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Speaker 1: Pushkin. Even if you've only listened to Broken Record a

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Speaker 1: few times, you've likely heard Rick Rubin absolutely gush about

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Speaker 1: Neil Young. Neil has been on the show three times now,

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Speaker 1: and his legendary body of work has been brought up

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Speaker 1: by more musicians interviewed on this show than likely anyone

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Speaker 1: else except for maybe Joni Mitchell. That's because Neil is

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Speaker 1: a true artist. He's been writing and singing songs since

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Speaker 1: the early sixties, and his creative output has been near

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Speaker 1: constant and in my opinion, virtually flawless for the last

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Speaker 1: six decades. Neil recently stopped by Shangri La following the

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Speaker 1: release of Crazyhorse's latest album, World Record. The album was

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Speaker 1: produced by our own Rick Rubin, and on today's episode,

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Speaker 1: Neil talks to Rick about the remarkable way the new

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Speaker 1: songs were conceived. Neil also reminisces about recording after the

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Speaker 1: gold Rush and Harvest and lanes, how THHC changes his

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Speaker 1: relationship to music. This is Broken Record Liner notes for

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Speaker 1: the digital age. I'm justin Mitchman. Here's Rick Rubin and

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Speaker 1: Neil Young. Thank you so much for coming and talking

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Speaker 1: to me today. It's my favorite thing. It's a favorite

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Speaker 1: of mine too. Rick. We're like a couple of birds

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Speaker 1: of a feather here and sitting here in your studio,

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Speaker 1: this beautiful place that I was in almost fifty years

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Speaker 1: ago with Robbie and Rick. And tell me about that. Well,

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Speaker 1: you know, the board was smaller, it was a quad eight.

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Speaker 1: It was up against the wall more that way. There

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Speaker 1: was no area here. It was a little too crowded,

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Speaker 1: but it wasn't bad. We had a good time. You know.

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Speaker 1: I wasn't making music with him or anything. I was

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Speaker 1: down here with I was with Bob. He was in here,

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Speaker 1: Dylan was in here, and I played him a couple

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Speaker 1: of songs. I played him Cortez, and he liked Cortez

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Speaker 1: and he played in the recording and you played it

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Speaker 1: for him. I just played it, just played it on

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Speaker 1: the guitar. Yeah, in a little room down there. Yeah,

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Speaker 1: And I was playing it for him, and I played

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Speaker 1: it and then I played him, you know, I mean,

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Speaker 1: the guy is so great. I just had to play

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Speaker 1: these songs. So I played this other song. Uh, it's

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Speaker 1: called Hitchhiker, and it's it's a song about every drug

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Speaker 1: I ever took. And it tells a story of you know,

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Speaker 1: being straight and get you know, just everything all the

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Speaker 1: way through it chronologically, through this whole long story. And

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Speaker 1: at the end of the song he said, he looks

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Speaker 1: at me, he goes, that's a very honest song, Neil,

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Speaker 1: And that was it was. It wasn't good, It wasn't bad.

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Speaker 1: But yeah, have you seen his new book? Yep, it's cool. Yeah.

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Speaker 1: I started listening to the audio version of it. It's

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Speaker 1: really cool. I'd like to listen to the audio. Did

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Speaker 1: he do it? He did parts. He did parts in

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Speaker 1: a bunch of guests. But it's cool. It's cool the

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Speaker 1: way it's put together with the different people and his

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Speaker 1: voice cool. Yeah, it's amazing. I've been doing interviews, you know,

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Speaker 1: for the record. Yeah. I don't usually do interviews like this,

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Speaker 1: but I love this record. I love it so much

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Speaker 1: and I want people to know that I'm alive. Yeah,

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Speaker 1: you know, it's a very basic thing. Well, I haven't

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Speaker 1: heard from Neil Young in a long time. Where is

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Speaker 1: Neil Young? What happened? Well, I stopped playing a couple

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Speaker 1: of years ago, and so I haven't been anywhere. There's

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Speaker 1: been three farm aids in a row I've missed, and

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Speaker 1: the same with the Bridge School and all that, But

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Speaker 1: I don't really miss it that much. I liked playing music.

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Speaker 1: I've made a lot of records. I've made many records

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Speaker 1: during that period of time, three brand new ones, and

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Speaker 1: you know, so I feel really good about that. What's

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Speaker 1: the longest you've ever gone not playing with Crazy Horse?

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Speaker 1: Probably a year and a half or something. So it's max.

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Speaker 1: It's been a constant in your life for fifty years. Yeah,

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Speaker 1: amazing since nineteen seventy sixty nine seventy. When you write

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Speaker 1: new songs, do you always know in advance whether this

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Speaker 1: is something you want to record with Crazy Horse or not? No,

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Speaker 1: I really don't. I don't, but usually you know, I'm

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Speaker 1: hanging out with them when I write it, and you know,

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Speaker 1: it's just happens like a song that I would anything

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Speaker 1: that's spacey, anything that's got any cosmic vibe to it

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Speaker 1: at all, it's got to be Crazy Horse because that's

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Speaker 1: the loosest that it can be, and simple and loose,

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Speaker 1: and that's what I like. When you play with other musicians,

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Speaker 1: does it change the way you play? Oh? Yeah, how

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Speaker 1: does it? I don't know, but I'm different. I don't.

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Speaker 1: It's not the same as playing with the Horse. Yeah,

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Speaker 1: I mean I've become I think I just I play

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Speaker 1: the song, then I deliver the song, and I try

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Speaker 1: to immerse myself in it. I'm playing with promise of

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Speaker 1: the reels. A lot of fun. And we even done

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Speaker 1: some stuff here in this studio that was pretty cool.

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Speaker 1: And uh, there's one that I laugh in. I don't

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Speaker 1: know what I'm laughing in it, and we recorded it

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Speaker 1: right here at Changer Law and it has to do

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Speaker 1: with going to a fair or a circus or something,

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Speaker 1: and it's wild. Do you always know what the songs

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Speaker 1: are about when you're writing them? No, Usually I don't

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Speaker 1: even care. I don't. I just start, you know. And

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Speaker 1: with the new songs on this record, there's no there's

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Speaker 1: no thinking. I mean, everything was just the flow was

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Speaker 1: just all I wasn't trying to do anything. That's why

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Speaker 1: it was so special. That's why I think it came

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Speaker 1: out the way it did because there's no there's no

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Speaker 1: preconception of it. I remember when you first talk to

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Speaker 1: me about it before before we recorded it, do you

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Speaker 1: explained that the melodies came in a way that none

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Speaker 1: had ever come to you before they were delivered. They

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Speaker 1: came through me whistling while I was walking. And I

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Speaker 1: realized as I was walking along and I was whistling

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Speaker 1: a different song every day, because I'd go in these

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Speaker 1: long walks every day through the forest and stuff in

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Speaker 1: the snow and just whistling along. And then I remember it, Wow,

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Speaker 1: I really had a nice melody. I was whistling yesterday

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Speaker 1: and I could hardly bring it back. And because I

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Speaker 1: was whist seeing a new melody, and that's what made

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Speaker 1: me think, Wow, it was a different melody from yesterday's melody.

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Speaker 1: What was that melody? And I liked it. As I

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Speaker 1: approached the part of my walk that was the same

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Speaker 1: place I remember seeing whistling it, I remembered it. So

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Speaker 1: I remembered it, and then I started whistling it again,

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Speaker 1: and I got out my flip phone and recorded it

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Speaker 1: on my flip phone, but I used a movie, you know.

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Speaker 1: So I got this partly my thumb and partly the

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Speaker 1: sky and some trees going by and dogs running and

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Speaker 1: footsteps and stuff. But I'm whistling along with it. That's

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Speaker 1: how I got all those melodies. And every day after that,

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Speaker 1: I kept walking, and most days I'd have a new melody,

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Speaker 1: and I just pulled out the phone and I even

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Speaker 1: had harmony parts or bass parts and things like that

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Speaker 1: that I put on the phone too, that I imagined them,

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Speaker 1: you know, like on that one the world is in

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Speaker 1: trouble Now there's a bass part, and we went through

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Speaker 1: it in the studio. I remember it was like, Wow,

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Speaker 1: this is a part. We have an idea. It was

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Speaker 1: like because none of the other ones even had that. No,

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Speaker 1: at what point did you realize this could be a

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Speaker 1: collection of songs to record? Well, you know, I was.

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Speaker 1: It was last April, and I was thinking I had

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Speaker 1: that song Break the Chain, which I wrote before I

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Speaker 1: did my previous album barn I wrote that just as

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Speaker 1: COVID started. It was about COVID. So I was walking

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Speaker 1: in the same general area, but this time I'm walking

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Speaker 1: and I'm writing the words on a piece of paper

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Speaker 1: and the melody's really kind of a blues melody, so

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Speaker 1: you can't you know, you don't need to write it

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Speaker 1: or whistle it or anything, and you kind of know

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Speaker 1: it from the from I just remembered it. So I

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Speaker 1: did that, and then later that winter, I was in

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Speaker 1: Canada and I have a piano there that was in

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Speaker 1: the house I was in and I wrote Chevrolet on

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Speaker 1: the piano, which is interesting because it's this huge, long

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Speaker 1: guitar song. I did it totally on the piano over

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Speaker 1: the period of about a month, where I passed by

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Speaker 1: on the piano and stopped and play a minute and

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Speaker 1: then keep on going. And well, I was there the

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Speaker 1: last time. I noticed all the lyrics are still sitting

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Speaker 1: there on the piano, and it reminds me I should

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Speaker 1: get those. But so anyway, yeah they did. And then

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Speaker 1: the other eight I'm thinking. I was thinking, hey, I'd

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Speaker 1: like to make a record. It'd be fun horses available,

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Speaker 1: and I said, I don't have any songs. And when

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Speaker 1: I talked any songs, then I started thinking, uh, wait

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Speaker 1: a minute. I got all those melodies whistling, and then

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Speaker 1: I got the flip phone out and recorded all of

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Speaker 1: the recordings from the flip phone. I put the phone

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Speaker 1: down on top of the computer and made another movie

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Speaker 1: of just the you know the yeah, yeah, the phone

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Speaker 1: is seeing to a microphone yea, and yeah, there's no

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Speaker 1: phone speaker to the microphone of the computer. So I

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Speaker 1: put it down and I remember and I copied all

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Speaker 1: of the whistling and they were like fifty eight tracks

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Speaker 1: but I had multiple tracks for each song, and each

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Speaker 1: day was different, and so I had to organize it.

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Speaker 1: And then I found out at the end I had nine,

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Speaker 1: maybe ten or eleven different melodies, and eight of them

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Speaker 1: seem to be pretty darn close to, you know, a

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Speaker 1: whole thing melody wise, but to just whistling, no idea,

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Speaker 1: what the chord changes are, no idea, no instrument. So

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Speaker 1: that's really different for me to have the whole melody

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Speaker 1: and be sitting there writing words to a melody and

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Speaker 1: not knowing the chords, any chords, or the instrument or anything.

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Speaker 1: So I did that in two days. I wrote all

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Speaker 1: of the words. It sounds funny, it is. It's funny.

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Speaker 1: It happened so fast, and I never rewrote anything, I

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Speaker 1: never fixed anything. Everything came out right the first time,

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Speaker 1: and that's very rare, as it never never like that.

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Speaker 1: But it was like that this time. So you got

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Speaker 1: these two unheard of things that I'm you know, for

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Speaker 1: me that I'm doing, And then I had to figure

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Speaker 1: out what instrument to do it on and what the

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Speaker 1: chords were. And as I was doing that, it was

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Speaker 1: easy for me to make a video of a verse

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Speaker 1: and chorus for Billy, so he'd have the changes for

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Speaker 1: the base, so I'd do a FaceTime video thing to him,

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Speaker 1: which I did. I don't know how I did it.

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Speaker 1: I think I did a quick time file and then

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Speaker 1: I sent it to him or something, but I I

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Speaker 1: just did that. At six o'clock in the morning, I

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Speaker 1: get up and I go to the organ and put

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Speaker 1: the computer down, press record and play what it was

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Speaker 1: that I thought it was with the one verse and

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Speaker 1: one chorus. So we use those things too in the movie. Cool.

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Speaker 1: So we got the whistling in the movie, and then

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Speaker 1: that and then the studio and then we're in then

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Speaker 1: we do it with the band, so we have the

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Speaker 1: evolution of these melodies. It's so cool that it can't

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Speaker 1: you know that it just came. It was wacky. You can't.

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Speaker 1: You can't. You can tell that it's mindless when you

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Speaker 1: see the footage, it's crazy. And when you listen to

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Speaker 1: the Our experience of listening to the album has been

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Speaker 1: every every time I hear it, I hear different things

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Speaker 1: than I heard before. Yeah, or if I hear something

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Speaker 1: that sounds wrong, and then go back and listen to

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Speaker 1: it again, that's gone. That happened with us several times

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Speaker 1: we'd have a thing. We'd be together and we'd hear

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Speaker 1: something and we said something gla and then it happened. Yeah,

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Speaker 1: well we'll fix that, well, make a you know, make

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Speaker 1: a note. We'll come back and the next day we

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Speaker 1: come back and we couldn't find it. No, So it's remarkable.

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Speaker 1: The whole process was strange. Yes, the whole process was strange,

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Speaker 1: really different. It was like a gift. It was like

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Speaker 1: a gift for us. We didn't have to do any work. Yeah,

218
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Speaker 1: we just you know, we thought. We both made records

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Speaker 1: for years, and we both like making records and we

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Speaker 1: love music, and we know about the ways of making records.

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Speaker 1: Things that we do, you know, like with me, it's

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Speaker 1: like occasional double tracking one line or a couple of

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Speaker 1: words or something like that to punch them out a little.

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Speaker 1: So I just kind of sing along and sing a

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Speaker 1: little more when I want it and a little less

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Speaker 1: when I don't. And so you understood that right away.

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Speaker 1: And bang, when I said let's do a double track,

228
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Speaker 1: it wasn't like I'd go in and I'd do it,

229
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Speaker 1: and it was like I was only singing part of

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Speaker 1: the time and kind of half singing the rest of

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Speaker 1: the time. But it was cool. It wasn't like, hey,

232
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Speaker 1: well you know, I try to sing the whole thing.

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Speaker 1: That never happened. Yeah, So on the only purpose I

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Speaker 1: think you ever double tracked anything was if you couldn't

235
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Speaker 1: understand here or understand the words the first time. It

236
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Speaker 1: was so loud in the room when you're playing and

237
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Speaker 1: you're singing live with the band, Yeah, it's hard to

238
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Speaker 1: get the yeah everything, every little nuance. Yeah. So we

239
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Speaker 1: picked out a couple of things and backed them up

240
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Speaker 1: and mixed it in and it came out really great.

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Speaker 1: I'm just really happy with the record. It's one of

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Speaker 1: my if it's one of my favorite processes, and the

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Speaker 1: music is some of my favorite music I've ever made.

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Speaker 1: I mean, how I listened to it. It's good, it's

245
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Speaker 1: really and it's really the way that it happened was

246
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Speaker 1: so magical. Even after the way that it happened to you,

247
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Speaker 1: once it got to the studio, it was weird. Yeah,

248
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Speaker 1: It's like I remember the first week the band was

249
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Speaker 1: learning the songs, and the feeling I got by the

250
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Speaker 1: end of the first week was they might not ever

251
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Speaker 1: be able to play the songs. That was the feeling

252
00:14:30,596 --> 00:14:34,716
Speaker 1: was like, this is like not really happening. Yes, And

253
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Speaker 1: then I thought, okay, well they played through everything, even

254
00:14:37,476 --> 00:14:40,436
Speaker 1: though they couldn't play them, they played through them. So

255
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Speaker 1: probably next week is going to be better because now

256
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Speaker 1: it won't be the first time. And then and I

257
00:14:44,756 --> 00:14:47,316
Speaker 1: remember when you called out the song to start the

258
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Speaker 1: second week with, and Ralph said, well, we already played

259
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Speaker 1: that one. Why would we play that? And then we

260
00:14:53,756 --> 00:14:55,796
Speaker 1: went back and we listened to it and it was

261
00:14:55,836 --> 00:15:00,436
Speaker 1: pretty good. Yeah, Ralph was right. Ralph was right. Turns

262
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Speaker 1: out yeah, it's crazy. We didn't think we got anything. No,

263
00:15:05,676 --> 00:15:07,716
Speaker 1: it turns out we got I think maybe the whole

264
00:15:07,756 --> 00:15:10,116
Speaker 1: album was recorded when we didn't think any of it.

265
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Speaker 1: We didn't think anyone was happening. Yeah, and it certainly

266
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Speaker 1: nothing like that's ever happened to me before. For sure,

267
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Speaker 1: nothing like that. No. I mean I'm used to the

268
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Speaker 1: horse getting things on the first or second take. Yeah,

269
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Speaker 1: but this was like I had no idea. You didn't

270
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Speaker 1: know the songs. No, I didn't know the songs. I

271
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Speaker 1: was learning how to play it on the pump organ

272
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Speaker 1: or on the piano. And uh, because I did want

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Speaker 1: to play guitar. Remember, we'd say to Nils. You know,

274
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Speaker 1: Nils sounds like a guitar lick, you know, and we

275
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Speaker 1: don't really don't want to hear. Yeah, you know, we

276
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Speaker 1: know it's great and you played it, but it made

277
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Speaker 1: it sound ordinary when't Yeah, but when we when we

278
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Speaker 1: heard it was like, we really don't want to hear

279
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Speaker 1: a guitar. And then on one or one or two songs,

280
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Speaker 1: I mean you can hear it in the room. Yeah,

281
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Speaker 1: but you only thing we featured was between the riffs

282
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Speaker 1: where it'd be a clunk and scratch on the thing

283
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Speaker 1: and you know, the pick guards all these weird sounds

284
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Speaker 1: that he was making as he was playing between when

285
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Speaker 1: he played his thing. Yeah, and we take his thing

286
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Speaker 1: off and just leave the other things up real loud. Yeah, yeah. Yeah.

287
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Speaker 1: We we took out the playing and left the noises

288
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Speaker 1: in between. Yeah. So it would go from the noises

289
00:16:20,036 --> 00:16:23,796
Speaker 1: to the leakage of something too. It was like we

290
00:16:23,836 --> 00:16:28,516
Speaker 1: broke every rule that wasn't crazy, and we were enjoying

291
00:16:28,516 --> 00:16:30,916
Speaker 1: it very much and seem normal. I mean no, but

292
00:16:30,916 --> 00:16:33,796
Speaker 1: it sounded good. It's like you can't argue with the sounds,

293
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Speaker 1: Like if it sounds good, it's right. You know. It

294
00:16:36,916 --> 00:16:40,356
Speaker 1: was wild and then we got what was that one? Uh,

295
00:16:40,436 --> 00:16:42,836
Speaker 1: I think it was The Wonder Won't Wait? Or either

296
00:16:42,916 --> 00:16:45,636
Speaker 1: that or the World is in Trouble now one of

297
00:16:45,636 --> 00:16:50,396
Speaker 1: those two where I was. We started doing the harmonica

298
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Speaker 1: through the octave divider with the organ on certain notes

299
00:16:55,556 --> 00:16:58,476
Speaker 1: to create this instrument that was like, and I get

300
00:16:58,596 --> 00:17:01,956
Speaker 1: kind of picture, who are these guys playing these instruments

301
00:17:01,956 --> 00:17:03,916
Speaker 1: because I don't even know what that kind of instrument

302
00:17:03,996 --> 00:17:08,236
Speaker 1: that it is. It sounded like an old organ but

303
00:17:08,396 --> 00:17:12,036
Speaker 1: with an elect drake funky part of it, like two

304
00:17:12,116 --> 00:17:16,116
Speaker 1: or three notes were just jamming, and it was weird.

305
00:17:16,636 --> 00:17:20,476
Speaker 1: It wasn't working exactly properly either, I don't I don't think,

306
00:17:20,516 --> 00:17:25,756
Speaker 1: no nothing, that fictional instrument was not at its best. No, No,

307
00:17:25,876 --> 00:17:29,956
Speaker 1: it wasn't. But it didn't matter. No, So you know,

308
00:17:29,996 --> 00:17:31,956
Speaker 1: we had a blast. We had a really good time,

309
00:17:32,076 --> 00:17:35,996
Speaker 1: the time of a lifetime. Actually, I thought, I there's

310
00:17:36,076 --> 00:17:38,836
Speaker 1: nothing I can look at that compares to it. Everything

311
00:17:38,876 --> 00:17:41,436
Speaker 1: else is they're all great, And there's a lot of

312
00:17:41,436 --> 00:17:44,356
Speaker 1: really cool things that we did. Yeah, and you know

313
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Speaker 1: that I did with with Crazy Horse in the past

314
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Speaker 1: and everything, and the stuff we did in the studio

315
00:17:50,476 --> 00:17:52,596
Speaker 1: in the nineties was cool too. I mean, I've still

316
00:17:52,636 --> 00:17:54,996
Speaker 1: got that and actually getting ready to put it out

317
00:17:55,036 --> 00:17:58,276
Speaker 1: in the archives because it's some of it's really cool. Yeah,

318
00:17:58,436 --> 00:18:01,316
Speaker 1: there's a couple of really cool songs there, but they're

319
00:18:01,356 --> 00:18:05,876
Speaker 1: not like this, this was what is this? Yeah, it's

320
00:18:05,916 --> 00:18:10,596
Speaker 1: definitely new music. Yeah, it's new very old music, very

321
00:18:10,716 --> 00:18:13,876
Speaker 1: old new music. Because something is like if the song

322
00:18:14,076 --> 00:18:20,356
Speaker 1: sounded like a folk songs from the forties, or they

323
00:18:20,396 --> 00:18:23,916
Speaker 1: sound like songs from before you ever wrote songs. Somebody

324
00:18:23,956 --> 00:18:27,596
Speaker 1: else wrote these first, and here I am and and

325
00:18:27,796 --> 00:18:30,396
Speaker 1: I don't know, he kind of got us mosis or something.

326
00:18:31,076 --> 00:18:34,236
Speaker 1: It's strange, it really is, man, So we gotta we

327
00:18:34,356 --> 00:18:36,796
Speaker 1: just gotta be thankful because we got a gift and

328
00:18:36,836 --> 00:18:39,596
Speaker 1: we will find out if other people think so. Yeah,

329
00:18:39,636 --> 00:18:44,156
Speaker 1: either way, I think it works out fine. We got

330
00:18:44,156 --> 00:18:46,436
Speaker 1: to experience it and we did. I'm glad people get

331
00:18:46,476 --> 00:18:48,716
Speaker 1: to hear it. Yeah, I am too, And whatever they

332
00:18:48,756 --> 00:18:50,956
Speaker 1: think is fine. I think they're gonna like it. I've

333
00:18:50,956 --> 00:18:56,076
Speaker 1: got a couple of reactions from people who are like whoa, whoa,

334
00:18:56,276 --> 00:18:59,156
Speaker 1: and I'm going, well, you know, it's it's me and

335
00:18:59,196 --> 00:19:01,756
Speaker 1: crazy Horse and we're just doing what we do. And

336
00:19:01,996 --> 00:19:03,756
Speaker 1: if you listen to it, that way you can say

337
00:19:03,836 --> 00:19:05,876
Speaker 1: that's what it is. But the fact that I only

338
00:19:05,876 --> 00:19:08,796
Speaker 1: play guitar on what three songs I think, Oh, I

339
00:19:08,836 --> 00:19:13,036
Speaker 1: did overdubbed a note or two on another song that's chords,

340
00:19:13,316 --> 00:19:15,996
Speaker 1: power chords I put on one of the I don't

341
00:19:16,036 --> 00:19:20,516
Speaker 1: think it ever really sounds like guitar. No, No, we

342
00:19:20,596 --> 00:19:24,396
Speaker 1: had a great time. We ought to be thankful. Let's

343
00:19:24,396 --> 00:19:27,236
Speaker 1: be thankful. So cool. Have any new songs come to

344
00:19:27,276 --> 00:19:31,556
Speaker 1: you since now? Do they typically come in bunches like

345
00:19:31,596 --> 00:19:34,356
Speaker 1: that over the course of your life. Well, there's nothing

346
00:19:34,356 --> 00:19:39,076
Speaker 1: typical about this bunch. But usually what happens is as

347
00:19:39,076 --> 00:19:41,996
Speaker 1: soon as I finish an album, I'm starting to think

348
00:19:42,036 --> 00:19:44,796
Speaker 1: about other things, and other music starts coming in my head.

349
00:19:45,636 --> 00:19:48,156
Speaker 1: Finishing this album, not being able to play it and

350
00:19:48,236 --> 00:19:50,516
Speaker 1: have it come out for six months after we finished

351
00:19:50,556 --> 00:19:53,356
Speaker 1: it because of the way things are with vinyl and

352
00:19:53,836 --> 00:19:58,076
Speaker 1: everything else. That was very weird. But I haven't got

353
00:19:58,076 --> 00:20:02,276
Speaker 1: any new songs. I have not thought of any new songs.

354
00:20:02,476 --> 00:20:04,436
Speaker 1: All I think of is the songs that we did

355
00:20:04,796 --> 00:20:08,276
Speaker 1: and for months I was still listening to it, and

356
00:20:08,316 --> 00:20:10,156
Speaker 1: I'm going one of my do it, let's do this,

357
00:20:10,236 --> 00:20:12,916
Speaker 1: I did this. Could you imagine how you would play

358
00:20:12,956 --> 00:20:15,836
Speaker 1: these songs live because it kind of is its own thing.

359
00:20:15,876 --> 00:20:17,596
Speaker 1: I don't even know how you do it live. I

360
00:20:17,636 --> 00:20:21,436
Speaker 1: don't know either, but we did it live. Yes, No,

361
00:20:21,636 --> 00:20:25,636
Speaker 1: I know that, so we yes. I just can't imagine

362
00:20:25,676 --> 00:20:29,916
Speaker 1: that they would sound you know, pump organ, electric guitar,

363
00:20:29,996 --> 00:20:35,156
Speaker 1: bass and drums, pump organ accordion. But I think though

364
00:20:35,556 --> 00:20:38,716
Speaker 1: that probably would sound good if we if we got

365
00:20:38,716 --> 00:20:42,236
Speaker 1: to do them. We'll see what happens, yeah, I hope.

366
00:20:42,236 --> 00:20:45,836
Speaker 1: So I'd be curious to see what that is. Yeah,

367
00:20:45,876 --> 00:20:48,636
Speaker 1: I would be too, I would be. But things move

368
00:20:48,676 --> 00:20:51,516
Speaker 1: along and they move on, you know, and Nils is

369
00:20:51,636 --> 00:20:54,076
Speaker 1: you know, Nils is part of the Eastet band, so

370
00:20:54,236 --> 00:20:58,516
Speaker 1: Bruce is probably going on a megatour. So Nils is gone,

371
00:20:59,276 --> 00:21:04,196
Speaker 1: and Nils is like what I'm I can't be in

372
00:21:04,196 --> 00:21:07,356
Speaker 1: two places at once. Yeah, because he was, you know,

373
00:21:07,436 --> 00:21:10,116
Speaker 1: really into this. I mean, we were all really into it.

374
00:21:10,596 --> 00:21:14,036
Speaker 1: So actually I feel I feel for Nils a little

375
00:21:14,036 --> 00:21:17,156
Speaker 1: bit because I know he wants to be here with us.

376
00:21:17,516 --> 00:21:20,196
Speaker 1: You know, he's with Bruce, and that's Bruce has been

377
00:21:20,236 --> 00:21:22,876
Speaker 1: there for him for years and years, and that's an

378
00:21:22,876 --> 00:21:25,996
Speaker 1: old old thing. Now. It was amazing to me that

379
00:21:26,156 --> 00:21:28,836
Speaker 1: you played with Nils before Bruce did. I didn't. I

380
00:21:28,876 --> 00:21:31,596
Speaker 1: wasn't aware of that until this. Oh yeah, this project

381
00:21:32,076 --> 00:21:35,556
Speaker 1: Nils is on after the gold Rush Wild. Yeah, he

382
00:21:35,596 --> 00:21:39,236
Speaker 1: plays piano on After the gold Rush. And you wanted

383
00:21:39,316 --> 00:21:41,316
Speaker 1: him to play piano because he couldn't play piano, Is

384
00:21:41,316 --> 00:21:46,396
Speaker 1: that correct? Yeah? Well he played accordion, right, so I

385
00:21:46,436 --> 00:21:49,516
Speaker 1: knew he could play piano, right, And I knew, you know,

386
00:21:49,556 --> 00:21:52,956
Speaker 1: he's a music he's everything, you know, So I just

387
00:21:52,996 --> 00:21:54,876
Speaker 1: didn't want him to sound like he really knew what

388
00:21:54,876 --> 00:21:58,956
Speaker 1: he was doing so sure of himself, you know, because

389
00:21:58,956 --> 00:22:05,836
Speaker 1: that wouldn't go with everybody else. We had a good time.

390
00:22:06,116 --> 00:22:08,276
Speaker 1: It's amazing that you found guys who you can play

391
00:22:08,316 --> 00:22:12,276
Speaker 1: with for fifty years and still sound like maybe it's

392
00:22:12,276 --> 00:22:16,276
Speaker 1: not going to happen. Yeah, it's amazing. Yeah. Well, Nils

393
00:22:16,356 --> 00:22:20,076
Speaker 1: is a great, great musician, and we'll miss him when

394
00:22:20,076 --> 00:22:22,676
Speaker 1: he's out there with Bruce, but he'll be back for sure,

395
00:22:22,996 --> 00:22:26,316
Speaker 1: and uh, you know, we'll just wait around, let's see

396
00:22:26,316 --> 00:22:30,276
Speaker 1: what happens, and uh, if I do anything anything else

397
00:22:30,316 --> 00:22:34,756
Speaker 1: in the meantime, yeah, I've asked Micah, Mica and Nelson

398
00:22:34,836 --> 00:22:37,796
Speaker 1: and he'll step in and be with the horse. So

399
00:22:37,996 --> 00:22:40,596
Speaker 1: you know we were ready to rock. If we decide

400
00:22:40,636 --> 00:22:43,956
Speaker 1: to go out, we're gonna take a quick break and

401
00:22:43,996 --> 00:22:46,636
Speaker 1: then we'll be back with Rick Rubin and Neil Young.

402
00:22:51,196 --> 00:22:53,836
Speaker 1: We're back with more from Rick Rubin and Neil Young.

403
00:22:54,676 --> 00:22:58,196
Speaker 1: Is it different writing a song on guitar versus piano?

404
00:22:58,316 --> 00:23:02,516
Speaker 1: For you? You know, they're all the same. It's just

405
00:23:02,596 --> 00:23:06,076
Speaker 1: wherever I am and whatever it is. I don't have

406
00:23:06,196 --> 00:23:10,076
Speaker 1: much method. I just I'm just there in it, and

407
00:23:10,196 --> 00:23:13,396
Speaker 1: I never try. I only do it if it happens.

408
00:23:13,956 --> 00:23:17,156
Speaker 1: If I hear a melody and I start seeing a

409
00:23:17,276 --> 00:23:20,316
Speaker 1: keyboard or a guitar or listening, then I'll pick it

410
00:23:20,396 --> 00:23:22,396
Speaker 1: up and try it, and then I'll stay with it

411
00:23:22,476 --> 00:23:24,756
Speaker 1: until I don't hear it anymore. Usually that's how a

412
00:23:24,836 --> 00:23:27,396
Speaker 1: song arrives. But in the last six months since we

413
00:23:27,476 --> 00:23:30,676
Speaker 1: finished this, I haven't heard anything. But over the course

414
00:23:30,716 --> 00:23:32,516
Speaker 1: of your life, there's been no rule of how and

415
00:23:32,596 --> 00:23:35,436
Speaker 1: when it comes it comes. At first, it was all

416
00:23:35,516 --> 00:23:38,516
Speaker 1: guitar because I could hardly play piano. At any point,

417
00:23:38,516 --> 00:23:40,596
Speaker 1: did you pack this piano, like, did you decide I

418
00:23:40,596 --> 00:23:42,556
Speaker 1: want to be able to play pianomore? Yeah, when I

419
00:23:42,596 --> 00:23:44,916
Speaker 1: was in high school or there was a piano downstairs,

420
00:23:44,916 --> 00:23:48,396
Speaker 1: and we lived in a triplex and my mom and

421
00:23:48,436 --> 00:23:50,956
Speaker 1: I were on the top floor, and then in the

422
00:23:50,956 --> 00:23:54,996
Speaker 1: basement there were some college guys. Outside of their room

423
00:23:55,236 --> 00:23:58,676
Speaker 1: was a piano. So the piano wasn't really in their room.

424
00:23:58,676 --> 00:24:02,036
Speaker 1: It was at the bottom of the stairs, understood, And

425
00:24:01,756 --> 00:24:04,596
Speaker 1: then then you went into their room. It felt like

426
00:24:04,636 --> 00:24:07,676
Speaker 1: their space or kind of. But that's how I learned

427
00:24:07,676 --> 00:24:11,716
Speaker 1: to play what's the name of that song by the

428
00:24:11,796 --> 00:24:17,156
Speaker 1: Marquis Dana Doo doo doo doo doo doo doo, do

429
00:24:18,196 --> 00:24:22,356
Speaker 1: not last dance something? Let me check on Marquis, Yeah,

430
00:24:22,516 --> 00:24:25,916
Speaker 1: Marquis check. Maybe I can even play it, let's see. Anyway,

431
00:24:25,956 --> 00:24:28,116
Speaker 1: I learned how to play that on the piano and

432
00:24:28,316 --> 00:24:31,636
Speaker 1: kind of a very vanilla fashion because they were pretty funky.

433
00:24:31,916 --> 00:24:33,956
Speaker 1: What the heck is the name? And that's I think

434
00:24:33,956 --> 00:24:37,276
Speaker 1: they might have been from New Orleans last night last night.

435
00:24:37,356 --> 00:24:50,276
Speaker 1: That's it. Let's see. So would you have heard that

436
00:24:50,316 --> 00:24:52,996
Speaker 1: on the radio? Yeah? So I learned how to play

437
00:24:53,036 --> 00:24:54,836
Speaker 1: that on the piano. It's the first song I learned

438
00:24:54,836 --> 00:24:56,796
Speaker 1: how to play. And it sounds like if you could

439
00:24:56,836 --> 00:24:58,196
Speaker 1: play that on the piano, you could play a lot

440
00:24:58,236 --> 00:25:00,436
Speaker 1: of songs because it was all of the songs that

441
00:25:00,516 --> 00:25:04,596
Speaker 1: I can play. Now, that's basically all I know how

442
00:25:04,596 --> 00:25:08,556
Speaker 1: to do. Luckily, a lot of songs go like that.

443
00:25:08,636 --> 00:25:12,756
Speaker 1: Yeah they Yeah, now that was fun. So that's how

444
00:25:12,796 --> 00:25:14,436
Speaker 1: I started when I was in high school of playing

445
00:25:14,436 --> 00:25:17,356
Speaker 1: a piano on that thing. Yeah, I just thinking about

446
00:25:17,436 --> 00:25:21,756
Speaker 1: the h the process of having a melody and figuring

447
00:25:21,796 --> 00:25:24,676
Speaker 1: out chords. Did you figure out all the chords using

448
00:25:24,676 --> 00:25:28,316
Speaker 1: the pump organ or or different instruments to find them?

449
00:25:29,036 --> 00:25:32,676
Speaker 1: Pump organ was mostly what I used sometimes, the upright piano.

450
00:25:33,036 --> 00:25:39,796
Speaker 1: The song Chevrolet I learned on the guitar from the piano.

451
00:25:40,996 --> 00:25:44,716
Speaker 1: And then the other song that I did was Break

452
00:25:44,796 --> 00:25:48,316
Speaker 1: the Chain, and I just played that on guitar because

453
00:25:48,356 --> 00:25:53,836
Speaker 1: it was, you know, obviously a guitar song. But really

454
00:25:53,876 --> 00:25:57,196
Speaker 1: the first time I played it was well, we played it,

455
00:25:57,716 --> 00:26:00,436
Speaker 1: and that's the one that's in the record. Yeah, you

456
00:26:00,476 --> 00:26:03,236
Speaker 1: can tell it's it's we just pick up the beat

457
00:26:03,276 --> 00:26:06,276
Speaker 1: in the beginning, it kind of finds itself, and that

458
00:26:06,356 --> 00:26:07,916
Speaker 1: was the first time we played it. We played it

459
00:26:07,956 --> 00:26:09,996
Speaker 1: a few times after that, but on them were anything

460
00:26:10,036 --> 00:26:12,036
Speaker 1: like that. Yeah, I mean they were good. We got

461
00:26:12,076 --> 00:26:14,636
Speaker 1: through it, yeah, but it wasn't like that one that

462
00:26:14,796 --> 00:26:18,396
Speaker 1: is a thing that normally you know how to play

463
00:26:18,436 --> 00:26:21,476
Speaker 1: the song and the band maybe has never heard it. Yeah,

464
00:26:21,556 --> 00:26:25,756
Speaker 1: so they can follow you because you're solid and they're

465
00:26:25,796 --> 00:26:30,676
Speaker 1: they're accompanying your performance. Yeah. And then but you get it. Yeah,

466
00:26:30,756 --> 00:26:33,756
Speaker 1: but in this case, you don't really know the songs

467
00:26:33,756 --> 00:26:36,996
Speaker 1: because you didn't write them the way they normally come now.

468
00:26:37,356 --> 00:26:40,916
Speaker 1: But both Chevrolet and Uh and the other song that

469
00:26:40,956 --> 00:26:43,636
Speaker 1: we were just talking about, both those songs break the

470
00:26:43,716 --> 00:26:48,636
Speaker 1: Chain and Chevrolet, we're both take one, Yeah, I mean Chevrolet.

471
00:26:48,796 --> 00:26:51,276
Speaker 1: We did six more versions after that. Yeah, but they

472
00:26:51,276 --> 00:26:53,756
Speaker 1: weren't better. They weren't like, they weren't better than that one.

473
00:26:54,156 --> 00:26:55,876
Speaker 1: There were a couple of minutes and a couple of

474
00:26:55,876 --> 00:26:58,956
Speaker 1: the other ones. That's an interesting thing too, that sometimes

475
00:26:58,956 --> 00:27:01,876
Speaker 1: you gotta go past it to know which is the horns,

476
00:27:01,956 --> 00:27:04,236
Speaker 1: like you never you never know until you go. You

477
00:27:04,316 --> 00:27:08,196
Speaker 1: gotta go buy it exactly and experience well, just as

478
00:27:08,236 --> 00:27:12,116
Speaker 1: good as that was. Yeah, And we know from past

479
00:27:12,156 --> 00:27:14,436
Speaker 1: experience that coming in the next day and trying it

480
00:27:14,516 --> 00:27:18,156
Speaker 1: again does work. Yeah, that's hardly ever works with me.

481
00:27:19,316 --> 00:27:20,836
Speaker 1: We try to get it. I try to get them

482
00:27:20,876 --> 00:27:24,796
Speaker 1: so I know the songs well enough to do them

483
00:27:24,796 --> 00:27:27,156
Speaker 1: and so I had all the lyrics, I had everything

484
00:27:27,236 --> 00:27:29,796
Speaker 1: done it. You know, everything was ready, you know, I wasn't.

485
00:27:29,836 --> 00:27:32,396
Speaker 1: You know. Chevrolet was a big song with a lot

486
00:27:32,436 --> 00:27:35,356
Speaker 1: of changes, and I jammed on the changes with the

487
00:27:35,356 --> 00:27:38,516
Speaker 1: band for a while without singing it. You know, we

488
00:27:38,596 --> 00:27:41,516
Speaker 1: did that before we played it. And then the good

489
00:27:41,556 --> 00:27:43,996
Speaker 1: thing about that is, you know, when you start playing

490
00:27:44,036 --> 00:27:47,356
Speaker 1: the stuff and you're playing it, it's the first time.

491
00:27:47,916 --> 00:27:50,916
Speaker 1: It's the first time I heard it, yeah, and the

492
00:27:50,916 --> 00:27:52,876
Speaker 1: first time they heard it, and we were all playing

493
00:27:52,876 --> 00:27:57,836
Speaker 1: it together, and it just grows and there's something there is.

494
00:27:57,916 --> 00:28:00,476
Speaker 1: There's something to that that I really enjoy. And that's

495
00:28:00,516 --> 00:28:02,996
Speaker 1: the way I try to make records. There's definitely an

496
00:28:03,036 --> 00:28:05,236
Speaker 1: excitement when you don't know what it's going to be

497
00:28:05,756 --> 00:28:08,956
Speaker 1: when you get to hear it, yeah, and it's exciting.

498
00:28:09,916 --> 00:28:12,076
Speaker 1: It's got to go into your playing, you know, you

499
00:28:12,156 --> 00:28:15,676
Speaker 1: have to play it differently when you're feeling the thrill

500
00:28:15,756 --> 00:28:20,316
Speaker 1: of experiencing it for the first time. Yeah, Like in Chevrolet,

501
00:28:20,396 --> 00:28:23,516
Speaker 1: when we get to the second instrumental after the intro

502
00:28:23,676 --> 00:28:25,916
Speaker 1: and then the first verse and it comes back and

503
00:28:26,236 --> 00:28:28,876
Speaker 1: this is now worth three and a half four minutes

504
00:28:28,916 --> 00:28:33,516
Speaker 1: into the song and the first repetition happens. Yeah, and

505
00:28:33,676 --> 00:28:37,116
Speaker 1: so you figure it's got three verses, so it's like,

506
00:28:37,196 --> 00:28:39,676
Speaker 1: you know it. You know it's going to be a journey.

507
00:28:39,956 --> 00:28:42,156
Speaker 1: So we started playing that and I was playing the

508
00:28:42,196 --> 00:28:45,876
Speaker 1: guitar riff and I can hear it, and I'm going this,

509
00:28:45,956 --> 00:28:49,836
Speaker 1: it's cool, this is good, and we just keep doing

510
00:28:49,916 --> 00:28:53,556
Speaker 1: them and just advancing along, and it's like a long

511
00:28:53,636 --> 00:28:56,276
Speaker 1: trip in a car, you know, sometimes the road is great,

512
00:28:56,436 --> 00:29:01,156
Speaker 1: sometimes it's not. Yeah, it's real, it's real. It's real.

513
00:29:01,556 --> 00:29:04,076
Speaker 1: That's why I think that hangs in there for whatever

514
00:29:04,156 --> 00:29:08,116
Speaker 1: fifteen minutes. Yeah. It's also after like some of the

515
00:29:08,156 --> 00:29:13,516
Speaker 1: solo sections are so long and deep that when you

516
00:29:13,596 --> 00:29:17,316
Speaker 1: come back and singing, it's strange like that, there's still

517
00:29:17,356 --> 00:29:19,716
Speaker 1: there's a song going on it because we've do you

518
00:29:19,716 --> 00:29:22,676
Speaker 1: know what I mean, it's a new verse. This it's like, wow,

519
00:29:22,756 --> 00:29:25,636
Speaker 1: there's still a song. Yeah, because where we've gone a

520
00:29:25,796 --> 00:29:29,516
Speaker 1: long ways away. Yeah, that's right. That's a special. It's

521
00:29:29,556 --> 00:29:33,076
Speaker 1: a special in that song because of that. The verses

522
00:29:33,116 --> 00:29:37,876
Speaker 1: are over two minutes each verse. That's a long verse. Yeah,

523
00:29:37,996 --> 00:29:39,956
Speaker 1: And you know that came from writing it on the

524
00:29:39,996 --> 00:29:43,276
Speaker 1: piano and developing all the chord changes. And I just

525
00:29:43,316 --> 00:29:45,956
Speaker 1: didn't feel like it was time to repeat anything. I

526
00:29:45,996 --> 00:29:48,076
Speaker 1: didn't want to go back. I wanted to keep on going.

527
00:29:48,156 --> 00:29:50,836
Speaker 1: And the parts are cool, like one part after another.

528
00:29:50,876 --> 00:29:53,116
Speaker 1: It's a cool part, that another cool part, and another

529
00:29:53,156 --> 00:29:56,676
Speaker 1: cool part. If you don't analyze the music of it,

530
00:29:56,676 --> 00:29:59,356
Speaker 1: it doesn't feel strange or like it's long. It doesn't

531
00:29:59,396 --> 00:30:03,156
Speaker 1: feel long, No, it does. It just flows really naturally. Yeah,

532
00:30:03,236 --> 00:30:05,916
Speaker 1: we're lucky. We were very fortunate. We got a gift,

533
00:30:06,596 --> 00:30:09,396
Speaker 1: that's how I look at it, and we're we're in

534
00:30:09,436 --> 00:30:12,916
Speaker 1: the right place at the right time. At what point

535
00:30:12,916 --> 00:30:14,516
Speaker 1: in your life would you say you listen to the

536
00:30:14,556 --> 00:30:19,916
Speaker 1: most music. Probably I'd say I listened more in the

537
00:30:19,956 --> 00:30:23,876
Speaker 1: sixties and seventies. You think because it was just new

538
00:30:23,916 --> 00:30:28,196
Speaker 1: to you. Yeah, I think so. I used to like

539
00:30:28,236 --> 00:30:30,996
Speaker 1: to listen to things over and over again and hear them.

540
00:30:31,156 --> 00:30:34,796
Speaker 1: Now I just uh, if I hear it once, I know,

541
00:30:35,116 --> 00:30:38,516
Speaker 1: you know. But these songs I like to listen to

542
00:30:38,636 --> 00:30:41,436
Speaker 1: over and over again. Yeah, I think because it's so

543
00:30:42,196 --> 00:30:44,876
Speaker 1: abstract what's going on. I mean, it's funny way to

544
00:30:44,916 --> 00:30:48,316
Speaker 1: describe it, because it's they are as songs. They're pretty

545
00:30:48,316 --> 00:30:52,076
Speaker 1: straightforward songs, pretty straight ahead. Yeah, but for some reason.

546
00:30:52,996 --> 00:30:56,596
Speaker 1: The paintings of them are pretty abstract. Yeah, yeah, I

547
00:30:56,596 --> 00:30:58,996
Speaker 1: don't know how that happened, man, I just I just

548
00:30:59,156 --> 00:31:02,556
Speaker 1: know that we're here and we were all together, and

549
00:31:02,596 --> 00:31:04,676
Speaker 1: I remember i'd look at Ralph after we finished, because

550
00:31:04,676 --> 00:31:07,356
Speaker 1: that's the barometer. You just look at Ralph and you

551
00:31:07,356 --> 00:31:09,276
Speaker 1: can tell whether you got it or not. And it

552
00:31:09,316 --> 00:31:11,316
Speaker 1: was not because he's going, hey, that was great. It's

553
00:31:11,316 --> 00:31:14,596
Speaker 1: not like that. No, it's a body thing, you know.

554
00:31:15,116 --> 00:31:21,196
Speaker 1: And uh, at the end of Chevrolet it ends, and

555
00:31:21,236 --> 00:31:24,356
Speaker 1: then there's a break and nobody's saying anything much, and

556
00:31:24,396 --> 00:31:28,716
Speaker 1: then Ralph says to Billy, how long was that song?

557
00:31:30,196 --> 00:31:33,676
Speaker 1: And Billy looks at Ralph and goes, not long enough.

558
00:31:38,236 --> 00:31:41,076
Speaker 1: It's crazy. Yeah, it's still high school for a crazy horse.

559
00:31:41,116 --> 00:31:45,556
Speaker 1: Oh yeah, it's unbelievable. And then oh yeah. And then

560
00:31:45,716 --> 00:31:48,836
Speaker 1: somewhere in there Ralph's Ralph told Neils, he said, you know,

561
00:31:49,156 --> 00:31:54,516
Speaker 1: I think you're playing a little timid, and Neils went

562
00:31:54,596 --> 00:32:00,156
Speaker 1: off to Timid. You know, it's funny, but only in

563
00:32:00,236 --> 00:32:02,836
Speaker 1: a you know, in a high school kind of group

564
00:32:02,876 --> 00:32:06,436
Speaker 1: way would you have these comments. And you know, this

565
00:32:06,596 --> 00:32:09,316
Speaker 1: ship and it's all so real with these guys, so

566
00:32:09,476 --> 00:32:11,956
Speaker 1: it's amazing. I enjoy it, man, I really truly do.

567
00:32:12,076 --> 00:32:14,636
Speaker 1: I'm glad we got to share that. Is there every

568
00:32:14,716 --> 00:32:17,676
Speaker 1: time with the songs that happen over the course of

569
00:32:17,676 --> 00:32:20,796
Speaker 1: your life, When you're writing them, you don't really know

570
00:32:20,836 --> 00:32:25,316
Speaker 1: what they're about. Is there ever a time later where

571
00:32:25,316 --> 00:32:27,316
Speaker 1: it's like, oh, maybe this is about this. Do you

572
00:32:27,316 --> 00:32:31,596
Speaker 1: ever have insights into the songs later? No, I really don't.

573
00:32:32,876 --> 00:32:36,876
Speaker 1: I don't have any insights in the one song I

574
00:32:36,956 --> 00:32:38,836
Speaker 1: was thinking of when you started saying that was I

575
00:32:38,876 --> 00:32:42,396
Speaker 1: did a song called will to Love and I did

576
00:32:42,436 --> 00:32:47,316
Speaker 1: it on a cassette player sony cassette, sitting on the

577
00:32:47,316 --> 00:32:50,276
Speaker 1: hearth of a fireplace with the fire burning, and I'm

578
00:32:50,316 --> 00:32:52,796
Speaker 1: sitting there in the middle of the night, playing my

579
00:32:52,876 --> 00:32:55,556
Speaker 1: guitar and playing this song which I just had written,

580
00:32:55,916 --> 00:32:58,796
Speaker 1: which I was writing. So I wrote the words and

581
00:32:59,316 --> 00:33:01,716
Speaker 1: had them all written out, and then I started playing it.

582
00:33:02,436 --> 00:33:05,396
Speaker 1: And I only did it once and that was it.

583
00:33:06,076 --> 00:33:08,876
Speaker 1: And then a couple of months later, I was here

584
00:33:08,956 --> 00:33:14,236
Speaker 1: in Malibu up on that Indigo ranch. Yeah, I was

585
00:33:14,316 --> 00:33:18,196
Speaker 1: up there with Briggs and we did the recording up

586
00:33:18,236 --> 00:33:22,036
Speaker 1: there of where I overdubbed all the other instruments, you know.

587
00:33:22,076 --> 00:33:26,156
Speaker 1: I played drums. I played bass in a certain area.

588
00:33:26,356 --> 00:33:30,116
Speaker 1: Suddenly kind of a jazz band joins in and plays

589
00:33:30,196 --> 00:33:32,996
Speaker 1: for maybe four or five or six bars and then stops.

590
00:33:33,836 --> 00:33:36,916
Speaker 1: It's very weird. It's like a big sketch the whole thing.

591
00:33:36,956 --> 00:33:39,836
Speaker 1: And so I sketched in background vocals that I couldn't

592
00:33:39,836 --> 00:33:42,356
Speaker 1: sing the same thing at two parts at the same

593
00:33:42,396 --> 00:33:44,596
Speaker 1: time that I knew they had to be there for

594
00:33:44,636 --> 00:33:49,156
Speaker 1: it to make sense. And the song was about a fish,

595
00:33:49,196 --> 00:33:52,556
Speaker 1: a fish swimming, a salmon trying to make its way

596
00:33:52,676 --> 00:33:55,756
Speaker 1: up the river. So I really didn't know what I

597
00:33:55,836 --> 00:33:59,276
Speaker 1: was thinking about, but it was just that the salmon

598
00:33:59,356 --> 00:34:02,556
Speaker 1: had had the will to love. The salmon wanted to

599
00:34:02,596 --> 00:34:06,156
Speaker 1: go and get to this place, and that's that was it.

600
00:34:06,396 --> 00:34:09,276
Speaker 1: So that's that's the whole thing. What was it like

601
00:34:09,316 --> 00:34:12,556
Speaker 1: working Briggs? Briggs was great, brings a lot like you.

602
00:34:13,516 --> 00:34:16,876
Speaker 1: He was. You guys are very similar. Briggs is different,

603
00:34:17,356 --> 00:34:22,156
Speaker 1: you know, definitely his own unique guy. But he wasn't

604
00:34:22,156 --> 00:34:25,436
Speaker 1: shy about what he knew how to do, wasn't shy

605
00:34:25,476 --> 00:34:30,036
Speaker 1: about organizing things, telling people what to do. And uh, well,

606
00:34:30,076 --> 00:34:32,996
Speaker 1: Briggs was a good engineer. Yeah, he was at the

607
00:34:33,036 --> 00:34:35,396
Speaker 1: board at Hyder all the time. When we recorded it

608
00:34:35,836 --> 00:34:40,676
Speaker 1: on Selma and Coega there and we recorded. Everybody knows

609
00:34:40,716 --> 00:34:43,116
Speaker 1: he was at the board. He was at the board

610
00:34:43,196 --> 00:34:47,436
Speaker 1: during my first album. And we went out and I

611
00:34:47,556 --> 00:34:51,716
Speaker 1: remember recording somewhere out in Glendale. I was a pipe

612
00:34:51,796 --> 00:34:54,516
Speaker 1: organ in a building and I used it on a

613
00:34:54,556 --> 00:34:57,276
Speaker 1: song called I've Been Waiting for You and went out

614
00:34:57,316 --> 00:35:01,556
Speaker 1: and recorded that pipe organ. That's an amazing thing. And

615
00:35:01,596 --> 00:35:05,036
Speaker 1: then we came back to Hiders and we did that

616
00:35:05,076 --> 00:35:08,636
Speaker 1: whole trip with it. But Briggs is great. Briggs is great,

617
00:35:08,636 --> 00:35:10,476
Speaker 1: and you know, so I look at you. Two guys

618
00:35:10,516 --> 00:35:13,476
Speaker 1: are like brothers as far as I'm concerned. Her brothers

619
00:35:13,476 --> 00:35:16,316
Speaker 1: who never met. How do you first meet Briggs? I

620
00:35:16,476 --> 00:35:20,636
Speaker 1: was walking down to Panga Canyon Boulevard Old to Panga

621
00:35:20,916 --> 00:35:24,436
Speaker 1: on my way to go to the Canyon Kitchen to

622
00:35:24,516 --> 00:35:30,396
Speaker 1: have breakfast. And I'm walking along and this World War

623
00:35:30,476 --> 00:35:35,756
Speaker 1: two army vehicle drive spy and that stops in front

624
00:35:35,796 --> 00:35:37,996
Speaker 1: of me and I walk up to it and there's

625
00:35:38,036 --> 00:35:40,156
Speaker 1: two guys in there, and one guy says he want

626
00:35:40,156 --> 00:35:43,396
Speaker 1: to ride. I said, sure, I'm just going down to

627
00:35:43,476 --> 00:35:46,516
Speaker 1: the Canyon Kitchen that we'll give you a ride down there.

628
00:35:46,556 --> 00:35:48,916
Speaker 1: So that's how I met him. Had you ever recorded

629
00:35:48,956 --> 00:35:52,476
Speaker 1: at this point? Oh? Yeah, I made the Buffalo Springfield Records.

630
00:35:53,716 --> 00:35:56,396
Speaker 1: I had not made my first solo record. I was

631
00:35:56,436 --> 00:35:59,716
Speaker 1: at the point where the Springfield was breaking up, and

632
00:35:59,916 --> 00:36:04,796
Speaker 1: I was living at a girl's house, Linda Stevens was

633
00:36:04,796 --> 00:36:07,996
Speaker 1: her name, and I'm around a mile and a half

634
00:36:08,076 --> 00:36:10,996
Speaker 1: walk from where she us to that place, and somewhere

635
00:36:10,996 --> 00:36:12,996
Speaker 1: along there along comes this old you know, it's like

636
00:36:13,236 --> 00:36:15,756
Speaker 1: it's not like a Humby or something that was, but

637
00:36:15,836 --> 00:36:20,996
Speaker 1: it was an open military vehicle, like a giant jeep, huge,

638
00:36:21,276 --> 00:36:25,076
Speaker 1: big tires and everything. And it was Briggs and somebody

639
00:36:25,116 --> 00:36:28,036
Speaker 1: else I can't remember who it was. That's how we met.

640
00:36:28,076 --> 00:36:31,836
Speaker 1: And then on the way back, they showed me where

641
00:36:31,836 --> 00:36:33,836
Speaker 1: they lived, where he lived. He took me in there

642
00:36:34,596 --> 00:36:37,756
Speaker 1: and I looked at it and I said, wait, this

643
00:36:37,916 --> 00:36:41,716
Speaker 1: is where Stills used to live. Stills was having a

644
00:36:41,756 --> 00:36:44,436
Speaker 1: party out there we were, and we all got busted,

645
00:36:44,836 --> 00:36:47,276
Speaker 1: and so we ended up going to jail for smoking weed,

646
00:36:48,116 --> 00:36:50,196
Speaker 1: and we all got you know, we got out and

647
00:36:50,236 --> 00:36:55,636
Speaker 1: everything was okay, but that's a Springfield days. Then Briggs

648
00:36:55,676 --> 00:36:59,036
Speaker 1: is living there and I recognized the place, and sudden

649
00:36:59,076 --> 00:37:01,916
Speaker 1: I'm going, hey, I've been here before and then, uh,

650
00:37:02,116 --> 00:37:04,316
Speaker 1: you know, I would since it was just down the road,

651
00:37:04,356 --> 00:37:08,156
Speaker 1: I'd go visit him, and he was doing Murray Roman.

652
00:37:09,236 --> 00:37:12,236
Speaker 1: I don't know Murray Room. He was a comedian and

653
00:37:12,396 --> 00:37:15,636
Speaker 1: Briggs was recording him, and he also was getting here.

654
00:37:15,716 --> 00:37:19,636
Speaker 1: I think he recorded Spirits first album, How Cool, And

655
00:37:19,916 --> 00:37:21,516
Speaker 1: you know he was doing stuff like that and just

656
00:37:21,596 --> 00:37:26,516
Speaker 1: getting started. And we just started talking about Megan Records

657
00:37:26,796 --> 00:37:30,836
Speaker 1: and we made my first record and many many more

658
00:37:30,956 --> 00:37:35,156
Speaker 1: after that. Was it obvious when the band broke up

659
00:37:35,236 --> 00:37:37,196
Speaker 1: that you wanted to make solo records as opposed to

660
00:37:37,236 --> 00:37:40,036
Speaker 1: putting together a new band. Yeah, I wanted to do

661
00:37:40,076 --> 00:37:42,396
Speaker 1: a solo because I didn't want to be hindered by

662
00:37:42,796 --> 00:37:46,716
Speaker 1: held back by other things, other opinions. Yeah, I had

663
00:37:46,756 --> 00:37:50,796
Speaker 1: a lot of ideas, too many songs. I don't enough time.

664
00:37:51,036 --> 00:37:54,236
Speaker 1: Did you feel held back in Buffalo Springfield? Not really.

665
00:37:54,756 --> 00:37:57,836
Speaker 1: That was a great band. I just had more songs

666
00:37:57,916 --> 00:38:00,716
Speaker 1: than I could put in the band because there were

667
00:38:01,476 --> 00:38:05,316
Speaker 1: you know, Stephen was writing, Richie wrote, and I was writing,

668
00:38:05,356 --> 00:38:09,076
Speaker 1: and Bruce and Dewey didn't write. But I could write

669
00:38:09,436 --> 00:38:11,556
Speaker 1: enough songs for an album myself. And the time that

670
00:38:11,596 --> 00:38:14,556
Speaker 1: it would take the Springfield to get ready to record

671
00:38:14,636 --> 00:38:19,036
Speaker 1: an albums, So I wrote a lot of songs. Do

672
00:38:19,076 --> 00:38:24,036
Speaker 1: you remember the first time you heard Crosby Stills in Nash?

673
00:38:24,156 --> 00:38:26,316
Speaker 1: I think it was after that record came out. I

674
00:38:26,356 --> 00:38:30,316
Speaker 1: listened to some of it, and and I because Stephen.

675
00:38:30,356 --> 00:38:33,556
Speaker 1: I always missed Stephen, and what's Stephen doing? You know?

676
00:38:33,996 --> 00:38:36,396
Speaker 1: And I could hear him, what are you doing? I

677
00:38:36,396 --> 00:38:38,676
Speaker 1: could hear he was producing and playing a lot of

678
00:38:38,676 --> 00:38:41,196
Speaker 1: instruments and doing that. And I could hear that in

679
00:38:41,236 --> 00:38:46,876
Speaker 1: the tracks for the first CSN album, And I knew

680
00:38:46,876 --> 00:38:49,316
Speaker 1: he could do that, But I like playing with him

681
00:38:49,356 --> 00:38:53,916
Speaker 1: live better. Yeah, he's a great musician. Yeah. He had

682
00:38:53,916 --> 00:38:58,196
Speaker 1: a lot of great ideas, and he had big, big ideas,

683
00:38:58,596 --> 00:39:06,036
Speaker 1: big beautiful ideas. Yeah, he was an amazing talent. A

684
00:39:06,036 --> 00:39:08,596
Speaker 1: lot of respect for Stephen. Do you feel like he

685
00:39:08,636 --> 00:39:12,436
Speaker 1: would push you to be better or was his greatness

686
00:39:12,516 --> 00:39:15,956
Speaker 1: something that would make you better? Oh? Definitely. He was

687
00:39:15,996 --> 00:39:19,956
Speaker 1: just so naturally good. Yeah, kind of singing was great.

688
00:39:20,676 --> 00:39:23,756
Speaker 1: What a singer. He was learning how to play guitar

689
00:39:24,596 --> 00:39:28,356
Speaker 1: and singing great, and learning how to play piano, and

690
00:39:28,916 --> 00:39:32,956
Speaker 1: he just never stopped growing, just kept growing. And that

691
00:39:33,076 --> 00:39:35,796
Speaker 1: was a lot of fun. How did you end up

692
00:39:35,916 --> 00:39:40,556
Speaker 1: joining that band, a CSN band. Yeah, Stephen came out

693
00:39:40,596 --> 00:39:43,516
Speaker 1: and asked me if I wanted to join and do

694
00:39:43,556 --> 00:39:45,916
Speaker 1: a CSMY thing because they wanted to go on the road.

695
00:39:45,956 --> 00:39:51,396
Speaker 1: And I think almeded To suggested to Stephen that Stephen

696
00:39:51,436 --> 00:39:54,556
Speaker 1: and I play really well together and if that was happening,

697
00:39:54,596 --> 00:39:58,556
Speaker 1: that would hold the whole thing together. So they never

698
00:39:58,676 --> 00:40:02,196
Speaker 1: toured without you. No, I don't think that would have happened,

699
00:40:02,396 --> 00:40:04,756
Speaker 1: or it might have happened, yeah, But the history is

700
00:40:05,076 --> 00:40:08,676
Speaker 1: they put out an album, then decide, Okay, if we

701
00:40:08,676 --> 00:40:10,996
Speaker 1: want to play live, it'd be better to do it

702
00:40:10,996 --> 00:40:14,036
Speaker 1: with you. Yeah, And then you play live with them,

703
00:40:14,196 --> 00:40:16,636
Speaker 1: and did you play songs from the first album. I

704
00:40:16,676 --> 00:40:20,756
Speaker 1: didn't play live with them until after we'd done Deja Vu. Wow.

705
00:40:21,396 --> 00:40:24,276
Speaker 1: So they never toured for their first album. I don't

706
00:40:24,316 --> 00:40:28,076
Speaker 1: think so that's amazing. We went right in and did

707
00:40:28,076 --> 00:40:30,876
Speaker 1: another one, wow, although we did. I think the Greek

708
00:40:30,956 --> 00:40:34,116
Speaker 1: theater was. I remember doing I've Loved Her So Long,

709
00:40:34,156 --> 00:40:37,756
Speaker 1: which was on my first solo album. I did it

710
00:40:37,756 --> 00:40:43,676
Speaker 1: with Graham Nash, but I don't remember doing Helpless, so

711
00:40:43,756 --> 00:40:47,036
Speaker 1: maybe we hadn't done Helpless yet. It might have been

712
00:40:47,116 --> 00:40:50,716
Speaker 1: one gig. Yeah, you know before we got out there

713
00:40:50,716 --> 00:40:54,596
Speaker 1: and recorded Deja Vu. But I'd have to look on

714
00:40:54,796 --> 00:40:56,436
Speaker 1: If I looked at my archives, I'd be able to

715
00:40:56,436 --> 00:41:01,156
Speaker 1: figure it out right away because Woodstock, the gig, happened

716
00:41:01,196 --> 00:41:04,196
Speaker 1: in between right at that time, also, so that it'd

717
00:41:04,236 --> 00:41:07,916
Speaker 1: be the separator. I think Woodstock was between Deja Vu

718
00:41:08,076 --> 00:41:11,956
Speaker 1: and CuSn, But it was also one of the first

719
00:41:11,956 --> 00:41:15,316
Speaker 1: times I ever played with CSN, So if it was

720
00:41:15,396 --> 00:41:18,996
Speaker 1: that I was playing with them live before we did

721
00:41:19,356 --> 00:41:24,276
Speaker 1: Deja Vu, that would be a gig in Chicago, maybe

722
00:41:24,316 --> 00:41:29,396
Speaker 1: the gig in la at the Greek Theater and a

723
00:41:29,516 --> 00:41:34,636
Speaker 1: Chicago auditorium gig, and then Woodstock. I think that's all

724
00:41:34,676 --> 00:41:37,676
Speaker 1: we did, so I may not when we did Woodstock,

725
00:41:38,876 --> 00:41:44,356
Speaker 1: we may not have recorded Deja Vu yet because Woodstock

726
00:41:44,476 --> 00:41:48,516
Speaker 1: the song is on Deja Vu. Yeah, Joni wrote it

727
00:41:48,596 --> 00:41:53,716
Speaker 1: after Woodstock. Yeah, so that's probably the chronology. Do you

728
00:41:53,756 --> 00:41:55,996
Speaker 1: remember what it was like recording the Deja Vu album

729
00:41:56,036 --> 00:41:58,276
Speaker 1: at all? We recorded a lot of it up in

730
00:41:58,316 --> 00:42:02,276
Speaker 1: San Francisco at Hiders, and it was pretty cool. It

731
00:42:02,356 --> 00:42:05,156
Speaker 1: was fun. Good to be playing with Stephen again. Yeah,

732
00:42:05,236 --> 00:42:07,796
Speaker 1: great to be playing with Stephen again and in the studio,

733
00:42:07,916 --> 00:42:10,316
Speaker 1: and those guys were great, and they were great in

734
00:42:10,316 --> 00:42:13,036
Speaker 1: the studio. I think that was about the time that

735
00:42:13,956 --> 00:42:17,596
Speaker 1: did Crosby started getting into the free base and kind

736
00:42:17,596 --> 00:42:21,116
Speaker 1: of got out of it, but it got him. It's

737
00:42:21,156 --> 00:42:24,116
Speaker 1: too bad. But anyway, he you know, we had a

738
00:42:24,156 --> 00:42:27,036
Speaker 1: good thing going on there for a while, but that

739
00:42:27,396 --> 00:42:31,476
Speaker 1: after the drugs and all that stuff happened. Maybe that's

740
00:42:31,516 --> 00:42:34,636
Speaker 1: when we tried to do another album that he had

741
00:42:34,676 --> 00:42:38,116
Speaker 1: taken the drugs. But I don't know, you saw hazy back.

742
00:42:38,236 --> 00:42:41,636
Speaker 1: You always planned on continuing your solo career, regardless of

743
00:42:41,716 --> 00:42:43,716
Speaker 1: whatever whatever else he would. I mean, you know, I

744
00:42:43,796 --> 00:42:46,476
Speaker 1: had too many songs. Yeah, it was just it was

745
00:42:46,516 --> 00:42:49,476
Speaker 1: a project essentially. Plus I'd already done. I think I

746
00:42:49,556 --> 00:42:52,836
Speaker 1: already done. Everybody knows it is nowhere by then. I

747
00:42:52,876 --> 00:42:56,476
Speaker 1: don't know how at all evolved, but it feels like

748
00:42:56,476 --> 00:42:59,556
Speaker 1: there was a stark change from your first solo stuff

749
00:42:59,996 --> 00:43:04,396
Speaker 1: to everybody knows or yeah, or even after the gold

750
00:43:04,476 --> 00:43:07,796
Speaker 1: Rush is like really, it feels like after the Goldish

751
00:43:07,836 --> 00:43:11,276
Speaker 1: in some ways is the first Neil Young sounding record,

752
00:43:11,636 --> 00:43:14,636
Speaker 1: you know, for do you know what I'm saying? Yeah, yeah,

753
00:43:14,796 --> 00:43:18,756
Speaker 1: how do you think that happened? Well, I built a

754
00:43:18,796 --> 00:43:21,956
Speaker 1: studio in my house into Panga and that's where we

755
00:43:21,996 --> 00:43:25,436
Speaker 1: recorded after the gold Rush. Before that, I was going

756
00:43:25,476 --> 00:43:29,796
Speaker 1: into the studio and recording more more professional, professional studios,

757
00:43:29,876 --> 00:43:34,156
Speaker 1: like kind of like from Buffalo Springfield type of thing. Yeah.

758
00:43:34,516 --> 00:43:38,036
Speaker 1: And then when I got together with Crazy Horse, we

759
00:43:38,156 --> 00:43:41,196
Speaker 1: practiced in the house into Panga, but we went into

760
00:43:41,276 --> 00:43:44,116
Speaker 1: Hiders and that's where we played all those songs and

761
00:43:44,556 --> 00:43:47,596
Speaker 1: that was so much fun. Still remember looking at Ralph

762
00:43:47,636 --> 00:43:50,436
Speaker 1: when we were doing down by the River and he

763
00:43:50,516 --> 00:43:52,476
Speaker 1: was playing, and he just looked at me for a

764
00:43:52,516 --> 00:43:54,916
Speaker 1: second and he just shook his head and looking up

765
00:43:54,916 --> 00:43:59,356
Speaker 1: in the air and uh. And he never likes anybody

766
00:43:59,636 --> 00:44:03,156
Speaker 1: to ever look at him. Don't ever look at Ralph. Stop,

767
00:44:03,236 --> 00:44:05,836
Speaker 1: don't look at me. He just wants to play, doesn't

768
00:44:05,836 --> 00:44:07,676
Speaker 1: want to make any contact. He just wants to be

769
00:44:07,716 --> 00:44:12,036
Speaker 1: in the music. Yeah, amazing. Yeah, it's a great Drummer's

770
00:44:12,076 --> 00:44:17,156
Speaker 1: amazing field drummer. So yeah, feel it's all it is. Yeah.

771
00:44:17,236 --> 00:44:20,556
Speaker 1: So some of these songs he stops playing, Yeah, but

772
00:44:20,636 --> 00:44:23,796
Speaker 1: it's works for the song. It's like a big Phil Yeah,

773
00:44:23,836 --> 00:44:27,276
Speaker 1: there are no drums. Then he comes back in. Yeah,

774
00:44:27,476 --> 00:44:30,716
Speaker 1: that's pretty wild. He really is one of a kind drummer.

775
00:44:30,836 --> 00:44:32,876
Speaker 1: He really is. Yeah, and Billy is a one of

776
00:44:32,916 --> 00:44:37,836
Speaker 1: a kind based and they groove together incredibly well. Yeah,

777
00:44:37,876 --> 00:44:42,796
Speaker 1: Crazy Billy is great one note at a time, and

778
00:44:43,196 --> 00:44:48,836
Speaker 1: each note is like a universe, yeah of soul and sound. Yeah,

779
00:44:48,876 --> 00:44:54,156
Speaker 1: he definitely means it. Yes, he really means every note. Yeah.

780
00:44:54,716 --> 00:44:57,076
Speaker 1: So in some ways it sounds like the album you

781
00:44:57,156 --> 00:44:59,676
Speaker 1: recorded at home that sort of set the stage for it.

782
00:44:59,716 --> 00:45:03,636
Speaker 1: Seems like most of what's happened since. Yeah, even when

783
00:45:03,676 --> 00:45:06,916
Speaker 1: you're in a professional place, you're still approaching it in

784
00:45:06,996 --> 00:45:14,396
Speaker 1: this same way, homemade, personal, not concerned with the technically

785
00:45:14,596 --> 00:45:17,196
Speaker 1: right way to do anything. No, that's what was so

786
00:45:17,276 --> 00:45:20,476
Speaker 1: different about Harvest, because there was I had no idea

787
00:45:20,556 --> 00:45:23,196
Speaker 1: what I was doing. I had never met the musicians

788
00:45:23,236 --> 00:45:26,956
Speaker 1: before Elliot Maser put that all together and we went

789
00:45:26,956 --> 00:45:29,316
Speaker 1: in the studio in Nashville. He was in a barn

790
00:45:29,436 --> 00:45:34,636
Speaker 1: or in a studio in Quadraphonic Nashville on sixteenth. Yeah,

791
00:45:34,676 --> 00:45:37,596
Speaker 1: it was this house studio with a house with the

792
00:45:37,676 --> 00:45:41,636
Speaker 1: studio and yeah, a lot of studios like that in Nashville.

793
00:45:42,396 --> 00:45:47,436
Speaker 1: A great studio, really good sound, and that was a

794
00:45:47,436 --> 00:45:50,036
Speaker 1: lot of fun. Elliot Maser did a great job, and

795
00:45:50,196 --> 00:45:52,676
Speaker 1: you know, so there were four or five six songs

796
00:45:52,716 --> 00:45:55,236
Speaker 1: recorded at that time and then but that was in

797
00:45:55,276 --> 00:45:57,596
Speaker 1: the studio and we were sitting there playing like we

798
00:45:57,596 --> 00:46:00,476
Speaker 1: were making a session and more like the Springfield. But

799
00:46:00,716 --> 00:46:04,116
Speaker 1: those for those songs, you knew the songs at that point.

800
00:46:04,116 --> 00:46:05,636
Speaker 1: I knew him really well. I was playing them on

801
00:46:05,676 --> 00:46:07,436
Speaker 1: the road. Great. So you're playing them as a solo

802
00:46:07,556 --> 00:46:11,156
Speaker 1: ARTI like solo acoustic and the band had never heard them,

803
00:46:12,036 --> 00:46:14,996
Speaker 1: and they started playing him right away. They learned him

804
00:46:14,996 --> 00:46:17,796
Speaker 1: real fast. Those guys were really good. They were like

805
00:46:18,196 --> 00:46:21,956
Speaker 1: great studio players from Nashville. That was that was unique.

806
00:46:22,716 --> 00:46:24,796
Speaker 1: It sounds like that probably happened really fast. If you

807
00:46:24,836 --> 00:46:27,836
Speaker 1: knew this das well it did. I knew the songs

808
00:46:27,876 --> 00:46:31,396
Speaker 1: really well. As soon as they had the chart they

809
00:46:31,436 --> 00:46:34,396
Speaker 1: were playing what they played. Battery wore a great drummer,

810
00:46:34,836 --> 00:46:40,516
Speaker 1: amazing drummer, Tim Drummond, great bass player Ben Keith. Ben

811
00:46:40,556 --> 00:46:44,076
Speaker 1: played with me from that moment until when he died. Yeah,

812
00:46:44,556 --> 00:46:47,796
Speaker 1: made a lot of great records with Ben. I think

813
00:46:47,796 --> 00:46:51,276
Speaker 1: there's that BBC concert that you did solo with those

814
00:46:51,316 --> 00:46:53,956
Speaker 1: songs before you made the album. It seemed like it

815
00:46:53,996 --> 00:46:56,156
Speaker 1: was before you made the album. Yeah, that was during

816
00:46:56,196 --> 00:47:00,036
Speaker 1: the time of the album. If I remember correctly. One

817
00:47:00,036 --> 00:47:02,676
Speaker 1: of the songs he played was not the whole like

818
00:47:02,716 --> 00:47:04,156
Speaker 1: it was a part of one of the songs that

819
00:47:04,276 --> 00:47:06,116
Speaker 1: ended up being a full song on the album. I

820
00:47:06,156 --> 00:47:10,156
Speaker 1: can't remember specifically, but something like that. The timing of that,

821
00:47:10,196 --> 00:47:11,996
Speaker 1: I'll have to check that out in the archives and

822
00:47:12,036 --> 00:47:14,276
Speaker 1: see how it worked. But that's all part of the

823
00:47:14,796 --> 00:47:20,596
Speaker 1: Harvest fiftieth anniversary. So Carvest Time movie, it's got all

824
00:47:20,636 --> 00:47:22,596
Speaker 1: that stuff in it. And when does that happen? That's

825
00:47:22,636 --> 00:47:26,396
Speaker 1: happening off immediately. Really, this is the fiftieth anniversary of

826
00:47:26,436 --> 00:47:29,716
Speaker 1: Harvests now probably the fifty first. I mean we're probably oh,

827
00:47:29,716 --> 00:47:33,196
Speaker 1: that's unbelievable. I know, well, yeah, it was seventy one,

828
00:47:33,276 --> 00:47:39,316
Speaker 1: so this is twenty two. So explain the archive. That's

829
00:47:39,316 --> 00:47:44,676
Speaker 1: a good one. You know. I collect things so and

830
00:47:44,756 --> 00:47:48,356
Speaker 1: I like the idea of things being in order. And

831
00:47:48,396 --> 00:47:51,316
Speaker 1: then when I thought learned about a website, I thought, wow,

832
00:47:51,356 --> 00:47:53,396
Speaker 1: I could just put this all in a build a

833
00:47:53,396 --> 00:47:55,836
Speaker 1: file cabinet and put everything in the file cabinet like

834
00:47:55,876 --> 00:47:59,636
Speaker 1: an old school And I just came up with all

835
00:47:59,636 --> 00:48:01,716
Speaker 1: these ideas for how to do it. And it's the

836
00:48:01,796 --> 00:48:05,236
Speaker 1: same system that any archival thing would be just in

837
00:48:05,276 --> 00:48:08,196
Speaker 1: a giant file cabinet, but each song has got its

838
00:48:08,196 --> 00:48:11,876
Speaker 1: own index cards and everything about the song is there,

839
00:48:12,836 --> 00:48:16,316
Speaker 1: so you know, it's chronological. Everything from the beginnings of

840
00:48:16,356 --> 00:48:19,196
Speaker 1: the end is all of this time going by, and

841
00:48:19,356 --> 00:48:23,956
Speaker 1: it's your personal archive. But it's accessible by everybody. Yeah,

842
00:48:24,356 --> 00:48:26,516
Speaker 1: anybody can go and look at it. Check it out

843
00:48:26,636 --> 00:48:28,316
Speaker 1: if you want to listen to all of my music

844
00:48:28,356 --> 00:48:31,796
Speaker 1: and high res I think you have to subscribe to

845
00:48:31,836 --> 00:48:35,396
Speaker 1: do that, but it's all there, and I think it's

846
00:48:35,516 --> 00:48:38,796
Speaker 1: nineteen ninety five a year. I just don't want to

847
00:48:38,876 --> 00:48:41,116
Speaker 1: charge for it, you know, I just I just don't think.

848
00:48:42,276 --> 00:48:45,956
Speaker 1: I just wanted to be there. Yeah, and I probably

849
00:48:45,996 --> 00:48:48,036
Speaker 1: could make more money from it if I charge more,

850
00:48:48,116 --> 00:48:53,356
Speaker 1: but I don't know. So far, so good. Yeah, people

851
00:48:53,356 --> 00:48:57,316
Speaker 1: could listen to anything in the same quality that they

852
00:48:57,316 --> 00:49:02,196
Speaker 1: could hear it in the world for free. Yeah that's

853
00:49:02,276 --> 00:49:05,356
Speaker 1: only Yeah, you can only you're only paying to hear

854
00:49:05,356 --> 00:49:07,116
Speaker 1: it in a way that you can't hear it anywhere

855
00:49:07,156 --> 00:49:10,636
Speaker 1: else in a higher quality. Yeah. Or you can hear

856
00:49:10,676 --> 00:49:13,676
Speaker 1: it on Amazon, yeah, and you can hear it on Apple,

857
00:49:13,876 --> 00:49:16,156
Speaker 1: and you can hear it on cobuzz. Those are the

858
00:49:16,196 --> 00:49:19,996
Speaker 1: three high res services and apples. Not all high res.

859
00:49:20,036 --> 00:49:23,436
Speaker 1: But and they're not even like in that thing anymore

860
00:49:23,596 --> 00:49:26,036
Speaker 1: like they were. I don't know really what they're doing,

861
00:49:26,636 --> 00:49:29,236
Speaker 1: but they do supply music and you could get to

862
00:49:29,236 --> 00:49:31,716
Speaker 1: stream all kinds of stuff and you can get it

863
00:49:31,756 --> 00:49:35,316
Speaker 1: from them. So they sell my stuff high Amazon does

864
00:49:35,436 --> 00:49:38,236
Speaker 1: high res. So anybody who does hi res, I'm there

865
00:49:38,236 --> 00:49:40,636
Speaker 1: for them one hundred percent, yes, because I think that's

866
00:49:40,636 --> 00:49:43,876
Speaker 1: what the music. That's the only saving grace of digital

867
00:49:44,516 --> 00:49:47,116
Speaker 1: is that it has high res and we need that.

868
00:49:47,556 --> 00:49:49,396
Speaker 1: We need it to sound good, we need it to

869
00:49:49,396 --> 00:49:52,516
Speaker 1: sound as great as it can. We'll be right back

870
00:49:52,516 --> 00:49:55,116
Speaker 1: with the rest of Rick Ruben's conversation with Neil Young.

871
00:49:55,476 --> 00:50:02,076
Speaker 1: After a quick break, here's the rest of Rick Ruben's

872
00:50:02,156 --> 00:50:05,956
Speaker 1: conversation with Neil Young. Tell me about when you first heard,

873
00:50:05,956 --> 00:50:09,156
Speaker 1: because you made a handful of albums in digital and

874
00:50:09,276 --> 00:50:11,996
Speaker 1: digital first hit, Yeah, do you remember what the first

875
00:50:11,996 --> 00:50:16,516
Speaker 1: one was? It was around in the eighties. After US

876
00:50:16,556 --> 00:50:21,196
Speaker 1: Never sleeps afew was Trans after that, Yeah, Trans was definite.

877
00:50:21,236 --> 00:50:24,756
Speaker 1: Trans was on the edge of that eighty two. We

878
00:50:24,796 --> 00:50:27,996
Speaker 1: recorded in on analog tape and then we mixed it

879
00:50:28,036 --> 00:50:31,796
Speaker 1: to analog. Trans is actually almost a whole analog, but

880
00:50:31,916 --> 00:50:35,156
Speaker 1: it came out on CDs. You know, it was getting

881
00:50:35,156 --> 00:50:39,356
Speaker 1: to be the end of vinyl. After that was everybody's rocking. Yeah,

882
00:50:39,396 --> 00:50:43,756
Speaker 1: that was that was all digital. That was Mitsubishi thirty

883
00:50:43,756 --> 00:50:49,716
Speaker 1: two track, you know, sixteen bit forty four one CD quality.

884
00:50:50,116 --> 00:50:53,436
Speaker 1: And if anytime you'll listen to that for very long loud,

885
00:50:53,836 --> 00:50:57,156
Speaker 1: your head hurts. That's what I discovered because I always

886
00:50:57,196 --> 00:51:01,236
Speaker 1: listened loud and long, and that's that's when I realized

887
00:51:01,236 --> 00:51:05,876
Speaker 1: something was wrong. When did you switch back to recording analog?

888
00:51:06,276 --> 00:51:10,556
Speaker 1: Probably in the nineties again, Yeah, I started going back

889
00:51:11,036 --> 00:51:13,956
Speaker 1: because I wanted to have the analog source. And then

890
00:51:14,076 --> 00:51:18,476
Speaker 1: Vinyl started making a comeback. Here's an idea. I got

891
00:51:18,476 --> 00:51:23,156
Speaker 1: an idea, let's go check this out. Vinyl very popular

892
00:51:23,156 --> 00:51:26,116
Speaker 1: because people when they hear a good Vinyl, they love it. Right,

893
00:51:26,756 --> 00:51:30,076
Speaker 1: So there's only one other way to get that. It's radio.

894
00:51:30,796 --> 00:51:34,276
Speaker 1: Remember those old analog transmitters on top of the buildings

895
00:51:34,276 --> 00:51:40,236
Speaker 1: in New York and Chicago, Cincinnati and Boston. Yeah, and

896
00:51:40,356 --> 00:51:45,756
Speaker 1: they went far, long way yeah analog. Yeah, So you

897
00:51:45,796 --> 00:51:49,996
Speaker 1: could play a Vinyl record on an analog radio station

898
00:51:50,636 --> 00:51:54,116
Speaker 1: and you never went digital, and it would go to

899
00:51:54,236 --> 00:51:58,396
Speaker 1: everywhere everywhere that they had a radio that wasn't a

900
00:51:58,476 --> 00:52:02,316
Speaker 1: digital radio. So you'd have to have an analog radio

901
00:52:02,916 --> 00:52:05,596
Speaker 1: that can play can pick up a digital station, but

902
00:52:05,716 --> 00:52:08,836
Speaker 1: it's not a digital radio picking up a digital station.

903
00:52:10,356 --> 00:52:16,636
Speaker 1: But that's could be the future of great sound is radio, AM,

904
00:52:16,796 --> 00:52:21,796
Speaker 1: radio or FM, whatever, as long as it's analog because

905
00:52:21,836 --> 00:52:24,876
Speaker 1: it can be broadcast. Imagine vinyl quality. You say how

906
00:52:24,876 --> 00:52:27,596
Speaker 1: hard it is it to get vinyl, but a radio

907
00:52:27,636 --> 00:52:31,716
Speaker 1: station could send it to millions of people. Yeah, and

908
00:52:32,116 --> 00:52:37,796
Speaker 1: it's one step away. It's one step away from being possible. Yeah,

909
00:52:37,916 --> 00:52:41,836
Speaker 1: that'd be cool. It would be cool. The difference between

910
00:52:41,876 --> 00:52:43,956
Speaker 1: play and what they play? What is it? MP three's

911
00:52:44,036 --> 00:52:46,956
Speaker 1: most of the time on the radio? Yea. At the

912
00:52:47,036 --> 00:52:50,196
Speaker 1: best it'd be a CD, yeah, which is not very

913
00:52:50,196 --> 00:52:54,236
Speaker 1: good compared to analog. It's like really not good. And

914
00:52:54,316 --> 00:52:57,836
Speaker 1: if that was coming through people's radios. But you know

915
00:52:57,876 --> 00:53:00,636
Speaker 1: people are now, they're they're in this thing about well

916
00:53:00,676 --> 00:53:04,156
Speaker 1: they did the cars digital. This is digital ads digital

917
00:53:05,036 --> 00:53:09,076
Speaker 1: and it still don't realize how much gets lost. Digital

918
00:53:09,316 --> 00:53:12,396
Speaker 1: loses it all. I'm really a great amount. Like I'm

919
00:53:12,396 --> 00:53:14,476
Speaker 1: looking out this window and looking out of the beautiful

920
00:53:14,756 --> 00:53:18,276
Speaker 1: green wand and a blue sky and beautiful trees and

921
00:53:18,436 --> 00:53:22,036
Speaker 1: all the detail of every little part of everything is

922
00:53:22,076 --> 00:53:25,676
Speaker 1: all there. And if this was a digital picture, it

923
00:53:25,796 --> 00:53:28,276
Speaker 1: going to be like there was a screen up, yeah,

924
00:53:28,356 --> 00:53:31,076
Speaker 1: and I was looking through each little hole in the screen,

925
00:53:31,916 --> 00:53:35,836
Speaker 1: But that's been averaged out to the dominant color in

926
00:53:35,916 --> 00:53:39,596
Speaker 1: that hole. So instead of seeing a universe of color

927
00:53:39,956 --> 00:53:43,196
Speaker 1: when I move up and look through it, I get

928
00:53:43,276 --> 00:53:46,036
Speaker 1: up because that thing and it's all like one shade

929
00:53:46,076 --> 00:53:49,796
Speaker 1: of blue or one shade of green. And that's why

930
00:53:49,836 --> 00:53:52,836
Speaker 1: our bodies don't feel. That's why we don't feel the

931
00:53:52,916 --> 00:53:57,036
Speaker 1: music like we used to, because it's not there. It's

932
00:53:57,076 --> 00:54:00,636
Speaker 1: only a reconstitution of something that sounds like it for

933
00:54:00,796 --> 00:54:06,116
Speaker 1: ones and zeros. But businessmen love the ones and zeros

934
00:54:06,636 --> 00:54:11,116
Speaker 1: because they can say, well, the cheap stuff is less numbers.

935
00:54:11,596 --> 00:54:15,276
Speaker 1: The most expensive and best stuff is the high numbers.

936
00:54:16,236 --> 00:54:20,356
Speaker 1: So we'll only sell the good stuff to the people

937
00:54:20,396 --> 00:54:23,596
Speaker 1: with the most money. You know, it's not really a

938
00:54:23,676 --> 00:54:27,436
Speaker 1: common thing for everybody to have that, so basically yet

939
00:54:27,556 --> 00:54:30,516
Speaker 1: because of that thinking, yeah, the floor went to the

940
00:54:30,556 --> 00:54:34,836
Speaker 1: bottom for quality and music. That happened about nineteen eighty five.

941
00:54:35,196 --> 00:54:38,796
Speaker 1: So the regular people get the low quality, yeah, instead

942
00:54:38,836 --> 00:54:41,476
Speaker 1: of regular people used to get the high quality. That

943
00:54:41,556 --> 00:54:44,676
Speaker 1: was analog. Everybody got the same thing. That was music.

944
00:54:45,436 --> 00:54:48,676
Speaker 1: That's what happened. That's a sad thing. As I said,

945
00:54:48,716 --> 00:54:52,516
Speaker 1: we're having a moment of silence for the music. Yes,

946
00:54:54,916 --> 00:54:57,156
Speaker 1: there was a high fi store in Santa Monica that

947
00:54:57,156 --> 00:55:00,636
Speaker 1: I would go to sometimes and listen to vinyl and

948
00:55:00,716 --> 00:55:03,356
Speaker 1: it would frustrate me so much because it sounded so

949
00:55:03,396 --> 00:55:07,996
Speaker 1: good there. And I decided I can't listen to vinyl

950
00:55:07,996 --> 00:55:09,956
Speaker 1: because I spent all my time. I'm making music for

951
00:55:09,996 --> 00:55:11,956
Speaker 1: other people to hear it, and they don't have vinyl.

952
00:55:12,916 --> 00:55:18,116
Speaker 1: And if that's my reference point, it's not achievable. Do

953
00:55:18,116 --> 00:55:19,636
Speaker 1: you know what I'm saying. It's like, it's not it's

954
00:55:19,636 --> 00:55:22,956
Speaker 1: a different animal. Yep. We got to start a radio

955
00:55:22,996 --> 00:55:26,156
Speaker 1: station in La Man and broadcast on off and down

956
00:55:26,156 --> 00:55:29,556
Speaker 1: the West coast. Would be great, pirate station. Pirate station, Yeah,

957
00:55:29,596 --> 00:55:33,116
Speaker 1: pirate analog. But you'd have to sell people. I'd have

958
00:55:33,196 --> 00:55:36,516
Speaker 1: to make analog radios. I wonder if anyone still makes them.

959
00:55:36,556 --> 00:55:42,876
Speaker 1: They may someone, But that's the missing thing. That's so easy.

960
00:55:43,076 --> 00:55:48,316
Speaker 1: Had a cool old car that had a AM tube

961
00:55:48,556 --> 00:55:51,396
Speaker 1: radio in it. Oh yeah, and then I wanted to

962
00:55:51,396 --> 00:55:53,556
Speaker 1: listen to music I was working on, so I replaced

963
00:55:53,596 --> 00:55:57,156
Speaker 1: it for a new super duper sound system. Never sounded.

964
00:55:57,156 --> 00:56:01,996
Speaker 1: It is good. It really never sounded as you gotta

965
00:56:02,036 --> 00:56:06,716
Speaker 1: get that other one back. Yeah, that's what the world

966
00:56:06,756 --> 00:56:10,276
Speaker 1: ought to do. It's a cool idea. It is a

967
00:56:10,316 --> 00:56:13,476
Speaker 1: cool idea. Yeah, radio could be the future. We can

968
00:56:13,596 --> 00:56:15,796
Speaker 1: do that. I mean, we can do it at very

969
00:56:15,916 --> 00:56:20,316
Speaker 1: least for ourselves, yes, easy. Yeah, So maybe we start there, yeah,

970
00:56:20,516 --> 00:56:24,636
Speaker 1: and then maybe it grows. Yeah, Malibu radio, you know

971
00:56:25,316 --> 00:56:29,156
Speaker 1: it's it's possible. Yeah. And you you just play analog

972
00:56:29,276 --> 00:56:34,396
Speaker 1: sources through this thing and it sounds great and people

973
00:56:34,436 --> 00:56:38,116
Speaker 1: are going, why is my radio sounding so good? It's

974
00:56:38,156 --> 00:56:41,996
Speaker 1: like I got a record player in here. That's pretty wild.

975
00:56:42,956 --> 00:56:46,276
Speaker 1: And all the time I spent talking to people about

976
00:56:46,276 --> 00:56:49,556
Speaker 1: this record, and I've done a few interviews and some

977
00:56:49,636 --> 00:56:51,236
Speaker 1: of them. I did one with some guy and it's

978
00:56:51,396 --> 00:56:53,876
Speaker 1: supposed to be this big thing and everything, and he

979
00:56:54,076 --> 00:56:57,156
Speaker 1: starts talking about Love Earth like it's the melody of

980
00:56:57,196 --> 00:57:00,636
Speaker 1: Love Earth's actually did you know it's shaboom by the

981
00:57:00,796 --> 00:57:03,876
Speaker 1: crew cuts? And he said it's the same changes in

982
00:57:03,996 --> 00:57:08,316
Speaker 1: the same thing and the whole idea of the song

983
00:57:08,396 --> 00:57:11,956
Speaker 1: and everything, and that's all he said about the music.

984
00:57:12,676 --> 00:57:15,956
Speaker 1: And this is a guy with the big magazine that

985
00:57:15,996 --> 00:57:18,676
Speaker 1: we do every year that my management told me, oh, yeah,

986
00:57:18,716 --> 00:57:21,556
Speaker 1: they've heard this, they heard the record, they love it

987
00:57:21,596 --> 00:57:24,076
Speaker 1: and everything. I'm talking to this guy, he has no

988
00:57:24,236 --> 00:57:28,436
Speaker 1: idea what the record is. After that, that's when I

989
00:57:28,516 --> 00:57:32,396
Speaker 1: figured I'm really doing some heavy screening on these people,

990
00:57:32,476 --> 00:57:34,876
Speaker 1: and you know they're gonna have to Then I spoke

991
00:57:34,916 --> 00:57:40,116
Speaker 1: to Edna Gunderson, who is great and she's from AARP.

992
00:57:40,476 --> 00:57:45,196
Speaker 1: That's how she's interviewing for Okay. So she's great. She's

993
00:57:45,276 --> 00:57:49,196
Speaker 1: listened to every song and she says to me, Neil,

994
00:57:49,836 --> 00:57:54,716
Speaker 1: what happened to music? I remember about nineteen eighty five

995
00:57:55,316 --> 00:57:59,076
Speaker 1: I stopped listening. I just didn't want to listen anymore.

996
00:57:59,836 --> 00:58:03,676
Speaker 1: And I said, what that was? CDs? That's when the

997
00:58:03,716 --> 00:58:07,956
Speaker 1: digital revolution happened, right about then? Yeah, And she just looked,

998
00:58:08,036 --> 00:58:10,676
Speaker 1: you know, she's real And I said, yeah, I mean

999
00:58:10,756 --> 00:58:14,436
Speaker 1: check to go back and check the history and that

1000
00:58:14,596 --> 00:58:18,516
Speaker 1: she came out of nowhere with that date. Yeah, And

1001
00:58:18,596 --> 00:58:21,156
Speaker 1: she said, I don't know what happened to music? You know,

1002
00:58:21,596 --> 00:58:23,716
Speaker 1: I think the songs that we used to sing are

1003
00:58:23,796 --> 00:58:26,236
Speaker 1: the songs that we sing that are songs that have

1004
00:58:26,356 --> 00:58:30,396
Speaker 1: emotion in them and everything. About them is like echo

1005
00:58:30,676 --> 00:58:33,716
Speaker 1: and all the stuff that we have that we the

1006
00:58:33,796 --> 00:58:36,796
Speaker 1: way we blended it, the melodies, the arrangement, all of

1007
00:58:37,316 --> 00:58:41,476
Speaker 1: the melodic content of the lyrics, the feeling of the

1008
00:58:41,476 --> 00:58:48,596
Speaker 1: whole thing that requires playback of the recording that is

1009
00:58:48,676 --> 00:58:52,036
Speaker 1: deep and has a universe of sound in it, so

1010
00:58:52,076 --> 00:58:55,556
Speaker 1: you can feel all the emotion. Now, those are old

1011
00:58:55,596 --> 00:58:59,236
Speaker 1: records that we loved were very emotional. New records that

1012
00:58:59,276 --> 00:59:04,116
Speaker 1: are big hits are clever. Yeah, they're not as emotional

1013
00:59:04,156 --> 00:59:08,116
Speaker 1: at all. They're clever and tricky, and that's kind of

1014
00:59:08,116 --> 00:59:10,476
Speaker 1: where all of this stuff that's happening now it lives.

1015
00:59:11,036 --> 00:59:12,956
Speaker 1: So if you just listen to that kind of music,

1016
00:59:12,956 --> 00:59:16,636
Speaker 1: you're not going to hear the difference. So everything changed.

1017
00:59:17,476 --> 00:59:19,476
Speaker 1: It was interesting when you look back at it and

1018
00:59:19,476 --> 00:59:21,716
Speaker 1: you can't figure out how it happened. I don't know

1019
00:59:21,756 --> 00:59:24,756
Speaker 1: how it happened, but I know what happened. There's even

1020
00:59:24,836 --> 00:59:29,116
Speaker 1: an argument that it sounded better before multitrack. You know,

1021
00:59:29,116 --> 00:59:32,116
Speaker 1: like if you listen to Frank Sinatra recordings from the

1022
00:59:32,156 --> 00:59:36,116
Speaker 1: fifties where it's him and an orchestra and it's going

1023
00:59:36,196 --> 00:59:39,516
Speaker 1: down live, that's it, and it's it. That's it. There's

1024
00:59:39,556 --> 00:59:42,276
Speaker 1: nothing to change. There's nothing to mix, there's no you

1025
00:59:42,356 --> 00:59:45,836
Speaker 1: can't do better. All it is is that, and there's

1026
00:59:45,916 --> 00:59:48,716
Speaker 1: something about it that just hangs together in a way

1027
00:59:48,716 --> 00:59:52,196
Speaker 1: that nothing else does. Yeah, well there's nothing between it

1028
00:59:52,236 --> 00:59:55,516
Speaker 1: and you. Yeah, it didn't have to be mixed. It

1029
00:59:55,556 --> 00:59:59,316
Speaker 1: was already mixed, and it went one to one big track,

1030
01:00:00,076 --> 01:00:03,356
Speaker 1: and maybe they recorded it four times and cut the

1031
01:00:03,396 --> 01:00:05,876
Speaker 1: tracks together to get a good beginning and a good end,

1032
01:00:06,236 --> 01:00:08,876
Speaker 1: but it was always one track. Then we went to

1033
01:00:08,916 --> 01:00:11,596
Speaker 1: three track and four track and started doing the same things,

1034
01:00:11,876 --> 01:00:14,436
Speaker 1: ping ponging back and forth between two of the tracks,

1035
01:00:14,956 --> 01:00:18,276
Speaker 1: overdubbing and putting the chorus vocals and doing those kinds

1036
01:00:18,276 --> 01:00:20,916
Speaker 1: of things. But it was still a basic track. Was

1037
01:00:20,996 --> 01:00:23,356
Speaker 1: on two of those. Then they'd mixed to a two

1038
01:00:23,396 --> 01:00:28,116
Speaker 1: track or a mono, so that was a generation away

1039
01:00:28,116 --> 01:00:31,516
Speaker 1: from what franked it in the beginning, from the straight

1040
01:00:31,596 --> 01:00:35,316
Speaker 1: mono live. Oh that's the greatest that stuff. Yeah, there's

1041
01:00:35,356 --> 01:00:40,956
Speaker 1: something about the limitations of all of the information coming

1042
01:00:40,996 --> 01:00:44,876
Speaker 1: together right from the beginning, where the way that it's

1043
01:00:44,996 --> 01:00:51,316
Speaker 1: mixed isn't electronics, it's it's something else. It's it's real. Yeah,

1044
01:00:51,356 --> 01:00:53,756
Speaker 1: it's really what happened, it's really what they or they

1045
01:00:53,836 --> 01:00:56,396
Speaker 1: might have mixed a few microphones up and down, yeah,

1046
01:00:56,516 --> 01:01:00,956
Speaker 1: to get to that mono track in the room. Yeah,

1047
01:01:00,996 --> 01:01:03,236
Speaker 1: and maybe they only had three or four mics in

1048
01:01:03,276 --> 01:01:06,876
Speaker 1: the whole room at the most. Yeah, you know, because

1049
01:01:06,916 --> 01:01:09,836
Speaker 1: they had everybody to stand in the right place. Okay, Frank,

1050
01:01:09,876 --> 01:01:13,716
Speaker 1: when you move in one foot because we need you

1051
01:01:13,756 --> 01:01:16,796
Speaker 1: a little louder, but stay on the right, don't stand

1052
01:01:16,876 --> 01:01:18,916
Speaker 1: on the left because you're going to block the bass.

1053
01:01:19,396 --> 01:01:22,756
Speaker 1: That's the way it was mixed. Yeah, so you know,

1054
01:01:22,916 --> 01:01:25,796
Speaker 1: that's pretty good. That's why when we were doing some

1055
01:01:25,876 --> 01:01:28,876
Speaker 1: backup vocals would be like okay, Billy, take a step back,

1056
01:01:29,236 --> 01:01:32,316
Speaker 1: I'll take a step forward. Yeah. Yeah, and just trying

1057
01:01:32,356 --> 01:01:35,876
Speaker 1: to get that balance with everybody singing on one mic,

1058
01:01:35,956 --> 01:01:37,756
Speaker 1: and it's like, okay, it's a little too much of

1059
01:01:37,796 --> 01:01:40,316
Speaker 1: the high voice. What's it like if we have a

1060
01:01:40,316 --> 01:01:42,476
Speaker 1: little more bass and the next time none too much bass.

1061
01:01:42,556 --> 01:01:47,796
Speaker 1: Let's go back and move back yeah, and tiny, tiny moves. Yeah,

1062
01:01:47,836 --> 01:01:50,356
Speaker 1: but it all made a difference. Yeah, I did. I'm very,

1063
01:01:50,716 --> 01:01:53,476
Speaker 1: very proud of the of the vocals that we did.

1064
01:01:53,556 --> 01:01:55,796
Speaker 1: Somebody was listening to this record, I mean somebody up

1065
01:01:55,796 --> 01:01:58,156
Speaker 1: in Canada that I played it for and they said,

1066
01:01:58,516 --> 01:02:01,556
Speaker 1: my God, the vocals. When these guys come in singing,

1067
01:02:01,596 --> 01:02:14,596
Speaker 1: they sound great. Who's singing yea? Who's thinking? Yeah? Crazy? Okay,

1068
01:02:14,636 --> 01:02:16,876
Speaker 1: here's a good one. How do you connect to spirit?

1069
01:02:17,356 --> 01:02:20,996
Speaker 1: How do I connect to spirit? Yes? I try not

1070
01:02:21,076 --> 01:02:24,676
Speaker 1: to connect to spirit. Okay, I try to not do anything.

1071
01:02:25,636 --> 01:02:28,516
Speaker 1: If it's gonna come, it's gonna come. I just try

1072
01:02:28,556 --> 01:02:31,596
Speaker 1: to stay open. But I can't get it. You can't

1073
01:02:31,596 --> 01:02:33,556
Speaker 1: stand over a hole with a gun waiting for it

1074
01:02:33,596 --> 01:02:37,676
Speaker 1: to come out. Spirit is there or it isn't. You've

1075
01:02:37,716 --> 01:02:39,436
Speaker 1: got to be in the right place at the right time.

1076
01:02:39,956 --> 01:02:44,676
Speaker 1: How would you say? THHC changes your relationship to music.

1077
01:02:45,876 --> 01:02:49,996
Speaker 1: It enables other things to get lost, so you're only

1078
01:02:50,036 --> 01:02:53,636
Speaker 1: in the music. After the session's over, you can't do

1079
01:02:53,676 --> 01:02:56,916
Speaker 1: anything for a while. But while the session's happening, you're

1080
01:02:56,956 --> 01:02:59,436
Speaker 1: living in the music. And it's not because you're not

1081
01:02:59,516 --> 01:03:02,516
Speaker 1: in the music when you're not high. It's just that

1082
01:03:03,036 --> 01:03:05,436
Speaker 1: because you're high, you can only focus on one thing.

1083
01:03:05,636 --> 01:03:08,916
Speaker 1: I see. It removes the distract removes the distractions you see.

1084
01:03:09,316 --> 01:03:12,236
Speaker 1: You know, that's what it does for me, and I

1085
01:03:12,756 --> 01:03:15,236
Speaker 1: enjoy it. So you get so into it, you enjoy it,

1086
01:03:15,316 --> 01:03:18,876
Speaker 1: you feel it yeah. Yeah, imagine it's different for different people,

1087
01:03:18,916 --> 01:03:23,076
Speaker 1: like everything. Yeah, yeah, yeah, Like math is not good

1088
01:03:23,076 --> 01:03:25,156
Speaker 1: for getting into the spirit. I don't think I would.

1089
01:03:25,396 --> 01:03:30,956
Speaker 1: I would imagine math and spirit not working harmonically. Well,

1090
01:03:30,956 --> 01:03:39,196
Speaker 1: we've seen so much good music being made with hallucinogenic influences,

1091
01:03:39,796 --> 01:03:43,836
Speaker 1: and then when the popular drugs shifted to more other

1092
01:03:43,916 --> 01:03:47,796
Speaker 1: kinds of drugs, music wasn't as good. No, It's like

1093
01:03:48,196 --> 01:03:51,756
Speaker 1: the difference between the sixties and the seventies was different drugs,

1094
01:03:52,676 --> 01:03:56,036
Speaker 1: and you can kind of hear where it shifts. Yeah, yeah,

1095
01:03:56,116 --> 01:04:00,236
Speaker 1: you can. Cocaine had a big effect, and then after

1096
01:04:00,276 --> 01:04:04,476
Speaker 1: that as things rode along, But in the beginning, it's

1097
01:04:04,556 --> 01:04:06,756
Speaker 1: it's interesting to look at music that way, the way

1098
01:04:06,796 --> 01:04:11,436
Speaker 1: it's developed over the deckcades, and I think we're you know,

1099
01:04:12,076 --> 01:04:15,436
Speaker 1: we were lucky to be there, because if you're just

1100
01:04:15,476 --> 01:04:18,276
Speaker 1: getting here now, it's hard to pick up on it.

1101
01:04:18,596 --> 01:04:20,996
Speaker 1: You have to go back in time and check it out.

1102
01:04:21,996 --> 01:04:26,876
Speaker 1: It almost feels like it's a different thing now. I

1103
01:04:26,916 --> 01:04:29,356
Speaker 1: don't know what it is. Yeah, but I'll say I'll

1104
01:04:29,396 --> 01:04:33,876
Speaker 1: say it's not that it's bad, it's just different. Yeah,

1105
01:04:33,876 --> 01:04:37,636
Speaker 1: it's just different. Really is different? Yeah, No, it's what

1106
01:04:37,716 --> 01:04:40,676
Speaker 1: people need now it's what they it's in the neighborhood

1107
01:04:40,676 --> 01:04:44,076
Speaker 1: that where people are accepting it, which is basically as

1108
01:04:44,116 --> 01:04:47,876
Speaker 1: wallpaper almost. I mean, it's like in the background, it's

1109
01:04:47,956 --> 01:04:52,316
Speaker 1: part of everything. There's so many other distractions. Music used

1110
01:04:52,316 --> 01:04:54,796
Speaker 1: to be the big thing. Now tech is the big thing.

1111
01:04:55,636 --> 01:04:57,996
Speaker 1: Tech is how you get involved. People are on their phones,

1112
01:04:58,516 --> 01:05:01,516
Speaker 1: they're just lost in the little box and they so

1113
01:05:01,676 --> 01:05:04,396
Speaker 1: they don't have that time in their day where there's

1114
01:05:04,436 --> 01:05:07,356
Speaker 1: nothing to do but listen to music, because as soon

1115
01:05:07,396 --> 01:05:09,036
Speaker 1: as they start listening to music, they got a call.

1116
01:05:09,116 --> 01:05:12,116
Speaker 1: All then they're on the online trying to figure out

1117
01:05:12,156 --> 01:05:15,116
Speaker 1: what that person in the call was talking about, googling

1118
01:05:15,236 --> 01:05:19,156
Speaker 1: something to find out what it is. Yeah, when we

1119
01:05:19,236 --> 01:05:22,236
Speaker 1: think of folk music now, we think of it as

1120
01:05:22,356 --> 01:05:26,076
Speaker 1: music from the sixties, and those songs were old songs

1121
01:05:26,156 --> 01:05:29,796
Speaker 1: or songs from writers in New York, from writers that

1122
01:05:29,836 --> 01:05:33,476
Speaker 1: wrote pop songs, and people would do them. But it

1123
01:05:33,556 --> 01:05:36,236
Speaker 1: wasn't like the singers of the songs were writing their

1124
01:05:36,236 --> 01:05:39,836
Speaker 1: own songs or the band was writing a song. You

1125
01:05:39,996 --> 01:05:42,356
Speaker 1: never did many cover You did a few cover songs

1126
01:05:42,356 --> 01:05:44,716
Speaker 1: over the course of your life, but not many. You

1127
01:05:44,716 --> 01:05:47,636
Speaker 1: did it four strong wins that I loved. Yeah, that

1128
01:05:47,836 --> 01:05:49,756
Speaker 1: was like one of my favorite songs of all time.

1129
01:05:50,076 --> 01:05:53,876
Speaker 1: It's a beautiful song. It's a great song. Yeah, Ian

1130
01:05:53,916 --> 01:05:59,956
Speaker 1: and Sylvia. I used to pour coins into a Nickelodeon

1131
01:06:00,516 --> 01:06:02,676
Speaker 1: and listen to that song over and over again by

1132
01:06:02,716 --> 01:06:06,596
Speaker 1: Ian and Sylvia four Strong Wins. That's how I I

1133
01:06:06,756 --> 01:06:09,676
Speaker 1: got familiar with it. I think in sixty two sixty

1134
01:06:09,676 --> 01:06:13,356
Speaker 1: three or something. I loved that song, so that felt

1135
01:06:13,356 --> 01:06:15,116
Speaker 1: really good to do that. Do you ever meet those

1136
01:06:15,156 --> 01:06:18,356
Speaker 1: guys Ian and Sylvia matter in And I've met Sylvia too.

1137
01:06:18,396 --> 01:06:22,716
Speaker 1: It not for long, just very casual. And did you

1138
01:06:22,756 --> 01:06:26,676
Speaker 1: know Janie from Canada? Yeah, from the coffee house scene.

1139
01:06:26,796 --> 01:06:29,596
Speaker 1: We met in the coffee houses. When I met her,

1140
01:06:29,796 --> 01:06:32,356
Speaker 1: she was with Chuck Mitchell, Chuck and Joni Mitchell. It

1141
01:06:32,396 --> 01:06:35,516
Speaker 1: wasn't even the thing. Then she came back as Janie

1142
01:06:36,076 --> 01:06:41,516
Speaker 1: and I played Sugar Mountain for her when I met her,

1143
01:06:41,996 --> 01:06:45,156
Speaker 1: I'd already been to Toronto and came back and I

1144
01:06:45,276 --> 01:06:47,676
Speaker 1: met her and I played Sugar Mountain for her, and

1145
01:06:47,716 --> 01:06:52,716
Speaker 1: then she she later wrote Circle Game. Yeah after hearing

1146
01:06:52,756 --> 01:06:56,756
Speaker 1: Sugar Mountain as her as her conversation with me. Wow,

1147
01:06:56,876 --> 01:07:01,516
Speaker 1: I never knew that. Yeah, so cool. Yeah, Circle Game

1148
01:07:01,596 --> 01:07:03,956
Speaker 1: is a great song. It's a wonderful song. She's written

1149
01:07:03,956 --> 01:07:07,836
Speaker 1: so many great songs. I'm thinking of doing both sides

1150
01:07:07,956 --> 01:07:13,676
Speaker 1: now with Crazy Horse. Great, it would be a wild thing, right, Yeah,

1151
01:07:13,676 --> 01:07:15,276
Speaker 1: you could do a whole album of her songs. Would

1152
01:07:15,316 --> 01:07:17,916
Speaker 1: be cool. I could do a bunch of songs like

1153
01:07:17,956 --> 01:07:20,916
Speaker 1: that with Crazy Horse. Yeah, that would be very cool.

1154
01:07:21,556 --> 01:07:26,316
Speaker 1: That's one musical thought that I did have. That's about it. Yeah,

1155
01:07:26,396 --> 01:07:29,156
Speaker 1: it's cool too with Crazy Horse. That wouldn't it would

1156
01:07:29,196 --> 01:07:31,276
Speaker 1: not sound do you know what I mean? It would

1157
01:07:31,276 --> 01:07:35,236
Speaker 1: be such an original take on whatever the material that

1158
01:07:35,276 --> 01:07:38,756
Speaker 1: went into it. Yeah, there's there'd be no fear of

1159
01:07:38,796 --> 01:07:42,156
Speaker 1: it being derivative in any way. I would crazy, I

1160
01:07:42,196 --> 01:07:46,276
Speaker 1: wouldn't be stomping on the original arrangement. No, it would

1161
01:07:46,316 --> 01:07:49,436
Speaker 1: be so different to be somewhere else. But the same song,

1162
01:07:49,676 --> 01:07:53,116
Speaker 1: the same melody, the same chords. It's a beautiful song.

1163
01:07:54,036 --> 01:07:56,436
Speaker 1: And in those days, did you think of Elvis as

1164
01:07:56,436 --> 01:07:59,556
Speaker 1: a singer or as a movie star. I always thought

1165
01:07:59,636 --> 01:08:03,676
Speaker 1: him as a singer. I saw the movies. Yeah, you

1166
01:08:03,796 --> 01:08:06,356
Speaker 1: know it was okay, but it was always the singing. Yeah,

1167
01:08:06,676 --> 01:08:08,556
Speaker 1: it was Elvis. It was great if we love it

1168
01:08:08,556 --> 01:08:11,396
Speaker 1: Elvis or what he did. But as a singer and

1169
01:08:11,436 --> 01:08:13,716
Speaker 1: a rocker. He was cool. Did you have the same

1170
01:08:13,756 --> 01:08:16,076
Speaker 1: experience when you saw the Beatles of it being different

1171
01:08:16,076 --> 01:08:18,796
Speaker 1: than what came before? All the Beatles were great. When

1172
01:08:18,796 --> 01:08:20,716
Speaker 1: I first heard them, I think it was you know,

1173
01:08:21,716 --> 01:08:24,796
Speaker 1: I can't even remember what song. It was really early

1174
01:08:25,076 --> 01:08:29,396
Speaker 1: sixty three or something. And now they were great. We

1175
01:08:29,476 --> 01:08:32,476
Speaker 1: loved them right away. It won't be long. Yeah, yeah, yeah,

1176
01:08:32,556 --> 01:08:34,556
Speaker 1: I love that song. A great song. That's such a

1177
01:08:34,556 --> 01:08:37,916
Speaker 1: great song. And you know, they had a thing, they

1178
01:08:37,916 --> 01:08:40,596
Speaker 1: had a great thing, and they were rocking. They were

1179
01:08:40,596 --> 01:08:43,156
Speaker 1: having a good time. You couldn't miss it. Were you

1180
01:08:43,196 --> 01:08:47,956
Speaker 1: already singing folk songs at that time? No. I started

1181
01:08:47,996 --> 01:08:52,956
Speaker 1: singing rock and roll songs first, yeah, first, But most

1182
01:08:52,996 --> 01:08:56,156
Speaker 1: of them I wrote myself, you know, and they weren't

1183
01:08:56,196 --> 01:09:00,156
Speaker 1: like really hard rockers. A song called I Wonder which

1184
01:09:00,196 --> 01:09:03,476
Speaker 1: turned out to be Don't Cry No Tiarous later. That

1185
01:09:03,556 --> 01:09:05,636
Speaker 1: was one of the first songs. And I had a

1186
01:09:05,636 --> 01:09:08,516
Speaker 1: couple of two or three other songs that I don't

1187
01:09:08,556 --> 01:09:11,956
Speaker 1: have copies of and I can't remember, but they were there.

1188
01:09:12,236 --> 01:09:15,236
Speaker 1: I did him in the Squires. That was fun. Do

1189
01:09:15,276 --> 01:09:18,596
Speaker 1: you ever do gigs with the Squires? Not since then? No,

1190
01:09:18,756 --> 01:09:22,916
Speaker 1: But then did Oh yeah, we did about we played

1191
01:09:22,916 --> 01:09:26,596
Speaker 1: community clubs all over Winnipeg. Oh cool, you know we

1192
01:09:26,716 --> 01:09:28,796
Speaker 1: got I've got the records of it, and I think

1193
01:09:28,836 --> 01:09:32,916
Speaker 1: in the archives from Ken Coblan. The bass player kept

1194
01:09:32,956 --> 01:09:34,916
Speaker 1: records of everything, all the places we played and how

1195
01:09:34,956 --> 01:09:38,476
Speaker 1: much we made it so cool. Yeah, like four dollars. Yeah,

1196
01:09:38,596 --> 01:09:43,396
Speaker 1: that's all in the archive. Yeah, amazing, amazing, it is crazy.

1197
01:09:43,596 --> 01:09:46,116
Speaker 1: I think it's all in there. How did you know

1198
01:09:46,196 --> 01:09:49,516
Speaker 1: to keep stuff? I just never you know, I just

1199
01:09:49,676 --> 01:09:52,836
Speaker 1: keep track of who has stuff, and the bass player

1200
01:09:52,836 --> 01:09:56,076
Speaker 1: and the squires, he kept track of everything, and he

1201
01:09:56,156 --> 01:09:59,116
Speaker 1: gave me the book. So I copied the book and

1202
01:09:59,196 --> 01:10:03,396
Speaker 1: we have it. Like I'll find it. Yeah, basically, I'm

1203
01:10:03,396 --> 01:10:05,236
Speaker 1: pretty sure it's there. I just have to go back

1204
01:10:05,236 --> 01:10:07,396
Speaker 1: and look for it. Yeah. Like I was thinking the

1205
01:10:07,436 --> 01:10:11,236
Speaker 1: other day, somebody asked about and I had a letter

1206
01:10:11,276 --> 01:10:13,676
Speaker 1: to the editor, which I answered these letters every week,

1207
01:10:13,716 --> 01:10:16,996
Speaker 1: and they wrote me about this thing where I was

1208
01:10:17,076 --> 01:10:21,236
Speaker 1: at a Falcon lake in nineteen sixty three or sixty

1209
01:10:21,276 --> 01:10:23,996
Speaker 1: two or something with my buddies and we went to

1210
01:10:24,076 --> 01:10:27,836
Speaker 1: the dump and we parked our car and then the

1211
01:10:27,876 --> 01:10:31,036
Speaker 1: bears all came out because it was a dump. So

1212
01:10:31,116 --> 01:10:33,516
Speaker 1: there's bears all around our car and we're sitting there

1213
01:10:34,196 --> 01:10:37,236
Speaker 1: trying to be cool, and then we left. Then I

1214
01:10:37,276 --> 01:10:40,556
Speaker 1: started thinking about Falcon Lake. Well, Falcon Lake. Then I said,

1215
01:10:40,636 --> 01:10:43,636
Speaker 1: Jesus Springfield did a song called Falcon Lake. It was

1216
01:10:43,676 --> 01:10:46,836
Speaker 1: an instrumental and we recorded it and we did it

1217
01:10:46,876 --> 01:10:51,436
Speaker 1: at Columbia and it was about the time when Stephen

1218
01:10:51,596 --> 01:10:55,396
Speaker 1: was doing something had known Buddy Miles and a few

1219
01:10:55,436 --> 01:10:59,716
Speaker 1: people like it was back there and I said, I said,

1220
01:11:00,836 --> 01:11:03,756
Speaker 1: Falcon Lake. Jeez, I haven't heard that in a long time.

1221
01:11:04,396 --> 01:11:07,436
Speaker 1: And so I checked in with our archivist and I said,

1222
01:11:08,076 --> 01:11:11,036
Speaker 1: what do you guys know about Falcon Lake by Buffalo Springfield?

1223
01:11:11,636 --> 01:11:14,436
Speaker 1: And they say, well, the next day I get it back.

1224
01:11:14,476 --> 01:11:17,556
Speaker 1: It's it's called in the archives, it's called ash on

1225
01:11:17,596 --> 01:11:21,716
Speaker 1: the Floor. For some reason, the title got changed, but

1226
01:11:21,836 --> 01:11:24,876
Speaker 1: the original title was still in the in the writings,

1227
01:11:25,756 --> 01:11:29,556
Speaker 1: and there is a recording of it and it's there. Incredible,

1228
01:11:29,596 --> 01:11:32,036
Speaker 1: So it's you know, that song is in the archives.

1229
01:11:32,036 --> 01:11:34,956
Speaker 1: It's probably in volume one, Disc one or disc two

1230
01:11:35,116 --> 01:11:39,036
Speaker 1: or something, you know. Incredible. Yeah, the fact that it

1231
01:11:39,076 --> 01:11:43,356
Speaker 1: all exists is so amazing. There it's blowing my mind now. Yeah,

1232
01:11:43,596 --> 01:11:46,276
Speaker 1: because I've been so thorough with it. Yeah, and I've

1233
01:11:46,316 --> 01:11:50,116
Speaker 1: got a great archivist, John O'Neill, our hard archivist, and

1234
01:11:50,316 --> 01:11:55,716
Speaker 1: a really good uh keeper of the tapes who's really

1235
01:11:55,716 --> 01:11:59,676
Speaker 1: got a good, good method of filing and keeping track

1236
01:11:59,716 --> 01:12:02,236
Speaker 1: of everything. And we keep a lot of our stuff

1237
01:12:02,276 --> 01:12:06,316
Speaker 1: and at Hollywood vaults and all the backup for it

1238
01:12:06,396 --> 01:12:09,996
Speaker 1: is in ox and ards somewhere. Just a volume of

1239
01:12:10,036 --> 01:12:14,716
Speaker 1: stuff over the years. It's it's unbelievable. I was walking

1240
01:12:14,716 --> 01:12:17,516
Speaker 1: around in it yesterday. Yeah, as we were looking for

1241
01:12:17,556 --> 01:12:19,916
Speaker 1: some stuff, and I had the sky with me as

1242
01:12:20,316 --> 01:12:24,956
Speaker 1: a builder, and it's working on my model train layout

1243
01:12:25,156 --> 01:12:29,316
Speaker 1: with me, Like we're building this outdoor train layout. It's whack.

1244
01:12:29,996 --> 01:12:32,636
Speaker 1: So anyway, we're looking for some old pieces of train

1245
01:12:32,756 --> 01:12:35,516
Speaker 1: stuff and we get in this one room and it's

1246
01:12:35,796 --> 01:12:38,676
Speaker 1: a room. It's about the size of Shangri Law almost.

1247
01:12:38,716 --> 01:12:43,476
Speaker 1: You know, this whole area it's full of boxes on shelves,

1248
01:12:44,196 --> 01:12:47,636
Speaker 1: year after year after year of tapes. It's all there,

1249
01:12:48,476 --> 01:12:54,276
Speaker 1: everything that I recorded. Amazing. Yeah, it's coming wild. I mean,

1250
01:12:54,316 --> 01:12:56,276
Speaker 1: you know, so when you have a memory or something

1251
01:12:56,316 --> 01:12:59,516
Speaker 1: triggers something that goes somewhere. If I remember that there

1252
01:12:59,556 --> 01:13:02,156
Speaker 1: was something good that I didn't finish yourself, Yeah, I

1253
01:13:02,196 --> 01:13:04,676
Speaker 1: can actually get to it. It's so cool. Has there

1254
01:13:04,716 --> 01:13:07,836
Speaker 1: ever been a time when you've worked on something and

1255
01:13:07,916 --> 01:13:10,396
Speaker 1: left alone for whatever reason and then come back to

1256
01:13:10,436 --> 01:13:13,916
Speaker 1: it later years later, realizing all there's something there. There

1257
01:13:14,076 --> 01:13:16,916
Speaker 1: is a song that was on the B side of

1258
01:13:17,676 --> 01:13:20,596
Speaker 1: a Buffalo Springfield thing. It was I don't know if

1259
01:13:20,596 --> 01:13:22,516
Speaker 1: it was a B side or if it was in

1260
01:13:22,596 --> 01:13:25,916
Speaker 1: the session for Expecting to Fly. There was a song

1261
01:13:25,956 --> 01:13:30,436
Speaker 1: called Whiskey Booth Hill and there's another song too, and

1262
01:13:31,596 --> 01:13:35,236
Speaker 1: the track is there, but it has no vocal, So

1263
01:13:35,276 --> 01:13:38,116
Speaker 1: I keep thinking about that, maybe I should put a

1264
01:13:38,196 --> 01:13:40,956
Speaker 1: vocal on it, just to have it. Yeah, then it

1265
01:13:40,956 --> 01:13:44,596
Speaker 1: would be a complete song. Yea, with the old original

1266
01:13:44,716 --> 01:13:48,956
Speaker 1: Jack Nietzsche track. Wow, so vocal and you remember the

1267
01:13:48,996 --> 01:13:54,436
Speaker 1: words and yeah, it'd be cool. Yeah, it seems like

1268
01:13:54,476 --> 01:13:56,516
Speaker 1: it's cool to do, regardless of why they ever decided

1269
01:13:56,516 --> 01:13:58,676
Speaker 1: to put it out in right, it's like that it'd

1270
01:13:58,716 --> 01:14:01,996
Speaker 1: be a good No, it's good to have those things. Absolutely.

1271
01:14:02,156 --> 01:14:04,756
Speaker 1: I have another thing that where Darrell shot something that

1272
01:14:04,836 --> 01:14:07,836
Speaker 1: I was I was playing the guitar and I was

1273
01:14:07,876 --> 01:14:11,636
Speaker 1: playing the changes to don't Think twice It's all right,

1274
01:14:12,636 --> 01:14:16,396
Speaker 1: and sitting on the bus and the bus is going

1275
01:14:16,676 --> 01:14:20,156
Speaker 1: down the road, and my silhouette is against the window

1276
01:14:20,156 --> 01:14:23,716
Speaker 1: and outside these beautiful fields going by, and then every

1277
01:14:23,716 --> 01:14:25,756
Speaker 1: once in a while the light changes and you see

1278
01:14:25,796 --> 01:14:28,996
Speaker 1: me and I'm playing the guitar a little bit, and

1279
01:14:28,676 --> 01:14:31,476
Speaker 1: then it goes back to outside, and it goes through

1280
01:14:31,476 --> 01:14:34,796
Speaker 1: the whole thing. And you know, I've often thought it's

1281
01:14:34,836 --> 01:14:38,396
Speaker 1: got a great vibe. If I just sang the lyrics

1282
01:14:39,236 --> 01:14:41,516
Speaker 1: on top of it, I wasn't singing it. If I

1283
01:14:41,596 --> 01:14:43,996
Speaker 1: just lightly sang the lyrics there, don't think twice, it's

1284
01:14:44,036 --> 01:14:46,476
Speaker 1: all right. That would be my version of it. But

1285
01:14:46,556 --> 01:14:49,196
Speaker 1: it would be like a video version of don't think twice,

1286
01:14:49,196 --> 01:14:52,796
Speaker 1: It's all right with you know. And I think about

1287
01:14:52,876 --> 01:14:55,276
Speaker 1: doing it, and I know I could make it happen.

1288
01:14:55,916 --> 01:14:57,796
Speaker 1: But somebody asked me, well what would you do with that?

1289
01:14:57,876 --> 01:14:59,996
Speaker 1: Where would that go? And I said, well, I really

1290
01:14:59,996 --> 01:15:02,516
Speaker 1: don't know what about that part of it? Yeah, but

1291
01:15:02,676 --> 01:15:05,676
Speaker 1: this is, you know, the creative something I could do.

1292
01:15:07,236 --> 01:15:09,716
Speaker 1: I think that's the best way to make things. Yeah,

1293
01:15:10,076 --> 01:15:11,956
Speaker 1: when you get the feeling, that's yeah, you make it

1294
01:15:11,996 --> 01:15:13,876
Speaker 1: to make it, and then if there's a use for

1295
01:15:13,916 --> 01:15:16,956
Speaker 1: it later that's fine. Well, this is a good idea,

1296
01:15:16,996 --> 01:15:18,556
Speaker 1: And I think I could do it, you know, I'll

1297
01:15:18,596 --> 01:15:21,676
Speaker 1: try to get the track together. And what was the

1298
01:15:21,716 --> 01:15:23,916
Speaker 1: first film project you did the first time he made

1299
01:15:23,916 --> 01:15:26,876
Speaker 1: a film, Journey through the Past. I think it was

1300
01:15:26,876 --> 01:15:30,396
Speaker 1: the first movie that I made. And what motivated you'd

1301
01:15:30,436 --> 01:15:33,196
Speaker 1: want to do that. I just wanted to do something different,

1302
01:15:33,196 --> 01:15:36,556
Speaker 1: so I didn't get bored with music. I see, I'll

1303
01:15:36,676 --> 01:15:40,556
Speaker 1: distract myself, and it got a big distraction. It's good.

1304
01:15:41,036 --> 01:15:45,116
Speaker 1: I need distractions, yeah, because I'm so you know, single minded,

1305
01:15:45,156 --> 01:15:47,916
Speaker 1: I just go into it. I could get lost. Yeah,

1306
01:15:47,956 --> 01:15:51,116
Speaker 1: and you do better being busy than not. Yeah. Yeah, No,

1307
01:15:51,276 --> 01:15:56,556
Speaker 1: it's bad things happening if I to have projects. Yeah.

1308
01:15:55,596 --> 01:15:59,836
Speaker 1: So yeah, but I really think that that's the way

1309
01:15:59,876 --> 01:16:03,516
Speaker 1: it works. I feel like if I'm working on the

1310
01:16:03,556 --> 01:16:06,716
Speaker 1: train layout, yeah, and I really get immersed in that

1311
01:16:06,796 --> 01:16:10,036
Speaker 1: for months. Yeah. Then I'll come out of that and

1312
01:16:10,116 --> 01:16:14,436
Speaker 1: I'll write, Yes, something will be fresh. Yes, but I

1313
01:16:14,476 --> 01:16:16,356
Speaker 1: have to get a way to get back. Yes, you

1314
01:16:16,436 --> 01:16:19,276
Speaker 1: can't just always be there waiting. I got to be

1315
01:16:19,316 --> 01:16:24,196
Speaker 1: distracted by something. Yeah, that's great. It's great advice for

1316
01:16:24,316 --> 01:16:26,076
Speaker 1: people who think the way to do it is to

1317
01:16:26,196 --> 01:16:28,756
Speaker 1: just do the one thing. Oh, it doesn't work that way, No,

1318
01:16:28,876 --> 01:16:31,156
Speaker 1: it doesn't you've got to get away from it, yeah,

1319
01:16:31,196 --> 01:16:34,236
Speaker 1: because it'll come to you when it's ready. The thing

1320
01:16:34,316 --> 01:16:37,516
Speaker 1: people think they're in charge, Yeah, you're not in charge.

1321
01:16:37,796 --> 01:16:39,876
Speaker 1: Just forget it. We're along for the ride now, we

1322
01:16:39,956 --> 01:16:43,676
Speaker 1: are along for the all. We have to be as ready. Yes, Yes,

1323
01:16:43,836 --> 01:16:49,516
Speaker 1: that's it, ready recognized. Do finish out, Yeah, and then

1324
01:16:49,556 --> 01:16:52,836
Speaker 1: you're on. And being ready is not easy. No, You've

1325
01:16:52,836 --> 01:16:55,156
Speaker 1: got to be able to drop anything that's happening at

1326
01:16:55,196 --> 01:16:59,076
Speaker 1: any time and say I'll be back in a while. Yeah,

1327
01:16:59,276 --> 01:17:02,076
Speaker 1: because there's something here that can, something that can, and

1328
01:17:02,716 --> 01:17:06,076
Speaker 1: we don't have control over it, and if we don't

1329
01:17:06,116 --> 01:17:10,956
Speaker 1: act on it, we could forget it. Puff a smoke exactly. Well,

1330
01:17:10,996 --> 01:17:13,956
Speaker 1: I'm sure we will get to be together again sooner

1331
01:17:13,956 --> 01:17:17,436
Speaker 1: than later, because that's what we do, all right, man, Well,

1332
01:17:17,476 --> 01:17:23,916
Speaker 1: I'll see you soon. Thanks again to the legend Neil Young.

1333
01:17:24,716 --> 01:17:27,036
Speaker 1: You can hear his new album World Record, along with

1334
01:17:27,076 --> 01:17:29,596
Speaker 1: all of our favorite Neil Young songs on a playlist

1335
01:17:29,596 --> 01:17:32,876
Speaker 1: at broken record podcast dot com. Be sure to subscribe

1336
01:17:32,876 --> 01:17:35,596
Speaker 1: to our YouTube channel at YouTube dot com slash broken

1337
01:17:35,636 --> 01:17:38,836
Speaker 1: record Podcast. We can find all of our new episodes.

1338
01:17:39,436 --> 01:17:42,516
Speaker 1: You can follow us on Twitter at broken Record. Broken

1339
01:17:42,516 --> 01:17:47,036
Speaker 1: Record is produced with Health Familia Rose, Jason Gambrel, Ben Holiday,

1340
01:17:47,196 --> 01:17:52,076
Speaker 1: Eric Sandler, Jennifer Sanchez. Our editor Sophie Crane. Our executive

1341
01:17:52,076 --> 01:17:55,596
Speaker 1: producer is Mel LaBelle. Broken Record is a production of

1342
01:17:55,676 --> 01:17:59,116
Speaker 1: Pushkin Industries. If you love this show and others from Pushkin,

1343
01:17:59,236 --> 01:18:03,476
Speaker 1: consider subscribing to Pushkin Plus. Pushkin Plus is a podcast

1344
01:18:03,516 --> 01:18:07,556
Speaker 1: subscription that offers bonus content and uninterrupted ad free listening

1345
01:18:07,756 --> 01:18:10,796
Speaker 1: for four ninety nine a month. Look for push Complus

1346
01:18:10,796 --> 01:18:14,436
Speaker 1: on Apple Podcasts subscription and if you like our show,

1347
01:18:14,596 --> 01:18:17,076
Speaker 1: please remember to share, rate, and review us on your

1348
01:18:17,076 --> 01:18:21,596
Speaker 1: podcast that Our theme musics by Kenny Beats. I'm justin Richmond.