| Rola: | Carry On |
|---|---|---|
| Traducción: | Sigue adelante | |
| Intérprete: | Crosby, Stills, Nash & Young | |
| Compositor: | Stephen Stills | |
| Disco: | Deja Vu | |
| Productor: | Crosby, Stills, Nash & Young | |
|
|
| Duración: | 04:28 |
| Año: | 1970 |
| Formato: | L.P. |
| A la venta: | 11/03/1970 |
| Disquera: | Atlantic |
|
|
|
Stephen Stills - guitarras eléctrica, órgano, bajo y voz principal Graham Nash - guitarra y voz Dallas Taylor - batería y percusión |
|
|
|
|
|
|
|
Carry On
|
Sigue adelante
|
|
One morning I woke up and I knew you were really gone A new day, a new way and new eyes to see the dawn Go your way, I'll go mine, carry on The sky is clearing and the night has gone out The sun, he come, the world to soften up Rejoice, rejoice, we have no choice but to carry on The fortunes of fables are able to sing the song Now witness the quickness with which we get along To sing the blues you've got to live the tunes and carry on Carry on, love is coming Love is coming to us all Where are you going now my love? Where will you be tomorrow? Will you bring me happiness? Will you bring me sorrow? Oh, the questions of a thousand dreams What you do and what you see? Lover can you talk to me? Girl when I was on my own, chasing you down What was it made you run? Trying your best just to get around The questions of a thousand dreams What you do and what you see? Lover can you talk to me? |
|
|
|
LADO A 1. "Carry On" 2. "Teach Your Children" 3. "Almost Cut My Hair" 4. "Helpless" 5. "Woodstock" |
LADO B 1. "Déjà Vu" 2. "Our House" 3. "4 + 20" 4. "Country Girl" 5. "Everybody I Love You" |
|
Déjà Vu is the first album by the rock band Crosby, Stills, Nash & Young, and the second by the trio configuration of Crosby, Stills, and Nash. It was released in March of 1970 by Atlantic Records, catalogue SD-7200. It topped the pop album chart for one week and generated three Top 40 singles: "Teach Your Children," "Our House," and "Woodstock." Déjà Vu was greatly anticipated after the popularity of the first CSN album and the addition of Young to the group. Stills estimates that the album took around 800 hours of studio time to record; this figure may be exaggerated, even though the individual tracks display meticulous attention to detail. The songs, except for "Woodstock", were recorded as individual sessions by each member, with each contributing whatever was needed that could be agreed upon. Young does not appear on all of the tracks, and drummer Dallas Taylor and bassist Greg Reeves are credited on the cover with their names in slightly smaller typeface. Jerry Garcia plays pedal steel on "Teach Your Children" and John Sebastian plays mouth-harp on the title track. The popularity of the album contributed to the success of the four albums released by each of the members in the wake of Déjà Vu: David Crosby's If I Could Only Remember My Name, Stephen Stills' self-titled solo debut, Graham Nash's Songs for Beginners and Neil Young's After the Gold Rush. In 2003, the album was ranked number 148 on Rolling Stone magazine's list of the 500 greatest albums of all time. The same year, the TV network VH1 named Déjà Vu the 61st greatest album of all time. The album ranked at #14 for the Top 100 Albums of 1970 and #217 overall by Rate Your Music. |
|
|
Crosby, Stills, Nash & Young: Canadá, Estados Unidos, Inglaterra
Crosby, Stills & Nash (CSN) is a folk rock supergroup made up of David Crosby, Stephen Stills and Graham Nash, also known as Crosby, Stills, Nash & Young (CSNY) when joined by occasional fourth member Neil Young. They are noted for their intricate vocal harmonies, often tumultuous interpersonal relationships, political activism, and lasting influence on music and culture. All four members of CSNY have been inducted into the Rock and Roll Hall of Fame twice, though Young's multiple inductions were for work not involving the group. Initially formed by the trio of David Crosby, Stephen Stills and Graham Nash, the genesis of the group lies in two 1960s rock bands, The Byrds and The Hollies, and the demise of a third, Buffalo Springfield. Friction existed between David Crosby and his bandmates in the Byrds, and he was dismissed from the Byrds in late 1967. By early 1968, Buffalo Springfield had also disintegrated over personal issues, and after aiding in putting together the band’s final album, Stephen Stills found himself unemployed by the summer. He and Crosby began meeting informally and jamming, the results of one encounter in Florida on Crosby’s schooner being the song “Wooden Ships,” composed in collaboration with another guest, Paul Kantner of Jefferson Airplane. Graham Nash had been introduced to Crosby when the Byrds had toured the UK in 1966, and when the Hollies ventured to California in 1968, Nash resumed his acquaintance with Crosby. At a party in July 1968 at Cass Elliot's house, Nash asked Stills and Crosby to repeat their performance of a new song by Stills, “You Don't Have To Cry,” with Nash improvising a second harmony part. The vocals gelled, and the three realized that they had a unique vocal chemistry. Creatively frustrated with the Hollies, Nash decided to quit and throw his lot in with Crosby and Stills. After failing an audition with the Beatles' Apple Records, they were signed to Atlantic Records by Ahmet Ertegün, who had been a fan of Buffalo Springfield and was disappointed by that band's demise. From the outset, given their respective band histories, the trio decided not to be locked into a group structure, using their surnames as identification to ensure independence and a guarantee against the band simply continuing without one of them, as had both the Byrds and the Hollies after the departures of Crosby and Nash. Their record contract with Atlantic reflected this, positioning CSN with a unique flexibility unheard of for an untested group. The trio also picked up a unique management team in Elliot Roberts and David Geffen, who had engineered their situation with Atlantic and would help to consolidate clout for the group in the industry. Roberts kept the band focused and dealt with egos, while Geffen handled the business deals, since, in Crosby’s words, they needed a shark and Geffen was it. Roberts and Geffen would play key roles in securing the band’s success during the early years. When it was announced that the band was forming, they ran into a slight contractual problem. Nash was already signed to Epic Records, the North American distributor of records by the Hollies, while Crosby and Stills were signed to Atlantic. In order to resolve this problem, Geffen engineered a deal whereby Nash was essentially traded to Atlantic for the rights to Richie Furay's band Poco; Furay was signed to Atlantic as a result of his membership in Buffalo Springfield. Retaining Taylor, the band decided initially to hire a keyboard player. Stills at one point approached Steve Winwood who was already occupied with newly formed group Blind Faith. Atlantic label head Ahmet Ertegün suggested Canadian singer/songwriter Neil Young, also managed by Elliot Roberts, as a fairly obvious choice. Initial reservations were held by Stills and Nash, Stills owing to his history with Young in Buffalo Springfield, and Nash, due to his personal unfamiliarity with Young. But after several meetings, the trio expanded to a quartet with Young a full partner. The terms of the contract allowed Young full freedom to maintain a parallel career with his new back-up band, Crazy Horse. The band initially completed the rhythm section with bassist Bruce Palmer, who previously played with Young in the short-lived Mynah Birds (fronted by a young Rick James) and with both Young and Stills in Buffalo Springfield. However, whether due to Palmer's persistent personal problems (he had a tendency to get busted for drugs and get deported back to Canada) or due to the simple fact that, with Stills, Young and Palmer handling the instruments, the band looked and sounded like Buffalo Springfield with Crosby and Nash doing little more than some background vocals. Whatever the true reason, Palmer was forced out of the band, and, at Rick James' recommendation, nineteen-year-old Motown bassist Greg Reeves replaced him. With Young on board, the restructured group went on tour in the late summer of 1969 through the following January. Their first gigs were on Aug. 17, 1969 at the Auditorium Theater in Chicago with Joni Mitchell as their opening act. They mentioned they were going to some place called Woodstock the next day, but they had no idea where that was. They began their second set that night with the same line they uttered at Woodstock, "This is only the second time we've performed in front of people. We're scared shitless." They opened with "Suite: Judy Blue Eyes" before launching into a harmony drenched version of the Beatles' "Blackbird". Their second gig was a baptism by fire at the Woodstock Festival. CSNY's recording of the Joni Mitchell song memorializing Woodstock would later become a hit and the recording most associated with the festival. By contrast, little mention is made of the group's subsequent appearance at Altamont, CSNY having escaped mostly unscathed from the fallout of that debacle. Great anticipation had built for the newly-expanded supergroup, and their first album with Young, Déjà Vu, arrived in stores in March 1970 to zealous enthusiasm, topping the charts and generating three hit singles. Déjà Vu was also the first release on the Atlantic Records SD-7200 "superstar" line, created by the label for its highest-profile artists; the subsequent solo albums by Crosby, Stills, and Nash would also be the next releases in this series. Young and Crosby were staying at a house near San Francisco when reports of the Kent State shootings arrived, inspiring Young to write his protest classic "Ohio", recorded and rush-released weeks later and providing another Top 20 hit for the group. However, the deliberately tenuous nature of the partnership was strained by its success, and the group imploded after their tour in the summer of 1970. Concert recordings from that tour would end up on another chart-topper, the 1971 double album Four Way Street, but the group would never completely recapture momentum as years would pass between subsequent trio and quartet recordings. |
No hay comentarios:
Publicar un comentario
Nota: solo los miembros de este blog pueden publicar comentarios.