Déjà Vu - Crosby, Stills, Nash & Young
Author: Langdon Winner
Publication: Rolling Stone Issue #57
Date: April 30th 1970
Along with many other people, I had hoped that the addition of Neil
Young to Crosby, Stills and Nash would give their music the guts and substance which the
first album lacked. Live performances of the group suggested that this had happened.
Young's voice, guitar, compositions, and stage presence added elements of darkness and
mystery to songs which had previously dripped a kind of saccharine sweetness.
Unfortunately, little of this influence carried over into the recording sessions for
"Deja Vu." Despite Young's formidable job on many of the cuts, the basic sound
hasn't change a whit. It's still too sweet, too soothing, too perfect, and too good to be
true.
Take for example all of side two. Here we have a splendid showcase of
all the Crosby, Stills, Nash and Young strong points - precision playing, glittering
harmonies, a relaxed but forceful rhythm, and impeccable twelve-string guitars. But are
there any truly first rate songs here? If there are I don't hear them. David Crosby's
"Deja Vu" has little or no tune and fails totally to capture the eerie feeling
that accompanies a real deja vu experience. "Our House," by Graham Nash is a
flyweight ditty with nothing to say and makes this clear through its simpering melody.
Steve Stills' "4+20" conjures up some quiet enigmas, but with such tepid
questions at stake, who really cares? Neil Young's "Country Girl" continues his
tradition of massive production numbers which includes the masterful "Broken
Arrow" and "Down By The River." But compared to his earlier work, the piece
is sadly undistinguished. In both this song and the next one, "Everybody I Love
You," Young's voice is absorbed in the major key barbershop harmonizing of the other
singers. C, S, N and Y could probably do the best version of "Sweet Adeline" in
recorded history.
One's disappointment with the album is heightened by the absurdity of
its pretensions. The heralded leather cover turns out to be nothing more than crimpled
cardboard. What a milestone - fake leatherette! The grainy portrait of the "Old
West" characters on the cover looks like Billy the Kid, the James Gang and Buffalo
Bill than the waiting room for unemployed extras for Frontier Atmosphere Inc. "Now
then, which of you desperados is next?" And, of course the pretty gold leaf lettering
turns out to be yellow Reynolds Wrap. "Deja Vu," would like to convince you that
it has roots deep in the American soil. But a closer inspection reveals that its tap root
is firmly implanted in the urban commercial asphalt.
There is much on this album of real merit. "Helpless,"
"Carry On," and "Teach Your Children" are excellent songs, well
performed. But for me Crosby, Stills, Nash - plus or minus Neil Young - will probably
remain the band that asks the question "What can we do that would be really
heavy?" And the answers, "How about something by Joni Mitchell?"
