Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / Neil Young, Part Two

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Neil Young, Part Two · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin. Now that you found yourself losing your mind? Are
• 0:36
  Speaker 1: you here again finding that book you want to start?
• 0:48
  Speaker 1: Real is Gone and Change. Welcome to part two of
• 0:56
  Speaker 1: Rick Rubin's conversation with Neil Young Unbroken Record. We just
• 1:00
  Speaker 1: heard some of Neil's song I Believe in You from
• 1:02
  Speaker 1: his nineteen seventy masterpiece After the gold Rush. It's one
• 1:06
  Speaker 1: of Rick's favorite songs on his favorite Neil album. It's
• 1:09
  Speaker 1: a song that inspired a mystical experience for Rick that
• 1:12
  Speaker 1: he'll try put it into words this episode. It's also
• 1:16
  Speaker 1: one of only two songs on that album to feature
• 1:18
  Speaker 1: Crazy Horse, the band Neil used exclusively on his newest album, Barn.
• 1:23
  Speaker 1: Rick talks to Neil about his new album, the sessions
• 1:26
  Speaker 1: for After the gold Rush, and when he started organizing
• 1:29
  Speaker 1: his massive archives. This is Broken Record liner notes for
• 1:46
  Speaker 1: the Digital Age. I'm justin Richmond. Here's part two of
• 1:53
  Speaker 1: Rick Rubin with Neil Young over Zoom was After the
• 1:56
  Speaker 1: gold Rush? The first thing you recorded at home? Yeah,
• 2:00
  Speaker 1: I recorded in that house in Japan. I love that one.
• 2:03
  Speaker 1: That's maybe maybe my favorite. Yeah. I love that one too.
• 2:07
  Speaker 1: I love the fact that Bonn is related to it.
• 2:10
  Speaker 1: In some of you ago ye put my finger on.
• 2:14
  Speaker 1: But it is related to it's a lot of the
• 2:16
  Speaker 1: same people. Niles is all over after the gold Rush.
• 2:19
  Speaker 1: There's a lot of piano playing on after the gold Rush,
• 2:23
  Speaker 1: either me or knows. That's the same thing with barn
• 2:26
  Speaker 1: It's interesting the way that moved out. Yeah, is the
• 2:30
  Speaker 1: song I Believe in You about a particular person. That
• 2:34
  Speaker 1: song was written probably in nineteen seventy and guessing maybe
• 2:39
  Speaker 1: a little earlier. It was written around the time I
• 2:43
  Speaker 1: joined sn one and I had written it around that
• 2:48
  Speaker 1: time along with birds, and I had come up with
• 2:54
  Speaker 1: this arrangement of all lunch and me and I did
• 2:59
  Speaker 1: all those three tracks at sunset Sound in the morning
• 3:06
  Speaker 1: with Crazy Horse before I would go. But it stills.
• 3:10
  Speaker 1: This house to practice was cs and one, so I
• 3:13
  Speaker 1: recorded those then then after the CSNY tour and after
• 3:18
  Speaker 1: all about I still have all those and that's why
• 3:21
  Speaker 1: they're on after the gold Rush, because that's when I
• 3:23
  Speaker 1: recorded after the goal. I see, do you remember who
• 3:27
  Speaker 1: the song was about? Was it about a person or
• 3:28
  Speaker 1: is it abstract? I'm really sure of the person, and
• 3:36
  Speaker 1: a lot of cases it's me mixed up with someone else.
• 3:40
  Speaker 1: So some of my feelings about now that you found
• 3:43
  Speaker 1: yourself losing your mind, how you here again? Finding the
• 3:48
  Speaker 1: one one thought was real was gone and changing. But
• 3:53
  Speaker 1: then it's this other thing, now that you made yourself
• 3:55
  Speaker 1: love me. It's like it's a funny song, isn't it.
• 3:59
  Speaker 1: It's a really good one, first of all song. A
• 4:06
  Speaker 1: lot of guys can relate to that. Yeah, you've made
• 4:10
  Speaker 1: yourself love me because you can't forget all of things
• 4:13
  Speaker 1: happened before. It's funny. I can't remember if I ever
• 4:17
  Speaker 1: told you the story, but I had a near death
• 4:20
  Speaker 1: experience to that song. Wow. I was driving was a
• 4:24
  Speaker 1: full moon, and there's a time of year. I don't
• 4:28
  Speaker 1: know the time of year, but there's a time of
• 4:29
  Speaker 1: year when you're driving from Malibu into town when there's
• 4:33
  Speaker 1: a very big full moon, big where it looks like
• 4:38
  Speaker 1: it's very close, Yeah, and it's sitting right on the horizon,
• 4:42
  Speaker 1: and it's you can't believe how big it is. It's surreal. Yeah,
• 4:46
  Speaker 1: when you're close to the horizon may appear to be
• 4:48
  Speaker 1: much bigger than when they get in the sky. So
• 4:52
  Speaker 1: I'm driving on PCH and I get onto the ten
• 4:55
  Speaker 1: and I'm listening. I'm listening to that album and that
• 4:58
  Speaker 1: song comes on and something happens. And it's funny when
• 5:01
  Speaker 1: I say near death, because I don't really know how
• 5:03
  Speaker 1: to describe it, but I have a feeling. I would
• 5:06
  Speaker 1: call it a positive feeling. I had to pull off
• 5:10
  Speaker 1: the side of the road because I couldn't drive, and
• 5:14
  Speaker 1: I felt like this, this is not the right way
• 5:17
  Speaker 1: to say it. The song did. The song affected me
• 5:20
  Speaker 1: in a way that took me out of myself where
• 5:24
  Speaker 1: I relate it to dying because I was no longer here,
• 5:28
  Speaker 1: I was gone, and it was a little scary, but
• 5:31
  Speaker 1: it was also beautiful. It was it wasn't bad. It
• 5:36
  Speaker 1: was scary, but it wasn't bad. It was not negative
• 5:39
  Speaker 1: and um and that's the only time it happened to
• 5:41
  Speaker 1: me in my life, that song. So I asked about
• 5:43
  Speaker 1: that song, but it hit me in a very very
• 5:47
  Speaker 1: hard way. That's in that song. I feel it. I
• 5:50
  Speaker 1: don't know why it is, but I feel it too. Yeah.
• 5:55
  Speaker 1: I can't put my finger on where it is in
• 5:57
  Speaker 1: the song, but I think it's uh, finding that what
• 6:01
  Speaker 1: you once thought was real was gone and changing. You know,
• 6:05
  Speaker 1: how can I place you above me? Yeah? Incredible. It
• 6:10
  Speaker 1: just all came out so fast it's that's why you
• 6:13
  Speaker 1: That's how real writers, in my view, have nothing to
• 6:17
  Speaker 1: do with what they're writing their vessels, you know. They
• 6:20
  Speaker 1: just they're in the right place at the right time.
• 6:24
  Speaker 1: They know how to be to not scare the song.
• 6:29
  Speaker 1: It's like we're trying to catch your rabbits, and you
• 6:31
  Speaker 1: don't hang out at the hole and look down the hole.
• 6:35
  Speaker 1: You've got to be, you know, blending and in school,
• 6:39
  Speaker 1: I'm a tree. I'm you know, I'm a part of
• 6:42
  Speaker 1: what's going on and not looking. I'm not looking at
• 6:45
  Speaker 1: the hole by seeing anything over there. I might take
• 6:48
  Speaker 1: a look, maybe I'm maybe I won't whatever. It's that
• 6:50
  Speaker 1: kind of an attitude about music, not being too serious
• 6:54
  Speaker 1: about catching the power of the song is incredible. And
• 6:58
  Speaker 1: now even talking about it, I can feel change in
• 7:02
  Speaker 1: my body just talking about, not hearing it, just discussing it.
• 7:05
  Speaker 1: It's there's some there's a lot of juju in that song.
• 7:09
  Speaker 1: Yeah there is. There's a version of birds, but if
• 7:13
  Speaker 1: you listen to it, it's Danny Whitten's on that song too.
• 7:17
  Speaker 1: That's one of the last great records that I made
• 7:20
  Speaker 1: with Danny. So he's playing all the guitar stuff for
• 7:24
  Speaker 1: nice Little things. I remember that making that quite a lot.
• 7:30
  Speaker 1: It was one of the first songs that I've used
• 7:31
  Speaker 1: the vibes on. There's a lot of things that I
• 7:34
  Speaker 1: did on that record that been doing ever since I
• 7:38
  Speaker 1: haven't done before. So that was an important record to me. Definitely.
• 7:43
  Speaker 1: I'm glad you got connected to it. Yeah, the song
• 7:46
  Speaker 1: that we talked about earlier from the new album with
• 7:49
  Speaker 1: stars in it, Welcome Back. I can't say it gives
• 7:52
  Speaker 1: me a feeling like that, but it's not the same
• 7:56
  Speaker 1: experience at all, but it definitely pulls me in somewhere deep. Now.
• 8:02
  Speaker 1: It's wild. I think when the stars are watching to
• 8:07
  Speaker 1: see how you how you are, It's like the stars
• 8:11
  Speaker 1: are watching you to see how you are, so you
• 8:14
  Speaker 1: feel this connection. Something cares about me seems to be
• 8:18
  Speaker 1: one of the stars. So there's that little part of it.
• 8:22
  Speaker 1: Because I wrote it so fast, I can remember how
• 8:24
  Speaker 1: I did it. Literally, those songs happened really fast. You
• 8:29
  Speaker 1: can tell there's somebody run on sentences to just go
• 8:32
  Speaker 1: on and on and on, and then they the playing
• 8:35
  Speaker 1: The horse plays great on that song. They're so connected
• 8:39
  Speaker 1: to the song. And in the movie you can hear
• 8:42
  Speaker 1: Ralph saying that's the ship afterwards. That's a ship, do
• 8:46
  Speaker 1: you know how to get Neil was really doing this shit.
• 8:49
  Speaker 1: That was our ship, that's what we do. And he
• 8:52
  Speaker 1: was a little bit you could tell he was just
• 8:55
  Speaker 1: a little off, a little niff because everybody wasn't going,
• 8:59
  Speaker 1: what a great book a record, Jesus, you know. Ralph
• 9:02
  Speaker 1: was going, that was the ship, you know, and I
• 9:06
  Speaker 1: even I I wasn't sure if that was it, or
• 9:09
  Speaker 1: if it was the one before it, or because we
• 9:11
  Speaker 1: only played it. I think we played it once the
• 9:13
  Speaker 1: day before and twice that day and that was it.
• 9:16
  Speaker 1: I think that was the last time, maybe the second
• 9:20
  Speaker 1: last time. It's amazing, just the feeling, the feeling and
• 9:24
  Speaker 1: the track. And it's also interesting because it's not really
• 9:27
  Speaker 1: like a song, like you said, the run on sentences
• 9:31
  Speaker 1: and it's more like a direct transmission of some kind.
• 9:34
  Speaker 1: You know. It doesn't have to fit in the structure
• 9:38
  Speaker 1: of how a song works because it's something different exactly. Yeah,
• 9:43
  Speaker 1: I know it was somewhere else. That one. That's Darryll's favorite.
• 9:47
  Speaker 1: It's mine too. She loved it since the first time
• 9:51
  Speaker 1: she heard it, and I you know, when it was fresh,
• 9:54
  Speaker 1: it was everybody was going, oh wow, what about that one?
• 9:58
  Speaker 1: And there's another one about a guy waiting on his
• 10:01
  Speaker 1: porch for somebody to make a delivery, and that's got
• 10:04
  Speaker 1: some some ambience, but it doesn't have the same depth.
• 10:08
  Speaker 1: But its just a very casual ambience that that is
• 10:12
  Speaker 1: similar to that AMBIANCELF exactly. And I being geographically oriented
• 10:18
  Speaker 1: myself to the music and where it is and when
• 10:23
  Speaker 1: it is, I feel that the Barn has more of
• 10:26
  Speaker 1: that in it. Yeah, so I'm going to go probably
• 10:29
  Speaker 1: back to the Barn. Yeah, I've written some more songs
• 10:34
  Speaker 1: that I'm working on. Strangely enough, I've written one song.
• 10:39
  Speaker 1: The first song that I wrote that would have gone
• 10:41
  Speaker 1: on Barn, I forgot. I didn't even do it, So
• 10:47
  Speaker 1: I'm gonna do that on the next one. And probably
• 10:49
  Speaker 1: you know, just because it's it was an honest forget.
• 10:52
  Speaker 1: It wasn't like I waited for anything. So I might
• 10:55
  Speaker 1: still be good, it might be fine. It's fresh, It's
• 10:58
  Speaker 1: never been fun. I've never played it with anybody, but
• 11:01
  Speaker 1: I know what it is. It's it's called break the chain.
• 11:04
  Speaker 1: Do the songs from the time you write them and
• 11:09
  Speaker 1: then you record them, how much do they change in
• 11:12
  Speaker 1: that from the from the thing that comes in to
• 11:15
  Speaker 1: the thing that happens in the recording that we get
• 11:18
  Speaker 1: to hear. Nothing changes except during the performance. During the performance,
• 11:25
  Speaker 1: if we hit the right whatever it is, the mantra,
• 11:28
  Speaker 1: the note, the rhythm, whatever you want to call it,
• 11:31
  Speaker 1: the ambiance, if we hit that vibe in the right place,
• 11:36
  Speaker 1: it opens up the window and changes start flooding in.
• 11:40
  Speaker 1: Improvisation start flooding in, and they all fit like a
• 11:43
  Speaker 1: vlove and everything's cool. And as long as as long
• 11:47
  Speaker 1: as I don't think, Yeah, poison, think thinking is you're thinking,
• 11:53
  Speaker 1: you're thinking. Somebody said that there's no thinking. So if
• 12:00
  Speaker 1: that happens again, we'll get we'll get something. And I
• 12:03
  Speaker 1: had another song that I so I have that one
• 12:06
  Speaker 1: and another one that I've written that there's probably going
• 12:11
  Speaker 1: to be ones, you know if I if I end
• 12:14
  Speaker 1: up doing it, I hope I do. It's almost like
• 12:17
  Speaker 1: poison to talk about it. Yeah, because it's not done.
• 12:22
  Speaker 1: I mean, it's not played, written, but I won't touch
• 12:26
  Speaker 1: it or look at it until I'm playing it with craziness,
• 12:30
  Speaker 1: so it will be preserved. Yeah, it may develop into something.
• 12:35
  Speaker 1: When I played with the horse, We'll be right back
• 12:38
  Speaker 1: with more from Neil Young After a quick break, we're
• 12:45
  Speaker 1: back with Rick Rubin and Neil Young. When did you
• 12:48
  Speaker 1: start recording around the full moon? I would probably happened
• 12:52
  Speaker 1: about early sentence. Was it based on something you heard
• 12:58
  Speaker 1: or something that you felt, or what started it? One
• 13:02
  Speaker 1: day I felt like I just played some music and
• 13:05
  Speaker 1: I felt great and everything's good and it's really good.
• 13:09
  Speaker 1: I remember feeling good that morning, feeling good about everything,
• 13:13
  Speaker 1: wanting to play more music, just being into it and
• 13:16
  Speaker 1: feeling like it's going to be good. And played them.
• 13:20
  Speaker 1: It was great, it was one was good. And then
• 13:22
  Speaker 1: a while later I got that feeling again. That happened,
• 13:26
  Speaker 1: you know, a month or so later, and then a
• 13:28
  Speaker 1: couple of months and I felt it again. I want
• 13:31
  Speaker 1: to get back in stem, play with play with somebody again,
• 13:35
  Speaker 1: with the horse or whatever. And then I started wondering why.
• 13:39
  Speaker 1: And then I started realizing, and I had a chronological
• 13:43
  Speaker 1: record for my work, and I said, well, why don't
• 13:46
  Speaker 1: I just go back see if there's any correlation between
• 13:49
  Speaker 1: the ones that have got this feeling and the ones
• 13:53
  Speaker 1: that you know in the time of day or the
• 13:57
  Speaker 1: time of months. And that's when I realized that there's
• 14:00
  Speaker 1: a window of opportunity that opens somewhere in the two
• 14:06
  Speaker 1: week period, perhaps the ten day period four or full moon.
• 14:10
  Speaker 1: It sort of starts coming and you can feel it.
• 14:13
  Speaker 1: And if you're open to it, you can feel it.
• 14:14
  Speaker 1: If you're not, if you're judging and trying to decide, well,
• 14:17
  Speaker 1: is this it or not, I'm looking for proof, I mean, forget.
• 14:21
  Speaker 1: So I was trying to be open to that. I
• 14:24
  Speaker 1: looked at my records, but I had, which we're pretty
• 14:28
  Speaker 1: primitive at the time, one of things will record it,
• 14:31
  Speaker 1: and then later again and again and again through the years,
• 14:35
  Speaker 1: I look kept looking, kept not that it's concisely perfect,
• 14:41
  Speaker 1: but it seems that there's always something going on in
• 14:45
  Speaker 1: the sky. There's also the new moon. When there's no moon,
• 14:51
  Speaker 1: it's just a sliver. You start seeing it, something happens,
• 14:55
  Speaker 1: you feel a change in your attitude. And then I said, well,
• 14:59
  Speaker 1: that's got to have something to do it. Something. So
• 15:02
  Speaker 1: I started, you know, looking at that way, and then
• 15:05
  Speaker 1: you know, I'm mostly just guessing that. I'm saying, I
• 15:08
  Speaker 1: think that the full moon that's allowed to do with it. Yeah.
• 15:12
  Speaker 1: There's a song called human Race on Umbarns that's about
• 15:18
  Speaker 1: the fires and floods. The children of the fires and floods.
• 15:21
  Speaker 1: It's about all of them. But that's going on, and well,
• 15:25
  Speaker 1: I can't we come together and stop it? Why can't
• 15:28
  Speaker 1: we all come together and deal with this thing that's
• 15:31
  Speaker 1: happening to us. The solo on that song was particularly fiery.
• 15:36
  Speaker 1: I remember that was probably for me, the best solo
• 15:39
  Speaker 1: on the album. On that song, yeah, I think you're
• 15:41
  Speaker 1: I think you're probably right now. That was done three
• 15:44
  Speaker 1: hours after the full moon. Yeah, the song was written
• 15:49
  Speaker 1: in the out in a one or two hours before
• 15:51
  Speaker 1: the full moon. The full moon was at eleven o'clock
• 15:54
  Speaker 1: eleven thirty that more. Yeah, So as I was walking
• 15:58
  Speaker 1: to the studio, which I do every processive open Field
• 16:04
  Speaker 1: to go to mont Walk, I had a piece of
• 16:06
  Speaker 1: paper and a pencil usually carrying. I had this, just
• 16:10
  Speaker 1: come up with a couple of changes, and now I
• 16:15
  Speaker 1: might have something on those or they're just changes that
• 16:18
  Speaker 1: you've got to do with the sides the horse and
• 16:20
  Speaker 1: think much about it. And then I wrote all the
• 16:22
  Speaker 1: words on the way there. And we even played that
• 16:25
  Speaker 1: song once. There's like three or four songs on this
• 16:28
  Speaker 1: record that only have them played once. Wow. Yeah, it's interesting.
• 16:32
  Speaker 1: It's a different approach. I try to find that moment
• 16:35
  Speaker 1: and I don't really care about everything. Therefore, there's lots
• 16:39
  Speaker 1: of unfinished records and lots of things that I just
• 16:43
  Speaker 1: put down, made a rough, kept on moving at other
• 16:47
  Speaker 1: things to do. Yeah, now I'm finding amazing. Would you
• 16:51
  Speaker 1: say your relationship to those songs have changed over time
• 16:55
  Speaker 1: or when you listen to them, is it like, does
• 16:58
  Speaker 1: it bring you back to where you were? Or tell
• 17:00
  Speaker 1: me what happens? Tell me what it's like to hear
• 17:02
  Speaker 1: something you haven't heard in forty years that you that
• 17:04
  Speaker 1: you recorded. Well, I know if I listen to I
• 17:07
  Speaker 1: believe it's going to feel just like I did the
• 17:09
  Speaker 1: day I did it. Yeah, So songs like that, records
• 17:13
  Speaker 1: that have got that thing, whatever it is, they never
• 17:17
  Speaker 1: lose it. They have it right for you. Don't get
• 17:19
  Speaker 1: tired of it. I mean it did nothing but listen
• 17:22
  Speaker 1: to that song and I get tired. Come back to it.
• 17:26
  Speaker 1: Your first breath of it is great. Yeah, it feels
• 17:30
  Speaker 1: like it always did to me. It does, and I
• 17:33
  Speaker 1: think that feeling in my body and I know, okay,
• 17:36
  Speaker 1: there it is. It's it's interesting and some people you
• 17:39
  Speaker 1: try to explain that to anyone think crazy. We start
• 17:43
  Speaker 1: on Monday. And stop on Friday. You don't waste any
• 17:46
  Speaker 1: time during the week in the Fire and Flood song.
• 17:53
  Speaker 1: It has Uh, it feels like biblical imagery. Did you
• 17:56
  Speaker 1: grow up in the church? Was that it was it
• 17:58
  Speaker 1: intentional to be biblical? No, But I think what happened
• 18:01
  Speaker 1: is when we put those vocals on it. I sang
• 18:05
  Speaker 1: the song Love and then we put the today children
• 18:11
  Speaker 1: of the Fires, and that's definitely got a church vibe. Yeah,
• 18:17
  Speaker 1: but choir singing and there's you know, Billy's voice and
• 18:21
  Speaker 1: Ralph's voice singing, and you talk about a savior, you
• 18:26
  Speaker 1: talk about a savior, and like there's a lot of
• 18:29
  Speaker 1: words that are definitely feel like they come from a
• 18:33
  Speaker 1: biblical place. It's interesting it happened so fast. I am more.
• 18:37
  Speaker 1: I don't know, Yeah, because I was writing while I
• 18:40
  Speaker 1: was walking, and I never even I never wasn't singing it.
• 18:44
  Speaker 1: I was just writing it down and then I put
• 18:46
  Speaker 1: it back in my pocket. I couldn't think of anything.
• 18:48
  Speaker 1: I didn't try to. I just put it away. Yeah,
• 18:51
  Speaker 1: and then when I waited, something else came along. I
• 18:54
  Speaker 1: started writing. I never I always just try to catch
• 18:58
  Speaker 1: what tones. I'm not trying to make any enough. Yeah,
• 19:02
  Speaker 1: There's another one that I really love on the new
• 19:05
  Speaker 1: album is again. I don't know the title, but it's
• 19:07
  Speaker 1: it's a complicated thing. Oh yeah, it's so complete. Coming
• 19:14
  Speaker 1: through the years. Yeah, coming through the years without your love,
• 19:18
  Speaker 1: it's like a it's like a thought of what it
• 19:21
  Speaker 1: would be like, what it's like to have a great,
• 19:25
  Speaker 1: you know, partner that helps you and loves you and
• 19:28
  Speaker 1: supports you and understands you, and it's there for you.
• 19:32
  Speaker 1: And if you can be part of your life and
• 19:36
  Speaker 1: understand her and put it back and get it back
• 19:39
  Speaker 1: in the same way, try to and do that. And
• 19:44
  Speaker 1: it's about that kind of field. It's, you know, coming
• 19:48
  Speaker 1: through the years without your love, it's it's it's imagining
• 19:52
  Speaker 1: what it would be like, but not even imagine just
• 19:56
  Speaker 1: going no, let's not do that coming through the years
• 19:59
  Speaker 1: about you. I'd rather be rich your love for me
• 20:02
  Speaker 1: a few years. So that's just the thing about how
• 20:05
  Speaker 1: lucky I feel, how good it is, also how scary
• 20:10
  Speaker 1: it is that it could be not dead, because I've
• 20:13
  Speaker 1: been in both places. That one songwriting wise, is different
• 20:17
  Speaker 1: in that it feels more like a traditional It almost
• 20:21
  Speaker 1: sounds like a sixties pop song. Yeah, it's not presented
• 20:25
  Speaker 1: that way, but songwriting wise, it feels very traditional and beautiful. Well. Thanks.
• 20:31
  Speaker 1: The other one that's like that is Don't Forget Love. Yeah,
• 20:35
  Speaker 1: that's like a C A minor F June seventh, over
• 20:39
  Speaker 1: and over in class. It's just like what so yeah,
• 20:44
  Speaker 1: But I couldn't stop playing and I and that song
• 20:47
  Speaker 1: took me a couple of months. I'm going this is
• 20:50
  Speaker 1: so jive, this song is I cannot I'm going away,
• 20:54
  Speaker 1: and I come by the piano again and I start playing. Wow,
• 20:57
  Speaker 1: I love these changes. And you know they're not new,
• 21:00
  Speaker 1: but I love them and it doesn't matter that they're
• 21:02
  Speaker 1: not new, because I'm not new. Eat. Yes, yes, And
• 21:06
  Speaker 1: I started just writing words and came. They came slowly,
• 21:11
  Speaker 1: but I didn't work out of My house is set
• 21:13
  Speaker 1: up in such a way that I have to go
• 21:16
  Speaker 1: buy the piano a lot to get from A to B.
• 21:18
  Speaker 1: So on my way from A to B or B
• 21:21
  Speaker 1: to A, I can stop at the piano and just
• 21:23
  Speaker 1: think for a little bit. You never know, you never know.
• 21:28
  Speaker 1: You have a song on the new album where you proclaim,
• 21:32
  Speaker 1: you proclaim your American status. It feels like a proudly
• 21:36
  Speaker 1: American song and even in the context of the song.
• 21:39
  Speaker 1: You mentioned that you came from Canada, but you're an American, Yeah,
• 21:42
  Speaker 1: And what was your view when you lived in Canada?
• 21:45
  Speaker 1: What was your view of America? It was a long
• 21:48
  Speaker 1: way away. I I was. I was up in Canada,
• 21:52
  Speaker 1: and I heard about America and I saw some great music.
• 21:56
  Speaker 1: It came from down there. And then when I started
• 21:59
  Speaker 1: playing my music and going to high school and playing
• 22:01
  Speaker 1: in my band, and you and this, and then I
• 22:03
  Speaker 1: decided to stop going to school and just play music.
• 22:06
  Speaker 1: And I went off towards Toronto town by Town, then
• 22:11
  Speaker 1: into Toronto, and I met a couple of Americans in
• 22:15
  Speaker 1: bands playing the clubs on the way. So I became
• 22:20
  Speaker 1: enamored of going down there to see what it was
• 22:22
  Speaker 1: all about myself. And then I ended up according for
• 22:25
  Speaker 1: Motown for a while. You know, that was an adventure
• 22:28
  Speaker 1: with Rickie James. I was from that that didn't work out.
• 22:32
  Speaker 1: That was gonna be really good. But that's when they
• 22:35
  Speaker 1: caught right for draft gudging, Yeah, putting the jail and
• 22:39
  Speaker 1: did something and screwed up Armiston. So as soon as
• 22:43
  Speaker 1: he got arrested, then the Motown deal went away, and
• 22:47
  Speaker 1: you were down They didn't want us without him, and
• 22:50
  Speaker 1: uh for good reasons. He was the least aaron. He
• 22:53
  Speaker 1: was a lot of the band. But I went, We
• 22:56
  Speaker 1: went Faullmer and I went back to Toronto and sold
• 23:01
  Speaker 1: all of our equipment and bought this hearse and got
• 23:04
  Speaker 1: ready to travel to Los Angeles to start over again
• 23:07
  Speaker 1: without just turned the BA agent. See what happened. So
• 23:10
  Speaker 1: we got We sold all the stuff which didn't belong
• 23:14
  Speaker 1: to us. So we sold the stuff that this investor
• 23:17
  Speaker 1: had bought for the band, all the equipment, and you
• 23:21
  Speaker 1: sold all all of that, bought the hearse and left town.
• 23:26
  Speaker 1: We were good boys. We were following ourselves, following He
• 23:32
  Speaker 1: wasn't missing any money. And somebody did that to me today,
• 23:36
  Speaker 1: it wouldn't be a killing it so it wouldn't matter
• 23:40
  Speaker 1: that much to me. But it wasn't a nice thing
• 23:43
  Speaker 1: to do, but we did. Then we were headed for
• 23:45
  Speaker 1: la Before that, I'd been to New York and did
• 23:48
  Speaker 1: a demo at Electra Saw in New York. I remember,
• 23:52
  Speaker 1: you know, trying to carry my twin Reverb down to
• 23:56
  Speaker 1: the bus station from from the village. It was a
• 23:59
  Speaker 1: long way and I just didn't have any money. So
• 24:02
  Speaker 1: we got there. But that that was my previous New
• 24:05
  Speaker 1: York City experience, and then I got to I really
• 24:09
  Speaker 1: had when you arrived in April Fools Day in nineteen
• 24:13
  Speaker 1: sixty six. And nothing's changed since we're still on the
• 24:19
  Speaker 1: same role. So when did you realize you were enamored
• 24:23
  Speaker 1: with America? You came down here, you started a band
• 24:26
  Speaker 1: with Stills. When did you start feeling like I'm an American?
• 24:30
  Speaker 1: When did that happen? Well, it was obvious I was
• 24:35
  Speaker 1: being American. I was paying taxes, I was playing all
• 24:40
  Speaker 1: over America for Americans. And you know, the one thing
• 24:45
  Speaker 1: about me was I was a Canadian. So when I
• 24:48
  Speaker 1: came out when the song, I came up with that
• 24:49
  Speaker 1: thing where I said, I'm a Canarican, a different thing.
• 24:53
  Speaker 1: That's what I the only way I could describe myself
• 24:55
  Speaker 1: at that point. So if it all worked out and
• 24:59
  Speaker 1: it's it's cool now now I am Athmerica. I got
• 25:03
  Speaker 1: my mom. It's a paper and I had to take
• 25:06
  Speaker 1: the test place. I answered all the questions the first time,
• 25:11
  Speaker 1: and they realized after that, but they stricted taking the
• 25:14
  Speaker 1: test and really kept track of what I was saying,
• 25:17
  Speaker 1: so they brought me back into the test again. Wow.
• 25:20
  Speaker 1: After I passed it, and they asked me all the
• 25:23
  Speaker 1: same questions, for which I kept saying, well, you know,
• 25:27
  Speaker 1: I answered this question, consult your records. Yeah, see what
• 25:31
  Speaker 1: I said. But they didn't have a witness that signed.
• 25:36
  Speaker 1: They didn't have the one thing they needed to put
• 25:39
  Speaker 1: me away because I had said things about weed. Said
• 25:44
  Speaker 1: they asked me if I had a smoke breed and
• 25:46
  Speaker 1: I said, yeah, smoke beleding and smoke weed for a
• 25:48
  Speaker 1: long time. I use it to write songs and it
• 25:51
  Speaker 1: helped me at times, not always, but I enjoy it
• 25:56
  Speaker 1: and removed me from reality sometimes in a way that
• 25:59
  Speaker 1: I enjoy. So I said that in the first interview. Yeah,
• 26:04
  Speaker 1: they wanted me to say that again. I said, well
• 26:07
  Speaker 1: I can't. I can't do that. I answered the question,
• 26:10
  Speaker 1: and you're asking me all the same questions. But there
• 26:13
  Speaker 1: were many more people in the room. Yeah, yeah, and
• 26:15
  Speaker 1: they were taking notes and according stuff fishy there was
• 26:19
  Speaker 1: something wrong with it, and I think, you know, this
• 26:22
  Speaker 1: was in the previous administrations here, and so I realized
• 26:28
  Speaker 1: that it was trying. They were trying to trap me
• 26:32
  Speaker 1: and my and my attorneys said, you got a watch
• 26:35
  Speaker 1: up because they're trying to get you to say everything
• 26:37
  Speaker 1: that you are to say. Yeah, so if you say
• 26:39
  Speaker 1: it now you're liable for it. But before they accepted it,
• 26:43
  Speaker 1: so you just got to leave it where it was.
• 26:45
  Speaker 1: That was very interesting In the song, you say you
• 26:49
  Speaker 1: see changes coming to this country. Do you view this
• 26:52
  Speaker 1: as an optimistic song or pessimistic song? Well, I think
• 26:55
  Speaker 1: it's an observance. It's not so much optimistic or I
• 26:59
  Speaker 1: don't think change is bad. Yeah, I think changes come
• 27:03
  Speaker 1: into this country or what could be happening here in
• 27:05
  Speaker 1: this country could ultimately end up being the best thing
• 27:08
  Speaker 1: that ever happened to America, where we discover that it
• 27:12
  Speaker 1: matters who we are, that it matters that we have beliefs,
• 27:17
  Speaker 1: that matters that we have a code of right and
• 27:19
  Speaker 1: wrong and what's true and what isn't true, and the
• 27:23
  Speaker 1: truth matters, all these things that you know that you
• 27:27
  Speaker 1: think is part of being an Americans to be forthright
• 27:31
  Speaker 1: and strong in your convictions and what it is and
• 27:34
  Speaker 1: say what you mean and stand behind it, and stand
• 27:36
  Speaker 1: behind your brother and you know, you know, stand beside
• 27:41
  Speaker 1: people who you think need help. They may be fellow
• 27:44
  Speaker 1: Americans in trouble. You could stand right there with them.
• 27:48
  Speaker 1: And that's what that song, that's what the feeling is
• 27:51
  Speaker 1: in that song, and I think it could be a
• 27:54
  Speaker 1: good thing, but like a lot of good things, it
• 27:57
  Speaker 1: doesn't feel really good at first. And this definitely qualifies
• 28:01
  Speaker 1: for that. We've got a lot on our plate. We have,
• 28:05
  Speaker 1: obviously we have. Climate change is just number one that
• 28:08
  Speaker 1: we ignore it, and number two is the pandemic, which
• 28:11
  Speaker 1: we ignore as much as we can. We're trying to
• 28:14
  Speaker 1: convince ourselves that we beat it now we can go
• 28:16
  Speaker 1: back to regular life, which is not true. That's a
• 28:20
  Speaker 1: that's a lie. That's not true. We used to have
• 28:23
  Speaker 1: a leader that told us everything was okay, and maybe
• 28:26
  Speaker 1: he thought it was nice to be comforting, and that's
• 28:28
  Speaker 1: kind of where he was coming from. And that's the
• 28:30
  Speaker 1: most gracious thing that I could say about that. But
• 28:33
  Speaker 1: I do think that, you know, we're on on the
• 28:38
  Speaker 1: edge of really discovering who we are. We need strong
• 28:43
  Speaker 1: leadership and we need need help from each other. We'll
• 28:49
  Speaker 1: be back with more from Neil Young. After a quick break,
• 28:55
  Speaker 1: we're back with the rest of Rick Rubin's conversation with
• 28:58
  Speaker 1: Neil Young. Tell me about protest songs. Over the course
• 29:02
  Speaker 1: of your life, you've written a lot of protest songs.
• 29:04
  Speaker 1: Tell me how you feel protest songs work in the world.
• 29:08
  Speaker 1: Tell me effective a protest song or what you imagine
• 29:11
  Speaker 1: it is. Well, it's reporting, it's talking about what's going on,
• 29:17
  Speaker 1: like Ohio is. Like Ohio is just basically a description
• 29:23
  Speaker 1: or something that happened and the feelings of young people
• 29:27
  Speaker 1: about it happened, you know, walking about soldiers cutting us down.
• 29:31
  Speaker 1: It's just that they're havn't been protest songs like that
• 29:35
  Speaker 1: on the radio at that time. And now if you
• 29:38
  Speaker 1: write a protest song like that, radio is gone. There's
• 29:43
  Speaker 1: nobody who has their balls to stand up and play
• 29:47
  Speaker 1: the song. They don't want They got it programmers, they
• 29:51
  Speaker 1: got people who decide what they play. They there's a
• 29:54
  Speaker 1: lot of people that would like to play what they
• 29:56
  Speaker 1: want to play. The way things are set up, it
• 29:59
  Speaker 1: doesn't matter. There's really no place for them to play it.
• 30:04
  Speaker 1: There's no radio to speak of anymore that we all
• 30:08
  Speaker 1: pay attention to. The great thing about them those days
• 30:11
  Speaker 1: was everybody listening to the radio, So everybody reads the
• 30:13
  Speaker 1: same thing. So if you get a message out there,
• 30:16
  Speaker 1: it got to a lot of people. Yeah, no longer happened.
• 30:20
  Speaker 1: So protest songs now are like fodder for media. Media.
• 30:26
  Speaker 1: Guess the comment on the protest song and everybody in there.
• 30:29
  Speaker 1: It becomes everybody's thing, and have a blog about what
• 30:33
  Speaker 1: it means, you know, put down the person who wrote it,
• 30:37
  Speaker 1: whatever it is. The day of the protest song as
• 30:41
  Speaker 1: an active way of changing it's probably past. It's funny
• 30:47
  Speaker 1: you talk about the media reaction because one of the
• 30:51
  Speaker 1: craziest things I've ever seen on television in my life
• 30:55
  Speaker 1: was you put out an album. I think it was
• 30:58
  Speaker 1: called Impeach the President or what was it called? Living
• 31:01
  Speaker 1: with War? Living with War? And is there a song
• 31:04
  Speaker 1: impeach about impeaching the president. Impeach the President. Let's impeach
• 31:08
  Speaker 1: the President. Okay, you were interviewed. I don't know if
• 31:11
  Speaker 1: you remember this, but this was one of the more
• 31:13
  Speaker 1: surreal things I've seen in my life. You are Neil Young.
• 31:16
  Speaker 1: You were interviewed on CNN. I think it was maybe
• 31:19
  Speaker 1: outside of Warner Brothers Records, the and the CNN interview.
• 31:24
  Speaker 1: It was a short interview. It was you know, it
• 31:25
  Speaker 1: was a minute long. Yeah, it was a young woman
• 31:29
  Speaker 1: who clearly had no idea of who you were. And
• 31:34
  Speaker 1: the CNN interview interviewer said, I remember she said to you, well,
• 31:39
  Speaker 1: you have this song about impeaching the president, and a
• 31:42
  Speaker 1: lot of people are saying it's really just like a
• 31:46
  Speaker 1: publicity stunt, and this is on the news, and I'm thinking,
• 31:50
  Speaker 1: I can't believe this is happening. I can't believe this
• 31:54
  Speaker 1: is where we are that someone from the news is
• 31:58
  Speaker 1: asking Neil Young at this point in his career, this
• 32:01
  Speaker 1: was not that long ago. If he was doing a
• 32:04
  Speaker 1: publicity stunt to get popular by talking about impeaching the president.
• 32:09
  Speaker 1: It was. It was surreal, it was, but it just
• 32:12
  Speaker 1: showed how much the times have changed, you know, and
• 32:15
  Speaker 1: the media has a great effect on things. And the
• 32:18
  Speaker 1: media is not brilliant. Media is another machine. It's another
• 32:23
  Speaker 1: there's another ceo, there's another leader calling the shots for
• 32:27
  Speaker 1: every station. And the media is, like I believe, the
• 32:32
  Speaker 1: most dangerous weapon in funding America. I don't think the
• 32:37
  Speaker 1: media is a big help when I see some of
• 32:40
  Speaker 1: these stations, either Fox or f MSNBCU not sometimes CNN,
• 32:48
  Speaker 1: some of the people on cn but they they present
• 32:51
  Speaker 1: stories in a way that to try to take a
• 32:55
  Speaker 1: side and kind of and then they have these little
• 32:59
  Speaker 1: personikety things they say, these little jokes about This is
• 33:03
  Speaker 1: real stuff, and this is our source of information, and
• 33:09
  Speaker 1: these people are twying with it like it's entertainment. They
• 33:12
  Speaker 1: can't tell a difference between their own notoriety and the
• 33:17
  Speaker 1: meaningfulness of the news. They don't have the respect for
• 33:20
  Speaker 1: the news they have. They're looking to present their image.
• 33:25
  Speaker 1: We don't want to harp on that forever. So let's
• 33:27
  Speaker 1: talk about something much makes it makes us feel bad. Yes,
• 33:30
  Speaker 1: let's talk about something. Yes, let's talk about something much
• 33:35
  Speaker 1: more important. Yeah. Do you still have the cigar store
• 33:39
  Speaker 1: Indian that used to be on stage with you sometimes? Yes?
• 33:43
  Speaker 1: Does he have a name, Woody Woody beautiful? Yeah? Where's
• 33:47
  Speaker 1: Woody these days? Where does he live these days? I
• 33:50
  Speaker 1: believe wood he's an Oxnard. It's a nice place. I
• 33:53
  Speaker 1: bet he likes Oxnard. He probably likes it a lot.
• 33:56
  Speaker 1: He's with my band equipment stuff, which he likes to
• 33:59
  Speaker 1: be with. Yeah, I bet that's where he feels good,
• 34:02
  Speaker 1: you know. And And what is it? Unfortunate victim of
• 34:08
  Speaker 1: the changing times? And Woody is a wooden Indian, Okay,
• 34:13
  Speaker 1: a wooden Indian with some cigars. But back in the day,
• 34:18
  Speaker 1: Indian tobacco is great. That's what all those tobacco stores
• 34:22
  Speaker 1: used to be proud to sell this tobacco that they
• 34:26
  Speaker 1: got from Indians, So having the chief out there with
• 34:30
  Speaker 1: some cigars kind of said something good. But in today's world,
• 34:35
  Speaker 1: I read about people saying, well, you know, you should
• 34:38
  Speaker 1: be ashamed of yourself for using the name crazy Horse,
• 34:42
  Speaker 1: and you've got to get rid of that wooden Indian.
• 34:44
  Speaker 1: That's just a disgrace. And I, you know, try to
• 34:48
  Speaker 1: tell wood about that. He doesn't believe it. And we
• 34:51
  Speaker 1: played one you know that was owned by Native Americans
• 34:56
  Speaker 1: and they were offended by Woody? Were they really? And
• 34:59
  Speaker 1: they were offended by Woody? And I said, well that's fine,
• 35:02
  Speaker 1: but wood he has to stay and listen. But we'll
• 35:05
  Speaker 1: just cover Woody up so nobody knows he's here. So
• 35:07
  Speaker 1: he put a blanket over Woody, beautiful Indian blanket over.
• 35:12
  Speaker 1: He was feeling okay, and everything was fine, and we
• 35:15
  Speaker 1: did our show and we went to the next show.
• 35:17
  Speaker 1: But I realized everybody's sensitive today about things. But to
• 35:21
  Speaker 1: be sensitive about things like that when there's so many
• 35:25
  Speaker 1: other things to really focus on, it are really meaningful. Yes,
• 35:30
  Speaker 1: is there a story behind the little lid up loves
• 35:33
  Speaker 1: Love sign that you have on the stage. Daryl loves
• 35:37
  Speaker 1: that sign. I got it from somewhere. She may have
• 35:40
  Speaker 1: gotten it in a junk store somewhere, because we always
• 35:44
  Speaker 1: visit these places where we can pick up all the
• 35:46
  Speaker 1: stuff on the highway, and so she met a government there.
• 35:50
  Speaker 1: I don't know where we got it, but it's always there. Now,
• 35:54
  Speaker 1: it's on stage all the time. I love it. I
• 35:57
  Speaker 1: do too. She does too. It arrived with her and
• 36:02
  Speaker 1: that'll be here forever. Earlier, you talked about the process
• 36:06
  Speaker 1: of becoming an American. Do you remember, and you revealed
• 36:10
  Speaker 1: in the first interview that you smoke pot on occasion.
• 36:13
  Speaker 1: Do you remember the first time you ever smoked pot? Yeah?
• 36:16
  Speaker 1: I think I smoked part of York Wild Village in Toronto,
• 36:20
  Speaker 1: probably in the nineteen sixty five. And do you remember
• 36:24
  Speaker 1: if it had any connection to music with you right away? No,
• 36:29
  Speaker 1: it didn't. There's a bunch of people sitting around in
• 36:32
  Speaker 1: a room under a cafe called the Riverboat, or next
• 36:36
  Speaker 1: door to the cafe called the Riverboat, which a music
• 36:38
  Speaker 1: place back in the sixth season in Yorkville. It's like
• 36:42
  Speaker 1: Greenwich Village in Canada. No, David Rays the guitar players
• 36:47
  Speaker 1: played with Fall a lot of great players even sell here.
• 36:53
  Speaker 1: But there's a lot of good things and uh, you
• 36:56
  Speaker 1: know a company of guitar player accompanies David Gray acoustic guitar,
• 37:02
  Speaker 1: and he had some leads. So I tried it. I'd
• 37:04
  Speaker 1: never tried to. Sitting around with six or seven people.
• 37:08
  Speaker 1: When's the first time noticed how it affected music? First
• 37:13
  Speaker 1: time I smoked something played with the band. Then it
• 37:17
  Speaker 1: became really obvious at the time that that happened. That
• 37:20
  Speaker 1: wave of people discovering marijuana and music. Was everybody doing it?
• 37:25
  Speaker 1: Was it like a known piece of the puzzle or doorway?
• 37:33
  Speaker 1: It was kind of the underground of music. There was
• 37:36
  Speaker 1: that underground. Not everybody did it, A lot of people
• 37:39
  Speaker 1: in the underground. Yeah, and clubs. I was just starting.
• 37:43
  Speaker 1: You couldn't it wasn't life so prevalent that you could
• 37:46
  Speaker 1: walk in club and smell it. It's not like that yet.
• 37:49
  Speaker 1: It smell it on the street, but not somewhere Warrior
• 37:52
  Speaker 1: in the cloth space with the people. Earlier, you mentioned
• 37:56
  Speaker 1: the Rust, how the guitar rig changed right before Rust?
• 38:00
  Speaker 1: How did how did it work out for you to
• 38:02
  Speaker 1: film the Rust tour? Well, Larry Johnson meant good brow
• 38:07
  Speaker 1: and David Meyers, director of photography, and you guy named
• 38:13
  Speaker 1: Fred i'm er as a producer. You know, we just
• 38:17
  Speaker 1: started thinking about filming it because it was a concept
• 38:23
  Speaker 1: as a concert, it had a story as a concert,
• 38:27
  Speaker 1: it was an ambience place, and so we wanted we
• 38:32
  Speaker 1: decided to try to make a film. Mean, I was
• 38:35
  Speaker 1: hanging out with Larry all the time and just made
• 38:37
  Speaker 1: all we had made already a few years back before
• 38:41
  Speaker 1: that movie. In seven and one seven two, we make
• 38:44
  Speaker 1: Journey through the Past, which is my first film. I'm
• 38:48
  Speaker 1: really not a filmmaker, you know. I make movies mostly
• 38:52
  Speaker 1: for fun. I like to do it for fun. It's
• 38:55
  Speaker 1: fun to do. It's great to create these and create
• 38:59
  Speaker 1: these scenes and everything. You know. I can't really, I'm
• 39:02
  Speaker 1: not I can't compete with all of the moviemakers because
• 39:05
  Speaker 1: that's not what this is. I'm not doing that. It's
• 39:07
  Speaker 1: about music and film fantasy. Yeah, different, that's what I like. Cool.
• 39:14
  Speaker 1: I'm excited to see all of the eight films that
• 39:17
  Speaker 1: you talked about finding through the archive project. That would
• 39:21
  Speaker 1: be great to see. Yeah, they're gonna be fun. That's
• 39:23
  Speaker 1: a good that's a that's a good ride. There's I
• 39:26
  Speaker 1: think there's eight maybe nine that I think there's this
• 39:29
  Speaker 1: is why this set is, you know the film start
• 39:33
  Speaker 1: in a set, you know, volume three. There's a lot
• 39:37
  Speaker 1: of evolution of ideas. Plus that's some audio documentary audio
• 39:42
  Speaker 1: which I've done, like one one disc. Then the non
• 39:48
  Speaker 1: star Nicolette Morrison. Mean, sitting around the table with David
• 39:53
  Speaker 1: Briggs and I'm playing every song that I've just written
• 39:58
  Speaker 1: for them, and they're starting to sing the parts while
• 40:01
  Speaker 1: I'm playing for the first time. So there's like ten
• 40:05
  Speaker 1: or twelve songs, you know, Long Day one and those
• 40:08
  Speaker 1: kinds of songs from that era, and they're all saying
• 40:13
  Speaker 1: and get going and laughing. It's more like a you know,
• 40:17
  Speaker 1: it's a doctor you doctor musical. Yeah it sounds great. Yeah,
• 40:24
  Speaker 1: it's interesting. I mean I think people need more of
• 40:26
  Speaker 1: the real thing behind the music. Yeah, and I can
• 40:30
  Speaker 1: put out all my records, but I've already put on
• 40:33
  Speaker 1: my records. I put the backstory of the records out
• 40:36
  Speaker 1: a little bit, or things you might have missed or
• 40:39
  Speaker 1: things that got left behind on the search for perfection
• 40:43
  Speaker 1: organ songs. It's quite often the original things that happened
• 40:48
  Speaker 1: when you look back and go, wow, why did we
• 40:51
  Speaker 1: go by that? Why didn't we just stay right there
• 40:54
  Speaker 1: and go home. So I've discovered a lot of things
• 40:57
  Speaker 1: like that in the archives, because it's like nine hundred songs,
• 41:02
  Speaker 1: whatever it is. I can't wait to hear the whole
• 41:06
  Speaker 1: to sit back and you know, sit back and relax
• 41:10
  Speaker 1: the whole thing, and probably take a day to listen
• 41:12
  Speaker 1: to beautiful. It's great, cool man. Well, it's a pleasure
• 41:16
  Speaker 1: speaking to you as always too. I miss you and
• 41:19
  Speaker 1: I love you likewise, my friend, and I look forward
• 41:23
  Speaker 1: to seeing you in person, giving you a big hug
• 41:25
  Speaker 1: sooner than later. Yeah, me too. Maybe we can get
• 41:28
  Speaker 1: together and listen to our hard luck stories. Oh my god,
• 41:32
  Speaker 1: I haven't heard it since then, So I'm gonna and
• 41:34
  Speaker 1: I'm gonna wait to listen until we listen together. I
• 41:36
  Speaker 1: want to listen to it with you. Okay, that'll be great.
• 41:38
  Speaker 1: It's gonna be fun stories. Modern world. We live in
• 41:43
  Speaker 1: a modern world. Oh yeah, meat song. Yeah, and they
• 41:49
  Speaker 1: were great. If we if edman from me cutting my
• 41:51
  Speaker 1: finger or whatever, that we're probably won had on record
• 41:55
  Speaker 1: right there and album that everybody would know. Now, all good,
• 41:58
  Speaker 1: all good, whatever we trust the universe's order of events,
• 42:02
  Speaker 1: All good, exactly exactly we do cool man all right,
• 42:06
  Speaker 1: Speak to you soon. Love to Daryl, Thanks Man, be well.
• 42:13
  Speaker 1: Thanks to Neil Young for spending so much time with
• 42:15
  Speaker 1: us talking about his creative process and about the new
• 42:17
  Speaker 1: material he's getting ready to release in the new year.
• 42:20
  Speaker 1: You can hear all of our favorite Neil Young songs
• 42:22
  Speaker 1: at broken Record podcast dot com. You can follow us
• 42:26
  Speaker 1: on Twitter at broken Record. Broken Record is produced with
• 42:29
  Speaker 1: help from Leah Rose, Jason Yambrel, Martin Gonzalez, Eric Sandler,
• 42:34
  Speaker 1: and Jennifer Sanchez, with engineering help from Nick Chaffey. Our
• 42:38
  Speaker 1: executive producer is Mio LaBelle Broken Record is a production
• 42:42
  Speaker 1: of Pushkin Industries. Please remember to share, rate, and review
• 42:45
  Speaker 1: us on your podcast a. Our theme musics by Kenny Beats.
• 42:49
  Speaker 1: I'm justin Richmond.