Inkwell: Authors and Artists

    
My mind is moving faster than my fingers, obviously ... sorry for the
typos in the last post. I think I was paying too much attention to the
mental pictures that went along with those words. Just to remind myself
that the '82 tour trip wasn't a dream, every now and then I'll glance
at the stack of B&W proof sheets -- every frame Henry Diltz shot that
week -- documenting it all. 
  

    
Typos? On the Well?? I'm SHOCKED.
  

    
Great stories!!

About those bras and panties, which I keep thinking about <smile>, I 
remember riding with Croz into an outdoor show at a winery.  As we were 
moving along, an astonishingly built 17 year old blonde girl, in an 
astonishingly tight t-shirt, with freckles on her button nose from hiking 
or climbing Yosemite Falls, for god's sake, sidled up to the car, where 
Croz was driving.  She looked in the open window and said, "I love you, 
David."  David turned to me and muttered, "I love my wife."
  

    

Good for him!  How does one deal with people who insist on flinging 
themselves at you?
  

    
Dave --

Had I known the stories would have been so cool I'd have asked a lot
earlier in the discussion.

More, more...

How 'bout the most intense moment in an interview?

Or maybe just the most intense interview?
  

    
LOVE the ice cream story!
  

    
>How 'bout the most intense moment in an interview?

> Or maybe just the most intense interview?

Thanks for the kind words, T. 

With regard to your first question ... what comes to mind today is an
interview I had with Stephen Stills at his old house in Encino in 1983.
He was in pre-tour "hyper-drive." I was asking him some questions, he
was giving me some decent answers, before saying, "Next ... next ...
later." Then he bolted up and said, "I can't sit here anymore. I gotta
play some pool." What happened next is recounted on page 255 of my CSN
book. While he was playing pool, Stills kept talking, LOUDLY, and I
just kept the tape rolling. Here's a portion of what he said ... "This
time it's cool, 'cause Graham and I have it sorted out. And David's
back into it. As far as who does what and when ... leave the ego shit
behind, gimme a break ... Now I can fulfill my role with some dignity,
without feeling like I'm going to get interrupted by those backbiting
games we used to play, that Neil was so adept at. I adore Neil, but
that shit used to drive me nuts." He talked on some more. Played some
more pool. Then he went into his garage-studio, plugged in his Firebird
electric guitar and started playing some screaming rock-blues guitar
(mixing in lead riffs off of a fast shuffle). Then Stephen turned and
said, "Sorry, Dave. No more talkin' today. OK?"

As for the most intense overall interview ... there were quite a few.
But the one where I felt the most intensity, probably, was with Joni
Mitchell at A&M Studios. I had about 30 questions, and she told me, "I
only have 15 minutes, you know." With the pressure on, I tried to get
to the questions I felt were most critical ... meeting Crosby, meeting
Nash, Laurel Canyon, writing Woodstock, her takes on CSN and CSNY, etc.
I was editing down my list as the time ticked away. But as Joni
talked, I felt this calm come over me, because I knew she was really
with me and painting her answers with words as colors. I had never
interviewed anyone before who literally "painted paragraphs" while she
was talking. An example, describing Crosby in Florida in 1968 ...
"...David's temperament was ... I used to call him Yosemite Sam,
because of his long moustache, you know? He was a coloful kind of
pirate type. But he was twinkly. His eyes always looked like star
sapphires and they always had fire comin' out of 'em."  When Larry
Klein ducked his head into the room and said, "Come on, Joan," she
looked at me and said, "I hope you got what you needed." I did, and
then some. She left on tour a few days later. And I never felt the need
to get anything more from her for the book. It felt like she gave me
everything she had ... in just 15 minutes! 
  

    
Sleeping on the memory ... I guess that afternoon in 1983 with Stills
was not so much an intense moment in an interview, but rather a series
of intense moments during an emotional encounter. His level of
adrenaline was scary, and the look in his eyes ... well, they were blue
eyes blazing.  Interestingly enough, about 24 hours later Stephen was
in a much calmer mood and patiently answered all of the questions he
had chosen to skip the previous afternoon.

>How does one deal with people who insist on flinging themselves at
you?

I once asked Stills a similarly worded question. His initial response
was, "I've never been one that people claw at." Then he added, "You try
to be polite ... "
  

    

Great stories (I keep saying that!) about Stills and Joni, Dave.
  

    
Yes, wonderful Dave! Keep on a'rambling! Those images and memories
that emerge clear as day long after the fact are priceless.
  

    
Thanks, David, and thanks, too, to you Barb. It's enjoyable to relive
some memorable times.

One thought (not a memory, actually) has been circling around in my
head today, and it involves the relative *heaviness* of Graham Nash --
in the context of CSN and CSNY.

A statement that Jimmy McDonough made in Shakey keeps haunting me ...
"Graham Nash would complete Crosby, Stills & Nash. and would perhaps
prevent the ensemble from ever being anything really rock and roll."

I disagree with this statement ... strongly. While "Our House," "Teach
Your Children" and "Just A Song Before I Go" may not be considered
rock and roll, people sometimes forget that Nash also wrote such
rockers as "Pre-Road Downs," "Chicago," "Immigration Man," "Wild
Tales," etc. And even if he didn't, Nash gave and continues to give the
CSN (and CSNY) harmony blend its razor *edge.* 

When I was putting together my CSN book, Ron Stone (former management
associate of Geffen-Roberts) observed, "Nash was always the strongest
person in the group. But it took him a long time to realize that. The
others made him feel like he wasn't that heavy. But I think Graham
finally realized, 'Hey, wait a minute, I'm the one who wrote all the
hits ... I'm the one who's feedin' this outfit.' It's true. They were
enjoying the success he gave them...Graham has always been rapped for
writing simplistic songs, but that's the very reason they're so big.
Graham's got the ability to reach the largest group of people."

Graham Nash, in my book and mind, rocks ... and rolls ... when he
wants to ... big time.
  

    
His "Wild Tales" is a wildly underrated album, and should be owned by
everyone more than marginally interested in CSNY.  Joni's mournful free
form singing near the end of "Another Sleep Song" is one of the saddest
sounds I know, and "And So It Goes," with "Joe Yankee" aka Neil Young on
piano, is the best song that Young forgot to write himself.
  

    
Amen to your comments about Nash, Dave... I know that there are a
bunch of us out here looking forward to the new tour and with the
announcement that Pevar and Raymond are going to join the tour, I think
that there will be an added draw, not that Nash needs anything... I
recall, though, that his last solo outing wasn't that successful... Is
that correct, Dave?
  

    
> Stills kept playing, this time on his electric guitar (an old 
> Fender Esquire), singing some Rolling Stones songs with Henry

I'd like to have heard that...  do you remember which ones?

I can imagine Stills / CSNY doing wonderful things with certain 1968
- 74 Stones classics... they should try one onstage, for the variety.
  

    
>Joni's mournful free form singing near the end of "Another Sleep
Song" is one of the saddest sounds I know, >and "And So It Goes," with
"Joe Yankee" (aka Neil Young) on piano is the best song that Young
forgot to write himself.

Yes, diga, Joni's soprano cries strike deep emotional chords. "And So
It Goes" is one of my favorite Nash songs that, I must admit, has a
strong Young-ian chording/rhythm feel to it. I also love Wild Tales'
"Oh Camil" (with Dave Mason on 12-string guitar) and the C&W lilt of
"On the Line."

I forgot to mention what a great harmonica player Nash is ... evident
again on his new album, Songs For Survivors.

>I recall, though, that his last solo outing wasn't that successful...
>Is that correct, Dave?

Buzz, Nash has had only sporadic success as a solo live performer. But
this new tour sounds like it could really be something special, with
Peev, James Raymond and Russ Kunkel. And I would be surprised if Croz
didn't drop in for a few dates -- particularly since Graham is touring
with two key parts of CPR!

>Stills ... singing some Rolling Stones songs with Henry ...
>I'd like to have heard that...  do you remember which ones?

David, actually I do remember a couple of them ... "The Last Time" and
"Under My Thumb." I could hear CSNY taking a fly at both... CSN
harmony on "The Last Time" would be wild, and Stills could dig into his
bluesy growl on "Under My Thumb." But, in reality, it will probably
never happen ...
  

    
The thought of Croz dropping in for a few dates brings to mind that
although I was a huge fan of CSN and CSNY pre-1974, my first live
experience was during the C&N Wind on the Water Tour, which was really
a turning point for me... the wonderful harmonies of those guys on that
tour blew me right out of my seat... Proudly, I renamed my sail boat
to "Wind on the Water".... 

Over on the Lee Shore from time to time, there have been some
speculation (or maybe just wishful thinking) that we might see a CNPR
tour... we had a couple little tastes of this combination at the
Wiltern and the Dream and Grace benefits in 2000... it was wonderful...

Dave, do you think that this new combination with Pevar and Raymond
joining the Nash ensemble for this tour might be an spark to drive the
C&N toward a CNPR tour... maybe not in venues as big as the sheds but
some of the smaller theatre type venues such the Wiltern, Santa Monica
Civic, the Mountain Winery or the Rosemont in Chicago... ??
  

    
Morning Buzz ... before getting to your question ...

One more thing about Graham Nash ... and Neil Young ... In the last
moments of "Last Dance," the last track on Young's 1973 "Time Fades
Away" live album, a rough and ragged collection of then new Young
songs, Nash shrieks, 'Last DANCE!" with such the-end-of-the-world
ferocity; it's like a rock and roll exclamation point turned upside
down. That earns a place in my mental pantheon of great rock and roll
moments.

Beyond some vocals on Young's Harvest album and 1972 "War Song," a
single inspired by the assassination attempt on George Wallace, Nash
and Young never worked together much outside of the CSNY. Some
unexplored chemistry. It would have been interesting if the two had
explored a duo project at some point...
  

    
>Do you think that this new combination with Pevar and Raymond
joining the Nash ensemble for this tour might be an spark to drive the
C&N toward a CNPR tour... >maybe not in venues as big as the sheds but
some of the smaller theatre type venues such the Wiltern, Santa Monica
Civic, the Mountain Winery or the Rosemont in Chicago... ??

Good question, Buzz, and it certainly seems possible. But it's a
question that only Croz and/or Nash would be able to answer. I'd love
to see it happen. C&N with P&R ... more musical magic in the cosmos ...
  

    
> Nash shrieks, 'Last DANCE!" with such the-end-of-the-world
 ferocity; it's like a rock and roll exclamation point turned upside
 down. That earns a place in my mental pantheon of great rock and roll
 moments.


Dave!  I love you.  This is one of my favorite apocalyptic rock and roll
moments too, up there with Merry Clayton's spine-tinging wails on "Gimme
Shelter," and Dylan turning to the Band and barking "Play fucking LOUD"
after that guy made that comment about Judas.

Which brings to mind the fact that "Time Fades Away" has *still* never
been released on CD, along with THE defining masterpiece of the Watergate
era, Neil's "On The Beach."  Particularly with the latter album, I feel
like a major artifact of rock and roll as social criticism is missing from
the audible history.  It's as if "Blood on the Tracks" was out of print.  
I've met many people who say they love Neil's music who have never even
heard that such an album existed.

I wonder why "War Song" didn't end up on the box set?  I rushed out and 
bought the 45 the week it came out.  Maybe Neil contractual issues.

I also thought that Nash's modest, unadorned performance of "Half Your 
Angels" on solo electric piano -- with Croz singing harmony -- was THE 
emotional heavyweight moment of the last CSNY show I saw.  Not just 
because it's a three-kleenex weeper written for Oklahoma City that now 
seems all too relevant to 9/11.  But because it's a fucking beautiful 
melody, and putting Nash and Croz together in a completely uncluttered 
setting, harmonizing a gorgeous, dark theme, is THE stuff for me.
  

    
Larry Klein on bass for the tour too. Wow.
  

    
Yeah, Barb, Klein on bass and Kunkel on drums will be such a cool,
understated yet powerful rhythm section for Nash and friends ... 

>"Last DANCE!" ... is one of my favorite apocalyptic rock and roll
moments too, ...

Steve, yeah, Nash just lets everything go ... and I, too, get chicken
skin from that Clayton wail on "Gimme Shelter" and the Dylan COMMAND!

It is criminal that Neil Young's "missing six" (Journey Through the
Past, Time Fades Away, On the Beach, American Stars 'n' Bars, re*ac*tor
and Hawks & Doves) remain unreleased on CD. The "company line" from
the NY camp remains that Neil's still searching for the "ultimate audio
format." I'm surprised Reprise/Warner Bros. hasn't just put them out
... not that they would be huge sellers. But for a major artist to have
such a large chunk of catalogue unavailable for so many years is
ridiculous.

Re: Why Young & Nash's "War Song" didn't end up on the CSN box set? My
guess is that the track got trapped in the legal wranglings between
Young/Lookout and Nash/Atlantic. Too bad. It's a very moving, powerful
recording. And not that many people, outside of hardcore fans, have
heard it.

I have no explanation, though, as for why the CSN-Joe Vitale track,
"Chuck's Lament," was left off the box set. Recorded for the soundtrack
to the 1988 Jamie Lee Curtis, Alex English film, Amazing Grace and
Chuck, and heard over the closing credits of the film, it's one of my
favorite "latter day" CSN tracks. Wonderful melodic flow, choral CSN
harmonies, and powerful Stills vocals/guitar. It's only official
release was as the B-side of the 1990 CSN single, "Live It Up." Another
buried gem.

It's also baffling why "Half Your Angels" remains unreleased (except
as an online download). It certainly was an emotional moment in the
CSNY2K2 shows. I thought the song might surface on Nash's latest solo
album. But it's not on there. Maybe Graham is saving it for the next
CSN or C&N album ... whenever either of those may come to pass ... 
  

    
Another fantastic lost track is the Crosby version of the Indigo Girls' 
song that begins "Fare thee well my bright star."  It was recorded for
Thousand Roads, I believe, with Emily Saliers (is that right?) on harmony 
and acoustic guitar.  One of my fave latter-day Croz tracks.
  

    
I must confess I'm not familiar with that Crosby/Saliers recording,
Steve. I'm sure it's sweet sounding, though. 

Am still hoping for the release of a planned but never issued CD
featuring the best of Crosby, Nash and C&N harmony vocals with such
artists as James Taylor, Carole King, Jackson Browne, Joni Mitchell,
Kenny Loggins, Bonnie Raitt, Art Garfunkel and Phil Collins. According
to Nash, the album was supposed to be released in 2000 to benefit the
Children's Defense Fund in Washington, D.C. If this album ever sees the
light of day, it would be cool if it also included some unreleased
harmony sessions. Though it seems when these guys sing with other
artists, the results are so strong the tracks get released.  

 
  

    
Sounds just fabulous! What's keeping it from being released?
  

    
Somewhere, I've got a tape of pre-CSN demos of things like Wooden Ships
and Guinevere marked "Frozen Noses."  Has this stuff ever been released?
I think it's just Crosby and Stills without Nash?  Or is it the other way
around?  I don't remember, anymore.