Beginning in 1966 with the self-titled debut album from Cream, the supergroup became a rock phenomenon that, even in an age that now seems to signal the end of the significance of rock bands, is still with us. The early era of the rock supergroup was primarily dominated by British groups other than Cream, such as Emerson, Lake & Palmer and another group like Cream that also included Eric Clapton, Blind Faith, among others.
Mixing one British artist (Graham Nash) and two Americans (David Crosby, Stephen Stills), Crosby, Stills and Nash released their self-titled debut album in March of 1969, establishing them as the American supergroup of the day. The album was a runaway smash and the group had created an entirely new sound that defied description.
As loaded with talent as CSN was, in mid-August they added yet another superstar to their lineup, Neil Young. Young had played with Stephen Stills in Buffalo Springfield. Interestingly enough, Crosby had previously played with Stills, when Young decided not to play with the Springfield at the Monterey Pop Festival way back in May of 1967. CSNY became an even bigger supergroup.
In 1969 CSNY set out on tour and began writing music and performing some of the songs that would make up their debut album Déjà vu, which would be released in 1970. CSNY was short-lived and other than a tour in 1974, the group wouldn’t work together in any capacity until they released their second album American Dream in 1988.
Beginning with the performances of the band at Woodstock in August of 1969, the group had an unmistakable live magic, whether playing blistering electric jams or intimate acoustic songs with unmatched harmonies. The group toured from August of 1969 until January of 1970 and then again from May of 1970 through July of 1970.
The live 4 Way Street album was released in 1971. It included music recorded live at the Fillmore East in New York, the Forum in Los Angeles and the Auditorium Theatre in Chicago, all from the 1970 tour. While fans loved the album, over the years the members of the group all voiced their displeasure with the album.
Regardless, it remained the only live document of the group until the archival release CSNY 1974 in 2014. CSNY 1974, along with the two songs that appeared on the Woodstock soundtrack album in 1970, were the only live albums to capture the magic of the group’s earliest incarnation as the supergroup of all supergroups.
Now, after a tape of shows from the group’s 1969 Fillmore East run was found, we have an even earlier incarnation of the band live. It doesn’t so much replace 4 Way Street, as become its companion. 4 Way Street had a delightful naïve charm and was filled with lots of moments where the group chatted and interacted with the crowd. It felt like a generational celebration of Woodstock nation. The music, while biting and introspective in parts, was also joyous and rang out with the hope of the gathering counterculture tribe.
This new album is more of a musical document. First and foremost, the sound is impeccable. This double-album vinyl set is an all-analog affair and it’s nearly flawless. This is the way the group’s music is meant to be heard. While it’s clear they were still finding their feet on a few of the newer songs and occasionally rushing things on some of the more raucous electric tracks, there’s a purity to this music that has the heartfelt swoon of a new love affair. The bitterness, acrimony and test of wills that derailed the band over the years, including CSN, is not evident here. It’s all wine and roses or pot and patchouli. It’s the hippie dream realized in music.
Some of the other differences of this album and the 4 Way Street album include the foursome working with a different rhythm section here. On the 4 Way Street album, the bass player was Calvin Samuels and the drummer was Johnny Barbata. Barbata’s discography and touring log were extensive. He had played with The Turtles and extensively with both the Jefferson Airplane and Jefferson Starship. He died earlier this year. On this album, the group is backed by Greg Reeves on bass and Dallas Taylor on drums. Reeves and Taylor would be the rhythm section on Déjà vu and Taylor also played on the debut album from Crosby, Stills and Nash.
Songs that appeared on 4 Way Street but not on this set include “Teach Your Children,” “Triad,” “The Lee Shore,” “Chicago,” “Cowgirl in the Sand,” “Don’t Let It Bring You Down,” “49 Bye Byes/America’s Children,” “Ohio,” “Carry On,” and “Southern Man.”
The songs that appear on this set but not on 4 Way Street include “Blackbird,” “Helplessly Hoping,” “Guinnevere,” “Lady of the Island,” “4 & 20,” “Our House,” “I’ve Loved Her For So Long,” “You Don’t Have to Cry,” “Wooden Ships,” “Bluebird Revisited,” “Sea Of Madness,” and “Down By the River.” It’s great there is little duplication and those listening at home can create their own concert from these two albums.
The album is also a reminder of how important both the Fillmore East and Fillmore West venues were during the group’s short existence from 1968 through 1971. Nearly 50 official live albums were released during and shortly after the closing of the Fillmore East and the Fillmore West and many more archival releases have resurfaced. It’s also a reminder of how the live album by artists that are currently popular today is practically non-existent.
The package is in a beautiful double-album gatefold jacket, with the vinyl in poly-lined sleeves. This is such a surprising and welcome reissue and includes timeless music that couldn’t come along at a better time.
GRADED ON A CURVE:
B+
