I compared the new LP to my mint original. The discs demonstrate, even to the most critical of ears, how good a digital file can sound if mastered by someone of Calbi’s stature. The music on both sets was mastered from 24/192 digital files by Greg Calbi at Sterling Sound and pressed at RTI in California (or Pallas in Germany) on 180-gram vinyl. Both sets beautifully replicate gold overlay on the leather-like pebbled cover with the sepia-toned group photo pasted on the cover. There are two versions of the box set to mark DéjàVu‘s 50th anniversary: 1) The 50th Anniversary Deluxe Retail Edition, which includes an LP of the original album, a 20-page booklet with never-before-seen photos, and four CDs that include demos and outtakes and 2) the 50th Anniversary Deluxe D2C Edition that is a five-LP version of the Retail Edition, a 12×12 hardcover book, and individual photos suitable for framing. Déjà Vu was the roots-rock record of 1970 that started big and stayed that way. Every song became an anthem, on domestic bliss (“Our House”), freakdom (“Almost Cut My Hair”), and lost childhood (“Helpless). The result was a critical and commercial smash that sold over 8 million copies and goodness knows how many radio airplays. They played some more live gigs before entering the studio where, individually and collectively, they spent a reported thousand hours. If there was any doubt in anyone’s mind, Woodstock erased it. Their second gig was famously at Woodstock the following month. So, less than two months after the CSN album was released, the four began rehearsing in July 1969. Nash, in Wild Tales: A Rock & Roll Life, wrote, “‘Why am I talking to you about this fucking band that I happen to think is complete?’ Young responded, ‘Well, man, ever heard me and Stephen play together?’ By the end of breakfast I was ready to nominate him for Prime Minister of Canada.” Young was in. After being convinced to at least meet with Young, they got together in a New York coffee shop early one morning. Soon thereafter, Young became interested in joining CSN, but Nash remained the sole holdout. He’s a better poet than the rest of us put together.” As he told Crawdaddy in 1974, “Now I wanted to join his group. He stopped and in shooting the breeze Young played some new songs, including “Country Girl” and “Helpless.” Crosby was smitten. One day Young passed Crosby standing in Joni Mitchell’s driveway. But, as often happens, serendipity, and a cup of coffee, aligned the stars. However, as both Crosby and Nash were adamantly against it, an invitation was never made. What was obvious to the music executive became apparent to the musician: Young’s music meshed so well with the trio that it promised even greater heights. But, Ertegun eventually won Stills over, in part by playing some of Young’s newer songs. Not only had Crosby and Nash never played with Young, Stills had issues with Young during their Springfield days. While John Sebastian, Steve Winwood, and Mark Naftalin (The Paul Butterfield Blues Band) were approached, none worked out for various reasons.Īhmet Ertegun (head of CSN’s label, Atlantic Records) also thought adding a fourth member would be advantageous and, as he had a soft spot for Buffalo Springfield, suggested Neil Young. Stills, a blues guitarist, did not want them to be a Simon & Garfunkel-like acoustic trio. With David Crosby having been kicked out of the Byrds, Stephen Stills being adrift after Buffalo Springfield broke up, and Graham Nash leaving The Hollies, it was Elliott’s eye for talent and astute ear for what worked that brought those three together.ĭespite the trio’s success it was still generally felt that they needed another member to provide a fuller, more electric sound. It is well-known that Cass Elliott (The Mamas and Papas) served as the Gertrude Stein of Laurel Canyon: Everybody who was anybody sooner or later made it to her house. CSN&Y filled it with great aplomb, but not everyone knows the story behind the album.Ĭrosby, Stills & Nash and the Road to CSN&Y With The Beatles’ demise in 1970, it was an opportune time for someone to fill the void. Pepper’s Lonely Hearts Club Band, it also had to live up to the critical and commercial success of the Crosby, Stills & Nash album that preceded it in 1969. While Déjà Vu was one of the most eagerly awaited albums in history, perhaps second only to Sgt. And this week’s column offers another first: In addition to the photos taken by ND photographers, Henry Diltz, the dean of rock photography, also provided some rare photos of the band. This week marks the first time that a single album has been this column’s exclusive focus. Déjà Vu is one of them, and it was re-released last Friday as part of two well-crafted box sets to mark its 50th anniversary. I can count on one hand the number of rock albums that are foundational cornerstones of what is called Americana today.
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