Crosby, Stills $ Nash (and sometimes Young) Discography (1969-1999)

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Crosby, Stills $ Nash (and sometimes Young) Discography (1969-1999) (Size: 912.97 MB)
  00. Crosby, Stills & Nash Discography.nfo 4.38 KB
  00. Crosby, Stills & Nash Discography.sfv 32.63 KB
  Crosby, Stills & Nash - 1969 - Crosby Stills & Nash
  Crosby, Stills & Nash - 1977 - CSN
  Crosby, Stills & Nash - 1982 - Daylight Again
  Crosby, Stills & Nash - 1990 - Live It Up
  Crosby, Stills & Nash - 1994 - After The Storm
  Crosby, Stills, Nash & Young - 1970 - Deja Vu
  Crosby, Stills, Nash & Young - 1971 - 4 Way Street
  Crosby, Stills, Nash & Young - 1974 - So Far
  Crosby, Stills, Nash & Young - 1988 - American Dream
  Crosby, Stills, Nash & Young - 1999 - Looking Forward


Crosby, Stills & Nash (and sometimes Young) Discography


Artist...............: Crosby, Stills & Nash

Genre................: Folk/Rock

Source...............: NMR

Year.................: 1969-1999

Quality..............: 192-320kbps

Channels.............: Joint Stereo / 44100 hz

Tags.................: ID3 v1.1, ID3 v2.3



Album listing


Crosby, Stills & Nash

1969 - Crosby Stills & Nash (320kbps)

1977 - CSN (VBR, 245kbps)

1982 - Daylight Again (320kbps)

1990 - Live It Up (256kbps)

1994 - After The Storm (256kbps)

Crosby, Stills, Nash & Young

1970 - Deja Vu (192kbps)

1971 - 4 Way Street (192kbps)

1974 - So Far (192kbps)

1988 - American Dream (VBR, 242kbps)

1999 - Looking Forward (320kbps)


Crosby, Stills & Nash (CSN) is a folk rock/rock supergroup made up of David

Crosby, Stephen Stills and Graham Nash, also known as Crosby, Stills, Nash &

Young (CSNY) when joined by occasional fourth member Neil Young. They are

noted for their intricate vocal harmonies, often tumultuous interpersonal

relationships, political activism, and lasting influence on music and culture.

Initially formed by the trio of David Crosby, Stephen Stills and Graham Nash,

the genesis of the group lies in two 1960s rock bands, The Byrds and The

Hollies, and the demise of a third, Buffalo Springfield. Friction existed

between David Crosby and his bandmates in the Byrds, and he was dismissed

from the Byrds in the fall of 1967.

By early 1968, Buffalo Springfield had also disintegrated over personal

issues, and after aiding in putting together the band’s final album, Stephen

Stills found himself unemployed by the summer. He and Crosby began

meeting informally and jamming, the results of one encounter in Florida on

Crosby’s schooner being the song “Wooden Ships,” composed in collaboration

with another guest, Paul Kantner.

Graham Nash had been introduced to Crosby when the Byrds had toured the

UK in 1966, and when the Hollies ventured to California in 1968, Nash

resumed his acquaintance with Crosby. At a party in July 1968 at Cass

Elliot's house, Nash asked Stills and Crosby to repeat their performance of a

new song by Stills, “You Don't Have To Cry,” with Nash improvising a second

harmony part. The vocals gelled, and the three realized that they had a

unique vocal chemistry.

Creatively frustrated with the Hollies, Nash decided to quit and throw his lot

in with Crosby and Stills. After failing an audition with the Beatles' Apple

Records, they were signed to Atlantic Records by Ahmet Ertegün, who had

been a fan of Buffalo Springfield and was disappointed by that band's

demise. From the outset, given their respective band histories, the trio

decided not to be locked into a group structure, using their surnames as

identification to ensure independence and a guarantee against the band

simply continuing without one of them, as had both the Byrds and the Hollies

after the departures of Crosby and Nash. Their record contract with Atlantic

reflected this, positioning CSN with a unique flexibility unheard of for an

untested group. The trio also picked up a unique management team in Elliot

Roberts and David Geffen, who had engineered their situation with Atlantic

and would help to consolidate clout for the group in the industry. Roberts

kept the band focused and dealt with egos, while Geffen handled the

business deals, since, in Crosby’s words, they needed a shark and Geffen

was it. Roberts and Geffen would play key roles in securing the band’s

success during the early years.

When it was announced that the band was forming, they ran into a slight

contractual problem. Nash was already signed to Epic Records, the North

American distributor of records by the Hollies, while Crosby and Stills were

signed to Atlantic. In order to resolve this problem, Geffen engineered a deal

whereby Nash was essentially traded to Atlantic for the rights to Richie

Furay's band Poco; Furay was signed to Atlantic as a result of his membership

in Buffalo Springfield.

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