I like the live 1974 box a lot, but I’m surprised it got released before a comprehensive live 1970 box. Maybe the band feels 4 Way Street is enough to represent that era, but plenty of other classic live albums from that period, from Live at Leeds/Live at Hull to the Allman Brothers at Fillmore East have received expanded deluxe editions giving fans all of the music recorded for those albums, and I think 4 Way Street deserves the same treatment.
The Greek was recorded. Neil doing "I Have Loved Her So Long" from August 28th is up on Neil's archives and a photo of the master tape box which lists the 31st of August. Recording sounds a little on the rough side distorting a bit on some of Neil's vocals, but it's definitely at least a soundboard recording.
In addition there is some pretty fantastic film footage of the band playing at an iconic venue that can be incorporated as well into a 1970 set.
Really? it's a pretty damn good audience recording then! That performance is from 8/28/69, but the photo of the reel there claims it's 08/31/69. Wonder if these were stage recordings?
i read somewhere that they regretted some of the choices on the original 4 way street. putting a snippet of suite: judy blue eyes was stupid. i prefer the 1992 release track order, with neil's acoustic stuff more in line with where it would have been. the recent remaster put all the tracks at the end for some reason.
What do you mean? The lineup of the original tracks is the same on the original LP, 1992 CD, and 2019 LP. The only difference with the last two is the 4 bonus tracks were placed at the end of CD 1 on the 1992 CD, while they were placed on a separate LP for the 2019 LP.
I'm still not following. On the 2019 LP they are on a separate LP. Which can be listened to between the other two.
This was discussed in another thread a while back. Apparently Taylor wasn't in the original photograph; he was added by a retoucher. So the 2006 artwork may have been a result of returning to the original photo.
And: 4WS: Your photo was pasted in on the cover of the “couch album” (but removed from the 2006 re-issue). This was Stephen’s idea, wasn’t it? What is the story of that and why was it done like that? DT: Originally, on the ’69 album it was Stephen’s idea to put me on the back of the album. However, the building was torn down before we could go back to reshoot the photo, so, the photo was taken at David Crosby’s back door, and pasted into the doorway photo that already existed. Very clever work by Gary Burden the album designer and photographer [Henry Diltz]. We ended up in court over the Boxed Set and as I said, they have tried to erase me from history. Dallas Taylor 2.0 Tells Me Y… 4WaySite
i just looked it up and i guess i was wrong. i remember the 2019 remaster having a different track list where it followed the original vinyl and then had the 1992 bonus tracks just tacked on the end. but i must be remembering wrong! and it’s because i was approaching this from a CD point of view. i don’t care about vinyl.
According to YouTube comments - this song was recorded by CSNY, in 1969, but not released. It was written by friend John Sebastian. Give a listen!
this was released on the nintendo: white knuckle scorin' compilation. needs to be more easily available though.
Why? Doesn't every self-respecting rock and roll fan own "Nintendo: White Knuckle Scorin'"? Or as the hardcore call it, NWKS.
CSN(Y) has quite a few songs that are 'unavailable'....at least an entire CD worth. one of stills best songs 'low barefoot tolerance; appeared on a soundtrack called wretchers and jabberers in 2011. a beautiful acoustic number....try to find it. or the absolutely beautiful version of 'half you angels' by CSN, (totally different form the crosby*nash version) which was available as a download on their website for about 2 days and then gone forever. or the CSN + james taylor version of 'chippin away' only in europe on a CD single how about ' chuck's lament' which would have been one of the better songs on 'live it up' and was only on a european CD single as the b-side of 'live it up' and never forget the (supposedly) 4 songs finished for the rick rubin produced covers album that disappeared for existence. where are those tapes, nothing from those sessions has ever leaked, not a single note. and there a quite a few more.
Believe it or not, I've heard of that compilation (though I don't own a copy) because it was also the original source for the Jellyfish track "Ignorance Is Bliss."
This is definitely an audience recording. It circulated for many years as Aug 26, 1969. Aug 26, Aug, 28 or Aug 31 - they are all the same audience recording.
.In August 1969, Wally Heider explained to me that David Crosby, Stephen Stills and Graham Nash were eager to begin recording songs for their second album to follow their extremely successful first Atlantic Records release, Crosby Stills, & Nash. Bill Halverson, the talented recording engineer and former manager of Wally Heider’s recording studios in Los Angeles, was not available to record the first week of sessions scheduled in Studio C for the group and the band requested I work with them until Bill became available. Wally also told me that Bill might not engineer the remainder of the album. Also, I learned at this time that Neil Young was to become a member of group. I met with David Crosby, Stephen Stills and Graham Nash (Neil Young showed up after the sessions had begun) and gave them a tour of studio C. Stephen Stills spotted a copy of Creedence Clearwater Revival’s Green River album in Studio C’s control room and asked to hear some of it. Except for Green River and Commotion, he wasn’t impressed with the remainder of the album. Sessions for Déjà vu began in studio C on Monday, a few days following CSN’s tour of the studio. I set up the band in the same manner as I did with CCR and had three Neumann microphones on large stands standing by for recording vocals. The first order of business was to record rhythm tracks for “Woodstock,” the initial hit from the album, followed by vocal overdubs and then mixing, all completed during the initial session. On Tuesday and Wednesday of that week I recorded tracking and vocal performances for “Teach Your Children” and “Our House” in the same manner. Neil Young arrived in Studio C three days after the sessions began and I recorded the track and vocals for his song “Helpless.” I did not know the album would be entitled Déjà vu at that time. Though I recorded four master tracks for Déjà vu, the only serious mix I made was for “Woodstock” at the end of the song’s tracking session. Graham Nash said the mix was the best ever made, and Neil Young concurred. However, my mix was not used on Déjà vu. However, that inspired mix I made of the song appeared on a later CSN&Y compilation album. Those busy sessions were also social affairs, at times with members of the Jefferson Airplane and other notable artists in attendance. I won’t forget the image of Grace Slick observing the proceedings, perched on a stool next to me in the control room with light reflecting off her like a film star. Nor will I forget recording guitar overdubs with Stephen Stills into the wee-wee hours of the morning! Bill Halverson assumed engineering duties after the first week of recording with Heider engineer Stephen Barncard assisting. During that time I also assisted a few sessions with Graham Nash for his Songs For Beginners album. Also, I recorded an evening’s worth of songwriting demos with David Crosby, some of which were included on “Demo’s”, Crosby, Stills & Nash & Young’s album that was released several years later. All of the aforementioned recording was done in Heider's studio C in San Francisco. CSN&Y recorded most, if not all of their tracks and vocals for Déjà vu in San Francisco, although the credits on the album jacket didn’t mention the studio or credit the engineers that recorded the music. The negative info in this thread about my participation on Deja vu is a load of crap. No one has ever asked me about it. What is correct is that my assistant engineer (it was not Stephen Barncard) stopped the recorder following an overdub and people were upset. I happily accommodated the band in any manner they requested.
Thanks for all of that, Russ. Here's that mix: Originally released on the box set: Crosby, Stills & Nash - Crosby, Stills & Nash 1. WOODSTOCK CROSBY, STILLS, NASH & YOUNG (3:50) (Mitchell; Siquomb Publishing, BMI.) Vocals: Crosby, Stills & Nash Electric guitars: Neil Young, Stephen Stills, David Crosby Organ: Stephen Stills Piano: Graham Nash Bass: Greg Reeves Drums: Dallas Taylor Recorded at Wally Heider's Studio C, San Francisco, November 5, 1969 Engineer: Russ Gary Mixed by Russ Gary, November 5, 1969 Produced by Crosby, Stills, Nash & Young Song originally released on Deja Vu, March 11, 1970 Unreleased 1969 alternate mix The deprivation of being stuck in a New York hotel room and not being able to go provided me with an intense angle on Woodstock. I was one of the fans. I was put in the position of being a kid who couldn't make it. So I was glued to the media. And at the time I was going through a kind of born-again Christian trip – not that I went to any church, I'd given up Christianity at a very early age in Sunday school. But suddenly, as performers, we were in the position of having so many people look to us for leadership, and for some unknown reason, I took it seriously and decided I needed a guide and leaned on God. So I was a little 'God mad' at the time, for lack of a better term, and I had been saying to myself, 'Where are the modern miracles?' Woodstock, for some reason, impressed me as being a modern miracle, like a modern-day fishes-and-loaves story. For a herd of people that large to cooperate so well, it was pretty remarkable and there was tremendous optimism. So I wrote the song 'Woodstock' out of these feelings ... – Joni Mitchell
Hi Russ many thanks for stopping by and clearing up the hearsay and half truths, wonderful to get the perspective of somebody who was actually there!
