Just prior to Townshend’s interview with Rolling Stone, Young took another sucker-punch on the musical promotion front as he decided to remove his catalogue from Spotify in protest against the streaming giant’s screening of potential misinformation.
With Young’s sale to the Hipgnosis Songs Fund, he may have heeded Townshend’s sentiments, but evidently, a few decades late. I think it probably helped us to come back.” It just reminded people that we were still there. They were on TV over and over and over and over again. One of the things that did happen, in a couple of places … with the use in CSI, fuck! It just hugely, dramatically, powerfully spread the word about the potential … These were some of the best songs that the Who had ever recorded. I started allowing my songs to be used for commercials, for film use, and not all of it was good. “In 1982, the Who closed down, and we weren’t earning money. “Of course, didn’t have happen to him what happened to me, which is The Who ended for a good ten years,” Townshend explained. He continued to detail his first flirtation with the wonders of television and commercial use of music – it brings money and keeps your name relevant. It seems that Townshend feels Young should have been more lenient with the use of his music in television and advertising. He’s such an incredible writer, and so much of his stuff is just unknown, partly because he keeps it tied so tight to his chest.”
I just think there’s so much stuff there that could be just turned into joy. The worst person to have control of Neil Young’s catalogue is Neil Young. “In a sense, it redeemed and gave credence to the fact that I’ve always felt the worst person … Let’s get into real trouble here. Townshend then illustrates his point by bringing in Young as an example, rebuking his prudence over the years.
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