Nash Equlibrium

Crosby & Nash - Another Stoney Evening (1971) {Grateful Dead Records GDCD4057 rel 1997}
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© 1971, 1997 Crosby & Nash / Grateful Dead Records | GDCD 4057
Rock / Soft Rock / Folk-Rock / Psychedelic

The Crosby-Nash subset of CSNY carried with it much of the charm and harmony of the larger group, and together and apart the two singers mined that appeal for several gold albums, especially in the first couple of years after the breakup of CSNY in 1970. They even inspired bootleggers, who released A Very Stoney Evening, drawn from one of their 1971 shows. Hence the title of this belated official release, drawn from a different show at the Dorothy Chandler Pavilion in Los Angeles on October 10.

Maybe it took more than nine months to come up with another batch of first-rate material, or maybe David Crosby and Graham Nash were saving their first-rate material for the next Crosby, Stills & Nash album, but Whistling Down the Wire, their third and final new studio album as a duo, was a distinctly second-rate effort. As usual, Crosby's loosely arranged jazz-blues tunes were offset by Nash's more pop-oriented songs, but this time around neither of them came up with anything memorable. Crosby seemed most comfortable on his "Dancer," an instrumental, while Nash expressed himself in poetic metaphors that were difficult to follow. In "J.B.'s [Jackson Browne's?] Blues," he seemed to have what be considered a potentially critical message to deliver to a friend, but to his wider audience it seemed merely cryptic. Happily, Crosby and Nash bounced back the following year when they reunited with Stephen Stills for CSN.

After a seven-year hiatus, Graham Nash returned to his solo career on Earth & Sky. While much of the material may have originated as an on-again/off-again collaboration with David Crosby (guitar/vocals), by the time the LP hit the racks in 1980 there were only traces of Crosby's input scattered throughout. One primary contribution highlighting the pair is the organic and acoustic "Out on the Island," and is likewise one of the best sides of the effort. In support of Nash is an all-star ensemble centering on the infamous "Mighty Jitters": Russ Kunkel (drums/percussion), Tim Drummond (bass), Danny "Kootch" Kortchmar (guitars), David Lindley (guitar/violin/vocals), and Craig Doerge (keyboards). The opening title cut, "Earth & Sky" has the earmark of a mid-tempo Jackson Browne rocker and boasts a tasty guitar lead from Joe Walsh.

It was big news in 1969 when former key members of the Byrds, Buffalo Springfield, and the Hollies - three of the finest bands of the '60s-splintered off to form their own trio. Despite their already-proven talents, few could have imagined the gossamer vocal blend that would become the trademark of supergroup Crosby, Stills & Nash. The band's debut effectively provided the soundtrack to the summer of '69.
For his part, Steve Stills keeps exploring the progressive folk-rock sound that he'd pioneered with Buffalo Springfield; signature tune "Suite: Judy Blue Eyes" is an expansive, multi-section affair that makes full use of the group's vocal skills. Fresh from the Hollies, Graham Nash adds an accessible pop sensibility, epitomized by the effervescent ditty "Marrakesh Express"…

As two of the most distinctive artists from the '60s and '70s given their work in CSNY, Crosby & Nash also did great work as a duo act. Wind on the Water was released in 1975 after the previous year's CSNY reunion tour and the dissolution of their contract at Atlantic. In many respects, this alliance made perfect sense. When it was just the two of them, they were often more likable. Crosby wasn't as much of a blowhard and Nash became more pragmatic. Wind on the Water's virtues are apparent with the first song, the warm and pensive single "Carry Me." "Homeward Through the Haze," "Low Down Payment," and "Naked in the Rain" are gems that all but sum up their complicated harmonic and melodic style. Besides Crosby & Nash being on their game, the studio players here are impeccable. Lovers of '70s pop/rock will love to hear players like Danny Kortchmar and David Lindley effortlessly doing their identifiable riffs…