Available as a stand alone CD. There is no DVD/BD edition of this release.

Songs For Judy Intro, Atlanta, GA Nov 24 (late show)
Too Far Gone, Boulder, Colorado, Nov 06
No One Seems To Know, Boulder, Colorado, Nov 07
Heart Of Gold, Fort Worth, Texas, Nov 10
White Line, Fort Worth, Texas, Nov 10
Love Is A Rose, Houston, Nov 11
After The Gold Rush, Houston, Nov 11
Human Highway, Madison, Wisconsin, Nov 14
Tell Me Why, Chicago, Nov 15 (late show)
Mr. Soul, New York, Nov 20 (early show)
Mellow My Mind, New York, Nov 20 (early show)
Give Me Strength, New York, Nov 20 (late show)
A Man Needs A Maid, New York, Nov 20 (late show)
Roll Another Number, Boston, Nov 22 (late show)
Journey Through The Past, Boston, Nov 22 (late show)
Harvest, Boston, Nov 22 (late show)
Campaigner, Boston, Nov 22 (late show)
Old Laughing Lady, Atlanta, Nov 24 (early show)
The Losing End, Atlanta, Nov 24 (late show)
Here We Are In The Years, Atlanta, Nov 24 (late show)
The Needle And The Damage Done, Atlanta, Nov 24 (early show)
Pocahontas, Atlanta, Nov 24 (late show)
Sugar Mountain, Atlanta, Nov 24 (late show)

Fun Facts
Cameron: Joel and I made a pact. After the tour, we’d get together at Joel’s San Francisco apartment, and make our own “essential” audio-compilation of the tour. The goal was to create our definitive collection of the acoustic and electric performances. Each would feature one performance of every song that had been performed, and it should fit onto a ninety-minute cassette. We began, of course, with acoustic sets. Joel listened to all the performances and whittled them down to three or four best-versions. In some cases, if Neil only performed the song once, that one version would be included. The acoustic shows were sparkling, sometimes stoney, often surprising, and always heart-felt. You might get a “Losing End,” or even a “Love is a Rose.” Neil would regularly engage in conversations with the audience, including one epic monologue from a late show in Atlanta that became a darkly comic-centerpiece of our collection. Young had always been a sharply witty stage conversationalist, but this one intro to “Too Far Gone” took a psychedelic journey to Oz and back. For days we listened and compiled. It was deliriously painstaking work. Wake up, eat breakfast, dive back into the recordings. Decide which of the 12 versions of “Old Laughing Lady” was most essential. Repeat.

Joel: Cameron, reading your account reminds me of just how much fun it was to do the listening and our notes, and discuss each performance until we agreed "that's the one." After you and I made our selections, I went next door to Graham Nash's home studio, Rudy Records, and transferred each song we'd chosen to reel-to-reel, then cut it together into two reels, one for each side of a cassette. I made three cassette copies of the tape compilation; two went to the two crew members who got me the audio feed of Tim's PA mix each night. (Audio nerds: to accomplish this required these adaptors: XLR > 1/4" > RCA > DIN.) At the time, it seemed the right way to repay them for taking the time to do that. I cautioned them each not to copy the tape, and to keep it in a safe place. A few years later, one of them called to tell me he couldn't find his copy of the compiled cassette. A little later, a copy of a copy of a copy of that cassette became the master tape for a bootleg LP; just what I'd been trying to avoid. Years later, I was interviewed for Neil's fan club magazine, Broken Arrow, and was asked what I knew about this (to fans) mysterious compilation, and told the story to the journalist, who wrote a piece about it, after which the bootleg was referred to as "The Joel Bernstein" tape.

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