Something is happening to Neil Young’s brain, which may be the onset of Alzheimer’s. His dad had it, and it killed him, so he’s mindful. His doctor suggested he kick the weed, which he loved, and the alcohol, which he wasn’t so bad on.

Whaddya mean weed is bad for my brain? Picture: AP

He says he hasn’t written a song straight since he was 18. Since early 2011, when he went straight, he hasn’t been able to write a song. But, at 65, he has been able to write his first book – if Waging Heavy Peace can properly be described as a book.

It’s more of a friendly hello to the world, with some explanations, some laments, lots of friends and plenty of obsessions, most of which relate to preserving the things he loves from the dying analogue world - such as valve amplifiers, toy train components made of real moving parts, and Lincoln convertibles - and adapting them to survive in the digital world.

I’m not sure if it’s possible to play a pretentious guitar note, but if it is, Neil Young has never played one.

He holds that form here with his chatty, conversational writing, where he sometimes forgets what he was saying and begins new paragraphs with the distinctly non-literary: “Anyway, as I was saying…”

Mostly, the book reveals a man who is very much a child at heart. Sometimes you wonder if Neil’s fascination with his heritage toy train set has a lot to do with his now—adult son, Ben, who was born to his wife Pegi with severe cerebral palsy (his first son, Zeke, whose mother was the actress Carrie Snodgress, who was born with a milder form of the condition).

You wonder if Neil’s still trying to have Ben’s childhood for him.

He has developed a whole backstory about his toy train set, which occupies its own barn on his ranch, and mirrors the history of North American development. He tells of an ongoing derailment issue on his track: “When an earthquake shattered the ancient structure in the early eighties, the railroad, having fallen on hard times, was unable to finance the reconstruction.”

The railroad company (that is, Neil) then took shortcuts with the repairs, resulting in a congested and dangerous crossing that has been the site of more than one derailment. He’s not happy with the safety standards but is able to sneakily fix a derailment before a potentially embarrassing “official inspection” is required.

“Having dodged that bullet, I sit down to continue my writing,” he says.

It’s insane. It’s hilarious. 

His own childhood, in Omemee, Ontario, gets a bit of a look in, but not much. He doesn’t think himself particularly important. It’s his music, his sound, which is important.

His dad was a journalist and a book writer who left Neil’s mum early on. She was the one who supported Neil’s music, buying him guitars or loaning money for band cars.

His father wrote a book, Neil and Me, in 1984, about which Neil doesn’t say much, except to quote his mother picking it up and reading passages: “Oh for God’s sake, what a load of shit!” she’d say. She hated him for cashing in on her son. And she never forgave him for leaving. Neil did.

“He was a good dad,” Neil says, as simple as can be.

Neil Young has not exactly been compared to Bob Dylan throughout his career, but the two are certainly grouped together because there’s a fair chance if you like Bob, you also like Neil, and vice versa.

This book will not help you explain to certain friends, who accuse you of liking “Bob Dylan AND Neil Young” (in other words, you’re the world’s most crushing bore), how the two artists are nothing alike, because they will not be interested in the book, or the discussion.

For Neil, songwriting has never been about finding the music to go with his own words, which he does not rate too highly.

It is for him a complete sonic process, from scratching out some passable lyrics, turning off his brain to sit with his guitar and let the chords find him, gathering his dear friends in Crazy Horse, and then (up until his death in 1995) employing his beloved, longtime, hard-arsed producer David Briggs to capture the sound from live takes played through with old amps and recording devices run by glowing, crackling valves.

And nothing but analogue. Neil believes it sucks up sound and gives a depth that modern digital recording cannot replicate.

Much of Waging Heavy Peace is a repetitive, plaintiff plea that Apple and iTunes stop selling out kids with low-rate digital recordings and adopt “PureTone”, which he invented get a true analogue sound out of a small digital device (he later calls it “Pono”, because he finds PureTone is already trademarked).

His complaint is not with the digital format. He explains that when an artist makes an album, regardless of whether it was recorded in the old analogue or modern digital format, he or she will sit in the studio and listen through the console to a high quality rendition of what was recorded.

But by the time that music is distributed around the world on the likes of iTunes, it has become a small audio file that is so compressed, says Neil, that we only hear five per cent of what the artist wanted us to hear.

The remaining 95 per cent has been sold out in order to allow the average iPod or MP3 player to store a lot more songs.

Neil’s Pono would require record companies to open their vaults to the original masters, which people would buy and download. It would take half an hour to download one three-minute song onto his device. Big firms regard such time consumption as too high a price, and think people won’t buy it.

Neil’s argument: at least give them the choice to hear music as it was recorded.

As he’s gone around the place pitching his ideas, people have said to him: but when you released your original albums, people were listening to them on lousy AM radios. So aren’t people hearing a better quality, now, on digital, than when they first heard you?

The answer is yes, but Neil says people can have it all. He worked on the idea with Apple founder Steve Jobs, who understood (Jobs used to listen to vinyl at home) but since his death, Neil’s idea has had trouble taking off.

As has “LincVolt”, his zero-emissions ethanol—converted Lincoln Continental convertible, which he also raves about. LincVolt allows the driver to enjoy the comfort and space of an enormous dinosaur American roadster, minus the fossil-fuel guilt.

But Neil is not deterred by the knockbacks, and he continually interrupts the reminiscences on his music career for updates on how his projects are going, which is usually nowhere.

In a way, it should not be a surprise that Neil Young is demanding more from the digital world. He’s always moved quickly.

In 1970, when National Guardsmen killed four students at Ohio’s Kent State University, Neil, who was living in LA, says he was “full of disbelief and sadness”. The dead students were his people, his crowd.

He writes: “I picked up my guitar and started to play some chords and immediately wrote Ohio”:

Tin soldiers and Nixon coming
We’re finally on our own
This summer I hear the drumming
Four dead in Ohio

The next day the song was recorded, and within a week it was being played on radio stations across the country.

He’s a bit hard on himself over Southern Man, his attack on racism from After The Gold Rush, which had Lynyrd Skynyrd writing back to him in their hit, Sweet Home Alabama: “Well, I hope Neil Young will remember/Southern man don’t need him around anyhow.”

The band and Neil buried the hatchet decades ago, but Neil still says: “I don’t like my words when I listen to it today. They are accusatory and condescending…”

Maybe they are. Maybe they needed to be.

It was early on when he met Crazy Horse, which has basically been with him since his second album, Everybody Knows This Is Nowhere, in 1969. Then the band was Billy Talbot (bass), Ralph Molina (drums) and Danny Whitten (guitar), who would be replaced in 1975 by Frank “Poncho” Sampedro (guitar and organ).

Whitten remains a cause of sadness for Neil. Heroin got to him as they were preparing to tour in 1972. Whitten was strung out. Neil sacked him and sent him home, after which came the call that Whitten had OD’d.

“I knew that what I had done may have been a catalyst in Danny’s death, but there was really nothing else I could have done,” he writes. “I can never lose that feeling. I wasn’t guilty, but I felt responsible in a way.”

Neil Young treats the Horse with the utmost respect. He does not expect them to play on his next album; he goes around, asking them one by one, if they will.

Together, these four remarkable musicians, Young, Talbot, Molina and Sampedro, can play the world’s sweetest country music then turn on a dime and become one of the world’s heaviest rock outfits.

The ability of the Horse to move between heavy and country, while still being the same band, can best be heard on American Stars ’n Bars, from 1977, which features Like a Hurricane, with Neil playing lead on his Gibson Les Paul, which he names Old Black.

Like a Hurricane is probably the best example of Old Black’s tone,” he says, “although if you listen too closely, it is all but ruined by all the mistakes and misfires in my playing.” I never heard any mistakes myself. The song starts at 100mph and doesn’t slow down for eight minutes.

“The master recording I used for the final version of the track was the run—through when I was showing the Horse how the song went,” he says. “That is why it just cuts on at the beginning. There was no beginning. There was no end.”

Neil’s always been a bit of an Earth guy, but the toughness of his music is such that you’ve got to take him seriously. Like Mohammad Ali, who’d get in the ring with Joe Frazier but wouldn’t fight the VietCong, Neil’s no pussy.

Perhaps his greatest nature song is Will To Love, the seven-minute track which he recorded solo, and which precedes the blast of “Like a Hurricane”.

It’s an account of a salmon swimming upstream, and he sings with an underwater sound as the logs of a fire hiss and crack in the background. It is really the only song in the whole book that he bothers to talk about at length. He says it is “laden with my own feelings of love and survival,” which is about as self-indulgent as he ever gets.

He recorded the song alone, with David Briggs, the producer with whom he says he made his best records. Briggs was intolerant and brutal, an unforgiving critic of Neil’s and also his most loyal fan – and the biggest influence on his sound.

Briggs produced Neil on After the Gold Rush, On the Beach, Tonight’s the Night, American Stars ’n Bars, Comes a Time, Rust Never Sleeps, Ragged Glory, Sleeps With Angels and many others. One thing about all those records: whether the song used one guitar or a wall of sound, he never let Neil hide. He shoved him and his guitar right out front.

So it makes sense his last words to Neil, as he was dying in 1995, were: “Just make sure to have as much of you in the recording as you can. Stay simple. No one gives a shit about anything else.”

He’s worried about his next recording with the Horse. There will be one, but he has no songs. And he can’t think about it too much. “In the studio with the Horse, though, you have to be real careful,” he says. “Analysis is no good for the Horse. The Horse defines music without thought.”

He says the best takes are always the early ones. There are no run-throughs. Everything they do is recorded. Everything is about chancing the moment.

“Whatever you think of the music I have made with Crazy Horse, those songs are the most transcendent experiences I have ever had with music,” he says.

“Of course, I have seldom played straight with the Horse.”

He’d love to fire up some hooch, and see if it gave him a new song, like it always did before, but he’s worried. The MRI scan is not encouraging. “What the hell is that cloudy stuff on my brain?” he asks.

Neil Young believes in the Earth Mother, but for a lot of us, we have allowed him to be our Earth Father, or maybe just the high priest. He’s never unreasonable or censorious. Like he says: you should have a huge Lincoln Continental. It’s a beautiful thing. You should just tinker with it, a bit, so it uses less fuel.

He loves his friends, he loves his family, and you get the feeling, the way he talks through this beautifully unassuming and scratchy book, he actually likes all of us.

As for his songs, they are a herd. “The herd is still there, and the plains are endless. Just getting there is the key thing, and Crazy Horse is my way of getting there. I dream of playing those long jams and floating over the herd like a condor.”

He knows some people will think this is all too much. “Am I too cosmic about this?” he asks. “I think not, my friend. Do not doubt me in my sincerity, for it is that which has brought us to each other now.”

Neil Young: Waging Heavy Peace
Penguin, RRP $39.99

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39 comments

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    • TChong says:

      07:19am | 03/10/12

      Hey ,hey, my , my- well done Paul.
      Neil Young is brillant. Definitely better than Bob.
      The only thing he ,(Young)  or the stage managers got wrong were the Jawas ( Live Rust) - the idea didnt work then, and hasnt aged particularly well , since.
      Bob can write , but NOT sing ( except for Rainy Day Women)
      Neil can write, AND sing.
      Time to find the old 33 1/3 Harvest disc and search for that Heart Of Gold.

    • Tom says:

      09:47am | 03/10/12

      Pity Mr Young glorified heroin addiction to millions of impressionable kids.

    • TChong says:

      10:39am | 03/10/12

      yeah
      he really celebrates it with ” watching the needle take another man….. , and the DAMAGE done.”
      Maybe you re a little confused with the lyrics. ?

    • subotic L. Skynyrd says:

      10:31am | 03/10/12

      Bob can write , but NOT sing ( except for Rainy Day Women)
      Neil can write, AND sing.

      And Rodriguez only wrote & sang 32 songs, none of which suck, and all of which leave that “Southern Man” in the dust, anyhow…

    • Max Redlands says:

      10:51am | 03/10/12

      @ Tom - WT F*&%.

      I don’t mind a some of Neil;‘s gear but he’s generated a lot of dross, in my humble opinion. but your suggestion he glorified heroin is a bit hard to take. As far as I know, and people like Chongy can correct me if I’m wrong, but the only well know reference to heroin I am aware of is “Needle and the Damage Done” which was of course a cautionary tale Far from glorfying hard drug use it warned against it.

      @ Chongy -  Saying Bob can’t sing is ridicuious. Indeed, if Bob hadn’t broken down preconceptions about what a “singer” should sound like and sing about Neil wouldn’t have got a look in.

    • Tom says:

      10:47am | 03/10/12

      Max, in its heyday, “Needle and the Damage Done” was an anthem to every moronic self pitying junky on the planet. Every wannabe cool guitarist was seen playing the riff at every party. BTW: “I keep a searching’ for a heart of gold.” was another cooooool party favourite. Sorry Max, every junky’s hero just does not sit well with me as a claim to virtuoso.

    • Mac Redlands says:

      11:24am | 03/10/12

      @ Tom   I know what you are suggesting but you are laying accountability on the wrong party.

      It’s not Neil Young’s problem that his work was possibly misconstrued and the people you refer to didn’t get it or rather heard what they wanted to hear rather than what was actually being said. A bit like those who think the Stone’s “Street Fighting Man” is a call to arms when in fact it is an admission of apathy and impotence.

      If you think his influence has been bad it’s more the fault of his audience than him.

    • Vero Possumus says:

      12:09pm | 03/10/12

      It is ludicrous to say that he glorified Heroin addiction

      Listen to his intro for Needle and the Damage Done from Live at Massey Hall. He says it’s responsible for the deaths of some of the best musicians ever - including many who were taken before they were even discovered. Oh, and a simple listen to the lyrics to the song itself could also shed some light on the meaning of the song too…

      That’s like saying Dead Kennedys’ Holiday in Cambodia is a tourism campaign defending the Khmer Rouge.

    • Tom says:

      12:20pm | 03/10/12

      Thanks Max, but I don’t buy the “poor little old me, misconstrued” thing. However I do agree with you that some fault lies with an audience of professional losers searching for an anthem.

      I remember an interview with Paul McCartney on Lucy in the sky with diamonds. He discussed the LSD connection with John Lennon and said something to the effect of [sic] “nudge, nudge, wink, wink, let’s go for it”.

      Pop writers are fully aware of the hooks, innuendos, the double meanings and double entendres of their words. I am betting that Neil knew exactly what he was doing when he wrote those songs (and how much they would jingle the cash registers).

    • Ando says:

      01:37pm | 03/10/12

      Let it go Tom. Your logic is terrible. You seem to buy into the “poor little me” in regards to the “kids” that allowed Neil Young to destroy their lives by writing an Anti heroin song.

    • Tom says:

      01:53pm | 03/10/12

      Vero Possumus, Neil is from Canada. Listen to all the music there. Leonard Cohen. Cowboy Junkies anyone? Grey and grunge was the glam.

      Trust me, Neil’s “needle” was a deadbeat’s anthem not some “gee whizz, its wrong” song that you are claiming. You must be very naive.

    • Bruce Berry says:

      02:22pm | 03/10/12

      Tom,
      Listen to Tonight’s the Night

    • Tom says:

      02:30pm | 03/10/12

      Ando, anything but .. My words about junkies don’t bear out your assertion. Culpability can be shared. Hope this helps.

    • Ando says:

      03:05pm | 03/10/12

      Tom,
      “Culpability can be shared” . I agree , kid who takes drugs 99.9999999% Neil Young 0 .0000000001%

    • Tom says:

      02:54pm | 03/10/12

      Bruce Berry (of the Econoline Van), thanks. Yes, another junky anthem penned by the king of junky anthems. And didn’t the junkies all love it and revel in it?

      I will change my initial assertion. Mr Young glorified the addiction (and the death) ...

      To say Neil’s songs were anti-heroin is as naive as saying that “Momma don’t let your babies grow up to be cowboys” is not a song that glorifies cowboys.

    • Tom says:

      03:01pm | 03/10/12

      Ando, love it.

      @Bruce Berry, listen to “I’m on the drug that killed River Phoenix”
      I saw his body thrashing round.
      I saw his pulse rate going down.
      I saw him in convulsive throes.
      I said “I’ll have one of those.”

    • Skep says:

      12:32pm | 04/10/12

      God, how I love Neil Young. I learned to play guitar (badly) from his albums. Sure, he is an old hippy and did record lots of dross but with an anthology so large not every song can be a winner.
      Crazy horse rocks like no other band on the planet. Biased and maybe deluded, I know.
      Neil isn’t cool anymore but can still rock out. I am often lambasted by my friends for still listening to him. I don’t care. He will always have a special place in my soul…....ah remember the good old days when you didn’t have to play that well, sing that well, use pitch correctors and still come up with a killer song.

    • Abe says:

      08:25am | 03/10/12

      Great piece Paul, for the record, Neil is light years beyond Dylan, can’t compare the two.

    • JoniM says:

      05:18pm | 03/10/12

      Yeah !
      Great job Paul !
      I have been stuck on Youtube now for an hour now reminiscing through some of my favourite tracks off “After The Goldrush” , “Harvest” ” Hawks & Doves”

      “I saw cotton, and I saw black
      Tall white mansions, and little shacks.
      Southern man, when will you pay them back?
      I heard screamin’and bullwhips cracking
      How long? How long?”

      Rock on !

    • stephen says:

      08:35am | 03/10/12

      Bob’s got cloudy stuff on his brain too and I’d wish he’d write a book about it and stop singing.
      Difference between him and Neil is that when you listen to Dylan you can’t stop staring at the wall ... it’s purple poetry and not a single word in his lyrics is active : simple folk for folk you like their cushions on the floor, with hessian doileys macrammed with love.
      (Neil might be on weed, but you can only listen to Dylan yourself if you are too.)
      I’ve got now all Neil Young’s records, including Archives, and I’m still astounded how modern everything sounds.
      Lots of variety there because the artist thought differently about different things, and that’s the great inflexion of the response to an overt technology in that he uses his own songs as his own stepping stones : they are not only a manner of response, they’re too definite, and only a committed listener will follow the trail closely.

      I don’t, though, like ‘Stars and Bars.
      I bought it when it was released.
      It sounded angry, and possibly now I realize that that old Lincoln was dying, as everyone now knows.

    • Paul Toohey says:

      08:42am | 03/10/12

      Thanks Abe. As I hope I have stressed, I don’t compare the two.

    • sunny says:

      08:50am | 03/10/12

      I like the idea of having the option of non-condensed song downloads. Heck personal music player storage capacity is huge these days and broadband speeds and limits are big enough to download the total recorded footprint of the song, even if it happens to be 50MB or more. Maybe not for every song in your collection, but if I had that choice I would probably download about 30 of my fav. tunes in the full format.

      Btw good read.

    • Paul Toohey says:

      08:55am | 03/10/12

      Oh, and the other thing, before i’m accused of trying to build up the comments section with my own comments: I bought Neil’s book at the Barnes & Noble bookseller on Union Square, Manhattan, on Saturday morning, in hardback, for $22. And it’s selling in Australia for $39.99? With the respective dollars on virtual parity, figure that one out.

    • JoniM says:

      05:24pm | 03/10/12

      I thought you might have been doing a Wayne Swan on us !
      Shame Wayno didn’t pick our Neil for is “knock about” narrative rather than his over-hyped icon !
      He may then have used some really appropriate song influences like
      Union Man !

      “I’m proud to a union man
      I make those meetings when I can, yeah
      I pay my dues ahead of time
      When the benefits come
      I’m last in line, yeah.”

      That would be so Wayne ?

    • Kenny Boy says:

      08:58am | 03/10/12

      Harvest…what an album….

      Saw Neil perform twice in Oz, were both a show and a half….quality and quantity…he did a lot of songs

    • Peter says:

      10:28am | 03/10/12

      Paul, thanks for this article on Neil, juxtaposing Bob’s influence as well. I have had the good fortune to see Bob play with Van Morrison and Joni Mitchell in Vancouver in 1998, and twice in Perth. I experienced Neil live in Perth at Big Day Out. Both artists are living legends. Neil’s father was a friend of my parent’s in law in Howth, Dublin. I identify more closely with Neil’s music and this resonates more closely with my life in general. His music has been an indelible contribution to the soundtrack of my life (as has the music of Bob Dylan). He is a philanthropist of note! I will contact Barnes & Noble for a copy of his book. The Scorcese DVD “Heart of Gold” is arguably on of the best since “The Last Waltz”. The book will join his other writings, the DVDs and my music collection as a valued addition indeed!

    • Rowdy says:

      10:29am | 03/10/12

      “....preserving the things he loves from the dying analogue world - such as valve amplifiers…“This is good to see!

      Long live the valve guitar amplifiers!!! Such a nice fat, warm tone….lovely sounding when overdriven, just when the sounds starts to break up. Listen to the John Mayall and the Bluesbreakers with Eric Clapton album of 1966 (the famous Beano album). The stand out track for me is “Steppin’ Out”. Pure gorgeous tone!!!

      None of that icky solid state new-fangled shite for me!!

      I will suffer for life with a sore back though….those valve/tube amps are HEAVY!!! My Twin weighs in at around 40kgs. Getting that in and out of my 3rd storey apartment and to and from gigs and rehearsals every week ain’t fun. But the tone is worth it! I might buy another soon!!

      As for Neil Young….not a huge fan, don’t own any albums…..I think Pearl Jam owe him a bit though…..

    • Rowdy says:

      11:00am | 03/10/12

      Correction…

      “As for Neil Young….not a huge fan, don’t own any albums…..I think Pearl Jam owe him a bit though…..”

      That should read Neil Young owes Pearl Jam a little bit….

      Carry on…

    • Black Dynamite says:

      11:20am | 03/10/12

      What’s your rig? I have a 2011 Fender Strat am very happy but now on the look out for an LP with P90s. I run my strat through a vox AC30 with bad monkey for overdrive.

      BD

    • Rowdy says:

      12:40pm | 03/10/12

      @BD - I have various guitars…but my main 2 are a ‘93 SRV strat, well worn and with a few aesthetic changes, and a 1959 Sunburst Les Paul VOS (lovely!!) played through various stomp boxes ( get yourself a Big Muff Pi…sustain that really does go on forever!)...all played through a Fender “Red Knob” twin. This amp is heavy, loud and kicks serious ass, but it CANNOT be played with great tone at low volumes.

      Like all tube amps, it sounds better the more you drive it, and low volumes ain’t drivin’ it.

      Would love to look at one of the new Mesa 5/50 combos.

      http://www.mesaboogie.com/Product_Info/Express/Express-550-Combo-enlarged.htm

      They sound great, all valve and won’t break your back. Also on the potential list are AC30, Marshall Bluesbreaker and, maybe if I can stretch it, a nice Fuchs combo.

      I can’t really afford that Howard Dumble Amp just yet..  wink

      http://en.wikipedia.org/wiki/Dumble_Amplifiers

      How does the Bad Mankey/AC30 combination work? Do you jump your input channels?

    • Knemon says:

      02:06pm | 03/10/12

      @ Rowdy - “Neil Young owes Pearl Jam a little bit”

      I’m curious as to why you believe this as Eddie Vedder has said himself that he was influenced by Neil Young as were Pearl Jam?

    • Rowdy says:

      02:47pm | 03/10/12

      @Knemon,  It probably works both ways. Pearl Jam and NY have been collaborating since around 1992/93. I guess Pearl jam gained a lot of inspiration from NY and in turn, NY gained exposure of his catalogue to a lot younger audience than he probably would have otherwise at that time.

      Seems like a Win/Win/Win situation….win for NY, win for Pearl Jam, win for the audience.

      http://thrasherswheat.org/jammin/pj.htm

      And indeed they are/were a potent force when put together live, like playing Rockin’ in the Free World at the MTV music awards in 1993.

      I find the “everything old is new again” cycle of music very interesting. It happens a lot, from musical styles, right down to single phrases of notes.

      SRV did it with the blues in 1983 with Texas Flood album….and it will inevitably happen again, hopefully for the good!

    • Skep says:

      12:39pm | 04/10/12

      @black dynamite   I love the monkey too but recently added a Joyo classic overdrive to my rack. A total rip off of the Ibanez - green one. Bang for buck. Too cheap for that great sound with my Strat and Cube rig. With the Digitech Grunge (IN FRONT - not behind) it wails!

    • Knemon says:

      01:39pm | 03/10/12

      I love Neil Young cool smile

      My my, hey hey
      Rock and roll is here to stay
      It’s better to burn out
      Than to fade away…

    • Tom says:

      03:13pm | 03/10/12

      So which are you, burnt out or faded away?

    • Knemon says:

      04:11pm | 03/10/12

      Good question Tom.

      I’m far from fading away but I’m working damn hard on burning out…I’ll party till I drop, they can take me straight from the dance floor to the morgue!

    • slubbense says:

      09:48pm | 15/12/12

      One can find some intriguing points in time in this article but I do not know if I see all of them center to heart. There is some validity but I will take hold opinion until I appear into it further. Very good write-up , thanks and we want a lot more! Added to FeedBurner at the same time

      <a >NFL Throwback Jerseys</a>

 

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