This self-titled release is one of -- if not arguably the -- most impressive side project to arise from CSN. Taken beyond face value, Graham Nash/David Crosby is a direct reflection, if not an extension, of the musical and personal relationship between its co-creators. Likewise, the results remain true, enhancing rather than detracting from the very individualistic styles of Crosby and Nash. The best elements of each are readily available here, punctuated at every turn by their complicated vocal arrangements and air-lock harmonies. In the wake of the enormous successes garnered by the albums Crosby Stills & Nash, Déjà Vu, and Four Way Street, the principal members were essentially given carte blanche studio access to pursue solo projects as well. This release is the first in what would turn out to be a series of collaborative efforts between Crosby and Nash. Musically it continues in much the same vein as their respective debut solo releases, If I Could Only Remember My Name and Songs for Beginners. Nash's contributions include "Girl to Be on My Mind," "Stranger's Room," and "Southbound Train" -- a twangy piece of Americana featuring a high and lonesome steel guitar solo from Jerry Garcia that likewise hearkens to the Grateful Dead's American Beauty, Elton John's Tumbleweed Connection, or the Band's Music From Big Pink. These tracks co-exist in stark contrast to Crosby's more cerebral and incisive contributions, such as "Whole Cloth," "Games," and "The Wall Song." The latter features some outstanding instrumental support from the Grateful Dead's Jerry Garcia (guitar), Phil Lesh (bass), and Billy Kreutzman (drums). The core band revolves around another set of all-stars: Russell Kunkel (drums), Leland Skylar (bass), Craig Doerge (keyboards), and Danny "Kootch" Kortchmar (guitar). This same band would more or less continue to back up Crosby and Nash's duo efforts throughout the remainder of the '70s. Graham Nash/David Crosby offers much of the same unique songwriting and personal style which informed their better contributions not only to the CSN-related efforts, but as far back as their offerings with the Hollies and the Byrds. Interested enthusiasts are also urged to locate Another Stoney Evening -- a live acoustic release from October 10, 1971 -- which includes seminal live versions of "Southbound Train," "Where Will I Be," "Immigration Man," and "Stranger's Room."
Performance CreditsGraham Nash Primary Artist,Organ,Acoustic Guitar,Harmonica,Piano,Keyboards,Vocals,Track Performer
Crosby & Nash Acoustic Guitar,Electric Guitar
Jerry Garcia Guitar,Steel Guitar
Dave Mason Guitar
Dana Africa Flute
John Barbata Drums
David Crosby Acoustic Guitar,Electric Guitar,Vocals
Craig Doerge Organ,Piano,Keyboards,Electric Piano
Chris Ethridge Bass,Keyboards
Danny Kortchmar Bass,Guitar
Bill Kreutzmann Drums
Russ Kunkel Drums
Phil Lesh Bass
Arthur Maebe Horn,French Horn
George Price Horn,French Horn
Greg Reeves Bass
Leland Sklar Bass
Danny Kootch Guitar
David Mason Guitar
David Duke Horn,French Horn
Technical CreditsCrosby & Nash Producer
Graham Nash Composer,Producer
David Crosby Producer
David Geffen Direction
Bill Halverson Producer,Engineer
Elliot Roberts Direction
Doc Storch Engineer
Claude Nobs Liner Notes,Re-Release Coordinator
Urs Tschuppert Booklet Design
Thierry Amsallem Re-Release Coordinator
Andree Buchler Re-Release Coordinator
Most Helpful Customer Reviews
Graham Nash/David Crosby based on 0 ratings. 3 reviews.
GREAT from start to finish. Sounds good evern 30 years later.
This is undoubtedly the finest album these guys ever released, it sounds as good today as it did when I first heard it in the early 70's. An endless breath of fresh air.
A great work, but a little introspective -- the casual fan might not want to delve past the songs that had some radio airplay (Southbound Train, Immigration Man...), but for those of us who came under its spell nearly 30 years ago, this is a REAL treasure. It's a shame that it took so long to get from LP to CD, and only then was it available as an import. I had this on reel-to-reel 30 years ago so I couldn't wait for a 'noise-free' CD to appear ( believe me, I starting looking in 1986). Why the wait (and why only the import ?) I've heard that there were contractual problems in getting this released ( many of the labels from the sixties have been held up for TOO MANY years in a similar fashion, ex. James Gang's 1st on One-Way Records). It is gratifying to see that Ahmet Ertegun has written in the (sort of) liner notes (1999): "This album is one of 50 titles that are being reissued to commemorate Atlantic's 50th Anniversary, a series that includes some great moments in the history of the label." Enough said.