Canadian singer-songwriter Neil Young, renowned for his distinctive high tenor vocal, has a sound that remains unmistakably his own, regardless of the instrumental backdrop. This signature vocal style ties together a varied and influential catalog, from the gentle banjos of Harvest to the proto-grunge rasps of Rust Never Sleeps.
Young’s musical journey began with a strong foundation in country and folk music, starting with a ukulele in his childhood. Progressing from a simple ukulele to a banjo ukulele, then a baritone ukulele, and finally the guitar, Young’s early fascination with music grew deeper during his teens. He became enamored with early rock ‘n’ roll and artists like Elvis Presley, Jerry Lee Lewis, Chuck Berry, and Little Richard, solidifying his dream of a musical career.
Young’s eclectic taste in music led him to explore various songwriting mediums. After relocating to California in the 1960s, he achieved success with his band Buffalo Springfield, satisfying his desire for a richer folk-rock sound. Simultaneously, he worked on solo material, culminating in his 1968 self-titled debut LP.
Throughout his career, whether collaborating with Crosby, Stills & Nash, his band Crazy Horse, or performing solo, Young balanced raw rock ‘n’ roll with delicate acoustic work. While albums like Harvest and On the Beach feature acoustic textures and blues-derived instrumentals, Young’s characteristic sound is most vividly captured in his work with Crazy Horse.
Known as the ‘Godfather of Grunge,’ Young’s pioneering guitar sound, characterized by fuzzy rhythms and overdriven leads, reached its peak with the 1979 live recording “Hey Hey, My My (Into the Black)” with Crazy Horse. However, this distinctive style had been present in his music since the late 1960s, particularly in the 1969 album Everybody Knows This Is Nowhere, thanks to Crazy Horse guitarist Danny Whitten.
In his biography Shakey, Young praised Whitten’s contributions, which helped define the classic Crazy Horse sound. “Danny understood my music, and everyone listened to Danny,” Young said. “He was a great second guitar player, the perfect counterpoint to everything else that was happening. His style was so adventuresome, so sympathetic, so natural.”
Highlighting “Cowgirl in the Sand” and “Down by the River” as prime examples of Whitten’s rhythmic talent, Young noted how Whitten’s dynamic playing style led the band through various grooves. “Billy [Talbot] and Ralph [Molina] would get into a groove, and all of a sudden, Danny would start doing something else, leading them from one groove to another,” Young explained.
Tragically, Whitten passed away in 1972 from an alcohol and diazepam overdose. Despite this loss, Young continued with Crazy Horse, often striving to replicate Whitten’s style, particularly evident in the 1975 album Zuma. Reflecting on Whitten’s impact, Young concluded, “When I played these long guitar solos, it seemed like I was making all these changes, but in reality, it was the whole band changing. Danny was the key.”
