Few figures in 20th century American music had as pervasive an influence as David Crosby. As a founding member of the Byrds, he shaped the ringing sound of 1960s folk-rock and pioneered trippy psychedelia, yet his greatest fame came as part of Crosby, Stills & Nash, a supergroup he formed with Stephen Stills and Graham Nash that helped usher in the mature, reflective '70s.

SUPERB BENEFIT SHOW FROM 1987 FEATURING STILLS & CROSBY By early 1987, both Stephen Stills and David Crosby were in fallow periods of their respective - and collaborative - careers. Stills hadn t put out a solo record since 1984 s Right By You and there hadn t been a CSN album in five years. Crosby had spent the majority of the previous year incarcerated following his arrest for drunken driving, a hit-and-run accident, and possession of a concealed pistol and drug paraphernalia. He hadn t put out a solo effort since 1971 or any new records with Graham Nash in more than a decade. But despite this CSN, in a myriad of formulations, or indeed solo, never stopped playing at benefit gigs and 87 was no exception. On 5th February 1987, Stephen Stills and David Crosby performed at the Cowboys For Indians Benefit, in Manor Downs, Austin, TX as part of a show that also featured sets by Jerry Jeff Walker, Rambin Jack Elliot and David Lindley. Stills and Crosby both performed dynamic solo sets and then collaborated for the final half hour or so, during which the marvellous Mr. Lindley joined the two veterans. This 2CD set features the entire sets by Stills, Crosby and CSL (Crosby, Stills and Lindley!) for the first time.

After a stint in prison, David Crosby (guitar/vocals) emerged from his year-long incarceration a completely clean and sober (gasp!) man. His revitalization was marked by a period of unbridled creativity, yielding his second solo effort Oh Yes I Can (1989). Crosby was supporting the album during the spring 1989 tour that produced the material on this disc. The set was recorded live at the Tower Theatre in Philadelphia and backed by a powerhouse combo that included longtime CSN bandmate Michael Finnigan (keyboards), Dan Dugmore (guitar), Jody Cortez (drums), and Davey Farragher (bass/vocals). Indeed, abstemiousness suits Crosby as his powerful, emotive vocals, and strident fretwork have rarely been as well defined or as energetic as they are here.

UNIQUE 1970 BROACAST FROM CROSBY, GARCIA, WEIR AND LESH 1970 was an exciting time in the music world. David Crosby was riding high on the early success of Crosby, Stills, Nash & Young, with two wildly successful studio albums and a plethora of legendary performances at the likes of Woodstock and The Monterey Pop Festival under his belt. The Grateful Dead has just released arguably their two greatest albums, Workingman s Dead and American Beauty , and were fast gaining a reputation as the best live act around. Towards the end of the year these two creative forces combined for a one-off concert at The Matrix in San Francisco. Billed under the curious moniker David & The Dorks, it would mark the only time that a band featuring David Crosby, Jerry Garcia, Phil Lesh and Mickey Hart would take to the stage together, and thankfully this broadcast recording still exists, enabling fans, even today, to enjoy a unique musical event. Performing a wide variety of material including tracks from Crosby s then upcoming solo debut If Only I Could Remember My Name , plus further cuts from across his catalogue, including many songs not at the time released on record, plus an inspiring version of the Dead classic Bertha , and a couple of blues traditionals, this superb CD is testament to the quite staggering talent and creativity of these top drawer musical giants.

One of the most enduring musical partnerships of our time, Rock and Roll Hall of Famers Crosby, Stills & Nash are revered for their peerless vocal harmonies, inspired songwriting and musical virtuosity. When the trio first sang together at a friend's Laurel Canyon house in 1968, their uncanny harmonic convergence was immediately apparent, and CSN took shape. Each member came to the new venture from other high-profile bands-Crosby from the Byrds, Stills from Buffalo Springfield, and Nash from the Hollies-and together, they formed that rarest of musical entities, a "supergroup" that lived up to its billing. CSN's 1969 self-titled debut album is one of the true masterpieces of the rock 'n' roll canon, and 1982's Daylight Again is a brilliant portrait of their musical evolution. Still touring and recording together, CSN is an American treasure.

Career spanning 3-CD David Crosby box spotlighting the 2x Rock and Roll Hall of Famer's solo stand-outs and classics with legendary groups including the Byrds, CSN, and CSNY! Plus one full disc of previously unreleased material. He's always received second billing to Stephen Stills in Crosby, Stills, and Nash, and once played third fiddle to Roger McGuinn and Gene Clark in the Byrds, but there is no doubt that David Crosby is one of the true originals of a folk-rock style that has paralleled his 40-year career, which is celebrated on this three-disc set of hits and near misses, demos, and outtakes. The first two CDs run chronologically, from the Byrds' "Eight Miles High" (which Crosby co-wrote) through his '70s and '80s solo records to "Through Here Quite Often," from his 2004 album with Graham Nash. Crosby was the draftsman of the transcendental harmonies that defined both of his bands, his plaintive vocals generally serving as a complement to the others'. But he takes the lead on this 52-song collection's greatest moments: his chilling falsetto on "Music Is Love" (from his 1971 debut solo release); a call out to his dying mother on "Carry Me" (1975's Wind on the Water, with Nash), and "Yvette in English," a 1993 collaboration with Joni Mitchell (Thousand Roads). Some selections swing and miss–"Hero," co-written with Phil Collins in 1993, and a few recorded in the late '90s with CPR, featuring his son James Raymond–but Voyage recuperates with disc three's 16 previously unreleased tracks. The jewel? "Cowboy Movie," a 10:57 opus from 1970 featuring both Neil Young and Jerry Garcia on lead guitar. –Scott Holter

By now, the story behind the reunion which begat CPR is well known. David Crosby, while awaiting a life-saving liver transplant, was found by keyboardist James Raymond, whom Crosby had given up for adoption years before. This would just be great People magazine rock & roll fodder if not for the great fortune that Raymond is an incredible keyboardist whose harmonies blend in sweetly with his legendary dad's. Veteran Jeff Pevar's crack guitar work once again helps drive these provocative pop/rock tunes, particularly on the few more aggressive tracks like "Katie Did"; elsewhere, he's a little more restrained on acoustic, and Raymond's blues-influenced keyboard and piano playing dominated behind the powerful vocals.

Another Stoney Evening is the sixth album by the duo of David Crosby and Graham Nash, issued in 1998 on Grateful Dead Records, catalog GDCD 4057. It had been recorded at the Dorothy Chandler Pavilion in Los Angeles, California more than 26 years prior to its release.

Crosby, Stills, Nash & Young live at Oakland Stadium, Oakland, CA, USA, 13th July 1974.

David Crosby's debut solo album was the second release in a trilogy of albums (the others being Paul Kantner's Blows Against the Empire and Mickey Hart's Rolling Thunder) involving the indefinite aggregation of Bay Area friends and musical peers that informally christened itself the Planet Earth Rock and Roll Orchestra. Everyone from the members of the Grateful Dead and Jefferson Airplane to Crosby's mates in CSNY, Neil Young and Graham Nash, dropped by the studio to make significant contributions to the proceedings. (Jerry Garcia, Phil Lesh, and Bill Kreutzman, primarily, act as the ad hoc studio band, with other notables adding bits of flavor to other individual tracks.)

Few figures in 20th Century American music had the pervasive influence as David Crosby. As a founding member of the Byrds, he shaped the ringing sound of 1960s folk-rock and pioneered trippy psychedelia yet his greatest fame came as part of Crosby, Stills & Nash, a supergroup he formed with Stephen Stills and Graham Nash that helped usher in the mature, reflective 1970s. Sometimes joined by Neil Young, Crosby, Stills & Nash were wildly successful but volatile, so the members cycled through solo projects and other permutations of their lineup during their salad days of the 1970s.

It would be difficult to find any musician who experienced such exhilarating highs and such soul crushing lows as did David Crosby on his journey through the 60s and beyond. As the 70s progressed, Crosby began to demonstrate increasingly erratic behaviour, and by the 80s he was deep in the grips of a serious drug abuse problem and his feet were firmly planted on a path of self-destruction. His downward spiral finally bottomed out in 1985, when a drug-related arrest in Dallas resulted in a prison term that forced Crosby to endure the painful steps toward recovery that would eventually save his life. In 1984, the year prior to the big crash, Crosby took to the road, performing solo acoustic sets followed by full blown electric sets that featured an outstanding band of younger San Francisco-based musicians, while former Byrdmate Roger McGuinn opened for the tour. All in all, the Beacon Theater performance from March 24th offers an honest glimpse of Crosby in 1984, a monstrously talented musician headed toward oblivion, but thankfully avoiding such a disaster.

Analogue Productions (Atlantic 75 Series). Celebrating the 75th Anniversary of Atlantic Records!. If I Could Only Remember My Name —David Crosby's debut solo album!. 180-gram 45 RPM double LP. Mastered directly from the original master tape by Bernie Grundman. Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

After spending nearly nine months as a guest of the Texas penal system, veteran rocker David Crosby emerged from his incarceration sober and brimming with ideas that had previously been stunted due to decades of substance abuse. In many ways Oh Yes I Can (1989)—Crosby’s second solo effort during his two-decade-plus career—is a musical rebuttal to his equally vital debut effort, If I Could Only Remember My Name (1971). Even the album’s title appears to indicate his newly achieved success and freedom from the haze that so indelibly influenced the earlier compositions.

When David Crosby, Stephen Stills and Graham Nash created this pop super trio in 1968 after their splits from the Byrds, Buffalo Springfield and The Hollies, respectively, it would have been a pipedream that a hits package released 37 years later would sound as eternal and essential as this one. The 19 songs straddle the four-album, landscape-altered timeframe between 1969's post-Woodstock debut Crosby, Stills & Nash and 1982's Daylight Again, which helped inaugurate the MTV era. Unbalanced sequencing–which randomly bounces 12 years ahead and five years back–is rescued by the superb harmonies, unique songwriting and divergent personalities of the three members. With politics and culture always at the forefront, Stills bookends the band's trademark canon with "Suite: Judy Blue Eyes" and "Southern Cross," Nash incorporates Eastern influences to "Marrakesh Express" and folk timber to "Just a Song Before I Go" and "Teach Your Children," and the ever-capricious Crosby leads the way lyrically with the lingering "Delta" to the Robert Kennedy tribute "Long Time Gone".