He Came Dancing Across The Water, Cortez — What A Killer

Neil Young has dispatched a crew of soundmen to steal our soul:

All week, a man with a microphone has walked the subway platforms to collect the clattering of the rivets and the whistling horns, the distortion in the loudspeaker, the hush in the compressor’s song and the dying of the brake like some wounded thing.

Even in that racket, some find value. The recordings are the chief selling point of a new reproduction of a subway train by the Lionel model train company made under a license from the Metropolitan Transportation Authority for completion by year’s end.

Other companies have made models before, but this one pays unparalleled attention to sonic detail, recreating the subterranean soundscape in elaborate hi-fi to win the favor of collectors and self-styled train geeks, keepers of a nostalgic anachronism to rank alongside comic books and baseball cards.

Among their number count the musician Neil Young, so devoted that he conceived a control system to reproduce the sounds of the rails, then acquired a minority interest in Lionel more than a decade ago.

“Realism is the byword,” Mr. Young said by telephone. “It’s a heavy thing moving down a track, like a real thing even though it’s a miniature.”

. . .

Recording began below Brooklyn on Monday, in the tunnels of the New York Transit Museum. There [Bruce R.] Koball was joined by a few transit supervisors and Mark Wolodarsky, an off-duty conductor. Mr. Wolodarsky was standing in the cab of Car 9306, a model R33s introduced in 1963 to run the 20-minute route from Times Square to the 1964 World’s Fair in Queens.

“I’m more or less ready to rock and roll here,” Mr. Koball declared.

Mr. Wolodarsky activated the train’s generator to charge the batteries, then opened and closed the doors. The men on the platform deemed the action too fast, and Mr. Wolodarsky tried again.

“There was no puff of air,” lamented a supervisor, James Harris. Mr. Wolodarsky tried again. In this manner they recorded the compressors and the generator, the brakes and the brake release. There were two long buzzes and two short, signals between conductor and motorman, then a low whistle, a guttural rumble and a high lonesome sound.

. . .

“It’s a symphony of motion and sound,” Mr. Young said. “New York City. What’s more American than that?”