“Briggs was living in Toronto at the time and had started a studio called Thunder Sound. He recorded the Massey Hall show. He thought this live show should have come out right away and was disappointed and disagreed with my decision to instead put out Harvest-he thought it was not as good as the Massey Hall recording. "It's great, Neil," Briggs said. "Put it out there." But that was not to be.When I heard the show thirty-four years later while reviewing tapes for my archive performance series, I was a little shocked-I agreed with David. After listening, I felt his frustration. This was better than Harvest. It meant more. He was right. I had missed it. He understood it. David was usually right, and when I disagreed with him, I was usually wrong. Every time I go into the studio or onstage, he is missed.”

“After a few months, I decided to do one more leg of the Le Noise tour and film the last show with Jonathan Demme in Toronto's Massey Hall/ It turned out to be a great night. Everyone was very happy because we had captured it. During a review of the digital files, we realized that the resolution was not full, it was a stepped down quality, not the best it could be. My own team's excuses were not adequate, because I was not informed of the decision to go to a lesser quality. Lesser quality is so accepted as normal now that even I had used it unknowingly. I went back to Massey Hall and set up a PA system like the one I used at the show, played back the mixes through the PA, and rerecorded the house sound at the highest resolution. I did the best I could with a bad situation. It does sound great now. Thankfully, the PA mix was only one step down from the highest resolution, so when it resonated in the hall and was rerecorded at the highest level, a high resolution hall sound was captured.”

“I get back in the Continental and continue down the road to the cafe. Then I pull in and there's Larry Johnson's '57 Ford pickup in the parking lot. As I enter the little cafe, I see Larry and Briggs in the corner, drinking some coffee and having a late breakfast. I go right over and sit down with them. We don't say much. David says something about Kirby getting a job at one of the studios. Kirby is very good with his hands and can fix anything, plus he has a very friendly personality. We are happy for him. Larry has to make a call and gets up, heading for the pay phone in the corner. He has us get him another coffee when the waitress comes back. Briggs looks at me and asks what I've been doing.”

“I know his death could have been avoided with a doctor who was really on top of it. He had so much life in him. It was wrong. I played my way through that first show and did "Old Man" for Ben (Keith) at the end. I looked over to my right and he was out there somewhere, but not next to me anymore.”

“Danny and the Memories was the band at the root of Crazy Horse. They were a vocal group with Danny Whitten, Ralphie, Billy, and a guy named Ben Rocco. When I recently saw their old video of "Land of a Thousand Dances" on You-Tube, I realized that is is truly the shit. You know, I looked at it maybe twenty times in a row. Even though Danny was amazing and he held the Horse together in the early days, I did not know how great Danny was until I saw this! The moves! What an amazing dancer he was. His presence on that performance is elevating! He is gone, and no one can change that. We will never see and hear where he was going. I am telling you, the world missed one of the greatest when Danny and the Memories did not have a NUMBER ONE smash record back in the day. They were so musical, with great harmonies, and Danny was a total knockout! I am so moved by this that it could make me cry at any time. This is one of those many times when words can't describe the music.Danny and the Memories eventually transformed into the Rockets; they were playing in this old house in Laurel Canyon, and I somehow connected with them while Buffalo Springfield was at the Whiskey. We had a lot of pots jams in the house. Later on I saw Danny and the guys at somebody's house in Topanga. After that I asked if Danny, Billy, and Ralphie would play on a record with me. We did one day, practicing in my Topanga house, and it sounded great. I named the band Crazy Horse and away we went. The Rockets were still together, but this was a different deal.At that time, I thought Danny was a great guitarist and singer. I had no idea how great, though. I just was too full of myself to see it. Now I see it clearly. I wish I could do that again, because more of Danny would be there.I have made an Early Daze record of the Horse, and you can hear a different vocal of "Cinnamon Girl" featuring more of Danny. He was singing the high part and it came through big-time. I changed it so I sang the high part and put that out. That was a big mistake. I fucked up. I did not know who Danny was. He was better than me. I didn't see it. I was strong, and maybe I helped destroy something sacred by not seeing it. He was never pissed off about it. I wasn't like that. I was young, and maybe I didn't know what I was doing. Some things you wish never happened. But we got what we got.I never really saw him a sing and move until I saw that "Land of a Thousand Dances" video. I could watch it over and over. I can't believe it. It's just one of those things. My heart aches for what happened to him. These memories are what make Crazy Horse great today. And now we don't have Briggs, either, for the next record, but we have the spirit and the heart to go on. And we have John Hanlong, taught by Briggs, to engineer this sucker. It will rock and cry. Please let's get to this before life comes knocking again.”

“I was not doing what I was told to do. And they sued me for making music "uncharacteristic of Neil Young." That was Geffen Rocords' biggeest mistake, I think. The mistakes all started when I caved and didn't give them Island in the Sun. They wanted me to be commercially successful, and I wanted to be an artist expressing myself-those two goals are not always compatible. I was expecting to have the same artistic freedom that I had at Asylum Records, but Geffen Records wanted me to be a smash, selling millions of records. Most important, Geffen was not a hands-on at Geffen Records. He had other people doing that. It showed.”

“So now here we were with David's second big bout against whatever it was, and it had pretty well gotten him. He was taking a lot of morphine for the paid and looked terrible, although the spirit was still in his eyes, weak as it was."Do you have any advice for me on my music going forward?" I asked David."Just make sure to have as much of you in the recording as you can," he said. "Stay simple. No one gives a shit about anything else."He tole me to keep it simple and focused, have as much of my playing and singing as possible, and not to hide it with other things. Don't embellish it with other people I don't need or hide it in any way. Simple and focused. That is what I took away. He didn't exactly say that, but I got the message. I have failed to do that in some instances. "Be great or be gon," his famous phrase, choes in my head. I have to remember that for sure. Damn.So I left the apartment after a hug. It was devastating. He died a week later. He wanted to go. His body was all fucked up and it was not easy. His tenacious spirit would not let him go.”