Everybody's Rockin' is the 14th studio album by Canadian / American musician Neil Young, released on July 27, 1983.

The album was recorded with the Shocking Pinks (a band made up just for the occasion), and features a selection of rockabilly songs (both covers and original material).

Geffen, however, reeling from the commercial and critical failure of Trans, rejected Old Ways and demanded "a rock & roll album".

Young explains for PBS' American Masters: "They said, 'Hey Neil, you've got to make a rock and roll record, you just have to.'

'"[2]Young went into the studio and quickly produced an album with a sound reminiscent of the early period of rock & roll, including Jimmy Reed's "Bright Lights, Big City" and "Mystery Train," recorded by Elvis Presley in his early days at Sun Records.

It dates from at least the After the Gold Rush era, and was part of his setlist at solo acoustic shows in 1970, as well as at Woodstock with Crosby, Stills, Nash, and Young in 1969.

Like with Trans, Young conducted a supporting tour for Everybody's Rockin' and played material from the album live despite the poor reception and low attendance at his concerts.

According to Young, Everybody's Rockin' had been intended to be a concept album, with two additional songs, "Get Gone" and "Don't Take Your Love Away From Me," that would have "given a lot more depth to The Shocking Pinks.

[4] In a 1986 interview with Bill Flanagan, Young explains: "I guess...it was kind of an embarrassment to some people.

Young also made an effort to record the song during the sessions for Tonight's the Night in 1973.

"[6] At the time of its release, Everybody's Rockin' received among the worst critical reviews of Young's career.

Robert Christgau of the Village Voice wrote that "The covers are redundant or worse, as are all but two of the originals....I hope Neil realizes that for all the horrible truth of 'Payola Blues,' nobody's three thou's gonna get this on top forty.

"[8] New Musical Express added: "At least Neil Young has yet resisted rejoining Crosby, Stills and Nash, although this foray into rockabilly pastiche is hardly much less regressive than that.

He will have the freedom to practice his art as he sees it, as opposed to when you make a deal where someone is paying you $1-2 million an album you feel obligated to give them commercial music that they can sell large numbers of.