Another Stoney Evening [Live]

Entertainment Weekly
This live 1971 acoustic set confirms that David Crosby and Graham Nash have always been the key ingredients of Crosby, Stills, Nash, & Young's harmonic blend ... some uncannily tight vocal work on cuts like Crosby's soothing "Guinevere" and Nash's soulful "Southbound Train.". . . .

Another Stoney Evening,Crosby & Nash,Arista,Album Rock,Folk-Rock,Pop,Popular Music,Rock,Rock/Pop,Singer/Songwriter,Soft Rock

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Another Stoney Evening [Live]

Average customer rating: What once was... peak performance the star spangled banner The cream rises Sloppy Performance in Retrospect

Another Stoney Evening Crosby & Nash Manufacturer: Arista ProductGroup: Music Binding: Audio CD General | Pop | Styles | Music Singer-Songwriters | Pop | Styles | Music Soft Rock | Pop | Styles | Music Pop Rock | Pop | Styles | Music Folk Rock | Rock | Styles | Music General | Rock | Styles | Music Folk Rock | Live Albums | Rock | Styles | Music General | Live Albums | Rock | Styles | Music Album-Oriented Rock (AOR) | Classic Rock | Styles | Music Similar Items: Graham Nash/David Crosby Live King Biscuit Flower Hour It's All Coming Back To Me Now... Live at Massey Hall (CD/DVD) ASIN: B000002VKJ Release Date: 1998-01-13

Tracks:

1. Anticipatory Crowd
2. Deja Vu
3. Wooden Ships
4. Man In The Mirror
5. Orleans
6. Used To Be A King
7. Traction In The Rain
8. Lee Shore
9. Southbound Train
10. Laughing
11. Triad
12. Where Will I Be
13. Strangers Room
14. Immigration Man
15. Guinevere
16. Teach Your Children
17. Exit Sounds

Customer Reviews:

What once was..........2007-02-18

I bought this through Amazon about a month ago, and I keep coming back to it. The relative rawness combines with the utter purity of two obviously good friends singing and playing together, totally relaxed...perhaps a bit stoned, but not enough to affect the performance in any way. You just can't seem to find music like this recorded any more. Sure, the analog recording pales, in some ways, compared to today's digital signal processing, but performances this spontaneous, this gifted and pure are simply rarities these days. Because the guitars were high quality Martins and Guild to begin with, they sound great despite the lo-fi techniques used for this recording. And the vocals... well, I have never been a huge fan of Graham Nash, but when he and David Crosby got together for collaborations such as "If Only I Could Remember My Name", vocal magic happened. If your sound system, speakers and equalizer are up to it, you can crank this beautiful artifact up, turn down the lights, turn on however you please, and essentially "be there" for this incredible performance. I find myself going there over and over again...

peak performance.......2006-04-10

David Crosby and Graham Nash's 'Another Stoney Evening' captures the vocal-focused half of Crosby, Stills, Nash and Young at the peak of their talents, their relevance, and before the excesses of the rock and roll lifestyle wrecked havoc in David Crosby's life. The chosen tracks (certainly more than 15 were performed...) from this October 10, 1971 concert at the 3,000 capacity Dorothy Chandler Pavilion in Los Angeles are all drawn from the five official previous releases by various incarnations of CSN&Y, including a pair of David Crosby and Graham Nash solo discs, and the then soon-to-be-released first David Crosby-Graham Nash studio endeavor. More tracks are drawn from the live '4 Way Street' CSNY live recording than any other (four, ironically), but at least two are drawn from each of the other five releases. Knowing where their bread is buttered, the album opens and closes with a track each from the first Crosby, Stills and Nash disc, and its follow-up, 'Deja Vu'.

The album shines on those tracks where Crosby and Nash's magical harmonies are brought center stage. While every track supplies superb vocals, even given the fact that Crosby was reportedly running a 104 degree fever from the Asian flu this particular evening (which is at least one way to explain his repeated hacks, chokes and coughs... the pair also cite the Lebanese flu as a possible culprit), the best performances are found on 'Deja Vu' and 'Guinevere', which runs six and one-half minutes. The tracks that suffer the most are those where Stephen Stills' virtuoso guitar playing talents are vacant, such as on 'Wooden Ships' and 'Teach Your Children'. While David Crosby is more than adept at providing rhythm guitar for CSN&Y, he's not a lead guitarist by any streatch of the imagination.

Other high points of the evening (aside from the jokes about being high) include two songs from Nash's solo stint on stage, superb renditions of the compelling 'Stranger's Room' and 'Immigration Man'. Graham comes across sincere and convicted in his vocal delivery on these tracks, and the piano accompaniment is, by track thirteen, a welcome respite from all the mediocre folk-guitar backing. Perhaps the most interesting performance is Crosby's second live rendition of 'Triad' (it first appeared as a CSN&Y track on the '4 Way Street' production). Here's the song that supposedly drove Crosby from The Byrds, as Roger McGuinn thought it too outlandish for 'The Notorious Byrd Brothers' LP, but also didn't find its way onto a CSN&Y release until 1970. The audience all but cajoles Crosby into performing the song during his solo set. I always enjoyed the witty double entendre from 'Triad', "I love both of you, too" (two?), so it was good to hear that again.

I was fortunate to catch David Crosby and Graham Nash in a September concert at the open air Pine Knob Pavilion in Clarkston, Michigan in 1973, and I was pleased to find the duo still having a good old time on stage as they were on this October night in L.A. One may quibble over the song selection (I thought it would be fitting for Crosby and Nash to give at least a one-song nod to their heritage with The Byrds and The Hollies, or perhaps indulge in a melody of tracks from those pre-CSN days), but even at this relatively early stage in their career, this dynamic duo had more desirable tracks to offer than they could even hope to cover in one evening.

The liner notes by Steve Silberman give adequate background on this particular performance, as well as the bootleg disc called 'A Very Stoney Evening' from which this disc draws its name. The two recordings are from different nights on the same tour. The rest of the package travels to you just about as stripped down as David and Graham's unplugged tours. Since I often complain about the omission of running times for the individual songs on many CD's, I should give credit where it's due, so I'll note that they are offered here, although they can be misleading as the between songs banter is included in the figures. This is a very desirable disc for Crosby and Nash fans, and a peek at acoustic folk at its best from two of the most famed purveyors of that genre, during perhaps the most revolutionary decade of the twentieth century, for everyone else.

the star spangled banner.......2006-03-24

i'm not a huge fan of crosby or nash ("so far" is a nice release) but you gotta admit they're harmonies are pretty top notch. also i think the title of this album is fun, that their mothers were in the audience, etc., but it's kind of like the pizza tapes in that the fun induced by the banter decreases exponentially with each subsequent listen.

The cream rises.......2003-11-04

Back in the 1970s, most people who declared themselves fans of CSNY were drawn either to the egotistical, multi-instrumentalist, self-described "bluesman, dig?" Stephen Stills, or to the egotistical, narcissitic, idiosyncratic, brooding guitar genius Neil Young. Crosby and Nash were nice for the harmonies, but the space they took on CSNY albums was regarded as fluff that interrupted genius.

Interesting how perspectives change. Mine anyway. David Crosby and Graham Nash may not have been billed as "genius," but they were great musicians, as this hard-to-find live set makes clear. For Crosby, this album is a tour-de-force of his best songs from his most productive period from '68-'71: "Laughing," "Wooden Ships," "Traction in the Rain," "Triad," "Guinnevere," "Orleans" and "Deja Vu." Despite an obvious flu and avowed intoxication, his performances are perhaps the most brilliant he's committed to wax. I'm still not sold on Nash as a major songwriter, but the songs he chooses for this show are undeniably melodic.

Most enjoyable is hearing how the two friends help each other. My favorite cut on this disk is Nash's "I Used to Be a King," a simple pop tune that Crosby jazzes up with some amazing, subtle scat work that propels the song forward, and makes a much more compelling performance out of it than this song would have any right to expect. For his entire career, Crosby has often saved his most magical moments for songs where he doesn't sing lead, but instead creates a rich, innovative background of harmony and rhythm. Nash, though less gifted, is equally generous to Crosby on his songs, bringing focus to the CSNY cuts, which work better here than on other live CSNY albums, with the S and Y hardly missed at all.

Sloppy Performance in Retrospect.......2003-03-28

Crosby and Nash, the huggy buddies of folk rock, were heading out on their own after the mid-air ego collisions of CSNY. Their shows were often loose, relaxed outings wherein they sought to get away from obsessing on their own material. Congenial enough, and often funny in a burn-out kind of way, they would tackle songs that had established their careers as they cast about for a defining direction, which would arrive later with WIND ON THE WATER.
This is very emblamatic of their shows at the beginning. Sometimes the harmonies would lock in beautifully, sometimes they were singing in 2 entirely different scales, metres and rhythms. If you were stoned enough, you could tell yourself this was jazz.
Right.
Anyway, the guitar work here is a bit primitive. The songs are heavily weighted toward Crosby's strengths, but the camaradarie seems genuine. There is a tragic innocence about these two. Neither of them realized the trajectory they were on. There was a pinnacle still to reach, but when you hear the two of them joke about the Lebanese flu, it's kind of pathetic. More's the pity.
The song collection is the usual catalogue, drawing heavily on Crosby's solo record and Nash's CSN work. It is nice to hear them so unadorned, but it aint real professional, and you know, any struggling songwriter would never be able to get away with this. This isn't the holy grail it purports to be, but it has historical value. Now that most of us are clean and sober, this really comes off as sloppy nostalgia. Thanks to the Grateful Dead? Maybe.....

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