Young’s first take on his eerily poetic “Pocahontas” is like squeezing all three-and-a-half hours of Martin Scorsese’s upcoming Killers of the Flower Moon and a smudge-stick lick of Marlon Brando into three minutes and a winsomely sonorous, dramatic guitar-strewn ballad.

Now released “exactly how Young perceived it,” according to Warner’s press, the sequencing of Chrome Dreams is everything, and impeccable at that-a lingering mood with memorable melodies that are tender, intimate, and raw to the touch. Initially scheduled for a 1977 release after several years of recording and lineup changes, the mostly acoustic (save for his blistering electric tango “Like a Hurricane,” his weed-loving “Homegrown,” and “Sedan Delivery”) project’s acetate was copied, heavily bootlegged, and nixed with a majority of its songs making their way into the world, in one way or another, on albums such as 1978’s Comes a Time and ’79’s Rust Never Sleeps.

Take the famed and most potent of his “almosts,” Chrome Dreams. But with his recent curatorial knack for selling off his re-discoveries, all that was once missing from his storied catalog will surely soon see the light of day.

At this point in history, Neil Young probably has more “lost” albums-notoriously readied for imminent release before being canceled-than he does actual albums.

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