Review of Crosby, Stills And Nash: Daylight Again

Introduction

This concert DVD, filmed in front of an incredibly appreciative audience in 1983, is a real mixed bag. There are moments of absolute genius and brilliance here, as well as disappointing moments of travesty and embarrassment too.

This concert was captured at a point in the bands history where they were about to implode (again). David Crosby was chronically depressed and on a route of self- destruction that neither of his band and soul mates seemed to be able to do a thing about. Whether his need of a crack pipe was brought about because of his considerable personal problems or vice versa only he will know, but this recording captures the trio at a time where Crosby is clearly not pulling his quite considerable weight. Tragically, on the few close-ups that the Director has allowed of Crosby, he looks like a lost cause - pupils dilating, sweat pouring from him and dribble running out from under his trademark moustache.

The trio (occasionally a quartet with Stills ex-Buffalo Springfield companion, the wonderful Neil Young) all came from great musical pedigrees. David Crosby was ex-Byrds, Graham Nash ex-Hollies and Stephen Stills ex-Buffalo. The story goes that the meeting was sheer magic - that their trademark harmonies `just happened` and that the songs came together as if divined.

As the band open the set, all three lined up with guitars and singing the most heavenly harmonies, it`s easy to believe the hype. Of course, apart from Crosby who looks like a stoned hippy well past his sell-by date, the entire troupe (backing band and all) wouldn`t look out of place as the IT Department of a major corporation. And in truth, Graham Nash looks like a doppelganger of Steve Coogan`s `Paul Calf`, replete with spiky hair and a mullet and a fetching moustache. But visuals aside, from the outset the music here is generally top notch - with a few notable exceptions. .

They open with an AOR FM friendly song entitled `Turn your back on love` which see the three of them lined up with guitars looking like a force to be reckoned with. Of course, other than Stills guitar it`s difficult to distinguish Nash (normally piano) or Crosby`s strumming but the vocal harmonies are so good it`s difficult to believe that this hasn`t enjoyed a sneaky bit of Post. But the audience love it!

Highlights of this set include:

`Chicago` with its ever-optimistic refrain, `We can change the world`.

`Just a song before I go` with it`s exquisite harmonies creating a calm-wash of tranquil easy listening.

`To the last whale` which, if you can see past the child-like lyrics has a warm sentiment and proves to be an emotional highlight of the show with its projected images of whalers hunting whales.

`Blackbird`: Yes, that one (Beatles) which CSN took command of with their legendary Woodstock performance.

`Wooden Ships` with some blistering guitar work from Stills who is on top form (along with cohort Nash) throughout this performance. Stills voice too, frankly, has never sounded stronger than this particular set.

Low-Points include:

`Delta`, which is a Crosby feature where (as Nash cruelly puts it) he `…plays piano without nets`. If you close your eyes, Crosby just about cuts it but eyes wide open and you can see that Crosby is not a well man, despite some judicious editing by the Director of the piece.

`Long Time Gone` featuring Crosby again in what seems to be a cruelly prophetic piece. It`s hard to watch, though once again the audio seems to just about make it - which makes me wonder if some of this set hasn`t been re-worked in Post.

`Cathedral` and `Barrel of Pain`: both Nash compositions that share a toe-curling lyric, combined with musical theatrics unbecoming to a trio of (usually) sublime brilliance such as these.


There are many other great moments for fans here, whom I suspect will enjoy this lengthy performance tremendously.

Video

This is standard straight to video stuff from the early `80`s so don`t expect miracles. It is what it is - an historic recording of, generally, a fine performance.
The image is fine, though has that very slightly soft feel that NTSC to PAL conversions tend to get. Overall though the transfer is probably as good as it`s going to get and it`s perfectly acceptable.

Audio

Dolby Digital 2.0 or Dolby Digital 5.1. I actually split my viewing across two machines and have to say that the 5.1 is preferable with some impressive separation and clarity. But the Digital 2.0 is very acceptable too. The whole concert is certainly of sufficient quality to have warranted a CD release, and that`s nicely reflected here.

Features

Just a `view by song` chapter menu which is very useful - but that`s your lot!

Conclusion

Crosby, Stills and Nash occupy the space of legend. They have continued to mesmerise and dazzle audiences around the globe with their magical formula of beautifully blended three part harmonies (4 when cohort Neil Young joins in) and socially aware songs. This performance is, in many respects, a great indication of what the three were capable of, despite David Crosby appearing to be spiritually on another planet for most the set. Stills growling voice has never been better than on this 1983 recording and Graham Nash delivers his harmonies with frightening accuracy and emotion. Even David Crosby manages to impress on autopilot which must count for something. There may be better overall introductions to the band (see them on `Woodstock` for example where the sheer joy of their unity is incredibly infectious) but this will prove to be a valued addition to any fans archive.