{"id":5058,"date":"2021-09-27T15:47:17","date_gmt":"2021-09-27T14:47:17","guid":{"rendered":"https:\/\/www.shindig-magazine.com\/?p=5058"},"modified":"2021-09-27T15:50:17","modified_gmt":"2021-09-27T14:50:17","slug":"the-neil-young-official-bootleg-series-carnegie-hall-1970","status":"publish","type":"post","link":"https:\/\/shindig-magazine.com\/?p=5058","title":{"rendered":"The Neil Young Official Bootleg Series \u2013 Carnegie Hall 1970"},"content":{"rendered":"<p><strong>HARVEY KUBERNIK dives into the new archival NEIL YOUNG set, released this Friday, bolstering the\u00a0information with quotes from many of his interviews<\/strong><\/p>\n<hr \/>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-5059\" src=\"https:\/\/www.shindig-magazine.com\/wp-content\/uploads\/2021\/09\/Carnegie-Hall_-1011x1024.jpg\" alt=\"\" width=\"640\" height=\"648\" srcset=\"https:\/\/shindig-magazine.com\/wp-content\/uploads\/2021\/09\/Carnegie-Hall_-1011x1024.jpg 1011w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2021\/09\/Carnegie-Hall_-296x300.jpg 296w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2021\/09\/Carnegie-Hall_-768x778.jpg 768w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2021\/09\/Carnegie-Hall_-1517x1536.jpg 1517w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2021\/09\/Carnegie-Hall_-2022x2048.jpg 2022w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2021\/09\/Carnegie-Hall_-24x24.jpg 24w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2021\/09\/Carnegie-Hall_-48x48.jpg 48w, https:\/\/shindig-magazine.com\/wp-content\/uploads\/2021\/09\/Carnegie-Hall_-96x96.jpg 96w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/p>\n<p>Over Neil Young\u2019s career, a few special shows have earned an almost mythic reputation, thanks to the dubious but nevertheless appreciated (in retrospect) practice of bootlegging.<\/p>\n<p>Shakey Pictures Records and Reprise Records are now happy to announce the first of a new series &#8211; <em>The Neil Young Official Bootleg Series \u2013 Carnegie Hall 1970<\/em>, available on double vinyl, double CD and High Res Digital on Friday, 1st October.<\/p>\n<p>This recording was made from the show on 4th December, 1970 and it was the first time Neil ever walked onstage at Carnegie Hall. There were two shows at Carnegie Hall, one on the 4th and one followed at Midnight the next morning. No bootleggers ever captured this first show, and it was, by far, a much superior show according to Young.<\/p>\n<p>On his\u00a0Neil Young Archives\u00a0website during 18th August, Young wrote, \u201cThis first performance has never been heard. We recorded this great concert in high res analogue as it was going down. Bootlegs of the second show have been floating around for years, but never this \u2013 the very first show! It\u2019s raw and real!\u201d<\/p>\n<p>The concert\u2019s generous set list covers one of the most revered eras of Young\u2019s career, with stripped-down versions of the tunes &#8216;Everybody Knows This Is Nowhere&#8217;, &#8216;Down By the River&#8217;, &#8216;Helpless&#8217;\u00a0and &#8216;Sugar Mountain&#8217;\u201d plus &#8216;After the Goldrush&#8217;, \u00a0from the album of the same name, released only nine weeks prior to the Carnegie Hall show. Neil even plays the poignant songs &#8216;Bad Fog Of Loneliness&#8217;, &#8216;Old Man&#8217; and &#8216;See The Sky About To Rain&#8217; before they were recorded and released.<\/p>\n<p>https:\/\/www.youtube.com\/watch?v=-BrD51uKbh8<\/p>\n<p>1.\u00a0Down By the River<br \/>\n2. Cinnamon Girl<br \/>\n3. I Am a Child<br \/>\n4. Expecting to Fly<br \/>\n5. The Loner<br \/>\n6. Wonderin\u2019<br \/>\n7. Helpless<br \/>\n8. Southern Man<br \/>\n9. Nowadays Clancy Can\u2019t Even Sing<br \/>\n10. Sugar Mountain<br \/>\n11. On the Way Home<br \/>\n12. Tell Me Why<br \/>\n13. Only Love Can Break Your Heart<br \/>\n14. Old Man<br \/>\n15. After the Gold Rush<br \/>\n16. Flying on the Ground is Wrong<br \/>\n17. Cowgirl in the Sand<br \/>\n18. Don\u2019t Let it Bring You Down<br \/>\n19. Birds<\/p>\n<p><iframe loading=\"lazy\" title=\"Neil Young - Cowgirl In The Sand - Carnegie Hall \/ Official Bootleg (Official Music Video)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/4SUDdzMzzPI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>In December \u201970, Neil was in LA \u00a0resting with a bad back at The Chateau Marmont on Sunset Boulevard when the next major love of his life arrived. LA actress Carrie Snodgress had ridden the pop-cultural zeitgeist to &#8216;It Girl&#8217; status with her memorable performance in the Frank Perry movie <em>Diary Of A Mad Housewife<\/em>.<\/p>\n<p>Neil had read a magazine feature about her and been immediately captivated. When he found out Carrie was in town, performing in a theatrical production in downtown LA at The Mark Taper Forum, Neil tracked down her number, called her up, or had an associate or road manager invite her to visit an ailing rock star in his time of need.<\/p>\n<p>Neil, with Carrie in the house, delivered a solo recital at the Dorothy Chandler Pavilion in the LA Music Center on 1st February, \u201971.<\/p>\n<p>I worked a double-shift at the West LA College library to earn the money for my ticket. I sat near actor Dean Stockwell and dancer\/actress and singer Toni Basil.<\/p>\n<p>The roots of this stellar live <em>Carnegie<\/em> album go back to Young\u2019s tunes in Buffalo Springfield.<\/p>\n<p><iframe loading=\"lazy\" title=\"Neil Young @ Carnegie Hall 12\/5\/1970 - Three Songs on Piano\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/we2qRdv2ZsE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>The album, <em>Buffalo Springfield Again <\/em>began in \u201967.\u00a0 Shortly afterwards, Young\u2019s friend and drummer\/record producer Denny Bruce visited Neil\u2019s cabin in Laurel Canyon. \u00a0Denny had introduced Neil to arranger\/producer\/songwriter Jack Nitzsche in \u201967 at the Charlie Greene and Brian Stone management office in Hollywood.\u00a0\u00a0\u00a0\u201cNeil had his jumbo acoustic 12-string guitar and he\u2019s halfway through a song that turned out to be \u2018Expecting To Fly&#8217;, Bruce explained to me in a 2014 interview.<\/p>\n<p>\u201cThere was always a different tuning and Neil was also really good t using various time changes. Then Neil starts talking about \u2018Expecting to Fly\u2019 and said, \u2018I hear it as a song for The Everly Brothers.\u2019 I agreed and mentioned the song to Jack Nitzsche, who was about to work with The Everly Brothers. \u00a0Jack and I went over to Neil\u2019s place and he played \u2018Expecting to Fly.\u2019 Then Jack said, \u201cNever mind the Everlys. This is for Neil Young. We can make a great record.\u2019<\/p>\n<p>\u201cNeil now had confidence building from Jack and Gracia Nitzsche, and myself. Jack really believed in Neil\u2019s music. Jack knew Neil would eventually become a solo star. He knew he wasn\u2019t meant to be in a band.\u201d<\/p>\n<p><iframe loading=\"lazy\" title=\"Expecting to Fly (2018 Remaster)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/WKUaGAZiNUQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Jack subsequently brought Neil Young to the attention of Mo Ostin at Reprise Records. \u00a0Nitzsche\u2019s keyboard work informed and enhanced Young\u2019s debut solo LP.<\/p>\n<p>\u201cNeil was the beginning of art-rock to me,\u201d Jack stressed in a 2000 interview we did.\u00a0 \u201cYou know, when I was part of the band Crazy Horse.\u00a0 I sort of took over and became the producer and made Crazy Horse sound much better than they actually were.\u00a0 I was on tour them years ago, Neil Young and Crazy Horse.\u00a0 Miles Davis opened for us at the Filmore East. I thought it was an insult to Miles\u2026\u201d<\/p>\n<p>\u201cJack Nitzsche called me to play keyboard on some dates in 1967 at Sunset Sound studio\u201d recalled keyboardist\/arranger Don Randi in a 2015 interview we conducted.<\/p>\n<p>\u201cBruce Botnick was the engineer. When I walked into the studio I didn\u2019t realise it was for Buffalo Springfield. I thought it was for a Neil Young album, because he was supposed to be breaking away and going on his own. Hal Blaine and Jim Horn are on the track. I played piano and organ.<\/p>\n<p>\u201cI\u2019m on \u201cExpecting To Fly\u201d with Russ Titelman, Carol Kaye, and Jim Gordon. I had some little head chart arrangement to work from and another of the tunes might have been sketched. It was pretty wide open with the chord changes. And all you had to do was hear Neil sing it down with an acoustic guitar and you sat there, \u2018Oh my goodness\u2026\u2019<\/p>\n<p>\u201cJack and I never judged artists by their voices. To me it didn\u2019t matter \u2018cause I loved the music so much and Neil was able to sell it. There are some people you can\u2019t stand them on record until you see them live. And once you see them live you can understand their records. That doesn\u2019t happen a lot. But it does happen.<\/p>\n<p>\u201cAnd I would love to have said how big Neil was gonna get. I don\u2019t think he realised it. But I loved Neil\u2019s music. Goodness gracious. This guy\u2019s writing\u2026 I thought everybody and their mother was gonna try and start doing his songs. I knew he was a songwriter. Some of the tunes were movies. They were scripts. To me, Neil was like another [Bob] Dylan. That\u2019s what he reminded me of. He could do Dylan but I think he did Dylan his way. It was Neil Young. It wasn\u2019t Bob Dylan,\u201d Randi reinforced.<\/p>\n<p>\u201cLook, I\u2019ve been on dates with Elvis [Presley] and [Frank] Sinatra, guys who would arrive with an entourage. Neil would show up by himself. You have to realise that as great as a musician and as great as a songwriter he is, Neil would also realise talent himself. He realised a sound that he liked from a guitar. Neil knew that the only way to get it was to have that guitar. You\u2019re not gonna get that off a Tele. You\u2019re not gonna get it off something else. Neil was smart enough, and most of the good writers and players, if they didn\u2019t have the acoustic guitar they went to that kind of guitar. Neil liked to experiment. And he would say, \u2018Oh my goodness. Why don\u2019t I do that?\u2019 And he had the wherewithal and had the time. He had the time to take his time. \u2018Wow. That\u2019s a real nice sound. I like this. I don\u2019t like that.\u2019<\/p>\n<p>\u201cNeil was smart enough to know what he wanted and knew how to get it. And, Neil had Ahmet Ertegun and Atlantic [Atco] in his corner. Ahmet had some of the music publishing [Cotillion Music] on Neil\u2019s debut LP. Ahmet encouraged the guys in Buffalo Springfield to write and do demos at Gold Star. I lived at Gold Star throughout the entire \u201960s. Ahmet and Nesuhi Ertegun were two of the smartest people in the record business. They almost signed me to Atlantic.<\/p>\n<p>\u201cYou have to realise that as great a musician and as great a songwriter as he is Neil would also realise talent himself. Neil liked to experiment. He was smart enough to know what he wanted and knew how to get it.\u00a0 Neil wrote cinematically and Jack arranged cinematically. I loved Neil\u2019s music. Some of the tunes were movies. They were scripts.\u201d<\/p>\n<p>\u201cSometime in 1969, maybe I was in LA. living at my grandmother\u2019s,\u201d singer\/songwriter and Moby Grape co-founder Peter Lewis reminisced to me in a 2015 interview.<\/p>\n<p>\u201cI was at Wallichs Music City in Hollywood inside a listening booth and spinning Neil\u2019s first solo LP and Skip Spence\u2019s <em>Oar<\/em> album.\u00a0 I was driving around in my Volkswagen bus and this chick Lorraine pulls up next to me in a big Lincoln who eventually married Dave Mason. And I became a friend of his. I earlier met her in Hawaii when I went to see Rick Nelson play. She had gone to Westlake School For Girls and a band I had would play there.<\/p>\n<p>\u201cShe (now) had a house in Topanga Canyon. So Lorraine says, \u2019Let\u2019s go visit Neil Young.\u2019 Moby Grape knew Neil and Buffalo Springfield from shows together and studios. We go to his house. I don\u2019t know where the fuck it is. She rings the buzzer and says \u2018It\u2019s Peter Lewis.\u2019 Neil answers.\u00a0 He opens the door and kind of peaks out. \u2018Hey man!\u00a0 Come on up!\u2019 Neil is with his wife Susan. He had just got married and was happy to see me. He played us the acetate of <em>Everybody Knows This Is No Where.<\/em> I flipped out and told him, \u2018You\u2018re gonna be a huge rock star.\u2019<\/p>\n<p><iframe loading=\"lazy\" title=\"Broken Arrow (2018 Remaster)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/qmiuakIKQfw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>\u201cWhat I saw what was goin\u2019 on with Neil at that moment, honest to God\u2019s truth, is like a rivalry with Stephen Stills where he could never do what he really wanted to as long as he was that band Buffalo Springfield. Okay. When he played it for me he had a big wooden chair he was sitting in. And he spun the acetate. It hadn\u2019t been released yet\u2019 \u2018Cinnamon Girl\u2019 and \u2018Down By the River.\u2019 I\u2019m comparing it to his first record. And I told him what I thought about it. \u2018But this is just gonna make you a huge rock star, man. Because you finally got that sound that you were lookin\u2019 for. It\u2019s not Brian Hyland and it\u2019s not \u2018Jack Nitzsche\u2019s take on you.\u2019 You did this.\u2019 And he got guys that did what he told them to fuckin\u2019 do. That\u2019s what he wanted and Buffalo Springfield would not do that. I think we went into the kitchen and he wanted to jam but I wasn\u2019t in a jamming space.\u201d<\/p>\n<p>&#8216;Cinnamon Girl&#8217; is heard on Young\u2019s <em>Carnegie Hall<\/em> <em>1970. <\/em>\u00a0SiriusXM deejay, Rodney Bingenheimer, in his \u201969 music column for <em>GO<\/em>\u00a0 \u201cthe world\u2019s largest circulation of any pop weekly,\u201d was the first to tout &#8216;Cinnamon Girl&#8217; in print, after receiving a promotional test pressing from Pete Johnson at Reprise\/Warner Bros. Records.<\/p>\n<p>In 2015 I wrote <em>Neil Young Heart Of Gold,<\/em> currently published in six foreign language editions. I did a series of interviews with Dr. James Cushing, a deejay on KEBF-FM in Morro Bay, CA.<\/p>\n<p>We discussed Young\u2019s \u201967-70 recorded catalog.<\/p>\n<p>\u201cNeil, early on his in career, could take his Gold Star, Sunset Sound or Columbia studios recorded material, with Buffalo Springfield and his first solo LP, selections like \u2018Broken Arrow&#8217;, \u2018Expecting To Fly,\u2019 \u2018Last Trip To Tulsa,\u2019 and could transfer them quite effectively to solo platform from the initial context of a band. It shows essentially that they are folk songs, which is the strength and is rooted in something. And that music is rooted in Scottish or Celtic. This is something he has in common with Bob Dylan. The chord changes, the structure of them. They\u2019re very skillfully put together in the same way folk songs are put together.\u201d<\/p>\n<p>We examined Buffalo Springfield\u2019s <em>Last Time Around<\/em> album. Some of the tracks are done acoustically in this Carnegie Hall endeavor.<\/p>\n<p><iframe loading=\"lazy\" title=\"I Am a Child (2018 Remaster)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/j43jYEs8Z-M?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>\u201cI\u2019ve heard Neil is a bit distant from it or sees the album as a contractual collection of individual recordings by group members. But it has his \u2018I Am a Child\u2019 and \u2018On The Way Home!\u2019 I think those two might be Neil Young\u2019s first two masterpieces.<\/p>\n<p>\u201c\u2018I Am A Child\u2019 and \u2018On The Way Home\u2019 first shows those strengths that stand out during the rest of his career. Evidence, a willingness to be as open, naked and vulnerable in \u2018I Am A Child\u2019 as possible to bravely go against the macho rock stereotype and come off as someone who was willing to lead with his vulnerability.<\/p>\n<p>\u201cOne of the virtues that Neil Young\u2019s music represents was the willingness to expose one\u2019s emotional vulnerability. As a survivor of polio and an epileptic, Neil Young had already been through the pain the traditional and new underground media were covering.<\/p>\n<p>\u201cHe and Joni Mitchell experienced physical disease, immobility, and confinement, all things that tend to make you stand out from other groups of kids and make you more sensitive and aware,\u201d Cushing suggested.<\/p>\n<p>\u201cMitchell contracted polio in\u201953 and suffered more severely, including some paralysis. It\u2019s important not to be reductive and say, \u2018Oh, they suffered from polio, Neil had a slew of epileptic seizures. Therefore they understand the plight.\u2019 Their art is a lot more interesting than that. The times required artists able to give convincing musical form to the new inwardness that resulted from the collapse of the \u201960s ideals. Mitchell\u2019s and Young\u2019s music dramatised how people <em>as individuals\u00a0<\/em>could pull through dark times. Their Hollywood-birthed albums of \u201968 illustrate this.<\/p>\n<p>\u201c\u2018Sugar Mountain\u2019 isn\u2019t my favourite Neil Young song but it\u2019s the one I think about most often,\u201d admits Cushing.<\/p>\n<p>\u201cNeil Young\u2019s voice. That high kind of alto tenor with just enough of that Canadian accent, especially with words that end in &#8220;R&#8221;. \u2018Sugar Mountain,\u2019 for example. When we hear Neil for the first time, particularly when he embarked on a solo career, his voice was rather high and plaintive. And so a lot of people didn\u2019t like his voice because it sounded to them whiny and irritating. But his voice stood out at the time because so many alpha males were trying to rock and be macho. And Neil gets extra points for never trying to sound like anybody except his Ontario Prairie self. And we might faintly hear the impact of childhood polio he had in Canada coupled with a family divorce in the early \u201960s that possibly informs his vulnerable outsider stance.<\/p>\n<p>\u201cHe did write a song called &#8216;The Loner&#8217;. So as a product of a divorced family that circumstance, polio, and bouts with epilepsy, including incidents on stage with Buffalo Springfield, have influence on. And the fact that Neil\u2019s father was a successful writer, Scott Young, also had to make an impression, particularly on a son who winds up using words to communicate to a large audience the songs he\u2019s written. It\u2019s got to.<\/p>\n<p>\u201cThe Loner\u2019 has a great riff and the song and record illuminates the main problems with the first album, which is a general failure to rock. \u2018The Loner\u2019 is really good. Neil Young\u2019s voice does take some getting used to but once you\u2019ve gotten used to it, it will always be a part of the way you hear some certain range of human emotions.\u201d<\/p>\n<p>On <em>Carnegie Hall 1970<\/em>, &#8216;Down By The River&#8217; kicks off the action.<\/p>\n<p><iframe loading=\"lazy\" title=\"Neil Young - Carnegie Hall 1970 Album Info\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ywULRw62hJk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&#8216;Down By the River&#8217; is Neil\u2019s answer to \u2018Hey Joe&#8217;,\u201d underlines James. \u201cIt\u2019s from Joe\u2019s point of view. It\u2019s John Ford and Howard Hawks directing a pop song. I feel it in connection with a western re-telling of a classic murder ballad kind of thing that goes all the way back to the 16th century. \u2018Tom Dooley\u2019, \u2018Man Of Constant Sorrow\u2019, \u2018Hey Joe&#8217;,\u00a0which is a murder ballad. All of these murder ballads are confessions by a stunned and emotionally over-whelmed man who realises he has murdered the one that he loves. And emotionally destroyed by it. In \u2018Hey Joe\u2019 it\u2019s a third person thing.\u00a0 But in \u2018Down By the River\u2019 on the original Crazy Horse recording there is the sense that the emotional issues in the song are in some way being worked out by the guitar jams. Danny Whitten and Neil Young playing together.<\/p>\n<p>\u201cThere is something about the way that feels that is being worked out. You could make an argument that this record, and \u2018Cowgirl In the Sand,\u2019 remains the essential Neil Young sound. Although one could make an argument for The Stray Gators. \u2018Cowgirl In The Sand\u2019 is not a murder ballad. It\u2019s a kind of prayer to a goddess and the terms of the prayer are being discovered as its being offered. But I might be the wrong gender to fully answer the question.<\/p>\n<p>\u201cNeil Young\u2019s career does have highs and lows. But the highs and lows are there because he has consistently shown a pattern of wanting to experiment and wanting to try new things and wanting to remain in a state of becoming. Rather than a state of being.<\/p>\n<p>\u201cI marvel at Neil Young\u2019s career,\u201d concluded Cushing. \u201cHis songs are so powerfully and simply constructed. They seem to have been discovered rather than written. His guitar playing has that marvelously rough-hewn rock out quality that nothing else quite has. His voice is unique. Even though he\u2019s not a blues guy, the interiority and the momentum of his best music is everything what rock was designed to deliver. And his calm and beautiful folk songs are emotionally effecting on an almost pre-verbally deep level. He\u2019s just like Bob Dylan and nothing like Bob Dylan.\u201d<\/p>\n<p><em>Harvey Kubernik is the author of 20 books, including<\/em>Canyon Of Dreams: The Magic And The Music Of Laurel Canyon\u00a0<em>and\u00a0<\/em>Turn Up The Radio! Rock, Pop, And Roll In Los Angeles 1956-1972<em>.\u00a0Sterling\/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik\u2019s <\/em>The Story Of The Band: From Big Pink To The Last Waltz<em>. For November 2021 the duo has written\u00a0 <\/em>Jimi Hendrix: Voodoo Child<em>for the publisher.<\/em><\/p>\n<span class=\"synved-social-container synved-social-container-share\"><a class=\"synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-facebook nolightbox\" data-provider=\"facebook\" target=\"_blank\" rel=\"nofollow\" title=\"Share on Facebook\" href=\"http:\/\/www.facebook.com\/sharer.php?u=https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F5058&#038;t=The%20Neil%20Young%20Official%20Bootleg%20Series%20%E2%80%93%20Carnegie%20Hall%201970&#038;s=100&#038;p&#091;url&#093;=https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F5058&#038;p&#091;images&#093;&#091;0&#093;=https%3A%2F%2Fshindig-magazine.com%2Fwp-content%2Fuploads%2F2021%2F09%2FCarnegie-Hall_-scaled.jpg&#038;p&#091;title&#093;=The%20Neil%20Young%20Official%20Bootleg%20Series%20%E2%80%93%20Carnegie%20Hall%201970\" style=\"font-size: 0px;width:24px;height:24px;margin:0;margin-bottom:5px;margin-right:5px\"><img loading=\"lazy\" decoding=\"async\" alt=\"Facebook\" title=\"Share on Facebook\" class=\"synved-share-image synved-social-image synved-social-image-share\" width=\"24\" height=\"24\" style=\"display: inline;width:24px;height:24px;margin: 0;padding: 0;border: none;box-shadow: none\" src=\"https:\/\/shindig-magazine.com\/wp-content\/plugins\/social-media-feather\/synved-social\/image\/social\/regular\/48x48\/facebook.png\" \/><\/a><a class=\"synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-twitter nolightbox\" data-provider=\"twitter\" target=\"_blank\" rel=\"nofollow\" title=\"Share on Twitter\" href=\"http:\/\/twitter.com\/share?url=https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F5058&#038;text=New%20post%20on%20our%20site\" style=\"font-size: 0px;width:24px;height:24px;margin:0;margin-bottom:5px;margin-right:5px\"><img loading=\"lazy\" decoding=\"async\" alt=\"twitter\" title=\"Share on Twitter\" class=\"synved-share-image synved-social-image synved-social-image-share\" width=\"24\" height=\"24\" style=\"display: inline;width:24px;height:24px;margin: 0;padding: 0;border: none;box-shadow: none\" src=\"https:\/\/shindig-magazine.com\/wp-content\/plugins\/social-media-feather\/synved-social\/image\/social\/regular\/48x48\/twitter.png\" \/><\/a><a class=\"synved-social-button synved-social-button-share synved-social-size-24 synved-social-resolution-single synved-social-provider-mail nolightbox\" data-provider=\"mail\" rel=\"nofollow\" title=\"Share by email\" href=\"mailto:?subject=The%20Neil%20Young%20Official%20Bootleg%20Series%20%E2%80%93%20Carnegie%20Hall%201970&#038;body=New%20post%20on%20our%20site:%20https%3A%2F%2Fshindig-magazine.com%2Findex.php%3Frest_route%3D%252Fwp%252Fv2%252Fposts%252F5058\" style=\"font-size: 0px;width:24px;height:24px;margin:0;margin-bottom:5px;margin-right:5px\"><img loading=\"lazy\" decoding=\"async\" alt=\"mail\" title=\"Share by email\" class=\"synved-share-image synved-social-image synved-social-image-share\" width=\"24\" height=\"24\" style=\"display: inline;width:24px;height:24px;margin: 0;padding: 0;border: none;box-shadow: none\" src=\"https:\/\/shindig-magazine.com\/wp-content\/plugins\/social-media-feather\/synved-social\/image\/social\/regular\/48x48\/mail.png\" \/><\/a><\/span>","protected":false},"excerpt":{"rendered":"<p>HARVEY KUBERNIK dives into the new archival NEIL YOUNG set, released this Friday, bolstering the\u00a0information with quotes from many of his interviews Over Neil Young\u2019s career, a few special shows have earned an almost mythic reputation, thanks to the dubious but nevertheless appreciated (in retrospect) practice of bootlegging. Shakey Pictures Records and Reprise Records are [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":5059,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[28,7],"tags":[641],"class_list":["post-5058","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-features","category-music-videos","tag-neil-young","post_format-post-format-video"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/posts\/5058","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5058"}],"version-history":[{"count":-4,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/posts\/5058\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=\/wp\/v2\/media\/5059"}],"wp:attachment":[{"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5058"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5058"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/shindig-magazine.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5058"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}