1 00:00:15,436 --> 00:00:21,476 Speaker 1: Pushkin. I want to let you know that Rick has 2 00:00:21,476 --> 00:00:25,516 Speaker 1: a new podcast called Tetragrammaton. After about four to five 3 00:00:25,596 --> 00:00:28,516 Speaker 1: years of recording Broken Record, Rick decided he wanted to 4 00:00:28,516 --> 00:00:30,876 Speaker 1: talk to him more than just musicians, So on his 5 00:00:30,956 --> 00:00:36,636 Speaker 1: new podcast, he'll be talking to actors, directors, wrestlers, business people, 6 00:00:37,036 --> 00:00:40,716 Speaker 1: anyone that Rick finds interesting. So make sure to subscribe 7 00:00:40,716 --> 00:00:44,996 Speaker 1: to Tetragrammaton wherever you listen to podcasts. At any one 8 00:00:45,076 --> 00:00:48,476 Speaker 1: years old. Graham Nash describes his life as a magic 9 00:00:48,556 --> 00:00:53,596 Speaker 1: story from beginning to end, and he's not wrong. Graham's 10 00:00:53,596 --> 00:00:56,156 Speaker 1: career began in sixty two as a singer songwriter in 11 00:00:56,196 --> 00:00:59,236 Speaker 1: the British pop band The Hollies. After string of hits 12 00:00:59,236 --> 00:01:01,916 Speaker 1: in the UK, Graham moved to LA to start a 13 00:01:01,956 --> 00:01:05,796 Speaker 1: band with former Birds vocalist David Crosby and Steven Stills, 14 00:01:05,916 --> 00:01:10,876 Speaker 1: whose band Buffalo Springfield had just broken up. From the start, Crosby, 15 00:01:10,916 --> 00:01:13,996 Speaker 1: Stills and Nash were dubbed a folk rock supergroup and 16 00:01:14,076 --> 00:01:16,756 Speaker 1: went on to become one of the era's most revered 17 00:01:16,796 --> 00:01:21,076 Speaker 1: bands thanks to their gorgeous three part harmony and exquisite songwriting. 18 00:01:21,916 --> 00:01:24,716 Speaker 1: Following the death of David Crosby in January, Rick Rubin 19 00:01:24,796 --> 00:01:27,276 Speaker 1: sat down with Graham Nash to talk about Graham's deep 20 00:01:27,356 --> 00:01:31,196 Speaker 1: love and admiration for kros On today's episode, we'll hear 21 00:01:31,236 --> 00:01:34,396 Speaker 1: the first part of Rick's conversation with Graham, who reminisces 22 00:01:34,396 --> 00:01:38,036 Speaker 1: about the day he met Crosby, who immediately rolled Graham 23 00:01:38,116 --> 00:01:42,716 Speaker 1: the most perfect joint he'd ever seen. Graham also explains 24 00:01:42,716 --> 00:01:44,916 Speaker 1: how it was actually cass Elliott from The Mamas and 25 00:01:44,956 --> 00:01:49,076 Speaker 1: Papas who was responsible for bringing CSN together, and he 26 00:01:49,116 --> 00:01:53,356 Speaker 1: recalls classic stories about Neil Young's unpredictable early days with 27 00:01:53,436 --> 00:01:59,236 Speaker 1: the group. This is broken record liner notes for the 28 00:01:59,276 --> 00:02:03,156 Speaker 1: digital Age. I'm justin Richmond. Here's part one of Rick 29 00:02:03,196 --> 00:02:09,596 Speaker 1: Rubin's conversation with Graham Nash. What's happening mane, Good morning. 30 00:02:09,996 --> 00:02:12,996 Speaker 1: How are you feeling, man? Well, it's been a it's 31 00:02:12,996 --> 00:02:16,756 Speaker 1: been an intense year so far, you know, yeah, losing 32 00:02:16,836 --> 00:02:21,716 Speaker 1: friends and the combination of being incredibly sad because of 33 00:02:21,756 --> 00:02:24,356 Speaker 1: the loss of friends and incredibly excited that I have 34 00:02:24,396 --> 00:02:27,196 Speaker 1: a new record coming out. It's like I'm in between 35 00:02:27,236 --> 00:02:32,156 Speaker 1: this thing. It's it's been very strange this year, completely understood. 36 00:02:32,476 --> 00:02:35,636 Speaker 1: Can we listen to something together before we start talking? 37 00:02:35,796 --> 00:02:38,836 Speaker 1: Cheer up for that? Why not? Okay, let's listen to 38 00:02:38,916 --> 00:03:08,476 Speaker 1: something way. Oh, let's see. Oh what do I do? 39 00:03:22,596 --> 00:05:33,956 Speaker 1: M m h m m m. Where will I be 40 00:05:36,356 --> 00:05:50,236 Speaker 1: when I go back? Who will I see when I'm 41 00:05:50,276 --> 00:05:57,236 Speaker 1: all alone? You tell me what am I going to do? 42 00:06:03,436 --> 00:06:05,756 Speaker 1: What comes up for you when we listen to this. 43 00:06:08,116 --> 00:06:13,596 Speaker 1: I'm very sadly David's passing. I was just thinking about 44 00:06:13,636 --> 00:06:17,276 Speaker 1: how wonderful his voices. You know, he had an incredible voice, 45 00:06:17,996 --> 00:06:22,516 Speaker 1: and this was a very tender moment for both of us. 46 00:06:23,396 --> 00:06:27,596 Speaker 1: I have to smile at the simplicity and the beautifulness 47 00:06:28,036 --> 00:06:31,596 Speaker 1: of him singing alone like that, and then me coming 48 00:06:31,636 --> 00:06:36,116 Speaker 1: in on the harmony. I'm going to miss David a 49 00:06:36,156 --> 00:06:39,676 Speaker 1: great deal in my life. That's a beautiful piece of music. 50 00:06:40,796 --> 00:06:44,156 Speaker 1: It's astounding. It feels like it's coming from another planet. 51 00:06:44,236 --> 00:06:48,916 Speaker 1: It moves me so much, and when I hear it, 52 00:06:48,916 --> 00:06:53,116 Speaker 1: it takes me to another place. I'm so thankful for 53 00:06:53,596 --> 00:06:56,756 Speaker 1: you both from making something so beautiful for us to have. 54 00:06:57,356 --> 00:07:00,516 Speaker 1: Tell me about the recording of that. How does that 55 00:07:00,596 --> 00:07:04,356 Speaker 1: recording exist in the world? What brought up that? David 56 00:07:04,476 --> 00:07:10,396 Speaker 1: has this twelve string that he built from two different guitars, 57 00:07:10,436 --> 00:07:14,836 Speaker 1: A Guild guitar and a Martin guitar, and it sounded beautiful, 58 00:07:15,436 --> 00:07:22,876 Speaker 1: and David was very sad at that moment, and basically 59 00:07:22,916 --> 00:07:26,516 Speaker 1: he sat down and played it. And that's one of 60 00:07:26,516 --> 00:07:30,036 Speaker 1: the beauties of it. It's a perfectly instant capture of 61 00:07:30,156 --> 00:07:33,756 Speaker 1: a great piece of music. And it was done. If 62 00:07:33,756 --> 00:07:37,196 Speaker 1: it's two minutes and fifty two seconds, he did it 63 00:07:37,396 --> 00:07:42,436 Speaker 1: in one take, and then we added the unearthly sounds 64 00:07:42,716 --> 00:07:46,876 Speaker 1: that adds to putting it into the space that it is. 65 00:07:47,476 --> 00:07:50,636 Speaker 1: And what it was was David had turned me on 66 00:07:50,876 --> 00:07:55,636 Speaker 1: to this glass harmonica that someone had built and it 67 00:07:55,716 --> 00:08:00,996 Speaker 1: was wine glasses on their side, and what we did 68 00:08:01,156 --> 00:08:04,996 Speaker 1: was we replicated that on an eight track machine and 69 00:08:05,196 --> 00:08:09,596 Speaker 1: we stood and we tuned the glass and we did 70 00:08:09,636 --> 00:08:13,476 Speaker 1: the finger around it to produce the sound, and we 71 00:08:13,596 --> 00:08:16,876 Speaker 1: recorded that to one track and then took some water 72 00:08:16,996 --> 00:08:19,596 Speaker 1: out of the glass so it goes up in key 73 00:08:20,076 --> 00:08:22,836 Speaker 1: and we put that to the So when we had 74 00:08:22,876 --> 00:08:27,036 Speaker 1: we had eight tracks of this beautiful glass harmonica sound 75 00:08:27,356 --> 00:08:31,036 Speaker 1: that we would bring in and out to project that 76 00:08:31,116 --> 00:08:35,396 Speaker 1: piece of music into the future. So beautiful. And then 77 00:08:35,436 --> 00:08:39,316 Speaker 1: the harmonies in general, when you're coming up with harmonies 78 00:08:40,196 --> 00:08:43,956 Speaker 1: for you is it a mathematical equation or is it 79 00:08:44,196 --> 00:08:50,276 Speaker 1: an instinctive finding the note? I have to, in a 80 00:08:50,316 --> 00:08:57,676 Speaker 1: strange way, be David, watching his body language, watching his breathing, 81 00:08:58,436 --> 00:09:01,036 Speaker 1: watching him. I have to be a part of David 82 00:09:01,996 --> 00:09:06,476 Speaker 1: momentarily so I can lock in perfectly with what he's doing. 83 00:09:07,236 --> 00:09:10,516 Speaker 1: And because he had such a one for melody, it 84 00:09:10,636 --> 00:09:13,756 Speaker 1: was very easy to find interesting harmonies to go along 85 00:09:13,796 --> 00:09:18,676 Speaker 1: with that melody, and those harmonies once again put it 86 00:09:18,276 --> 00:09:23,516 Speaker 1: into that beautiful sound that you were discussing earlier. I 87 00:09:23,596 --> 00:09:26,036 Speaker 1: never thought about this before, but hearing what you're saying, 88 00:09:26,716 --> 00:09:29,196 Speaker 1: is the fact that the two voices are singing in 89 00:09:29,356 --> 00:09:34,356 Speaker 1: perfect unison essential to making the harmony do what the 90 00:09:34,356 --> 00:09:39,076 Speaker 1: harmony does. Yes, I believe you're right, and we were 91 00:09:39,116 --> 00:09:42,676 Speaker 1: pretty good at duplicating. If I listened to one of 92 00:09:42,756 --> 00:09:47,236 Speaker 1: David's league vocal tracks, I soak it into my soul 93 00:09:47,356 --> 00:09:50,676 Speaker 1: and I just sing what I think is appropriate, and 94 00:09:50,756 --> 00:09:53,836 Speaker 1: in most cases it works out pretty good because of 95 00:09:53,876 --> 00:09:59,436 Speaker 1: it the direct melody that he's singing. He trusts me 96 00:09:59,556 --> 00:10:05,436 Speaker 1: to do the right thing, and I loved that part 97 00:10:05,476 --> 00:10:08,956 Speaker 1: of our relationship, the trust that we had with each other. 98 00:10:09,676 --> 00:10:12,196 Speaker 1: And I assume the trust was mainly as it related 99 00:10:12,236 --> 00:10:15,356 Speaker 1: to singing that. Would you say that or no? No, 100 00:10:15,596 --> 00:10:19,556 Speaker 1: I would say the trust came from being deep friends. Beautiful. 101 00:10:19,596 --> 00:10:22,036 Speaker 1: That's a beautiful thing. I wouldn't have guessed you say that. 102 00:10:22,116 --> 00:10:24,316 Speaker 1: I love hearing that. Yeah, it's because we were so 103 00:10:24,996 --> 00:10:28,836 Speaker 1: close together. I mean, we could really harmonize, you know. 104 00:10:29,036 --> 00:10:34,756 Speaker 1: And yes, we had a wonderful time. It was great 105 00:10:34,836 --> 00:10:38,396 Speaker 1: making that particular piece of music because I wanted to 106 00:10:38,436 --> 00:10:42,596 Speaker 1: stay out of David's way because he was talking to 107 00:10:42,636 --> 00:10:46,436 Speaker 1: you heart directly, and I only came in when I 108 00:10:46,596 --> 00:10:50,516 Speaker 1: felt it needed to take another breath. And it gives 109 00:10:50,516 --> 00:10:53,756 Speaker 1: the song beautiful dynamics. You're not aware of the length 110 00:10:53,796 --> 00:10:56,396 Speaker 1: of the song because of the changes in dynamics that 111 00:10:56,436 --> 00:10:59,036 Speaker 1: happened because the harmony is not there all the time, right, 112 00:10:59,196 --> 00:11:01,516 Speaker 1: So there's a period of time where there's no harmony. 113 00:11:01,756 --> 00:11:04,436 Speaker 1: Then there's a period where there's your harmony. But then 114 00:11:04,476 --> 00:11:07,356 Speaker 1: there's the beg ending with many voices. I imagine all 115 00:11:07,436 --> 00:11:11,876 Speaker 1: you and David, Yes, all me, David, amazing, so beautiful. Yes, 116 00:11:12,276 --> 00:11:15,636 Speaker 1: tell me about meeting David. I once was in the 117 00:11:16,316 --> 00:11:19,756 Speaker 1: village in New York here and I saw the birds 118 00:11:20,676 --> 00:11:25,356 Speaker 1: walking into a record store and I knew who they were. 119 00:11:25,436 --> 00:11:27,516 Speaker 1: They had no idea that I was there, and I 120 00:11:27,556 --> 00:11:32,196 Speaker 1: never approached them at all. But we had a mutual friend, 121 00:11:32,356 --> 00:11:36,556 Speaker 1: Cass Elliott, from the Mamas and the Papers. I sincerely 122 00:11:36,596 --> 00:11:41,716 Speaker 1: believe that Cass knew what CSN would sound like if 123 00:11:41,796 --> 00:11:46,116 Speaker 1: CSN ever got together. She was friends with David and Stephen, obviously, 124 00:11:46,476 --> 00:11:48,996 Speaker 1: and she knew that they David had been thrown out 125 00:11:48,996 --> 00:11:51,996 Speaker 1: of the Birds and Stephen of Buffalo Springfield had broken up, 126 00:11:52,396 --> 00:11:57,636 Speaker 1: and Cass instinctively felt that if they had a third 127 00:11:57,716 --> 00:12:01,596 Speaker 1: harmony it would be great. So one day I'm in 128 00:12:01,676 --> 00:12:05,156 Speaker 1: Los Angeles. Cass caused me and says, you know, what 129 00:12:05,156 --> 00:12:08,036 Speaker 1: are you doing at noon? I said, actually, we have 130 00:12:08,116 --> 00:12:10,636 Speaker 1: a day off. I'm doing anything. She said, good, I'll 131 00:12:10,676 --> 00:12:12,956 Speaker 1: come and pick you up. I want to introduce you 132 00:12:13,036 --> 00:12:15,756 Speaker 1: to a friend of mine. She picks me up at 133 00:12:15,756 --> 00:12:20,076 Speaker 1: the Neckobaco Hotel in Los Angeles and was there in 134 00:12:20,116 --> 00:12:24,676 Speaker 1: her Porsche convertible porsh. So we got in and of course, 135 00:12:24,716 --> 00:12:28,196 Speaker 1: you know, Laurel Canyon is ten minutes from Hollywood. And 136 00:12:28,316 --> 00:12:31,756 Speaker 1: she picked me up and took me to this strange 137 00:12:31,836 --> 00:12:35,556 Speaker 1: little house and there was another convertible push right in 138 00:12:35,596 --> 00:12:39,716 Speaker 1: the garage there. Anyway, we go upstairs and there's this 139 00:12:40,236 --> 00:12:44,836 Speaker 1: nice living room, very little furniture, a couch and a 140 00:12:44,876 --> 00:12:48,316 Speaker 1: couple of speakers and a stack of music stuff. And 141 00:12:48,356 --> 00:12:51,516 Speaker 1: then there's this guy lying on the couch in a 142 00:12:51,556 --> 00:12:56,236 Speaker 1: white and blue striped T shirt and his jeans, no shoes, 143 00:12:56,996 --> 00:13:01,356 Speaker 1: and on his chest was a shoe box lid full 144 00:13:01,356 --> 00:13:07,596 Speaker 1: of grass, and he was looking at me while Cass 145 00:13:07,636 --> 00:13:12,156 Speaker 1: introduced me as her end and he never lost eye 146 00:13:12,156 --> 00:13:16,396 Speaker 1: contact with me whilst shaking the lid of this shoe 147 00:13:16,436 --> 00:13:19,276 Speaker 1: box and separating the seed from the stems from the 148 00:13:19,316 --> 00:13:22,596 Speaker 1: actual grass. And I thought that was amazing. And then 149 00:13:22,636 --> 00:13:25,516 Speaker 1: he proceeded to roll one of the most perfect joints 150 00:13:25,516 --> 00:13:29,156 Speaker 1: I'd ever seen in my life. And Cass introduced me 151 00:13:29,516 --> 00:13:32,556 Speaker 1: and he knew that I was the high voice in 152 00:13:32,596 --> 00:13:37,116 Speaker 1: the Hollies, and we got on beautifully. And that was 153 00:13:37,156 --> 00:13:40,316 Speaker 1: the first day I ever met David. And was this 154 00:13:40,396 --> 00:13:43,836 Speaker 1: your first trip to California? No, we had been to 155 00:13:43,916 --> 00:13:49,316 Speaker 1: California earlier. Cass thought that Lou Adler, their producer, might 156 00:13:49,356 --> 00:13:52,436 Speaker 1: want to produce the Hollies, and she paid for the 157 00:13:52,476 --> 00:13:55,236 Speaker 1: Hollies to fly from New York to Los Angeles to 158 00:13:55,276 --> 00:13:58,476 Speaker 1: meet with lou So. No, it wasn't the first time 159 00:13:58,516 --> 00:14:01,796 Speaker 1: I'd been in Los Angeles, And how did you meet Cass? 160 00:14:03,036 --> 00:14:09,276 Speaker 1: The Hollies were being given an introductory getting together to 161 00:14:09,436 --> 00:14:12,836 Speaker 1: release an album, and it's one of those things where 162 00:14:13,236 --> 00:14:15,276 Speaker 1: you know, you have a glass of wine and you're 163 00:14:15,316 --> 00:14:19,516 Speaker 1: waiting for, you know, somebody, and this little fifteen year 164 00:14:19,516 --> 00:14:22,516 Speaker 1: old kid came up to me and he knew everything 165 00:14:22,916 --> 00:14:25,436 Speaker 1: about the Hollies. Knew every B side, he knew every 166 00:14:25,476 --> 00:14:27,516 Speaker 1: A side, he knew everything that we've done. In a 167 00:14:27,596 --> 00:14:30,796 Speaker 1: foreign man. He was a big Hollies fan. It was 168 00:14:31,636 --> 00:14:36,236 Speaker 1: Rodney Bingenheimer, who later became a very famous DJ in 169 00:14:36,316 --> 00:14:40,356 Speaker 1: Los Angeles. And so Rodney looked at me and he said, so, 170 00:14:40,556 --> 00:14:43,876 Speaker 1: what are you doing after this getting together? I said, 171 00:14:44,076 --> 00:14:47,396 Speaker 1: I you know, I'm English, So I said, I'm not sure. 172 00:14:47,716 --> 00:14:50,636 Speaker 1: What do you think you're doing? He said, well, I 173 00:14:50,716 --> 00:14:53,236 Speaker 1: have these friends and they're recording down the street, and 174 00:14:53,276 --> 00:14:54,996 Speaker 1: I thought you might want to go to a session. 175 00:14:55,436 --> 00:14:58,796 Speaker 1: And I said it sounds interesting. Who are your friends 176 00:14:59,196 --> 00:15:01,676 Speaker 1: and he said they called the Mamas and the Paupers. 177 00:15:02,516 --> 00:15:05,196 Speaker 1: Now I'd seen their first album cover and I saw 178 00:15:05,436 --> 00:15:08,156 Speaker 1: Michelle on the front and it was very attracted to 179 00:15:08,276 --> 00:15:15,596 Speaker 1: this blonde, you know, hippie southern California girl. And when 180 00:15:15,676 --> 00:15:20,076 Speaker 1: I went into the session, John and Danny and Michelle 181 00:15:20,356 --> 00:15:22,996 Speaker 1: were putting an overdope in the studio, so I couldn't 182 00:15:22,996 --> 00:15:25,556 Speaker 1: go in there, but outside the studio was cast. So 183 00:15:25,596 --> 00:15:28,676 Speaker 1: I started talking to Cass. And one of the things 184 00:15:28,716 --> 00:15:31,076 Speaker 1: she asked me, she said, what do you think John 185 00:15:31,156 --> 00:15:34,876 Speaker 1: Lennon would think about the Mamas and Papas? And I said, well, 186 00:15:34,876 --> 00:15:36,996 Speaker 1: you know, I don't know John that well, but I 187 00:15:37,116 --> 00:15:40,076 Speaker 1: know that he would probably keep you at arm's length, 188 00:15:40,236 --> 00:15:43,116 Speaker 1: you know, until he figured out that he was comfortable 189 00:15:43,156 --> 00:15:46,916 Speaker 1: with you when Danny would open up. And I said, so, 190 00:15:47,276 --> 00:15:50,356 Speaker 1: he probably would put your music down at first before 191 00:15:50,396 --> 00:15:54,116 Speaker 1: he accepted it. And I look at Cass and she's crying. 192 00:15:54,596 --> 00:15:57,676 Speaker 1: What I didn't know is that Cass had a crush 193 00:15:57,836 --> 00:16:02,156 Speaker 1: on John Lennon, and that's how I met Cass. Wow, 194 00:16:02,716 --> 00:16:06,036 Speaker 1: interesting story. Had you heard The Mamas and the Papa's 195 00:16:06,116 --> 00:16:08,756 Speaker 1: music at that time or not yet? I had heard 196 00:16:08,756 --> 00:16:11,236 Speaker 1: the music because I had that first, that first album, 197 00:16:12,156 --> 00:16:14,396 Speaker 1: so I did know that they were a pretty damn 198 00:16:14,476 --> 00:16:20,316 Speaker 1: fine band. And it was only you know when I 199 00:16:20,396 --> 00:16:24,196 Speaker 1: told you that I think that Cass intuitively knew what 200 00:16:25,116 --> 00:16:29,116 Speaker 1: Stephen and David's sound would do with an added harmony. 201 00:16:29,196 --> 00:16:31,916 Speaker 1: I think she knew right from the very beginning before 202 00:16:31,956 --> 00:16:34,996 Speaker 1: any of us, what that would sound like. You know, 203 00:16:36,116 --> 00:16:39,596 Speaker 1: she's in my prayers every single night. She's the last 204 00:16:39,596 --> 00:16:44,196 Speaker 1: face I see when I go through my prayers, and 205 00:16:44,316 --> 00:16:46,116 Speaker 1: she will always be there. And it's one of the 206 00:16:46,156 --> 00:16:48,676 Speaker 1: reasons why on every album that we have made since 207 00:16:48,716 --> 00:16:52,436 Speaker 1: she passed away, we have dedicated the album to Cass because, 208 00:16:53,276 --> 00:16:57,036 Speaker 1: in a strange way, she started it all beautiful and 209 00:16:57,116 --> 00:17:01,636 Speaker 1: it makes sense that she would understand the three voices 210 00:17:01,676 --> 00:17:04,636 Speaker 1: because of her role in the Mamas and the Papas. 211 00:17:04,676 --> 00:17:08,636 Speaker 1: She understood three part harmony. Yes, it makes sense. It 212 00:17:08,676 --> 00:17:11,036 Speaker 1: makes sense. And she fought to get into that band 213 00:17:11,076 --> 00:17:14,036 Speaker 1: because they didn't want her in that band, but she knew, 214 00:17:14,156 --> 00:17:17,396 Speaker 1: she knew that her voice would do something special with theirs. 215 00:17:17,556 --> 00:17:20,836 Speaker 1: That's right, that's right. But she she physically, she didn't 216 00:17:20,916 --> 00:17:23,516 Speaker 1: look like, you know, she should be in that band. 217 00:17:23,996 --> 00:17:26,436 Speaker 1: You know, she was. She was heavy. She was a 218 00:17:26,516 --> 00:17:29,316 Speaker 1: large lady, and she knew it. But boy, could cast 219 00:17:29,436 --> 00:17:31,636 Speaker 1: Elliott sing. Did you ever get to sing with her? 220 00:17:32,836 --> 00:17:36,116 Speaker 1: She is the only voice on the first Crosby stills 221 00:17:36,116 --> 00:17:38,996 Speaker 1: in Nash record that is not me and David and Stephen. 222 00:17:39,596 --> 00:17:42,356 Speaker 1: I didn't know that. That's amazing. What does she sing? 223 00:17:42,396 --> 00:17:45,116 Speaker 1: Do you remember? Yeah, she sang a high harmony on 224 00:17:45,636 --> 00:17:52,716 Speaker 1: pre road downs. Wow. So cool. We'll be back after 225 00:17:52,756 --> 00:17:59,236 Speaker 1: a quick break with more from Rick Rubin and Graham Nash. 226 00:17:59,916 --> 00:18:04,316 Speaker 1: We're back with Rick Rubin's conversation with Graham Nash. How 227 00:18:04,596 --> 00:18:12,076 Speaker 1: was the David who passed different than the David laying 228 00:18:12,116 --> 00:18:17,036 Speaker 1: on the couch at Casses. David was a very interesting 229 00:18:17,076 --> 00:18:22,396 Speaker 1: couple of people. On one side, he could be most generous, funny, 230 00:18:23,476 --> 00:18:27,596 Speaker 1: brilliant at telling stories, obvious, really brilliant at singing and 231 00:18:27,756 --> 00:18:31,876 Speaker 1: playing the guitar, totally unique. The other side of David 232 00:18:32,436 --> 00:18:35,356 Speaker 1: was if there was something that he didn't like, he 233 00:18:35,476 --> 00:18:39,356 Speaker 1: had no problem in telling you. And he could become 234 00:18:39,676 --> 00:18:42,956 Speaker 1: nasty and he could become vicious. And those were the 235 00:18:42,996 --> 00:18:46,636 Speaker 1: two sides of David. And I always wanted the first side. 236 00:18:46,876 --> 00:18:50,636 Speaker 1: You know, I want to feel easy. I want to 237 00:18:50,876 --> 00:18:52,916 Speaker 1: I want to feel like I want to you know, 238 00:18:52,996 --> 00:18:55,676 Speaker 1: I want to feel part of whatever. But the other 239 00:18:55,716 --> 00:19:02,396 Speaker 1: side of David was pretty scary. Knowing that scary side 240 00:19:02,396 --> 00:19:06,956 Speaker 1: of him did it help you to feel like that's 241 00:19:06,996 --> 00:19:10,916 Speaker 1: just David or did he always personal? If he would 242 00:19:10,956 --> 00:19:14,276 Speaker 1: say something not nice, it would feel personal. And I 243 00:19:14,316 --> 00:19:16,716 Speaker 1: always knew that that part of David was there. I 244 00:19:17,116 --> 00:19:21,396 Speaker 1: tried to stare our relationship away from the nasty side 245 00:19:21,396 --> 00:19:24,956 Speaker 1: of David and we managed to do that probably ninety 246 00:19:24,996 --> 00:19:28,716 Speaker 1: five percent of the time that we moved together. Tell 247 00:19:28,716 --> 00:19:32,276 Speaker 1: me about leaving England. How popular were the Hollies. I 248 00:19:32,316 --> 00:19:34,436 Speaker 1: think of them as very popular. I don't really know. 249 00:19:34,556 --> 00:19:37,996 Speaker 1: I wasn't there. How popular were the Hollies? How about 250 00:19:38,116 --> 00:19:43,276 Speaker 1: fifteen top ten records in seven years? Wow? So popular 251 00:19:43,516 --> 00:19:47,116 Speaker 1: popular band? Yes? Tell me about the world that the 252 00:19:47,196 --> 00:19:51,516 Speaker 1: Hollies appeared in. What was the world that allowed the 253 00:19:51,716 --> 00:19:55,716 Speaker 1: Hollies to come together? The Hollies were five kids from 254 00:19:55,756 --> 00:19:58,276 Speaker 1: the north of England who made it down to London 255 00:19:58,436 --> 00:20:03,476 Speaker 1: and managed to be recorded, and as I said, we 256 00:20:03,516 --> 00:20:07,876 Speaker 1: had many, many top ten records. It was easy and strange, 257 00:20:07,876 --> 00:20:10,196 Speaker 1: but it was very easy for me to leave that 258 00:20:10,276 --> 00:20:14,916 Speaker 1: band because it happened at a time when we had 259 00:20:14,956 --> 00:20:17,716 Speaker 1: recorded a song called King Midas in Reverse, which is 260 00:20:17,756 --> 00:20:22,716 Speaker 1: a song that I wrote. And normally a Holly's release 261 00:20:23,076 --> 00:20:25,356 Speaker 1: would go into the top ten within the first couple 262 00:20:25,396 --> 00:20:29,076 Speaker 1: of weeks, this didn't This only made it to the 263 00:20:29,156 --> 00:20:36,516 Speaker 1: low thirties, and so the Hollies stopped trusting my musical path. 264 00:20:37,716 --> 00:20:40,036 Speaker 1: So it happened. At that time, I was feeling a 265 00:20:40,116 --> 00:20:46,436 Speaker 1: little removed from them, and then David came into my life. 266 00:20:47,436 --> 00:20:50,236 Speaker 1: And at one point I had gone from London to 267 00:20:50,556 --> 00:20:53,556 Speaker 1: Los Angeles to spend a few days with Johnny Mitchell. 268 00:20:54,116 --> 00:20:56,956 Speaker 1: And when I got to the house, there were other 269 00:20:57,036 --> 00:21:00,836 Speaker 1: voices there, which I wasn't too happy with, but it 270 00:21:00,916 --> 00:21:03,476 Speaker 1: was David and Stephen and they were having dinner with Johnny, 271 00:21:04,236 --> 00:21:07,476 Speaker 1: and at one point after dinner, I'm smoking a big one. 272 00:21:07,836 --> 00:21:10,516 Speaker 1: David said to Steve and play play Willie that song 273 00:21:10,596 --> 00:21:12,836 Speaker 1: that we were doing, and they were doing a two 274 00:21:12,876 --> 00:21:15,236 Speaker 1: part harmony on a song of Steven's called you Don't 275 00:21:15,236 --> 00:21:17,916 Speaker 1: Have to Cry. They got to the end of it, 276 00:21:18,276 --> 00:21:22,316 Speaker 1: and I was overwhelming how beautiful the song was and 277 00:21:22,396 --> 00:21:26,436 Speaker 1: how simple it was, and how beautiful it was, and 278 00:21:26,516 --> 00:21:28,916 Speaker 1: I asked them to sing it again, and they sang 279 00:21:28,916 --> 00:21:34,596 Speaker 1: it again. In the meantime, I'm learning. I asked them 280 00:21:34,796 --> 00:21:38,036 Speaker 1: to sing it just one more time, and when they did, 281 00:21:38,076 --> 00:21:42,796 Speaker 1: I put my harmony on and my world changed. Completely amazing. 282 00:21:43,036 --> 00:21:47,556 Speaker 1: Once I heard that sound, which happened within the first 283 00:21:47,636 --> 00:21:51,436 Speaker 1: forty five seconds of as Ever singing together, that sound 284 00:21:51,556 --> 00:21:55,196 Speaker 1: was created. That was how magical it seemed to me. 285 00:21:56,476 --> 00:22:00,196 Speaker 1: And once I had heard that, there was no doubt 286 00:22:00,236 --> 00:22:03,036 Speaker 1: as a musician what I had to do. I had 287 00:22:03,076 --> 00:22:07,796 Speaker 1: to undo my life and reform my life. And that's 288 00:22:07,836 --> 00:22:11,396 Speaker 1: what I did. I left the Hollies, I left my equipment. 289 00:22:11,836 --> 00:22:15,756 Speaker 1: I came to America with a suitcase and my guitar 290 00:22:15,876 --> 00:22:18,596 Speaker 1: and a strange mirror that I have that I still 291 00:22:18,636 --> 00:22:23,556 Speaker 1: have to this day. And it was overwhelmingly easy to 292 00:22:23,676 --> 00:22:26,036 Speaker 1: leave the Hollies, and a lot of people thought I 293 00:22:26,116 --> 00:22:29,356 Speaker 1: was crazy because it was a very popular band, and 294 00:22:29,996 --> 00:22:32,316 Speaker 1: as a matter of fact, they're still going to this day. 295 00:22:33,036 --> 00:22:37,916 Speaker 1: And I think this week, Beautiful is the sixtieth anniversary 296 00:22:37,956 --> 00:22:42,436 Speaker 1: of the release of our first record, Amazing, tell me 297 00:22:42,516 --> 00:22:47,516 Speaker 1: about it? So cool? Has there ever been a live 298 00:22:47,596 --> 00:22:51,636 Speaker 1: Hollies reunion? Have you ever sung together since leaving or never? Yes. 299 00:22:52,316 --> 00:22:54,356 Speaker 1: I got a call one day from Tony Hicks that 300 00:22:55,516 --> 00:22:59,076 Speaker 1: there was a very famous English television show called Top 301 00:22:59,116 --> 00:23:02,916 Speaker 1: of the Pops and we had done the very first one. 302 00:23:03,796 --> 00:23:06,716 Speaker 1: And this was twenty five years later. And they wanted 303 00:23:06,716 --> 00:23:11,636 Speaker 1: the Hollies to do the show again, and obviously I 304 00:23:11,716 --> 00:23:15,916 Speaker 1: wasn't there. I was in America, and so I went 305 00:23:15,956 --> 00:23:19,836 Speaker 1: over there and we did sing and we did a 306 00:23:19,876 --> 00:23:21,796 Speaker 1: short tour after that. I think it was in like 307 00:23:22,116 --> 00:23:27,636 Speaker 1: eighty three or something, and there's a radio show wanted 308 00:23:27,756 --> 00:23:31,476 Speaker 1: to record the entire show on two tracks, and they 309 00:23:31,516 --> 00:23:35,556 Speaker 1: did and it was beautiful. So I did sing with 310 00:23:35,596 --> 00:23:38,236 Speaker 1: the Hollies after I left, and I was proud to 311 00:23:38,276 --> 00:23:43,036 Speaker 1: do it, and that same magic was there. It's beautiful, 312 00:23:43,036 --> 00:23:45,276 Speaker 1: and it's beautiful that there's a recording that exists that 313 00:23:45,356 --> 00:23:50,116 Speaker 1: people can experience it beautiful. Was your relationship with Janie 314 00:23:50,276 --> 00:23:55,156 Speaker 1: at all in the consideration of your deciding to leave 315 00:23:55,196 --> 00:24:01,036 Speaker 1: England or was it purely the band? Well, you know, 316 00:24:01,236 --> 00:24:03,636 Speaker 1: in the big picture, it was purely the band. But 317 00:24:03,716 --> 00:24:07,036 Speaker 1: in the small picture, you know, the addition of Joni 318 00:24:07,116 --> 00:24:11,756 Speaker 1: Mitchell to the to the equation was fantastic. Yeah, because 319 00:24:11,756 --> 00:24:14,476 Speaker 1: I imagine if you're at the age that you're at, 320 00:24:15,476 --> 00:24:19,436 Speaker 1: you're starting a relationship with someone that you feel strongly about. 321 00:24:19,636 --> 00:24:24,156 Speaker 1: I could see that having a strong gravitational forces. Absolutely, 322 00:24:24,796 --> 00:24:27,116 Speaker 1: we have known each other a long time. Rickon, you 323 00:24:27,156 --> 00:24:29,596 Speaker 1: know that I've always said that my life has been 324 00:24:30,076 --> 00:24:34,036 Speaker 1: a magic story from beginning to end, and quite frankly, 325 00:24:34,316 --> 00:24:37,836 Speaker 1: with the release of my new record, it's still going on, 326 00:24:37,996 --> 00:24:43,756 Speaker 1: you know, sixty years later. Incredible and speaking to that magic. 327 00:24:43,876 --> 00:24:48,316 Speaker 1: My first memory of I don't even know if we met, 328 00:24:48,396 --> 00:24:51,676 Speaker 1: but of seeing you was I was on the beach 329 00:24:51,676 --> 00:24:54,756 Speaker 1: in Kauai. I don't know, thirty years ago, maybe one 330 00:24:54,756 --> 00:24:56,396 Speaker 1: of the first times I was in Kauhai. Might have 331 00:24:56,436 --> 00:24:58,756 Speaker 1: been the first time I was in Kawai and I 332 00:24:58,836 --> 00:25:01,836 Speaker 1: was on Hanale Beach and I was laying on the 333 00:25:01,836 --> 00:25:07,876 Speaker 1: beach and it was Christmas, and I know Santa Claus 334 00:25:07,876 --> 00:25:10,716 Speaker 1: in full garb coming down the beach giving everyone on 335 00:25:10,756 --> 00:25:15,156 Speaker 1: the beach candy canes, and that was you. Yeah, that's right. 336 00:25:15,876 --> 00:25:19,236 Speaker 1: I'd lived on the island for a great many years 337 00:25:19,356 --> 00:25:23,156 Speaker 1: and it was an annual trip that me and my 338 00:25:23,236 --> 00:25:26,796 Speaker 1: family did. We would go and dress up and put 339 00:25:26,916 --> 00:25:29,116 Speaker 1: funny hats on and all that kind of stuff and 340 00:25:29,156 --> 00:25:32,276 Speaker 1: hand out candy canes to everybody that wanted one. So 341 00:25:32,316 --> 00:25:35,836 Speaker 1: that that was the first time you saw me. Yeah, funny, Yeah, 342 00:25:35,836 --> 00:25:37,356 Speaker 1: I didn't. I didn't meet you at that time, but 343 00:25:37,396 --> 00:25:43,396 Speaker 1: someone's like, oh, that's Graham Nash. Yeah, coming to California 344 00:25:43,636 --> 00:25:46,436 Speaker 1: from the experience you had in England, What was the 345 00:25:46,476 --> 00:25:49,476 Speaker 1: world of California like in those days? How was it 346 00:25:49,516 --> 00:25:52,076 Speaker 1: different than even the music scene that you came from 347 00:25:52,076 --> 00:25:57,116 Speaker 1: in England? How did it feel different? It felt different 348 00:25:58,196 --> 00:26:01,716 Speaker 1: from the point of view of freedom. When we were 349 00:26:01,716 --> 00:26:04,716 Speaker 1: in England, if you didn't know John and Paul and 350 00:26:04,756 --> 00:26:09,036 Speaker 1: George and Ringo, you and nobody. You couldn't touch the ball. 351 00:26:09,876 --> 00:26:13,036 Speaker 1: You couldn't add the base if you wanted to. You 352 00:26:13,076 --> 00:26:16,076 Speaker 1: had to talk to your producer, who talked to the engineer, 353 00:26:16,076 --> 00:26:19,756 Speaker 1: who would then, you know, in his white smart turned 354 00:26:19,796 --> 00:26:24,116 Speaker 1: the bass up, you know, making records then? What was 355 00:26:24,116 --> 00:26:28,756 Speaker 1: was wonderful? I mean there we were making actual records. Fantastic. 356 00:26:29,316 --> 00:26:32,076 Speaker 1: It was a different world in the freedom. When I 357 00:26:32,116 --> 00:26:35,156 Speaker 1: came here, people wanted to know my opinion. People said, 358 00:26:35,436 --> 00:26:36,916 Speaker 1: you know, what do you think of this? How do 359 00:26:36,916 --> 00:26:39,516 Speaker 1: you think we should do this? What would you do here? 360 00:26:40,436 --> 00:26:43,956 Speaker 1: And it was it was freedom. I mean Laurel Canyon 361 00:26:43,996 --> 00:26:47,236 Speaker 1: in those days was was unbelievable. It was sunshine. It 362 00:26:47,316 --> 00:26:50,516 Speaker 1: was full of music, It was full of pretty ladies. 363 00:26:51,076 --> 00:26:55,436 Speaker 1: It was in a way, a small rock and roll paradise, 364 00:26:56,076 --> 00:26:58,996 Speaker 1: and it was very, very different from the way that 365 00:26:59,756 --> 00:27:03,796 Speaker 1: we had been recording in England. When I said that 366 00:27:03,876 --> 00:27:06,676 Speaker 1: we had to talk to our producer and then he 367 00:27:06,716 --> 00:27:08,876 Speaker 1: would talk to the engineer to turn the base up. 368 00:27:09,516 --> 00:27:12,516 Speaker 1: Once she started to sell a lot of records, you 369 00:27:12,556 --> 00:27:15,396 Speaker 1: could do what you want, and we did. And it 370 00:27:15,516 --> 00:27:19,516 Speaker 1: was a thing that even David and I recognized and 371 00:27:19,556 --> 00:27:23,116 Speaker 1: we admitted to each other that we can't be a 372 00:27:23,156 --> 00:27:26,636 Speaker 1: product of this music industry that gets forgotten. We have 373 00:27:26,756 --> 00:27:31,076 Speaker 1: to maintain our hold on the tools of our trade, 374 00:27:31,436 --> 00:27:34,156 Speaker 1: meaning we need to be in a place where we 375 00:27:34,196 --> 00:27:37,516 Speaker 1: can call up a studio book, the time book, the 376 00:27:37,556 --> 00:27:40,636 Speaker 1: tape book, the musicians and do it. And it was 377 00:27:40,756 --> 00:27:43,516 Speaker 1: very different from the way that I was recording in England. 378 00:27:44,356 --> 00:27:46,076 Speaker 1: So in England you felt like you were at the 379 00:27:46,156 --> 00:27:49,276 Speaker 1: mercy of the powers that be about when you could 380 00:27:49,276 --> 00:27:52,516 Speaker 1: record and all parts of it, whereas in America you 381 00:27:52,516 --> 00:27:54,796 Speaker 1: had it more of a sense of freedom. Absolutely. I 382 00:27:54,796 --> 00:27:57,836 Speaker 1: mean in even an abbey road where it was we 383 00:27:57,836 --> 00:28:01,596 Speaker 1: were recording, we had to stop recording at ten thirty 384 00:28:01,996 --> 00:28:05,956 Speaker 1: because that's what Ron Richards, our producers said, And it 385 00:28:05,996 --> 00:28:08,996 Speaker 1: wasn't until years later we realized that ten thirty was 386 00:28:09,236 --> 00:28:12,476 Speaker 1: time when the pubs were shutting and they wanted to 387 00:28:12,596 --> 00:28:16,116 Speaker 1: drink after the day, so they would shut everything down 388 00:28:16,196 --> 00:28:20,116 Speaker 1: at ten thirty. Now, then, obviously when we started to 389 00:28:20,116 --> 00:28:23,676 Speaker 1: sell millions of records and it all changed, then we 390 00:28:23,676 --> 00:28:27,756 Speaker 1: went past ten thirty, that's for sure. Technically, you've you've 391 00:28:27,796 --> 00:28:30,436 Speaker 1: seen a lot of changes technically in the recording business 392 00:28:30,516 --> 00:28:33,356 Speaker 1: from when you started till now. Describe some of what 393 00:28:33,476 --> 00:28:36,836 Speaker 1: you think have been some of the biggest changes along 394 00:28:36,876 --> 00:28:39,476 Speaker 1: the way from the earliest days of the Hollies to 395 00:28:39,596 --> 00:28:43,036 Speaker 1: now in terms of what you can create and how 396 00:28:43,076 --> 00:28:46,396 Speaker 1: you can create it. The first time we were recording 397 00:28:46,476 --> 00:28:49,916 Speaker 1: it was on two track and that was it. And 398 00:28:49,996 --> 00:28:53,556 Speaker 1: now you have a thousand tracks on your iPhone. Yeah, 399 00:28:53,636 --> 00:28:56,876 Speaker 1: it's very, very different. But you know something, as you 400 00:28:56,916 --> 00:28:59,836 Speaker 1: well know, no amount of technology you can make a 401 00:28:59,836 --> 00:29:02,516 Speaker 1: bad song into a good song. Yes, you have to 402 00:29:02,636 --> 00:29:05,956 Speaker 1: start with a good song, and that's what we do. 403 00:29:06,556 --> 00:29:09,876 Speaker 1: We tried to start with the good song that each 404 00:29:09,916 --> 00:29:11,996 Speaker 1: one of us loves. We had this kind of rule 405 00:29:12,116 --> 00:29:15,556 Speaker 1: that that we only recorded songs that each one of 406 00:29:15,636 --> 00:29:20,636 Speaker 1: us really loved. Within Crosby Stills in Nash did relationships 407 00:29:20,756 --> 00:29:27,356 Speaker 1: change over time? Were their bonds created between members that 408 00:29:27,516 --> 00:29:30,796 Speaker 1: shifted at different times because you've known each other for 409 00:29:30,836 --> 00:29:35,116 Speaker 1: a long period of time. Yes, mainly it was David 410 00:29:35,156 --> 00:29:38,436 Speaker 1: and I that. I mean, for instance, it choosing the 411 00:29:38,516 --> 00:29:44,036 Speaker 1: name of the band. Stephen wanted it to be Stills, Crosby, 412 00:29:44,316 --> 00:29:47,676 Speaker 1: Nash with a hyphen. I said, try and say that, 413 00:29:48,036 --> 00:29:49,996 Speaker 1: and he tried to say it, and I said, see, 414 00:29:50,436 --> 00:29:54,876 Speaker 1: you can't say it smoothly, I says. The only combination 415 00:29:54,956 --> 00:30:00,476 Speaker 1: of these three voices that makes sense sonically was Crosby, 416 00:30:00,556 --> 00:30:04,596 Speaker 1: Stills and Nash. That's the way it came out the easiest, 417 00:30:04,956 --> 00:30:07,716 Speaker 1: and that's the way that we did it. And unfortunately 418 00:30:08,236 --> 00:30:10,756 Speaker 1: on that first album and we're sitting in the wrong order, 419 00:30:10,796 --> 00:30:13,756 Speaker 1: and people for a few months after that thought I'd 420 00:30:13,756 --> 00:30:19,236 Speaker 1: written Guinevere. It's also has a musical Crosby stials in 421 00:30:19,316 --> 00:30:21,756 Speaker 1: Nash has a musical phrasing to it. Just that the 422 00:30:21,876 --> 00:30:24,796 Speaker 1: name has a musical phrase. Absolutely, and that's why we 423 00:30:24,956 --> 00:30:27,956 Speaker 1: chose the better lyric of the different choices. So the 424 00:30:28,476 --> 00:30:33,316 Speaker 1: power was mainly me and David. We formed the bond 425 00:30:33,356 --> 00:30:35,756 Speaker 1: that you were talking about a little earlier. Yeah, and 426 00:30:38,196 --> 00:30:42,636 Speaker 1: sometimes it would shift, but not often. Mostly mostly David 427 00:30:42,676 --> 00:30:47,316 Speaker 1: and I knew what was best for us. You know, 428 00:30:47,876 --> 00:30:53,836 Speaker 1: Stephen in this particular name incident, his ego was in 429 00:30:53,876 --> 00:30:56,916 Speaker 1: the way, and it was David and I that convinced 430 00:30:56,956 --> 00:31:00,756 Speaker 1: him that it should be Crosby Stials in Nash and 431 00:31:00,996 --> 00:31:04,676 Speaker 1: he went along with it, which is a testament to ultimately, 432 00:31:04,756 --> 00:31:07,596 Speaker 1: even when there's a difference of opinion, if you get 433 00:31:07,636 --> 00:31:11,956 Speaker 1: to the best solution, everybody wins correct And it's very 434 00:31:11,956 --> 00:31:15,476 Speaker 1: democratic too, even though there's only three of us, if 435 00:31:15,716 --> 00:31:17,516 Speaker 1: two of us wanted to do it, that's the way 436 00:31:17,556 --> 00:31:20,116 Speaker 1: the three of us did it. We have to take 437 00:31:20,156 --> 00:31:22,276 Speaker 1: another quick break and then we'll be back with more 438 00:31:22,596 --> 00:31:28,836 Speaker 1: from Graham Nash. We're back with the rest of Rick 439 00:31:28,916 --> 00:31:34,516 Speaker 1: Rubin's conversation with Graham Nash. How popular were Crosby, Stills 440 00:31:34,516 --> 00:31:37,876 Speaker 1: and Nash out of the box? People used to tell 441 00:31:37,916 --> 00:31:42,916 Speaker 1: me you couldn't go past any college places to live 442 00:31:42,996 --> 00:31:45,956 Speaker 1: where the window wasn't open, and Crosby, Stills and Nash 443 00:31:46,076 --> 00:31:49,476 Speaker 1: music was coming out of it. We had created a 444 00:31:49,556 --> 00:31:54,356 Speaker 1: sound that we knew it was going to be pretty popular, 445 00:31:54,676 --> 00:31:58,196 Speaker 1: you know, because I mean between you know, the Birds 446 00:31:58,196 --> 00:32:01,836 Speaker 1: and the Buffalo, Springfield and the Hollies, we had we'd 447 00:32:01,876 --> 00:32:04,796 Speaker 1: had a lot of hit records. We knew what was popular, 448 00:32:04,876 --> 00:32:09,236 Speaker 1: We knew what would grab people's is and we do 449 00:32:09,356 --> 00:32:12,996 Speaker 1: that with Sweet Judy Blue Eyes. We knew that no 450 00:32:13,036 --> 00:32:15,236 Speaker 1: one was going to get up and take the needle 451 00:32:15,276 --> 00:32:18,116 Speaker 1: off the record. After that, you've got to hear what 452 00:32:18,156 --> 00:32:20,716 Speaker 1: the rest of the record is. And it was the 453 00:32:20,716 --> 00:32:23,076 Speaker 1: same when we did Deja Vu too. You know. I 454 00:32:23,156 --> 00:32:25,556 Speaker 1: came to Stephen one day and said, you know, we 455 00:32:25,916 --> 00:32:29,356 Speaker 1: don't have Sweet Judy Blue Eyes, and he said, I know, 456 00:32:29,436 --> 00:32:31,996 Speaker 1: we used it on the Fish right. I said, no, no, 457 00:32:32,236 --> 00:32:36,916 Speaker 1: you misunderstand me. We don't have that song where you're 458 00:32:37,036 --> 00:32:39,556 Speaker 1: guaranteed that no one will get up and take off 459 00:32:39,676 --> 00:32:43,876 Speaker 1: the needle of the record. He heard me. A day 460 00:32:43,876 --> 00:32:47,236 Speaker 1: and a half later, we were staying at the Caravan 461 00:32:47,316 --> 00:32:51,236 Speaker 1: Lodge motel in San Francisco because we were recording at 462 00:32:51,236 --> 00:32:53,916 Speaker 1: while he hid his studios, And one and a half 463 00:32:53,996 --> 00:32:57,196 Speaker 1: days later, after that conversation with Stephen, he goes, hey, Willy, 464 00:32:57,396 --> 00:33:00,636 Speaker 1: what do you think of this? Don't we do? Do do? Do? Do? 465 00:33:00,836 --> 00:33:03,516 Speaker 1: Do do do? And he played me carry on and 466 00:33:03,596 --> 00:33:08,196 Speaker 1: I said, oh boy, did you just knock it out 467 00:33:08,196 --> 00:33:10,396 Speaker 1: of the park. That's why he wanted it to be 468 00:33:10,436 --> 00:33:15,996 Speaker 1: called Still's Crosby and yep, and you know he was 469 00:33:16,116 --> 00:33:19,556 Speaker 1: right in thinking that. I mean, you mustn't understand Steven 470 00:33:19,676 --> 00:33:24,156 Speaker 1: played most of the instruments on our first record, Yes, 471 00:33:24,556 --> 00:33:27,436 Speaker 1: David and I did our You know, you play guitar 472 00:33:27,516 --> 00:33:29,876 Speaker 1: on Long Time Gone On and play guitar on Guinevere 473 00:33:29,996 --> 00:33:33,316 Speaker 1: and I play guitar on my songs. But Stephen played 474 00:33:33,596 --> 00:33:40,956 Speaker 1: lead guitar, rhythm and guitar, bass, piano, B three and percussion. Yeah, brilliant. 475 00:33:40,996 --> 00:33:46,036 Speaker 1: But ultimately it's about the songs. Yes, and everybody contributed 476 00:33:46,076 --> 00:33:49,396 Speaker 1: to the songs, and the voices are the voices, and 477 00:33:49,876 --> 00:33:54,636 Speaker 1: it's that combination. It really doesn't matter who contributes what 478 00:33:55,276 --> 00:33:59,276 Speaker 1: if Again, if the thing is so good, everybody wins. 479 00:33:59,316 --> 00:34:01,916 Speaker 1: So it worked out. Yes, it all works. I always 480 00:34:01,956 --> 00:34:04,396 Speaker 1: want to win. When I'm faced with the problem, I 481 00:34:04,516 --> 00:34:08,396 Speaker 1: try and figure out a solution where everybody wins. Yeah, 482 00:34:08,436 --> 00:34:12,636 Speaker 1: it's the best. It's the best chances are if everybody wins, 483 00:34:13,076 --> 00:34:17,236 Speaker 1: it's a better solution in terms of outwardly in the world, 484 00:34:17,396 --> 00:34:20,396 Speaker 1: because if there were only three people involved and all 485 00:34:20,516 --> 00:34:24,796 Speaker 1: three people are on the same page, the chances of 486 00:34:24,876 --> 00:34:29,156 Speaker 1: more people being on the same page just seems statistically better. 487 00:34:29,236 --> 00:34:32,436 Speaker 1: It makes sense. YEA it showed us. Yeah, if someone 488 00:34:32,476 --> 00:34:34,716 Speaker 1: in the group doesn't like it, why would a stranger 489 00:34:34,796 --> 00:34:37,156 Speaker 1: like it? Correct? You know, it makes sense, that's right, 490 00:34:37,196 --> 00:34:39,116 Speaker 1: and that's why we only do songs that each of 491 00:34:39,156 --> 00:34:43,956 Speaker 1: us loves beautiful. Another question about harmony. How much of 492 00:34:43,996 --> 00:34:47,796 Speaker 1: the magic of different voices singing together can be planned 493 00:34:48,076 --> 00:34:52,076 Speaker 1: versus it's just the nature of the voices and you 494 00:34:52,116 --> 00:34:55,156 Speaker 1: can't plan it. There it was a combination of both, 495 00:34:55,196 --> 00:34:57,956 Speaker 1: and we did sing a lot, you know, totally instinctively, 496 00:34:58,276 --> 00:35:02,276 Speaker 1: but sometimes you have to really plan it, particularly when 497 00:35:02,316 --> 00:35:05,796 Speaker 1: you added Neil Young to the combination. Three part harmony 498 00:35:05,876 --> 00:35:07,756 Speaker 1: is very different than four part as you well know, 499 00:35:08,276 --> 00:35:11,996 Speaker 1: and so we'd c S N Y vocals. Some of 500 00:35:11,996 --> 00:35:14,956 Speaker 1: it was planned, like carry on with the song we 501 00:35:14,996 --> 00:35:17,916 Speaker 1: were just talking about when we get to the very 502 00:35:18,036 --> 00:35:21,476 Speaker 1: end there where we go almost acapella. We had to 503 00:35:21,516 --> 00:35:26,116 Speaker 1: plan those harmonies because we added another voice. How did 504 00:35:26,156 --> 00:35:29,076 Speaker 1: Neil end up in that picture? How did Neil join? 505 00:35:29,836 --> 00:35:32,196 Speaker 1: Remember a moment ago I was telling you that Stephen 506 00:35:32,276 --> 00:35:35,116 Speaker 1: played all the instruments or most of the instruments on 507 00:35:35,116 --> 00:35:39,676 Speaker 1: that first record. Yes, instinctively we knew that this album 508 00:35:39,716 --> 00:35:41,876 Speaker 1: that we had just put out was going to be very, 509 00:35:42,036 --> 00:35:46,476 Speaker 1: very popular. We instinctively felt that and we were correct. 510 00:35:46,516 --> 00:35:51,276 Speaker 1: Of course, the addition of Neil happened this way. Stephen 511 00:35:51,316 --> 00:35:53,876 Speaker 1: and David were having dinner in New York City at 512 00:35:53,996 --> 00:35:57,316 Speaker 1: arm at Erdigan's house. Arm it was the CEO of 513 00:35:57,396 --> 00:35:59,756 Speaker 1: Atlantic Records, and he was a great fan of ours 514 00:35:59,916 --> 00:36:04,396 Speaker 1: and protected us a great many times. For instance, we 515 00:36:04,476 --> 00:36:06,876 Speaker 1: signed a contract first to do an album a year. 516 00:36:07,556 --> 00:36:11,356 Speaker 1: We never did an album year's you know, sometimes there's 517 00:36:11,396 --> 00:36:15,436 Speaker 1: many years between albums. But Armor protected us. And after 518 00:36:15,516 --> 00:36:18,076 Speaker 1: dinner they were talking about the fact that we would 519 00:36:18,076 --> 00:36:20,516 Speaker 1: have to go on the road, and he knew that 520 00:36:20,556 --> 00:36:23,556 Speaker 1: Stephen to play most of the instruments, so he said out, 521 00:36:23,996 --> 00:36:27,316 Speaker 1: I don't know he should get man. Steven said to Armor, 522 00:36:27,476 --> 00:36:30,836 Speaker 1: oh you do? Who is up? He goes, well, Man, 523 00:36:31,556 --> 00:36:35,516 Speaker 1: I think you should get Nail Young. And Stephen said, Armor, 524 00:36:36,196 --> 00:36:38,996 Speaker 1: we've just been through two years of madness with this kid. 525 00:36:39,116 --> 00:36:41,236 Speaker 1: You know, he's in the band, he's out of the band, 526 00:36:41,596 --> 00:36:44,876 Speaker 1: he's not in the Vand yes he is in the band. 527 00:36:45,156 --> 00:36:46,996 Speaker 1: He does want to do the Ed Sullivan Show. No, 528 00:36:47,076 --> 00:36:49,396 Speaker 1: he's not doing the Ed Sullivan Show. Stephen said, do 529 00:36:49,436 --> 00:36:50,916 Speaker 1: you want do you want me to do all that? 530 00:36:51,316 --> 00:36:54,276 Speaker 1: And arm It said, and quite correctly, No, I'm just 531 00:36:54,356 --> 00:36:57,076 Speaker 1: thinking of the music. I think that he would add 532 00:36:57,156 --> 00:37:01,956 Speaker 1: something great to the band. And when Stephen and David 533 00:37:02,116 --> 00:37:04,956 Speaker 1: kind of admitted to Armor that that was probably the 534 00:37:05,036 --> 00:37:07,636 Speaker 1: right thing to do. When they told me, I said, 535 00:37:07,676 --> 00:37:12,516 Speaker 1: wait a second, I'm never even met Neil Young. How 536 00:37:12,556 --> 00:37:14,916 Speaker 1: can we add somebody to this band that I've never 537 00:37:14,956 --> 00:37:18,116 Speaker 1: even met. I need to know whether I can be 538 00:37:18,156 --> 00:37:22,356 Speaker 1: his friend, whether I could tell him secret I don't know. 539 00:37:23,356 --> 00:37:26,836 Speaker 1: I don't know. I need to meet Neil Young. And 540 00:37:26,916 --> 00:37:29,556 Speaker 1: so Neil and I had breakfast in the village here 541 00:37:29,556 --> 00:37:35,556 Speaker 1: in New York, and I was convinced afterwards that yeah, 542 00:37:35,716 --> 00:37:38,956 Speaker 1: this kid should should actually be in the band. He's 543 00:37:38,996 --> 00:37:42,076 Speaker 1: a great songwriter. I personally feel that he's a great 544 00:37:42,116 --> 00:37:45,116 Speaker 1: singer also, but I think Bob Dylan is a great 545 00:37:45,116 --> 00:37:47,996 Speaker 1: singer too, and a lot of people you disagree with me, 546 00:37:48,396 --> 00:37:51,796 Speaker 1: But that's how Neil Young came into the band. Amazing 547 00:37:52,196 --> 00:37:56,156 Speaker 1: and hearing that story, what it makes me think of 548 00:37:56,556 --> 00:38:00,636 Speaker 1: is Crosby, Stills and Nash were a vocal group, and 549 00:38:00,676 --> 00:38:05,156 Speaker 1: by adding Neil it becomes a rock band. YEP. That's 550 00:38:05,196 --> 00:38:09,996 Speaker 1: why he's there. Because Stephen and Neil play and I 551 00:38:10,076 --> 00:38:15,196 Speaker 1: experienced this a thousand times. Standing in the middle of 552 00:38:15,236 --> 00:38:19,556 Speaker 1: the stage while Neil Young and Stephen Stills are talking 553 00:38:19,596 --> 00:38:23,996 Speaker 1: to each other with their guitars is an incredible moment, 554 00:38:23,996 --> 00:38:27,356 Speaker 1: and it happened a thousand times for me. I would 555 00:38:27,396 --> 00:38:30,556 Speaker 1: be astonished at their conversations that they could have with 556 00:38:30,596 --> 00:38:36,756 Speaker 1: their guitars, both angry and loving. Their conversations with their 557 00:38:36,756 --> 00:38:41,516 Speaker 1: guitars is something to behold. And I loved every moment. 558 00:38:42,076 --> 00:38:45,476 Speaker 1: And there's no question that both of them respect each 559 00:38:45,516 --> 00:38:50,396 Speaker 1: other's musicality in a way that they view each other 560 00:38:50,436 --> 00:38:57,116 Speaker 1: as equals, so that also lends a great credibility. There's 561 00:38:57,556 --> 00:39:01,156 Speaker 1: no sideman in that equation of those two guitar players, 562 00:39:01,156 --> 00:39:05,516 Speaker 1: that's right. I remember one night on stage, Stephen did 563 00:39:05,556 --> 00:39:09,796 Speaker 1: an incredible solo in one song and came up to 564 00:39:09,836 --> 00:39:12,356 Speaker 1: me and he nudged me and he said, I can't 565 00:39:12,396 --> 00:39:20,716 Speaker 1: do that. It's great. Yeah, Stephen and Neil have this 566 00:39:21,876 --> 00:39:24,876 Speaker 1: magic between them that goes on to this day. I mean, 567 00:39:24,956 --> 00:39:27,796 Speaker 1: I think they're going to play another Light Up the 568 00:39:27,836 --> 00:39:31,916 Speaker 1: Blues show for Autism in Los Angeles in about a month. 569 00:39:32,196 --> 00:39:36,356 Speaker 1: Oh beautiful, that'd be great. Tell me how songs get 570 00:39:36,356 --> 00:39:38,996 Speaker 1: written and how do you write a song versus how 571 00:39:39,716 --> 00:39:43,076 Speaker 1: you believe Still's Crosbie or Neil would do it. I 572 00:39:43,196 --> 00:39:47,316 Speaker 1: think we write songs from the same place. First of all, 573 00:39:47,316 --> 00:39:50,236 Speaker 1: we have to feel something. We have to hear something 574 00:39:50,276 --> 00:39:53,196 Speaker 1: that pisces us off. We have to hear something that 575 00:39:53,276 --> 00:39:56,276 Speaker 1: makes us fall in love. We have to hear something, 576 00:39:56,756 --> 00:40:00,676 Speaker 1: and we have to feel something. And when I feel something, 577 00:40:00,676 --> 00:40:03,676 Speaker 1: when I see something that's happening, when I check out 578 00:40:03,676 --> 00:40:06,556 Speaker 1: the world news and something mad is going on. If 579 00:40:06,556 --> 00:40:09,676 Speaker 1: I pick up on something that I don't think is right, 580 00:40:09,916 --> 00:40:12,996 Speaker 1: I have to do my research and I recognize the 581 00:40:13,036 --> 00:40:16,076 Speaker 1: fact that your words are very important. And once I 582 00:40:16,116 --> 00:40:20,596 Speaker 1: get in that mood, I then need a title. And 583 00:40:20,956 --> 00:40:24,516 Speaker 1: when I come up with the title, it usually ends 584 00:40:24,596 --> 00:40:28,676 Speaker 1: up somewhere in the end of the first chorus. You know, 585 00:40:29,116 --> 00:40:32,876 Speaker 1: I have to feel something, and when I do, I'm 586 00:40:32,956 --> 00:40:38,836 Speaker 1: dedicated to making it the simplest, most communicative piece of 587 00:40:38,916 --> 00:40:43,116 Speaker 1: music that I can make. I personally am not interested 588 00:40:43,276 --> 00:40:46,716 Speaker 1: in waiting for seven minutes before you know what I'm 589 00:40:46,756 --> 00:40:50,956 Speaker 1: talking about. I want you immediately, and I think I 590 00:40:50,996 --> 00:40:53,356 Speaker 1: show that on this new record. I mean the opening 591 00:40:53,396 --> 00:40:56,196 Speaker 1: line of my new record is I used to think 592 00:40:56,196 --> 00:41:00,956 Speaker 1: that I would never love again. Wow, beautiful line. It's 593 00:41:00,996 --> 00:41:04,476 Speaker 1: a strong line to open up an album with, but 594 00:41:04,516 --> 00:41:08,836 Speaker 1: it indicates what's to come. It's a great opening line 595 00:41:09,116 --> 00:41:13,756 Speaker 1: as it tells us so much and opens the door 596 00:41:13,796 --> 00:41:16,476 Speaker 1: for now this. You know, it's like once upon a time, 597 00:41:16,756 --> 00:41:19,556 Speaker 1: who know, there's going to be a big story following it. 598 00:41:19,556 --> 00:41:22,676 Speaker 1: It's a line like that. It really is a what's 599 00:41:22,676 --> 00:41:25,476 Speaker 1: going to happen now? Gets your attention and pulls you 600 00:41:25,516 --> 00:41:28,916 Speaker 1: into the story. Yeah, and that's why the album is 601 00:41:28,956 --> 00:41:34,556 Speaker 1: called now. It's called now beautiful. And there's a beautiful 602 00:41:34,556 --> 00:41:37,596 Speaker 1: photograph of me that my wife Amy took, as she 603 00:41:37,716 --> 00:41:41,316 Speaker 1: has done and crafted my image for the last five 604 00:41:41,436 --> 00:41:44,396 Speaker 1: or six years. It's a beautiful shot of me. I 605 00:41:44,436 --> 00:41:49,156 Speaker 1: do look my age and so what it's me now? Yeah, 606 00:41:49,196 --> 00:41:54,796 Speaker 1: it's honest and there's nothing more powerful in music than honesty, 607 00:41:55,356 --> 00:41:58,956 Speaker 1: all aspects of it. That's what attracts us warts and all. 608 00:41:59,276 --> 00:42:04,916 Speaker 1: You know, we like the humanity in it. Yes, that's 609 00:42:04,916 --> 00:42:07,436 Speaker 1: why the opening line of my album is so strong. 610 00:42:07,716 --> 00:42:10,956 Speaker 1: I feel I wouldn't you want to hear what the 611 00:42:10,996 --> 00:42:13,236 Speaker 1: rest of that song was? And then what's the rest 612 00:42:13,236 --> 00:42:15,876 Speaker 1: of the album if you heard that? Absolutely, because I 613 00:42:15,916 --> 00:42:18,836 Speaker 1: think absolutely. A lot of us feel the same way. 614 00:42:19,436 --> 00:42:21,676 Speaker 1: A lot of us fall in and out of love. 615 00:42:21,676 --> 00:42:25,036 Speaker 1: And when you're deeply in love and then it crumbles, 616 00:42:25,756 --> 00:42:28,996 Speaker 1: you think that that's the end. I'll never love again. 617 00:42:29,236 --> 00:42:32,436 Speaker 1: And I was looking at my age. I was eighty 618 00:42:32,516 --> 00:42:35,556 Speaker 1: years old when I made this record, and I was 619 00:42:35,716 --> 00:42:39,116 Speaker 1: looking at my life, and I realized that I'm getting on. 620 00:42:39,796 --> 00:42:43,116 Speaker 1: I know that I'm coming to the end of an 621 00:42:43,116 --> 00:42:46,476 Speaker 1: incredible life. I certainly hope to be around for at 622 00:42:46,596 --> 00:42:48,556 Speaker 1: least the next twenty years, so I can be one 623 00:42:48,636 --> 00:42:53,796 Speaker 1: hundred years old. And it's been a long, strange trip. 624 00:42:53,876 --> 00:42:57,036 Speaker 1: To quote the dead, Yes, would you be up for 625 00:42:57,076 --> 00:42:58,756 Speaker 1: playing us one of the new songs? Do you want 626 00:42:58,756 --> 00:43:00,316 Speaker 1: to do that? Love to hear one of the new songs? 627 00:43:00,556 --> 00:43:03,316 Speaker 1: Do you have a guitar handy that happens to be 628 00:43:03,396 --> 00:43:07,476 Speaker 1: a Gibson right here? Okay, again, no obligation, but if 629 00:43:07,476 --> 00:43:08,996 Speaker 1: it would be fun for you, I'd love to hear it. 630 00:43:09,516 --> 00:43:12,516 Speaker 1: Let me let me see what I can do, Okay, 631 00:43:14,756 --> 00:43:16,836 Speaker 1: Excited to get the flavor and see what you've been 632 00:43:18,196 --> 00:43:21,036 Speaker 1: what's been on your mind? You know? Yeah, this song 633 00:43:21,116 --> 00:43:24,236 Speaker 1: I wrote for my wife Amy. It's it's called Love 634 00:43:24,276 --> 00:43:29,116 Speaker 1: of Mine. Very simple. It's just me on the record 635 00:43:29,436 --> 00:44:04,156 Speaker 1: with my acoustic guitar and Todd Caldwell on piano, Love 636 00:44:04,316 --> 00:44:12,276 Speaker 1: of Mine, I did mean to hurt your heart so badly. 637 00:44:14,996 --> 00:44:20,636 Speaker 1: I didn't mean to make your soul so sad about 638 00:44:20,716 --> 00:44:36,636 Speaker 1: me and you, Love of Mine, regretting every word I 639 00:44:36,716 --> 00:44:42,996 Speaker 1: said to you. I can't take them back, but I 640 00:44:43,076 --> 00:44:54,876 Speaker 1: wanted to for me and you. How can I help 641 00:44:55,076 --> 00:45:00,716 Speaker 1: your heart that truly wants to heal? Can I ever 642 00:45:00,996 --> 00:45:08,916 Speaker 1: make it right and tell the truth? I know its 643 00:45:09,116 --> 00:45:15,516 Speaker 1: saptly how I feel. I don't want to be losing 644 00:45:15,796 --> 00:45:29,956 Speaker 1: you tonight, Love her Mine. I can't believe I might 645 00:45:30,076 --> 00:45:36,316 Speaker 1: be losing you, And as soon I'll thank the universe 646 00:45:36,636 --> 00:45:53,676 Speaker 1: fusing you and me. That was beautiful. Thank you so 647 00:45:53,756 --> 00:45:56,556 Speaker 1: much for playing that, and the emotion in it is 648 00:45:57,196 --> 00:46:02,036 Speaker 1: very palpable. I love her I can feel it. I 649 00:46:02,036 --> 00:46:04,956 Speaker 1: can feel it. We get to experience your love through 650 00:46:04,996 --> 00:46:07,996 Speaker 1: hearing the song. Beautiful. Yeah, That's what I'm trying to do. 651 00:46:08,076 --> 00:46:10,596 Speaker 1: I'm trying to touch you. It's interesting I asked you 652 00:46:10,636 --> 00:46:15,916 Speaker 1: about writing songwriting and you answered the question as it 653 00:46:15,956 --> 00:46:21,556 Speaker 1: relates to lyrics, So, for you, is the lyrical content 654 00:46:21,636 --> 00:46:25,876 Speaker 1: of the song the primary part of it is the 655 00:46:25,956 --> 00:46:30,396 Speaker 1: music just accompanying the words. Sometimes, yeah, I have this 656 00:46:30,436 --> 00:46:33,556 Speaker 1: thing on my iPhone. I can be recording instantly, you know, 657 00:46:33,636 --> 00:46:35,796 Speaker 1: So I put a lot of Really, I have this 658 00:46:35,876 --> 00:46:40,556 Speaker 1: idea and I put it down and sometimes, like a 659 00:46:40,556 --> 00:46:43,636 Speaker 1: little earlier, I was talking about, I need a title. Well, 660 00:46:43,716 --> 00:46:46,356 Speaker 1: that title has a rhythm to it, you know, a 661 00:46:46,436 --> 00:46:51,476 Speaker 1: vocal rhythm, and it might match a piece of music 662 00:46:51,556 --> 00:46:53,396 Speaker 1: that I've got in my mind that I haven't put 663 00:46:53,476 --> 00:46:56,396 Speaker 1: lyrics to yet. And so I in my mind, I 664 00:46:56,476 --> 00:47:00,716 Speaker 1: have these bunches of music and these bunches of lyrics, 665 00:47:00,956 --> 00:47:08,076 Speaker 1: and sometimes they marry, and that's how I write. That's 666 00:47:08,116 --> 00:47:12,116 Speaker 1: the end of part one of Rick's conversation with Graham Nash. 667 00:47:12,116 --> 00:47:14,556 Speaker 1: We'll be back apart two or Graham talks about the 668 00:47:14,556 --> 00:47:18,196 Speaker 1: inspiration behind Rick's favorite CS songs and share a story 669 00:47:18,196 --> 00:47:22,036 Speaker 1: about Joni Mitchell, Jared Garcia, and Marianne Faithful very soon, 670 00:47:22,396 --> 00:47:25,076 Speaker 1: so make sure to check in for that. In the meantime, 671 00:47:25,116 --> 00:47:26,916 Speaker 1: you can hear all of our favorite Process, Stills and 672 00:47:26,996 --> 00:47:30,236 Speaker 1: Nash songs at Broken Record podcast dot com. You can 673 00:47:30,276 --> 00:47:33,116 Speaker 1: subscribe to our YouTube channel at YouTube dot com slash 674 00:47:33,156 --> 00:47:35,756 Speaker 1: Broken Record Podcast, where you can find all of our 675 00:47:35,756 --> 00:47:39,556 Speaker 1: new episodes. You can follow us on Twitter at broken Record. 676 00:47:40,476 --> 00:47:44,676 Speaker 1: Broken Record is produced with helpful Lea Rose, Jason Gambrell, Benaladay, 677 00:47:44,876 --> 00:47:49,396 Speaker 1: and Eric Samer. Our editor is Sophie Craig. Broken Record 678 00:47:49,476 --> 00:47:52,036 Speaker 1: is a production of Pushkin Industries. If you love this 679 00:47:52,076 --> 00:47:55,436 Speaker 1: show and others from Pushkin, consider subscribing to Pushkin Plus. 680 00:47:55,996 --> 00:47:59,596 Speaker 1: Pushkin Plus is a podcast subscription that offers bonus content 681 00:47:59,676 --> 00:48:02,996 Speaker 1: and uninterrupted ad free listening for four ninety nine a month. 682 00:48:03,356 --> 00:48:06,796 Speaker 1: Look for Pushkin Plus on Apple podcast subscriptions, and if 683 00:48:06,836 --> 00:48:08,956 Speaker 1: you like the show, please remember to share, rate, and 684 00:48:09,116 --> 00:48:12,156 Speaker 1: review us on your podcast. At a theme musics by 685 00:48:12,196 --> 00:48:14,356 Speaker 1: Kenny Beats, I'm justin Richmond.