Crosby, Stills, Nash & Young
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folk pop[4] | |
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Website | csny |
Crosby, Stills & Nash (CSN) was a
CSN formed in 1968 shortly after Crosby, Stills and Nash performed together informally, discovering they harmonized well. Crosby had been asked to leave the Byrds in late 1967, Stills's band Buffalo Springfield had broken up in early 1968, and Nash left his band the Hollies in December. They signed a recording contract with Atlantic Records in early 1969. Their first album, Crosby, Stills & Nash (1969) produced the Top 40 hits "Suite: Judy Blue Eyes" and "Marrakesh Express". In preparation for touring, the trio added Young, Stills's former Buffalo Springfield bandmate, as a full member, along with the touring members Dallas Taylor (drums) and Greg Reeves (bass). As Crosby, Stills, Nash & Young, they played the Woodstock festival that August.
The band's first album with Young, Déjà Vu, reached number one on several international charts in 1970. It remains their best-selling album, selling more than eight million copies and producing the hit singles "Woodstock", "Teach Your Children", and "Our House". The group's second tour, which produced the live double album 4 Way Street (1971), was fraught with arguments between Young and Taylor, which resulted in Taylor being replaced by John Barbata, and tensions with Stills. At the end of the tour they disbanded. The group reunited several times, sometimes with Young, and released eight studio and four live albums.
Crosby, Stills & Nash were inducted into the Rock and Roll Hall of Fame and all three members were also inducted for their work in other groups: Crosby for the Byrds, Stills for Buffalo Springfield and Nash for the Hollies.[6] Young was also inducted as a solo artist and as a member of Buffalo Springfield but not as a member of CSN. CSN's final studio album was 1999's Looking Forward, and they remained a performing act until 2015. Crosby died in 2023.
History
CSN formation and debut album: July 1968 – May 1969
CSN was born with members from two prominent bands and the split of a third. David Crosby played guitar, sang, and wrote songs with the Byrds; Stephen Stills had been a guitarist, keyboardist, vocalist, and songwriter in the band Buffalo Springfield (which also featured Neil Young); and Graham Nash had been a guitarist, singer, and songwriter with the Hollies.[7]
Crosby had been sacked from the Byrds in October 1967 due to disagreements over his songwriting.
Graham Nash had known Crosby since the Byrds' UK tour of 1966. Two years later, when the Hollies relocated to California in 1968, Nash resumed his acquaintance with him.[10] Nash met Stills at a party at Peter Tork's house in Laurel Canyon. He was captivated by Stills "banging the shit out of" a piano in a "Brazilian, and Latin, and boogie woogie, and rock and roll" style. In July 1968, over dinner at a party at another Laurel Canyon house (the home of either Joni Mitchell or Cass Elliot -- accounts by the three members differ[11][12]), Nash invited Stills and Crosby to perform a Stills composition, "You Don't Have to Cry". They did so twice, after which Nash had learned the lyrics and improvised a new harmony part on a third rendition. The vocals gelled, and the three realized that they had a very good vocal chemistry. While singing the third time, they broke out in laughter. The Byrds, Buffalo Springfield, and the Hollies had been harmony bands, with Nash later saying in a 2014 interview, "We knew what we were doing," referring to the success of each of the individual bands. He continued, "Whatever sound Crosby, Stills, and Nash has was born in 30 seconds. That's how long it took us to harmonize."
Creatively frustrated with the Hollies, Nash decided to quit the band in December 1968 and flew to Los Angeles two days later. The trio traveled to London in early 1969 to rehearse for what turned out to be an unsuccessful audition with the Beatles' Apple Records. However, back in California, Ahmet Ertegun, who had been a fan of Buffalo Springfield and was disappointed by that band's demise, signed them to Atlantic Records.[13] From the outset, given their previous experiences, the trio decided not to be locked into a group structure. They used their surnames as identification to ensure independence and a guarantee that the band could not continue without one of them, unlike both the Byrds and the Hollies. They picked up a management team in Elliot Roberts and David Geffen, who got them signed to Atlantic and helped to gain clout for the group in the industry.[14] Roberts kept the band focused and dealt with egos, while Geffen handled the business deals, since, in Crosby's words, they needed a "shark" and Geffen was it.[15]
The band then ran into a problem. Stills was already signed to Atlantic Records through his Buffalo Springfield contract. Crosby had been released from his Byrds deal with Columbia, as he was considered to be unimportant and too difficult to work with. Nash, however, was still signed to Epic Records through the Hollies. Ertegun cut a deal with Clive Davis to essentially trade Nash to Atlantic in exchange for Richie Furay (who was also signed to Atlantic by virtue of his membership in Buffalo Springfield) and Poco, his new band.[16]
The trio's first album,
CSNY: Déjà Vu to 4 Way Street, August 1969 – April 1971
With the exceptions of drum parts (primarily performed by Dallas Taylor) and a handful of rhythm and acoustic guitar parts from Crosby and Nash, Stills (accorded the moniker "Captain Many Hands" by his bandmates) handled most of the instrumentation (including every lead guitar, bass and keyboard part) on the album, which left the band in need of additional personnel to be able to tour, a necessity given the debut album's commercial impact. Retaining Taylor, the band tried initially to hire a keyboard player. Stills initially approached virtuoso multi-instrumentalist Steve Winwood, who was already occupied with the newly formed group Blind Faith.[20] Ertegun suggested former Buffalo Springfield member Neil Young, also managed by Elliot Roberts, as a fairly obvious choice; though principally a guitarist, Young was a proficient keyboardist and could alternate on the instrument with Stills and Nash in a live context.[21] Stills and Nash initially objected, Stills because of his history with Young in Buffalo Springfield and Nash because of his personal unfamiliarity with Young. Despite that, the trio expanded to a quartet with Young a full partner. The terms of the contract allowed Young full freedom to maintain a parallel career with his new band, Crazy Horse.
They initially completed the rhythm section with former Buffalo Springfield bassist
The now expanded group embarked on a four-leg, 39-date tour that ended with three European concerts in January 1970. Their first major public gig was on August 16, 1969, at the
Great anticipation had built for the expanded supergroup and their first album with Young,
In consultation with other band members, Stills fired Reeves from the group shortly before the beginning of their second American tour in April 1970 "because [he] suddenly decided he was an
A week before the Denver performance, Young and Crosby were staying at a house near
As the 23-show tour progressed, the tenuous nature of the partnership was strained by Stills' alcohol and cocaine abuse, culminating in an extended solo set not countenanced by the other band members at the Fillmore East, when he was informed that Bob Dylan was in the audience. In this turbulent atmosphere, Crosby, Nash and Young decided to quit the tour during a two-night return engagement at Chicago's Auditorium Theatre in July 1970. [29][30][31] Singer Rita Coolidge had been romantically involved with Stills, and her leaving him for Nash has also been cited as a contributing factor behind the breakup of the band.[32] Concert recordings from that tour assembled by Nash produced the 1971 double album 4 Way Street, which also topped the charts during a 42-week stay. Although they continued to collaborate in various and largely ephemeral permutations, the four members did not come back together in earnest until their 1974 reunion tour.
Individual activity
Between September 1970 and May 1971, each of the quartet released high-profile solo albums: Young's
1972 proved to be another fruitful year for all the band members in their solo or duo efforts. Young achieved solo superstardom with the chart-topping Harvest and two Top 40 singles, the #1 hit "Heart of Gold" and "Old Man" (#31). Stills joined with former Byrd Chris Hillman to form the band Manassas, releasing a self-titled double album; although it did not generate any significant hits, counting the three CSN/CSNY records, Manassas became Stills' sixth Top Ten album in a row, peaking at No. 4 and being certified gold in the US a month after release. Nash and Young released Young's "War Song" as a joint single to support George McGovern's presidential campaign; despite their intentions, the single failed to make a serious impression. Meanwhile, Nash's and Crosby's touring was so successful and pleasant for them that they recorded and released their first album as a duo, Graham Nash David Crosby, which eclipsed their recent solo efforts with a Top 40 hit (Nash's "Immigration Man", #36); it peaked at No. 4 and was certified gold in the US.[33]
The group members fared less well in 1973. Young recorded two dark albums. The first,
CSNY, reconciliation and further estrangement: 1973–1976
In June and July 1973, Crosby, Stills, Nash and Young met at Young's ranch in California and a recording studio in Hawaii for a working vacation, ostensibly to record a new album, tentatively titled Human Highway. However, the bickering that had sunk the band in 1970 quickly resumed, scattering the group again. After spontaneously reconvening for an acoustic set at a Manassas concert at San Francisco's Winterland Ballroom in October, the quartet failed once again to commit to a reunion; however, three days later, the CSN configuration performed an acoustic set at another Manassas Winterland show.[34][35] Over the next few months, Roberts finally prevailed upon the group to realize their commercial potential, culminating in Stills announcing a CSNY summer tour and the projected studio album at a solo concert in March 1974.[36] The quartet reassembled in earnest that summer, with sidemen Tim Drummond on bass, Russ Kunkel on drums, and Joe Lala on percussion, to rehearse at Young's ranch near Woodside, California before embarking on the two-month, 31-date tour.
The tour was directed by San Francisco-based impresario Bill Graham. Opening acts consisted of well known performers, including Joni Mitchell (who occasionally sat in during the acoustic and semi-acoustic interlude that bridged two electric sets), Santana, the Band, the Beach Boys, and Jesse Colin Young.[37] The band typically played up to three and a half hours of old favorites and new songs. Crosby, in particular, was disillusioned by the bombastic nature of the performances, which he collectively dubbed the "Doom Tour": "We had good monitors, but Stephen and Neil were punching well over 100 db from their half stacks. Graham and I simply couldn't do the harmonies when we couldn't hear ourselves. Also, when you play a stadium you almost have to do a Mick Jagger where you wave a sash around and prance about. I can't quite do that. We did what we could, but I don't know how many people in the audience really got it. A lot of them were there for the tunes. When we'd start them, they'd hear the records."[38] Graham Nash's unreleased film of the Wembley Stadium show highlights the scope and quality of these performances. They opted at the time not to release any recordings of the tour for an album, with Nash maintaining that "[the] main feeling at the end of the tour was that we weren't as good as we could have been."[38] (Decades later, to mark the tour's 40th anniversary in 2014, Nash and archivist Joel Bernstein selected songs from the five shows that had been properly recorded and released CSNY 1974.)
While the foursome would have the press believe that their characteristic arguments were a thing of the past, excesses typical to the era took their toll. Under the stewardship of Graham's production company, the tour was plagued by profligate spending, exemplified by pillowcases embroidered with the band's new Mitchell-designed logo and the routine chartering of helicopters and private jets in lieu of ground transportation. Nash later recalled that "the tour made just over eleven million dollars, which of course was a lot of money in those days. We all got less than a half million each. It was obvious that between Bill Graham, the promoters and a bunch of others, they all had a good time. Let's just put it that way."
Stills—who befuddled his colleagues by claiming to have participated in clandestine
Although each member performed new songs that later appeared on solo and duo studio releases, Young premiered more than a dozen songs (including several from On The Beach, which was released during the tour) in one of the most creatively fertile phases of his career.[41] Vexed by the diminished prolificacy of the trio, he isolated himself from the group, travelling separately in an RV with his son and entourage. He later asserted to biographer Jimmy McDonough that "the tour was disappointing to me. I think CSN really blew it... they hadn't made an album, and they didn't have any songs. How could they just stop like that?"[42] Atlantic Records issued the compilation So Far to have something to promote during the tour. While Nash viewed the re-shuffling of items from only two albums and one single (typified by the exclusion of his "Marrakesh Express", a Top 40 hit) as absurd, it eventually topped the Billboard album chart in November.[43]
Surmounting Young's interpersonal distance and new ebbs in their respective relationships with Stills, the quartet reconvened with
Shortly thereafter, Crosby and Nash signed a separate contract with
Meanwhile, Stills and Young returned to their own careers. Stills released
CSN reform: 1976–1985
Later in 1976, Stills approached Crosby and Nash during a performance at the Greek Theatre in Los Angeles, setting the stage for the return of the trio.
Less than a year after reforming, Crosby, Stills & Nash released
On June 21, 1978, Crosby, Stills & Nash received a star on the Hollywood Walk of Fame for their contributions to the music industry, located at 6666 Hollywood Boulevard.[50][51]
After successful arena tours in 1977 and 1978, further work as a group was complicated by Crosby's newfound dependence on freebase cocaine. Earth & Sky, a 1980 Nash album that failed to chart in the Top 100, was envisaged as a Crosby & Nash project (itself spawned by aborted 1978 CSN sessions) until Nash determined that Crosby was not in shape to participate after his colleague stopped a jam because his freebase pipe had fallen off of an amp and broken.[52]
Juxtaposing recent
With little recourse and a rapport that still evinced strain from the Rita Coolidge affair, Stills and Nash convened in 1980–1981 to record Daylight Again as a self-funded duo; however, Atlantic Records executives (led by Ahmet Ertegun, who seldom intervened in the band's affairs) refused to reimburse their expenses or release the LP until Crosby was reinstated.[55] Crosby contributed "Delta" (his last original composition for several years) and a cover of Judy Henske's and Craig Doerge's "Might as Well Have a Good Time" along with some additional vocals on other tracks. Despite Crosby's condition and the relatively démodé nature of the group in the wake of the ascendancy of new wave and contemporary R&B, Daylight Again reached No. 8 in 1982 during a 41-week chart stay. The album contained two major hits: Nash's "Wasted on the Way" (#9) and Stills' "Southern Cross" (#18); Stills' "Too Much Love to Hide" also charted at #69. While the album ultimately failed to sell as well as its predecessors in the new musical climate, it received a RIAA platinum certification in early 1983.[56][57]
Although the success of Daylight Again inaugurated a new tradition of near-annual touring that persisted for over thirty years,
CSNY again: 1988–2015
Based on a promise he made to Crosby should he clean himself up, Young agreed to rejoin the trio in the studio upon Crosby's release from prison for American Dream in 1988.[60] Stills and Crosby (enfeebled by health problems from his fallow period that culminated in a 1994 liver transplant) were barely functioning for the making of the album, and the late eighties production completely swamped the band.[61][62] It did make it to No. 16 on the Billboard chart during a 22-week stay, but the record received poor critical notices, and Young refused to support it with a CSNY tour. The band did produce a video for Young's title-song single, wherein each member played a character loosely based on certain aspects of their personalities and public image. Several years later, CSNY reunited to play the Bill Graham memorial concert ("Laughter, Love and Music") at Golden Gate Park in San Francisco on November 3, 1991.
CSN recorded two more studio albums in the 1990s,
In 1994, CSN collaborated with
By the late 1990s, CSN found themselves without a record contract. They began financing recordings themselves, and in 1999 Stills invited Young to guest on a few tracks. Impressed by their gumption, Young increased his level of input, turning the album into a CSNY project, Looking Forward. The album was released at Young's behest[citation needed] via Reprise Records in October 1999. With writing credits mostly limited to band members, the disc was better received than the previous three albums from a critical standpoint. It also fared relatively well commercially, peaking at No. 26 (the group's highest chart placement since American Dream) during a 9-week stay. However, in a reflection of the shifting financial landscape of the music industry, Looking Forward was most notable for laying the groundwork for the ensuing CSNY2K Tour (2000) and the CSNY Tour of America (2002), both of which were major money-makers.
CSN were inducted into the Rock and Roll Hall of Fame in 1997; CSNY is the first band to have all its members inducted into the hall twice, although Young was inducted for his solo work (1995) and for Buffalo Springfield (1997). A year later, in 1998, CSN were inducted into the Vocal Group Hall of Fame.[64] The CSN logo that Crosby, Stills and Nash used from the mid-1970s onward was designed by actor and comedian Phil Hartman during his first career as a graphic designer.
Various compilations of the band's configurations have arrived over the years, the box set being the most comprehensive, and So Far being the most commercially successful. Individual retrospective box sets have also been released. In 2007, David Crosby's Voyage chronicled his work with various bands and as a solo artist. Graham Nash's Reflections appeared in early 2009 under the same auspices, quite near his 67th birthday. The box set for Stephen Stills, Carry On, was released in February 2013. Compilation and oversight of these releases has largely been managed by Nash.[65]
In 2006, Crosby, Stills, Nash and Young set off on their Freedom of Speech Tour in support of Also in 2006, long-time manager Gerry Tolman died in a car accident.
The trio performed "Teach Your Children" on
CSN convened with producer
Crosby, Stills & Nash toured the United States, Australia, New Zealand and Brazil in 2012 and released a 2CD/DVD entitled CSN 2012 on July 17, 2012.[73] Further tours of the United States and Europe followed in 2013 and 2014.[74][75]
Crosby, Stills, Nash and Young performed an acoustic set at the 27th
CSN breakup and Crosby's death: 2016–present
Despite the unprecedented tumult between Crosby and Young, CSN embarked on a routine world tour encompassing American, European and Japanese venues in 2015, culminating in a performance of "
Young echoed these sentiments in a January 2017 interview: "I think CSNY has every chance of getting together again. I'm not against it. There's been a lot of bad things happen[ing] among us, and a lot of things have to be settled. But that's what brothers and families are all about. We'll see what happens. I'm open. I don't think I'm a major obstacle."[85] When queried about Young and the interview on Twitter shortly thereafter, Crosby said that Young is "a hugely talented guy" and a prospective reunion would be "fine with me."[86][87] In April 2017, Nash framed the potential reunion in the context of the group's tradition of political activism amid the presidency of Donald Trump: "I believe that the issues that are keeping us apart pale in comparison to the good that we can do if we get out there and start talking about what's happening. So I'd be totally up for it even though I'm not talking to David and neither is Neil. But I think that we're smart people in the end and I think we realize the good that we can do."[88] In a May 2021 interview for CBS News Sunday Morning, Nash said "when that silver thread that connects a band gets broken it's very difficult to glue the ends together."[89] He suggested reuniting with Crosby and the others would be preferable "because of the loss of the music."
On January 18, 2023, David Crosby died at 81, ending any possibilities of a full reunion.
Political activism
CSNY's music reflected the tastes and viewpoints of the counterculture in the late 1960s and early 1970s. With protest against the Vietnam War gearing up in 1970, the group (and Crosby in particular) made no secret of their political leanings.
As a group, they recorded one hit song in response to political events although they recorded other political songs as solo artists and in various combinations. The song, "Ohio", was written in response to the
Between "Ohio", their appearance in both the festival and movie of Woodstock, and the runaway success of their two albums, the group found themselves in the position of enjoying a level of adulation far greater than experienced with their previous bands, as evidenced by the 27 Platinum certifications they received across seven albums.[citation needed]
The band has been continuously associated with political causes throughout its existence, the latest example being the song "Almost Gone (The Ballad of Bradley Manning)" which focuses on the length and conditions of Chelsea Manning's pre-trial confinement.[91]
Crosby,
Influence
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Their collective abilities allowed CSNY to straddle all the genres of popular music eminent at the time, from country rock to confessional ballads, from acoustic guitars and voice to electric guitar, and three-part harmony. With the Beatles' break-up made public by April 1970, and with Bob Dylan in reclusive low-key activity since mid-1966, CSNY found themselves the adopted standard bearers for the Woodstock Nation, serving an importance in society as counterculture figureheads, equaled at the time in rock and roll only by the Rolling Stones or the Who. Such was their standing in 1970 that Bill Graham referred to them as "The American Beatles".[96] Producer Peter Fonda wanted CSN to create the soundtrack for Easy Rider, but director Dennis Hopper nixed the idea.[97] Stills' composition, "Find the Cost of Freedom" (on the flip side of "Ohio"), was the only song known to be offered for the soundtrack.
Members
Official members
- David Crosby – lead and backing vocals, rhythm guitar (1968–1970, 1973–2015; died 2023)
- Stephen Stills – lead and backing vocals, lead and rhythm guitar, bass, keyboards, percussion (1968–1970, 1973–2015)
- Graham Nash – lead and backing vocals, keyboards, rhythm guitar (1968–1970, 1973–2015)
- Neil Young – lead and backing vocals, lead and rhythm guitar, keyboards, harmonica (1969–1970, 1973–1974, 1986–1988, 1991, 1999–2006, 2013)
Timeline
Discography
For individual discographies, see entries on David Crosby, Stephen Stills, Graham Nash, and Neil Young. See also Crosby & Nash duo discography.
- 1969 Crosby, Stills & Nash (CSN)
- 1970 Déjà Vu (CSNY)
- 1977 CSN (CSN)
- 1982 Daylight Again (CSN)
- 1988 American Dream (CSNY)
- 1990 Live It Up (CSN)
- 1994 After the Storm (CSN)
- 1999 Looking Forward (CSNY)
Tours
- Crosby, Stills, Nash and Young 1969–1970 tours
- CSNY 1974
- CSN 1977 & 1978 Tour
- CSN 1982 & 1983 Tours
- CSN 1980–90's Tours
- List of Crosby, Stills, Nash (& Young) concert tours (2000s–10s)
Tour personnel
References
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- Sources
- Zimmer, Dave, and Diltz, Henry. Crosby Stills & Nash: The Authorized Biography (First edition), St. Martin's Press, 1984. ISBN 0-312-17660-0.
- Crosby, David, and Gottlieb, Carl. Long Time Gone (First edition), Doubleday, 1988. ISBN 0-385-24530-0.
- McDonough, Jimmy. Shakey, Neil Young's Biography (First edition), Random House, 2002. ISBN 0-679-42772-4.
- Nash, Graham. Wild Tales: A Rock & Roll Life (First Edition), Crown Archetype, 2013. ISBN 978-0-385-34754-9.
External links
- Official website
- Official CSN site
- Crosby, Stills, Nash & Young at Curlie
- Crosby, Stills, Nash & Young at IMDb
- Crosby, Stills, Nash & Young discography at Discogs