Neil Young ‎– Songs For Judy

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Shakey Pictures ‎– 9362-49037-8
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Notes

Volume 7 of Neil Young Archives Performance Series
Neil Young: solo
Recorded November 1976

Barcode and Other Identifiers

  • Barcode: 093624903789
  • Label Code: LC00322
  • Rights Society: GEMA/BIEM

Other Versions (5 of 6) View All

Cat# Artist Title (Format) Label Cat# Country Year
574192-2 Neil Young Songs For Judy(CD, Album) Shakey Pictures 574192-2 US 2018 Sell This Version
WPCR-18154 Neil Young Songs For Judy(CD, Album, SHM) Shakey Pictures WPCR-18154 Japan 2018 Sell This Version
9362-49037-9, 574192-1 Neil Young Songs For Judy(2xLP, Album) Shakey Pictures Records, Shakey Pictures Records 9362-49037-9, 574192-1 Europe 2018 Sell This Version
574192-1 Neil Young Songs For Judy(2xLP, Album) Shakey Pictures 574192-1 US 2018 Sell This Version
2-574192, 574192-2 Neil Young Songs For Judy(CD, Album) Shakey Pictures, Shakey Pictures 2-574192, 574192-2 Canada 2018 Sell This Version

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Alan_Burns

Alan_Burns

December 3, 2018
Good to see an official release for one of my favourite NY bootlegs - think it was just called 'Solo Concert' or something when I bought it in the 90s as a TDK cassette with a photocopied cover.

Being a teenager from the UK, I hadn't heard of Baskin & Robbins at the time, and for years thought Neil was saying "I'm just basking in providence now".
streetmouse

streetmouse

December 1, 2018
edited 2 months ago

Young begins the outing by taking three and a half minutes to lightly, laughingly berate his audience for wishing to hear Neil bring to light his classic numbers, or as he calls them, ”The old shit.”

From there he walks into “Too Far Gone” with its drug references, where the audience shouts and cheers and Neil engages in more conversation. By the time we get to “Heart of Gold,” I’m thinking that Neil has found his groove, willing to finally give the audience a treat, yet even in so doing, he sounds a bit disingenuous, as if there’s an internal dialog going on in his head, where even as he strums and sings, he’s saying “Well, if I can’t play the new stuff, at least I’ll take your money for doing this crap.” Regardless, his sea of upturned cult-like faces cheer the beginning and end of each number, not to mention the middle, as if they’re trying to convey some hip message that they were on the Neil Young train back back when, with all of this adulation making the entire album nearly unlistenable, as there’s nothing to remember but the clapping, the cheering, leaving me to think that while being at the show might have been a lot of fun, it’s not a home listening experience by any stretch of the imagination.

By the time he reaches “Mr. Soul” he’s no longer complaining about being a Wurlitzer Jukebox, and has now taken to comparing himself to Baskin Robins and their same ol’ 31 flavors of ice cream. Yeah … it’s all derived from an acoustic set prior to Crazy Horse taking the stage back in 1976.

I managed to see Neil back during these times, where like the man himself, I’d taken a Quaalude and smoked a bit too much weed, which of course meant that the show was great (or not) no matter what transpired on stage. Some claim a raptured warmth is found within this collection, sorted through by the young journalist Cameron Crowe (remember the movie “Almost Famous”) along with Joel Bernstein, Neil’s sanctioned photographer, who together assembled what you’re hearing. All of this leaves me to wonder how relevant this album is today … once upon a time everyone was releasing live material, it was expected, and of course led straight to the Unplugged sessions. However, the notion of worshiping a very weary and very high dude with an acoustic guitar has severely dropped out of fashion, though I’m sure the hippie spirit abides, meaning there will be a market for this bit of goofiness, mainly for those who weren’t there then, or perhaps given as a gift to aging parents by their kids who think their folks will enjoy kicking back to a memory of a different time and space, with or without a joint, and certainly without the Quaaludes.

“Sugar Mountain” prophetically ends the set, and if you know the song then you understand my use fo the word prophetic, with the lyrics describing getting too old, that the noisy fair descriptor in the song could easily stand in for the concert, that the air’s been let out of the coloured balloons, that here we stand with our friends, knowing but not ready to admit that life will not be changing for the better, and that right here (at this show), right now, is as good as it’s ever gonna get.

Yet even with the full moon peering in though my backdoor, with this record spinning on my turntable, there’s nothing here that I remotely recognize or wish to relive. Sometimes it’s best to keep your memories tucked away and nourished, much better than being wakened forty plus years later with the reality of those magical days.

*** The Fun Facts: The album’s title is taken from Young’s surreal ramble about spying Judy Garland in the front row.

Review by Jenell Kesler