Rating Reviews : 
One of the most enduring musical partnerships of our time, Rock and Roll Hall of Famers Crosby, Stills & Nash are revered for their peerless vocal harmonies, inspired songwriting and musical virtuosity. When the trio first sang together at a friend’s Laurel Canyon house in 1968, their uncanny harmonic convergence was immediately apparent, and CSN took shape. Each member came to the new venture from other high-profile bands-Crosby from the Byrds, Stills from Buffalo Springfield, and Nash from the Hollies-and together, they formed that rarest of musical entities, a “supergroup” that lived up to its billing. CSN’s 1969 self-titled debut album is one of the true masterpieces of the rock ‘n’ roll canon, and 1982’s Daylight Again is a brilliant portrait of their musical evolution. Still touring and recording together, CSN is an American treasure.
First of all, have you ever heard, "Suite: Judy Blue Eyes?" Because this is a song and a half, my good friend. It 's the best song the group ever made in one of its various combinations, and that's really saying something because I like a lot of songs CSNY. But this is head and shoulders, even the best of their incredible songs that say more or less it is. As the title suggests, is a suite in four parts, and a variety absolutely fantastic. The first part is incredibly energetic andcatchy. Then you have my favorite, the second part slow. The group is a deep groove and dreamy harmonized? "What I have to lose" perfect segments, Stills and do this trick with impressive double-tracking and echo – you get a "Hey" on the channel, another "hey" shortly after the canal in front, and a third "Hey , once again in the first. And right after he delivers the best vocal performance of his career, completely under the spotlightwith the adoption of a full-on Soul Man The voice part is awesome … "I can say things as they are? Listen to me, is my baby … HEAAAAAAAAAAART to die and this is what I have to lose!" Especially the way he sings "Heart", an extension of eleven syllables, as in a falsetto Kick-Butt. And he makes it look easy. Steve Stills is a very good singer.
In any case, the third part it seems that you'd hear at a Renaissance Festival, and I like it! This section is only the mostlove is not poetic song written by Smokey Robinson, who I have ever heard. And then there's fun, inflatable, half Latin "do do do do Doot Doot Doot Doot" part of the rules. I like the random aspect Stills' host Spanish! And even if pretentious for an apartment, the song is never. It is mostly acoustic, it will not just random, and is a great sing-along melody.
Stills wrote it and of course, is the star of the record: he wrote not only as co-author, or half of the melodies,but also plays guitar, bass and organ, if necessary. He is also one of three singers, but we knew, but I know that Graham Nash and David Crosby to go with the winners, too! Crosby uncanny "Geneva" is an example – the choruses are beautiful three-part harmony, and the way Crosby Stills Nash and support during the verses is awesome. And I love the voice Crosby. Actually I love all three ratings boy. Dave and co-author, along with stills and Paul Katner JeffersonAirplane, The Haunting, dramatic anti-war epic, "Wooden Ships", in Moody organ, heavy guitars, vocal trade-off between Crosby and Stills, and a perfectly harmonized chorus, this is my favorite song here, except the suite. And Crosby evil hippie-rocker "Long Time Gone" is a piece first and again because of these harmonies! And Crosby vocals!
Graham Nash adds a solid psychedelic pop song "Marrakesh Express" and the decent acoustic ballad "Lady ofthe Island.” Neither of the two is as good as Nash’s two songs from Déjà vu, but I love “Marrakesh!” It’s so cute! And, I mean, try not singing along with it! “Lady of the Island…” I could take or leave it. But those vocal harmonies Crosby adds near the end sure are pretty. Same deal with “Pre-Road Downs,” an okay but unspectacular country-rocker.
But yeah, back to my point about how Steve Stills wrote most of these songs. He’s given the sole credit to “Suite: Judy Blue Eyes,” “You Don’t Have to Cry,” “Pre-Road Downs,” “Helplessly Hoping,” and “49 Bye-Byes,” and I can safely say I like all of those songs but “Pre-Road Downs” a lot. I already talked about “Suite: Judy Blue Eyes” (by the way, isn’t it a bit disappointing when a band’s best song ever is also the first song on their first album?) and “Pre-Road Downs” (meh), and I can safely say I love the other four. “You Don’t Have to Cry” is arguably the catchiest song, which is saying a lot. It’s so hard not to sing long! It is so funny!
On the contrary, "Powerless hope" is probably attempting Stills' to draw a "Guinevere" of their own – is repeating itself, medieval acoustic guitar figure, the same feeling hypnotic, got the same excellent harmonies, and the same semi-poetic texts. And in fact almost over, especially in that part, when Stills ", sings a person," Nash, "adds are only two," added Crosby, and "are three of us." I think Stills wrote the textan exercise in alliteration, as well: the first five words are "helplessly hoping her harlequin hovers …," a song later to be" heartless help themselves, and there is a reference to a "lady who lingers.
However, it was not as "sleep 49", but you know what took me about it? Two things: the harmonies of the chorus (it was not so clear, or what), and the rate of shift between verse and chorus. tempo changes are cool! And, of course, the voices on this and the twothe entire disk is among the most inventive I've ever heard. These three could harmonize like no other. In terms of harmonies, this is definitely the best Crosby, Stills, Nash and Young can record in history and in relation to the songs, it is likely to win. "Suite: Judy Blue Eyes," the man … "Wooden Ships", also … and hey, who "can forget Marrakesh Express" in terms of pure fun goofy? For the record, "Suite: Judy Blue Eyes" and "Marrakesh Express" were big hits, and this is a greatDebut!
