That’s where the term “Spook the Horse” came from. We went in the studio to do this record and we played about two days and then Briggs showed up with John Hanlon.
I remember Neil and I talking about it and it seemed all good. We went through all those periods and then we finally got back together with Billy and Ralph. How did Crazy Horse reassemble after that?
Wow! I always say to Neil, “Do you have a copy? I just want to hear it for myself.” I played drums on Steve Jordan’s set with Neil and Charley and Steve. We did another take, and I tell you, that’s one of the joys of my life. And then Neil said, “Let’s get back to our instruments.” Steve walked past me, lowered his sunglasses and was like, “You’re doing pretty good, Poncho. Neil came in with his guitar and was like, “OK, everyone on their instruments.” Steve said, “Let’s try it like this.” And so I play drums on “Fuckin’ Up.” One take. I sat down behind his drums and he had this line figured out for “Fuckin’ Up.” I started playing the drums and we were getting into it. My son was drumming at that time, so we always had a drum set at home. Steve was playing my guitar and I love to play drums. Yeah! That’s where “Fuckin’ Up” was first recorded. Neil recently wrote that he wants to release those recordings as an album. SNL gave us a week at at the studio to rehearse. And we did it with Charley Drayton and Steve Jordan. Then we did Saturday Night Live without Chad and Rick. And then Neil and I went to Europe where he played an acoustic show and I played in the middle of it. And then Neil did a solo acoustic tour where Ben and I traveled with him and we played in the middle of the show. There were the Bluenotes and then we transitioned into the Lost Dogs and the Restless. Well, I’d been left for dead myself at times.
That led to the time where you played on Freedom with Neil with 1989, and Ralph Molina and Billy Talbot made a Crazy Horse album called Left for Dead, clearly implying there were some hurt feelings. We better step it up or we’re going to be gone.” I remember him coming to my room and being like, “Hey, it’s only me and you, Poncho. Ben Keith was playing with us then as part of Crazy Horse. Well, first Billy went missing in action and then Ralph went down. After a short bit, you were the last one standing. That band started with all three of you from Crazy Horse playing in it. The Bluenotes This Note’s for You era started at the end of 1987. It was coming out of kind of a dark period. Briggs was with us and we had a good light to guide us. If you really ask me, I thought the band was pretty healthy then. I know we played in a couple of tents, but they were really fun. I didn’t know we weren’t selling tickets. What we’re hearing is the musicians feeling their way - for only the second time onstage - through the new material from the just-out Ragged Glory.” “They’re not yet the smooth-galloping machine they would become on the full-blown tour, though. “Way Down in the Rust Bucket showcases a reconvened band that sounds newly motivated after increasingly sluggish and creaky shows in the Eighties,” wrote Rolling Stone‘s David Browne in a review of the set. It was released a week ago on CD and DVD as Way Down in the Rust Bucket.
#NEIL YOUNG RUST BUCKET REVIEW PROFESSIONAL#
But a six-camera team along with a professional audio crew captured the November 13th, 1990 show from the Ragged Glory period. The nightclub is a short drive from Young’s Broken Arrow ranch and it holds just about 800 people, making it a perfect spot for the group to try out new material in front of a friendly, hometown crowd, and they returned again in 1976, 1984, 1990, 1996, and 1997.ĭetails of the Seventies Catalyst gigs have been largely lost to time, while the later ones have only been heard via shoddy audience recordings. When guitarist Frank “Poncho” Sampedro hit the road for the first time as a member of Neil Young and Crazy Horse in November 1975, one of his first gigs took place at the Catalyst in Santa Cruz, California.
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