Authors: Graham Nash
Michael Jensen, my dear friend and publicist for the last twenty-five years.
I give special mention to R. Mac Holbert who has been my trusted companion and advisor since 1969.
My longtime friend and manager Gerry Tolman. He was taken much too soon and is missed to this day.
My present managers and friends, Donald “Buddha” and Cree Miller. They are so together, so wise. Ask anyone who has ever dealt with them.
I’m writing this on the forty-fourth anniversary of meeting Joel Bernstein, archivist, teacher, historian, and great photographer, on February 1, 1969, the night Joni played Carnegie Hall. My life is all the richer because of him. He is my confidant and partner in music, photography, and life.
I owe a great deal of gratitude to Jillian Manus, my book agent. She was the first person to seriously suggest that I write this book and had the great wisdom to put me together with Bob Spitz, who faithfully took my words and made sense of them. Thanks to you, Bob, and to our editor, Peter Gethers.
Thanks also to jacket designer Michael Nagin, production editor Tricia Wygal, interior designer Lauren Dong, production manager Linnea Knollmueller, and everyone at Crown Publishers for their delightful interest and hard work.
Finally: to the Great Spirit of the Universe, for letting me live this life.
This is how I remember it.
I have tried to write Paradise
Do not move
Let the wind speak
That is paradise.
Let the Gods forgive what I have made
Let those I love try to forgive what I have made.
—E
ZRA
P
OUND
Unless otherwise specified, entries in
italics
indicate albums. Those in quotes indicate song titles.
Abbey Road Studios,
4.1
,
4.2
,
5.1
,
6.1
,
6.2
,
6.3
After the Gold Rush
,
10.1
,
10.2
,
10.3
,
11.1
“(Ain’t That) Just Like Me,”
4.1
,
4.2
,
4.3
“Almost Cut My Hair,”
7.1
,
9.1
,
9.2
antinuclear movement,
12.1
,
12.2
,
14.1
,
14.2
,
15.1
,
17.1
Atlantic Records,
4.1
,
7.1
,
7.2
,
8.1
,
9.1
,
11.1
,
11.2
,
12.1
,
14.1
,
16.1
,
17.1
“Barrel of Pain,”
14.1
,
14.2
,
14.3
Beach Boys,
5.1
,
5.2
,
6.1
,
11.1
,
13.1
Beatles,
2.1
,
3.1
,
4.1
,
4.2
,
4.3
,
4.4
,
4.5
,
5.1
,
5.2
,
5.3
,
5.4
,
6.1
,
6.2
,
6.3
,
6.4
,
6.5
,
6.6
,
7.1
,
7.2
,
7.3
,
8.1
,
10.1
,
11.1
,
17.1
“Be-Bop-a Lula,”
2.1
,
3.1
,
14.1
,
14.2
Bernstein, Joel,
8.1
,
11.1
,
11.2
,
11.3
,
12.1
,
12.2
,
12.3
,
13.1
,
14.1
,
14.2
,
14.3
,
15.1
,
17.1
,
17.2
Bocking, Pete,
3.1
,
3.2
,
4.1
,
17.1
Brown, Nancy,
11.1
,
12.1
,
13.1
,
13.2
,
14.1
,
15.1
Browne, Jackson,
11.1
,
12.1
,
12.2
,
14.1
,
14.2
,
15.1
,
15.2
,
16.1
,
16.2
,
17.1
,
17.2
,
17.3
Buffalo Springfield,
1.1
,
6.1
,
7.1
,
7.2
,
7.3
,
8.1
,
9.1
,
10.1
,
17.1
“Bus Stop,”
4.1
,
5.1
,
5.2
,
6.1
,
6.2
,
17.1
Byrds,
1.1
,
5.1
,
6.1
,
6.2
,
7.1
,
7.2
,
7.3
,
11.1
,
11.2
,
13.1
,
17.1
Campbell, Tom,
12.1
,
14.1
,
14.2
,
14.3
,
14.4
,
17.1
Capitol Records,
14.1
,
14.2
,
14.3
Carnegie Hall,
8.1
,
8.2
,
11.1
,
11.2
“Carry Me,”
11.1
,
12.1
,
12.2
,
17.1
“Cathedral,”
13.1
,
13.2
,
13.3
,
17.1
children, benefits for,
7.1
,
16.1
,
17.1
Clapton, Eric,
1.1
,
2.1
,
6.1
,
7.1
,
8.1
,
9.1
,
10.1
Clarke, Allan,
1.1
,
2.1
,
3.1
,
6.1
,
6.2
,
6.3
,
6.4
,
13.1
,
15.1
,
15.2
engagement and marriage,
4.1
,
4.2
,
4.3
,
4.4
,
17.1
Nash break with Hollies and,
7.1
,
7.2
,
7.3
,
15.1
Nash long-term friendship,
1.1
,
2.1
,
2.2
,
2.3
,
3.1
,
4.1
,
5.1
,
7.1
,
17.1
Collins, Judy,
7.1
,
7.2
,
8.1
,
8.2
,
9.1
,
10.1
Columbia Records,
6.1
,
7.1
,
14.1
,
14.2
“Country Girl,”
9.1
,
9.2
,
9.3
,
9.4
Cousteau, Jacques,
12.1
,
12.2
,
14.1
Crosby, David,
5.1
,
5.2
,
6.1
,
6.2
,
7.1
,
8.1
,
8.2
,
8.3
,
9.1
,
11.1
,
11.2
,
11.3
,
12.1
,
12.2
,
13.1
,
14.1
,
17.1
arrests/conviction of,
11.1
,
15.1
,
15.2
,
15.3
,
16.1
,
16.2
,
16.3
Christine’s death and,
9.1
,
9.2
,
10.1
,
12.1
,
14.1
deterioration from cocaine of,
12.1
,
13.1
,
13.2
,
13.3
,
14.1
,
14.2
,
14.3
,
15.1
,
15.2
,
15.3
,
16.1
,
16.2
drugs and,
5.1
,
6.1
,
6.2
,
8.1
,
9.1
,
10.1
,
11.1
,
12.1
,
12.2
,
16.1
,
16.2
Nash’s bond with,
4.1
,
7.1
,
11.1
,
15.1
,
16.1
,
16.2
,
17.1
Nash’s first meeting with,
1.1
,
1.2
,
5.1
personality/style of,
6.1
,
6.2
,
7.1
,
7.2
,
7.3
,
9.1
,
9.2
,
11.1
,
13.1
schooner of (see
Mayan
)
Crosby-Nash duo,
10.1
,
10.2
,
11.1
,
11.2
,
12.1
Crosby, Stills & Nash,
8.1
,
11.1
,
14.1
,
15.1
,
17.1
continued relevancy of,
15.1
,
15.2
Crosby’s son James and,
17.1
,
17.2
eponymous first album,
8.1
,
8.2
,
8.3
,
9.1
,
9.2
,
9.3
,
11.1
1977 return success,
9.1
,
12.1
,
13.1
,
13.2
,
13.3
primacy of music for,
17.1
,
17.2
Crosby, Stills, Nash & Young,
9.1
,
11.1
,
11.2
first album (see
Déjá Vu
)
friction among,
9.1
,
10.1
,
11.1
,
11.2
,
12.1
politics and,
10.1
,
10.2
,
10.3
,
11.1
,
17.1
re-formation of,
16.1
,
16.2
,
16.3
CSN
(album),
13.1
Dance, Jan,
14.1
,
14.2
,
15.1
,
15.2
,
15.3
,
16.1
,
16.2
,
16.3
,
16.4
,
16.5
,
17.1