Who is that
man in the window on the cover of the first
CS&N album?
It's Dallas Taylor, the man on drums on "Crosby, Stills & Nash" (1969). Taylor was pasted in later.
Dallas Taylor ... pasted in!
Why was Dallas Taylor pasted in?
Dallas
Taylor: "Originally, on the 69 album it was Stephen’s idea to put me on the back of the album. However, the building was torn down before we could go back to
re-shoot the photo, so, the photo was taken at David Crosby’s back door, and pasted into the doorway photo that already existed."
|
Where exactly were the
photographs taken of the CSNY albums?
Here we go in
chronological order:
Everybody Knows This Is
Nowhere (Neil Young)
 Year:
1969
Photographer:
Frank Bez
Location:
Topanga Canyon, Los Angeles.
Source: wordmagazine.co.uk
|
 Joel Bernstein: "The
photo was in fact taken somewhere in Topanga Canyon by freelance
photographer Frank Bez. He [Frank Bez] remembered Neil specifically telling
him that it was taken in Topanga Canyon around September 1968."
This is as close as we can get (so far)
>>>>
|
Crosby, Stills Nash (CSN)
 Year:
1969
Photographer: Henry Diltz
Location:
Palm Avenue, West Hollywood
Source: popspotsnyc.com, mmusicmac.com, rhinomedia.com and 4waysite.com
|
 While
driving around Hollywood with album designer Gary Burden, Graham
Nash spotted an old abandoned house near the corner Palm Avenue
and Santa Monica Boulevard, Hollywood.
Graham Nash: "Henry
Diltz photographed us on a sofa outside an old abandoned house on
Santa Monica Boulevard close by the Santa Monica car wash, but when we saw the shots, we
realized we were in
the wrong order for the name. We went right back to re-shoot it but the
house had been torn down, so on the cover of the first album I’m Crosby,
David is Nash and Stephen is the only one with the right name over his
head."
|
 The
house was 150 Feet north of Santa Monica Boulevard on Palm
Avenue, on the west side of the street.
The car wash is still there and is right across the street.
|
 Photomontage
of the "couch album": album cover and black-and-white outtake,
both by © Henry Diltz, combined with a view from Google Street
Maps of the parking lot.
The small house, built for local railroad workers is no long
there. The space is now an open parking lot. But, had the house
remained, this is what it the view might have looked like today,
along with the album cover..
4WaySite
added a small side wall to the house (via
popspotnyc.com) to show depth.
|
 The
empty parking lot...
|
Déjà Vu
(CSNY)
 Year:
1970
Photographer: Tom O'Neil (Gundelfinger)
©Tom Gundelfinger
O'Neil
Location:
Novato, California
Sources:
4waysite.com,
Tom O'Neil, Debbie
Donovan, Bob Egan of
PopSpotsnyc.com and Paul Dionne, and the books "Long Time
Gone", "Crosby,
Stills & Nash: The Biography" and "Crosby Stills Nash and
sometimes Young".
|
 There
are many famous trees in the world, such as the Anne Frank Tree
in my native Holland (Anne
Frank Tree) but for the CSNY Fan, the "Déjà Vu" tree is the
most important in the world.
The Déjà Vu
photo was taken in the backyard on the property David Crosby was
renting in Novato California in 1969-1970. Novato is about 15
miles north of San Francisco in Marin Country.
This how the
tree looks today >>>
The current
owner is the son of the man who rented it to Crosby and
writes in to 4WaySite: "The tree has lost some limbs - yet
has kept it’s mystical charm and impresses almost everyone who
sees it."
|
 The
backyard where the Déjà Vu photo was taken >>>
The owner of the
house further writes to 4WaySite: "My parents somehow got in
with the local rock & roll network, as our house was also leased
by members of The Grateful Dead, and Dave Mason.
Steve Miller lived up the hill from us for a time during the
late 70’s. Neil Schon and another Journey band member also lived
nearby.
My parents
bought the property in the early 60’s (c. 1962) as a second home
and winter rental property. I can remember my father talking
about the lease for the house to CSN. He had a 'NO CROSBY'
clause built into the lease preventing David from setting foot
on the property. Crosby had a reputation for trashing places and
my father wanted to keep the house in tact. Well, as you can
see, that clause was ignored. However, all our living room
furniture was removed and placed in the open air car port during
the time they were there. Needless to say the furniture did not
do well in the car port."
|
 Graham
Nash: "We tried to look like we thought our ancestors might
have looked one hundred years ago".
After visiting a costume store, they congregated in Crosby's
backyard. Each member had been transformed: Crosby into Buffalo
Bill Cody (complete with rifle), Stills into a Confederate
soldier, Nash into a pipe-smoking worker, Young a cagey
gunfighter.
Again the owner of
the house: "The chest used as a prop in the photo, belongs to
us and is still in the house."
|
 Tom
O'Neil: "Stephen Stills requested that I use the same photo
techniques from the civil war era. I loaded a Matthew Brady type
8x10 civil war era camera with a 5x7 tintype. The exposure was
two and a half minutes long. During the exposure I backed up the
shot with conventional black and white plus X film. During the
long exposure the dog walked into the center of the group and
spontaneously became part of the photograph. The tintype in the
8x10 camera was technically not suitable for reproduction for
lack of contrast. Therefore, I used a 35mm negative and made a
8x10 inter-negative which I contact printed to a special fiber
board coated with chemicals; a Fox Talbot technique from the
1850’s.
|
 This
image was exposed in the sun, and is known as a sun print. The
goal of this process was to replicate in it’s purest form, the
original photographic process of the civil war era."
|
 Photomontage
of the location.
Déjà vu all over
again...
|
After The Gold
Rush (Neil Young)
 Year:
1970
Photographer: Joel Bernstein
Location:
corner of Sullivan Street and West 3rd
Street, Greenwich Village, New York
Source:
popspotsnyc.com
|
 The
photo was taken by photographer Joel Bernstein, most likely
sometime in early 1970, as the album came out in August of that
year.
In the book: "Shakey: Neil Young's Biography", author Jimmy
McDonough writes that Bernstein, 18-years-old at the time, was
"shocked" that Neil chose that photo for the cover. Bernstein
described it as an "accidental shot" of Neil walking through
Greenwich Village (during an outdoor photo session) and he even
"solarized the print in order to hide its soft focus."
Joel Bernstein
recently wrote to Bob Egan (popspotsnyc.com):
"The photo was not a 'mistake.' I saw the small, old woman
coming towards us down the sidewalk, was intrigued, and wanted
to catch her passing Neil. The mistake, to me, was that I had in
my haste focused the lens just past the two figures, closer to
the fence than to Neil's face. That was the original reason why
I made a small-sized print and solarized it; to help with the
apparent sharpness. But the solarization in this case added a
somewhat spooky dimension to the image, which Neil took to
immediately."
More information
on
popspotsnyc.com.
|
Manassas (Manassas)
 Year:
1972
Photographer: Ira H. Wexler
Location:
9451 West St., Manassas,
Virginia
Source:
greatamericanstations.com, wikipedia.org and 4waysite.com
|
 Stephen
was a big Civil War buff and Manassas is the initial land battle
of the American Civil War.
In July of 1861, this tiny railroad community became one of the
most important places in American history as the site of
historic battles in the Civil War.The Manassas Station
Operations included the operations known as Bristoe Station,
Kettle Run, Bull Run Bridge, or Union Mills. It took place
August 25–27, 1862, in Prince William County, Virginia.
After the Civil
War, the first depot on the present site was a long frame
building constructed in the 1880s. On June 25, 1914 a fire broke
out in the baggage room and the depot burned, leaving only the
foundation and walls.
|
 Work
on the third and present depot was completed in October 1914, in
a red-brick Victorian style with a ceramic tile-covered hipped
roof. The structure partially incorporated the walls of the
burned depot, which measured about 20 feet by 77 feet, and had
four new rooms; an office, a ladies’ waiting room, men’s waiting
room and a baggage and express room.
The “new”
structure is about 32 feet longer than the earlier one
permitting a modified room arrangement and included the addition
of an umbrella shed on the front and east side, the installation
of electric lights, and an attractive tile roof..
|
Human Highway (unreleased
- CSNY)
 Year:
1973
Photographer: Harry Harris/Graham Nash (see story)
Location: Lahaina, Maui (Hawaii)
Source: 4waysite.com with the assistance of Bob Egan of
PopSpotsnyc.com
Information: Human Highway was the (working?) title of the album
CSNY worked on in 1973. The band rehearsed in Maui at an old
beach house Neil Young rented and on Crosby’s schooner. Later at
Neil's ranch they also recorded some tracks. CSNY produced some
exceptionally strong material but the album was shelved prior to
completion and was abandoned. The virtual track listing can be found
in this section.
|
 After
quite some research and thanks to some kind locals, we found out
the photo was taken at the so called "Baby Beach" where Neil
Young rented a house.
Graham Nash to 4waysite.com: "The photograph was taken not
far from the Pioneer Inn in Maui, Hawaii... we were all there
rehearsing for the album... Neil had rented a house on the
beach...on Friday at sunset, our last day, I decided that it
would be a good idea to photograph ourselves.
Stephen had his Hasselblad camera with him and I borrowed it. I
figured out the exposure and placed the camera on the ground...
I arranged it so that we would all be in the shot and had my
friend Harry Harris press the trigger... there were only two
shots left... one is the shot you're talking about and the other
is one of us and the family members who were also there outside
the rented house. In the shot that was released, our friend Gary
Burden airbrushed out the young son of Gwen Roberts who was
Elliot Roberts girlfriend... the child was to the left of the
shot partially hidden behind Stephen".
|
 The
home was next to what they call "Baby Beach". The home was a
plantation home belonging to the Lindsey family as the father of
the family was one of the managers of the Pioneer Mill.
The photo is a
scan from the
new edition of Dave
Zimmer's book Crosby, Stills & Nash: The Biography(2008).
|
 Now
the area is a small subdivision of upscale homes and the street
is called Kai Pali Place.
The old beach
house is gone.
|
 Photomontage
of the approximate location of what would have been the cover
shot for the album Human Highway taken along Baby Beach, Lahaina,
Maui. 1973.
|
On The Beach
(Neil Young)
 Year:
1974
Photographer:
Bob Seidemann
Location: Santa Monica Beach, CA
Source: wordmagazine.co.uk, wikipedia.org, santamonica.com,
theendofbeing.com, thrasherswheat.org
and 4waysite.com
Information: this is Neil's fifth studio album It was
unavailable on compact disc until it was released as a HDCD-encoded
remastered version on August 19, 2003 as part of his Archives
Digital Masterpiece Series.
|
 Santa Monica has 3.5 miles (5.6 km) of well-maintained
California beach locations and enjoys on average 340 days of
sunshine a year plus a nearly constant gentle ocean breeze.
Cycling, movie shoots, beach volleyball games, and the finest of
people-watching all happen here, and it's no wonder. People love
to gather at this California beach, partially because it is so
pristine.
|
 This
information comes from
thrasherswheat.org:
Neil Young's "On
The Beach" album cover is considered to be one of his most
creative and intriguing designs in his vast catalog.
It would seem that many of his album covers have a rather tossed
off feel. For example, the "Living With War" cover is literally
stenciled letters on a brown paper bag. In contrast, "On The
Beach" album is meticulously designed right down to the inside
of the album jacket matching the pattern of the inside of the
umbrella on the cover.
"On The Beach" -- the final link of Neil Young's Ditch Trilogy
-- is considered by many fans to be one of his best and their
most favorite of all Neil Young album covers and artwork.
Designed by Gary Burden, photographed by Bob Seideman, and
graphic lettering by Rick Griffin, the cover is quite enigmatic
with a Cadillac car fin jutting from the sand like a crashed
rocket being buried by time. A shoeless Neil stares out into the
ocean near a forlorn potted palm. A jaunty yellow beach umbrella
matches Neil's jacket. The yellow theme is even continued with a
Coors beer can on the table. Inside the album, things become
even more crpytic with the album's liner notes. Fans have poured
over Rusty Kershaw's strange handwritten note for clues and
meaning often to no avail. Apparently, the recording sessions'
heavy use of Honey Slides took a toll ... possibly to the
creative sides' benefit?
|
 Continued
from
thrasherswheat.org:
But probably the
most significant item on the cover is the newspaper's headline
"Senator Buckley Calls for Nixon to Resign". (Young and Nixon
have had a bitter and strange relationship over the years. From
"Ohio" 's lyrics "Tin soldiers and Nixon's coming" to
"Campaigner's" lines "Even Richard Nixon has got soul", Neil has
never made a secret of his feelings towards U.S. President
Richard Nixon.)
|
 Continued
from
thrasherswheat.org:
Which brings us to
the rather fascinating article
ON THE BEACH – Dali, Ballard, Neil Young and Cadillac Ranch |
THE END OF BEING by James Reich.
The article brings together a series of unlikely events in 1974
between surrealist artist Salvador Dali, author J. G. Ballard,
and musician Neil Young.
If you're unfamiliar with the post-nuclear apocalypse vision of
Nevil Shute’s 1958 novel On The Beach (filmed by Stanley Kramer
in 1959), than the article will help place Young's album in some
perspective.
Ballard's followup novel The Drought was released in paperback
in 1974 with David Pelham's cover art of the tail end of a
yellow Cadillac part-submerged into the desert.
|
 Rare
"On The Beach" Poster with Neil facing camera.
|
Photomontage of the approximate location.
On
the beach....
|
This Note's For You (Neil Young)
 Year:
1988
Photographer: Bob Scott
Location: 220 Main Street, Winnipeg, Canada
Source: winnipegfreepress.com and 4waysite.com with the assistance of Bob Egan of
PopSpotsnyc.com
Information: this is the seventeenth studio album by Neil Young.
It was originally credited to Young & The Bluenotes. The music
is marked by the use of a horn section.
|
Neil was known to play unannounced in the Blue Note
Café while
in Winnipeg.
This is the Blue
Note Café in 1989 >>>
|
 Later
the Blue Note Café moved to another location, and the
establishment turned into the Fat Angel.
|
 A
gaping hole is all that remains at the site of a Winnipeg music
institution.
The Blue Note
Cafe was unceremoniously torn down in March/April, 2011.
|
 Many
websites, quite reasonably, have suggested that the cover was
supposedly taken in the alley behind the Blue Note Cafe, where
Neil would most likely have hung out after doing a set.
But based on
what we show in the photo that follows, 4WaySite strongly
believes the photo was taken one block southwards.
|
 In
this computer composite (via
popspotnyc.com) from Google Earth, the way the windows on
the building on the right match up, make us feel that the cover
photo came from one block away from the Blue Note. We also
believe that the other building in the far background has been
taken down and we are working to confirm that.
As it was
probably not a stock shot, during the photo session, a person in
what looks to be a cowboy hat was put to resemble Neil.
|
 This
would be the approximate location.
|
Archives Vol 1 Cd2-Topanga 1 1968-1969 (Neil Young)
 Year:
2009
Photographer: unknown
Location: Topanga
Source: Bob Egan of
PopSpotsnyc.com with the assistance of 4waysite.com
|
 The
house was typical Neil: a redwood box situated on top of an
extremely steep hill overlooking the canyon.
Tom Willkies:
"It's a totally ridiculous piece of architecture. Three stories,
skinny, straight ip like a quart of milk. I can't believe it
hasn't fallen down the hill."
Neil Young,
Bernie Leadon, and Patti Davis all lived here. As Patti Davis
said in her autobiography, "There are so many windows in this
house, its like living outside. Every room has a stunning view."
Later on the
house was owned by Bernie Leadon of the Eagles, who sold it to
the current owner. Perfect Fernwood location, close-in yet on a
very quiet street. It doesn't get more Topanga than this.
|
 There's
a broad entertainment deck off the living room and dining room,
beyond that, a short trail leads to a lookout point with a big
deck, hot tub, and a romantic hide-away you can sleep in. One
wall of the hide-away is built into solid rock. The 1,532 sq.
ft. two-story wood and glass architectural house has three
bedrooms, two baths, and a spacious kitchen. In addition, there
is a two-room 520 sq. ft. music studio tucked in below the house
built by Neil Young.
"After the Gold
Rush" was recorded in the basement!
|
Who is the photographer of the Déjà Vu
cover?
Tom Gundelfinger or Tom O'Neil..?
Tom O'
Neil/Gundelfinger (in approx. 2000): "I took
my wife's name 18 years ago when we decided to have a family. Gundelfinger is still listed
in the phone book, and all my LA connections have managed to locate me after all these
years. (I worked with a lot of rock and roll groups, and had a career in the 60's in LA in
the music biz)".
Tom O'Neil has a
website.
Outtake from Déjà Vu photo session
Tom O' Neil/Gundelfinger
©1998 TGO Photography. All
rights reserved.
The atmosphere represented the Civil War era. Who's
idea was it to do it this way?
Dallas Taylor: "The cover was Stephen’s idea. He was a big Civil War buff.
To whom did the dog on the cover
belong?
Dallas Taylor: "The dog wandered into the picture accidentally and we kept the shot. We still don’t know where the dog came from, or who he or she belonged to. Stephen called it
'Fred'".
What ever
happened to Greg Reeves BTW?
Dallas Taylor:
"He was very young and I think all the star stuff went to his
head, plus way too much pot. Stephen couldn’t tolerate him,
which was a mistake because Neil and Greg were very close. Rumor
is Greg was only 15 and had a fake driver's license that said he
was 19. I have not heard from Greg since he was fired from the
band. I heard rumors that he spent some time in jail for drugs,
but, I can’t say for sure. I have no idea what he is doing now."
What was Stephen
Barncard's role on Déjà Vu?
Stephen Barncard: "For
the most part, I was the ASSISTANT on most of the sessions, and
when Bill - Halverson - wasn't there, I had to be 'the man'. I
ended up recording the track for 'Helpless' and 'Country
Girl', and the overdubs on 'Teach Your Children', when Bill was
having 'problems' elsewhere.. This is the era when assistants
weren't considered that important (even though we
got paid a lot more in those days compared to today), and not
worth nothing in credits".
 What was the story on
that giraffe on Stephen Stills' first album?
According to Henry Diltz, the photographer who took the photo, only
Stephen knows and he's not talking. Diltz thinks it was a kind of secret
message to someone. He said that he started snapping photos of Stephen
playing and that suddenly Stills jumped up and ran into his cabin and
brought out the giraffe and said that Diltz could start snapping again.
After a few shots, Diltz suggested that they lose the giraffe and Stills
said basically "no way."
Bill Haverson: "The giraffe was a gift from a woman. I'm not sure
which one."
Dalles Taylor: "I wasn’t really around during that photo, but
think a girlfriend had given him the giraffe. Maybe Véronique
Sanson [It could have been for Rita Coolidge; Stephen Stills had
not yet met Veronique]." There
was a poem on the back cover. Who wrote it?
Charles John Quarto. The poem was titled "A Child Grew Up On
Strings." It did indeed appear on the back of the first Stephen
Stills solo album. You can see him on some footage included on
Journey Through The Past when Stills is walking with his guitar
on his shoulder. Nash produced an album of poetry for Quarto.
A child grew
up on strings
And was pulled through New Orleans
He had to grow so he grew wings
Although he was a turtle in blue jeans
A child grew up on strings
And he flew into an impression
That was left after each session
Just to reach through to the troupes
And his shell songs were heard
Because the wind is always acoustic
Or the child grew into a bluebird
Because he grew into his music
And as he grew in he grew out
Angels praise the word both
After he flew in he flew out
To grow he had to with growth
Even when it grew wild
The child was growing even more
Knowing that was what growing was for
It takes a man to be a child
And so he worked to play with his friends
And they played to stay with him
And so they stayed to play with him
The family song that never ends
A child grew out of every hotel
That ever held him from his home
Like a turtle hides a turtle in his poem
So did this child grow out of his shell
Still growing up on his strings
Flowing from the pack but growing with them
Some days he goes away with his rhythm
But every night he comes back and he sings
The same way he sang out in the south
The same way that any shell disappears
From a name famous for so many years
He sang his fears out of his mouth
A child grew up on strings
He is a kind lamb to lovers
And a fine kingdom of other things
Even though he is a turtle under these covers
What did David Crosby say at the end of
"Cowboy Movie"?
Stephen Barncard: "I
think it's Michael Shreve talking; he played the tambourine. It could also be the 'clap'
track, and several of the guys did that".
Is the "Another Stoney Evening" CD
the same as the "A Very Stony Evening" boot?
 Stephen Barncard: "No. Same tour, different evening. The boot was
recorded the second night in Berkeley 10/15/71, 'ASE' recorded
10/10/71."
|
What are the
Missing
Six?
The term "Missing Six" refers to the six Neil Young
albums originally released on the Reprise label which have never been legitimately
released on CD anywhere in the world". Specifically,
they are:
- Journey
Through the Past
- Time Fades
Away
- On the Beach
- American Stars
'n Bars
- Hawks and
Doves
- Re*Ac*Tor
Albums
released on the Geffen label, such as "Trans", may be difficult
to find in the US, but are not considered "missing" because they
have been issued on CD in Europe and can be found as imports in the US.
Why are they missing?
Neil Young: "I really don't see these albums on CD because CDs don't sound very good. I like the original analog masters and I didn't want people to have bad-sounding CDs to listen to for the rest of time. I want to wait until the things are ready to be dumped into a format that I can understand and is relative to the original
format."
But... the Missing Six are now only the Missing Two. Still to be
released are "Time Fades Away" and "Journey Through the
Past"
What are the
Abandoned
Albums?
Albums which were
either recorded or planned and then scrapped:
DAVID CROSBY
-
Might As Well Have A Good Time (1980).
STEPHEN STILLS
- No title (1970): Stephen Stills,
(Eric Clapton?) and Jimi Hendrix. "Old Times, Good
Times" was the first try at that album after Stills' first solo
album. Stills and Hendrix were going to go back to England and do
that album, but then Hendrix died.
-
Southern Cross (1980): Stills did with Barry Beckett at Rudy
Records Studios for, and rejected by, CBS - his record company at
the time - prior to "Daylight Again."
- Stolen Stills (197?). Stephen Stills: "That
was just a bunch of songs I ended up not using over the years.
I’d either run out of room on a particular album, or they
weren’t quite up to snatch. I’m going to have to take some time
off one of these days and go through all my old tapes again and
figure out what’s there".
GRAHAM NASH
-
Earth & Sky (1980): this album was originally planned as a C&N album.
NEIL YOUNG
-
Bus Crash (year?): album with unreleased stuff but some
songs might have been used on Re*ac*tor.
- A Live Acoustic/Electric
album (1970/71).
- Home Grown (1974).
- Chrome Dreams (1977): Neil Young: "What Chrome Dreams
really was, was a sketch that [David] Briggs drew of a grille
and front of a '55 Chrysler, and if you turned it on its end, it
was this beautiful chick...I called it Chrome Dreams."
- Ranch Romance (1977).
- Island In The Sun (1982).
- Old Ways 1 and 3 (1985). Old Ways 2 was the released album.
- Times Square (1989): Young performed intense live shows
packed with new songs and set to release a searing rock record,
Times Square. But at the last minute, Young opted for Freedom,
an album calculated to make everyone rave "come-back." The Times
Square sessions - his best work in a decade - got dumped on an
import EP that's already out of print.
CSNY
-
Human Highway (1973): this was the (working?) title of the
album to be released from two late May 1973 Hawaiian CSNY
reunion sessions (on Crosby’s schooner and in a beach house
at Lahania on the island of Maui, rented by Young) which
were resumed in 1974 on Young’s Broken Arrow ranch following
their triumphal reunion tour of that summer. Typical tensions
within the band (while trying to finalize the album in December
1974, Nash and Stills got into a fight about a harmony part to
Wind On The Water, causing Stills to slash Nash’s master tape to
pieces and Neil splitting the scene) aborted the project and
left the album unfinished. Many of the songs that were meant to
be on the LP had been previewed on the 1974 tour.
Source: bluesonline.weebly.com.
- Long May You Run (1976): briefly Long May You Run
looked to be the awaited CSNY reunion album. However, Crosby and
Nash departed the project to focus on what would become their
1976 album Whistling Down the Wire, Young and Stills reacting by
removing the duo's vocals and other contributions from the
master tapes. It was finally released with only Stills & Young.
STILLS & NASH
- Daylight Again (1982): was finally released with Crosby
content
What is the virtual track listing of
the abandoned Human Highway album?
Here we go, but bear in
mind that most of the tracks would have been left out (but, what an
album could it be...):
-
Little Blind Fish (written
by CSNY -
recorded at Neil's ranch)
- Homeward
Through The Haze (DC)
- Time After
Time (DC)
- My Angel
(DC)
- Carry Me
(DC)
- Love Story
(SS)
- As I Come
Of Age (SS)
- Myth Of
Sisyphus (SS)
- See The
Changes (SS
- recorded at Neil's ranch)
Taken At
All (GN - was
written later and recorded at the CSNY sessions in Criteria,
Miami that became Stills/Young)- You'll
Never Be The Same (GN)
- Another
sleep Song (GN)
- Wind On The
Water (GN)
- Prison Song
(GN -
recorded
at Neil's ranch)
- And So It
Goes (GN -
recorded
at Neil's ranch)
- Human Highway (NY - recorded at Neil's ranch)
- Through My
Sails ( NY - aka Sailboat Song)
- Love Art
Blues (NY)
- Pardon My
Heart (NY)
- New Mama
(NY- aka Mellow My Mind?)
- Hawaiian
Sunrise (NY - aka Maui Mama)
- Pushed It
Over The End (NY)
- Love Is A
Rose (NY - remake of Dance, Dance, Dance)
- The Old
Homestead (NY)
|
What was Stephen Barncard's contribution on Daylight
Again?
Stephen Barncard: "A bit
more than the credit implied. Many of the vocal overdubs on the Crosby contributions to
D.A. during his darkest hours. A month at Devonshire studios in June, 1980, for the aborted Capitol solo record."
- Melody
- Flying Man
- Jigsaw (unreleased)
- Baltimore (unreleased)
- Might as well Have a good time
(track [with Stanley Johnston] and overdubs)
- Kids and Dogs - New parts on
original 1971 track (unreleased )
- Drive My Car (unreleased Miami
version)
Might As Well and Delta were the
only ones used on Daylight again and Melody, Flying Man were used on his 1986 solo.
Wasn't there some sort of
difficulty getting Neil Young's stuff for the
CS&N Boxed Set?
Graham Nash: "What happens with Neil
is that you get caught between the good cop/bad cop thing between him and
Elliot. I talk
to Neil and Neils totally into it, I can use anything I want. Great, I'll be discreet and
use only great stuff. And Elliot calls me and says, "No man, you can only use seven
things". I wanted to represent what music CS&N and CSN&Y had done
in their
careers."
Why did it take so long until the second CSNY
album "American Dream" was released?
It had started with a promise Neil Young
made during a 1984 radio interview, where he'd vowed to record again with Crosby, Stills
and Nash if David Crosby succeeded in conquering his now fabled addiction to free-base
cocaine. Three years later Crosby had achieved just that and Young was left with no
alternative but to deliver on his word.
 What are the 'lost songs' of the latest CSNY CD
"Looking Forward"?
According to our notes, the record originally
featured:
- Half Your Angels (Nash)
- Liars' Nightmare (Nash)
- Lost Another One (Nash)
- Try To Find Me (Nash)
- Acadienne (Stills)
- Feel Your Love (Stills)
- Everybody's Talkin' (Fred Neil)
- Turn, Turn, Turn (the Byrds)
- Navigator (Allan Thomas)
- Rock and Roll Woman (Buffalo Springfield) - with Joe
Walsh on guitar!
- White Line (Young)
- Good To See You (Young)
Who is the boy on the
cover of "Looking Forward"?
It is Henry Stills,
Stephen Stills' son, at age three.
What was the working
name of the CD "Looking Forward"?
"Heartland". Neil Young thought "Heartland" would be
confused with a few other songs and commercials that had similar titles or
themes.
Graham Nash: "We just thought that 'Looking forward'
would be a better idea. 'Heartland' was the working title."
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 Is the cover of the
'77 CSN album, the Mayan?
No, it is not David Crosby's boat The Mayan.
David Crosby: "It was the boat of a friend, the Mayan is even
prettier".
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