Latest / Booked On Rock with Eric Senich / [EP 401] Neil Young: The Many Sides of a Rock Legend | Sylvie Simmons on the Updated Reflections in Broken Glass

Transcript

[EP 401] Neil Young: The Many Sides of a Rock Legend | Sylvie Simmons on the Updated Reflections in Broken Glass · Booked On Rock with Eric Senich

0:00
Speaker 1: Manson wanted to be a music star. Before long, he
0:02
Speaker 1: would be over hanging out at Neil's place and the
0:05
Speaker 1: two would sit together and play, and Neil said that
0:09
Speaker 1: Manson was a brilliant musician. He had brilliant songs. Neil
0:12
Speaker 1: tried to get him a record company with Woman's book
0:16
Speaker 1: The Pals That Be There, but luckily nothing happened for it.
0:19
Speaker 1: They didn't. I guess see that, and so Neil had
0:22
Speaker 1: moved away. Anyway, he often does some difficult situations. We're
0:27
Speaker 1: totally bumped rock and roll.
0:30
Speaker 2: I mean, I'll leave you.
0:31
Speaker 1: You're reading Little Hands as it's time to rock and
0:33
Speaker 1: roll or up.
0:35
Speaker 2: I totally booked. Welcome back to Booked on Rock conversations
0:43
Speaker 2: with authors, musicians and insiders revealing these stories behind classic rocks,
0:48
Speaker 2: greatest songs, albums, and artists. If you're enjoying the show
0:52
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0:54
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0:57
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1:00
Speaker 2: and before everyone else, just to use the link in
1:03
Speaker 2: the show notes or visit Booked on Rock dot com.
1:06
Speaker 2: Now onto our guests, I'm joined by author Sylvie Simmons
1:10
Speaker 2: to discuss the updated and revised edition of Neil Young
1:14
Speaker 2: Reflections in Broken Glass, a compelling portrait of one of
1:18
Speaker 2: rock's most enduring and unpredictable artists. Drawn on interviews with
1:23
Speaker 2: Neil his friends fellow musicians, the book traces his remarkable
1:27
Speaker 2: journey from a young Canadian songwriter chasing a dream in
1:30
Speaker 2: Los Angeles to a six decade career filled with groundbreaking music,
1:34
Speaker 2: fascinating relationships, and revealing new stories featured in this expanded edition.
1:40
Speaker 2: Thank you for being here, Sylvie, My pleasure. This book
1:44
Speaker 2: is not a biography, it's kind of peeling back the
1:47
Speaker 2: layers of all that and getting to who Neil really is.
1:51
Speaker 1: The premise of this whole book series, which turned out
1:55
Speaker 1: to be just four books by four different authors, when
1:58
Speaker 1: it was meant to be huge thing that Moto magazine
2:02
Speaker 1: put together. Motos a UK rock magazine that I've been
2:06
Speaker 1: with since its first issue, and they're very serious about
2:10
Speaker 1: their music, and they decided to do a whole bunch
2:14
Speaker 1: of kind of very concise biographies of kind, you know,
2:21
Speaker 1: very different kind on the heroes of people they really
2:25
Speaker 1: really loved. One of those was ne Or Young, and
2:28
Speaker 1: I as he's chief loving person became the person who
2:32
Speaker 1: wrote that, and it was meant to be a kind
2:37
Speaker 1: of quite concise history. In other words, it wasn't one
2:41
Speaker 1: of those big tones that you know you could take
2:43
Speaker 1: out and you break you back kind of carrying and there.
2:47
Speaker 1: Every single thing is in there, and it's written in
2:51
Speaker 1: a kind of dusty academic way. It was just trying
2:55
Speaker 1: to make real sense of the person you're writing about
3:00
Speaker 1: and to get to the essence of who they are.
3:04
Speaker 1: And you know, a good interview when you're doing it
3:07
Speaker 1: for a good magazine that respects writers, what you're trying
3:11
Speaker 1: to do is to get to that essence of that person.
3:14
Speaker 1: What makes this person that you love so much in
3:17
Speaker 1: a musical way, what made them that way when they're
3:21
Speaker 1: sitting opposite you on a chair and being sometimes quite
3:25
Speaker 1: unpleasant or whatever. So this was a thing that I
3:30
Speaker 1: treated almost like a giant feature that I was writing,
3:35
Speaker 1: and I got my information firsthand by talking to people,
3:40
Speaker 1: talking to the people who knew me, were talking to
3:43
Speaker 1: fellow musicians, talking to people who fell out with and
3:47
Speaker 1: just trying to get at the heart at what made
3:50
Speaker 1: this man who he was, and.
3:54
Speaker 2: What was your approach going in early on to achieve
3:58
Speaker 2: that because is he's known as somebody who's difficult to
4:03
Speaker 2: open up.
4:04
Speaker 1: You're absolutely right. I mean, I've chosen some of my
4:09
Speaker 1: favorite interviews with the Olber as the extras of this
4:14
Speaker 1: kind of updated ish book, as I would like to
4:18
Speaker 1: call it. I chose some of those, but there's mostly
4:23
Speaker 1: because they were the ones that where he did open
4:26
Speaker 1: up a bit. Sometimes he closed very quickly after that
4:31
Speaker 1: when realizing he would do it. It's a very intelligent
4:33
Speaker 1: and sensitive man. But it was trying to found out
4:40
Speaker 1: certain things that he didn't like to talk about. For example,
4:46
Speaker 1: he hated to talk about writing songs. He had almost
4:51
Speaker 1: a sort of superstition about it, and some musicians do,
4:54
Speaker 1: which is if I talk about them, it turns them
4:58
Speaker 1: into some different kind of of being that is not
5:02
Speaker 1: going to be helpful to him. He didn't want to
5:04
Speaker 1: know how they came out, how it did, or if
5:06
Speaker 1: he left that strange line in that didn't really make
5:09
Speaker 1: much sense. He just wanted to do his work and
5:12
Speaker 1: he didn't like people around of any type who were
5:16
Speaker 1: interfering with that. And certainly, you know, some of those
5:20
Speaker 1: might be people in a studio, but definitely they were
5:24
Speaker 1: sometimes interviewers.
5:27
Speaker 2: Do you feel most artists light up and want to
5:32
Speaker 2: talk about that? Because most artists may be disappointed in
5:35
Speaker 2: the questions about I guess, like, for example, Greg Olman,
5:41
Speaker 2: when I in my radio days, I was going to
5:43
Speaker 2: interview Greg Olman, and I was so excited and I
5:44
Speaker 2: couldn't wait to ask him about all these songs and
5:48
Speaker 2: ask him about Duane. And one of my coworkers says, oh,
5:51
Speaker 2: you got to ask him about Share. You got to
5:53
Speaker 2: ask him what it was like for Share, And I
5:54
Speaker 2: remember I was kind, I got I almost got like
5:56
Speaker 2: a little pissed off. I'm like, no, I'm not, because
5:59
Speaker 2: I don't think those are just appreciate that that's not
6:01
Speaker 2: what they want to talk about. They would rather talk
6:03
Speaker 2: about their craft.
6:05
Speaker 1: It's that's a you know, a long, complicated question, and
6:10
Speaker 1: there's a lot of truth in there, but it's mostly
6:12
Speaker 1: it depends on what you would ask them and why.
6:16
Speaker 1: So I think if somebody came in to interview a
6:20
Speaker 1: woman and then just said, oh, tell me about you know,
6:24
Speaker 1: his marriage, would Share, They would say, mind your own business.
6:31
Speaker 1: But if you would say, well, it's really interesting because
6:35
Speaker 1: you know I read something that Share said this this, this,
6:38
Speaker 1: and how did that or this? This song you wrote
6:42
Speaker 1: is kind of not exactly tender love song? Was that
6:47
Speaker 1: something to do with? I mean, if you made it
6:49
Speaker 1: more of a kind of a specific question and what
6:54
Speaker 1: did this person mean to you, sure he might well
6:58
Speaker 1: kind of come out with a none of your business. Also,
7:03
Speaker 1: I think that a lot of musicians certainly knew kind
7:07
Speaker 1: of guard that whatever that essence of them is that
7:12
Speaker 1: makes that music come out, or make them decide to
7:14
Speaker 1: put a record out or leave it for fifteen years
7:18
Speaker 1: and come back and reissue it as an archive thing.
7:23
Speaker 1: There's all of these things where they don't want to note.
7:27
Speaker 1: I think that's changed a lot now. I've noticed that
7:31
Speaker 1: in my music journalism as well as in my side
7:35
Speaker 1: thing as a singer songwriter. The record companies and prs
7:40
Speaker 1: want artists to tell what every song is about. When
7:45
Speaker 1: I've sent a press release, I know everything, and I'd
7:48
Speaker 1: really not like to do that. I'd like to go
7:51
Speaker 1: deep into the music, hear it, listen to the worst
7:55
Speaker 1: and see where what they are saying into my look
8:00
Speaker 1: life and head and the world. And I think that's
8:03
Speaker 1: really what the artists want. But there's somebody standing there
8:07
Speaker 1: with a gunner hour and their heads telling us. We
8:11
Speaker 1: have to say, well, oh yeah, that was because when
8:13
Speaker 1: I was married to that football and you know he
8:16
Speaker 1: kind of beat me up. So that story came out
8:18
Speaker 1: in the song. But it could just perhaps be beautiful.
8:22
Speaker 2: Hmm. Yeah, let it come.
8:25
Speaker 1: What I wrote a book about. That was my last
8:28
Speaker 1: big book other than the Debbie Harry book I did
8:31
Speaker 1: with her. He was somebody would never I don't want
8:36
Speaker 1: to give away that sort of information because it's taking
8:38
Speaker 1: the magic away. And a lot of music is down
8:42
Speaker 1: to hard work, of course, and talent, but there's an
8:45
Speaker 1: awful lots down to magic too.
8:48
Speaker 2: Bob Dylan doesn't want anybody to know what the songs
8:50
Speaker 2: are about.
8:51
Speaker 1: I love bove her and still see them in my mind.
8:55
Speaker 1: They're sitting there, you know, at a desk with a
8:57
Speaker 1: typewriter and just the first craze see things that came
9:01
Speaker 1: to his mind went in there and he rhymed them.
9:04
Speaker 1: And he's a damn genius.
9:07
Speaker 2: But I get the feeling a lot of times he's like, man,
9:09
Speaker 2: people are really reading into my songs wildly, I mean,
9:13
Speaker 2: beyond any beyond what he'd ever anticipated.
9:18
Speaker 1: Yeah, I think in a way, Neil writes songs for himself. Yeah,
9:27
Speaker 1: it's and he just if it doesn't like it or
9:30
Speaker 1: it doesn't seem quite finished to say he'll keep them,
9:34
Speaker 1: you'll just put them someway doesn't go.
9:36
Speaker 2: Out there, which is unique, right, I mean.
9:40
Speaker 1: It's unusual. Usually those kind of decisions, when album's put
9:46
Speaker 1: on hold or they've decided that, you know, the it's
9:50
Speaker 1: the record company that's made that happen. As with books,
9:55
Speaker 1: sometimes it's the publishers. If you've got a you know,
9:58
Speaker 1: an awful publisher, then they can be a complete, you know,
10:02
Speaker 1: pain in the butt and stop things or not allow
10:05
Speaker 1: you to put things in. So but Neil was very
10:09
Speaker 1: much I do what I want to do, whenever I
10:13
Speaker 1: want to do with whoever I wanted to do with.
10:16
Speaker 1: It was his mottol proudly. When I kind of recited
10:20
Speaker 1: back to him, he had a big smile on his face.
10:23
Speaker 1: It's good to see a smiling Neil. And that was
10:27
Speaker 1: the thing. He just he did it and then he
10:30
Speaker 1: moved on and he didn't look back. That's the weird thing.
10:36
Speaker 1: The thing about the archives. He went back and I
10:39
Speaker 1: said to him, were you're looking at Nope, I'm dealing
10:42
Speaker 1: with stuff. That was unfinished. This is stuff I'm you know,
10:46
Speaker 1: it's now on new material.
10:48
Speaker 2: What is behind Reflections in Broken Glass? That title that came.
10:53
Speaker 1: From into my mind from Mirrorble, you know the Mirrorble.
10:58
Speaker 1: What did you think of that album? Did you love it?
11:00
Speaker 2: Yes? I like it. The mid nineties work that he did,
11:02
Speaker 2: I'm a huge fan of.
11:04
Speaker 1: It was just there and it came up as well
11:06
Speaker 1: that at one point in his life, as I mentioned
11:10
Speaker 1: in one of the interviews, I've done so many interviews,
11:15
Speaker 1: it's hard to just choose these. But that would have
11:18
Speaker 1: been a whole other three books, I think. But he
11:21
Speaker 1: had talked about how when he had a brain aneurism,
11:27
Speaker 1: he was very seriously, very seriously all with it and
11:32
Speaker 1: was meant to go and have an operation, but being neal,
11:36
Speaker 1: decided to go to Nashville write an album there and
11:40
Speaker 1: do an acoustic album. Every time he got ill, he
11:42
Speaker 1: tended to go off to Nashville and do an acoustic album.
11:47
Speaker 1: But he said that how he you know, his realization
11:51
Speaker 1: that something had gone wrong was he was on stage
11:55
Speaker 1: with the Rock and Roll Hall of Fame with the Pretenders.
11:59
Speaker 1: He was part of the band that was celebrating the
12:02
Speaker 1: pretend to being in the hole, and he said that
12:07
Speaker 1: something happened to his eyes where it felt like they
12:10
Speaker 1: were broken glass. And so when Pat Gilbert from Moosard
12:17
Speaker 1: said to me, like, hey, you Wis should give it
12:19
Speaker 1: a longer title, and the first thing that came into
12:22
Speaker 1: my head was reflections in Brokens.
12:25
Speaker 2: It isn't that cool? And I was telling you before
12:27
Speaker 2: we started this interview. Pat Gilbert was on about a
12:30
Speaker 2: month ago or maybe more for his book on the Clash,
12:35
Speaker 2: and he was a great guest. Yeah, there are things
12:37
Speaker 2: in this book that I mean, there are parts of
12:39
Speaker 2: Neil's life that are still somewhat of a mystery. I
12:43
Speaker 2: think that you found out as well, and I think
12:45
Speaker 2: you were surprised that the journalists didn't do a little
12:49
Speaker 2: more investigating and talk to the people, not just Neil himself,
12:52
Speaker 2: but people in his life like his first wife, right,
12:55
Speaker 2: I mean, like you said, people know the shed. What
13:00
Speaker 2: did she stitch his jeans or something that was like
13:02
Speaker 2: pretty much all she's known for.
13:04
Speaker 1: Well, she got a credit on the album for making
13:07
Speaker 1: patches to on the back of his genes, but she
13:13
Speaker 1: she was somebody that he met when he moved to
13:17
Speaker 1: Pank Canyon, early in his career for solo career, Neil,
13:23
Speaker 1: when he got his money for you know, from the
13:27
Speaker 1: record company, for being part of the Buffalo Springfield, he
13:32
Speaker 1: very sensibly for somebody of his age, bought a house,
13:36
Speaker 1: a little time timey house in Lauryl Canyon. And then
13:41
Speaker 1: when he got his I guess probably slightly bigger uh
13:46
Speaker 1: money for being solo artists, he got rid of that
13:51
Speaker 1: place and bought a bigger place to eat it up
13:54
Speaker 1: into Panka Canyon. And these two were very, very different neighborhoods,
14:01
Speaker 1: so if you call them that places, the whole image
14:06
Speaker 1: of Low Canyon was love and peace and hippiees and
14:10
Speaker 1: long flowing garments and everything. It was a place of
14:14
Speaker 1: light and beauty and hippinis and it was where you know,
14:18
Speaker 1: Crosbie still was a Nash lived not Young, was always
14:25
Speaker 1: separate in every single way. And talk to me about
14:28
Speaker 1: that in one of the interviews in there, I'm the
14:31
Speaker 1: only person in Crosby, Stills and Nash and Young that
14:33
Speaker 1: wasn't Crosby Stills and Nash said somewhat sarcastically in answer
14:39
Speaker 1: to one of the questions that I had. So he
14:41
Speaker 1: went to the Topanga canyon, which had a kind of
14:45
Speaker 1: a sort of dark vibe. It was further away from
14:49
Speaker 1: the Sunset Strip for sure, much more away, and it
14:53
Speaker 1: was a kind of place where the police couldn't easily
14:56
Speaker 1: go up and arrest pot smokers because you it was
15:00
Speaker 1: so covered with woods and tiny lanes and everything. You
15:03
Speaker 1: couldn't get through. You could see the cops coming, and
15:06
Speaker 1: you could flush everything. So he got a place there,
15:11
Speaker 1: and there was a lovely little cafe up there, and
15:14
Speaker 1: he he married the woman who was the cafe owner,
15:20
Speaker 1: and she had a child, so he had a kind
15:23
Speaker 1: of really almost like normal family life in a sense
15:27
Speaker 1: up there. It wasn't you know, the kind of going
15:31
Speaker 1: crazy with the groupies down on the Sunset Trip all
15:34
Speaker 1: the time, which was the image at least, if not
15:38
Speaker 1: the reality, though I think it was the reality of
15:42
Speaker 1: la back then. Yeah.
15:44
Speaker 2: Was he protective of his personal life.
15:47
Speaker 1: Oh very much. So. Yeah, there was a lot he
15:50
Speaker 1: didn't talk about.
15:53
Speaker 2: Which would, I guess explain why we don't know much
15:56
Speaker 2: about his first wife.
15:58
Speaker 1: But also somehow she disappeared it with I think, you know,
16:04
Speaker 1: it was very kind of Ami Carbel in the sense
16:08
Speaker 1: that it drew on its course. It wasn't a kind
16:11
Speaker 1: of rock star marriage or a movie star marriage where
16:15
Speaker 1: there's going to be things in the paper. And he
16:19
Speaker 1: had moved on, you know, when he found Peggy, and
16:22
Speaker 1: very interestingly also worked at a restaurant, but didn't have
16:26
Speaker 1: a child until they had children.
16:28
Speaker 2: Of course, one of the things that I've always wanted
16:33
Speaker 2: to know a lot about is his dad, because I
16:36
Speaker 2: was a sports writer for many many years, and I
16:38
Speaker 2: know his dad was a pretty well known sports writer.
16:42
Speaker 2: How much do we know about him. Was his relationship
16:46
Speaker 2: like with his dad too, What kind of relationship did
16:48
Speaker 2: he have?
16:49
Speaker 1: His dad left when Neil was a child. His mother
16:54
Speaker 1: was a very kind of powerful force for I'm not
16:58
Speaker 1: saying that that, you know, bad way, but she was
17:01
Speaker 1: a tough cookie, you know, and looked after the boy
17:04
Speaker 1: and everything, and I'm sure she couldn't have been very
17:06
Speaker 1: happy at having to do that on her own. And
17:10
Speaker 1: Neil seemed to kind of really, you know, he was good,
17:14
Speaker 1: he kind of At one point he got chickens in
17:17
Speaker 1: the back garden of the young household. There were chickens
17:21
Speaker 1: where he was getting the eggs and selling them to
17:23
Speaker 1: the neighbors. And I'm not sure if that was to
17:27
Speaker 1: buy himself, you know, a new guitar or to help
17:31
Speaker 1: out around the house that I don't know, but yes,
17:33
Speaker 1: his dad was seemed a much more open, kind of
17:39
Speaker 1: confident person in his personality to Nil. You know, he
17:44
Speaker 1: kind of you know, he made himself a kind of
17:47
Speaker 1: well known sportswriter in a way. You know, he was
17:51
Speaker 1: a bit of a sort of star in that area.
17:54
Speaker 1: And you always had this kind of slight It almost
17:58
Speaker 1: felt like a fragility to him, to his being, which
18:03
Speaker 1: was actually true because I kind of mentioned in the book,
18:08
Speaker 1: in the original book that it was almost like kind
18:11
Speaker 1: of when God was going out handing out good health
18:14
Speaker 1: full of cards that Neil was off of having doing
18:17
Speaker 1: his paper on him, they didn't give him one. He
18:19
Speaker 1: had a serious of very serious, very serious health problems
18:25
Speaker 1: right the way through his life, starting off in Canada
18:28
Speaker 1: when he had polio in the same year I guess
18:32
Speaker 1: it was sometime in the fifties when JOHNI. Mitchell also
18:39
Speaker 1: a polio and the effect of it on yours you
18:45
Speaker 1: can sometimes see it when he's walking is a kind
18:47
Speaker 1: of slight, not a limp, but a kind of leaning
18:51
Speaker 1: to one side now on things. And one of the
18:55
Speaker 1: interviews I did with more that's included here I actually
19:00
Speaker 1: mentioned was polio. The reason that he he has it
19:04
Speaker 1: sometimes when he's playing, especially with you know, his heavy band,
19:11
Speaker 1: you know, when he's got them going with him. But
19:14
Speaker 1: there's something about there's a different speech, you know, with
19:17
Speaker 1: one arm, one hand and the other. And he kind
19:20
Speaker 1: of looked at me somewhat menacingly and said, you're going deep,
19:27
Speaker 1: meaning like, where is my manager, Elliott? Come and throw
19:30
Speaker 1: this person out? So we were outside, so we'd have
19:33
Speaker 1: to throw me in. I guess have.
19:36
Speaker 2: You ever had those moments with him to wake it?
19:37
Speaker 2: Oh boy, Oh he's he's going to walk out of here,
19:42
Speaker 2: or he's going to really get pissed at me.
19:45
Speaker 1: Well yeah, but then he just stops the interview. He
19:48
Speaker 1: gets Elliott. But Elliott his manager and a best friend
19:52
Speaker 1: for years now unfortunately no longer on the planet.
19:57
Speaker 2: It's only Sylvie, you know, yes, because I'd be intimidated
20:04
Speaker 2: to sit in a room with him.
20:06
Speaker 1: Or he can be intimidated.
20:09
Speaker 2: But as he misunderstood, there's there's a sensitive side to him,
20:12
Speaker 2: you know, there's a softer side to him. But he
20:14
Speaker 2: doesn't I don't think he wants people to know that,
20:16
Speaker 2: but we can hear it in his music.
20:19
Speaker 1: Well I think, you know, really, if there was a
20:23
Speaker 1: tombstone and it said, you know, Neil died, let's hope
20:27
Speaker 1: this doesn't happen for at least one hundred years. I know,
20:30
Speaker 1: it's whatever it would say. It's none of your business,
20:36
Speaker 1: it would say, because there is that thing where it's
20:39
Speaker 1: none of your business doing the music, moving on from
20:45
Speaker 1: the music and not looking back.
20:48
Speaker 2: That's what's going to make it so difficult for him though,
20:50
Speaker 2: as an artist in the music business. Because you can
20:54
Speaker 2: be a musician and hey, you could just do it
20:57
Speaker 2: for the love of it and play a play the
20:59
Speaker 2: local cur every weekend. But when you get into the
21:03
Speaker 2: music business, there are things that you have to deal with.
21:07
Speaker 2: You know that a guy like him would just he
21:09
Speaker 2: handles it, handles himself. Well, I mean, you know, he
21:12
Speaker 2: can certainly take care of himself, but I would think
21:14
Speaker 2: he dreads having to go out on the publicity tours
21:18
Speaker 2: and stuff, you know, like he was on Jay Leno
21:19
Speaker 2: I remember for Harvest Moon, and he seemed cool and
21:22
Speaker 2: he's funny. He's got a great sense of humor.
21:26
Speaker 1: You know, you know, you were saying he was doing
21:29
Speaker 1: it on his own in the beginning, you know, when
21:33
Speaker 1: he came out of uh, you know, he'd been in
21:37
Speaker 1: his little bands and everything different hands up in Canada,
21:41
Speaker 1: you know, the one that was just kind of the
21:42
Speaker 1: soul banned and then you know, just the kind of.
21:45
Speaker 2: Rick James, the minor Birds, and it kind.
21:50
Speaker 1: Of broke up because I got arrested for he being
21:54
Speaker 1: James mc james and got arrested for not going out
21:58
Speaker 1: flat in Vietnam or one of these things, you know.
22:01
Speaker 1: So he you know, he had all these kind of
22:03
Speaker 1: other things in his folk bands, of course, but once
22:08
Speaker 1: they got going in La and they had Buffalo Springfield,
22:12
Speaker 1: he was already in the business. So it was a
22:14
Speaker 1: case of just moving along and up in a sense
22:19
Speaker 1: that he was. Once you got your foot through the
22:21
Speaker 1: door in the business back then, you were pretty much,
22:24
Speaker 1: you know somehow it was. You were in that Mathia
22:29
Speaker 1: group of whatever the record company you were with this,
22:33
Speaker 1: and if you were selling albums, they could sell your albums.
22:35
Speaker 1: You stayed there. You wanted to get a couple of
22:39
Speaker 1: pass of maybe a couple of not selling so much
22:42
Speaker 1: because they knew people wanted albums by Neil Young in
22:47
Speaker 1: one shape or another. So yeah, it was. It was
22:50
Speaker 1: a different time. But also he had his helpers. I mean,
22:54
Speaker 1: look at the time when he got sued by David
22:58
Speaker 1: Geffam when he moved over the Gevin Records for making
23:02
Speaker 1: uncharacteristic records the rockabilly and I'm not sure if you're
23:08
Speaker 1: allowed to swear on you're also the fuck you even more,
23:14
Speaker 1: you know. So he was doing a series of things
23:16
Speaker 1: that something they would because he was interested in them
23:20
Speaker 1: for sure, you know, but also a complete middle finger
23:25
Speaker 1: or we're doing England, the two fingers.
23:28
Speaker 2: Raised for that defiance, right, he is very defiant.
23:33
Speaker 1: And the you know, the partnership you know, with the
23:37
Speaker 1: with David Gavin was his Elliott, his manager, I mean
23:42
Speaker 1: Elliott was I mean, one time I interviewed knew this
23:46
Speaker 1: was an interesting one. It was kind of strange. Actually,
23:49
Speaker 1: I was just writing something about it. Recently, he had
23:55
Speaker 1: just invited to be the opening act on his tool
24:02
Speaker 1: Bert Yanch, who is one of the greatest was sadly
24:07
Speaker 1: one of the greatest British singers, and knew had fallen
24:14
Speaker 1: in love with music that Bert had done and said
24:20
Speaker 1: come on tour with me, And so Mojo Magazine asked
24:23
Speaker 1: me if I would have an interview with doing a
24:27
Speaker 1: review of the show and have a little interview with
24:29
Speaker 1: with I all about you know what it was about
24:32
Speaker 1: this particular song, all about this album and everything that
24:36
Speaker 1: he loved so much, and it was like a big
24:39
Speaker 1: kind of influence when he was still out there playing
24:43
Speaker 1: folk in Canada before it moved down in the hearse
24:47
Speaker 1: back to La and the verse before you bumping into
24:51
Speaker 1: Steven Still's it doesn't seem real, but it was.
24:55
Speaker 2: It was real, perfect vehicle to put all your equipment
24:58
Speaker 2: in speakers, the whole deal.
25:01
Speaker 1: Exactly. Sorry to have talked to you, and so you always.
25:06
Speaker 1: It was I think just after the show and he
25:08
Speaker 1: was back outside and he'd gone straight out into his
25:12
Speaker 1: chut into his bus as he always did, and and
25:16
Speaker 1: Elliott bought in and he said, Sylvie, you know, Sylvie,
25:18
Speaker 1: we arranged to talk to her about Bert. So he
25:22
Speaker 1: was being so grumpy. Oh my lord, it was I
25:26
Speaker 1: pretty much. I almost was thrown off the bus with
25:30
Speaker 1: the most inocent questions about you know this this thing,
25:34
Speaker 1: and he answered perfectly, but he said off that was enough.
25:39
Speaker 1: I think it was something like a ten minute interview
25:41
Speaker 1: or a five minute.
25:42
Speaker 2: Interview but this is to you.
25:44
Speaker 1: He said this, and so Elliot just like was like
25:47
Speaker 1: rolling his eyes and grinning behind and just said, it's
25:51
Speaker 1: only Sylvie. You can give us something.
25:55
Speaker 2: That's the best. Well, it's it's only Sylvie. Wow.
25:59
Speaker 1: You want to friends of my vintage who have interviewed
26:03
Speaker 1: me for as many years as I have, and we
26:06
Speaker 1: said the same thing. Sometimes to get good Neil, sometimes
26:10
Speaker 1: you get bad Neil. But just I guess mood.
26:15
Speaker 2: You know, does he like collaboration? Is is he better
26:21
Speaker 2: off being a solo artist or as with like Crazy
26:25
Speaker 2: Horse the Leader.
26:27
Speaker 1: You know, that's a very interesting question. And I think
26:30
Speaker 1: it's more case that all of the people that he's
26:34
Speaker 1: done musical with, they're kind of it sounds a bit cruel,
26:40
Speaker 1: and I don't mean it that way because it's probably
26:43
Speaker 1: got a sort of fuzzier edge, but they're almost like tools,
26:47
Speaker 1: you know, tols in case my accent made it sound
26:51
Speaker 1: like tools that people and so it's almost like tools
26:58
Speaker 1: in the set to do something. And so if he
27:01
Speaker 1: needs to fix something, these are the people he goes
27:04
Speaker 1: to and he knows what they can do, and that's
27:06
Speaker 1: why he sticks with those people. I don't think there's
27:10
Speaker 1: much sentiment involved in his relationship with that. It's more
27:16
Speaker 1: a case of I need pedal steel. I know the
27:20
Speaker 1: best pedal steel person in the universe. I met him
27:23
Speaker 1: in Nashville. He played together, He played without any rehearsal
27:27
Speaker 1: on my first album here in Nashville. So this is
27:29
Speaker 1: my gude. So I think that's really the way that
27:33
Speaker 1: he sees the people who play with him. I'm sure
27:37
Speaker 1: you know, he seems to enjoy playing with them. I
27:40
Speaker 1: pointed out him in the last interview I did with
27:44
Speaker 1: him that he did two albums in a row with
27:47
Speaker 1: Crazy Horse, and he'd never done that before. You know,
27:51
Speaker 1: with Half this is in This is with the dal
27:54
Speaker 1: l Hannah years at this time.
27:56
Speaker 2: Not too long ago, right by a handful of years ago.
27:59
Speaker 1: It was like, oh, I didn't notice that, you know,
28:02
Speaker 1: It was almost I didn't notice I did you. I said, oh,
28:07
Speaker 1: was there a reason that led you to do that?
28:10
Speaker 1: While I wanted to try out this new barn I bought,
28:13
Speaker 1: you know, if they would sound great? But it was
28:15
Speaker 1: like almost it was a kind of question he'd never
28:19
Speaker 1: would have thought of. It was just at that moment
28:23
Speaker 1: the tools he needed for the work he was doing.
28:27
Speaker 2: That's fascinating. What about songwriting chemistry though? I mean, who
28:30
Speaker 2: did he work best with? Stephen Stills? You know, was
28:34
Speaker 2: there somebody here he would talk of in high regard
28:38
Speaker 2: as far as it was a real magic there?
28:42
Speaker 1: The people he worked was mostly with Crosby, Stills, Nash
28:46
Speaker 1: and Young. They were almost like four individuals the whole time,
28:50
Speaker 1: all of these, you know, I can't imagine that they
28:54
Speaker 1: were helping each other much other than with the singing
28:59
Speaker 1: and the intruments and the harmonies and things like that.
29:03
Speaker 1: They had their own songs and they were you know,
29:05
Speaker 1: it wasn't Elena McCartney things right with their names on that.
29:10
Speaker 1: I remember asking him a question, and it's in I
29:14
Speaker 1: think the one of the interviews that I've post put
29:17
Speaker 1: in the posted in the book. No, I've actually pasted
29:21
Speaker 1: in the book. It was I was asking him why
29:25
Speaker 1: when they played Woodstock, is Crosby still's an action young?
29:31
Speaker 1: And why he wouldn't allow the cameras to capture take
29:38
Speaker 1: pictures of him or rather film him? So to film him,
29:41
Speaker 1: I said, because you know, you've got your alter ego
29:44
Speaker 1: as Bernard Shakey a filmmaker. Wouldn't a filmmaker want to
29:49
Speaker 1: see what these did and he said no, and I said, whoa,
29:54
Speaker 1: but you were the only person in Crosby Steele's Nashing
29:58
Speaker 1: Young that wouldn't allow themselves to be seen on the
30:02
Speaker 1: same stage. And he said, and I said, well, he said,
30:05
Speaker 1: because I'm the only person who is not Bock Crosby Steels.
30:10
Speaker 1: And now I think that pretty much said eilaught as
30:15
Speaker 1: he said it or smiled, you know, wasn't is that
30:19
Speaker 1: thing of I do what I do, how I do it,
30:22
Speaker 1: with whom I do it.
30:24
Speaker 2: Yeah, fascinating guy, which which is also why he's still
30:27
Speaker 2: making music, because it's what he's doing now. He's not
30:29
Speaker 2: looking in the past.
30:30
Speaker 1: It's interesting. I kind of over the years, I've interviewed
30:35
Speaker 1: him so many times, and you know, it's been pleasant
30:38
Speaker 1: mostly as this. You know, I've had grumpy Neil occasionally,
30:43
Speaker 1: but or like okay twenty minutes up or okay for
30:49
Speaker 1: is I kind of said to him, I think I
30:51
Speaker 1: worked out why you don't do any interviews, is it?
30:56
Speaker 1: And I said, it's because you know, when I've done
31:00
Speaker 1: and finished an album and it's there, it's going to
31:03
Speaker 1: take at least three months or more before the record
31:06
Speaker 1: company you're going to do anything with possibly putting it out,
31:10
Speaker 1: and you've moved on to something else. So I'm asking
31:13
Speaker 1: you about something you're already over and done with. And
31:17
Speaker 1: that little smile came on his face. You know, it
31:21
Speaker 1: was that Yep, you got it.
31:23
Speaker 2: Yeah, you got me. That's that's you figured it out. Yeah, yeah,
31:31
Speaker 2: I got.
31:32
Speaker 1: That one earlier.
31:33
Speaker 2: But yeah, because he seems like that for you, that's
31:37
Speaker 2: a moment of like, oh I got through to him
31:38
Speaker 2: a little bit here. You make that connection there, and
31:42
Speaker 2: he's well you had you had mentioned earlier that he
31:46
Speaker 2: you built a trust with him. Over time, I think.
31:50
Speaker 1: That that might have happened, and I can understand some
31:55
Speaker 1: of his sensitivities over time. I've interviewed so many people
32:00
Speaker 1: who just say I didn't write them, I just felt
32:03
Speaker 1: them more. You know, all of these things like that.
32:06
Speaker 1: Probably didn't They sat down and got things written hard
32:10
Speaker 1: and Paul McCarney, Oh, it just came to me in
32:13
Speaker 1: It kind of was a bit, but it probably got
32:16
Speaker 1: you know, sort of polished up a bit before he
32:19
Speaker 1: made it. The Sun, but knew was very very kind
32:22
Speaker 1: of suspicious about it in a way, in the same
32:26
Speaker 1: way that he would only kind of do a recording
32:29
Speaker 1: at certain times when the moon wasn't full but was
32:32
Speaker 1: three days before, it was.
32:34
Speaker 2: A full moon schedule, Yes.
32:36
Speaker 1: All of those things. So he wasn't a woo woo person,
32:40
Speaker 1: but he this really was something that he felt was
32:44
Speaker 1: very It worked. It was true. I interviewed him about
32:47
Speaker 1: it in the past. But with the songs, he was very,
32:51
Speaker 1: very protective of those. But but he you know, he
32:56
Speaker 1: wouldn't talk about where they came from. But because he
32:58
Speaker 1: had this other person, a producer with him who wanted
33:03
Speaker 1: to know the question too, he almost like had to
33:06
Speaker 1: do so that kind of came out. It was like
33:10
Speaker 1: he was sort of thrown into the story of like, hey, yeah,
33:13
Speaker 1: I've got something I want to ask you. How do
33:15
Speaker 1: you get.
33:17
Speaker 2: That full moon schedule? He records around the full moon calendar.
33:21
Speaker 2: Where did that all come about? Is he?
33:24
Speaker 1: It could be a superstition our album from the seventies,
33:29
Speaker 1: What will wants? You know something on our habits? You
33:33
Speaker 1: know what does that?
33:35
Speaker 2: What were vices are now habits?
33:38
Speaker 1: Yeah? Whatever it was, you did something with Neil. It
33:43
Speaker 1: was more a case of this seemed to work some
33:46
Speaker 1: by accident, he found out that this work. He did
33:50
Speaker 1: it second the fourth time, and it worked and it
33:53
Speaker 1: became this is how I do it, and you just
33:56
Speaker 1: you know, this is how my body feels stronger on
33:59
Speaker 1: these days. And I said, what on the new moan
34:01
Speaker 1: on the fore moot? Never? Never the foremot never. It
34:05
Speaker 1: was absolutely no, that's too much, too powerful. It has
34:08
Speaker 1: to be that so many days before. That's interesting. And
34:12
Speaker 1: the things stories about you know, how is his wife name?
34:16
Speaker 1: And everything had a slight and strange thing in it too.
34:21
Speaker 1: It was mainly a kind of thing of like, you
34:25
Speaker 1: can't force it, you can't make him, can't. But this
34:29
Speaker 1: is my trick. We're doing it in a way. And
34:32
Speaker 1: so but he's talked to me since, I guess has
34:35
Speaker 1: forgiven me for letting the secret out.
34:39
Speaker 2: I love Blues Traveler and John Popper wrote a story
34:42
Speaker 2: in his book about when he became friends with Neil
34:46
Speaker 2: that you know, the Neil that you see is the
34:50
Speaker 2: real real Neil Young. I mean he went to his
34:53
Speaker 2: house and he had a tepe in his backyard, and
34:55
Speaker 2: he said all of his he went into his house
34:58
Speaker 2: and I think he said all of the it in
35:00
Speaker 2: his house was like tree barkers, you know what I mean,
35:03
Speaker 2: like totally nature guy and he's written songs about that
35:08
Speaker 2: harvest moon he's got he's got a song about just
35:12
Speaker 2: the beauty of nature. So he definitely our eco man.
35:18
Speaker 1: You know, it's had Greendale made a whole movie and
35:22
Speaker 1: a whole kind of musical stage and album from it. He's, uh,
35:28
Speaker 1: it's the thing on, you know, having those t shirts
35:31
Speaker 1: with Earth and the songs about Mother. He's absolutely brilliant
35:35
Speaker 1: and totally devoted in that way.
35:41
Speaker 2: You have a portion of the book about his period
35:44
Speaker 2: there where he knew Charles Manson. Was he hesitant to
35:47
Speaker 2: talk about that? Was that? Is that an area that
35:50
Speaker 2: it's like, I don't want to go there because it
35:52
Speaker 2: was like a it was a terrible period.
35:54
Speaker 1: The immense story. I could have swear to it, but
35:59
Speaker 1: I'm sure that I was the first person to write
36:01
Speaker 1: about that, So it wasn't something that people could kind
36:05
Speaker 1: of refer back to. And that was something that nobody
36:12
Speaker 1: but I was speaking to in La wanted to talk about.
36:15
Speaker 1: I mean, the aftermath of Manson took forever, if ever
36:22
Speaker 1: to die down. The amount of fear that was going
36:25
Speaker 1: on in La at that time from what happened, you know,
36:31
Speaker 1: especially with its contrast for being you know the time,
36:35
Speaker 1: you know, we'd had Woodstock where everything was love, we
36:39
Speaker 1: had the whole thing of Low Canue, everything's peace and love,
36:43
Speaker 1: and there was this kind of there's an aura around
36:47
Speaker 1: southern California that suddenly in a way got completely changed
36:53
Speaker 1: by the entrance of this, you know, one vile man
36:56
Speaker 1: with his school bus full of you know, devote young
37:01
Speaker 1: women who had been somehow messed up in their lives
37:05
Speaker 1: and turned to him as their their leader. So people
37:08
Speaker 1: wouldn't talk, or they talked off the record, and it
37:12
Speaker 1: was it was very strange. But I was just interested
37:16
Speaker 1: in it, not for any kind of prurient reason, you know, like,
37:22
Speaker 1: oh my god, he hung out with Charles Munson. It
37:25
Speaker 1: was more trying to understand a little bit of that
37:28
Speaker 1: kind of period and what it would have been like
37:31
Speaker 1: for an artist to live with somebody that close to
37:36
Speaker 1: him through the period. And of course, you know, Neil
37:42
Speaker 1: had gotten rid of him by the time. You know,
37:43
Speaker 1: I think even before anything had actually happened. It's in
37:46
Speaker 1: the all details would be in the book. But it
37:50
Speaker 1: kind of as I got these small pieces of the
37:53
Speaker 1: story together, it got more and more fleshed out to where, yes,
38:00
Speaker 1: of course this happened. And the sort of kind of
38:03
Speaker 1: the basics of it was that Neil had bought that house,
38:09
Speaker 1: the second house that he had, and sold the first one.
38:12
Speaker 1: He moved into a big house where he actually did
38:15
Speaker 1: a lot of recording of some beautiful albums, like after
38:19
Speaker 1: the gold Rush, and that building that he had a
38:22
Speaker 1: studio in the basement up into Panga Canyon to Pangan
38:27
Speaker 1: was somewhere where the police couldn't easily kind of get
38:30
Speaker 1: in because there were so many little tiny off road
38:34
Speaker 1: kind of streets that people were living in. Actually, I
38:37
Speaker 1: think one of Neil's friends had horses up there, or
38:40
Speaker 1: maybe it was his producers or something, but people it
38:44
Speaker 1: was a kind of like almost like the dark hippie part,
38:48
Speaker 1: not calling Neil particularly dark, but it was not there,
38:51
Speaker 1: you know, all sweet and roses, and so he would
38:57
Speaker 1: of course, Neil was living there, his wife who on
39:00
Speaker 1: the cafe that was there, the child of his wife,
39:05
Speaker 1: you know, the step child was there. And incomes of
39:09
Speaker 1: the bus with with Charles Manson in which makes perfect
39:14
Speaker 1: sense of course, where you can hide for the cops,
39:16
Speaker 1: you know, and a place that's in the canyons and
39:19
Speaker 1: it's and he wanted to be. You know, Manson wanted
39:22
Speaker 1: to be a music star. He had his guitar and
39:24
Speaker 1: he wanted to be a songwriter and get a record deal.
39:29
Speaker 1: So the girls used to go up to the cafe,
39:32
Speaker 1: the restaurant and just do a little jobs for for
39:37
Speaker 1: Niel's wife and and in exchange they get like what
39:42
Speaker 1: any any food that was left over at the end
39:44
Speaker 1: of the day and that had they hadn't sold, or
39:47
Speaker 1: they'd get stuff for doing the dishes, and so they
39:51
Speaker 1: take that back, you know, to feed their master. It
39:54
Speaker 1: was a vile, misogynistic kind of packed that they had.
39:59
Speaker 1: I have to sa say, it makes me sick to
40:01
Speaker 1: think about it in every single way. But so it
40:05
Speaker 1: makes sense that, you know, Neil would be eating at
40:09
Speaker 1: the restaurant, he'd come, but Manson would go up there,
40:13
Speaker 1: and before long he would be over hanging out at
40:16
Speaker 1: Neil's place and the two would sit together and play.
40:20
Speaker 1: And Neil said that, you know, I actually said that
40:25
Speaker 1: Manson was a brilliant musicians. She you know, he had
40:29
Speaker 1: had brilliant songs. He was a great musician. That his
40:32
Speaker 1: songs were wild, do you know, it was great? And
40:36
Speaker 1: he tried to get Neil tried to get him a
40:38
Speaker 1: record company with warments, you know where he was with
40:41
Speaker 1: born with himself.
40:44
Speaker 2: How close did that come to happening?
40:46
Speaker 1: He spoke, he spoke the pals that be there, but
40:50
Speaker 1: luckily nothing happened for it. They didn't, I guess see that.
40:54
Speaker 1: And so Neil had moved away anyway. So he often
40:57
Speaker 1: does some difficult situations self. President. Somebody's had so many
41:04
Speaker 1: health issues in his life, you know, it's going to
41:06
Speaker 1: be somebody who knows this fragility and knows when it's
41:10
Speaker 1: time to move on. But so that was really the
41:13
Speaker 1: Manson story. And I just kind of figured that, you know,
41:17
Speaker 1: when you listened to on the Beach and things like that,
41:20
Speaker 1: where it wasn't put out at the time, you think,
41:24
Speaker 1: you know, I had to wait in line. I think
41:26
Speaker 1: there must have been some kind of darkness going on,
41:29
Speaker 1: and that was there was the Doom trilogy, of course,
41:32
Speaker 1: and there was a lot of darkness in that, but
41:35
Speaker 1: that was caused by the death by drugs. I much
41:39
Speaker 1: loved about band member, and.
41:44
Speaker 2: You may have been the first reporter to actually ask
41:47
Speaker 2: them about Manson.
41:50
Speaker 1: I don't know. I think where I've started with my
41:53
Speaker 1: Manson obsession. I guess I wouldn't really call it obsession.
41:57
Speaker 1: Its talking to the Beach Boys. You know, I was
42:04
Speaker 1: interviewing the Beach Boys, and I was trying to get
42:07
Speaker 1: a bit to the bottom of the story of how
42:10
Speaker 1: come the Beach Boys had a song that Charles Manson
42:13
Speaker 1: had written on one of their albums. But obviously I
42:18
Speaker 1: think they kind of flogged the names and things.
42:19
Speaker 2: A bit she used to exist was Manson's never Learned
42:23
Speaker 2: not to Love It became for the Beach Boys.
42:26
Speaker 1: Right, and it was a song that he'd got from
42:29
Speaker 1: Dennis Wilson. And how the Beach Boys got to know
42:32
Speaker 1: Dennis Wilson got to know Manson is that they saw
42:37
Speaker 1: some of the girls when they were sort of driving
42:39
Speaker 1: around the canyons. They would pick up the girls who
42:42
Speaker 1: were on the street who were part of, you know,
42:45
Speaker 1: the kind of Manson groupie girls.
42:49
Speaker 2: Dennis said, I'll bring it over for some Milkan cookies.
42:52
Speaker 2: Milk and cookies, so it was sets and drugs. Yeah,
42:58
Speaker 2: crazy time. Dennis no a recovered from that, So I
43:01
Speaker 2: certainly wouldn't blame Neil for distancing himself from that. So
43:04
Speaker 2: that's why I was wondering if if once you brought
43:07
Speaker 2: that up, he recoiled and said, I'm not talking about that,
43:09
Speaker 2: but he beat in mine.
43:13
Speaker 1: Was it moved moved on, that's done. Obviously aware that
43:18
Speaker 1: you know, he got out at the right time. You know,
43:22
Speaker 1: nothing happened to him and his loved ones, and that's it.
43:28
Speaker 1: He just that kind of survival thing.
43:33
Speaker 2: He was rocked by Kurt Cobain's death. I know that,
43:37
Speaker 2: and I think a lot of it had to do
43:38
Speaker 2: with losing Danny Whitten. I mean there was a connection
43:41
Speaker 2: there of a beautiful person with an amazing talent who
43:45
Speaker 2: left us too soon because of addiction.
43:47
Speaker 1: I know that he had a real kind of fondness.
43:52
Speaker 2: He loved Danny. Danny Whitten was like a brother to him, right,
43:55
Speaker 2: he was very close to him.
43:58
Speaker 1: It was and yeah, oh basically still he could do
44:04
Speaker 1: what he had to do for the music.
44:07
Speaker 2: It was yeah, it was yeah, you're right.
44:10
Speaker 1: It's like, you're brilliant, you're great, but I can't be
44:13
Speaker 1: around you're doing this on the road. And so there
44:18
Speaker 1: was that thing, there was this thing of yeah, he
44:22
Speaker 1: loved him, I really loved him. I think I don't
44:28
Speaker 1: call I was trying to remember what he'd said when
44:31
Speaker 1: I spoke to him about kirk Kbank. But I know
44:34
Speaker 1: that Kurt finding his words, you know, Nil's words, words
44:39
Speaker 1: and one of his songs in the suicide note that
44:44
Speaker 1: is going to mess somebody up quite a bit.
44:47
Speaker 2: Better to burn out than to fade away.
44:49
Speaker 1: I never got around to it. I think that was it.
44:51
Speaker 1: I may be wrong, so you might want to check that.
44:54
Speaker 2: But looking through it here, I've got the PDF of
44:57
Speaker 2: the book up in front of me. But I did
44:58
Speaker 2: I know that he he did get I think there
45:01
Speaker 2: was an MTV event where shortly after Kurt's death that
45:07
Speaker 2: Neil got up there and was pretty emotional about it.
45:12
Speaker 1: Was emotional about it, and I think what he said
45:15
Speaker 1: to me at that point was something like, you know,
45:19
Speaker 1: there was a long time I kind of wanted to
45:21
Speaker 1: talk to him, that I wanted to talk to him.
45:25
Speaker 1: You didn't say, like about what you know about what
45:28
Speaker 1: he should do when he should grow up, or whether
45:30
Speaker 1: he should get out the business, or whether he should
45:32
Speaker 1: just be a writer and not perform. I mean, it
45:35
Speaker 1: didn't sound like that. It was just somehow he felt
45:39
Speaker 1: a connection. And of course, I mean, I hope I'm
45:43
Speaker 1: not presenting a picture of Neil's being somebody who doesn't
45:47
Speaker 1: have close friends and close connections. But there's just this
45:51
Speaker 1: that's something that he can he can just put the
45:55
Speaker 1: wall up quickly if something is going on that's wrong
46:01
Speaker 1: in the sense or for him and what he's doing
46:04
Speaker 1: for his health, for his life. And he's done that
46:09
Speaker 1: a few times in his life.
46:11
Speaker 2: Well, he had the respect of those artists from the nineties,
46:13
Speaker 2: the godfather of grunge and all those bands Sonic Youth
46:16
Speaker 2: and Pearl Jam and Nirvana and you name it. You
46:19
Speaker 2: can go down the line.
46:21
Speaker 1: I mean, of course, I mean whenever I hear any
46:25
Speaker 1: of like the Grunge Knew, it's I'm absolutely transported. You know,
46:30
Speaker 1: I'd just be bringing an out of my mind with
46:33
Speaker 1: happiness just those I always think this reviewing in the
46:38
Speaker 1: worst possible way, as you get now sent a download
46:41
Speaker 1: and not a nice, nice speak of that LP or
46:44
Speaker 1: even CD anymore. I was listening to one of his
46:48
Speaker 1: concerts and.
46:49
Speaker 2: It was like, yeah, mm hmm, well, but that's what
46:53
Speaker 2: this book is essentially bringing us back to the This
46:57
Speaker 2: is this is real journalism, like you say, talking with
47:01
Speaker 2: the people, not just typing in on a computer. Hey Google,
47:05
Speaker 2: you know what did Neil Young have to say about
47:07
Speaker 2: so and so I mean, and I just said, hey, Google,
47:11
Speaker 2: and there goes my phone. Wanted me to ask it
47:15
Speaker 2: a question. No Google, no thank you, but yeah, so
47:18
Speaker 2: you yeah, you went. And then you have these additional
47:22
Speaker 2: interviews in this latest edition that are raw Neil, right,
47:25
Speaker 2: I mean, this is unedited, This is in Neil's words.
47:30
Speaker 1: Right, yeah, completely his words.
47:33
Speaker 2: And these are like sporadically throughout the last four decades.
47:39
Speaker 1: Yeah, as I said, they were just I thought i'd
47:41
Speaker 1: work out. I think what happened was this is that
47:46
Speaker 1: I could have done an update on the book completely.
47:51
Speaker 1: But if I've done that, that would be three years work.
47:53
Speaker 1: Because ever since the beginning of the New Millennium, which
47:58
Speaker 1: is pretty much where I would have to start, Neil's
48:02
Speaker 1: not just put out an an enormous, brilliant body of
48:08
Speaker 1: work over and over and over and over again, but
48:13
Speaker 1: he's been putting out a lot of the stuff in
48:15
Speaker 1: the archives, and then also putting out stuff that was
48:19
Speaker 1: left behind, not quite finished, or in a box under
48:21
Speaker 1: the bed, not literally, but you know, in the equivalent
48:25
Speaker 1: of that in an office room somewhere that it would
48:29
Speaker 1: take forever to do that, and with all the stuff
48:33
Speaker 1: in between that you would have to put in on
48:34
Speaker 1: of his life and his kids and his you know,
48:38
Speaker 1: leaving Peggy as second wife and all of these things
48:42
Speaker 1: are going on, which would be a huge one of
48:46
Speaker 1: these weighty tones, a bit like the Me and My
48:49
Speaker 1: biography of Leonard Cohen, where you have to buy two
48:52
Speaker 1: because otherwise you walk disjointedly if you didn't have one
48:55
Speaker 1: in each hand going. But yeah, I think that there
49:00
Speaker 1: nowadays because of you know, online and remember back then,
49:04
Speaker 1: I'm talking about the last millennium, you didn't You couldn't
49:08
Speaker 1: find that stuff online. You know, you might be able
49:11
Speaker 1: to go to a library and find bits and pieces.
49:14
Speaker 1: If you wanted the info, you went to the people
49:17
Speaker 1: who had the info, you know, which was my journalism
49:21
Speaker 1: back then was a big deal and now it's paid
49:24
Speaker 1: pittance because hey, just ask ai. I thought you once
49:30
Speaker 1: in a while, but they generally, you know, they have
49:32
Speaker 1: a vague idea. It was not before nineteen sixty. So
49:36
Speaker 1: I figured that I would take some interesting periods in
49:41
Speaker 1: his life. I mean, I read through all of my
49:43
Speaker 1: interviews that I thought, but you know, all of my
49:45
Speaker 1: kind of filing cabinets here full of new interview transcripts,
49:50
Speaker 1: and I thought, well, that's interesting. Actually, one I really
49:53
Speaker 1: liked just because it was so funny. But it was silly.
49:55
Speaker 1: I told you what that one is. That was when
49:58
Speaker 1: he was trying to sell the world.
50:00
Speaker 2: No, I was about to you read my mind because
50:03
Speaker 2: I was, well, I was gonna, I wonder what he
50:05
Speaker 2: thinks of AI. But that's where I was going to go.
50:08
Speaker 2: What was the streaming? It was a streaming. No, it
50:11
Speaker 2: was an m P three player, right.
50:14
Speaker 1: I am, so technically I would probably.
50:17
Speaker 2: Like, yeah, I think it was something where you would
50:20
Speaker 2: you store songs it. Actually, he would probably smack me
50:26
Speaker 2: in the face for saying MP three because it wasn't
50:28
Speaker 2: because it was like a lossless file. Like a MP
50:31
Speaker 2: three was like the enemy to him because that would
50:34
Speaker 2: live the sound and this version had like pristine versions
50:40
Speaker 2: of of the music.
50:42
Speaker 1: Well, it was his. He's been very much obsessed with sound.
50:45
Speaker 1: I think even back between Jay all the stuff, when
50:48
Speaker 1: he was talking about Blue ray and everything, and I
50:50
Speaker 1: think that some of the British fans were getting a
50:54
Speaker 1: little bit fed up because these things cost a lot
50:56
Speaker 1: of money, and so it was the case of yes,
50:59
Speaker 1: it's obviously the perfect way to listen to you, but hey,
51:04
Speaker 1: can we have something a bit more imperfect. So I
51:07
Speaker 1: did an interview with him in person when he was
51:10
Speaker 1: trying to sell the pon No.
51:12
Speaker 2: And he was working hard at that went on Howard Stern,
51:15
Speaker 2: He went on a lot of yeah, he was, he
51:16
Speaker 2: was pushing it.
51:17
Speaker 1: He loved his pono and so and so I was
51:20
Speaker 1: with him, and I saw the pono and I don't
51:24
Speaker 1: know if you know this European chocolates called a toblone. No,
51:30
Speaker 1: it's a kind of triangle, you know, it's say, can
51:33
Speaker 1: you break off bits off the triangle as it goes
51:36
Speaker 1: on and it will just look like a tobolone. And
51:39
Speaker 1: so I saw it and I said, let me see
51:42
Speaker 1: this pono and kind of takes off the table and
51:45
Speaker 1: big smile on his face. I said, it's a toblaone
51:49
Speaker 1: and he said, no, it's fine, it's but he had
51:51
Speaker 1: recognized it look like a tobel obviously they have those
51:55
Speaker 1: in Canada as well. So he was telling us, said,
52:00
Speaker 1: but why would we want to buy another device to
52:03
Speaker 1: you know, play our music on it as portable device?
52:08
Speaker 1: And he said it's because it's so it's easy portable,
52:11
Speaker 1: he said. And I said, well, it's not going to
52:14
Speaker 1: be fit in a pocket. I mean, it's not a
52:15
Speaker 1: little flat thing, it's a it's a you know, a
52:18
Speaker 1: triangular thing like a you know, one of the go
52:22
Speaker 1: to Egypt and you've got the dreams, you know, a pyramid,
52:28
Speaker 1: pyramids kind of put together in a low And so
52:31
Speaker 1: I said, yes it is. I said, okay, put it
52:33
Speaker 1: in your pocket more around. I want to see if
52:36
Speaker 1: it falls out. And you did it, and it was
52:40
Speaker 1: really funny. I said, but I bet if you dance
52:42
Speaker 1: it will fall out. And he did a little dance
52:44
Speaker 1: on when it's portable. So there are times when he's
52:51
Speaker 1: you know, he can come to the challenge of that.
52:54
Speaker 1: So that was a very amusing one, but it didn't
52:58
Speaker 1: tell me some of the things that had been going
53:02
Speaker 1: on at different times in his life that he seemed
53:06
Speaker 1: to be constant. One of them had been his health,
53:09
Speaker 1: as I said, And so I did a piece that
53:13
Speaker 1: was a kind of contextualization, like a patient half or
53:17
Speaker 1: something of what happened in this particular health situation, which
53:23
Speaker 1: was when he had a brain ammurism and it was
53:26
Speaker 1: serious to the point of it could have killed him.
53:30
Speaker 1: And as the story goes, and I asked him if
53:35
Speaker 1: it was true, and he said yes. He had been
53:39
Speaker 1: on stage with the Pretenders at the Rock and Roll
53:42
Speaker 1: Hall of Fame. He'd inducted him into the Hall of Fame.
53:45
Speaker 1: And afterwards they usually have a band guest bands together
53:49
Speaker 1: to play, and he was playing with them, and when
53:52
Speaker 1: he was playing, he suddenly felt like his eye his
53:56
Speaker 1: eyes had been cracked like glass. He said, my eyes
54:00
Speaker 1: felt like I was looking at everything through broken glass.
54:05
Speaker 1: And so, you know, this is weird, and so kind
54:09
Speaker 1: of went to the doctor and at the hospital because
54:12
Speaker 1: he was out of town, of course, and they said, oh,
54:15
Speaker 1: you've got an aneurism, and we can we can deal
54:19
Speaker 1: with it. It's okay, you know, you're fine. You know
54:21
Speaker 1: you've probably had it for in the back of there
54:24
Speaker 1: for years and it's just presented itself. And so the
54:27
Speaker 1: bit that he took to the heart was not that
54:30
Speaker 1: we can operate on it, we should operate on it.
54:33
Speaker 1: It was, oh, it's probably going to be okay. And
54:37
Speaker 1: so he went to Nashville, which was wherever he went
54:41
Speaker 1: where he seemed to be illoid. His back had dissolved
54:45
Speaker 1: on and his mine was being fused, and he wrote,
54:49
Speaker 1: not just made, but wrote and made a new album
54:54
Speaker 1: and just stayed there until such point as it got
54:57
Speaker 1: really serious and he had to be rushed back. It
55:00
Speaker 1: was a very very touch and go operation. It was okay,
55:06
Speaker 1: I can move on. The great thing of you.
55:09
Speaker 2: I moved that's it. Yeah, that was going to say,
55:11
Speaker 2: that's probably what is his best survival skill is all right,
55:15
Speaker 2: I got this, let's move forward.
55:17
Speaker 1: Another one I chose was one he did with his
55:21
Speaker 1: record producer Daniel Lenoir when because it's start with an
55:29
Speaker 1: S and his Canadian that would have the French canal
55:33
Speaker 1: thing he's he called him Linois, you know, it's the
55:37
Speaker 1: name of the everybody would call him who wasn't from
55:42
Speaker 1: the French part of Canada. And he actually turned up
55:47
Speaker 1: for the interview that I had with Neil, and which
55:50
Speaker 1: was quite near Neil's house, the same cafe where he
55:55
Speaker 1: met Peggy, is second wife. And it was interesting because
55:59
Speaker 1: he doesn't aually have anybody with him, you know when
56:02
Speaker 1: I spoke to you know other people who were with
56:07
Speaker 1: him that they had to do it separately, you like
56:09
Speaker 1: to do his own interviews. But it was because of
56:12
Speaker 1: Daniel and not being there that he got to talk
56:17
Speaker 1: about something that was always forbidden for journalists. To hear,
56:22
Speaker 1: which is about writing songs. Oh tistition of not giving
56:28
Speaker 1: the game away in case that if you say too
56:30
Speaker 1: much it won't come back.
56:33
Speaker 2: What was it about Daniel's presence? Well, what it made
56:37
Speaker 2: him feel like?
56:37
Speaker 1: It was?
56:37
Speaker 2: Okay?
56:38
Speaker 1: Well, partly a bit. I think it was because you know,
56:43
Speaker 1: he was being so sweet, and it also just recently,
56:47
Speaker 1: he being Daniel, had been in a dreadful motorcycle accident
56:51
Speaker 1: and you know, they fear that he might die, but
56:54
Speaker 1: he got out of written. So maybe it was a
56:56
Speaker 1: bit like, let's not being askedy to But I think
57:01
Speaker 1: what it was in the end that if you did
57:04
Speaker 1: answer a little bit to me. But at one point
57:09
Speaker 1: I asked Daniel, I said, hey, have you got any
57:11
Speaker 1: questions you'd like to ask me? You know? And Neil
57:15
Speaker 1: was looking a little bit kind of refertive, and he said, yes,
57:19
Speaker 1: you said this thing about songs.
57:23
Speaker 2: Tell me, Ah, you can't. What do you even tell Daniel?
57:28
Speaker 2: And I'm not going to answer that whoa you know,
57:31
Speaker 2: not me?
57:32
Speaker 1: Wasn't me? Well that was a kind of chosen for that,
57:37
Speaker 1: and say just thinks that, you know, the most recent
57:42
Speaker 1: interview I'd done with Neil was the first one on zoom,
57:47
Speaker 1: which I am not fond of doing, you know, being
57:50
Speaker 1: old school. And Neil was being kind of very mischievous,
57:56
Speaker 1: shall we say, dash evil And as soon as I
57:59
Speaker 1: kind of got into the you know, into place, he
58:03
Speaker 1: turned himself off and I said, you're going to get
58:07
Speaker 1: a sound alike and you know, you're going to just
58:10
Speaker 1: pretend to be New York. And I said, turn it
58:13
Speaker 1: on again. And he turned it on for a bit
58:15
Speaker 1: and gave a little wave and a smile and turned
58:17
Speaker 1: it off. And that wants to talk about the you know,
58:20
Speaker 1: barn and the two albums in a room with Crazy Horse.
58:26
Speaker 1: But he was much more he was a bit you know,
58:30
Speaker 1: I think she was a bit more open on that
58:32
Speaker 1: than he normally is he has been. I think since
58:35
Speaker 1: his marriage to Dow, he seems to be more comfortable.
58:42
Speaker 1: He seems very very happy. That's great, really happy. He
58:46
Speaker 1: seems seems to be whatever it was, you know, or
58:50
Speaker 1: maybe to do with his age as well. They say
58:52
Speaker 1: apparently once you get to the uIP old age, suddenly
58:57
Speaker 1: we lot of bunnies and children and you know both
59:00
Speaker 1: some things and you get a sort of strange happiness
59:03
Speaker 1: and you so it may be that, but I think
59:05
Speaker 1: he's just genuinely happy.
59:07
Speaker 2: That's great. He is eighty so he'll be eighty one
59:13
Speaker 2: in November. Yeah, good for.
59:17
Speaker 1: Him working, still putting out music. It's it really is
59:21
Speaker 1: to see you couldn't be. That would be a difficult
59:25
Speaker 1: big biography to right because you know he'd probably outlive
59:32
Speaker 1: me and outlive all of us. You know, he's not
59:35
Speaker 1: going to be in Keith Richards will walking to a
59:38
Speaker 1: sunset in another one hundred years time.
59:41
Speaker 2: Well, Keith lives right near me in Connecticut here in
59:44
Speaker 2: the US. And I've told a story on this podcast before,
59:48
Speaker 2: but my sister's boyfriend installs pools and she texted me
59:51
Speaker 2: one day and said, Cody's installing the pool of Keith Richards.
59:54
Speaker 2: I'm like, what, Yeah, I said, how is easy? I
59:58
Speaker 2: hear he's a nice guy. He's super nice guy.
1:00:02
Speaker 1: Nice.
1:00:02
Speaker 2: Yeah, this is But this book is great. You get
1:00:05
Speaker 2: and I'm just looking through like the QA here of
1:00:07
Speaker 2: this might have been the last interview that you did
1:00:10
Speaker 2: with him here, but yeah, because you're talking about Barn. Yeah,
1:00:15
Speaker 2: so you asked in the song shape of You on Barn,
1:00:17
Speaker 2: you sing I'm old now but I'm still dreaming, what
1:00:19
Speaker 2: are you dreaming about, Well, it depends on what day
1:00:22
Speaker 2: it is. And then you say, I have a minute left.
1:00:27
Speaker 2: He says, today, I'm dreaming about writing some more songs,
1:00:30
Speaker 2: hanging out with Darryl, and maybe going and getting some granola.
1:00:36
Speaker 1: Because it was brecked with me. Yeah, he made me
1:00:38
Speaker 1: do that interview at six in the morning.
1:00:41
Speaker 2: Wow.
1:00:42
Speaker 1: He's a cruel man sometimes. But the difficulty with Zoom
1:00:46
Speaker 1: is you kind of get that little thing this is
1:00:47
Speaker 1: you've got one minute left, you know.
1:00:51
Speaker 2: Oh yeah, if.
1:00:53
Speaker 1: You want to ask about Stills and stuff, I mean
1:00:57
Speaker 1: I can talk about you know, the general love love relationship,
1:01:01
Speaker 1: which was basically hate. You know.
1:01:04
Speaker 2: Yeah, him and Steven Stills hated each other. Really, See,
1:01:08
Speaker 2: I thought that was him and David Crosby.
1:01:10
Speaker 1: They were like brothers and they just they both had
1:01:14
Speaker 1: very different ways of doing things. You know that obviously
1:01:20
Speaker 1: with Neil, he is the boss, but he doesn't kind
1:01:24
Speaker 1: of have boss like characteristics, if you know what I'm meaning.
1:01:28
Speaker 1: Right in the same he would deny that he is,
1:01:32
Speaker 1: but that's it, but still's really it was much more
1:01:36
Speaker 1: of like as he was like the military man's son,
1:01:39
Speaker 1: you know, it wasn't It was a whole different vibe
1:01:42
Speaker 1: and he was we do it this way. But there
1:01:47
Speaker 1: was huge love and there was huge anger. I mean
1:01:51
Speaker 1: when there's still to young album story is in there too,
1:01:55
Speaker 1: where you know in the end Neil did what he
1:01:59
Speaker 1: didn't walked away from it. It's just like we're not
1:02:02
Speaker 1: doing it. It's finish, it's over, and send him a
1:02:05
Speaker 1: little note that said a peach.
1:02:09
Speaker 2: Find the bookdown Rock website at booked on rock dot com.
1:02:13
Speaker 2: There you can find all the back episodes of the show,
1:02:16
Speaker 2: the latest episode in video and audio, links to all
1:02:18
Speaker 2: of the platforms where you can listen to the podcast,
1:02:21
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1:02:26
Speaker 2: and x Also check out the Booked on Rock blog.
1:02:29
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1:02:32
Speaker 2: hot rock book releases, and before you go, check out
1:02:35
Speaker 2: the Booked on Rock online store. Pick up some Booked
1:02:38
Speaker 2: on Rock merch. It's all at booked on Rock dot com.
1:02:42
Speaker 2: What was his relationship like with Graham Nash and David Crosby. Well,
1:02:47
Speaker 2: I know David Crosby that that relationship blew up in
1:02:50
Speaker 2: the end because of Daryl Hannah. David Crosby was speaking
1:02:55
Speaker 2: up about that a little bit too much.
1:02:57
Speaker 1: Crosby is very interesting. Interviewed him tons of times. He
1:03:03
Speaker 1: can be he generally nine out of ten times is
1:03:07
Speaker 1: the best. Was the best person on it. You know,
1:03:11
Speaker 1: he was articular, intelligent, absolutely wonderful, kind, funny, very very
1:03:21
Speaker 1: intuitive about people and their things. Or you could get
1:03:25
Speaker 1: him as a two year old boy, you know, having
1:03:28
Speaker 1: like fits. And I've seen him in both states, but
1:03:32
Speaker 1: only once with the fits I was with with Graham
1:03:37
Speaker 1: Nash at the time where Graham was saying, yeah, see
1:03:40
Speaker 1: that's what happens. That's what I've put up with, and
1:03:42
Speaker 1: they are kind of in the end left let him be.
1:03:46
Speaker 1: And I think in a way probably you know Neil Still,
1:03:50
Speaker 1: I liked him enough, but he didn't want to be
1:03:53
Speaker 1: part of anybody's band or anything. Nobody owned him and
1:03:59
Speaker 1: that was a strange you know, as I say, from
1:04:01
Speaker 1: the beginning when I asked him that question about being
1:04:05
Speaker 1: at Woodstock and you wouldn't allow to be filmed on stage.
1:04:09
Speaker 1: But you love films, you're in films, you work with
1:04:11
Speaker 1: film and why you were part of the band, you know,
1:04:16
Speaker 1: you report part of Crosby Still's Nashing young and he's
1:04:20
Speaker 1: just I'm the only one who was not Rosby Still's nation.
1:04:24
Speaker 1: So it's that whole thing, you know. I remember, I
1:04:27
Speaker 1: think I mentioned this in the original introduction. I don't
1:04:31
Speaker 1: know if that got kept, but I think it was
1:04:34
Speaker 1: my friend Charles Shaw Murray. He was at Sounds when
1:04:37
Speaker 1: I was sound. Oh no, he was an enemy when
1:04:39
Speaker 1: I was at Sounds and Agacy in London back in
1:04:42
Speaker 1: the day, and he just said, there's a certain bunch
1:04:46
Speaker 1: of musicians that you refer to as the awkward squad,
1:04:51
Speaker 1: you know, And basically New was like the amera of awkward.
1:04:56
Speaker 1: He would not do what he was asked to do,
1:05:02
Speaker 1: what told to do. It was just he was his
1:05:05
Speaker 1: own man.
1:05:06
Speaker 2: Nobody owned him. Nobody owned him, but he did own
1:05:11
Speaker 2: that hearse. What do we know about that? That was
1:05:14
Speaker 2: I think when it was at March of sixty sixty
1:05:17
Speaker 2: he came there, No, this is in your book. Here
1:05:22
Speaker 2: I see there's a hearse rolling along the freeway, picked
1:05:25
Speaker 2: out by the oncoming headlights. The driver's face pale, softly angular,
1:05:29
Speaker 2: framed by two slabs of backwoods sideburns, and a Beatles
1:05:32
Speaker 2: cut is set in a purposeful frown. The hearse's back
1:05:35
Speaker 2: windows are discreetly curtained, the front ones fogged from the
1:05:39
Speaker 2: cold night air, and the smoke pluming out of the
1:05:41
Speaker 2: coffin compartment behind the curtain. Someone's skinning up yet another
1:05:47
Speaker 2: number for the road. It's March nineteen sixty six, and
1:05:49
Speaker 2: there's been something of an outbreak of young, long haired
1:05:51
Speaker 2: dope smokers driving old cars from the US to Canada
1:05:55
Speaker 2: to escape the Vietnam Draft that opens that chapter.
1:06:00
Speaker 1: Forgotten that yes, because he came to America when most
1:06:05
Speaker 1: of the kind of young hip music people were getting
1:06:08
Speaker 1: the hell out of America in California because of the draft.
1:06:12
Speaker 1: It was a kind of very interesting direction to be going,
1:06:16
Speaker 1: and a perfect one. But he had something in mind.
1:06:19
Speaker 1: Over the years in Canada when Yor played in one
1:06:23
Speaker 1: of his bands or other, but mostly when he was
1:06:25
Speaker 1: doing his kind of folk music and solo music there,
1:06:29
Speaker 1: he had come across Stephen Stills, who was also doing
1:06:32
Speaker 1: his solo kind of folk music stuff, and he knew
1:06:37
Speaker 1: that this is a person who wanted to work with.
1:06:39
Speaker 1: You know, he likes his tools, he has his musicians
1:06:42
Speaker 1: or tools, and this was still and also he needed
1:06:46
Speaker 1: a buddy. He was young, I mean, and if you've
1:06:49
Speaker 1: got a nice hearse you don't have to get hotels.
1:06:52
Speaker 1: You know, at least three people can sleep in the
1:06:55
Speaker 1: hearts quite well. But what was so fascinating, It sounds
1:06:59
Speaker 1: almost kind of mythical, but is in fact true, is
1:07:03
Speaker 1: he was pretty much driving back to the freeway because
1:07:05
Speaker 1: he couldn't find Stills. You know, he was asking around
1:07:09
Speaker 1: his big city. I know, I used to live there.
1:07:12
Speaker 2: No cell phones.
1:07:14
Speaker 1: Exactly, no cell phones, thank you, And so he was
1:07:18
Speaker 1: looking around, and it was about to get back on
1:07:20
Speaker 1: the freeway and you know, go back somewhere else and
1:07:23
Speaker 1: try and find him somewhere or whatever, or go back
1:07:26
Speaker 1: home and somewhere in the traffic, even back then, the
1:07:31
Speaker 1: traffic was always solid on the sort of big bulevards
1:07:37
Speaker 1: out there. He spotted Stills, I mean in a car
1:07:41
Speaker 1: who could call into a sort of liquor store that
1:07:45
Speaker 1: was on a corner there and just stood outside. And
1:07:48
Speaker 1: there we go, the Buffalo and Springfield, the whole start.
1:07:51
Speaker 1: The button that got it going, though, I guess the
1:07:54
Speaker 1: button of mission Lee was coming down to down to
1:07:58
Speaker 1: La and leaving behind can so a good relationship, a
1:08:03
Speaker 1: deep relationship, a brotherly relationship with Stills. But my god,
1:08:08
Speaker 1: they were at each other like slipping cats the whole time.
1:08:12
Speaker 2: Wow. Yeah, I always just I always thought that would
1:08:16
Speaker 2: be with him and Crosby because Crosby's known to be
1:08:20
Speaker 2: similar to Neil that way. But you talk to people
1:08:23
Speaker 2: that have all these great insights as to Neil. One
1:08:26
Speaker 2: person saying Neil was a lot less reclusive back then,
1:08:29
Speaker 2: meaning the late sixties, than he was later. He used
1:08:33
Speaker 2: to hitchhiker on La with his friend the woman who
1:08:36
Speaker 2: wrote the song Windy Ruth Anne Friedman, and he hung
1:08:39
Speaker 2: with Jack meetsch Pacha, Ry Cooder and the Monkeys. Though
1:08:44
Speaker 2: everyone wrote them off as fakes, there was a big
1:08:47
Speaker 2: connection there, and Neil played on the music for their
1:08:50
Speaker 2: movie Head.
1:08:53
Speaker 1: Yeah, he was out and about.
1:08:54
Speaker 2: But again and Steven auditioned for the Monkeys. His teeth
1:08:58
Speaker 2: weren't nice enough, so they they said, sorry, yeah, yeah.
1:09:04
Speaker 1: I mean, but but back then you have to imagine,
1:09:07
Speaker 1: I mean, he wasn't known as such, other than maybe
1:09:11
Speaker 1: when he was playing at the Whiskey of Go Go
1:09:13
Speaker 1: with the dancing goals behind everything. You say you loved that.
1:09:17
Speaker 2: Well, they say that's where the Buffalo is the best,
1:09:20
Speaker 2: playing those gigs there the Whiskey, and even.
1:09:23
Speaker 1: You know, it was, but he was still having to
1:09:26
Speaker 1: kind of, you know, put himself around. You know, you
1:09:29
Speaker 1: had to if you start something at all. I'm sure
1:09:31
Speaker 1: when you started in your work as a writer, you know,
1:09:35
Speaker 1: you can't really just sit there and help it all
1:09:37
Speaker 1: comes to you. You know, that will come later once
1:09:42
Speaker 1: you're doing something that people know about and say, oh,
1:09:45
Speaker 1: let's call this pression. So but in the beginning, you
1:09:49
Speaker 1: are putting yourself about. And it was such an interesting
1:09:53
Speaker 1: thing because he was in a completely different country, you know,
1:09:56
Speaker 1: the between being you know where he was in Canada
1:10:01
Speaker 1: and being in the streets of La I mean, I
1:10:04
Speaker 1: flew out to la to be a rock writer in
1:10:07
Speaker 1: nineteen seventy seven, and I was because my eyes were
1:10:12
Speaker 1: as big as saucers. I was like almost kissing the
1:10:15
Speaker 1: ground and hugging palm trees. It was coming to some
1:10:19
Speaker 1: very strange place.
1:10:20
Speaker 2: That was not London, whole another world.
1:10:24
Speaker 1: He had what, well, it's a black boarding. I look
1:10:29
Speaker 1: at the side of that pizza, you know, right that.
1:10:34
Speaker 1: You know, he was going through all of those kinds
1:10:36
Speaker 1: of things, but also going through it out with a
1:10:40
Speaker 1: terrible disease, an ailment, which was epilepsy.
1:10:44
Speaker 2: Yeah, the strobe lights would trigger his seizures.
1:10:49
Speaker 1: It's certainly one of the things that it does. But
1:10:52
Speaker 1: it came to the point when they were out on
1:10:54
Speaker 1: the road. They were out on the road opening for
1:10:57
Speaker 1: the Beach Boys at one point where he had some
1:11:00
Speaker 1: terriber attacks and it got to the point where I
1:11:03
Speaker 1: think some of the members of the band thought that
1:11:05
Speaker 1: he was putting it on because you know, immediately there
1:11:08
Speaker 1: were seven beautiful girls who come up and nurses who
1:11:11
Speaker 1: are heading their hands and look after him. But it
1:11:14
Speaker 1: wasn't he was somehow doing that, you know.
1:11:17
Speaker 2: Wow. Thanks so much for checking out the Booked on
1:11:22
Speaker 2: Rock podcast. If you've just found the podcast, welcome. If
1:11:25
Speaker 2: you've been listening, thank you so much for your support,
1:11:28
Speaker 2: and make sure you tell a friend, a family member,
1:11:30
Speaker 2: share on social media and let people know about Booked
1:11:34
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1:11:36
Speaker 2: sure you subscribe give a five star review. Wherever you
1:11:39
Speaker 2: listen to the Booked on Rock podcast, run Amazon, Apple, iHeart, Spotify, Spreaker,
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1:11:47
Speaker 2: the full episodes on video, along with video highlights from
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Speaker 2: episodes on the Booked on Rock YouTube channel. Find it
1:11:53
Speaker 2: at Booked on rock. Thanks again for listening. Now back
1:11:57
Speaker 2: to the show. He wrote mister Soul in the hospital
1:12:01
Speaker 2: after he'd collapsed on stage. He collapsed a lot. According
1:12:04
Speaker 2: to the book, it would happen during the closing number.
1:12:08
Speaker 2: A lot seemed to happen mostly there. So he would
1:12:10
Speaker 2: collapse and then it would make sure to catch the
1:12:13
Speaker 2: guitar and make sure the guitar did breake and hit
1:12:16
Speaker 2: the stage, and off he went to the hospital many
1:12:19
Speaker 2: many times. I didn't realize it was that serious.
1:12:21
Speaker 1: It wasn't somehow, maybe it was like one of those youthful,
1:12:25
Speaker 1: youthful things he came out of, because I don't think
1:12:28
Speaker 1: it's very easy to actually eliminate it. I don't know
1:12:32
Speaker 1: for sure, but you know my feeling, is it something
1:12:36
Speaker 1: that you've got.
1:12:38
Speaker 2: And women loved him, They liked to take care of them,
1:12:41
Speaker 2: they wanted to mother him.
1:12:42
Speaker 1: It was that was her And he actually think you
1:12:45
Speaker 1: liked that himself, because remember he two of his wives
1:12:49
Speaker 1: were people who were owned or worked in restaurants, and
1:12:55
Speaker 1: we're good at serving people. There seems to be some
1:13:00
Speaker 1: thing in him at least that was drawn to people
1:13:03
Speaker 1: who were, you know, not maybe as flaky as some
1:13:07
Speaker 1: rock people.
1:13:08
Speaker 2: Might be Yeah, it's a dangerous thing with that culture,
1:13:14
Speaker 2: with the drugs and all that stuff. I would think
1:13:17
Speaker 2: he described as seizures as a psychedelic experience. To Cameron Crowe,
1:13:21
Speaker 2: you slip into some other world. Your body's flopping around
1:13:24
Speaker 2: and you're biting your tongue and batting your head on
1:13:27
Speaker 2: the ground, but your mind is off somewhere else. The
1:13:30
Speaker 2: only scary thing about it is realizing you're totally comfortable
1:13:33
Speaker 2: in this void and that shocks you back into reality.
1:13:37
Speaker 1: That is remarkable. I mean, that was a brilliant I
1:13:41
Speaker 1: think that Cameron did some of the best interviews ever.
1:13:47
Speaker 1: I think they really bonded. It was when Cameron was young,
1:13:51
Speaker 1: you know when and I think he kind of somehow
1:13:55
Speaker 1: felt I don't know if it was safe, but somehow
1:13:58
Speaker 1: you just felt good.
1:13:59
Speaker 2: To Knsican, what do you think Cameron's strength and what
1:14:04
Speaker 2: is this? What is his biggest strength? Why is he
1:14:06
Speaker 2: able to get such great interviews?
1:14:10
Speaker 1: I think that there was a kind of there was
1:14:18
Speaker 1: something that he has that I kind of think that
1:14:22
Speaker 1: I have a bit which was wanting to know, really
1:14:26
Speaker 1: wanting to know, really wanting to know what makes that
1:14:30
Speaker 1: person do what they do. Makes them come out with
1:14:35
Speaker 1: what they come out with with that.
1:14:37
Speaker 2: Work, and that makes the subject feel special, feel or
1:14:42
Speaker 2: feel respected.
1:14:44
Speaker 1: I think they feel that there this person is interested
1:14:51
Speaker 1: in the whole picture in a way and hasn't got
1:14:55
Speaker 1: an agenda, because you know, with magazines there's not always,
1:15:03
Speaker 1: but quite often there might be an editor who has
1:15:06
Speaker 1: some kind of an agenda, or they'll send you to
1:15:09
Speaker 1: interview somebody, but they don't tell you what questions to ask,
1:15:13
Speaker 1: but there might be a few that you can't not
1:15:17
Speaker 1: let them answer this, you know, it's that the awkward question.
1:15:21
Speaker 1: It's usually the one that's at the end of the interview.
1:15:25
Speaker 1: So if they decide to walk out, you at least
1:15:27
Speaker 1: have got frindy of stuff. But it's that thing this
1:15:32
Speaker 1: person seems to want to know for, you know, a
1:15:35
Speaker 1: different reason. I think maybe it was that, maybe it
1:15:40
Speaker 1: was the fact that he's a lot of journalists of
1:15:44
Speaker 1: my ear, the men, it was nearly all men. I
1:15:48
Speaker 1: wasn't the only woman, but it was quite often the
1:15:52
Speaker 1: case that I was when it was an interview day
1:15:55
Speaker 1: that a lot of the men back then who were
1:15:58
Speaker 1: journalists there were more into the kind of the olds
1:16:04
Speaker 1: of the previous kind of journalism that had come into
1:16:08
Speaker 1: the world, which was I've forgotten the word that they
1:16:12
Speaker 1: used for it begins it was.
1:16:16
Speaker 2: Having a brain made sensationalism.
1:16:19
Speaker 1: No, not so much that it was. In the seventies.
1:16:23
Speaker 1: Nineteen seventies, the style of journalisms really really changed. If
1:16:28
Speaker 1: you looked at magazines beforehand, they'd be like these really
1:16:32
Speaker 1: happy little pop magazines, all of war beetle, this wonderful stuff.
1:16:36
Speaker 1: Or there would be kind of serious articles if there
1:16:40
Speaker 1: was anything at all about music in the new newspapers
1:16:43
Speaker 1: pop music. But then this thing called gonzo journalism came in.
1:16:49
Speaker 2: Hunter Thompson, Yeah.
1:16:50
Speaker 1: Hunter Thompson and Hunter S. Thompson Gonzo, which was basically
1:16:55
Speaker 1: that you're playing a part in the whole story. You know,
1:17:00
Speaker 1: in the past, you wouldn't really be writing stories on say,
1:17:05
Speaker 1: if it was you're young, you wouldn't be talking about
1:17:07
Speaker 1: me and you're young and this it would be you're young,
1:17:11
Speaker 1: you're getting your story. But with gonzo, you're pretty much
1:17:15
Speaker 1: part of the character and the story, and it made
1:17:18
Speaker 1: for very interesting articles a lot of the time. Sometimes
1:17:22
Speaker 1: just completely you know, people just being you know, complete
1:17:28
Speaker 1: curdiots because they just want their name in print. Speaking
1:17:32
Speaker 1: that was the style back then. So I think that
1:17:36
Speaker 1: there was something about cameraon that was more, you know,
1:17:40
Speaker 1: it was more sort of honest and fresh in.
1:17:44
Speaker 2: A sense, genuine genuine interest.
1:17:47
Speaker 1: Because there was a whole lot of guys that would
1:17:49
Speaker 1: go to interviews stressed in their lever coats and look
1:17:52
Speaker 1: like I'm tough with a new while speaking to a
1:17:55
Speaker 1: heavy metal bond or something. There was quite a lot
1:17:59
Speaker 1: of sort of things like that going on in the
1:18:03
Speaker 1: UK as well, So I think there's something about him
1:18:07
Speaker 1: that kind of innocence because he was young and he'd
1:18:09
Speaker 1: done his homework and he had things he wanted to know,
1:18:13
Speaker 1: And I think that that appealed.
1:18:15
Speaker 2: To Neil yep. And you can't fake that. It's genuine
1:18:19
Speaker 2: interest in the other person.
1:18:21
Speaker 1: Exactly, and I kind of generally like to have that
1:18:26
Speaker 1: approach to I've found that over my career. I've when
1:18:31
Speaker 1: I've been reading biographies and especially book once that it
1:18:36
Speaker 1: might be one subject. For example, Leono Cohen and I
1:18:42
Speaker 1: thought that everybody has a gap, has has written a book,
1:18:46
Speaker 1: has gaps in the same place, and it's like, well,
1:18:50
Speaker 1: what happened in that gap? Why hasn't anybody done that?
1:18:53
Speaker 1: They all jumped because they're all referring to the last
1:18:57
Speaker 1: and adding or changing it around a little.
1:19:00
Speaker 2: Bit, and the gap just gets deeper.
1:19:02
Speaker 1: It's still there. I don't know if it gets deeper.
1:19:06
Speaker 1: I think it's just more annoying to me. And it's like, well,
1:19:10
Speaker 1: what happened in that gap? And in the case of
1:19:13
Speaker 1: Learning Caring, it was because I I'd gone to that.
1:19:19
Speaker 1: Leonard had put out an album called The Future, which
1:19:23
Speaker 1: was his biggest album in America, made him a lot
1:19:26
Speaker 1: of money. He was now much more known in the US,
1:19:30
Speaker 1: and in the past it had only been Europe and
1:19:33
Speaker 1: the UK that really kept him going. So he was
1:19:36
Speaker 1: making big money. He was engaged to be married to
1:19:41
Speaker 1: a wonderful, beautiful actress who had her own income, very big,
1:19:45
Speaker 1: you know, and also his life was together, and then
1:19:51
Speaker 1: he just decided to like pack his bag at the
1:19:54
Speaker 1: end of the tour, shave his head, wear monks clothes,
1:19:58
Speaker 1: and live on Mount Body. This god forsake amountain that
1:20:01
Speaker 1: I went to be because I was writing his book
1:20:04
Speaker 1: and I didn't know what it was like. And stayed
1:20:07
Speaker 1: there for like five and a half years, and then
1:20:10
Speaker 1: came back, you know, obviously left his Beyonce and left
1:20:14
Speaker 1: the band. It just went and nobody had seemed to
1:20:17
Speaker 1: think it was an idea to find out why they
1:20:22
Speaker 1: might have got he went to, you know, up to
1:20:26
Speaker 1: a zen monastery.
1:20:29
Speaker 2: Why that shots, because that's a story that was a story.
1:20:35
Speaker 1: Book, and it's it was these things you know that
1:20:41
Speaker 1: people never spoke to any of the women in Lena
1:20:44
Speaker 1: Cohens liked the women that loved him about his children
1:20:47
Speaker 1: who were the subject of songs. It's like, why they
1:20:52
Speaker 1: didn't do that? Why didn't they mention Neil Young's your
1:20:57
Speaker 1: wife part? You know, And it's these gaps almost like
1:21:03
Speaker 1: you're kind of being polite and you're not looking. Yes,
1:21:06
Speaker 1: if it was something that was something was so private
1:21:09
Speaker 1: that was not to be looked at, I'm very much
1:21:12
Speaker 1: inter closing the law. I don't want to hear behind
1:21:16
Speaker 1: bedroom doors or anything. But it's that thing of to
1:21:20
Speaker 1: get why have people not done that? So I think
1:21:23
Speaker 1: that that maybe Cameron's thing was he was really interested
1:21:27
Speaker 1: and so this kind of conversational approach I think was
1:21:32
Speaker 1: it seemed to be a bit of what his writing.
1:21:35
Speaker 2: Was like, yeah it makes sense, and.
1:21:39
Speaker 1: Loved music and was very smart and had a very
1:21:42
Speaker 1: good mind of what can make things you know what
1:21:47
Speaker 1: can make a good story not just for people to read,
1:21:50
Speaker 1: but that tells you something.
1:21:53
Speaker 2: Well, you've offered a great insight into not just Neil Young,
1:21:56
Speaker 2: which is what we wanted, you know, we were here
1:21:58
Speaker 2: to talk about, but in just being a great writer
1:22:02
Speaker 2: or journalist and asking the right questions. And it's cool
1:22:06
Speaker 2: because you know, I had my scripted questions and then
1:22:09
Speaker 2: we just like went off script that threw the questions aside,
1:22:12
Speaker 2: and it's like, let's just uh, let's just be yes,
1:22:14
Speaker 2: let's talk Neil, you know, and then whatever else comes
1:22:17
Speaker 2: up comes up. And I appreciate that. I think you've
1:22:20
Speaker 2: just made me a better interviewer. So thank you.
1:22:25
Speaker 1: I'm sure that you did a perfectly good job on
1:22:27
Speaker 1: your own and thank you. Yes, those are much more
1:22:29
Speaker 1: interesting for me than to just list, you know, what
1:22:33
Speaker 1: did you think about one person or what did he
1:22:36
Speaker 1: do with another person? Those I think are out there,
1:22:39
Speaker 1: easily found in the world. But I think it's that
1:22:42
Speaker 1: kind of you know, what is it about that kind
1:22:46
Speaker 1: of for me personally? Is that how come when I
1:22:49
Speaker 1: was your little girl in your sort of early teens,
1:22:54
Speaker 1: maybe by then in London, still living at home with
1:22:57
Speaker 1: my mom and dad. I will go out with money
1:23:00
Speaker 1: that I really had to work hard to get because
1:23:03
Speaker 1: all you can do is like sort of side jobs
1:23:05
Speaker 1: after score and I would buy and Neil Young all
1:23:09
Speaker 1: of them and I would sit there and learn every
1:23:12
Speaker 1: word backwards, you know. I would sit and you listen
1:23:16
Speaker 1: to after the Goal Rush and just like crying my
1:23:19
Speaker 1: up with the beauty of it and just all of
1:23:24
Speaker 1: these things. You just think this music suddenly appeared in
1:23:29
Speaker 1: in the age of the world when I came to
1:23:33
Speaker 1: like an age of wanting to hear music all the
1:23:36
Speaker 1: time and nothing else. And so yeah, it's that thing
1:23:40
Speaker 1: of who is this person who did this thing, who
1:23:43
Speaker 1: has made this? And I still go back, you know,
1:23:46
Speaker 1: depending on moods. I've got all different new albums for
1:23:52
Speaker 1: different moods of the day, and I just go. I've
1:23:55
Speaker 1: even got them in CD in case something happened to
1:23:58
Speaker 1: the vinyl. You know, here's you know, I've got the
1:24:02
Speaker 1: extras and I will just go and just bathing myself
1:24:07
Speaker 1: in it. I just drown myself in you know, Zoomer.
1:24:12
Speaker 1: If I'm in a Zoomer mood, wonderful, wonderful album or
1:24:16
Speaker 1: if I just want to lock out, is anything with crazy.
1:24:19
Speaker 2: That's great. There's nothing like making that connection with an
1:24:22
Speaker 2: artist and their music and music in general without it.
1:24:26
Speaker 2: Where are we right? And I get the feeling there's
1:24:28
Speaker 2: probably in your mind just more to Neil Young than
1:24:33
Speaker 2: you're probably curious to find out more about him. It's
1:24:37
Speaker 2: probably something else.
1:24:39
Speaker 1: I'm waiting for the next interview. I hope it's not
1:24:41
Speaker 1: on Zoom again New York. Please, it's much in person.
1:24:46
Speaker 1: But you know, one of the things that I loved
1:24:48
Speaker 1: about Neil too is I say that that thing that
1:24:52
Speaker 1: my writer friend called it, calling him the Emir of
1:24:55
Speaker 1: the awkward. You know. I love the fact that he's
1:24:59
Speaker 1: only lab suit him from making unrepresentative Neil Young albums.
1:25:05
Speaker 1: I mean, you cut, that's that's the pinnacle.
1:25:08
Speaker 2: That's that's rock and roll right there, that's the that's
1:25:15
Speaker 2: the best Neil. Like you said, nobody is the boss
1:25:19
Speaker 2: of Neil Young. The book Down Rock podcast is part
1:25:25
Speaker 2: of the Boneless podcasting network. If you're a fan of
1:25:27
Speaker 2: classic rock and classic film like I am, go to
1:25:30
Speaker 2: Boneless dot lovable dot app to find over twenty great
1:25:34
Speaker 2: shows there that's Boneless Downlovable dot app, or just go
1:25:38
Speaker 2: to bookdown Rock dot com. The Boneless podcasting Network. It
1:25:42
Speaker 2: is what you want to be. Listen with confidence. The
1:25:47
Speaker 2: book is Neil Young Reflections and Broken Glass. The updated
1:25:50
Speaker 2: edition out now.
1:25:52
Speaker 1: I don't know if you want to mention it, but
1:25:54
Speaker 1: it's out on a Third Man, which is it's got
1:25:59
Speaker 1: its own story little bit which is he's out on
1:26:02
Speaker 1: third Man, which it wasn't able for Jack White.
1:26:06
Speaker 2: Oh, I didn't know that they're okay third Man Third
1:26:10
Speaker 2: Man Books show. Maybe people should go. Let's see if
1:26:14
Speaker 2: do they have a website.
1:26:17
Speaker 1: On Amazon, But just in case they want to know,
1:26:20
Speaker 1: this was put out on the label that Jack White owns.
1:26:26
Speaker 1: You know, he's got his record label and he's got
1:26:29
Speaker 1: these two big two or three big stores, one in London,
1:26:32
Speaker 1: one in Detroit, one in Nashville. And of course he
1:26:37
Speaker 1: has history with Neil because Neill went to his studio
1:26:42
Speaker 1: and when in Nashville and in the studio there was
1:26:47
Speaker 1: one of those kind of kiosks like a phone kiosk,
1:26:50
Speaker 1: but it's a recording kiosk that they used to have
1:26:54
Speaker 1: in the oldie days in England at seaside resorts where
1:26:58
Speaker 1: you could put your money in a slot and you
1:27:00
Speaker 1: can record a forty five on it very primitively and
1:27:05
Speaker 1: you give it to your mom and dad. You know,
1:27:07
Speaker 1: they pat you on the head or kick up the butt,
1:27:09
Speaker 1: whatever you get.
1:27:10
Speaker 2: Yeah, yeah, you're.
1:27:12
Speaker 1: Not going to become a rockstar. And so there's so
1:27:17
Speaker 1: those two had history, and so it's come back to
1:27:20
Speaker 1: some a really good home. You know, it's come you know,
1:27:24
Speaker 1: it's come to your Jack White's label.
1:27:27
Speaker 2: That's great. Well, it is right here on the website.
1:27:29
Speaker 2: So I'm going to put a link up to the
1:27:32
Speaker 2: website third Man Books dot com. And they have your
1:27:35
Speaker 2: book up there among the new books with the Sleep
1:27:38
Speaker 2: comic book and ring Shout on Saturn. I am and
1:27:42
Speaker 2: I don't know why. It looks like a children's book,
1:27:44
Speaker 2: and there is yours right there. Neil Young Reflections in
1:27:47
Speaker 2: Broken Glass updated and revised, got its own page, So
1:27:50
Speaker 2: I will direct people to that page as well. Third
1:27:54
Speaker 2: Man Books dot Com.
1:27:56
Speaker 1: Fascinating to me that, you know, if he wanted to
1:27:59
Speaker 1: put that up out of thank what how would it is? Is?
1:28:03
Speaker 2: Yeah, fantastic And now it says May twenty six was
1:28:06
Speaker 2: the release date.
1:28:08
Speaker 1: Well, I think they put that up but they didn't
1:28:10
Speaker 1: have any books ready. So it's wonderfully it's got that
1:28:16
Speaker 1: kind of homegrown, quind of quality. You know, it's not
1:28:20
Speaker 1: very slick like a record label would kind of have
1:28:24
Speaker 1: exact dates of things coming out and where and then
1:28:27
Speaker 1: the interviews should be at that time. It was the
1:28:31
Speaker 1: absolute opposite to that. It was, you know, I think
1:28:35
Speaker 1: as a couple of people in London were saying, oh,
1:28:38
Speaker 1: we want to buy it, but it's not in yet.
1:28:40
Speaker 1: We look at it's coming at the end of August
1:28:44
Speaker 1: or something in the UK.
1:28:46
Speaker 2: So it's you know, well, not to embarrass you here, Sylvie,
1:28:50
Speaker 2: but here we go about the author. Sylvie Simmons, an
1:28:52
Speaker 2: award winning writer one of the foremost music journalists working today.
1:28:55
Speaker 2: Born in London, she moved to la in nineteen seventy seven.
1:28:59
Speaker 2: Sounds Ian, Karang Q and Mojo. You've written for author
1:29:03
Speaker 2: of a number of books, including the New York Times
1:29:05
Speaker 2: bestsellers I'm Your Man, The Life of Leonard Cohen and
1:29:08
Speaker 2: Face It Debbie Harris Memoir, and Simmons still writes for
1:29:13
Speaker 2: Mojo and has interviewed Neil Young on many occasions since. Yes,
1:29:17
Speaker 2: and you have all of the you have all of
1:29:19
Speaker 2: the right there, old school right there in front of
1:29:21
Speaker 2: you on hard copy.
1:29:23
Speaker 1: Right. Yeah, cool, and these cabinets that are on the
1:29:27
Speaker 1: wall the other side of nice.
1:29:29
Speaker 2: Thank you so much, Sylvie.
1:29:31
Speaker 1: This was great. Thank you, thank you, thank you. That's it.
1:29:41
Speaker 1: It's in the books.