Text © Robert Barry Francos / FFanzeen,
2015
Images from the Internet
Narrated by Thomas Arnold
Pride Films / Chrome Dreams Media
165 minutes, 2013 / 2014
www.chromedreams.co.uk
www.mvdvisual.com
Images from the Internet
Crosby, Stills, Nash &
Young – Fifty By Four: Half a Century of CSNY
Executive Producers: Rob
JohnstoneNarrated by Thomas Arnold
Pride Films / Chrome Dreams Media
165 minutes, 2013 / 2014
www.chromedreams.co.uk
www.mvdvisual.com
I
was wondering what should be the next DVD I would review. There is a backlog,
so I have quite a few from which to choose. While out at the supermarket, as I pondered,
weak and weary over a quaint and curious walking through the door, while I
nodded, even though shopping, suddenly there came a sound over the PA. It was “Our
House,” by Crosby, Stills and Nash (CSN). I took that as a signal that Fifty By Four was next. I had avoided
it, honestly more due to its length of nearly three hours, so I decided to delve
in and review that, and then watch it…er…nevermore.
Growing
up, with the possible exception of “Suite: Judy Blue Eyes” and “Ohio,” CSNand/orY
were pretty peripheral to me, even though they were one of my older brother’s
favorites. By the time the late 1960s came around, I had essentially stopped
listening to the radio much, and focused more on film and television for
entertainment. When they reunited on Live
Aid in 1985, their set had some wincingly off-key harmonies. It wasn’t
until the Ramones came along that I was lulled back into music. The catalog of
CSNY was not really on my menu then either, as the punk revolution took me
over. It wasn’t until someone gave me a CSN/CSNY Greatest Hits CD during the
late 1990s that I started to enjoy more of their material, though a lot of it
still leaves me scratching my head. And now, here we are.
Chrome
Dreams (and their subsidiaries, such as Sexy Intellectual, Prism, and Pride) is
a British company that does extremely detailed histories of both British and American
bands or singers, including Clapton, Dylan, Zappa, the Stones and the Beatles. I
have seen a few Neil Young bios by them before, and even reviewed a couple, but
this is the first one I’ve seen for the whole megillah (though I know there are others from them).
CSNY
fans tend to run towards the rabid, much like the Dead’s, so there is a
question of who is going to watch this. For the die-hard fan, at least the
first 2 hours are probably not going to be anything you don’t already know. If
you’re more of a casual fan and are into music history, such as me, well, this
is ideal (hell, I even read Slash’s annoying autobiography).
The
DVD starts in the Laurel Canyon of Los Angeles during the mid-‘60s, with David Crosby in the Byrds, Stephen Stills and Neil Young in Buffalo Springfield, and Graham Nash in the Hollies over in the U. of K. It was the time just
before the hippie revolution and the counterculture was on the cusp beyond that.
It was the rise of the singer-songwriter (as opposed to the folkie, which would
overlap) essentially begun the day Dylan went electric (okay, Dylan is credited
here, but that last part isn’t in the documentary, but is my theory, which is
mine, too).
Then,
as now and always in any singular scene, bands were incestuous, and members often
flow from one band to the next. Young quit Springfield, Crosby is brought in
after the Monterey Pop Fest (but not before he discovers Joni Mitchell), and Nash
is bored by the stuffy Brit band and wants to go all Carnaby Street. He hooks
up with them and Crosby, Still and Nash are sprung. One might consider this one
of the first supergroups, and that’s even before Young kinda joins the fold.
CSNY then |
In
a hippy dippy dopey (pot reference, FYI) idealistic mentality, they decide they
are not a band, but will creatively shack up as individual singer-songwriters
who perform together. But like common-law marriages, things start to get
complex, especially when Stills comes out as macho Alpha Male, taking the word control of the control room literally. He
ends up playing most of the instruments on their first album, Crosby, Stills and Nash (1969). By the
time they start to tour, Crosby and Nash have no idea how to play the material
and they get some back-up, including drummer Dallas Taylor and ex-Motown
bassist, Greg Reeves. Soon, they are joined by Young (after his two failed solo
albums), also an Alpha. Now the non-band is
a band (see: complicated).
Over
the next few decades, they would dance around each other, alternatively
quitting, firing, rehiring each other due to (among other reasons) Crosby’s
drug use (possibly due in part to the pain of losing his girlfriend, Christine
Hinton, in a car crash), Nash and Rita Coolidge developing a relationship after
she and Stills had a “tryst” (as it is described on the DVD; same thing
happened with Joey and Johnny Ramone a decade later), and more ridiculously,
the macho ego posturing of Stills and Young. It seems the only time they
actually all worked together well was during periods of political outrage, such
as the post-Kent State shooting “Ohio,” which pretty much became the anthem for
the unrest in the period.
Again,
most of their catalog and history are well known and documented through the late
1960s and ‘70s. The DVD especially became interesting in the last hour as the
documentary starts focusing on the later part of their career, from the 1980s
on, as I know so little about this period, as I was way too involved in the
whole first wave punk movement to give a care about CSN(Y). Yet, even with
that, I noticed that there was no mention of the media attention of Y’s joining
CSN at the abovementioned Live Aid in
’85.
I
know I talk about this every time I review one of Chrome Dream’s releases, but
here ya go: This label has an easily identifiable, nearly auteur way of
presenting their stories (usually produced by Rob Johnstone). Usually, it’s Tom
Arnold doing the narration (he does a great job), as we see lots of photos,
clips and interviews. The clips are a mixture of live in-concert, television performances,
music videos and occasionally record cuts. Some of them are easily accessible,
and some are quite rare, but in nearly all cases, they almost never last more
than 20 seconds before Arnold begins talking. In some ways this is annoying
because you want to hear the song, but on the other, well, this is already almost
3 hours, and it would have been more than double that if the full clips were
shown. I’d like to see them include a second disc that just includes the full
musical segments.
CSNY now |
As
for the interviews, as I’ve whined about before, there are all males talking,
like women were only peripheral. The band’s momentum constantly changed due to
women, including July Collins, who is never mentioned even though one of their
earliest hits, “Suite: Judy Blue Eyes” is about Stills’ relationship with her.
That
being said, this is one of the better selections of interviews I’ve seen for
one of this label’s releases. Sure, there is still the writers who give us
second-hand stories and opinions (and they didn’t include the excellent Jeff
Tamarkin or Richie Unterberger, both of whom write extensively on this period),
but there is a large number of people who were actually there¸ giving first-hand anecdotes, rather than stories. All four
of CSNY are represented, though it is via previous television interview clips
through the years. However, their producers, studio engineers, and band members
(yes, I’m using the term “band” and not “collective”) are interviewed
specifically for this release. There are, in part, four drummers (Dallas
Taylor, Joe Vitale, Joe Lala, Chad Cromwell) and three bassists (Greg Reeves,
Calvin “Fuzzy” Samuel, George “Chocolate” Perry) represented, some telling what
it was like in the studio, or on tour. As much as I like the writers, even
those who saw the band live, it’s the ones who were in the trenches (an
appropriate word considering all the conflicts within the performers) that mean
more to me.
The
nicest thing about this is that so many stories about ‘60s musician end with an
untimely demise, but as of this review all members of CSN and Y are still
kickin’ and performing – and getting somewhat along. They finally realized they
“gotta get down to it.”
The
extras are scarce but interesting. Other than some text info about the
interviewees and a link to see more online, there is a 14+-minute short titled “Joe
Vitale: The American Dream Sessions.” The personable drummer tells about
recording the album at Young’s ranch in 1988.
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