A Special Presentation of Dez’s Record Guides: A Guide to the CSN (and Occasionally Y) Universe

This was a lot of fun to put together, and it took some detective work. After the implosion, acrimonious divorce and/or disbanding of their former groups, Stephen Stills (Buffalo Springfield), David Crosby (The Byrds) and Graham Nash (The Hollies) had a magical meeting where the unemployed musicians discovered that their voices made for a particularly potent harmonic blend. Since they were all musically homeless at that point, they created what is generally considered to be the first supergroup. Later they were joined by Neil Young (Stills’ former partner in Buffalo Springfield), who has continued to have an on-again, off-again relationship with them at his whim (maddeningly so in typical Neil Young style, where he will commit to tours and then back out once on the road, never show to scheduled recording sessions, etc.) Their reputation really rests on their first two phenomenal records. Agreeing from the outset that they were free to work solo and with others, their labyrinthine discographies are both rewarding and frustrating. I’ll give you the bottom line right here instead of at the end: look at the ratings for all of their configurations from 1968-1972, the three were almost unstoppable in any combination. But after about ’72, the egos, dried up inspiration and excesses (drugs in both Crosby and Stills’ cases) really took their toll. Nonetheless, there are an impressive eight Rock and Roll Hall of Fame inductions between these four men. NOTE: When Young is involved, I have noted it with the “(Y).”

CSN(Y):

Crosby, Stills & Nash (1969) *****
It all starts here and is never bested. Even Neil Young considers this the high point, and he wasn’t even involved. It is really a tour de force from Stephen Stills, as he plays every instrument on the record save for some drum parts and whatever rhythm guitar Crosby and Nash contribute to their own compositions. He also has the strongest songs, such as his masterpiece “Suite: Judy Blue Eyes” and the gorgeous “Helplessly Hoping,” which is the high point of the three’s harmony singing on any record.

Déjà vu (Y) (1970) ****
Young enters the picture to bring in some extra grit and guitar power, although his contributions are actually pretty mellow (one is a classic, “Helpless,” the others are less potent). Overall, it might match the peaks of the debut, but there is less unity and cohesion here; it sounds more like taking turns.

4 Way Street (Y) (live) (1971) ****
I listened to the acoustic half of this double live album incessantly in my youth, I think it is what really made me the fan that I am. The acoustic record is so great because it really gives each of them room to express their own personality with their tracks. Ironically, Stills comes out the weakest, whereas he normally shines in this setting. (The remaster adds four additional, strong acoustic tracks). The electric record contains some lengthy jams (“Southern Man” and “Carry On” both clock in at around 14 minutes each), and while they are spirited, they are also a bit sloppy and excessive, not qute capturing the legendary sparks between Stills and Young trading licks and solos from this period.

So Far (incl. Y) (compilation) (1974) ****
A hits collection after only two albums? Sure. What is here from the first two records is great (also, the two sided single “Ohio”/”Find the Cost of Freedom”).

CSNY '74 (incl. Y) (live box set) (1974/2014) ****1/2
Perfectly assembled live document from the ill-fated Doom Tour of '74. Whatever the backstage excess and antics, this belatedly released set shows that onstage the four of them could catch fire. Wonderfully compiled by Graham Nash, the three disc set contains a generous selection of electric and acoustic tunes, including many previously unreleased gems. Neil Young, especially, shines.

CSN (1977) ***
A breezy reunion of the three after a lengthy break. This is a record that really grows on you, it has a cohesive sound and while it is a bit on the mellow side, it is still interesting throughout, with some superlative acoustic playing from Stills.

Daylight Again (1982) ***
The last even decent record from the law firm of C, S & N. There are a few real standouts, like Stills’ wonderful kiss-off “Southern Cross,” Nash’s pop gem of regret/history of CSN “Wasted on the Way” and the gorgeous Civil War-set acoustic title track. Most of the rest is ominous in that it will characterize the faceless, bland, overproduced, lazy nature of their future work. Crosby is here in name only (the record company refused to release it as a Stills-Nash project), as he was in the depths of his drug addiction and could hardly function.

Allies (live) (1983) **
American Dream (Y) (1988) *
Live It Up (1990) *
CSN (incl. Y) (compilation box set) (1991) ****
After the Storm (1994) *
Looking Forward (Y) (1999) *
Greatest Hits (compilation) (2005) ****
Déjà vu Live (Y) (live) (2008) *
Demos (compilation of acoustic demos) (2009/1968-71) ***
CSN 2012 (live) (2012) *
Considering the talent involved, their work since ’82 is an abomination. If this crap had been recorded by a group of musicians without their reputation, it would not have been released. Neil Young clearly saves his leftover trash for the CSNY projects, yet his tunes are often highlights when sitting next to what C, S and N are shilling. What the hell, guys? The Déjà vu Live and CSN 2012 concert records are especially disheartening and near unlistenable. If I could give CSN 2012 less than one star, I would. On a happier note, the CSN box set is a model for what a box set should be. Assembled primarily by Graham Nash, it wisely tries to include solo highlights from each of the members as well, making it a comprehensive and broad overview. Nicely done.

CROSBY & NASH:

ABOVE: Typical stage banter from Cros and Nash (paraphrased). Crosby: "While I appreciate you paying the exorbitant ticket prices to help fund my freebase habit, you the audience member needs to remember that I am the great artist. Please only applaud between numbers, and DO NOT talk while I am playing my beautiful acoustic tunes. Also, do not attempt to clap along. None of you are musicians and you cannot keep a beat. This next song is the most beautifully written piece since Shakespeare's sonnets. I wrote it." Nash: "We really appreciate you coming tonight."

Graham Nash and David Crosby (1972) ****
Another Stoney Evening (live) (1998/1972) ***
Wind on the Water (1975) ***
Whistling Down the Wire (1976) **
Crosby-Nash Live (live) (1977) ***
The Best of Crosby & Nash (compilation) (1978) ***
Crosby & Nash (2004) NR
Within CSNY, C and N have had an especially close relationship, both musically and personally. Perhaps it was that they were always seen as the junior partners to S and Y, but they released a series of very good records as a duo. When they are at the top of their games, Nash’s more upbeat, pop-oriented fare sits very nicely next to Crosby’s more adventurous and quieter songs on a record. And together, their voices blend as stunningly as Simon and Garfunkel’s do, especially minus Stills’ sometimes overbearing presence. The Best of is deceiving, since it does not include anything from their debut (due to record label changes), which is their best record. Another Stoney Evening contains the best (worst?) examples of Crosby’s notorious scolding of the audience when they are making too much noise during his quiet acoustic numbers or when they, God forbid, are not clapping in time. He stops “Teach Your Children” cold in its tracks to lecture the audience on clapping on the beat. The guy is such a jackwagon.

STEPHEN STILLS:

ABOVE: Typical stage banter from Stills (again, paraphrasing). "Thank you. You know, uh, well, uh (mumbles incoherently) ha! ha! ha! Me and Crosby are just glad to be alive, frankly. This next song is an old one, I haven't really written a good song in 20 years. ha! ha! ha! But seriously, and this is important so listen up. It's about (mutters incoherently, then looks at audience as if he just explained the meaning of life). Can someone get that go**amn spotlight out of my face!"

See also Buffalo Springfield discography
Super Session (Bloomfield, Kooper & Stills) (1968) ****
Stephen Stills (1970) ****
Stephen Stills 2 (1971) ***
Manassas (Manassas) (1972) ****
Down the Road (Manassas) (1973) **
Stephen Stills Live (live) (1975) ****
Stills (1975) ***
Illegal Stills (1976) *
Long May You Run (Y) (Stills-Young Band) (1976) *
Thoroughfare Gap (1978) *
Right By You (1984) *
Stills Alone (1991) ***
Man Alive! (2005) **
Pieces (Manasas) (compilation of unreleased material from early 70’s) (2009) **
Live at Shepherd’s Bush (live) (2009) ***
Just Roll Tape (acoustic demos) (2007/1968) ***
Carry On (compilation box set) (2013) ****
I have written at length regarding how incredibly frustrating Stephen Stills is to follow (talent vs. his output). His first couple of solo records contain some brilliant work alongside some stunningly bad songs. Most consider the Manassas record to be a high point, it is a sprawling and impressive double that deftly explores rock, blues, latin, folk, country and bluegrass with his shortlived band that included Chris Hillman of The Byrds. Super Session is an awesome set, although a bit deceiving. The first half is Al Kooper and Mike Bloomfield, but then when Bloomfield disappeared, Stills was called in to help on the second side. A killer record nonetheless, but mostly because of Mike Bloomfield’s guitar playing. The Carry On box set is a must, a wonderful career-spanning box (includes work with Au-Go Go Singers, Buffalo Springfield, CSN, solo) lovingly assembled by Graham Nash that puts the best light on the bumpy career of a hugely talented man.

DAVID CROSBY:

ABOVE: Crosby's reputation for drug intake and survival is exceeded possibly only by the immortal Keith Richards. That being said, he is one of the greatest harmony singers ever, and talented man. And he knows it and will tell you so in concert. To be fair to Cros, though, he can also be very funny in concert. He has wit along with ego.

See also Byrds discography
If I Could Only Remember My Name (1971) *****
Oh Yes I Can (1989) **
Thousand Roads (1993) NR
It’s All Coming Back To Me Now (live) (1995) NR
Voyage (compilation box set) (2006) ****
Crosby’s solo debut is one of the finest records of that era, a moody, mysterious masterpiece of California dread. The rest is negligible, as his best work is usually while collaborating with others. He also released a couple of records as a member of CPR, standing for Crosby, Pevar and Raymond. The latter is Crosby's son whom he only reconnected with as an adult. They discovered a musical connection as well, and recorded some records. I haven't heard them, though. Miraculously, Crosby has kicked his drug habit, and after a liver transplant, is in relatively good shape these days.

GRAHAM NASH:

ABOVE: Nash dated Joni Mitchell for awhile.

Songs For Beginners (1971) *****
Wild Tales (1973) ***
Earth & Sky (1980) NR
Innocent Eyes (1986) NR
Songs For Survivors (2002) NR
Reflections (compilation box set) (2009) ****
Ditto Nash. His solo debut is a tour de force of a singer-songwriter record, in my opinion besting anything by James Taylor, Linda Ronstadt or Jackson Browne. But as with Crosby, the rest of Nash’s solo discography shows that he worked best as a collaborator. Nash’s early work as a member of the Hollies is great as well. The Hollies were never big stateside, but they were huge in Britain, and for good reason. I’d recommend The Air That I Breathe: The Very Best of The Hollies (compilation) (1975) **** for a great Hollies overview (it also covers post-Nash Hollies).

NEIL YOUNG:
See Buffalo Springfield and Neil Young discography volume I and volume II.