Album Reviews

The first studio album proper by the duet since 1976's Whistling Down The Wire, Crosby-Nash - a two-CD set - is an interesting, intriguing and overall thoughtful affair. To say something like that it reflects the 'lives in the balance' vibe that we are all surrounded by here in 2004 through the minds of these two firebrands would be accurate, but there's more, much more.

“Send me half your angels/we're running out of time/Send me half your angels/I'll send half of mine”. This comes from the pen of Graham Nash, and seems to encapsulate the general thrust of the mood of this album. A dramatic and frightening plea, it's a song I've heard live on the last couple of CSN tours, and I'm glad that it's finally found a home here. There is a sense of desperation and a hope of healing in the song, which was written following the Oklahoma bombing a decade ago. This horrific event - and a few subsequent (like I have to remind you…) ones that have followed is not mere fodder for these two songwriters.

Through their music, it's obvious that they take pride in living and breathing the same air as the rest if us; experiencing the same emotions, and through that as the committed artists they are, attempt (successfully, in this writers' opinion) to make the distance between people shorter.

David Crosby and Graham Nash, while not exactly toiling in the shadows, certainly aren't in the front pages of everyone's lives as they were at the dawn of the 70's. But interestingly, the last half-dozen years have seen them releasing some of their finest, and most relevant music in a long time and perhaps…of their careers. That may be too strong a statement for many, but the superb trio of albums by Crosby's CPR and Nash's epic 2002 Songs For Survivors are ready proof of this. To be sure, when they join Stephen Stills and, to an obvious and greater extent, Neil Young, is when they become “news”. But if the listener can just…deal with the music and songs on this new album, he or she will see that they haven't been saving their best music for 'larger than life' projects.

I suppose the bottom line is that they are both righteously inspired, and frankly, with good reason. While not mentioned by name, Enron, Halliburton, Bush & Cheney and Martha Stewart all make appearances throughout the album. Crosby's irate “They Want It All” takes care of several of them in one felt swoop. Materializing as well are the ghosts of thousands of dead soldiers and civilians from Iraq to the World Trade Center (see Nash's bittersweet “Live On (The Wall)”, for just one example). Other spirits are included as well: George Harrison, Jerry Garcia, John Entwhistle, Michael Hedges (who himself is paid tribute to in brilliant fashion on “Michael (Hedges Here)”) among others.

There's plenty to talk about, the pair are saying, so sit down and we'll give the tribe the news of the hour - even of the duo aren't necessarily “news” themselves. But talent and commitment are what counts, not “celebrity”, and it's obvious that Crosby & Nash understand this; otherwise, why would we have this album?

It's probably also a good thing to mention that there is a certain sense of counting one's own blessings and the reality of mortality running throughout the record as well that also make it a vital document.

Musically, Crosby-Nash is one of the most organic records to come out of this age of hard-disc recording. An acoustic guitar cast sets the feel for almost the entire album, providing it with a coordinated core that gives the whole effort a homogenized, natural feel. The musicianship is positively (and quite understandably) superb. Two-thirds of CRP (guitarist Jeff Pevar and keyboardist James Raymond) contribute to the band, as well as veteran C, N & CSN swalharts Dean Parks on guitar, bassist Leland Sklar and drummer Russ Kunkel. These three legendary musicians have also been responsible for so many great records to come out of California it's ridiculous. The nucleus of a great band and three renowned studio cats make up the ensemble players, and all of them are the best at their craft - which is not showing off how hot they are as musicians, but simply being smart players, who service the songs brilliantly; and this is a rare and precious commodity.

As well, they all contributed to the writing of several of the songs, Raymond himself penning the two opening songs on the album (“Lay Me Down” and “Puppeteer”) which help set the tone for the record.

The voices of David and Graham have not only aged well individually, but the magical blend that these two legends are known for is, if anything, better than ever. One of the great moments is on perhaps the oldest song on the album, Crosby's “Samurai”, which was written in the late 70's, and was an acapella highlight during his somewhat jeopardous early 80's solo tours. David's clear, emotional tenor rises and soars telling the story of a warrior (“a misfit in this century”) fighting windmills. Nash joins in the second verse, creating an oddly new sounding blend between these two voices, cutting though the melody like two trumpets in unison. It's just one of several breathtaking vocal moments on the record.



In the end, we are left with a document that is as relevant and important as any group of songs that could be released today. There is a totality and solidarity of spirit and commitment through this album, and the principals and their support musicians carry the artistic burden equally. Honesty, a sense of community and virtue like this isn't released regularly, which makes this record that much more valuable and important.

©2004 M. Greenwald