Crosby, Stills, Nash & Young - CSNY 1974 (2014) 3CD BOX [email protected] Beolab1700
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Crosby, Stills, Nash & Young - CSNY 1974
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Artist...............: Crosby, Stills, Nash & Young
Album................: CSNY 1974
Genre................: Rock
Source...............: CD
Year.................: 2014
Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520
Codec................: LAME 3.98
Version..............: MPEG 1 Layer III
Quality..............: Insane, (avg. bitrate: 320kbps)
Channels.............: Joint Stereo / 44100 hz
Tags.................: ID3 v1.1, ID3 v2.3
Information..........: FULL SCANS
Posted by............: Beolab1700 on 06/07/2014
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Tracklisting
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CD 1 – First Set
“Love The One You’re With”
“Wooden Ships”
“Immigration Man”
“Helpless”
“Carry Me”
“Johnny’s Garden”
“Traces”
“Grave Concern”
“On The Beach”
“Black Queen”
“Almost Cut My Hair”
CD 2 – Second Set
“Change Partners”
“The Lee Shore”
“Only Love Can Break Your Heart”
“Our House”
“Fieldworker”
“Guinevere”
“Time After Time”
“Prison Song”
“Long May You Run”
“Goodbye Dick”
“Mellow My Mind”
“Old Man”
“Word Game”
“Myth Of Sisyphus”
“Blackbird”
“Love Art Blues”
“Hawaiian Sunrise”
“Teach Your Children”
“Suite: Judy Blue Eyes”
CD 3 – Third Set
“Déjà Vu”
“My Angel”
“Pre-Road Downs”
“Don’t Be Denied”
“Revolution Blues”
“Military Madness”
“Long Time Gone”
“Pushed It Over The End”
“Chicago”
“Ohio”
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When something is known in rock mythology as ‘The Doom Tour’, it’s a touch surprising that anyone would want to remember it 40 years on, never mind release a commemorative box set. But then Crosby, Stills, Nash & Young’s 1974 tour didn’t earn that epithet for any musical reasons.
It has become infamous in the years since due to the scale, excess and extravagance involved. Drugs, dodgy dealings and hangers-on surrounded CSNY, who were reconvening after a four-year break to cash in on their continued success by performing to what were then the biggest crowds ever seen at a rock concert. The particular circumstances which surrounded CSNY in 1974 are captured brilliantly in the accompanying series of oral recollections, which gives a sense not only…
of the huge scale the band were operating on but also how this time still plays a major part in their relationships today. It also contains some excellent anecdotes about Stephen Stills insulting some of the finest musicians in the world whilst off his face, which are always worth reading.
Forty years on, it seems that CSNY – and Graham Nash in particular – are keen to redress the balance, and show that away from all the shenanigans they still pulled off some great performances on this tour. The band regularly played for over four hours, with set lists drawing from the catalogues of all four songwriters, and were probably at the height of their powers in this set up, Neil Young’s idiosyncratic presence clashing with the sweet peace and love espoused by the others.
In order to prove that CSNY in 1974 wasn’t just a money-spinner, Nash has spent a long time in the producer’s chair, piecing together recordings fto create this lavish collection. It’s available as one single-disc live album, which pulls together 11 of the most famous CSNY tracks, but there’s much more interesting stuff in the full fat, director’s cut, extended edition box set. Forty tracks, plus a bonus DVD showing rare video footage dug up from the period, and a snazzy booklet, add up to a weighty piece of soft-rock archaeology.
Its aim is to present an idealised mirror of a show from the tour, and it certainly delivers in giving a sense of the scale of these CSNY performances. As the band go from electric to acoustic, dancing in and out of their songbooks before returning to their electric guitars for a stirring finish, it’s hard to not be impressed by the range they fire through. There are certainly moments where you feel the need to escape to the bar as another track extends into a lengthy jam, but if they wanted to capture the essence of a Seventies supergroup, that’s all part of the journey.
Nash in particular come across well, his contributions adding some light to the shade supplied by his counterparts. They might have become slightly cheesy ad staples today, but ‘Our House’ and ‘Teach Your Children’ have their bright-eyed optimism restored here, delicate harmonies adding touches of colour to Nash’s confident delivery. Of the rarities, Nash’s ‘Fieldworker’ is also one of the most interesting additions, a character study performed solo over pounding piano chords. ‘Military Madness’, from his underrated Songs For Beginners LP, also stands the test of time, a powerful autobiographical statement that avoids the more overt flower-power tinges that can taint the band elsewhere.
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