Original subtitles

This unlikely group of musicians emerged

at the end of the 1960s as the face of

Woodstock Nation after being the most

impactful group at the most impactful

concert being the Woodstock Music

Festival in August of 1969. Now, this

stack of 50 plus albums represents about

12 years of the band's output starting

in roughly 1969. And we're going to plow

through them and try to make sense of it

all here on Pop Goes to 60s. [music]

>> [music]

>> And I feel

[music]

now everything [singing]

is easy because of you.

The beginnings of this group have been

often told, but it basically starts with

the firing of David Crosby from the

Birds in late 1967. By early 1968, the

Buffalo Springfield had dissolved. That

was Steve Stills' band. And Graham Nash,

who was still with the Holl's, but he

was growing in a different direction

than the other group members. The other

members wanted to stay in more of a pop

vein, while Nash wanted to go more

progressive. Add Neil Young to the

equation who had really helped break up

the Buffalo Springfield and you have

Crosby Stills Nash and Young. Now I'm

going to start the story in February of

1968 when the Hollies came to California

to do some shows and David Crosby had

been friendly with Graham Nash for some

time. So he picked up Nash from the

airport and they went to a party at

Peter Tor's house of the monkeys and

everybody from Laurel Canyon was there

except for Joanie Mitchell who had just

broken up with David Crosby. Now

interestingly enough Crosby had hung

around with the monkeys more than one

might think and after the breakup with

Joanie Mitchell he had written a song

called Games and he actually demoed that

at a monkey session with some vague idea

that the monkeys would cover it. They

never did and that song was recorded

later. But four days after Nash arrived

in California,

all four Crosby, Stills, Nash, and Young

were at the Whiskey Agogo to see the

Holl's play, though Neil Young had left

before meeting Graham Nash officially.

Now, Cass Elliot of the Mamas and Papa

was famous for getting people together

and introducing musicians from outside

Laurel Canyon and inviting them to her

place where they'd have these these

mellow parties and things. And and this

is where it is thought that Crosby SS

and Nash first began to sing together.

Crosby and Nash swear it was at Joanie

Mitchell's house. Others say it was at

John Sebastian or Paul Rothschild's

house. Well, it doesn't really matter

where it was, but they did get together

and start singing. And the way it worked

was uh Crosby had been working with

stills. They were working on a stills

song and Nash was kind of listening to

them sing in harmony and Nash said,

"Hey, can you sing that for me another

time?" And they did. He said, "Give it

to me one more time." And then on the

third time, Mass joined in on the top

harmony.

[singing and music]

>> When you rise,

do you [singing and music] think of me

and how you cry?

You don't have to cry.

>> [singing and music]

>> They immediately knew this was a special

sound and began to show off a little bit

in front of their friends at small

gatherings with their three-part

harmonies. All right, let me just show

you some of the music that was being

recorded at this time concerning these

guys. Uh, the first one I want to show

you is Jonie Mitchell's debut album,

which came out in March of 1968. This

was produced by David Crosby.

We had Graham Nash who officially left

didn't leave the Holl's till the end of

1968.

He was recording with them all through

that year. And as I had mentioned, he

was trying to go in a more progressive

direction. The others like the pop

sound. So once the Holl's had another

hit with a pop song, they figured, okay,

this is the direction we want to go.

That kind of left Nash out. This is one

of my albums that never was. They had

enough songs recorded in 1968 to release

a full album with Nash, but this never

came out.

Okay. Buffalo Springfield last time

around. This is their last album that

was released in July of 1968, though

they already had broken up.

And then a month later, Super Session

came out. Stills was asked last minute

to join Bloomfield and Cooper for this

record. This became a surprise hit,

hitting number 12 and selling a million

copies.

End of the year, December 68, Neil Young

released his first solo album. And this

pretty much tanked and didn't chart at

all. And one of the reasons it maybe

didn't chart is because originally it

didn't even have his name on the cover.

This was a painting by his wife's friend

that didn't do anything. And David

Crosby at this time didn't have a record

contract, although he had written some

very good songs like Gwennavir. One of

the things I want to do in this series

on CSN and why is not just talk about

their songwriting or their musicianship

or the relationship between players, but

also about the women that they were with

during this whole time. Now, at this

point in 1968, Crosby had recently been

unmitched and he took up with a young

girl named Christine Hinton. Steven

Stills had a relationship with Judy

Collins who was six years his senior,

you know, the famous folk singer.

Graham Nash was married to Rose Nash but

was soon to be bewitched by Joanie

Mitchell.

And Neil Young had married Susan Oavdo.

She had run an eery called The Canyon

Kitchen and they married at the end of

1968.

Joanie Mitchell had already been with

David Crosby and Steven Stills had

referred to her as a love gangster.

Now, because of their initial excitement

of singing together, Nash made several

trips back to California to hang out

with Stills and Crosby, and rumors began

to fly about some group being started.

But these rumors did not get back to

England, where Nash was still firmly a

Holly. Now, Nash was not only about to

leave his group, but his wife as well.

And meanwhile, the three singer

songwriters were turning their parlor

track into an actual group. Now for the

name of the group, they decided to name

the group after their own names. And

though the order of the names was hotly

debated, they finally decided on Crosby,

Stills, and Nash. And the they did this

because it was an attempt to maintain

the ownership of their own name. Prior

to this, they had all come from groups

where they had to be bought out because

they were part of the owner of the group

name. Well, this way, there was no group

name. So this freed them to be able to

record with anybody or go play live with

anybody. And this was very unusual in

record industries at the time. So this I

thought was u a pretty good decision on

their part, but based on the difficulty

they had getting out of their prior

groups. Finally, it was Stills and

Crosby's turn to go to London and they

went accompanied with John Sebastian and

they all met at Donovan's house and soon

word got out that there was some kind of

group forming and the guys were there to

really record a demo. So, they had made

arrangements because they had known

Derek Taylor with from his time in Los

Angeles and through Derek Taylor they

approached the Beatles to be on their

brand new record label Apple. Now, the

group showed up there. Crosby, Stills

and Nash, and George Harrison was there

to receive them and uh they played for

them and uh Stills made the the fauxpaw

of asking George that hey, you wonder if

Paul might want to produce us really

when George Harrison was there to be the

producer of record for them. So Harrison

um being slightly put off politely

declined and Crosby Stills and Nash were

spared the pain of recording on the

Apple label. Meanwhile, Neil Young

basked in obscurity, but he did start

hooking up with a group called the

Rockets and started playing with them.

Meanwhile, CSN started looking to get a

record contract and started doing some

demos with Paul Rothschild and

Rothschild who had been working with the

Doors. The group wasn't happy with it.

They weren't happy with the harmonies.

So, eventually they wound up with

Atlantic, who they kind of had an in

with anyway. Atlantic had had signed

Buffalo Springfield on the Atco label

and Amet Erdigan really liked the

Springfield. So he knew Stills and he

signed them. Now they had just signed

Zeppelin who was doing really well. So

they had they were flush with cash and

eager to take a chance on a new group

like this. The other people that got

hired to handle their business and their

management was David Gein and Elliot

Roberts. And these guys were also

newbies, kind of upandcomers.

And they were looking to hire some

musicians to complete a band. So they

hired or they attempted to hire Dallas

Taylor on drums, Paul Harris on

keyboards, and Harvey Brooks on bass.

And those guys assumed they would be

full-fledged band members, but

David Geffen had different ideas. And he

just wanted to have the three main guys

be the band, and anybody else would be

like hired guns. And everybody left

except for Dallas Taylor on drums. Now,

the drama was just beginning as band

members started to get plucked from

other groups, namely John Sebastian's

group, and Graham Nash had been living

with Sebastian for a while, and he ended

up having an affair with Sebastian's

wife. And that's the song Lady the

Island was written about her, not about

Joanie Mitchell, as had previously been

reported. This is the first album,

Crosby, Stills, and Nash. And this photo

was taken by Henry Dilts. And

unfortunately, the guys were sitting out

of order. They're sitting in the order

of Nash, Stills, and Crosby. And they

couldn't really flip the photo around

because the guitar would be going the

other direction. So, they came back to

shoot the the photo and this house had

been torn down. And here we see Dallas

Taylor. This door was stripped into this

photo. We see Dallas Taylor in the

doorway here. And they recorded some

very excellent songs for their debut.

>> You are mine. You are. [music]

You make it hard

when it [music and singing]

drew at the ground.

You know, we're riding on the Marrakesh

[music]

Express. They're taking me to Marrakesh.

Wooden [music] ships on the water, very

free [music and singing]

for

each other. If the feelings [music]

wrong [singing]

for too long, it's crazy.

[music]

Stills really dominates this album and

many of his songs were inspired by Judy

Collins, which was the relationship that

had ended just before this album gets

got started. I wanted to bring this

album jacket out because this really

highlights her blue eyes. So, beautiful

eyes there, Judy. and

David Crosby had a few excellent songs

as well. Graham Nash brought over some

leftovers from the Holl's. Special

attention was given to the vocals on

this album and they double track their

their voices oftentimes creating six

voices and that made a very lush sound.

Now, the three guys produced this album

themselves and the vocals were generally

laid out with Stills on the bottom,

Graham Nash on the top and David Crosby

in the middle. So Crosby and Nash added

the third and fifth notes in the scale.

Now David Crosby who had been a tenor in

the birds which was kind of the premier

vocal spot in folk music with Crosby

Stills and Nash he took the middle part

because Nash's vocal his high register

he could easily sing on top of Crosby

which was really uh the pronounced sound

of the group. So, it was very unusual to

have a raspier voice as a tenor, but

that's what balanced out this group's

vocals so well with Still's raspy voice

on the bottom, Nash on the top, and

David Crosby, the glue holding it all

together.

Now, one of the things I guess I would

say Stills would be the guy who wrote

the classic songs. Crosby was the

fantastic vocal arranger and Nash was

the secret ingredient. Now, as I

mentioned earlier, uh the guys that they

had initially intended to be in the band

mostly didn't stay in the band except

for Dallas Taylor, the drummer. So, this

entire album is done basically by these

three guys and Dallas Taylor with Stills

handling most of the instrumental work,

which includes keyboards and bass.

Crosby plays some guitar. Nash plays no

instruments because he didn't have the

proper work permits, so he was limited

to vocals only. The reviews of this

album were ecstatic and it went gold

instantly. It was the biggest hit. The

talk of the summer and the singer

songwriter style was really launched

with this this album and had a fragility

to it and a freshness but also a hard

edge. There was a welcome change from

the hard rock and the psychedelia that

had come just before it. And one great

thing that helped this album is it had

two hits on it. Sweet Judy Blue Eyes and

Marraash Express. If Crosby Sils and

Nash provided vocal perfection, Neil

Young's second album was the antithesis.

And this is recorded with the group now

dubbed Crazy Horse. And they came up

with the very loosely constructed album

Everybody Knows This Is Nowhere. [music]

Down by the hill,

the drummer relaxes [music]

and wakes me through.

>> Everybody knows this is nowhere was a

sharp contrast from the Buffalo

Springfield sounding debut album, the

self-titled album. But this album, as

good as it is, didn't do that well

because he was still rather unknown. Now

the group started to ponder a touring

group. They needed to add players if

they were going to go out and promote

this album. They had a huge hit album.

Atlantic's going, "We got to get a band

on the road." So some of the musicians

thought of during this time and consider

were Buzzy Linhardt, John Sebastian, and

Mark Naftalin.

Now, none of those guys ended up

becoming part of the band. And Attigan

asked the group guys to come in for a

for a meeting. and Elliot Roberts and

David Geffin were included.

Now, Amatt Erdigan was a fan of Neil

Young and as I said, he was a fan of

Buffalo Springfield. So, they thought,

well, why don't you have Neil Young join

the group? You could use another guitar

player. Him and Stills played together

before. This album and his first album

weren't doing anything. So, what do you

say? Now, Stills was a little bit wary

of this because Neil Young had flaked on

the Buffalo Springfield two or three

times and helped destroy that band

essentially and was basically getting

Neil or getting Steven Stills to sign

off on this. So eventually Erdigan

talked him into it and Stills gave his

blessing and although Crosby and Nash

were against it at first, they warmed to

the idea and Neil Young was in. So they

started putting together rehearsals and

they needed a bass player. So the first

player they thought of was Bruce Palmer

who was from Buffalo Springfield. He

wasn't doing anything. He had a solo

album out, but he was um not the most

organized guy, I guess, around. So they

brought him in and it was a little

erratic and they weren't enamored with

his playing. And to quote Bruce Palmer,

he said that it was really Crosby and

Nash's dislike of me because they didn't

want to be like considered backup

singers to the Buffalo Springfield,

which is what it might have seemed like

to them. But really, uh, one of the

other problems that Palmer doesn't

mention was that he didn't get along

with David Crosby. And this goes back to

the Monterey Show in 1967 when David

Crosby joined Buffalo Springfield when

Neil Young flaked on the group. And uh

Palmer and Crosby just did not get

along. So this probably wasn't going to

work anyway. So Palmer was out. The next

guy they thought of bringing in was

Ricky James Matthews. Now Ricky Matthews

was eventually became Rick James the

Funk King. and he goes back to Canada

with Bruce Palmer and Neil Young in a

former band of theirs called the Minor

Birds. So they considered having him on

bass, but what they did instead was they

poached his bass guitar player, Greg

Reeves, and they had the group. The

group had already been booked for

Woodstock, which was a a kind of an

unknown outdoor concert that nobody knew

what that was going to be like, but it

was going to be a big venue. So they

quickly scrambled to do something prior

to that. So they played at the Chicago

auditorium and they followed a Joanie

Mitchell set and CSN did a a 12 or a six

song set before Neil Young joined them

on stage and that was their debut.

Imagine your second gig being Woodstock.

Now obviously this got much bigger than

anybody imagined. Nobody could have

anticipated the impact of this concert,

but it basically launched Crosby Stash

and Young into superstars almost

overnight. They already had the big

selling CSN album, and these guys ended

up being the highlight of the festival.

Now, you couldn't ask for a higher

profile gig than Woodstock. And the

accompanying film and soundtrack made

this event larger than life and very

quickly was romanticized into being the

pinnacle of the counterculture and the

culmination of the 1960s.

And with all this stuff supporting it, I

mean, Neil Young is often forgotten

because he's not shown in the film. And

he was rather aggressive to the

cameraman, saying he didn't want to be

on camera for reasons I'm not quite sure

of. and so he's not in the film. Because

of the almost immediate romanticizing of

the event, critics came out with some

anti-Woodstock sentiment like Ellen

Williams who said promoters were

motivated less by green than by their

hubris. The ambitiousness of the project

was meant to establish them as pop

producers, kingpens of the youth

movement. She concluded, "Ro is bourgeoa

at its core, a mass-produced commodity

dependent on advanced technology and

therefore a money controlled by those in

power." Now, John Landau called

Woodstock quote, "the ultimate

commercialization of the underground and

its culture."

So, the phenomenon of CSNY will bear

this out as we track their history into

the 1970s. Still finding their audience,

they appeared on Tom Jones's show to

sing Long Time Gone. and Tom Jones's

over-the-top vocal just was a very poor

fit for these laid-back hippies. And no

wonder they stopped doing TV after this

performance.

[music]

>> The band played a brief set at Altimont

known as Woodstock West. Carlos Santana

was quoted as saying this about

Ultimont. They wanted an instant

Woodstock, but they didn't want to make

one. They wanted it to just happen. So

David Geffen refused to let any of the

CSN Y footage be in the the Ultimont

film and they didn't want to be

associated with Rock's Darkest Day. So

they shortened their set and then they

hopped on a helicopter and did a second

gig that night in Los Angeles. The debut

album hit number six on the chart on its

way to becoming four times platinum. And

now they were basically rich almost

overnight and egos began to inflate at

the same rate as the money intake. The

success of the film Easy Rider was not

lost on the group and pretty soon films

were being banned about like they were

going to appear in some kind of motion

picture and it was going to be based on

the post-apocalyptic fantasy wooden

ships.

and they actually had Warner Brothers

interested and the Warner Brothers was

who had done the Woodstock film, but

this ended up falling through even

though the band actually naively thought

they could get Stanley Kubri to direct

it. As it turned out, the drama in the

group would probably make a better

picture than this the song Wooden Ships.

And Jackson Brown, who was hanging

around with them a lot at this point,

has an interesting quote here of the

time. The prevailing philosophy in this

circle was this. They all had boats and

they all had this really ideal life.

They were hippies with dough and they

were always talking about how if things

got tough politically or whatever, they

would just leave. In their minds, they

were sailing off into an ethereal future

that doesn't really exist without a lot

of hard work and a lot of support from

other people. They would get high and

just rap about this fantasy. It was

enticing, but at the same time, it was

obvious to me that it had no roots in

reality. With live dates looming,

Atlantic was hot for another album. But

tragedy struck when David Crosby's

girlfriend, Christine Hinton, was killed

in a car crash. This caused several

shows to be cancelled, and Crosby was so

distraught that Nash and Cass Elliot

took him to London to kind of get away

for a while.

So, after a period of kind of

decompressing, you know, Crosby uh came

back and the band started working on

what was to be the followup to the debut

album.

Almost [music]

cut my hair.

>> Everybody I love

us [music]

helpless. Helpless [singing]

helpless. Helpless

>> 4 [music and singing] and 20 years ago

will come into this land.

>> We are starless. We are golden. [music]

You're cold.

Such a cool. The [singing] windows are

illuminated. [music]

Will you bring [singing] me happiness?

[music]

Will you bring me sorrow? Teach

your children [music and singing] well.

Country girl, I think your name. [music]

[music]

This is the follow-up deja vu and kind

of an elaborate package here with this

textured album that feels like leather,

gold embossing here and a oldtimey sepia

tone photo pasted on. It's a gatefold

plenty of photography and this album hit

number one. It was released in March of

1970

and all six members got billing. So we

have Crosby, SS Nash, and Young plus

Dallas Taylor and Greg Reeves to kind of

give the impression that this is a a

full band. Although these two guys were

actually contract players. So there was,

you know, there was difficulty recording

this album. Uh it's a fine album, great

album, but there was competition between

members and getting songs on. And then

Neil Young absconded with his tracks and

mixed those without the other guys. So

he stayed true to his form of just going

off by himself and leaving everybody. So

some of these tracks were cut live in

the studio and there was a lot of

camaraderie but some of it was very

individual as well. Now there was such

demand for deja vu that it shipped

platinum. So, it sold like crazy. And

then in May of 1970, the Woodstock

soundtrack was released, which is a

triple album. And there are three CSNY

tracks on here. And then by September of

1970, Neil Young has his third album out

after the gold rush. [music]

>> [music]

>> Southern man better keep your head.

[music and singing]

Yes. Only love can break your

[music and singing] heart. Who's turning

and you will come around. [music]

Now after the gold rush hit number eight

on the charts and Neil Young stuff

started to sell as well and chart as

well as the CSN stuff the first album

and deja vu was outpacing everything and

as such the band became the biggest

touring group of 1970.

Now, by growing so fast and becoming so

big so quickly, the group had to endure

these issues by playing live in larger

venues. Since the focus was a lot on

their wonderful harmonies, this is

something that couldn't really be

recreated. And they were faced with poor

sound and poor monitors. They were

singing out of tune and basis Grave

Reeves then was being pressured by the

Black Panthers not to play with honkies.

So you had all this stuff going on

behind the scenes, political and

technical, that didn't make for a good

sounding show. And when they would

record stuff and listen to it back, they

were shocked at how terrible they

sounded. But the audience seemed to

still like it. In addition to the

difficulties between Stills and Young,

Greg Reeves, the bass player, became

disenchanted because he was writing

songs as well, and he felt that the

group should record and play some of his

songs. Now, the other guys didn't think

that his songs were up to scratch. And

Reeves, who practiced Native American

shamanism, said that he that the other

guys thought that he was putting spells

on them or something. So, there's all

this going on. And apparently Reeves was

playing erratically on stage as well.

So, this was all resolved when Steven

Stills fired Greg Reeves. Now, the

problem here was that Reeves was kind of

one of Neil Young's guys. So Neil Young

responded by firing Dallas Taylor, the

drummer, who was one of Steven Still's

guys. So this competitive tit fortat was

going on. So much so that daddy had to

come in, Amed Erdigan, president of

Atlantic Records, and sit the boys down

and say, "Look, boys, don't forget you

guys are good friends, and really you

should be making good music together."

The translation is really, there's too

much money being left on the

table. Get your asses out there. get

your differences resolved. Let's make

some money. So that's how they

proceeded. Dallas Taylor was replaced by

Johnny Barbad who has always been

reliable and then Greg Reeves was

replaced by bass player Fuzzy Samuel. So

the excuse for the canceled dates at

this time was due to illness.

So with the new musicians hired, Elliot

Roberts rebooked the tour. I mean, you

can imagine the millions of dollars at

stake here if they quit touring. They

were the largest touring band in the

world. So, a lot of big money at stake

here. So, that's why, you know, Erdigan

got involved. And once they made these

changes, they went on the road as

quickly as possible. But things were a

little bit shaky at first. These new

guys had to get they had to learn the

songs and get acclimated to the other

guys playing. And you know, it was

really rough at first. It sounded like

they all met at an open mic. But soon

they started to gel.

>> [music]

>> Got to get down to it. Soldiers are

cutting us [music] down.

>> Mother [singing] Earth

will swallow [music]

you.

Lay [singing] your body

down.

>> One of Crosby Still's Nash Young's high

points, Ohio was a surprise hit the

summer of 1970 based on the Kent State

shootings. Find the cost of freedom was

the B-side. So what happened was, you've

probably heard the story. And everybody

knows the tragedy at Kent State. This is

the Life magazine that Neil Young saw.

Now Neil Young, who I mentioned earlier,

he's usually off on his own. Somehow he

didn't really understand what had

happened. Now, the shooting took place

on May 4th. In this magazine, Life came

out on May 15th. It was this magazine

that he saw over by Crosby's which

prompted him to start writing the song

almost on the spot. So the book Studio

Time Immediately recorded it on the 21st

of May and was released on June 1st. The

band was real excited about Ohio and

they insisted on releasing it as a

single even though Teacher Children had

just been released three weeks prior.

[snorts] And contrary to band's

misselling of the story, uh, Teacher

Children was not in the charts when they

recorded Ohio, let alone going to number

one as Nash claims in his autobiography.

In fact, it didn't even make the top 20

in the 3-week head start it had before

Ohio was released. And both songs

entered the top 20 in the same week and

then quickly declined. Ohio lasting nine

weeks and Teach Your Children 11 weeks.

The energy of the song Ohio really

solidified the band and the new guys

were already starting to play well

together. So the live shows had some

urgency to them and they had some new

found life on stage. And the shows were

split. They were mostly electric, but

they also had acoustic sets. And then

they also included a solo set for each

of the four members who each did two

songs. And the beauty of these solo

sets, I always felt, was that in these

large venues, these acoustic sets made

this huge space feel very intimate. And

that was one of the magic elements of

CSN and Y. Now, unfortunately,

some they had some rules about doing two

songs each. Well, one particular night,

Stills went on for 20 minutes and at the

intermission, Nash really gave him an

earful. Another myth is that Stills was

showing off for Dylan that night, which

is completely untrue. Dylan showed up in

a show later in the tour and Nash would

conflate these two concerts. But be that

as it may, these this comp competitive

nature kept going on between players

here. And that was just one instance.

Despite the charm and the brotherhood

felt by audiences, it was clear that the

magic that had started just a year

before, with all this positive feeling

from the first album had started to

vanish amongst a sea of inflated egos,

fame and unnecessary competition,

playing in the wrong key, forgetting

lyrics, abandoning encors, and the

obvious problems that existed between

Stills and Young. All these things were

not unnoticed by fans and critics alike.

As you might imagine, all this touring

and all the uh the things that come

along with the touring,

uh drinking, drugs, womanizing, this is

hard on the band's women. So, let's have

an update here with the gals. David

Crosby, Christine Hinton had died in

September of 69 at the age of 21.

And although he had other women on the

side, and through this whole thing, he

started to dull the pain with drugs.

Stills was slapped with a paternity

suit, being the father of Jen Stills.

Her mother's name was never really

revealed because she had been underage.

Graeme Nash divorced his wife Rose on

the grounds of her adultery, completely

ignoring the fact that he had carried on

this very public affair with Joanie

Mitchell and they were living together.

And finally, Neil Young left his wife

Susan Asavdo behind. Now, one of the

things that can break up a band is a

woman. And this is not new in rock and

roll or in probably any other form of

music going back god knows how far.

But one of the stories that doesn't get

told is a woman that broke up the group

at this time. Now they had stopped

touring at the end of 70. They were had

very difficult time with each other. How

are they going to continue? Well, a nail

in the coffin was with a relationship

that was not Joanie Mitchell. She's the

woman that's typically mentioned with

regard to early Crosby's Nash and Young.

having had relationships with both Nash

and Crosby. Well, this involved Rita

Culage. Now, Kulage had sang with Joe

Cocker and Delaney and Bonnie and just

escaped a violent relationship with

drummer Jim Gordon

and she had been invited to a CSNY show

at the forum by Graham Nash. And Nash

said, "Well, just she accepted and Nash

would give me a call at Steven's house."

So, she did call him at Steven's house,

but Stills intercepted the call and

said, "No, no, Nash decided he he didn't

want to go. Uh, but I'd be happy to take

you." So, Stills shows up with Kulage on

his arm and Koolage is kind of put off

by the fact that Nash won't talk to her.

Well, after some time, Nash and Koolage

compare notes and they figured out we've

been had.

So, meanwhile, you know, Stills had been

seeing Koolage. He's writing songs about

her like Cherokee. But then eventually

Kulage starts an affair with Graham Nash

and they started they become an item and

Nash being the English gentleman feels

the need to tell Steven Stills in person

that he just stole his girlfriend.

So Stills reacts by charging Nash and

comes out swinging and [snorts] then

they had to pull Stills off of the

whisper thin Nash before he probably

killed him. But this is one of the

events that really ended the group and

they didn't really play together for a

good long time after this. This is an

example of behindthe-scenes issues

between personalities of people who

aren't in the band that can, you know,

end the collaboration of a working band

and uh Culage had revealed later that

David Crosby hated her, referring to her

as the devil incarnate and accusing her

of trying to poison him.

He also muses that she was a government

plant to destroy the band. So gets very

interesting here and you know some

people don't take kindly to the the

manipulation that can take place like

this. But [snorts] despite this drama

behind the scenes, the group is one

still one of the hottest groups around.

And Woodstock 2 came out and that had

several songs by CSNY.

This is kind of a trifold even though

it's a double album. And they also

appeared on the Strawberry Statement

soundtrack which was a double album and

they were on five songs here. So, as you

can see, their music is in big demand.

And what nobody realized at this stage

was that they were basically done after

two albums. And fans

always would ask, well, when are you

guys going to get together again? They

wanted that romance of the the Woodstock

ideal to be they wanted that magic again

and they weren't going to get it from

this group in the way they once had it

before. Those days were gone. Now the

record company certainly didn't want the

money stream to end. So they kept trying

to put these guys together and by hook

or by crook and we'll go into all those

stories in the next parts here on Pop

Goes to 60s. [music]