Wednesday, March 11, 2015

déjà vu

Crosby, Stills, Nash & Young carried on in the golden stardust of an expanded lineup to teach us well and make us understand that we have all been here before.  With the massive success of 'Crosby, Stills & Nash' a tour was organized that would bring in Stills' former bandmates from Buffalo Springfield  Bruce Palmer and Neil Young.  Palmer would be replaced by nineteen-year-old Motown bassist Greg Reeves by the time the group came together to record 'Déjà Vu'.

Crosby, Stills, Nash & Young produced the sessions for Atlantic at at Wally Heider's Studio C, San Francisco and Wally Heider's Studio III, Los Angeles with engineer Bill Halverson, taking up an estimated eight hundred hours of studio time that included:      David Crosby on vocals for all tracks except "4+20"; rhythm guitar on "Almost Cut My Hair," "Woodstock," "Déjà vu," "Country Girl," and "Everybody I Love You";       Stephen Stills on vocals for all tracks except "Almost Cut My Hair"; guitars all tracks except "Our House"; keyboards on "Carry On," "Helpless," "Woodstock," and "Déjà vu"; bass on "Carry On," "Teach Your Children," and "Déjà vu"; percussion on "Carry On";       Graham Nash on vocals for all tracks except "Almost Cut My Hair" and "4+20"; keyboards on "Almost Cut My Hair," "Woodstock," "Our House," and "Everybody I Love You"; rhythm guitar on "Teach Your Children" and "Country Girl"; percussion on "Carry On" and "Teach Your Children";   and       Neil Young bringing vocals on "Helpless" and "Country Girl"; guitars on "Almost Cut My Hair," "Helpless," "Woodstock," "Country Girl," and "Everybody I Love You"; keyboards, harmonica on "Country Girl";    with     Dallas Taylor on drums for all tracks except "4+20"; tambourine on "Teach Your Children";   Greg Reeves on bass on "Almost Cut My Hair," "Helpless," "Woodstock," "Our House," "Country Girl," and "Everybody I Love You";   Jerry Garcia adding pedal steel guitar on "Teach Your Children";  and  John Sebastian hanging with the harmonica on "Déjà vu".   

Crosby considers:   "I love working with Neil. He really does push the envelope. He makes fantastic music. I feel really good working with him. We're an interesting bunch because we have such a wide palette of colors. All four of us are really good writers and, more importantly, completely different from each other. It gives you a palette to work with that's incredible. "

Stills says:    "[Neil and I] influenced each other a lot  ... By looking at each other and emulating each other. We'd copy each other, and by doing that we'd meet in the middle. He was much better than I was at first, although I had a better stroke for rhythm. But he was instrumental in teaching me how to play lead, showing me positions and stuff ... I certainly picked up tricks from him. It’s so subtle, and it just happens naturally. Crosby’s influenced me as a guitarist, too ... Buffalo Springfield was more of a playing band. With CSN, the construction of the songs was such that we had to make room to stretch out. That English fellow had a wonderful effect on the construction, which is more in keeping with the folk songs. David's a jazzer, so things are more open-ended ... At least twice a tour I thought it was over, but that's just us being brothers...there's things that we couldn't possibly describe. They've been wonderfully cathartic, and they've been amazing growth experiences."

Nash reflects:    "We are a very decent rock ‘n’ roll band, from one acoustic guitar to the mayhem of all of us playing electric. There was such an incredible amount going on in society at the time: Vietnam coming to an end, Watergate with Richard Nixon getting found out. It was a tough time and I think the band, as human beings, were responding to what was going on it our world...Everything sounds different when Neil’s there. He adds a certain edge, a certain mystery. It’s very different when Neil plays with us, and he knows it, and we know, too. I used to stand in the middle of those two guys [Stills and Young] and they were, you know, prodding each other and pushing each other to do better. I stood in the middle of all that madness and was just amazed at their musicianship. I gotta tell you that once we got on that stage, the bulls–t fell away. Because by far, the most important thing about of our relationship is the music, and we’re smart enough to know that."

Young would reveal:    "I think people really have that friction business out of hand. Stephen and I just play really good together. People can’t comprehend that we both can play lead guitar in the band and not fight over it. We have total respect for musicianship and we both bring out the perfectionist in each other. We both enjoy that. It’s part of doing what we do. In that respect being at loggerheads has worked to our advantage. Stephen Stills and I have made some incredible music with each other. Especially in the Springfield. We were young. We had a lot of energy...[I joined CSNY because of] Stephen. I love playing with the other guys, but playing with Stephen is special. David an excellent rhythm guitarist and Graham sings so great…shit, I don’t have to tell anybody those guys are phenomenal. I knew it would be fun. I didn’t have to be out front. I could lay back. It didn’t have to be me all the time. They were a big group and it was easy for me. I could still work double time with Crazy Horse. With CSNY, I was basically just an instrumentalist that sang a couple of songs with them. And the music was great. CSNY, I think, has always been a lot bigger thing to everybody else than it is to us. People always refer to me as Neil Young of CSNY, right? It’s not my main trip. It’s something that I do every once in a while. I’ve constantly been working on my own trip all along. And now that Crazy Horse is back in shape, I’m even more self-motivated...For sure CSNY put my name out there. They gave me a lot of publicity...I joined CSNY and was still working a lot with Crazy Horse…I was playing all the time. And having a great time."

'Déjà Vu'  became an even bigger success than their debut, selling over seven million copies worldwide and going to number five in the UK and number one in Australia and the US.    

'Déjà Vu' full album:

Side one
1. "Carry On"   Stephen Stills 4:26
2. "Teach Your Children"   Graham Nash 2:53
3. "Almost Cut My Hair"   David Crosby 4:31
4. "Helpless"   Neil Young 3:33
5. "Woodstock"   Joni Mitchell 3:54
Side two
1. "Déjà vu"   David Crosby 4:12
2. "Our House"   Graham Nash 2:59
3. "4 + 20"   Stephen Stills 2:04
4. "Country Girl (Whiskey Boot Hill/Down Down Down/"Country Girl" (I Think You're Pretty)"   Neil Young 5:11
5. "Everybody I Love You"   Stephen Stills, Neil Young 2:21

Crosby, Stills, Nash And Young - Deja Vu (Full... by maxisbond67

live December 14, 1969

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