When the Woodstock competition passed off in August 1969, it was famously solely the second gig for the newly minted supergroup Crosby, Stills, Nash & Younger. “We’re scared shitless,” David Crosby, a famous wag, knowledgeable an viewers of 400,000-plus throughout their set. Watching their efficiency in Woodstock, Michael Wadleigh’s legendary documentary movie, you’ll be able to see the nerves, and the talent, on show. They have been 4 males with the hubris, and fairly presumably the expertise, to meet promoter Invoice Graham’s prediction that they might grow to be the American Beatles. Crosby, Stephen Stills, and Graham Nash all seem within the film, on split-screen and in close-up, flushed with the consequence of the second. However there’s one anomaly: Neil Younger by no means seems in any respect.
One thing concerning the competition had made him uneasy, and it was positively not the final time his instincts instructed him that the corporate-utopian gloss of the hippie motion was not his pace, or his lane. 5 years later—after the circus of Watergate, the brutally pointless slog of Vietnam, and the gradual deevolution of the counterculture ethos—Younger’s path ahead got here into daring aid. He had grow to be a large solo star in his personal proper, following 1972’s beatific folk-rock landmark Harvest, and he didn’t like the best way it felt: The music “Coronary heart of Gold” “put me in the course of the highway,” he wrote within the liner notes to the 1977 compilation album Decade. “Touring there quickly turned a bore, so I headed for the ditch.” The “ditch” in query refers back to the three data—Time Fades Away, On the Seaside, and Tonight’s the Night time—Younger launched from 1973 to 1975, colloquially generally known as the Ditch Trilogy. Taken collectively, they symbolize some of the fascinating digressions within the rock-and-roll custom, and presumably the primary time {that a} minted rock star actively sought to alienate a loyal fanbase.
Every of the LPs within the Ditch Trilogy is musically totally different, however all of them vibrate on an identical frequency. Time Fades Away (1973) is sort of a burlesque present carried out on the gates of hell, all barrelhouse boogie and half-repressed childhood trauma. Tonight’s the Night time (1975) is a tequila-soaked tribute to Younger’s misplaced bandmate Danny Whitten and former roadie Bruce Berry, each lifeless of heroin overdoses. It additionally doubles as a too-late warning flare to a era slipping deeper into the undertow of narcotics. Each are unvarnished and memorable data. However Younger by no means dug deeper or acquired decrease than On the Seaside, which was launched between them in 1974. This solemn folk-rock post-mortem, which got here out 50 years in the past this month, examined the quickly corrupting values of a hippie period based on notions of social justice and equality—an period that ultimately got here to embody one thing far darker and extra compromised.
Younger was all the time a little bit of an odd match along with his bandmates. By the point of Woodstock, it had solely been a number of months since CSN, with out Younger, had launched their wildly profitable debut album. Younger had been added afterward on the suggestion of the Atlantic Data label head, Ahmet Ertegun, who felt that the group may use additional guitar muscle. The omniscient and highly effective Ertegun was not a person whose strategies you usually rebuked, but this alteration was not a simple promote. Younger and Stills had performed collectively in a short-lived psych-rock act known as Buffalo Springfield, creating ferocious sparks musically and interpersonally. Their alternating guitar solos onstage have been like musical fistfights; different occasions they disbursed with the guitars and simply screamed at one another. Graham Nash, a genteel English singer from the Hollies, had by no means met Younger, and at first flat out refused to permit him to affix. It appears they by no means turned notably shut—in 2009, Nash instructed Goldmine Journal that the 2 weren’t really associates. By the point he wrote his 2013 memoir, Wild Tales, Nash had revised that upward solely barely, calling Younger “the strangest of my associates.”
In contrast along with his friends in CSN, Younger was fearful about various things. On the Seaside is a report about ecological and religious disaster amid the fading reminiscence of what he refers to as “the previous folky days.” Los Angeles is a major character—a despoiled paradise the place celebrities mistake their privilege for immortality, and abandon accountability when the inevitable penalties of their long-term bacchanal kick in. Launched nearly concurrently with Roman Polanski’s Chinatown, it shares that movie’s queasy preoccupations with the aftereffects of westward enlargement. Echoing the villain Noah Cross’s sinister plan to steal the water provide wanted to make the desert city an oasis, Younger acknowledges the complicity of all those that have benefitted from the ill-gotten bounty. “I am a vampire, babe,” he muses in “Vampire Blues,” “suckin’ blood from the Earth.”
Drenched in Younger’s Wurlitzer and Ben Keith’s keening metal guitar, the second observe, “See the Sky About to Rain,” is On the Seaside’s true template for the album’s themes. Over 5 minutes, Younger sounds puzzled by his personal revelatory lyrics: damaged clouds, locomotives rolling down the tracks, prepare whistles blowing in his mind. He evokes Woody Guthrie and the wealth disparities that can, in time, grow to be an indicator of his era’s private and political proclivities:
“Some are sure for happiness / Some are sure to glory / Some are sure to stay with much less / Who can inform your story?” The reply, implied however unspoken, is that the chronicles of the working poor and the political outsider—as soon as the center of the folks motion—are destined to grow to be marginalized to the purpose of disappearing. Distantly, and uneasily, there’s revolution within the air.
Then, unexpectedly, it isn’t distant in any respect. “Revolution Blues” is sung from the standpoint of Charles Manson, whom Younger form of knew and form of favored, again when Manson was simply one in every of numerous fringe musicians hanging across the Laurel Canyon scene. A muscle automobile of sheer groove and menace, “Revolution Blues” speeds previous much more disturbing imagery: bloody fountains, slaughtered guard canine, swarms of dune buggies. Crosby, Stills, and Nash have been horrified by the lyric “I hear that Laurel Canyon is filled with well-known stars / However I hate them worse than lepers, and I’ll kill them of their automobiles.” They have been proper to be scared. If musicians have been going to proffer themselves as ersatz thinker kings—as CSNY had begun doing with their interminable political “raps” at audiences throughout their reveals—it solely made sense that somebody would take them too actually, and search to inflict actual violence.
When John Lennon was shot lifeless in 1980, the perpetrator was a disillusioned fan on the perimeters of the counterculture who had grow to be satisfied that the Beatles co-founder had betrayed some form of precept. Manson himself had adopted his twisted interpretation of the White Album as a form of deranged blueprint for the race riots and financial coups he sought to engender. The scariest music in a catalog with no scarcity of scary songs, “Revolution Blues” supplies no explanations and affords no apologies for Manson’s path of carnage in 1969.
By the 12 months of On the Seaside’s launch, rock and roll had grow to be large enterprise, and the American live performance panorama was altering because of this. Bob Dylan and the Band had reconvened on their multimillion-grossing run of dates, and CSNY, too, had begun to promote out stadiums and arenas on what got here to be recognized, by dint of its extra, because the Doom Tour. In time, messianic pop singers would create grotesque carbon footprints within the curiosity of advancing their manufacturers. Younger and his band have been fueled by a mixture of potent fried weed and honey, known as “honey slides”—and the creeping paranoia that accompanies getting too stoned matches the temper of the album’s closing songs. Younger sounds confused however resolute. On the virtually seven-minute title observe, he makes strategies, seemingly to himself: “Get out of city, assume I’ll get out of city,” in a manner that makes you assume as a listener, He’s by no means going to get out of city. “Movement Photos”—an elegy for his estranged accomplice, the actor Carrie Snodgress—is about Younger embracing the great thing about nature, because the folks round him are captivated by their tv units. “All these folks, they assume they’ve acquired it made,” he sings. “I wouldn’t purchase, promote, borrow, or commerce / Something I’ve to be like one in every of them.” He sings: “I’d relatively begin once more.”
In some necessary vogue, the world had turned away from the pluralistic idealism of ’60s youth tradition, and would by no means flip again. By the mid-’90s, the Woodstock era had leveraged its large demographic benefits to grow to be a dominant voting bloc whose political issues have been short-term and self-serving. Inside this self-importance, and a seemingly boundless obsession with relevance, was the finished prophecy of On the Seaside: an Eden descending into an ego- and market-driven hell. Watch Woodstock once more—in the event you squint, you’ll be able to divine rather a lot concerning the future in Crosby, Stills, and Nash’s respective performances. They’re highly effective, positive, however in addition they appear to be preening males of questionable judgment misplaced within the splendor of self-regard. Ghostly and unseen, someplace off to the aspect, Neil Younger took within the spectacle. After which he walked on.
