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‘It got a little messy’: Stephen Stills and Graham Nash on CSNY’s early days

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On September 20, 1969, Crosby, Stills, Nash & Young performed their fourth concert over two successive nights at Fillmore East in New York City. A month prior to this, they had taken the stage at the iconic Woodstock festival, which was actually their second performance after making their live debut the night before at Chicago’s Auditorium Theatre.

As a die-hard moviegoer, I can’t help but be enthralled by the impending stardom of this rock powerhouse that brought together ex-members from The Byrds (Crosby), The Hollies (Nash), and Buffalo Springfield (Stills and Young). “Déjà Vu,” their debut album following a 1969 LP under Crosby, Stills & Nash, reached the pinnacle of the Billboard 200 in May 1970, earning a nomination for the Grammy Award for Album of the Year and eventually selling over 7 million copies. However, on that night at the Fillmore, they were still finding their rhythm as a group.

The album “Live at Fillmore East, 1969” offers a snapshot of a concert performance by CSNY on September 20th. This recording encompasses two sets – one acoustic and one electric – containing a total of 17 songs. Among these are “Suite: Judy Blue Eyes” and “Helplessly Hoping,” previously released in the album “Crosby, Stills & Nash”, and “4 + 20” and “Our House,” which later appeared on the album “Déjà Vu”. Additionally, it includes an extended, powerful performance of “Down by the River”, a song from Neil Young’s album “Everybody Knows This Is Nowhere”, which was released in May of the same year.

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Join us as pop music analyst Mikael Wood and fellow writer August Brown delve into the standout acts, memorable performances, and shocking highlights of the 2025 Grammy Awards.

Previously, as I eagerly awaited their joint performance at the recent FireAid benefit concert, I found myself reminiscing on a Zoom call with Nash, residing temporarily in yet another hotel room before a tour stop in St. Louis, and Stills, nestled within his messy workspace-turned-bedroom in Los Angeles. We discussed their upcoming live album, the anticipated return of Joni Mitchell to the stage, and shared memories of Crosby, who unfortunately passed away in 2023.

Wondering if, even a month later at the Fillmore, Stephen’s nerves might have been as raw due to it being just the band’s second performance in front of a live audience, much like what he famously expressed onstage at Woodstock?

Stills: Scared s— was gone by, I’d say, bar 16 of the first song at Woodstock.

As a devoted cinephile, I must admit that I haven’t had the chance to watch the entire “Woodstock” film from start to finish. However, I’ve been fortunate enough to catch glimpses of performances by artists like John Sebastian and Richie Havens during that iconic event. And let me tell you, our performance in that suite was nothing short of impressive. From the moment we began playing, it resonated beautifully with me.

Wait, you’ve never seen all of “Woodstock”? That seems insane.

Over time, Woodstock has become this massive legend, and I get why that is – it was an extraordinary event. However, the story behind it has grown so much larger over the years.

Essentially, Coachella is just as significant today as it was before, and the fact that it brought together all the hippies in one place for the first time doesn’t make it any more special. It’s a common occurrence now.

You’d argue that the myth is now out of proportion with the event itself.

Nash: We’re still talking about it.

Stills: See?

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Do you remember playing the specific Fillmore show documented on this new live album?

Though I don’t recall the exact performance, listening to the recording transported me back to that time. As a fledgling band, we were still mastering our electric skills, yet our singing was remarkably well-executed despite playing at an unusually high volume.

Was insufferable the goal for the electric set?

Stills: It was the trend — everyone played incredibly loud back then. The Hollies didn’t.

Nash: That’s true.

Stills: But big stacks of Marshalls were all the rage. I tortured my bandmates enough with those.

Nash: When we produced “Crosby, Stills & Nash,” we began to understand that it was emerging at a time dominated by Led Zeppelin and Jimi Hendrix, among others. We believed that the mellow, acoustic vibe of our debut album would subtly permeate the music scene. And it did.

Hey Stephen, when you mentioned that the music transports you back, does listening to it trigger thoughts about the dynamics within the band or the societal context during that period?

This album takes me back to our maturity level at that time. Graham was already experienced, while David and I had given it a try. The Byrds may have achieved more success – everyone did, even us – but we were still in the process of shaping ourselves. As for the culture, we unexpectedly became its representatives, which sometimes led to unfortunate situations. A reporter would ask, “How are you planning to change the world?” Things got complicated. But we survived.

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The Los Angeles group, Dawes, who experienced a significant effect from the Eaton fire, share their thoughts on the significance of performing Newman’s ’80s era classic.

In 2014, your group put out “CSNY 1974,” a recording that captured the concerts you played in stadiums during the summer. Reflecting on this, which performances do you think were superior: the stadium shows or the ones held at venues like the Fillmore?

I enjoy smaller, personal environments where I can observe their expressions and notice if they’re truly enjoying it.

Translation: What made this concert standout for me was the quality of singing, which effectively answered the question. By the time of that stadium tour, we were all using individual microphones due to the intense blending, oversinging, and overexcitement caused by our massive sales.

Just prior to gracing the stage at the Fillmore, you played an astonishing seven consecutive nights at the Greek Theatre in Los Angeles – a feat seldom seen among performers today.

Nash: Nobody has Joni Mitchell opening for them either.

Stills: Those Greek shows are really what made us coalesce.

That vocal blend is showcased on the “Fillmore” record in a cover of the Beatles’ “Blackbird.”

It was Stephen’s creative thought. We had listened to the Beatles perform “Blackbird,” and Stephen, with his exceptional talent for producing music, suggested, “I believe we could beautifully harmonize this song in a three-part arrangement.

What triggered it was my realization that I had mastered it on the guitar. Later, when Paul McCartney heard me play it, he remarked, “Why make it so intricate? It’s a different tuning.” However, I had already figured it out.

Harmonically, yours veers pretty far from the Beatles’ original.

Nash: That was a special kind of magic that emerged when we began harmonizing together. The Hollies, the Byrds, and Buffalo Springfield were excellent harmony groups. However, when David, Stephen, and I blended our voices, we felt we’d tapped into something truly magical.

I attribute much of those unique harmonies to David Crosby. He was exceptional at creating those out-of-the-ordinary sections, and I often called him the one who held everything together, or the ‘glue’.

Have you heard Beyoncé’s version of “Blackbird” from her “Cowboy Carter” album?

The only thing I’ve noticed about Beyoncé’s album is the respect she showed to my song. She even gave me co-writing credit for her “American Requiem” when she used “For What It’s Worth.” However, I was wondering, where exactly in her song can I find it? [laughs] Still, I felt quite honored because the songs are very different, but different in a good way.

She’s known for being very thorough in her album credits.

Stills: Actually, that’s endemic to the whole rap world — much to my benefit. Mailbox money, baby.

Music

The victory of the pop superstar with “Cowboy Carter” reveals just as much about the Recording Academy as it does about her, suggesting an openness to diverse genres and styles within their award considerations.

Following the premiere of the Greek shows, Mitchell accompanied you to New York City. It is rumored that she was present in the audience at The Fillmore.

Joan was indeed present. It’s my belief that it was our inaugural performance of “Our House” in a live setting. I vividly recall the overwhelming sense of joy we had for life during that moment. Yes, Richard Nixon was undeniably peculiar and the Vietnam War continued to rage on. However, for me, being from England, it felt like transitioning from black-and-white films to vibrant, colorful ones.

Was ‘Our House’ your idea, given its roots in your romantic connection with Joni? Have the two of you ever discussed the song following a performance?

Nash: Nope [laughs].

What’s it been like for you to watch this comeback journey she’s been on?

Initially, it’s a relief to know Joni Mitchell is alive. We came close to losing her, and it’s astounding to witness her recovery and continued performances. Although her vocal range has diminished somewhat, her current phrasing is exceptional, displaying a jazz-influenced, deliberate style. I’m genuinely happy to see her flourishing.

How do the two of you think about the ways your voices have changed with age?

Nash: I’m amazed that I can still sing like this.

In my conversation with Tony Bennett, he shared his secret to long life: “Don’t shy away from reducing the pitch or using an autocue.” This advice resonated deeply with me.

Do you think CSNY might have played together again had Crosby not died?

In a different phrase: Nash: The choice would have varied based on the tunes. While it seems improbable, if Stephen presents me with a song that deeply moves me, I crave to be part of it – to contribute and aid him in expressing it more effectively.

Stills: I don’t think we realized how badly we would miss David.

Make sure you remember Stephen’s words: David Crosby served as both the rhythm and the binding force among the four of us.

Did his death come as a shock?

Nash: In reality, Crosby believed his time was up much sooner than it actually was. It might seem ironic, but it is. David had anticipated passing away many years ago, and the fact that he lived past 80 was nothing short of amazing.

Have any of the four of you ever performed together in different groups? Would a group consisting of Stills, Nash, and Young sound appealing to you, or might it draw too much focus on David’s absence?

Nash: Feeling his absence is probably why we would never do it.

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2025-02-06 14:35

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