Tag Archive | "David Crosby"

Fame = Get Out of Jail Free card


By Carol Anne Szel

And yes, he was not the first and he will not be the last.  Why am I starting in the middle of a thought? Because I can. Similarly, although it’s much more subtle but brought to us for our entertainment these days,  celebrity happenings are in our face in minutes.  Because they can.  The hordes of media outlets  satellite their ways onto our computers,  iPods, Blackberry’s, on our 3D TVs, and literally any form of electronic device around follow a star’s every step.  And we watch. We are beaten into a state of must-see television where the latest celebrity gossip lands as the first news story each evening at 6, followed up by something not deemed urgent.  Like Lindsay Lohan being released from jail to go to rehab.  Oh yeah, they are also in the final stages of plugging up that pesky oil leak spewing crud out into the Gulf.  LiLo skipping out after serving a few days in jail is more crucial breaking news.  We are led by an elite set of human beings who are held on a whole other plane than the rest of us with a whole different set of rules.  Namely, they don’t live by the same ones as the rest of us.  Because they can.  They are issued a Platinum laced Get Out Of Jail Free Card whether they’re musical superstars,  corrupt and idealized politicians, television reality stars, big time film actors, or even high-profile debutantes.

Before continuing on in giving Ms. Lilo any more of the very undeserved attention she so relishes in, let me wind back in time to 27 years ago today.

David Crosby made great music.  I mean, GREAT music.  I mean, REALLY GREAT MUSIC. But he also got busted with pot and pills and a pistol in 1983 and wound up in a whole mess of trouble. After basically napping for his entire 1983 trial in a Texas courtroom, Crosby was sentenced to eight years behind bars.  Nine months later he was set free.  Good news for his music fans, myself included.  Questionable justice for the rest of the people in the jail cell next to him who served their time.

In 1986 Boy George, who has since garnered more drug busts than song hits, was arrested for possession of heroin on a night when the other two in his party of three overdosed and died.  He on the other hand, checked into rehab.

Paul McCartney had one of his many encounters with drugs in his now infamous 1980 drug arrest in Japan when he was found packing pot in his suitcase. (By the way, McCartney was almost denied a Visa to travel to Japan since he had racked up a couple of earlier drug arrests in Europe.)  With Tokyo’s zero tolerance law, Paul was facing a 5-7 year stint in the not-so-regulated confines of a Japan jail cell.  After a couple of days in a detention center,  he was released after his wife Linda flew her father and high-powered lawyer Lee Eastman into Japan to lend a hand. Paul and Linda stood on the steps of the Tokyo jail headed home. Lesson learned? Four years later in 1984 Paul and Linda were taken in for possession of cannabis in Barbados.  Taken in and let out shortly after.

I’m not saying I didn’t cheer when Paul winked for the cameras when they asked if he’d given up drugs. I most certainly did.

Back to the celebration commemorating August 5, 1983, and what will be celebrity justice long beyond August 5, 2010, which begs the question.

As far as time served in the face of convictions within the bubble of celebrity, why does doing time never see the light of day?

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Graham Nash holds nothing back, part 4



Wasted on the Way

Ever since the early ’70s, when Young’s star ascended rapidly past those of Crosby, Stills and Nash, he’s called the shots.

Whenever there’s been a “reunion” album, tour or one-off benefit performance, it’s been because Neil wanted it, and wanted it on his terms only. When he says jump, they ask how high.

That’s got to suck.

Nash: Yeah, but you either walk away from it and never play that music again, or you just deal with it. Neil is, by far, the most selfish person — in certain aspects — that I’ve ever known. He is a complete slave to the muse of music, and I have great admiration for him for doing that.

However… He can be seen by some people as being so selfish that he doesn’t give a f**k about anybody else’s feelings. For example, he’ll say to Crazy Horse, “Yeah, we’re going to England in six weeks.” Then the week before he’ll say, “No man, I just don’t feel like it. The music’s not talking to me.”

When you’re a musician, and you have finances and kids to send to school and bills to pay, and you make a certain amount of money because you’re in Neil Young’s band, and then it gets canceled the week before, with no compensation, that sucks. And that has happened a lot in Neil’s life.
And he only calls us when he needs us for something. He has very rarely called me as a friend.

It’s not a friendship. I have great, unending admiration and respect for Neil Young, and I think he respects the hell out of me, too.
   
After Crosby got out of prison, clean and sober, the four of you made the album American Dream. As the saying goes, the world waited with bated breath.

It’s just an awful record, Graham. Nobody I know likes it.

Nash: Neither do we. I think it didn’t work for a couple of reasons. We actually had a great time making it. They were some good songs on it. We may have over-harmonized some of them. We kind of over-compensated.

My feeling — and I think David agrees with me — is that Neil over-indulged Stephen on that record. He put a couple of Stephen tracks on there that should not have been on there at all. And left out a version of CSN doing “Climber,” that was written by David, that was just stunningly beautiful.

It was decided to take that off and put on “Driving Thunder,” which, to me, is a piece of shit. In an effort to please Stephen, I think Neil made some wrong choices.

There’s a small story you should know about this. The shot on the album cover was actually a shot of me, David and Stephen, with Neil Photoshop-ed in. There were two versions — in one, Neil’s wearing a white hat, and in the other he’s wearing a black hat.

And that is exactly why American Dream didn’t work.

Young did another “Come to Jesus” in 2006. He’d done his anti-George W. Bush Living With War album, and, realizing that the songs would play to more people if Crosby, Stills, Nash & Young were singing them, he organized another “reunion” tour. It’s chronicled in the 2008 film “CSNY: Déjà vu,” which Young himself directed.

Nash: It was a great idea. Neil did a brilliant job of staying on message. He realized that some of the songs we’d written in the past — “Military Madness” “Déjà vu,” “For What It’s Worth” — were hits but were

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Graham Nash holds nothing back, part 3


Barrels of Pain


The four of you tried to re-convene in 1973. What happened?

Nash: Same old shit. I remember at one point, Stephen was so high — in my home studio, we were working on one of his songs called “My Angel” — and he asked me to sing a major melody through a minor set of chords. Instinctively, my body wouldn’t do it. I’m very good at what I do, but I couldn’t do it. I kept getting halfway through the phrase, and it just sounded so horrible to me that I had to stop. I did that two or three times, and I said, “Stephen, I just can’t do this.”
Well, we ended up having a flaming row. He actually found the master of “Wind on the Water” and cut it in half with a razor blade.

I called a friend of mine, who lived next door, to throw Stephen out of my house.

By 1974, the quartet hadn’t been seen together in public for four years. The pressure was intense. That summer, they became the first rock act to play exclusively in stadiums, for big crowds, for big money.

Things had changed since the days of The Frozen Noses. After the massive success of his Harvest album, Young had become the superstar and the major draw — and his manager, Elliot Roberts, took control of the proceedings early on.
And Crosby, Stills and Nash didn’t have a lot of say in the matter.

Nash: Elliot had dollar signs in his eyes and persuaded us to throw away our whole production team and go with Bill Graham. So everything kind of changed.

Then Neil didn’t want to travel with us, and drove himself across America in his own little tour thing. He was kind of isolated from us.

There was too much cocaine around.

Even in the blizzard of lies, as I call it, we were pretty good. I’m going through all the two-tracks right now, but I can hear the drugs screaming off the tape. There are some good things, and I’m sure I’ll be able to find a good record… but it makes me so uneasy to listen. It makes me crazy to listen to it. It’s part of why I wrote “Wasted on the Way.” We wasted a lot of time and a lot of music behind ego and drugs.

At tour’s end, another attempt at a studio reunion failed, and the four again went their separate ways. Stills recorded and toured with his new wife, French vocalist Veronique Sanson, while Young took off on an extended road trip with his trusty backup band, Crazy Horse.

Crosby and Nash made Wind on the Water, their second album together. “We thought, we have all these songs, and if Stephen and Neil aren’t into them, f**k ’em, we’ll do them ourselves,” says Nash.

“We fell back on a situation that was much more controllable, and much more sane.”

Wind on the Water was a critical and commercial success in 1975. As Crosby and Nash were in San Francisco working on the followup, Whistling Down the Wire, Stills and Young were hunkered down together at Miami’s Criteria Studios, making a project of their own.

Young turned up unannounced at Nash’s door with a cassette of four songs — including “Midnight on the Bay” and “Long May You Run” — he and Stills had roughed out for their first-ever duo project. Why not fly down, he said, and make this a full-blown CSNY record?

Nash: David agreed that they were great songs, and we knew we had good songs, since we were in the middle of a record. So we went to Miami to sing with Stephen and Neil. We completed the record — it was done. We sang on every single track. And then we went back to finish Whistling Down the Wir

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Graham Nash holds nothing back, part 2


Just a Song Before I Go

Nash and Joni Mitchell had linked up in ’68, before the first CSN album was in the can. For more than a year, they lived an idyllic artists’ life and wrote songs about how happy they were. Nash’s “Our House,” with its comfy-cozy, two-cats-in-the-yard scenario, was all about Joni.

Then, on her Ladies of the Canyon album, Mitchell described the relationship — and why it was doomed to failure — from her perspective. The song took Graham’s nickname “Willy” for its title.

Nash: Every word is true. It’s a heartbreaking song for me. To be in love with Joni Mitchell and have that love come back at you, even to the point of marriage — to lose that was devastating for me. I’m old enough now to realize it was a long, long time ago, and I can admit that I was heartbroken.

Joni’s grandmother had always wanted to be a creative person. But in those days, you had to be a wife and a mother, and you had to bake and take care of the kids. You had to stay home while your old man went to work. She had never been given the chance to express herself artistically.

And Joni recounted to me that she remembered the story of her grandmother kicking the door viciously, out of frustration. Joni, I believe, saw that as one of the downfalls of marriage.

I also believe that somewhere in Joni’s mind she thought that I would demand that of her. Which is completely false. How in the hell could anybody with a brain say to Joni Mitchell, “Why don’t you just cook?”

So even though we talked about marriage, I think the reality of it — from Joni’s point of view — was very scary.
To have had the love of that woman was such an incredible feeling for me. I was flying. I was on cloud nine — no, I was on cloud 10! I felt insanely lucky. Many people have said “You know, when you and Joni walked into a room, the whole room lit up.”

Nash’s first solo album, Songs For Beginners, arrived, unannounced, in May of 1971.

Nash: Those songs were written with CSN or CSNY in mind. I’ve always been more comfortable being a member of a band. It’s just the way I grew up.

By that time, Stephen and David were making their solo records. There were no plans to record, but I had these songs. So what the f**k do you do with them? I started out to make a very simple record; almost a record of demos. I just kept writing and recording, and then I thought f**k, I guess I’m in the middle of my first solo record.

Perhaps because of his relationship with Mitchell — which had just skidded to a painful halt — Nash’s lyrics on Songs For Beginners were much more personal than ever before. “I’ve saved millions of dollars in psychiatry bills because I talk to myself constantly,” he says. “It’s my way of exorcising my demons.”

Oh, and the world didn’t know it, but as a group Crosby, Stills, Nash & Young had already ceased to exist. It wasn’t pretty.

Crosby’s ’71 solo tune “Cowboy Movie” detailed the break, using violent Wild West imagery: Eli the Gunner (that’s Stills) comes to blows with the Duke (Nash) over the affections of an Indian maiden (this turns out to be session singer Rita Coolidge).

Fat Albert and Young Billy (Crosby and Young) can only watch and hold on tight; the outlaw gang will never be the same.

“Cowboy Movie.” How true is that?
Nash: It’s very true. The relationship between the four of us wa

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