DISC/CASSETTE ONE:
1. SUITE: JUDY BLUE EYES
CROSBY, STILLS & NASH (7:28)
(Stills; Gold Hill Music, Inc., ASCAP.)
Vocals: Crosby, Stills & Nash
Guitars, bass, percussion: Stephen Stills
Drums: Dallas Taylor
Recorded at Wally Heider's Studio III, Los Angeles, early 1969
Engineer: Bill Halverson
Produced by Crosby, Stills & Nash
Song originally released on Crosby, Stills & Nash, May 29, 1969
Unreleased alternate mix.
Original 7.5 ips tape courtesy of the Joel Bernstein Collection
It started out as a long narrative poem about my relationship with Judy Collins. It poured out of me over many months and filled several notebooks. I had a hell of a time getting the music to fit. I was left with all these pieces of song and I said, 'Let's sing them together and call it a suite,' because they were all about the same thing and they led up to the same point. And the little kicker at the end about Cuba was just to liven it up because it had gone on forever and I didn't want it to just fall apart. I said, 'Now that we've sung all these lyrics about one thing, let's change the subject entirely.' And we did. Even did it in a different language just to make sure that nobody could understand it. – Stephen Stills
2. HELPLESSLY HOPING
CROSBY, STILLS, NASH & YOUNG (2:31)
(Stills; Gold Hill Music, Inc., ASCAP.)
Vocals: Crosby, Stills & Nash
Electric guitars: Stephen Stills, Neil Young
Rhythm guitar: David Crosby
Bass: Bruce Palmer
Drums: Dallas Taylor
Recorded at Sunwest Studios, Los Angeles, June 15, 1969
Engineer: Dave Hassinger
Produced by Crosby, Stills, Nash & Young
Mixed by Stephen Barncard, June 19, 1991
Song originally released on Crosby, Stills & Nash, May 29, 1969
Unreleased live studio version
This song was inspired a long time ago by my tenth-grade English teacher in Tampa, Florida. She was a real knock-out, so much so that she got all the football players to stand up and read poetry, trying to impress her with how sensitive we were and how much we loved this awful stuff. Some of it must've rubbed off on me. This version is an alternate take where I'm playing a Chet Atkins Country Gentleman style guitar. I couldn't find a real steel player, so I had to make do with my little volume pedal and my Gretsch with the tone bar. – Stephen Stills
3. YOU DON'T HAVE TO CRY
CROSBY, STILLS & NASH (2:40)
(Stills; Gold Hill Music, Inc., ASCAP.)
Vocals: Crosby, Stills & Nash
Guitars, bass, percussion: Stephen Stills
Recorded at The Record Plant, New York City, December 1968
Engineer: Paul A. Rothchild
Produced by Paul A. Rothchild
Song originally released on Crosby, Stills & Nash, May 29, 1969
Unreleased first Crosby, Stills & Nash recording
It was a letter that never got sent. I took bits and pieces of it, put them into a song and it got posted through the record business instead of the mail. – Stephen Stills
4. WOODEN SHIPS
CROSBY, STILLS & NASH (5:26)
(Crosby, Stills & Kantner; Gold Hill Music, Inc., ASCAP/Stay Straight Music, Inc./Icebag Music Corp., BMI.)
Vocals: Crosby, Stills & Nash
Lead guitar, bass, organ – Stephen Stills
Rhythm guitar – David Crosby
Drums – Dallas Taylor
Recorded at Wally Heider's Studio III, Los Angeles, February 20, 1969
Engineer: Bill Halverson
Produced by Crosby, Stills & Nash
Originally released on Crosby, Stills & Nash, May 29, 1969
Written in the main cabin of my boat the Mayan. I had the music already. Paul Kantner wrote two verses, Stephen wrote one, and I added the bits at both ends. (Kantner couldn't be credited because he was being sued by his managers.) I borrowed the first part off a little Baptist church sign in Florida that said "If you smile at me I will understand, because that is something everybody everywhere does in the same language. " It's a weird science fiction story, but one that could happen tomorrow. "Silver people on the shoreline" are guys in radiation suits. We imagined ourselves as the few survivors, escaping on a boat to create a new civilization. Later on, Jackson Browne said 'What about all the people who get left behind?' and wrote "For Everyman" in response. – David Crosby
5. GUINNEVERE
DAVID CROSBY (4:45)
(Crosby; Stay Straight Music, BMI.)
Guitars and vocals: David Crosby
Bass: Jack Casady
Bouzouki: Cyrus Faryar
Recorded at United Studio B, Hollywood, June 26, 1968
Engineer: Bill Halverson
Produced by David Crosby
Mixed by Stephen Barncard, June 30, 1991
Song originally released on Crosby, Stills & Nash, May 29, 1969 Unreleased early demo
When all my friends were listening to Elvis and 1950s rock 'n' roll, I was listening to Chet Baker, Gerry Mulligan and West Coast jazz. Later I got involved with the folk music scene. After getting kicked out of the Byrds I didn't have a plan, but I went back to my roots, and "Guinnevere" is a combination of these two influences. This was a demo I cut on borrowed studio time, hoping to land another record contract. Cyrus Faryar from the Modern Folk Quartet played bouzouki; Jack Casady's bass still gives me chills, it's like another voice. People ask, 'Who was Guinnevere?' Songs are seldom about one person. It's a love song, an answer to some other love songs, and part of a conversation. –David Crosby
6. MARRAKESH EXPRESS
CROSBY, STILLS & NASH (2:36)
(Nash; Nash Notes, BMI.)
Vocals: Crosby, Stills & Nash
Guitars, organ, piano, bass: Stephen Stills
Acoustic guitar: Graham Nash
Drums: Jimmy Gordon
Recorded at Wally Heider's Studio III, Los Angeles, early 1969
Engineer: Bill Halverson
Produced by Crosby, Stills & Nash
Originally released on Crosby, Stills & Nash, May 29, 1969
An actual journey I took in 1966 from Casablanca to Marrakesh, with my first wife Rose. I came back and played it for the Hollies, who rejected it, along with the first "Sleep Song. " After a couple of months of that a man is liable to go insane, especially being the only one who was smoking grass at the time. – Graham Nash
7. LONG TIME GONE
CROSBY, STILLS & NASH (4:17)
(Crosby; Stay Straight Music, BMI.)
Vocals: Crosby, Stills & Nash
Guitars, bass, organ: Stephen Stills
Electric rhythm guitar: David Crosby
Drums: Dallas Taylor
Recorded at Wally Heider's Studio III, Los Angeles, early 1969
Engineer: Bill Halverson
Produced by Crosby, Stills & Nash
Originally released on Crosby, Stills & Nash, May 29, 1969
It was written the night Bobby Kennedy was killed. I believed in him because he said he wanted to make some positive changes in America, and he hadn't been bought and sold like Johnson and Nixon – cats who made their deals years ago with the special interests in this country in order to gain power. I thought Bobby, like his brother, was a leader who had not made those deals. I was already angry about jack Kennedy getting killed and it boiled over into this song when they got his brother, too. – David Crosby
8. BLACKBIRD
CROSBY, STILLS & NASH (2:33)
(Lennon/McCartney; Maclen Songs, BMI.)
Vocals: Crosby, Stills & Nash
Acoustic guitar: Stephen Stills
Recorded at Wally Heider's Studio III, Los Angeles, February 11, 1969
Engineer: Bill Halverson
Produced by Crosby, Stills & Nash
Mixed by Stephen Barncard, August 1, 1991
Composition originally released on The Beatles' "white album"
Unreleased live studio version
A song by our favorite group. We were staying on Moscow Road in London in 1968, hoping to get onto the Apple record label. The Beatles were recording the "White Album," and when we heard McCartney do "Blackbird" we flipped and learned it right away. It was perfect for our three-part harmony. – Graham Nash
9. LADY OF THE ISLAND
CROSBY, STILLS & NASH (2:36)
(Nash; Nash Notes, BMI.)
Vocals: Graham Nash, David Crosby
Acoustic guitar: Graham Nash
Recorded at Wally Heider's Studio III, Los Angeles, early 1969
Engineer: Bill Halverson
Produced by Crosby, Stills & Nash
Originally released on Crosby, Stills & Nash, May 29, 1969
It's a song for two ladies. The Islands in question are Ibiza and Long Island. Warm gentle feelings. Recorded in one take, Crosby and I improvising that nice little fugue in the middle. – Graham Nash
10. SONG WITH NO WORDS (TREE WITH NO LEAVES)
CROSBY & NASH (3:14)
(Crosby; Stay Straight Music, BMI.)
Vocals: David Crosby & Graham Nash
12-string acoustic guitar: David Crosby
Recorded at Wally Heider's Studio A, San Francisco, November 17, 1969
Engineer: Stephen Barncard
Produced by David Crosby & Graham Nash
Mixed by Stephen Barncard, June 20, 1991
Song originally released on David Crosby's If I Could Only Remember My Name, February 22, 1971
Unreleased live studio version
When I wrote this song it seemed complete, it never asked me for words. I did it, it felt good, so I left it that way. I called it "Song With No Words," and Nash dubbed it "Tree With No Leaves." Early on a lot of people made much of my music being strange, because I used a lot of odd tunings, and the fact that my songs often didn't follow the usual cyclical, short and easy repeat patterns – which is one reason I was thrilled when I met Nash. He understood my stuff the first minute he heard it. Nash has never been puzzled by my music, ever. The farthest out thing I ever tried to do, Nash just went, 'Yeah, sure.' The tunings I use I hit on by fooling around with other guitar players, and experimenting. The way we all got into it was tuning the bottom E string down to D. That was the first one everybody did. The next thing you tried was tuning the top E string down to D also, which Stephen loves, a modal tuning. In "Song With No Words," for all you guitar players, the A is up a whole tone to B, B is down a whole tone to A, and the high E is down a whole tone to D.
It's the same tuning that gave me "Guinnevere," "Deja Vu," and "Compass" – so far. – David Crosby
______________________________________________________________________
(cassette one, side two)
11. ALMOST CUT MY HAIR
CROSBY, STILLS, NASH & YOUNG (8:49)
(Crosby; Stay Straight Music, BMI.)
Vocals: David Crosby
Guitars: David Crosby, Stephen Stills, Neil Young
Organ: Graham Nash
Bass: Greg Reeves
Drums: Dallas Taylor
Recorded at Wally Heider's Studio C, San Francisco, January 9, 1970
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Song originally released on Deja Vu, March 11, 1970
Unreleased unedited original version
It's really Crosby at what I think is his best. It's all live, three guitars, bass, organ and drums, and there are no overdubs. One vocal, and the vocal was sung live ... we did it in San Francisco at Wally Heider's. – Neil Young
12. TEACH YOUR CHILDREN
CROSBY, STILLS, NASH & YOUNG (2:52)
(Nash; Nash Notes, BMI.)
Vocals: Crosby, Stills & Nash
Guitars: Graham Nash, Stephen Stills
Pedal Steel Guitar: Jerry Garcia
Bass: Stephen Stills
Tambourine: Graham Nash, Dallas Taylor
Recorded at Wally Heider's Studio C, San Francisco, October 24, 1969
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Originally released on Deja Vu, March 11, 1970
The idea is that you write something so personal that every single person on the planet can relate to it. Once it's there on the vinyl it unfolds, outwards, so that it applies to almost any situation. "Teach" started out as a slightly funky English folk song but Stephen put a country beat to it and turned it into a hit record. Jerry Garcia added the pedal steel guitar - which he'd only been playing for two weeks. – Graham Nash
13. HORSES THROUGH A RAINSTORM
CROSBY, STILLS, NASH & YOUNG (3:40)
(Reid & Nash; Nash Notes, BMI/Carlin Music Ltd./Enquiry Music ltd.)
Vocals: Crosby, Stills & Nash
Electric guitar: Neil Young
Acoustic Guitar: Graham Nash
Organ: Stephen Stills
Bass: Bruce Palmer
Drums: Dallas Taylor
Recorded at Stephen's house, Laurel Canyon, Los Angeles; and at Wally Heider's Studio III, Los Angeles, December 28, 1969
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Mixed by Stephen Barncard, June 17, 1991
Unreleased song
Terry Reid was an English bluesman I later produced an album for. This was his song, I rewrote and rearranged it a bit. It's a full CSNY band version, an outtake from the Deja Vu album. In the end it smacked a little too much of the pop prisons from which we had all just escaped. – Graham Nash
14. DEJA VU
CROSBY, STILLS, NASH & YOUNG (4:10)
(Crosby; Stay Straight Music, BMI.)
Vocals: Crosby, Stills & Nash
Bass, electric and acoustic pianos, electric guitar: Stephen Stills
Harmonica: John Sebastian
Acoustic guitar: David Crosby
Drums: Dallas Taylor
Recorded at Wally Heider's Studio C, San Francisco, November 17, 1969
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Originally released on Deja Vu, March 11, 1970
I thought then and still think that there's a good possibility that the people who believe in reincarnation are right. That the law of conservation of energy applies: life force just doesn't go away. The identity print gets wiped, mostly, but sometimes there's a ghost print and some stuff hangs around. How else can I explain knowing how to sing harmonies at age six or knowing how to sail a boat the first time I got in one? And having a persistent delusion, all my life, of having been somebody else before. – David Crosby
15. HELPLESS
CROSBY, STILLS, NASH & YOUNG (3:36)
(Young; Cotillion Music Inc./Broken Arrow Music, adm. by Warner-Tamerlane Publishing Corp., BMI.)
Vocals: Crosby, Stills, Nash & Young
Acoustic guitar: Neil Young
Lead guitar, piano: Stephen Stills
Bass: Greg Reeves
Drums: Dallas Taylor
Recorded at Wally Heider's Studio C, San Francisco, November 7, 1969
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Originally released on Deja Vu, March 11, 1970
Recorded in San Francisco about four a.m. when everyone got tired enough to play at my speed. – Neil Young
16. 4+20
CROSBY, STILLS, NASH & YOUNG (2:10)
(Stills; Gold Hill Music, Inc., ASCAP.)
Guitar & vocals: Stephen Stills
Recorded at Wally Heider's Studio III, Los Angeles, July16, 1969
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Mixed by Stephen Barncard, July 1, 1991
Song originally released on Deja Vu, March 11, 1970
Unreleased alternate mix
I wanted to hold it for my solo album but the guys insisted we use it on Déjà vu – it means a lot to me – it's about an eighty-four year old poverty stricken man who started and finished with nothing. I recorded the track in one take. I'd intended for David and Graham to sing harmony and even had the parts worked out, but they told me they wouldn't dare touch it, so it always stood alone. – Stephen Stills
17. LAUGHING
DAVID CROSBY (5:24)
(Crosby; Stay Straight Music, BMI.)
Vocals: David Crosby, Joni Mitchell, Graham Nash
Guitars: David Crosby
Pedal steel guitar: Jerry Garcia
Bass: Phil Lesh
Drums: Bill Kreutzmann
Recorded at Wally Heider's Studio C, San Francisco, October 24, 1969
Engineer: Stephen Barncard, assisted by Ellen Burke
Produced by David Crosby
Originally released on If I Could Only Remember My Name, February 22, 1971
I have fond memories of recording that first solo album. We felt there were people who would understand it, but basically we were thrilling ourselves. Stephen Barncard was my engineer and he did a lot of work to get that acoustic guitar sound. I don't think anybody's ever gotten a better one, frankly. The key to the whole enterprise was great instruments, incredibly well tuned. You can't even attempt this music any other way. And Garcia was wonderful because he's always trying to push the edge of the envelope. He always wants to play something that he hasn't played before. He'll take a swing at a song he's never heard – shooting craps with the music, we loved to do that. He is a truly amazing musician, one of the most articulate and brilliant people who has ever played music. – David Crosby
"David is a very giving musician, his songs are special and they're very different, so it's always a challenge to work with him. He's into that loose "anything goes" creative space, which is especially fun when you're a supporting musician, because of the "gameness" it expresses. And the payoff is when you hear it back. It sounds beautiful. Crosby has never gotten the credit he deserves. He's an uncanny singer. He has as much control as anybody I've seen or worked with. He can do things that are truly astonishing if you give him half a chance and when he has his own head and he's in good shape, boy, he's fun to work with.
He's an inspiration. I think some of the finest playing I've done on record is on his solo album. As far as being personally satisfied with my own performances, which I rarely am, he's gotten better out of me than I get out of myself." – Jerry Garcia
18. CARRY ON/QUESTIONS
CROSBY, STILLS, NASH & YOUNG (4:25)
(Stills; Gold Hill Music, Inc., ASCAP.)
Vocals: Crosby, Stills & Nash
Guitars, bass, organ, percussion: Stephen Stills
Congas: Stephen Stills, Graham Nash
Drums: Dallas Taylor
Recorded at Wally Heider's Studio C, San Francisco, December 28, 1969
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Originally released on Deja Vu, March 11, 1970
I'll never forget the day we cut "Carry On" because I'd just bought a new Porsche and it got stolen that morning. The song was written in the middle of the Deja Vu sessions, when Nash told Stephen they still didn't have an opener for the album. It was something of a message to the group, since it had become a real struggle to keep the band together at that point. Stephen combined two unfinished songs and stuck them onto a jam we'd had out in the studio a few nights before, me on drums and Stephen on a Hammond B-3 organ. As the track begins I'm playing bass drums and high hat, and Graham is playing congas. Then we go into a 6/8 groove, which is rather obscure – Stephen loved to change gears that way.
Stephen and I had a telepathic rapport; the fact that he started out as a drummer had a lot to do with that. We could just read each other's minds, it was spooky. I always knew just when he was about to take some weird left turn. Whatever he'd decide to do, I'd be there. The sessions would go on all night, sometimes three or four days non-stop. The thing I loved about the studio was you could never tell if it was day or night, and we hid all the clocks so no one knew what time it was. – Dallas Taylor
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DISC/CASSETTE TWO:
1. WOODSTOCK
CROSBY, STILLS, NASH & YOUNG (3:50)
(Mitchell; Siquomb Publishing, BMI.)
Vocals: Crosby, Stills & Nash
Electric guitars: Neil Young, Stephen Stills, David Crosby
Organ: Stephen Stills
Piano: Graham Nash
Bass: Greg Reeves
Drums: Dallas Taylor
Recorded at wally Heider's Studio C, San Francisco, November 5, 1969
Engineer: Russ Gary
Mixed by Russ Gary, November 5, 1969
Produced by Crosby, Stills, Nash & Young
Song originally released on Deja Vu, March 11, 1970
Unreleased 1969 alternate mix
The deprivation of being stuck in a New York hotel room and not being able to go provided me with an intense angle on Woodstock. I was one of the fans. I was put in the position of being a kid who couldn't make it. So I was glued to the media. And at the time I was going through a kind of born-again Christian trip – not that I went to any church, I'd given up Christianity at a very early age in Sunday school. But suddenly, as performers, we were in the position of having so many people look to us for leadership, and for some unknown reason, I took it seriously and decided I needed a guide and leaned on God. So I was a little 'God mad' at the time, for lack of a better term, and I had been saying to myself, 'Where are the modern miracles?' Woodstock, for some reason, impressed me as being a modern miracle, like a modern-day fishes-and-loaves story.
For a herd of people that large to cooperate so well, it was pretty remarkable and there was tremendous optimism. So I wrote the song 'Woodstock' out of these feelings ... – Joni Mitchell
2. OHIO
CROSBY, STILLS, NASH & YOUNG (3:00)
(Young; Cotillion Music Inc/Broken Arrow Music, adm. by Warner-Tamerlane Publishing Corp., BMI.)
Vocals: Crosby, Stills, Nash & Young
Guitars: Neil Young, Stephen Stills, David Crosby
Bass: Calvin Samuels
Drums: Johnny Barbata
Recorded at Record Plant Studio 3, Los Angeles, May 21, 1970
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Originally released as a CSN&Y single, June 4, 1970
The way I recall it, I was with Neil at a friend's house and handed him Life magazine with the Kent State photos. He was silent for a long time, then picked up his guitar and twenty minutes later had this song. I called Stephen and Graham, and we immediately booked a studio. We gave the master to Ahmet Ertegun who flew it to New York the next day and it was released within the week. "Teach Your Children" was heading straight for Number One, and we knocked it right off the charts with our own song, and Nash never said one word about it, to his great credit. He knew how important it was that this song be out there. For me 'Ohio' was a high point of the band, a major point of validity. There we were, reacting to reality, dealing with it on the highest level we could – relevant, immediate. It named names and pointed the finger. It said 'Nixon. ' I was so moved by it that I completely lost it at the end of the song, in the recording studio, screaming ' ... Four ... Why? ... 'How many more? ... ' – David Crosby
3. LOVE THE ONE YOU'RE WITH
STEPHEN STILLS (3:03)
(Stills; Gold Hill Music, Inc., ASCAP.)
Lead vocals, guitars, organ, steel drum, percussion: Stephen Stills
Background vocals: Rita Coolidge, Priscilla Jones, John Sebastian, David Crosby, Graham Nash
Bass: Calvin Samuels
Congas: Jeff Whittaker
Recorded at Island Studios, London, England, March 1970
Engineer: Andy Johns
Produced by Stephen Stills & Bill Halverson
Originally released on Stephen Stills, November 16, 1970
This song has been very good to me. The title came from a party with Billy Preston. I asked him if I could pinch this line he had, and he said, 'Sure. ' So I took the phrase and wrote a song around it. It's a good times song, just a bit of fun. My favorite part is the steel drums. I played them before a little bit but I just kept diddling around till I found the right notes. – Stephen Stills
4. OUR HOUSE
CROSBY, STILLS, NASH & YOUNG (2:58)
(Nash; Nash Notes, ASCAP.)
Vocals: Crosby, Stills & Nash
Piano: Graham Nash
Bass: Greg Reeves
Drums: Dallas Taylor
Recorded at Wally Heider's Studio III, Los Angeles, November 5, 1969
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Originally released on Deja Vu, March 11, 1970
Written for Joni Mitchell, about her house that we shared in Laurel Canyon, on Lookout Mountain. It was written on her piano. Such a charming house. She had a collection of multicolored glass in the window that would catch the light – like ‘fiery gems.' There was a fireplace, and two cats in the yard. It was like a family snapshot, a portrait of our life together. – Graham Nash
5. OLD TIMES GOOD TIMES
STEPHEN STILLS (3:38)
(Stills; Gold Hill Music, Inc., ASCAP.)
Vocals, organ: Stephen Stills
Guitar: Jimi Hendrix
Bass: Calvin Samuels
Congas: Jeff Whittaker
Drums: Conrad Isedor
Recorded at Island Studios, London, England
Engineer: Andy Johns
Produced by Stephen Stills & Bill Halverson
Originally released on Stephen Stills, November 16, 1970
Hendrix and I cut a bunch of stuff together, this is one of the few things that surfaced. He was a very dear friend of mine, we were lonely in London together and hung out a lot. I left England suddenly, and years later I learned from Mitch Mitchell that Jimi had been looking for me everywhere – wanted me to join the Experience as the bass player, which would have been my greatest dream in life! It had something to do with a manager deciding it was a wrong career move and said, 'we don't know where he is.' I learned to play lead guitar from Jimi he showed me the scales and said things like, 'You begin by thinking about the chord position and base your improvisations on that.' Or he'd make some little remark like, 'F sharp is really cool,' and we'd develop a jam around that. We'd make up songs, play the blues. He'd improvise until the inspiration began to ebb, then he'd look at me and say, 'You drive.' You had to hear that cat play acoustic guitar! We once jammed for about five days, one long marathon session in my beach house in Malibu. The sheriff's deputy overheard our guitar playing. When he found out it was us he asked permission to park his police car directly outside the house so he could listen in while he fielded radio calls. Told us not to worry about a thing, he'd be looking out for us. – Stephen Stills
6.THE LEE SHORE
CROSBY, STILLS, NASH & YOUNG (5:28)
(Crosby; Stay Straight Music, BMI.)
Vocals: Crosby, Stills & Nash
Lead guitar: Stephen Stills
Electric rhythm guitar: David Crosby
Acoustic guitar, harmonica: Neil Young
Organ: Graham Nash
Bass: Greg Reeves
Drums: Dallas Taylor
Recorded at Stephen's house, Laurel Canyon, Los Angeles, December 28,1969; Vocal overdubs: Sunset Sound, Los Angeles, August 1, 1991.
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Mixed by Stephen Barncard, August 2, 1991
Song originally released on Four Way Street, April 7,1971
Unreleased version
A song about a twenty year love affair with an Alden schooner. Sailing is a mystical experience for me. The Mayan represents everything healthy and positive for me, and has quite literally saved my life on a number of occasions. It gets me out of the whole scene.
The ocean doesn't give a damn, it's never heard of you. – David Crosby
7. MUSIC IS LOVE
DAVID CROSBY (3:18)
(Crosby; Stay Straight Music, BMI.)
Vocals: David Crosby, Graham Nash, Neil Young
Guitars: David Crosby, Neil Young
Bass, vibes: Neil Young
Congas: Graham Nash
Recorded at A&M Studio C, Los Angeles, Fall 1970
Engineer: Henry Lewy, Stephen Barncard assisted by Ellen Burke
Produced by Neil Young, Graham Nash
Originally released on If I Could Only Remember My Name, February 22, 1971
"Music Is Love" is Nash's and Neils' fault. I improvised the tune, we were fooling around, it was a jam, and when it was over I thought 'That's nice,' but I didn't see it as too impressive. Then Nash and Neil stole the tape. They added congas, vibes, and harmonies, brought the tape back to me and said, "This is going on your album, don't give us any shit." They were very firm about it. I learned a long time ago it doesn't work to say no to Nash or Neil. – David Crosby
8. I'D SWEAR THERE WAS SOMEBODY HERE
DAVID CROSBY (1:19)
(Crosby; Stay Straight Music, BMI.)
Vocals: David Crosby
Recorded at Wally Heider's Studio A, San Francisco, Fall 1970
Engineer: Stephen Barncard assisted by Ellen Burke
Produced by David Crosby
Originally released on If I Could Only Remember My Name, February 22, 1971
I don't know where that came from. It was a hallucination. I've always been drawn to strange vocal works. I overdubbed six tracks a cappella, with echo. Later I was left with a persistent feeling it was about Christine Hinton, my girlfriend who was killed. I was very much in love with her, and she went away very suddenly. I was not equipped to deal with the loss. This piece was a sudden, improvised, overwhelming requiem. – David Crosby
9. MAN IN THE MIRROR
CROSBY, STILLS, NASH & YOUNG (2:52)
(Nash; Nash Notes, BMI.)
Vocals: Graham Nash, David Crosby, Neil Young
Guitar: Graham Nash, Neil Young
Recorded at The Fillmore East, New York City, June 7, 1970
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Mixed by Stephen Barncard, June 30, 1991
Song originally released on Graham Nash's Songs For Beginners, May 28, 1971.
Unreleased live version
It appeared on my first solo album, Songs for Beginners. It was a period of retreat and re-evaluation. I went to the Chateau Marmont in Los Angeles for two nights and stayed for months. I had a little Wurlitzer piano in one room. I'd order room service and only come out at night. I wrote this tune there. I was very proud of Songs for Beginners because it stretched my awareness of who I am a bit further. The title for the album implied a beginning, since it was my first solo effort, but it also implied beginning, meaning songs for people who act, begin things.
Because people think a lot, but then don't act on their thoughts. – Graham Nash
10. BLACK QUEEN
CROSBY, STILLS, NASH & YOUNG (6:50)
(Stills; Gold Hill Music, Inc., ASCAP.)
Guitar, vocals: Stephen Stills
Recorded at The Fillmore East, New York City, June 7, 1970
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Mixed by Stephen Barncard, June 18, 1991
Song originally released on Stephen Stills, November 16, 1970.
Unreleased live version
"I got everything I know from Stephen Stills. Those people who thought Clapton was God hadn't heard Stills play acoustic guitar." – Michael Hedges
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(cassette two, side two)
11. MILITARY MADNESS
GRAHAM NASH (2:55)
(Nash; Nash Notes, 8MI.)
Acoustic guitar, vocals: Graham Nash
Background vocals: Rita Coolidge, Pat Arnold
Lead guitar: Dave Mason
Piano; Joel Bernstein
Bass: Calvin Samuels
Drums: Johnny Barbata
Recorded at Wally Heider's Studio III, Los Angeles, February 12, 1971
Engineer: Larry Cox
Produced by Graham Nash
Mixed by Glyn Johns at Island Studios, London, England, February 28, 1971
Originally released on Songs For Beginners, May 28, 1971
This is a song we opened our 1991 solo acoustic tour with, and it blows my mind we still have to be singing it. I was quite literally born into wartime conditions. My father was fighting in the service, while my mother gave birth to me in an upstairs room in Blackpool, by the Northern Sea, where we'd been evacuated during World War II. You could say from a very early age I've been aware of the absurdity of war. There is always one side that wins out economically and industrially because they were the ones who manufactured the war and the weapons. It's happening toddy and it is no different. – Graham Nash
12. URGE FOR GOING
CROSBY & NASH (3:46)
(Mitchell; Siquomb Publishing, BMI.)
Vocals: David Crosby, Graham Nash
Acoustic guitar: Graham Nash
Electric Guitar: David Crosby
Bass: Chris Ethridge
Drums: Johnny Barbata
Recorded at The Record Plant Studio 3, Los Angeles, June 22, 1971
Engineer: Gary Kellgreen
Produced by David Crosby, Graham Nash
Song first released as a George Hamilton IV single, 1967. Joni's own version did not appear until 1972, as the flip side of her "'You Turn Me On, I'm A Radio.”
Unreleased version
Original 7.5 ips tape courtesy of the Joel Bernstein Collection
After the break up of CSN following the 1970 tour, David and Graham began a project on their own. They were both tremendous admirers of Joni Mitchell's songwriting, and of course David had produced her first album. Together they decided to cover "Urge For Going," a song Joni had written in Canada in the Spring of 1966 (incidentally one of only two songs she ever wrote in standard tuning). It was intended for the pop singles market, the idea being to record two songs and release a 45.
Graham's vocals hark back to his English sixties pop style, and David is playing very clear twelve-string reminiscent of the Byrds. I came to the studio with Graham just in time to witness a heated argument, as a result of which the song was never completed. The next day David went back to the studio and added vocals on his own to present Graham with a semi-finished version of the song as a peace offering. "That tape is the only thing that exists of the song and that's what you're listening to now. – Joel Bernstein
13. I USED TO BE A KING
GRAHAM NASH (4:48)
(Nash; Nash Notes Music, BMI.)
Acoustic guitar, vocals: Graham Nash
Electric guitar: David Crosby
Piano: Neil Young
Pedal steel guitar: Jerry Garcia
Bass: Phil Lesh
Drums: Johnny Barbata
Recorded at Wally Heider's Studio C, San Francisco, January 9, 1971
Engineer: Stephen Barncard
Mixed by Glyn Johns at Island Studios, London, England, February 28, 1971
Produced by Graham Nash
Originally released on Songs For Beginners, May 28, 1971
And King Midas in Reverse is the king I used to be. – Graham Nash
14. SIMPLE MAN
GRAHAM NASH (2:19)
(Nash; Nash Notes, BMI.)
Piano, vocals: Graham Nash
Background vocals: Graham Nash & Rita Coolidge
Fiddle: David Lindley
Celli: Dorian Rudnytsky
Vibes: Rita Coolidge
Recorded at Wally Heider's Studio C, San Francisco, July 24, 1970
Engineer: Larry Cox
Produced by Stephen Barncard, August 1, 1991
Original mix released on Songs For Beginners, May 28, 1971
Unreleased alternate mix
The day before the Fillmore East show in June of 1970 I broke up with Joni Mitchell and my whole world fell apart. The afternoon of that show I wrote this song and that evening I performed it live for the first time, with Joni sitting in the audience. I don't know how got through that. – Graham Nash
15. SOUTHBOUND TRAIN
CROSBY & NASH (3:54)
(Nash; Nash Notes, Inc., BMI.)
Guitars and vocals: Graham Nash, David Crosby
Harmonica: Graham Nash
Pedal steel guitar: Jerry Garcia
Bass: Chris Ethridge
Drums: Johnny Barbata
Recorded at Wally Heider's Studio 3, Los Angeles, January 6, 1972
Engineer: Bill Halverson, assisted by Doc Storch
Produced by David Crosby, Graham Nash, Bill Halverson
Originally released on Graham Nash/David Crosby, April 5, 1972
When David and I were staying at the Warwick Hotel in New York, Dylan came to visit. He asked us if we had any new songs and I had just written this. When David and I finished singing, Bob asked us to sing it again. I took it as quite a compliment ... I think. – Graham Nash
16. CHANGE PARTNERS
STEPHEN STILLS (3:13)
(Stills, Gold Hill Music, ASCAP.)
Guitar, keyboards, lead vocals: Stephen Stills
Background vocals: David Crosby, Henry Diltz, Freddie Neil
Keyboards: Paul Harris
Bass: Calvin Samuels
Drums: Dallas Taylor
Recorded at Island Studios, London, England
Engineer: Bill Halverson
Produced by Stephen Stills & Bill Halverson
Originally released on Stephen Stills 2, June 30, 1971
Ostensibly it was about growing up in the South, attending the debutante balls, although Graham likes to refer to it as the Crosby, Stills and Nash theme song, which I suppose it is. But it should certainly be a crushing bore if we did the same old thing all the time. That's why we called the group Crosby, Stills and Nash, and not 'The Spiders,' or something. Everybody would have the chance to carry on their solo careers and do what we wanted in any combination we wanted, in order to make it as interesting as possible, continually updating our relationships and our approaches to music, always open to other influences. – Stephen Stills
17. MY LOVE IS A GENTLE THING
STEPHEN STILLS (1:23)
(Stills; Gold Hill Music, ASCAP.)
Guitars, percussion, vocals: Stephen Stills
Recorded at Wally Heider's Studio, Los Angeles, April 18, 1975
Engineer: Bill Halverson
Produced by Stephen Stills
Unreleased song
I broke my hand and went to Hawaii to recuperate, where I met a nice beach girl who nursed me. I feel most at home in the tropics. Not the high, mountainous rainforests, but down by the ocean. The Tropic of Capricorn. "My Love" in the song is really Hawaii, I was thinking of the tropics as a woman. When I finished recording the song I wanted to overdub bongos in the background but there weren't any. So I turned the guitar over and on the back of it thumped out a beat. – Stephen Stills
18. WORD GAME
STEPHEN STILLS (4:10)
(Stills; Gold Hill Music, Inc. ASCAP.)
Guitar, vocals: Stephen Stills
Recorded at Island Studios, London
Engineer: Bill Halverson
Produced by Stephen Stills & Bill Halverson
Originally released on Stephen Stills 2, June 30, 1971
When I was living in England in the early seventies I saw a documentary about South Africa made by underground Black filmmakers. They shot it with hidden cameras, stuffed in a sack, or under a hat. It showed what it's really, really like to live under apartheid. It made me so mad that I wrote this song in about fifteen minutes. The hard part was making it fit to music. When I began performing it live, I would often segue into "Crossroads," and the two melted together. The real "Crossroads," that is, not the rock 'n' roll version. The Robert Johnson version, rough and uneven, where he would have an eleven bar phrase, followed by a six bar phrase, followed by seven bars. Before it became contrived. That's the type of structure "Word Game" followed: it determined its own form based on how I held a word or turned a phrase during the performance. – Stephen Stills
19. JOHNNY'S GARDEN
MANASSAS (2:46)
(Stills; Gold Hill Music, Inc., ASCAP.)
Guitars, bass, vocals: Stephen Stills
Percussion: Joe Lala
Drums: Dallas Taylor
Recorded at Criteria Sound Studios, Miami, January 8, 1972
Engineers: Ron Albert & Howard Albert
Produced by Stephen Stills, Chris Hillman, and Dallas Taylor
Originally released on Manassas, April 12, 1972
Written for my gardener John at Brookfield House in Elston, England where I once owned an estate. He had soul. He was an herbalist, and used to make incredible herbal teas. The song was written at a time in my life when I was on the road constantly, and what I really needed was to stay at home and rend my garden. – Stephen Stills
20. SO BEGINS THE TASK
MANASSAS (4:00)
(Stills; Gold Hill Music, Inc., ASCAP.)
Guitars, bass, vocals: Stephen Stills
Pedal steel guitar: Al Perkins
Background vocals: Chris Hillman, Freddie Neil
Drums: Dallas Taylor
Recorded at Criteria Sound Studios, Miami, January 9, 1972
Engineers: Ron & Howard Albert
Produced by Stephen Stills, Chris Hillman, and Dallas Taylor
Originally released on Manassas, April 12, 1972
I thought of this song as a poem. It was written immediately after "Helplessly Hoping." It's a song of loss but also the freedom that goes with loss. It was conceived of as an acoustic song. We performed it on the CSNY tours a few times, then I cut this version during the Manassas sessions with A Perkins on fine pedal steel. – Stephen Stills
21. TURN BACK THE PAGES
STEPHEN STILLS (4:05)
(Stills & Dacus, Gold Hill Music, Inc., ASCAP./Donnie Dacus Publishing, ASCAP.)
Guitars, piano, bass, vocals: Stephen Stills
Rhythm guitar and background vocals: Donnie Dacus
Background vocals: Marcie levy
Percussion: Joe Lala
Drums: Tubby Ziegler
Recorded at Criteria Sound Studio, Miami, 1975
Engineers: Ron Albert & Howard Albert
Produced by Stephen Stills with Bill Halverson
How close we were, how similar and yet how different. Our music has been an awakening on a subliminal level of what's been going on in all of us for years. – Stephen Stills
______________________________________________________________________
DISC/CASSETTE THREE:
1. SEE THE CHANGES
CROSBY, STILLS, NASH & YOUNG (2:44)
(Stills; Gold Hill Music, Inc., ASCAP.)
Vocals: Crosby, Stills, Nash & Young
Guitars: Stephen Stills, Neil Young
Bass: Tim Drummond
Congas: Joe Lala
Drums: Russell Kunkel
Recorded at Broken Arrow Ranch, June 28, 1973
Engineer: Elliot Mazer assisted by Tim Mulligan
Produced By Crosby, Stills, Nash & Young
Mixed by Stephen Barncard, June 20, 1991
Composition first released on CSN, June 17, 1977
Unreleased version
Changes, that's what our stuff is about: emotional, intellectual, musical. – Stephen Stills
2. IT DOESN'T MATTER
MANASSAS (2:31)
(Stills & Hillman, Gold Hill Music, Inc., ASCAP/Stephen Stills Music, BMI.)
Acoustic guitar, vibes, vocals: Stephen Stills
Guitar, background vocals: Chris Hillman
Guitar, pedal steel guitar, background vocals: Al Perkins
Organ, piano: Paul Harris
Vocals, congas, timbales, percussion: Joe Lala
Drums: Dallas Taylor
Recorded at Criteria Sound Studios, Miami, January 7, 1972
Engineers: Ron Albert & Howard Albert
Produced by Stephen Stills, Chris Hillman, and Dallas Taylor
Originally released on Manassas, April 12, 1972
I'd been writing with the Byrds, but with Stephen I went up another level. I learned more about songwriting during my two years as Stephen's second-in-command than at any other time in my life. He taught me how to structure a lyric, how to turn a phrase, how to craft a tune. Plus endless little tricks, like hanging onto phrases and half-finished songs instead of tossing them out, because later you'll be writing a new one and these spare parts may just happen to fit. The point about the Byrds and the Springfield is we weren't garage rock bands, we came out of folk music, so the major focus was on the song – if you were gonna get up in front of an audience with just an acoustic guitar, the material had better be good. I think Stephen is one of the most underrated musicians in this country, equally at home with acoustic or electric music.
Manassas was a crucible for all types of music-folk, rock, jazz, blues, country, Latin, bluegrass – that band could tackle the entire spectrum of music with awesome musicianship and authenticity. When we were on it was killer. In the studio Stephen was an extraordinary arranger, always asking, 'What can we do to make this a little more interesting. How to take a song and throw in a few left curves?' I felt the song "It Doesn't Matter" captured a lot of that Buffalo Springfield sound. There's a certain moment near the end of the song where there's a track-layered harmony, and Stephen is doing a guitar figure which sounds like a bass, it's very rhythmic & it really makes the last chorus great, it boosts the track with something subtle and completely out of context. I really had to stand up on my toes to play with these guys, and I needed to be challenged at that point in my life. He made me try harder, and I like that, I really like that. – Chris Hillman
3. IMMIGRATION MAN
CROSBY & NASH (2:58)
(Nash; Nash Notes, BMI.)
Piano and vocals: Graham Nash
Electric guitar and vocals: David Crosby
Lead guitar: Dave Mason
Bass: Greg Reeves
Drums: Johnny Barbata
Recorded at Wally Heider's Studio C, San Francisco, February 9, 1972
Engineer: Bill Halverson assisted by Doc Storch
Produced by David Crosby, Graham Nash, Bill Halverson
Originally released on Graham Nash/David Crosby, April 5, 1972
I wrote the song after being hassled by a customs official who wasn't going to let me into this country. He held me up for a very long time. Then people started coming up, asking for my autograph, and he let me through immediately. But it still made me angry. I'm not against local color but why should you fight me because you speak differently than I do? That's why the sheet music for "Immigration Man" had the world on the front and the moon on the back. When you look at a photograph of the earth you don't see any borders.
That realization is where our hope as a planet lies. – Graham Nash
4. CHICAGO/WE CAN CHANGE THE WORLD
GRAHAM NASH (3:58)
(Nash; Nash Notes, BMI.)
Acoustic guitar, piano, organ, tambourine, vocals: Graham Nash
Background vocals: Rita Coolidge, Vanetta Fields, Shirley Matthews, Clydie King, and Dorothy Morrison
Bass: Chris Ethridge
Whiskers: Larry Cox
Drums and tambourine: Johnny Barbata
Recorded at Wally Heider's Studio C, San Francisco, February 28, 1971
Engineer: Larry Cox
Mixed by Glyn Johns at Island Studios, London, England.
Produced by Graham Nash
Originally released on Songs For Beginners, May 28, 1971
At the time Hugh Romney (Wavy Gravy) called David and invited CSNY to go and play at a benefit for the Chicago Seven. David and I wanted to do it, Neil and Stephen didn't, for whatever reason. Anyway, I wrote this song to Neil and Stephen and to everybody that I thought might want to hear about the fact that what was happening to the Chicago Seven wasn't fair. – Graham Nash
5. HOMEWARD THROUGH THE HAZE
CROSBY, STILLS, NASH & YOUNG (4:20)
(Crosby; Stay Straight Music, BMI.)
Vocals: David Crosby, Graham Nash
Guitars: Stephen Stills, Neil Young
Piano: David Crosby
Organ: Graham Nash
Bass: Leland Sklar
Drums: Russell Kunkel
Recorded at The Record Plant, Sausalito, December 16, 1974
Engineers: Ron Albert & Howard Albert
Produced by Crosby, Stills, Nash & Young and Ron Albert & Howard Albert
Mixed by Stephen Barncard, June 26, 1991
Song originally on Crosby & Nash's Wind On The Water, September 15, 1975
Unreleased version
A straightforward live take – the only overdubs are in the vocal harmonies. Stephen and Neil trading off on electric guitars, me on vocals and piano, Nash on organ, Lee Sklar on bass and Russ Kunkel on drums. We'd gotten together to do a CSNY album but this was the only song that got cut. We had an argument that night, everybody went home and never came back. It was a finding-your-way song at a time when it was getting more and more difficult to find the way. – David Crosby
6. WHERE WILL I BE?
CROSBY & NASH (3:22)
(Crosby; Stay Straight Music, BMI.)
Glass harmonica and vocals: David Crosby, Graham Nash
Guitar: David Crosby
Electric Piano: Craig Doerge
Flute: Dana Africa
Bass: Leland Sklar
Recorded at Wally Heider's Studio C, San Francisco, November 22, 1971
Engineer: Bill Halverson assisted by Doc Storch
Produced by David Crosby, Graham Nash, and Bill Halverson
Originally released on Graham Nash/David Crosby, April 5, 1972
A sad song that came out of a very lost period in my life. The question to "Page 43'''s answer. – David Crosby
7. PAGE 43
CROSBY & NASH (2:55)
(Crosby; Stay Straight Music, BMI.)
Vocals: David Crosby, Graham Nash
Guitars: Danny Kortchmar, David Crosby
Piano: Craig Doerge
Bass: Leland Sklar
Drums: Russell Kunkel
Recorded at Wally Heider's Studio C, San Francisco, December 13, 1971
Engineer: Bill Halverson assisted by Doc Storch
Produced by David Crosby, Graham Nash, and Bill Halverson
Originally released on Graham Nash/David Crosby, April 5, 1972
It's about the mythical instruction booklet to life that we all wish we had and don't. An optimistic song nonetheless. – David Crosby
8. CARRY ME
CROSBY & NASH (3:33)
(Crosby; Stay Straight Music, BMI.)
Vocals: David Crosby, Graham Nash
Electric guitar: David Crosby
Acoustic guitar: James Taylor
Piano: Craig Doerge
Bass: Leland Sklar
Drums: Russell Kunkel
Recorded at Sound Labs, Los Angeles, March 1975
Engineers: Don Gooch, Stephen Barncard, assisted by Stanley Johnston
Produced by David Crosby, Graham Nash
Originally released on Wind On The Water, September 15, 1975
A song of transcendence. The third verse is about my mother. This cuts close to the bone. She was lying in hospital, dying of cancer, and wanted to go while she still had some dignity. She asked me to do it, set her free – coupe de grace, the French call it. So I said, 'Hell, yes. ' I learned how to do it from a doctor friend, and I was perfectly willing to do it, I'm not ashamed to say that. But she found out if she didn't die on the hospital and doctor's schedule, they'd conduct an autopsy and charge me with murder. So she had to go through an extra couple of months of desperate pain. She was a good lady. She taught me music, and was always writing poetry. I loved her a whole lot. She really nailed me when she said she felt like a bird with weights tied to her feet, that if somebody would just untie them she could fly. What an image – I couldn't ignore it. – David Crosby
9. COWBOY OF DREAMS
CROSBY & NASH (3:27)
(Nash; Nash Notes, BMI.)
Vocals: David Crosby, Graham Nash
Other vocal: Joel Bernstein
Electric guitar: Graham Nash
Fiddle: David Lindley
Piano: Craig Doerge
Bass: Tim Drummond
Drums: Russell Kunkel
Recorded at Sound Labs, Los Angeles, June 18, 1975
Engineers: Don Cooch, Stephen Barncard, assisted by Stanley Johnston
Produced by David Crosby, Graham Nash
Originally released on Wind On The Water, September 15, 1975
I wrote this song about Neil Young. I once went down to his ranch and he rowed me out into the middle of a lake – putting my life in his hands once again. He waved at someone invisible and music started to play, in the countryside. I realized Neil had his house wired as the left speaker, and his barn wired as the right speaker. And Elliot Mazer, his engineer, said 'How is it?' And Neil shouted back 'More barn!' – Graham Nash
10. BITTERSWEET
CROSBY & NASH (2:37)
(Crosby, Stay Straight Music, BMI.)
Vocals: Graham Nash, David Crosby
Electric guitar: Danny Kortchmar
Keyboards: David Crosby, Craig Doerge, Carole King
Bass: Leland Sklar
Drums: Russell Kunkel
Recorded at Sound Labs Studios, June 8, 1975
Engineer: Don Gooch
Mixed by Stephen Barncard
Produced by David Crosby, Graham Nash
Originally released on Wind On The Water, September 15, 1975
This was a completely unique recording experience for me. Written in the morning on a Wurlitzer electric piano in the Chateau Marmont on Sunset Boulevard. In the studio that afternoon I played it for the guys as they arrived, and we recorded it that night. It was cut the same day it was written. We've always tried to find the shortest route from our minds onto the tape. It's a song about duality, if you want to be intellectual about it. – David Crosby
______________________________________________________________________
(cassette three, side two)
11. TO THE LAST WHALE ...
CROSBY & NASH (5:30)
A. CRITICAL MASS (1:14)
(Crosby; Stay Straight Music, BMI.)
Vocals: David Crosby, Graham Nash
Recorded at His Master's Wheels and Rudy Records, San Francisco, May 11, 1975
Engineer: Stephen Barncard
Produced by David Crosby, Graham Nash
Originally released on Wind On The Water, September 15, 1975
This may be the best, or at least the purest piece of music I've ever written. It was inspired by listening to a lot of classical music around the house as a kid. – David Crosby
B. WIND ON THE WATER (4:15)
(Nash; Nash Notes, BMI.)
Vocals: David Crosby, Graham Nash, James Taylor
Piano: Graham Nash
Acoustic guitar: James Taylor
Synth, electric piano: Craig Doerge
Bass: Leland Sklar
Drums: Russell Kunkel
Strings arranged by Jimmie Haskell, David Crosby, Graham Nash; conducted by Jimmie Haskell; leader: Sid Sharp
Recorded at Village Recorders, Los Angeles, July 1, 1975
Engineers: Don Gooch, Stephen Barncard, assisted by Stanley Johnston
Produced by David Crosby & Graham Nash
Originally released on Wind On The Water, September 15, 1975
This song is about all sea mammals, since virtually every species is in danger in some fashion or another, the whales, the dolphin, the hap seal, the sea otter. For almost two decades tuna fishermen have been slaughtering dolphins at the rate of over a quarter a million a year. The truth is, everything they get from whales can be synthesised or made at an equivalent cost, safely, in other ways. These animals are being made extinct, for no reason. I'm a sailor and I've been sailing for over thirty years. I go out there all the time and I love dolphins and whales, I live with them. And they're gonna wipe them out as a species? That hurts me, I take it personally, and I'm going to do everything I can to fight it. – David Crosby
12. PRISON SONG
GRAHAM NASH (3:11)
(Nash; Nash Notes, BMI.)
Vocals: Graham Nash, David Crosby
Electric piano, harmonica: Graham Nash
Mandolins: David Lindley
Bass: Tim Drummond
Drums: Johnny Barbata
Recorded at Graham's house and at Rudy Records, San Francisco, Spring 1973
Engineer: Don Gooch
Produced by Graham Nash
Originally released on Wild Tales, January 2, 1974
When I was eleven my father bought a camera from a friend with whom he worked, and he set up the darkroom in my bedroom. And then something tragic happened. The police came to our door and told my father that the camera was stolen, and would he tell them who sold it to him. And my father refused to tell the police who it was that sold him the thirty dollar camera. My father spent a year in jail for this camera. And he was a very ordinary, God fearing, good, hard-working man and it broke his heart completely that the judicial system was not fair in this particular case. It really broke him, and he died shortly afterwards.
The other thing that inspired this song was a letter from a young man in Texas who was serving ten years for one joint of marijuana. And I couldn't figure out why in Ann Arbor, Michigan, you could pay a five dollar fine for the same thing and get off. – Graham Nash
13. ANOTHER SLEEP SONG
GRAHAM NASH (4:42)
(Nash; Nash Notes, BMI.)
Vocals: Graham Nash, Joni Mitchell
Fender Rhodes: Graham Nash
Acoustic guitar: Joel Bernstein
Acoustic lap steel: Ben Keith
Bass: Tim Drummond
Drums: Johnny Barbata
Recorded at Graham's house and Rudy Records, San Francisco, August 18, 1973.
Engineer: Don Gooch
Produced by Graham Nash
Originally released on Graham Nash's Wild Tales, January 2, 1974
This was written in Barbra Streisand's living room, on her piano, while she sat on the sofa eating a T.V. dinner. How many people hate to get out of bed in the morning, hate to face the world? You don't want to answer the phone or talk to anybody. Well, me too, except that all we need is someone to awaken us. That's what we need, that's what the song is about. It's for all you people who need waking. – Graham Nash
14. TAKEN AT ALL
CROSBY, STILLS, NASH & YOUNG (2:54)
(Nash, Crosby; Nash Notes/Stay Straight Music, BMI.)
Guitars & vocals: Crosby, Stills, Nash & Young
Recorded at Criteria Studios, Miami, April 1, 1976
Engineers: Ron Albert & Howard Albert, assisted by Steve Gursky
Produced by Ron Albert & Howard Albert and Crosby, Stills, Nash & Young
Mixed by Stephen Barncard, June 19, 1991
Song originally released on Crosby & Nash's Whistling Down The Wire, 1976
Unreleased CSN&Y version
One day in 1976 Neil came by my house in San Francisco. He played us a tape of some sessions he and Stephen had been recording at Criteria Studios in Miami: "Black Coral," "Midnight on the Bay," "Human Highway." It sounded great, but then Neil said 'Isn't there something missing?' And Crosby goes, 'Yeah, us,' meaning me and David. So the next morning we were on a plane to Miami. We added harmonies to their existing tracks, and recorded some new songs, "Taken At All" being one of them. But David and I had to return to Los Angeles to finish our album, and Stephen and Neil had to wrap theirs up so they'd have product to push with the Stills/Young Band tour. The Crosby-Nash harmonies were transferred to safeties, then wiped from the master tapes.
Personally, this is my favorite CSNY track. Four guitars, four microphones, one take. Written about the group situation in 1976: Can this road be taken at all? – Graham Nash
15. IN MY DREAMS
CROSBY, STILLS & NASH (5:11)
(Crosby; Guerilla Music, BMI.)
Vocals: Crosby, Stills & Nash
Acoustic guitars: David Crosby & Stephen Stills
Vibes: Joe Vitale
Bass: Tim Drummond
Drums: Russell Kunkel
Recorded at Criteria Sound Studios, Miami, January 12, 1977
Engineers: Ron Albert & Howard Albert, assisted by Steve Gursky
Produced by Crosby, Stills & Nash and Ron Albert & Howard Albert
Originally released on CSN, June 17, 1977
I don't remember where I wrote it but I remember recording it, and I love the guitar interplay between Stephen and me. We cut it together, two guitars and Russ Kunkel on drums. The last section was a gift from Graham. – David Crosby
16. JUST A SONG BEFORE I GO
CROSBY, STILLS & NASH (2:12)
(Nash; Nash Notes; BML)
Vocals: Crosby, Stills & Nash
Acoustic guitar: David Crosby
Electric guitar: Stephen Stills
Piano: Graham Nash
Vibes: Joe Vitale
Bass: Tim Drummond
Drums & percussion: Russell Kunkel
Recorded at Criteria Sound Studios, Miami, December 19, 1976
Engineers: Ron Albert & Howard Albert, assisted by Steve Gursky
Produced by Crosby, Stills & Nash and Ron Albert & Howard Albert
Originally released on CSN, June 17, 1977
Graham was at home in Hawaii about to go off on tour. The guy who was going to take him to the airport said, 'We've got fifteen minutes, I'll bet you can't write a song in that amount of time.' Well you don't smart off to Nash like that, he'll do it. This is the result. –David Crosby
17. SHADOW CAPTAIN
CROSBY, STILLS & NASH (4:31)
(Crosby & Doerge; Stay Straight Music/Fair Star Music, BMI.)
Vocals: Crosby, Stills & Nash
Electric and slide guitars: Stephen Stills
Piano: Craig Doerge
Organ, flute: Joe Vitale
Bass: George Perry
Drums and congas: Russell Kunkel
Recorded at Criteria Sound Studios, Miami, January 14, 1977
Engineers: Ron Albert & Howard Albert, assisted by Steve Gursky
Produced by Crosby, Stills & Nash and Ron Albert & Howard Albert
Originally released on CSN, June 17, 1977
When a song leaps onto the page wholly and fully realized, you know somebody has been in there working away, like elves in the workshop at night. When you're doing your best creative work you're tapping into some other kind of mind than your verbal crystallization memory. I think the intuitive, imaginative levels of the mind are brighter than the rational ones. When a song leaps whole onto the page, fully realized, you know you didn't sit there and say, with your rational mind, "Tab A into Slot B." You never constructed it, and yet here it is, constructed. Over and over again songs occur to me just as I'm dropping off to sleep, when the busy mind gets out of the way. I was 200 miles off shore and woke up in my bunk at 4 a. m. to transcribe these lyrics as if taking dictation. A voice said to me, Shadow Captain of a charcoal gray ship/Trying to give the light the slip ... It's about what many of my songs are about: Who is at the wheel? It's delving inside the cranial swamp, trying to figure out what matters, and why. It said a whole bunch of things I wanted to get said for a long time. I gave the lyrics to Craig Doerge and he wrote the music. – David Crosby
18. DARK STAR
CROSBY, STILLS & NASH (4:57)
(Stills: Gold Hill Music, Inc., ASCAP.)
Vocals: Crosby, Stills & Nash and Joe Vitale
Electric guitar: Stephen Stills
Keyboards: Mike Finnigan, James Newton Howard
Bass: George Perry
Percussion: Efrain Toro
Drums: Joe Vitale
Recorded live in Portland, Oregon, December S, 1982
Engineers: Stanley Johnston, Steve Gursky
Produced by Crosby, Stills & Nash and Stanley Johnston
Song originally released on CSN, June 17, 1977
This version originally released on Allies, June 6, 1983
Who is "Dark Star" about? This is not People magazine. I'd rather maintain the enigma. – Stephen Stills
19. CATHEDRAL
CROSBY, STILLS & NASH (5:16)
(Nash; Nash Notes, BMI.)
Vocals: Crosby, Stills & Nash
Piano: Graham Nash
Bass: George Perry
Drums, tympani, percussion: Russell Kunkel
Strings arranged by Mike Lewis, Graham Nash, David Crosby, Joel Bernstein Orchestra conducted by Mike Lewis
Recorded at Criteria Sound Studios, Miami, January 22, 1977
Engineers: Ron Albert & Howard Albert, assisted by Steve Gursky
Produced by Crosby, Stills & Nash and Ron Albert & Howard Albert
Originally released on CSN, June 17, 1977
Inspired by an acid trip taken at Winchester Cathedral in 1974 on my thirty-second birthday. I lost who I was and where I was in that experience. It ended twenty hours later lying on my back in the middle of Stonehenge. I've always been a reverent person, but you can't ignore all the crimes done in the name of religion, and I just wanted to say that Jesus Christ was Jesus Christ, and all the things people say they do in his name is not all that glitters. – Graham Nash
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DISC/CASSETTE FOUR:
(cassette four, side one)
1. WASTED ON THE WAY
CROSBY, STILLS & NASH (2:46)
(Nash; Nash Notes, BMI.)
Vocals: Crosby, Stills & Nash, Timothy B. Schmit
Acoustic guitars: Joel Bernstein, Michael Stergis, Stephen Stills
Fiddle: Wayne Goodwin
Bass: Bob Glaub
Drums: Russell Kunkel
Recorded at Rudy Records, Los Angeles, November 30, 1980- January 30, 1981 Engineer: Stanley Johnston
Produced by Crosby, Stills & Nash, Stanley Johnston, and Steve Gursky
Originally released on Daylight Again, June 21, 1982
My point in "Wasted On The Way" is just that. We have wasted an enormous amount of time on petty issues that should never have kept us from making music. – Graham Nash
2. BARREL OF PAIN (HALF-LIFE)
GRAHAM NASH (4:44)
(Nash; Nash Notes, BMI.)
Rhythm guitar and vocals: Graham Nash
Solo guitar: Danny Kortchmar
Lead guitar: David Lindley
Organ: Craig Doerge
Bass: Tim Drummond
Drums: Joe Vitale & Russell Kunkel
Background vocals: Cleo Kennedy, Brenda Eager, and Gloria Coleman
Recorded at Britannia Studios, Los Angeles, April 4,1979
Engineer: Stanley Johnston
Produced by Graham Nash & Stanley Johnston
Originally released on Earth & Sky, February 15, 1980
I wrote this song about the Atomic Energy Commission's practice of dropping barrels of nuclear waste into the ocean just off the California and Maine coasts. I saw photographs of the mutated sea life that had been exposed to the waste. And I couldn't get the image out of my mind. – Graham Nash
3. SOUTHERN CROSS
CROSBY, STILLS & NASH (4:39)
(Stills, M. Curtis & R. Curtis; Gold Hill Music, ASCAP/Kenwon Music, BMI.)
Vocals: Crosby, Stills & Nash, Mike Finnigan & Timothy B. Schmit
Acoustic guitars: Stephen Stills, Michael Stergis
Electric guitar: Stephen Stills
Keyboards: Mike Finnigan, Richard T. Bear
Percussion: Joe Lala
Bass: George Perry
Drums: Joe Vitale
Recorded at Rudy Records, Los Angeles, 1981
Engineers: Stanley Johnston & Steve Gursky
Produced by Crosby, Stills & Nash, Stanley Johnston, and Steve Gursky
Originally released on Daylight Again, June 21, 1982
The Curtis Brothers brought me a wonderful song called "Seven League Boots," but it drifted around too much. I re-wrote a new set of words and added a different chorus, a story about a long boat trip I took after my divorce. It's about using the power of the universe to heal your wounds. Once again I was given somebody's gem and cut and polished it. – Stephen Stills
4. DAYLIGHT AGAIN
CROSBY, STILLS & NASH (2:28)
(Stills, Gold Hill Music, Inc., ASCAP.)
A. DAYLIGHT AGAIN
Vocals: Crosby, Stills & Nash, Art Garfunkel
Acoustic guitar, banjo: Stephen Stills
B. FIND THE COST OF FREEDOM
Vocals: Crosby, Stills & Nash, Art Garfunkel
Recorded at Rudy Records, Los Angeles, 1981
Engineer: Stanley Johnston
Produced by Crosby, Stills & Nash, Stanley Johnston, and Steve Gursky
Originally released on Daylight Again, June 21, 1982
"Daylight Again" was actually a precursor to " Find The Cost Of Freedom," but for years all I had was the tune and the first line "Daylight Again/Following me to bed ..." I was out on tour and we'd done four nights running. I was in Williamsburg, Virginia, and burnt out and dead tired. At the end of the concert I began to play the song. I didn't have any words, but I continued to play. I closed my eyes and went into a trance and saw a movie. It was a talking dream where I went back 112 years, to the Civil War. The lyrics just flowed through me like an automatic poem. I sang them as they came into my head and a whole story unfolded. When the concert was over I rushed backstage and madly tried to reconstruct the lyrics. It's a war song, not just a civil war song. We lost that war, too: we still have racism, don't we? – Stephen Stills
5. THOROUGHFARE GAP
STEPHEN STILLS (3:33)
(Stills; Gold Hill Music, ASCAP.)
Guitar, bass, and vocals: Stephen Stills
Fiddle: Al Gould
Piano: Paul Harris
Drums: Paul Lee
Recorded at Criteria Sound Studios, Miami, early 1978
Engineers: Ron & Howard Albert assisted by Steve Gursky
Produced by Stephen Stills and Ron & Howard Albert
Originally released on Thoroughfare Gap, September 1978
A song about finding your way when life is going too fast. Probably my favorite work, from a literary standpoint. This song doesn't need a guitar. – Stephen Stills
6. WILD TALES
GRAHAM NASH (3:09)
(Nash; Nash Notes, BMI.)
Lead vocals: Graham Nash
Background vocals: Gloria Coleman, Brenda Eager, Cleo Kennedy
Electric guitars: David Lindley, Graham Nash
Keyboards: Craig Doerge
Bass: Tim Drummond
Drums: Joe Vitale
Recorded at the Universal Amphitheatre, Los Angeles, August 3, 1979
Engineer: Stanley Johnston
Produced by Graham Nash & Stanley Johnston
Mixed by Stephen Barncard, July1, 1991
Song originally released on Wild Tales, January 2, 1974
Unreleased live version
A friend of Elliott Roberts' had an incredible series of mishaps in one week. His house was flooded, all his possessions were destroyed, and to top it off his old lady ran away with the milkman. He even went so far as to hire a detective to film her making love to the milkman.
When her lawyer came to ask for alimony, his lawyer showed the film Wild Tales from the East. – Graham Nash
7. DEAR MR. FANTASY
STEPHEN STILLS & GRAHAM NASH (7:04)
(Winwood, Capaldi & Wood; Songs of Polygram International, Inc., BMI.)
Vocals: Stephen Stills, Graham Nash
Electric guitar, piano: Stephen Stills
Hammond B3 Organ: Michael Finnigan
Bass: George Perry
Congas: Joe Lala
Drums: Joe Vitale
Recorded at Rudy Records, Los Angeles, November 17, 1980
Engineers: Stanley Johnston, Steve Gursky, and Don Gooch
Produced by Stephen Stills & Graham Nash, Stanley Johnston & Steve Gursky
Mixed by Don Gooch, Graham Nash, and Gerry Tolman
Composition first released on Traffic's Mr. Fantasy, January,1968
Unreleased version
Stevie Winwood was always my favorite singer, that blue-eyed sound. It had been our ambition from the start to convince him to join Crosby, Stills and Nash - I wanted an organ player who could sing the blues. He was exceptionally kind to me, but every time I trudged across the moors to see him, he was always occupied. I didn't think there was anyone more shy than me - the phrase 'painfully shy' was invented for this man. We've recorded "Dear Mr. Fantasy" a number of times, beginning in 1970. It was intended as an homage. Hats off, Stevie. – Stephen Stills
8. COLD RAIN
CROSBY, STILLS & NASH (2:33)
(Nash; Nash Notes, BMI.)
Vocals: Crosby, Stills & Nash
Piano: Graham Nash
String arrangements: Mike Lewis, David Crosby, Graham Nash
Orchestra conducted by Mike Lewis
Recorded at Criteria Sound Studios, Miami, January 25, 1977
Engineers: Ron Albert & Howard Albert, assisted by Steve Gursky
Produced by Crosby, Stills & Nash and Ron Albert & Howard Albert
Originally released on CSN, June 17, 1977
It was snowing and I went and stood on the very street corner where Allan Clarke and I had waited for the Everly Brothers years before. And goddamn if everybody didn't look exactly the same. I was so thankful that I'd had the instinct to want to get out of there and experience something my father had never experienced. I had escaped. – Graham Nash
9. GOT IT MADE
CROSBY, STILLS & NASH (4:33)
(Stills & Young; Gold Hill Music, ASCAP.)
Acoustic piano, vocals: Stephen Stills
Sticks, vocals: Graham Nash
Recorded live at the United Nations General Assembly Hall, New York City, November 18, 1989
Recorded and mixed live to air by Stanley Johnston
Produced by Crosby, Stills & Nash
Song originally released on American Dream, November 3, 1988
Unreleased version
This was written during the American Dream sessions with some help from Neil, but I was never satisfied with the way the song turned out. I kept wrestling with it, and the day of our United Nations concert I said to Graham, 'Let's just strip it down to the bare bones and see what happens.' That's what you have here. – Stephen Stills
______________________________________________________________________
(cassette four, side two)
10. TRACKS IN THE DUST
DAVID CROSBY (4:48)
(Crosby; Stay Straight Music, BMI.)
Lead vocals: David Crosby
Guitars: David Crosby, Michael Hedges
Background vocals: Graham Nash, Michael Hedges
Recorded at Devonshire Sound Studio 3, Los Angeles
Engineer: Stanley Johnston
Produced by David Crosby, Craig Doerge, and Stanley Johnston
Originally released on Oh Yes I Can, January 23, 1989
It was a conversation I had between four of me. A wonderful chance to sing and play with Nash and Michael Hedges. – David Crosby
11. AS I COME OF AGE
CROSBY, STILLS & NASH (2:48)
(Stills; Gold Hill Music, Inc., ASCAP.)
Vocals: Crosby, Stills & Nash
Electric piano, electric guitar: Stephen Stills
Hammond B3 Organ: Mike Finnigan
Fender Rhodes: Richard T. Bear
Bass: George Perry
Drums: Joe Vitale
Recorded at Rudy Records, Los Angeles, January 1981
Engineers: Stanley Johnston & Steve Gursky
Produced by Crosby, Stills & Nash, Stanley Johnston & Steve Gursky
Mixed by Stephen Barncard, June 30, 1991
Song originally released on Stills, June 1975
Unreleased version
This song is self-explanatory. – Stephen Stills
12. 50/50
STEPHEN STILLS (4:20)
(Stills, Lala; Gold Hill Music, Inc., ASCAP.)
Vocal, drums, percussion: Stephen Stills
Background vocals: Stephen Stills, Mike Finnigan, Graham Nash, John Sambataro
Guitar: Jimmy Page
Keyboards: Mike Finnigan, Lawrence Dermer
Trumpets: Tony Concepcion, Al Degooyer
Trombone: George Cricker
Percussion: Joe Galdo, Joe Lala
Bass: George Perry
Drums: Joe Galdo
Recorded at Criteria Sound Studios, Miami; DB Sounds, Miami; Westlake Audio, Los Angeles; Jimmy Page recorded at Sol Studio, Maidstone, U.K., 1983
Engineers: Ron Albert & Howard Albert
Produced by Ron Albert & Howard Albert and Stephen Stills
Originally released on Right By You, July 30, 1984
I spent my formative years in Panama and Costa Rica. So when all the American kids were dancing to fifties rock 'n roll, I was in Latin America dancing to Salsa. Those first things you learn stick with you the longest. It's there by osmosis, it cannot help but be there. There's an undercurrent of Latin music that's prevalent through most of my music, my sense of syncopation – I was a drummer first. Latin music is one of the most vibrant and musically alive forms of music on the face of the earth. – Stephen Stills
13. DRIVE MY CAR
DAVID CROSBY (3:50)
(Crosby; Stay Straight Music, Inc., BMI.)
Vocals: David Crosby
Guitars: David Lindley, Danny Kortchmar, Stephen Stills
Hammond B3 Organ: Mike Finnigan
Bass: George Perry
Congas: Joe Lala
Drums: Joe Vitale
Recorded at The Sound Labs, Los Angeles, 1978
Engineers: Ron & Howard Albert
Produced by Crosby, Stills & Nash and Ron & Howard Albert
Song originally released on Oh Yes I Can, January 23, 1989
Unreleased version
Sometimes you take your life's steering wheel and turn it one direction, and the car careens in the other, right? My life was out of control like that a lot, so I'd get in my car and just drive, because at least it would go where I would steer it. – David Crosby
14. DELTA
CROSBY, STILLS & NASH (4:11)
(Crosby; Stay Straight Music, Inc., BMI.)
Vocals: Crosby, Stills & Nash
Electric guitar: Dean Parks
Keyboards: David Crosby, Craig Doerge
Bass: Leland Sklar
Drums: Russell Kunkel
Recorded at Devonshire Studio 3, Los Angeles, May 1980
Engineer: Stanley Johnston
Produced by Stanley Johnston & Craig Doerge
Originally released on Daylight Again, June 21, 1982
It was the last complete song I'd written until I kicked drugs in prison several years later and my songwriting came back to me. I was the child crazy for the deep. I had pieces of the tune in my head and one day I ran into Jackson Browne in Santa Barbara. He took me over to Warren Zevon's place and got me to sit down at the piano and work at the song. I wanted to smoke the pipe, I kept saying, 'Just gimme a minute, just gimme a minute,' but Jackson kept insisting I stay at the piano and finish the song. Thanks, Jackson. – David Crosby
15. SOLDIERS OF PEACE
CROSBY, STILLS, NASH & YOUNG (4:20)
(Nash, Doerge, Vitale; Nash Notes/Fair Star Music, Inc./Marinara Music, BMI.)
Vocals: Crosby, Stills, Nash & Young and The Volumes Dealers Choir
Electric guitar: Neil Young
Acoustic guitar: Stephen Stills
Keyboards: Craig Doerge, Joe Vitale
Bass: Bob Glaub
Drums: Joe Vitale
Orchestration by Jimmy Haskell, Joe Vitale, Graham Nash
Conducted by Jimmy Haskell
Leader: Sid Sharp
Recorded at Redwood Digital, Woodside, California, 1988
Engineer: Niko Bolas
Produced by Niko Bolas and Crosby, Stills, Nash & Young
Song originally released on American Dream, November 3, 1988
Unreleased version
A friend had been making a film about Vietnam veterans who were traveling to Nicaragua and talking with the soldiers there about the futility of war. They were pointing out to these soldiers how they had been lied to by their own government, and ignored when they returned home. One of these veterans was Scott Camil, about whom I'd written "Oh, Camil! (The Winter Soldier)." At the same time, David and I had been invited to play at a Vietnam Veterans benefit, and like many Americans we went to see the Vietnam Memorial. It makes most people who walk down it cry before they get half way, and the reason is very simple: there are too many names on that wall. This song came out of these experiences, and was written for all the people who fight for peace. – Graham Nash
16. YOURS AND MINE
CROSBY, STILLS, & NASH (4:28)
(Crosby, Doerge, Nash; Stay Straight Music/Fair Star Music, Inc./Nash Notes, BMI.)
Vocals: Crosby, Stills & Nash
Keyboards: Craig Doerge and Joe Vitale
Soprano sax: Branford Marsalis
Bass: Bob Glaub
Drums, synth guitar: Joe Vitale
Percussion program: Tony Beard
Recorded at The Record Plant, Studio I, Los Angeles, February 2, 1990
Engineer: Stanley Johnston assisted by Jim Mitchell
Produced by Crosby, Stills & Nash, Joe Vitale, and Stanley Johnston
Released on Live It Up, June 11, 1990
Another happy collaboration between Nash, Doerge and myself. The idea came from seeing the cover of Time magazine showing a twelve-year old kid proudly holding an AK-47 assault rifle. And I thought, 'How can we have gotten everything so wrong?' No twelve-year old should be anywhere near that gun let alone thinking he's doing the right thing. This is obviously a world that has got some stuff very wrong. – David Crosby
17. HAVEN'T WE LOST ENOUGH?
CROSBY, STILLS, & NASH (3:06)
(Stills, Cronin; Gold Hill Music, Inc./Dudes Tunes, ASCAP.)
Vocals: Crosby, Stills & Nash
Guitar: Stephen Stills
Recorded at The Record Plant, Studio I, Los Angeles, April 3, 1990
Engineer: Stanley Johnston assisted by Jim Mitchell
Produced by Crosby, Stills & Nash, Joe Vitale, and Stanley Johnston
Released on Live It Up, June 11, 1990
Kevin Cronin and I were living in Encino, and in similar conditions romantically, that is, at the end of relationships. And while commiserating with each other one night we decided to write a song. We finished it in the studio one night several years later, and recorded it the next day. One of my best efforts in years. With acoustic music there's no place to hide. – Stephen Stills
18. AFTER THE DOLPHIN
CROSBY, STILLS, & NASH (4:55)
(Nash & Doerge; Nash Notes/Fair Star Music, Inc., BMI.)
Vocals: Crosby, Stills & Nash
Guitar: Mike Landau
Keyboards: Craig Doerge
Bass: Leland Sklar
Percussion: Mike Fisher
Drums, organ, synth bass: Joe Vitale
Sound Design: Rand Wetherwax
Radio broadcast (London): Simon Jones
Radio broadcast: President Truman, Armed Forces Radio
Recorded at Devonshire Studio 3, Los Angeles, February 1, 1989
Engineer: Stanley Johnston assisted by Jim Mitchell
Produced by Crosby, Stills & Nash, Joe Vitale, and Stanley Johnston
Released on Live It Up, June 11, 1990
I tried to write an anti-war statement and used the 1915 first bombing of a civilian target by an enemy aircraft. The German Air Force dropped a bomb on a pub in the East End of London called the Dolphin, and killed seven people. That kind of removal of personal responsibility in terms of what happens to your victims, has its zenith, if you will, in the bombing of Hiroshima and Nagasaki. – Graham Nash
19. FIND THE COST OF FREEDOM
CROSBY, STILLS, NASH & YOUNG (1:59)
(Stills, Gold Hill Music, Inc., ASCAP.)
Vocals: Crosby, Stills, Nash & Young
Guitars: Stephen Stills, Neil Young
Recorded at The Record Plant, Los Angeles, May 21, 1970
Engineer: Bill Halverson
Produced by Crosby, Stills, Nash & Young
Originally released as the b-side of the "Ohio" single, June 4, 1970
I wrote it at the request of Dennis Hopper for the final scene in Easy Rider, where the dude gets blown away as his motorcycle burns and the camera pans way up in the sky. I played it for Dennis but he was in a fog and just didn't get it. I was depressed about that for years. The song is about what it says it's about: the cost of freedom, Abraham Lincoln, Medgar Evers, John F. Kennedy, Martin Luther King, Robert Kennedy. And a million others whose names we'll never know. All the martyrs for this fragile thing called democracy, which we are always in danger of having taken away, never more so than today.
We ended every CSNY concert with this song. After a long evening and raucous electric set, we'd come back out with acoustic guitars, sit quietly on stools, and play this song. Leave everybody in a quiet space together. We came out of the sixties with a lot of crap but a few wonderful ideals, and one was the sense of community. It's a positive legacy.
The song is a tombstone. – Stephen Stills
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