Hello and welcome to a special edition of MFTC! This past Sunday, I drove to Portland and spent the drive (both the trip there and back) listening to Déjà Vu by Crosby, Stills, Nash & Young (CSNY). While I didn’t spend my typical week with this album, I feel like my combined five hours with it served the same purpose, so here we are!
I have loved this album for years and find myself coming back to it every few months. A supergroup, CSNY was comprised of David Crosby (the Byrds), Stephen Stills (Buffalo Springfield), Graham Nash (the Hollies), and Neil Young (Buffalo Springfield). CSNY was a band fraught with interpersonal clashes: drug use, creative disagreements, jealousy, personal tragedies, and overlapping romantic entanglements created consistently volatile energy within the group. Originally just Crosby, Stills, and Nash, Young’s membership remained inconsistent throughout the group’s existence, with him joining and leaving multiple times. Déjà Vu was the group’s second studio album, the first with Young, and topped the pop chart upon its release. The majority of the songs were recorded by the members in individual sessions, with the others contributing as needed. All members contributed to the production, despite each of them going through their own personal strife at the time, leading to more infighting. Similar to Fleetwood Mac’s “Rumours,” Déjà Vu is an interesting example of how intense clashes within a band can result in exceptional music.
For context, other albums that came out in 1970 (which I personally view as the best year for recorded music ever) include All Things Must Pass by George Harrison, Bridge Over Troubled Water by Simon and Garfunkel, American Beauty by Grateful Dead, Let It Be by The Beatles, Sweet Baby James by James Taylor, Spirit in the Dark by Aretha Franklin, and Sunflower by The Beach Boys.
As I said, this album was not new to me during this listen through. I have long loved Déjà Vu, but this road trip elevated it to a new level in my heart. I’m going to make a huge statement here, but I really think it may be a perfect album. Every single song is a triumph, showcasing the incomparable music skills and perspectives each member brought to the table. From start to finish, this album clutched my attention with an iron fist, with tight harmonies, lyrics that explore both internal and external worlds with tact and authenticity, and a diverse musical landscape that ebbs and flows through the album. Déjà Vu also serves as an incredible window into the political and cultural heartbeat of 1970. I don’t want to get ahead of myself by discussing specific songs already, but “Almost Cut My Hair,” “Woodstock,” and “Everybody I Love You” all serve as distinct looks at American society at the time. Due to the disjointed recording process, each member’s voice (both literally and figuratively) reappear and disappear, resulting in an album that includes a variety of complimentary, and sometimes contrasting, points of view.
Because this is MY blog, I can make new rules and changes whenever I want, so instead of the typical three songs, I am going to write a bit about each song. I am also going to include the name of the primary songwriter of each song to give some context:
“Carry On” (Stills): Are you kidding me? What an opener! Perhaps one of the best album openers ever??? I know I’m making lots of big statements right now, but I mean them. The harmonies in this song are stunning and immediately wrap listeners into the world created within this album. The mid-song breakdown is SO good and takes the song to another realm in the best way.
“Teach Your Children” (Nash): This is probably the folkiest song on an album that is the epitome of good folk music. The twangy guitar and tambourine beat accompany lyrics that explore (in a simple way) generational patterns and trauma. Fun fact: Jerry Garcia played steel guitar on this track, and, in return, CSNY worked on some harmonies for the Grateful Dead.
“Almost Cut My Hair” (Crosby): In a time where growing your hair long was often seen and used as a political statement, this song explores the inner turmoil and dilemmas of a 1970’s hippie. Every aspect of “Almost Cut My Hair” is raw, honest, and messy. This is definitely one of my favorites on the album.
“Helpless” (Young): Neil Young’s tenor voice shines here, with tight backing harmonies in the chorus enveloping the song in a stunning way. This is probably the most subdued song on the album, but it’s also the one that’s been stuck in my head the most.
“Woodstock” (JONI MITCHELL!!!): Yeah… Joni Mitchell… Absolutely incredible. At the time, she was in a relationship with Graham Nash, and you can feel her presence throughout Déjà Vu. As a die-hard Joni fan, these lyrics bear her artistic stamp so loudly. This is another song that serves as a clear window into the 1970’s, once again using music as a way to explore what was happening in the world around them.
“Déjà Vu” (Crosby): Starting off with fast-paced lyrics and music that is almost anxiety-inducing, the titular song then transitions into a slower-paced jam. Lyrically, “Déjà Vu” questions the powers at hand in the universe, our striking lack of knowledge about our own lives, and the idea of reincarnation and past lives. I also really love the hypnotizing bass line that plays throughout the end of this song.
“Our House” (Nash): Ohhhh, this song. Be still, my heart. This is one of my favorite songs ever made. It is so beautifully earnest and paints a watercolor portrait of love. The lyrics are accompanied by equally evocative piano and harpsichord parts. Honestly, I am struggling to adequately express how much I cherish this song. “Our House” is a triumph, taking the complicated, messy subject of love and turning it into a simple, pure song that makes listeners get the warm and fuzzies inside. It is sparkling, enchanting, and true. I also highly, highly recommend listening to the demo of this song on the deluxe album that includes Joni Mitchell singing backing vocals.
“4 + 20” (Stills): The lyrics of this song tell a story of loneliness and are some of the strongest on the album. CSNY are masters of finding harmony between lyrics and music, letting them dance with each other in perfect time. “4 + 20” almost feels more like prose set to music, and, in an album with so many strong musical moments, this song is a refreshing, necessary moment of pause.
“Country Girl” (Young): “Country Girl” is technically three songs wrapped into one. On the track list, it is separated into "Whiskey Boot Hill," "Down, Down, Down," and "Country Girl (I Think You’re Pretty)." Once again, a triumph. This song serves as a great example of what Neil Young brought to the band. Taking three separate works and combining them seamlessly into one is not an easy task, and he did so effortlessly. The minor key of the song, combined with the harmonies, creates a haunting, emotionally moving tune.
“Everybody I Love You” (Stills): If “Carry On” is a perfect album opener, “Everybody I Love You” is a perfect album closer. There are no other songs on “Déjà Vu” that are reminiscent of this one, with its driving beat and overwhelmingly positive lyrics. This song almost reminds me of The Beatles (Revolver, Sgt. Pepper’s, Magical Mystery Tour era), so obviously, it gets extra brownie points for that. It ends the album on such a high note, leaving listeners to bask in the glow of an exceptional piece of music.
Continuing the trend of bending all of my usual rules, I will not be talking about low points. Why? Because really, truly I have nothing critical to say about Déjà Vu. This album is decisively a masterpiece.
I have said SO much about this album, so I hope my feelings about it are clear by this point. I was enraptured the entire time I was listening and kept finding new things to love with each listen through. There is so much beauty, truth, and harmony held within Déjà Vu, with every song adding something completely unique and necessary to the album.
I hereby give Déjà Vu by Crosby, Stills, Nash & Young a rating of…
10
This album is cohesive, inventive, emotional, inquisitive, evocative, and a true testament to how far a supergroup can go. Earlier, I said with apprehension that this may be a perfect album, but I am now saying it with certainty: Déjà Vu is a perfect album. It serves as a meeting place for four distinct creatives whose different skills and perspectives blend together with ease. It’s unfortunate that the recording process was marred with so much strife, but, in the end, the world has been left with one of the best pieces of music ever created. Thank you Crosby, Stills, Nash & Young for pushing through the turmoil to make such a jaw-dropping album. Truly the absolute best of the best.
Until next week, stay cool!
♡ Alex
Listen to Déjà Vu by Crosby, Stills, Nash & Young here: