Posts Tagged ‘David Crosby’

Triad” is a song written by David Crosby in 1967 about a ménage à trois, a subject perfectly in keeping with the “free love” and hippie philosophies of the day. The song was written while Crosby was a member of the rock band The Byrds, who were at that time recording their fifth studio album, “The Notorious Byrd Brothers“. 

On this studio demo above of the song recorded by just Crosby and his Martin guitar its a softer acoustic demo of this song…recorded at a studio in Hollywood, he came in barefoot with a guitar straped across his back…and I set up 2 mics..one for him and one for his Martin, and he just did it . 

Although the band did record “Triad” and perform it live during a September 1967 engagement at the Whisky a Go Go, it was eventually not included on the final release of “The Notorious Byrd Brothers” album.  According to Crosby, Roger McGuinn and Chris Hillman felt that its subject-matter was too controversial with McGuinn allegedly deriding the song as a “freak-out orgy tune. However, this has since been denied by Hillman who has stated “I don’t think it was a moral decision. The song just didn’t work that well. David Crosby was drifting and bored and he wanted to do something else, and that song just added fuel to the fire. “Notorius Byrd Bros” would have broke big if they had kept this song and ditched that awful opening track “Artificial Energy” …..Triad was perfect for its time and would have put the Byrds right back at cutting edge status. I think the exclusion of this song from Notorious was the nail in the coffin for his days as a Byrd. And his behavior at Monterey didn’t help or his guesting with the Springield there didn’t help. Or his being adamant against ‘Goin’ Back’ being on Notorious. Regardless, David had emerged as a writer of great skill and his songs needed to be heard. They were and still are!  – Although the decision to keep this song off the Notorious LP may have played a minor role, it was the power struggle between McGuinn and Crosby that led to David’s dispatch from the group.

There had been growing animosity between Crosby and the rest of the band throughout 1967. Tensions had arisen from several factors, including Crosby’s displeasure over the band’s wish to record the GoffinKing composition Goin’ Back, his fraternization with fellow L.A. musicians, and his controversial remarks to the audience during The Byrds’ performance at the Monterey Pop Festival. These factors, along with the discord over “Triad”, contributed to McGuinn and Hillman’s decision to fire Crosby in October 1967. Crosby then gave the song to Jefferson Airplane, who recorded it on their 1968 album,Crown of Creation.  Airplane did it after the Byrds told Crosby they were not going to include it on their next album.  He got pissed off and gave it to airplane. 

A Live version of the song “Triad” was later included on Crosby, Stills, Nash & Young‘s 1971 album, 4 Way Street
David Crosby certainly shone more brightly as a solo artist with CSN; but the Byrds moved on to pioneer the genre of Country-Rock which, despite the insulting lack of recognition from the industry today, ultimately shaped the future of the Country music genre.
Also here is a version of “Triad” by the Icicle Works it is great!  the band recorded “Triad” as a medley with another Byrds’ song, Chestnut Mare, on the 1989 Byrds’ tribute album Time Between – A Tribute to The Byrds.
‘Why should we all stop at three’ . Now that’s a good last line for the song!
Fantastic song.
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Crosby, Stills & Nash’s The Acoustic Concert is mastered with a loud and full sound. Videotaped at a 1991 show in San Francisco that was done as a memorial to the group’s friend, Bill Graham, there is more here than meets the eye — indeed, what initially meets the eye is most unpromising, the decidedly overweight presence of David Crosby and Stephen Stills,  Graham Nash’s metabolism won’t let him gain weight. But as it turns out the group vocal prowess is still very much intact, because they harmonize magnificently far better, in fact, than they generally did at Woodstock, and despite its being credited as The Acoustic Concert, that doesn’t stop Stephen Stills from picking up an electric guitar to add a little appropriate wattage to “Deja Vu,” “Just a Song Before I Go,” and more. Graham Nash, whose guitar was seldom ever even plugged in when he was in the Hollies, gets to play a little acoustic guitar on “Marrakesh Express,” in the midst of a superb lead vocal performance. “To the Last Whale” is presented visually as more of a conceptual video than anything else here, in its opening, before the camera returns to the stage for the song’s second half (featuring Nash on grand piano). Neil Young, though absent, gets a song dedicated to him in “Try to Find Me.” When Stephen Stills takes center stage for his spot, he delivers a loud, crunchy rendition of “For What It’s Worth” that’s more a deconstruction of the song than a performance — much more successful are the resurrections of “Suite: Judy Blue Eyes” (to which he tacks on an extended acoustic guitar coda that incorporates elements of “Carry On,” and a high-speed solo in which he sounds like he’s playing 16th notes) and other early songs by the trio. The cameras are constantly in motion and the editing keeps the eye moving and occupied, and the show was more than good enough to occupy the ear as well, especially with the audio quality as good as it is here.

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By early 1972, Crosby, Stills, Nash & Young were enjoying huge success, both as a group with tremendous album sales, and as a touring band in high demand. Individually, each member had recently recorded career-defining solo albums, but had not toured together in well over a year, which heightened the frenzy for any public appearance. This Sheriff’s Benefit Concert, arranged to help raise awareness of prisoner issues, featured local groups Earth Rise and Stoneground and  Elvin Bishop  headliners Crosby and Nash with a guest appearance from Neil Young a surprise during the duo’s set. He too had also been off the road, recording the now legendary Harvest album; Crosby & Nash, had also recently recorded their first, self-titled, album together.  To say the three of them together was a momentous occasion in March of 1972 is not overstating the case, as these guys were at the peak of their popularity. They were international superstars and the press was touting them as everything from the new Beatles to The Second Coming ,this is a very relaxed, totally acoustic affair. A few CSNY favourites, such as the set opener, “Wooden Ships,” and two tracks from Deja Vu, Nash’s “Teach Your Children” and Crosby’s “Almost Cut My Hair” (a rarity in acoustic form) are featured, but the set primarily focuses on newer material from solo albums by all three. This was a particularly prolific era for Graham Nash, who had released some of his most memorable songs over the previous two years. From his excellent Songs for Beginners album the politically charged “Military Madness” and “Chicago,” in addition to “I Used to Be a King,” one of his most beautiful songs Three of his best songs from the debut Crosby-Nash album are also included; “Southbound Train,” “And So It Goes” and “Immigration Man.” Crosby’s acoustic guitar playing and harmony vocals greatly enhance much of Nash’s material. In addition to the aforementioned numbers, the pair perform a lovely acoustic rendition of “The Lee Shore” and Crosby debuts “Page 43.” As one might expect, the crowd is very appreciative when Neil Young is invited to the stage, and he begins with the title track from Harvest, followed by a lovely version of “Only Love Can Break Your Heart.” When he returns later during the evening, he performs one more classic “The Needle and the Damage Done,” and then remains for the rest of the killer set.

available from Amazon £7.99

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Due to be released on the 8th July a 3CD/DVD set from the bands 1974 reunion tour produced by Bill Graham,there will also be a 16 track single CD, The four members reunited for an American Arena and Stadium Tour with a further one show at Wembley stadium in London, contain 40 songs and in an order that replicates the shows running order, starting with an Electric set an acoustic set sometimes with drums and bass and sometimes not then the Kick Ass electric finale. and a DVD with 8 songs plus a 188 page booklet, there will also be a coffee table box set. there were 30 shows performances some lasting up to a period of Four hours. Graham Nash took the responsibility of sorting out the tracks but every song and every minute of each show was listened too for the best quality or best performance and then had to be authorised by each band member. The DVD has eight tracks recorded at the Capital Centre in Landover and Wembley Stadium, Neil Young was writing songs furiously at the time and would often try out the new material playing some songs only a handful of times, some rarities “Love Art blues”,”Pushed It Over The Edge”,”Don’t Be Denied” and a song called “Goodbye Dick”.

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The third album and the first live album, taken from shows at the Fillmore East in NYC, the Forum in L.A and the Chicago Auditorium, it contained music already available on their studio albums either as the band or on solo albums, Tensions were running high on this tour with constant dressing room disputes and fighting becoming legendary, fact the band did not record together for another six years in 1977, they received positive reviews, Rolling Stone saying it was their best album to date.