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Labels: collaborations, influences, musicians, neil young
An interview with Wilco's Nels Cline where he discusses the influence of Neil Young's music from Detroit Free Press:
Q: The last time Wilco was in town you were opening up for Neil Young at the Palace of Auburn Hills. Did you get to spend much time with Neil on the road?
Nels Cline: Not really. But I've been a huge fan of Neil's since his days in the Buffalo Springfield. His early solo work was the soundtrack to my teenage depression. His guitar style was crucial to me growing up.
On tour he was focused working on new material for his latest album, the one nobody likes ("Fork in the Road"). ... I sat and listened to every sound check and he seemed to be in a constant state of concentration on his new music. He seems like a total workaholic, with a super-powerful fierceness.
The last night of the tour for us with him was at Madison Square Garden, and he invited everybody onstage, including us and the band Everest. So we were all on stage with Neil doing "Rockin' In the Free World." I was so exhilarated watching Neil goin' at it I started crying.

Suddenly I hear a voice over the wires – is that Jay? No, I don’t think so … kind of a mumbling sing-song … but as it gets louder, I realize it is Jay, walking back to the phone. I begin to make out some words:
"What do you mean
He had bullet holes in his mirrors
He tried to do his best
But he could not
Please take my advice
Please take my advice
Please take my advice
Open up the tired eyes"
Wow.
“Tired Eyes” from Tonight’s The Night, Neil Young’s fractured 1975 tribute to recently dead friends. If the original wasn’t weird enough for you, you ought to hear Jay Bennett at the tail end of a long awake spell doing a weary Neil Young impression over a speakerphone.
Wow.
Jay Bennett: Okay, I’m back.
BR: Uhhh … Neil Young?
JB: Oh, (laughs) yeah. I kinda OD’d on Tonight’s The Night while we were working last night. My studio manager was playing it over and over and over. I finally said, ‘Look, I’m going to start weeping or fall asleep or pass out … you’ve got to play something up-tempo here – I’m trying to stay awake and stay focused and that ain’t gonna do it.’ But, hey: Neil Young – beautiful slop, you know? Can’t beat it.
BR: Oh, man – “Heart Of Gold” was the inspiration for my taking up the harmonica when I was a teenager. First time I heard “Heart Of Gold,” I said, ‘I want to do that; I can do that. It can’t be that hard - but it’s perfect.’
JB: Well, that’s the beauty of a harmonica – no wrong notes.
***
JB: When I sequence, I still sequence in terms of two sides. I still conceptualize it as a record with a side A and a side B.
BR: Really?
JB: Oh, man, I’ve been listening to so much vinyl at the studio lately … we must’ve listened to Nebraska and Tonight’s The Night about a hundred times apiece. It’s great: you’ve got, like, 15 minutes of music to a side – Neil’s records were always short – with an opener and a closer on each side. It really makes the process of sequencing a lot easier if you can define your opener and your closer on side A and side B … then you just have to fill in the gaps. It’s really an easier approach for me.
Bennett was a significant creative factor in Wilco, and Tweedy may have needed Bennett to stay focused creatively just as McCartney needed Lennon.Rest in Peace Jay.
From American Songwriter, The Meat Puppets’ Curt Kirkwood discusses musical infleunces on the band:
Q: When you guys first started, how did you arrive at your sort of country/psychedelic/cow punk sound, when you began playing songs that would have been labeled ‘hard core’?
Curt Kirkwood: Well we always just did that country thing. We were into Neil Young… a lot of Hank Williams and Johnny Cash. Of course, we tried to satisfy the kinda crowd that we had gotten in with. We liked the punk rock, we always thought it was more psychedelic, just a different style that had never been sung like that. Over the years, we had seen enough trippy jam shows and having played with enough of those bands to find out how much the hippies really don’t like punk rock, which was always a lot by my reckoning. We were never really a huge crowd pleaser at those things. And yet the Grateful Dead asked us to come out on tour with them one time in ‘89 to do some shows. Some people get it. But we always did it that way, recorded it and had a gas with it. But even the first two albums had country stuff on it, just louder.