Neil Young.” And that hasn’t changed with this deluxe edition: Young reportedly pulled some of the bonus material that would have featured his voice and songs, and thus has even less of a presence among the demos and outtakes discs than he did on the original album. ![]() To hear CSNY at their peak was to know that angel choirs really do exist, with the possibility of an impending demonic guitar squall making it all the more heavenly.īut make no mistake: If this album were to be properly billed in the current parlance of the musical day, it would be “Crosby, Stills & Nash feat. Even Neil “Quitter” Young managed to stay long enough for the one-two-three punch of this album, the subsequent “Ohio”/”Find the Cost of Freedom” double-A-side, and the “4 Way Street” live album (and a quadruple punch, if you want to include the 1974 tour) to make us believe - heck, make them believe, too - that fleeting unity was worth every dirty look or dressing-room fight. And we largely believe it because, on enough of “Déjà Vu” to bolster anyone’s faltering faith, these guys did. We want to believe that lone rangers can lock in together. Yet there’s a reason supergroups endure as a fantasy, if not that much of a reality for the last 49 years or so, give or take a Wilburys, Highwaymen or Boygenius. “Deja Vu: 50th Anniversary Edition” from Crosby, Stills, Nash & Young (Last year, on the occasion of the album’s actual 50th birthday last year, writer Steve Hochman had a very good piece in Variety demythologizing the idea of “Déjà Vu” as a group-effort ideal.) Probably anyone with the slightest CSNY consciousness now has a sense that there was a White Album aspect to the proceedings, with everyone in the foursome working up their songs individually outside the studio before bringing them in - or after after bringing them in, as Neil Young was known to take the tapes of the tracks he fronted with him after a session, to finish up on his own. IRL, it was in diminishing supply by the time “Déjà Vu” was being recorded in the latter stages of 1969, as Cameron Crowe’s generous liner-notes essay reminds us. Harmony was certainly the key word for Crosby, Stills, Nash & Young all around… on the record. Rebecca from MassachusettsI believe that the 2nd line of 1st verse should read: The son of a woman and a man who lived in strife.Maybe this modest, raw demo won’t mean that much even to most of their fans… but for a certain subset of us, it’s like an archeologist came up with recorded proof that gods not only walked the earth, but that they shared hippie-dippy moments of domestic tranquility before everyone got kicked out of the garden.I always noticed the pause there but never realized why it happened Rich from PhillyI’m reading the book that just came out about Crosby, Stills, Nash, and Young and it says that Stills gulped in a moment of emotion between “I” and “embrace the many colored beast” while doing the first take and redid the track to correct it and his bandmates convinced him to keep the original in there as it was raw and real.If the song was made a little bit earlier, when he was 24, it would be too crazy thinking the song is about Stills himself? Pedro from BrazilWhen was the song exactly made? Stills was 25 when it was released, on 1970.“A different kind of poverty now upsets me so” While the first stanza mentions his father, the song then shifts to and stays about Stills and Collins. Stills may claim this is about an old man, the lyrics say otherwise. ![]() This song, like Suite:Judy Blue Eyes, was inspired by his love for singer Judy Collins.
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