He's been part of two huge-selling international superstar rock groups, and recorded some very popular albums on his own and with David Crosby. Yet Graham Nash has never been thought of as a talent in his own right the way that, to varying degrees, either of his three bandmates in Crosby, Stills, Nash & Young have. This three-CD, 64-track box set can be seen as both a way of focusing the spotlight on Nash's work both within and outside of his famous bands, and also as a career retrospective of sorts, spanning as it does about 40 years of recordings. Like almost all such box sets, however, it won't be as balanced as everyone would like between his various career phases and contexts, or contain as much in the way of revelatory rarities as some would hope.
Maybe it took more than nine months to come up with another batch of first-rate material, or maybe David Crosby and Graham Nash were saving their first-rate material for the next Crosby, Stills & Nash album, but Whistling Down the Wire, their third and final new studio album as a duo, was a distinctly second-rate effort. As usual, Crosby's loosely arranged jazz-blues tunes were offset by Nash's more pop-oriented songs, but this time around neither of them came up with anything memorable. Crosby seemed most comfortable on his "Dancer," an instrumental, while Nash expressed himself in poetic metaphors that were difficult to follow.
In the early and mid-'70s, the years between the live FOUR-WAY STREET and 1977's CSN, there were plenty of albums which were supposedly begun as Crosby Stills Nash and Young projects but collapsed. The Stills and Young Band's LONG MAY YOU RUN is a legendary example, as is 1975's David Crosby and Graham Nash album WIND ON THE WATER, the record the duo made after the early sessions that eventually became LONG MAY YOU RUN fell apart.
Listening to this album, it's easy to hear how different these songs would have sounded with Stills and Young's input, and indeed, the best songs from these two records would have made a killer CSN&Y release. On their own, Crosby, Nash, and the usual heavy friends–Jackson Browne, Carole King, James Taylor, etc.–have made a fine mid-'70s mellow California rock album.
One of the most prominent latter-day British minimalists, Graham Fitkin enjoys both renown in Europe and a kind of enfant terrible status in his native England, although this is gradually wearing off. Nevertheless, to know Fitkin is not necessarily to love him; blogger/composer Alex Christaki has written that Fitkin's Mesh is "quite typical of a 'contemporary' style, meaning that its capturing texture feels to well adapted to today's modern music. I also feel that once you have heard it a second hearing is unnecessary." Another English critic once commented that "if I hear Fitkin's Cud one more time I'm afraid I'm going to lose my mind."
Memories Dreams Reflections is a double CD which encapsulates everything that Toby Marks' sound has evolved from, and into, over the past two decades. Featuring new tracks, remakes and overhauls of widely favoured classics, and not at all in the least, the stellar twenty two minute remake of the legendary Pink Floyd ensemble, “Echoes”, it illustrates in painstaking detail the history of Banco de Gaia. Disc 1 features cover versions of tunes which coloured Toby's musical growth as well as remakes of early, little-known, Banco classics. Disc 2 brings together live recordings from across years covering every aspect of the live and recorded sound.
Essential: a masterpiece of rock music.
This self-titled release is one of – if not arguably the – most impressive side project to arise from CSN. Taken beyond face value, Graham Nash/David Crosby is a direct reflection, if not an extension, of the musical and personal relationship between its co-creators. Likewise, the results remain true, enhancing rather than detracting from the very individualistic styles of Crosby and Nash.
Songs for Beginners is Graham Nash's solo debut apart from Crosby, Stills, Nash & Young. Released in 1971, it is a collection of songs that reflect change, transition, and starting over. The set was recorded in both Los Angeles and San Francisco, in the immediate aftermath of Nash's traumatic breakup with Joni Mitchell. Unlike the colorful dynamism of Stephen Stills' eponymous debut recording, or the acid-drenched cosmic cowboy spaciness of David Crosby's If I Could Only Remember My Name, Nash's album is by contrast a much more humble and direct offering. It is a true, mostly introspective songwriter's album full of beautifully performed and wonderfully recorded songs that reflect transition, movement, the desire to look backward and forward simultaneously.
"This Path Tonight" is the new studio album and collection of 10 original songs from Graham Nash. Produced by Shane Fontayne, this is Nash's first solo record of new music in fourteen years. The album is one of reflection and transition of a singer-songwriter whose career (the Hollies, CSN, CSNY) has spanned more than five decades and counting.