Brad's Take:
The debut album from the power trio Crosby, Still, and Nash deserves the "Classic" title. It's a great blend of everything that was popular in the late 60s; folk, pop, and bluesy jam rock. The album's Wikipedia page puts it best: "Not only blending voices, the three meshed their differing strengths,
Crosby for social commentary and atmospheric mood pieces, Stills for his
diverse musical skills and for folding folk and country elements subtly
into complex rock structures, and Nash for his radio-friendly pop
melodies, to create an amalgam of broad appeal."
In the first track, "Suite: Judy Blue Eyes," it sets up the listener perfectly for what to expect from the album as a whole. Great finger-picking guitar work, beautiful three-part harmonies, and catchy melodies. The "doo doo doo" part at the end of this song will be stuck in my head the rest of the day, at least. Some of the songs on here even remind me of the style the Kingston Trio was doing back in their heyday.
There are a few snoozers on here, but the album has some really great songs on it. "Judy Blue Eyes" and "Pre-Road Downs", which is a song that I will definitely go back to down the road. (No pun intended.) That song is a lot of fun.
For a debut, it's no wonder that it did so immediately well. They hit the nail on the head with what they were trying to accomplish. And really, they were pretty genius by combining all of the popular styles at the time, getting the attention of a much larger spectrum of listeners. There was something for everyone. I think the album still holds up even today.
Dad's Take
Crosby Stills & Nash might not have been the first supergroup, but they were one of the first that blended so well that you almost forget they were with great bands before they got together. David Crosby of the Byrds, Stephen Stills of Buffalo Springfield, and Graham Nash of the Hollies blended their strengths perfectly to create arguably the greatest debut album ever.
This album is classic in every sense. Hugely popular, it was also a major influence. It’s not stretching the truth to say it changed the popular music scene by ushering in the change from heavy blues-based rock (although they certainly don’t leave that behind) to a softer hippy sound that helped open the door for the singer-songwriters of the first half of the seventies. But it’s also just a pure joy to listen to, and the more you listen, the deeper it gets vocally and musically.
This record is so familiar that it’s almost like reviewing a greatest hits package.It’s been a while since I’ve really gushed over one of the albums on our list, but this one deserves a song-by-song treatment.
The album’s opener, “Suite: Judy Blue Eyes,” the group’s second single, may be the best opening track on a debut album ever. It says, “Hey, we’re a supergroup and a super group and we’re awesome, so deal with us.” Great harmonies, a brilliant song structure and, as Brad mentioned, some of the catchiest bits of vocal magic you’re likely to find anywhere. This song is hard to beat.
Next up is their first single, “Marrakesh Express,” which brilliantly shows off Graham Nash’s pop capabilities.The highlight of this irresistible song is the train-whistle-like “All on board the train” vocal line.
“Guinnevere” is pure heaven on record. A spectacular piece of gorgeous atmospheric beauty, this song has become a classic.
“You Don’t Have To Cry” is a very good song that suffers a little from having to follow the previous three songs. It showcases Stephen Stills’ songwriting skills and how well his voice blends with Graham Nash’s singing.
“Pre-Road Downs” is one of the least-known songs on this record, but this doesn’t mean this Graham Nash song is weak by any means. This is psychedelic music all grown up and mellowed. Instead of banging the listener over the head, the guitar and other psychedelic touches create a thing of beauty and blend well in the overall feel of the song. And, this song has the best surprise final line since the Beach Boys’ “I’d Love Just Once to See You.”
“Wooden Ships” is a poignant piece of anti-war psychedelia noir. It’s an atmosphere-drenched story about two soldiers from opposite sides meeting, realizing they are both human, and helping each other to survive. Now, I love a good, obvious anti-war song as much as the next guy, but by switching the tone from “war is bad so don’t do it” to “the people on both sides are human and worthy of respect,” the message becomes much stronger.
“Lady of the Island” is kind of a companion piece to “Guinnevere,” returning us to that beautiful fairy tale world. Beautifully poetic lyrics combine with a simple production to transplant the listener into another place and time, either Arthur’s Camelot with its lords and ladies or a wildflower-filled meadow in 1969 Topanga Canyon with its cannabis.
The next classic song on the album is “Helplessly Hoping,” a song whose alliterative verses are almost impossible to resist singing along to. This tune showcases the classic CSN vocal blend.
“Long Time Gone” is another example of psychedelic folk rock all grown up. Slightly subdued psychedelia and hippy “escape from the Man” sensibilities combine in a mellowed Southern California package. Again, we’re not beat over the head with the hippy messages, but they still come across clearly and are more enjoyable for being a little less obvious. This song brings to mind the David Crosby tune, “Almost Cut My Hair,” that appears on their next album.
The album closes with the suitably titled “49 Bye Byes,” another of the less-well-known songs on the album. It may not be a standout track, but that’s only because there are so many strong songs on this record. I love the extended note that ends the song and the record, leaving me wanting more.
This is a truly great record, and I hate to see it end.
In the first track, "Suite: Judy Blue Eyes," it sets up the listener perfectly for what to expect from the album as a whole. Great finger-picking guitar work, beautiful three-part harmonies, and catchy melodies. The "doo doo doo" part at the end of this song will be stuck in my head the rest of the day, at least. Some of the songs on here even remind me of the style the Kingston Trio was doing back in their heyday.
There are a few snoozers on here, but the album has some really great songs on it. "Judy Blue Eyes" and "Pre-Road Downs", which is a song that I will definitely go back to down the road. (No pun intended.) That song is a lot of fun.
For a debut, it's no wonder that it did so immediately well. They hit the nail on the head with what they were trying to accomplish. And really, they were pretty genius by combining all of the popular styles at the time, getting the attention of a much larger spectrum of listeners. There was something for everyone. I think the album still holds up even today.
Dad's Take
Crosby Stills & Nash might not have been the first supergroup, but they were one of the first that blended so well that you almost forget they were with great bands before they got together. David Crosby of the Byrds, Stephen Stills of Buffalo Springfield, and Graham Nash of the Hollies blended their strengths perfectly to create arguably the greatest debut album ever.
This album is classic in every sense. Hugely popular, it was also a major influence. It’s not stretching the truth to say it changed the popular music scene by ushering in the change from heavy blues-based rock (although they certainly don’t leave that behind) to a softer hippy sound that helped open the door for the singer-songwriters of the first half of the seventies. But it’s also just a pure joy to listen to, and the more you listen, the deeper it gets vocally and musically.
This record is so familiar that it’s almost like reviewing a greatest hits package.It’s been a while since I’ve really gushed over one of the albums on our list, but this one deserves a song-by-song treatment.
The album’s opener, “Suite: Judy Blue Eyes,” the group’s second single, may be the best opening track on a debut album ever. It says, “Hey, we’re a supergroup and a super group and we’re awesome, so deal with us.” Great harmonies, a brilliant song structure and, as Brad mentioned, some of the catchiest bits of vocal magic you’re likely to find anywhere. This song is hard to beat.
Next up is their first single, “Marrakesh Express,” which brilliantly shows off Graham Nash’s pop capabilities.The highlight of this irresistible song is the train-whistle-like “All on board the train” vocal line.
“Guinnevere” is pure heaven on record. A spectacular piece of gorgeous atmospheric beauty, this song has become a classic.
“You Don’t Have To Cry” is a very good song that suffers a little from having to follow the previous three songs. It showcases Stephen Stills’ songwriting skills and how well his voice blends with Graham Nash’s singing.
“Pre-Road Downs” is one of the least-known songs on this record, but this doesn’t mean this Graham Nash song is weak by any means. This is psychedelic music all grown up and mellowed. Instead of banging the listener over the head, the guitar and other psychedelic touches create a thing of beauty and blend well in the overall feel of the song. And, this song has the best surprise final line since the Beach Boys’ “I’d Love Just Once to See You.”
“Wooden Ships” is a poignant piece of anti-war psychedelia noir. It’s an atmosphere-drenched story about two soldiers from opposite sides meeting, realizing they are both human, and helping each other to survive. Now, I love a good, obvious anti-war song as much as the next guy, but by switching the tone from “war is bad so don’t do it” to “the people on both sides are human and worthy of respect,” the message becomes much stronger.
“Lady of the Island” is kind of a companion piece to “Guinnevere,” returning us to that beautiful fairy tale world. Beautifully poetic lyrics combine with a simple production to transplant the listener into another place and time, either Arthur’s Camelot with its lords and ladies or a wildflower-filled meadow in 1969 Topanga Canyon with its cannabis.
The next classic song on the album is “Helplessly Hoping,” a song whose alliterative verses are almost impossible to resist singing along to. This tune showcases the classic CSN vocal blend.
“Long Time Gone” is another example of psychedelic folk rock all grown up. Slightly subdued psychedelia and hippy “escape from the Man” sensibilities combine in a mellowed Southern California package. Again, we’re not beat over the head with the hippy messages, but they still come across clearly and are more enjoyable for being a little less obvious. This song brings to mind the David Crosby tune, “Almost Cut My Hair,” that appears on their next album.
The album closes with the suitably titled “49 Bye Byes,” another of the less-well-known songs on the album. It may not be a standout track, but that’s only because there are so many strong songs on this record. I love the extended note that ends the song and the record, leaving me wanting more.
This is a truly great record, and I hate to see it end.
