Crosby Stills & Nash - Crosby, Stills & Nash (1st Album, Expanded and Remastered)
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Music CD Cover
Artist: Crosby Stills & NashBrand: CROSBY,STILLS & NAS
Edition: Music CD
Audio: English (Unknown); English (Original Language)
Format: Extra tracks, Original recording remastered
CD Release Date: 2006-01-24
Music Label: Atlantic
Soundtracks:
- Suite: Judy Blue Eyes
- Marrakesh Express
- Guinnevere
- You Don't Have To Cry
- Pre-Road Downs
- Wooden Ships
- Lady Of The Island
- Helplessly Hoping
- Long Time Had Gone
- 49 Bye-Byes
- Do for the Others
- Song with No Words
- Everybody's Talkin'
- Teach Your Children
Free Music Notes for Crosby, Stills & Nash (1st Album, Expanded and Remastered)
Free Music Review: Classic debut
Hit: 5 Stars
First off, have you ever heard "Suite: Judy Blue Eyes?" Because that is a song and a half, my good friend. It's the best song the group ever made in any of their various combinations, and that's really saying something, since I love a lot of CSNY songs. But this is head-and-shoulders above even the best of their most amazing songs, which is saying quite a lot. As the title implies, it's a four-part suite, and an absolutely fantastic one at that. The first part is energetic and terrifically catchy. Then you've got my favorite, the slow second part. The group works up a deep, dreamy groove and harmonizes on the "What have I got to lose?" sections perfectly, and Stills does this awesome trick with double-tracking and echo - you get a "hey" in one channel, another "hey" shortly afterwards in the opposite channel, and a third "hey" immediately after that back in the first. And, right after that, he delivers the best vocal performance in his entire career, totally taking the spotlight by adopting a full-on soul man voice. That part is awesome... "Can I TELL IT LIKE IT IS? Listen to me, baby... it's my that's dying and that's what I've got to lose!" Especially the way he sings "heart," extending it to like eleven syllables, in a kick-butt falsetto. And he makes it look easy. Steve Stills is a really good singer.
Anyway, the third part sounds like something you'd hear at the Renaissance Festival, and I like it! That section is just about the most poetic love song not written by Smokey Robinson that I've ever heard. And after that, you have the fun, bouncy, half-Latin "do do do do doot, doot doot do do do doot" part, which rules. I love Stills' random Spanish scatting! And despite being a suite, the song never gets pretentious. It's mostly acoustic, it doesn't have any random soloing, and it's a great sing-along tune.
Stills wrote it, and of course, he's the star of this record: he not only wrote or co-wrote half the tunes, but he also plays guitar, bass, and organ when necessary. He's also one of the three lead singers, but you knew that. But Graham Nash and David Crosby come up with some winners, too! Crosby's eerie "Guinevere" is an example - the three-part harmony choruses are beautiful, and the way Stills and Nash support Crosby during the verses is awesome. That and I love Crosby's voice. Actually, I love all three of these guy's voices. Dave also co-wrote, along with Stills and Paul Katner of the Jefferson Airplane, the haunting, dramatic anti-war epic "Wooden Ships," with moody organ, heavy guitars, vocal trade-offs between Crosby and Stills, and an excellently harmonized chorus, it's my favorite song here other than the suite. And Crosby's angry hippie rocker "Long Time Gone" is a first-rate piece as well, once again because of those harmonies! And Crosby's lead vocals!
Graham Nash also adds the solid psychedelic pop song "Marrakesh Express," and the decent acoustic ballad "Lady of the Island." Neither of the two is as good as Nash's two songs from Déjà vu, but I love "Marrakesh!" It's so cute! And, I mean, try not singing along with it! "Lady of the Island..." I could take or leave it. But those vocal harmonies Crosby adds near the end sure are pretty. Same deal with "Pre-Road Downs," an okay but unspectacular country-rocker.
But yeah, back to my point about how Steve Stills wrote most of these songs. He's given the sole credit to "Suite: Judy Blue Eyes," "You Don't Have to Cry," "Pre-Road Downs," "Helplessly Hoping," and "49 Bye-Byes," and I can safely say I like all of those songs but "Pre-Road Downs" a lot. I already talked about "Suite: Judy Blue Eyes" (by the way, isn't it a bit disappointing when a band's best song ever is also the first song on their first album?) and "Pre-Road Downs" (meh), and I can safely say I love the other four. "You Don't Have to Cry" is arguably the catchiest song, which is saying a lot. It's so hard not to sing along to! And it's so much fun!
By contrast, "Helplessly Hoping" is probably Stills' attempt to pull a "Guinevere" of his own - it's got the same repeating, Medieval acoustic guitar figure, the same hypnotic feel, the same excellent harmonies, and the same semi-poetic lyrics. And he actually almost outdoes it, especially in that part when Stills sings "they are one person," Nash adds "they are two alone," and Crosby adds "they are three together." I think Stills wrote the lyrics as an exercise in alliteration, too: the first five words are "helplessly hoping, her harlequin hovers...," a later lyric goes "heartlessly helping himself," and there's a reference to a "Lady who lingers."
Anyway, I used to not like "49 Bye-Byes," but you know what caught me about it? Two things: the harmonies in the chorus (not like that was obvious or anything), and the tempo shift between the verse and chorus. Tempo shifts are cool! And, of course, the singing on both this and the entire record is some of the most imaginative I've ever heard. These three could harmonize like nobody else. In terms of those harmonies, this is definitely the best Crosby, Stills, Nash, and maybe Young record in history, and in terms of songs, it probably wins out too. "Suite: Judy Blue Eyes," man... "Wooden Ships," too... and hey, who can forget "Marrakesh Express" in terms of sheer goofy fun? For the record, "Suite: Judy Blue Eyes" and "Marrakesh Express" were big hits, and this is a great debut!
Crosby, Stills & Nash (1st Album, Expanded and Remastered) Poster
One of the most enduring musical partnerships of our time, Rock and Roll Hall of Famers Crosby, Stills & Nash are revered for their peerless vocal harmonies, inspired songwriting and musical virtuosity. When the trio first sang together at a friend's Laurel Canyon house in 1968, their uncanny harmonic convergence was immediately apparent, and CSN took shape. Each member came to the new venture from other high-profile bands-Crosby from the Byrds, Stills from Buffalo Springfield, and Nash from the Hollies-and together, they formed that rarest of musical entities, a "supergroup" that lived up to its billing. CSN's 1969 self-titled debut album is one of the true masterpieces of the rock 'n' roll canon, and 1982's Daylight Again is a brilliant portrait of their musical evolution. Still touring and recording together, CSN is an American treasure.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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