If you play something he doesn’t like, boy, he’ll put a look on you you’ll never forget. Neil hires some of the best musicians in the world and has ’em play as stupid as they possibly can.
Neil Young famously likes his drummers to play simple. Sometimes it feels as many as half his songs are built on the same rhythmic chassis: boom-boom tssch, boom-boom tssch, about 80-90 bpm. It’s his feel, and he’s always made it work for him. It’s impossible to tell whether he adopted it because it was all Crazy Horse’s Ralph Molina could play, or whether he suggested it to Molina, but either way it stuck.
He said to me, “I don’t want any right hand” – no cymbals – which was really tough for me, because I was havin’ to think about what I was playin’ rather than lettin’ it come natural.
That’s Kenny Buttrey (taken from Jimmy McDonough’s Shakey*), who occupied Young’s drum stool for Harvest and its quasi-sequel Harvest Moon, talking. Buttrey was a successful Nashville drummer who’d played on the R&B track Anna (Go to Him) by Arthur Alexander in 1962 and crossed over into rock with his appearance on Blonde on Blonde. Buttrey’s best performances on that album are things of wonder – country funk with a great-feeling backbeat. He’s wonderful on Visions of Johanna, Most Likely You’ll Go Your Way and on more delicate tracks like Just Like a Woman. However, it’s not nit-picking to say that he didn’t quite have the right authority for Pledging My Time and Leopard-Skin Pillbox Hat (compare the oafish but so much more physical take from the 1966 tour with the Hawks – the “Royal Albert Hall”** show with Mickey Jones on drums. Compare also how much more satisfying Bobby Gregg’s heavier performances on Highway 61). Buttrey, then, wasn’t a great pick for live heavy-rock shows, as would become apparent on the Time Fades Away tour, but fantastic in the studio with the right kind of material.
Having been at the forefront of the early crossover between rock ‘n’ roll and country music on subsequent Dylan records John Wesley Harding and Nashville Skyline, though, made him a natural fit for Young’s Nashville band the Stray Gators, even if, like Tim Drummond and Ben Keith, he was brought in by producer Elliott Mazer because the guys he really wanted all spent their weekends fishing. And, appropriately, my Buttrey choice – and really it could have been any one of another half-dozen tunes, since the differences in beat are often minimal – is Out on the Weekend, Harvest‘s opener.
Like most of the Harvest material (the time and tempo changes of Words (Between the Lines of Age) being the obvious exception), Out on the Weekend allows one to play the fun game of listening out for the little licks and subtle variations Buttrey tries to sneak in without Young noticing: the odd little semi-quaver stutter on the kick, a little bit more of that dreaded right hand, in the second half of the second verse. Kenny Buttrey’s work on Harvest is a reminder that while playing to a demanding artist’s specifications may be an ordeal (what first-call Nashville player would cheerfully submit to being transformed into a Ralph Molina clone?), it can pay huge artistic (and financial) dividends.
*I’ve retained the punctuation as it appeared in Shakey. McDonough’s habit of representing a Southern accent by dropping terminal “g”s, and rendering “interesting” as “innaresting'” whenever Young says it, becomes rather wearying over 700 pages, but source material is source material.
**It was actually recorded at the Manchester Free Trade Hall, but the show – with it’s “Judas!” moment – went down in legend as having been at the Albert Hall. The quote marks do appear on the record sleeve, by the way.