Crosby Stills Nash
Crosby, Stills & Nash
Event on 2012-08-18 20:00:00
Crosby, Stills & Nash
The music of David Crosby, Stephen Stills and Graham Nash is a cornerstone of rock 'n roll. As Crosby, Stills & Nash (CSN), this trio of legendary singer-songwriters has been actively collaborating since 1969, when they first harmonized in either Joni Mitchell's living room or Mama Cass Elliot's dining room, depending on which member you ask (Crosby and Nash ascribe to the former, Stills is adamant about the latter). Wherever its point of origin, the connection they forged from day one-as artists and as friends-was profound and unbreakable. Essential elements of our pop culture experience, their songs are just as durable, conveying emotional truths and social consciousness in equal measure. Forty years into their creative partnership, CSN is expanding its recorded repertoire with two album projects, one spotlighting its enduring creative spark, the other its legendary roots. David, Stephen and Graham are currently recording a new album for Columbia Records with ten-time GRAMMY®-winning producer Rick Rubin at the helm. This June, Rhino Records will release Crosby, Stills & Nash Demos, a single-disc collection of rare and previously unheard demos of destined-to-be-classic signature songs reaching back to the group's earliest days. CSN will also take to the road once again, as they have done on a recurrent basis ever since their very first gig together-before more than 500,000 people-at Woodstock four decades ago. The tour's launch coincides with CSN's June 2009 induction into the New York City-based Songwriter's Hall of Fame. The honor-which follows their 1997 induction into the Rock and Roll Hall of Fame-recognizes David Crosby, Stephen Stills and Graham Nash as individual solo artists and as three together with CSN. It also acknowledges the groundbreaking music each was instrumental in creating with landmark groups prior to forming CSN: The Byrds (Crosby), Buffalo Springfield (Stills) and The Hollies (Nash). The fact that each principal came from another hugely successful band caused CSN to be known as the world's first "supergroup." The threesome more than lived up to the term with their '69 debut LP, a ten-song tour de force that hit #6 on Billboard's pop albums chart, earned CSN a GRAMMY® for Best New Artist and delivered classic tracks including "Suite: Judy Blue Eyes," "Marrakesh Express," "Guinnevere" and "Wooden Ships." In naming the disc one of the 500 Greatest Albums of All Time, Rolling Stone quoted another rock immortal in its salute: "'I've Seen Crosby, Stills and Nash burnin' ass,' Jimi Hendrix declared in 1969. 'They're groovy, Western-sky music.' Hendrix knew what he was talking about." 1970's Déjà Vu came next, the first album from the group's four-man configuration with Neil Young, Crosby, Stills, Nash & Young (CSN&Y). Another notch on the 500 Greatest Albums of All Time list, Déjà Vu was a #1 LP that introduced timeless hits including "Teach Your Children," "Our House," "Helpless," "Carry On" and "Almost Cut My Hair." 4 Way Street, a double live LP, followed in 1971, showcasing CSN&Y's live mojo on a set of songs as personal as it was political. Its success further built their reputation as the only American band of the original Woodstock era to have a societal impact rivaling that of the Beatles. CSN survived the turbulent times in which they existed as well as the often volatile climate of their own inner-workings to continue to make music that connected with fans across America and around the world. So Far, the group's 1974 retrospective-to-date, topped the charts at #1 in Billboard. The 1977 studio album CSN climbed to #2 and delivered their first multiplatinum single (and, at #7, their all-time highest charting track), "Just A Song Before I Go." 1982's Daylight Again added two more hits to the CSN songbook with "Southern Cross" and "Wasted On The Way." Highlights from the also-ongoing CSN&Y partnership include the 1999 Top 40 album Looking Forward, which led to the quartet's landmark 2000 reunion tour-and subsequent outings in 2003 and 2006. The latter, CSN&Y's controversial "Freedom Of Speech Tour," spun off the documentary feature CSNY/Déjà Vu (a film by Neil Young), examining the group's connection to its audience in both political and musical terms. In addition to making music together, Crosby, Stills and Nash have always pursued parallel solo careers (Crosby and Nash also have a decades-long legacy as a duo). Crosby's highly regarded 1971 solo debut If Only I Could Remember My Name was deemed a, "one-of-a-kind freak-folk apogee" in Rolling Stone; highlights from his entire career were recently compiled in the 2006 3-CD box Voyages. Stills' 1970 self-titled solo debut was called, "a jaw-dropping experience, the musical equal to Crosby, Stills & Nash or Déjà Vu" by allmusic.com. His latest studio set was 2006's Man Alive!, and 2007 saw the release of Just Roll Tape – April 26th 1968, a collection of previously unissued acoustic demos that were missing for almost 40 years. Graham Nash's latest-and fourth-solo effort, 2002's Songs For Survivors, bookended his acclaimed 1971 solo debut Songs For Beginners, which chronicled his break-up from Joni Mitchell (it was just reissued as an expanded DVD-A title). Nash's work is the subject of the 2009 3-CD retrospective box Reflections. A complete list of the collaborations, solo efforts and side projects of David Crosby, Stephen Stills and Graham Nash would produce a massive discography and touring history. It is a concise and simple truth, however, that the convergence of their voices in 1969-somewhere in Laurel Canyon-did indeed change the world. It's a sound that has lived on ever since, both as a positive agent of change and a welcome compass point of reassurance through times that could use more of each.
at Austin City Limits Live at The Moody Theater
Austin, United States
Feist
Event on 2012-05-29 18:00:00
Feist
For nearly a decade, Leslie Feist did not stop moving. Her 2004 album Let It Die led right into 2007's The Reminder, which earned her four Grammy nominations, six Juno wins, the Shortlist Music Prize, and the opportunity to teach Muppets to count on Sesame Street. She made her Saturday Night Live debut and toured the world. She covered an album with Beck, watched Stephen Colbert shimmy in a sequined "1234" jumpsuit, and made a documentary about recording The Reminder. And then, finally, after the seventh year, Feist rested. "There's a lot of squeezing yourself out on tour," she says. "In the downtime afterwards I was sponging-I was trying to absorb as much as I put out for seven years." She watched Fellini films and read poetry as her creative batteries juiced up again. "I was being still and trying to learn how to be quiet and remember that silence isn't aggressive," she adds. "Sometimes after being in a lot of noise and movement, silence and stillness can seem completely terrifying." When Feist was ready to make music again, she had very different ideas about how to shatter the quiet. "I played so many shows with such care, I really want to be loud again," she says, referring to her early days as a guitarist in punk and rock bands. She started writing in the spring of 2010 and met up with her longtime collaborators Chilly Gonzalez and Mocky the following January to arrange 12 songs that would become her fourth studio album, Metals. The trio spent a frigid month in Toronto "Trying to sound like we had played together as long as we'd known each other collectively, around 50 years," then decamped for California's rugged Big Sur to transform "audio photographs" into finished songs. "You just know you are somewhere super-potent and untouched in Big Sur," Feist says. "And it has this literary tradition, with Henry Miller, Anais Nin, and John Steinbeck having lived there. We truly found a room perched on that edge between earth and sea, a giant empty space that this woman usually paints in. No music had ever been made there." The songs Feist and her band-Gonzales, Mocky, percussionist Dean Stone, and keyboard whiz Brian LeBarton-laid down with producer Valgeir Siggurdsson over two and a half weeks in February plumb different emotional paths than her previous work. "Time passes, shit goes down, and then it resolves. Something gets wounded and it heals," she muses. "I feel a little bit more like a narrator. Rather than being like, here's my truth, it's like, here's something I think is just true." Metals is not a reaction to The Reminder, but Feist did learn a few lessons playing her acclaimed album's songs night after night. "In [The Reminder's] 'I Feel It All,' to have a chorus be, 'Ooh I'll be the one who'll break my heart/I'll be the one to hold the gun'- you sing that 300 times and eventually the universe listens. Okay, sure, we can do that for you. So this time I wanted to cast the spell 300 times saying something that's more of an observation about human nature." Metals songs like "The Bad in Each Other" and "Get It Wrong, Get It Right" are forthright, dry-eyed tunes about heart mending, not heart rending. "A Commotion" bristles with tense energy, while "How Come You Never Go There" slips along to a jazzy groove. "It's a lot more flying off the handle and chaos and noise than I had before," Feist says. "I allowed for mistakes more than I ever have. But what's also in there is more brambles. It was a little bit about un-simplifying things. We were sort of testing the air, like a sea captain licks his finger to see which way the wind is coming from. It was less Brill Building and more naturalistic." Some of the results wound up being more intimate portraits of relationships, like "Get It Wrong, Get It Right," which Feist describes as "a slideshow of a season in a place and a dynamic between two people." But more often she found herself gravitating to the universal. "What's that expression: We hold these truths to be self-evident," she muses. "After everything settles there's really no blame to be laid in a lot of these situations. People are being their true selves, everybody is in their story trying to get to the next chapter." Brainstorming along those lines helped lead her to the album title Metals. "I was thinking about a giant force of elemental truth and how people change things," Feist explains. "We try to harness most things in nature, and we have managed to manipulate metal. The raw material is one thing and what the minds of men turned it into is a completely other thing. Also the word 'mettle,' a man proves his mettle by how he manages difficult times." Sonically, Feist and her tight-knit crew strove to forge a connection between the future and the past. "We fancied we were developing a modern ancient genre," she says. "There's a bunch of human yelling into the air together, all this group singing that's all over the record, that's sort of a little ancient. Then Brian LeBarton has access to these ultra modern, futuristic sounds. He has a way of making a celeste completely futuristic." Ultimately, Metals' aesthetic has a deliberate patience and natural beauty that echoes Feist's approach to writing the album overall. "I read a National Geographic article about soil and modern farming," she says. "The point is for food to grow, the point isn't for it to grow all at once and never grow again. Soil does its job, but unless you let it rest it can't regenerate its own minerals and do the same thing again. You just have to let it lay there under the sun, dry out, get rained on and be still a little while." That she did. And now she's back.
at Idaho Botanical Garden
2355 N Penitentiary Road
Boise, United States
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