Rust Never Sleeps

Rust Never Sleeps _Never die, never die_ A seminal album in the NY journey, with powerful memories of Hawthorn Terrace - I can see and I can _feel_ the brown carpet in the small bedroom watching this on VHS. I’ve always been more attuned to the acoustic side of the album. My My, Thrasher and Pocahontas are definitely 3 of my favourite Neil songs and I also love Ride My Llama, particularly that move into the aah aah aah section and just for its general theme of jamming with aliens, and I’ve come to appreciate the countrified melancholy of Sail Away more recently. And I should pay more attention to the electric side, Powderfinger is of course fantastic, a superb narrative of war and death and with some excellent guitar. Welfare Mothers is a bit of a funny one based on the main refrain, but it's a great riff and groove. You can see the influence of Mothersbaugh and Devo on the sped up and slowed down sections of Sedan Delivery, although it is resolutely Crazy Horse with Ralph Molina’s customary steady thumping. I haven’t really listened to this for a while, having really loved it back at Uni, so it’s been great revisiting. My adoration of Side 1 remains but I really enjoyed side 2 more than I remember. 5. 😴😴😴😴😴 Playlist submission: Pocohontas

Heard before?:❌️ Will listen again?:❌️

Neil Young at his best. No weaknesses with this one. It’s all amazing.

#264/1001 🇨🇦 Neil Young is probably my favourite artist of all time and here he sings about remaining staying not fading away. I wonder if he knew that he would still be releasing relevant music nearly 50 yrs later. This record is recorded live, i assume with studio overdubs added later. The first side is largely acoustic, then gets electric and heavier on side 2. Whilst i prefer the electric version of Hey Hey, My My, its tracks like Thrasher and Pocahontas on side 1 that really stand out to me. Best Tracks: Hey Hey, My My, Thrasher, Powderfinger, Pocahontas, My My, Hey Hey.

I love this might be a 4.34543789431573498574392573 out of 5 the last 3 songs are kind buns the last one is peak aura rizz. Hey,Hey,My,My

3.5+/5

You get both sides of Neil on this one. Literally. The first side is more folky and acoustic and side two is more of a rocker.

Neil Young doesn’t get old.

Puts me in the mind of John Denver but slightly better. Absolutely love this

not for me i wouldn’t listen again but i didn’t hate it

Se oli ihan okei. Jäi vähä semmonen että voisi kuunnella joskus uusiksi

Menneisyyden auronia lainatakseni: "Niin se vaan Neil Young kuulostaa itseltään. Ihan mukavaa kantria rokkia, hyvää tarinankerrontaa, mutta Nuoren Niilon ääni ei vaan nappaa itseä lainkaan." Tämä levy upposi ehkä keskimäärästä Nipaa paremmin, mutta silti.

Nice first song, rest are nice too.

This Neil Young album would be so much better without Neil Young.

Neil Young continues to be Pretty Alright for me. I have a bit of a soft spot for albums that are kinda live, kinda not. Shoutout to whoever added Ultravisitor to the user album list. But my favorite part of this is by far the electric set. Sometimes they're playing so fast, and Neil Young in his manner of singing, it almost sounds like punk! Like straight up punk music! Which was already on its way out in 1979, but still. It's a good time.

A fun album, I like the old and simple way of using a acoustic guitar to make the sound more authentic 3/5

Very very good lofi folk album. Reminded me a lot of Daniel Johnston, I think it was the voice. Favorite songs: My My, Hey Hey (Out of the blue), Thrasher Least fav songs: Welfare Mothers, Sedan Delivery [4/5]

Klassískt Neil Young sánd, sem er fínt. Nenn'enni ekki samt.

It was okay, enjoyed the first couple songs but the. It got a bit samey, No real standouts

Neil Young is an artist, for me, who fits a very particular mood. If I'm in that pensive, reflective mood, there's not much better. But, if it's just a run-of-the-mill Saturday and I'm in no particular mood at all, his music just doesn't hit the same.

In my opinion, Neil Young’s catalog contains five more or less flawless classic albums, and this is the latest of them. The listening experience is even better if you skip 'Welfare Mothers'.

Sad Cowboy Playlist Material I wanna make bittersweet kisses with boys in brim hats, flannel and denim... Second half was too much energy. Sad cowboy vibes did not last.

Second song was a bit boring. If I could live inside a teepee? Nice opening to sedan delivery. Lovely pre chorus and change of tempo Hey hey my my and my my hey hey are the best songs. Like bookends

Love when the harmonica came on in ‘Hey Hey, My My’. Powderfinger is really good. I prefer the Harvest Moon era though, I expected more harmonica!

Lots of Harmonica. Chilled out. Powderfinger is sick. Sedan Delivery slaps. I really enjoyed this one. Apart from the last song which I found quite jarring. Rock and roll can never die but that song can.

Turns out I still don't like Neil Young

I like the beginning songs of the album.

My second Neil Young and Crazy horse album of the week. Lucky me. Meh.

3.8

4/5

Soort van southing, maar ook niet echt de moeite waard.

3.5 stars

Okay for the cultural significance, but I don't find it very enjoyable

Not one of his better releases but still several strong cuts on here. The opening n closing My My Hey Hey.... The ballad Pocohantes and the guitar driven Powderfinger.

He has better albums

I've never cared for Neil Young... and this did nothing to movie the needle for me.

uggghffhfhff neil young suppose we get this over with it's a normal length at least my my hey hey riff is good at least the more-distorted hey hey my my is bad 💥my my hey hey (out of the blue)

Bij bijna elk album laat ik mijn leerlingen ook een nummer luisteren en een mening vormen bij de muziek. Eén van mijn leerlingen sloeg de spijker werkelijk op zijn kop: Ik vind dit leuk mooi, omdat de gitaar echt goed is. Maar de stem van de zanger is irritant, ook dat andere instrument, de mondharmonica, vind ik niks. Ik heb daar niks aan toe te voegen. 2.5 sterren. Oke ik zal hem afronden maar een matige nikszeggende 3 ster

Wat was de regel ook al weer? Neil young 5 sterren? Het is een heerlijk album. Een ode aan de gitaar. Aan het begin klein aukoustisch met mooie akkoorden. Later elektrisch met vette solo’s. De overgang voelt ook heel natuurlijk aan. De teksten en zang van Neil Young werkt complementair aan de muziek. Dit is hoe je echt een gitarenalbum moet maken.

Lief dagboek, Sommige mensen vinden dat de gitaarsolos van Neil Young & Crazy Horse doen denken aan de langgerekte solo’s van dinosaur jr. Persoonlijk ben ik het daar niet mee eens, gezien ik de solo’s van Neil Young goed kan hebben. Lief dagboek, je moet weten dat ik op jonge leeftijd al best wat muziek luisterde van Neil Young. Dat het nummer My My Hey Hey op dit album stond, was voor mij een mooie verrassing. Tot mijn grote schrik zag ik dat z’n vorige album On the Beach maar 4 sterren heb gegeven. Dit klopt niet en hier zou ik mezelf ook moeten corrigeren, aangezien ik het album geregeld op heb staan (vooral Ambulance Blues). Om die fout te voorkomen, geef ik deze alvast maar 5 sterren, want ja, tis wel Neil Young waar we t over hebben.

1/5

Neil kicks off the grunge sound.

Oh look, another Neil Young album. I tried, sometimes his voice doesn't irritate me but most of the time it does.

Yeah was alright - the last song was good

Annoyingly I think I got Neil Young's best album first. This is good - and the others - but they don't really live up to Everyone Knows This Is Nowhere. First track is very good however

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Nice guitars. Fav tracks: “My my, hey hey” and “Powderfinger”

I really liked this. Great raw energy. The production is a bit muffled though, presumably due to the weird semi live recording technique. I've never come across anything recorded like that before.

One of the Neil Young albums that stands out.

Definitely the best I heard from Neil Young on this list so far, bit still a tiny bit from being "good".

0 if I could. .5

jedna nutka spoko

This album really suited me, it was really musical, a lot of instruments and it made my day i thunk happier. This album is really god for rideing a bike at evening

Uninspiring

Apart from the opening and closing songs, nothing on this grabs me. The whole album feels both less personal and less willing to experiment than his earlier albums.

I'm reasonably certain I've listened to this before, but it's definitely been a long time since the last listen. I'm a fan of Neil Young, and I'm looking forward to this listen. While this isn't my favorite Neil Young album, this one is quite solid. I'm adding it to my list of albums to listen to again.

Good

Neil young albums always feel like a cursed monkeys paw. You get such incredible song writing but you have to hear Neil young sing it.

I will never get over the name “Crazy horse”, it might be the stupidest band name I’ve ever heard. And yes, I’ve listened to Butthole Surfers. Might be the least bad album I’ve heard from Neil Young so far.

Number: 272 Familiarity: Moderate (3) Rating: 3 Before: ======= Nooooo. Neil Young, again. This is number 3 for me. I guess it will be a decent follow up to The Kinks though. After : ======= A few 4's, a few 3's, and a couple of 2's: average comes to 3.3. Favorite discovery: Sedan Delivery. I do have to say that I have a little more appreciation for NY's music than I did before starting this challenge.

Decent but a little boring

If I have to listen to a live album I'd like it to be this kind of music. However there was no banter, or behind the music chat.

I came to Rust Never Sleeps with fairly high expectations. I remember people talking about it when I was involved in the bedroom-production scene, and it had acquired the slightly dangerous aura of one of those records I ought probably to have heard properly years ago. What I found was an album I admired a great deal, thought about constantly while it was playing, and never quite loved. The title gave me the route in almost immediately. “Rust never sleeps” is about stasis, but not inactivity. You can work constantly, produce constantly, tour constantly and still stand still. Movement is not the same thing as progress. Progress involves displacement: ending up somewhere you were not before. Rust, in that sense, is what happens when activity simply reproduces the same position over and over again. “My My, Hey Hey (Out of the Blue)” puts that question down at the start. I was immediately taken by the major-seventh colour in the opening, which makes the song sound much more reflective than the famous line about burning out rather than fading away might suggest. That line has acquired a life of its own, but “rust never sleeps” is more interesting. Burning out and fading away are endpoints. Rust is a process. It is what happens while you are still there. “Thrasher” then develops the thought almost perfectly. Young is looking back at people who “had the best selection”, who were “poisoned with protection”, with nothing they needed and therefore nothing left to find. That is a brutal description of what success can do to an artist. Protection ought to be benign, but here it removes necessity, and necessity is part of what forces discovery. Nothing needed, nothing sought, nothing found. His answer is departure: a one-way ticket, suitcase in hand. Not movement for the sake of looking adventurous, but the refusal to stay inside an arrangement that has ceased to produce anything new. The thresher separates what can still be used from what has to be left behind. That became the central idea of the album for me: Neil Young preserving the right to move. That does not mean rejecting everything old. “Ride My Llama” is slight and peculiar, but “it’s old but it’s good” provides a useful correction. Old is not the same thing as rusty. An old form can remain completely alive if somebody is still finding a live use for it. Progress does not mean throwing away every tool you have already used. “Pocahontas” turned out to be the song that gave me the most to think about. It starts with historical violence and dispossession, but gradually becomes a much stranger meditation on what modern civilisation has actually delivered in exchange. The song keeps setting possession against experience. The line about giving a thousand pelts to sleep with Pocahontas and “find out how she felt” contains the contradiction in miniature. Pelts belong to extraction, accumulation and exchange. But another person’s feeling does not. You cannot discover genuine mutual desire by offering something for it. A transaction may secure access; it cannot secure reciprocity. So the song starts to look like a chain: nature becomes resource, resource becomes commodity, commodity becomes purchasing power, and purchasing power is then expected to obtain intimacy. The narrator wants something authentic while imagining the route to it through the very logic of possession from which he seems to be trying to escape. Then there is “the homeland we’ve never seen”. That is crucial because the homeland is itself a construct. This is not memory. It is modern dissatisfaction inventing a lost place of authenticity and imagining that somewhere behind civilisation there was a world in which experience was more direct and real. You cannot return to something you never knew. Marlon Brando appearing beside the fire makes the whole thing stranger still. Brando carries Hollywood with him, including his very public association with Sacheen Littlefeather and Native American representation, and now he is sitting there talking about Hollywood and “the good things there for hire”. By then the song seems to be full of things modern life can own, hire, reproduce or package without recovering whatever experience originally gave them meaning. The juxtaposition of teepee and Astrodome is extraordinary. They are both structures, both enclosed spaces, yet they seem to represent opposite ends of an entire history: one portable and relatively simple, the other enormous, engineered, climate-controlled and commercial. “Sail Away” picks up almost directly from there. “I could live inside a teepee / I could die in penthouse 35.” The penthouse ought to represent arrival. Instead it may be the place where life congeals. Material success is not necessarily progress if it leaves you unable to move. The song scrambles winners and losers as well: losers in the best bars, winners in dives, people becoming “real stars” for the rest of their lives. Young seems much less interested in where somebody sits inside that hierarchy than in whether that position becomes permanent. Fine, be successful. Fine, be unsuccessful. Just leave me the option of sailing away. The danger is capture. That is why “the right to move” kept feeling more useful than the usual language about reinvention. Young is not necessarily saying that an artist has to become unrecognisable every few years. He is saying that no previous success should become a contract obliging you to remain that person. Then Crazy Horse arrive and the record changes physically. “Powderfinger” is superb. Its world appears almost instantaneously: a white boat coming up the river, a red beacon, a flag, a man on the rail. The observation that they do not appear to be there to deliver the mail is wonderfully grim because the language is so ordinary compared with the threat. The narrator is twenty-two and has been left responsible when the danger arrives. He stands his ground and pays for it. I initially tried to pull this back into the album’s movement thesis and then realised I was doing the song a disservice. This is not movement. This is precisely the opposite. He stays. That distinction matters. Stasis is remaining fixed because you have ceased to develop. Standing your ground is remaining fixed because something is worth defending. The physical position may be identical, but the ethical meaning is completely different. Crazy Horse are perfect for this. They play simple things simply, but with such conviction that simplicity becomes weight. There is no need to decorate the story. The band just bears down on it. Then comes “Welfare Mothers”, and I cannot manufacture a grand argument for it simply because the rest of the record has given me one. It seems to be a daft smutty joke with a very good band behind it. The riff is effective, the band are enjoying themselves, but after “Powderfinger” it feels particularly coarse and slight. I kept waiting for some extra layer to emerge. It did not. That is where the album started to feel lumpy. “Sedan Delivery” is another odd fish, though much more interesting. It feels like a drifter’s life told through disconnected anecdotes: someone who cannot hold down much of anything except perhaps delivering cars, which is itself a job built around taking something somewhere and moving on. The lack of narrative coherence suits the character because the life itself does not settle into coherence. Musically, Young has embraced the abrasive permission of the late seventies. He does not sound as though he is trying to become a punk. Crazy Horse already knew how to play primitively. What punk seems to have offered is permission to make that primitiveness abrasive, abrupt, ugly and insufficiently polished. Then the opening song returns as “Hey Hey, My My (Into the Black)”, and the album’s construction finally pays off in full. It is the same song repackaged with all its guts hanging out. The important thing is that the reprise cannot simply take us back to the beginning. That would contradict everything the album has argued. You can return to the same stream, but it is different water and you are a different man. “Out of the blue” suggests arrival, the point at which something appears before expectations have solidified around it. “Into the black” is what happens afterwards: exposure, success, history, identity. Once that has happened you cannot restore the original conditions. Success comes at a price because every successful movement creates another position from which you may subsequently have to move. That is where “rock and roll can never die” finally made sense to me. Not as a boast that a particular genre is eternally guaranteed survival, but as an argument that a form remains alive if people continue to find living uses for it. Crazy Horse’s ragged playing matters because nobody is trying to preserve rock behind glass. They are using it. The irony is that all of this left me with a very rich argument and only a moderately strong attachment to the album carrying it. There is an enormous amount here. “Thrasher” is a wonderful statement about the danger of protection. “Pocahontas” kept opening into more difficult questions about possession, authenticity, civilisation and experience. “Powderfinger” complicates the album’s apparent philosophy rather than merely illustrating it. The transformation between the opening and closing tracks is beautifully conceived. But “Ride My Llama” remains a small oddity, “Sedan Delivery” is deliberately scrappy, and “Welfare Mothers” genuinely leaves me wondering why it is there. The record moves between terrific songs and material that feels much less substantial. So the odd thing about Rust Never Sleeps is that the album’s argument landed harder than the album itself. It asked me to engage with it, and I did. My head had an excellent time. But my heart was never quite lifted in the way it has been by other Neil Young records. That does not make the argument any less convincing. If anything, the record’s best insight survives my reservations about the record itself. Artistic life depends not upon perpetual novelty but upon refusing to become fixed. Old things can remain alive. Familiar forms can still produce discovery. What matters is retaining the freedom to become something other than what worked yesterday. You can revisit where you started. You cannot go back there.

Crazy that I thought this was boring on first listen and now it’s pretty handily my favorite Neil.

Another Neil Young album? At least this one is pretty good so thank you for that.

Ok this was way better than I was expecting and I was listening to it during a tough time and lemme tell you this soothed my nerves perfectly. Not a Neil Young fan at all. In fact I find his music to be quite grating. But this was fine.

Sorry it is Neil Young… Not Neil Diamond I only confused the Name… Pocahontas is saved and maybe One other song 2.5* finally

Started well, but than turned into a generic album.

Neil Young and Crazy Horse, my friend

Not sure what I expected but really enjoyed this. Loved loved loved the opening track in particular. Nice surprise

Repeat listen

Great! Love me some Neil.

#107 I like Neil Young, but this album feels weak compared to a lot of his earlier work. Most of these songs are decent enough, maybe just a bit forgettable. Welfare Mothers and Sedan Delivery are not good, bordering on annoying. Highlights: My My, Hey Hey, Sail Away 3.5 / 5

Would have given it a 2 and a half to be fair, I am NOT a Neil young fan but this was OK

I thought post "After the Gold Rush" I had had my Neil Young epiphany and that I would like all his albums going fwd. Not quite. I love My My Hey Hey (both versions) but everything else inbetween is just a bit meh. Whats going on Neil?

Good

Classic Americana sound. This would have been such a fun show to see live. The songwriting and production are so easy to get along with. Very thoughtful and passionate record.

extraño

Fine

7/10

Friday, 25 September, 2026 Not as great as I remember. It was solid, but I was expecting to give this five stars. My My Hey Hey (both versions) and Powderfinger are great. The rest is fine.

I liked this more than I had expected.

Neither good nor bad… as far as I’m concerned. Two stars…

First time listening to Neil Young. As I went through the list, I noticed he has a LOT of albums here. I think about seven. So I hope I like this, or this is gonna be rough. 01. My My, Hey Hey (Out Of The Blue) Really enjoyed. Not much to say about it, was good. 02. Thrasher Honestly really boring. Wasn't impressive. I didn't dislike it, it just left me bored. 03. Ride My Llama Favorite so far. This is definitely going to be a slower album, and I'm fine with that. Just a weird song. 04. Pocahontas I didn't care for the lyrics, but the best instrumentation so far. Still just sort of alright. 05. Sail Away Was fine. Inoffensive. 06. Powderfinger Took a while for me to be into it, but I eventually came around. Still don't love it, but I appreciate it. 07. Welfare Mothers I can't tell if this is suppose to be bashing or uplifting mothers on welfare. I like the instrumentation, but the lyrics are really wack to me. 08. Sedan Delivery There's enough slow here, just keep it fast paced the whole time! I didn't mind this, actually quite liked it. Just found it a bit boring. 09. Hey Hey, My My (Into The Black) A better version of the opener. Overall, I preferred the first half, a lot more. Although it was close, as I didn't much care for this. Like it was fine, but stuff before this is much better than this, in my opinion.

oh wow this album is boring. it picks up a bit near the end but i didn't really care for most of it. neil young's voice is realllly grating to me

Yeah it's a nice album, Neil Young is pretty good

I've always been ambivalent about Neil Young. Some of his music I like a lot. Some I find boorish. This is about half and half.

i feel like im going to love this and make it my personality for the whole autumn season

Started kinda slow and samey, but gradually built up energy and made the total experience feel like a cohesive story, with some nice guitar and catchy songs near the end

Really enjoyed this album. The history of Young was also very interesting to read about.

not sure why i like dylan, but can't really handle neil young's voice

Have never been a Neil Young superfan, but I appreciate his legacy and he has some great songs. I think this album maybe only has 1-2 of them (the bookend tracks). I kind of liked the acoustic interplay and chord voicings on Ride My Llama, and the half acoustic-half electric idea was interesting. Just overall not enough here to sustain my interest - like Dylan, probably another example of needing to really get into the lyrics to get the full appreciation.

Well, the album was okay. The constant harmonica and the sometimes unimaginative guitar strumming were kind of annoying. There isn't much else I remember about it. So, for me, this is a somewhat disappointing album by Neil Young. 3/5

First live album (well technically it was a live album, but the guys dubbed it in the studio after), and already 2nd album of Neil Young on that challenge. Just like the previous one, this release is good. Love Neil, his voice, his melodies. It’s a really short album and that’s a plus. Since he published so many songs, some of them are forgettable, but some are anthems. 4/5. Another solid album from the Canadian artist. My, My, Hey Hey (Out of the Blue): 5 Trasher: 5 Ride My Llama: 3 Pocahontas: 3 Sail Away: 3 Powderfinger: 5 Welfare Mothers: 4 Sedan Delivery: 3 Hey, Hey, My, My (Into the Black): 3

I like his politics, but never really cared for his music

YA this was great

Neil Young is kinda cheeks This must've hit so hard if you were smoking the weakest joint in history. Sedan delivery is almost a punk song Into the Black is fine I guess. Nice guitar tone.

Was never a big fan.

I could half understand why people may think this is boring or don't like Neil's voice. But I think they are deaf. It's a grungy americana-twinged album made by a Canadian with an American band. And somehow Powderfinger is more relevant in 2026 than it was in 1979

I liked it but Kori had a hot take and I don’t think he was wrong but it also didn’t mean I didn’t like it