Alan's Album Archives: Stills-Young Band

In-depth reviews of classic or neglected albums, mainly from the 1960s and 70s, now a 30 volume e-book series.Artists covered include Beach Boys, Beatles,Byrds, CSNY, Dire Straits, Grateful Dead, Hollies, Jefferson Airplane/Starship, Kinks, Monkees, Moody Blues, Pink Floyd, Rolling Stones, Searchers, Simon and Garfunkel, Small Faces, 10cc, The Who+Neil Young.Sister site to https://kindredspiritbooks.blogspot.com/ (scifi novels) and https://alonsyaliensdrwho.blogspot.com/ (Dr Who episode reviews)

Showing posts with label Stills-Young Band. Show all posts

Monday, 16 June 2014

CSNY: The Best Unreleased Tracks (News, Views and Music Issue 249)

Available to buy now in ebook form 'Change Partners - The Alan's Album Archives Guide To Crosby, Stills, Nash and Young' by clicking here!

As promised, more scrumptious songs from the vault of one of our beloved AAA members that we hope and pray will be released one day, which we're writing now in order to make sure they're mentioned for the CSNY book we're slowly working on (get saving now to make sure you can buy it once it's out sometime around 2018!) We've got a lot to get through and you must know the score by now after our last entries on the Beatles and the Stones - its a handy imaginary two-CD set we've compiled from the best of all the outtakes currently known, so enough yabbering and on with the show(s)...

CD One:

1) Marrakesh Express (Hollies Backing Track 1968)

We know that Nash first tried out one of his most famous songs of all with his first band, because he mentions often in interviews how bad it is. The Hollies never really took to Nash's song about his Moroccan jaunt in early 1968 and reportedly played a very scrappy version which has never been heard, but then they hadn't really taken to many of his songs from that period. It would have been fascinating to hear the Hollies' version for sheer posterity though -and one day perhaps that last unfinished 1968 Hollies album might be put back together? (You know the one with 'Wings' 'Relax' 'Tomorrow When It Comes' 'Open Up Your Eyes' 'Like Everytime Before' and goodness only knows what else...it would have been a masterpiece!)

2) Everybody Has Been Burned (Nash Demo 1968)

No, that's not a typo - we really do mean 'Nash' despite this being a David Crosby song from the Byrds' 1967 album 'Younger Than Yesterday'. This is a very pensive sounding Nash turning Crosby's slab of beautiful melancholy into a very dark and brooding song that really shows off his fine acoustic guitar playing as well as his vulnerable voice. A show of solidarity to the only man who seemed to 'get' his writing during the troubled year of 1968? Or an early attempt to get into the mindset of a possible future partner? Either way, fascinating stuff.

3) Wooden Ships (Crosby Demo 1968)

This is 'Wooden Ships' in its original wordless state as it existed in 1968, before that fateful boating holiday Crosby took with Jefferson Airplane's Paul Kantner, who set his own sci-fi lyrics to a tune Crosby had had for years (and before Stills adds a final, threatening verse). With the drama taken away and the drama about hippies escaping a nuclear war, 'Wooden Ships' sounds like a very different song, with Crosby joyously ad-libbing a wordless 'ba da da' over the top not unlike the semi-instrumentals from first album 'I'd Swear There Was Somebody Here'. It still sounds like a very beautiful one though and a fascinating insight into how Crosby put his songs together (or, in this case, got someone else to put them together for him!)

40 49 Reasons ('Frozen Noses' Demo 1968)

Crosby and Stills had decided to throw their lot in together in 1968 (before the fateful day when they met Nash) and recorded this simple demo of as new Stephen Stills song and what will become the first album closer, simply to see what they'd sound like. Much like Stills on his own as it turns out - Crosby doesn't join in until the chorus very late on and the song is dominated by Stephen's upright piano and exotic backwards guitar effects. Stills clearly doesn't know how to end the song yet either, simply repeating the 'steady girl, be my world' refrain instead of hitting those high harmony parts on 'Bye Bye Baby', the half of the song clearly unwritten as yet.

5) Everyday We Live (CSNY studio outtake 1969)

The earliest unreleased bona fide unused CSNY song is a chirpy Stills song, noticeably poppier than any that made the 'Deja Vu' album and with Young's characteristically frazzled guitar to the fore. I'm only speculating here, but it may be that this song was bumped off the album once the prolific Stills came up with 'Carry On' at the last minute - in which case it was probably a good idea. Still great to hear though, with Nash pounding the organ and some creaky rehearsal CSN harmonies hinting at what a good song this might have been with a bit (heck, make that a lot) more work.

6) The Lee Shore (CSNY outtake 1969)

'The Lee Shore' is probably the most famous of all CSNY outtakes - a live acoustic version appeared on the band's 'Four Way Street' live set in 1971 and a mighty fine laidback studio outtake was one of the highlights of the 1990 CSN box set. This version is another studio outtake, audibly earlier and rougher than the 'finished' version and stretched out to an epic seven minutes thanks to some delightful Stills-Young guitar interplay. Crosby sings alone for now, without the harmonies Nash comes to add and this lovely song about boats sounds even more intimate as a result.

7) Cinnamon Girl (CSNY outtake 1969)

If anybody wanted to know what the difference between Crazy Horse and CSNY was, they only need to play this early version of one of the Horse's biggest powerhorses. As released by Neil 'Cinammon Girl' is a streamlined beauty, with every guitar clearly in step and a marvellous guitar solo that peals the same note over and over in joyous ecstasy. The CSNY version barely features any guitar and instead has Stills' organ to the fore on a cluttered, muddled production that never really takes off. Still great that it exists though - and I still controversially say CSNY did 'Down By The River' better than Crazy Horse!

8) Long Time Gone ('Woodstock' Film Mix 1970)

Not really rare in the sense that so many people own a copy of the Woodstock film, but worth adding given how different the mix of this first album classic is. Sped up slightly to fit into the early scenes of the Woodstock stage being built, this should be a stupid move but instead gives the song a greater sense of urgency, while subtle differences between the guitar parts (there's less of them) and the harmonies (which come in at different times) mean this alternate mix should have come out on CD years ago (sadly it isn't on any of the Woodstock compilations). Oh and the ending is completely different, ending with a real growl from Stills' guitar instead of the organ swirling down a black hole.

9) Wooden Ships ('Woodstock' Film Mix 1970)

Ditto this second 'Woodstock' mix taken from only slightly later in the stage's development. This mix should be sacrilege, fading the track out at just past the three-minute mark and again speeding the track up slightly, but instead it's another fine alternate way of hearing something every CSN fan knows so well. Stills' organ and guitar parts flutter in and out much more, Crosby's single vocal track occasionally expands into hallucinogenic multi-tracks and the song fades out on the 'morse code' organ riff for a full 30 seconds before disappearing completely.

10) Bluebird Revisited (CSNY Live 1970)

Another song bumped off 'Deja Vu' at the last minute, this is one of the few examples of CSNY performing a song they never actually tackled in the studio as a quartet. Luckily someone had a tape recorder running and Stills' magnum opus (which does appear on his solo album 'Stephen Stills II') really benefits from soaring CSNY harmonies, even if you really miss the horn section of the finished product.

11) So Begins The Task (CSNY Studio outtake 1970)

One of Stills' greatest ever compositions, this song would have made 'Deja Vu' an even better album, although Stills hasn't quite finished his song just yet. Compared to the version Manassas will perfect in a couple of years on their first album, this version is fidgety rather than stately, raw rather than polished and exuberant rather than sad. No matter, though: Crosby and Nash's harmonies are as great as ever and Neil adds a terrific and very typical guitar part that makes for one of the best CSNY outtakes around.

12) White Nigger (Stills and Jimi Hendrix, studio outtake 1970)

Flipping everything Jimi Hendrix ever played on seems to be out by now, on a decreasingly interesting series of outtakes albums, box sets and rarities sets. The Hendrix estate are clearly having a laugh, especially given how few CSNY rarities sets there have been, and yet there's one song I keep checking the Hendrix track listings for to see if it's out 'officially' yet. Chances are it's the dodgy title keeping this one off the shelves, because it can't be the music - the two old friends (who knew each other from high school days - Stills was very nearly the bass player in the Experience) are on fine form bouncing off each other, even if Stills frustratingly restricts himself to organ rather than guitar as per the other song taped at these sessions ('Old Times, Good Times', a song that did make it onto debut solo album 'Stephen Stills'). No one quite knows which order these two songs were recorded in but one of them is Hendrix's last time in a recording studio - surely that alone makes it worthwhile releasing?

13) Cowboy Movie (Crosby and Friends Studio Outtake 1971)

A third version of Crosby's oblique tale of the CSNY story for you, to go with the finished version on 'I'd Swear There Was Somebody Here' and the scatterbrained version on the Crosby box set 'Voyage'. This one lasts even longer (eleven minutes), is ever so slightly slower and features Neil Young on the right and Jerry Garcia on the left channels, the pair of very different guitarists having fun 'talking' to each other over the top of Crosby's rhythmical lead. Crosby doesn't have any words yet, but that doesn't matter - this jam is great enough without them, especially the first slash of the guitar riff about two minutes in that each guitarist falls into simultaneously. As magical as everything else from the 'Swear' sessions.

Tamalpais High (At About Three) (Crosby studio outtake 1971)

Another 'I'd Swear' outtake featuring various special guests like Jerry Garcia again and the Airplane's Jorma Kaukanen, this electric version of Crosby's choral instrumental doesn't yet feature his voice and is altogether less restful and serene, sounding anxious and angry (more like CSNY's 1970-74 20 minute onstage jamming sessions in fact). I'm not sure if I prefer it to the finished version, but it couldn't be more different and that in itself makes it well worth releasing.

14) Is It Really Monday? (Crosby studio outtake 1971)

Music simply dripped out of Crosby in this period, even if he was rarely together enough to turn his fragments of gold into a full song. Crosby only has a little bit of inspiration to go on but still somehow manages to turn his one idea into a five minute acoustic song, the kind of downside to 'Music Is Love' (which came into life in a similarly scattershot fashion before being 'finished' by Nash and Young in Crosby's absence. Bemoaning the worker feeling that its Monday morning already, Crosby turns his idea and his typically offbeat guitar tuning into a really powerful slow-burning song about frustration while Jerry Garcia tries to keep up. Far more interesting than instrumental 'Kids and Dogs', the one outtake from 'I'd Swear' to get a 'proper' release.

15) Under Anaesthesia (You Sit There) (Crosby studio outtake 1971)

Ditto this second unfinished Crosby song, which has more lyrics than 'Monday' but not much more of a tune. The riff is fascinating though - is it an early version of the one that turned into the menacing 'What Are Their Names?', played here on acoustic guitar and without the instrument-by-instrument build of power. The lyrics are fascinating too, Crosby berating those brainwashes so easily by Governments or, possibly, describing himself during his early years of drug abuse, just sitting there, like he's 'under anaesthesia'.

16) The Wall Song (Crosby Demo and Crosby-Nash studio outtake 1971)

If we ever get out chance to make this compilation album (we won't, of course, but we can dream!) then we've elected to start with Crosby's 90 second acoustic demo of this song, which is all lost churning and helplessness, before segueing into a rip-roaring rock version that's halfway towards the finished song. As on the finished 'Graham Nash, David Crosby' version, the Grateful Dead are the backing band and sound much meatier and rockier than usual, with an intriguing hi-hat attack from both drummers that really adds to the feeling of claustrophobia. The song has a much more extended ending too, carrying on for a good two minutes after the 'finished' version has faded. Tentative, yes, but still wonderfully raw and powerful.

17) Mountain Song (Planet Earth Rock and Roll Orchestra studio outtake 1971)

Strictly speaking this outtake belongs on either a Jefferson compilation (it was recorded during the sessions for 'Blows Against The Empire') or on a Grateful Dead comp (because Jerry Garcia is chief writer and singer). However we've put it here because sadly there probably aren't enough outtakes from either band to make a full rarities set like this one and there's lots of Crosby in there too. A haunting folk tune that sounds like a standard, this was due to be the part of the 'concept album' where the runaway hippies who've hijacked their own starship feel nostalgic pangs for the mountains of their childhood while they're trapped in space. Sadly it wasn't used at the time and only ended up on album on Paul Kantner's hard-to-find follow-up 'The Empire Blows Back' in 1986. Sadly it's not quite the same - Garcia is terribly fragile after his diabetes-induced coma and Crosby was in prison, leaving this sweet unfinished 'demo' as the best version.

18) Daylight Again (Manassas Live 1972)

Perhaps the greatest thing on this list, this is the 'original' version of what will become the title track to the third CSN album a massive ten years later. Stills recalled later that he went off into a bit of a trance at this concert, with images of the American Civil War coming into his mind as he kept his backing band Manassas waiting and improvised verse after verse before finally screaming out the 'Find The Cost Of Freedom' bit at the top of his lungs some six minutes later. Stills at his spooky best, with many many verses cut from the finished record (here's a smaple: 'Screaming and howling they came from the hills, although they were frightened couldn't kill, had no way they had no more and so they came, today my friends we find ourselves in a similar place, God help us there's got to be another way, when nobody's listening...We have a weapon so much stronger than the atom bomb or anything known to man, this is our might, we can use them, we can make our way...' Stills at his haunting best.

19) Thoroughfare Gap (Manassas Live 1972)

This song has a slightly shorter shelf life - Stills finally gets round to recording it a mere six years later! Another song that would have made a fine addition to the already near-perfect first Manassas set, this version is sung at a mighty quick pace, with Manassas struggling to keep up. The song doesn't have the beauty of the 1978 version (where it becomes Stills' title track), but it is another tour de force of a performance from quite possibly Stills' greatest tour where he could do no wrong.

20) Another Sleep Song (Nash, Old Grey Whistle Test 1973)

Well known to UK fans (BBC4 seem to like repeating it every other week) but deserving of wider release elsewhere, this is Nash alone at the piano singing one of his greatest songs. Yes there's no Joni Mitchell wails or that wonderful moment when the session musicians suddenly find the groove after a false start as per the finished 'Wild Tales' version, but this truly solo version of Nash's lovely, fragile song is still a very wonderful performance.

21) Human Highway/New Mama/And So It Goes/Change Partners (CSNY Winterland Reunion 1973)

We end our first disc with the first - of many - CSNY reunions, this one taking place un-advertised at a Stephen Stills gig in 1973. Stills clearly has a secret and keeps telling the audience of a 'surprise' in store but it's still a genuine shock to many when Crosby and Nash walk onto stage for some old favourites. An even bigger shock comes when Neil Young joins them some ten minutes later and manoeuvres the band through some of theleast suitable CSNY material ever (Neil is right in the middle of his 'doom trilogy' period). The band did some ten songs in all but in the interests of space we've selected the four rarest ones that CSNY hardly ever played: 'both 'Highway' and 'So It Goes' are candidates for the 1974 reunion album that never was, while 'New Mama' sounds even lovelier with CSN harmonies and 'Change Partners' seems a fitting finale to a show where old friends come together. The chat between songs is great too and deserves to be edited together for posterity: Crosby muffs up the opening speech to Nash's 'Prison Song', Stills is on self-effacing form and Neil is truly in a dark place...

CD Two:

22) Little Blind Fish (CSNY studio outtake 1974)

A true rarity - CSNY trading vocals over the same song! Given that this never happens before or since, we CSNY fans puzzled for years over who actually wrote this song - until it turned up on the first 'CPR' album credited to Crosby (and guitarist Jeff Pevar, who presumably 're-arranged' it). The finished 'acoustic 'Fish' is a minnow, an understated philosophical debate about mankind blundering through life but this one is a spiky stickleback, full of some punchy Stills-Young interplay. Despite being unfinished (like the next two songs on this list and a couple of 'official' releases on the CSN box set it was recorded for the aborted 1974 'Human Highway' album that was never completed) this is a great find and desperately deserves to be released (perhaps as an extra on that 'Wembley 1974' box set you keep promising us, chaps?!)

23) Human Highway (CSNY studio outtake 1974)

What should have been that 1974 reunion album's title track, later re-recorded by Neil Young during his 'folk-country' phase on 1978's 'Comes A Time'. While far from the best song Neil ever wrote, the CSNY version is tonnes better than the solo one - Stills and Young prove they can 'talk' with their guitars acoustically as well as electrically and the addition of CRosby and Nash harmonies turn this always slightly boring song into a real lament over lost opportunities (ironic, eh, given what happens to the album this song is named after!)

24) Prison Song (CSNY studio outtake 1974)

Nash will return to this song almost straight away, re-recording it for his second solo record 'Wild Tales'. A song close to his heart, it's about the cruelties of the legal system that never seems to understand it can get things wrong and the second verse about his father doing time for buying stolen goods off a friend unknowingly is heartfelt. The CSNY version is slower and slightly scarier, with Crosby and Nash taking the finished vocal line and Stills and Young parroting the chorus a step or so behind them out of synch, giving a blurry, unreal feel to the song. A typically great bluesy guitar part from Stills is in there too.

25) Your Life Is What You Fill Your Day With (Crosby Live c.1974)

A brief 90 second acoustic song from Crosby, which sadly was never taped in the studio and only exists from his 'solo' spot in CN/CSN/CSNY shows. A very Jefferson Airplaney song about urging the audience to live life to their best of their abilities, with life 'more than a chance to beat the system down, more than succumbing to their runaround' (because 'life's not a toy that you can play with'). The song needs another verse and a middle eight to be a true Crosby classic, but it's a lovely fragment that easily could have been turned into something.

26) See You In The Spring (CSNY studio outtake 1976)

I'm not too sure about anything to do with this track - who wrote it, who plays on it and when, but Nash takes the lead and I think I can hear Neil in the vocals so I've placed it here (it isn't mentioned with the other 'Human Highway' outtakes, so my guess it comes from the second aborted CSNY reunion in 1976, for the album that became 'Long May You Run'). A moody slow burning blues, it's actually a very Stillsy song despite Nash's vocals, with the narrator trying to persuade himself to feel 'happy' because of good times around the corner although he can't help pining for some lost love (Joni MItchell? Amy Gossage? There's a few candidates for Graham's girlfriends that might have inspired this song!)

27) Rollin' My Stone (Stills Live c.1976)

A real mystery - the post Stills-Young Band fiasco Stills was not the same brash arrogant confident musician he was before. With Neil having walked out on the sessions and Crosby-Nash not speaking to him after erasing all their work (following an argument over a vocal line in 'Guardian Angel' - does the CSNY version of that great song exist I wonder?!), Stills takes off for his own version of the Neil Young 'Tonight's The Night' tour, revisiting all his old songs so that they sound almost painfully different and doing the strangest of cover songs. This song that ended the second Manassas album is the strangest: Stills re-works it as a slow gut-wrenching blues and even gives the vocal to CSNY longterm sideman Mike Finnigan to sing on. The closest Stills got to soul, this sloppy live recording simply drips with anguish, lost opportunities and regret. Of course when Neil does it in 1973 he's hailed as a a 'star' (well, eventually anyway) - when Stephen does it fans simply walked out and didn't come back.

28) Precious Love (Stills Unreleased c.1978)

A happier sounding Stills this time on a powerful no-prisoners rocker with a great central riff that could easily have graced the 'Daylight Again' album, although the catchy chorus is firmly in 'Thoroughfare Gap' mode. 'This kind of love will surely fade away' Stills sings, but so caught up is he with the enthusiasm of the track you don't believe him for a second.

29) Come On In My Kitchen (Stills Live c.1978)

This is the song fragment that Crosby wails on the first CSN album in between 'Long TIme Gone' and '49 Bye Byes' (or at least he did on album - sadly Robert Johnson's estate objected and its cut from most CDs). Stills sings it for a baying audience who all seem to get what a treat it is to hear one of the trio 'finish' it some ten years on, turning the blues howl into a quick-stepping acoustic jazz improvisation not unlike his 'You Can't Catch Me/Blind Fiddler' medleys.

30) Samauri (Crosby studio outtake 1978)

The Crosby*Nash version of this legendary Crosby song in 2004 is nice, but Crosby is, thankfully, in quite a different head space by then, singing this oddball a capella song with guts and confidence. This is Crosby's original version from 1978, for the album that was rejected by CBS and was recorded at the peak of Crosby's drug addiction. He sounds so lost and alone on this recording, singing sadly with himself, something which makes this song about a samurai soldier 'looking for the light' eerily similar to the title track of 'I'd Swear There Was Somebody Here'. Only this time he's in mourning not for his fiance (sadly killed in a car crash in 1970), but for himself.

31) Melody (Crosby studio outtake 1978)

That album wasn't all downbeat, however: 'the chirpy 'Melody' is the last 'happy' song Crosby will write for a decade or so and if anything this early version is even more impressive than the re-recording on 1989's post-drugs-and-prison solo 'Oh Yes I Can!' Freed of the worse 1970s excesses and with an impressively confident and together vocal, this song really deserved to have been 'saved' for the 'Daylight Again' record alongside 'Delta'. Crosby at his effortless best and one of his more under-rated songs, a very apt hymn to the healing properties of music.

32) Cherokee (Stills studio outtake 1980)

Stephen Stills was the very first musicians ever to use digital recording equipment. sadly he never got the kudos he deserved because at the time Stills was out of contract and simply messing around for his own benefit, intrigued by the new technology. His choice for a song to re-record is interesting: 'Cherokee' is far from his best known song and this later version reveals just how shot Stills' voice was getting by the 1980s. The lack of the brilliant horns that made up the original is a shame too. No matter though: this version has a great grungy bass riff that gives the song real energy and drive and Stills' synthesiser break is fascinating, showing how well he really got to grips with contemporary technology.

33) Turn Your Back On Love (Stills-Nash Early Version 1982)

Legend has it Nash was fooling around with this song's guitar riff during a studio jam when Stills jumped on it and 'finished' the song on the spot. This isn't quite that early version but it's clearly still a work-in-progress: Stills has a different first verse, the 'lonely days and lonely nights' section is instrumental and the segue between the many sections of this song is less than smooth. This is already a thrilling song, however, with many many differences between this and the finished version and sounds even more like Stills attacking himself for another failed marriage ('You built a wall, what were you thinking?')

34) Night Song (Stills 'Twilight Zone' soundtrack, 1986)

Fans know this song best as the closing song on 'American Dream', the long awaited second CSNY album in 1988 where its mysteriously credited to Stills and Young. This original version, credited to Stills alone, is a less cluttered and more overdub-filled recording, made for the soundtrack of 'The New Twilight Zone' episode of the same name in 1986. Stills probably got the gig because of his friendship with the Grateful Dead, who'd been hired to re-record the famous signature tune. In the story Stills plays the 'singing voice' of a promising rocker who mysteriously disappeared a long time ago - only for his girlfriend DJ to get his record out of her attic and bump into his ghost (though sadly he isn't seen on screen). It's not one of the better Twilight Zone episodes to be honest (like much of the re-make's second season) but it's still a great version of an under-rated song that's less disappointing without the pressure of being 'grand finale on an album 18 years in the making' resting on its shoulders).

35) Vote! (Nash Live c.1986)

A simple Nash song sung on his solo tour of 1986 (plugging 'Innocent Eyes') and imploring his audience to go and vote Reagan out of his office (interestingly Neil Young is at the same time giving interviews claiming how much he likes Reagan - never had CSNY seemed further apart than in the mid-1980s). The same annoying chirpy 80s synths that ruined the album are there, but this throwaway is actually more substantial than a good half of that record and deserved a place on Nash's 'reflections' set at the very least. Remember, we could be giving up a chance: vote!

36) He's An American (Crosby Live c.1987)

A lovely acoustic Crosby song, written in prison and at one with a small handful of 'pro-American' songs in Croz' back catalogue. This isn't some American superhero either but the hard-working American who gets up and works hard every day and isn't fooled by anybody ('He's not afraid of you, he will know what to do and he can see right through your games, oh yeah'). Hmm I'm not convinced about the sentiments either to tell you the truth, but Crosby's melody is catchy and earnest and this song still deserved a better fate.

37) Soldiers Of Peace (Nash Demo 1988)

There are already two versions of Nash's solidarity-with-Veterans epic doing the rounds - one on 'American Dream' and another, earlier version on the CSN box set. This third version is Nash and Joe Vitale's synth-heavy demo, broadcast on a hard-to-find radio show, and without the Neil Young guitar or the harmonies. A sweet, heartfelt rendition of one of Graham's more overlooked songs, it sounds less dated than either 'finished' version.

38) On The Other Side Of Town (Nash studio outtake c.1990)

My favourite song from the 'Crosby*Nash' album of 2004 actually dates back to the late 1970s when Nash's children were young. An oblique tale about handing his baby over to get his first injections 'leaving you laughing in the arms of a stranger...who was gonna bring you pain', it's fascinating in hindsight to read how many interpretations of this song there were when it came out back in the days when Nash didn't talk about it (drug users with needles? Vietnam Vets?) This is the earliest version I've come across, an early 1990s live rendition from Nash's solo spot in a CSN acoustic tour, although I have read that the song was one of the ones booted off 'Live It Up' when Stills was added to the record at the last minute, so presumably there's a studio outtake out there somewhere too.

39) Silver and Gold (CSNY Live 1999)

Word has it that Neil Young was impressed that CSN were putting their own money up to record an album when they didn't have a record contract that he got involved, soon taking over the project that became 'Looking Forward'. The album was a near all-acoustic effort, with Neil fresh from sessions for his own acoustic album 'Silver and Gold'. He told CSN they could have their pick of his latest batch of songs and the quartet even worked up this one with CSN harmonies. A lot better than any of Neil's other songs on that record it is too, with Crosby and Nash parroting the chorus lines behind Neil, even if the song actually dates back to the 'Comes A Time' period of the late 1970s.

40) The Shell (Nash Live c.2001)

A Nash song that was only played in concert a handful of times, 'The Shell' is a quiet acoustic song about fragility, sung with the same spooky revelry of his next solo album at the time 'Songs For Survivors'. 'The Shell' badly deserved a place in that album's running, with its discussion of how human beings are protected by such a thin veneer of protection and are so easily hurt. 'I'm sick and tired of one-way streets, this heart of mine can't take it any more, so I'll have to let you leave' sighs Nash, sounding more vulnerable than he has in two decades.

41) Guinevere (Crosby and Venice TV Show 2003)

Alas this video was pulled from Youtube before I got a chance to see it properly and I never learnt which American TV show it came from. What I do know is that a capella band Venice - a kind of American King's Singers for my anglicised readers - put in a stunning performance of Crosby's CSN classic while Croz himself turns in an impressive vocal over the top. Guinevere has never sounded more lovely live and the Madrigal-like setting is particularly appropriate for this Arthurian legend of a female beauty across time.

42) Half Your Angels (Crosby-Nash studio outtake c.2004)

The finished version of 'Angels' from Crosby*Nash is perfectly fine, with its poppy chorus and exclamations of solidarity with those caught up in the Iraq and Afghanistan wars. This early, more synth-heavy version is even spookier however, the even more overtly commercial surroundings making the sentiments sound even more stark and powerful.

43) Restless Consumer (CSNY Live 2009)

We end our compilation with the best song from CSNY's 'Freedom Of Speech Tour' not to make the surprisingly dull souvenir live CD 'Deja Vu Live'. This is easily the best of Neil's 'Living With War' songs, barring the infamous Bush-baiting 'Let's Impeach The President', with CSN's harmonies used well on a powerful rocker that sees Neil get ever more angry and passionate. 'Don't need no more lies!' he's howling by the end, while CSN keep on cutting across him with the chorus 'Don't Need!' This is what CSNY should always have been doing - sounding out hypocrisy and greed, stuffing their sloganeering into gorgeous songs full of some of the best guitar interplay on the planet and keeping their people safe. How do you pay for war and leave us dying? An 'Ohio' for the 21st century!

Hidden Track:

As ever we end our compilation with a 'hidden' bonus track, which traditionally is a bit of speech. Our choice this time around is Stills egging on Crosby to do his Robert Johnson voice, with the extract of 'Come On In My Kitchen' from the first CSN album coming from this session. Crosby pleads off, because he says if he sings in that voice he'll be stuck with it for the rest of the session and they need to get taping. But Stills turns on the charm, requests him 'please!' with such a big audible grin that Crosby just has to laugh and does it anyway, complete with a nervous cough in the middle. A great insight into the CSN dynamics!

And that's that! be sure to join us next week when we'll be debating the best Hollies outtakes. See you then!

A Now Complete List Of CSN/Y and Solo Articles Available To Read At Alan’s Album Archives:

'Crosby, Stills and Nash' (1969) http://alansalbumarchives.blogspot.co.uk/2008/07/review-29-crosby-stills-and-nash-1969.html

'Deja Vu' (CSNY) (1970) http://alansalbumarchives.blogspot.co.uk/2008/07/review-34-crosby-stills-nash-and-young.html

‘Stephen Stills’ (1970) http://alansalbumarchives.blogspot.co.uk/2012/12/stephen-stills-1970.html

'If Only I Could Remember My Name' (Crosby) (1971) http://alansalbumarchives.blogspot.co.uk/2008/07/review-45-david-crosby-if-only-i-could.html

'Songs For Beginners' (Nash) (1971) http://alansalbumarchives.blogspot.co.uk/2008/07/review-46-graham-nash-songs-for.html

'Stephen Stills II' (1971) http://alansalbumarchives.blogspot.co.uk/2008/07/review-48-stephen-stills-ii-1971.html

‘Graham Nash, David Crosby’ (1972) http://alansalbumarchives.blogspot.co.uk/2012/09/graham-nash-david-crosby-1972.html

'Stephen Stills-Manassas' (1972)http://alansalbumarchives.blogspot.co.uk/2008/07/review-51-stephen-stillsmanassas-1972.html

'Wild Tales' (Nash) (1973) http://alansalbumarchives.blogspot.co.uk/2010/09/news-views-and-music-issue-75-graham.html

'Down The Road' (Stephen Stills/Manassas) (1973) http://alansalbumarchives.blogspot.co.uk/2014/10/stephen-stillsmanassas-down-by-road-1973.html

'Stills' (1975) http://alansalbumarchives.blogspot.co.uk/2012/05/review-65-stephen-stills-stills-1975.html

'Wind On The Water' (Crosby-Nash) (1975) http://alansalbumarchives.blogspot.co.uk/2008/07/review-67-crosby-nash-wind-on-water.html

'Illegal Stills' (Stills) (1976) http://alansalbumarchives.blogspot.co.uk/2015/08/stephen-stills-illegal-stills-1976.html

'Whistling Down The Wire' (Crosby-Nash) (1976) http://alansalbumarchives.blogspot.co.uk/2016/01/david-crosby-graham-nash-whistling-down.html

'Long May You Run' (Stills-Young) (1976) http://alansalbumarchives.blogspot.co.uk/2009/05/news-views-and-music-issue-33-stills.html

'CSN' (1977) http://alansalbumarchives.blogspot.co.uk/2008/07/review-70-crosby-stills-and-nash-csn.html

'Thoroughfare Gap' (Stills) (1978) http://www.alansalbumarchives.blogspot.co.uk/2014/04/stephen-stills-thoroughfare-gap-1978.html

'Earth and Sky' (Nash) (1980) http://alansalbumarchives.blogspot.co.uk/2015/09/graham-nash-earth-and-sky-1980.html

'Daylight Again' (CSN) (1982) http://alansalbumarchives.blogspot.co.uk/2012/01/news-views-and-music-issue-131-crosby.html

'Right By You' (Stills) (1984) http://alansalbumarchives.blogspot.co.uk/2016/03/stephen-stills-right-by-you-1984.html

'Innocent Eyes' (Nash) (1986) http://alansalbumarchives.blogspot.com/2017/01/graham-nash-innocent-eyes-1986.html

'American Dream' (CSNY) (1988) http://alansalbumarchives.blogspot.co.uk/2013/08/crosby-stills-nash-and-young-american.html

'Oh Yes I Can!' (Crosby) (1989) http://alansalbumarchives.blogspot.com/2016/07/david-crosby-oh-yes-i-can-1989.html

'Live It Up!' (CSN) (1989) http://alansalbumarchives.blogspot.co.uk/2011/07/news-viedws-and-music-issue-104-crosby.html

'Stephen Stills Alone' (1991) http://alansalbumarchives.blogspot.nl/2016/09/stephen-stills-alone-1991.html

'A Thousand Roads' (Crosby) (1993) http://alansalbumarchives.blogspot.com/2017/02/david-crosby-thousand-roads-1993.html

‘After The Storm’ (CSN) (1994) https://alansalbumarchives.blogspot.co.uk/2017/12/the-final-review-crosby-stills-and-nash.html

'CPR' (Crosby Band) (1998) http://alansalbumarchives.blogspot.co.uk/2015/06/cpr-david-crosby-band-1998.html

'Looking Forward' (1999) http://alansalbumarchives.blogspot.co.uk/2015/01/crosby-stills-nash-and-young-looking.html

‘So Like Gravity (CPR, 2001) https://alansalbumarchives.blogspot.co.uk/2017/07/cpr-just-like-gravity-2001.html

‘Songs For Survivors’ (2002) http://alansalbumarchives.blogspot.co.uk/2017/05/graham-nash-songs-for-survivors-2002.html

'Crosby*Nash' (2004) http://alansalbumarchives.blogspot.co.uk/2010/02/news-views-and-music-issue-21-crosby.html

‘Man Alive’ (S) (2005) http://alansalbumarchives.blogspot.co.uk/2017/03/stephen-stills-man-alive-2005.html

'Deja Vu Live' (CD) (2008) http://alansalbumarchives.blogspot.co.uk/2008/08/news-views-and-music-issue-1-crosby.html

'Deja Vu Live' (DVD) (2008) http://alansalbumarchives.blogspot.co.uk/2008_09_21_archive.html

'Reflections' (Graham Nash Box Set) (2009) http://alansalbumarchives.blogspot.co.uk/2009/02/news-views-and-music-issue-22-graham.html

'Demos' (CSN) (2009) http://alansalbumarchives.blogspot.co.uk/2009/08/news-views-and-music-issue-41-crosby.html

'Manassas: Pieces' (2010) http://alansalbumarchives.blogspot.co.uk/2010/01/news-views-and-music-issue-52-manassas.html

‘Carry On’ (Stephen Stills Box Set) (2013) http://alansalbumarchives.blogspot.co.uk/2013/04/stephen-stills-carry-on-box-set-2013.html

'Croz' (Crosby) (2014) http://www.alansalbumarchives.blogspot.co.uk/2014/03/david-crosby-croz-2014album-review.html

'CSNY 74' (Recorded 1974 Released 2014) http://alansalbumarchives.blogspot.co.uk/2014/07/crosby-stills-nash-and-young-csny-74.html

'This Path Tonight' (Nash) (2016) http://alansalbumarchives.blogspot.co.uk/2016/05/graham-nash-this-path-tonight-2016.html

'Lighthouse' (Crosby) (2016) http://alansalbumarchives.blogspot.co.uk/2016/12/david-crosby-lighthouse-2016.html

‘Sky Trails’ (Crosby) (2017) https://alansalbumarchives.blogspot.co.uk/2017/10/david-crosby-sky-trails-2017.html

‘Here If You Listen’ (Crosby) https://alansalbumarchives.blogspot.com/2018/10/david-crosby-and-friends-here-if-you.html

The Best Unreleased CSNY Recordings http://alansalbumarchives.blogspot.co.uk/2014/06/csny-best-unreleased-tracks-news-views.html

Surviving TV Appearances (1969-2009) http://alansalbumarchives.blogspot.co.uk/2015/03/csny-surviving-tv-appearances-1969-09.html

Non-Album Recordings (1962-2009) http://alansalbumarchives.blogspot.co.uk/2015/04/crosby-stills-nash-and-sometimes-young_6.html

Live/Compilation/Rarities Albums Part One (1964-1980) http://alansalbumarchives.blogspot.co.uk/2015/04/crosby-stills-nash-and-sometimes-young.html

Live/Compilations/Rarities Albums Part Two (1982-2012) http://alansalbumarchives.blogspot.co.uk/2015/04/crosby-stills-nash-and-sometimes-young_20.html

Essay: The Superest Of Super Groups? https://alansalbumarchives.blogspot.co.uk/2018/01/csny-essay-superest-of-super-groups.html

Five Landmark Concerts and Three Key Cover Versions https://alansalbumarchives.blogspot.co.uk/2018/02/csny-five-landmark-concerts-and-three.html

Friday, 29 May 2009

The Stills-Young Band "Long May You Run" (1976) (News, Views and Music 33, Revised 2014)

'Change Partners - The Alan's Album Archives Guide To The Music Of CSNY' is available to buy in ebook format by clicking here!

The Stills-Young Band “Long May You Run” (1976)

Long May You Run/Make Love To You/Midnight On The Bay/Black Coral/Ocean Girl/Let It Shine/12-8 Blues (All The Same)/Fontainbleau/Guardian Angel

'The spirit of the Buffalo Springfield is back!' yelled Stephen Stills triumphantly during the Stills-Young band's first night on stage. Unfortunately, that statement became truer than even Stills would have guessed - this project was the Springfield to a tee: it started with a bang, promised much but ended with a whimper. Just eight gigs after that triumphant statement was made, Neil had quit the tour without a word, sending Stills a characteristically inflammatory telegram ('Dear Stephen, funny how some things that start spontaneously end that way. Eat a Peach, Neil!') and leaving a once promising project in disarray, with Stills left holding the baby (fulfilling dates with his band when Neil wouldn't play) and Neil left with the critical accolades (in the few days before the tour split anyway). Fans - of both the Springfield and the pair's equally tempestuous relationship in CSNY - had expected nothing else, but even by their standards this split came quick. To this day Stills isn't quite sure why ('all I know is he turned left at Greensboro' was his typically understated reply) and neither are most fans. People's memories of these brief shows are still generally quite positive, with great guitar duels and the best of the pair's back catalogue to choose from while many picked up on a real camaraderie between the pair who clearly realised working alone ('no Crosby-Nash's, no Richie Furays, nothing - just undiluted us!' as Stills once put it). The bootlegs of the shows don't always bear this out, mind, but the general consensus at the time was 'yippee' and 'why didn't it happen sooner?'

I'm not sure if I can answer that (CSN success and the Doom Trilogy perhaps?) but I can answer why there was never another record quite like it: this record didn't just damage the reputation of the Springfield but CSNY to boot. Contrary to usual opinion, the record was always meant to be a Stills-Young album from the first, but at some point during the early mixing the duo listened to the playback, scratched their heads and decided the album was ‘missing something’. The pair phoned up Crosby and Nash, got them to record some harmonies over the following weeks and for a while all seemed like peace and harmony: after an aborted reunion in 1974 CSNY really needed a record to rescue their reputation and show them at the top of their game again. However it wasn't to be: Crosby and Nash were in the middle of making their own record ('Whistling Down The Wire') and took part mainly out of loyalty and duty, on the understanding that the quartet would go on to make a 'proper' record soon after (the pair even started saving songs back for it - which is why 'Wire' is such a poor and feeble record by their high standards). The group then had a big argument (bet no CSNY fan saw that coming!) and the reunion ended when Stills asked Nash to sing a particular chord progression during one of the songs (usually reckoned to be ‘Guardian Angel’), Nash found he couldn’t do it (and that the part was impossible and he shouldn’t have been asked), Stephen threw a wobbly and slashed the master tapes of the songs with a razor blade, ruining several weeks’ work. Instead of leaving the album in the vaults or adding other ideas to it, Stills and Young simply decided to put it out as it was (Knowing what he’d go on to record, perhaps Neil wanted the album this loose and ragged from the beginning and always planned it this way). As a result, 'Long May You Run' sounds decidedly unfinished, as if we’re listening to a record of demos or perhaps a bootleg before the overdubs have been put into place - the very definition of an ad hoc band that really isn't going to last much longer. The worst part of the CSNY fiasco is that the quartet broke up over what would have been, by their standards, a very inconsequential album indeed. Neither ‘Long May You Run’ or Crosby-Nash’s ‘Whistling Down The Wire’ (which may or may not have recycled some of the CSNY material, depending on the mood of the musician during interviews of the time) are particularly interesting albums and simply tread water for the most part.

Things in the CSNY camp weren’t helped by what happened after that. Heading out on tour as a duo for the first time, Young basked in the warmth of newspaper reviews that had finally woken up to what a great guitarist he was and what an overlooked talent he’d been for the past five years (Neil had been basking out on this warm glow since 1975’s mainstream ‘comeback’ album ‘Zuma’, after a series of poor-selling but retrospectively courageous and admirable albums). Stills was going through a frustrating time, going through his third divorce (see the gloriously optimistic family-orientated songs on 1975’s ‘Stills’ album, review no 65, for why this was such a shame at this point in his troubled life), suffering declining sales and hitting the bottle and drugs far more than he should have done (his glorious voice really goes downhill from 1976 onwards). After playing a handful of shambolic solo gigs and releasing the first real blunder in his solo career (the so-so ‘Illegal Stills’), the music media were getting ready to jump up and down on Stills’ head whatever his form and the contrasts between how the reviewers rated Stills and Young alongside each other seems to have done considerable damage to Stills’ confidence. Which is an awful shame, because these ‘Young hot, Stills not’ reviews (that really was one infamous headline!) have overshadowed the record – Stills’ songs do show a bit of craft and polish (it’s just the recordings that let them down), while Neil’s material is a typically rag-bag collection of the great and the gruesome (and the apocryphal story that he wrote them all in a single sitting after helping Stephen with his four songs is probably not that much of an exaggeration).

Many a fan has come a cropper with this album. Neil Young fans see the 1976 vintage, realise this album is sandwiched in Neil’s back catalogue because the classic comebacks of ‘Zuma’ and ‘Like A Hurricane’ and assume it must be full of feisty rock and roll. Many a Springfield fan sees this album, thinks 'ooh yes - a 1970s Buffalo without the country rock' and depending when and how they came to the party makes it their first choice of CSNY records to buy. Many a CSNY fan sees this album, is probably more impressed than they expected with the Crosby-Nash spin off albums and can’t see how Stills and Young (often seen as the talented duo of the quartet by the press of the day, probably erroneously) can do any worse. Many a Stills fan turned to this album after the superlative 'Stills' LP of 1975 (we'll assume for the minute they hadn't got round to buying 'Illegal Stills' yet) and expected more mature thought-out pop. Oh dear. On all counts. Instead of endless fiery solos and landmark rock and roll, with each man competing to inspire the best out of each other (as so often happened between 1966 and 1970) we get, well, murky rock and watered-down roll. Instead of CSNY harmonies we get Stills’ already-losing-it’s-edge growl and Young’s falsetto whine. Instead of 'Mr Soul' and 'Bluebird' we get songs that sound like the singers are on the edge of falling asleep. An insipid murky production makes a slightly under-performing album sound ten times worse as well: even cleaned up for CD it's a murky world full of not-quite-joined up double tracking, weird stereo balances and a drum kit that sounds as if it's being played while wrapped in woollen sweaters. It won’t surprise anyone to learn that even the biggest CSNY/Neil Young fans don’t like this record, that it bombed badly when it came out and that it took a ridiculous 12 years before the pair worked on a record again (CSNY's 'American Dream'. And if you thought this one was under-par...) ‘Long May You Run’ is, understandably, a confused record, from the deleted Crosby-Nash harmonies at the eleventh hour, to the lack of any real Stills/Young trademarks (there’s hardly any guitar on this LP and none of the famous interplay between the two axemen so beloved of Springfield and CSNY fans) to the sheer amount of rhetorical questions going on in this album’s lyric sheet; the edgy examples above are only the tip of the iceberg on this record – nothing is what it seems and nobody sounds sure of anything. The only ‘faith’ and ‘confidence’ on this album comes at the end, in the sublime ‘Guardian Angel’ – and even then it’s a kind of backhanded confidence because of the belief that someone else will always be there looking over your shoulder and leading you away from your own mistakes. Not having any answers is a CSNY trademark (though to be fair, it’s probably more of a Crosby-Nash trademark), but the effect on this album isn’t ‘stay away from people who try to give you answers when there aren’t any’ or even ‘life is better when we don’t know what’s going on’ but simply ‘I’m lost…and I’ve got nothing to tell you’. Of course, this album does have things to say, it’s just that you have to dig down deep for them (no wonder Stills sounds so at home several miles deep under the ocean – it’s how the pair of songwriters keep describing life on the surface too on this album). None of these songs are actually that bad - well, not too many of them anyway – it’s just that they are almost all lost in such anonymous recordings, with such desperately tired production ideas that even the bits that are new and quite interesting (the unexpected flute solo on ‘Make Love To You’, the bar-room piano playing on ‘Guardian Angel’ and the harmonies on the title track) sound empty and tired. You know something’s gone wrong on an album when you can’t actually remember what any of the tracks sound like when you take the needle off the record, even after you’ve gotten to know it quite well – and yet, if you persevere, this album opens up like the treasure-filled ocean caverns described in the lyrics, revealing more and more touches of talent here and there. But boy do you have to avoid the sharks to reach the pretty little fishes.

Talking of which, there’s a neat watery theme running through this album too, giving the album some slight sense of inter-connection that truthfully it doesn’t actually possess (and no, it’s not because the songs are all a bit drippy). Many of these songs were written on holiday in Hawaii - one of the few things Stephen and Neil had in common was their shared love of the island - and in truth this record sounds like a 'holiday' project: one made without time pressures or responsibilities. The three tracks with 'water' themes are all close together on the album ('Midnight On The Bay' 'Black Coral' 'Ocean Girl') and all three have a similar sense of limitless horizons. Both of Neil's songs are about the people as much as the water, an exotic cast of characters he would never have met at home (this is one of Neil's last albums as a bachelor, remember, and sets the tone for the first half of his next record 'American Stars 'n' Bars'). While Neil is atypically just involved with the surface, Stills is more concerned with the ocean and how deep and unfathomable it is - he even has a near-religious experience while scuba-diving and seeing a new world of life ordinary people don't see ('I saw Jesus - and it made sense that he was there'). Boats are a big thing with CSNY, with Crosby and Stills keen sailors with their own ships and this song pits the ocean as mysterious, as opposed to 'Wooden Ships' (a mean for escape and freedom) and 'Southern Cross' (a means for healing). Like the water itself, all three are ever-moving, shimmering, slippery when wet - difficult to define. Even the rest of the album explores similar themes to that of the ‘water’ tracks, being full of the shimmering, ever-changing currents of life and the mysterious depths that might hold the key to life if only we can find the right keyholes to slot them in - from scary hotels to songs about hearses and digs at religion and the afterlife (although that might be making too much of a point of the more single-sided songs ‘12/8 Blues’ and ‘Make Love To You’).

Yes, by the way, you did read me right: there is a song about a hearse. How I laughed when Neil's 'Greatest Hits' album came out with 'Long May You Run' included and so many unenlightened critics started talking about the track as a 'tribute to the old days' (a few even saw that the record was on a Stills-Young LP and assumed the song was about the Springfield; which it kind of is in a way but not how they're thinking!) The fact is Neil doesn't often write songs for people - he writes them for objects that mean a lot to himself, his family or his friends. 'Run' is a song about his car Mort (short for 'Mortimer'), a hearse that he'd bought up cheap in Canada and had been with him through thick and thin before finally collapsing beyond repair in this period. As Neil so often explains, a hearse is the perfect car for a touring band - the rollers for the coffin are perfect for loading amplifiers and instruments, there's lots of space for the whole band and everyone, instinctively, gets out of the way. Neil was particularly taken with the 'ashtrays which used to whip out into the high street whenever you opened the doors', the height of cool in the mid-60s. Mort was also the reason the Springfield existed - Stills and Furay were both mutual friends and badly wanted him in the band they were trying to form but in the days before emails and mobile phones had lost touch. The minute they saw Mort in heavy Los Angeles traffic with Canadian licence-plates they knew it could only have one driver: without that car there might never have been a band. No wonder Stills sounds so tearful on this song (Neil, by contrast, sounds drunk). Really, though, it says a lot about this album that it's most famous song isn't about friendship or possibilities or memories per se, but about a car.

So, as we've seen, this album was far more trouble than it was actually worth and the best known song is only really an in-joke, applicable only to those who knew the car it was based on. But does this album have any worth at all? The answer is most decidedly yes. For all of it’s faults and mis-steps, there is a unity to this album which you’d be hard-pressed to find on either Stills’ or Young’s other albums of the period. What’s typical for this album is the frustrating anti-climax in ‘Make Love To You’ an otherwise quite successful experiment in creating a smoky bar-room feel and a feeling of only-just-held-in-check tension and desperation. After giving us a fairly pedestrian set of lyrics about being in love Stills dangles a carrot before us with ‘how we got together, well that’s quite a different song’ and, after holding back the tension for a full four minutes, the song simply fades without telling us the ending of the story. The ending would have made for a far more interesting song as well, presumably, but to date we’ve never got to hear what it was (although Stills’ ‘Fair Game’ and ‘Dark Star’ from 1977’s CSN LP might not be entirely unconnected; see review no 70 for more). And yet....there's definitely something about this album that makes me keep coming back to it time after time. Now granted there's usually quite a bit of 'it can't be as bad as I remember it can it? Oh...yes it can' going on and I have to say that even if it counted as part of the Springfield or CSNY canons as a whole (which it only sort of does) then the title track would still be one of the weakest songs for either. But actually, once you get to know it, there’s a lot of promise to this record.

The album is softer than most people would have been expecting, with ballads galore. 'Midnight On The Bay' 'Black Coral' and 'Ocean Girl' are exactly the sort of things I moan at Stills and Young for not being able to do today: sweet acoustic ballads that do better from multiple hearings. On the other hand 'Fontainebleau' is the noisiest 1970s Neil Young song not played with Crazy Horse - Neil's memories of an epileptic seizure in a hotel (the sort of thing that used to happen to him all the time in the Springfield) inspiring one of his most angst-ridden songs. I can hardly accuse this one of being too one-dimensional either: in many ways there's too much going in the song's nightmarish imagery for even me to feel I've got anywhere close to getting a handle on it. 'Make Love To You' and '12/8 Blues' aren't the best Stills songs ever made but they're rare example of Stephen Stills playing the blues - that can't be bad, can it?! Plus the album contains in the closing controversial track ‘Guardian Angel’ something close to an outright classic, with Stills pouring his grief and guilt into a scenario where even his guardian angel has been driven away in disgust, all centred on a hypnotic whirlpool of a riff that for once on this album points to real intensity and passion. Now, I have to add a caveat here for all you fans who spend a long time and a fair bit of money looking out for this album (it did make it onto CD but only very briefly): it is still something of a disappointment. Neither man is on anywhere approaching top form, there's too many 'filler' songs, the vocals leave much to be desired (mainly because Stills' and Young's parts were designed to be surrounded by Crosby and Nash's) and Don Gehman's production is a disappointment for anyone who knows Stills' or Young's solo work. But 'Long May You Run' isn't quite the one-star no-talent disaster many critics took it to be and many fans have considered it since. Think of it as a two-star record: bad, but with good bits in it (for reference both Stills' 'Man Alive' and Young's 'Greendale' are one star albums: by contrast this is a work of art). No, the sad news is this record will never be the classic you hoped for when you bought the darn thing and might well stay un-played on your shelf for years and years and years, but if you can give this album houseroom for a long enough it will reward you eventually. The question is whether you run long enough to be as patient as this album needs you to be.

Title track [206] ‘Long May You Run’ is generally the only song from this album to ever receive any recognition and is the only song to have lasted more than a few weeks in either man's discography. However to me it's always been the album’s nadir, a throwaway jolly song which is the only track from this album that casual Neil Young fans will know (unbelievably, there’s an inferior alternate take of it on Neil’s fine retrospective ‘Decade’ featuring the full CSNY harmony vibes – that’s ‘unbelievable’ because the one we have here isn’t exactly the record of a lifetime) and, bizarrely, most critics think it’s the best song on here. ‘Long May You Run’ tries hard to be a schmaltzy, gosh darn don’t I just love all of the people from my past type song, but Neil just isn’t the kind of guy to look back lovingly at his past. Somewhere near the beginning the theme of this song subtlety changes, never to return, and lyrically turns into an angry rant about how the happy and joyous memories of our childhoods are only a front for the griping and sniping that really went on underneath, even though the glossy harmonies and sweet vocal remain the same. Even Neil’s car deserves a better tribute song than this sappy muck, reflecting on ‘chrome hearts shining in the sun’ (bit of a giveaway that, Neil) and ‘trunks of memories’ which is generic stuff painfully below Neil’s usual talent. There’s also an idea in the song that we shouldn’t be spending our time looking to the past, despite the lines in the chorus, because if we spend too much time in the past we might just get stuck there (witness the extremely harsh reference to the Beach Boys in this track, implying that they threw away their talent by ‘rollin’ down that empty ocean road’ and staying locked in people’s memories (it’s no coincidence that this album came out during what was – for the time – a ridiculously long hiatus for the band, who spent three years on the road without making a record but, even so, at least their band kept together and ploughed on despite bigger difficulties than any that ever befell the Springfield; this verse is very unusually harsh - maybe one of the band said something we don't know about or maybe Neil was just jealous of having a band who were always there after a career spent endlessly changing his?) Neil is too proud of his chorus to change it, however, so what we end up with is a lopsided song, one that fails to tie either it’s peaceful or it’s angry feelings to its mast, and as such is a poor substitute for a truly nostalgic song a la Ray Davies or a snarling looking-to-the-future song a la most of ‘Rust Never Sleeps’. Perhaps if this pretty but pretty standard melody had been given a less obnoxious set of lyrics I might like it better, but somehow it’s everything that’s wrong with Neil at his worst – it’s insincere, it’s undeveloped and it’s laughing at the people who don’t get whatever the latest Neil Young in-joke is (his 80s Geffen albums are full of throwaway songs like this). Stills' harmony is nice though - perhaps he should have sung it instead? Thankfully better is to come.

[207] ‘Make Love To You’ should be thrilling. Despite his reputation as a blouesman, Stills hasn't written all that many true blues songs (the Springfield’s ‘Everydays', the solo 'Black Queen', Manassas' 'Bluesman' and CSN's 'Run From Tears' - and they're all classics!), but other than coming up with an intriguing organ lick (which might well be Jerry Aiello’s idea anyway) this song has nothing new to say and isn’t quite sure why it’s saying it. Frustratingly, this is the best Stills vocal on the whole album (and his guitar solo isn’t bad either, short and tentative as it is), but it’s wasted on this chugging blues song that probably has less chord changes than any other Stills song (usually his songs sound as if he can’t keep still; this one sounds like he’s fast asleep). The ‘love you love you love youuuuuu’ chorus, which is repeated ad infinitum by the backing singers of Stills and Young is also one of the most irritating parts of any Stills song, right up there with the linn drums that crash throughout the ‘Right By You’ record (to be fair Crosby and Nash's harmonies were meant to soften the blow - but while that's an explanation its no consolation for fans who actually have to sit through the flipping thing). What idiot decided to put two of the worst three songs on this record right at the beginning? Did they really want to scare people away this badly?

Young’s [208] ‘Midnight On The Bay’. The second soppy Neil Young song on the album, it must have given his newer fans in 1976 quite a shock, although it’s gentle rocking motion and sweet melody (successfully conjuring up waves and seashores a la Brain Wilson) is pretty indeed. The lyrics are less successful (they’re the worst on the album in point of fact), but the atmosphere is a good one and do contain the odd nugget or two (the breeze ‘blowing through the keys’ makes no sense until you realise it’s a pun on ‘quays’ and ‘key changes’, with Neil’s fans often comparing his improvised workouts with Crazy Horse to winds building up naturally from gentle breezes to ferocious storms and back again). Overall, ‘Midnight On The Bay’ is too minor to be a true Young classic, and it’s performance here is too ragged to make it one of Neil’s prettiest recordings, but it’s a pretty good second division number.

[209] ‘Black Coral’ is Stills’ answering song (or is that the other way round? Chances are Stills wrote his songs for this album first, given Neil’s penchant for writing close to album deadlines) and it’s another fine track marred by a muddy production and Stills’ gruffest set of vocals to date. Yet then again, the muddy production does kind of suit this song about the murky depths down below the ocean floor, with Stills’ narrator busy scuba-diving and realising that, for all of it’s enthralling beauty, he can only be a visitor to nature’s murky depths. The whole idea of mother nature ‘hiding’ something magical and mysterious outside of mankind’s usual reach is a promising one and this set of lyrics is among Stills’ most multi-layered and under-rated, wondering out loud about what put us here in the first place and what plans he she or it has in store for us. As Stills tells us ‘I saw Jesus, and it made sense that he was there’ – this is the closest CSNY ever came to a true religious song and there’s something of a gospel feel about the recording too, even if it is dominated by the unusual combination of piano, flute and drums. An under-rated song which deserves either a decent remix or a re-recording for us to fully appreciate. Against all odds the CSNY mix somehow survived Stills' fun with razor blades and appeared on his solo 2013 box set 'Carry On'.

[210] ‘Ocean Girl’ is more of the same, a gentle song about romance by the seashore with Neil at his most laidback and derivative. Whatever the faults of the song , it’s by far the best recording on the album, with Stills’ wah-wah pedal guitar making a welcome return (last heard on the Mike Bloomfield/Al Kooper/Stills ‘Super Session’ LP of 1968) and Neil’s basic but effective piano playing the closest we get to a Stills-Young duel on the entire album. The lyrics are less impressive, being two short verses that repeat an awful lot for such a short simple song, but the instrumental backing and the surprisingly tight backing harmonies make up for any losses in the composition.

[211] ‘12/8 Blues’ is another song that shouldn’t work but somehow does. It’s another of those lazy derivative blues songs that seem to find their way onto an awful lot of Stills’ solo albums, but somehow this song has enough twists and turns to keep our interest and – at long last – we get a Stills vocal on the album which has all of the energy and bite of old. Neil’s whiny falsetto might well be the only time on a CSNY record where you ado actually want him to shut up and let the other sing, but Jerry Aiello’s funky organ and Stills’ own bluesy guitar riffs are good enough to overshadow it. The lyrics closely follow previous Stills blues songs like ‘In The Way’ and ‘Shuffle Just As Bad’, but their very basic-ness really suits this song about frustration and trying to talk to someone who doesn’t want to listen. I may be reading too much into a song which seems to be about general rage rather than anything particular, but it could be that this song is another in the CSNY soap opera, though whether it’s about Nash (who had just walked out of his life, seemingly for good) or about Young (who was about to do the same) I’m not sure (‘We’ll be old friends…trying’). Stills’ dominance and bullying nature is legend among CSNY fans, even if true fans recognise Stills’ workaholic nature is only a front for his more troubled and introverted self and this song of depression and self-inflicted misery seems more like a cry for help than anything. If so then the lines ‘Do you know me like I know you?’ and ‘I wanna talk to you, listen! Too many times I’ve swallowed my words, is it a crime to want to be heard?’ may be one of the most revealing of Stills’ career – how typical, then, that it should be hidden away on a derivative song on such an average album.

I’ve been listening to this album for 15 years now (not consecutively, obviously, or I’d be about 38 billion years old now given the amount of albumsto review for this site that all need a look-in) and I still can’t tell if [212] ‘Fountainebleau’ is the highlight of the record or one of the worst songs of Neil’s career. It’s a messy, unfocussed song that seems to be about a hotel that Neil stayed at once and had a rather unhappy time in. Why any musician should remember one hotel in particular when nothing that bad seems to have happened seems strange – unless Neil is just focussing his energies on the one place as a sort of metaphor for all the others. Unlike the rest of this simple, basic album this is a return to Neil’s earlier descriptive Dylan-like stream of consciousness songs which are hard to follow but somehow make sense all the same. Certainly the song seems to mean something to it’s composer as he turns in a very powerful vocal (unlike the rest of the album, where he’s either asleep or on auto-pilot), but why he should sing lines like ‘THEY PAINTED IT GREEN!’ and ‘THERE’S A PALACE IN THE GRAVY!’ with such force is beyond me. Most reviewers look at the closing lines ‘I guess the reason I’m so stared of it is I stayed there once and I almost had a fit’ as some sort of revealing twist (some reckon the stress of staying there might have brought on a later-period epilepsy attack for sufferer Neil), but it’s more likely Neil having a joke with us, suggesting that he ‘had a fit’ because of something else troubling him and he just happened to be staying in the Fontainebleau hotel at the time. Either way, all this confusion means that this song stands out on this album far more than it would on any other Neil Young/CSNY album and Neil’s electric guitar and electrified vocal really cuts through all the wordiness of the song.

[213] ‘Let It Shine’ is an angry rant of a song, something which on paper looks like it will be one of those Neil Young milestones like ‘Ohio’, ‘Alabama’, ‘Southern Man’ that have something important to say and says it admirably straight, pulling no punches. But those three songs (and lesser known classics like ‘Yonder Stands The Sinner’ and ‘Mideast Vacation’) worked because they had specific targets in mind and Neil’s wrath seems very honest and real. ‘Let It Shine’ has no real target except a very vague stab at religious figures – but unlike the earlier songs ‘Sinner’ and ‘Soldier’, this isn’t some carefully thought out diatribe against the double standards that seemed to go hand in hand with most religions in the modern age, it’s a vague and snarling piece of nothing. The only actual aggressors in the song are the religious zealots who pass Neil’s narrator flyers in the airport terminal while he’s waiting for his baggage – and they sound, at worst, misguided rather than the brainwashing double-standard filled cynics who appear on Neil’s other anti-religion songs. Interestingly, this is the last of Neil’s anti-religion songs to date, as far as I can think of anyway (oops no it isn’t quite – I’d forgotten about ‘Song X’ and it’s spoof of the churches’ position on abortion, but that song’s about attitudes in general rather than religion specifically – ed), suggesting that Neil had rather run out of steam on what had been one of his favourite subjects. A messy song and a scrappy performance, how this song got past censor control I’ll never know.

[214] ‘Guardian Angel’ is the album’s forgotten classic, the last truly epic Stills song until 2006’s ‘Spanish Suite’ (which was a 10-minute letdown after all the fuss, quite frankly). It’s a fascinating song, full of things going on just out of our reach and understanding, both sonically and lyrically. The narrator is brought down to his knees at his lowest point, having lost faith in himself, his dreams and his ability to escape the mess he’s made of his life. After coming up with the unhappy thought ‘only you got to live with you all the time’, Stills ponders whether he’s even scared his unseen ‘guardian angel’ away with his lies and behaviour before righting himself with his last gasp chance of redemption, the idea that the guardian angel watching over him will never leave and will always be by his side. Suddenly this self-pitying song rights itself and becomes an unlikely love song for a guardian angel, with the narrator reaching for ‘her’ in the darkness and promising to mend his ways if only she can get him back on his feet again. Unhappily, after a thrilling instrumental where Aiello and Stills one again excel themselves, the song falls right back down another hole with Stills telling us that ‘there’s no more time and nothing left to do’. The song then swells to a thrilling climax where Stills and Young at last mesh guitars in the way we’d hoped and expected (better the last 30 seconds on the record than none at all, I suppose) before suddenly running out of steam and fading out on a bluesy guitar duet between the two that frustratingly has more potential in it’s 10 seconds than most of the songs on this album have at five minutes each. The only trouble with this strong song is the double-tracked vocals, with Stills having another rough day when he recorded both parts and the murky production, whilst in keeping with this song’s ideas of unseen forces forcing our hand without our knowledge, is just too far on the side of murky for its own good.

A real mixture of an album, then, taking in all sorts of highs and lows. Still, three absolute shockers still seems like a small number that’s come to be as hated, mocked and derided as this one has over the years. Whilst ‘Guardian Angel’ is the only track you’d ever contemplate putting on a Stills or a Young ‘best of’ (and it would have to be a multi-volume ‘best of’ at that), there’s still an awful lot of promise on this album. If only the duo had spent a couple more weeks working on the recordings here (and perhaps replacing the lesser moments with some new works in progress) this album would have been fine, perhaps even one of the best. As it is, it’s a forgettable album and even the biggest CSNY fans seem to have forgotten it along the way – but perhaps it’s time we stopped giving it such a short shrift and remembered how good CSNY were in this period, even on auto-pilot. ‘Long May You Run’ may not run forever, but it’s got a good few miles left in yet as long as you lower your expectations and keep the skip button handy.