Neil Young has always been a one-man rock and roll yin and yang, ricocheting between cathedrals of distortion like “Cortez the Killer” and “Hey Hey, My My (Into the Black)” and serene acoustics like “Sugar Mountain” and “Prairie Wind.”But fans of Young’s most dynamic and brutal Les Paul flogging — think of his epic solos in classics like “Cinnamon Girl” and “Down By the River” — can find plenty on organist Booker T. Jones’ solo debut Potato Hole, which hits the street April 21.

Young rarely guests on albums by other artists. This is payback. Jones and his famed original band, Stax Records A-team Booker T. & the MG’s, backed Young on his 1993 world tour after Young became infatuated with their support during his set at Bob Dylan’s 30th anniversary celebration at Madison Square Garden in 1992. The group served as house band for that mega-concert, which also found them backing Eric Clapton, Stevie Wonder, Johnny Cashand Dylan himself.

The two legends have clearly defined roles on Potato Hole. Jones is the composer and melodist; Young is the noisemaking badass and riff grinder. Young gets into character from the first few notes, making the title of opening cut “Pound It Out” literal with his brash six-string braying.

Young plays on nine of the disc’s 10 instrumentals, with his guitar OldBlack snarling at the fore. Young makes a rare leap into funk with his angular, jutting lines on “Potato Hole,” and grants Jones the airspace he needs to sail through the more subtle numbers like the sweet “Nan” and the aptly named “Space City” with his Hammond B-3.

The godfather of grunge plays at his most ferocious when inspired by a great backing band. That’s why Young’s fans are always excited when he groups with the muscular Crazy Horse, who debuted as his supporters on 1969’s Everybody Knows This is Nowhere, minting “Cinnamon Girl,”the 10-minute “Cowgirl in the Sand” and other classics during those sessions.

On Potato Hole, Young’s sonic springboard are Atlantagarage-soul powerhouses the Drive-By Truckers, who also lent their lean, ’60s-derived sound to soul diva Bettye LaVette’s edgy Scene of the Crime in 2007.

Here the sextet mostly lays back to let Young thunder through the tracks, tossing off rumbling single-note leads, chopping out chords like a demented woodsman and letting his fat tone whistle off into smoggy clouds of feedback.

And the whole affair — already rippling with muscular playing from Young and Jones — ratchets up to a nasty peak when the Truckers also start rattling away, delivering a version of Tom Waits’ gritty “Get Behind the Mule” that buzzes and shakes like a beehive on a rickshaw.

It’s all proof that despite his continuing acoustic forays and his approaching 64th birthday, Young and his battered ’53 Goldtop with the nasty paint job remain one of rock’s most potent duos.