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Music CD - Crosby Stills & Nash: Crosby, Stills & Nash
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Music CD: Crosby, Stills & Nash
Artist: Crosby Stills & Nash
List Price: $18.98
Our Price: $9.41
Your Save: $ 9.57 ( 50% )
Availability: Usually ships in 24 hours
Manufacturer: Atlantic / Wea
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Average Customer Rating: 
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Tracks:
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1. Suite: Judy Blue Eyes
2. Marrakesh Express
3. Guinnevere
4. You Don't Have To Cry
5. Pre-Road Downs
6. Wooden Ships
7. Lady Of The Island
8. Helplessly Hoping
9. Lone Time Gone
10. 49 Bye-Byes
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Binding: Audio CD
EAN: 0075678265129
Format: Original recording remastered
Label: Atlantic / Wea
Manufacturer: Atlantic / Wea
Number Of Discs: 1
Publisher: Atlantic / Wea
Release Date: 1994-08-16
Studio: Atlantic / Wea
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Spotlight customer reviews:
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Customer Rating:
Summary: Crosby Stills & Nash
Comment: Crosby, Stills & Nash
This Group had the best harmony of any Pop Grop of the 60s and 70s era.
I Still like to listen to this group 35 years later.
Customer Rating:
Summary: crosby stills and nash are in top form
Comment: Crosby, Stills and Nash were a very successful soft/folk rock band in the late 60's and early 70's. A band that mainly focused on the vocals that easily had their own distinct sound and style compared to other singers back then. Artists like Seals and Crofts would go on to imitate that vocal style, and while I love them as well, there's nothing like the original Crosby, Stills and Nash lineup with their big classic album in the early days.
They are now considered an important part in the development of soft rock, and while the more mellow songs are quite tasty and rich, they can hold their own with the electric guitar too. We can't forget they were a band created during a time that saw more experimentation than the world was probably ready for. Rock and roll was all over the place, in terms of creativity and diversity.
I like the Byrds and Buffalo Springfield more (and of course Neil Young's solo career) but we can't deny the beauty and excellent songwriting of this album. We just can't deny it.
Customer Rating:
Summary: CROSBY, STILLS & NASH: THE BEGINNING. (their classic debut still stands as one of their best albums)
Comment: Crosby, Stills & Nash (1969) is the classic debut album from one of rock n' roll's first supergroups. David Crosby (The Byrds), Stephen Stills (Buffalo Springfield), and Graham Nash (The Hollies) recorded this, their first album, for Atlantic Records after failing an audition with The Beatles' Apple Records (What?!?!). The most distinctive features of CSN's sound are their wonderful vocals harmonies and the use of acoustic guitars in their song arrangements.
The album opens with the quickness of Stephen Stills' crisp acoustic guitar sound in Suite: Judy Blue Eyes, a song Stills wrote about the end of his relationship with former girlfriend, singer Judy Collins. The song is an extraordinary mix of sad desperation, beautiful harmonies, and vigorous six-string acoustics. Marrakesh Express is Graham Nash's organ driven and bouncy tune about a travel route that hippies used in the 1960s (it was notorious for being used to transport the famed Moroccan hashish). Nash even references pot in the song with the line, "Don't forget the roaches". These first two songs on the album were also hit singles for the group. David Crosby's Guinnevere is one of the best songs here, and one of the most intriguing songs CSN has ever done. An alternate tuning on David's acoustic guitar, quiet harmonies, and lyrics that describe a ghostly medievil maiden give the song a strange and subtle aura of sad beauty. Wooden Ships is a David Crosby/Stephen Stills/Paul Kantner (Jefferson Airplane) collaboration, and a rocking electric guitar and organ song of war and the apocalypse. David and Stephen share co-lead vocals on the song. I also like Stephen Stills' acoustic Helplessly Hoping, a song about longing for love and how fear keeps people from finding it.
Stand by the stairway
You'll see something
Certain to tell you
Confusion has it's cost
Love isn't lying
It's loose in a lady
Who lingers
Saying she is lost
And choking
...on hello
The group's harmonies work magic on that one, too. Long Time Gone rocks with electric guitars and a bluesy vocal performance from David Crosby.
Crosby, Stills & Nash is a classic album, a piece of rock n' roll history, really. It's acoustic guitar crispness, pristine vocal harmonies, and 1960s hippie relevance make it sort of a monument to the movement of peace and love in that tumultuous era. And, oh yeah! There are some great songs on Crosby, Stills & Nash, too!
Customer Rating:
Summary: Why are the song titels in German??
Comment: I'd like to know the English titles on this since I'm looking for a particular song. I mean, since the rest of the page is in English. Somebody? Thanks!
Customer Rating: 
Summary: Calm in the storm
Comment: As the 1960s wore on, many songwriters began to feel constrained by the limitations of the group formula. In the wake of Beatlemania, virtual identikit groups had sprung up on both sides of the Atlantic. In England, one such group - The Hollies - had manufactured a pop sound based on fairly complex vocal harmonies and chiming twelve string guitar. Across the pond The Byrds had set about inventing folk-rock with a sound also based on vocal harmonies and ringing chords. Slightly later, a group called Buffalo Springfield had been formed in Los Angeles with an initially similar Beatles-style sound.
As the baby-boomer youth of the Western world found themselves increasingly disenchanted with a stuffy Establishment who'd taken them to pointless wars (Suez, Vietnam) and became more enamoured of recreational avenues of escape (literature, art, music, philosophy, religion, drugs) some of them found voices in songwriters who happened to be in such groups. David Crosby of The Byrds, Graham Nash of The Hollies and Stephen Stills of Buffalo Springfield gradually carved out creative and personal reputations as liberated romantic idealists, harbingers of the talked up 'Age of Aquarius' where the baby-boomers would inherit the earth and make it a better place.
By the winter of 1967, Crosby's polemicism had fired him from The Byrds and Stephen Stills was at his wits' end over the moody antics of bandmember Neil Young. Both had begun to write more adventurously, placing a mirror to society and - crucially - to themselves. Through 1968 they individually demoed a series of songs, which would later form the backbone of the 1970s folk rock movement. Crosby, influenced by jazz and indian music in particular, tended to write in unconventional tunings. Stills veered slightly more to a country and blues tinged sound.
Meanwhile, Nash was growing increasingly restless with The Hollies. A failing marriage and a time of self-discovery was reflected in his more personal songs, which were not to the taste of his band. On one of many tours of the States, Nash found himself jamming with Crosby and Stills at Cass Elliot's house (of The Mamas and the Papas). Mutual admiration turned to wide-eyed wonder as Nash's voice joined with Crosby's and Still's to make the most arresting and moving harmonised sound of the decade. With Nash still in The Hollies, Stills and Crosby set about seducing him away from his steady job to join them permanently. In early '69 they went into the studio to set down their sound.
The result is, with Led Zeppelin, one of the two albums that would define the sound of rock music for the best part of the 1970s. It established the format of the band as a union of singer songwriters and from the start it was agreed that band members could release solo efforts or any other collaborations as they so wished.
'Crosby, Stills and Nash' has had practically every applicable hyperbole and cliche thrown at it. Casting such expectations aside, on the one hand it suffers somewhat because of over-solemnising and lazy lyrics; on the other hand Crosby, Nash and Stills attain new artistic heights both individually and as a unit. The production and musicianship throughout is also superb - thanks to Stills who produced and played nearly every instrument.
There are great swells on this album where the harmonies lock into place and we're taken to places only a few groups - The Beatles, Led Zeppelin, The Beach Boys etc - have reached. 'Suite: Judy blue eyes', 'Wooden Ships' and '49 Bye-Byes' are the ensemble high water marks and, ultimately, the pieces by which the album is made. The first song soars and falls over a D tuned acoustic guitar, which stylistically journeys to latin music via raga and folk. The opening harmonies must be one of the defining sounds of modern music, and provided another nail in the coffin for The Beatles. All three songs share Still's predilection for Hendrix-like riffing on the electric guitar with funky motown bass.
Nevertheless this is known as 'the acoustic album' and other songs like
'You don't have to cry', 'Helplessly hoping, 'Lady of the island' and 'Guinnevere' reinforce the epithet. Nash's 'Lady of the island' is particularly captivating if one leaves cynicism at the door. At best, it is charmingly devoid of all but a soft counterpoint harmony from Crosby and a guitar simply echoing the melody. At worst, it slips into mawkish senimentality. 'Guinnevere' manages to sound both entrancing and unsettling at the same time with easily Crosby's best tune. It enigmatically refers to three women, two of whom - Joni Mitchell and Christine Hinton - were one time lovers of him. The third woman's name remains a mystery.
If these songs are rather heavy in subject matter, relief comes in Nash's travellogues 'Pre-road downs' and 'Marrakesh express'. The latter was a hit but has aged rather less well than the former. 'Marrakesh''s inclusion appears rather as if a song was placed in the album so it had a radio hit, even if the subject matter does fit the time.'Pre-road downs' speeds by on electric guitar looped backwards and became a live favourite.
The song I leave till last, 'Long time gone' portends the follow-up 'Deja Vu'. It is explicitly political, 'Don't try to get yourself elected. If you do you had better cut your hair' and was written by Crosby the night Robert Kennedy was assassinated in 1968. Apparently Stills and the albums' drummer - Dallas Taylor - stayed up the night to work out an effective backing track. The result is a brooding work of siren-like organ and snarling guitar that summarises the unease of the politicised youth more effectively than The Stones' 'Street fighting man' or The Beatles' 'Revolution'. For once, Crosby manages to stay on the right side of good taste where later he would often venture into grandiloquent cliche on tracks like 'Almost cut my hair'.
I don't know if I'd call this an essential album but it's undoubtedly one of the most accomplished albums of the 1960s and remains as vital a document of that era's youth generation as any.
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Editorial Reviews:
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As much as any record, CSN's 1969 debut ushered in the early '70s singer-songwriter boom. Yes, this was a group, but it was one made up of three coequal composer/vocalists, each with a heady resume--Crosby an ex- Byrd, Stills in Buffalo Springfield, and Nash a former member of the Hollies. Each supplied distinctive material and contributed to CSN's trademark harmonies. The addition of Neil Young made the supergroup an edgier outfit. There's a purity to the original trio recording, however, that would never be recaptured. --Steven Stolder
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