RELEASES > LPs & CDs > 1990s

This section features an extensive and comprehensive discography of all CSNY sounds from the ‘90s.


Looking Forward
Remarkably, this is only CSNY’s third studio album. Looking Forward is not an instant classic, but it is a solid set of music, a first step. CSN and Neil Young were working on albums separately when Neil visited a CSN session to play on an acoustic Stills song (which is not on the album). He listened to what they had done so far and was apparently impressed. He decided to join his old partners, offering a selection of songs he had recorded for his next album.


Live It Up
The prejudice at the time was probably more against the production (slick 80?s and actually not what one expect from a CSN album) than against the songwriting itself. In fact both were good. Live it Up is a cathy opener with a great guitar solo. “Yours And Mine” (with a Brandford Marsalis solo !) “After The Dolphin” are also very goog songs. And the best track of the album “Haven’t We Lost Enough?” is one of Stills alltime best. Just give it a try, you may have a good surprise if you’re a CSN fan.
CSN Box Set
This 77-track, 4-CD set remains one of the best boxes devoted to a single music act that one can buy, covering the output of Crosby, Stills, Nash & Young across 22 years, from 1968 until 1990. The first thing that becomes apparent, beyond the excellent sound, is the sheer worth of the material. This is unquestionably the best of CSN’s ‘greatest hits collections’. Most of their best work is here. Some of the versions on this 4-disc set are alternative takes. With all the old classics mixed in you have some of their newer work as well.
Carry On (import)
This is the light version of the CSN Box Set and is a 2-CD set.
After The Storm
This represents a return to form. CSN had just been on a very successful tour as a trio, with no band, and the after effects are felt here. The songs sound like the band worked together, with Stills sharing vocals on Nash songs, Nash and Crosby collaborating on These Empty Days and Stills helping Crosby with the writing of Camera. The pure trio format is not used here, with Stills and a studio band playing almost all the music. But the arrangements and production are much improved over the dismal Live It Up. The material holds up well to the more simple arrangements. This is a collection of solid songs.


Another Stoney Evening
David Crosby and Graham Nash’s Another Stoney Evening captures the vocal-focused half of CSNY at the peak of their talents, their relevance. The chosen tracks (certainly more than 15 were performed…) from this October 10, 1971 concert at the 3,000 capacity Dorothy Chandler Pavilion in Los Angeles are all drawn from the five official previous releases by various incarnations of CSNY. This is a very desirable disc for Crosby and Nash fans.


Thousand Roads
This is the David Crosby Masterpiece! Spellbinding and humbling music because when you hear an album like this you realize the difference between pure genius talent and the rest of us! Every single track is between 4 and 5 stars with Hero, “Too Young to Die,” “Old Soldier” and “Through your Hands” being the absolute standouts. To all of us who survived the suicidal moments of our teens – “Too Young To Die” is an anthem in remembrance of those wild nights out on the road. “Too fast for comfort, too low to fly, too young…to die.”
It’s All Coming Back To Me Now
This is a fantastic live recording recorded in 1993 at The Whisky A Go Go, Hollywood – one of the best in years. David Crosby assembled an exceptional group of musicians, especially the lead guitar, keyboard player, bass player and as always great lead vocals from David. There is a nice mix of old and new tunes. The old tunes are different enough from the original recordings to be enjoyed all over again, and new track “Rusty and Blue” is great. Good vocals on several songs from Graham Nash and others. The result is one great recording.
King Biscuit Flower
Hour Presents in Concert Recorded in 1989, David Crosby was fresh out of prison, clean and sober, and by the sound of this live recording, was out to prove he could still be an important musician. David offers up a compelling song list, delving back into his circa-1970 CSNY compositions such as ‘Guinnevere’, ‘Deja Vu’, ‘Wooden Ships’, ‘Almost Cut My Hair’ and ‘Long Time Gone’. This King Biscuit recording is culled entirely from one night’s performance, so the possibilities for an off-kilter performance or poor recording quality are high, but neither materializes as an unfortunate circumstance. In fact, Crosby and the band sound tight and energized!


Stills Alone
The man really comes through in spite of everything else you might find to criticize about this effort. Listen to his riffing on Amazonia, or his vocal intensity on “Tree Top Flyer.” The song selection covers the range of his interest and each song, even the covers, bear his indelible stamp. This is just a great and heartfelt recording by an American treasure. There is no one else like Stephen Stills, and this album is pure, unadulterated Stills, blemishes and all.


Ragged Glory
After a long period of unfocused weirdness, Young spotted grunge around the corner and declared unity with the loud, scruffy sounds coming from Seattle. The countryish ballads, such as the opening “Farmer John,” get roaring Crazy Horse treatment, and the headbanging “F*!#in’ Up” is the most self-effacing rock anthem since the Who recorded “I’m a Boy.” Amid the clatter, though, there is beauty: Crazy Horse’s sympathetic backup vocals turn “Mansion on the Hill” into a pretty pop song despite the electric guitars, and even the white noise that closes the 1990 album is soothing in a scream-therapy kind of way.
Fired up by the success of 1990s Ragged Glory, and outraged by the eruption of the Gulf War, Young and his cohorts attacked their 1991 tour like men on a suicide mission. An angry, gunshot-laced version of Dylan’s “Blowin’ in the Wind” is the closest thing here to an acoustic reverie; the rest of the album offers up staggeringly intense electric versions of Neil songs both current and classic. The back-cover photo of a disheveled Young cradling a broken-stringed guitar pretty much says it all–no one could have unleashed a sonic onslaught this brutal, and emerged unscathed from the experience.
Originally included as a bonus disc on early versions of Weld, Arc is 35 minutes of stray guitar explosions, feedback screeches, stage announcements, and drum checks, all edited together to form a continuous (and actually rather compelling) listening experience. Call it Neil’s delayed reaction to Lou Reed’s Metal Machine Music, or think of it as his personal scrapbook of the Ragged Glory tour. Either way, you probably won’t play it very often, but it’s still a nice oddity to have in your Neil collection.
Harvest Moon
When Neil Young seems about to zig, he zags. Two years after 1990?s loud Ragged Glory, he retreats to an old world of steel guitars, gentle folk melodies, and pristine country choruses. Young name-drops Hank Williams, Jimi Hendrix, and his old dog, King, in rich reminiscences about the musical ride he and his fans have shared since the late ’60s. The album, as Young sings in “One of These Days,” is “a long letter to all the good friends I’ve known.”
Lucky Thirteen
This album features notable guest artists including Gail Davies, Rufus Thibodeaux, Waylon Jennings and Crazy Horse to name a few. The album is subtitled Excursions Into Alien Territory. Lucky Thirteen is a compilation of material young recorded during the 80s – a time when he was roaming all over the musical map in search of inspiration.
Neil Young was unplugged before the MTV show become a phenomenon, so it was only natural that he make an appearance on the show. As usual, Mr. Young mixes up his set, playing new songs like “From Hank To Hendrix” and the sweet “Harvest Moon” to old chestnuts like the Buffalo Springfield’s “Mr. Soul” and “The Old Laughing Lady” from his first solo album. Unplugged is one of the better album taken from the show and shows Neil Young’s chameleon like ability to transform songs into different styles.
Sleeps With Angels
If Neil Young has a pronounced weakness, it’s a lack of focus. Restless to a fault, he’s apt to rush into the recording studio without fully forming his ideas. Sleeps With Angels is that kind of album–and yet it’s one of his best. Jarred by the death of Kurt Cobain (the rock & roll martyr quoted Young in his suicide note), he dashed off this collection of songs in 1994 with backing from his steadfast electric warriors, Crazy Horse.
Mirror Ball
Substituting eager Pearl Jam for wizened Crazy Horse, Young returns to the Ragged Glory formula–big guitars, droning rhythm, mystical poetry–for this one-off 1995 CD after a joint concert tour. Pearl Jam, especially new drummer Jack Irons, focuses Young’s ideas and challenges him in ways the more forgiving Horse never does. “Downtown” became an immediate rock-radio hit, and the song’s three-chord force keeps even the lines about dancing hippies and Jimi Hendrix from getting stale.
Broken Arrow
The Youngian reaction principle–which dictates that our hero follow commercial monsters (After the Goldrush, Harvest and Rust Never Sleeps) with willfully difficult busts (Time Fades Away and Hawks & Doves)–finally kicks into effect after a long string of straight ahead bestsellers. The man’s unpredictability has been a major reason he’s remained vital for nigh on 30 years, so it’s good to see he’s still cranky enough to serve up these raw, sloppy, and, for hardcore fans, invigorating jam sessions with his fave band.
Dead Man
Musicologists looking for evidence of Neil Young’s connection with the avant-garde likes of Sonic Youth need look no further than this uncompromising soundtrack to Jim Jarmusch’s film Dead Man–the first post-punk western to make any sense at all. The music here is scattered and fragmentary, and performed mainly on electric guitar. The film’s most accessible piece of music came during the opening credits, with Young blending acoustic and electric guitars to great dramatic effect.
Year Of The Horse
Long may he run, sure, but Young and friends sound like they’re in dire need of a creative refuel on this ho-hum live set. The man’s clearly coasting. He knocked off the Broken Arrow studio disc without a second thought, and here the tapes roll for 83 minutes in capturing an OK performance (highlight: “Slipaway,” the labyrinthine disc-two opener) that is effectively nothing more than an officially sanctioned bootleg.


The Byrds Boxed Set
Almost all the traditional classics were here, with sound quality upgraded over previous CDs. There were also a surprising number of previously unheard songs which had failed to make the original albums, including some first-rate material. Alternate takes of previously released songs were also here, either for the first time or rarities previously available only on obscure albums like “Never Before”. A completely remastered equalization of this entire package presented all tracks at about the same volume with new bass/trebel balances.
Greatest Hits (extra tracks, original recordings reissued & remastered)
The 12-string electric guitar may never recover. As long as there are baby boomers roaming the earth, its airy jangle will signify psychedelic innocence and optimism refracted through the peculiar light of mid-’60s Los Angeles. With Roger McGuinn leading, the Byrds kicked off American rock history with a merger of Bob Dylan’s words and the Beatles’ melodic energy. The results are here: “Mr. Tambourine Man,” “The Bells of Rhymney,” and “Eight Miles High” still jump off the airwaves.


Stay with The Hollies
This dual CD set is absolutely wonderful. The recordings are in true stereo, and are absolutely crystal clear. You can differentiate the voices of Graham Nash and Tony Hicks, as they harmonize behind Alan Clarke. It’s as good as it gets. You are listening to the master tapes. The second album, In the Hollies Style, which was not released in the U.S. originally since it did not have a single hit, is really good.


CPR is excellent music any David Crosby fan will consider essential. CPR is the finest music he has ever made, in my opinion. From the shimmering harmonies, to the jazzy chords and rhythms to that unmistakable Crosby tone… this album is landmark for the poetic songsmith and his compadres. Often times a father/son project will be less than great, and people stumble across it out of curiosity. This band is the perfect vehicle for the talents of David Crosby.
Live At Cuesta College
The music of David Crosby, this 2 CD set from the trio of: Crosby, Jeff Pevar (guitars, vocals) and James Raymond (keyboards, vocals) marks the begining of a great musicial journey. The playing of Jeff Pevar & James Raymond, are the cornerstone of this recording. Both musicians are masters of their instruments. The solos that are featured are never overplayed or tedious. For fans of David Crosby, this live set is must-have CD of one of David’s greatest concert experiences. For the rest of the folks, this is an introduction to one of the finest bands of the last ten years.
Live At The Wiltern
The first CD consists mostly of stuff from the first studio release and it’s on the second CD that the training wheels really come off. The highlight is arguably “Deja Vu,” which is expanded into a nearly thirteen-minute jazz sonata by the simple device of letting Raymond and Pevar take turns running with it. If you’re a Crosby fan, you probably already have this CD — but if you don’t, grab it.

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