Posts Tagged ‘Crosby Stills Nash and Young’

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‘Déjà Vu Alternates’ from Crosby, Stills, Nash and Young, is a recreation of their immensely popular second album, Déjà Vu featuring alternate versions of songs which appeared on the original album. The iconic album which featured “Teach Your Children,” “Woodstock,” “Our House,” and “Helpless,” will showcase these alternate versions on vinyl for the first time and feature a cover that mirrors the original album with an alternate photo from the cover shoot. Pressed on 180 gram black vinyl and limited to 10,000 copies, get yours in stores starting July 17th as part of Record Store Day Drops. https://recordstoreday.com/

One year after its actual golden anniversary, Crosby, Stills, Nash & Young’s Déjà Vu will be receiving a 50th Anniversary deluxe edition with hours of rare and unreleased studio recordings. The March 17th, 2021 announcement described the original as “the most-anticipated new album in America in 1970.” The album includes such legendary songs.  Rhino will be releasing an expansive 4-CD/1-LP collection on May 14th that includes a “pristine” version of the original album on both 180-gram vinyl and CD, plus hours of rare and unreleased studio recordings “that provide incredible insight into the making of the record.” 

You can also listen to the outtake “Ivory Tower” and the previously unreleased demo for “Birds,” recorded during the sessions. On the new edition, the March 11th, 1970 album’s original 10 tracks are joined by 38 more to add nearly two-and-a-half hours of music that includes demos, outtakes, and alternate takes – most of which are previously unreleased. Among them is “Know You Got to Run,” the first song the quartet recorded during its first session on July 15th at the house Stills was renting from Peter Tork in Studio City.

“Ivory Tower” was one of Stills’ contributions to the Déjà Vu sessions that was ultimately left off of the final album. The song morphed and changed over the years, and was eventually released on a later Stills’ solo project as “Little Miss Bright Eyes.”

Other unreleased highlights include the demo for Crosby’s “Almost Cut My Hair”; Stills’ outtake for “Bluebird Revisited”; and Young’s alternate version of “Helpless” featuring harmonica. Also making its debut on the set is a delightful version of “Our House” that features Nash singing with the song’s inspiration, Joni Mitchell.

This ad for the “Woodstock” single appeared in the March 28th, 1970, issue of Record World

See the source image

From the announcement: Déjà Vu: 50th Anniversary Deluxe Edition will be presented in a 12 x 12 hardcover book. The collection comes illustrated with rarely seen photos from the era and annotated by writer/filmmaker Cameron Crowe, whose revealing liner notes recount the making of the album through stories told by the people who were there, including David Crosby, Stephen Stills, Graham Nash, and Neil Young. On the same day, a deluxe vinyl version will also be available with the full content across 5 LPs of 180-gram vinyl. Crowe recalls in the liner notes that “Déjà Vu caught the zeitgeist perfectly” and “might just be the legendary band’s most accurate portrait of their fiery individualism.” Of this new Deluxe Edition, Crowe says: “50 years later, with the sonic aperture fully opened, it’s a wide-screen look at the big picture of Déjà Vu, with more music, including a batch of surprises, unseen photos, and a lot more clarity.”

In 2020, Nash, CSNY’s de facto archivist, said, “it will have a lot of stuff that people have never heard before. We found that the master tapes… are still fresh.”

Déjà Vu Alternates from Crosby, Stills, Nash and Young is a recreation of their immensely popular second album,Déjà Vu, featuring alternate versions of songs which appeared on the original album.  The iconic album which featured “Teach Your Children,” “Woodstock,” “Our House” and “Helpless” will showcase these alternate versions on vinyl for the first time after appearing on CD as part of the box set due in May. It will also feature a cover that mirrors the original album with an alternate photo from the cover shoot.

Neil Young – Archives Volume II: 1972-1976 Image

In November of 1991, Neil Young told Rolling Stone about his ambitious plans to dig into his archives and release “eighteen to twenty albums’ worth of unreleased material” in some form or another. “We can’t put it all out,” Young said. “But it will be like an archive. There will be a lot of detail, things you wouldn’t usually find on a box set. I’m not so much concerned with how or when it comes out but that it’s in order. I want to do that myself. And I only have so much time to do these things.”

Well, it took him nearly 30 years, but Young’s vision has finally been realized on the revolutionary Neil Young Archives interactive website and app. Not only can fans hear every song in his catalogue with significantly better sound quality than the offerings on Spotify and Apple Music thanks to the Xstream streaming platform (which utilizes a 192-kHz/24-bit sample rate), but there’s also an interactive timeline packed with unseen video, photographs and lyric manuscripts from throughout his entire career. There’s also the Times-Contrarian newspaper where Young and his team post regular news updates and respond to fan letters.

The Neil Young Archives was initially free and anyone can still browse through it, but late last year he opened it up for paid subscribers ($1.99 a month/$19.99 a year) that allows complete access to the site and exclusive early access to concert tickets for all of his shows. Subscribers can also watch livestreams of select concerts and watch vintage Neil Young movies in the Hearse Theater, including films like Muddy Track and Solo Trans that are practically impossible to find anywhere else.

Ahead of his “Archives Volume 2″ box-set release, Neil Young has officially dropped a previously unreleased version of ‘Powderfinger’.  While we can access the era vicariously on various platforms and with tangible items like records, sometimes there’s nothing like new music, or a re-release. One of the latest pieces of re-release news comes from legendary rock artist, Neil Young, who in 2020 is continuing to keep on rocking in the free world.

Right now, a previously unreleased version of Neil Young’s ‘Powderfinger’ is available The ‘Powderfinger’ re-release further ramps up the hype of his upcoming special release, with Young recently announcing the complete track list from his highly-anticipated Archives Volume 2 Box-set. You can pencil the release date in for Friday, November 20th. Right now we’re still waiting on further details, but for now you can catch up on other great Neil Young music news here or listen to the previously unreleased version of ‘Powderfinger’ .

Neil Young - Archives Volume II: 1972-1976

The deluxe edition box set of Archives Volume II: 1972-1976 contains 10 CDs with 131 tracks, including 12 songs that have never been released in any form, and 49 new unreleased versions of Young’s classics—studio and live recordings, both solo and with Crazy Horse (Odeon Budokan), The Stray Gators (Tuscaloosa), the Santa Monica Flyers (Roxy: Tonight’s the Night Live), Crosby, Stills, Nash and Young, and The Stills Young Band. It also includes a 252-page hardbound book with hundreds of previously unseen photographs, additional archival materials, a partial tape database, a detailed description of the music, a fold-out timeline of the period.

In addition, each purchase includes the hi-res 192/24 digital files of all 131 tracks, as well as a free one-year membership to the Neil Young on-line archives. The box also includes a massive poster Box sets are strictly limited worldwide to 3,000 units and available exclusively from NYA’s Greedy Hand store only.

Neil Young Archives Volume II – 10 Disc Retrospective The Limited Edition, 10 Disc Box Set includes: 131 Tracks with 12 Previously Unreleased Songs & 49 Previously Unheard Versions 252 Page Hardcover Book with Hundreds of Photos Full-length Archives Poster Releases November 20th, 2020

Neil Young Archives

csnydeja vu

Déjà vu is the second album by Crosby, Stills & Nash, and their first in the quartet configuration of Crosby, Stills, Nash & Young. It was released on 11th March of 1970 by Atlantic Records, Recorded July – December, in 1969  at Wally Heiders Studio C in San francisco and Wally Heiders Studio III in Los Angeles  . Its catalogue SD-7200. It topped the pop album chart for one week and generated three Top 40 singles: Woodstock“, “Teach Your Children, and Our House. In 2003, the album was ranked #147 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

Along with many other people, I had hoped that the addition of Neil Young to Crosby, Stills, and Nash would give their music the guts and substance which the first album lacked. Live performances of the group suggested that this had happened. Neil Young’s voice, guitar, compositions and stage presence added elements of darkness and mystery to songs which had previously dripped a kind of saccharine sweetness. Unfortunately, little of this influence carried over into the recording sessions for Déjà Vu. Despite Young’s formidable job on many of the cuts, the basic sound hasn’t changed a whit. It’s still sweet, too soothing, too perfect, and too good to be true at times.

Take for example all of side two. Here we have a splendid showcase of all the Crosby, Stills, Nash, and Young strong points — precision playing, glittering harmonies, a relaxed but forceful rhythm, and impeccable twelve-string guitars. David Crosby’s “Deja Vu” fails totally to capture the eerie feeling that accompanies a real deja vu experience. “Our House” by Graham Nash is a flyweight ditty with nothing to say and makes this clear through its simpering melody. Steve Stills’ “4+20” conjures up some quiet enigmas, but with such tepid questions at stake, who really cares? Neil Young’s “Country Girl” continues his tradition of massive production numbers which includes the masterful “Broken Arrow” and “Down By The River.” But compared to his earlier work, the piece is sadly undistinguished. In both this song and the next one, “Everybody I Love You,” Young’s voice is absorbed in the major key barbershop harmonizing of the other singers. C, S, N and Y

The heralded leather cover turns out to be nothing more than crimpled cardboard. fake leatherette! The grainy portrait of the “Old West” characters on the cover looks less like Billy the Kid, the James Gang and Buffalo Bill than the waiting room for unemployed extras for Frontier Atmosphere Inc. “Now then, which of you desperados is next?”

There is much on this album of real merit. “Helpless,” “Carry On” and “Teach Your Children” are excellent songs,and really well performed. Crosby, Stills and Nash — plus or minus Neil Young — will probably remain the band that asks the question, “What can we do that would be really heavy?” And then answers, “How about something by Joni Mitchell?”

Déjà vu was greatly anticipated after the popularity of the first CSN album and given the addition of Young to the group. Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail. The songs, except for “Woodstock”, were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young does not appear on all of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface. Jerry Garcia played pedal steel on “Teach Your Children” and John Sebastian plays harmonica on the title track.

Four singles were released from the album with all but the last, “Carry On,” charting . The popularity of the album contributed to the success of the four albums released by each of the members in the wake of Déjà vu Neil Young’s “After the Gold Rush2, Stephen Stills’ self-titled solo debut, David Crosby’s “If I Could Only Remember My Name“, and Graham Nash’s “Songs for Beginners.

The album ranked at No14 for the Top 100 Albums of 1970 The album was reissued on compact disc on September 6,th 1994 after being remastered from the original tapes at Ocean View Digital by Joe Gastwirt

Crosby, Stills, Nash (& Young),
Four Way Harmonies  Unreleased Outtakes and tracks from the early years, plus a few live recordings.

Major thanks to David Crosby, Stephen Stills, Graham Nash, Neil Young… and to the years 1968 and 1969

00:00 Our Mouse 00:18
(Crosby-Nash dialogue)
00:18 Wooden Ships 1:47
(embryonic first demo – no lyrics yet)
02:05 Laughing 4:06
(1968 Crosby demo)
06:11 Wooden Ships 4:54
(first studio take by Crosby and Stills, 1968)
11:05 Suite: Judy Blue Eyes 4:48
(instrumental with bass and drums)
15:53 Marrakesh Express 2:43
(early rough mix; overdubs missing)
18:36 Guinnevere 5:01
(alternate mix)
23:37 Guinnevere 5:09
(early acoustic version)
28:46 Lady of the Island 2:50
(rough mix with discarded Crosby duet vocal)
31:36 Pre-Road Downs 3:03
(rough mix with missing chorus vocal)
34:39 Helplessly Hoping 2:37
(with full band – guitars drums and bass)
37:16 Cinnamon Girl 2:41
(1969 instrumental studio take of Neil Young’s song)
39:57 I’ve Loved Her So Long 2:06
(CSNY live, Aug. 26, 1969, Los Angeles, Neil’s song)
42:03 And So Begins the Task 4:37
(CSNY live, Dec. 13, 1969, Chicago, Stephen Stills’ song)
46:40 Little Miss Bright Eyes 2:06
(unreleased Stills song, late 1969 studio outtake)
48:46 Long Time Gone 4:06
(Tom Jones w CSNY, Sept. 6, 1969, “This Is Tom Jones” TV show)
52:52 Come One in My Kitchen 1:07
(Stills coaxing Crosby into singing the blues song)

Crosby, Stills, Nash & Young – Love The One You’re With
Recorded Live: 11/3/1991 – Golden Gate Park – San Francisco, CA
More Crosby, Stills, Nash & Young at Music Vault: http://www.musicvault.com

David Crosby – guitar, vocals
Stephen Stills – guitar, vocals
Graham Nash – guitar, vocals
Neil Young – guitar, vocals, harmonica

Summary:
From the first public Mime Troupe events in 1965 to his untimely death in 1991, Bill Graham set the standard for excellence in concert presentations and in doing so, redefined the art of communication for an entire generation. To honor Bill Graham, Steve Kahn and Melissa Gold, the BGP staff organized a free concert in Golden Gate Park for Sunday, November 3. Mother Nature cooperated and provided a comfortable and cloudless day as 300,000 people gathered in the Polo Field of Golden Gate Park.

Although the Grateful Dead were expected to make an appearance, the list of performers was kept well under wraps and few had any idea who exactly would be performing. It didn’t seem to matter though, as the feeling that permeated the crowd was one of quiet reflection. This concert marked the end of an era, but also memorialized Bill Graham in a manner that was fitting – a free concert in the heart of where it all started. The sad circumstances aside, this was truly a celebration of Graham’s life and as the poster for this event noted, it was to be a day filled with Laughter, Love and Music.

A rousing welcome greeted the second extended set of the day, which brought together Crosby, Stills, Nash, and Young. Rarely a polished band onstage, this set is more ragged than usual, but to some degree that is part of the charm of this impromptu performance. There is no rhythm section here; just the four musicians and their distinctive voices. Other than occasional electric guitar work from Stills and Young, the set is instrumentally an acoustic affair, utilizing only guitars and harmonica.

They begin with Nash’s anthemic “Teach Your Children,” engaging the audience to sing along. Next up is Stills’ “Love the One You’re With,” in a rare acoustic arrangement. The melancholy harmonica intro to Neil Young’s “Long May You Run” and the relaxed groove he soon creates on this song is one of the highlights of their set. The lyric and the inherent sadness in Young’s vocal seems to resonate and reflect on the day.

Crosby’s “Long Time Gone” features some interesting electric lead guitar work from Stills, but ultimately suffers from the lack of rhythm section and Crosby’s shouting, as opposed to singing, the vocal. “Southern Cross” fares slightly better, but again it is Neil Young’s “Only Love Can Break Your Heart” that brings out the most thoughtful and harmonious interplay.

Recognizing this, they deliver another engaging performance. The vocals are now stronger and the extended jam treatment given to “Wooden Ships” lends itself to some nice interplay between Stills and Young, with Crosby’s unique rhythm guitar propelling things along for nearly ten minutes.

They close their set with Neil Young’s “Ohio;” a strange choice indeed! This, possibly to Neil’s delight, is ragged beyond belief, complete with out-of-tune guitars and extremely ragged vocals. Nonetheless, the audience seems to enjoy it and is soon repeatedly singing “four dead in Ohio,” as the group exits the stage.