If I Could Only Remember My Name

White men with weak voices who huddle in the "Let's jam to the blues" bit of the rock spectrum have to work harder for my attention. David Crosby (not the same as Bill Cosby it turns out - I had to check) comes across so up his own arse that he either doesn't know or doesn't care, which is probably why so many of his moany vespers disappear before taking on a recognisable form. Song With No Words sounds like self-parody (though the coda's all right) and What Are Their Names sounds like a half-baked intro to a longer song which is due to start at 4:14 but finishes there instead. My question isn't can he play (answer: yes) but why is he playing? Verdict: I could have died without hearing this album.

This list of collaborators on this album is wild: multiple members of each of Jefferson Airplane, The Grateful Dead, and Santana, plus the entire CSNY crew, and of course Joni Mitchell. Three of the nine songs are instrumentals, one of them (Cowboy Movie) reads like it was written by a mental patient, and the rest offer little in the way of lyrical complexity. It sounds incredible, though, and not only is the sound enough to overcome all of that, it feels like a feature rather than a bug. One of my favorite albums so far. Best track: What Are Their Names

This is a great album...jazzy atmospheric, beautiful harmonies and unusual song structures. Thecstar of the show for me is Cowboy Movie an 8 minute epic with a gorgeous melody and soaring guitar and lyrics as epic as the title implies. But there are great songs throughout this excellent album. 5 🌟

Really fun - Croz is a hell of a singer. Cowboy Movie wouldn't seem out of place as a gritty, choppy cut on a Neil Young platter, whilst Traction In the Rain almost has an iridescent quality to its beauty. I also liked the final tracks, eschewing words for voice and mood. Amongst the best albums this app has so far offered unto us.

Amazing. Ahead of its time, soothing and energizing

Great Overall album, mystical and enjoyable songs, setting a great mood

Loved this! Wish I had discovered this years ago!

lol just what this list needed, more folk rock. There really is no excuse for the sheer number of albums in this genre and time period, let alone shit this idiot was personally involved in. If you believed this list, music as we know it wouldn't exist without David Crosby. Somehow, these boring, meandering half-country, half-psychedelic stoner jams are essential listening that I'm not allowed to die before I hear them. Fuckin' lol. 1 point grudgingly given for not being the absolute worst thing I've ever heard, 1 point for only running half an hour. 2/5.

I've been a Neil Young, Byrds and CSNY fan for so long... I'm almost ashamed that I didn't pay attention to this album before. From the second song, I already felt at home. The nosy, imperfect and magnificent guitar, the divine vocal harmonies, the subtleties brought by each musician. A very pleasant listen and I hope to find this vinyl record very soon!

Holy star studded cast, Batman! You've got, Neil Young, Joni Mitchell and The Grateful Dead all putting their fingers in the pie and it's wonderful. Moody, full throated and bluesy as all get out. Smooth as a drive on an empty interstate in the southwest. I figured out something that was bugging me, the vocals for "Cinder and Smoke" by Iron and Wine are clearly derived from "Tamalpais High (around 3)" and boy that's a good thing.

I have an old used copy of this on vinyl so I do like it well enough, but listening to it in the context of 1001 greatest albums is kinda baffling to me. I like Cowboy Movie the most by far. It's basically a grateful dead track with a different singer when you look at the lineup. Other than that I like the strangely intense vocal harmony work on the last two tracks but honestly I feel like this is a fairly weak and very loosely constructed album. Kinda just sounds like high quality jam recordings on most of it.

Tamalpais High and laughing

I've never listened to this one before. Some of the songs are unplayable on Spotify, presumably due to the contributions of Joni Mitchell and/or Neil Young, so I'll have to find it elsewhere! I'm a big fan of Joni and Neil, but don't know much of the other CSNY members' work. Had a listen on YouTube -wow I can't believe I haven't heard this before. So many great artists on one record, and the Grateful Dead too (having said that, this is much better than their solo album I was subjected to last week). The album flows really well together, and is very well produced for the most part. Lyrically, it maybe strays a bit to far into hippie-dippie territory, but given the political climate at the time, that's understandable. Overall a great find, I'll be listening to this again for sure.

a sublime album. absolutely love it

Awesome! So much of the CSNY sound is here.

Great album to get lost in on a sunny morning, floated in it.

classic

Lovely -- and how have I not heard this before?

Good lord this made me want to drink beer in the sun.

This is one of, if not THE underrated classic of the 1970s. It’s basically Crosby stills Nash and Young without stills plus the Grateful Dead plus Jefferson airplane. I even think Greg Rolie and a few other Santana guys are on this thing too. It’s fucking amazing!

Jerry. Pedal steel Excellent. All of the albums to come out of the PERRO recording sessions are pretty good to outstanding, and this is an outstanding one..

Gorgeous

Just amazing loved every second of this album

Wow - didn't know this album existed - but it underscores what a critical part of CSN sound Croz actually was - and likely an important foil to Stills.

It knows how to balance hard hitting lyrics and songs with calm tunes and vocals, switching it's tempo right as you're going at the right pace. A really well put together thought out album. I fucking love these kind of albums, everything comes together beautifully and comes to it's full fruition within the context of the album.

Like a collection of rejected Neil Young B-sides. Rating: 2/5 Playlist track: Orleans Date listened: 26/07/22

This album is pretty disappointing. Inconsistent quality of songwriting, it feels more like this album is on the list for Crosby's reputation.

Production: 11/20 Songwriting: 8/20 Innovation: 7/20 Bangers: 0/20 Emotional response: 6/20 =32 tres boring I'm afraid

Great -- angry at times and haunting at others, moody and a bit rough around the edges, but powerful across the board.

It was a good listen

Ja dit is top !

Quite liked that

Sixties Stones.Great

no conocía nada de mi tocayo pero que barbaro chinago

Hard one to rate. It sound so hazy and loose in places, its hard to tell if they were trying. But when they lock into a groove or a good vocal line, it's magic. One of those albums that invented a template many others copied, and that no doubt sounded mind blowing at the time it was released, but I'm not sure this is really an album someone who's not already a big CSNY fan really needs to hear in 2021.

Sure, why not put everything from CSNY on this list. Who cares.

There are some very talented people on this record, and they can all sing and play and it is well recorded, but there are basically no songs on this record. Actually 'Cowboy Movie' is alright, I don't mind that. This is the sound of a hugely talented star wallowing in depression, grief and a mountain of heroin. At least it doesn't have Stephen Stills on it, thank Christ for small mercies. It's an over-rated cult album, only acceptable for soundtracking a pretentious dinner party or debilitating opiate addiction.

didn’t really enjoy

This album cover is hilarious. Just needed to state that right off the bat. The familiarity of Crosby's voice is nice/pleasing to those of us old enough to have heard CSN so often on the radio, but I'm finding this a bit aimless. "Cowboy Song" as the second track...an 8-minute jam over two chords...seems a poor choice here, if not just a poor song. Once "Tamalpais High" kicks in though, those *harmonies* start right away - that's what we came for. But ... that's all that song delivers - almost literally - David just thought "yeah that's enough here" :D "Laughing" is a little more constructed but unimaginative, and the rest of the album sort of peters out. I know each of the CSNY members released solo albums in the aftermath of their classic "Deja Vu" and probably wanted to establish their own voice, no pun intended. But listening to this even while acknowledging DC's best asset (his gorgeous harmony construction) is still strong here it's hard not to think that Crosby needed the rest of his sometime-bandmates to help him put together anything resembling memorable songs. This ends up just being a half-hour of often nice sounding notes. If I could only remember any of them. mostly because it should have been better but it's just trash.... 2/10 1 star.

# David Crosby’s *If I Could Only Remember My Name*: A Transcendental Journey Through Grief and Harmony David Crosby’s 1971 solo debut, *If I Could Only Remember My Name*, stands as a singular artifact of the early 1970s West Coast rock scene. Released in the shadow of personal tragedy and amid the zenith of Crosby, Stills, Nash & Young’s (CSNY) fame, the album channels raw emotion and experimental ambition into a hauntingly beautiful tapestry of sound. Combining layered vocal harmonies, jazz-inflected instrumentation, and lyrical introspection, the record defies easy categorization, blending folk, psychedelia, and avant-garde sensibilities. Though initially met with mixed reviews, it has since been recognized as a cult classic, revered for its ethereal production, collaborative spirit, and unflinching exploration of loss. This review examines the album’s lyrical depth, musical innovation, production techniques, thematic resonance, and enduring influence, while weighing its artistic triumphs against its occasional indulgences. --- ## Lyricism: Poetry in Fragments Crosby’s lyrics on *If I Could Only Remember My Name* are sparse yet potent, often serving as impressionistic vignettes rather than linear narratives. Written in the aftermath of his girlfriend Christine Hinton’s fatal car accident, the album’s words oscillate between existential despair and fragile hope. The opener, “Music Is Love,” co-written with Neil Young and Graham Nash, distills Crosby’s ethos into a mantra: *“Everybody’s saying that music is love / Everybody’s saying it, don’t know what they’re thinking of.”* The simplicity of these lines belies their profundity, framing music as both a salve and a mystery[1][4]. Tracks like “Laughing” and “Traction in the Rain” grapple directly with grief. The former, a meditation on disillusionment, contrasts the narrator’s sorrow with a friend’s laughter, culminating in the devastating admission: *“I thought I’d seen someone / Who had seen the truth / But it was only a child / Laughing in the sun.”* The latter, a tender acoustic ballad, references Hinton explicitly: *“Christine, dear, I’m so lost and hollow / Traction in the rain, my tears they follow.”* Crosby’s avoidance of overwrought sentimentality lends these moments a raw authenticity[1][4]. Political undertones surface in “What Are Their Names,” a collaborative piece featuring Jerry Garcia and members of Jefferson Airplane. The song’s accusatory refrain—*“What are their names? / And who gave them the right?”*—reflects Crosby’s disillusionment with America’s power structures, a theme he’d explored earlier in CSNY’s “Long Time Gone”[2]. Yet even here, the lyrics remain elliptical, prioritizing mood over manifesto. **Critique**: While Crosby’s fragmented style amplifies the album’s dreamlike quality, it occasionally veers into obscurity. Tracks like “Orleans” (a Renaissance-inspired a cappella piece) and the instrumental “Song with No Words (Tree with No Leaves)” prioritize phonetic sound over literal meaning, which may alienate listeners seeking narrative cohesion[1][4]. --- ## Musical Architecture: Harmonies as Landscapes The album’s true brilliance lies in its sonic architecture. Crosby, renowned for his harmonies in CSNY, transforms his voice into an instrument, layering overdubbed vocal tracks to create celestial choirs. “Cowboy Movie,” a 7-minute epic, exemplifies this approach. Over a propulsive rhythm section, Crosby’s multi-tracked vocals intertwine with David Frieberg’s bass and Garcia’s stinging guitar solos, evoking a psychedelic Western[1][3]. Jazz influences permeate the record. “Tamplais High (The Road)” pairs Crosby’s scat-like vocalizations with Phil Lesh’s nimble basslines and Mickey Hart’s polyrhythmic drumming, while Garcia’s pedal steel guitar on “Laughing” conjures a cosmic lullaby[1][3]. The improvisational spirit of these sessions—often described as “hydroponic jams”—reflects the communal ethos of San Francisco’s 1960s music scene[1][4]. The album’s centerpiece, “I’d Swear There Was Somebody Here,” is a 90-second vocal collage that borders on the liturgical. Crosby’s layered harmonies, sung wordlessly, ascend and dissolve like smoke, leaving an indelible impression of absence and longing[1][3]. **Production Mastery**: The 50th-anniversary remaster (2021) underscores the album’s audiophile credentials. Tracks like “Laughing” reveal newfound depth in Garcia’s pedal steel and Joni Mitchell’s backing vocals, while the acoustic textures of “Traction in the Rain” resonate with startling intimacy[3]. Engineer Stephen Barncard’s decision to record in San Francisco’s Wally Heider Studios—a hub for the Grateful Dead and Jefferson Airplane—imbues the album with a warm, expansive soundstage[1][3]. --- ## Themes: Mourning and Communal Healing *If I Could Only Remember My Name* is, at its core, an album about loss. Hinton’s death haunts every track, but Crosby transmutes his grief into a broader meditation on impermanence. “Laughing” juxtaposes spiritual seeking with earthly disillusionment, while “Traction in the Rain” captures the numbness of mourning. Even the instrumental “Song with No Words” feels elegiac, its wordless melodies echoing the ineffability of sorrow[1][4]. Yet the album is not devoid of light. The communal recording process—featuring Nash, Mitchell, Garcia, Lesh, and members of Jefferson Airplane—embodies the countercultural ideal of collective creativity. Crosby later described these sessions as “magic,” a fleeting convergence of talent and empathy[1][4]. This spirit animates “What Are Their Names,” where the ensemble’s ragged harmonies channel both anger and solidarity[1]. --- ## Influence and Legacy: From Cult Classic to Canon Initially dismissed as self-indulgent (*Melody Maker* dubbed it a “grotesque display”), the album has undergone critical rehabilitation. Its layered production and vocal experimentation prefigured the ethereal folk of Bon Iver and the xx, while its jazz-inflected grooves resonate in the work of artists like Fleet Foxes[1][4]. The 2021 remaster reintroduced the album to a new generation, with *Pitchfork* praising its “gloriously abstract” soundscapes[1]. Crosby’s collaborators also benefited from the album’s legacy. Garcia’s contributions here foreshadowed the Grateful Dead’s *American Beauty*, while Mitchell’s vocal interplay with Crosby influenced her own *Blue*[1][3]. **Pros**: - **Innovative Soundscapes**: The vocal layering and jazz-rock fusion remain unmatched. - **Emotional Depth**: A raw, unflinching portrayal of grief. - **Collaborative Alchemy**: The ensemble’s chemistry elevates every track. - **Timeless Production**: The 2021 remaster enhances an already lush recording[1][3][4]. **Cons**: - **Abstractness**: The lack of structural conventions may frustrate some listeners. - **Uneven Flow**: The abrupt transitions between tracks like “Orleans” and “I’d Swear…” disrupt momentum. - **Lyrical Opacity**: Crosby’s impressionistic style occasionally sacrifices clarity[1][4]. --- ## Conclusion: A Mirror to the Soul *If I Could Only Remember My Name* is not an easy listen, nor was it meant to be. It is a deeply personal document, a sonic diary of a man grappling with unimaginable loss. Yet in its imperfections—the meandering jams, the fragmented lyrics—lies its beauty. The album’s legacy endures not despite its idiosyncrasies but because of them, offering a testament to the healing power of art and collaboration. As Crosby himself reflected, *“Sometimes it made magic, and sometimes it made mud”. A half-century later, the magic remains luminous.

Super duper trooper

I'm snowed under with work today, to the point where I can... hardly remember my name. It's too bad because there are tons of things to say about this album, which is sort of an outcast in this list. It's from a world-famous artist (at least for anyone interested in the Californian rock scene of the late sixties / early seventies), and yet it's very much a curio and an oddball release as seen from today's vantage point. It's probably the most famous solo album recorded by David Crosby (whose career in legendary acts such as the Byrds and CSNY made him a household name), and yet the record still has a niche, cult-like, elusive reputation. Its bluesy jams and psychedelic forays are a little self-indulgent at times, and yet they also possess a one-of-a-kind mystery and musical poetry that can make said dirges fascinating and even addictive in the long run. I could say that opener "Music Is Love" is the platonic ideal of psychedelic freak folk as it was performed on Californian beaches. Or that "Cowboy Movie" borrows grooves from frenemies Stills and Young's Buffalo Springfield so as to take them to a whole different, far stranger sort of dark narrative about America's violent roots (here secretly reincarnated as a love triangle involving Crosby, Graham Nash and Ritz Coolidge, according to Wikipedia notes). Sure, that slow guitar riff supporting the yarn was nothing really new. Yet it's still 100% hypnotic, and just yearns to be sampled or stolen by more recent rock acts today. I could add that the slick vocal harmonies of "Talmapais High" sound like CSNY taking LSD instead of Mary Jane. I'm even hearing something approaching nineties post-rock act Tortoise during its conclusion, oddly enough. I could also say a zillion things about "Laughing", but I will only say it's one of the most beautiful ballads of the early seventies. And I could say a zillion of other things about the epic vocals of "What Are Their Names", the gorgeous zither of "Traction In The Rain" and the quaint lounge jazz flourishes of "Song With No Words" (maybe the only *real* self-indulgent cut in the record). But all I want to say now is that the one-two punch of listening to the hypnotic traditional tune "Orleans" and the very short, very appeasing, yet also very spooky near-Gregorian chants of "I'd Swear There Was Somebody Here" back to back is a hell of a way to close an album. It tightens your throat. And makes you want to explore those infinite Californian beaches so as to find your soul again. Then you read that Crosby was still coping with the death of his girlfriend in a car accident a couple of years ago when he recorded all this, and you start to "get it", maaaaaaan... And you also read that the performers in those loosely-planned sessions included the Grateful Dead's Jerry Gracia, Jefferson Airplane's Grace Slick, Graham Nash, Neil Young, Joni Mitchell or Santana, and you realize the communal "feel" this record gives away is the real deal. There's an elated emotion running throughout *If I Could Only Remember My Name* that makes it very, *very* special. Or at least, it makes it special enough to be remembered today indeed, just like you're remembering the old beach parties involving the sunbaked youngsters of times long gone by now. You've never been there, you were not even born when they happened... And yet, you *do* remember. Because music is not only "love". It's also eternal. Rest in peace, David Crosby. 4.5/5 for the purposes of this list of essential albums, rounded up to 5. 9.5/10 for more general purposes (5 + 4.5) Number of albums left to review: around thirty or twenty, as I've gone over the 1000 line and this generator is including albums from all editions of the book. Number of albums from the list I find relevant enough to be mandatory listens: 464 Albums from the list I *might* include in mine later on: 279 (including this one) Albums from the list I won't include in mine: 334

Didn't expect to like this - looked him up and was like "ANOTHER highly influential jazz and folk influenced dude seminal to the rock and acoustic scsnes of the 60's and 70's? Christ" but then it was so wonderful. You can see the direct DNA leading to eg Fleet Foxes. Great structure and drama, no pretension, just beautiful.

4-5

Wow. Amazing album and it is great to hear the late great Phil Lesh on bass--he absolutely kills it on Cowboy Movie. A supergroup album disguised as a solo album- love it.

This album really threw me for a loop. Where it started and how it finished showed his range. I liked the depth of the lyrics in most of the songs and just the arrangement of the vocals. I always loved the stacked vocals in the 70s, it helps immerse you into the record like you can almost see the music. Traction in the Rain made this a 5 star album for, such a beautiful song. All in all, a tremendous record and performance by David Crosby.

Absolutely love this, excellent Laurel Canyon vibes.

all i can see is u love seventies music and this is perfect and heavenly🤷‍♀️

i mean just like. Wow. he kind of did his big one with this i can’t believe i’ve never heard this before ever. such insane atmosphere and vibes created i feel like im in another world, and it’s my favorite thing ever when albums can do this. lowkey i need to get high to this. 1.) cowboy movie 2.) id swear there was somebody here 3.) what are their names

Something about the composition of these songs is just so clean. So relaxing. So comforting. Feels like your stressors just melt away. I was going to mention that the vibes really reminded me of Santana's work. Come to read the wiki and find out Santana helped work on the album! Makes sense.

This is a really idiosyncratic and lovely album. It’s a perfect fall record.

Remember finding a cheap used copy of this in a record shop, and putting it on just by sheer curiosity. And then getting my mind blown. What an unbelievable document of the time: the talent, the humanity, the brotherhood, the beauty of it. Yes it is occasionally a bit pompous and self-indulgent, but also touched by grace. One of my desert island records.

This is a complete Who's Who collection of artists who I should probably know more about than I do. It's very hard to deny the Crosby's songwriting, and the importance of this group of musicians to the San Francisco music scene of the time. In contrast to much of his other work, this album is chilled and airy, evoking the image of the album cover of looking out to the sea at sunset. It's calm and introspective and beautifully done.

I can understand why this was met with confusion and hostility when it came out since it’s so different to what people would have expected from Crosby, but as an almost wordless expression of grief, I think it creates an incredible atmosphere.

The rule of thirds as it applies to the 1001 list: 1/3 if the music hurts me, and I have to stop. 1/3 is ok, or quite good but I wouldn't bother looking it up. 1/3 is a new and maybe a top or favourite album, or good enough to listen to again. Even through the external speakers of my phone, this is amazing. The atmosphere, lyrical and free beat. Feels good stuff for me. No analysis required. Just positives. Can't wait to out in some headphones for the full feels. It's been 2 tracks! 1/3 feels

RIP David. 5

An album of pictures in sound and moods. Opener 'Music is love' sounds like a stoned campfire sing along; 'Cowboy Movie' sounds like I'm wandering through the desert with a thirst; 'Tamalpais High' could be incidental music to a cool cult 70s movie. Meanwhile the gorgeous sun- kissed 'Laughing' sounds like the Byrds at their best while the jam 'What are their names' has some fine instrumental noodling. Then there's the stacked heavenly harmonies of 'Orleans', which are simply stunning. And surprisingly, given the background (the recent death of his girlfriend) this is an uplifting rather than a depressing listening experience: mystical and beautiful, if a bit disjointed.

Amazing fucking album!

The man lived a lifetime of mess, but boy could he make music.

Sjajan album

This was awesome. Loved the whole thing, especially Cowboy Movie.

Wow. What starts a soulful blues become an etherical, nearly timeless or at least Style-defining psych-folk album. Strong in its calmness I would‘ve never expected the music being so far away from the likes of his collabo-participations. Strongly recommend this! 4.7

I really enjoyed this album. I was feeling it for me it was perfect for today! Kate loves the album cover!

Reading some of the reviews from younger people, I worry for the future. Yes, Virginia, modern music owes a great deal to David Crosby and his contemporaries. NWA would never have said "Fuck the Police" if CSNY hadn't said "Fuck the National Guard" in 1970. Back to this album. Listening to it for the first time (and ashamed I missed it until now) I find myself hearing a bevy of familliar voices. "Is that...?" Yes. And Crosby blends flawlessly with all of them. The only fault in the album is it's just too short.

Heart warming

Belíssima transformação da melancolia em força criativa.

Probably my favourite album of the seemingly hundreds connected to the Byrds and their constituent members. The main reason to hate that UFC prick is the Neil Young ban means I can't easily stick this whole album on. I need to really sort myself out with a vinyl player again and buy this album. I am hugely hit and miss with Young but his two co-writing contribution here are both great. I imagine there's more of the record he's playing on but they're still available. Such a shame I only discovered this around Crosby's death early last year when my mate (a big Cros fan) sent it me. But that means its super fresh to me as well. Just superb from start to finish. The Byrdsy vocal harmonies are of course on show, as well as uber-laid back guitar, it's just bliss to me. Album cover captures the vibe superbly. Highlights, the second half of Cowboy Movie when it's really in it's stride, Laughing (obviously)

One of my favorite records. Just look at the people who played on this album. Pretty much all of the Grateful Dead and Jefferson Airplane. Very psychedelic with folk elements as well, not unlike the typical CSNY records.

criminally underrated album

Good listening dad rock. Will likely revisit at some point

really good album

This album deserves to be way better known, up there with his work with others

This album is essentially a cross between the Grateful Dead and CSNY, with some Jorma and Joni thrown in for good measure. Ah to have been a fly on the wall for these recording sessions. After a cheesy first track, the rest of the album is excellent. My favorite is Tamalpais High, which features some quintessential harmonies by Crosby with sensational backing by Jerry, Phil, Kruetzman, and Jorma. I mean wow!

🧚🏻‍♂️

There is a melancholy spirituality here that I was very touched by. This is gorgeous.

I always want more Crosby.

Super chill, easy listening. Thanks for the introduction.

This album is so underrated. I love it, it’s in my top 100 of all time.

Beautiful.

bom demais

I tried to listen to this album on Spotify and realized that two of the songs were not available because they were cowritten by Neil Young. Neil Young is in the middle of his whiny little bitchpalooza about Joe Rogan and Spotify, so only those two songs are not available on the platform. I found a friend with a copy of the CD, and after listening to it, I realized that the two songs cowritten with Neil Young, Music is Love and What are Their Names, are the two weakest songs on the album, so really old Neil did Spotify a favor. The rest of the album is perfectly atmospheric and harmonious. The album with the two omitted songs is four stars and without, five stars. Thanks Neil.

ouffff

Very good, need to listen several more times

Syns dette var ganske kule greier!

Я раніше ніколи не чув про цей альбом, і тому, коли трохи поглибився в те, що він із себе являє, то був приємно вражений. Це напевно останній альбом та фактично квінтесенція музики, що любило покоління хіппі. Адже Девід Кросбі, що переживав тоді важку втрату своєї дівчини, що загинула у автокатастрофі, вирішив не просто створити свій дебютний альбом самостійно, а зібрав для цього усіх своїх зіркових друзів. Зокрема, Jerry Garcia із Grateful Dead, вокалістка Jefferson Airplane - Grace Slick, та великий Neil Young. Усі вони прийняли участь у створенні цієї «психоделічної мантри», що через мелодійний та меланхолійний вокал Кросбі, та, ніби «заколисуючу», акустичну гітару, переносить тебе на якийсь пустий літній пляж прямо під час заходу сонця. Це дуже красива та сумна робота, що звучить доволі злагоджено, але водночас створює відчуття ніби слухаєш просто записану джем-сесію. Під час якої музиканти просто «чілять» та віддаються польоту фантазії. І якщо ви до цього не слухали старенький #folkrock, або психоделічну музику 60-х, то цей альбом є чудовою нагодою увійти у цей прекрасний «барвистий» світ.

Interesting "eerie" music. I liked it

Should be no shocker that I love mr crosby. He was all over neil and joni's albums in the 70s (produced Joni's debut!)... hes also just one of those guys who is quietly everywhere ... in the byrds of course, writing songs for jefferson airplane... playin with his old bandmate and my personal fav Gene Clark... anyways - Crosby rocks and this is his best album by far - its pretty and fun and heavy and psychy at points... for me a true pleasure. One of the sadder covid deaths for me ... rip to an absolute unit of a moustache and i loved his lil red knit hat... gotta get me one of those.

Holy vocal harmonies. Not at all what I expected but this was really cool!

Nice summer hippy music

This is a strong album but I'm not sure it moved me enough to give it 5 stars.

This is nice. Not much else, just nice. The instrumentation laid down by the dead is phantastic. Backing vocals by Joni and Neil on certain songs are great. It’s all good, but nothing there to blow me away. They’re all incredibly talented artists and it really surprises me that they put out something so mid. I reckon that David was in charge here. He makes great melodies and writes very well, but he’s missing the excitement he has on other projects. I did thoroughly enjoy it, though. Would just have expected more. 4/5

If you're a fan of CSNY at any level, or just some pirate radio station on the Mendocino coast, this is a nice little nugget to add to your collection.

I’d always seen this around, like on Discogs, but never gave it much thought. I always liked CSN/CSNY but just figured, “oh it’s probably ok but I’m sure I can easily slip it”. And was I wrong. This album is great, and much more than I was expecting. The last few tracks are a little weird, but over all the musicianship, lyrics, etc… here are top notch.

Really liked track 1 and track 2, felt like the rest was good but wasn’t my jive

Predominantly enjoyed it! Fun and interesting. Fuck that last song though, it was bullshit.

This is a lovely album

Folky rock, reminiscent of CSN (unsurprisingly)

Pure

Album started meh but was actually decent. 3.5 stars

More easy listening here. Won’t ever seek it out, but unlikely to turn it off it is comes on