Crosby, Stills and Nash – Chicago – a song of hope and optimism – a rallying call!

 

We can change the world !!! We can make a better world!!

If ever protest was necessary it is under the lies, hate and division of the Trump tyranny. He is inflaming Americans towards a civil war. His repudiation of the media and blatant telling of lies is a dangerous game. He is dismantling the fabric of democracy.

Back in the heady days of the 1960s when there was division and hostility between the younger generation and the older generation centred around the Vietnam War, Crosby Stills and Nash spoke up against the war and called for peaceful protest.

Young people took to the streets to protest the tyranny of that time.

This is Chicago by CS&N. They believed that we could change the world and so do I. When things are wrong it takes peaceful protest in millions to put it right!

 

Crosby Stills Nash & Young( Crosby, Stills & Nash (CSN) )

 

Chicago
So your brother’s bound and gagged
And they’ve chained him to a chair.
Won’t you please come to Chicago
Just to singIn a land that’s known as freedom, how can such a thing be fair
Won’t you please come to Chicago
For the help that we can bring

We can change the world
Rearrange the world
It’s dying to get better

Politicians sit yourselves down
There’s nothing for you here
Won’t you please come to Chicago
For a ride

Don’t ask Jack to help you
‘Cause he’ll turn the other ear.
Won’t you please come to Chicago
Or else join the other side.

We can change…yes we can change…the world
Rearrange…rearrange the world
Find more lyrics at ※ Mojim.com
It’s dying…if you believe in justice
It’s dying…and if you believe in freedom
It’s dying…let a man live his own life
It’s dying…rules and regulations who needs them
Open up the door

Somehow people must be free
I hope the day comes soon
Won’t you please come to Chicago
Show your face

From the bottom of the ocean
To the mountains of the moon
Won’t you please come to Chicago
No one else can take your place

We can change…yes we can change…the world
Rearrange…rearrange the world
It’s dying…if you believe in justice
It’s dying…and if you believe in freedom
It’s dying…let a man live his own life
It’s dying…rules and regulations who needs them
Open up the door

https://www.youtube.com/watch?v=Pswvi3QN_tI

21 thoughts on “Crosby, Stills and Nash – Chicago – a song of hope and optimism – a rallying call!

  1. This one isn’t a CSN song. It’s a Graham Nash solo recording from his “Songs For Beginners” album 1971. CSN occasionally did it live and their dog’s dinner of it version can be heard on 4 Way Street.

    1. I just so happened to hear that version myself again the other day and thinking wait a mo, what’ve they done to Nash’s what-was-a-good-song, they were careless and scrappy with it. Take a listen and compare the two.

  2. The west coast USA 60’s scene was all just manufactured bullshit.
    I think your take on the 60s needs some much deeper analysis and a complete re-think and overhaul, if it’s not too late. Cos you can’t surely go on any longer thinking as you do.
    Make another post separate to this and we’ll get down to it.

    1. Is there a scene that isn’t manufactured? Once the companies move in they control it and money talks. But there were some great bands and superb music that came out of the West Coast – Captain Beefheart, Zappa and the Mothers, Country Joe and the Fish, Doors, Love, Buffalo Springfield, Quicksilver Messenger Service, Grateful Dead, Big Brother & the Holding Company. You might not like them but I certainly do.

      1. I did indicate last week that record companies had a lot to do with it. It doesn’t end there, not by a long shot. You sort of agreed, but very tentatively, like you weren’t too sure, but thought you’d be better off by accepting my brief comment. That was actually me just sending out the feelers on you, to see where you stood.
        I do know that you didn’t understand what I’m talking about. If you did you’d never have said what you just said above. I know all the music like the back of my hand.
        But that list of yours, where’s the really interesting people there? But that’s actually beside the point.

        Obviously nothing has ever struck you as odd about that whole west coast scene?
        I think you would end up deeply saddened by the information I have as it will suck the life out of you, you being so positive and all that goes with it. Coupled with the fact that you completely misunderstood Frank Zappa’s political persuasions was indicative. You’d probably be utterly gutted were you to learn of his complete support to the military. But now you know that.
        The music is the least of it. “Liking” it is the least of it.
        It’s understanding why, who, where, what and how and judging by your response so far, you ain’t got a bleedin’ clue.
        I first clocked it decades ago around 1982 when I read that book on Jim Morrison, “No One Here Gets Out Alive” and some questions occurred to me on top of the limited knowledge that I had at the time, one part concerning a relative of mine who lived in California. This was all way before any internet and online discussions with other interested parties. Many years later and many connections and threads tied up there now exists an alternate reality to the one understood by the vast majority. That’s a real alternate reality as opposed to anything of the “gaslighting” nature.

      2. Opher, you actually understand nothing.

        OK. Answer me this.
        What was the profession of the fathers of many Los Angeles band members?

      3. Eric – no it is you who doesn’t get it. I am well aware that the LA bands were mostly very middle class, naval commanders and so on. Who really cares.
        No. I’m interested in the music and the times the music sat in, the emotions, feelings, ideals and feel of the times.
        I have a large number of albums but I’m not a collector. I’m not interested in the worth, labels or release dates.
        I’m not interested in all the geekie stuff. Who was playing what when. I’m not even interested too much in how good they were on their instruments. It’s what they do with it that’s important.
        I like the music. I like what I like.

      4. Opher, you really aren’t thinking. I’m going to say something about each of your points so that you then might finally understand a little more of the depth.

        1. Eric – no it is you who doesn’t get it. I am well aware that the LA bands were mostly very middle class, naval commanders and so on. Who really cares.

        You claim “I don’t get it”. Really? All through the 70s I’d read a thousand times about all these people from Laurel Canyon. I was just like you are still today and I thought nothing of it. Then I read that book on Morrison and the penny dropped. Coupled with what I knew about my cousin, I began to question just what was all that about. So from around 1982, I started collecting information, reading books, cutting out articles, anything relative.

        Who cares you ask. Did nothing about any of that ever occur to you as odd? These bands from LA as you state – did many of them originally come from LA or for some reason just so happen to end up there? Did that just fly over your head?

        2. No. I’m interested in the music and the times the music sat in, the emotions, feelings, ideals and feel of the times.

        The music – That’s the easy part. You mention the times, emotions, feelings, ideals and feel of the times.
        That’s interesting. Because that’s you literally scraping at the surface. Did it not occur to you what had manifested these “times”, what had enabled its fruition from nothing to a movement? What had given it the freedom to grow? Or did you just think it all happened by happenstance? It just grew from nothing out of nowhere? Really?

        3. I have a large number of albums but I’m not a collector. I’m not interested in the worth, labels or release dates.

        That wasn’t the issue. Although it always helps the listener to know what he’s listening to. Nobody would really want a later edition where in a lot of cases the production labels didn’t bother to use original tapes and used copies and these records never sounded nearly as good as the originals. There are occasions where it pays to know a little.

        I’m not interested in all the geekie stuff. Who was playing what when. I’m not even interested too much in how good they were on their instruments. It’s what they do with it that’s important.
        I like the music. I like what I like.

        That certainly answers the question of how you can listen to a few of these bands you listed for any length of time, certainly in relation to the question of how good they were on their instruments. The number of times the guitar players were completely out of tune in a lot of these west-coast groups was quite remarkable. I remember Zappa did a skit about it. Notably the guitarist Barry Melton from Country Joe (their rhythm section was also a disaster), and the two from Big Brother, Sam Andrew and James Gurley were constantly out of tune. The two from Jefferson Airplane also had this problem. Listening to most of any of their live recordings is agony.
        The music in general is certainly of no challenge to the listener, mainly all in the same musical key, hence, why so much of it sounds the same, which pales after repeated listening. Most of it when listened to today is pretty terrible.

        Nothing of the music is any of the point. The point was my original question.
        You mentioned naval commanders.
        Yes, Morrison’s father was one. Do you know what he did?
        Did it not occur to you how come so many of these guys in bands all had parents who were senior military personnel?
        Did it never occur to you why so many of them had come from Washington D.C.?
        Did it never occur to you how on earth all these people could land up all living in the same tiny part of Los Angeles, in Laurel Canyon?
        Why everybody associated with the business, the producers, the record label people, were also all living in that tiny enclave in Laurel Canyon?
        How none of them ever got drafted?
        How none of them ever were imprisoned for misdemeanors?
        How come this place was the centre point of the distribution of drugs?
        That Lookout Mountain was stuck in the middle of Laurel Canyon?
        Who controlled Lookout Mountain?
        What was happening and going on at Lookout Mountain, positioned right in the middle of Laurel Canyon?
        Why was there so many Hollywood people coming and going from there?
        That people like The Grateful Dead could ride about on their wildly decorated bus “Farther” and never be a target from the authorities?
        That the distribution of LSD/Acid was uninterrupted?
        That most of these bands were all associated with major conglomerate record labels?
        That the best of facilities and technical staff were suddenly at the instant disposal and availability to bands who had never recorded before and had barely picked up their instruments?
        Why had this seldom ever happened before anywhere in the USA?

        Opher, in short, you are a bit slow. You’re not the brightest sparkler in the box.
        You believed in something that was a fraud, a fake, a construed load of bullshit.
        A CIA controlled and governed social experiment from beginning to end.

        I’ll quote Vladimir Lenin “The best way to control the opposition is to lead it ourselves”

        And here you are 50 years and not remotely switched on. LOL

      5. Wow!! What a daft conspiracy theory – and I’ve read some daft ones. I’ll read what you’ve put to my mate who was with the Grateful Dead. It’ll sure give him a laugh to know that he was working for the CIA. He’s away in France right now. When he gets back. That’ll cheer him up. I’ll also put it to my mate Mike who lives in town. He was a roadie out there. That’ll give him a buzz too. Thanks for that.
        Me thinks you’ve been reading too many comics and taking too much acid. And you call me slow. At least I’m not nuts.

      6. Wake yourself up Opher. Are you that slow?
        You talk in gushing terms about a “freedom movement” completely clueless as to it’s manifestation. You’ve spent the last 50 years of your life in a state of comatose stupidity. And you think it’s a daft conspiracy theory? A THEORY! Christ, you must have had a fucking lobotomy.
        Do I really need to know your mate is in France and your other mate is named Mike! How exciting for you, France, eh? How exotic is that?
        What age are you? It’s not your teacher or mother you’re speaking to here, get a grip.

        It’s obvious by the contents of your last statements that you have in fact NEVER given the matter any thought. That’s slightly worrying is it not? You say you’re into the music and not interested in anything else. Anything? Really? Nothing at all?
        That explains why you never get past the hints The Mamas and The Papas gave out that the scene was corrupt with songs such as “Twelve Thirty (Young Girls Are Coming To The Canyon)”, you know, the one they never include on any of these greatest hits records they churn out. That the whole scene with all the music moguls and Hollywood scenesters were into paedophilia. With Charles Manson, the scenester pimp with his small army of young teenage runaways roaming the canyon, performing tricks for all his many contacts. And there’s Manson with his address book knowing exactly who lives where and what they’ve got that’s of interest to him.
        Why do think Manson was hanging out with Dennis Wilson for over a year, almost never out his house, supplying all the girls for cash and drugs? Or him being over at Brian’s, where he’d laid down over 100 hours of recordings at his studio. Recordings that all the remaining Beach Boys never want to discuss. With Manson hanging out with supremo producer Terry Melcher (Hollywood superstar Doris Day’s son), another Laurel Canyon resident. Manson and his people, The Family, supplying drugs to everybody. Never getting caught yet always under the watchful eye of the CIA. It was only when he crossed that line did they pull him in.

        There’s loads of other things to consider.
        Even the clothes people suddenly were wearing back then. Did nothing about that ever strike you as even slightly weird? Well it probably didn’t if living in UK at that time as everything was very French/Italian/Mod here, nothing hippy, nothing with tassle jackets and banderas.
        All the people who designed these clothes lived in … yes, Laurel Canyon.
        All of a sudden, almost overnight, clothes boutiques sprang out of nowhere all over Los Angeles and spread throughout California. You know how hard it is to get just one item of clothing even slightly popular in the fashion industry? But an entire wardrobe full? That’s incredible, and it must have taken a shed load of money and full orchestration. Think about that.

        Opher, when I first started my classic car refurbishment business back in about 1976, during my first year I met a couple of well known rock muso clients, one American, one Canadian. I never name-drop so I won’t. The sort of guys who like to be seen in Rolls Royce Silver Clouds. We’d (me and my assistant) clean the paintwork and repair, steam clean engines, fix trimmings, re-chrome, refurbish the console etc. I’d always talk to them about that 60s scene and they never had a good word for it saying it was a load of shit, nothing was cool about it and it stank. I’m still in contact with the Canadian and still now and again organise the transportation of shipping a classic car over to him Stateside. He didn’t like Laurel Canyon at all and moved out to his own space at his first opportunity. But he had been dumped there originally by the record company.

        Your Grateful Dead mate should be aware of a number of these issues, that is if he was around. I’d be interested to know when he was with them and for how long for as they had more hangers on than they sold albums. However, if he wasn’t with them anytime before 1979, I’m not interested. I’d correct you with your misguided interpretation on one point – they weren’t working FOR the CIA, but permitted to operate in a manner that would normally attract some authority attention. Such as running around in a psychedelic painted bus full of LSD. The CIA permitted it. It’s also worthy of note that a great deal of that LSD that flooded the California scene was manufactured and supplied under the governance of the CIA.
        This is one of the reasons why the CIA had such a beef with the Hell’s Angels because they weren’t part of that cycle and producing their own for their own profits. That wasn’t going to be tolerated.

        Oh yeah, one more thing about Grateful Dead. Did it also never occur to you how strange it was that one minute Gerry Garcia is making hillbilly country banjo music and the next he’s in this band on a major label and living in Laurel Canyon.
        Having heard their earliest attempts at demo recordings, it’s a freaking miracle that they were allowed back and not slung out on their ears. Somebody was dragging their ass to the party! The Beatles’ Decca Tape sounded like The Mahavishnu Orchestra compared to these turkeys.
        The entire commune was interlinked through manipulation and strategic planning.

        Another thing. Did it never strike you as odd that most of these west-coast groups all kind of wound up and died off kind of all at the same time? That the scene all sort of collapsed and fizzled out all at the same time? Like somebody had pulled the plug?
        That after they swept up all the carnage and buried the dead, so few of them were ever anything of what they had been in these brief few years ever again? All of a sudden they didn’t have record contracts, weren’t in bands, weren’t living in their expensive pads up in Laurel Canyon anymore, weren’t writing popular hits, weren’t in the top studios, weren’t in cahoots with the top producers, weren’t selling any records.
        Like somebody had pulled the plug.

        Go ahead, do talk to your mates, make some haste with it and at last get yourself that education that you’ve avoided these last fifty years. These Fifty Years – Roy Harper? You’re a Harper fan. Yes, go ask Roy Harper n’all. He’ll tell ya. LOL

    2. Eric, I for one will not be dismissing this information quite as quickly as I already recognise some points as raised to be wholly truthful. It was indeed a quagmire of deceit and government manipulated interference. Thank you for guidance towards many more points that are certainly worthy of further investigation.

  3. You might not be quite so flippant after educating yourself.
    They hanged a monkey not that far from you as a spy…

    IF I can get just one person – even someone as backwardly strung up such as yourself, just to think out from their tiny box, that would be of a pleasure for me.
    It’s the same to me as getting that engine that had seized up all those years ago and making it spark into life again. I can’t even begin to tell you just how satisfying that is.

      1. Napoleonic wars period in Hartlepool. I was wondering if you could perhaps be genetically connected to somebody who had been on the jury panel?

  4. Firstly, let me say that one having lived through a period – as expressed above, is by no means any qualification leading to understanding anything.

    There was definitely some very dodgy manipulation behind The Buffalo Springfield.
    That story of Neil Young driving from Canada to Los Angeles to find Stephen Stills and after several fruitless days searching it was Stills who spots him in rush hour traffic coming in the opposite direction on Sunset Strip. Story goes he did a U-turn – Sunset Strip – rush hour?! Don’t think so, some fantasy story there. Totally.
    Serendipity determined that they met Dewey Martin, who’d just split from The Dillards, who had decided to go back to their bluegrass roots and had no further need for a bunch of electric instruments, and stacks of amplifiers, so Dewey Martin – drums, rather than let them go to waste brought them all with him. Just five days after they’d met and just two days after they’d added a drummer – with all that equipment going spare – the band played it’s first date at the prestigious Troubadour club. Four days later they played the first of six dates around the south with The Byrds, the hottest band in Los Angeles. This was followed almost immediately by a six-week stand at the hottest club in town, the Whiskey-a-Go-Go. A month later the band landed the opening slot at The Rolling Stones concert at the Hollywood Bowl, sponsored by radio station KHJ. KHj had just been launched the previous year, just as new clubs magically appeared along the Sunset Strip in anticipation of the about-to-explode scene, so too did a radio station magically appear to promote those new clubs and the artists filling them. Such things tend to happen, as we know, rather, uhmm, serendipitously. Three days after the Stones concert, the BS released their first single having signed to Atlantic Records.
    Anybody who doesn’t get what went on there really needs some helping.

    I could never quite get to grips with why Stills allowed himself to be brought down to the level of these two other turkeys. Considering Stills actually played 95% of the music on the album and did all the arrangements and production, effectively Crosby & Nash were just his backing singers. Both of them struggled with guitar playing so were relieved of all such duties on the album and Stills played everything.
    Later when CSN had to go out on tour properly they had to improve the on-stage playing so brought in Neil Young and Bruce Palmer, but Crosby & Nash both thought themselves “too important” and “too famous” to becoming side-lined and looking as mere backing singers to Buffalo Springfield, so they insisted Bruce couldn’t join and they brought in Greg Reeves instead.

    How is it possible that none of the musical icons of the “Woodstock Generation”, almost all of them draft age males, was shipped off to Vietnam? Just another of those serendipities? Just luck that kept all the Laurel Canyon stars out of the military. The reality was that The Establishment had the power to prevent the musical icons of the 1960s from ever becoming the megastars that they became. The Establishment state, working hand-in-hand with corporate America, could quite easily have prevented the entire countercultural movement from ever getting off the ground, because then, as now, the state controlled the channels of communication.
    A real grass-roots cultural revolution would probably have involved a bunch of starving musicians barely scratching out a living playing tiny coffee shops in the hopes of maybe landing a record deal with some tiny, independent label, and then, just maybe, if they got really lucky, getting a little airplay on some obscure college radio stations. But that’s not how the sixties folk-rock ‘revolution’ played out. Not by any stretch of the imagination.

    1. Exactly, Acrobat Reader. Exactly that.
      You can lead a horse to water, but you can’t make it drink
      You can lead a man to the truth, but you can’t make him …

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