The result is muffled, distorted and buried beneath layers of crackle and hiss. A Letter Home was made in a restored 1947 Voice-O-Graph booth, a fairground attraction that allowed users to take home a vinyl record of their voice. It is at this point in the story that the reader should brace ourselves for a truly classic example of Neil Young being Neil Young: behaving in a manner so wilfully contrary that bafflement seems the only possible response.Īt the height of an argument in which he is embroiled as the staunch defender of the importance of high-fidelity sound, he's taken it upon himself to release arguably the lowest-fidelity album ever made by a major artist. He has poured a great deal of his own, and indeed other people's money into the Pono system, a high-resolution digital music service, due to launch later this year, that he claims will "rescue the art form that I've practised for 50 years".
It can hardly have failed to escape your notice that Neil Young has recently been engaged in an argument about the need for better sound quality in the MP3 age.
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