CSNY: Crosby, Stills, Nash and Young

If you have read any of Peter Doggett’s earlier works you will know what to expect from this book: a fascinating musical topic, exhaustive research, and a terrific way with words.The topic in this case is the early years of Crosby, Stills, Nash and Young: - their formation by three established 1960s talents as a “singer-songwriter collective” rather than a traditional group; the fateful addition of a fourth member, who boosted their live presence but was always more interested in his solo career than any team project; and the way these four individuals interacted during a period when they were at the height of their creative powers, but incapable, because of immense egos and constant personality clashes, of living up to their initial promise. They still managed to produce an immense body of thrilling music, but generally in the form of solo, duo and trio albums. As a quartet they were almost always too combustible, too evasive or too pig-headed to co-operate for mutual benefit. Doggett’s focus ends after CSNY’s 1974 stadium tour, by which time their power relationships and working dynamic had settled into an enduring pattern. Many musical achievements were to follow, right up to David Crosby’s recent run of critically-acclaimed albums, but by 1974 the trajectory was set, and only one of the quartet – Neil Young – ever managed completely to escape constant comparison with their early years. Doggett includes a helpful postscript to summarise key events from 1975 onwards.In some ways this book is similar to ‘You never give me your money’, Doggett’s definitive history of the break-up and aftermath of the Beatles. Just as his Beatles book pulls no punches in showing just how unpleasant each of the Fab Four could be during the critical episodes of their break-up, ‘CSNY’ shows that “any close observer of this unpredictable and often catastrophically self-sabotaging group of songwriters has to confront the gulf between the spirit of their songs and the way they have conducted themselves in private and in public”. In contrast to Beatles fans, this is probably not news to followers of CSNY. I cannot imagine that there are many fans out there that are unaware of the topsy-turvy soap opera which these musicians have enacted with one another over the past half-century. You can enjoy the albums, love the concerts, and still wish someone would knock some sense into them from time to time. There is an extraordinary irony that this book has appeared on the fiftieth anniversary of the quartet’s concert at the 1969 Woodstock Festival. CSNY are the only act to have played Woodstock in 1969 whose core members are all still alive and performing fifty years later. Yet only Crosby will be playing the fiftieth anniversary concert. At the time of writing the others are not speaking to him, never mind playing with him.Doggett’s book is thoroughly researched from multiple sources, including interviews conducted over many decades, and provides exhaustive and scrupulously-documented coverage of the quartet’s early years. As a lifelong follower of all four musicians, and an avid reader, I still found heaps of fascinating new detail. Some of it was contextual, such as the political context of the Johnson and Nixon years. Some was personal, such as the impact of the various marriages and relationships on the four musicians. (Just one example of many: I had been wondering for years why Stills appeared with his baby son in his arms at the CSNY concert at Wembley in 1974; it wasn’t for the benefit of the tens of thousands in the audience but for one woman sitting at the side of the stage.) Then, of course, there is the music. Doggett provides the sort of background detail to the writing and recording of the quartet’s output in the early years that adds to its appreciation, and prompts the reader to play the albums again. He can be brutally objective when writing about their personalities and weaknesses but he writes like a fan when discussing their music.Ultimately, it’s Doggett’s way with words which is the clincher. As with ‘You never give me your money’, he has a turn of phrase which allows him to paint a compelling and objective picture of the quartet’s dynamic at any given time in just a few words, e.g. the following account, which describes rehearsals for the 1970 tour, but frankly could have come at any moment between 1969 and 1974: “Stills always wanted to work; Crosby saw pleasure as the goal and music as the conduit to that end. Nash would attempt – silently at first – to bridge that gap. And Neil Young? When it became apparent that tension was rife, and relations unstable, he stepped away ...”.I found the book unputdownable, and recommend it without hesitation. Any Crosby, Stills, Nash and Young fan who is prepared to acknowledge that their heroes have feet of clay will find plenty to enjoy here. And therein lies the rub, and the key difference between ‘CSNY’ and ‘You never give me your money’: after five decades I wonder if there are enough of us around and still interested in CSNY to give this book the success it thoroughly deserves. I certainly hope so.

Fans will know the story of missed opportunities and egos. This book focuses in on the seminal years 1969-1974 which in reality is the only time CSNY created anything that lived up to the hype. This is an excellent read which at times treads old ground covered previously in depth by Dave Zimmer. The book sort of skates over around 30 years of on-off tours and music. The reality is that as a band the CSNY cupboard was empty by the mid 70s. As solo acts they have prospered but even now CSN have called it a day as Nash was fed up with the 'hits' set list. We can all draw our own conclusions and fans still want CSNY but as this book confirms it's over.Doggett is doggedly optimistic about the CSNY legacy but is unable to explain 'the gulf between the spirit of their songs and the way they have conducted themselves in private and in public' - at the end of the book there is a brief update of the current shenanigans and he's such a fan that he's unable to conclude the moment for CSNY has passed and that nobody really cares. It's a thorough overview of their halcyon days and Doggett is honest in his appraisal of their recorded output since their debut - 3 stars not for the writer but what this talented foursome wasted.

Frank exposition of how the 'Four Horsemen of the Counterculture' (Barney Hoskyns) completely sold out in a blaze of cocaine-fuelled ego and excess, losing almost all their quality control. What is illuminating is how they tried to charge more than other stars as well. As Ralph Gleason noted: "The artists want to be cultural heroes and millionaires at the same time. They avoid the angry mob by pawning it off on a middleman..."It's a miracle CSNY still have a legacy, but they do. That's down to a few enduring songs. And, as the book amply demonstrates, the group did spawn one true star in Neil Young, who simply outgrew the others.

A good book. A real insight into the maze of post-pop California music. The author is an insider and the words flow tracing the foursome, their lives and loves. All US late 60s early 70s artists get a namecheck. Sycophancy creeps in but he can't be blamed. Well worth the read.

Well researched, with Doggett having spoken to each member of CSNY over the years. Doggett attempts to gives all sides their say on the various incidents that have plagued the band over the years (which as you can probably anticipate are many) ,whilst trying not to take sides. He's is certainty not gushing in his appraisal of the music the band created (which also includes solo ex-bands & collaborations).Frustratingly after 1975, Dogget breezes throughout the rest of their careers, there could have easily been enough material for a second volume.Because of such a rich source of drama, paranoia, excess & constantly shooting themselves in the foot, it would have been harder for Dogget to write a band bio of CSNY, still "Crosby, Still, Nash & Young" is an enjoyable if a cautionary tale.