Crosby, Stills & Nash [Expanded Edition] [Remaster]

Performer: Crosby, Stills & Nash
Engineer: Bill Halverson; John Nowland; Bill Halverson
Producer: Graham Nash; Crosby, David & Graham Nash; Stanley Johnston; Crosby, Stills & Nash
Distributor: WEA (Distributor)

Notes: Personnel: David Crosby (vocals, guitar); Stephen Stills (vocals, guitar, organ, bass); Graham Nash (vocals). Additional personnel: Dallas Taylor (drums). Personnel: David Crosby (vocals, guitar); Stephen Stills (vocals, guitar, organ, bass); Graham Nash (vocals). Additional personnel: Dallas Taylor (drums). Crosby, Stills & Nash: David Crosby (vocals, guitar); Stephen Stills (vocals, electric guitar, bass guitar); Graham Nash (vocals). Personnel: Stephen Stills (guitar, acoustic guitar, organ); Graham Nash (acoustic guitar). Audio Mixers: Graham Nash; Bill Halverson; Stephen Stills; Crosby, David & Graham Nash. Liner Note Author: David Wild. Recording information: Wally Heider's Studio III, Hollywood, CA. Introduction by: Ahmet Ertegun. Photographer: Henry Diltz. It was big news in 1969 when former key members of the Byrds, Buffalo Springfield, and the Hollies--three of the finest bands of the '60s--splintered off to form their own trio. Despite their already-proven talents, few could have imagined the gossamer vocal blend that would become the trademark of supergroup Crosby, Stills & Nash. The band's debut effectively provided the soundtrack to the summer of '69. For his part, Steve Stills keeps exploring the progressive folk-rock sound that he'd pioneered with Buffalo Springfield; signature tune "Suite: Judy Blue Eyes" is an expansive, multi-section affair that makes full use of the group's vocal skills. Fresh from the Hollies, Graham Nash adds an accessible pop sensibility, epitomized by the effervescent ditty "Marrakesh Express." David Crosby, always the wild card in the Byrds, here adds rough edges and flashes of mystery with his cutting protest rocker "Long Time Gone" and the exquisite art-folk of "Guinnevere." With this kind of firepower under its belt, it's no wonder CSN quickly became one of the biggest groups of their era. It was big news in 1969 when former key members of the Byrds, Buffalo Springfield, and the Hollies--three of the finest bands of the '60s--splintered off to form their own trio. Despite their already-proven talents, few could have imagined the gossamer vocal blend that would become the trademark of supergroup Crosby, Stills & Nash. The band's debut effectively provided the soundtrack to the summer of '69. For his part, Steve Stills keeps exploring the progressive folk-rock sound that he'd pioneered with Buffalo Springfield; signature tune "Suite: Judy Blue Eyes" is an expansive, multi-section affair that makes full use of the group's vocal skills. Fresh from the Hollies, Graham Nash adds an accessible pop sensibility, epitomized by the effervescent ditty "Marrakesh Express." David Crosby, always the wild card in the Byrds, here adds rough edges and flashes of mystery with his cutting protest rocker "Long Time Gone" and the exquisite art-folk of "Guinnevere." With this kind of firepower under its belt, it's no wonder CSN quickly became one of the biggest groups of their era. The Crosby, Stills & Nash triumvirate shot to immediate superstardom with the release of its self-titled debut LP, a sparkling set immortalizing the group's amazingly close, high harmonies. While elements of the record haven't dated well -- Nash's Eastern-influenced musings on the hit "Marrakesh Express" now seem more than a little silly, while the antiwar sentiments of "Wooden Ships," though well-intentioned, are rather hokey -- the harmonies are absolutely timeless, and the best material remains rock-solid. Stills' gorgeous opener, "Suite: Judy Blue Eyes," in particular, is an epic love song remarkable in its musical and emotional intricacy, Nash's "Pre-Road Downs" is buoyant folk-pop underpinned by light psychedelic textures, and Crosby's "Long Time Gone" remains a potent indictment of the assassination of Robert Kennedy. A definitive document of its era. [In 2006, Atlantic/Rhino reissued Crosby, Stills & Nash with remastered sound, new liner notes, and four bonus tracks: "Do for Others," "Song with No Words," "Everybody's Talkin'," and an early version of "Teach Your Children."] ~ Jason Ankeny

Rolling Stone (7/26/69, p.36) - "This is an eminently playable record....The vocals are warm and full...with rich, complementary harmonies....Tasteful backing accompanies the superb compositions....the result is an especially satisfying work..." Rolling Stone (7/26/69, p.36) - "This is an eminently playable record....The vocals are warm and full...with rich, complementary harmonies....Tasteful backing accompanies the superb compositions....and the result is an especially satisfying work..." Uncut (p.110) - 4 stars out of 5 -- "CSN defined themselves by chilling out and laying back, turning down the volume on the Byrds/Springfield amplifiers. In place of electric fizz and crackle came softer tones, richer layering." Dirty Linen (p.56) - "CSN showcased tight harmonies and innovative songwriting..." Mojo (Publisher) (p.114) - 4 stars out of 5 -- "Every song was masterfully crafted and performed, some of the most valuable work its three principals would ever produce..."

One of the first "supergroups," Crosby Stills & Nash came to typify the direction of rock on the cusp of the 1970s. Their tight, three-part harmonies and acoustic/electric instrumentation typified the expanding folk-rock sound, and their introspection and self-possession were touchstones of the singer-songwriter movement. The group's self-titled debut immediately catapulted the group to greater success than any of the members' previous bands (Byrds, Hollies, Buffalo Springfield), and the follow-up, DEJA VU, which added Neil Young, was another hit. Internal squabbles split the band at their peak, but sporadic reunions over the following decades kept audiences hoping for a return to glory.

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