Walk the city blocks of Los Angeles and imagine its bohemian yesteryear, when strung-out sex parties and impromptu jamborees emanated from the storefronts and bungalows. Neil Young’s foothold in the musician circles of Topanga, Laurel Canyon, and Hollywood are well documented. Further proof of his contribution to the cultural fabric of Los Angeles is that he consecrated some of the city’s most celebrated clubs. A new reissue of live performances from his celebrated diamond in the rough, Tonight’s The Night—released in conjunction with Record Store Day—aims to recapture the intrigue tied up with Young’s tenure in L.A. in the early 1970s.

When the now-famous nightclub The Roxy flung open its doors in West Hollywood in September 1973, Young and his band, the Santa Monica Flyers, were invited to be its inaugural live act. They were fresh out of a makeshift recording studio in Hollywood, where Young, pedal steel player Ben Keith, multi-instrumentalist Nils Lofgren, and the Crazy Horse rhythm of bassist section Billy Talbot and drummer Ralph Molina had been recording live jam sessions. These hours in the studio also served as a musical wake for two friends who’d recently died, Crazy Horse guitarist Danny Whitten and roadie Bruce Berry. Young meditates on the loss in its namesake opener: His friend had overdosed on heroin and cocaine, and Young identified too acutely with the tragedy: “Out on the mainline,” as he put it.

Young and the Flyers spent the summer months of 1973 playing through their grief, forming the bones of what would become Young’S 1975 album Tonight’s The Night. They worked from 11 p.m. until sunrise, cruising—or flying, if you will—down Santa Monica Boulevard to sleep off the daylight hours at the Sunset Marquis hotel. When they hit The Roxy with the brand new songs they’d been rehearsing for months, the group was a lockstep machine that propelled, for example, “Tonight’s the Night,” “Albuquerque,” and “Tired Eyes” from insular meditation on death and its trappings to an amped-up catharsis to adoring fans. In the studio, Tonight’s the Night was imposing and dark, it sliced through the speaker like a razor. Live, though, these songs from Young’s famous “Ditch Trilogy” become warmer, more vibrant and alive. It’s a testament to Young’s indelible songwriting that a slight alteration in speed or sound can change the emotional tenor of his songs, and it's what makes this reissue a worthy addition for both avid Young collectors and casual fans.

Roxy - Tonight’s the Night Live imbues the songs with the spirit of a specific place in time, at the Sunset Strip’s newest digs, where Young’s soon-to-be label boss David Geffen was a face in the crowd. Young tips his hat to Geffen specifically in a chatty interlude included between “New Mama” and “Roll Another Number (For the Road),” and there are other improvised bridges like polka mainstay “Roll Out the Barrel,” which the audience audibly digs via claps and whoops. That a group of people could be so jubilant about songs they’d never heard before is unfathomable in today’s firehose of festival reunions, but it speaks to the magnitude of Young’s pull in 1973.

The existence of alternative studio versions of Tonight’s the Night have long been the subject of much speculation among Young scholars. While this release won’t scratch that itch, it is still a perfect time capsule back to a wilder L.A., featuring nine songs from the original album played in a different order and in a more joyful spirit. "Walk On," from Young's 1974 album On the Beach, appears too. If the original recordings of Tonight’s the Night are a honey and hash-soaked lamentation, Roxy - Tonight’s the Night Live is a salve for such palpable tragedy in the grand tradition of a live communion.