Almost Cut My Hair crosby stills nash and young.. ive been asked to re-post this as a stand-alone vid. it was originally featured on the Daily Toke as their first "musical guest".
Crosby, Stills & Nash, also Crosby, Stills, Nash & Young when including occasional fourth member Neil Young, are a folk rock/rock supergroup. The band is known for their distinctive vocal harmonies and activist politics, and have a strong association with the segment of 1960s counterculture known as the Woodstock Nation. They are commonly referred to by their initials CSN or CSNY.
Formation
Initially formed by the trio of David Crosby, Stephen Stills and Graham Nash, the genesis of the group lies in two 1960s rock bands, The Byrds and The Hollies, and the demise of a third, Buffalo Springfield. Friction existed between Crosby and his fellows in the Byrds, which came to a head specifically in 1967 over two issues: his substitution, at the invitation of Stills, for an absent Neil Young during Buffalo Springfield's set at the famous Monterey Pop Festival in June; and the Byrds' rejection of Crosby's controversial "Triad" composition as either a single or an album track in August. As a result, Crosby was dismissed from the Byrds in the fall of 1967.[1] By early 1968, Buffalo Springfield disintegrated over personal issues, and after aiding in putting together the band's final album, Stills found himself unemployed by the summer. He and Crosby began meeting informally and jamming, the results of one encounter in Florida on Crosby's schooner being the song "Wooden Ships," composed in collaboration with another guest, Paul Kantner.[2] Nash had been introduced to Crosby when the Byrds had toured the UK in 1966, and when the Hollies ventured to California in 1968, Nash resumed his acquaintance with Crosby.[3] At a party at the home of either Cass Elliot of the Mamas and Papas, Joni Mitchell, or John Sebastian, depending on differing accounts, Nash asked Stills and Crosby to repeat their performance of a new song by Stills, "You Don't Have To Cry," blending a second harmony on the spot into their singing.[4] The vocals gelled, and the three realized that they had lucked into something quite special.
The Hollies, who had enjoyed pop hits in the mid-sixties, had been struggling with the changing music scene in England due to the advent of psychedelia, and were planning to do an album of all Dylan covers. Seeing this as a step in the wrong direction, and creatively frustrated with the Hollies, N
ash decided to quit and throw his lot in with Crosby and Stills. After failing an audition with the Beatles' Apple Records, they were signed to Atlantic Records by Ahmet Ertegün, who had been a fan of the Springfield and disappointed by that band's demise.[5] From the outset, given their respective
band histories, the trio decided not to be locked into a group structure, using their surnames as identification to ensure independence and a guarantee against the band simply continuing without one of them, as had both the Byrds and the Hollies after the departures of Crosby and Nash. Their record
contract with Atlantic reflected this, positioning CSN with a unique flexibility unheard of for an untested group. The trio also picked up a unique management team in Elliot Roberts and David Geffen, who had engineered their situation with Atlantic and would help to consolidate clout for the group
in the industry.[6] Roberts kept the band focused and dealt with egos, while Geffen handled the business deals, since, in Crosby's words, they needed a shark and Geffen was it.[7] Roberts and Geffen would play key roles in securing the band's success during the early years. Their first album, Crosb
y, Stills & Nash of 1969 was an immediate hit, spawning two Top 40 hit singles and receiving key airplay on the new FM radio format, in its early days populated by unfettered disc jockeys prone to playing entire albums at once. Other than the presence of drummer Dallas Taylor, Stills had handled the lion's share of the instrumental parts himself, a testament to his talent but leaving the band in need of additional personnel to be able to tour, now a necessity given the debut album's commercial impact.
[edit] Enter Neil Young Déjà Vu album coverRetaining Taylor, the band decided initially to hire a keyboard player, Stills at one point approaching Steve Winwood, who declined.[8] Over dinner with Ertegün, the Atlantic label head suggested Canadian singer/songwriter Neil Young, also managed b
y Roberts, as a fairly obvious choice.[9] Initial reservations were held by Stills and Nash, Stills owing to his history with Young in Buffalo Springfield, Nash due to his not knowing Young at all outside of his work. But after several meetings, the trio expanded to a quartet with Young a full partn
er, the name duly changed law firm-style, the terms allowing Young full freedom to maintain a parallel career with his new back-up band, Crazy Horse. With Young on board, the group went on tour in the late summer of 1969 through the following January, their second gig being a baptism-by-fire at the
Woodstock Festival in front of their peers, CSNY with their hit record of the event later being seen as its embodiment. By contrast, little mention is made of the group's subsequent appearance at Altamont, CSNY having escaped mostly unscathed from the fallout of that debacle. Great anticipation had
built for the group, and their first album with Young, Déjà Vu, arrived in stores in March of 1970 to zealous enthusiasm, topping the charts and generating three hit singles. Reflecting unerringly the tastes and viewpoints of the counterculture as the sixties changed into the seventies, with prote
st against both the establishment and the Vietnam War gearing up, the group made no secret of their political leanings, Crosby in particular. While staying at a house down the peninsula from San Francisco, the ubiquitous reports of the Kent State shootings reached Young and Crosby, inspiring Young t
o write his protest classic "Ohio," recorded and rush-released weeks later and another Top 20 hit for the group.[10] Between "Ohio," their appearance in both the festival and movie of Woodstock, and the runaway success of their two albums, the group found themselves in the position of enjoying a le
vel of adulation far greater than experienced with their previous bands. The collective talents allowed the band to straddle all the flavors of popular music eminent at the time, from country-rock to confessional balladry, from acoustic guitars and voice to electric guitar and boogie. Indeed, with t
he Beatles break-up made public by April of 1970, and with Bob Dylan in reclusive low-key activity since mid-1966, CSNY found itself as the adopted standard bearers for the Woodstock Nation, vouchsafing an importance in society as counterculture figureheads equaled at the time in rock and roll only
by The Rolling Stones. An entire sub-industry of singer-songwriters in California either had their careers boosted or came to prominence in the wake of CSNY, among them Laura Nyro, Joni Mitchell, Jackson Browne, and The Eagles. All were managed, incidentally, by Roberts, and all but Nyro signed to G
effen's Asylum label, which would be the home for what came to be known as the Mellow Mafia for the remainder of the decade. However, the tenuous nature of the partnership, built into the group philosophy from the onset and strained by their success, weighed on the individual personalities, and the
group imploded after their tour in the summer of 1970. Concert recordings from that tour would end up on another chart-topper, the 1971 double album Four Way Street, but the group would never completely recapture momentum as years would pass between trio and quartet recordings.

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