Without any immediate hits like 'We Used to Be Friends' or 'Bohemian Like You,' the band seems to have left behind that commercial urge on Distortland, instead focusing on vibes and sensations. There are a few moments where the Dandies allow that grit to dirty things a bit, like on the nocturnal creep of 'Semper Fidelis,' whose sinister crunch could fit nicely alongside Monkey House's darker selections. Distortland isn't as in-your-face as the more muscular tracks on This Machine, nor is it as shiny as Welcome to the Monkey House. The rollicking surf-boogie of 'Pope Reverend Jim' sounds like a collision between 'The Rockafeller Skank' and Black Rebel Motorcycle Club, while the chugging power pop of single 'You Are Killing Me' would make Weezer proud. The album struts but never fully rocks out, leaning heavily on the dulcet side.

After the success of, the trio had to think about going on tour. However to perform as a full electric band they needed extra members. In the end they chose to bring in, who had played with Stills in, and had recently started out on his own solo career. Now a quartet, they became Crosby, Stills, Nash & Young. And Young gave them a formidable double lead guitar attack, and between the four of them they could handle all acoustic and electric guitars as well as keyboard duties.

1970 Crosby Stills Nash Young Deja Vu LP Record Vinyl Atlantic SD 7200 G/fair Condition no sleeve side a does have an apparent scratch. Tested and worked for me. Shipped with USPS Media Mail. Olivetti job jet m100 driver indir win7 7. Crosby, Stills, Nash & Young, Deja Vu Clarity SD 19118 ST-A-701830 SP A-701829. After the success of Crosby, Stills & Nash, the trio had to think about going on tour. However to perform as a full electric band they needed extra members.

And with four practicing singer-songwriters on board, they already had a huge repertoire of material. They kept drummer Dallas Taylor on board, who had played on their debut album, and brought in 19-year-old Motown bassist Greg Reeves to complete the touring outfit. Young's contract allowed him to continue with his solo career whilst he performed with the group. They went on tour in summer 1969 - their second ever gig together was at the Woodstock Festival. The folk-rock supergroup were becoming a huge success, and expectations were high when they came to record their next album. Deja Vu proved to differ somewhat from the first album.

The group broadened their pallette, resulting in a more diverse collection of songs (and perhaps a less consistent record for that reason). More so than the first album it sounded like a coalition of four singer-songwriters rather than a band. Crosby and Nash's signature songwriting styles become even more apparent. Contributed the hippie blues lament 'Almost Cut My Hair' and the surreal, dream-like title track, whilst came up with the radio-friendly country-rock of 'Teach Your Children' and the whimsical ode to domesticity of 'Our House'. Stills contributed the opening song 'Carry On', which defined the archetypal CSNY sound, and the quiet solo number '4+20'. Young wrote two songs, the slow, aching 'Helpless' (which became one of his best-loved songs) and the three-part suite 'Country Girl'.

They also recorded a rocking version of Joni Mitchell's 'Woodstock', and 'Everybody I Love You' was a collaboration between Young and Stills. Most of the instruments were played by the four of them with Taylor and Reeves, but there were also guest appearances from on pedal steel and John Sebastian on harmonica. However, was the album actually the perfect coalition that the record sleeve would have you believe? Crosby & Nash added their superb vocal harmonies to all the songs except Stills' solo number, and Stills himself is on every song playing some instrument or another even if he's not singing.

But what of Young? Apart from his own two songs he doesn't sing anywhere else, and just adds guitar to three others. He was always the outsider in the foursome (perhaps because he didn't rely on the others - he had by far the most successful solo career), and his presence on Deja Vu is really as a guest guitarist who gets to sing two of his own songs. Various personality clashes and power struggles meant the group eventually imploded after their 1970 tour, and despite numerous sporadic reunions over the years that continue to the present day, they have never come close to the quality of their first two classic albums, upon which their whole reputation as folk-rock's first and foremost supergroup rests.

Because despite the group's hidden flaws, Deja Vu was a commerical success. It reached #1 on the pop album charts, and 'Woodstock', 'Our House' and 'Teach Your Children' all reached the Top 40 on the singles charts. (1969) (1971).