Neil Young, Part Two

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