The performances at Carnegie Hall in December (4th-5th) were regarded by Young as some of the most important of his career. Young even stated that he would have gladly played for free, just for the pleasure of performing at that prestigious venue. The seriousness with which Young took those performances were evident in some of his adverse comments to the audiences. He demanded silence between songs and when one punter shouted for a song, Young gave him this stern reply:“Listen, let me tell you one thing. As a performer, when you play Carnegie Hall you look forward to it for a number of years. I don’t take playing here lightly at all and I think that you should have enough faith in me to know that I would plan ahead and include all of the songs that I thought you’d want to hear. That’s OK at the Maple Leaf Gardens… but I’m not Grand Funk Railroad.”.…The intimacy that Young achieved during these solo gigs were mainly due to the fact that all his songs were presented in their bare acoustic form. While the electric Down By The River had ended the sets with Crazy Horse during the early part of the year, it was suddenly transformed into the opening acoustic number of his Carnegie set.There were other surprises too, most notably the acoustic versions of Cinnamon Girl, The Loner, Cowgirl In The Sand, Ohio and Southern Man, all of which were previously well known electric cuts. Young appeared effortlessly to transform them into an acoustic framework, without losing ay of the power or emotion that characterized the original electric versions. Carnegie Hall was a personal triumph and fully demonstrated Young’s ability to take his own show on the road without the necessity of a backing group.