The complication, according to biographer Peter Doggett, was that three voices and musicians playing acoustic instruments would never have enough punch to fill arenas and make the money that potentially lay in wait.Īt this point, Doggett says, they made a deal with the Devil, in the guise of Neil Young. It was the formula that would make them must haves at Woodstock. While exposing their souls in song, they could also create political anthems, rallying their fans to reject the America of the older generation. At a time when many bands were becoming louder, tuneless and bombastic, this folk-rock supergroup delivered intensely personal songs in an endless variety of styles. The group's first album, created by Crosby, Stills and Nash before Young arrived, was a revelation. (for that, read he heard the sound of money cascading down.) When the overlord of Atlantic Records heard their combined voices and the harmonies they produced, he believed he had found the next Beatles. One thing everyone who heard them sing agrees on though is that they were stunning. As the new biographies reveal, managers, record companies and promoters took the view that anything could be tolerated, any lie told, any betrayal tolerated, as long as the money continued to flow.ĭepending on who you talk to, Crosby, Stills and Nash first sang together at the home of Mama Cass Elliot or Joni Mitchell's house in Laurel Canyon. In doing that they became a cash cow for all those around them. The truth is they made beautiful music that was incredibly marketable. The question is: how did these four performers that seemed to hold the ideal of the Woodstock generation fool so many people for so long? Cash cow for record companies
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