Well that narrows it down even more...not sure what the four shows are about.
Maybe some more solo shows? Perhaps bringing back Crazy Horse? That seems unlikely at this point, but maybe four shows with POTR after Farm Aid to gear up for another tour soon to follow? Stll hearing the inside source at the Lobero show saying be sure to mark October for a Neil and POTR show at the Santa Barbara Bowl. That said, still not a peep of a rumour regarding a show there or a tour of any kind.

Stay tuned...

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

I'd personally prefer solo but I hear the POTR shows are fantastic so I'd be fine with seeing those. As well as Crazy Horse but those seem like a pipe dream and maybe just a one off? Basically, I'm good with ANY Neil Young as long as its a fairly reasonable price like the rest this year have been. If its $200 a ticket like the last few tours have been, I'm out, but I'd like to see him one more time.

I think the prices for some of those recent theater solo shows were a bit hefty maxing out at around $300-$350 give or take for optimum seats at a couple of the venues.
But there were also several price categories with the lowest being around $65 in the upper balcony.

Fresno and Bakersfield w/Crazy Horse were around $200 for the best, but also had various price ranges.
The Lobero shows w/POTR were the all around least expensive at $107 for the best, and dropping down to about $65.

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......



Edited 1 time(s). Last edit at 2018-09-11 07:09 by Hairball.

I'm fine to be in the building for anything less than $150, assuming he's playing similarly size venues he has this recent years. Last few tours they've been bigger places and higher prices. This last year it seems to be fairly reasonable for smaller places and incredible setlists. Guess I'll wait it out and see what shakes out. Neil's impossible to predict so no reason to get worked up till its announced.

In the meantime, a recent and lengthy interview from Music Connection that covers alot of ground..

Neil Young: Recording New Music And Releasing Old Music
Content Slide, Cover Stories, Magazine
August 27, 2018
by Gary Graff

"I won’t go out unless I have something to do that I believe in doing and that I want to play and new songs I want to play that I think are relevant.
That’s why I go out. If I don’t have any new song to play in front of people, they don’t see me very often".

Neil

Neil Young seems both world-weary and energized as he slides into a chair at the Four Seasons hotel in Austin, TX. And given a characteristic pile of projects on his plate, he has good reasons for both. At 72 the two-time Rock and Roll Hall of Famer is certainly shy of retiring, with seemingly more going on at any one time than artists even a third of his age. This year already Young has dipped into his past for ROXY -- Tonight’s the Night Live from 1974, and he’s played a combination of solo shows and concerts with Promise of the Real and a reunited Crazy Horse. He also starred in Paradox, a movie written and directed by his current girlfriend Daryl Hannah, and created a soundtrack for it with Promise of the Real. Most importantly, he launched the Neil Young Archives online, sharing his entire catalog and a vast array of previously unreleased exclusive content––all, of course, in the high-resolution audio quality that he so favors and tried to extend to other artists, unsuccessfully, with his Pono service. It’s only a matter of time before Young has new music to share with us as well. As is his iconoclastic wont, it’s likely to come up quickly, and without much advance notice. But on this particular day the man has enough to be going on with, and to talk about...

Music Connection: Is there anything that accounts for this year’s spurt of work from you?

Neil Young: Y’know, it’s just...good. Just moving on. Just got a lot going on. I’m enjoying everything. It’s pretty healthy.

MC: Is that a cyclical thing for you? Do these kinds of periods come and go with any semblance of rhythm?

Young: Well, things are good right now because I’m with Daryl and we’re very happy and it’s kind of new beginning for me. I’m still in touch with my family and everything, the kids, so everything’s good. When you feel good things tend to come to you.

MC: Paradox brought you back into the movie world. How did that happen?

Young: We just talked about making a movie for a while, just for fun. And Promise of the Real is a bunch of characters and they’re down for anything and they’re all really good at what they do. It looked like an opportunity and Daryl had some ideas; she always wanted to do kind of a Western-style thing and we had a gig at Desert Trip (in 2016) and we started (the tour) in the Rockies and we had to get up there to acclimate for a week or so before we started playing at 9,000 feet. So we set up the tent there and did some rehearsing, and when we started setting everything up we said, “This is the ideal time to make the movie” and we could have some fun. Everybody’s gonna be here and we should do it right now. She started buying clothes for everybody and getting the costumes and she wrote the script and we just started going and shot the whole thing in four or five days.

MC: You’ve directed a lot of your previous film work yourself, as Bernard Shakey. What was it like to be directed this time?

Young: It wasn’t really that different because I have a lot of respect for Daryl. She knew what she wanted to do. She had a good direction, so there were no issues. I knew the movie was going to be fun and something I could believe in, so we just did it. I just followed the direction and followed the dots and we had a great time. And it was incredibly frugal; we made the film for pennies compared to any other film.

MC: It’s gotten a polarized reaction, which is often the story with your film work––and some of your music work, for that matter.

Young: You get any reaction to anything. People who have no idea what to expect, they’ll probably shoot it down ‘cause it’s not made by Cecil D. Eastwood or something. It’s not the best Western they were looking for. But we just wanted to have fun. We just made this movie for fun. It’s already a hit as far as we’re concerned.

MC: How did you approach the soundtrack for Paradox?

Young: I had just finished doing Peace Trail and recorded some more things and a couple of jams for instrumental passages for different things. Then I recorded a bunch of electric guitar stuff to go with the scenes, a la Dead Man. It was very much in the moment, not a lot of planning, which is how I like to work.

MC: Paradox brought you to the Netflix world. What do you make of that?

Young: It’s outside the box for me. Usually we try to go out and present our stuff and go to the people who we know are going to love it and it’s made for them, so we go and find ways to locate them and let them know it’s happening. This is not like that. It’s more like we’re on the world stage with Netflix. It’s like being on Facebook––anything can happen. It’s something that I’ve never done before and Daryl’s never done before, so the jury’s out. We’re still kind of coming to grips with what it is and what it means to be working on a “platform.”

MC: You’re certainly no stranger to that kind of concept, however.

Young: Well, I’m not so sure about all that stuff. I’m not a big believer in Facebook’s responsibility to the planet, their responsibility to humanity, Google’s responsibility to humanity. All those things, they’re weighing on my head, the way these algorithms treat the arts and the fact that there’s no algorithm to protect the arts or the rights of artists. There’s nothing that really addresses the values that I have, so I’m not overly impressed with the progress in big technology. I think they, largely working with the record companies, have ruined the sound of music.

MC: Which is something you’ve been crusading about for a long time now.

Young: The record companies are the stumbling block. Their prices for high-res music are too high. I’m trying to show them that they should have all music be the same price so people can access whatever they want and get whatever kind of music they want, and if they have the high-res music cost more it doesn’t serve anybody. There’s just a lot going on with that stuff that I’m not settled with.

MC: Do you feel like Pono made that case convincingly?

Young: It’s an ongoing search, and it’s really a mission. I don’t feel like it’s a battle; We’re really just trying to open up windows so people see what’s out there. We have a streaming service, the best-sounding streaming, on this site in the world. There’s no reason a hippie from Canada should have this @#$%&’ site. I don’t have millions of dollars––it didn’t cost that much, by the way. But there’s no reason why all the music in the world can’t sound this way. The only reason is money; the record companies want three times as much for their high-res tracks as they do for the shit (MP3) tracks they’re selling. That’s stupid ‘cause a minimal fraction of their sales is high-res music. Why not just price it like MP3s and everything else and let people decide what they want, because they’d sell more music and people would have a chance to hear the real music.

The people who make the phones are ready for high-res with Firewire and the lightning cords and all that. The technology is there. It’s the 21st century. Spotify has two levels of quality. Apple has two levels of quality. If we have a good place and good bandwidth, you’re gonna hear high-res off your phone, off the computer, you’ll hear it off of anything, and there’s no reason you shouldn’t.

MC: The Archives site is getting rave reviews. Where else are you going with that?

Young: Our phone app is going to be ready in November or maybe October, maybe even September. And then people will be able to plug their earphones into their phones, into the bottom input and get high-res music on their phone. And anybody can do this. Spotify could do this. It doesn’t make any difference. They could serve their shit that they serve now AND high-res and people decide which one it is. It’s no big deal.

MC: You seem to feel a sense of mission to be a voice in that world, moving it forward––not just with the music but also with the essays you do online. It’s pretty provocative stuff sometimes.

Young: It’s essential for my audience to be in it. They like it, a lot of them, but we’re educating them, too. There’s going to be a lot of stuff out there, but we’re doing it so when you use Facebook to come into the (Archives) we’ll give you a chance to read an article about Facebook. We’ll give you a chance to read about what they did and how they did it and how it affects children and how it gets children hooked on pornography and all kinds of weird shit that’s happening because of Facebook and how they have no responsibility for what goes on in their own house. That’s not right. That’s not good. I think even Zuckerberg’s beginning to realize he’s got a monster on his hands. He’s created something that’s out of control. It’s not about politics. It’s not about the U.S. election. It’s bigger than that. It’s children’s minds.

MC: You’re going to be turning the Archives into a subscription site later this year. What all can we look forward to?

Young: There’s twelve unreleased albums, and almost half of them are finished studio albums that I didn’t put out, and we’ll be releasing those over time. There’s a lot of things, like movies, videos and albums that have never been seen or heard. A lot of my albums I did in the ‘90s and the late ‘80s have videos; we filmed everything as we did it and that’s never been seen by many people. We have all that, so we’ll be adding it to the experience. There’s a high percentage of our info cars that haven’t even been populated with stuff yet; well over two-thirds of them are not populated compared to what we have. We just don’t have the manpower to populate them, so that’s a process.

MC: Your career is littered with projects that never came out, probably moreso than any other artist. What’s that about?

Young: Usually it’s because I had something else I made right after it that I was into right then.
These albums are all finished records. There’s nothing that different from any other record I ever made inasmuch as the quality. It’s the same quality and the same guy. I’m doing the same thing. It’s just that I made too many, especially in the ‘70s. I made too many.

MC: Quantity...but over quality?

Young: I don’t think so. I just didn’t spend as much time making my records as other people. I don’t care about perfection; perfection to me is a great, soulful rendition of something. It’s not making every harmony part perfect. That’s something for somebody else with a lot of money, maybe if they made zillions of hit records they can do that, if that’s what they want to do. But for me we just made it so it had soul. We just wanted them to drip soul.

MC: Any specific releases we should look forward to from the Archives?

Young: I know the Alchemy album is gonna blow people’s minds, and I think Crazy Horse’s early days will. There’s an album called Garage, which is another Crazy Horse album, and a movie called Rusted which is a complete Crazy Horse concert like Rust Never Sleeps that’s never been shown. It was shown one night in the ‘80s. So we have all that stuff, and it’s interesting. Plus there’s at least two or three times as much stuff as that that I haven’t mentioned. There’s a lot of movies. There’s Muddy Track. There’s the Homegrown album, which is like the Stray Gators, who did Harvest with me. That’s another album I did and never put it out. I went and did something else.

MC: Does trolling through the past like that impact on what you’re doing now?

Young: I don’t know. It might––I mean, it should. When you look at my creative output I made Peace Trail last year and that was a real album, but it’s not a real album like other people would make. There’s not a lot of production in it. We played the songs and played them well and I delivered the vibe and that’s how we make a record. So I can make a record like that in very little time compared to what other people take. But I’ve always been like that. Harvest didn’t take very long to record, either.

MC: The Tonight’s The Night Live album is a very cool slice of your history.

Young: That’s a very interesting record and a very fine record. It has every bit of the vibe the Tonight’s The Night (studio) record had; it’s just a live version of that record. We know it a little better, plus you’re presenting it for people who are looking at you and you’re right there. Live records are always a little edgier, but that Tonight’s The Night original record is very edgy, so we weren’t missing an edge. I play better live than I do in the studio. That’s just the way it is.

MC: Those Tonight’s The Night shows were edgier, too, because it was all about that album, which was brand new at the time.

Young: We weren’t giving them anything they wanted, but it didn’t matter. That’s not why we’re here. We didn’t do it for that reason. I don’t really give a shit about that. I was doing that for me because I wanted to do it.

MC: Isn’t it risky to keep putting your fans through that, though?

Young: I’ve trained my audience. They know. I won’t go out unless I have something to do that I believe in doing and that I want to play and new songs I want to play that I think are relevant. That’s why I go out. If I don’t have any new song to play in front of people, they don’t see me very often.

MC: Is there any factor in particular that leads you to work with Crazy Horse or Promise of the Real?

Young: They’re both great. It’s really the material; the band I’m playing with will affect the material I write when I’m with that band. I’m only writing because of what’s in my head, so I don’t know who I’m going to play with. But they’re both great bands. Each one has its advantage over the other. It’s a very good situation to be in, and it’s a temporary situation ‘cause nothing’s gonna last forever. But I don’t want to wear it out, either.

MC: Speaking of bands, CSNY seems over and done with––or is it?

Young: I don’t know. I’d rather see Willie (Nelson), Bob (Dylan) and Neil, myself. That’s what I would want. I think that would be fantastic––but it’s just a dream of something I wouldn’t mind doing, there’s nothing going on. I just look at things I would like to do and things I don’t want to do, so I try to find the things I do want to do. I don’t like to go into a big barn with my name on it anymore. I don’t want to do that. It seems like I’ve done that to a point where there’s something that just stops me. But I do like playing music, and I like playing with people that I love.

MC: You’ve never been shy about politics. What’s your view of what’s going on here now?

Young: It’s a @#$%&’ mess. This guy is bent on destroying the environment. He has absolutely no knowledge of what’s real. He’s decided because he doesn’t believe in science he can lead the country with no regard for science. All the environmental policies he’s changing and taking away, all the protections he’s taking away...Regardless of the tasteless shit he does, it’s not important compared to those things. I don’t know how America is sleeping through this.

MC: The last time you got pissed off like that we got the Living With War album. Think another one like that is coming?

Young: I don’t know. I’ll let you know as soon as I find out.

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Rip this joint, gonna save your soul, round and round and round we go......

Holy Moly......Willie / Bob / Neil


I am in!

Great interview. As for Willie, Bob and Neil...that'd be an interesting night out.

Here are the links for Neil Young & Promise of the Real at the Cap. On sale
now.

9/26: [www.ticketfly.com]

9/27: [www.ticketfly.com]

THE PASSWORD IS: NEILYOUNGARCHIVES

YES!!!

And two solo shows in Philly! 9/30 and 10/01. I'm in for the Sunday night and here's the link:

[www1.ticketmaster.com]

There's a show the next night too but I was only given the link to Sunday. Not sure how to get to the other. When you go through TM it says the shows are sold out so obviously there's an exclusive link if anyone has it for Monday. Password is also NEILYOUNGARCHIVES.

Exciting - shows with POTR AND solo, and both very small venues! And I just noticed there's GA floor for the New York/POTR shows!

Link for Philly Sunday Sept. 30 and Monday Oct. 1 on Neil Young Archives: Neil Young Solo

For Oct. 1, click on link in Archives and you will be directed here > TM - Philly2

Password the same - NEILYOUNGARCHIVES - plenty of seats available.

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Rip this joint, gonna save your soul, round and round and round we go......



Edited 1 time(s). Last edit at 2018-09-14 19:49 by Hairball.

Im in for the second night at the Cap!

Not sure if planned ahead of Neil's solo shows, but Willie (with his boys) will be performing at a political rally (his first ever) in Austin on Sept. 29th (I will happen to be in Austin for Lucinda Williams/Robert Plant shows) and now really looking forward to attending this as well!!
[www.rollingstone.com]

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MisterDDDD
Not sure if planned ahead of Neil's solo shows, but Willie (with his boys) will be performing at a political rally (his first ever) in Austin on Sept. 29th (I will happen to be in Austin for Lucinda Williams/Robert Plant shows) and now really looking forward to attending this as well!!
[www.rollingstone.com]

Let's go Beto! Unseat that smug, spineless, chinless prick, Cruz.

Tickets still available, crazy!
These two Neil Cap shows are flying under the radar. They’re not up on the Cap website. Good seats are still available, more than 24 hours since they went on sale. There are no tickets posted in the secondary market on Stubhub as of last night. Something is happening here. Either the scalpers haven’t caught on to these two shows yet or because they are not providing physical tickets and will only send a mobile phone bar code 24 hours before the show, the secondary market hasn’t figured out a way to monetize the scalping potential. The ticketing services may be onto something here and this could be the wave of the future.

Quote
spikenyc
Tickets still available, crazy!
These two Neil Cap shows are flying under the radar. They’re not up on the Cap website. Good seats are still available, more than 24 hours since they went on sale. There are no tickets posted in the secondary market on Stubhub as of last night. Something is happening here. Either the scalpers haven’t caught on to these two shows yet or because they are not providing physical tickets and will only send a mobile phone bar code 24 hours before the show, the secondary market hasn’t figured out a way to monetize the scalping potential. The ticketing services may be onto something here and this could be the wave of the future.

Similar situation to the previous shows in California (Fresno, Bakersfield, and Santa Barbara), and can only think it was because they were presale w/password, etc.
Physical tickets were available for all of those shows, yet all had to be picked up at will call w/i.d., etc. a few hours before show time. Not sure what to make of this "mobile phone bar code 24 hours before the show" situation - while it will definitely help prevent scalping, what about all the people who don't have a mobile phone? Belive it or not, there are still some who don't!

*On a similar note, I recall the day before the first Bakersfield show I went to the box office to see if they had any free posters or flyers, etc. to give out, and a local couple walking by came in to buy tickets. They said they had no clue about the show, and only found out because they happened to be walking by and saw the marquee- they were as thrilled as little kids on Christmas day! And yes, I was given a free poster as they had dozens of them to spare!

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Rip this joint, gonna save your soul, round and round and round we go......

A phenomenal two nights in Philly. 12 different songs night 2 from night 1! This man is such a @#$%& legend.

9/30
1. Dance, Dance, Dance
2. Tell Me Why
3. Homefires
4. Only Love Can Break Your Heart
5. One of These Days
6. War of Man
7. The Loner
8. Mr. Soul
9. Flying on the Ground Is Wrong
10. Mellow My Mind (banjo)
11. Ohio (electric guitar)
12. Speakin' Out (piano)
13. Are You Ready for the Country? (different piano)
14. Horseshoe Man (third different piano)
15. Birds (same third different piano)
16. See the Sky About to Rain (same third different piano; first since 1999 according to setlist.fm)
17. Children of Destiny (Promise of the Real cover) (electric guitar; live debut by NY)
18. Love and War
19. Peaceful Valley Boulevard
20. From Hank to Hendrix
21. Heart of Gold

Encore:
22. Tumbleweed (ukulele)

10/1
1. Last Trip to Tulsa
2. Thrasher
3. Four Strong Winds
4. Comes A Time
5. Lotta Love
6. Pocahontas
7. Tell Me Why
8. Only Love can Break Your Heart
9. Mellow My Mind
10. Ohio
11. Speakin' Out
12. Expecting To Fly
13. Tonight's The Night
14. Horseshoe Man
15. Broken Arrow
16. Mother Earth
17. Children Of Destiny
18. War Of Man
19. Eternity
20. Out On The Weekend
21. Heart Of Gold

Encore:
22. Tumbleweed

I'm so glad I saw him at Farm Aid. I'm a little late to Neil Young but I've been listening to him a lot the last couple of months. Just an amazing singer and guitarist.

Where are ya Neil... whats next?

Neil Young to Release 1976 Live Album ‘Songs for Judy’

Archival album documents solo acoustic performances from his fabled fall ’76 tour

By Simon Vozick-Levinson


Candian singer-songwriter Neil Young performs on stage at Hammersmith Odeon, London, 28th March 1976.
Michael Putland/Getty Images

Neil Young announced his plan to release Songs for Judy, a live album drawn from his November 1976 U.S. tour. The 22-song LP includes solo acoustic performances of all-time classics like “Heart of Gold,” “After the Gold Rush” and “The Needle and the Damage Done,” along with a number of rarer selections, including one song, “No One Seems to Know,” that has not appeared on any previous official release.

Young spent the majority of 1976 on the road with Crazy Horse or on the ill-fated Stills-Young Band tour, which he famously dropped out of midway through that summer. He also found time to make Hitchhiker, the lost solo acoustic studio album that he recorded in August 1976 — three months before the shows documented on Songs for Judy — but kept in the vault until last fall. At the November 1976 shows featured on Songs for Judy, Young performed a solo acoustic opening set before returning to the stage for a harder-rocking performance with Crazy Horse. These shows have been widely praised and discussed by Young fans for years, but this is their first official release.

Songs for Judy is out November 30th on CD and digital platforms, and December 14th on vinyl.

Songs for Judy Track List (all dates are from 1976)

“Songs For Judy Intro” – Atlanta, GA – Nov 24 (late show)
“Too Far Gone” – Boulder, Colorado – Nov 06
“No One Seems To Know” – Boulder, Colorado – Nov 07
“Heart Of Gold” – Fort Worth, Texas – Nov 10
“White Line” – Fort Worth, Texas – Nov 10
“Love Is A Rose” – Houston – Nov 11
“After The Gold Rush” – Houston – Nov 11
“Human Highway” – Madison, Wisconsin – Nov 14
“Tell Me Why” – Chicago – Nov 15 (late show)
“Mr. Soul” – New York – Nov 20 (early show)
“Mellow My Mind” – New York – Nov 20 (early show)
“Give Me Strength” – New York – Nov 20 (late show)
“A Man Needs A Maid” – New York – Nov 20 (late show)
“Roll Another Number” – Boston – Nov 22 (late show)
“Journey Through The Past” – Boston – Nov 22 (late show)
“Harvest” – Boston – Nov 22 (late show)
“Campaigner” – Boston – Nov 22 (late show)
“Old Laughing Lady” – Atlanta – Nov 24 (early show)
“The Losing End” – Atlanta – Nov 24 (late show)
“Here We Are In The Years” – Atlanta – Nov 24 (late show)
“The Needle And The Damage Done” – Atlanta – Nov 24 (early show)
“Pocahontas” – Atlanta – Nov 24 (late show)
“Sugar Mountain” – Atlanta – Nov 24 (late show)

[www.rollingstone.com]

Thanks Cristiano!

Never a dull moment in the world of Neil Young (give or take a dull song here and there ).

He's the gift that keeps on giving!

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Rip this joint, gonna save your soul, round and round and round we go......

Nov 06, Nov 07, Nov 10, Nov 11, Nov 14, Nov 15, etc etc

That proves Neil would record most if not all the shows from a tour. Ah I wish the Stones had done the same instead of taping a meagre bunch of gigs at the end of a tour...

From the upcoming new album:

Neil Young - Campaigner

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Rip this joint, gonna save your soul, round and round and round we go......

Quote
Hairball
From the upcoming new album:

Neil Young - Campaigner

I like it.

It's really remarkable how strong his voice still is...it's so clear and youthful-sounding.

Edit: oops, it's a 1976 live album, LOL. No wonder he sounds youthful.



Edited 1 time(s). Last edit at 2018-10-22 02:22 by keefriff99.

Hopefully, he'll follow this soon with a companion set of 1976 recordings from his electric sets with Crazy Horse, the second portion of his shows from that year. He'd play about 35-40 minutes solo, take a break, and do an electric hour or so with the Horse. The shows from that year are among his best: revived Horse and a batch of new songs, some of which wouldn't be released for years.

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Hairball
From the upcoming new album:

Neil Young - Campaigner

That was great! Thanks, Hairball!

Quote
Hairball
From the upcoming new album:

Neil Young - Campaigner

love this, getting this. but does anyone know what the lyrics to campaigner mean?

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sundevil

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Hairball
From the upcoming new album:

Neil Young - Campaigner

love this, getting this. but does anyone know what the lyrics to campaigner mean?

I don't know what most of Neil's lyrics mean, but god damn do I love them.

Quote
RollingFreak

Quote
sundevil

Quote
Hairball
From the upcoming new album:

Neil Young - Campaigner

love this, getting this. but does anyone know what the lyrics to campaigner mean?

I don't know what most of Neil's lyrics mean, but god damn do I love them.

In his liner notes on 'Decade', Neil says something about it being a modern-day (1970's) 'Cortez the Killer' type of scenario.

Quote
mosthigh

Quote
RollingFreak

Quote
sundevil

Quote
Hairball
From the upcoming new album:

Neil Young - Campaigner

love this, getting this. but does anyone know what the lyrics to campaigner mean?

I don't know what most of Neil's lyrics mean, but god damn do I love them.

In his liner notes on 'Decade', Neil says something about it being a modern-day (1970's) 'Cortez the Killer' type of scenario.

From Rolling Stone (Neil):

"Neil Young called out Richard Nixon by name in his furious 1970 protest song "Ohio," but a few years later he seemed to find some small degree of sympathy for the man after he was forced out of office and nearly died a few months later when his phlebitis flared up again. "Hospitals have made him cry," Young sang. "But there's always a freeway in his eye." "Campaigner" came out on Young's 1977 compilation album Decade. It tends to pop up in concert right around the time of major elections".

And from All Music: (Neil)

"Propelled by a fine, soulful folk-based melody, "Campaigner" was written by Neil Young during the aborted Stills/Young tour of 1976, and illustrates the hypocrisy of politics without being overbearing. The line about the United States being a place where "even Richard Nixon's got soul..." is priceless. A simple, charming solo acoustic version appears on his excellent Decade anthology".

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Rip this joint, gonna save your soul, round and round and round we go......