Speaker 1: Pushkin. Hey, y'all, it's justin Richmond. We have a really
Speaker 1: special episode for you today. When Rick Rubin and I
Speaker 1: first talked about making Broken Record, we had a short
Speaker 1: list of absolute dream guests for the podcast. Neil Young
Speaker 1: was at the top of that list. We tried by
Speaker 1: various means over the years to make it happen. Neil
Speaker 1: had even been around the studio while we were taping
Speaker 1: episodes with other guests, but we just couldn't make it work.
Speaker 1: So when Neil's new record was announced and we were
Speaker 1: told he wanted to speak with Rick about it, we
Speaker 1: were beyond ecstatic. Neil's won a very few popular artists
Speaker 1: who seems to be singularly focused on creating. Wherever the
Speaker 1: muse goes, he goes. As a teenager, it led him
Speaker 1: to the folk clubs of Canada. We first met Joni
Speaker 1: Mitchell in the late sixties. It led him to Los Angeles.
Speaker 1: We started Buffalo Springfield with Stephen Stills. Later, it led
Speaker 1: him to a long solo career with intermittent stints with Crosby,
Speaker 1: Stills and Nash in other groups he's put together over
Speaker 1: the years. It's also led him, at various points to
Speaker 1: spurn fans, journalists, executives, labels, collaborators, or anyone who gets
Speaker 1: in the way of his vision. Neil's an iconoclast, a renegade,
Speaker 1: someone who makes music vibrant and exciting, and we're lucky
Speaker 1: to still have him around four gene, relentlessly ahead, as
Speaker 1: vital as ever, depending on how you count. Neil's newest
Speaker 1: release is his fiftieth solo album, not counting the dozens
Speaker 1: of other archival and miscellaneous releases from decades past, or
Speaker 1: the dozen or so archive releases to come in the
Speaker 1: new year. The newest one was recorded in a barn
Speaker 1: up in the mountains of Colorado with his on and
Speaker 1: off again band since nineteen sixty eight, Crazy Horse Thubam's
Speaker 1: called Barn. Let's listen to a bit of a song
Speaker 1: from it, called Human Race. Today, no one cares Tomorrow,
Speaker 1: No one shares, because they all will be gone. But
Speaker 1: the children's children of the bars and floods. Who's gonna
Speaker 1: say the human Race? The children gonna run it hid
Speaker 1: the fire, the fires and floods to these people have
Speaker 1: left behind the people. Today's episode, Rick and Neil talk
Speaker 1: about his new album, all of the archival projects he
Speaker 1: plans I'm releasing in the coming year, The time they
Speaker 1: spent working together on some abandoned songs in nineteen ninety
Speaker 1: seven that may soon see the latter day, Neil's time
Speaker 1: at a Rick James fronted band that was signed to Motown,
Speaker 1: Driving to la from Canada, and a hearse. They talked
Speaker 1: for so long we decided to make this the first
Speaker 1: of two episodes with Neil Young. This is broken record
Speaker 1: liner notes for the Digital Age. I'm justin Richmond. Here's
Speaker 1: part one of Rick Rubin's conversation with Neil Young. Hey,
Speaker 1: what is that in Maine? How's it going? Pretty good?
Speaker 1: How you feeling? You're good? Good to see you, great
Speaker 1: to see you. Oh my god. So how are you
Speaker 1: being I've been great. I haven't seen you in a minute. Yeah,
Speaker 1: it's been maybe a minute and a half. Jeez, all
Speaker 1: good everything. Well, if you're feeling good, I feel healthy. Yeah,
Speaker 1: I feel good. Great, You're looking great, man, Thank you sir.
Speaker 1: Trying my best. Yeah, so tell me where. First of all,
Speaker 1: where's the barn? What part of the world is the
Speaker 1: barn in? It's in Colorado? Beautiful. Yeah. The filming of
Speaker 1: the sessions is beautiful and shed a lot of light
Speaker 1: on the music. The album's beautiful, but seeing the images
Speaker 1: and seeing the tranquility of the nature while listening to
Speaker 1: the music really is a moving experience. Yeah, Daryl did
Speaker 1: a great job. It is quite interesting to watch it
Speaker 1: stop at you every seven seconds, it takes a picture,
Speaker 1: and so the music has this timeless aura to it
Speaker 1: because things are happening out of time. So when you're
Speaker 1: looking at it, it doesn't distract you from the music.
Speaker 1: The music stays with you while it's happening, which is really,
Speaker 1: you know, very rare. Most videos are a distraction, and
Speaker 1: you know, they don't help you get way into the music. Yeah,
Speaker 1: they support the music, but they don't help the music.
Speaker 1: It's interesting when when you listen to music, do you
Speaker 1: close your eyes or do you keep your eyes open
Speaker 1: when you're listening. You know, I'm really not sure when
Speaker 1: I'm listening to music, I'm gone, i don't know where
Speaker 1: i am, i don't know what I'm doing. If I'm
Speaker 1: really into the music, Yeah, it just takes me away,
Speaker 1: transports me. That's that's actually one of the things I
Speaker 1: wanted to talk about is I've seen you play a
Speaker 1: lot of times. I've seen a lot a lot of times,
Speaker 1: and I can't think of a case where it didn't
Speaker 1: feel like you were being transported by the music. Always
Speaker 1: it was always you were gone in it. Are there
Speaker 1: ever bad shows? Can you ever not get into that place? Sometimes,
Speaker 1: but rarely, I'll take any kind of abuse of circumstance
Speaker 1: to the music and try to use it. You know,
Speaker 1: whatever it is, I try to turn around and throw
Speaker 1: it back at the music. Yeah, it's like I try
Speaker 1: to make the best set it and I use it.
Speaker 1: A lot of times. Things go wrong in life, as
Speaker 1: we all know, and you don't know what the hell
Speaker 1: is going on? Why did that happen? I try to
Speaker 1: take that anger or sadness and put it into music,
Speaker 1: and the same thing happens in real time. If I'm
Speaker 1: playing and there's a lot of distractions or something, if
Speaker 1: they're severe distractions, I'll freak out. But if they're not,
Speaker 1: I will use it in the music. Might the distractions
Speaker 1: actually make it better? Based on what you're saying? In
Speaker 1: some cases they might ye for me. I don't know
Speaker 1: about other musicians. Only asking for you, I know, I
Speaker 1: thank god. Yeah, it's only everything we're going to talk about.
Speaker 1: It's very personal. It's just like, how does it hit you?
Speaker 1: What was it like being back in the room with
Speaker 1: the horse. It was wonderful. It's always great to be
Speaker 1: in the room with the horse. And now that we
Speaker 1: have nos in Pancho's retire you know, Pancho got some
Speaker 1: arthritis and the hand injury at the same time, so
Speaker 1: that he did do another tour after that, but he
Speaker 1: wasn't enjoying it as much because it really hurt, so
Speaker 1: he decided to give it a rest. Mills was in
Speaker 1: early two though, wasn't he. Yeah, he was with He
Speaker 1: was with us for after the gold Rush. Tonight's tonight
Speaker 1: trans So during my first ten years, he was around
Speaker 1: a lot. Do you remember the very first time you
Speaker 1: jammed with Crazy Horse? Yeah, it was in my living room.
Speaker 1: You know. I hung out with the Rockets a lot
Speaker 1: at their house in Laurel Canyon, which was right on
Speaker 1: Loyal Canyon Boulevard. Someday we're in Loyal Canyon together, I
Speaker 1: will show you the house still there. Great, one of
Speaker 1: those funky wooden houses. Yeah, three years, four stories tall
Speaker 1: with the garage under it that opens right onto Laurel
Speaker 1: Canyon Corner. It's dangerous, very dangerous. But we used to
Speaker 1: get high there and party and have a great I'm
Speaker 1: playing music and listening to music and talking. There was
Speaker 1: you know, Annie Whitten and Robin Lane and Billion Ralph
Speaker 1: and George Witzel and Bobby knock Coff from the Rockets.
Speaker 1: You know, I just liked it. They were they. I
Speaker 1: think I met them through Buffalo Springfield somehow at some gig,
Speaker 1: maybe the Whiskey of Go Go, and I think that's
Speaker 1: where I met them. And then they asked me to
Speaker 1: over and hang out. They started talking, and so we
Speaker 1: talked and we hung out and listening to music, had
Speaker 1: a great time just hanging out. It was a good
Speaker 1: place to go. I went there more than anywhere else
Speaker 1: because I had a good time and we were jab
Speaker 1: and play. It was always always felt good to me
Speaker 1: because they weren't really you know, that accomplished, although Knotcuff
Speaker 1: on the violin was amazing and George Witzel was a
Speaker 1: great musician still is I believe. Then there was Billion Ralph,
Speaker 1: and Robin was Danny's girlfriend, and Dan was great. They're
Speaker 1: just nice people, just a good group of people. I
Speaker 1: enjoyed being with them. And from the first time you played,
Speaker 1: did it feel good. It always felt good playing with
Speaker 1: the Rockets then, but there were a lot of Rockets,
Speaker 1: but it wasn't really good for making a record for me.
Speaker 1: So that's when I decided maybe I could just borrow
Speaker 1: a few people from the Rockets and make a record.
Speaker 1: And when that happened, I asked them to come up
Speaker 1: to my house. My house was into Panga Canyon and
Speaker 1: OHI way up on one of those roads and overlooking
Speaker 1: the shopping center and the corners and everything. And we
Speaker 1: were up there playing in my living room and that
Speaker 1: was great. We sounded great right away, instantaneous by playing
Speaker 1: with different people. How does it affect you the way
Speaker 1: you play or what happens, Well, there's nothing like crazy Horse,
Speaker 1: and I always loved playing with Skills the same way.
Speaker 1: Still is just like a real musician. He's very open
Speaker 1: and shares everything and loves to play. But the Horse
Speaker 1: is like a group that's like that. So you know,
Speaker 1: the more I played with the Horse and then we
Speaker 1: start jamming and just playing, and it's just always was easy.
Speaker 1: As long as the chords were right, it was good.
Speaker 1: Nothing complex, because that wasn't that's not what the horse does.
Speaker 1: The horse does it groove, and if it's simple enough,
Speaker 1: we can all get into and get lost and not
Speaker 1: worry about remembering anything or an arrangement. The window into
Speaker 1: the instrumental has got to be the window into the verse,
Speaker 1: so we can play for as long as we want,
Speaker 1: and then we're in the verse whenever we want to go.
Speaker 1: And that's how we do it. There's really no there's
Speaker 1: no rules about it. When you write the songs, do
Speaker 1: you think of a structure or does it happen more
Speaker 1: you're looking at the on the page and you're feeling
Speaker 1: the jam, and the shape of it evolves naturally. The
Speaker 1: best ones just naturally evolved. The best ones happened kind
Speaker 1: of by mistake, if you can say that they happened
Speaker 1: so naturally. You don't even know how that happened. It's
Speaker 1: a real deal, and we have it and we respect it,
Speaker 1: and we love it. You honor it. I'm glad to
Speaker 1: be together all the time. When we together, you appreciate
Speaker 1: the whole thing. It's like a gift. Beautiful. There's one.
Speaker 1: There's one on the new album. I don't know. I
Speaker 1: don't know titles. I don't know titles on anything. I
Speaker 1: don't know titles on any songs I work on either,
Speaker 1: But you sing about stars in the sky. Oh yeah,
Speaker 1: let's welcome back, welcome back, welcome back. It's not the same,
Speaker 1: don't you love all those commercials Welcome back, Applebee's, welcome back.
Speaker 1: Are you kidding? I'm not going in there. I mean,
Speaker 1: I got nothing against Applebee's. Good luck to Applebe's, and
Speaker 1: I'm sorry see EO, whoever you are. But so many
Speaker 1: people started saying welcome back. I was thinking myself, I
Speaker 1: don't think we're any farther away from this pandemic than
Speaker 1: we were the first day we discovered it. Yeah, I
Speaker 1: think we've made much progress, so I feel that we're
Speaker 1: still there. So I don't go out and play. I
Speaker 1: hardly go anywhere. I just stay at home because, lucky
Speaker 1: for me, I've got a lot to do. Yeah. Same here,
Speaker 1: we don't leave the house because there's a lot to
Speaker 1: do right here. Look at all the stuff you've gotten
Speaker 1: your vault. I mean, you've got so much stuff that
Speaker 1: you wish that you'd finished, or you wish that somebody
Speaker 1: else had come along and help you finish it, or
Speaker 1: whatever happened. What happened to that? That was great? How
Speaker 1: come we stop? I understand all of that time is weird,
Speaker 1: because see, you keep going, and that's the way. That's
Speaker 1: the way I've lived my musical life. I just go
Speaker 1: from one thing to another. And coincidentally, I just was
Speaker 1: visiting one of our sessions, one of our few sessions.
Speaker 1: We were actually in a studio. We were playing yeah
Speaker 1: and some of that stuff, and there's some radical stuff
Speaker 1: in there. There's one thing called hard Luck Stories that
Speaker 1: you should give a listen to sometime just to refresh
Speaker 1: your memory. I haven't heard anything since that day, so
Speaker 1: I know it's ridiculous. It is, yes, and that's not
Speaker 1: the one. That's the best one real. The other two
Speaker 1: are better, but hard Luck Stories it's ridiculous. Back and
Speaker 1: I think somewhere in the previous decade, Yeah, I did
Speaker 1: a bunch of demos. It's when I got the synclaviar
Speaker 1: and the Lynn drum and whenever they all that started,
Speaker 1: the seton drums, the sink system with the synclaviar and
Speaker 1: all this stuff. I got all that stuff, and I
Speaker 1: started laying down tracks and doing all kinds of stuff
Speaker 1: by myself and my ranch. And then I did a
Speaker 1: bunch of songs like that and recorded them next them,
Speaker 1: and but there's no real guitar player or anything on them.
Speaker 1: And they were all on multi tracks, and that's what
Speaker 1: we had when we went in the studio together. We
Speaker 1: had we had one of those that I brought in
Speaker 1: and I said, let's just try to play this song
Speaker 1: or whatever. And I played it and I was singing.
Speaker 1: I already sung on it and everything. So I must
Speaker 1: have said, or somebody must have said, why don't we
Speaker 1: just play with that? Which was weird because crazy Horse
Speaker 1: playing with a bunch of computers, it is weird. Wow.
Speaker 1: I don't remember this at all. I mean I remember,
Speaker 1: I remember being in the room with Crazy Horse. I
Speaker 1: remember the session, but I don't remember that. That's wild. Yeah,
Speaker 1: we only did one like that, Yeah, Hard Luck Stories.
Speaker 1: The other two are just live tracks of Modern World
Speaker 1: and Horseshoe Man, the two songs. Yeah, I remember there
Speaker 1: was a good version of Horseshoe Man as I think back. Yeah,
Speaker 1: it's a beauty things. It's great. I remember it being
Speaker 1: really in the moment I remember it. I remember that. See,
Speaker 1: that was an early master that was probably if I remember,
Speaker 1: it might have been the original performance in the studio,
Speaker 1: as was Modern World and Hard luck stories. It was
Speaker 1: the first time if you if you say, okay, the
Speaker 1: one I did with the computers and all the synthesizers
Speaker 1: and the machines. The one I did with the machines
Speaker 1: was the original one where I was writing it and
Speaker 1: I laid it all down. But the only other time
Speaker 1: I played it was when we put that on and
Speaker 1: we played with it, and it is so ridiculous. I
Speaker 1: can't I can't wait to hear it. It's the war
Speaker 1: of crazy horse against the machine versus the machines. That
Speaker 1: sounds great. Yeah, it's really good. Wins the battle. I
Speaker 1: think the horse one very they were very thankful the machines.
Speaker 1: The machines gave it them to some idea what they
Speaker 1: were doing, and it was easy to do. Never count
Speaker 1: the horse out, Oh no, no. The horse just sniffed
Speaker 1: the machines a couple of times. I can do this
Speaker 1: and turn its back on the machine and kicked them
Speaker 1: a couple of times. Don't bet against the horse. So
Speaker 1: that was great and we had a great time. I
Speaker 1: remember we booked the session and then you called me
Speaker 1: and you told me that you cut off a piece
Speaker 1: of your finger. Do you remember this, Yeah, that's where
Speaker 1: I happened after that session, no, before the session, and
Speaker 1: you called and told me about it, and I said, so,
Speaker 1: which we'll cancel. You said, I can't play guitar, So
Speaker 1: he said, we cancel the session, and you said, no,
Speaker 1: I have an idea. I'm gonna play harmonica through my guitar,
Speaker 1: rig right, and it's said okay, And that's so. That's
Speaker 1: that was what happened. That is so, that's why I'm
Speaker 1: not playing guitar on some of it. The only thing
Speaker 1: I played on Hard Luck Stories. I believe the only
Speaker 1: thing I played is one chord. Yeah, and I kept
Speaker 1: playing with one chord and just yeah and the rest
Speaker 1: of it. Poncho played his guitar, Yeah, played. Everything was good.
Speaker 1: But I remember you were able to play piano because
Speaker 1: you were playing piano the whole whole. Yeah. Yeah, I
Speaker 1: played piano on Horseshoe Man, and I didn't play anything
Speaker 1: on Modern World because I played harmonica. Yeah. We just
Speaker 1: kept going, We continued and we made good records. Yeah.
Speaker 1: I remember you had a marimba brought down. If I
Speaker 1: remember correctly, I think there may be marimba in there somewhere,
Speaker 1: because because I remember, i'd never seen a marimba in
Speaker 1: person before, so it was exciting. Well, that was the
Speaker 1: big thing, like xylophone. It was like a xylophone but
Speaker 1: made out of wood and really big, beautiful, and it
Speaker 1: had some machine in it that like spun almost like
Speaker 1: a Leslie. Yeah, that was used on I believe we
Speaker 1: used that on Horseshoe. Yeah. Cool stuff. We'll be right
Speaker 1: back with more from Neil Young after a quick break.
Speaker 1: We're with Rick Rubin and Neil Young. You mentioned Stills.
Speaker 1: Do you remember the first time ever playing with Stills.
Speaker 1: I played with him in Fort William, Ontario, in like
Speaker 1: nineteen sixty one, before I even went back, before I
Speaker 1: even went down to La Wow. And I went down
Speaker 1: to La looking for him, couldn't find him. And I
Speaker 1: was driving down the street and they were thinking of
Speaker 1: going to San Francisco. Bruce Palmer and I, you know,
Speaker 1: just driving down the street in our hearse's with all
Speaker 1: of our stuff and you go to San Francisco, will
Speaker 1: find some music there. So all the Sunset Boulevard around
Speaker 1: uh right, it between the Screen Actors Guild and the
Speaker 1: Old Green Blacks and exactly where that is really close
Speaker 1: to Earle Canyon, Yeah, really close to all canyon. I
Speaker 1: looked out and there and I heard this somebody calling
Speaker 1: Neil Neil, and I looked out the window and it Stills.
Speaker 1: He's in a car going the other way, but the
Speaker 1: graphics kind of going really slow. So I pulled over
Speaker 1: and they came and Stills with Puree and they had
Speaker 1: been trying to get it going. So that's how the
Speaker 1: Springfield started. So the the initial playing with Stills in
Speaker 1: Ontario must have been good for you to want to
Speaker 1: come down to California to find him. Oh yeah, No,
Speaker 1: that was great. We played a lot of stuff and
Speaker 1: it always felt good. And he was just really getting
Speaker 1: into electric guitar for the first time. He had an
Speaker 1: acoustic guitar and had done a folk but he had
Speaker 1: gotten an electric guitar and he liked playing it. And
Speaker 1: he was in a band called The Company and what
Speaker 1: he played in the Company was his his electric guitar sometimes.
Speaker 1: And the Company was kind of a folk Christian minstrel's
Speaker 1: kind of thing, only sixty four or something. It's pretty cool,
Speaker 1: like a vocal based group. Yeah, but they had instruments
Speaker 1: and they played, so they the group going yeah, but
Speaker 1: we were at the time. It was me and the Squires.
Speaker 1: It was me and a bass player and drummer and
Speaker 1: we were just rock and roll, crazy rock and roll.
Speaker 1: I was doing stuff based on Jim Rose. Jim Rose
Speaker 1: had Hey Joe, Yeah, and he also had great versions
Speaker 1: of I think it was Oh Susannah, or maybe it
Speaker 1: was anyway it was. There was some other guys in
Speaker 1: the group too, and from from his band, and they
Speaker 1: played both folk songs with rock and roll arrangements, and
Speaker 1: one of them was their version of Oh Susannah, which
Speaker 1: I thought was really cool. I actually did a version
Speaker 1: of it on one of my albums, Psychedelic Bill with
Speaker 1: Crazy Horse, decades later. So there was a rock version
Speaker 1: of Hey Joe prior to Hendrix. I didn't know that.
Speaker 1: Oh yeah, oh Hendrix game right, had no idea. I
Speaker 1: don't know. Hey Joe was a very cool folk rock
Speaker 1: thing and Jim Rose is great. Try to find a
Speaker 1: Tim Rose version I will. So you were in the
Speaker 1: Squires playing music inspired by that kind of stuff? Was
Speaker 1: your group with Rick James prior to that? It was
Speaker 1: after that? So Squires was first, then Mina Birds and
Speaker 1: what was that group? Like, anybody from the Squires and
Speaker 1: the Mina Birds or no, no, just me. What was
Speaker 1: that group like? Well, Bruce Palmer was in that group.
Speaker 1: Rick James was in that group, amazing, John Yacamac and
Speaker 1: another guy, a guitar player and a drummer, Rick Rick,
Speaker 1: the drummer Boost, the bass player John and the rhythm
Speaker 1: guitar player. The lead guitar player was gone. That's why
Speaker 1: they bought me and Rick Matthews, Ricky James Matthews, the
Speaker 1: third was singing lead and he was in Canada and
Speaker 1: we didn't know, but he was a draft dodger. I see.
Speaker 1: And what was the music? How would you describe the music?
Speaker 1: R and B rock and roll, rolling Stones meets motown
Speaker 1: meets old time southern blues? Great? Did you did you
Speaker 1: do gigs? Oh? Yeah, how were the gigs? Gigs were great?
Speaker 1: It was all over the place. I remember pulling my
Speaker 1: guitar chord out multiple times, was playing, jumping around and
Speaker 1: suddenly there's no sound. Oh yeah. We played high schools.
Speaker 1: We played, We played clubs in Yorkville, in Toronto. So
Speaker 1: then you come down south, you find Stills, the band
Speaker 1: starts and things go good. For Buffalo Springfield, It's great.
Speaker 1: It's a great band. Never was recorded. I wanted to
Speaker 1: ask you about that. What do you remember about the
Speaker 1: recording sessions for Buffalo Springfield. Our managers were our producers.
Speaker 1: That's the one thing I remember. They were awful. They
Speaker 1: didn't know what the hell they were doing. They were
Speaker 1: on the phone half the time, they were posing. They
Speaker 1: had nothing. We if we'd had like, oh god, if
Speaker 1: we'd had Barry Friedman, if we'd had Paul Rothschild, any
Speaker 1: number of guys from the folk and blues scene, we
Speaker 1: would have been in pretty good shape. We had two
Speaker 1: managers from New York. They didn't know how to do it.
Speaker 1: They had Sonny and Share. Yeah, they didn't do that,
Speaker 1: though Sonny did that. Yeah, so we we didn't have
Speaker 1: the benefit of We didn't even have Sonny. You need
Speaker 1: I would have been something to here. So anyway, we
Speaker 1: didn't have much. So the recording sessions was mostly up
Speaker 1: to Skills and I and for a you know, the
Speaker 1: whole band. But that that was it. On for what
Speaker 1: it's worth. The guitar sound in the beginning of the harmonics,
Speaker 1: who plays that? I never knew that. It's it's funny
Speaker 1: because the song is so it's obviously synonymous with Buffalo Springfield.
Speaker 1: But we think of it as a Stills song, Yet
Speaker 1: that guitar part is kind of the musical signature of
Speaker 1: the song. And um, it's just interesting to know that
Speaker 1: you played it. Yeah, yeah, it was live. Do you
Speaker 1: remember how that came about? How that part came about,
Speaker 1: because it's unusual. I never heard that in a song before,
Speaker 1: or maybe since. It seemed to me like the song
Speaker 1: was a news warning or something, and I was thinking
Speaker 1: of the sound of news, so the d could be
Speaker 1: part of a news sound, you know. Yeah, and it
Speaker 1: just it just going, Dad just doing that thing with
Speaker 1: the tremolo and the tremolo, barn the gretch and it
Speaker 1: seemed to work. The engineer, Tom May Columbia Studio B,
Speaker 1: Sunset Boulevard. But yeah, that was great. That was That
Speaker 1: was a good session. It's the only one we did
Speaker 1: with Tom. Then. Were you in the band when they
Speaker 1: opened for the Rolling Stones? Oh? Yeah, I played with
Speaker 1: the band and when they opened for The Stones at
Speaker 1: the Hollywood Bowl. How was that, Well, it's just like
Speaker 1: another gig. It was pretty good. Uh, you know, it
Speaker 1: was a big crowd and everything was pretty exciting. I
Speaker 1: remember I drove my eye at a Mini Cooper at
Speaker 1: the time. Of great. I remember driving it to the
Speaker 1: gig and you know, trying to get in the backstage
Speaker 1: with it, and I just said, well, you know, if
Speaker 1: you don't want to let me in, you don't have
Speaker 1: to just tell somebody that the guitar player from Buffalo's
Speaker 1: Prankfield can't get in, you know. So I sat there
Speaker 1: for a while. You know, when I got in, eventually
Speaker 1: I wasn't in a hurry. I said, that's okay with me.
Speaker 1: I mean, somebody's gonna notice I'm not there. They're gonna
Speaker 1: be looking for them. Yeah. No cell phones in those days.
Speaker 1: It couldn't call anything. Oh no, everything was really different.
Speaker 1: It was all reality. People had talked to each other
Speaker 1: face to face. What was Laurel Canyon like back then?
Speaker 1: What was the vibe like? What was the feeling? What
Speaker 1: was a community like? Pretty hippie, pretty hippified community. A
Speaker 1: lot of beautiful green stuff, green plants, old houses. The
Speaker 1: neighborhoods were full of people from bends. Down the hill
Speaker 1: from me was Danny Danny Hutton from Three Dog Night.
Speaker 1: It was just like one hundred yards below me on
Speaker 1: the hill. I lived up on a cabin up on
Speaker 1: a hill rented by an astrologer named Kio. I had
Speaker 1: a little pine pine cabin where I wrote a lot
Speaker 1: of those songs, you know, all those Buffalo Springfields songs
Speaker 1: on pieces of newspaper I wish I still had. At
Speaker 1: one point I had all the newspapers in a big
Speaker 1: pack with felt dick markers on top of newsprints, you know,
Speaker 1: mister soul burling air, all those kinds of stuff, probably
Speaker 1: expecting the fly and they're somewhere. Ever, they were in
Speaker 1: a dumpster in the sky. But down the hill from me,
Speaker 1: I was up the steps near Kio's house and my
Speaker 1: little pine ham that was separated by about yeah, under
Speaker 1: yards or so along the hill. But at the bottom
Speaker 1: of the steps, which were quite numerous steps, there was
Speaker 1: a garage and John Densmore lived in the apartment above
Speaker 1: the garage, and you know, everybody was just playing at
Speaker 1: the whiskey. You go, though. The Three Dog Night was was,
Speaker 1: you know, kind of a manufactured group that was put
Speaker 1: together by a record company, and they were pretty cool,
Speaker 1: and I don't remember them coming along and playing the
Speaker 1: whiskey and kind of breaking themselves in. And further down
Speaker 1: the road was Denny from the Mamas and Papas and Michelle,
Speaker 1: Michelle Phillips and Denny Doherty. Yeah, they were everywhere. Rockers
Speaker 1: were everywhere down there. Did it feel good? Coming from
Speaker 1: Canada moving down and then being in this neighborhood of
Speaker 1: like minded people? Was that different? I thought that's what
Speaker 1: it was. What it was like. I just thought that's
Speaker 1: what happened, you know, I was in Hollywood, that people
Speaker 1: we were. I wasn't surprised because all the musicians lived
Speaker 1: there because they all play there, That's where they all
Speaker 1: come from, that's where all the record companies were in studios,
Speaker 1: and so they didn't strike me that much. Now retrospective,
Speaker 1: it does kind of. Yeah. Yeah, at the time, it
Speaker 1: seemed normal. And then and then when did you move
Speaker 1: to Penga sixty eight? Probably? I think sixty eight the
Speaker 1: Springfield broke up and I moved to I can't remember
Speaker 1: exactly how it happened, but I think I moved to
Speaker 1: the Chateau Marmont Well. I lived in a room there
Speaker 1: for a while, an apartment. Well, I'm not really sure
Speaker 1: that I was there a couple of times. I know
Speaker 1: I did Tonight's to Night Learning there and somehow I
Speaker 1: was at some point I moved up north. I saw
Speaker 1: a ranch. I saw the land out of an airplane
Speaker 1: window when I was growing up to play with this
Speaker 1: ringfield sas Alito in this place called the Charles van
Speaker 1: Dam the ark where we played, and there was Moby
Speaker 1: Great was playing with us. So usin Moby Great playing
Speaker 1: on this old paddle wheel. Incredible. Yeah. This guy Matthew
Speaker 1: Cats who was a promoter, you know, a Filmore or
Speaker 1: Avalon or something. He managed the arc and he employed
Speaker 1: us to play there. I don't think we got much money.
Speaker 1: We did play there. Gave us a place to play.
Speaker 1: But you found the ranch ranch that way amazing? So
Speaker 1: you didn't leave live long in Topanga? And did you
Speaker 1: live in Malibu for a little a minute as well?
Speaker 1: I lived in Topanga first. Then from Topanga I moved
Speaker 1: to the Shatau Marmont again. When he got to the
Speaker 1: shape Marmon, I moved from there. I took off and
Speaker 1: went up to I might have been staying with Gary Burden,
Speaker 1: my art director for so many years, in his house,
Speaker 1: and then I then I thought, I went up north
Speaker 1: and I found this ranch, so things must have been okay.
Speaker 1: I'd already recorded after the Gold rushing in to Panga.
Speaker 1: Everybody knows while I was living in the Panga and
Speaker 1: my first album with David Briggs. They were all with
Speaker 1: David Bridge when I when I came to that was
Speaker 1: my first album. And then so after the third album,
Speaker 1: I knew We've got North with Bruce Berry and Yermo
Speaker 1: Ketty and some of the road crew, John and John Barbada,
Speaker 1: who went playing drums to CSNY. He was a drummer
Speaker 1: in the Turtles. So we went up north and I
Speaker 1: bought the place and moved in. I stayed there for
Speaker 1: a while and I started writing, started touring again. When
Speaker 1: I wrote the songs and started writing Harvest. I remember
Speaker 1: there was a there was a BBC live performance from
Speaker 1: right around that time because Harvest was not out yet,
Speaker 1: but you played songs from Harvest on it. Yeah, I
Speaker 1: remember that too. It's one of the It's one of
Speaker 1: the greatest things I've ever seen. Tell me everything you
Speaker 1: remember about that. I was interesting. They they did the
Speaker 1: show and then they wanted me to do something else
Speaker 1: after that. But the show itself was kind of like No.
Speaker 1: You see these shows that are in the round where
Speaker 1: you see all the people sitting and they're all lit
Speaker 1: and everything's clean. The artists just sitting up there on
Speaker 1: a little round stage kind of reminded me of one
Speaker 1: of those there's a lot like that. I had all
Speaker 1: my songs and I was playing them and it was
Speaker 1: I don't know what hall. I don't think it was
Speaker 1: a hall. I think it was a BBC studios, and
Speaker 1: you know, I just played my show. There's the same
Speaker 1: show basically that I played at Massive Hall, same show
Speaker 1: I played basically the same one I play that Carnate Evil.
Speaker 1: Strangely enough to have a bootleg is that I have
Speaker 1: a bootleg series now because I recorded everything, I have
Speaker 1: all the masters of every bootleg thats ever put out,
Speaker 1: So now I can put those all out and that
Speaker 1: the sound great. You know, if anybody remembers them, they're
Speaker 1: going to be there and they're pretty cool. It makes
Speaker 1: me feel good down them. So yeah, I just pretty
Speaker 1: well now just do whatever I want to do. I
Speaker 1: put out way too many records. If I was going
Speaker 1: to put out records and try to sell them, I
Speaker 1: couldn't do it the way I'm doing. I'm putting them
Speaker 1: out now because I want to. I just want to
Speaker 1: make things right. I don't want to get all of
Speaker 1: the stuff that I wanted to put out. I want
Speaker 1: to put it out. Yeah, I want to beat you. Yes,
Speaker 1: I want to enjoy whatever reaction there is, and I
Speaker 1: want to enjoy the creation of it, and I want
Speaker 1: to make sure it's done right and that the artwork
Speaker 1: is correct and everything. So I can still do that.
Speaker 1: But the big problem with me is that I have
Speaker 1: so much so I really stuck even that. What that
Speaker 1: session we did, I think we did three songs in
Speaker 1: one day and we were out of Yeah, it seemed
Speaker 1: like went pretty fast, yes, and then I was on
Speaker 1: into something else and couldn't play because of my finger
Speaker 1: or whatever it was. Couldn't do the big live performances
Speaker 1: because my finger was I think I hacked it up
Speaker 1: with a knife making a tuna sandwich or something. I
Speaker 1: think I was in my train bar because I like
Speaker 1: to go to kind of gather my senses and lay
Speaker 1: track and move move mountains through all kinds of stuff. Funny,
Speaker 1: I never it's funny to hear you say that, because
Speaker 1: I never made the connection before of when you're in
Speaker 1: train land, you can move mountains and you can't you
Speaker 1: really have complete control of the universe. And then you
Speaker 1: can turn the whole universe off and leave if you want. Yeah,
Speaker 1: that's good. But it gave me a place to go.
Speaker 1: I created the mountains out of stumps from the forest.
Speaker 1: So I took natural things that existed from burnt out
Speaker 1: trees and stuff and cut a bottom on them that
Speaker 1: was flat and put them on these tables and created
Speaker 1: these mountain ranges out of them. And it was only
Speaker 1: a matter of perspective. The way they were positioned on
Speaker 1: the table made you think it was a mountain range.
Speaker 1: It couldn't be anything else, you know, all over the
Speaker 1: track winding through it, going through tunnels and stuff. But
Speaker 1: mostly it was the scenery. I used moss from the trees,
Speaker 1: moss from the ground, and I bring it into the
Speaker 1: train barn and laid out all around the mountains and
Speaker 1: it looked like fields, looked like green fields. Nice to
Speaker 1: water it and do all kinds of stuff. It was
Speaker 1: very cool. I'm very good, and I'm building another one
Speaker 1: in Malibu right now. My son and I and all
Speaker 1: of the grandchildren great when I took my son there
Speaker 1: because I left the ranch about eight years ago. I
Speaker 1: left broke the narrow r ansty line. But I loved
Speaker 1: that training, so I didn't want people to have my training,
Speaker 1: so I dismantled it. I took it all apart, and
Speaker 1: all I left was the stuff that was screwed down.
Speaker 1: I took all of the wood and took them all
Speaker 1: to southern southern California and go to another table outside.
Speaker 1: The story does have a payoff when I took my
Speaker 1: son Ben there, We went there together just a couple
Speaker 1: of weeks ago, and I showed it to him and
Speaker 1: when he saw it, he recognized the wood. And you know,
Speaker 1: he doesn't speak. He was in a wheelchair. He's at
Speaker 1: Quadrick Collegiate, so he doesn't speak. But he looked at
Speaker 1: this stuff and then he looked at me with one eye.
Speaker 1: This gave me the greasy eyeball the smile on his face,
Speaker 1: and you could tell you since he was like a
Speaker 1: year old, he'd been going there and playing trains and
Speaker 1: hanging out with me while I was working on the layout,
Speaker 1: and name these pieces of wood. So all the pieces
Speaker 1: of wood that who saw were there. Amazing, It was amazing.
Speaker 1: It just then. So we're rebuilding and being ready to
Speaker 1: do it again and have all the grand children. I'm
Speaker 1: so happy you get to you get to have a
Speaker 1: new train barn, and it'll be I bet it's going
Speaker 1: to be an improvement over the old train barn. I'm
Speaker 1: guessing it'll be great. We're gonna take a quick break
Speaker 1: and then we'll be back with more from Neil Young.
Speaker 1: We're back with the rest of part one of Rick
Speaker 1: Rubin's conversation with Neil Young. Back to Buffalo Springfield for
Speaker 1: a minute. There's a story that the day before Buffalo
Speaker 1: Springfield broke up, you fired the manager of the band,
Speaker 1: which was Elliott, our friend Elliott, and broke Elliot's heart
Speaker 1: because he loved the band, and you coldly fired Elliott.
Speaker 1: And then, well, this is the story. You'll tell me
Speaker 1: the truth. I'm telling you the the mythical story, the legend.
Speaker 1: In the legend, you fire Elliott, you break his heart.
Speaker 1: The next day you quit the band, the band breaks up,
Speaker 1: and then you call Elliott and you hire him to
Speaker 1: be your personal manager. Is any of that? Is it
Speaker 1: anything like that? It's all true. It didn't happen so fast,
Speaker 1: but it took a couple of weeks. Yeah, he did something.
Speaker 1: I didn't like it, but I can't even remember what
Speaker 1: it was. But I told him that was us. So
Speaker 1: what change that made you rehire him after firing him?
Speaker 1: I loved him. I loved him, but you know, he
Speaker 1: fucked up so bad I could have him, So I
Speaker 1: think it's just my own immaturity. I had to have
Speaker 1: him all for myself or not at all. It worked out.
Speaker 1: It worked out great. The love affair went on up
Speaker 1: until he passed on, and still continues because we can
Speaker 1: still send our love to Elliot, share what we're feeling,
Speaker 1: and if we listen clothes, we'll probably hear what he's
Speaker 1: got to say. That's right. We will tell me about Briggs.
Speaker 1: First meeting Briggs. How do you meet him? That Briggs
Speaker 1: into Panger Canyon. I was walking along Old to Panker
Speaker 1: Canyon Boulevard on my way to a restaurant to have breakfast,
Speaker 1: and it was about a mile and a half a
Speaker 1: lot and I like walk, and Briggs and buy Pete
Speaker 1: went by, and what it would have been a hummer,
Speaker 1: but it was earlier before hummers, so it was a
Speaker 1: military vehicle, troop carrier. A cool vehicle. Yeah, cool vehicle.
Speaker 1: And he saw me and they stopped and picked me up.
Speaker 1: So I met him. Were you hitchhiking or you just walking,
Speaker 1: just walking, and he just said you you want to ride?
Speaker 1: Want to ride? And I said sure, thanks. Do you
Speaker 1: remember good conversation in the car. Was he involved in
Speaker 1: music at the time. Oh, yeah, it was producing. He
Speaker 1: worked with Murray Roman, the comedian, and he worked with
Speaker 1: Tetra grammaton records. He was working on a record with
Speaker 1: Randy California from Spirit but a few things going on
Speaker 1: and everything, and I just liked talking to him. Yeah,
Speaker 1: I got to know him and find out where he lived.
Speaker 1: We were hanging out of his house, just hang out
Speaker 1: and talk and played in some songs. He started talking
Speaker 1: about it. What was the first album you did with him?
Speaker 1: My first album from the beginning? Amazing? Yeah, and that
Speaker 1: was That's That's that record we made after I met him.
Speaker 1: Then I moved from the house. I was living into
Speaker 1: another house one in Topango where I recorded after the
Speaker 1: Gold Rush. But this is long before that, and I
Speaker 1: was living in Topanga at my new house and going
Speaker 1: in and reporting with breaks at T T ANDNG Reporters
Speaker 1: and a little bit of Wally Hiders and stuff, working
Speaker 1: with Jim Messina and George Grantham. Jim that had been
Speaker 1: had helped us out in Springfield as we were breaking up,
Speaker 1: and George Grantham was in Poco, which Jim Messina and
Speaker 1: Richie Furrey started. So I just you know, I played
Speaker 1: with Jim and because I knew them in when did
Speaker 1: you build the big red box with all the pedal box? Okay,
Speaker 1: that's nineteen seventy six, the first iteration of it. Yeah,
Speaker 1: this was the simplest version of it. The first version
Speaker 1: only had two levels. First of all, let me explain
Speaker 1: what it did. It connected an electric potentiometer or a spring.
Speaker 1: A spring drive through a cable to an electric box
Speaker 1: that you could turn on or turn off. I had
Speaker 1: a spring on it, so if he turned it off
Speaker 1: and went back to a starting position wherever, you manually
Speaker 1: screwed it into the post on a button on the
Speaker 1: amp the volume control. I took the volume control off
Speaker 1: my Deluxe, stuck this thing over the volume posts, screwed
Speaker 1: it in. Once I'd gotten the volume where I wanted it,
Speaker 1: then I put the thing over and screwed it in,
Speaker 1: and then if I hit the switch, would vote turning
Speaker 1: this thing until the spring was it was pushed all
Speaker 1: the way and that would turn it all the way
Speaker 1: up and then if I pushed the button again, it
Speaker 1: would turn off and then would go back down. So
Speaker 1: the advantage of that with a fendered lux or with
Speaker 1: any old amplifill is that really the master volume is
Speaker 1: the tone control. Yeah, these ancillary tone controls were based
Speaker 1: in Trouble, but they don't really do what the volume
Speaker 1: control does, which is overload the hella. So that was
Speaker 1: the amount of overload that I had and was decided
Speaker 1: by the position of that one button. So there was
Speaker 1: a sober box that was, you know, with a cap
Speaker 1: that looked like a mechano set holding it on top
Speaker 1: of my amp. And then I had a Fender reverb
Speaker 1: unit and those two things. That's what I used up
Speaker 1: until nineteen including nineteen seventy six, and the last record
Speaker 1: that I made playing that way was as a record
Speaker 1: this is called Electric Duty presents Chaos and the course
Speaker 1: that rode in on. I've never heard that one. Oh
Speaker 1: it's not out. Oh that's why, it's just I just
Speaker 1: found it. And it's the last one that I did.
Speaker 1: But the original rig then Rust Never Sleeps was the
Speaker 1: next tour, and I developed a system that had four
Speaker 1: levels for the potentialometer to go to four buttons to
Speaker 1: select the tones that I wanted by the position of
Speaker 1: the master volume. So it's only controlling the master volume.
Speaker 1: That's the only thing that the box does. That's what
Speaker 1: that does. But the red box also has on the
Speaker 1: bottom there's four buttons. That's that's low, medium, medium, high,
Speaker 1: and high and they all sound different, really radically different.
Speaker 1: Along the top there's a MXR analog delay in it,
Speaker 1: a neutron octive divider, some old kind of flange thing,
Speaker 1: and they on off bypass that took them all out
Speaker 1: of the loop and echoplex, so they were all together,
Speaker 1: the neutron octive divider and the other things and the
Speaker 1: echo plex which are the most critical ones. And every
Speaker 1: once in a while I used the flanger and there
Speaker 1: was another one that was a ridiculous digital thing that
Speaker 1: it sounded like I was making popcornings, so i'd throw
Speaker 1: that in for a couple of notes every once in
Speaker 1: a while. But they were right on the edge of
Speaker 1: my foot, all these things, and I had them all there,
Speaker 1: and then one one button would take them all out.
Speaker 1: So then instead of going through all these switches the
Speaker 1: signal only one for one, I bypassed all of the
Speaker 1: electronics and everything into the other stuff. But if I
Speaker 1: want to use the other stuff, you know, I could
Speaker 1: preset it and then hit that one switch and everything
Speaker 1: could come on at once, or I could play with
Speaker 1: the switch on and add things one by one. I
Speaker 1: could do anything I wanted. Plus I had the four
Speaker 1: levels of volume, so it's pretty complex. Yeah. Do you
Speaker 1: ever hit the wrong button by mistake? Always? Every show? Sometimes?
Speaker 1: So yeah. The thing is rick that while it was
Speaker 1: a great sound, it colored everything that I did from
Speaker 1: nineteen seventy seven and a half now. Yes, But right
Speaker 1: before that is this album Chaos. Can't wait to hear it,
Speaker 1: which is just me playing the guitar with Crazy Horse
Speaker 1: with one volume change and a reverb unit. No a
Speaker 1: complex is, no flangers, none of the stuff. But also
Speaker 1: nothing where the signal went away, nothing where the signal
Speaker 1: had to go through a new place to get to
Speaker 1: the effects. Yes, So consequently the actual sound of the
Speaker 1: guitar was more pure, more direct, and I was playing
Speaker 1: it and what that sound? That like? This this record?
Speaker 1: I think this Chaos record is ridiculous. It's the best
Speaker 1: Crazy Horse record ever made. When do we get to
Speaker 1: hear that one? Probably this year? It's coming out. It's
Speaker 1: the first disc on volume three of my archives. Amazing. Yeah,
Speaker 1: I can't wait to hear it. Thanks right, I wait
Speaker 1: to hear it too. We just today, we just had
Speaker 1: a meeting and locked the running order completely. Thirteen CDs.
Speaker 1: There's thirteen discs. Each one has a cover, each one
Speaker 1: as a story, and but they're all those thirteen discs.
Speaker 1: Have found them ten blue ray discs, and the blue
Speaker 1: rays each have the high res version of the CDs
Speaker 1: and films. There's eight films. So of the ten Blu rays,
Speaker 1: eight of them have films and CD and you know
Speaker 1: albums in high rese How did you know the archive
Speaker 1: all this? Like, how did you notice, say, of every thing?
Speaker 1: How did that happen? That's the question. Yes, yes it is.
Speaker 1: I'll call you if I can figure that out. I
Speaker 1: have no idea, but I collect everything, I keep track
Speaker 1: of everything. I can't help it. I write everything down,
Speaker 1: or I make some sort of note or cryptic message
Speaker 1: to myself that says where this was from. So consequently
Speaker 1: I have at the beginning of this disc, I have chaos,
Speaker 1: which is chaos and the horse that rode in on
Speaker 1: presented by Electric Jude. That's a very interesting covered title.
Speaker 1: But anyway, Then at the other end, CD thirteen is
Speaker 1: Summer Songs, which is a collection of original versions of
Speaker 1: songs that came out three or four years later. So
Speaker 1: it has the original versions of American Dream. Would you
Speaker 1: call them demos or would you not call them demos?
Speaker 1: I would call them sketches. I see, I don't think
Speaker 1: they're a demo. What they are is versions of the song,
Speaker 1: the pure original version. They all have the original lyrics
Speaker 1: which are different from the lyrics that that came out
Speaker 1: on Freedom. And I had four albums that they came
Speaker 1: out on, all in the late eighties early nineties, and
Speaker 1: this album was made in the eighties seven, So the
Speaker 1: album Summer Songs was done years before. Yeah, I did
Speaker 1: all these songs and then I don't know why, but
Speaker 1: I put them all together, called them Summer Songs and
Speaker 1: put them on the shelf. And then later on what
Speaker 1: I did American Dream with CSNY, I tried a couple
Speaker 1: of these songs. There's two of the songs from that
Speaker 1: are on that record. Then I did Freedom, and there's
Speaker 1: songs on Freedom that are from that record, And there's
Speaker 1: two other records that I made, but I can't that
Speaker 1: from that Erio and they are American Dream from that album,
Speaker 1: The Last of His Kind, which was an unreleased song
Speaker 1: about farmers, Someday, which was on Freedom for the Love
Speaker 1: of Man, which was on Psychedelic Pill, which came out
Speaker 1: in the nineties, One of These Days, which was on
Speaker 1: Harvest Moon, Wrecking Ball from Freedom, Hanging on a Limb
Speaker 1: from Freedom, and Name of Love from American Dream. So
Speaker 1: all of those songs in their original shape are on
Speaker 1: this and I played them all on acoustic and then
Speaker 1: very different from any acoustic Overdubblin's overdone. I did them all,
Speaker 1: perform them and sang and played them, and then right
Speaker 1: away I did them again, listening to what I've done,
Speaker 1: playing exactly without moving, staying in the same position, not moving,
Speaker 1: did the song again and played everything along with it.
Speaker 1: It's uncanny, You cannot you think that it's an electronic
Speaker 1: thing where I duplicated the guitar. Really, if you really
Speaker 1: have to listen to tell it, it's two different versions. Really,
Speaker 1: they're close, and everything's the saying because nothing changed, everything
Speaker 1: is doubled, everything's doubled. I sang harmony parts and played
Speaker 1: the guitar parts at the same time. So when I
Speaker 1: did the harmony parts, the guitar was added or elade
Speaker 1: guitar was added, but whatever it was, I played it
Speaker 1: and sang at the same time, just like I did
Speaker 1: in the original. So that was amo that I used
Speaker 1: to create summer songs. And I found it last week,
Speaker 1: maybe two weeks ago. I kept looking at I kept saying,
Speaker 1: summer songs. There's summer songs. Yeah, that's a bunch of
Speaker 1: things that I didn't want to put out or that
Speaker 1: I didn't use. Then I listened to it. It's got
Speaker 1: beautiful echoes. It's so beautiful. If it's not like a demo,
Speaker 1: because it's like the production. The first thing that anybody
Speaker 1: heard them said it is wow, what a great production.
Speaker 1: Sounds amazing, And I'm going, well, it's uh. First of all,
Speaker 1: it's not even high res. It's CD quality as in
Speaker 1: the dark ages that digital recorded sound, which was the
Speaker 1: late nineties, late late eighties and early nineties. Yeah, where
Speaker 1: things went downhill really badly before we started to pull
Speaker 1: it back because we were all recording low resolution because
Speaker 1: the technology companies were telling us how great it was.
Speaker 1: That's why we started doing We trusted again. It's pretty scap.
Speaker 1: But anyway, so we so I found these. They all
Speaker 1: sound the same. They are like a record like no
Speaker 1: other record I've ever made. They all are everything that's unified.
Speaker 1: It's altogether. It's like I wrote myself a letter and
Speaker 1: mailed it to myself to get like three forty years later. Unbelievable. Yeah,
Speaker 1: so there they are. So that's what I'm doing right
Speaker 1: now as I'm investigating all this stuff. Thanks to Neil
Speaker 1: for taking the time to talk about the early days
Speaker 1: of his career and telling us about his vast musical archives.
Speaker 1: Be sure to check out part two of Rick and
Speaker 1: Neil's conversation next week. You can hear all of our
Speaker 1: favorite Neil Young songs at broken Record podcast dot com.
Speaker 1: Be sure to subscribe to our YouTube channel at YouTube
Speaker 1: dot com slash broken Record Podcast. We can find all
Speaker 1: of our new episodes. Broken Record is produced with help
Speaker 1: from Lea Rose, Jason Gambrel, Martin Gonzalez, Eric Sandler, and
Speaker 1: Jennifer Sanchez, with engineering help from Nick Chaffey. Our executive
Speaker 1: producer is mil LaBelle. Broken Record is a production of
Speaker 1: Pushkin Industries. If you love this show and others from Pushkin,
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Speaker 1: by Kenni Beats. I'm justin Richmond.