The reporter of Rolling Stone, Ben Fong-Torres writes in 1969: “Neil Young is a luxury, a utility man as well as yet another creative force. In the studios, where Stills reigns but shares the reins with opinionated co-producers Nash and Crosby, Young is a solid fourth corner”.
“We may shape the album,” Stills says, “but Neil’ll come along and give us that extra thing.” Nash choruses: “He gives us that bit of direction we may need to resolve a question. He’s good at making records…I always wanted another rhythm section. But instead of a keyboard man, we thought why not a guy who could do other things — write songs, play guitar, be a brother and stuff.”
Crosby, Stills, Nash and Young are a 1974 rock phenomenon. After a three-year break, they toured American stadiums, gathering tens of thousands of spectators. When CSNY played at Wembley Stadium, the official public estimate was 72,000, each paying £ 3.50 for a 10-hour show that included The Band and Joni Mitchell for a simple start.
Everything came together to create a triumphant rock event – both the circumstances and the prepared elements of the show: a giant stage at one end of the field, bristling with amplifiers and electronic equipment, providing almost perfect balance and sound quality; sunny weather; admired audience in huge numbers; and most importantly, a constantly diverse, fresh and technically brilliant encyclopedia of American rock.
CSNY played for three and a half hours, did not try to put on a stage show, and behaved extremely naturally and at ease. They came together like a jigsaw puzzle, both in electric kits and as they took turns playing acoustic guitar, with one playing solo and the others helping with perfect harmony. And no matter what they played, there was always a strong melody somewhere near the surface.
