Archivos del Autor: Antonio
This has been listed as due August 10 – Neil Young – Southern Man (12″ Vinyl Single) to tie in with the release of Young’s first four albums all properly remastered to his taste? The label is “Slow To Speak”.
We can’t help but have a nagging suspicion the man who rushed the Ohio 7-inch is making a comment about Professor Henry Luis Gates, Jr. “The flipside (‘Feedback’) features a weird spoken word intro, in which a good ol’ boy describes his experiences with the Sears Roebuck catalog.” Comes in great packaging and featuring a short piece on racism by Christopher Deloach. Surefire collector’s item classic. Get yours now.
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APRESURE LIBERACIÓN: La Red de Área Metropolitana SUREÑA de NEIL YOUNG 12-INCH
¿Esto ha sido listó como agosto vencido 10 – Neil Young – el hombre Sureño (12 ” el Vinil Single) para juntar adentro con la liberación de los primeros cuatro álbumes de Young todo correctamente reamaestrado para su gusto? La etiqueta es Slow “To Speak”.
No podemos ayudar pero podemos tener que una sospecha fastidiosa el hombre que se apresuró el Ohio de 7 pulgadas hace un comentario acerca de Professor Henry Luis Gates, Jr. “el flipside ( ‘ Feedback ‘ ) presenta una palabra hablada extraña intro, en el cual un buen ol ‘ niño describe sus experiencias con el catálogo Sears Roebuck “. Viene en gran embalaje y presentando una pieza corta sobre el racismo por Christopher Deloach. El clásico del artículo del coleccionista Surefire. Hágase suyo ahora.
i found this hilarious – and real as the day is long
Shar
Neil Young: An Old Dog With Some Pretty Crappy Tricks *
By Jacob Mark Shpall
Published Thursday, April 16, 2009 Issue 106 / Volume 89
Upon first listening to Neil Young’s new album, Fork in the Road, one gets the feeling that the artist was on a personal quest to find the most unexciting ideas and lyrics and lump them together as an album.
Neil Young’s new album is about cars. More specifically, it’s about electric cars. Neil Young is a living legend with tons of brilliant songs under his belt. Why has he decided to write boring, half-hearted political music? And why, of all of the possible political issues he could include in songs, has he chosen to promote electric transportation? My theory is that he has gone quite insane. All of this topical stuff seemed to start pretty soon after his brain aneurysm… you be the judge. Just take a look at the album’ s cover photo. Do those eyes look rational? I wonder if he even knows where he is.
Well, I guess I don’t really think he’s insane, and I really have no idea what a brain aneurysm does. Come to think of it, he can’t be crazy. There is no way a crazy person could write such boring music, such monotonous propaganda. We have recordings of Syd Barrett and Charles Manson to prove that.
So I guess the idea behind this album is based on Neil’s ‘59 Lincoln Continental, which he converted to a fully electric vehicle. That’s a nice environmental gesture, but most certainly not a theme for a rock and roll album. When considering the essence of rock ‘n’ roll, I can’t say that a Prius pops into mind. If anything, rock is more defined by gurgling gasoline waiting to become dirty black exhaust. My intent is not to promote gas guzzlers; in fact, I hate all breeds of cars. I’m just trying to point out that electric cars are an all around crappy idea for a rock album.
Listening to this album was one of the most tedious things I’ve done in a really long time. It doesn’t let up. Every word is devoted to this electric car thing. One song ends with Neil preaching about “the awesome power of electricity,” and the next starts in about the nasty mistake of a fuel-powered car. It is nauseating.
Neil Young used to make art. Now he just writes albums that have the same feeling a half-assed blog. I mean, take Dylan, the father of the protest song, for example. He recently came out with a song in which he admits, “I used to care, but things have changed.” I don’t know, maybe Neil could learn a thing or two. Everybody knows that giving up is a million times more elegant than caring… I just hope he breaks down his soapbox soon. I have some faith; I think he still has a couple descent albums left in him.
Greetings Rust List!
I’d like to put a call out to the Rust community to enlist support and
assistance in a compilation project that I’ve begun working on with several
members of the Neil Young Archives yahoo group. Any help, and any input,
suggestions, or critiques are welcome, whether you consider yourself to be a
Neil “completist” or not.
This project is tentatively entitled “Holes in the Archives Volume 1″, and it is
intended to be a supplement to the official Archives release for those
obsessives among us who wish for there to be more to the Archives than will be
included. It was inspired by Omar’s Buffalo Springfield “The Missing Herd”
compilation, which was intended to fill in what the BS Box Set omitted.
Now, with Neil’s career, we can’t simply take every recording of substance that
will not be on the Archives for a given era and make a 2 disc set. There is FAR
too much material available. So we need to have some general parameters for
recordings that will rise to a sufficient level of rarity or quality to warrant
inclusion in this set.
In general, to be included, a recording must fall into at least one of these
categories:
- A rare song that is otherwise unrepresented in the Archives. There are very
few of this category, and there may be even fewer once the BD-Live downloads are
fully known. For example, I don’t think anyone has any good reason why “I Ain’t
Got The Blues” from the 1965 Elektra Demos was excluded while every other song
from that recording is included. The song is good, the recording is excellent.
Maybe it will be a BD-Live extra, who knows? But for the time being, it would
be the first track on our tentative tracklisting.
A rare song, if completely unrepresented, would not need to be of excellent
recording quality to justify its inclusion, but since according to Neil “Quality
Matters”, we will endeavor to have only the highest quality recordings included.
So the next category of song will be…
- Excluded studio or soundboard live recordings of otherwise represented songs.
Since Neil does not seem shy about having multiple recordings of many songs, I
don’t think we should be either, so long as the recordings we include are
important additions in some tangible way. For example, a song that is played in
a very different style, or with a different band, than the more commonly known
version (and any other versions included in the official release). A specific
example would be “Everybody’s Alone”. The version appearing on the official
release is an unreleased version with Crazy Horse from 1969. However, there are
2 excellent soundboard recordings in circulation of that song with other
performers. The first is the 1969 “CSNY” demos recording (which does not
include vocals by anyone but Neil, but presumably includes the Deja Vu band),
and the Feb 1970 KQED recording of Neil solo. At least one of these, if not
both, would warrant inclusion due to the high sound quality and significant
difference from the released recording.
***HOWEVER*** This set will NOT include the missing studio recordings from
Neil’s released albums or the BS Box Set. This is for 2 reasons.
Firstly, I assume that anyone who wants this set already owns all of the easily
purchasable studio and live albums and box sets, and as much as I may have no
problem skirting copyright laws in order to assemble the best compilation
possible, I see no need to straight up rip a song from a Reprise Records CD to
include in this set.
Secondly, inclusion of the such tracks would not be any kind of sonic upgrade to
that which is available to all simply by going to a record store or to
Amazon.com. And if the information leaked a couple months ago from Reprise
Records is to be believed, there may be remasters and rereleases of all of
Neil’s studio albums in the coming months or years, probably with the included
DVD with 24/96 sound quality, if not a BD release of each with 24/192 sound
quality. If that comes to pass, none of use will ever listen to those shitty
old 1980s CDs again, so why have the tracks cluttering up this collection?
So that’s the idea behind the project. Despite the inclusion of a couple of
recordings that may challenge this community’s trading standards, I would
ultimately like to make the compilation freely available to all through one or
several distribution methods.
SO, WHAT DO I NEED FROM YOU? Several things.
- Knowledge and expertise. I want to thoroughly document each and every track
on this compilation to the maximum extent possible. Recording information,
source information, song history and other interesting trivia, all of that
stuff. I want this to live up to its namesake as much as possible, because I
want this to be an historical record as much as a CD of music.
- Recordings and recording information. In the digital age, the importance of
having a recording source of low generation is not as important as it was when
the first ABD sets were assembled, but that doesn’t mean that source quality is
unimportant. In addition to making sure we have the best available sources for
all recordings, I am not aware of every single recording from the Volume 1 era
that may contain a possible song for inclusion, but if we put our heads
together, I’m confident that we can think of every possible song to include. I
already have some specific questions regarding the sources for the tracks on “A
Perfect Echo”, and I’m sure that someone will know the answers.
So, if you’re interested in participating in this project, shoot me an email,
and in the coming days and weeks, we’ll sort of have a little “list” to send
around to everyone as we assemble tracks and information and exchange ideas. Of
course, we’ll have to wait until after we’ve all fully digested the official
Archives before anything can be completed, but there’s no harm in doing some
groundwork preparation ahead of time. Also, I figured that this idea was not so
brilliant that someone else wouldn’t have thought to do it as well, and I’d
rather work with others than to duplicate work and have competing projects of
great similarity.
Looking forward to working with you all.
–PunkDavid
En un comentario “off the record” hecho a un reportero AP Elliot Roberts admite que CSNY ha estado “literalmente muerto durante 39 años”. Invitado a explicar esto, Elliot Roberts dijo, y abro comillas: ¿Recuerda esa trifulca en el Filmore East? Pues bien.
Aparentemente fue todo debido a Rita Coolidge si mal no recuerdo. Stephen Stills se preparaba para volar hacia su nuevo destino como capitán en Viet Nam. Graham Nash estaba cansándose de escribir todo el material y de ser considerado el peso pluma del grupo. Era como Simon y Garfunkel. Arty escribió todas esas canciones atribuidas a Paul Simon, usted sabe. Neil Young estaba en medio de un ataque epiléptico. David Crosby xxx.
Stills finalmente arremetió contra Nash diciendo: “Tío, eres un inglés sinvergüenza; no sólo escribes todas las canciones para el grupo; sino que te llevas a mi antigua mujer?”. Nash contestó: “¡Tío, todavía no puedes tocar la guitarra”! Stephen miró a Neil. Elliot vuelve a contar: “En aquel entonces estaba sujetando a Neil lo el suelo haciendo un intento detenerle de tragándose su lengua”. Stephen miró furiosamente a Crosby diciendo: ¿”qué tiene usted a la vista a usted el culo de los caballos?
Heridos y maltratados todos ellos abordaron un 707 encabezamiento hacia Dallas. Algo aparentemente dio con el avión. Chocó en Love Field. Una autopsia reveló esa todo menos una persona muerta del choque. David Geffen me llamó gritando: ¡” Usted ha conseguido encontrar a los reemplazos para estos tipos! De otra manera perdemos millones y millones de dólares “. David finalmente se cansó de disimular en los inicios de 1980s.
Por consiguiente la acción legal entablada por Geffen Records en contra de Neil Young. Él estaba harto de Dewey Bunnel para entonces. Los Monkees fueron separados por Peter Tork para que él podría hacerse cargo de quedarse Stephen Stills. Pues un Gravy Wavy de tiempo probó quedarse The Croz. De hecho, era difícil tratando para reemplazar a Graham Nash. Finalmente reclutamos a Jon Anderson de Yes. Si usted se fija bien después de que 1970 Yes comenzaron a hacerse populares.
¿Por lo que respecta a lo a solas álbumes, las … excursiones? Inmediatamente después de 1970 cada miembro de música del grupo radicalmente cambió. lo 1974 excursión fue todo hecho por humo y espejos. Jamás vea a Capricorn One. ¿El que donde los 4 astronautas y la NASA fingen ellos está en la Luna? Usamos esa tecnología para hacer al Reunion 1974 CSNY Tour.
Mire en la cubierta de la película /excursión nueva CSNY Deja Vu. Muestra a un Crosby/Stills joven.
“Finalmente, su sobre”. Dijo Elliot Roberts. Se lo puedo admitir para el mundo. Retrospectivamente tengo que dárselo para lo con atraso Graham Nash. Él no sólo escribió todas las anteriores cosas de solo, realizó todas las armonías, e intérprete todos los instrumentos; Él también inventó el ‘ mito ‘ que él fue el miembro menos talentoso del grupo. Esa historia completa CSN acerca de tener una reunión en Joni o la casa de Mama Cass. Qué pedazo de tonterías. Nash sólo quiso lo mejor así es que él contratase Don Kirschner. ¡Don fue el director de escena de música! ¡Oh que yo siento un tanto así mejorar “!
La promesa de paz, amor y música de Woodstock se truncó por los trágicos sucesos del festival de Altamont. Se cumplen 40 años del breve apogeo del ideal ‘hippy’
DIEGO A. MANRIQUE 11/08/2009
Con cada aniversario redondo, Woodstock vuelve a ser celebrado y la marca se reactiva comercialmente, amenazando con una nueva edición del festival. En 2009, aparte de varios libros, se publica la mayor colección de sonidos -canciones, avisos, presentaciones, ¡la tormenta!- del evento: una caja con seis discos titulada Woodstock 40 years on: back to Yasgur’s farm (Warner).
La contracultura no aceptaba que en sus filas pudieran anidar serpientes
Ese fin de semana (del 15 al 18) de agosto de 1969 ha quedado inmortalizado como modelo de convivencia: más de 400.000 personas se juntaron en las montañas de Nueva York, desbordando a los organizadores de la Feria de Música y Arte de Woodstock. No pudieron controlar las entradas o vigilar las vallas; a su pesar, Woodstock fue gratuito.
No era el primer festival de rock pero nadie tenía la experiencia necesaria para enfrentarse a semejante aglomeración. Woodstock se desarrolló gracias a esa capacidad estadounidense para improvisar: si resultaba imposible desplazar a los músicos por las saturadas carreteras, se alquilaban helicópteros -a veces, los mismos Hueys que combatían en Vietnam- que también evacuaban casos graves. Las cocinas de la comuna Hog Farm lograron milagros, pero aquello se hubiera colapsado sin las raciones de emergencia preparadas por monjas o damas judías de la zona; hasta los hoteles donaron alimentos.
Y eso que las primeras crónicas enfatizaban el peligro de epidemias, hambre, malos viajes. The New York Times incluso editorializó sobre lo que consideraba un desastre sin paliativos. Sólo tras el retorno de los asistentes se impuso una visión positiva, que destacaba la riqueza musical, la convivencia pacífica, el candor de los chicos que se bañaban desnudos. También resultaba tranquilizador el triunfo del hedonismo sobre el impulso revolucionario, ejemplarizado por el empujón de Pete Townshend a Abbie Hoffman, cuando el agitador yippie se atrevió a invadir el escenario de The Who para arengar a la tropa.
Poderosos intereses necesitaban retratar un Woodstock risueño. Urgía borrar los números rojos con el lanzamiento de los discos, con el estreno de la película. Sin embargo, la propia contracultura deseaba propagar la idea de que medio millón de jóvenes se podían reunir para escuchar música y divertirse, conviviendo armoniosamente bajo las reglas de la era de Acuario.
Un mito tan atractivo que embaucó a cínicos del calibre de los Rolling Stones. En noviembre, los británicos reaparecían en Estados Unidos, estableciendo el prototipo de gira estelar: desplazamientos en avión propio, grandes recintos, máximos beneficios. Jagger y compañía quisieron despedirse con un concierto gratuito, un Woodstock Oeste que además serviría como clímax del documental de la gira que estaban rodando los hermanos Maysles.
Terminaron en un circuito de carreras cerca de San Francisco. Lo ocurrido allí el 6 de diciembre garantiza que Altamont sea hoy sinónimo de caos y violencia. Fue una orgía de malas vibraciones, agravada por una organización descerebrada. Los Ángeles del Infierno, increíblemente contratados como seguridad, vapulearon a músicos y espectadores; harto de agresiones, un chico negro llamado Meredith Hunter esgrimió una pistola y murió acuchillado.
En honor a la verdad, tampoco Woodstock fue exclusivamente “paz y amor”: nadie habla de los muertos. Allí se toleraron actos de vandalismo -el incendio de los puestos de comida- con excusas políticas. De hecho, hubo momentos de pánico: tras la lluvia, quedaron al descubierto cables eléctricos, haciendo muy real la posibilidad de una electrocución en masa.
Da lo mismo: Woodstock fue glorificado por la misma necesidad de eventos significativos que anatematizó a Altamont. Además, era fácil señalar con el dedo: los Stones cargaron con las culpas. ¿No eran músicos que se definían como “Sus Satánicas Majestades”? Pura fachada: estaban tan despistados que aceptaron la sugerencia de llamar a los Los Ángeles del Infierno californianos, creyéndoles simples moteros rebeldes, como los que les arroparon meses atrás en el Hyde Park londinense. Cuando llovieron los juicios, las querellas y las recriminaciones, hasta los Ángeles se sintieron utilizados y prometieron venganza: durante años, Jagger temió que hubieran encargado su eliminación.
Sin minimizar las responsabilidades del grupo, hoy parece que Altamont fue un grave error generacional. La aristocracia del rock de San Francisco decidió que, si la ciudad había sido el jardín del movimiento hippy en 1967, se sentía capaz de improvisar una versión californiana de Woodstock. Pero el Altamont Speedway no se parecía en nada a la edénica granja de Max Yagur. Y el público de la Costa Oeste era más resabiado, melenudo y escéptico que la multitud boquiabierta de Woodstock.
Paradójicamente, Jagger y compañía habían intuido el avinagramiento de la utopía hippy con Gimme shelter, que inevitablemente serviría para bautizar la película de los hermanos Maysles (ahora relanzada en DVD, con material extra). Tras Altamont, la inocencia del verano del amor resultaba un recuerdo embarazoso. Hasta diciembre de 1969, la contracultura no aceptaba que entre sus filas pudieran anidar las serpientes.
Fue ese mes cuando se difundió que la familia encabezada por Charles Manson era responsable de la masacre en la casa de Roman Polanski y otros asesinatos que aterrorizaron a los habitantes de Los Ángeles. Costó aceptarlo: los reporteros enviados por Rolling Stone a cubrir el caso iban convencidos de que aquello era un montaje, destinado a enfangar la reputación del movimiento hippy.
Manson tenía un amplio historial carcelario, aunque se había reinventado como gurú y aspiraba a difundir sus enseñanzas mediante canciones. Le garantizaban tipos respetables: hasta Neil Young habló de Manson a su discográfica, Reprise. Su comendación: “Charlie es bueno en lo suyo, sólo que un tipo un poco descontrolado”.
http://4waysite.com/Pickotday/Dave-Zimmer_OutTakes/index.htm
Crosby, Stills & Nash: The Biography “Interview Outtakes”
By: Dave Zimmer – 4WaySite Exclusive
Date: 15 August, 2009Dave Zimmer’s Unedited, Previously Unpublished Interviews About CSN&Y with Writers Peter Doggett, John Einarson, Johnny Rogan and Steve Silberman.
Dave Zimmer listening to CSN&Y’s “4 Way Street” on Long Beach Island in New Jersey. August 2008. PHOTO: CLAUDIA ZIMMER
Dave Zimmer: “With the 40th anniversary of Woodstock at hand, the time feels right to share several short interviews about Crosby, Stills, Nash & Young I did by e-mail with writer colleagues/ friends Peter Doggett, John Einarson, Johnny Rogan and Steve Silberman back in late 2007 and early 2008. Some of their comments were potentially going to be included in the update chapter for the latest edition of Crosby, Stills & Nash: The Biography. During the final editing process, however, it was decided by my Da Capo Press editor that the writers’ views and insights, while by turns informative and fascinating, interrupted the flow of the narrative text. As a result, with the exception of an excerpt from a Johnny Rogan comment, their words were left on the editing room floor. Thanks to 4WaySite web site manager Dolf van Stijgeren, the question and answer interviews are presented here, in unedited form. So put on your favorite CSN&Y music, settle back and read on”.
* PETER DOGGETT *
Peter Doggett is one of the UK’s leading rock writers and journalists. He was editor of Record Collector magazine for fifteen years, and currently writes for Mojo and Q, among other publications. His most recent book is There’s A Riot Going On: Revolutionaries, Rock Stars, and the Rise and Fall of the ’60s. He is also the author of Are You Ready for the Country? In addition, he has also written biographies of John Lennon and Lou Reed.
Dave Zimmer: What is it about CSN and CSNY that keeps the musicians themselves coming back to the combinations — even now that all of the guys are in their 60s?
Peter Doggett: At its most basic, the reason is money: would Stills and Crosby work together unless it was so financially lucrative that they felt they had to? I doubt it very much. It’s obvious that Stills prefers to work alone; likewise Crosby & Nash as a duo; but it’s the trio, and especially the quartet, that pulls in the crowds. (Sadly none of these combinations can sell records any longer, no matter how good they are.) Plus one could get into a long psychological debate about the way in which Young has treated CSN down the years, using and losing them as it suits him, and manipulating CSNY like a dictatorial control freak.
But I’d rather accentuate the musical side of these equations. While CSN has, for the past two decades, effectively been a (wonderful) oldies act, CSNY pushes all four musicians into places they couldn’t reach any other way. That was brought home to me when I finally got to see all four perform together in 2002: Stills and Young fired each other up like demon engines, and Crosby and Nash picked up on that vital energy. For three remarkable hours, four flawed individuals became an almost supernatural positive force. During those moments, money is no longer the motivation – although they wouldn’t have allowed themselves to get into that position unless they were getting paid.DZ: What keeps their audiences coming back?
PD: As with every ‘classic’ act, most of the audience for CSNY is there for nostalgia – a reminder of when they felt young and vital, with the power to change the world. Nobody imagined in 2006 that CSNY could help to overthrow Bush, the way that their audience must have felt with Nixon in 1970 (not to mention 1974). But it must have been wonderful to relive the sense of possibility.
Beyond the baby boomers who would just as soon go and see Chicago or the Doobie Brothers, people like us go back to see all the CSNY combinations because we’re still moved by the songs, dazzled by the harmonies, and electrified by the passion. Part of that is nostalgia; a larger part is that when, for instance, C&N are performing Guinnevere, there’s nowhere else in the world we’d rather be.DZ: How much has the drama of their lives and the guys’ personal turmoil contributed to the allure and popularity of CSN and CSNY?
PD: You could reverse the question, and ask how much their popularity has been harmed by the drama and turmoil. How big and influential a band might CSNY have been if they had maintained their unity from 1970 through to the end of the decade? How much great music was wasted on the way? Yet as a committed fan, the intrigue, the endless arguments, the shifting of allegiances, the life-and-death struggles, and the triumphant return of C, S and N as recording artists in the past decade, has been like wallowing in a glorious soap opera. If the guys’ egos hadn’t been so big that they were bound to collide, endlessly, then they wouldn’t have been the personalities and musicians that they are.DZ: How do you think the CSN/CSNY story will ultimately end? And what will their epitaph be?
PD: There won’t be any end beyond the end that awaits us all. While they’re still alive, they’ll still be making music. Epitaph? It will be in the words of the songs: Teach Your Children, Love The One You’re With, “remember what we’ve said and done and felt about each other”. Historically, they’ll be remembered as the epitome of the Woodstock generation, whether they like it or not. But I’d rather they were remembered for producing music that was both breathtakingly beautiful and fiercely powerful.DZ: What is it about Crosby, Stills, Nash and Young, collectively and individually, that first attracted you and why do the guys and their music continue to hold your interest and enthusiasm?
PD: Stills was my main man, originally, and then Young, and it took me a while to realise that I loved all four (and maybe Crosby most of all). I’ve always been a sucker for harmonies, and CSN’s harmonies are like nobody else’s. But there’s so much more than that. I love Crosby’s weirdness and Nash’s directness and Stills’ soulfulness and Young’s inspiration. For all their faults, I love the four individuals who created and inhabit their songs. Their music lives in my head, day after day, and if you catch me singing on a street corner, it will almost always be a CSNY-related song. How can you deliver a rational explanation for falling in love?DZ: What is your most memorable personal moment (or moments) with individuals in the CSNY family?
PD: Having been fortunate enough to interview CS&N on several occasions, there have been a few . . . sitting round a table in London with CSN, realising that for the next hour, I was the fourth member of the quartet . . . getting a chance to experience the original personal chemistry that united the trio, as they playfully batted jokes back and forth and teased each other mercilessly . . . the evening when my phone rang, and a voice said, “Hi Peter, this is David Crosby”, followed a few minutes later by another call, and “Hi Peter, this is Graham Nash” (I tried to imagine how the 15-year-old me would have felt) . . . Crosby interrupting a passionate rant about CPR to compliment me on my socks . . . Stills and I bellowing at each other for 90 minutes in a London hotel room, trying to overcome our mutual inability to work out what the hell the other one was saying . . . Crosby’s boyish enthusiasm whenever he gets a compliment . . . Nash’s sardonic humour . . . and then there are the musical memories: the Suite at Wembley in 1983, greeted by the longest ovation I’ve ever heard from any crowd; CSN opening up with Deja Vu a lifetime later at another London show; likewise Crosby and CPR in a small London club, opening with Music Is Love; Young and Crazy Horse in full ecstatic flight; and every time I’ve heard Crosby and Nash winding their voices around Guinnevere. Not to mention the next time I play any of their records.* JOHN EINARSON *
Renowned rock historian John Einarson is the author of more than a dozen books, including the critically-acclaimed Hot Burritos: The True Story of the Flying Burrito Bros., voted among the 10 Best Books of 2008 by Uncut; Mr. Tambourine Man: The Life and Legacy of The Byrds’ Gene Clark, voted among the 20 Best Books of 2005 by Uncut and Record Collector; For What It’s Worth: The Story of Buffalo Springfield; Don’t Be Denied: Neil Young’s Canadian Years, and Randy Bachman: Takin’ Care of Business, among others.
Dave Zimmer: What is it about CSN and CSNY that keeps the musicians themselves coming back to the combinations — even now that all of the guys are in their 60s?
John Einarson: It’s a case of the sum of its parts being greater than the individuals. When the members of CSN or CSNY come together what they create is something wholly unique and special that they do not experience individually or in other combinations. It’s a ‘1+1+1 = 4’ thing, something distinctive and extraordinary that each member brings to the collective that is only present in that combination and transcends their individual musical personalities. There was a joy that the three experienced when their voices first blended together. There was nothing like it anywhere else then and nothing since. Together they create a certain magic absent on their own. And they recognize that. Despite all the water under the bridge over the years, when those three or four voices come together in song it’s a sound like nothing else. That’s a pretty compelling attraction for them.DZ: What keeps their audiences coming back?
JE: CSN and CSNY are a touchstone to a particular time and place for millions of people. They are the living embodiment of the Woodstock generation and their music and message continue to resonate with a particular age group, that same peace and love sentiment that we all still idealize and aspire to. It wasn’t just fluffy pipe dreams. It was real, and CSN(Y) reminds us of an idyllic time in our lives and in the world when we all believed music could, indeed, change the world. They and their music have become icons of an era, symbols for a generation. And because their music has substance and a universally-appealing message that spans the generations they continue to draw new and younger fans to their concerts.
DZ: How much has the drama of their lives and the guys’ personal turmoil contributed to the allure and popularity of CSN and CSNY?
JE: I don’t think the wider world is really aware of all the drama and internecine warfare over the decades between the individuals in the group. Certainly David Crosby’s life has provided plenty of tabloid fodder and perhaps that has some attraction for fans. But I believe it’s still all about the music they create together that draws people to the group. That transcends any human drama surrounding the individuals. People don’t always get along, that’s a fact of life and we all accept that, but when these three or four individuals come together that’s a very special moment.DZ: How do you think the CSN and CSNY story will ultimately end?
JE: The fact that both CSN and CSNY have continued to tour and delight audiences is very reassuring. They’re all in their sixties now yet still able to create their own unique brand of magic onstage together night after night. Certainly Nash and Young are capable of surviving the tour grind for several more years but health issues are beginning to plague Stills and Crosby. Realistically I think we’re nearing the end of the line. Better to leave the stage on a high and part as friends than beat something into the ground. They have absolutely nothing they need to prove to anyone. Their legacy remains firmly intact and will outlive them and us. A century from now people will still be singing “Teach Your Children”, “Find The Cost Of Freedom” or “Woodstock”. That music and those sentiments are timeless.* JOHNNY ROGAN *
Johnny Rogan is the author of over 20 acclaimed books, including The Byrds: Timeless Flight Revisited, Neil Young: Zero To Sixty and Crosby, Stills, Nash & Young: The Visual Documentary. His other titles include major biographies of Van Morrison, the Kinks, the Smiths, and musical studies of John Lennon and Morrissey, plus the groundbreaking study of rock management, Starmakers & Svengalis.
Dave Zimmer: What is it about CSN and CSNY that keeps the musicians themselves coming back to the combinations — even now that all of the guys are in their 60s?
Johnny Rogan: There have probably been different reasons at different times. In the past, personal, financial and musical motives have each played a part in the collective decision somewhere along the line. But the noblest reason harks back to the formation of the original trio when they made that pact about not being a group but an aggregation of friends, equally capable of flying solo or in formation. Few believed them at the time, but they proved true to their word. They probably lost millions by declining to ‘reform’ on many occasions over the decades. The skeptics always forget that, don’t they? The foursome have enjoyed playing solo and in different permutations and I’ve loved them all. I think they understood the importance – musically and mythically – of CSN&Y, more than ever on the last couple of tours. Taking an overview, it’s amazing that all four didn’t reconnect more over the years and that was our loss too. It speaks volumes that they never ‘manufactured’ a reunion. You have to admire them for that.DZ: What keeps their audiences coming back?
JR: Nostalgia? For some, surely. The love of great music, certainly. All their tours have been well received, and rightly so. They’ve often shown an uncanny ability to capture their time, even when that time seemed past. After 1971, we wondered whether the magic foursome would ever reconvene, and there was a ludicrous 28 year gap between album releases. But in 1974 we had the stadium tour. The counter culture seemed in decline then, their own lives affected by related tales of doom and death – read the books! I described them as ‘lost King Arthurs in search of a Camelot’. But that summer, they reclaimed all that had seemed lost. The spectre of Sixties idealism returned with them – their arch nemesis Richard Nixon was impeached, as if fulfulling the prophecies of Young’s ‘Ohio’ and Stills’ ‘America’s Children’, Muhammad Ali reclaimed the world heavyweight championship and there was CSN&Y defining the age once more. Nor was this simply nostalgia for Woodstock survivors. The foursome were still introducing new songs of high quality…. Flash forward to more recent times, a different age, a different president, a different war, but CSN&Y had once again found a cause. There was nothing cosily nostalgic about this tour. They had something to say and captured their time yet again. Listen to the tapes, watch the DVD. It’s like ancient warriors returning to remind the world of lost ideals, seeking to inspire again. It would have been even better if they took the last tour around the world, as they have a global audience and this was about more than the fight for the political heart and soul of America. . . Beyond all that, CSN&Y offer their audience a unique sense of history. How many other aggregations from the late Sixties can still boast an original line-up intact? Given their colourful histories, they’ve done remarkably well to escape the blade of the Grim Reaper. Consider Crosby’s lengthy spell in freebase hell and even recent heart trouble; Nash’s boating accident which might easily have cost him his life; Young’s brain aneurism; Stills’ health problems. As a result, there’s a feeling of event when CSN&Y tour or record – always the unspoken thought that this could prove the last time around. Near death scares ensure audiences treasure the moment even more.DZ: How much has the drama of their lives and the guys’ personal turmoil contributed to the allure and popularity of CSN and CSNY?
JR: I’m sure it’s all contributed to the myth, but for me it was their music that was most important. There was little known about the turmoils in Buffalo Springfield or even the Byrds when that wonderful debut album ‘Crosby, Stills & Nash’ was released. What people responded to was the power and quality of the music. They were the masters of acoustic music at the dawn of the golden age of the singer songwriter. This was before Woodstock, before superstardom, before Neil Young even joined. Later, we learned of their romantic lives, their politics, their drug use, their internal conflicts, their cultural importance – and much else. Obviously this added appeal and column inches but that would have meant nothing without the music. Looking back now, I’m still amazed at that scarcely believable run of releases – ‘Crosby, Stills & Nash’, ‘Deja Vu’, ‘Stephen Stills’, ‘After The Goldrush’, ‘If I Could Only Remember My Name’, ‘Songs For Beginners’, onward to Manassas … the songwriting quality and self belief is staggering. It’s as if they knew that between them they could single-handedly create the finest music of the early Seventies. Every time one of them issued an album, it was an event.DZ: How do you think the CSN/CSNY story will ultimately end? And what will their epitaph be?
JR: Well, it will end in death, of course, as all things do. Their epitaph? Probably some cliché about being spokespersons for the Woodstock generation or rock’s premier supergroup, but that’s lazy shorthand for a more complex legacy. I trust history will acknowledge their importance and immense contribution to popular music.DZ: What is it about Crosby, Stills, Nash and Young, collectively and individually, that first attracted you and why do the guys and their music continue to hold your interest and enthusiasm?
JR: Well, obviously, as a massive Byrds fan I was eager to hear what Crosby would do next. I liked the Hollies too and had even seen Graham Nash’s final appearance with them in a star-studded cast at the Save Rave on 8 December 1968. I also had a Buffalo Springfield album and given I was still a school kid these were not casual purchases. The single ‘Marrakesh Express’ was the first taster but nothing prepared me for the moment I placed the needle on the record and heard that opening album track, ‘Suite: Judy Blue Eyes’. It’s difficult to express how refreshing and astounding it was to hear those exquisite three-part harmonies, the beautiful melodies and thoughtful, poetic lyrics. It seemed that they were taking the mantle from the Beatles as singer songwriters supreme.
Already masters of the acoustic ballad, they also revealed themselves as a great rocking electric ensemble, as shown through concert performances and the succeeding ‘Deja Vu’. I’ve already mentioned the solo outings and recall endless debates – often simply in my own head – about whether Stills’ debut album was even better than ‘Deja Vu’ or Crosby’s first solo better still. It really was that important – and those records were amazing. Obviously, I was always in there for the long haul and that was important too. Loyalty can bring its own rewards. Many listeners left the party prematurely after the initial hurrah. Some may not even have bought the great ‘On The Beach’ or missed Stills’ wonderful 1975 album. The 1977 ‘CSN’ record was another strong effort, underrated in the UK in that summer of punk. The Eighties was a dark decade for the foursome. They were dismissed by post punk critics as beyond passé; even Neil Young was criticizing the other three in print and in song. Record releases were infrequent and… well you know the story. But musical trends are often cyclical and their legacy was too great to be ignored, especially when acoustic music came back into vogue. Now their standing seems beyond assured, but for those who followed them from the late Sixties till today, there were many dark nights of the soul. In those pre-Internet days, it sometimes seemed that there were only a small number of people who still carried a torch for them. At least that was the experience on this side of the Atlantic. I always stood up for them, as well I might given what they had achieved.
One of the few times I wrote to the music press was after Mojo did a major retrospective piece on them which I thought was unfairly balanced. It’s pleasing to see that, at the time of writing, they’re still alive and seemingly well. CPR is a great project, Stills and Nash are delving into their archives and hopefully will be sufficiently inspired to issue some new work; Young continues indefatigably and still has the capacity to surprise. It’s a wonderful story with a happier ending than anybody could have anticipated.DZ: What do the four mean to you? Why did you spend so much time and energy covering them? What impact did they have on your life?
JR: Wow. CSN&Y were the enshrinement of a dream. As individual songwriters, they were thrilling but together they had the power to become even greater than the sum of their parts. Beyond the music there was the added attraction of a romantic philosophy of which they may not even have been aware. It was as if they advocated a mantra of free love but by placing it in such a powerful personal context they exchanged any licentiousness for what seemed like an aspect of neo-Romanticism, more reminiscent of the courtly love precepts of Chaucer. Their impact on my life was profound. The reason I spent so many years covering their careers was the same reason why I still play their records today – an intense engagement with the music, writing and personalities. It’s like a life-long commitment. Writing the CSN&Y book was a tremendous joy as I was able to choose the photos, contribute all my concert tickets and the like and throw in the kind of arcane stuff that I felt would complement the more formal bio. I think the contract said up to 50,000 words, but I did 110,000 and got them to swallow the extra cost. Hey, this was CSN&Y – one of the great loves of my life!DZ: What is your all-time favorite personal moment (or moments) with individuals in the CSNY family?
JR: Time to get personal . Undoubtedly, my favourite moment as an interviewer with anyone ever was my first serious encounter with David Crosby over two long days during his five-night stint at London’s Venue in April 1980. It was the greatest interview of my life. Crosby was passionate, brutally honest, funny, angry – a veritable emotional barometer. Nearly a decade later, the newly rehabilitated Crosby was still charming and flattering and wrote me the cherished epigram, ‘Your knowledge is amazing!’ At a subsequent reception, however, we became unexpectedly embroiled in a heated debate about a song I had recently acquired on tape, ‘Psychodrama City’. Crosby denied he’d composed or even sung this composition, though it was clearly his lead vocal, as I insisted. It was probably a lapse of memory – hardly surprising as this was a minor outtake and Crosby hadn’t really recalled much about ‘It Happens Each Day’ either. But he was resolute, and there were other people around which reinforced his resilience. I adopted the theatrical role of a hardened inquisitor, which he’d previously enjoyed but these were different times and, on reflection, he probably misinterpreted my playfulness as blind arrogance, or worse. Still later, after the song appeared, I wrote him a jaunty teasing note via Bill Siddons, which no doubt made things worse. At the same time, I was grabbling with the Byrds’ name game saga and the role of Gene Clark and Michael Clarke in the scheme of things. Contentious stuff. I’m sure that didn’t help. Some years later, Crosby suddenly and severely castigated me in the fiercest possible terms – albeit online as opposed to print. He’s the only person in the music business whose words have ever caused me hurt or upset – and the least expected considering his previous flattering comments. There’s a moral there, I suppose. His former mentor Jim Dickson, actually wrote me a letter afterwards empathizing!There are countless wonderful concert memories involving all four members from different eras. Surprisingly, perhaps, I’d nominate the Crosby/Nash shows from 1971 as the most emotionally powerful, brimming with humour, empathy and a thrilling acoustic reinterpretation of their finest work. Equally importantly, I was still a teenager and at that age you’re arguably at your most receptive and impressionable. Manassas was spectacular too and thank goodness they came to the UK or I’d never have seen them. By contrast to the intimacy of Crosby/Nash, the 1974 CSN&Y Wembley extravaganza was the ultimate day out – the Band, Joni, and three and a half hours of CSN&Y at their zenith. There were many others, of course, but the early ones tend to stick in your mind as it was all so new and exciting. It felt like history in the making.
Favourite slice of humble pie was witnessing Stills at Central Park in July 1979 and feeling sorely disappointed. It was a strange period at the end of the Seventies. The record industry was changing and singer songwriters were under threat. They all needed to be at the top of their game then, but it was a period of uncertainly. It’s always difficult for a performer to sustain greatness and evolve at the same time. That was such a strange show. Brooks Hunnicutt was doing ‘Love The One You’re With’. I think I misjudged was Stills was trying to do. Sixteen years later I dutifully and rather apprehensively listened to a tape of that Stills’ show while researching my CSN&Y book and was amazed how audacious, adventurous and even subversive it sounded. This was Stills’ ‘Tonight’s The Night’ – the ultimate deconstruction of his rock star myth. Riveting. I wrote about it at length in the book. They should release that stuff too. It deserves a re-evaluation. . . .A final word on Stills. Years ago, we used to regard Young as the dark, brooding, mystery figure and Stills as the open, media-friendly spokesman and personality. Since then, Young has revealed intimate details about his life and work, via ‘Shakey’. Crosby, whose interviews were once gold dust re-emerged as a ubiquitous interviewee and has since produced two autobiographies, written with Carl Gottlieb. Tellingly, Stills appears in none of these tomes, even though his role was central. It’s funny but, in terms of information, he now seems to have taken on the mantle of mystery once allocated exclusively to Young. Who’d have thought it? It may sound fanciful but I’ve often wondered whether there was some existential moment in the late Seventies when everything changed utterly for Stephen Stills. I remember Crosby telling me – and he said something similar in the Zimmer book – how Stills back in 1974 wanted CSN&Y to be bigger than the Stones. That unrelenting ambition had been evident in his career since the Buffalo Springfield days through Manassas, a creative whirlwind, punctuated by a series of catalogue busting songs. We all thought he’d match Young release for release thereafter. People can talk about ego, drugs or hubris, but there’s something deeper about Stills’ seeming abnegation of rock godhead. In more recent years you can detect an emotional detachment and slightly comic incredulity in his asides as if he is aware of the vanities of ‘stardom’ and can no longer connect with that brash young man of the early Seventies. And that, I would argue, has paradoxically enhanced his legend as much as it has diminished his output. Derek Taylor once reminded me that the Beatles and the Byrds deserve endless analysis – the same applies to CSN&Y.
DZ: What buried CSN/CSNY archival treasure that you are aware of would you like to see/hear officially released?
JR: This may come as a surprise but I find myself strangely satiated these days. What with the recent box sets and higher quality of unreleased CD-R recordings we’re well provided for. I still get a shiver when a demos CD comes out though. I welcome more of those. Plus, I keep returning to the originals, which is a testament to their longevity. There are a number of Stills’ unreleased songs that I’ve never heard dating back to the mid to late Seventies, but I’m half-scared that they might prove anti-climactic. I wish there was more of Crosby from the early Byrds period or before then. Some stuff seems to have disappeared forever. But I’d still love to hear more before I shuffle off this mortal coil. Beyond that, I am content.* STEVE SILBERMAN *
Steve Silberman is a contributing editor at Wired magazine and author of liner
notes for several Crosby & Nash album re-issues, including Wind on the Water, Whistling Down the Wire and Crosby-Nash Live. He also wrote essays for C&N’s Another Stoney Evening, David Crosby’s Voyage box set and Crosby, Stills & Nash’s Greatest Hits. He co-authored, with David Shenk, the book, Skeleton Key: A Dictionary for Deadheads. His essays on the Grateful Dead appeared in the book, The Grateful Dead Reader, as well as other books and magazines. Steve has also written liner notes for several Grateful Dead album re-issues and co-produced a five-CD Grateful Dead box set of unreleased recordings, So Many Roads (1965 – 1995). He is also co-host of several conferences on The Well, one of the most perspicacious and longest-lasting online communities.
Dave Zimmer: What is it about Crosby, Stills, Nash and Young, collectively and individually, that first attracted you? Why do the guys and their music continue to hold your interest, inspire you and spark feelings that make you think and fill you with wonder?
Steve Silberman: I was 12 years old when I walked into a sandal shop in Provincetown and heard the most beautiful and mysterious music I’d ever heard in my life. When I asked the guy behind the counter what was playing, he uttered a series of names that sounded more like a law firm than a rock group. Cool music, I thought, but a dorky name for a band.The song I heard that day was “Guinnevere.” Listening to the song today after hearing it hundreds of times since in various live and studio versions, it still strikes me as one of the most evocative and elusive pieces of music ever written. The melody and lyric seem to create their own place and time in an endless spiral, where King Arthur and peripatetic sailors and maidens who sneak into gardens at night to inscribe mystic symbols on a wall coexist in a kind of twilit landscape, like the mind at the edge of sleep. And those harmonies!
A few months later, when I walked into a department store to buy my first record album, I chose Déjà Vu. The photo on the cover also seemed to exist outside of time, in a mythical California that was still the Wild West. The range of music on that record was astonishing – from Stephen’s muted, almost private reckoning with his past in “4+20,” to the incandescent passion of the guitars in “Almost Cut My Hair” and “Everybody I Love You,” to Neil’s sweeping “Country Girl” epic. Almost every other band (with the notable exception of the Beatles) seemed to make music in a much smaller universe. CSNY instantly became the music of my soul, a gateway to the subtleties of my own feelings, a light into the secret places of the heart. As I got older, I came to appreciate the dimensions of their art, from Stephen’s microtonal levels of articulation to Neil’s cathartic firestorms. But it was David and Graham’s music that spoke to me in my own inner language. They were obviously best friends who loved each other – you could see it in the wonderful cover shot of Wind on the Water, how profoundly at ease and joyful they were in each other’s presence. And you could see it onstage when they were together. I related to that.
And eventually, I started hearing pieces of what I loved about CSNY music in other music – in Bill Evans’ sublime piano playing, the meditative reveries of Miles Davis, the uncanny sacred polyphonies of Gregorian chant and Perotin’s “Viderunt omnes.” CSNY prepared my ears to hear all that beauty, because their own music was nourished by so many streams of melody and human feeling.
DZ: What is it about David Crosby that makes him such a great friend, online communicator and fellow traveler in this universe?
SS: David thrives in dialogue and relationship – whether he’s immersed in the love of his family, furthering his ongoing 40-year musical conversation with Graham, or dropping into an online forum where the topic at hand is his favorite subject: him. I’m almost glad I didn’t know David before the dark times in the ‘80s, because the David I came to know had been humbled by his very public fall. I only occasionally glimpsed the infamous oversized ego, and more often saw a secretly shy, quirkily brilliant, culturally omnivorous, and restlessly passionate man who loves honesty, social justice, well-wrought tools (sailboat, planes, guitars), and deliciously weird opportunities for creative expression. For all the hysterical media attention David’s gotten over the years – fawning at first, then vicious, and almost all of it clueless about the depth of his recorded legacy – I think he’s actually one of the least-understood figures in popular music. Just as “If I Could Only Remember My Name” was dismissed by the hack critics of its day as a paragon of flaky hippie excess – and is now widely recognized as some of the most idiosyncratically gorgeous and subtle music of the modern era – I have faith that the music David made with CPR will be recognized by future generations for the hard-won wisdom contained in the lyrics and the luminous celebration of mortal life contained in the melodies. When David and his muses commune, he has access to a profound wellspring of the kind of art that teaches you how to live, how to embrace all the ambiguity and suffering and intensity of being human with an open heart. That’s rare in any medium.DZ: Much has been made, over the years, of the periodic personal differences of opinions and distances between the guys. Why do you think this is? And how has it impacted the music?
SS: While David was forced to face his own oversized appetites in a harsh media glare, Stephen never did. I think that the blunting of Stephen’s magnificent gift by name-your-poison is one of the quiet tragedies of rock and roll. When Stephen recorded the first Crosby, Stills, and Nash album, there was nobody better. As a young man, he could sing with the unearthly purity of an angel, the very earthy and lusty passions of a broken-hearted lover, or the ragged road-weariness of a blues sage. But as Stephen got older, he seemed to lean more and more on the musical bombast that makes people stand up and cheer in arenas, rather than the vulnerable intimacy and quiet fire of his best recordings. David and Graham, however, never lost their sense of how important that intimacy is, because it’s what builds a healing bridge between the inner life of the performer and the inner life of the audience.DZ: So what is at the heart what makes CSN and CSNY music endure?
SS: At the heart of the magic of CSNY is an alchemical whole greater than the sum of its parts. Like the Beatles, CSNY is an agglomeration of widely disparate personalities and talents that corrects for the shortcomings of the individual players, though they’re all capable of making highly compelling music on their own. David is a musical poet
whose dreamy melodies benefit from having a brilliant lead guitarist articulate them, whether it’s Stephen or Jerry Garcia. Stephen is an astonishingly inventive and soulful player and orchestrator in the studio, but his voice sounds best with the others, and Neil’s presence dares him to greatness. Graham creates simple human stories and writes instantly memorable pop melodies, but his music lacks an edge that Stephen and Neil provide – and David and Graham’s harmonies together are one of the sublime wonders of the audible world. Neil doesn’t need anyone else to make great records, but his tunes never sounded better than with the full force of the “mothership” chorus behind him.
BONUS Crosby, Stills & Nash The Biography “Interview Outtakes”
In early 2008, Dave Zimmer also solicited comments from Francesco Lucarelli, CSN&Y archivist, musician (his new album, Love in Dangerous Times, featuring James Raymond, Jeff Pevar, Kenny Passarelli and others, is coming out in the fall) and co-author, with Herman Verbeke, Luciën van Diggelen, and Stefano Frollano, of the three volume book, Crosby, Stills, Nash (and Sometimes Young), for possible use in the Crosby, Stills & Nash: The Biography update chapter. Here is the exchange of questions and answers, presented for the first time.
Dave Zimmer: What is it about Crosby, Stills, Nash and Young, collectively and individually, that first attracted you and why do the guys and their music continue to hold your interest and enthusiasm?
Francesco Lucarelli: I began listening to them in 1976, when I was just 13. Four Way Street blew me away because of the two different sides of their music: the acoustic ballads and the scorching electric numbers. Plus – obviously – their different voices and the harmonies. I was already listening to the Beatles but it was because of CSNY I began to love all the bands with multiple singers: The Band, Eagles, Buffalo Springfield, The Byrds, Fleetwood Mac.All these aspects have been sticking on me since then and this is why I love to alternate the raw energy of the rocking numbers and the delicate sound of acoustic guitars whenever I have a gig, possibly having more singers with me on stage, as it happens when I perform with the California Stars ‘n Bars Revue. It doesn’t have to be me in the spotlight, but the beautiful sound coming from all our voices mixed together.
DZ: What is your all-time favorite CSN or CSNY personal moment?
FL: I had the privilege of meeting the guys on several occasions and in different places: from Nash’s hotel room in Manhattan, back in August 1988, when me and Lorenzo Conci helped him to remember the chords and lyrics of Paul Simon’s “America” (which he eventually sang that night during CSN concert at the Meadowlands Arena), to a jam-session and dinner at my place in Roma with David, to an unforgettable three minutes of glory, when David and Graham invited me, Stefano Frollano and Max Rossetti on the stage of Tendastrisce in Roma (April 1992) to sing “Teach Your Children” with them (I shared the mike with Stephen, who I share the same birth date with…only I’m younger! :))Among the many stories, the fondest one is the least musical one of the bunch.
In August 1988, me, Lorenzo Conci and Mauro Coscia were on the East Coast. We flew there to attend 6 CSN shows in a row. We had the chance to arrange a meeting with the Croz in Philadelphia and that morning we were late on our schedule, so we began speeding on the highway. After a few minutes, three police cars were behind us and we had to stop and follow them to the nearest police station. We had to bail out Mauro, paying $255, but we were irreparably late for our appointment with David. We were really depressed in the car but on our way to Philly we caught them talking to Pierre Roberts on WMMR and at one point they began talking about “the crazy Italians” who had come all the way from Italy just to attend their shows and who were following some of their dates on the East Coast. It was like a sign from the sky which immediately cheered us up. That night, after their second show in a row in Philadelphia, Mac Holbert told us the band was waiting for us backstage. There we went and CSN and their crew were waiting for us. Graham began telling us how everybody had known about what had happened to us that morning and then he came to us with a white envelope saying (more or less these were his words): “Here’s 250 dollars which we collected for you. The missing five dollars are to remind you not to speed on the highway.” I guess this says much about them and their music. It’s all about the feelings, their human side.DZ: What buried CSN/CSNY archival treasure that you are aware of would you like to see/hear officially released? FL: There’s a lot of interesting stuff buried in their vaults: David’s early recordings, pre-Byrds; the P.E.R.R.O (Planet Earth Rock and Roll Orchestra) Sessions; that little song of David’s, which he used to sing live in 1973/74: ‘Your Life is What You Fill Your Day With’; David’s version of Neil’s ‘Interstate’, an outtake from ‘Thousand Roads’; the many outtakes from Stephen’s second album (including a version of ‘Change Partners’ in Spanish); a live album by Manassas; Graham’s ‘Pre-Road Downs’ studio version with John Hammond Jr. on bottleneck; the unreleased songs and alternate takes from the sessions of ‘Earth & Sky’. Some of the most intriguing stuff, though, might be on those reels containing CSN and CSN&Y 1969/1970 sessions and on those 1977/78 tapes with the sessions for the album which was supposed to follow CSN’s ‘boat’ album.
Anyway, this is just the tip of the iceberg and I’m sure the most interesting archival stuff is the one we don’t have any detail of, and which would really surprise us, as Stills’ ‘Just Roll Tape’ did.Francesco Lucarelli’s photo gallery: www.francescolucarelli.com
Stephen Stills at the Denver Airport, 1970. PHOTO: HENRY DILTZ 
Neil Young, with Gretsch White Falcon Guitar, rehearsing at Stephen Stills’s house, Studio City, California, July 1969. PHOTO: HENRY DILTZ
Dave Zimmer and Henry Diltz at Crosby, Stills & Nash: The Biography book signing at the Morrison Hotel Galley of Fine Art Photography, SoHo, New York City, December 2008.
These are the books Dave Zimmer has written
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© 1999-2009 4 WaySite. All Rights Reserved.
Johny Barbata
– The (Albert Einstein) story of his life
http://4waysite.com/articles/2008_JohnyBarbata.htm
By: 4waysite.com – Dolf van Stijgeren, web-site founder and manager
Thanks to: Vicky Hutchison, Paul Higham and Dave Zimmer.
Date: 16 April, 2008“To do drum solos in front of 150,000 people several times is something I’ll never forget“!
John Barbata (born 1 April 1945, in Passaic, New Jersey, U.S.) developed his reputation as a drummer in the 1960s and 1970s. Already an established session man when he joined The Turtles, he was one of the pioneering percussionists who converted pop music rhythms from the down-beat rhythms of the 1950s to the off-beat rhythms that have dominated ever since.
His most famous band memberships (besides The Turtles) have been: The Sentinals, Jefferson Airplane, Jefferson Starship and… Crosby, Stills, Nash & Young.
He has played on 20 hit singles and over 100 studio albums. Some of the great hits he played on are “Happy Together, “She’d Rather be with Me” “Elenore” and many more with The Turtles and of course he played on 4 Way Street with CSNY and on “Ohio” (a CSNY signature moment) as well as CSNY’s individual work.
In 2005 he published his memoirs – The Legendary Life of a Rock Star Drummer – and this month we talk about some of the stories recorded there and (hopefully!) some that aren’t .
CSNY & Johny Barbata and Calvin Samuels rehearsing. Photo: Henry Diltz.
* E = mc2 = JB? *
DvS: Johny, when you were young you met Albert Einstein when he ran out of gas on a lake and you even sat on his lap when your parents towed him back to shore. Is being at the right place, right moment the story of your life? (Tommy Smothers, Crosby & Nash, Buddy Rich, etc., etc.)
JB: Dolf, it really has been the story of my life; a prime example, Neil and David came walking into Leo Makota house, the CSN& Y road manager, and Neil and David where looking for a drummer, I mentioned some other drummer possibilities and then I ended up getting the gig, being at the right place at the right time.DvS: You call your father (who was from Sicily, Italy) a “Jack-of-all-trades. ” Have you inherited that trait in you musical life – do you play other instruments and do you write and sing as well?
JB: Yes I co-wrote “Elenore” and collaborated on 60 others as well. Right now my wife Angie and I have a new CD we are getting ready to release, it’s called California and it features both Angie and myself singing lead and harmonies and a we wrote, produced and engineered the whole project Angie is an engineer and I produce. We had the great Wayne Perkins on rhythm and slide guitars, Wayne was one of the Muscle Shoals Swampers and Mona Ganader played bass, Mona plays with Sammy Hager right now and has been for years, she’s a great player, we also had Sneaky Pete Klanow the legendary steel player and Pete Sears of the Starship played keyboard. Anyway you can get the album on our Website, johnybarbata.com soon.DvS: In the spring of 1966 Gene Clark (The Byrds) suggested you as a drummer to The Turtles. Were you surprised by the recommendation?
JB: Yes I was Surprised.
DvS: So, you replaced Don Murray in 1966 (although other sources claim it was 1967). He has since passed away, but are you still in touch with the other original members?
JB: Yes we remain good friends and speak often.
DvS: In your book you write that your drum style on “Happy Together” stylized you as a signature drummer. How would you describe your style?
JB: Very unorthodox and very funk rudimental.“I can could drum circles around Dallas”.
DvS: You acknowledge the influence of Gene Krupa in your decision, at the age of eight, to become a drummer. This is interesting, because in a recent interview for 4waysite.com Dallas Taylor (who told me you are a good drummer) also mentions Gene Krupa as a key influence. Do you think that this manifests itself in any similarity between your and Dallas’ styles?
JB: Hell no! I can could drum circles around Dallas, I am a technician, I can do drum solos and clinics.
DvS: Did Dallas Taylor show you his drum parts when he and Greg Reeves were fired at the beginning of the CSNY 1970 tour?
JB: Absolutely not, that is untrue, besides he was no where around he was fired. I didn’t need any more then to copy off the record, I am a professional that is why they called me.DvS: Were you able to add your flourishes as a drummer on the subsequent tour or did you have to copy Dallas?
JB: I did my own thing, as you can well tell on 4 Way Street.
DvS: BTW: do you know what ever happened to Greg Reeves who simultaneously got fired?
JB: I have no idea.DvS: I already mentioned the name Gene Krupa, but you took lessons at the Wisky A-Go-Go from none other than Buddy Rich and I know you feel privileged to have done so. What did he teach you and have you taken more lessons from other drummers?
JB: He taught me so much I cannot explain it in words. But if I had to try I’d have to say how he ended his songs, he had such a fast left hand and he taught me an exercise to help my left hand speed, which I demonstrate on my drum instructional video I am working on and will have available soon. As for taking lessons no, but I stole everything I could from the very best.
DvS: Back to the 60s. Buffalo Springfield occasionally opened for The Turtles. Did that contribute to your future CSNY career?
JB: Of course it did, as well as the eight albums and many tours I did with them.
DvS: The Doors opened for The Turtles as well and – in contrast to David Crosby – you liked Jim Morrison, didn’t you?
JB: Yeah I liked Jim, he was a great guy. But I was more friends with David. David got me into CSN&Y as well as Jefferson Airplane which became Jefferson Starship. Which I will always will be grateful to him for.DvS: Your book published in 2005, is called “The Legendary Life of a Rock Star Drummer.” Given the title, what can the reader expect to find between the covers?
JB: Rock and roll history, stories including the Turtles, Beatles, Elvis, Clapton, CSN&Y, Dave Mason, The Everly Bros., Linda Rondstadt , Airplane Starship the list goes on and on, it’s the story of my life and intimate stories about my relationship with these people.
DvS: Apparently you don’t have a lot of respect for Russ Kunkel. You wrote: “… because he [Russ Kunkel] was hanging around the CSNY gigs and trying to get in with them. Sure he was a good studio drummer and kissed everybody’s ass, but he was not a drummer’s drummer, like Jim Keltner, my friend was”. Your comments please…
JB: Jim was a drummers drummer. He could drum circles around Kunkel because he came from a Jazz background and he is a great technician.
DvS: There are more drummers who played during different periods with CSN/Y. Do you know any of them personally? Joe Vitale for example? And what about CPR’s Steve DiStanislao who recently toured with none other than David Gilmour?
JB: Sorry, but I’ve never ran across these guys.
DvS: And what do you think of Crazy Horses drummer Ralph Molina who is currently touring [March 2008] with Neil Young in Europe?
JB: He has good time, but limited in his fills, but I think Neil likes it that way. Ralph and I have played basketball and football together, we’re friends and we’re both Italian…haha.
DvS: Is it true you played uncredited on The Byrds 1973 Asylum Records reunion album?
JB: Yes, if “Cowgirl in The Sand” was the cover song on the album, I played on it along with Wilton Felder on bass, he also played sax with The Jazz Crusaders, we never got credit.“The Starship version was a little harder rock, CSN&Y was more polished”.
DvS: How did you come to join Jefferson Starship for the Dragon Fly album in 1973?
JB: As I said before David Crosby got me into both CSN&Y and The Airplane which became Jefferson Starship. I played on three Jefferson Airplane albums, as well as Grace and Paul’s solo albums before we became Jefferson Starship, I was the only drummer to be in the Airplane and Jefferson Starship.
DvS: Had you previously played with Grace Slick and Paul Kantner?
JB: We did five albums together.
DvS: What do you remember about playing “Wooden Ships” with the Starship and how did that band’s version compare with the CSNY version?
JB: The Starship version was a little harder rock, CSN&Y was more polished.
DvS: What’s your favorite Grace Slick story? And what about Paul Kantner?
JB: The first time I met Grace I was auditioning for the Airplane and I got the gig they liked the way I played and acted so Paul invited me to stay with him and Grace that night. On the way to Bolinas Grace was driving her Maserati as fast as she could go, without killing us and totally scared the Hell out of me, Paul said “She gets like this once and a while”…hahaha..
DvS: Did David Crosby ever drop into the studio or live shows when the Starship was playing in the Bay Area?
JB: Yes, several times.
DvS: A step aside. In your book there is a funny story about a “Barbata car.” How would a Barbata car look?
JB: It looked like a Jag in the front a Ferrari in the back and a Porsche in the middle, it was called a Marcos 1800 sgt and it was made in England, I bought mine from Stephanie Powers the famous actress. People would stop and ask me what it was sometimes I told them it was a “Barbata”….haha…It’s all in my book.* MORE INTO CSNY *
DvS: CSNY was the first politically engaged group you played with. How did you feel about that?
JB: I loved it! Because the money powers control the government, the government controls the police force, the police force controls the people. I loved the image, totally different from the Eagles.
Photo: Henry DiltzDvS: Just before your first gig with CSNY they had a big fight after the acoustic set about Stephen playing a couple of extra songs. Did that make you wonder about your future with CSNY even before you’d stepped out onto the stage?!
JB: Yes, I wondered if I was ever going to step on to the stage that day! It was truly psychodrama then I said “Let’s go and play” and we did. And Fuzzy and I came off great for the first gig with them. Dylan and The Band were in the audience.“We got ‘Ohio’ in one take”.
DvS: You played on seven CSNY albums, collectively and individually. Do you have any special memories of particular sessions?
JB: Playing with Neil Young I had a 20 minute rehearsal and played a 1 hr 45min set and it came off perfect, also Neil wrote “Ohio” on Monday and recorded it at Record Plant in Hollywood and it was on the airways by Friday, that is just unheard of and I’ll never forget it, we got “Ohio” in one take.
DvS: What more do you remember of recording “Ohio?”
JB: The country was torn between backing the Vietnam war and hating it there was much turmoil in the country and Kent State only added fuel to the fire. CSNY were quoted as saying the line-up that they had when they did “Ohio” was when they were at their best. And I am glad to have been a part of it.
DvS: On 4 Way Street David Crosby says about you “He played his ass off.” Do you happen to know where and when were the tracks were recorded? There is a puzzle that surrounds the locations of the recordings; I have been told that some – “Long Time Gone” for example – are a mix of several recordings made at different venues…
JB: “Long Time Gone” was done at a particular venue, I don’t remember which one but it was not pieced together. We recorded during the entire tour and they took songs from different venues but they did not piece songs together.
DvS: In the process of preparing this interview, I noticed something on the cover of the LP of 4 Way Street. Your name has been written with two n’s: Johnny. Have you ever noticed that and I assume people misspell your name quite often?
JB: I changed my name to one n later on when I got into the Starship because it was one less letter to sign in an autograph and to be different.
DvS: I don’t want to be picky, but in your book [page 48] you wrote that you heard the recordings of CSN’s first album and mention “Our House,” but this song did not appear on that album. Did you hear a demo?
JB: Yes, I heard demos at Allen Parisher’s house in Hollywood with Graham and Davis and Stephen, not knowing I was going to be their drummer later on.
DvS: You played on “Sit Yourself Down” on Stills’ first solo album, but who played drums on the track “Go Back Home” that appeared on the same album, a track famously featuring Eric Clapton on “2nd lead guitar”?
JB: Dallas and I both played on it.
DvS: You played on Neil’s live album Time Fades Away. Did you really replace Kenneth Buttrey because he did not play loud enough? (He worked with a number of well-known musicians.) And… do you know if it will ever be released on CD?
JB: Yes, I did replace Kenny Buttrey because he was not playing his bass drum loud enough on Heart of Gold. Consequently, I played on all the tracks on Time Fades Away. As far as releases, I think it will be in the future.
DvS: You probably know Kenneth Buttrey passed away in 2004?
JB: Yes I knew about him passing away, he was a great county drummer.
DvS: You played the first set pretty well after rehearsing 20 minutes. Perhaps people should rehearse less…?
JB: Only good Musicians can sit in and not make mistakes as with Hendrix and Clapton if you don’t get it in one take your not suppose to be there, that’s why studio musicians are the cream of the crop.
DvS: Was the tour indeed heavily influenced by alcohol abuse?
JB: No, marijuana and cocaine.
DvS: What was the role of Crosby & Nash during the “Time Fades Away” tour and what do you remember of their contributions?
JB: Graham and David showed up a few times and participated and Stephen showed up a couple of times making the shows even more interesting.“the same thing happened with Stephen and Neil; Neil got bigger”
DvS: Many people see a difference between the “CSNY-Neil” and the “solo-Neil”. What is your take on this one?
JB: Well its pretty obvious uh that Neil is ¼ of CSN&Y and when he plays with CSN&Y it really makes the band so much bigger. Neil does his solo music it’s all Neil and he truly is one of the greatest songwriters of our time.
DvS: In 1973 you played with Manassas in Saratoga because Dallas Taylor was weakened due to his heroin addiction. Was it a form of intervention for Dallas or were you actively lined up to take over the Manassas drumseat permanently? Would you have enjoyed that role?
JB: I would have enjoyed the roll but frankly I was there to psyche Dallas out, remember I had replaced him on 4 Way Street, I was there really to straighten him out or he would be replaced, so I guess you could call it an intervention.
DvS: You went to Maui with CSNY in 1973 and recorded a few tracks. What are your memories of this long awaited, but short lived, reunion ?
JB: Just a lot of great times and sailing on David Crosby’s 70ft. schooner The Mayan.
DvS: Was (or is) there a CSNY member with whom you have a special relationship?
JB: Graham and Neil. Graham was the class of CSN&Y and he took me all over Europe with him and I lived in house in San Francisco. Neil did not get along with Dallas so I came into the picture and I left L.A. with Neil as it was burning and lived on his ranch for several weeks in the Santa Cruz Mountains.
DvS: You wrote of CSNY that Stephen was the leader of the band, but what then was Neil’s role?
JB: Neil’s role was to write sing and play guitar. But as with Eagles, Glen Fry was the leader but in the end was passed up by Don Henley, the same thing happened with Stephen and Neil, Neil got bigger.* EPILOGUE *
DvS: You played with Jefferson Starship at the height of their popularity. Have you ever been invited to play in one of the versions of the band that still tours?
JB: No. Paul Kantner doesn’t want any competition from anybody else and I was the one who introduced the “vote” into the Starship which meant he was no longer in total control.“Neil called me in the mid 1990’s to come to his ranch, but…”
DvS: What was the best part about being a part of Jefferson Starship?
JB: I got to sing a solo song Big City as well as drum solos, being part a cult band, backing up Grace and Marty and I brought Larry Cox in from Graham Nash and never really got the credit as he was on the first 5 albums including the biggest one Red Octopus. A great studio drummer and a great engineer/producer changed their music. Playing the free gigs in Central Park and Golden Gate Park and being able to do drum solos in front of 150,000 people several times is something I’ll never forget.
DvS: When was the last time you played with any of the CSNY camp?
JB: Neil Young’s Time Fades Away. Neil called me in the mid 1990’s to come to his ranch, but I was in the middle of a project and could not go. I think Neil got pissed at me for not coming down. Give me a call Neil I still think I’m the best drummer for you… and don’t forget the protein drinks I made for you…haha…..
DvS: Back to the present. After Oklahoma the Heartland you made a new album with your wife Angie. Can you tell us about your group California and your musical status now?
JB: Well the CD will be available on our website soon. As for the musicians we had Wayne Perkins on slide guitar, Wayne played on the Stones Black and Blue album and we have Mona Ganader on bass. Pete Sears from the Starship and he also played keyboard on Maggie May. Angie and I wrote and sang all the songs as well as produced and engineered it, we have our own studio, Big Moon Studio, California is a great pop, rock CD.
DvS: Is there a funny Johny Barbata/CSNY story that comes to mind?
JB: There was a lot of good times, but we were serious a lot too that’s why the music came out so great.DvS: A standard 4 WaySite question: what is in your CD-player at the moment?
JB: Lately I have been listening to the CD that has been a re-release of a album I did call L.A. Getaway, it’s got Leon Russell, Booker T and Dr. John on keyboard, Jeol Scot Hill, Chris Etheridge on Bass and myself on Drums, Paul Rothchild produced it he also produced Joplin and Morriso it’s a great blues/rock album you got to check it out.
DvS: The final question is: what’s your current motivation – your next goal?
JB: I am currently doing making a drum instructional video and gearing up for drum clinics as I do my book signings and promote the new CD California. I also play around Texas and Oklahoma with Crash Landing. They are 2 brothers who are part of the Johny Barbata Band.
DvS: Johny, this interview was a pleasure a thanks a lot for being so responsive.
JB: Thanks for everything Dolf, sorry we didn’t get it to you sooner. I hope everything works out OK.
There are some great questions and answers in this interview, should make for interesting reading for the 4 WaySite.
Let’s stay in touch. Best Wishes.
Dolf van Stijgeren.
© 2008 4waysite.com – Dolf van Stijgeren. jan-1866@hotmail.com
Book
Johny Barbata’s auto-biography “The Legendary Life of a Rock Star Drummer”.
There are lots of great stories in his book, such as the chapter , “Living with Neil”. When L.A. was burning, Neil and John left together for Northern California and John hung out with him several months. There in another great story in the chapter, “My European Vacation with Graham Nash” . The book also contains stories about David Crosby and “The Mayan”, another about Stephen Stills and of course the “4 Way Street” tour and album. This book is all about Johny’s life, career and the groups which he worked with.
YouTube
Links
Johnybarbata.com
Theturtles.com
Timesfadeaway (1)
Timesfadeaway (2)
Jefferson Airplane
Jefferson Starship
[ 4waysite.com ]
© 1999-2008 4 WaySite. All Rights Reserved.
Lugar:
La Lata de Bombillas, María Moliner 7, Zaragoza
Horario:
22.00h.
Fecha:
19 de Septiembre del 2009
Precio:
5 euros
Valoración usuari@s:
Sin Valorar
Formados en Athens (USA), esta banda de indie pop psicodélico de inteligentes letras y pegadizas melodías en la línea de Belle and Sebastian, Neutral Milk Hotel, pernice Brothers, David Bowie o Neil Young lanzó su álbum de debut en el sello de 2008 ganándose la aclamación de la crítica menos acomodada. Establecidos actualmente en Barcelona y convertidos en trío (guitarra, viola y violín) publican en 2009 The time of great forgetting en el que incluyen elementos de country western. Yo no los conocía, pero estoy muy contento de haberlos descubierto…
Visita: www.myspace.com/wearekingofprussia
Vía http://www.redaragon.com/agenda/fichaEvento.asp?id=45533
Tuesday, September 15, 2009
Last week, we jumped into the whole kerfuffle on where are all those NYA BD Live downloads folks have been anxiously awaiting.
And — just as Archives Guy intimated — another NYA BD Live download was launched today.
Now we must say that we’ve found these downloads to be a bit tricky. If you pop any disc in, it would seem that it’ll kick off the download. But once it’s complete, it will take you to the timeline of the disc that’s inserted although the track is actually on another disc’s timeline?
So it would seem that if you didn’t know what you were looking for, you won’t know where to find it.
It was our understanding that the The NYA Post Informer would help with the navigation. But the link no longer seems to work.
But the new download does include NYA Post Informer notes on the release. The latest is kinda a funny wink at us about getting everything in all it’s ragged glory.
Glorious indeed.
http://www.thrasherswheat.org/2009/09/fresh-nya-bd-live-download-now-up.html
Archives Guy & Fresh NYA BD Live Download
Just a heads up that Archives Guy has some info in comments on yesterday’s Fresh NYA BD Live Download which is Cinnamon Girl from Fillmore, March 7, 1970.
Also, (and hopefully we’re not too off the ranch on this) there is a website devoted to unearthing the mysteries Easter Eggs, virtual bongs, and hidden tracks of the Neil Young Archives put together by long, long time rustie Lone Red Rider.
Thanks LRR!
http://www.thrasherswheat.org/2009/09/archives-guy-fresh-nya-bd-live-download.html
Pues sí, hace ya 20 años de la legendaria aparición de Neil en el programa Saturday Night Live, donde tocó “The Needle and the Damage Done”, “No More” y, sobre todo, una “Rockin’ in the Free World” que para mucha gente es la mejor actuación hecha jamás en un programa de televisión.
En thrasherswheat tienes la noticia y el vídeo.
Selecciona tres discos esenciales de tu colección.
La verdad es que no soy muy original, pero bueno, se trata de ser sincero, ¿no? Pues ahí vamos: “Harvest”, de Neil Young; “Highway 61″, de Bob Dylan; “Nevermind”, de Nirvana. Escucho estos discos con mucha frecuencia, y cuando pasa un poco de tiempo y vuelvo a ellos, siempre descubro algo nuevo.
…
Bob Dylan/Neil Young.
Me encantan los dos. De todos modos hay algunos discos en la discografía de Bob Dylan que me aburren un poco, y salvo alguna excepción muy puntual, todos los discos de Neil Young me parecen imprescindibles.
Hoy, carambola de este músico-multi-proyecto. Ir al artículo.
Foto: Larry Cragg
El primero pertenece a la Rolling Stone y podrás leer cosas tan interesantes como…
… Young se lanza a un No Hidden Path y acaba 20 minutos después. La “escena” te inspirará tanto como una persecución de coches a alta velocidad en un thriller de acción. Es la canción más larga incluida nunca en una película.
Y más adelante…
Yo siempre le digo a la gente, absolutamente y sinceramente, si no eres un fan de Neil Young, no pierdas el tiempo. Segundo, si no amas la guitarra eléctrica, no vayas…
Recuerda con jactancia como en la premier de San Sebastián contó una 40 retiradas durante No Hidden Path, aunque al final recibió la ovación de más de 1800.
Y termina con una frase de titular…
La película no es genial. La película es simplemente una película. Él es genial. La película quiere llegar a ser algo con él.
La segunda entrega pertenece a una entrevista aparecida en MSN Entertainment: Demme seeks to capture, emulate rawness of Young in "Trunk Show”
Foto: Larry Cragg
La 101 Network, de la cadena Direct TV, retransmitirá en directo el próximo 4 de Octubre, a partir de las 5 de la tarde (hora local) el concierto benéfico Farm Aid 2009, en el participan Willie Nelson, Neil Young y John Mellencamp entre otros.
Vía Bad News Beat: http://www.bad-news-beat.org/
¿A quién seguías cuando eras un adolescente?
Patti Smith, Roxy Music, Neil Young, The Ramones y Dylan, más tarde. Donde crecí, se escuchaba mucha…
El miembro de Magnolia Electric CO. responde a Muzikalia. Leerla completa.
Por cierto, Magnolia Electric CO estará por Europa este mes de Octubre, acercándose a Cádiz, Madrid, Barcelona, Alicante y Lleida, así que es posible que algunos tengamos una oportunidad.
MySpace de Magnolia Electric CO.
Neil Young
12 September 2009
Ambleside Park
West Vancouver, British ColumbiaSummer Sessions at Ambleside
Sarah McLachlan Foundation Benefit Concert
http://sarahmclachlanmusicoutreach.com/01. Goin’ Back
02. Powderfinger
03. Pocahontas
04. Birds
05. Sail Away
06. Old King
07. Long May You Run
08. Light A Candle
09. Human Highway
10. Hold Back The TearsTracks 1-4 solo
Tracks 5-10 with Ben Keith (dobro) and Pegi Young (vocals)Source:
Core Sound Binaural mics > Microtrack 24/96 (16bit/44.1kHz)
About 10 metres in front of stage
Transfer:
USB > Audacity: Fade i/o, level adjustments, noise removal, track marking
CD > EAC with FLAC Compression
Nada más y nada menos que de las manos de nuestro amigo Harry O que ya conocimos en el concierto de Barcelona.
A disfrutarlo que está en Dime A Dozen. Gracias Harry, hasta la vista.
Set list de los Socking Beards de anoche en la pequeña Betty de Madrid. Yo no lo vi, pero creo que lo hacen de coña. El guitarra es Alberto Bravo (periodista en la Razón y rustie fanatico) y la sección rítmica el Ferni Fresas y Edi Clavo (Ex Gabinete Galigari).
Esto es lo que tocaron anoche, por si interesa:
- Barstool Blues
- Sunday Afternoon
- And it stoned me
- Dead flowers
- Drive by
- Waiting for a train
- Something there is about you
- Good luck charm
- Girl of the north country
- You ain’t goin’ nowhere
- Have you ever seen the rain
- Don’t let me down
- Cortez the killer
- Hey hey my my
- Blackbird
- True love travels on a gravel road
- Out of the weekend
Yo pienso que sí ¿verdad?. Gracias Manolo.
En mi vinilo aparecen los títulos de las canciones en castellano y en la contraportada dice que en el interio se incluye una hoja con los créditos del disco y comentarios. ¿Alguien tiene esa hoja?.
Antonio
xisco1
ivaxavi
janubio
bossano
ramonetrustie
peperustie
manuruizbaraibar
tasiomartin
