Graham Nash Albums (5)
'Songs for Survivors'
Release Date 4/30/2002
Tracks 10
Label Digital Sound
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What The Critics Say
In his first solo album after a ten-year hiatus, Graham Nash delivers a low-key package with minimal, acoustic-oriented arrangements of fairly agreeable material. A new and not unattractive huskiness enhances his delivery and adds depth to harmonized passages; some duo parts strongly recall Simon & Garfunkel, especially in the intriguing, if arguably misogynist "Pavanne"; and there's some glorious three-part work elsewhere as well. In the dryness of its instrumental tracks, Songs for Survivors recalls Neil Young circa "Heart of Gold," though Nash seems to struggle a bit more for his lyric: his stretch all the way back to a forgotten atrocity from 1921 on "Dirty Little Secret" only muddies his message. On more conventional tunes his imagery has a shopworn character, as in the rocks and crashing waves that set the stage for romance on "I'll Be There for You" or in the ancient imprecation to "Leave the love light in your eyes/You must believe it's true," on "Nothing in the World." With these disappointing moments balanced by more inspired narrative in the bleak but intriguing "Chelsea Hotel" and the simple affection of "Come With Me," Nash's comeback adds up to a pleasant, if not epochal, presentation. ~ Robert L. Doerschuk, All Music Guide
What The Critics Say
With perennial partner David Crosby in the hoosegow, Graham Nash was somewhat at loose ends in the mid-'80s. He couldn't resurrect Crosby, Stills & Nash or Crosby & Nash, and he had already tried reuniting with the Hollies. But Nash had always had a genius for reinvention, which was what led him from one configuration to another and kept him one step ahead of the oldies circuit. Also, despite his reputation for artistic integrity, he had never been above following musical trends or seeking commercial success, as he did, for example, in moving the Hollies toward psychedelic pop in the late '60s, and as he demonstrated by providing Crosby, Stills & Nash, Crosby, Stills, Nash & Young, and Crosby & Nash with their biggest hit singles. So, it was not really surprising that he would return to his solo career with Innocent Eyes, his first solo album in six years, or that he would try to make the kind of record that would get played on the radio in 1986. That inevitably meant prominent synthesizer keyboards and loud drum programming, and that was the sound of Innocent Eyes, announced immediately on the lead-off track, a sort of spy movie in song written by Davitt Siegerson and Richie Zito called "See You in Prague." The instrumental track might as well have been pulled from a Donna Summer album of a few years earlier. Not all of Innocent Eyes was quite that trendy, but Nash had made his point: At the age of 44, he still felt prepared to compete with contemporary pop stars half his age. It was, as he proclaimed in a song he co-wrote with Craig Doerge, a "Newday," and he didn't want to be the person he was yesterday. Unfortunately, whatever the arrangements, the ten songs on Innocent Eyes, four of them not written by Nash, were not outstanding for the most part. Among the Nash compositions, "Over the Wall," which appeared to be about the Berlin Wall, was effective; "Sad Eyes" was a pretty love song; and "Keep Away from Me" and "Glass and Steel," both of which sounded like they might have concerned Crosby, had a strong cautionary appeal. But even though the title song, written by keyboardist Paul Bliss, saw some radio action, the album didn't have any songs to rank with Nash's best, and his thin, keening tenor wasn't really a good fit with the synthesizer parts, which tended to overwhelm it. Thus, Innocent Eyes was at best a minor Nash album, at worst a misstep. ~ William Ruhlmann, All Music Guide
What The Critics Say
After a seven-year hiatus, Graham Nash returned to his solo career on Earth & Sky. While much of the material may have originated as an on-again/off-again collaboration with David Crosby (guitar/vocals), by the time the LP hit the racks in 1980 there were only traces of Crosby's input scattered throughout. One primary contribution highlighting the pair is the organic and acoustic "Out on the Island," and is likewise one of the best sides of the effort. In support of Nash is an all-star ensemble centering on the infamous "Mighty Jitters": Russ Kunkel (drums/percussion), Tim Drummond (bass), Danny "Kootch" Kortchmar (guitars), David Lindley (guitar/violin/vocals), and Craig Doerge (keyboards). The opening title cut, "Earth & Sky" has the earmark of a mid-tempo Jackson Browne rocker and boasts a tasty guitar lead from Joe Walsh. "Love Has Come" and the heartfelt "Magical Child" are among Nash's more poignant ballads and both seem to reflect the artist's personal contentment as a family man, which is a decidedly different vibe from his earlier works like "Strangers Room" or "Sleep Song." "Magical Child" also became one of Nash's performance staples in the early- to mid-'80s. Crosby, Stills & Nash similarly adopted the socially and politically topical "Barrel of Pain (Half-Life)" in concert. The tune is a brooding and foreboding rocker that speaks directly to the issue of nuclear waste being unceremoniously dumped right off the coast of the Bay Area near the Farallon Islands. Clocking in at under two minutes, "T.V. Guide" is a minor-chord classic tale of "Big Brother" paranoia, and features orchestration from co-author Joe Vitale. ~ Lindsay Planer, All Music Guide
'Songs for Beginners'
Release Date 6/30/1975
Tracks 11
Label Atlantic
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What The Critics Say
Songs for Beginners is Graham Nash's solo debut apart from Crosby, Stills, Nash & Young. Released in 1971, it is a collection of songs that reflect change, transition, and starting over. The set was recorded in both Los Angeles and San Francisco, in the immediate aftermath of Nash's traumatic breakup with Joni Mitchell. Unlike the colorful dynamism of Stephen Stills' eponymous debut recording, or the acid-drenched cosmic cowboy spaciness of David Crosby's If I Could Only Remember My Name, Nash's album is by contrast a much more humble and direct offering. It is a true, mostly introspective songwriter's album full of beautifully performed and wonderfully recorded songs that reflect transition, movement, the desire to look backward and forward simultaneously. Like the aforementioned offering, this one is star-studded in its choice of players and singers: Crosby, Chris Ethridge, Jerry Garcia, Rita Coolidge, Clydie King, Venetta Fields, Dave Mason, Neil Young (under the pseudonym "Joe Yankee"), David Lindley, Bobby Keys, Phil Lesh, Dallas Taylor, and drummer John Barbata reflect some of the personnel on this heady yet humble session. The album is bookended by two of Nash's best-known tunes, the anthemic "Military Madness" that remains timeless in the 21st century, and "Chicago," that doesn't. That said, they are among the weakest songs here -- which reveals what a solid collection it is. Unlike many recordings birthed from personal angst, Nash's engages in no self pity; instead, he focuses on the craft of songwriting itself. Despite its personal darkness, "Better Days," with its swirling piano and pronounced bassline, is also an actual paean to self-determination and perseverance, the logic being that there were better days in the past, so there must be better ones in the future as well. "I Used to Be a King," with Garcia on a gorgeous pedal steel and Lesh on bass, is a direct, mature response to "King Midas in Reverse," a song Nash wrote and recorded with the Hollies. "Simple Man," with its sparse melody and strings and a fine backing vocal from Coolidge, was written on the afternoon of the breakup with Mitchell. The violin-cello backdrop to Nash's piano is particularly effective and makes this one of his most memorable songs. The parlor room country waltz that commences "Man in the Mirror," features Garcia's steel, Young's piano, ex-Flying Burrito Brother Ethridge, and drummer Barbata; it shifts keys, tempo, and feel about a third of the way in with a very long bridge that transforms the song's sentiment as well. Ultimately, Songs for Beginners is the strongest of Nash's solo efforts (outside of his work with Crosby). ~ Thom Jurek, All Music Guide
What The Critics Say
Graham Nash's second solo effort has been overshadowed by his harmonic heroics as a senior partner in the various Crosby, Stills, Nash & Young configurations. After being lured from the Hollies -- where his latter contributions were criminally unappreciated (see, or rather hear Dear Eloise/King Midas in Reverse) -- it was Nash who had come up with most of the CSN(Y) hit singles, including "Marrakesh Express," "Our House," and "Teach Your Children." His 1971 debut, Songs for Beginners, was likewise filled with inspired moments such as "I Used to Be a King," "Chicago/We Can Change the World," and "Sleep Song." Topping those efforts would have been superhuman. Such is the way that Wild Tales has been eclipsed and overlooked by enthusiasts of his previous endeavors. Nash gathered a core aggregate of musicians, many of whom were loosely connected to the CSNY family. These include: Johnny Barbata (drums), Tim Drummond (bass), David Lindley (guitar), and Ben Keith (pedal steel guitar/dobro), and, of course David Crosby (vocals). Also making guest shots were Dave Mason (12-string guitar), Joe Yankee (aka Neil Young) (acoustic piano), and Joni Mitchell (vocals). Together, they animate Nash's slice-of-life compositions. Musically, Nash retains much of the whimsy that drew folks to his earlier songs. Likewise, the subject matter ranges from political ("Oh Camil" and "Prison Song") to the emotionally naked "Another Sleep Song" and "I Miss You." Nash would bring several of these tunes back to the CSNY fold for their 1974 tour -- including the up-tempo rocking title track, as well as the folkie "Prison Song." It would be another seven years after Wild Tales before Nash would issue his next solo album, Earth & Sky -- which fared as poorly at its predecessor. ~ Lindsay Planer, All Music Guide
