always got all the new records sent to him every week and he'd sit and listen to them, forming his opinions... He worked as an independent arranger back then. He was a very 'sought-after' guy. When I quit the Springfield, I was living at Jack's house with him, his wife Gracia and his son, 'Little' Jack. 45s would be coming in every week and I remember the day we got the first Jimi Hendrix Experience single - this was way before the first album had been released - and all of us were just awe-struck at how 'raw' the guy sounded. That first album of mine was basically just Jack and me."[25]

The first release of the album used the Haeco-CSG encoding system. This technology was intended to make stereo records compatible with mono record players, but had the unfortunate side effect of degrading the sound. Young was unhappy with the first release. "The first mix was awful", he was reported as saying in Cash Box of September 6, 1969. "I was trying to bury my voice, because I didn't like the way it sounded".[2]

The album was therefore partially remixed and re-released without Haeco-CSG processing. Most of the songs from the original album were re-released as-is, only without the Haeco-CSG processing. Only three were remixed, which were replaced on the master tapes: "If I Could Have Her Tonight",[26] "Here We Are in the Years", and "What Did You Do to My Life?".[27] The words "Neil Young" were added to the top of the album cover after what was left of the original stock had been used up, so copies of both mixes exist in the original sleeve. Copies of the original mix on vinyl are now rare and much sought-after by Neil Young fans who believe that the remix diminished the songs, especially "Here We Are in the Years". Young has made both mixes available for streaming on his Archives website.

Neil Young was remastered and released on HDCD-encoded compact discs and digital download on July 14, 2009, as part of the Neil Young Archives Original Release Series. It was released on audiophile vinyl in December 2009, both individually and as part of a box-set of Neil's first four LPs available via his official website. This box set was limited to 1000 copies. The remaster was also released on CD, individually and as Disc 1 of a 4-CD box set Official Release Series Discs 1-4, released in the US in 2009 and Europe in 2012.[28] High resolution digital files of both the CSG and non-CSG albums are available to subscribers on the Neil Young Archives website.

The discography and filmography of Neil Young contains both albums and films produced by Young. Through his career most of Young's work has been recorded for and distributed by Reprise Records, a company owned by Warner Bros. Records since 1963 and now part of the Warner Music Group. The only exceptions are Young's five albums for Geffen Records in the 1980s, which were once distributed by Warner, but are now distributed by Universal Music Group.

Neil Young has included material recorded live on many of his albums; listed here are albums consisting completely or primarily of live concert recordings. Time Fades Away consists of previously unreleased material. Weld and Arc were initially released as a single package, Arc-Weld. See also the Archives Series listed separately below. 17dc91bb1f