Nobody loves a hearse like Neil Young.
a 500-page autobiography in 2012 and another of almost 400 pages two years later because he realized he hadn’t talked about cars enough. He rarely has a negative word to say about the dozens and dozens he has owned, most of them clunkers, except for the finicky and overcomplicated Citroën SM he admits he was just too stoned to drive. He talks to cars. They talk to him.
Young’s mother loaned him $150 for the used hearse after he dropped out of high school. He’d been a sickly kid, a difficult and distant adolescent, and then a charismatic but volatile young man. Crowds terrified him. The thought of going to the supermarket crippled him with anxiety. He describes his moods as unpredictable, coming and going like the weather. Over and over again, when he got scared or nervous, he would slip away. It became a habit, never showing up, disappearing.
So he bought another hearse, Mort Two, a 1953 Pontiac, and drove to L.A. to become a rock star. He left Ontario without telling anyone. “The great Canadian Dream is to get out,” he once told. He didn’t like that his friend drove Mort rough. “I’d be laying in the back of the hearse trying to sleep, but listening instead obsessively to the transmission.”
Thus began one of the most consequential musical partnerships of his life—and one of the most vexing. They loved playing together. But not much else. They were like “chalk and cheese,” said Linda McCartney. A decade later, “Long May You Run” was the title track on a tuneful but lackluster collection he and Stills salvaged from an acrimoniously disrupted CSNY session. Partway through the subsequent tour, Young pulled another one of his disappearing acts.
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