1 00:00:15,436 --> 00:00:22,916 Speaker 1: Pushkin. Hey, y'all, it's justin Richmond. We have a really 2 00:00:22,996 --> 00:00:26,356 Speaker 1: special episode for you today. When Rick Rubin and I 3 00:00:26,436 --> 00:00:29,076 Speaker 1: first talked about making Broken Record, we had a short 4 00:00:29,156 --> 00:00:32,956 Speaker 1: list of absolute dream guests for the podcast. Neil Young 5 00:00:33,236 --> 00:00:35,836 Speaker 1: was at the top of that list. We tried by 6 00:00:35,916 --> 00:00:38,436 Speaker 1: various means over the years to make it happen. Neil 7 00:00:38,476 --> 00:00:40,476 Speaker 1: had even been around the studio while we were taping 8 00:00:40,476 --> 00:00:43,516 Speaker 1: episodes with other guests, but we just couldn't make it work. 9 00:00:43,836 --> 00:00:45,996 Speaker 1: So when Neil's new record was announced and we were 10 00:00:46,036 --> 00:00:48,276 Speaker 1: told he wanted to speak with Rick about it, we 11 00:00:48,276 --> 00:00:52,436 Speaker 1: were beyond ecstatic. Neil's won a very few popular artists 12 00:00:52,516 --> 00:00:55,916 Speaker 1: who seems to be singularly focused on creating. Wherever the 13 00:00:55,996 --> 00:00:59,756 Speaker 1: muse goes, he goes. As a teenager, it led him 14 00:00:59,756 --> 00:01:02,436 Speaker 1: to the folk clubs of Canada. We first met Joni 15 00:01:02,516 --> 00:01:05,876 Speaker 1: Mitchell in the late sixties. It led him to Los Angeles. 16 00:01:06,116 --> 00:01:10,196 Speaker 1: We started Buffalo Springfield with Stephen Stills. Later, it led 17 00:01:10,276 --> 00:01:13,476 Speaker 1: him to a long solo career with intermittent stints with Crosby, 18 00:01:13,556 --> 00:01:16,156 Speaker 1: Stills and Nash in other groups he's put together over 19 00:01:16,196 --> 00:01:19,476 Speaker 1: the years. It's also led him, at various points to 20 00:01:19,516 --> 00:01:25,836 Speaker 1: spurn fans, journalists, executives, labels, collaborators, or anyone who gets 21 00:01:25,836 --> 00:01:30,076 Speaker 1: in the way of his vision. Neil's an iconoclast, a renegade, 22 00:01:30,356 --> 00:01:33,756 Speaker 1: someone who makes music vibrant and exciting, and we're lucky 23 00:01:33,836 --> 00:01:37,036 Speaker 1: to still have him around four gene, relentlessly ahead, as 24 00:01:37,156 --> 00:01:41,076 Speaker 1: vital as ever, depending on how you count. Neil's newest 25 00:01:41,116 --> 00:01:44,956 Speaker 1: release is his fiftieth solo album, not counting the dozens 26 00:01:44,996 --> 00:01:48,476 Speaker 1: of other archival and miscellaneous releases from decades past, or 27 00:01:48,556 --> 00:01:50,836 Speaker 1: the dozen or so archive releases to come in the 28 00:01:50,836 --> 00:01:53,596 Speaker 1: new year. The newest one was recorded in a barn 29 00:01:53,796 --> 00:01:55,956 Speaker 1: up in the mountains of Colorado with his on and 30 00:01:55,956 --> 00:02:00,076 Speaker 1: off again band since nineteen sixty eight, Crazy Horse Thubam's 31 00:02:00,116 --> 00:02:02,316 Speaker 1: called Barn. Let's listen to a bit of a song 32 00:02:02,356 --> 00:02:25,276 Speaker 1: from it, called Human Race. Today, no one cares Tomorrow, 33 00:02:25,436 --> 00:02:30,996 Speaker 1: No one shares, because they all will be gone. But 34 00:02:31,196 --> 00:02:44,236 Speaker 1: the children's children of the bars and floods. Who's gonna 35 00:02:44,436 --> 00:02:54,076 Speaker 1: say the human Race? The children gonna run it hid 36 00:02:54,476 --> 00:03:01,196 Speaker 1: the fire, the fires and floods to these people have 37 00:03:01,476 --> 00:03:10,716 Speaker 1: left behind the people. Today's episode, Rick and Neil talk 38 00:03:10,756 --> 00:03:13,756 Speaker 1: about his new album, all of the archival projects he 39 00:03:13,756 --> 00:03:16,796 Speaker 1: plans I'm releasing in the coming year, The time they 40 00:03:16,836 --> 00:03:20,236 Speaker 1: spent working together on some abandoned songs in nineteen ninety 41 00:03:20,276 --> 00:03:23,436 Speaker 1: seven that may soon see the latter day, Neil's time 42 00:03:23,436 --> 00:03:26,476 Speaker 1: at a Rick James fronted band that was signed to Motown, 43 00:03:27,276 --> 00:03:30,876 Speaker 1: Driving to la from Canada, and a hearse. They talked 44 00:03:30,916 --> 00:03:33,156 Speaker 1: for so long we decided to make this the first 45 00:03:33,316 --> 00:03:40,516 Speaker 1: of two episodes with Neil Young. This is broken record 46 00:03:40,716 --> 00:03:48,596 Speaker 1: liner notes for the Digital Age. I'm justin Richmond. Here's 47 00:03:48,596 --> 00:03:52,276 Speaker 1: part one of Rick Rubin's conversation with Neil Young. Hey, 48 00:03:52,636 --> 00:03:55,396 Speaker 1: what is that in Maine? How's it going? Pretty good? 49 00:03:55,436 --> 00:03:58,876 Speaker 1: How you feeling? You're good? Good to see you, great 50 00:03:58,916 --> 00:04:01,276 Speaker 1: to see you. Oh my god. So how are you 51 00:04:01,316 --> 00:04:04,556 Speaker 1: being I've been great. I haven't seen you in a minute. Yeah, 52 00:04:04,596 --> 00:04:09,436 Speaker 1: it's been maybe a minute and a half. Jeez, all 53 00:04:09,476 --> 00:04:13,516 Speaker 1: good everything. Well, if you're feeling good, I feel healthy. Yeah, 54 00:04:13,516 --> 00:04:16,996 Speaker 1: I feel good. Great, You're looking great, man, Thank you sir. 55 00:04:17,356 --> 00:04:20,516 Speaker 1: Trying my best. Yeah, so tell me where. First of all, 56 00:04:20,516 --> 00:04:22,156 Speaker 1: where's the barn? What part of the world is the 57 00:04:22,196 --> 00:04:26,636 Speaker 1: barn in? It's in Colorado? Beautiful. Yeah. The filming of 58 00:04:26,676 --> 00:04:30,996 Speaker 1: the sessions is beautiful and shed a lot of light 59 00:04:31,076 --> 00:04:34,316 Speaker 1: on the music. The album's beautiful, but seeing the images 60 00:04:34,916 --> 00:04:38,596 Speaker 1: and seeing the tranquility of the nature while listening to 61 00:04:38,636 --> 00:04:42,876 Speaker 1: the music really is a moving experience. Yeah, Daryl did 62 00:04:42,876 --> 00:04:45,996 Speaker 1: a great job. It is quite interesting to watch it 63 00:04:46,196 --> 00:04:48,916 Speaker 1: stop at you every seven seconds, it takes a picture, 64 00:04:49,156 --> 00:04:53,036 Speaker 1: and so the music has this timeless aura to it 65 00:04:53,836 --> 00:04:56,716 Speaker 1: because things are happening out of time. So when you're 66 00:04:56,756 --> 00:04:59,196 Speaker 1: looking at it, it doesn't distract you from the music. 67 00:04:59,636 --> 00:05:02,516 Speaker 1: The music stays with you while it's happening, which is really, 68 00:05:02,996 --> 00:05:05,876 Speaker 1: you know, very rare. Most videos are a distraction, and 69 00:05:06,716 --> 00:05:10,716 Speaker 1: you know, they don't help you get way into the music. Yeah, 70 00:05:10,836 --> 00:05:13,476 Speaker 1: they support the music, but they don't help the music. 71 00:05:13,676 --> 00:05:16,316 Speaker 1: It's interesting when when you listen to music, do you 72 00:05:16,396 --> 00:05:18,396 Speaker 1: close your eyes or do you keep your eyes open 73 00:05:18,396 --> 00:05:22,676 Speaker 1: when you're listening. You know, I'm really not sure when 74 00:05:22,676 --> 00:05:26,156 Speaker 1: I'm listening to music, I'm gone, i don't know where 75 00:05:26,156 --> 00:05:28,196 Speaker 1: i am, i don't know what I'm doing. If I'm 76 00:05:28,196 --> 00:05:31,156 Speaker 1: really into the music, Yeah, it just takes me away, 77 00:05:31,236 --> 00:05:34,116 Speaker 1: transports me. That's that's actually one of the things I 78 00:05:34,156 --> 00:05:37,076 Speaker 1: wanted to talk about is I've seen you play a 79 00:05:37,116 --> 00:05:39,716 Speaker 1: lot of times. I've seen a lot a lot of times, 80 00:05:40,236 --> 00:05:42,836 Speaker 1: and I can't think of a case where it didn't 81 00:05:42,836 --> 00:05:46,636 Speaker 1: feel like you were being transported by the music. Always 82 00:05:46,676 --> 00:05:50,196 Speaker 1: it was always you were gone in it. Are there 83 00:05:50,196 --> 00:05:55,316 Speaker 1: ever bad shows? Can you ever not get into that place? Sometimes, 84 00:05:55,356 --> 00:05:59,996 Speaker 1: but rarely, I'll take any kind of abuse of circumstance 85 00:06:00,076 --> 00:06:03,036 Speaker 1: to the music and try to use it. You know, 86 00:06:03,116 --> 00:06:05,796 Speaker 1: whatever it is, I try to turn around and throw 87 00:06:05,796 --> 00:06:08,356 Speaker 1: it back at the music. Yeah, it's like I try 88 00:06:08,396 --> 00:06:10,676 Speaker 1: to make the best set it and I use it. 89 00:06:10,956 --> 00:06:13,876 Speaker 1: A lot of times. Things go wrong in life, as 90 00:06:13,916 --> 00:06:16,716 Speaker 1: we all know, and you don't know what the hell 91 00:06:16,796 --> 00:06:19,876 Speaker 1: is going on? Why did that happen? I try to 92 00:06:19,916 --> 00:06:24,036 Speaker 1: take that anger or sadness and put it into music, 93 00:06:24,756 --> 00:06:27,156 Speaker 1: and the same thing happens in real time. If I'm 94 00:06:27,196 --> 00:06:30,996 Speaker 1: playing and there's a lot of distractions or something, if 95 00:06:31,036 --> 00:06:34,676 Speaker 1: they're severe distractions, I'll freak out. But if they're not, 96 00:06:35,316 --> 00:06:38,396 Speaker 1: I will use it in the music. Might the distractions 97 00:06:38,476 --> 00:06:41,996 Speaker 1: actually make it better? Based on what you're saying? In 98 00:06:42,036 --> 00:06:45,636 Speaker 1: some cases they might ye for me. I don't know 99 00:06:45,716 --> 00:06:51,156 Speaker 1: about other musicians. Only asking for you, I know, I 100 00:06:51,636 --> 00:06:54,196 Speaker 1: thank god. Yeah, it's only everything we're going to talk about. 101 00:06:54,196 --> 00:06:56,636 Speaker 1: It's very personal. It's just like, how does it hit you? 102 00:06:58,556 --> 00:07:00,436 Speaker 1: What was it like being back in the room with 103 00:07:01,156 --> 00:07:04,236 Speaker 1: the horse. It was wonderful. It's always great to be 104 00:07:04,276 --> 00:07:06,636 Speaker 1: in the room with the horse. And now that we 105 00:07:06,676 --> 00:07:10,556 Speaker 1: have nos in Pancho's retire you know, Pancho got some 106 00:07:10,716 --> 00:07:14,756 Speaker 1: arthritis and the hand injury at the same time, so 107 00:07:14,796 --> 00:07:18,076 Speaker 1: that he did do another tour after that, but he 108 00:07:18,116 --> 00:07:21,876 Speaker 1: wasn't enjoying it as much because it really hurt, so 109 00:07:21,956 --> 00:07:24,316 Speaker 1: he decided to give it a rest. Mills was in 110 00:07:24,476 --> 00:07:27,076 Speaker 1: early two though, wasn't he. Yeah, he was with He 111 00:07:27,196 --> 00:07:30,716 Speaker 1: was with us for after the gold Rush. Tonight's tonight 112 00:07:31,436 --> 00:07:35,436 Speaker 1: trans So during my first ten years, he was around 113 00:07:35,436 --> 00:07:37,636 Speaker 1: a lot. Do you remember the very first time you 114 00:07:37,796 --> 00:07:40,636 Speaker 1: jammed with Crazy Horse? Yeah, it was in my living room. 115 00:07:41,076 --> 00:07:43,236 Speaker 1: You know. I hung out with the Rockets a lot 116 00:07:43,956 --> 00:07:47,076 Speaker 1: at their house in Laurel Canyon, which was right on 117 00:07:47,196 --> 00:07:50,956 Speaker 1: Loyal Canyon Boulevard. Someday we're in Loyal Canyon together, I 118 00:07:50,996 --> 00:07:53,756 Speaker 1: will show you the house still there. Great, one of 119 00:07:53,796 --> 00:07:57,916 Speaker 1: those funky wooden houses. Yeah, three years, four stories tall 120 00:07:57,996 --> 00:08:00,676 Speaker 1: with the garage under it that opens right onto Laurel 121 00:08:00,716 --> 00:08:06,676 Speaker 1: Canyon Corner. It's dangerous, very dangerous. But we used to 122 00:08:06,756 --> 00:08:09,396 Speaker 1: get high there and party and have a great I'm 123 00:08:09,436 --> 00:08:12,836 Speaker 1: playing music and listening to music and talking. There was 124 00:08:13,236 --> 00:08:17,876 Speaker 1: you know, Annie Whitten and Robin Lane and Billion Ralph 125 00:08:17,476 --> 00:08:22,436 Speaker 1: and George Witzel and Bobby knock Coff from the Rockets. 126 00:08:22,996 --> 00:08:26,076 Speaker 1: You know, I just liked it. They were they. I 127 00:08:26,116 --> 00:08:28,996 Speaker 1: think I met them through Buffalo Springfield somehow at some gig, 128 00:08:29,996 --> 00:08:32,956 Speaker 1: maybe the Whiskey of Go Go, and I think that's 129 00:08:32,956 --> 00:08:34,676 Speaker 1: where I met them. And then they asked me to 130 00:08:34,796 --> 00:08:38,436 Speaker 1: over and hang out. They started talking, and so we 131 00:08:38,556 --> 00:08:41,516 Speaker 1: talked and we hung out and listening to music, had 132 00:08:41,516 --> 00:08:43,476 Speaker 1: a great time just hanging out. It was a good 133 00:08:43,476 --> 00:08:46,116 Speaker 1: place to go. I went there more than anywhere else 134 00:08:46,636 --> 00:08:50,076 Speaker 1: because I had a good time and we were jab 135 00:08:50,116 --> 00:08:52,516 Speaker 1: and play. It was always always felt good to me 136 00:08:52,796 --> 00:08:57,796 Speaker 1: because they weren't really you know, that accomplished, although Knotcuff 137 00:08:57,996 --> 00:09:01,476 Speaker 1: on the violin was amazing and George Witzel was a 138 00:09:01,516 --> 00:09:06,476 Speaker 1: great musician still is I believe. Then there was Billion Ralph, 139 00:09:06,556 --> 00:09:10,876 Speaker 1: and Robin was Danny's girlfriend, and Dan was great. They're 140 00:09:10,876 --> 00:09:13,676 Speaker 1: just nice people, just a good group of people. I 141 00:09:13,756 --> 00:09:16,756 Speaker 1: enjoyed being with them. And from the first time you played, 142 00:09:16,796 --> 00:09:20,036 Speaker 1: did it feel good. It always felt good playing with 143 00:09:20,076 --> 00:09:23,436 Speaker 1: the Rockets then, but there were a lot of Rockets, 144 00:09:23,956 --> 00:09:26,236 Speaker 1: but it wasn't really good for making a record for me. 145 00:09:26,996 --> 00:09:30,076 Speaker 1: So that's when I decided maybe I could just borrow 146 00:09:30,116 --> 00:09:32,916 Speaker 1: a few people from the Rockets and make a record. 147 00:09:33,516 --> 00:09:35,756 Speaker 1: And when that happened, I asked them to come up 148 00:09:35,796 --> 00:09:39,276 Speaker 1: to my house. My house was into Panga Canyon and 149 00:09:39,716 --> 00:09:44,396 Speaker 1: OHI way up on one of those roads and overlooking 150 00:09:44,756 --> 00:09:48,996 Speaker 1: the shopping center and the corners and everything. And we 151 00:09:48,996 --> 00:09:51,596 Speaker 1: were up there playing in my living room and that 152 00:09:51,676 --> 00:09:56,596 Speaker 1: was great. We sounded great right away, instantaneous by playing 153 00:09:56,596 --> 00:09:58,876 Speaker 1: with different people. How does it affect you the way 154 00:09:58,916 --> 00:10:04,076 Speaker 1: you play or what happens, Well, there's nothing like crazy Horse, 155 00:10:04,756 --> 00:10:08,716 Speaker 1: and I always loved playing with Skills the same way. 156 00:10:09,196 --> 00:10:12,716 Speaker 1: Still is just like a real musician. He's very open 157 00:10:12,836 --> 00:10:18,836 Speaker 1: and shares everything and loves to play. But the Horse 158 00:10:19,836 --> 00:10:23,476 Speaker 1: is like a group that's like that. So you know, 159 00:10:23,516 --> 00:10:25,116 Speaker 1: the more I played with the Horse and then we 160 00:10:25,156 --> 00:10:28,996 Speaker 1: start jamming and just playing, and it's just always was easy. 161 00:10:29,116 --> 00:10:31,796 Speaker 1: As long as the chords were right, it was good. 162 00:10:32,796 --> 00:10:36,916 Speaker 1: Nothing complex, because that wasn't that's not what the horse does. 163 00:10:36,996 --> 00:10:41,036 Speaker 1: The horse does it groove, and if it's simple enough, 164 00:10:41,636 --> 00:10:44,076 Speaker 1: we can all get into and get lost and not 165 00:10:44,196 --> 00:10:50,036 Speaker 1: worry about remembering anything or an arrangement. The window into 166 00:10:50,076 --> 00:10:52,516 Speaker 1: the instrumental has got to be the window into the verse, 167 00:10:53,516 --> 00:10:55,556 Speaker 1: so we can play for as long as we want, 168 00:10:55,596 --> 00:10:57,716 Speaker 1: and then we're in the verse whenever we want to go. 169 00:10:58,756 --> 00:11:01,276 Speaker 1: And that's how we do it. There's really no there's 170 00:11:01,276 --> 00:11:04,716 Speaker 1: no rules about it. When you write the songs, do 171 00:11:04,756 --> 00:11:07,516 Speaker 1: you think of a structure or does it happen more 172 00:11:08,196 --> 00:11:11,236 Speaker 1: you're looking at the on the page and you're feeling 173 00:11:11,276 --> 00:11:14,876 Speaker 1: the jam, and the shape of it evolves naturally. The 174 00:11:14,956 --> 00:11:19,196 Speaker 1: best ones just naturally evolved. The best ones happened kind 175 00:11:19,236 --> 00:11:22,396 Speaker 1: of by mistake, if you can say that they happened 176 00:11:22,516 --> 00:11:25,716 Speaker 1: so naturally. You don't even know how that happened. It's 177 00:11:25,756 --> 00:11:30,196 Speaker 1: a real deal, and we have it and we respect it, 178 00:11:30,276 --> 00:11:34,236 Speaker 1: and we love it. You honor it. I'm glad to 179 00:11:34,236 --> 00:11:37,556 Speaker 1: be together all the time. When we together, you appreciate 180 00:11:37,716 --> 00:11:41,036 Speaker 1: the whole thing. It's like a gift. Beautiful. There's one. 181 00:11:41,116 --> 00:11:43,036 Speaker 1: There's one on the new album. I don't know. I 182 00:11:43,036 --> 00:11:44,916 Speaker 1: don't know titles. I don't know titles on anything. I 183 00:11:44,956 --> 00:11:46,796 Speaker 1: don't know titles on any songs I work on either, 184 00:11:47,036 --> 00:11:50,916 Speaker 1: But you sing about stars in the sky. Oh yeah, 185 00:11:50,996 --> 00:11:54,076 Speaker 1: let's welcome back, welcome back, welcome back. It's not the same, 186 00:11:55,356 --> 00:12:01,516 Speaker 1: don't you love all those commercials Welcome back, Applebee's, welcome back. 187 00:12:01,796 --> 00:12:04,996 Speaker 1: Are you kidding? I'm not going in there. I mean, 188 00:12:05,036 --> 00:12:07,836 Speaker 1: I got nothing against Applebee's. Good luck to Applebe's, and 189 00:12:08,116 --> 00:12:11,516 Speaker 1: I'm sorry see EO, whoever you are. But so many 190 00:12:11,556 --> 00:12:15,796 Speaker 1: people started saying welcome back. I was thinking myself, I 191 00:12:15,836 --> 00:12:18,956 Speaker 1: don't think we're any farther away from this pandemic than 192 00:12:18,996 --> 00:12:21,836 Speaker 1: we were the first day we discovered it. Yeah, I 193 00:12:21,836 --> 00:12:26,116 Speaker 1: think we've made much progress, so I feel that we're 194 00:12:26,156 --> 00:12:28,796 Speaker 1: still there. So I don't go out and play. I 195 00:12:28,916 --> 00:12:32,236 Speaker 1: hardly go anywhere. I just stay at home because, lucky 196 00:12:32,276 --> 00:12:34,716 Speaker 1: for me, I've got a lot to do. Yeah. Same here, 197 00:12:34,716 --> 00:12:36,876 Speaker 1: we don't leave the house because there's a lot to 198 00:12:36,876 --> 00:12:39,236 Speaker 1: do right here. Look at all the stuff you've gotten 199 00:12:39,276 --> 00:12:41,236 Speaker 1: your vault. I mean, you've got so much stuff that 200 00:12:41,276 --> 00:12:44,716 Speaker 1: you wish that you'd finished, or you wish that somebody 201 00:12:44,716 --> 00:12:46,876 Speaker 1: else had come along and help you finish it, or 202 00:12:46,916 --> 00:12:49,996 Speaker 1: whatever happened. What happened to that? That was great? How 203 00:12:49,996 --> 00:12:54,036 Speaker 1: come we stop? I understand all of that time is weird, 204 00:12:54,476 --> 00:12:58,276 Speaker 1: because see, you keep going, and that's the way. That's 205 00:12:58,316 --> 00:13:01,156 Speaker 1: the way I've lived my musical life. I just go 206 00:13:01,276 --> 00:13:04,996 Speaker 1: from one thing to another. And coincidentally, I just was 207 00:13:05,156 --> 00:13:09,356 Speaker 1: visiting one of our sessions, one of our few sessions. 208 00:13:09,716 --> 00:13:12,756 Speaker 1: We were actually in a studio. We were playing yeah 209 00:13:12,996 --> 00:13:16,076 Speaker 1: and some of that stuff, and there's some radical stuff 210 00:13:16,116 --> 00:13:19,996 Speaker 1: in there. There's one thing called hard Luck Stories that 211 00:13:20,436 --> 00:13:23,276 Speaker 1: you should give a listen to sometime just to refresh 212 00:13:23,356 --> 00:13:26,356 Speaker 1: your memory. I haven't heard anything since that day, so 213 00:13:26,516 --> 00:13:31,716 Speaker 1: I know it's ridiculous. It is, yes, and that's not 214 00:13:31,756 --> 00:13:34,236 Speaker 1: the one. That's the best one real. The other two 215 00:13:34,236 --> 00:13:39,796 Speaker 1: are better, but hard Luck Stories it's ridiculous. Back and 216 00:13:40,316 --> 00:13:45,116 Speaker 1: I think somewhere in the previous decade, Yeah, I did 217 00:13:45,156 --> 00:13:48,436 Speaker 1: a bunch of demos. It's when I got the synclaviar 218 00:13:48,676 --> 00:13:51,116 Speaker 1: and the Lynn drum and whenever they all that started, 219 00:13:51,596 --> 00:13:55,956 Speaker 1: the seton drums, the sink system with the synclaviar and 220 00:13:56,396 --> 00:13:58,676 Speaker 1: all this stuff. I got all that stuff, and I 221 00:13:58,676 --> 00:14:01,436 Speaker 1: started laying down tracks and doing all kinds of stuff 222 00:14:01,476 --> 00:14:04,476 Speaker 1: by myself and my ranch. And then I did a 223 00:14:04,476 --> 00:14:07,556 Speaker 1: bunch of songs like that and recorded them next them, 224 00:14:07,596 --> 00:14:10,956 Speaker 1: and but there's no real guitar player or anything on them. 225 00:14:11,116 --> 00:14:13,956 Speaker 1: And they were all on multi tracks, and that's what 226 00:14:13,996 --> 00:14:16,196 Speaker 1: we had when we went in the studio together. We 227 00:14:16,236 --> 00:14:19,556 Speaker 1: had we had one of those that I brought in 228 00:14:19,676 --> 00:14:21,436 Speaker 1: and I said, let's just try to play this song 229 00:14:21,556 --> 00:14:24,996 Speaker 1: or whatever. And I played it and I was singing. 230 00:14:25,036 --> 00:14:28,236 Speaker 1: I already sung on it and everything. So I must 231 00:14:28,236 --> 00:14:30,596 Speaker 1: have said, or somebody must have said, why don't we 232 00:14:30,596 --> 00:14:33,796 Speaker 1: just play with that? Which was weird because crazy Horse 233 00:14:33,876 --> 00:14:36,916 Speaker 1: playing with a bunch of computers, it is weird. Wow. 234 00:14:36,996 --> 00:14:39,276 Speaker 1: I don't remember this at all. I mean I remember, 235 00:14:39,396 --> 00:14:41,356 Speaker 1: I remember being in the room with Crazy Horse. I 236 00:14:41,396 --> 00:14:45,076 Speaker 1: remember the session, but I don't remember that. That's wild. Yeah, 237 00:14:45,156 --> 00:14:48,316 Speaker 1: we only did one like that, Yeah, Hard Luck Stories. 238 00:14:48,356 --> 00:14:52,996 Speaker 1: The other two are just live tracks of Modern World 239 00:14:53,196 --> 00:14:56,396 Speaker 1: and Horseshoe Man, the two songs. Yeah, I remember there 240 00:14:56,436 --> 00:14:59,636 Speaker 1: was a good version of Horseshoe Man as I think back. Yeah, 241 00:14:59,636 --> 00:15:02,356 Speaker 1: it's a beauty things. It's great. I remember it being 242 00:15:02,476 --> 00:15:05,916 Speaker 1: really in the moment I remember it. I remember that. See, 243 00:15:05,916 --> 00:15:09,796 Speaker 1: that was an early master that was probably if I remember, 244 00:15:09,796 --> 00:15:12,716 Speaker 1: it might have been the original performance in the studio, 245 00:15:12,996 --> 00:15:18,916 Speaker 1: as was Modern World and Hard luck stories. It was 246 00:15:18,956 --> 00:15:21,996 Speaker 1: the first time if you if you say, okay, the 247 00:15:22,036 --> 00:15:25,876 Speaker 1: one I did with the computers and all the synthesizers 248 00:15:25,876 --> 00:15:28,556 Speaker 1: and the machines. The one I did with the machines 249 00:15:28,676 --> 00:15:30,836 Speaker 1: was the original one where I was writing it and 250 00:15:30,836 --> 00:15:33,196 Speaker 1: I laid it all down. But the only other time 251 00:15:33,236 --> 00:15:36,716 Speaker 1: I played it was when we put that on and 252 00:15:37,156 --> 00:15:40,316 Speaker 1: we played with it, and it is so ridiculous. I 253 00:15:40,396 --> 00:15:42,556 Speaker 1: can't I can't wait to hear it. It's the war 254 00:15:42,916 --> 00:15:47,636 Speaker 1: of crazy horse against the machine versus the machines. That 255 00:15:47,676 --> 00:15:54,036 Speaker 1: sounds great. Yeah, it's really good. Wins the battle. I 256 00:15:54,076 --> 00:15:59,316 Speaker 1: think the horse one very they were very thankful the machines. 257 00:15:59,396 --> 00:16:01,476 Speaker 1: The machines gave it them to some idea what they 258 00:16:01,476 --> 00:16:03,956 Speaker 1: were doing, and it was easy to do. Never count 259 00:16:03,956 --> 00:16:07,396 Speaker 1: the horse out, Oh no, no. The horse just sniffed 260 00:16:07,396 --> 00:16:09,796 Speaker 1: the machines a couple of times. I can do this 261 00:16:10,476 --> 00:16:12,916 Speaker 1: and turn its back on the machine and kicked them 262 00:16:12,916 --> 00:16:17,236 Speaker 1: a couple of times. Don't bet against the horse. So 263 00:16:17,396 --> 00:16:20,116 Speaker 1: that was great and we had a great time. I 264 00:16:20,156 --> 00:16:23,316 Speaker 1: remember we booked the session and then you called me 265 00:16:23,476 --> 00:16:25,156 Speaker 1: and you told me that you cut off a piece 266 00:16:25,196 --> 00:16:28,996 Speaker 1: of your finger. Do you remember this, Yeah, that's where 267 00:16:28,996 --> 00:16:33,036 Speaker 1: I happened after that session, no, before the session, and 268 00:16:33,156 --> 00:16:34,796 Speaker 1: you called and told me about it, and I said, so, 269 00:16:34,996 --> 00:16:36,956 Speaker 1: which we'll cancel. You said, I can't play guitar, So 270 00:16:36,956 --> 00:16:39,276 Speaker 1: he said, we cancel the session, and you said, no, 271 00:16:39,396 --> 00:16:43,476 Speaker 1: I have an idea. I'm gonna play harmonica through my guitar, 272 00:16:43,596 --> 00:16:47,836 Speaker 1: rig right, and it's said okay, And that's so. That's 273 00:16:48,516 --> 00:16:51,316 Speaker 1: that was what happened. That is so, that's why I'm 274 00:16:51,356 --> 00:16:55,956 Speaker 1: not playing guitar on some of it. The only thing 275 00:16:55,996 --> 00:16:59,756 Speaker 1: I played on Hard Luck Stories. I believe the only 276 00:16:59,796 --> 00:17:03,116 Speaker 1: thing I played is one chord. Yeah, and I kept 277 00:17:03,156 --> 00:17:07,756 Speaker 1: playing with one chord and just yeah and the rest 278 00:17:07,796 --> 00:17:13,116 Speaker 1: of it. Poncho played his guitar, Yeah, played. Everything was good. 279 00:17:13,356 --> 00:17:15,036 Speaker 1: But I remember you were able to play piano because 280 00:17:15,036 --> 00:17:17,516 Speaker 1: you were playing piano the whole whole. Yeah. Yeah, I 281 00:17:17,556 --> 00:17:20,756 Speaker 1: played piano on Horseshoe Man, and I didn't play anything 282 00:17:20,836 --> 00:17:25,716 Speaker 1: on Modern World because I played harmonica. Yeah. We just 283 00:17:25,796 --> 00:17:29,436 Speaker 1: kept going, We continued and we made good records. Yeah. 284 00:17:29,476 --> 00:17:31,996 Speaker 1: I remember you had a marimba brought down. If I 285 00:17:32,036 --> 00:17:37,236 Speaker 1: remember correctly, I think there may be marimba in there somewhere, 286 00:17:37,236 --> 00:17:39,436 Speaker 1: because because I remember, i'd never seen a marimba in 287 00:17:39,476 --> 00:17:43,156 Speaker 1: person before, so it was exciting. Well, that was the 288 00:17:43,236 --> 00:17:46,516 Speaker 1: big thing, like xylophone. It was like a xylophone but 289 00:17:46,556 --> 00:17:49,716 Speaker 1: made out of wood and really big, beautiful, and it 290 00:17:49,836 --> 00:17:53,516 Speaker 1: had some machine in it that like spun almost like 291 00:17:53,516 --> 00:17:58,196 Speaker 1: a Leslie. Yeah, that was used on I believe we 292 00:17:58,276 --> 00:18:02,236 Speaker 1: used that on Horseshoe. Yeah. Cool stuff. We'll be right 293 00:18:02,276 --> 00:18:04,876 Speaker 1: back with more from Neil Young after a quick break. 294 00:18:08,716 --> 00:18:12,556 Speaker 1: We're with Rick Rubin and Neil Young. You mentioned Stills. 295 00:18:12,756 --> 00:18:15,556 Speaker 1: Do you remember the first time ever playing with Stills. 296 00:18:15,836 --> 00:18:19,436 Speaker 1: I played with him in Fort William, Ontario, in like 297 00:18:19,596 --> 00:18:23,276 Speaker 1: nineteen sixty one, before I even went back, before I 298 00:18:23,316 --> 00:18:26,476 Speaker 1: even went down to La Wow. And I went down 299 00:18:26,516 --> 00:18:30,116 Speaker 1: to La looking for him, couldn't find him. And I 300 00:18:30,156 --> 00:18:32,396 Speaker 1: was driving down the street and they were thinking of 301 00:18:32,436 --> 00:18:35,436 Speaker 1: going to San Francisco. Bruce Palmer and I, you know, 302 00:18:35,516 --> 00:18:39,556 Speaker 1: just driving down the street in our hearse's with all 303 00:18:39,596 --> 00:18:42,596 Speaker 1: of our stuff and you go to San Francisco, will 304 00:18:42,596 --> 00:18:46,796 Speaker 1: find some music there. So all the Sunset Boulevard around 305 00:18:47,036 --> 00:18:51,396 Speaker 1: uh right, it between the Screen Actors Guild and the 306 00:18:51,436 --> 00:18:55,316 Speaker 1: Old Green Blacks and exactly where that is really close 307 00:18:55,356 --> 00:18:59,236 Speaker 1: to Earle Canyon, Yeah, really close to all canyon. I 308 00:18:59,236 --> 00:19:02,316 Speaker 1: looked out and there and I heard this somebody calling 309 00:19:02,396 --> 00:19:06,196 Speaker 1: Neil Neil, and I looked out the window and it Stills. 310 00:19:06,756 --> 00:19:08,876 Speaker 1: He's in a car going the other way, but the 311 00:19:09,116 --> 00:19:12,236 Speaker 1: graphics kind of going really slow. So I pulled over 312 00:19:12,316 --> 00:19:15,356 Speaker 1: and they came and Stills with Puree and they had 313 00:19:15,356 --> 00:19:18,596 Speaker 1: been trying to get it going. So that's how the 314 00:19:18,636 --> 00:19:24,556 Speaker 1: Springfield started. So the the initial playing with Stills in 315 00:19:24,636 --> 00:19:27,996 Speaker 1: Ontario must have been good for you to want to 316 00:19:28,036 --> 00:19:30,676 Speaker 1: come down to California to find him. Oh yeah, No, 317 00:19:30,796 --> 00:19:32,716 Speaker 1: that was great. We played a lot of stuff and 318 00:19:32,756 --> 00:19:36,836 Speaker 1: it always felt good. And he was just really getting 319 00:19:36,876 --> 00:19:39,916 Speaker 1: into electric guitar for the first time. He had an 320 00:19:39,956 --> 00:19:43,436 Speaker 1: acoustic guitar and had done a folk but he had 321 00:19:43,436 --> 00:19:46,676 Speaker 1: gotten an electric guitar and he liked playing it. And 322 00:19:46,676 --> 00:19:50,196 Speaker 1: he was in a band called The Company and what 323 00:19:50,356 --> 00:19:54,996 Speaker 1: he played in the Company was his his electric guitar sometimes. 324 00:19:55,636 --> 00:19:59,876 Speaker 1: And the Company was kind of a folk Christian minstrel's 325 00:19:59,996 --> 00:20:02,916 Speaker 1: kind of thing, only sixty four or something. It's pretty cool, 326 00:20:03,276 --> 00:20:07,156 Speaker 1: like a vocal based group. Yeah, but they had instruments 327 00:20:07,156 --> 00:20:10,436 Speaker 1: and they played, so they the group going yeah, but 328 00:20:10,636 --> 00:20:13,476 Speaker 1: we were at the time. It was me and the Squires. 329 00:20:13,476 --> 00:20:16,076 Speaker 1: It was me and a bass player and drummer and 330 00:20:16,196 --> 00:20:18,596 Speaker 1: we were just rock and roll, crazy rock and roll. 331 00:20:18,636 --> 00:20:24,116 Speaker 1: I was doing stuff based on Jim Rose. Jim Rose 332 00:20:24,156 --> 00:20:28,116 Speaker 1: had Hey Joe, Yeah, and he also had great versions 333 00:20:28,156 --> 00:20:31,956 Speaker 1: of I think it was Oh Susannah, or maybe it 334 00:20:32,036 --> 00:20:34,516 Speaker 1: was anyway it was. There was some other guys in 335 00:20:34,596 --> 00:20:37,956 Speaker 1: the group too, and from from his band, and they 336 00:20:37,996 --> 00:20:42,916 Speaker 1: played both folk songs with rock and roll arrangements, and 337 00:20:43,316 --> 00:20:46,236 Speaker 1: one of them was their version of Oh Susannah, which 338 00:20:46,236 --> 00:20:49,436 Speaker 1: I thought was really cool. I actually did a version 339 00:20:49,476 --> 00:20:52,396 Speaker 1: of it on one of my albums, Psychedelic Bill with 340 00:20:52,796 --> 00:20:57,036 Speaker 1: Crazy Horse, decades later. So there was a rock version 341 00:20:57,076 --> 00:20:59,676 Speaker 1: of Hey Joe prior to Hendrix. I didn't know that. 342 00:21:00,116 --> 00:21:04,956 Speaker 1: Oh yeah, oh Hendrix game right, had no idea. I 343 00:21:04,956 --> 00:21:08,076 Speaker 1: don't know. Hey Joe was a very cool folk rock 344 00:21:08,236 --> 00:21:10,956 Speaker 1: thing and Jim Rose is great. Try to find a 345 00:21:11,036 --> 00:21:14,156 Speaker 1: Tim Rose version I will. So you were in the 346 00:21:14,196 --> 00:21:18,156 Speaker 1: Squires playing music inspired by that kind of stuff? Was 347 00:21:18,196 --> 00:21:20,916 Speaker 1: your group with Rick James prior to that? It was 348 00:21:20,956 --> 00:21:25,676 Speaker 1: after that? So Squires was first, then Mina Birds and 349 00:21:25,756 --> 00:21:27,836 Speaker 1: what was that group? Like, anybody from the Squires and 350 00:21:27,916 --> 00:21:31,116 Speaker 1: the Mina Birds or no, no, just me. What was 351 00:21:31,156 --> 00:21:34,476 Speaker 1: that group like? Well, Bruce Palmer was in that group. 352 00:21:34,916 --> 00:21:38,236 Speaker 1: Rick James was in that group, amazing, John Yacamac and 353 00:21:38,356 --> 00:21:42,756 Speaker 1: another guy, a guitar player and a drummer, Rick Rick, 354 00:21:42,916 --> 00:21:46,196 Speaker 1: the drummer Boost, the bass player John and the rhythm 355 00:21:46,236 --> 00:21:49,756 Speaker 1: guitar player. The lead guitar player was gone. That's why 356 00:21:49,796 --> 00:21:53,916 Speaker 1: they bought me and Rick Matthews, Ricky James Matthews, the 357 00:21:54,036 --> 00:21:58,236 Speaker 1: third was singing lead and he was in Canada and 358 00:21:58,356 --> 00:22:01,036 Speaker 1: we didn't know, but he was a draft dodger. I see. 359 00:22:01,236 --> 00:22:03,316 Speaker 1: And what was the music? How would you describe the music? 360 00:22:03,996 --> 00:22:08,636 Speaker 1: R and B rock and roll, rolling Stones meets motown 361 00:22:09,476 --> 00:22:15,916 Speaker 1: meets old time southern blues? Great? Did you did you 362 00:22:15,956 --> 00:22:19,636 Speaker 1: do gigs? Oh? Yeah, how were the gigs? Gigs were great? 363 00:22:20,356 --> 00:22:23,156 Speaker 1: It was all over the place. I remember pulling my 364 00:22:23,236 --> 00:22:27,596 Speaker 1: guitar chord out multiple times, was playing, jumping around and 365 00:22:28,036 --> 00:22:31,636 Speaker 1: suddenly there's no sound. Oh yeah. We played high schools. 366 00:22:31,676 --> 00:22:36,276 Speaker 1: We played, We played clubs in Yorkville, in Toronto. So 367 00:22:36,316 --> 00:22:40,236 Speaker 1: then you come down south, you find Stills, the band 368 00:22:40,316 --> 00:22:45,276 Speaker 1: starts and things go good. For Buffalo Springfield, It's great. 369 00:22:45,516 --> 00:22:49,196 Speaker 1: It's a great band. Never was recorded. I wanted to 370 00:22:49,196 --> 00:22:50,756 Speaker 1: ask you about that. What do you remember about the 371 00:22:50,756 --> 00:22:55,036 Speaker 1: recording sessions for Buffalo Springfield. Our managers were our producers. 372 00:22:55,556 --> 00:22:58,436 Speaker 1: That's the one thing I remember. They were awful. They 373 00:22:58,436 --> 00:23:00,196 Speaker 1: didn't know what the hell they were doing. They were 374 00:23:00,236 --> 00:23:02,996 Speaker 1: on the phone half the time, they were posing. They 375 00:23:03,036 --> 00:23:06,956 Speaker 1: had nothing. We if we'd had like, oh god, if 376 00:23:06,956 --> 00:23:11,836 Speaker 1: we'd had Barry Friedman, if we'd had Paul Rothschild, any 377 00:23:11,916 --> 00:23:15,876 Speaker 1: number of guys from the folk and blues scene, we 378 00:23:15,876 --> 00:23:19,076 Speaker 1: would have been in pretty good shape. We had two 379 00:23:19,116 --> 00:23:22,356 Speaker 1: managers from New York. They didn't know how to do it. 380 00:23:22,476 --> 00:23:25,636 Speaker 1: They had Sonny and Share. Yeah, they didn't do that, 381 00:23:25,756 --> 00:23:29,996 Speaker 1: though Sonny did that. Yeah, so we we didn't have 382 00:23:30,076 --> 00:23:33,996 Speaker 1: the benefit of We didn't even have Sonny. You need 383 00:23:34,796 --> 00:23:37,796 Speaker 1: I would have been something to here. So anyway, we 384 00:23:37,876 --> 00:23:41,636 Speaker 1: didn't have much. So the recording sessions was mostly up 385 00:23:41,676 --> 00:23:45,356 Speaker 1: to Skills and I and for a you know, the 386 00:23:45,396 --> 00:23:48,916 Speaker 1: whole band. But that that was it. On for what 387 00:23:48,996 --> 00:23:52,716 Speaker 1: it's worth. The guitar sound in the beginning of the harmonics, 388 00:23:53,396 --> 00:23:57,676 Speaker 1: who plays that? I never knew that. It's it's funny 389 00:23:57,676 --> 00:24:02,116 Speaker 1: because the song is so it's obviously synonymous with Buffalo Springfield. 390 00:24:02,196 --> 00:24:04,836 Speaker 1: But we think of it as a Stills song, Yet 391 00:24:04,876 --> 00:24:07,676 Speaker 1: that guitar part is kind of the musical signature of 392 00:24:07,716 --> 00:24:10,956 Speaker 1: the song. And um, it's just interesting to know that 393 00:24:10,996 --> 00:24:13,676 Speaker 1: you played it. Yeah, yeah, it was live. Do you 394 00:24:13,716 --> 00:24:15,676 Speaker 1: remember how that came about? How that part came about, 395 00:24:15,716 --> 00:24:17,876 Speaker 1: because it's unusual. I never heard that in a song before, 396 00:24:17,996 --> 00:24:21,676 Speaker 1: or maybe since. It seemed to me like the song 397 00:24:21,956 --> 00:24:27,476 Speaker 1: was a news warning or something, and I was thinking 398 00:24:27,516 --> 00:24:33,556 Speaker 1: of the sound of news, so the d could be 399 00:24:33,716 --> 00:24:36,956 Speaker 1: part of a news sound, you know. Yeah, and it 400 00:24:37,076 --> 00:24:42,756 Speaker 1: just it just going, Dad just doing that thing with 401 00:24:42,796 --> 00:24:47,996 Speaker 1: the tremolo and the tremolo, barn the gretch and it 402 00:24:48,116 --> 00:24:52,916 Speaker 1: seemed to work. The engineer, Tom May Columbia Studio B, 403 00:24:54,276 --> 00:24:58,636 Speaker 1: Sunset Boulevard. But yeah, that was great. That was That 404 00:24:58,676 --> 00:25:01,036 Speaker 1: was a good session. It's the only one we did 405 00:25:01,076 --> 00:25:04,476 Speaker 1: with Tom. Then. Were you in the band when they 406 00:25:04,556 --> 00:25:08,716 Speaker 1: opened for the Rolling Stones? Oh? Yeah, I played with 407 00:25:08,756 --> 00:25:10,596 Speaker 1: the band and when they opened for The Stones at 408 00:25:10,596 --> 00:25:13,716 Speaker 1: the Hollywood Bowl. How was that, Well, it's just like 409 00:25:13,756 --> 00:25:16,556 Speaker 1: another gig. It was pretty good. Uh, you know, it 410 00:25:16,636 --> 00:25:19,516 Speaker 1: was a big crowd and everything was pretty exciting. I 411 00:25:19,556 --> 00:25:21,636 Speaker 1: remember I drove my eye at a Mini Cooper at 412 00:25:21,636 --> 00:25:23,956 Speaker 1: the time. Of great. I remember driving it to the 413 00:25:24,036 --> 00:25:27,396 Speaker 1: gig and you know, trying to get in the backstage 414 00:25:27,436 --> 00:25:29,956 Speaker 1: with it, and I just said, well, you know, if 415 00:25:29,956 --> 00:25:31,436 Speaker 1: you don't want to let me in, you don't have 416 00:25:31,556 --> 00:25:34,956 Speaker 1: to just tell somebody that the guitar player from Buffalo's 417 00:25:34,996 --> 00:25:39,916 Speaker 1: Prankfield can't get in, you know. So I sat there 418 00:25:39,956 --> 00:25:42,876 Speaker 1: for a while. You know, when I got in, eventually 419 00:25:43,356 --> 00:25:45,636 Speaker 1: I wasn't in a hurry. I said, that's okay with me. 420 00:25:45,676 --> 00:25:47,996 Speaker 1: I mean, somebody's gonna notice I'm not there. They're gonna 421 00:25:47,996 --> 00:25:50,476 Speaker 1: be looking for them. Yeah. No cell phones in those days. 422 00:25:50,476 --> 00:25:53,476 Speaker 1: It couldn't call anything. Oh no, everything was really different. 423 00:25:53,956 --> 00:25:57,156 Speaker 1: It was all reality. People had talked to each other 424 00:25:57,276 --> 00:26:00,996 Speaker 1: face to face. What was Laurel Canyon like back then? 425 00:26:01,396 --> 00:26:03,556 Speaker 1: What was the vibe like? What was the feeling? What 426 00:26:03,636 --> 00:26:08,476 Speaker 1: was a community like? Pretty hippie, pretty hippified community. A 427 00:26:08,516 --> 00:26:13,716 Speaker 1: lot of beautiful green stuff, green plants, old houses. The 428 00:26:13,756 --> 00:26:17,996 Speaker 1: neighborhoods were full of people from bends. Down the hill 429 00:26:18,036 --> 00:26:22,276 Speaker 1: from me was Danny Danny Hutton from Three Dog Night. 430 00:26:22,396 --> 00:26:24,876 Speaker 1: It was just like one hundred yards below me on 431 00:26:24,956 --> 00:26:28,156 Speaker 1: the hill. I lived up on a cabin up on 432 00:26:28,196 --> 00:26:34,996 Speaker 1: a hill rented by an astrologer named Kio. I had 433 00:26:35,036 --> 00:26:37,076 Speaker 1: a little pine pine cabin where I wrote a lot 434 00:26:37,116 --> 00:26:40,316 Speaker 1: of those songs, you know, all those Buffalo Springfields songs 435 00:26:40,996 --> 00:26:44,116 Speaker 1: on pieces of newspaper I wish I still had. At 436 00:26:44,116 --> 00:26:46,236 Speaker 1: one point I had all the newspapers in a big 437 00:26:46,276 --> 00:26:52,396 Speaker 1: pack with felt dick markers on top of newsprints, you know, 438 00:26:52,516 --> 00:26:56,156 Speaker 1: mister soul burling air, all those kinds of stuff, probably 439 00:26:56,236 --> 00:26:59,356 Speaker 1: expecting the fly and they're somewhere. Ever, they were in 440 00:26:59,356 --> 00:27:04,556 Speaker 1: a dumpster in the sky. But down the hill from me, 441 00:27:04,876 --> 00:27:08,316 Speaker 1: I was up the steps near Kio's house and my 442 00:27:08,396 --> 00:27:13,036 Speaker 1: little pine ham that was separated by about yeah, under 443 00:27:13,156 --> 00:27:16,116 Speaker 1: yards or so along the hill. But at the bottom 444 00:27:16,156 --> 00:27:19,236 Speaker 1: of the steps, which were quite numerous steps, there was 445 00:27:19,276 --> 00:27:22,996 Speaker 1: a garage and John Densmore lived in the apartment above 446 00:27:23,036 --> 00:27:26,796 Speaker 1: the garage, and you know, everybody was just playing at 447 00:27:26,796 --> 00:27:30,356 Speaker 1: the whiskey. You go, though. The Three Dog Night was was, 448 00:27:30,716 --> 00:27:33,836 Speaker 1: you know, kind of a manufactured group that was put 449 00:27:33,876 --> 00:27:36,556 Speaker 1: together by a record company, and they were pretty cool, 450 00:27:36,596 --> 00:27:38,556 Speaker 1: and I don't remember them coming along and playing the 451 00:27:38,556 --> 00:27:42,956 Speaker 1: whiskey and kind of breaking themselves in. And further down 452 00:27:43,036 --> 00:27:48,116 Speaker 1: the road was Denny from the Mamas and Papas and Michelle, 453 00:27:48,476 --> 00:27:53,916 Speaker 1: Michelle Phillips and Denny Doherty. Yeah, they were everywhere. Rockers 454 00:27:53,916 --> 00:27:56,796 Speaker 1: were everywhere down there. Did it feel good? Coming from 455 00:27:56,876 --> 00:27:59,596 Speaker 1: Canada moving down and then being in this neighborhood of 456 00:28:00,156 --> 00:28:03,396 Speaker 1: like minded people? Was that different? I thought that's what 457 00:28:03,516 --> 00:28:05,956 Speaker 1: it was. What it was like. I just thought that's 458 00:28:05,996 --> 00:28:08,916 Speaker 1: what happened, you know, I was in Hollywood, that people 459 00:28:09,156 --> 00:28:13,676 Speaker 1: we were. I wasn't surprised because all the musicians lived 460 00:28:13,716 --> 00:28:16,076 Speaker 1: there because they all play there, That's where they all 461 00:28:16,076 --> 00:28:19,556 Speaker 1: come from, that's where all the record companies were in studios, 462 00:28:19,596 --> 00:28:25,316 Speaker 1: and so they didn't strike me that much. Now retrospective, 463 00:28:25,596 --> 00:28:28,956 Speaker 1: it does kind of. Yeah. Yeah, at the time, it 464 00:28:28,996 --> 00:28:30,996 Speaker 1: seemed normal. And then and then when did you move 465 00:28:31,076 --> 00:28:35,636 Speaker 1: to Penga sixty eight? Probably? I think sixty eight the 466 00:28:35,996 --> 00:28:40,276 Speaker 1: Springfield broke up and I moved to I can't remember 467 00:28:40,316 --> 00:28:43,116 Speaker 1: exactly how it happened, but I think I moved to 468 00:28:43,156 --> 00:28:46,236 Speaker 1: the Chateau Marmont Well. I lived in a room there 469 00:28:46,276 --> 00:28:49,196 Speaker 1: for a while, an apartment. Well, I'm not really sure 470 00:28:49,316 --> 00:28:51,436 Speaker 1: that I was there a couple of times. I know 471 00:28:51,516 --> 00:28:55,916 Speaker 1: I did Tonight's to Night Learning there and somehow I 472 00:28:56,076 --> 00:29:00,036 Speaker 1: was at some point I moved up north. I saw 473 00:29:00,236 --> 00:29:04,436 Speaker 1: a ranch. I saw the land out of an airplane 474 00:29:04,516 --> 00:29:08,756 Speaker 1: window when I was growing up to play with this 475 00:29:09,156 --> 00:29:13,636 Speaker 1: ringfield sas Alito in this place called the Charles van 476 00:29:13,756 --> 00:29:17,756 Speaker 1: Dam the ark where we played, and there was Moby 477 00:29:17,836 --> 00:29:20,916 Speaker 1: Great was playing with us. So usin Moby Great playing 478 00:29:20,956 --> 00:29:25,476 Speaker 1: on this old paddle wheel. Incredible. Yeah. This guy Matthew 479 00:29:25,556 --> 00:29:29,436 Speaker 1: Cats who was a promoter, you know, a Filmore or 480 00:29:29,476 --> 00:29:35,436 Speaker 1: Avalon or something. He managed the arc and he employed 481 00:29:35,516 --> 00:29:39,236 Speaker 1: us to play there. I don't think we got much money. 482 00:29:39,396 --> 00:29:41,356 Speaker 1: We did play there. Gave us a place to play. 483 00:29:41,716 --> 00:29:46,036 Speaker 1: But you found the ranch ranch that way amazing? So 484 00:29:46,276 --> 00:29:48,436 Speaker 1: you didn't leave live long in Topanga? And did you 485 00:29:48,476 --> 00:29:50,636 Speaker 1: live in Malibu for a little a minute as well? 486 00:29:51,836 --> 00:29:57,436 Speaker 1: I lived in Topanga first. Then from Topanga I moved 487 00:29:57,476 --> 00:30:00,596 Speaker 1: to the Shatau Marmont again. When he got to the 488 00:30:00,636 --> 00:30:05,436 Speaker 1: shape Marmon, I moved from there. I took off and 489 00:30:05,476 --> 00:30:08,796 Speaker 1: went up to I might have been staying with Gary Burden, 490 00:30:09,716 --> 00:30:13,676 Speaker 1: my art director for so many years, in his house, 491 00:30:14,636 --> 00:30:17,476 Speaker 1: and then I then I thought, I went up north 492 00:30:17,516 --> 00:30:20,996 Speaker 1: and I found this ranch, so things must have been okay. 493 00:30:21,076 --> 00:30:25,156 Speaker 1: I'd already recorded after the Gold rushing in to Panga. 494 00:30:26,476 --> 00:30:29,876 Speaker 1: Everybody knows while I was living in the Panga and 495 00:30:30,396 --> 00:30:33,756 Speaker 1: my first album with David Briggs. They were all with 496 00:30:33,956 --> 00:30:37,956 Speaker 1: David Bridge when I when I came to that was 497 00:30:37,996 --> 00:30:41,476 Speaker 1: my first album. And then so after the third album, 498 00:30:41,676 --> 00:30:46,916 Speaker 1: I knew We've got North with Bruce Berry and Yermo 499 00:30:47,556 --> 00:30:51,916 Speaker 1: Ketty and some of the road crew, John and John Barbada, 500 00:30:51,956 --> 00:30:54,876 Speaker 1: who went playing drums to CSNY. He was a drummer 501 00:30:54,876 --> 00:30:58,436 Speaker 1: in the Turtles. So we went up north and I 502 00:30:58,556 --> 00:31:02,276 Speaker 1: bought the place and moved in. I stayed there for 503 00:31:02,276 --> 00:31:06,436 Speaker 1: a while and I started writing, started touring again. When 504 00:31:06,436 --> 00:31:09,796 Speaker 1: I wrote the songs and started writing Harvest. I remember 505 00:31:09,796 --> 00:31:13,956 Speaker 1: there was a there was a BBC live performance from 506 00:31:14,116 --> 00:31:16,996 Speaker 1: right around that time because Harvest was not out yet, 507 00:31:17,236 --> 00:31:19,916 Speaker 1: but you played songs from Harvest on it. Yeah, I 508 00:31:19,956 --> 00:31:21,916 Speaker 1: remember that too. It's one of the It's one of 509 00:31:21,916 --> 00:31:24,236 Speaker 1: the greatest things I've ever seen. Tell me everything you 510 00:31:24,236 --> 00:31:28,196 Speaker 1: remember about that. I was interesting. They they did the 511 00:31:28,236 --> 00:31:31,396 Speaker 1: show and then they wanted me to do something else 512 00:31:32,636 --> 00:31:37,476 Speaker 1: after that. But the show itself was kind of like No. 513 00:31:37,636 --> 00:31:39,636 Speaker 1: You see these shows that are in the round where 514 00:31:39,676 --> 00:31:41,756 Speaker 1: you see all the people sitting and they're all lit 515 00:31:42,356 --> 00:31:46,196 Speaker 1: and everything's clean. The artists just sitting up there on 516 00:31:46,236 --> 00:31:49,796 Speaker 1: a little round stage kind of reminded me of one 517 00:31:49,836 --> 00:31:53,316 Speaker 1: of those there's a lot like that. I had all 518 00:31:53,356 --> 00:31:55,436 Speaker 1: my songs and I was playing them and it was 519 00:31:56,476 --> 00:31:58,076 Speaker 1: I don't know what hall. I don't think it was 520 00:31:58,116 --> 00:32:02,836 Speaker 1: a hall. I think it was a BBC studios, and 521 00:32:02,916 --> 00:32:05,636 Speaker 1: you know, I just played my show. There's the same 522 00:32:05,676 --> 00:32:09,356 Speaker 1: show basically that I played at Massive Hall, same show 523 00:32:09,396 --> 00:32:12,276 Speaker 1: I played basically the same one I play that Carnate Evil. 524 00:32:12,796 --> 00:32:15,916 Speaker 1: Strangely enough to have a bootleg is that I have 525 00:32:15,956 --> 00:32:20,116 Speaker 1: a bootleg series now because I recorded everything, I have 526 00:32:20,156 --> 00:32:22,756 Speaker 1: all the masters of every bootleg thats ever put out, 527 00:32:22,756 --> 00:32:24,796 Speaker 1: So now I can put those all out and that 528 00:32:24,876 --> 00:32:27,796 Speaker 1: the sound great. You know, if anybody remembers them, they're 529 00:32:27,836 --> 00:32:31,196 Speaker 1: going to be there and they're pretty cool. It makes 530 00:32:31,196 --> 00:32:33,996 Speaker 1: me feel good down them. So yeah, I just pretty 531 00:32:34,036 --> 00:32:35,836 Speaker 1: well now just do whatever I want to do. I 532 00:32:36,636 --> 00:32:39,076 Speaker 1: put out way too many records. If I was going 533 00:32:39,116 --> 00:32:41,956 Speaker 1: to put out records and try to sell them, I 534 00:32:41,956 --> 00:32:44,556 Speaker 1: couldn't do it the way I'm doing. I'm putting them 535 00:32:44,556 --> 00:32:46,716 Speaker 1: out now because I want to. I just want to 536 00:32:46,716 --> 00:32:49,116 Speaker 1: make things right. I don't want to get all of 537 00:32:49,116 --> 00:32:51,556 Speaker 1: the stuff that I wanted to put out. I want 538 00:32:51,596 --> 00:32:54,516 Speaker 1: to put it out. Yeah, I want to beat you. Yes, 539 00:32:55,236 --> 00:32:59,116 Speaker 1: I want to enjoy whatever reaction there is, and I 540 00:32:59,196 --> 00:33:01,236 Speaker 1: want to enjoy the creation of it, and I want 541 00:33:01,236 --> 00:33:03,716 Speaker 1: to make sure it's done right and that the artwork 542 00:33:03,796 --> 00:33:06,396 Speaker 1: is correct and everything. So I can still do that. 543 00:33:06,716 --> 00:33:08,716 Speaker 1: But the big problem with me is that I have 544 00:33:08,756 --> 00:33:11,396 Speaker 1: so much so I really stuck even that. What that 545 00:33:11,516 --> 00:33:13,876 Speaker 1: session we did, I think we did three songs in 546 00:33:13,916 --> 00:33:16,556 Speaker 1: one day and we were out of Yeah, it seemed 547 00:33:16,596 --> 00:33:19,516 Speaker 1: like went pretty fast, yes, and then I was on 548 00:33:19,676 --> 00:33:23,116 Speaker 1: into something else and couldn't play because of my finger 549 00:33:23,276 --> 00:33:26,916 Speaker 1: or whatever it was. Couldn't do the big live performances 550 00:33:26,956 --> 00:33:29,236 Speaker 1: because my finger was I think I hacked it up 551 00:33:29,236 --> 00:33:32,356 Speaker 1: with a knife making a tuna sandwich or something. I 552 00:33:32,396 --> 00:33:34,676 Speaker 1: think I was in my train bar because I like 553 00:33:34,796 --> 00:33:38,836 Speaker 1: to go to kind of gather my senses and lay 554 00:33:38,956 --> 00:33:43,276 Speaker 1: track and move move mountains through all kinds of stuff. Funny, 555 00:33:43,636 --> 00:33:45,596 Speaker 1: I never it's funny to hear you say that, because 556 00:33:45,596 --> 00:33:48,836 Speaker 1: I never made the connection before of when you're in 557 00:33:48,956 --> 00:33:52,116 Speaker 1: train land, you can move mountains and you can't you 558 00:33:52,276 --> 00:33:57,996 Speaker 1: really have complete control of the universe. And then you 559 00:33:57,996 --> 00:34:00,916 Speaker 1: can turn the whole universe off and leave if you want. Yeah, 560 00:34:01,196 --> 00:34:03,636 Speaker 1: that's good. But it gave me a place to go. 561 00:34:04,076 --> 00:34:08,876 Speaker 1: I created the mountains out of stumps from the forest. 562 00:34:09,636 --> 00:34:13,316 Speaker 1: So I took natural things that existed from burnt out 563 00:34:13,516 --> 00:34:16,916 Speaker 1: trees and stuff and cut a bottom on them that 564 00:34:17,076 --> 00:34:19,996 Speaker 1: was flat and put them on these tables and created 565 00:34:20,036 --> 00:34:22,596 Speaker 1: these mountain ranges out of them. And it was only 566 00:34:22,596 --> 00:34:26,356 Speaker 1: a matter of perspective. The way they were positioned on 567 00:34:26,396 --> 00:34:30,276 Speaker 1: the table made you think it was a mountain range. 568 00:34:30,276 --> 00:34:32,276 Speaker 1: It couldn't be anything else, you know, all over the 569 00:34:32,316 --> 00:34:35,636 Speaker 1: track winding through it, going through tunnels and stuff. But 570 00:34:35,956 --> 00:34:40,116 Speaker 1: mostly it was the scenery. I used moss from the trees, 571 00:34:40,756 --> 00:34:43,796 Speaker 1: moss from the ground, and I bring it into the 572 00:34:43,836 --> 00:34:46,276 Speaker 1: train barn and laid out all around the mountains and 573 00:34:46,316 --> 00:34:50,316 Speaker 1: it looked like fields, looked like green fields. Nice to 574 00:34:50,436 --> 00:34:52,596 Speaker 1: water it and do all kinds of stuff. It was 575 00:34:52,836 --> 00:34:56,396 Speaker 1: very cool. I'm very good, and I'm building another one 576 00:34:56,956 --> 00:35:00,996 Speaker 1: in Malibu right now. My son and I and all 577 00:35:01,036 --> 00:35:04,316 Speaker 1: of the grandchildren great when I took my son there 578 00:35:04,876 --> 00:35:08,436 Speaker 1: because I left the ranch about eight years ago. I 579 00:35:08,516 --> 00:35:11,836 Speaker 1: left broke the narrow r ansty line. But I loved 580 00:35:11,916 --> 00:35:15,876 Speaker 1: that training, so I didn't want people to have my training, 581 00:35:16,036 --> 00:35:19,436 Speaker 1: so I dismantled it. I took it all apart, and 582 00:35:19,556 --> 00:35:22,076 Speaker 1: all I left was the stuff that was screwed down. 583 00:35:22,636 --> 00:35:24,996 Speaker 1: I took all of the wood and took them all 584 00:35:25,076 --> 00:35:29,436 Speaker 1: to southern southern California and go to another table outside. 585 00:35:30,476 --> 00:35:32,716 Speaker 1: The story does have a payoff when I took my 586 00:35:32,756 --> 00:35:36,996 Speaker 1: son Ben there, We went there together just a couple 587 00:35:36,996 --> 00:35:40,956 Speaker 1: of weeks ago, and I showed it to him and 588 00:35:41,076 --> 00:35:44,716 Speaker 1: when he saw it, he recognized the wood. And you know, 589 00:35:44,756 --> 00:35:47,476 Speaker 1: he doesn't speak. He was in a wheelchair. He's at 590 00:35:47,516 --> 00:35:51,116 Speaker 1: Quadrick Collegiate, so he doesn't speak. But he looked at 591 00:35:51,196 --> 00:35:54,316 Speaker 1: this stuff and then he looked at me with one eye. 592 00:35:55,036 --> 00:35:58,676 Speaker 1: This gave me the greasy eyeball the smile on his face, 593 00:35:59,356 --> 00:36:02,676 Speaker 1: and you could tell you since he was like a 594 00:36:02,756 --> 00:36:05,796 Speaker 1: year old, he'd been going there and playing trains and 595 00:36:05,916 --> 00:36:08,156 Speaker 1: hanging out with me while I was working on the layout, 596 00:36:08,596 --> 00:36:12,156 Speaker 1: and name these pieces of wood. So all the pieces 597 00:36:12,196 --> 00:36:17,316 Speaker 1: of wood that who saw were there. Amazing, It was amazing. 598 00:36:17,716 --> 00:36:20,676 Speaker 1: It just then. So we're rebuilding and being ready to 599 00:36:20,676 --> 00:36:24,036 Speaker 1: do it again and have all the grand children. I'm 600 00:36:24,076 --> 00:36:25,676 Speaker 1: so happy you get to you get to have a 601 00:36:25,676 --> 00:36:28,036 Speaker 1: new train barn, and it'll be I bet it's going 602 00:36:28,076 --> 00:36:30,236 Speaker 1: to be an improvement over the old train barn. I'm 603 00:36:30,276 --> 00:36:34,956 Speaker 1: guessing it'll be great. We're gonna take a quick break 604 00:36:35,156 --> 00:36:37,316 Speaker 1: and then we'll be back with more from Neil Young. 605 00:36:41,316 --> 00:36:43,276 Speaker 1: We're back with the rest of part one of Rick 606 00:36:43,356 --> 00:36:47,876 Speaker 1: Rubin's conversation with Neil Young. Back to Buffalo Springfield for 607 00:36:47,876 --> 00:36:51,916 Speaker 1: a minute. There's a story that the day before Buffalo 608 00:36:51,956 --> 00:36:56,116 Speaker 1: Springfield broke up, you fired the manager of the band, 609 00:36:56,196 --> 00:37:00,436 Speaker 1: which was Elliott, our friend Elliott, and broke Elliot's heart 610 00:37:00,636 --> 00:37:04,196 Speaker 1: because he loved the band, and you coldly fired Elliott. 611 00:37:04,636 --> 00:37:07,476 Speaker 1: And then, well, this is the story. You'll tell me 612 00:37:07,556 --> 00:37:11,396 Speaker 1: the truth. I'm telling you the the mythical story, the legend. 613 00:37:11,996 --> 00:37:15,356 Speaker 1: In the legend, you fire Elliott, you break his heart. 614 00:37:15,436 --> 00:37:18,596 Speaker 1: The next day you quit the band, the band breaks up, 615 00:37:18,636 --> 00:37:20,396 Speaker 1: and then you call Elliott and you hire him to 616 00:37:20,396 --> 00:37:23,196 Speaker 1: be your personal manager. Is any of that? Is it 617 00:37:23,276 --> 00:37:26,076 Speaker 1: anything like that? It's all true. It didn't happen so fast, 618 00:37:26,116 --> 00:37:28,796 Speaker 1: but it took a couple of weeks. Yeah, he did something. 619 00:37:28,836 --> 00:37:30,636 Speaker 1: I didn't like it, but I can't even remember what 620 00:37:30,676 --> 00:37:36,636 Speaker 1: it was. But I told him that was us. So 621 00:37:36,676 --> 00:37:39,396 Speaker 1: what change that made you rehire him after firing him? 622 00:37:39,636 --> 00:37:42,676 Speaker 1: I loved him. I loved him, but you know, he 623 00:37:42,796 --> 00:37:47,156 Speaker 1: fucked up so bad I could have him, So I 624 00:37:47,196 --> 00:37:50,676 Speaker 1: think it's just my own immaturity. I had to have 625 00:37:50,796 --> 00:37:54,676 Speaker 1: him all for myself or not at all. It worked out. 626 00:37:54,876 --> 00:37:57,436 Speaker 1: It worked out great. The love affair went on up 627 00:37:57,516 --> 00:38:01,076 Speaker 1: until he passed on, and still continues because we can 628 00:38:01,116 --> 00:38:03,916 Speaker 1: still send our love to Elliot, share what we're feeling, 629 00:38:03,916 --> 00:38:05,836 Speaker 1: and if we listen clothes, we'll probably hear what he's 630 00:38:05,876 --> 00:38:09,356 Speaker 1: got to say. That's right. We will tell me about Briggs. 631 00:38:09,556 --> 00:38:12,956 Speaker 1: First meeting Briggs. How do you meet him? That Briggs 632 00:38:12,996 --> 00:38:16,316 Speaker 1: into Panger Canyon. I was walking along Old to Panker 633 00:38:16,316 --> 00:38:20,476 Speaker 1: Canyon Boulevard on my way to a restaurant to have breakfast, 634 00:38:20,956 --> 00:38:22,756 Speaker 1: and it was about a mile and a half a 635 00:38:22,796 --> 00:38:26,356 Speaker 1: lot and I like walk, and Briggs and buy Pete 636 00:38:26,996 --> 00:38:30,596 Speaker 1: went by, and what it would have been a hummer, 637 00:38:30,716 --> 00:38:34,716 Speaker 1: but it was earlier before hummers, so it was a 638 00:38:34,756 --> 00:38:39,436 Speaker 1: military vehicle, troop carrier. A cool vehicle. Yeah, cool vehicle. 639 00:38:39,876 --> 00:38:42,556 Speaker 1: And he saw me and they stopped and picked me up. 640 00:38:43,276 --> 00:38:45,956 Speaker 1: So I met him. Were you hitchhiking or you just walking, 641 00:38:46,236 --> 00:38:49,036 Speaker 1: just walking, and he just said you you want to ride? 642 00:38:49,516 --> 00:38:51,716 Speaker 1: Want to ride? And I said sure, thanks. Do you 643 00:38:51,716 --> 00:38:54,556 Speaker 1: remember good conversation in the car. Was he involved in 644 00:38:54,636 --> 00:38:58,636 Speaker 1: music at the time. Oh, yeah, it was producing. He 645 00:38:58,756 --> 00:39:02,196 Speaker 1: worked with Murray Roman, the comedian, and he worked with 646 00:39:02,356 --> 00:39:05,716 Speaker 1: Tetra grammaton records. He was working on a record with 647 00:39:05,876 --> 00:39:09,476 Speaker 1: Randy California from Spirit but a few things going on 648 00:39:09,556 --> 00:39:11,716 Speaker 1: and everything, and I just liked talking to him. Yeah, 649 00:39:11,956 --> 00:39:13,796 Speaker 1: I got to know him and find out where he lived. 650 00:39:14,356 --> 00:39:16,396 Speaker 1: We were hanging out of his house, just hang out 651 00:39:16,396 --> 00:39:19,796 Speaker 1: and talk and played in some songs. He started talking 652 00:39:19,836 --> 00:39:22,556 Speaker 1: about it. What was the first album you did with him? 653 00:39:22,956 --> 00:39:26,396 Speaker 1: My first album from the beginning? Amazing? Yeah, and that 654 00:39:26,476 --> 00:39:29,356 Speaker 1: was That's That's that record we made after I met him. 655 00:39:29,476 --> 00:39:31,676 Speaker 1: Then I moved from the house. I was living into 656 00:39:31,716 --> 00:39:34,996 Speaker 1: another house one in Topango where I recorded after the 657 00:39:35,036 --> 00:39:38,156 Speaker 1: Gold Rush. But this is long before that, and I 658 00:39:38,196 --> 00:39:41,916 Speaker 1: was living in Topanga at my new house and going 659 00:39:41,996 --> 00:39:46,556 Speaker 1: in and reporting with breaks at T T ANDNG Reporters 660 00:39:46,836 --> 00:39:50,316 Speaker 1: and a little bit of Wally Hiders and stuff, working 661 00:39:50,316 --> 00:39:54,996 Speaker 1: with Jim Messina and George Grantham. Jim that had been 662 00:39:55,276 --> 00:39:57,916 Speaker 1: had helped us out in Springfield as we were breaking up, 663 00:39:58,556 --> 00:40:04,916 Speaker 1: and George Grantham was in Poco, which Jim Messina and 664 00:40:05,036 --> 00:40:08,196 Speaker 1: Richie Furrey started. So I just you know, I played 665 00:40:08,196 --> 00:40:12,076 Speaker 1: with Jim and because I knew them in when did 666 00:40:12,076 --> 00:40:16,676 Speaker 1: you build the big red box with all the pedal box? Okay, 667 00:40:16,796 --> 00:40:21,356 Speaker 1: that's nineteen seventy six, the first iteration of it. Yeah, 668 00:40:21,596 --> 00:40:24,356 Speaker 1: this was the simplest version of it. The first version 669 00:40:24,396 --> 00:40:27,276 Speaker 1: only had two levels. First of all, let me explain 670 00:40:27,396 --> 00:40:33,996 Speaker 1: what it did. It connected an electric potentiometer or a spring. 671 00:40:34,676 --> 00:40:38,996 Speaker 1: A spring drive through a cable to an electric box 672 00:40:39,676 --> 00:40:42,916 Speaker 1: that you could turn on or turn off. I had 673 00:40:42,956 --> 00:40:44,516 Speaker 1: a spring on it, so if he turned it off 674 00:40:44,556 --> 00:40:47,876 Speaker 1: and went back to a starting position wherever, you manually 675 00:40:48,476 --> 00:40:52,156 Speaker 1: screwed it into the post on a button on the 676 00:40:52,196 --> 00:40:55,396 Speaker 1: amp the volume control. I took the volume control off 677 00:40:55,476 --> 00:41:00,236 Speaker 1: my Deluxe, stuck this thing over the volume posts, screwed 678 00:41:00,276 --> 00:41:03,716 Speaker 1: it in. Once I'd gotten the volume where I wanted it, 679 00:41:03,956 --> 00:41:05,836 Speaker 1: then I put the thing over and screwed it in, 680 00:41:06,316 --> 00:41:10,396 Speaker 1: and then if I hit the switch, would vote turning 681 00:41:10,396 --> 00:41:13,276 Speaker 1: this thing until the spring was it was pushed all 682 00:41:13,316 --> 00:41:15,596 Speaker 1: the way and that would turn it all the way 683 00:41:15,676 --> 00:41:18,396 Speaker 1: up and then if I pushed the button again, it 684 00:41:18,396 --> 00:41:21,076 Speaker 1: would turn off and then would go back down. So 685 00:41:21,316 --> 00:41:24,996 Speaker 1: the advantage of that with a fendered lux or with 686 00:41:25,036 --> 00:41:28,956 Speaker 1: any old amplifill is that really the master volume is 687 00:41:28,956 --> 00:41:32,516 Speaker 1: the tone control. Yeah, these ancillary tone controls were based 688 00:41:32,556 --> 00:41:36,596 Speaker 1: in Trouble, but they don't really do what the volume 689 00:41:36,676 --> 00:41:40,276 Speaker 1: control does, which is overload the hella. So that was 690 00:41:40,436 --> 00:41:42,916 Speaker 1: the amount of overload that I had and was decided 691 00:41:42,916 --> 00:41:45,996 Speaker 1: by the position of that one button. So there was 692 00:41:46,036 --> 00:41:49,196 Speaker 1: a sober box that was, you know, with a cap 693 00:41:49,276 --> 00:41:52,396 Speaker 1: that looked like a mechano set holding it on top 694 00:41:52,436 --> 00:41:55,476 Speaker 1: of my amp. And then I had a Fender reverb 695 00:41:55,636 --> 00:41:58,996 Speaker 1: unit and those two things. That's what I used up 696 00:41:59,076 --> 00:42:05,276 Speaker 1: until nineteen including nineteen seventy six, and the last record 697 00:42:05,356 --> 00:42:09,116 Speaker 1: that I made playing that way was as a record 698 00:42:09,796 --> 00:42:15,916 Speaker 1: this is called Electric Duty presents Chaos and the course 699 00:42:15,996 --> 00:42:18,596 Speaker 1: that rode in on. I've never heard that one. Oh 700 00:42:18,636 --> 00:42:21,836 Speaker 1: it's not out. Oh that's why, it's just I just 701 00:42:21,916 --> 00:42:24,516 Speaker 1: found it. And it's the last one that I did. 702 00:42:24,996 --> 00:42:28,636 Speaker 1: But the original rig then Rust Never Sleeps was the 703 00:42:28,716 --> 00:42:32,476 Speaker 1: next tour, and I developed a system that had four 704 00:42:32,556 --> 00:42:37,276 Speaker 1: levels for the potentialometer to go to four buttons to 705 00:42:37,916 --> 00:42:42,356 Speaker 1: select the tones that I wanted by the position of 706 00:42:42,036 --> 00:42:46,276 Speaker 1: the master volume. So it's only controlling the master volume. 707 00:42:46,356 --> 00:42:48,796 Speaker 1: That's the only thing that the box does. That's what 708 00:42:48,876 --> 00:42:52,996 Speaker 1: that does. But the red box also has on the 709 00:42:53,036 --> 00:42:58,596 Speaker 1: bottom there's four buttons. That's that's low, medium, medium, high, 710 00:42:58,636 --> 00:43:03,436 Speaker 1: and high and they all sound different, really radically different. 711 00:43:03,756 --> 00:43:08,796 Speaker 1: Along the top there's a MXR analog delay in it, 712 00:43:09,156 --> 00:43:14,476 Speaker 1: a neutron octive divider, some old kind of flange thing, 713 00:43:15,356 --> 00:43:19,796 Speaker 1: and they on off bypass that took them all out 714 00:43:19,796 --> 00:43:23,796 Speaker 1: of the loop and echoplex, so they were all together, 715 00:43:23,956 --> 00:43:27,596 Speaker 1: the neutron octive divider and the other things and the 716 00:43:27,596 --> 00:43:30,196 Speaker 1: echo plex which are the most critical ones. And every 717 00:43:30,196 --> 00:43:34,036 Speaker 1: once in a while I used the flanger and there 718 00:43:34,076 --> 00:43:37,076 Speaker 1: was another one that was a ridiculous digital thing that 719 00:43:37,156 --> 00:43:40,916 Speaker 1: it sounded like I was making popcornings, so i'd throw 720 00:43:40,996 --> 00:43:42,796 Speaker 1: that in for a couple of notes every once in 721 00:43:42,836 --> 00:43:45,036 Speaker 1: a while. But they were right on the edge of 722 00:43:45,036 --> 00:43:48,076 Speaker 1: my foot, all these things, and I had them all there, 723 00:43:48,356 --> 00:43:51,476 Speaker 1: and then one one button would take them all out. 724 00:43:52,116 --> 00:43:54,716 Speaker 1: So then instead of going through all these switches the 725 00:43:54,836 --> 00:43:58,076 Speaker 1: signal only one for one, I bypassed all of the 726 00:43:58,156 --> 00:44:00,716 Speaker 1: electronics and everything into the other stuff. But if I 727 00:44:00,796 --> 00:44:03,316 Speaker 1: want to use the other stuff, you know, I could 728 00:44:03,316 --> 00:44:05,396 Speaker 1: preset it and then hit that one switch and everything 729 00:44:05,396 --> 00:44:07,716 Speaker 1: could come on at once, or I could play with 730 00:44:07,796 --> 00:44:10,356 Speaker 1: the switch on and add things one by one. I 731 00:44:10,356 --> 00:44:12,996 Speaker 1: could do anything I wanted. Plus I had the four 732 00:44:13,076 --> 00:44:17,276 Speaker 1: levels of volume, so it's pretty complex. Yeah. Do you 733 00:44:17,316 --> 00:44:23,156 Speaker 1: ever hit the wrong button by mistake? Always? Every show? Sometimes? 734 00:44:23,156 --> 00:44:26,316 Speaker 1: So yeah. The thing is rick that while it was 735 00:44:26,356 --> 00:44:30,796 Speaker 1: a great sound, it colored everything that I did from 736 00:44:30,876 --> 00:44:35,396 Speaker 1: nineteen seventy seven and a half now. Yes, But right 737 00:44:35,436 --> 00:44:40,276 Speaker 1: before that is this album Chaos. Can't wait to hear it, 738 00:44:40,356 --> 00:44:43,556 Speaker 1: which is just me playing the guitar with Crazy Horse 739 00:44:43,996 --> 00:44:47,956 Speaker 1: with one volume change and a reverb unit. No a 740 00:44:48,036 --> 00:44:52,436 Speaker 1: complex is, no flangers, none of the stuff. But also 741 00:44:53,436 --> 00:44:57,156 Speaker 1: nothing where the signal went away, nothing where the signal 742 00:44:57,236 --> 00:44:58,996 Speaker 1: had to go through a new place to get to 743 00:44:59,036 --> 00:45:02,956 Speaker 1: the effects. Yes, So consequently the actual sound of the 744 00:45:02,996 --> 00:45:06,996 Speaker 1: guitar was more pure, more direct, and I was playing 745 00:45:07,076 --> 00:45:11,036 Speaker 1: it and what that sound? That like? This this record? 746 00:45:11,716 --> 00:45:15,756 Speaker 1: I think this Chaos record is ridiculous. It's the best 747 00:45:15,796 --> 00:45:18,596 Speaker 1: Crazy Horse record ever made. When do we get to 748 00:45:18,636 --> 00:45:21,356 Speaker 1: hear that one? Probably this year? It's coming out. It's 749 00:45:21,396 --> 00:45:26,996 Speaker 1: the first disc on volume three of my archives. Amazing. Yeah, 750 00:45:26,996 --> 00:45:29,676 Speaker 1: I can't wait to hear it. Thanks right, I wait 751 00:45:29,676 --> 00:45:32,156 Speaker 1: to hear it too. We just today, we just had 752 00:45:32,156 --> 00:45:36,756 Speaker 1: a meeting and locked the running order completely. Thirteen CDs. 753 00:45:37,676 --> 00:45:40,916 Speaker 1: There's thirteen discs. Each one has a cover, each one 754 00:45:40,956 --> 00:45:46,276 Speaker 1: as a story, and but they're all those thirteen discs. 755 00:45:46,276 --> 00:45:49,676 Speaker 1: Have found them ten blue ray discs, and the blue 756 00:45:49,756 --> 00:45:54,836 Speaker 1: rays each have the high res version of the CDs 757 00:45:54,916 --> 00:46:00,156 Speaker 1: and films. There's eight films. So of the ten Blu rays, 758 00:46:00,436 --> 00:46:03,516 Speaker 1: eight of them have films and CD and you know 759 00:46:03,636 --> 00:46:07,236 Speaker 1: albums in high rese How did you know the archive 760 00:46:07,276 --> 00:46:09,356 Speaker 1: all this? Like, how did you notice, say, of every thing? 761 00:46:09,436 --> 00:46:13,716 Speaker 1: How did that happen? That's the question. Yes, yes it is. 762 00:46:15,276 --> 00:46:17,276 Speaker 1: I'll call you if I can figure that out. I 763 00:46:17,596 --> 00:46:21,276 Speaker 1: have no idea, but I collect everything, I keep track 764 00:46:21,316 --> 00:46:24,796 Speaker 1: of everything. I can't help it. I write everything down, 765 00:46:25,036 --> 00:46:28,876 Speaker 1: or I make some sort of note or cryptic message 766 00:46:28,916 --> 00:46:33,436 Speaker 1: to myself that says where this was from. So consequently 767 00:46:33,476 --> 00:46:37,476 Speaker 1: I have at the beginning of this disc, I have chaos, 768 00:46:37,996 --> 00:46:40,716 Speaker 1: which is chaos and the horse that rode in on 769 00:46:41,356 --> 00:46:45,596 Speaker 1: presented by Electric Jude. That's a very interesting covered title. 770 00:46:46,236 --> 00:46:50,356 Speaker 1: But anyway, Then at the other end, CD thirteen is 771 00:46:51,276 --> 00:46:56,356 Speaker 1: Summer Songs, which is a collection of original versions of 772 00:46:56,476 --> 00:46:59,796 Speaker 1: songs that came out three or four years later. So 773 00:47:00,436 --> 00:47:04,516 Speaker 1: it has the original versions of American Dream. Would you 774 00:47:04,516 --> 00:47:06,516 Speaker 1: call them demos or would you not call them demos? 775 00:47:06,876 --> 00:47:10,436 Speaker 1: I would call them sketches. I see, I don't think 776 00:47:10,476 --> 00:47:14,676 Speaker 1: they're a demo. What they are is versions of the song, 777 00:47:14,876 --> 00:47:18,916 Speaker 1: the pure original version. They all have the original lyrics 778 00:47:19,076 --> 00:47:22,436 Speaker 1: which are different from the lyrics that that came out 779 00:47:22,516 --> 00:47:27,836 Speaker 1: on Freedom. And I had four albums that they came 780 00:47:27,836 --> 00:47:31,516 Speaker 1: out on, all in the late eighties early nineties, and 781 00:47:31,756 --> 00:47:36,716 Speaker 1: this album was made in the eighties seven, So the 782 00:47:36,876 --> 00:47:40,356 Speaker 1: album Summer Songs was done years before. Yeah, I did 783 00:47:40,396 --> 00:47:43,196 Speaker 1: all these songs and then I don't know why, but 784 00:47:43,276 --> 00:47:45,756 Speaker 1: I put them all together, called them Summer Songs and 785 00:47:45,756 --> 00:47:50,076 Speaker 1: put them on the shelf. And then later on what 786 00:47:50,236 --> 00:47:52,996 Speaker 1: I did American Dream with CSNY, I tried a couple 787 00:47:53,036 --> 00:47:56,076 Speaker 1: of these songs. There's two of the songs from that 788 00:47:56,156 --> 00:47:59,276 Speaker 1: are on that record. Then I did Freedom, and there's 789 00:47:59,316 --> 00:48:02,516 Speaker 1: songs on Freedom that are from that record, And there's 790 00:48:02,556 --> 00:48:06,556 Speaker 1: two other records that I made, but I can't that 791 00:48:08,356 --> 00:48:16,116 Speaker 1: from that Erio and they are American Dream from that album, 792 00:48:16,796 --> 00:48:20,476 Speaker 1: The Last of His Kind, which was an unreleased song 793 00:48:20,796 --> 00:48:26,356 Speaker 1: about farmers, Someday, which was on Freedom for the Love 794 00:48:26,396 --> 00:48:30,236 Speaker 1: of Man, which was on Psychedelic Pill, which came out 795 00:48:30,236 --> 00:48:33,196 Speaker 1: in the nineties, One of These Days, which was on 796 00:48:33,276 --> 00:48:38,276 Speaker 1: Harvest Moon, Wrecking Ball from Freedom, Hanging on a Limb 797 00:48:38,316 --> 00:48:43,356 Speaker 1: from Freedom, and Name of Love from American Dream. So 798 00:48:43,476 --> 00:48:48,556 Speaker 1: all of those songs in their original shape are on 799 00:48:48,636 --> 00:48:51,556 Speaker 1: this and I played them all on acoustic and then 800 00:48:52,676 --> 00:48:56,596 Speaker 1: very different from any acoustic Overdubblin's overdone. I did them all, 801 00:48:56,716 --> 00:48:59,516 Speaker 1: perform them and sang and played them, and then right 802 00:48:59,516 --> 00:49:03,356 Speaker 1: away I did them again, listening to what I've done, 803 00:49:03,956 --> 00:49:08,956 Speaker 1: playing exactly without moving, staying in the same position, not moving, 804 00:49:09,436 --> 00:49:12,796 Speaker 1: did the song again and played everything along with it. 805 00:49:12,796 --> 00:49:16,436 Speaker 1: It's uncanny, You cannot you think that it's an electronic 806 00:49:16,516 --> 00:49:20,396 Speaker 1: thing where I duplicated the guitar. Really, if you really 807 00:49:20,436 --> 00:49:24,756 Speaker 1: have to listen to tell it, it's two different versions. Really, 808 00:49:24,996 --> 00:49:28,516 Speaker 1: they're close, and everything's the saying because nothing changed, everything 809 00:49:28,636 --> 00:49:32,876 Speaker 1: is doubled, everything's doubled. I sang harmony parts and played 810 00:49:32,876 --> 00:49:35,916 Speaker 1: the guitar parts at the same time. So when I 811 00:49:35,916 --> 00:49:39,876 Speaker 1: did the harmony parts, the guitar was added or elade 812 00:49:39,876 --> 00:49:42,756 Speaker 1: guitar was added, but whatever it was, I played it 813 00:49:42,876 --> 00:49:45,156 Speaker 1: and sang at the same time, just like I did 814 00:49:45,156 --> 00:49:48,276 Speaker 1: in the original. So that was amo that I used 815 00:49:48,316 --> 00:49:53,276 Speaker 1: to create summer songs. And I found it last week, 816 00:49:53,996 --> 00:49:57,836 Speaker 1: maybe two weeks ago. I kept looking at I kept saying, 817 00:49:57,836 --> 00:50:00,676 Speaker 1: summer songs. There's summer songs. Yeah, that's a bunch of 818 00:50:00,676 --> 00:50:02,116 Speaker 1: things that I didn't want to put out or that 819 00:50:02,196 --> 00:50:06,276 Speaker 1: I didn't use. Then I listened to it. It's got 820 00:50:06,356 --> 00:50:11,156 Speaker 1: beautiful echoes. It's so beautiful. If it's not like a demo, 821 00:50:11,316 --> 00:50:13,916 Speaker 1: because it's like the production. The first thing that anybody 822 00:50:13,996 --> 00:50:16,756 Speaker 1: heard them said it is wow, what a great production. 823 00:50:17,396 --> 00:50:21,836 Speaker 1: Sounds amazing, And I'm going, well, it's uh. First of all, 824 00:50:21,876 --> 00:50:26,116 Speaker 1: it's not even high res. It's CD quality as in 825 00:50:26,276 --> 00:50:29,836 Speaker 1: the dark ages that digital recorded sound, which was the 826 00:50:29,916 --> 00:50:33,316 Speaker 1: late nineties, late late eighties and early nineties. Yeah, where 827 00:50:33,396 --> 00:50:36,516 Speaker 1: things went downhill really badly before we started to pull 828 00:50:36,556 --> 00:50:39,916 Speaker 1: it back because we were all recording low resolution because 829 00:50:40,396 --> 00:50:43,236 Speaker 1: the technology companies were telling us how great it was. 830 00:50:43,876 --> 00:50:47,676 Speaker 1: That's why we started doing We trusted again. It's pretty scap. 831 00:50:48,116 --> 00:50:51,276 Speaker 1: But anyway, so we so I found these. They all 832 00:50:51,316 --> 00:50:54,516 Speaker 1: sound the same. They are like a record like no 833 00:50:54,636 --> 00:50:58,836 Speaker 1: other record I've ever made. They all are everything that's unified. 834 00:50:59,396 --> 00:51:02,076 Speaker 1: It's altogether. It's like I wrote myself a letter and 835 00:51:02,196 --> 00:51:07,076 Speaker 1: mailed it to myself to get like three forty years later. Unbelievable. Yeah, 836 00:51:07,076 --> 00:51:09,436 Speaker 1: so there they are. So that's what I'm doing right 837 00:51:09,476 --> 00:51:16,316 Speaker 1: now as I'm investigating all this stuff. Thanks to Neil 838 00:51:16,356 --> 00:51:18,436 Speaker 1: for taking the time to talk about the early days 839 00:51:18,436 --> 00:51:21,916 Speaker 1: of his career and telling us about his vast musical archives. 840 00:51:22,356 --> 00:51:24,156 Speaker 1: Be sure to check out part two of Rick and 841 00:51:24,236 --> 00:51:26,996 Speaker 1: Neil's conversation next week. You can hear all of our 842 00:51:26,996 --> 00:51:30,476 Speaker 1: favorite Neil Young songs at broken Record podcast dot com. 843 00:51:30,556 --> 00:51:33,116 Speaker 1: Be sure to subscribe to our YouTube channel at YouTube 844 00:51:33,116 --> 00:51:36,396 Speaker 1: dot com slash broken Record Podcast. We can find all 845 00:51:36,436 --> 00:51:39,516 Speaker 1: of our new episodes. Broken Record is produced with help 846 00:51:39,556 --> 00:51:44,276 Speaker 1: from Lea Rose, Jason Gambrel, Martin Gonzalez, Eric Sandler, and 847 00:51:44,436 --> 00:51:48,596 Speaker 1: Jennifer Sanchez, with engineering help from Nick Chaffey. Our executive 848 00:51:48,596 --> 00:51:51,996 Speaker 1: producer is mil LaBelle. Broken Record is a production of 849 00:51:52,036 --> 00:51:55,796 Speaker 1: Pushkin Industries. If you love this show and others from Pushkin, 850 00:51:56,196 --> 00:52:00,236 Speaker 1: consider subscribing to Pushkin Plus. Pushkin Plus is a podcast 851 00:52:00,236 --> 00:52:04,436 Speaker 1: subscription that offers bonus content and uninterrupted ad free listening 852 00:52:04,636 --> 00:52:07,316 Speaker 1: for four ninety nine a month. Look for Pushkin Plus 853 00:52:07,316 --> 00:52:11,076 Speaker 1: on Apple Podcasts subscriptions. You can follow us on Twitter 854 00:52:11,276 --> 00:52:14,196 Speaker 1: at Broken Record and please remember to share, rate, and 855 00:52:14,236 --> 00:52:17,156 Speaker 1: review us on your podcast at Our theme music is 856 00:52:17,156 --> 00:52:19,196 Speaker 1: by Kenni Beats. I'm justin Richmond.