David Browne > Quotes

“John Rockwell of the New York Times noted, “Ultimately, one senses a defeatism here.… This sounds like a tired last recourse—an attempt at commercial success by three men whose egos make it hard for them to collaborate, but whose relative lack of popular success by themselves makes it difficult not to do so.” The general public just seemed glad to have them back. “Just a Song Before I Go” went Top 10, and the album peaked at no. 2, held out of the top slot by Fleetwood Mac’s ubiquitous Rumours.”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“new friend Joe Walsh playing greasy-spoon slide guitar, Stills wrote and sang “Down the Road,”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Only in the fading moments of the last song, the jazzy “Guardian Angel,” did Stills and Young trade guitar parts—a thrilling moment that lasted all of twenty seconds.”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Young’s rage was understandable, and he channeled his indignation into his fiercest album in years. From its thunderous power-trio arrangements to Young’s equally roiling guitar, Living with War bristled and jabbed. On”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“3615 Shady Oak Road on the north side of Laurel Canyon. Formerly”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Crosby’s next album, Lighthouse, which focused on Crosby’s voice and acoustic guitars—no drums or electric guitars. Lighthouse evoked the”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Stills’ double album was now named Manassas,”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“AT LEAST FOR the immediate future, there would be no arenas in Young’s life—just the opposite, in fact. Returning to California, he reached out to Mazzeo, who had moved onto a communal farm in Santa Cruz with his guitarist friend Jeff Blackburn. A beach town roughly seventy miles south of San Francisco, Santa Cruz had a population of just over thirty thousand—a size that would have fit into one of the venues on Crosby, Stills and Nash’s reunion tour. Young told Mazzeo he didn’t want to be alone on his ranch. “There were still a lot of Carrie vibes there,” says Mazzeo. Mazzeo invited him over, and Young made himself at home on the farm. Blackburn had been playing local clubs with his eponymous band, and Young was fascinated. “I said, ‘Buck has”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“told Crosby, Stills and Nash biographer Dave Zimmer.”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Stills was now calling Colorado his home—he had bought a house in Rollinsville,”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Normally, an album with Crazy Horse would have meant a tour with them, but much to the surprise of Jeff Blackburn and his band members (former Moby Grape bassist Bob Mosley and drummer Johnny Craviotto), Young began rehearsing with them instead. In early July, the newly renamed Ducks, after a duck’s landing they saw in town, played its first shows—in local bars in Santa Cruz. In what the Santa Cruz Sentinel called “the worst-kept secret in town,” the Ducks would drive to a club and ask the opening act for their slot (“They were fine—they knew they couldn’t draw what we could,” says Mosley). Charging only a few dollars for admission, they would tear through sets of songs by Young and by Blackburn. Young debuted new material like “Sail Away” and “Comes a Time” in more electrified versions than were later heard on record. “It was unfathomable,” recalls Mosley. “Some of the guitar solos took me into outer space. It was incredible shit.” Starting in mid-July and ending around Labor Day, the Ducks would play more than twenty”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Young told Mazzeo he didn’t want to be alone on his ranch. “There were still a lot of Carrie vibes there,” says Mazzeo. Mazzeo invited him over, and Young made himself at home on the farm. Blackburn had been playing local clubs with his eponymous band, and Young was fascinated. “I said, ‘Buck has”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Raymond and guitarist Jeff Pevar: in 2001, they had released a second album, Just Like Gravity. Written by Crosby and Pevar, “Katie Did,” one of the album’s highlights,”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“AT LEAST FOR the immediate future, there would be no arenas in Young’s life—just the opposite, in fact. Returning to California, he reached out to Mazzeo, who had moved onto a communal farm in Santa Cruz with his guitarist friend Jeff Blackburn. A beach town roughly seventy miles south of San Francisco, Santa Cruz had a population of just over thirty thousand—a size that would have fit into one of the venues on Crosby, Stills and Nash’s reunion tour.”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“its best songs—the semi-apocalyptic “After the Garden”; the protest-anthemic, Dylan-referencing “Flags of Freedom”; and “Shock and Awe,” which looked back on Bush’s premature “Mission: Accomplished” photo op with seething sarcasm—he and his musicians sounded as if they’d been rewired for added voltage.”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Don’t Look at My Shadow,”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Both the new ones and the old ones left over from his previous two albums tried to grapple with the toll that success was taking on him. “Rock & Roll Crazies” was”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Blues Man,” a brooding solo march underscored by darkly brittle guitar, was a warning shot of its own.”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“If I Could Only Remember My Name, and though it lacked that album’s moments of gorgeous intensity, the bossa-nova feel of “Look in Their Eyes,” and songs like his springy ode to New York, “The City,” were the kind of delicate beauties Crosby had concocted decades before. When Crosby recruited League and singer-songwriter-musicians Michelle Willis and Becca Stevens for his touring band, he had a new part-time group, and the addition of female voices added a never-before-heard element to his music. Reteaming with Raymond, with Jeff Pevar on guitar, Crosby then completed Sky Trails, his third”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“couldn’t decide whether radio would take to Nash’s “Heartland” or Crosby’s “Stand and Be Counted,” so the label released both. Billboard was withering about the former: “Of such”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Celebration at Big Sur, the movie of the 1969 all-star California concert”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“A portrait of Young taken by Nash (the same one later appeared on the cover of Jimmy McDonough’s Young-authorized biography, Shakey) was”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“With its reference to those who were coddled and dead weight from the past, “Thrasher” was a clear shot at life with Crosby, Stills and Nash. “Well, at that point, I felt like it was kind of dead weight for me,” he told writer Bill Flanagan in 1985.”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Manassas band featuring a young, Texas-based guitarist named Donnie Dacus.”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“The additional musicians now included a new guitarist, seasoned British musician Shane Fontayne, who was less obtrusive on stage than his predecessor, Jeff Pevar, and knew how to take a low-key role when playing in the band. The other musicians continued”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“That came from his tapes. We questioned everything we did. He instilled or reinforced in us quality consciousness. If you’re going to do something, you have to absolutely achieve excellence and set your internal compass toward excellence and go for that, because nothing else matters.” The process, though, could be rough.”
― David Browne, So Many Roads: The Life and Times of the Grateful Dead

“If you've lost access to your Coinbase account +1.-(82O) 587>-7825 or ‰, start by visiting the Coinbase sign-in page and entering your email and ...”
― David Browne

“Released in 1998, CPR, the trio’s debut, was a strikingly precision-tooled work, far more so than any of the recent Crosby, Stills and Nash records.”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Looking Forward”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup

“Long May You Run, finally arrived. Disappointingly, it didn’t recapture the feel of Buffalo Springfield as much as Stills had hoped it would. As in the recording sessions, the two men alternated songs and lead vocals on the album, but it still felt strangely lopsided. Most of Young’s contributions—the trifling “Ocean Girl,” the lulling “Midnight on the Bay,” the quasi-country shuffle “Let It Shine”—were as casual as beachwear and about as weighty. (Stills’ squawking lead guitar on “Ocean Girl” was lively, though.) Stills’ songs, such as the underwater-dive tale “Black Coral” and the pained “12/8 Blues (All the Same),” with his grunting, sputtering solo, had a toughened intensity. “Fontainebleau,” Young’s swipe at that upscale Miami hotel, spewed vitriol and included some of his most furious guitar parts, and the title song, a tribute to Young’s legendary hearse, featured Stills’ sandpaper harmony and Aiello’s calming organ.”
― David Browne, Crosby, Stills, Nash and Young: The Wild, Definitive Saga of Rock's Greatest Supergroup