“I made a record called Island in the Sun about the planet Earth and invited David over to hear it at the house I had rented in Hawaii. We was not impressed with it and asked me to do something else. That was the first time that had ever happened to me. It was a good record, and I liked it. To accommodate David, I thought I would do a record that was a combination of that one and one that I was already hearing in my head to follow up. The second one, Trans , was inspired by my son Ben and his communication challenges. Because of Ben's quadriplegia, he couldn't talk or communicate in a way that most people could understand, so I made a record where I sang through a machine and most people couldn't understand what I was saying, either.I felt like it was art, an expression of something deeply personal. I called it Trans, meaning trying to get across from one world to another, being locked in a body without an intelligible voice, trying to communicate through the use of machines, computers, switches and other devices. It was a very deep and inaccessible concept”

“People told me not to get married; I didn´t listen. No one ever listens, it seems to me now. Perhaps people should stop trying to communicate. N was not a communicator; early on, I´d insisted on communication. Now I see his point acutely. I would love to have him back to not communicate with me. I would never ask for communication again, I would simply go elsewhere for the deep fish. Also, I´m not at all sure I want to hear what he has to say in this new vista. This works out well.”

“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.”

“[A]s soon as you try and take a song from your mind into piano and voice and into the real world, something gets lost and it's like a moment where, in that moment you forget how it was and it's this new way. And then when you make a record, even those ideas that you had, then those get all turned and changed. So in the end, I think, it just becomes it's own thing and really I think a song could be recorded a million different ways and so what my records are, it just happened like that, but it's not like, this is how I planned it from the very beginning because I have no idea, I can't remember.”

“I found a Bill Evans record in the bookcase and was listening to it while drying my hair when I realized that it was the record I had played in Naoko's room on the night of her birthday, the night she cried and I took her in my arms. That had happened only six months earlier, but it felt like something from a much remoter past. Maybe it felt that way because I had thought about it so often-too often, to the point where it had distorted my sense of time.”

“Reading was like an addiction; I read while I ate, on the train, in bed until late at night, in school, where I'd keep the book hidden so I could read during class. Before long I bought a small stereo and spent all my time in my room, listening to jazz records. But I had almost no desire to talk to anyone about the experience I gained through books and music. I felt happy just being me and no one else. In that sense I could be called a stack-up loner.”