LOS ANGELES – Critics, be warned: Whatever you might want to say about the way Neil Young sings the work of Bob Dylan, Willie Nelson, Gordon Lightfoot and several other songwriters on his intimate and idiosyncratic new album, “A Letter Home,” don’t call them covers.
“I don’t like to think of them as ‘cover tunes,’” Young said by phone from New York recently before making an appearance on “The Tonight Show Starring Jimmy Fallon” with his “Letter Home” co-conspirator, Jack White.
“Calling them ‘cover versions’ shows very little depth on the part of the reviewer,” he said. “These songs are the roots of who I am musically.”
“A Letter Home” represents another in a long line of intriguing tributaries explored on Young’s mercurial career. What began last year as simple curiosity when Young noticed people walking in off the streets of Nashville to use a vintage recording booth in Jack White’s Third Man Records complex quickly turned into a full-blown immersion in bygone recording technology.
Originally, the 1947 Voice-o-Graph booth was an audio counterpart to photo booths that allow passers-by to grab quick portraits of themselves. The original price of 35 cents per recording is still visible on the booth, which White restored to nearly original condition.
“They’d come in and sing a song,” said Young, 68. “I thought, ‘This is cool. Look at these people – everybody’s making records.’ I said to Jack, ‘I could probably make an album in this thing.’ He said, ‘Really?’ ”
Young took about three months thinking about songs he could perform solo – a format he’s often employed over his nearly half-century career. Thinking small was a necessity of the booth, which measures just under 3 feet wide and 4 feet deep. Two songs that featured White backing Young on piano required some old-fashioned American ingenuity: They shoved a piano up against the booth and left the door open so the microphone inside could pick it up. (In one of several whimsical facets of “A Letter Home,” the album credits indicate the songs are “Reproduced by Jack White III & Neil Young.”)
“It’s all about sitting down and playing a song and doing the whole thing,” he said. “There’s no production, it’s just a performance. It’s about the essence of the songs. We planned it out, and after three days we’d done them all.”
While most of Young’s selections were from the 1960s and early ’70s – Dylan’s “Girl From the North Country,” Lightfoot’s “Early Morning Rain” and “If You Could Read My Mind,” Nelson’s “Crazy” – he looks as far forward as 1980 for a second Nelson contribution, “On the Road Again,” a song that nonetheless encapsulated Young’s life when he was just getting his career off the ground decades ago: “The life I love is making music with my friends, I can’t wait to get on the road again.”
Nelson’s long been a close friend of Young’s, sharing status as co-founders (along with rocker John Mellencamp) of the annual Farm Aid benefit shows in support of family farmers. And Lightfoot was something of a role model for Young, demonstrating that it was possible for Canadian musicians to establish solid careers south of their border.
“He’s a master,” Young said. “I love Gordy’s songs. Both of the songs of his I did on the record are very touching and very emotional to me.”
As much as Young thought he was familiar with songs he’d long treasured, there was a learning process.
“I know all kinds of songs that Bob (Dylan) sings, but I just had to do that one,” he said of “Girl From the North Country.” “I’d never done it before. When I started playing it, I realized I don’t know this song at all. I don’t know the changes, I don’t know how to play it.
“A Letter Home” is being issued in three versions: a “standard version” (identified as Young’s preferred take) that captures the sound of the Voice-o-Graph discs on CD, 12-inch vinyl LP and six vinyl singles included in the deluxe box set. A version also is available for Young’s forthcoming audiophile-quality, digital music system, Pono.