Reviews (page 3 of 14)
So pleasantly surprised by this album, some incredible tracks and harmonies. Happy to of discovered the,
Folk is not really something I listen to but I enjoyed this one! It certainly has 60s vibe and it reminds of something that would be background music in old movies. I used to listen to KISS quite a lot when I was younger and actually songs like Pre-Road Downs could easily be a KISS song if it would be produced differently! This is the second album I am rating so my rating is not developed yet but the only reason I am giving only 2 stars is that (5=Album I would want to buy as a Vinyl and I would regularly listen to, 4=I would not necessarily want to buy but has mostly great songs, 3=Has some great songs I would (be happy to) add to my playlists, 2= I enjoyed but did not meet the criteria of the higher ratings, 1= I did not enjoy.)
10/10. a top 5 record for me.
The second best album of the CSNY crew, behind 'Déjà Vu,' this classic album is tremendous for a chill day. If you enjoy white dad folk rock, 'Crosby, Stills & Nash' is for you. Top tracks: "Suite: Judy Blue Eyes," "Helplessly Hoping," "Marrakesh Express"
--Suite: Judy Blue Eyes...classic. finding new appreciation for Stills' bass --Marrakesh Express...sounds like one of Simon and Garfunkel's throwaways --Guinnevere...melodramatic but pleasant --You Don't Have to Cry...see above --Pre-Road Downs...Stills' bass doin' work again --Wooden Ships...here we go. this feels like a complete work. harmony, rhythm section, lead guitar. it all comes together --Lady of the Island...another S&G impersonation but it's good --Helplessly Hoping...classic. another Simon & Garfunkel pastiche but this, unlike the others on this LP, achieves equality --Long Time Gone...an odd, bluesy change of pace but it works --49 Bye-Byes...nice but forgettable
Not what I’m looking for for some reason. Impressive acapella but like the kind you hear mid high school performance that you don’t really go back to. Music forgettable too. Akin to a night out on the town where you feel like it’s an absolute rager and then you look back in confusion. Drink: a Heineken. Watery, makes you tipsy, and rarely the one for the job. Rating: 4.37/10
Couple classic songs, but as a whole, it's not that great of a record. Not sure why it's on the list. The addition of Neil after this album made this 'supergroup' into an actual supergroup.
classic
8/10
Helt grei
In my mind, this is a "safe" album. I can always be in the mood for it, I can always find something I like in it.
Definitely some good tunes in here, great for working to. Nostalgic and peaceful, if a bit samey
This has a lot of the big tunes, but Deja Vu is better.
I love this album. Today when listened to it I decided to focus mainly on the instrumental side, because usually I'm listening to vocal mainly, naturally. And man, Stephen Stills did an amazing job there. It's an album that kind of defines an era for me, with all its songs being great or better. I won't add much, it's a 5
not as good as Joni Mitchell’s Blue
pleasant, i'm getting serenaded by three people.
One of the first supergroups in rock and even better after Neil Young joined. Some of the best vocal harmonies you'll hear on a record. Excellent songs too.
my only takeaway from this was "yeah these guys' voices sure sound good together"
Pretty solid if you think of it as a run-of-the-mill folk rock album; disappointing if you perceive it through a “super group” lens.
A beautiful album. So many facets of delight. A special masterpiece
Sooooo good
no me mata, me aburrio un poco. no me gusta como esta grabado del todo. osea me confunde nose que cosas son buscadas y que no. osea se banca pero no me genero mucho. es un 2.5 (una paja no poder media estrella)
If it was in the background I wouldn't have known. Nothing that stands out, forgettable.
Some great songs on here
The eagles heard this and made 17 albums trying to catch this lightning in a bottle
This is like Boygenius if they were actually boys 🤤 ‘Guinnevere’ is STILL one of the most beautiful songs I have ever heard. Couldn’t be happier the rest of the album is as gorgeous.
I like this album a lot but I don't really know whether I love it, doesn't really speak to me.
Loved this way more than I expected to, an insanely beautiful album
Meh
wait this is good woodstock where
I don’t know what it was but this didn’t really resonate with me all that much, I like bands who can create great harmonies (Beatles and queen) but this didn’t scratch that same itch those others did. I think it’s important but I won’t be coming back anytime soon.
first song is a banger, sort of reminds me of age of aquarius but doesn't have sections that build like it; the rest i am not particularly fond of, think this sound just doesnt really work on me... 2.5/5
I've heard of them, but didn't recognize any of these songs. Very much not my thing though.
A refreshing palate-cleanser after another Dexy's Midnight Runners slog. Hippie dope-smoking songs with with lovely harmony vocals. A classic, containing Suite Judy Blue Eyes, Marrakesh Express, Wooden Ships, Helplessly Hoping.
Amazing album from start to finish!
Curto demais eles. Já tinha 3 músicas desse álbum como favoritas. Eles tem um estilo muito único e reconhecível. Um supergrupo de gente foda, harmonia perfeita de vozes. Me dá uma paz e me faz pensar na vida a música deles.
Country music vibe, soft and easy to listen to, it is ok for me.
I’d get this on vinyl
Some really good songs on here from such an epic trio. Deja Vu such a better album from these dudes though. This still is great but I dont think it has as much reach as DV.
Incredible album. I'm a sucker for these harmonies. I will never get sick of this album.
Easy acoustic listening sound. I enjoyed it even though it isn't particularly my style.
Talented but a slog for me.
This is fine.
très sympa on sent des prémices de rock psychédélique. Du folk rock sympa par moment aussi. Bref très cool
Suite: Judy is still the best CSN song, even though it was the first on their first album. Sometimes they devolve to a weak Simon and Garfunkel, but mostly they are an excellent group with some of my favorite songs. This album isn't as good as Deja Vu, but it is still amazing. 4/5
Probably visionary and very nice
Good in parts bit average in others. Nice harmonies just a shame they didn't have a better set of songs to sing 3.5*
Bluesy white guys disappoint chubby-fingered man hoping for likeable folk tunes. CANADA local fatty with poorly-informed opinions wailed lamentations today during the playing of "Judy Blue Eyes" early this morning. The young (?) man (?) was heard shouting "Jesus Christ it's more blues-y riverboat white guys ripping off Eric Clapton who ripped off Mississippi blues musicians horribly, god dammit, I hate music so fucking much" from his overpriced apartment. When pressed, a neighbour who wished to remain anonymous, stated "Oh somebody lives over there?" When questioned about the reviews that have no amassed 9 likes total, the neighbour feigned ignorance. Despite the horrible structure and hackneyed "joke" that this "article" has and has become, the Cyclopean Tymes was able to catch up with the bloated blowhard himself, who can be quoted as saying "Are you guys the paper that's printed in behind that sweatpants warehouse on 84th? I thought that place burned down after that child writer went nuts." The Cylopean Tymes denies any involvement in that particular child writer's outburst. Reviewer was further heard asking "You guys keep Garfield there? No? How do you get all those comics? Man I love when he easts (sic) the lasagna." After another useless non-sequitor, I asked for his final opinion of Crosby, Stills & Nash's self-titled LP, and through a wheeze of Cheeto dust, the internet (un)funny man said "This turned out pretty good, but boy do I never need to hear white guys doing blues again." 3 HIGHLIGHTS: Print media is alive. I've inhaled the ink myself
you can hear the beginnings of a group that would eventually produce some classic music but this album is not great. I can't score them higher because I know what was to come in the future. So many better C,S & N and once they added Y even better.
mej
not so much of my taste but the recommendation it gave away was good
Crosby, Stills and Nash dropped their self-titled album in 1969 with a remaster in 2005. One of the most influential bands of our era. Let's see how they kicked things off. The opening track, *Judy Blue Eyes*, has been used in more movies than I've had hot meals, and you've heard it on your parents (or possibly grandparents) radios since the beginning of time. What's it about? I couldn't tell you, except for the singer-protagonist seems to be obsessed with a young lady who is free by nature, beautiful, and makes him muse about the state of the world. That's probably literally what it's about. It also goes on for over seven minutes, which is a bold kick. Did you know there was a time where traveling to and through India was considered a time of emotional and spiritual enlightenment rather than a slog through filth and dealing with scam call centers? It's true. Stoners were really into that in the late 60s. Crosby, Stills, and Nash among them. *Marrakesh Express* is about exactly what it says on the tin. Taking the train from Casablanca South to Marrakesh and all of the interesting things that the singer-protagonist saw along the way, including cobras being charmed in the square and buying djellabas that they definitely aren't going to wear when they get home. It's a fun song, no doubt, but it's definitely of its era. _Guinevere_ is more of a mood board than a coherent song. Who is the singer? What is their point of view? Someone who has seen Guinevere notionally. They describe things that she has done and the environment in which she lived, including peacocks wandering aimlessly underneath an orange tree. But the speaker remains surprisingly unnoticed. Who is the person to whom the singer-protagonist is singing? Unclear. It's a blond woman who draws pentagrams like Guinevere. Are we talking about some sort of diabolic soulbinder or is she just a proto-goth in 1969? Unclear. What is binding these people that they need to be free from? Because it sounds like they're having a great time, riding down by the bay with her beautiful blond hair streaming out. I suspect this song and the entire album would make a lot more sense if I were high as balls right now. I'm almost certain that's how it was written. There's a certain broad class of songs which I refer to as "the singer is an asshole." That is, our lyrical protagonist is generally an unpleasant person and advocating for ideas which are self-destructive at best. *You Don't Have To Cry* fits firmly into that space. His girl left him (cryin') and went off to get a real job where she got to think about telephones and managers and where she has to be at noon. He left that reality years ago because "it nearly killed me." He predicts that in the long run it'll make her cry, make her crazy and old before her time. He's not going to argue right or wrong, but he merely says that he has time to cry. What an asshole! Passive aggressive bullshit. Cut your hair, hippie, and get a real job. Stop being such a downer. With *Pre-Road Downs*, we have something that is a classic narrative construction for touring bands, and that's a song about going on tour. In this case, going on tour and leaving your wife/lover/girlfriend behind and looking forward to being back home with her. There's actually a full narrative arc in this song. Despite its length, things start with a hopeful vibe, descend to feelings of forsakenness and being rejected in the middle. With the news that he's on his way home, she's elated, and he claims to have waited a whole year for her, and they're going to have sex. However, we end with the admonition to not run and a reminder to "hide the roaches," which I'm sure is not in reference to any sort of insect, but to hide the evidence of their marijuana use. Why that's the most critical thing to reiterate hangs in the air like the smell of skunk weed. The B-side spins up with *Wooden Ships*, and I guarantee you've heard at least one of these verses at some point during a movie or TV show. I also guarantee almost no one who has heard this song has actually read the lyrics, because beyond being a little incoherent, it does have a little bit of a through line. Two guys theoretically abandoned on an island or on a ship itself from opposite sides in a conflict who are looking at starving, but they can reach an accord and eat the purple berries that may keep them alive. Then they talk about wooden ships and how they are free and easy, and how the silver people on the shoreline leave them alone. Then we hit the next verse, which runs, "Horror grips us as we watch you die. All we can do is echo your anguished cries to stare as all human feelings die. We are leaving. You don't need us." Then the inhabitants of this ship, possibly ghosts at this point, tell you to take your sister by the hand and leave because that's what they're going to do. I believe the proper response is, what the hell just happened here? What is there to say about *My Lady of the Island*? You could say that it has only a nodding acquaintance to meter and rhyme, much less scansion. You could say that it is barely a song, really just being the sort of thing that you pull out the guitar and play to a chick that you manage to talk into bed afterwards to try and make her feel better about the experience where the most important things you can find to say are how hot she is and how much you enjoyed the sex. Is it a good song? No, I think that's what there is to say about it. I'm not sure if I have started moving beyond simple review, and I am now actively projecting my writerly instincts onto lyrics which are deliberately vague. I'm putting together a narrative that simply doesn't exist, or whether I am having a moment of electric insight and divining the implicit truth. *Helplessly Hoping* is that kind of song. The narrative in my head is that this is a couple who were together. She gets pregnant, doesn't know how to tell him, and decides to break up instead. They really should get back together, but neither one of them can make the outreach to seal the rift. But maybe that's just me writing that story while looking at these lyrics and listening to this song. I don't know, and it's the impossibility of knowing that's really frustrating. Maybe I've written something better than what the song is saying. There's no way to know. *Long Time Gone* trades out some of the hippie vibe for R&B and is a better song for it. Nice solid backbeat, simple but effective melody. We've got a bit of a jam going on here. Lyrically, it's a social activism song. Not a very good one in terms of effective activism, but it's trying very, very hard. Sure, it calls out that there's something wrong going on that surely won't stand the light of day. You really need to be willing to speak your mind—but don't actually do anything to try and change the situation other than talk, like get elected, because you might have to cut your hair, man. You might have to actually look at the world and react to it as it is, rather than just talk at it. It's hippie activism and a bit of doomerism, and some things never change. Still, it's got a good beat. We round out the album with *49 Bye-Byes*, which is a twisted little tune, not because of any particular musical element. It's quite accomplished musically, catchy even. Now the problem is, again, the lyrics in which the singer protagonist tells us that he's been with his old lady a long time, potentially 49 years. He thought things were all right. They're good friends. The relationship has some issues and that's okay. Then she leaves him for a drifter who came through town, and things go quite sideways. First, he can't quite grasp that she left in the first place, and we have a little bit of an acceptance, but then we get to the bit where he prophesies that she's going to end up feeling trapped and not like it, and reiterate that, "that's not my old lady," which I can only assume really means, "that's not like you, sweetheart," and ends with the question, "Who do you love?" which frankly ought to be obvious, since she left with a drifter in the spring. But maybe he was just too high to come to that conclusion on his own. Crosby, Stills, and Nash's self-titled album has a deeply influential sound, and there are a couple of really good songs on here. But then there's the rest, which drift around like the smell of patchouli and unwashed hair. Aimless. Not necessarily unpleasant, but you could see where it can get there.
Wooden Ships was cool as hell. Disappointed that they only said bye-bye 5 times in a song called 49 Bye-byes. Would love to hear what these guys could accomplish with a 4th member to really flesh out this sound.
It’s okay. The 4th member definitely added a lot to their sound imo.
i think i’m too Young to really know about these guys… anyway, pretty solid work but spelling guinnevere like that gave me the ick, minus 1 star
It was okay
Not for me. 1/5
6/10
Helplessly hoping made me cry. Overall I probably won't listen to it again, but I enjoyed it. 3 stars.
Has some standout tracks on it. I enjoyed their take on Everbody's Talkin'. I thought that was a Harry Nilsson tune. Turns out that was a cover too of the original by Fred Neil. This is a great folk album. Not a genre I love on the whole but Crosby, in every group he's in, seems to be a master of choral harmony. He himself isn't a great singer but he may pan out to be, sneakily, one of the best accompanists to do it.
Close harmony tedium. The best track was one of the remaster's bonus tracks
3.5/5
Needs some Young
not really my type of music but i can see why others like it: Top Songs: Wooden Ships Helplessly Hoping Long Time Gone Teach Your Children
- Starting with such a long song is bold... for me, it didn't really work. - Yeah, I'm having a hard time with this... - I only liked Helplessly Hoping, so I guess this is a no for me - it just feels kind of lacking in joy.
Rate: 7/10
Excellent album. Lots of hits. Lots of other songs that are just great.
Every age of soft singer songwriters doesn't happen without this record right here. Well and also all of Neil Young, but without CSN, we don't get the gorgeous harmonies of modern folk and Americana, nor do we get the stomp-clap-hey progenitors of the 2010s. The only sad part is this album hits really hard up front but fizzles by the end - "Suite: Judy Blue Eyes" is such a masterpiece that it's like the rest of the album is desperate to catch up. And to be fair to these three, I think they're better with Neil offering his songs and his slight edge; it just rounds out their sound in a way that this one still feels rough around the edges. But it's still a monster of a record.
Who needs Neil Young?
Sorry, I just couldn't get into it.
first listen great stuff
Great album
Boygenius for boomers
You’re in country country now
3.74
Sowas haben wir recht häufig in der Liste. Folk Rock aus den späten 60ern oder frühen 70ern. Funktioniert immer ganz gut, hat aber selten richtige Highlights. Das ist auch hier so.
Kannte die vor allem als Produzenten. Recht lahm.
me gusto bastante, disfruto mucho del folk rock de los 60/70 y este disco es perfecto. Debo destacarle particularmente lo complejo de los arreglos vocales, es excelente como se sincronizan las 3 voces y como se complementan en los coros en diferentes tonos, es impecable. muy recomendable, 4 de 5 para mi esta vez.
Lindo, 70 y tranquilo
Every song on this offers a different vibe. After the first few tracks, I was expecting every tune to be folksy and unconventional, but it turns out the album gets more straightforward further on. Still, songs like the hypnotic "Guinnevere" and the poetic "Helplessly Hoping" (not to mention the opening suite) are what makes the record essential on this list. As it ended, I felt like learning to play it all on guitar. Maybe, someday, I will.
A good jam album with lots of good songs.
Good shit
This is another that I think is just nice. It's not really anything offensive but it didn't blow me away and make me want to replay it immediately. The musicianship is there, but this one just didn't really capture me.
No longer young. Still great.
This is another album from my father’s collection. I think suite Judy blue eyes was my favorite song when I was four. The thing is, it’s a great album for a child. But as an adult… well I find its treble harmonizations, renaissance imagery, and “folksy” efforts trite. I don’t know what to do. 3 or 4? Well I just have Justin Timberlake a damn 3 which he himself in no way deserved, but I respect production. And nostalgia. So 4 it is. Boolean rating: yes, very glad to hear this again.
An undeniable classic. The harmonies alone are worth placement here. Yes, these three were a mess personally (so much so that Neil Young of all people couldn't hang with them for long), but you cannot tell the story of music without CSN. All that said, this album itself is roughly half-banger classics and half totally forgettable filler. Influence 5. Hits 4. Quality 4. Intangibles 4. I am here for it, but later albums were even better 4.
Not for me
There are no denying those harmonies or that mustache and while there were some good songs on here that I've been listening to my entire life there were also a lot of just ok songs.
3.5 - I expected this to sound more like Simon and Garfunkel, but found myself comparing it more to the Led Zeppelin.
Not my vibe
Beautiful. Perhaps a little plain.
Très bonne musique de Crosby, Stills & Nash sur leur album éponyme. J'ai apprécié la mélancolie et les chants à base de vocalises - qui tend peut-être à me lasser cependant... Coup de coeur pour You Don't Have to Cry. À réécouter absolument pour éventuellement faire monter la note !
It was pleasant to listen
Helplessly hoping salió de la nada y no tuve otra opción más que llorar
Nope. Not gonna be a hater. This is for people who are over the age of 70 and never left the 60s. It’s not for me. Hippie shit. You know it. Songs they now ubiquitously include in movies to evoke nostalgia for a simpler time. All fiction. The 60s were full of protests, Vietnam War, and a whole parade of sins. But Suite: Judy Blue Eyes, Marrakesh Express and the rest of the mix of country, folk and very soft rock are the product of California’s weed culture as psychedelic flourishes inhabit many of the tracks. As this was released at the end of 1969 it is definitely the product of its time as it tries to be an uplifting effort to end a decade of turmoil. Can you imagine telling young people to board a literal train? Best track for me is Long Time Gone which has that desert blues vibe that could be great for a late night drive along the highway. The guitar tone is spectacular and adds to the tension as the song builds to the chorus and release. Pretty genius. Not enough to save the record but a standout track. 3/5
Lovely harmonies
Meh
Dreamy and well executed. A few duds and the live version with neil was not great
If you smile at me I will understand
bastantes lindas melodiass es tranquilo me gustó
Really solid 60s folk rock vibes. Very chill vibes with some hints of psych, guitar work and harmonies were the standout. Fav Track: Wooden Ships or Lady of the Island
I never listened to them before this list, but I really enjoy them, and their harmonies
Disco tranquilo, de sonido suave, muy disfrutable para escuchar tomando cafecito en la ventana en una tarde lluviosa . Diseño de portada: 3.5/5 → Diseño de portada muy de la época, tanto la fotografía como la tipografía, comunica poco, pero cumple correctamente. . Canciones favoritas: "Suite: Judy blue eyes", "Wooden ships", "Song with no words" y "Teach your children"
felt pretty generic
Some of the best harmonies around, and a style of music that I really enjoy. I wasn’t familiar with a lot of the songs but they were all well done and I’ll be listening to this more in the future.
This is definitely a well made record and the songwriting is solid. This album maintains a very consistent level of quality and songwriting that I really couldn’t complain too much about as each artist got their own spotlight and very nice collaborative moments that showcase each of their talents in such telling ways. Overall the simplicity mixed with the very soothing acoustic guitars was phenomenal.
Словно нашел пыльную кассету на чердаке. Очень приятно. А что там опять с Нилом Янгом? Он и тут меня преследует.
Yoy Don't Have to Cry was pretty good. A very good easy listening album
Pleasant enough without blowing me away. Song Without Words absolute wank though. Saved a song: N RYM: N
The late 60s were full of stunning debut albums from the Doors to Jimi Hendrix and of course these guys. The first super group where I knew all the bands that the members came from. The opening track, Suite: Judy Blue Eyes raises expectations and the rest of the album does not disappoint.
Love CSN but this album is mostly deep cuts
this was nice :)
It is decent. Not super amazing, but pretty good
The songs are well written and diverse. And the harmonies are exceptional. The beginning of the album though sounds to my ear a bit of a relic of its time. Very 60s with a lot of the tunes that could have been written and performed by The Beatles. But as the album progresses it becomes more settled and in my view more interesting. Perhaps because those tracks are a little more "country", which is this trios real strength. Guinnivere and helplessly hoping are stand out tracks for me.
It's a nice and gentle mix, but at the moment the last song ended, I already forgot about this album entirely. Despite the talent of the artists and well-rounded balance of instrumental and vocal sections, I find it hard to immerse in their music. Potentially their sound was stronger when you lived in 1969, but the again: the 60s and 70s had so many other artists that went deeper with their musical expression, so my rating can't be too high.
Great harmonies, perfect record for a sunny, hazy day
The vocals are the whole point here — three voices stacking into harmonies that are, genuinely, impressive. For a song or two it works. For a whole album it becomes a lot. There's not much contrast, not much relief from the format. By the end it all blurs together into one long, pleasant, beige wall of California folk-rock. 2/5 — technically accomplished, occasionally lovely, and about 35 minutes too long as a full listen.
Well, it goes on and on and is pleasant enough, but it's getting boring pretty soon. And sometimes there's a little country music mixed in there, and a little country is too much country for me. Also, I do love me some vocal harmonies, but here these are just over the top. Would probably not skip but wouldn't actively put on either. 2,5/5 okay-ish
Nice background music for a range of activities, including work. And good to be reminded of how familiar their music is
Easy listening but how could this be classified as anything other than soft rock or pop rock? Marakesh Express an obvious classic.
Folky
Poor man's SImon and Garfunkel
twas fine. like good but didn’t blow my mind sorry.
this album has a Pippi Longstocking vibe to it.
fav songs: you don't have to cry pre-road downs long time gone mellow, laidback, concise 60/100
Where’s Young? Frankly this was a bit of a snooze fest without em…
Listened to this probably five thousand times in my dad's car when I was a child. Score is probably higher than it should be due to nostalgia but I love these songs so much
3/5
Sad znam da su ovo definitivno muzičari koji izvlače najbolje jedni iz drugih jer me pojedinačno muče a ovako su ok ali nikad ne bih mogla ovo slušati dalje.
not an absolute fan of folk music but it is listenable and some tracks are interesting
Another album that doesn’t live up to track #1. Didn’t dislike it though.
I got a couple of perfect 5 star albums in a row and thought to myself "Self, what you really need is mediocre 60s/70s boy band rock." And the universe provided in the form of Crosby, Stills, and Nash's self-titled album. I'm somewhat kidding. I generally like folk rock, but this is bland. Some hits, some misses, and so similar to what else is on this list. Also I hate mustaches so
24/04/2026 The sort of album I have no issues listening to. Happy to have it on in the background. Spotify listeners: 2.6 million
Not a bad album by any means... some extremely good harmonising and an overall sound that was like a non-acoustic Simon and Garfunkel. Pleasant, but possibly a little samey when listening to a whole album in one sitting.
I was so ready for this to be another Surrealistic Pillow where I unexpectedly fell in love with some 60s blues psych folk rock. Unfortunately past me didn't know how disappointed they were going to be. Maybe if I hadn't hyped myself up so much this would have been a 3. But my day has been ruined. High 2
I guess I hadn’t listened to this all the way through before. Songs were longer than I expected but very good. 4.5
Its fine, nothing spectacular for me but still a nice listen
Muy sonido de los Beatles. No me gustó mucho, me pareció bastante aburrido y que sonaba siempre igual, no sabia cuando terminaba una cancion y arrancaba otra.
Temones para estudiar o estar en una muy tranqui. 4,5⭐️. No le pongo 5 porque no escuche todo el disco y no lo escucharía en cualquier situación.
Have obviously heard of Crosby stills and Nash but never listened to an album. Judy blue eyes is pretty good. Really good bass line. Good lyrics/vocals. It just keeps getting better as it goes. Good song. Marrakech express is much more 60s. Pretty fun song. Not amazing. I like the guitar on Guinevere A lot. Simple but it works well. Really good harmonies on this one. You don’t have to cry is pretty forgettable. Catchy enough chorus but not much more to it. I like pre road downs a lot more. Really good production on this one. Opening to wooden ships 🔥🔥. The music is so much better than the vocals so far through this album. The guitar on this song is so good. Helplessly hoping is another banger. I’ve definitely heard this song before. The harmonies are really cool. Love the production again on long time gone. Rally cool guitar again. 49 bye byes is pretty good but not as good as the last few. I like how it makes sense as the last song on the album. Good guitar again. Overall I think this album was good not great. I came in with really high expectations so it was always going to be hard to live up to that. A couple of bangers, a couple of songs I’ll never here again. 3.3/5 stars.
You are what you are. I love me some CSN.
So much beauty in such simple music.
first time listening to this. I really enjoyed it, especially the ones that felt more like groovy nuggets, and the variety of lead vocals helps keep it fresh through the run time. obviously harmonies are always on point. but did they need to put their shoes on the couch? cmon now.
Really enjoyed this. I've listened to "Helplessly Hoping" like a thousand times since I first listened to it last week.
There have been a lot of albums that sound similar to this and you’d think a lot of my usual problems with those (everything sound the same, boring) would apply to this, but you’d be wrong. I loved it!
Despite its historic reputation, the debut feels emotionally distant. The harmonies are technically flawless, but they don’t convey any real depth or passion to me. It’s polished, yes, but ultimately leaves me cold
Country , folk
Nice 60s listen.
I like many of the songs here, but it’s a touch thin for me.
Pretty damn good
Intéressant
Ill be honest i zoned out on my first listen of this one. On my second listen, I enjoyed it quite a bit. I can give this 4 stars. The only thing that could make this album worse is if Neil Young joined the group. But that would never happen, right?
Nice!
Damn heater of an album. I feel like I can be a little bass here and say that this album is not perfect, but it is to me pretty much a perfect album, and perfection is impossible to achieve. This is an incredibly good album and has some amazing harmony on it, and all the songs feel unique and add something to the way you think as you go through the album. Favorite track is so hard to pick, but I'm going to go with Suite: Judy Blue Eyes with a shoutout to You Don't Have to Cry.
I find this album a lot more consistently good than Deja Vu and a lot less, uhh, edgeless. Or maybe that's just the lack of any songs as corny as 'Our House' and 'Teach Your Children.' 'Guinnevere' is fascinating and I love David Crosby .
nice
Ótimo álbum para viajar
Smooth sound. Nothing jumps off the page but altogether very good and great songwriting
Its getting to the point, where this album is not fun anymore.
Love it. Own it.
Based on my first listen, Crosby, Stills and Nash’s self-titled debut album features the same song 14 times. It’s not that bad, but a little variety would have done this record a world of good. This makes it nearly impossible to single out individual tracks—the differences are simply too subtle. Instead, “Crosby, Stills and Nash” has turned out to be quite stylish easy listening. It’s fine as background music for driving, but a bit one-dimensional for focused listening.
I may get grief from a lot of people, but I'm just not a CSN (or CSN&Y) fan. I just find that whole style of music pretty boring, and I find this album boring as well. I definitely appreciate their songwriting and harmonies. Super talented. Just not my particular thing. A lot of the songs are familiar. Just nothing memorable for me.
久远的感觉 cannot feel it
What i like most about this album is that the songs are relaxing and easy to listen to. I had a lot of fun with many of the songs. The problem with this album is that nothing particularly stands out, but I think even the band knew this, because it seems like they've made it tame on purpose, and it kind of works. Cool stuff.
I liked the harmonies a lot and the album was great top to bottom.
A warm, harmony-led folk rock record with clear songwriting, rich vocal blends, and a relaxed, intimate feel.
Please list no more Crosby I beg you. Poor man’s Grateful Dead and even poorer man’s Simon and Garfunkel.
Relaxing album with some nice melodies and harmonies. Faves: Wooden Ships, Helplessly Hoping, Song with No Words
nice vibes, and nice lush harms. i like guinnevere quite a bit and pre-road downs too. but nothing too stand-out to me about this album overall.
Kinda boring. Don't love the sound of the vocals
A little disappointing ... the vocal harmonies are really nice, but the songs fall a bit flat. You can really feel the potential, but at least on this album, it's not there yet.
In the back of your mind you always knew how good CSN were - but then you hear their perfect harmonies and solid rhythm after wading through over 400 albums on this list and you realize just how great they were. Why they ever allowed Young to ruin their sound is beyond me.
great album!
Ihhh, hvor det svinger! Så gode vibes fra en ubekymret verden Fandme behageligt produceret! De er fandme gode sammen!
Egentligt meget fedt.
*93 Mine fantastiske drenge. Uovertrufne harmonier.
Rigtig fint album. Det vælter mig ikke ned af stolen, men jeg kunne sagtens finde på at sætte det på igen. 3.4 rundet ned til 3 stjerner***
Jeg kan jo godt lide det, men jeg er ikke til det - det bliver lidt for meget 'af en tid' for mig, og 'af den tid' synes jeg, der er så meget bedre. Det er noget Crosby, Stills & Nash selv var pinligt opmærksomme på og derfor erhvervede de sig Young. Det aner jeg ikke om er rigtigt, men det forestiller jeg mig. På trods af, at mit eget pointsystem er noget mere finmasket end det simple 1-5, der tilbydes, så er dette faktisk et album, der volder mig problemer. Mit hjerte siger 3 (og dermed >= 2.8), så siger mine ører mig <= 2.7. Det virker trivielt, men det er forskellen på 2 og 3 stjerner. Jeg lader tvivlen komme den anklagede til gode og ikke mindst bør Long Time Gone honorere den flotte, tredje stjerne. 2.8
Dejligt album - forestiller mig albummet kørende på pladespilleren i en gammel stue - boys udveksler røverhistorier og får et par flaskebajs
Song with No Words lever op til titlen
Smukt og uventet dragende. Men også lige på kanten af min musikalske komfortzone - og ved godt at det ikke er det, det handler om her, men jeg kunne godt savne bare lidt mere kant.
Better than Coldplay
Beautiful harmonies. More vibey than I remember. Cool album for 1969.
Quite progressive. Wooden ships was a favourite moment
Slightly better than I expected it to be. But, if you know CSN, you pretty much know what you're getting with this one.
i call everyone my goat but these are my goats of the folk revival
May end up giving this a 5 later.
Fav songs: Guinnevere, Long Time Gone
I love every second of this album and there's not a single moment of any day when listening to it wouldn't put a spring in my step. The melodies, the crisp production, the sun-drenched harmonies - this is a flawless, timeless record. I saw CSN supporting Paul McCartney back in 2010, and great as it was to be in the presence of a living, breathing Beatle, there was something so extraordinary about seeing CSN doing their thing - one of the best live shows I've ever seen.
God I find that hippy mystical thing grating and this has it in bucketloads. The sound and music is far more interesting, even if a tiny bit overblown at times. But I really don't want to hear about ladies wandering in the misty morning in that way thank you very much.
Similarly to what I wrote on CSNY album (Deja Vu), this kind of music is a perfect companion for a long road trip. I put this on recently driving 500kms with the sun setting behind me blinding me through the back mirror. The lack of Y in the band is definitely something that I miss strongly but I also felt that this rendition of Teach Your Children is more enjoyable. All in all, great album, exactly what I was looking for that day.
Hell yeah brother. Chill and sweet, vocally gorgeous. I really like this recording of Everybody’s Talkin’.
Nice enough album. Really liked the tracks "Long Time Gone", "Helplessly Hoping", and "Guinnivere". Needs more Neil Young.
It was so close to being Crosby, Stills, Nash, Young, Houmous & Chutney. It’s a shame Len was so determined that it had to be Houmous, Crosby, Stills, Chutney, Nash & Young - he really didn’t like Young. 4.5 1/14 Suite: Judy Blue Eyes
Surprised by how pleasant it was, especially the ethereal quality of Guinevere and the surprising climax of the Suite which ends with some Cuban son mixed in.
Listens: 2 Standout Tracks: N/A Largely unremarkable. Not great, but not awful either. In one ear and out the other. Maybe if it had been a bit more jammy and off the cuff it would have resonated with me more.
Poronga con patas
Nice. Calm, harmonious folk rock. This wasn't what I expected going in, but I would put this on again for sure.
Mellow harmonies. Folksy easy listening.
What can you say about this incredibly fortuitous coming together of three incredible voices that blended beautifully and that belonged to three songwriters who were all hitting the peak of their powers at the same time. As a trio, they never bettered this one, but that is a tall order when you have a record as stacked as this one. And it strikes me how diverse this is within its own little world. The very best bands are the ones with multiple songwriters, and CSN is exhibit #1
So good, right up my alley.
Songs like country Beatles.
Bien
582/1001 2026.03.31
I found this really pleasant to listen to.
Wasn't for me. It was fine, some of the more blues inspired parts were great. The harmaization was impressive. But overall I wouldn't revisit this album.
Helplessly Hoping was the stand out for me. Wasn't a fan of the album overall. 2.5/5. Raising to 3.
A cracking album, breezes by with great songs, tight vocal harmonies and the sound of late 60’s / early 70’s California. 3 of the best to do it, doing it best 4.5
3.8/5.
Lovely stuff. Amazing harmonies and well crafted songs. Captures the sound of that era.
Beautiful, but bland.
Excelente
Feels like an archetype for harmony writing. Classic of the Furniss household
It was pretty dull….but not offensive. 2.75
Very very pleasant, might go back to it someday. Someday.
fire rock album, it was nice to see the contrast of both albums released in the same year. This was a lot more traditional compared to Frank Zappa's Hot Rats but just as emotion filled.
The vocals are really lovely. Songs you can dance to, really catchy. Some of these songs are so pretty! Fav song is ‘You Don’t Have to Cry’.
4/8
Classic!
Passing familiarity with some of the tracks on this, but was happy to listen to the rest of the album. Thought it would be a slog but found some good gems there.
No vocal blend has ever sounded better than this (though there are some that sound equally good). There are some absolute killers on this album: "Suite: Judy Blue Eyes", "Guinnevere", "Wooden Ships", "Helplessly Hoping", and "Long Time Gone" are all on my all-time playlist. The rest of the album is fine - not great, not terrible, but not up to the standards of the five mentioned above. Still, a 50% hit rate is fantastic in anyone's book. This album also made me realize what a really good bass player Stephen Stills is. But really, it's all about the harmonies; the way they sing "yesterday" in the last verse of "Guinnevere" gets me every time.
Sidney Crosby save me Sidney Crosby. Mother. Yeah ok this is good. Def gonna enjoy this bu also forget about it very soon. Yeah it’s cute and nice. Would listen to this by a lake in a hammock with some golden sun streaming with Tali. Mmm I can feel the late summer air and sun now. I wanna go to Marrakesh. Looking at the world through sunsets in your eyes is insane. This is lowkey the typa music I would expect Sidney Crosby to make. Yeah I mean just kinda boring Favourite: Marrakesh Express Least favourite: Wooden Ships
Three-part harmonies as distinct and beautiful as anything Brian Wilson could conceive. Suite: Judy Blue Eyes is one of the greatest songs ever written. Beautiful concept coming from some pretty wildly different musical directions coalescing into a feeling that transcends the moment.
Just like Deja Vu...really wanted to give this a 5 and would have if it weren't for Graham Nash.
Americana doesn't sit well with me. Overall, a good album but not for me.
49# AA another country album. (wait is this folk? huh) only today i learned that neil young is part of this band for the next albums of them. Cmon, have some imagination for a band name other than pilling up your names. I'll compare this with Harvest which was the album of the day 2 days ago. With just 3 years apart from them (Harvest is from 1972) the difference is big on the production. This project doesn't have the strong single power that Harvest has. Interesting harmonies, it sounds good throughout. The two albums differ in genre, this is Folk the other is Country Rock and I have difficulty showing appreciation for country, but Harvest just goes besides that bias and captures with the interesting lyrics and Neil iconic melodies. This album has a bit of iconic melodies or harmonies, but it doesn't have that lasting impact or memory. A few sleepy tracks (like Lady of the Island), which i like, meditative in a sense, but really puts you in a state of numbness and i don't think they want that. This album is good to play when: you want to sleep, not a deep sleep but a nap, a 40 minute nap. Highlights: Suite; Wooden Ships Lowlights: You don't have to cry
Tuli jotenkin vahvat Boston-vibat paikoitellen. Aivan kiva levy oli kyllä ilman Neil Youngiakin.
Just a nothing burger of an album.
Anyone that has been following my reviews for some time now will know I have a sweet spot for a lot of the older "classic" Folk projects and albums in general. I don't know what it is but the simplicity mixed with the very soothing acoustic guitars always scratches such an itch for myself that I seem to always fall head over heels for. Crosby, Stills, & Nash's self titled debut is no exception to that rule as I had such a blast listening to this Folk Rock staple from 1969. Starting this album out with the 7+ minute Suite: Judy Blue Eyes was a ballsy move and one I think paid off in showcasing just what Crosby, Stills, & Nash were all about for not just this debut album but each of their respective solo careers. This album maintains a very consistent level of quality and songwriting that I really couldn't complain too much about as each artist got their own spotlight and very nice collaborative moments that showcase each of their talents in such telling ways. It isn't mindblowing but it is great all around, and I am never going to turn down something great like this.
I think they smoked too much pot and believed too many Arthurian legends ! Fun though
Feels Simon and Garfunkel, cool but forgettable.
Bloody marvellous
Right on the cusp of a 5 this, the opening track is simply a masterpiece, and there’s some real gems hidden inside too
The group provided lovely harmonies and a distinctive sound. It was nice listening to the album which launched their career.
Really pleasant folk rock. It kind of drops off in the second half but I had a really nice time listening to this.
I really like this!
Mehh
I want to rate this higher as I should like this more than I actually do. Amazing harmonies but they don’t seem to elevate much beyond this. 3.25/5
chill
I enjoyed the singles that came off this album, but the album has a hole just kind meh. It’s fine for a folk rock album, but it’s just not my style.
An OK album but it didn’t blow me away. Maybe it requires more listening
4/8
Good stuff!
Pretty good album to chill with. I think it may even be enhanced if partaking in a certain herbal substance. But don’t do drugs, cos drugs are bad m’kay… Standout track - Marrakesh Express
Good vibes. Folk rock will always hold a special place in my heart. Favorite Track: Helplessly Hoping. Truly beautiful harmonization for a very melancholic song (I love it).
4.0 (40:47, 10 tracks, debut, 1969) Folk rock (genre defining "California Sound") Debut studio album by the folk-rock supergroup Crosby, Stills & Nash (CSN). It is the only release by the band prior to adding Neil Young to their lineup. Two Top 40 singles, "Marrakesh Express" and "Suite: Judy Blue Eyes", which peaked respectively at No. 28 and No. 21 The album itself peaked at No. 6 on the US Billboard Top Pop Albums chart. It has been certified platinum four times by the RIAA for sales of 4 million. Often thought of as a protest album due to their later work and just coming out in 1969 with a folk album it was a hippie anthem album. Playing at Woodstock cemented the concept; however, the only song that is really a political song is the 9th track on the album (Long Time Gone) about the Kennedy’s (also MLK) assassination. Most of the album is a break up album (specifically Stills breakup with Judy Colins but others, this is really Stills album.) Probably my favorite of the CSN (&Y) albums. Their harmonizing is just without reproach. The Eagles, Jackson Browne and many others thought of as the 'singer-songwriters' of the 70's owe this album as the genre defining path. 1) "Suite: Judy Blue Eyes" by the folk-rock supergroup Crosby, Stills & Nash. The song was written by Stephen Stills during the painful end of his two-year romantic relationship with Judy Collins the American folk singer-songwriter Judy Collins, who was known for her striking blue eyes. Stills wrote the song as a "long narrative poem" across several notebooks to process his heartbreak. He even played the song for Collins in a hotel room in an attempt to win her back; though they both cried, she famously told him, "it’s not winning me back". The title is a homophonic pun: "Suite": Refers to the song's musical structure, which is a classical-style suite consisting of four distinct sections with different tempos and moods. "Sweet": A phonetic nod to "Sweet Judy Blue Eyes," Stills' affectionate nickname for Collins. The lyrics contain specific details about their relationship, including references to Collins' therapy sessions with lines like "Will you come see me Thursdays and Saturdays?" The famous ending of the song features Spanish lyrics about Cuba, which Stills added to provide a lively finish to the long track. He chose Spanish because the lyrics had little to do with Collins and he didn't want them to be easily understood. Today, Collins and Stills remain close friends and have even toured and recorded an album together, Everybody Knows, in 2017. (Do-do-do-do-do, do, do, do-do-do-do) 2) "Marrakesh Express" is a song by Crosby, Stills & Nash that literally recounts a train journey taken by Graham Nash in 1966. Nash wrote the song while still a member of The Hollies, but the band rejected it for not being "commercial enough," which contributed to his decision to leave and join Crosby and Stills. The song is a factual retelling of Nash’s experience traveling from Casablanca to Marrakesh. Nash began the journey in a first-class carriage, which he described as "completely boring" and filled with "ladies with blue hair". Seeking adventure, he moved to the third-class carriages, where he found a much more vibrant scene. The lyrics reflect exactly what he saw: people lighting fires to cook, and "ducks and pigs and chickens" being transported on the train. The nonsensical words at the beginning—"Whoopa, hey mesa, hooba huffa..."—are what Nash calls "Crosby gibberish." They were originally recorded for the song "Guinnevere" but were moved to the start of "Marrakesh Express" during production. The song’s instrumentation, particularly the buoyant drumming by Jim Gordon and Stephen Stills' guitar riffs, was designed to mimic the steady rhythm and "rush" of a train on tracks. The song became a definitive soundtrack for the late 1960s counterculture, capturing the "hippy stopover" vibe of Western artists seeking spiritual discovery in exotic locations like Morocco. 3) “Guinnevere" is widely considered David Crosby's finest composition and serves as a complex composite portrait of three significant women in his life. The song uses the Arthurian legend of Queen Guinevere as a metaphor for an unattainable and mysterious figure. Crosby famously stated in interviews that the song is about "three women that I loved": Christine Hinton: Crosby's longtime girlfriend who was tragically killed in a car accident in 1969. The line "Why can't she see me?" is often interpreted as a reference to her ghost or his loss. Joni Mitchell: The influential folk singer whom Crosby dated and mentored in the late 1960s. Crosby consistently refused to identify the third muse. While Crosby officially cited the three women above, fans and historians often point to specific lyrics that align with Nancy Ross, an artist who lived with Crosby in the mid-1960s: "Drew Pentagrams": Ross was known to draw pentagrams on the walls of their home. "Underneath an Orange Tree": This may refer to Ross leaving Crosby for Gram Parsons, who was the grandson of a Florida citrus magnate. The song is written from the perspective of a man (often compared to Lancelot) watching "Guinnevere" from afar, emphasizing themes of unrequited love and longing. The song is famous for its haunting, "ghostly" atmosphere, achieved through; unique Tuning of very unusual guitar tuning (EBDGAD) that created a "shimmering" jazz-influenced sound; and strange time signatures, the song shifts between various time signatures, contributing to its transcendental, dreamlike quality. The jazz legend Miles Davis was so impressed by the track that he recorded a 20-minute cover of it, though Crosby was initially "snooty" about the version because it was almost unrecognizable from his original melody. 4) "You Don't Have to Cry" reflects the emotional weight of a crumbling relationship and the different ways people process heartbreak. Written by Stephen Stills, the song is widely believed to be about his strained relationship with singer Judy Collins. The lyrics highlight the contrast between two people after a split. Stills describes having "time to cry" and mourn, while he suggests his partner is too occupied with her busy, career-focused life to fully feel the loss. The narrator pities the woman for being out of touch with her feelings, yet the song's numerous questions suggest he is also projecting his own pain and hoping she feels the same regret he does. The song is legendary for being the birth of the supergroup. In July 1968, at a party at Joni Mitchell's house, David Crosby and Stephen Stills sang "You Don't Have to Cry" as a duo. After hearing them, Graham Nash asked them to sing it again. By the third time, Nash had improvised a third-part harmony. The vocal chemistry was so immediate and "magical" that Nash decided to leave his band, The Hollies, to form CSN. The studio version features Stills playing the majority of the instruments, including guitar, bass, and percussion. While Stills wrote it, the track is defined by the tight, three-part vocal harmonies between Crosby, Stills, and Nash. 5) "Pre-Road Downs describes the anxiety and sadness experienced before leaving for a concert tour. Written by Graham Nash, the song was inspired by two simultaneous realizations he had while at Joni Mitchell's house: He realized that because both he and Mitchell had successful careers, they would inevitably have to spend long periods apart as they each went "on the road" to tour. Having spent years touring with The Hollies, Nash knew that "the road" could be a deeply lonely and exhausting place, leading to a sense of dread or "the downs" before a trip even began. David Crosby famously described the track as the moment Nash realized he could write "fierce rock and roll" rather than just the polite pop-rock associated with his previous band. The song is notable for its psychedelic production, including backwards guitar parts recorded by Stephen Stills. Crosby later admitted he was "freaked out" by the complexity of how Stills matched the backwards tracks to the forward ones. Nash actually composed the song's heavy guitar riff after being inspired by the unique, nearly-unison guitar tuning Stills used for "Suite: Judy Blue Eyes". The lyrics contrast the affection of a relationship ("And you have me 'cause you love me too") with the gritty realities of travel, such as "hotels and midnight coaches". It also contains a nod to the counterculture of the time with the line, "Be sure to hide the roaches.” 6) "Wooden Ships" is a post-apocalyptic science fiction story set in the aftermath of a nuclear holocaust. Co-written by David Crosby, Stephen Stills, and Paul Kantner (of Jefferson Airplane) in 1968, the song depicts survivors from opposing sides of a "silly war" meeting and choosing to sail away from a dying civilization to start anew. These are literal wooden vessels chosen because, unlike metal, wood does not retain radioactivity from nuclear fallout. "Silver People on the Shoreline": David Crosby confirmed these are people in radiation suits searching for uncontaminated food and survivors. "Purple Berries": These represent iodine pills, which survivors take to protect their thyroids from radioactive iodine-131. The "Other Side": The lyrics describe a meeting between two people from opposing warring factions. Instead of fighting, they share food and realize their mutual humanity, symbolized by the line "If you smile at me, I will understand". A Rare Collaboration: This was the only co-written track on the CSN debut album. Paul Kantner was originally uncredited due to legal disputes with Jefferson Airplane's management, though he later received full credit. The song was composed on Crosby’s actual 59-foot wooden schooner, the Mayan, while docked in Florida. Both Crosby, Stills & Nash and Jefferson Airplane recorded the song in 1969. Jefferson Airplane's version is often considered darker, featuring an unsung prelude in the liner notes that explicitly details the radioactive setting. 7)"Lady of the Island" is a tender folk ballad written by Graham Nash. The song is a sensual and intimate portrait of a romantic encounter, focusing on themes of deep connection, physical attraction, and the desire to remain in a blissful moment. While Nash has often been private about specific muses, the song is widely attributed to his relationship with fellow folk legend Joni Mitchell. Nash wrote it during the late 1960s when he was deeply in love with her and living in her home in Laurel Canyon. Nash originally brought this song to his previous band, The Hollies, but they rejected it because it was "too personal" and intimate for their pop-oriented sound. This rejection was one of the factors that led Nash to leave The Hollies and form CSN. The lyrics describe two nude lovers sharing a quiet, undisturbed moment by a fire. It uses evocative imagery like "the brownness of your body in the fire glow" and "beams of sunshine light the stage" to convey a sense of peaceful afterglow. Unlike the driving energy of "Marrakesh Express" or the complex movements of "Suite: Judy Blue Eyes," this track is noted for its extreme delicacy and directness. On the debut album, it is a duet featuring only Nash and David Crosby, showcasing the "ghostly" and ethereal vocal blend that became a hallmark of the group’s sound. It is often cited as the definitive example of Nash's "blissful romantic" songwriting style, contrasting with his later, more politically charged works. 8) "Helplessly Hoping" is a wordplay-heavy folk song by Stephen Stills that describes the agonizing state of a relationship in limbo. Like "Suite: Judy Blue Eyes," it was written about his deteriorating romance with Judy Collins. The lyrics depict two people who are physically close but emotionally drifting. They are "helplessly hoping" for a spark that is no longer there, caught in a cycle of waiting for the other to make a move. Stills used a unique poetic device where each verse centers on a specific letter (H, G, W, L): "Helplessly hoping her harlequin hovers..." "Gasping at glimpses... gentle girl..." "Watching the waiting... wordless watched..." "They are one person, they are two alone, they are three together, they are for each other." This is often interpreted as the math of a relationship: Two individuals (two alone) who try to become a single unit (one person), but ultimately create a third, separate entity—the relationship itself (three together). The "CSN" Sound: This track is considered the quintessential example of the group’s three-part harmony. It is performed almost entirely a cappella-style with only a single acoustic guitar, allowing the blend of Crosby, Stills, and Nash's voices to take center stage. Stills' Guitar Work: The intricate fingerpicking is a hallmark of Stills’ style, providing a rhythmic "heartbeat" to the otherwise airy vocal arrangement. 9) "Long Time Gone" is a politically charged protest anthem written by David Crosby in response to the assassination of Senator Robert F. Kennedy on June 5, 1968. It is one of the most direct social commentaries on the group's 1969 debut album. Crosby was moved to write the song the very night Robert Kennedy was shot. He felt a deep sense of anger and despair, as he viewed Kennedy as a leader who hadn't been "bought and sold" by special interests, unlike other politicians of the era. While penned for Bobby Kennedy, Crosby later noted it also boiled over from his unresolved grief regarding the assassination of John F. Kennedy five years earlier. He has also cited the assassination of Dr. Martin Luther King Jr. as a significant emotional catalyst for the track. The lyrics serve as an indictment of the "madness" of the late 1960s, specifically political violence and a government he felt was out of touch with the people. The core message—"Speak out, you got to speak out against the madness"—encourages individual expression and dissent against corruption. Despite its dark origins, the song contains a message of resilience with the line, "But you know the darkest hour is always, always just before the dawn". Critic Robert Christgau famously noted that Crosby’s "wailing vocal" on this track saved the album from being too "controlled," providing a raw, emotional center to the record. The song famously played during the opening sequence of the 1970 Woodstock film, setting the tone for the documentary as workers prepared the stage for the festival. CSN performed a high-energy version of the song on the This is Tom Jones TV show in 1969, featuring a rare vocal collaboration with Jones himself 10) "49 Bye-Byes" is the closing track of the group's 1969 debut album. Like several other songs on the record, it was written by Stephen Stills about the painful dissolution of his relationship with Judy Collins. The "49" refers to the number of the hotel room where Stills was staying when he wrote the song (some sources also suggest it refers to the number of times he tried to call her or the number of days since they had seen each other). The song serves as a final, weary farewell. While "Suite: Judy Blue Eyes" was an epic plea to stay together, "49 Bye-Byes" represents the resignation and "shaking the blues" that come after the hope is gone. The line "49 reasons all in a row, all of them lies" suggests a tally of broken promises or excuses that led to the breakup. The song is famous for its transition into a brief, uncredited version of another Stills song, "America's Children" (which he originally wrote for his previous band, Buffalo Springfield). This creates a "medley" feel that ends the album on a high-energy, soulful note. Stills played almost every instrument on the track, including the organ, which gives the song a gospel-soul influence that contrasts with the folk-heavy tracks earlier on the album. As the final track, it mirrors the beginning of the album; the record starts with the start of a breakup ("Suite") and ends with the finality of moving on ("Bye-Byes"). The drifter Stills is referring to is American actor Stacy Keach. “This was one of those times where everything clicked. I don't want to sound cosmic or anything, but it's almost like there was a greater force at work, and I don't just mean Ahmet Ertegun. The degree to which this all fell together was so astoundingly high you almost feel someone -- or something -- wanted to happen. Granted, all three of us were talented guys, but we also knew our combination was somehow blessed. The three of us have different voices. We have different accents. We have different attitudes. We are very different people. But the thing that happens when you put those three voices together is just amazing. As soon as we started singing together, we knew we were into some brand-new, wonderful terra incognita. There was some magic there, and you can hear that magic all over our first album,” David Crosby, the liner notes of Crosby, Stills & Nash Stills dominated the recording of the album. Crosby and Nash played guitar on their own songs, while drummer Dallas Taylor played on most tracks (session drummer Jim Gordon performed in his stead on "Marrakesh Express"). Stills played all the bass, organ, and lead guitar parts, as well as acoustic guitar on his own songs. "The other guys won't be offended when I say that one was my baby, and I kind of had the tracks in my head," Stills said. Even with this dominance, Stills does not appear on the tracks "Guinnevere" and "Lady of the Island", both featuring Crosby and Nash only and a precursor to their partnership on record and stage during the 1970s. David Crosby bristled over the plan for "Long Time Gone" as he thought he should at least play rhythm guitar on his own song. Stills convinced him to go home for a while and when he returned Crosby was won over by the music track that Stills and Taylor had recorded. In a more recent interview, Crosby contradicted his earlier statement, stating that he had played guitar on the track. He is so credited in the liner notes to the 1991 box set. The group performed songs from the album at the Woodstock festival in August 1969. In late 1969 the group appeared with Neil Young on the Tom Jones' TV show and performed "Long Time Gone" with Tom Jones sharing vocals. "In many ways, the album helped define the California sound," Matt Friedlander wrote. "The songs blended folk, country and rock influences and featured poetic lyrics about relationships and then-current social and political issues." Crosby, Stills & Nash combined the musicians' voices and other strengths; David Crosby's social commentary and atmospheric mood pieces, Stephen Stills' diverse musical skills and capacity to fold folk and country elements subtly into complex rock structures, and Graham Nash's radio-friendly pop melodies. The album features some of their best-known songs, including "Helplessly Hoping", "Long Time Gone", "Suite: Judy Blue Eyes", and "Wooden Ships", a collaboration between Crosby and Stills as well as Paul Kantner of Jefferson Airplane. The album cover CSN appears (left to right Nash, Stills, and Crosby, the inverse of the roll call in the album's title.) The photo was taken by their friend and photographer Henry Diltz before they came up with a name for the group. They found an abandoned house with an old, battered sofa outside that they thought would be a perfect fit for their image. A few days later the band decided on the name "Crosby, Stills, and Nash". To prevent confusion, they went back to the house a day or so later to re-shoot the cover in the correct order, but when they got there they found the house had been demolished. Dallas Taylor appears looking through the window of the door on the rear of the sleeve. In the expanded edition, however, he is absent. The original vinyl LP was released in a gatefold sleeve that depicted the band members in large fur parkas with a sunset in the background on the gatefold. That photo and the cover picture were shot in Big Bear, California). A long folded page inside displayed the album credits, lyrics, track listing, and a quasi-psychedelic pencil drawing. In a contemporary review, Rolling Stone critic Barry Franklin called Crosby, Stills & Nash "an eminently playable record" and "especially satisfying work", finding the songwriting and vocal harmonies particularly exceptional. In a retrospective review, Jason Ankeny of AllMusic believed some of the songs' themes "haven't dated well" but "the harmonies are absolutely timeless, and the best material remains rock-solid". In 2003, Rolling Stone ranked Crosby, Stills & Nash number 259 of The 500 Greatest Albums of All Time, re-ranked 262nd in 2012. #83 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000). Jefferson Airplane guitarist Paul Kantner was finally credited as co-composer of "Wooden Ships" on the expanded edition reissue, something long acknowledged on his group's version of the song from their Volunteers album, released the same year. David Crosby singing an excerpt of "Come On in My Kitchen" between "Long Time Gone" and "49 Bye-Byes" was left off the 2006 expanded reissue at the request of the late Robert Johnson's estate. The album proved very influential on many levels to the dominant popular music scene in America for much of the 1970s. The success of the album generated respect for the group within the industry and galvanized interest in signing similar acts, many of whom came under management and representation by the CSN team of Elliot Roberts and David Geffen. Strong sales, combined with the group's emphasis on personal confession in its writing, paved the way for the success of the singer-songwriter movement of the early 1970s. Their use of personal events in their material without resorting to subterfuge, their talents in vocal harmony, their cultivation of painstaking studio craft, as well as the Laurel Canyon ethos that surrounded the group and their associates, established an aesthetic for a number of acts that came to define the "California sound" of the ensuing decade, including Eagles, Jackson Browne, post-1974 Fleetwood Mac, and others. In the album's liner notes, Crosby is quoted by music critic David Wild, saying: "For whatever reasons, I think you get very few records like that [in] life, which you can put on 20 years later and they still hold up. To this day, that first album comes on, and you don't want to take it off or skip a tune. That's the ultimate test. You just want to let it run. You might even want to turn it up." In 1999, the album Crosby, Stills & Nash was inducted into the Grammy Hall of Fame. Track listing 1. "Suite: Judy Blue Eyes" Stephen Stills 7:25 2. "Marrakesh Express" Graham Nash 2:39 3. "Guinnevere" David Crosby Crosby with Nash 4:40 4. "You Don't Have to Cry" Stills with Crosby & Nash 2:45 5. "Pre-Road Downs" Nash 2:56 6. "Wooden Ships" Crosby Paul Kantner Stills 5:29 7. "Lady of the Island" Nash 2:39 8. "Helplessly Hoping" Stills with Crosby & Nash 2:41 9. "Long Time Gone" Crosby 4:17 10. "49 Bye-Byes" Stills Stills 5:16 Personnel David Crosby – vocals; guitar on "Guinnevere"; rhythm guitar on "Wooden Ships" and "Long Time Gone" Stephen Stills – vocals, lead guitar, organ, bass, percussion all tracks except "Guinnevere" and "Lady of the Island" Graham Nash – vocals; rhythm guitar on "Marrakesh Express" and "Pre-Road Downs"; acoustic guitar on "Lady of the Island" Additional personnel Dallas Taylor – drums on "Suite: Judy Blue Eyes," "Pre-Road Downs," "Wooden Ships," "Long Time Gone," and "49 Bye-Byes" Jim Gordon – drums on "Marrakesh Express" Cass Elliot – backing vocals on "Pre-Road Downs" Crosby, Stills & Nash – producer Bill Halverson – engineer David Geffen – direction
Nice to listen through the full album. Enjoy their harmonies, a few really good songs
This was good. Something I'd love if it was more recent. I'll have to remember to come back to this. 3.5
Judy Blue Eyes. What else can I say. This song is essential. The rest of the album is ok. It never quite reaches the heights of the initial suite, but CSN really accomplished something special with that first track. They reached artistic immortality. Without anywhere higher to go, their lives and careers steadily careened into chaos and disaster. Oops.
Nice, mellow and full of harmonies. It’s quite peaceful to listen to. After a while I’m starting to think that the vocal harmonies through most of the verses can be a little too much. They are nice, but I think it kills the dynamics at times. It’s a nice album, though. Favourites: Hoplessly Hoping, Suite: Judy Blue Eyes
a classic
Sounds kinda samey Not for me Nope
Instruments: 8/10 Songwriting: 7/10 Vocals:5/10 Vocal lines are good, but it’s not my favourite style. Sounds outdated in my opinion. I really like vocal harmonies like Alice In Chains has. However, instruments are top notch.
Ok, but nowhere near Simon and Garfunkel!
I think this suffered from immediately following CCR as it shares a similar space but was just not as immediate. That's not to say I didn't enjoy it, it just lacked the immediate punch and it's one I think I'd have to spend more time with to really benefit from.
4.5
One of the best ever.
Super nice sound I like.
Didn 't hear it that much
On this listen, CSN struck me as a little boring. That can happen sometimes. It's perfectly pleasant.
Chill album to listen to while studying, but nothing special
No me atrapo
Definitely one for summer. One of those albums that makes me wish I was an American guy with a big truck that I drive down dusty roads with nothing around for miles.
Good folksy music.
chill album
Beautiful harmonies, cool 60s sound and just chill vibes in general. Some songs are more memorable than others
I don’t know. I guess it’s fine but every song has to do that “”tweedle, tweedle, sing in synch” thing. Guinevere is a very good song.
⭐⭐⭐- Tycker inte det är dåligt. Men det är för polerat och stämsången kan bli för mycket. Bäst är Helplessly hiping. Blir en svag 3a
a really easy lsiten, not fully my vibe but i can appreciate it
Tough listen after the first song, tbh. Meh.
Yayyyy
After not really enjoying the Stephen Stills albums I've had as part of this project I really wasn't looking forward to this. But, I was pleasantly surprised. A decent folk rock album, though unlikely to be one of my favourites of the era.
Some very very good songs with some good enough songs. Added quite a few to my list.
It's hard to think of a more fully formed band on their first record.
Where is Neil? 3/5
j'ai écouté en jouant à lol ça passe mais bon c'est trop classique pour moi
ct ok en vrai
Classico classique rock
Debut Judy blue eyes Long time gone
My favorite kind of harmony. I can hear the influence of CS&N on Fleat Foxes, Avetts, etc. An album to return to.
Pleasant but unmemorable compared to the CSNY stuff which has some classics
Wonderful harmony in these songs. Delivers numerous long lasting hits. A true classic.
Calm music for unsettled times. Like when it was released.
I had always heard about them but never really did. Really liked them and will listen to some more in the future.
Very good album
I guess you had to be there
Lush album
Really really liked this. Long Time Gone just a real home run
Super chill, nice easy listen.
I have an incredible headache. I thought I might have to put this off till tomorrow.
I listened to this album as I ventured out to get gas and groceries on behalf of my partner, resting at home in recovery from a new sternum tattoo. Crosby, Stills & Nash is a group I have long been curious about; their reputation as an acclaimed folk supergroup has always intrigued me, and I patiently awaited the day when they would show up on this list. On a first listen to this album, however, while I understand their appeal and foud many songs to be beautiful and/or catchy, the album as a whole fell slightly short of the buildup I gave it. Part of this response was likely on account of how I first chose to listen to the album: on headphones, some of the mixing is very strange, with certain instruments panned entirely to one side and the vocals being buried in the mix. This choice really threw me off on that first go-around, but on a second run on speakers instead, I felt better able to appreciate the music. This was closer to the reaction I figured I would have, as someone who has been slowly discovering my love for folk music more and more over the course of this list: these three guys sure can write some songs! Having three different songwriters and primary vocalists across the project helps keep up the variety of the album while still feeling unified, on account of these three all having authorial voices in line with one another; one side effect of this list is my newfound tendency to look into the writers of individual songs on albums and seeing how many different voices can come together to craft a cohesive piece of art. Aside from just the lyricism, the vocals are also constantly engaging in their choices of unique melodies with gorgeous harmonies to match, and unsurprisingly, the guitar work throughout this album floats between gentle and driving depending on the mood of the moment, always keeping your attention. While a handful of songs just don't quite resonate with me (which often seemed to be some of those written by Stills or Cosby), that is not to knock their quality, as the entire album is a strong statement of purpose from a trio of acclaimed and talented folk songwriters. Highlights: Marrakesh Express, Guinnevere, You Don't Have To Cry, Pre-Road Downs, Lady of the Island, Helplessly Hoping
Great album…smooth & era staple
So many good songs and hits from these 3. It's a shame they let Neil Young in at some point in time.
one iconic song does not make an album good
This was a slog for me, especially the back half. 2.5
crosby stills AND nash? in this economy? we love a harmony don't we folks
Listened to this album throughout my entire childhood and high school life. My parents loved this album, so I have a lot of fond memories of songs like Suite Judy Blue Eyes and Marrakesh Express. But my current favorite song on this album is Helplessly Hoping, because I'm a sucker for a lover song and a love song about a family.
The Suite song opening this was the best one (do do do do do) and the rest was listenable, not unpleasant.
Not a huge folk guy, but this hits different. For one, "Suite: Judy Blue Eyes" is an all-timer. Other portions have some really nifty instrumentation that really sets a mood ("Marrakesh Express" "Wooden Ships"). Some of it's a little woo and boring for me, but I dig this album.
Просто хороший альбом, но не мой стиль