Customer Reviews

4 Way Street (Jewel Box)

5 star:		(48)
4 star:		(29)
3 star:		(6)
2 star:		(4)
1 star:		(6)

 

 

As I have stated in other reviews, 4 WAY STREET along with STICKY FINGERS made the soundtrack to the summer of 1971. I listened to it over and over and when I left home for college in late summer I discovered thousands of others were doing the very same thing. Its influence cannot be overstated. Both the earlier CROSBY STILL & NASH and DÉJÀ VU were critical and popular successes; but this live album filled out the legend and presented CSNY as the band has remained in memory and imagination.

Many of my contemporaries hate this album. John Mellencamp has gone on record stating it is the worst record in the world. While this is unduly harsh, there is a grain of truth to one complaint. 4 WAY STREET is very much an artifact of its time. It was made in the shadow of social upheaval that included racial riots, assassinations, disturbances at several hundred colleges and universities, the divisive Vietnam War, and the "massacre" four protesting students at Kent State by the Ohio National Guard. It was a threatening and politically charged time. And CSNY were at the forefront of what was then called the youth counter-culture.

They were part of 1960's generation who believed they glimpsed a better moral code and way of life different the older generations before them. Outside of this context, some of what CSNY has to say makes little sense. For some this is precisely the trouble. All those events of the late 1960's-early 1970's are now only dry words in history books. Of larger import to the youth of that time, the next few years revealed that the long expected "Age of Aquarius" and the promise of new enlightenment and idealism would not come. That special, bright, shinning hope died.

If everything CSNY did were topical, then there would be little here of interest. With the exception of Graham Nash's "Chicago", Stills' "America's Children" rant and perhaps Young's "Ohio", CSNY's music was not so political that it retains little musical interest. True to Crosby's short monologue before "Triad", they mostly focused on what was going on in their lives and the lives of those around them. And the fact that they were so musically inventive and entertaining still inspires enthusiasm today.

What had struck many was the album's unique (for its time) format of one disc acoustic and the other disc electric. What is really interesting is that, of the twenty full songs, only five came the groups' earlier two albums. The rest of the material came from their earlier bands or from their solo work. The moment's focus moves from member to member as they traded off between each other doing each other's songs. In this fashion, David Crosby comes across surprisingly sweet and romantic. Stills is the master musician and entertainer. Nash, on the other hand, seems to be struggling to keep up with the exception of "Teach Your Children".

4 WAY STREET is important (if for no other reason) for introducing Neil Young to an eager young audience. Young had been an integral if quixotic pillar of the Buffalo Springfield and he had released three excellent solo albums. But to most, Young was an unknown and his performances on this album opened up a completely new world in songwriting and gave us the newly minted archetype of the reclusive, eccentric rock artist. His acoustic "On The Way Home", "Cowgirl In The Sand" and "Don't Let It Get You Down" were unusually warm and moving moments on the original LP. The inclusion of his medley of "The Loner", "Cinnamon Girl" and "Down By The River" only extends the wonder of his craft-it only remains a mystery why they couldn't find a way to put it on the original.

The CD version keeps the original set of the second LP found in the original edition. Again, we have the same trading off between each other's material. But, again, it is Young's "Southern Man" that is etched into your mind. It is not that Crosby or Nash's songs are bad-they just don't push the emotional echoes as Young does. The exception is Stills' "Carry On" followed by "Find The Cost Of Freedom". The first is a musical joy. The second is inexplicably arresting and moving.

This is one of those "essential albums" you owe it to yourself to purchase. This was CSNY when they were absolutely white hot. The rest of the 1970's should have been a lot more like this. It wouldn't hurt if today's music were a little more like this as well.

From the very beginning of their fateful collaboration, it was clear that this was to be the first of the new super-groups, composed of discontented refugees who either quit or were bounced from monster groups like the Byrds, Buffalo Springfield, and the Hollies. And after an initial success with a first album the group added Still's former partner in crime from the Buffalo Springfield group Neil young to the line-up, the strange witches brew of creative energy and talent that resulted exploded onto the contemporary rock scene at Woodstock to an amazed audience with such power and originality. Of course, this number one album was the result of their original collaboration, and it shot to the top of the charts, where it remained for years!

This live album is full of smash hits and breath-taking sounds, from the opening truncated version of "Suite Judy Blue Eyes" to the elegiac "Teach Your Children" to the provocative notion of multiple lover relationships in David Crosby's "Triad'. They are really live here, as you can tell by the occasional faux-pas or corny references, and the album is an honest snapshot of CSN& Y live, as they were for those of us old enough and lucky enough to have seen them before they started playing exclusively in ball parks and arenas. What the listener also gets here is an intriguing look at each of the members of the band as a solo artist, and I was glad to see that in the CD version they added a nice Graham Nash song or two, since he is often the least covered of the four superstars comprising the group. Of course, the real reason to buy this long, long CD is the electric jamming between Stills and Young on a number of later songs, like "Southern Man", "Ohio", and "Carry On". There are some extended riffs and exchanges between the two that really showcase their mutual magic as well as the brilliance of the band at its best moments. This is a terrific albeit mixed bag of an album, and one everyone who calls himself (or herself) a rock fan should have it on his or her shelf. Enjoy!

This album is very representative of how these guys sounded live way back then. The acoustic part of the album, though it shys away from CSN's reknowned harmonies for the most part, highlights each guy rather well. Most noteworthy here is David Crosby. His readings of "Triad" and "The Leeshore" are absolutely gorgeous, and it reminds one that although David may not be the greatest musician on earth, there's no disputing his ability to sing. Maybe the finest voice around in those days. Neils "Cowgirl in the Sand", "Don't Let it Bring You Down", and the "Loner/Cinnamon Girl/Down By the River" medley really showcase Neil's acoustic guitar skills, and probably set him apart from the other guys for all around talent. Stills' performances, "49 Bye-Byes/For What it's Worth", Love the One You're with sound very dated now, and the sloppiness of those performances make them even harder to savor today. I was hoping that they would have dug out the complete version of "Suite: Judy Blue Eyes" for the remastered edition. Instead, we got Black Queen, an acoustic blues that Stephen nails just fine. Really showcases his acoustic guitar skills. Graham offers us "Teach Your Children", which is always a crowd pleaser (but probably would have been better without Neil's "harmony" voice), and "Right Between the Eyes"...a quiet one he duets with David. The old Hollies tune, "King Midas in Reverse" was added for the remastered edition The electric side is real loose, and basically highlights Stephen and Neil trading riffs. These guys really did feed off each other, and these songs just beg to be cranked ! "Long Time Gone" and "Ohio" stand out here. "Southern Man" and "Carry On" are long, long jams. A common practice back then. And those hollow body electric guitars they played really gave us some groovy feedback, didn't they? It is also noteworthy that in those days, Nash handled the Hammond organ duties...something he did well. Good ol'album. Peace.

Sure this album sounds dated. Sure we can look back on it and laugh at how funny some Stephen Still's improvisations are at the end of 49 Bye-Byes/America's Children are. Sure Suite: Judy Blue Eyes is 33 seconds long. Sure this is an amazing live album. I wasn't around back in '71 and never got a chance to see these guys live, so this is as close as it gets for me. This has to be one of my all time favorite live albums. It is one of those albums that you can put on for background music and find yourself doing nothing but sitting and listening. Every time I listen, I can hear something new in either the songs or the chatter between tracks. Chicago and 49 Bye-Byes/America's Children are full of emotion and rank as two of my favorite tracks on the album. And I don't even have the CD; just the open reel tape.

'Four Way Street' ranks right up there with all the best double-live rock albums available, including the live Fillmore East recordings made by Derek and the Dominos and The Allman Brothers. Interestingly, several tracks from these Crosby, Stills, Nash and Young discs are also drawn from concerts in early June of 1970 at the Fillmore East, as well as shows at the L.A. Forum in late June and a July 5 show at the Chicago Auditorium. A review of the setlists from these shows reveals that this two-disc set contains the complete basic show from this tour, although some rarities remain in the vault, including Still's 'As I Come of Age', Nash's 'Simple Man', Crosby's 'Guinnevere' and Young's 'Only Love Can Break Your Heart'. But with these four talented artists at their peak, there was more than enough quality compositions to go around. In fact, the song listing fails to note the inclusion of Still's 'For What It's Worth' in the '49 Bye-Byes/America's Children' medley, and a classic bonus track offers a rare acoustic medly from Young consisting of 'The Loner', 'Cinnamon Girl' and 'Down By the River'.

It's fortunate that we have this record of CSNY while they were at their peak, and when these particular songs were freshly minted, since some have lost their magic mantra as the counterculture movement faded into the 1970's. These songs are performed with a vibrant urgency they would never be accorded again. The band sincerely believed the music was changing the world. So it's with welcome ears that fans of this band, who still hear the same songs performed in concert today, albeit in a more restrained capacity, may take in recordings made in their heyday. In fact, the events at Kent State University that inspired Neil Young to write the song 'Ohio' occured less than a month before that song was first performed on this tour, in late May of 1970. Similarly, the recording of 'Black Queen' offered here preceded the release of Stephen Still's first solo album by several months, the album that contains the quintessential version of that song. Given the impact this band had on our social consciousness, these are epic, historical recordings.

Disc 1 is entirely acoustic, and a bit hit and miss. It's a shame and a bit of a farce to list 'Suite: Judy Blue Eyes' as the opening track since we only get the concluding 33 seconds of the performance. Since Graham Nash and Gerry Tolman saw fit to add bonus tracks to this digitally remastered version of the original vinyl albums, they certainly should have corrected this omission and filled in the complete track. One of the finest songs on the first disc follows, however, with Neil Young reclaiming a Buffalo Springfield track on which he had originally handed the lead vocal over to Richie Furay. This beautiful acoustic number, 'On the Way Home', is a Neil Young tune all the way, and the quality is multiplied several times by the addition of CSN's supporting harmonies. Young's acoustic, four minute version of 'Cowgirl In the Sand', Crosby's 'The Lee Shore', and Nash's 'Chicago' are other highlights. Some songs will make you want for the studio versions however, such as Still's 'Love the One You're With'.

The real attraction to this double-cd set, however, is the second disc, packed grandly with one terrific electric jam after another. The vocals aren't always up to par, as on 'Carry On', but the intensity is consistanly overwhelming, and the instrumentation impressively sharp. In fact, Neil Young and Stephen Stills, often criticized for trying to grandstand one over the other, trade superb guitar riffs back and forth like a well-oiled machine. The jams on the two lengthy tracks, 'Southern Man' and 'Carry On', not only speak volumes about the pair's talents on lead guitar, but offer repeated themes that speak a musical language not often experienced. They tell stories with sound. These thirteen and fourteen minute workouts fly by like two and one-half minute standards on AM radio. David Crosby is under-appreciated as a rhythm guitarist, and together with Johnny Barbatta on drums and Calvin 'Fuzzy' Samuels on bass, form a stern backbone for Stills and Young to ride their guitar solo's over. Still's surefire/spitfire solo's on Nash's 'Pre-Road Downs', Crosby's inspired vocals on 'Long Time Gone', and true-to-the-era lyrics such as "tin soldiers and Nixon coming" from Young's 'Ohio' add dimension upon dimension to this treasure trove.

I was just a bit too young to be hitting the concert scene when CSNY unleashed this monumental tour, but I count myself fortunate to be able to hear this unprecedented mix of reverb, revolution, rhythm, folk, blues and pop that shook our culture at the turn of two of the most tumultuous decades the United States has ever seen. Lyrics are included in the booklet. It is a must-have for any collector of classic rock music. Enjoy for the rest of time.

I wore this recording out when I purchased the original vinyl release in the 1970's. This recording showcases four wonderful acoustic and electric musicians at the zenith of their careers. This is the original "unplugged" release as most of the four vinyl sides of the double album went. Crosby's "Triad and Lee Shore," illustrate the power of acoustic and vocal harmonies that are rarely achieved in the studio, let alone live! Some of the guitar tuning's used for his music remind one of Joni Mitchell's every changing guitar tuning structure. David Crosby was also very responsible for the launch of Joni Mitchells career, so I'm sure she benefited greatly at this former Byrd's band members guitar work. Neil Young's "On The Way Home," "Cowgirl in The Sand," and "Don't Let it Bring You Down," tracks are some of finest examples of his haunting vocal prowess and his mysterious lyrical weave. I also look to this album as one of the best examples of the sound quality and capability of Martin acoustic guitars in the 70's. This sound quality and tonality have never been equaled in many musician's opinions. Stephen Stills is a powerful guitarist and lyricist and should never be missed when he can be heard on acoustic guitar. There are not many musicians who represent this type of virtuosity on the guitar like Stephen Stills. In addition to his bonus track on the release, "Black Queen," I recommend giving a listen to the two other Stills solo releases which feature many tracks with him on acoustic guitar. Graham Nash provides an excellent lilting vocal counterpoint to a lot of Crosby's music. This really explains a lot of their subsequent Crosby/Nash collaboration work after the individuals of the band went off on their own directions. From time to time we have the benefit of CSN&Y reunion, but it just doesn't sound this good anymore no matter where we witness a modern performance.

I bought 4 Way Street as an album when it was originally released. I bought it again when it was released as a CD. Then when my daughter became a teenager she "borrowed" it from me and it is now living with her in her apartment. I could not live without it so I have once again purchased 4 Way Street. Why...? Because of the haunting beauty of Find The Cost Of Freedom, the exhilaration of Love The One Your With, the melancholy of Cowgirl In The Sand and the hope of Carry On. Almost every song is a gem and to hear these four artists together is an opportunity not to be missed.

I bought this lp on vinyl when it came out. At that time I didn't much care for it because it was 'only' the live versions of songs I loved, and when I was young I looked for perfection -- the studio versions. Now at my advanced age 30 years later I find 4-Way Street much more appealing than the studio albums -- I have an enormous amount of affection for this music with all its flaws -- missed notes, garbled words, muffed chords. It's just these four guys with their bassman Calvin "Fuzzy" Samuels and their drummer Johnny Barbata. You can feel their humor and their passion, and it's so much more immediate and accessible than the sterile (but awesome) studio stuff. My gods came down into human form!
I was thrilled and amazed when I updated to the cd because there are four more songs on it than on the original double album, one from each man -- Nash's "King Midas in Reverse", Crosby's "Laughing" (one of my Top Ten All-Time Favorite songs), Stills' "Black Queen" and Young's "Loner/Cinnamon Girl/Down by the River" medley.
Live albums also give me a chance, as a sometime guitar-player, to guess chords and tunings by ear. This cd sits right next to Crosby & Nash's "Another Stoney Evening" -- another wonderful and highly underrated live outing.
Bravo! Thank God someone in the 1970's had the sense to capture this irreplaceable beauty on tape, wish they had video back then......

4 Way Street by CSNY is quite an essential bit of listening for fans of this supergroup. The first disc, which is entirely acoustic, consists of the four members of the group each taking turns in the spotlight. Unfortunately, there's relatively little of the guys performing as a group, hence, there's not much of their excellent harmonies. The performances are terrific, though and there's some excellent acoustic guitar playing. I just wish that Stephen Stills had more songs on here. Stills gets fewer songs than any member of the group. 49 Bye-byes/America's Children is a dissappointment, as is Suite Judy Blue Eyes. It's just the doo-doo doo doo doo part and only lasts about thirty seconds. Love The One You're With and Black Queen are very good however. Even if you don't like CSN, there's plenty of good stuff here for Neil Young fans. On The Way Home, Don't Let It Bring You Down, Cowgirl In The Sand, the Loner/Cinnamon Girl/Down By The River medley, plus a jam-filled live version of Southern Man and an excellent Ohio. The second disc is electric and the main course is two long jams, Southern Man and Stills' Carry On, both of which feature great guitar deuling between Neil Young and Stephen Stills. Pre-Road Downs and Long Time Gone are pretty good, but don't match the album versions. Finally, the album ends on a high note with Stills' acoustic Find The Cost Of Freedom, a wonderful conclusion to a very good album.

4 Way Street will be of interest to anyone who likes CSNY or Neil Young, it's definitely worth picking up.

The re-emergence of CSN&Y (or perhaps YCS&N would now describe the outfit more accurately) has provided as good a reason as any to look back at the supergroup's definitive live recording from the early '70's, "4 Way Street". This was the double vinyl album of two halves - acoustic and electric - that gave the world un-plugged rock & roll when Clapton still had long hair and MTV was no more than a twinkle in the over-arching firmament of potentiality.

"4 Way Street" was always irresistible, and, since the current release on CD has several additional tracks, a couple of less successful songs spoil the pudding even less than they did on the original release. Only close friends with egos locked in mortal combat could have produced a manifesto as tense but as intimate as "4 Way Street". This rare combination - fierce rivalry crossed with artistic and emotional inter-dependence - comes across in several ways: Sarcastic/affectionate banter between numbers, impossibly perfect live harmonies often sung round a single mike, frantic duelling during the long improvised solos, and a collection of (with a couple of exceptions) superb examples of the singer-songwriter's craft.

Opinions will thus differ on whether this is really a group performance or a portfolio of solo numbers. The main competition for the spotlight is clearly between former Buffalo Springfield bandmates Stills and Young, and when they hit their respective strides the junior partners Crosby and Nash almost become an irrelevance. On the other hand, when David Crosby's superb voice is allowed to dominate, its raw-tender soulfulness carries material that might otherwise sound mediocre. Ex-Holly Graham Nash brings less to the party in the way of songwriting, but his tirelessly supportive vocal harmonising in support of stronger material from the three Americans helps bring home that this was (perhaps unlike some of the later reunions) a true band project.

Even the hippy-dippy asides about peace and love, and the snippets of political peevishness, help to make this album something special. They help document the potential of popular music to act as a unifying voice of conscience rather than just a badge of subcultural identity or a mere corporate product.

Ultimately however (and however time may have treated members of the band and their ideals) this album is about great music. Standout tracks naturally include all five of Neil Young's compositions, along with an extended jam around the CSN&Y studio number "Carry On". Most of the album's real highlights are on the acoustic numbers, but the rhythm section (comprising Johnny Barbata on drums and Calvin "Fuzzy" Samuels on bass) lays down a powerful groove on the electric sides. As with the four singer/guitarists, their key strength is an ability to share in the sensitive interaction that joins all six musicians into a tight but flexible ensemble. Even during the free soloing that fills over half of part II, the interest never slackens.