Crosby, Stills, Nash and Young – Deja Vu (2LP, 45RPM)
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€105,00
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[click here to see more vinyl featuring Crosby, Stills and Nash]
Vocals - David Crosby [click here to see more vinyl featuring David Crosby]
Vocals - Graham Nash [click here to see more vinyl featuring Graham Nash]
Vocals - Stephen Stills
Vocals – Neil Young [click here to see more vinyl featuring Neil Young]
Bass – Gregory Reeves
Percussion – Dallas Taylor
Written by Stephen Stills (A1, C3, D2), Graham Nash (A2, C2), David Crosby (A3, C1), Neil Young (B1, D1-D2), Joni Mitchell (B2)
2LPs, gatefold jacket printed by Stoughton Printing
Limited numbered edition
Original analog Master tape : YES
Heavy Press : 180g
Record color : Black
Speed : 45 RPM
Size : 12'’
Stereo
Studio
Record Press : Quality Record Pressings
Label : Analogue Productions - Atlantic 75 series
Original Label : Atlantic
Recorded July 1969 – January 1970 at Wally Heider's Studio III, L.A.
Engineered by Bill Halverson
Produced by David Crosby, Graham Nash, Neil Young, Stephen Stills
Mastered by Chris Bellman at Bernie Grundman Mastering
Art Direction, Design by Gary Burden
Photography by Tom Gundelfinger, Henry Diltz, Sally Sachs
Originally released in March 1970
Reissued in 2024
Tracks:
Side A:
- Carry On
- Teach Your Children
- Almost Cut My Hair
Side B:
- Helpless
- Woodstock
Side C:
- Deja Vu
- Our House
- 4 + 20
Side D:
- Country Girl: Whiskey Boot Hill / Down, Down, Down / "Country Girl" (I Think You're Pretty)
- Everybody I Love You
Awards
Rolling Stone 500 Greatest Albums of All Time - Rated 220/500
Reviews:
"One of the most hotly awaited second albums in history -- right up there with those by the Beatles and the Band -- Déjà Vu lived up to its expectations and rose to number one on the charts. Those achievements are all the more astonishing given the fact that the group barely held together through the estimated 800 hours it took to record Déjà Vu and scarcely functioned as a group for most of that time. Déjà Vu worked as an album, a product of four potent musical talents who were all ascending to the top of their game coupled with some very skilled production, engineering, and editing. There were also some obvious virtues in evidence -- the addition of Neil Young to the Crosby, Stills & Nash lineup added to the level of virtuosity, with Young and Stephen Stills rising to new levels of complexity and volume on their guitars. Young's presence also ratcheted up the range of available voices one notch and added a uniquely idiosyncratic songwriter to the fold, though most of Young's contributions in this area were confined to the second side of the LP. Most of the music, apart from the quartet's version of Joni Mitchell's "Woodstock," was done as individual sessions by each of the members when they turned up (which was seldom together), contributing whatever was needed that could be agreed upon. "Carry On" worked as the album's opener when Stills "sacrificed" another copyright, "Questions," which comprised the second half of the track and made it more substantial. "Woodstock" and "Carry On" represented the group as a whole, while the rest of the record was a showcase for the individual members. David Crosby's "Almost Cut My Hair" was a piece of high-energy hippie-era paranoia not too far removed in subject from the Byrds' "Drug Store Truck Drivin' Man," only angrier in mood and texture (especially amid the pumping organ and slashing guitars); the title track, also by Crosby, took 100 hours to work out and was a better-received successor to such experimental works as "Mind Gardens," out of his earlier career with the Byrds, showing his occasional abandonment of a rock beat, or any fixed rhythm at all, in favor of washing over the listener with tones and moods. "Teach Your Children," the major hit off the album, was a reflection of the hippie-era idealism that still filled Graham Nash's life, while "Our House" was his stylistic paean to the late-era Beatles and "4+20" was a gorgeous Stephen Stills blues excursion that was a precursor to the material he would explore on the solo album that followed.
And then there were Neil Young's pieces, the exquisitely harmonized "Helpless" (which took many hours to get to the slow version finally used) and the roaring country-ish rockers that ended side two, which underwent a lot of tinkering by Young -- even his seeming throwaway finale, "Everybody I Love You," was a bone thrown to longtime fans as perhaps the greatest Buffalo Springfield song that they didn't record. All of this variety made Déjà Vu a rich musical banquet for the most serious and personal listeners, while mass audiences reveled in the glorious harmonies and the thundering electric guitars, which were presented in even more dramatic and expansive fashion on the tour that followed." AllMusic Review by Bruce Eder
"Déjà Vu is the sophomore effort by the super group with the expanded name of Crosby, Stills, Nash & Young, after the addition of Neil Young to the group. Each of the four named members of the group contributed an original composition to each side of the original LP, which worked to give this album a very diverse musical and textual feel overall. following its release, the album topped the charts in the US and went on to be the most successful record overall for the group as a four piece.
The 1969 self-titled debut by Crosby, Stills & Nash was a critical and commercial success. On that album, Stephen Stills played the bulk of the instruments with drummer Dallas Taylor being the only player outside the core trio. After the album’s release and success, the band looked to add more players, at first trying to recruit Steve Winwood (to no avail). At the urging of Atlantc Records founder Ahmet Ertegün, Young was brought on as a fourth member, reuniting him with Stills, his Buffalo Springfield bandmate. This updated group then embarked on their initial tour in the summer of 1969.
Through late 1969, great anticipation was building for another album by the group. Ultimately, the album took a long time to record, with over 500 studio hours logged over the course of five months. The end result is an album filled with precise playing, rich harmonies, and strong rhythms, with three charting singles and several more tracks which have sustained throughout the decades.
The songs through most of Déjà Vu are great Americana classics which, if they are flawed at all, are just a bit too short in duration. “Carry On” has an upbeat acoustic folk intro. Still’s thumping bass and some hand percussion are present through much of the opening verses. The later section changes direction a bit while still giving room for harmonies to fully shine along with some great electric guitar licks. “Teach Your Children” is a pure, steady country tune by Graham Nash, featuring exquisite harmonies throughout. This track also has some impressive pedal steel by guest Jerry Garcia, who made this signature arrangement in return for the CSNY teaching members of the Grateful Dead how to effectively harmonize for their upcoming 1970 albums.
“Almost Cut My Hair” is a bluesy, hippie anthem by David Crosby, featuring a triple guitar attack by Crosby, Stills, and most especially Young on lead guitar. This track is also the most ‘live’ sounding on the album and features no harmonies, with Crosby alone supplying the soulful lead vocals throughout. The album again changes direction with Young’s “Helpless”, where Neil plays acoustic, electric, piano, and harmonica along with the lead vocals. This track was originally recorded by Young with Crazy Horse in early 1969. The album’s first side concludes with “Woodstock”, a song written by Joni Mitchell as a folk song but adapted by CSNY as a rocked out version with potent, electric guitar motifs and exceptionally harmonized counter-melodies during the choruses. Mitchell did not play at the actual Woodstock festival, but wrote the song based on accounts from then-boyfriend Nash, and recorded her own version for the album, Ladies of the Canyon.
Side two of the album contains five more fine tracks, although not quite at the level of the first side. Crosby’s title track, “Déjà Vu”, may be the oddest song on the album, as it slowly works its way into an acoustic groove for the intro section but then abruptly breaks into a slow, bluesy rock for the duration. Nash’s “Our House” is a very British pop, piano love tune, unlike anything this band had done before or since. The song simply portrays a day in the life of Nash and Mitchell verbatim. “4 + 20” is a short acoustic folk tune by Stills, followed by Young’s “Country Girl”, a loose medley with a waltz-like beat, deep organ textures in the background, and slight harmonies.
The album concludes with “Everybody I Love You”, the only collaboration on the album (between Stills and Young), which seems like the least finished track on the album overall.
Within a year after the successful release of Déjà Vu, each of the four members recorded solo albums — Crosby’s If I Could Only Remember My Name, Stills’ self-titled debut, Nash’s Songs for Beginners and Young’s After the Gold Rush, all four of which reached the Top 20 on the charts. However, there would not be another CSNY studio album by all four until American Dream in 1988, nearly two decades later." Classic Rock Review.
Ratings:
Discogs : 4.39 / 5 ; AllMusic : 5 / 5 ; Encyclopedia of Popular Music : 5 / 5 ; Metacritic : 95 / 100