The California sun has soaked into countless Neil Young songs, soundtracking journeys down dusty highways and echoing the introspective spirit of a generation. Yet, a single track stands out for its chilling narrative – “Revolution Blues”.
This song sticks out amongst the folk rock icon’s catalog, narrated from the perspective of a dangerous individual. Here’s where the story takes a strange twist: the inspiration behind this unsettling track may have once rubbed shoulders with a young Neil Young, long before becoming a convicted murderer who would forever stain the fabric of American history.
This article dives into the story of “Revolution Blues”, exploring the unlikely encounter that birthed a song as dark and twisted as the path its inspiration would ultimately walk.
An Unlikely Connection With a Beach Boy
Neil Young’s inspiration was none other than the infamous Charles Manson. And it all started with a Beach Boy. The then-not-murdering madman wouldn’t seem to have much in common with the sunshine-pop stylings of the Beach Boys. However, a chance encounter with Dennis Wilson of the band forged an unlikely connection in the free-spirited atmosphere of 1968 California.
Wilson, drawn to Manson’s charisma and entourage of young women, befriended the aspiring musician. Their time together involved music sessions, casual hangouts, and experimenting with drugs – all relatively common activities within the hippie scene, even if Manson’s intensity stood out.
This newfound friendship went beyond casual interaction. Wilson, enthralled by Manson’s self-proclaimed divinity and artistic pursuits, even spoke openly about his friend’s musical abilities. Quotes from Wilson paint a picture of Manson as a singer, songwriter, and poet, further highlighting the unusual connection between these two figures.
A Shared Interest in Music
Dennis Wilson’s belief in Manson’s musical potential led him to connect Manson with music industry figures. Hoping to get Manson a foot in the door, Wilson introduced him to Neil Young, a fellow Los Angeles musician signed to Reprise Records.
Even Young, accustomed to the eccentricities of the music scene, found Manson to be a peculiar character. While acknowledging Manson’s intensity, Young couldn’t deny his musical creativity. Young described Manson’s unique songwriting process – impromptu bursts of music that never materialized again. Despite his strangeness, Young saw raw talent and compared Manson to a “living poet” whose creativity flowed endlessly.
Interestingly, Young didn’t find Manson’s entourage of young women unusual. In the free-spirited environment of the time, it simply seemed like Manson had a lot of girlfriends.
Manson’s Musical Spark
Despite his eccentricities, Manson possessed a captivating improvisational skill that caught Neil Young’s attention. Young described Manson’s songs as unique creations, crafted on the spot and never repeated. While lacking a clear message, they held a strange fascination, similar to Bob Dylan’s work but with a more elusive quality.
Young was impressed enough to vouch for Manson to a record label executive, even acknowledging Manson’s somewhat erratic personality. Manson even landed an audition with a respected producer, but it ultimately went nowhere.
Both Young and Wilson eventually distanced themselves from Manson. Sadly, Manson’s path took a horrifying turn. In 1971, he was convicted for a series of brutal murders, including the infamous killing of actress Sharon Tate, forever branding him a monster. This horrific turn of events occurred just six months after Manson met Young, a stark contrast to the aspiring musician Young briefly encountered.
A Haunting Encounter and a Song’s Birth
Years later, Young reflected on his brief interaction with Manson, struggling to understand the path he took. Young acknowledged Manson’s frustration at failing to secure a record deal and speculated that this fueled his resentment. While recognizing Manson’s undeniable uniqueness, Young remained baffled by his descent into violence.
He vividly recalled the unsettling energy Manson exuded, a quality so distinct it left an indelible mark. “Once you’ve seen him, you can never forget him,” Young stated, hinting at something unsettling about Manson that he couldn’t quite define.
This unsettling encounter undeniably influenced Young’s music. Soon after Manson’s conviction, Young penned “Revolution Blues”, a song on his 1974 album On the Beach. Its chilling lyrics say “Well, I hear that Laurel Canyon is full of famous stars / But I hate them worse than lepers and I’ll kill them in their cars”, painting a picture of rage and murderous intent, a stark contrast to the aspiring musician Young briefly met.
A Song Too Dark for Neil’s CSNY Bandmates
“Revolution Blues” proved to be a contentious piece within Neil Young’s band, Crosby, Stills, Nash & Young. When the group toured that year, Young’s bandmates expressed discomfort performing the song live.
Young, however, defended the song as a commentary on the cultural climate and the darkness simmering beneath the surface. David Crosby, who even played guitar on the studio recording, reportedly found the song unsettling and urged Young to drop it from the setlist.
Manson’s musical aspirations, however twisted, continued even behind bars. A 2009 report revealed he sent a note to Phil Spector, another music producer serving a prison sentence, expressing admiration for Spector’s work and requesting a meeting. Spector’s wife found the note “creepy” and Spector himself did not respond.